Typography design is a vibrant field in the digital era, with designers creating web fonts, crafting new versions of classics, and delving into everything from hand-drawn type to experimental typography. Printmag experts including Paul Shaw, Steven Heller, and J.J. Sedelmaier provide thoughtful reflections on fonts and typography designers, providing a wealth of inspiration. Interviews reveal the behind-the-scenes artistry of the craft.
Explore the Zimbabwe Institute of Vigital Arts or ZIVA, the first school of digital design, new media and visual communication in Zimbabwe. And Lincoln Cushing tells the story of counter-cultural print shops.
Jonathan Hoefler tells Steven Heller about Hoefler & Co’s latest latest font family, Surveyor — an interpretation of engraved map lettering that has been about 17 years in development — and his new web font service Cloud.typography, which draws content from the entire Hoefler & Co font library.
I’ve written about matchbox labels in this space before (see here and here) because it’s incredible that there are so many, so varied and so small. The latter is key. How do you fit so much into such a tiny space?
Scouring old design magazines (see my recent book 100 Classic Design Journals) can be an enlightening experience. Not only are the articles roots of graphic design history, but the advertisements, especially for ink-and-paper, provide insight into styles, manners and mores.
Syrian born Otba Mushaweh, who works in Saudi Arabia, is the founder of Type Stage, the first “Arabic” platform that grants website owners the ability to use professional and fast Arabic webfonts (Arabic, Urdu and Persian). Read the interview with Mushaweh.
Campari may be bitter as an aperitivo but its advertising campaigns beginning in the 1920s were tasty, often with an avant-garde air. These are advertisements from successive 1937 issues of Corriere della Sera that stand out on the black-and-white page.