Serendipitous encounters happen all the time on the Internet, and luckily for us, we know of one that set in motion an exemplary creative collaboration. Designer Craig Black, hailing from Scotland, and designer Nicole Phillips of Australia, connected over social media on their love of design and typography. An International Creative Collaboration: Opposites Attract...
At Typographics 2016, Tobias Frere-Jones discussed how we can learn from the past when aiming to deliver typographic detail on screen.
When the organizers of The Golden Camera wanted to make an impression, they knew they needed a brand identity that would be as eye-catching as the winners.
Tactfully kerning letters to the appropriate places and ensuring that the lines of text are at the perfect leading size for easy legibility are tasks that we typography nerds revel in and get lost in. We obsess over the microscopic details of alignment and placement. Fortunately for us, InDesign has useful features to make...
Roberto Blake covers out-of-the-box projects for fresh and interesting print design inspiration.
Jandos Rothstein expands on his insights about typographic hierarchy with examples from the past that violate essential design principles.
“A is for anteater” and “z is for zebra,” but in James Marsh’s A-Z Book of Animal Verse, every letter of Sanzibar Pro font has an accompanying two-page spread featuring an animal, image and four-line verse.
"Outstanding.” “Innovative.” “Surprisingly different.” This is how Dr. Shelley Gruendler, founder of TypeCamp, describes this year’s Type & Lettering Award winners. View them here!
The Night Library takes a critical look at a 1968 title entitled Navajoland, USA, 1868-1968.
Craig Welsh and Elaine Lustig Cohen are Kickstarting the new "Lustig Elements" font.