Print has been acquired by an independent group of collaborators—Deb Aldrich, Laura Des Enfants, Jessica Deseo, Andrew Gibbs, Steven Heller and Debbie Millman—and soon enough, we’ll be back in full force with an all-new look, all-new content and a fresh outlook for the future! In the meantime, we’re looking back at some of our most popular pieces online. Enjoy. Six years ago I wrote a column for Print on 12 underappreciated typefaces, my response to those ubiquitous beginning
The number one essential thing to keep in mind when selecting the best web fonts is scalability. Pay attention to when the fonts scale to either a smaller or larger size for different screen sizes that the fonts remain legible. That’s pro-tip number one. However, there are other crucial considerations to keep in mind when selecting the right web fonts. I’m currently in the process of taking the Web Typography course from HOW Design University and Sessions Edu. In the course,
Neenah recently released a sweet new promotional project by Willoughby Design that beautifully showcases six classic typefaces. The 9.5″ x 12″ booklet—called “Fresh Takes on Classic Type”—not only contains 6 spreads of lovely graphic work, but also a fun little interactive experience associated with each typeface. PRINT got the chance to run a few questions by Ann Willoughby about the project: What was it that Neenah wanted you to achieve with the design of the promotion? (e.
Before there was Typekit, before there was Fonts.com, DaFont or Google Fonts, designers had to share their typefaces the old-fashioned way—via print advertisements. In Print magazine’s 75 years of publishing, we’ve seen some great adverts, some funny, some dry and some, well, strange. We dug deep into the archives to find our favorite type-vertisements. Some you might recognize, others, not so much. The 1950s 1958 1958 1958 1958 1958 1958 1958 1958 The 1960s 1960 1960 1960 19
It all started with a cultural box exchange between the Honolulu AIGA and the South Carolina AIGA chapters. Each group packed up items that reflected its respective state along with typographic designs for clients and shipped them to one another. When Nikki Villagomez opened up the Hawaii box with her fellow South Carolina AIGA members, she “was blown away by how much their culture affects their design, and it forced me to look at design in a completely different way.” Seeing
As more digital content is moving to flat-rate subscription services, font foundries are concerned that creators of quality typefaces won’t be able to make a living when their assets are controlled by near-monopolies. At the same time, existing font-licensing models are proving unwieldy, and they don’t give customers the option to try out fonts before buying them. As a response to these problems, on May 22 Peter Bilak and Fontstand BV in the Netherlands launched Fontstand, a
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 design to website design and business correspondence. Strategic Customized Typeface Examples: Bobber by Lucas Almeida and Dmitry Golou
The study and practice of good typography has existed since the very beginning of the written word. Techniques have been developed, studied and honed for centuries by calligraphers, printers, type designers and graphic designers. There are libraries’ worth of books and articles on how type influences communication, perception, cognition and mood—and yet when the web came along, many designers experienced defeat. The first graphical web browsers emerged, and suddenly we couldn
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 You. #fonts #2colorprinting #slab #booklet #typography #red
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. As he states on the first title page, the book is “Hand lettered from cover to cover.” As you scroll through the images, keep this in mind
Paul Soady doesn’t care that Eric Gill had sex with his sister, his daughters, and his family dog. He’s simply in love with the art and typography of this controversial artist, writer, and designer of Gill Sans. And these days, he’s got a big crush on Gill’s Perpetua, so much so that he’s devoting a 250 copy limited edition book to it, Two Men, One Type Face. It’s currently at Traction Press, a fine letterpress printer in downtown L.A., and may or may not be finished by June.
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 what, indeed.That’s the question a lot of type lovers were asking around the time I interviewed Steve for Emigre magazine about his controversial Ey
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 teenager. There his typeface Zephyr, done for Ludlow at the dusk of the metal era, was displayed along with a hand lettered greeting card. In the early 1980
Detail of Muse's working screen. Couple of quick things today. Firstly, Adobe’s released beta version 3 of Muse, their site builder for designers. The download is here, and as stated previously, it’s free until its official 1.0 release. There are significant fixes in how the application renders code, so anything you build will be more readily accepted on a modern browser. Notably, when I first reviewed Muse, I pointed out that the typography wasn’t rendering because of errors
Over at I Love Typography, Nick Shinn’s posted a refreshingly clear introduction to OpenType typography’s most essential building block, the alternate character. It’s probably been covered several times before on other sites, but I like how Nick’s simplified his explanation. This is a piece explaining what’s so interesting about OpenType at its most basic levels–and then goes on to show several examples, concepts to make it work, and historically relevant dates. If you’re a b
Iceland’s version of a design week, DesignMarch, took place in Reykjavík over the weekend. The festival included the entire spectrum of Icelandic design, ranging from a new menswear collection made of indigenous materials by fashion designer Sruli Recht to the live manufacture of scarves by textile designers Vík Prjónsdóttir. Ferkanta by Matej Hlavacek. Sýniletur, which means “On Display” in Icelandic, showed a selection of display typefaces by 11 designers. The exhibition
Page from The Black Incal (L’Incal Noir), Moebius, 1981. My editor told me, “Everyone likes an end-of-year list, right?” Well, I don’t. But this one’s for you, James. Happy 2011! These date back to early July, when Imprint officially launched. First the Worst. The worst “Mad Men / Creative Revolution” quote during the last half of this year ~
“So fuck you, Mad Men, you phony gray-flannel-suit, male-chauvinist, no-talent, WASP…” etc.
~ George Lois, Playboy, August 2010 Accor
Type management and font pairings, two things I’ve always been particularly bad at, become less of a nightmare with a new concept in type management from a product called TypeDNA. The application is actually a few different applications working in concert: A scanner, which loads all of your typefaces from your system into the type manager, A font manager which activates, deactivates, and allows you to compare type choices based upon harmony, contrast or similarity. Panels whi