Below is a collection of photos of Alphabettes—and a few other colleagues—over the years at various type conferences and other special events. Have other photos to share? Let us know and we can add them here.
As a Graphic Designer for Film & TV, I work in the art department and create anything that is seen on screen with text and or imagery, such as storefront signs, food packaging, patterned wallpaper, stacks of bills, newspapers, lost cat flyers, or even children’s drawings. The range of items we create is incredibly broad, and the cool thing about that is it reframes graphic design from an exclusive, professional pursuit into a universal human activity. If everything is design, everyone is a designer. So instead of creating as “Leah Spencer, graphic designer,” I have to create as a shopkeeper, as a sign painter, as a college student, as an accountant, and so on.
Considerations for Typography
In addition to the challenges of forgery, I specialize in graphic design for period productions, and when you approach period typography, you wind up with several restrictions. Firstly, many typefaces that were used for letterpress or used in typewriters were never digitized and only survive today in their original forms or in their printed materials. Secondly, there are lots of existing digital period typefaces like Futura or Garamond, but they too have issues. We lack (or are logistically unable to use) historical production methods, such as mimeograph, Letraset, offset printing, Linotype, etc., so the kind of roughness you expect of period graphics is lost. We also have legal restrictions on font foundry use, so each production’s clearance team will tell you, for example, “you can only use Adobe fonts on this movie.” This can be restrictive, particularly for period or highly stylized productions where only a small portion of the available fonts are appropriate. And thirdly, there are lots of instances of lettering that were never a typeface in any sense, such as sign painting or handwriting.
We have reached a good number of font releases in 2023. Halfway between 2022 and 2024 seems like a good moment for a recap. What happened in the font market in these first six months of 2023? Get ready for a font treatment. Experimental, neutral, bold, colourful, classy, expressive, playful…, there are options for all kinds of type tastes. Explore the list and consider adding some of these new typefaces to your font library.
Readex Pro by Nadine Chahine, Bonnie Shaver-Troup, Thomas Jockin, Santiago Orozco & Héctor Gómez / CoFo Sona by Liza Rasskazova / CoFo Gothic by Maria Doreuli / SFT Scrhifted Sans and SFT Sushka by Yulia Gonina
There is a handy spreadsheet that compiles some extra information. It’s a living document, so if you want to see something added to this list, please send a comment.
👏👏👏 Congrats to the designers and engineers behind all these releases. We are looking forward to discovering what’s next in the second half.
Alphabettes Variety Show is back for its 🤯6th edition🤯 of live interviews, interactive activities, and other surprises as part of TypeLab at Typographics. We’ll be mostly online again but if you’re in NYC, go check out the in-person TypeLab at Cooper Union.
Grab your mug of tea or beer or anything in between and join the TypeLab Europe channel on Thursday, June 15 from 11-12:00 (EDT/UTC-4)! Register here or check out the full list of event on the TypeLab site.
2023 Variety Show graphic by Sandra García featuring the soon-to-be-released typeface Sandhouse!