Monthly Archives: February 2010

This week in type: free is sweet and elegant

This last week was really strange. I’ve been reading/writing about online communities, and typography has been left out of my attention span. Nevertheless, I’ve been opening typography related tabs on my Firefox, and different subjects kept popping up and I couldn’t decide on an approach to this week’s post. After browsing the web on my favorite websites, and realizing this past days were filled with interesting stuff, like new typefaces, call for entries, conference videos, etc… No point on delaying this anymore. Here’s the a semi-random selection of this week in type!

Procyon, by Barry Schwartz @ The League

The League of Moavable Type keeps on listing great [free] fonts. Procyon by Barry Schwartz is one of the latest. Download and test. Simply great.

Raleway, by Matt McInerney @ The League

Still promoting The League of Moveable Type, they have posted a super elegant typeface. I’m currently downloading (as of writing these lines) Raleway by Matt McInerney and can’t wait to test drive it on some class slides. Who says that free beer can’t be as elegant as designer wine? (Richard Stallman / Beatrice Warde pun intended).

Typo Berlin videos @ Vimeo

This is such a great post that I couldn’t wait to post this before, but here it is again — Yves Peter post on the Typo Berlin videos @ Vimeo: http://fontfeed.com/archives/33pt-typography-symposium-lectures-on-vimeo/

ATypI call for entries @ Le Typographe

On the topic of Typography conferences, I’ll be submitting an entry to this year’s ATYpI conference again. Hope this time they’ll accept my communication. For all that’s worth, here’s the call for entries. Participate, share, design…

http://www.atypi.org/03_Dublin/call-for-papers

ATypI 2010 welcomes investigations into the materiality of the word in any of its myriad forms: aural, oral, digital, concrete, architectural, environmental, printed and written. [...] A submission must contain a title and an abstract of the proposed presentation (400 words maximum), and a speaker’s biography (100 words maximum).

Via Le Typographe.

Typodiarium call for entries @ FontFeed

Another call for entries I’ve seen is this one — Typodiarium. Published also on other sites, but since I’m promoting FontFeed, here’s the call for entries. I’m currently challenging a couple of friends of mine to participate. Let’s see…

Helvetica poster @ Swiss Legacy

Feeling like traveling to Barcelona? Be sure to catch the Helvetica exhibition:

The exhibition, “Helvetica. A New Typeface?”, organised and produced by DHUB in collaboration with the Fundació Comunicació Gràfica (FGC), spotlights the typeface created by the Swiss typographer, Max Miedinger, in 1957.

The exhibition includes a timeline of Helvetica’s consolidation over the last fifty years with a view to understanding its role in the history of design, as well as its antecedents and its subsequent influence.

HelveticaA quick jump from Porto, where I live is just ~4hrs / ~60€.  Typophiles from Europe don´t have an excuse! I don’t think I’ve ever posted this before (at least here), but if you haven’t done so, grab a copy of Gary Huswitt’s Helvetica the movie and get inspired to travel.


And now for something completely different…

Letter "F", from "Effing" typeface

Here’s a bit of type porn… “Effing” typeface: http://alexmerto.com/#258162/Effing-Typeface

Fan Letter:Twenty-six local, national, and internationally-based designers and artists
give a two-minute ode to an alphabet letter or typographic character.
We chose the letter “F” Art Direction FWIS

I think my favourite is the letter “P”… ;). Via Quipsologies.

Mr. Eaves Cupcakes @ For the love of Type

To end this week’s post, something sweet… after Helvetica Cookie Cutters, here comes Mr. Eaves XL Cupcakes

This week in Type

The 1879 Spencerian Compendium of Penmanship available for download: http://www.iampeth.com/books/spencerian_compendium/compendium_index.php. This is a great manual. Personally I own two old calligraphy manuals (very simple ones) and some copies of a really old first grade Portuguese calligraphy book from Catarina’s father. As I’ve been working with two master students who are designing calligraphic typefaces from FBAUP, this really comes in handy. I think I’ll be devouring this one for days in a row…

Via Fontfeed.

