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This is getting to be too regular.
It’s TypeCon Week, which in the land of type geeks, means days and nights filled with typographic inspiration, scholarship and debauchery. Unless, like me, you’re not going to TypeCon this year. As my social media feeds fill with the hashtags, the inevitable filtered shots of Portland signage and the local typographic faux-pas, I’ll be watching enviously and refreshing my browser incessantly from the sidelines. For those of you who are about to embark on your TypeCon voyage, here is some unsolicited advice on what to do (and not to do) from a six-time offender.
Here some pictures while I am working on „Reflection Text“
Cleaning up the huge image library I'm amassing and ran across these typographic inlays we've done.
"DIABLO" in P22 Posada:
"Alexandria" in a custom calligraphy:
"PT" in Psy-Ops Alembic slightly modified to match the vibe of the other fingerboard inlays:
These are all hand cut with a jeweller's saw by some amazing artisans.
Unless you’ve been living in a secluded yurt for the past few days (although you’d probably still be checking your phone, don’t lie), I’m likely not the first person to tell you about Matthew Butterick’s Practical Typography, a new read in a long line of essential reads on typographic rules. Butterick’s writing is especially refreshing and particularly useful for explaining these sometimes confusing and cryptic details to the novice or the first-year design student.
With type conference season in high gear, designers everywhere are uttering sighs of disbelief at the prohibitive costs of getting one’s geek on.
The discussions over conference fees, travel and hotel expenses are understandable. And given the variety of international type conference options available these days (ATypI, TypeCon, TYPO, Ampersand, TypeTalks, ICTVC, Typography Day, Granshan, Kerning, oh and this), how does one even chose what is worth attending?
Take your basic Circle Monogram font and make it tangible in not-so-basic mother of pearl and abalone and you get this:
Which even looks cool on the back that will never be seen again:
And the in-process just for fun:
After dropping off my son at daycare on Monday morning, I took a big gulp of coffee, did that interlocking-finger-knuckle-cracking-thing, and sat down at my computer, ready to get some work done. Instead, I checked Twitter. Of course, my feed was immediately confronted with the week’s latest distraction (NSFW), a Tumblr entitled Fonts & Boobs.
The concept is pretty simple. Combine a ‘high-quality’ typeface with a picture of a ‘cute chick’. Oh yeah, and she’s basically naked and positioned in a variety of provocative poses. All of this is described by the Tumblr’s author, as a ‘useful tool for graphic designers’. Right.
It’s been raining heavily in New York’s Hudson Valley for what seems like weeks now. Oppressive humidity has blanketed the air with a thickness that thwarts all efforts to be a productive member of society. And the extended forecast doesn’t indicate it is going to end anytime soon.
Today’s long-awaited announcement of Hoefler & Frere-Jones’ Cloud.typography came as a welcomed procrasti-distraction from the constant hum of desk fans, window ACs and cranky, bored offspring.
Do typographers and type designers have an unfair advantage when reading eye charts? While sitting at my optometrist’s office last week, I wondered if my years spent researching and using letterforms gave me some sort of visual acuity performance edge.
Optometrist: Can you read Line Three, please?
Me: (Sigh) Well, I know the second letter is a P. But I’m not sure if I’m actually reading the P or if it’s just because I know it’s a P by the heavier typographic color of the bowl in the top right area of the letter.
Recent activity on the Typophile Blog has necessitated some changes in order to make this feature more meaningful for the community as a whole. By keeping this open to everyone, we've getting way too much of the wrong content. (Read as: Type IDs, spam, etc) Starting today, the Typophile Blog will only be written by select authors to post typography related content, both original and showcasing other great sources on the web.
If you would like to be an author on the blog, send me a PM with links to your sample content and a description of how you'd like to contribute. Please understand that we'll keep it to a small circle at first as we shift back in the right direction.
Hello I'also looking for this font, sorry my request is not very original!
We have a letterpress sample in hand. Printed on uncoated stock(highly calibrated smooth stock), Inks used may be magenta or rubine red, or rhodamine. We can print but not match the sample. The sample has a smooth sheen when slightly tilted in light. As if there is gold uniformity sitting on the sample.
Has anyone seen this kind of effect? If so please tell me what I need to do to enhance this smooth gold effect to be shown on our print. We have tried double hits/printing on transparent opaque inks and then print the above inks etc but cannot get the correct result. The pigments in the inks have this gold content but will not settle smoothly. Any help will be appreciated. This is very technical question please.
Hi there, does anybody has an idea what font is this?
Who knows what this sans-serif is? Thanks for your help.
As the title says: this is the html code of a table that should be displayed correctly within a typophile thread using the allowed tag iframe.
Anyone know what the script font is in the word Cartwheel?
This blog mainly about the stories of typefaces around the world.
A tex input file to use with XeLaTeX and the corresponding pdf output in order to compare Brill with Times New Roman on a text of width 90mm. Files meant for the thread http://www.typophile.com/node/103271
The input text is utf8 encoded and should normally have extension .tex.