Fairness for Fontmakers

Steven Heller talks with Peter Bilak about Fontstand, an application that gives users affordable access to thousands of high-quality fonts from some of the world’s most renowned foundries.


4 Strategic Customized Fonts and Typefaces

When approaching the ideation process for brand identity and logo design, one of the most crucial considerations is the typeface selection. What will be of the best use — serif, sans serif, decorative or script? A typeface infuses your design with emotion and meaning, defining your brand’s identity in every medium, from packaging and editorial...


Good Typographic Design for the Web

Is it possible to achieve good typographic design on the web? Here, dive into the history of web typography - and how to make the most of tools today.


07/17/2014: Muriza typeface

Jürgen Schwartz & Jakob Runge created this striking slab serif typeface Muriza. The typeface, which gathers its name from an area known for forested mountains, valleys and clear air, also has a handsome, 2-color specimen booklet that goes a long way to further the typeface’s possibilities. Check out more samples here. Via Type for...

Hand Drawn Design from Cover to Cover

In 1927, Samuel Welo published his first edition of “Studio Handbook: Letter And Design For Artists And Advertisers.” But this collection of fonts, ornaments, logos and other ad elements was not only meant to provide specific examples of design to the user. It also reminds the reader of the importance of composition—hand drawn composition....

The Fuse Box: Faces of a Typographic Revolution

It’s 1994 and Steve Heller is on a rant about a Fuse magazine font called LushUS. It’s “an abominable typeface. It’s…” “… vernacular carried to an extreme?,” I offer. “Vernacular carried to stupidity,” he replies. “It ain’t funny. There are certain extremes that are unnecessary, or too ingrown. Design for design, and so what?” So...

Michael Harvey's Life of Letters

I have known Michael Harvey, the British book jacket designer / lettercutter / type designer, for nearly thirty years. And I have known his work for far longer, having first discovered it in Erik Lindegren’s ABC of Lettering and Printing Types (Askim, Sweden: Erik Lindegren Grafisk Studio, 1964–1965, 3 vols.) when I was a...