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.
Källa: I ♥ typeworkshop.com
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?
Enabling design & development teams to use spacing deliberately for improved readability and consistency in product.
Check out Bethany Heck’s new site dedicated to typeface reviews and analysis.
Källa: Font Review Journal
It’s about time we give attention to an incredible (and often overlooked) phenomena in the typography and design world.
For those that aren’t familiar, microsites are basically digital adaptations of type specimens. For those that aren’t familiar with type specimens (don’t be embarrassed, we’re all learning here), type specs have been used to advertise and promote typeface designs since the early days of metal type. Microsites exist for the same purpose, carry a similar spirit, yet are fairly unknown to those outside of the really nerdy type-isphere. Which sucks.
Läs och utforska minisiterna här: The League of Moveable Type’s Top 10 Most Magical and Magnificent Microsites
Want to learn about fonts? Try playing poker with the Font Deck, a pack of cards designed to help users learn the finer points of typography and font design.
The deck is the work of Canadian designer Ben Barrett-Forrest, who runs a graphic design studio based out of Ontario and the Yukon. In 2014, Barrett-Forrest designed the precursor to the Font Deck, a product called the Design Deck that aimed to teach users about the ins and outs of graphic design. Some of the Design Deck cards feature typography lessons, but the Font Deck—available for $17 a deck on Barrett-Forrest’s website or on Kickstarter—gives the topic a deeper dive.
The BBC has commissioned a new typeface, BBC Reith which will make text easier to read on screen and “will also save the BBC money”. The “master-brand” typeface is named after the organisation’s founder Lord John Reith, and has started to be rolled out gradually starting on BBC Sport.