If you happen to be in New York on July 16, don’t miss a great evening with Type Nite NYC at the Strand. Featuring Ellen Lupton, Abbott Miller, Tobias Frere-Jones, and Peter Mendelsund talking about mess-ups and do-overs in typography. If you are not in New York (like unfortunately it’s my case), you can tune in to the live stream or participate in the Q&A via Twitter.
Muriza is a collaborative slab serif type family with decent character and distinctive curves. The typeface started as a student project in 2011, has been revised extensively, and now is published by Jürgen Schwarz and Jakob Runge. A total of eighteen styles enable various applications, reinforced with several OpenType layout features. The main focus in development was a balanced design and a harmonious text feeling.
As an economic slab serif Muriza values harmonious shapes and well working normalcy. All nine weights—such as the uniform, angular serifs—follow a geometric conception. Smooth shapes and partly curved spurs are complementing the clear rhythm.
Influenced by straight appearance and slightly condensed shapes Muriza is ideal for display usage, especially the two extremes: the filigrane hairline and the sturdy black weight. An important feature of Muriza is its range. Each weight provides small caps and matching italics. These are coming with lively spurs, but o the whole the italic stick to the conventional and balanced characteristic style of the upright.
As a student project the first drafts were born in 2011. In 2014 after a thorough revision and huge character extension Muriza is published by Jürgen Schwarz and Jakob Runge.
The extended Latin character set of 833 glyphs—respectively 636 in italics—supports most Latin-based scripts and also offers certain stylistic alternates for typographic variety.
In addition to linging, oldstyle and tabular figures the typeface includes fractions, currency symbols, icons and matching arrows.
Times New Roman was designed for The Times in 1931 and is one of the most recognised fonts in the world. Whether you like it or not, it is not a font to be ignored.
Experience H&Co fonts in a fresh new way, with their new website, that let’s you explore beautiful type compositions.
The zoomable landscape allows users to see different typefaces in use, and it’s a great way to learn how they can be paired up.
Patron, a sans serif influenced by type designers Günther Gerhard Lange and Roger Excoffon. Patron has been developed
by uniting their contradictory approaches to create an expressive, yet versatile grotesk.
As a result, Patron is characterised by a generous x-height, distinctive stroke endings and an unconventional shift in balance, inspired by Excoffon — and a precise, consequent and modern interpretation of which Lange was most famous for.
Patron was designed by Timo Gaessner from 2011 to 2014 and comes in twelve styles in total (six weights with corresponding italics). Each style comprises an extended Latin character set as well as a comprehensive set of OpenType features.
Signo is a dynamic sans serif with reverse contrast, designed for editorial and branding. The unusual stress angle for a sans-serif typeface, shifts the weight from the vertical strokes to the horizontal strokes, with a calligraphic modulation, attributes that favor the continuity of the letters in lines of text. Its tall x-height and open counters, work well in small sizes, making Signo a versatile yet charismatic typeface across weights, from caption size to headlines. The cursive italics are a good complement to the roman fonts and will add variety and warmth to the page. The Signo family comes in six weights, from Thin to Bold, and includes two weights for text: the Book and the Regular.
Maan Agsalud wrote us with a wonderful project: TYPE KITA, the first-ever typography exhibit in the Philippines, in Manila. TYPE KITA means “You’re my type” in English.
It’ll be held on March 15 & 16, 2014, and will feature artists, letterers, penmans and other type-lovers to exhibit their own typographic pieces and installations. The two-day event will be open to anyone who shares the same passion for typography. Actually, the event itself is a fund-raising effort for the continued rehabilitation of the areas hit by Haiyan typhoon. Proceeds from the sold art/typographic pieces will be donated for the cause.
The trams are part of Lisbon’s landscape and become an icon of the city. In addition to painting the street yellow, they also scratch the capital’s blue sky with their wires.
From the complex mesh made by them, emerged the idea of creating a typography, whose trace is formed by the wires’s random mating.
Thus, the LX Type becomes Lisbon’s official type.
The LX type website has a nice feature that lets you type anything and discover lots of interesting places in Lisbon, where you can get… by tram.
G-Type’s first new font release of 2014 is actually a major reworking of an old one, Precious Sans, which originally appeared back in 2002. The new family is called Precious Sans Two, available from g-type.com with a 50% discount until the end of January, then with 25% off the standard price until Feb 28th 2014.
Over a decade after it’s first appearance G-Type’s Nick Cooke decided the time was right to re-appraise the typeface, scrutinise the old letterforms and make some important enhancements.
