typography

Find my regularly updated blog here:
http://www.terrybiddle.com

So, I'm remaking this logo but need to know the name of the font used to create the original logo. I've included a snapshot of the typeface in the word "GRIP" to possibly help identify it. But I've also included the actual logo in how it was used. Any help would be greatly appreciated.!!!

Is there any way in Font Lab to create glyph specific metrics? For instance, when a capital Y is next to a Capital A I would like to have the Y snuggle up real close with the A, but when the Y is next to a T I don't want it to overlap nearly as much.

Thanks

Typographic sins are those little things novice designers, students and Mr. and Mrs. Desktop Publisher always do with type. You know, putting 2 spaces between sentences, using dumb quotes instead of smart quotes, etc. Well, in an effort to educate the public (or at least entertain those of us who know better), I have designed a poster with 34 typographic sins that I hope people don't commit. Some, like those mentioned above are obvious, others are a little more obscure. I letterpressed my poster at Rowley Press and you can purchase them on my web site: jimgodfreydesign.com.

The bâtarde flamande is a style of writing used predominantly in France and present-day Belgium in the 15th century. The style shares an ancestry with other writing styles traditionally grouped as blackletter—fraktur, textura, rotunda, and schwabacher. It had evolved, however, into an æsthetic far removed from its relatives.
While high-contrast in nature, the bâtarde flamande is more delicate and dynamic than the austere and condensed fraktur and textura. Quick curves lack the rigidity of the schwabacher and rotunda. Flair through swashes is thematic, as are the variations in letterforms.

The bâtarde flamande is a style of writing used predominantly in France and present-day Belgium in the 15th century. The style shares an ancestry with other writing styles traditionally grouped as blackletter—fraktur, textura, rotunda, and schwabacher. It had evolved, however, into an æsthetic far removed from its relatives.

While high-contrast in nature, the bâtarde flamande is more delicate and dynamic than the austere and condensed fraktur and textura. Quick curves lack the rigidity of the schwabacher and rotunda. Flair through swashes is thematic, as are the variations in letterforms.

Introducing Mytype time. Every minute get a new image in this fun clock.

typotherapy+design put on a show of eye-popping type-based posters called MyType. The show featured posters of original typefaces designed by creative director Noël Nanton. The limited-edition posters reflecting his own, very new take on classic modernist typography.

Download it for free.

http://itunes.apple.com/ca/app/mytype-clock/id371038016?mt=8

Hello. I've been searching through countless font websites,trying to find these two particular fonts,and I've finally come here. In the first picture,I'd like to know what the font is called that says 'Skatey',and in the second one the one that says 'Celebrate with us!' and is flashing. It'd be greatly appreciated if you found them for me!

-Thanks in advance,
Christopher

Hi, hi, thrice hi.

New member here, and my first post so here goes. I can find any number of articles about generic typography subjects such as terminology, basics about serifs v sans serifs and the like, and then again I can find lots of detailed tutorials about using software like InDesign, but I can't find any good resources about the combination of typography as applied in document design.

Put another way, I'd be very interested in seeing some examples, guidelines, rules of thumb etc. specifically relating to the design of business documents that are readable and functional but a step away from the dreaded Micro$oft Word template sort of documents.

Hello to everyone, i'm a graphic spanish designer.

Recently I knew the judgement of my personal trial with Renault, a famous french car brand, who did an spanish and south-american advertising campaign with some caracters with a typeface that it was entirely developed by me.

Now the process is that my lawyer, specialist in intelectual property, and me are creating the apellation text to try change the judgement (other judge).

When can I copy and sell an expired Typographer's or a current Foundry's type collection if it goes out of business? I am actually being serious when I ask this with sarcasm infused.

I have noticed that roughly in the last 10 years that with the evolution of the internet and software programs, that so many past font specimens have been converted into "updated" versions of typefaces. I realize from previous threads and the comments provided that this takes skill and is really some sort of talent to pull off effectively. That is nice.

