Posts tagged fonts
Sudtipos is sure to have another hit with the new Storefront typeface, which reminds me a bit of one of my favorite signs: The Berghoff in Chicago. I hope my friend Alejandro Paul won’t mind a little dig, but I think there are some curves here and there that aren’t as smooth as they could be (see the ‘ho’ connection). Still, Ale is in a class of his own with these kinds of novelty script fonts.
Thanks to my smart and talented friends for participating in Typographica’s “Favorite Typefaces of 2011”.
This photofont is a collection of high resolution (21 x 29,7 cm - 300 dpi - cmyk) photoshop documents. Also available separately or words manually spaced by the Novo Typo designers.
Cadence, a pattern typeface by Jonathan Perez
This typeface is a revival of an ornamental metal type font, which comes from a French type specimen of the nineteenth century. I do not know who is the author of the original ornamental design. This work is not a strict revival of the original design: the main thing was to retain the strong aesthetic and conceptual bias, while making the system evolving, notably because of the evolution from metal typesetting to digital typesetting. Cadence is remarkable for its process of construction: contrary to a classic ornamental font combining a lot of simple geometric elements, this one combines a few number of highly-complex non-geometric elements.
Bookmania, the ultimate digital Bookman typeface finally available.
I’ve never been a big fan of Bookman, but it’s undeniably a big fat apple slice of Americana, and it’s been picked apart and hacked to mush by amateurs and pseudo-professionals for years. If anyone was going to do a proper, complete digital version, it would be Mark Simonson. 5 weights, 35 discretionary ligatures, 680 swashes, 3,177 glyphs, all backed up by affectionate research (PDF). Like Mark says, it’s his “love letter to Bookman”.
“ Font designers who are able to marry critical and commercial success are a unique mixture of two basic clichés: the artist and the scientist. They are eclectic, curious, obsessive and absorbed, as well as rigorous, punctilious, enamoured of rules and limitations, and loyal to a higher code of design behaviour. They are an even more different breed among the many different breeds of designers working today. Contending now with the dynamic methods of communication provided by tablet computers, smartphones and other supports for text and brand, they deal with each family of fonts as if it were truly made of individuals, live characters that need to be able to fend for themselves once released into the wider world. In this vein, font design might just be the most advanced form of design existing today.”