Not really Type Design stuff, but nonetheless great (and late) Valentine’s poscards. Via Deathbykerning. Wish I thought of these…

Beatiful gold-on-glass typography by John Downer @ We Love Typography

This week in Type

Save pens. Use Garamond font: Designers Matt Robinson and Tom Wrigglesworth looked at ink usage of some commonly-used typefaces, by hand-drawing them with ballpoint pens. http://flowingdata.com/2010/01/29/save-pens-use-garamond-font/

The first Google Maps Alphabet: http://rhettdashwood.com.au/#16575/Google-Maps-Typography. Great “world detective” work from Rhett Dashwood. Thanks to Catarina C. for emailing this one!

Typefront: http://typefront.com/. A new web service to host a provide fonts via @font-face (?). This will be a healthy competition to the already popular and extremely fast paced growing Typekit. The later I’ve already tried (on this blog) and it works rather well. It’s simple enough for me to understand it’s gears and it’s quite fast displaying the configured styles. I haven’t tried Typefront yet (I’m registering as I type these words) and, if it’s worth mentioning, I’ll come back to it later in this blog. Via Ralph Herrmann’s Weblog post.

This is it for this week’s edition. Starting slowly, but with confidence!

Livraison 13 – Language and Typography

Livraison nº13 (from their website)

Just ordered the latest issue of Livraison. I’ve been reading the short summary, and, for an Art Magazine, it sure looks good. May I say it even looks like a Typography Magazine. Lots of interesting pieces from well known designers, like Peter Bil’ak, Lo Celso and Truchet.  At a glance I don’t recognize anyone else, but going through the pieces’ title and description I can’t wait to read it. Get it now (only 16€). Via Le Typographe.

Read more about this issue on Livraison’s website: http://www.revuelivraison.org/Livraison13/Accueil-liv13.html

Livraison, a contemporary arts journal and, on the occasion of this issue, a journal of graphic design, addresses the field of language and typography. Physical matter of writing and of the thought that it materializes, typography is the meeting point of a linguistic content and a visual sign,…

[...] Peter Bil’ak’s History updates these references, and answers to Frutiger with a higher bid…

[...] “History” is also examined in the contributions by Benoît Buquet, Sonia de Puineuf, and Victor Guégan, in the light of avant-garde languages.

[...] Olivier Deloignon addresses the immediacy of signs imposed on onlookers in the time of reading.

[...] Annick Lantenois resumes the study of functionalist radicalism and the will to “negotiate with the negative connotations associated to emptiness and void” in 20th century.

[...] Stéphane Darricau [...] the difficult problem of the choice of type

[...] Lucille Guigon – having recently completed a post-degree program at the Ecole Supérieure d’Art et de Design in Amiens – also explores the field of language with a typographic creation that sculpts text and subtly diverts perception.

[...] Alejandro Lo Celso grounds his own work on the universe of Perec

[...] Roxane Jubert, collaborating with artist M.A. Thébault, delivers a typographic “play” under constraint based on the sonority of letter J;

[...] Titus Nemeth, with his Nassim, reintroduces the issue of relationships between different writing systems.

[...] Caroline Fabès and Sébastien Truchet systematically and mathematically deconstruct the material of text and letter.

[...] Thomas Huot-Marchand tests the habits and the abilities of readers.

[...] Kader Mokaddem presents a series of textual mappings

[...] Fabrice Sabatier addresses short forms, between irony and the derisiveness of the everyday.

By opening new lines of thought and crossing itineraries, this specific issue wishes to explore the relationships that typography maintains with language, a structuring feature of our relationship to the world. Typographically figured, the field of language is reorganized in a transversal way. More than any other visual practice, typography cannot do without the speech that goes through it, nor can it spare its creators bound to update its conditions of existence.