It’s hard not to get lost in the vibrant landscapes of Brad Woodard’s work. His colorful illustrations beckon a response of thought and feeling and invite us to view the world in a more gentle and naive way. A native of the Pacific Northwest, he migrated south to Austin (via Boston) where along with his wife, he set up shop as Brave the Woods – a small but dynamic creative studio. With a burgeoning product line and an impressive client list that includes Target and Old Navy, the gifted duo have established themselves as an emerging force in design. In today’s interview we chat with Brad about the software that drives his workflow, his passions outside of design and more. Enjoy!
Författare: Nyhetsuppläsaren STG
Tjäna pengar på dina typsnitt

Starta eget stilgjuteri? Jobba på uppdrag? Eller sälja typsnitten via en specia-liserad webbportal? En typsnittsutvecklare har flera vägar att gå för att etablera sig i branschen. Möt tre typsnittsformgivare som berättar om sina val och guidar dig rätt.
Gå till CAP&DESIGN »
Size-specific Adjustments to Type Designs
For decades now, typography has lacked a vital component. Yet most of us had no idea what was missing.
Soon after type made the jump from metal and wood to film and digital, it became size agnostic. Users gained the ability to scale a font for any setting, but lost the type maker’s size-specific optimizations; this newfound freedom altered the typeface’s intended appearance and, in many cases, its integrity. Fonts made for small text looked clunky and inelegant when enlarged. Fonts made for headlines became anemic and unreadable when reduced for body. With minor exceptions, typography endured decades of this deficiency. Only a few digital “optical size” families were available (and those were limited to just a few foundries — and thus methodologies for making them). Just as importantly, awareness of size-specific type turned scarce, too. As digital typography became the norm, traditional practitioners faded away and widespread knowledge of size-specific type went with them.
Gewone Letters – Gerrit’s Early Models Wins Bronze at European Design Awards 2014

This Week in Fonts

An Erik Spiekermann exclusive from Hamilton Wood Type, a sturdy slab by Rene Bieder, a high-class display from Avondale Type Co, a brush script by Mika Melvas, a modest slab serif from Type Me Fonts, a monospaced family by Matthew Butterick, a contemporary script from Petra Dočekalová, and a super family by Playtype.
