What does international political corruption have to do with type design? Normally, nothing—but that’s little consolation for the former prime minister of Pakistan. When Nawaz Sharif and his family came under scrutiny earlier this year thanks to revelations in the Panama Papers, the smoking gun in the case was a font. The prime minister’s daughter, Maryam Sharif, provided an exculpatory document that had been typeset in Calibri—a Microsoft font that was only released for general distribution nearly a year after the document had allegedly been signed and dated.
Typequality.com is a digital platform for discovering and sharing typefaces by women.Typequality needs you – and everyone else who wants to contribute to a more balanced typographic room. Share your favorite typeface designed by a women! Discover, share and use.
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Tack Anton Bolin för det här välbehövliga typsnittet. En värdig ersättare till Comic Sans? 😉
Läs mer och ladda hem: Pissjar Sans
Kom och möt den brittiska kalligrafen och bokstavskonstnären Rachel Yallop! Låt henne ta dig med på en bildspäckad resa genom sitt kalligrafiska konstnärskap och ta del av hennes rika kunskap.
Fredagen den 13 oktober kl. 17.00 på Folkuniversitetet, Kungstensgatan 45, Stockholm. Föreläsningen är ca 45 minuter lång och hålls på engelska.
Anmälan senast den 11 oktober till firstname.lastname@example.org
Pris: 100 kr. Betalas efter bekräftelse om plats.
Begränsat antal platser.
Arrangörer för eventet är gillesmedlemmarna: Annika Petersson och Anna Lindholm.
Inspired by Edward Tufte’s “sparklines,” the typeface turns typed numerals into inline data visualizations.
Is there a font that’s been used as successfully as often as Cooper Black and gets less respect? We’re not too far off from Cooper Black’s 100th birthday, and I’m going to do my damnedest to give it the analysis it deserves. For this review, I’ll mostly be covering the Black weight of the Cooper family, though there will be some scattered examples of the lighter (and less popular) weights. Go big or go home!
So, yeah, I’m a type designer. And there are numerous situations where I end up stating that “I make fonts”, so that people can have an idea about what I do for a living.
But drawing letters and packing them into working fonts is just a slice of it: I very often find myself fixing other peoples designs. And while it might seem obvious that I would be fixing other people’s typefaces (it has happened on ocasion, though, but when other type designers ask me to help them it gets closer to a mentorship than me doing the designing work), I end up doing logotype calibrations.
Läs och lär: On Logotype Calibration
Typeworkshop.com, your design and typography playground and resource.
100% practical. Sketches have been made to explain some basic issues in type design during the workshops. They get used to point out some problems which raise while creating a new typeface. Only some foundations are shown, no deep sophisticated details.
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Scott Kellum, developer and designer, talks about using modular scales when setting type and why he is excited about the arrival of variable fonts for the web.
Scott Kellum is a front-end developer and the designer behind modularscales.com — a guide to using modular scales to set type on the web. In this interview we discuss how to think about proportion and end on why Scott thinks the future of type lies in variable fonts. …
The tools we design with have a unique effect on the way we work, constraining and empowering us while we explore, examine and create. Variable fonts give us a new, wide open typographic space with which to work. Instead of prescribing value to individual UI elements in a vacuum, we should take a hybrid and calculated approach to variable font interfaces. How do we structure our design tools to adapt to the new advantages variable fonts provide us with?