My connection with the Peter Pauper Press cookbook series started during the first years I was living in California.
I recall the first time I found a book from the collection was at the Recycle Bookstore in San Jose, CA — one of the best second-hand bookstores in the Bay Area. During the years living in California I found so many great books in this bookstore and they also have two great cats.
Recycle Bookstore, Ender the cat taking care of business and my friend Calvin browsing through books, San Jose, CA. Photos by Frank Grießhammer
The first book I got was Simple French Cookery. I was in awe: from the colour combination to the type choice and the effective and simple illustrations.
Simple French Cookery (1958)
Photo credit: Michael Bundscherer
At the past AtypI held in Antwerp, I took part in the panel about Collaboration, Authorship and Contribution set up by Joana Correia with María Ramos Silva, Viktoriya Grabowska and myself. Since the authorship part seemed to have resonated most with the audience, I thought it might be useful to post this article about crediting in the type industry. It is based on a talk I gave together with José Scaglione at 2017’s ATypI in Montreal. We intended to suggest a thorough crediting system and open it up for discussion.
Finally done?! — Not quite yet! My new typeface Bridge is still work in progress, under construction so to say. Nevertheless, I would like you to get a sneak peek at my final project I was working on at the masters program TypeMedia at The Royal Academy of Art in The Hague (KABK), The Netherlands.
More than 25 years ago, while traveling in Scotland, I watched an elderly gentleman chisel a name into a black granite gravestone. He sat on a stack of upholstered stools; he held a chisel in his left hand, a mallet in his right. The craft and care he took with each and every letter seemed reverent. Each cut of the stone seemed important. Holy, almost. Continue reading
Green Fairy is a chromatic font family highly ornamented for display purposes.
Green Fairy’s characters have been specifically designed to accommodate its loops and ornaments following a modern typeface structure.
At Juliasys Studio we’ve been working for some time now on a digital handwriting style for the “NIVEA” brand of Beiersdorf AG. “NIVEA Care Type”, as we are calling the new OpenType font, is understood to be the imaginary handwriting of the NIVEA brand persona, the “NIVEA Woman”. Care Type on product packaging and in marketing material has the function to subtly present the NIVEA Woman personality in the look and feel of the brand. Care Type is to be used prominently but at the same time sparingly, “with caution”.
Figure 1: A century of typographical metamorphosis on the legendary NIVEA tin
Project: Guru Gomke
Designer: Pooja Saxena
Company: Matra Type
Team Members: Subhashish Panigrahi
Client: Centre for Internet and Society’s Access to Knowledge (CIS-A2K)
Link: Guru Gomke on Github
Pooja Saxena has designed some really nice Indic script typeface families (Farsan Gujarati and Cambay Devanagari for example), but I want to take a moment to shine a light on one particular project of hers.
Halfway through 2016, as I was finishing my undergrad Graphic Design studies, I became very interested in the idea of researching the relationship between language and type. Fortunately, I stumbled upon Bianca’s dissertation, which helped me greatly as I could build upon her thoughts, draw my own conclusions and hopefully design a typeface based on language as criteria.
This is the transcript of my talk at TYPISM Conference on September 30, about facing fear and getting out of your comfort zone. You can watch me losing my shit here, but I wanted to make the written version available for anyone who’d find that useful. Enjoy!
Hola! My name is Maria Montes and I am incredibly honoured to be here and share my journey with all of you.
First of all, thanks to Dominique, George and the entire TYPISM community for your ongoing support, it means the world to me.
This is the transcript of my talk at Typographics last June about the making of my (now-released) typeface, Gautreaux, edited for clarity in this medium. You can watch me in all my nervous glory here, but I wanted to make the written version available for anyone who’d find that useful. Enjoy!
Hi! I’m Victoria and I’m a type designer. I have a learning story for you about a script typeface. I happen to really like hearing people tell their learning-to-do-things stories, which is convenient for me because mainly the only stories I have so far are learning-to-do-things stories, so I guess I’m just interesting like that. I came to fonts via script lettering, and so I’m really into coming up with projects that help me to understand their distinctions and overlap. This one is about exploring what it takes to make some lettering into a font, the things that work and the things that break, and whether you want to make a font that obscures the clues that it is in fact a font, or as I ended up doing, tackle hug those issues into a chokehold. I’m going to talk to you about this one script font, right here, I’m sure you guessed. I’m going to tell you how I started, what I set out to do, and then about all the details I’ve screwed up and then fixed. Okay, here we go. Continue reading