I linje med den fantastiska presentationen av Örjan Nordling och Kristian Möller om Digital Typografi kommer här ett inlägg i debatten om vart digital typografi kan vara på väg.
…Manipulating a character in this way is commonly referred to as interpolation in the type design community: designers pick multiple poles, such as thick or thin, condensed or extended characters, and let a clever algorithm create a value in between. …
Each year, as I write a brief intro to our annual review of new type, I challenge myself to identify the prevailing trends. I try to think not just about what’s happening stylistically in terms of the work, but about the recent shifts in the field of type design itself. These pieces are informed by personal experience in the industry and by the typefaces in front of me, but I’ve always wished for harder data to back up observations like these:
“Small foundries have existed since the dawn of digital fonts, but now they are the norm.” (2014)
“While manufacturing splinters into myriad little studios, the tide of the major retail market is moving in the opposite direction.” (2014)
“This new phase of globalization and democratization of the font market began in earnest about a decade ago.” (2013)
“The independent foundry has also cemented its place as the new foundation of the industry.” (2012)
In the age of the Internet, we’ve found ourselves in yet another typographic battle. In an effort to speed up loading times, we’ve compressed fonts, and along the way, we’ve lost the majority of the quality of rendered type.
Let’s change that. The fonts served by Brick are clones of the original, converted without modification to several formats for wider browser compatibility.
All fonts are served as WOFF-compressed versions of the originals—no quality lost.