Make no mistake though, Precious Sans Two is no rudimentary re-release; nearly every character has been redrawn, re-proportioned, respaced and generally improved.
The original Precious Sans was well received at the time but certain quirkier characteristics, the extended lower case ‘f’ for instance, or the binocular ‘g’, were perhaps too prominent and a little distracting. Short terminals on the ‘a’ and ‘s’ also made the first Precious incarnation less appealing when used as body text. Second time around the major overhaul has not only addressed the shortcomings of the original but made huge improvements right across the board:
• enhanced legibility and suitability for text use
• more streamlined range of 6 weights; Thin to Black plus matching italics
• cross platform compatible OpenType OTF format
• proportional and tabular figures
• extended language support for Western & Central Europe, the Baltic states & Turkey
• small caps, accented small caps & related case sensitive forms
• extra stylistic set containing the original quirkier I, f & g alternate glyphs
• extensive suite of discretionary ligatures
• 20 directional single and double arrows in each of the six weights
Precious Sans Two is a crisp and distinctively modern typeface, well equipped for advanced typographic use in print, web and digital publishing environments.
Visit g-type.com/precious-sans-two-font for more specimens & information, or email firstname.lastname@example.org
G-Type is a digital font foundry and experienced type design studio founded by Nick Cooke in 1999.
G-Type excels at designing logos and custom fonts for leading brands and organisations around the world. Companies and publications as diverse as Vauxhall, Tesco and The Mail On Sunday have had well received typographic makeovers courtesy of G-Type and many more, including NBC and Cadburys, use G-Type commercial fonts as the cornerstone of their corporate styling.
Cooke’s Chevin typeface brands the Royal Mail with distinction and is highly visible at every Post Office throughout the UK. Three other popular G-Type typefaces to achieve international acclaim are the sans serif Houschka family and the successful handwritten scripts Olicana & Rollerscript.
The G-Type retail library is a wonderfully varied and versatile collection of high quality original fonts, invariably containing feature-rich ‘Pro’ character sets brimming with alternates, ligatures, multiple figure options and extensive language coverage.
All fonts & images © Nick Cooke / G-Type
Port Magazine is a beautiful publication launched in 2011. Matt Willey (former Studio8 from London) is the co-founder, co-publisher, senior editor and also gets to design/art direct all the covers. He is also the author of the lovely Port Typeface.
Port Russia was launched in Autumn 2012, together with Mfred Typeface.
Fonts for a casino marquee
Typography is more than an art—it’s actually a science. In fact, research on the subject has revealed that choices in font style, letter spacing, font size, font color, and line spacing sparks various reactions from readers. According to Voltage New Media which published the study, typeface affects readability, comprehension, and reader’s mood; a business establishment must therefore convey the right message when it comes to logos, ads, product labels, letterheads, or any virtualization by the company. This principle did not escape casino owners, as evidenced by the powerful and bold marquees in Las Vegas and Atlantic City. One tries to be flashier than the others, while some stand out in their simplicity and classic elegance. Typography styles in casinos, like other businesses in different industries, target a specific market, and creativity plays a crucial role in drawing people in.
Places like Sin City are more than just a gaming haven; they’re also a place design enthusiasts can get lost in. Admittedly, patrons choose a particular casino not only for the offered table games or slot machines, as these will most probably be the same all throughout the block—for this reason, casinos strive to up the ante by being uniquely designed and virtually engaging. Since the marquee is the first one seen by potential clients, it should grab the most attention. Let’s take for instance the famous Atlantic City casino, the Trump Taj Mahal. Aside from its recent partnership with online gaming platform casino.betfair.com, another move worthy of acclaim is its design, specifically the typography. It veered away from the traditional ostentatious casino signs by incorporating an Indian vibe, with the “Trump” insignia as a banner. This complements the total structure of the casino resort, while at the same time maintaining a formidable look by itself.
Since it has become known as an effective design, many want to add casino typography to their websites. Photoshop Tutorials & Resources gave a step-by-step procedure on how to achieve casino style typography, as follows:
Select black background, then type text using “Impact” font.
Layer style: tick drop shadow (opacity 100%, angle 95 degrees).
Tick inner shadow box, with opacity at 87% and angle 95 degrees).
Select bevel and emboss option and adjust accordingly.
Add stroke to the font; remember to make it lighter than the one used as font for main text.
Make light bulbs using the Ellipse tool.
Add a backdrop using a textured image by bringing it in the canvas.
Add depth by selecting “overlay” in the blending options.
Add a Gaussian blur. Go to Filter, Blur, then choose Gaussian blur effect.
Add final touches.