Take a look at this retro-style primer for the budding typographer (shame about the name): [http://www.behance.net/Gallery/Hyperactivitypography-from-A-to-Z/497306]

Hi everybody,
I'm a student of master in graphic design and I'm building a new typeface. It's a remake of a hand lettering. The original draw was made by a Oporto's seller.

Here is http://typophile.com/files/hamburg.jpg

I'm showing here for ask your contribution and opinion. I have many doubts about how I can adapt the original design for new caracters. Can anyone help me?
Please, say what do you think about. Sugestions and critics are welcome.
Thanks.

I have a new project that is working with about 60 pages filled with type, can anyone offer any advice?

Are you up for the challenge?

St. Brides presents:

Typography Pub Quiz
Random Project feat. Phil Baines

Thursday 27 May 2010
at the St Bride Library

Bar opens 5.00pm, Registration 6.00pm, Quiz starts 6.30pm.
4/5 in a team. £3 + free drink/Free for St. Bride conference goers.
St. Bride Library, Bride Lane, Fleet Street, London EC4Y 8EE.

http://stbride.org/events

We hope to see you there!

The Random crew.

Hi everybody,
I'm a student of master in graphic design and I'm building a new typeface. It's a remake of a hand lettering. The original draw was made by a Oporto's seller.

Here is http://typophile.com/files/hamburg.jpg

I'm showing here for ask your contribution and opinion. I have many doubts about how I can adapt the original design for new caracters. Can anyone help me?
Please, say what do you think about. Sugestions and critics are welcome.
Thanks.

Were you/are you stranded abroad on account of the Icelandic volcanic eruptions?

I'm involved with a collaborative not for profit magazine project to be created by people who were stuck in a foreign land with too much time on their hands.

There will be photography and illustration but I post here in case anyone might be interested in submitting typographic material or accepting typographic assignments to help with features?

If you're interested, please send me a message letting me know where you were stuck, where you were trying to get to and what you're free to do. A link to some of your work would also be appreciated. We'll consider pretty much any styles.

Many thanks for taking the time to read this.

Matt

Hi,

Can anybody help me out if they know some typography competitions for professionals (or young professionals to be precise). I came across the TDC site, but that competition is closed. Any others?

Thanks,
Sulekha

Typefaces and textual information in general, despite their crucial importance to our culture and development, are often neglected when it comes to visual communication and graphic design. This problem is particularly acute in the Central European, post-communist environment. TypeTalks is a collaborative activity designed to raise awareness of the power of typeface design and typography among both graphic design professionals and students.

Read more at: http://typetalks.com

Our one-day symposium will take place in Brno, Czech Republic in the House of the Lords of Kunštát on 21 June 2010 at 10:12.

The attachment is a poster I designed in 1989 for the music ensemble Icebreaker

I write about design, typography and education on my WordPress Blog:
http://tonypritchard.wordpress.com/

esquire's picture

Correct spacing between letters

Hello everyone.

I've been wondering for a long time about kerning and wonder if anyone can help me out with this specific issue I have, I've tried to illustrate it as clearly as I can.

On the attached image I've tightened the whole word as an example without manually kerning anything. Usually if I wanted to keep it at this general tightness my first instinct would be to match the space between each letter to the space either side of the "o". However, I've always been slightly confused as to what should be correct spacing (in this example) for the letters circled.

A) I assume l's should have more space than anything else so I'd leave it as is.
B) The "s" and "t" are touching here, how much space would I put between those?
C) The "r" and "a" - nearly touching?

carly h's picture

Typography blog

hi there,

I recently started a design blog focussing on typography (at the moment),

http://carlyhitchcock.wordpress.com/

I was wondering how do you fellow bloggers attract followers?

Anything I could improve on?

The main purpose of the blog is personal (ie. research and reflection) but it would be great if I could get a lot of followers also- to give opinions, feedback etc...

any advice welcome...

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