Typography

A story of a 150-year-old font you have never heard of – and one you probably saw earlier today.

From libcom.org: The Situationist International (SI) produced the journal Internationale Situationniste between 1958 and 1969. It functioned as the movement’s main organ, and over 12 issues its pages documented the evolution of Situationist theory, the members’ thoughts on

“States” is the third installment of NOIA magazine. States are the conceptual and physical constructions of borders – however tenuous – to define ideas and purport control. They are artifices presented as logic, defended as truths, manipulated as oppressions. From Magcu

The first issue of Powertrip Worldwide, “Play”, is dedicated to the worlds of jiu-jitsu, judo, and wrestling. Through striking visuals, in-depth stories, and a raw, unfiltered perspective, the fanzine explores the culture, history, and techniques of grappling. Inside the Riso

Agụ Display’ is a decorative, rounded, sans-serif display typeface featuring a substitution axis that makes the letters dance.

Pelikan is a Neo-grotesque with a special unicase feature, which brings all letters to the same cap height. It's raw and approachable, channeling the…

By designers for designers—Formerly Known is a Los Angeles-based type foundry from Hype Type Studio.

An expressive variable font that blends iconic French and British designs across three axes: weight, width, and optical size. It visually expresses what it feels like when you cannot be what you were and yet you can never truly be anybody else.

Faaji is a bold, playful Display typeface that takes inspiration from the letterings of the expressive stickers adorning the yellow and black trademark of Lagos

Cover design with illustration by Stephen Bliss for the 2001 action-adventure video game Grand Theft Auto III developed by DMA Design and published by Rockstar Games for the Sony PlayStation 2. The game’s title is set in Pricedown, with some slight modifications made to create

Flyer artwork for a club night by Fucket Freakkvens, an Oslo-based rave collective, at Hausmania Kulturhus.

This study developed a web-based text editor to eliminate the incompatibility of computer keyboard with the three major indigenous languages in Nigeria. It also aims to reduce the time taken to produce characters with diacritical marks. The editors produced valid Unicode characters and require pressing less buttons to generating all the symbols of the alphabets for the three major indigenous languages in Nigeria. Client-side technologies were used to develop these applications. Three web pages, designated for Yorùbá, Igbo and Hausa language were generated with HTML. CSS was used to define the look and feel of the HTML elements on each page. Regular Expressions implemented in JavaScript functions were used to convert selected ASCII characters into desired Unicode characters. The editors are available at http://www.gazaliwakil.com.ng. The editors work well on latest version of browsers like (Google Chrome, Mozilla Firefox, Opera, and Internet Explorer). They are very light, consume minimal server resources and can work offline. The system was launched Fifty-one (51) times to extract data comprising the Loading, Scripting, Rendering, Painting, System, and Idle time. The obtained result showed that on the average, it takes about 13.77ms to load the HTML DOM elements, 42.83ms to load the javaScript, 13.10ms and 1.73ms for rendering and painting the page by CSS. Additional time taken are 43.91ms and 3,045.10ms for the system and idle time respectively. A total time of 3,160.43ms (3.16s) is required when any of the editors is launched before the page can accept inputs from the users. It also takes the editors 2.66ms to add diacritical marks on a letter. This would, in effect, not reduce the typing speed of users.

Even when we’ve got something good to watch after a long day, us designers are starkly reminded of our profession as soon as we find ourselves paying more attention to the titles, credits and subtitles than everything else. Googling the typeface before the story even has a chance to get going. We’ve probably all been there! In fact, after some painstaking ‘research’ (watching a lot of Netflix), we’ve compiled a small list of productions whose type choices compelled us to do some further digging.

The Future is a homage to Futura, Paul Renner’s progressive classic. Working from original production drawings, The Future is a careful observation of Futura’s geometric architecture and avant-garde alternates.

Alphabet Type is a font production and type technology studio from Berlin offering tools and services for type designers and foundries.

I’m a designer, writer, filmmaker, & cyclist that loves typography and lives in Denver, Colorado.

Sometimes Times Sometimes is a timeless serif integrating contemporary aesthetics to classic form. Inspired by individualistic old-style serifs and mid...

Larken Font: Larken is a confident serif. Designed to reflect nature, it creates a sense of natural softness and expressiveness. We pushed the conc...

Fontshare is a free fonts service from ITF, making quality fonts accessible to all. It’s a growing collection of professional grade fonts that are 100% free for commercial and personal use.

Typography and Design by Connary Fagen

The Type Foundry Directory is a curated index of type foundries. Discover new fonts and support independent type foundries.

The Chinese Type Archive compiles and catalogs resources related to Chinese typography to make them open and accessible to the widest possible audience of designers.

Type@Cooper main start page

A simple resource for finding and trying variable fonts.

Get an introductory tour, visit with your group, or dive into deeper research.

書体をモチーフにしたアイウェアブランド、TYPE。文字によるコミュニケーションにおいて、書体の違いがメッセージの伝わり方を変えるように、メガネのフレームの微妙なデザインの違いは、かける人の印象に変化もたらします。この書体とメガネの、機能的、デザイン的な共通点に着想を得て誕生しました。