Guess, discover and favorite the fonts that you love. Like everyone else in this business, Andreas likes coffee. He’d really appriciate a cup from you, if you like the game and want to play further than the first level. He’ll throw in another font pack or two or maybe three down the road without asking for more liquids. Have fun guessing some fonts, you nerd!
The man behind Font Nerd is the Copenhagen based graphic designer Andreas M. Hansen, who has always been a natural graphic talent. Andreas finished his education as graphic designer in the summer 2012 and have been working hard to develop his career further. A frustration towards a chaotic job market intensified Andreas’ will towards creating design and realizing graphic dreams as Font Nerd. Andreas’ background for creating this font game is, beside his passion for typography and graphic design, based on his past position as a graphic design student in one of the most successful learning companies in the world, Area9.
Font Nerd is a must-have iPhone app for everyone interested in design and typography, kindly sponsered by MyFonts.com!
Edenspiekermann developed a dynamic typographic concept and logo that are based on the customer experience inside and outside the museum walls. It is both graphic and sculptural and becomes visible due to the interplay between light and shadow. They used Kris Sowersby’s beautifully crafted contemporary typeface ‘Karbon’ and brought it to life with the help of Cinema4D software.
About the project The Kröller-Müller Museum offers an unique experience of art, architecture and nature. It combines the second largest collection of Van Gogh paintings in the world with the biggest sculpture garden in Europe. The museum whishes to reach a bigger and wider audience. Edenspiekermann developed a new brand identity inspired by elements of nature such as light, shadow and movement. This is how we brought together the inside and outside experience of visiting the museum. The result shows a dynamic, typographic logo and a colourful, flexible identity with which the museum can present itself strongly and recognizably.
What stroke us, was how much more the Kröller-Müller Museum has to offer, besides its art. The surroundings and environment plays an important role in the experience of the visitor. The museum is located in a beautiful, green area and its huge windows really draw the nature inside. Outside in the sculpture garden, you’ll find a large part of the art collection. So, depending on the weather and season, and depending on whether you look from the outside in or inside out, the museum always has a new experience to offer. This interplay between art, nature and architecture was our starting point for the identity. Influenced by light and movement, the characters become sculptural typography which can be animated subtly.
One of the first visible expressions of the new identity is the campaign we developed to celebrate the renewed presentation of all the museums’ Van Gogh paintings and drawings. Edenspiekermann was also responsible for the visual design of the exhibition and brought together Forbo Flooring and the Kröller-Müller to create the customized yellow carpeting in the Van Gogh zone of the museum.
A comprehensive identity program like this is always a work in progress and we’re still working on various other brand expressions like the website and wayfinding for the museum and its beautiful sculpture garden. But don’t let this stop you from scheduling a visit to this hidden gem in the heart of the Netherlands some time soon: it will surely tickle your senses!
Curious about the way this works out? Have a look on their website: www.edenspiekermann.com/nl/projects/a-hidden-gem-opens-up-to-the-world
New from ReType, Medusa is Ramiro Espinoza’s homage to one of the most renowned masters of Spanish calligraphy, Ramón Stirling, who was active in Barcelona during the 19th century. Not much is known about his life, and there is even some doubt as to his real name, but his Bellezas de la Caligrafía(Beauties of Calligraphy) is one of the most exquisite English roundhand manuals ever produced.
The starting-off point in the creation of the typeface was an analysis of the historical models of formal English handwriting and the ways in which those styles had been adapted to the typographic technologies of different eras.
Nowadays, the OpenType format affords the possibility of solving this problem. Instructions can be programmed into a font to automatically select the appropriate alternate glyphs as the user types. Despite the existence of this option, no one has yet published a copperplate typeface that is a faithful reflection of historical writing models, connecting “b”, “o”, “v” and “w” in the correct manner. Extra effort is required to program and design the many alternate character sequences necessary, and this has not been implemented by type foundries accustomed, as also are type users, to the familiar faux convention.
At ReType we decided to move in the opposite direction. We didn’t force the shape of hard-to-format letters into the service of technology, but rather resolved to press technology into the service of respecting the original graceful quality of those letters.
Medusa is much more than a mere digital transfer of Ramón Stirling’s model. Several of the original letters, such as “f”, “s” and “z,” whose appearance was somewhat weaker, have been replaced by designs based on Espinoza’s own accomplished pointed nib calligraphy.
In addition, numerous elements lacking in Stirling’s book have been added. The fantastically ornate capitals were redrawn in order to strike a greater balance and enhance the consistency of the set of letters as a whole. Several swashes and ligatures were also created from scratch, but with an unwavering respect for the formal rules of pointed pen calligraphy to ensure that theirductus was correct. Perhaps the most unusual feature of Medusa is its small caps, which have been carefully designed to produce an all-cap setting that is stylistically harmonious with the classic copperplate script, something which has up to now been missing from this genre of typeface.
Finally, we are offering a separate set of modular swashes that enable complex decorative headings and cartouches.
We are pleased to say that Medusa is a complete script system the unique features of which will lend elegance and sophistication to a wide variety of design projects.
ZIGZAG is a funny rounded font whose letters have four varieties each in order to multiply expressions and attract the eye by breaking the rhythm of reading.
The variations oscillate between a hand-drawn design and a geometric or imaginative drawing. Opentype’s function lets you choose between different variations of each glyph and contextual variables allow to mix the styles.
The funny rounded font exists now
in Not Rounded version!
Zigzag was designed in 2011/13 for the Vivat theater.
What an amazing site. An exhaustive research on the Typographische Monatsblätter (TM) focussing on the issues from 1960 till 1990.
The Typographische Monatsblätter was one of the most important journals to successfully disseminate the phenomenon of ‘Swiss typography’ to an international audience. With more than 70 years in existence, the journal witnessed significant moments in the history of typography and graphic design. Its contributors include some of the most influential designers. Although the issues before 1960 are extremely rich in revealing the development of modernist typography, the years 1960–90 correspond to a period of transition in which many factors such as technology, socio-political contexts and aesthetic ideologies, profoundly affected and transformed the fields of typography and graphic design. From this general turbulence, new forms emerged and new models were explicitly manifested. The examination of the Typographische Monatsblätter during these specific years enables a greater understanding of the development of late 20th century typography and graphic design.
Through this unique font design, you can tell the phonetic sound of a Hindi character by looking at the corresponding Roman letter superimposed on it.
Hindi is written in the Devanagri script, which has many more characters than the English alphabet. This font, then, cannot teach you how to read words as they are spelt in Hindi, but its aim is to demystify individual letters in its script and make India more approachable.
Despite the superficial distinctiveness of English and Hindi, the two borrow from the same phonetic pool – they both belong to the Indo-European group of languages. This font design playfully highlights these commonalities. To quote a now-popular phrase,”We’re same same, but different!”
Typesetting TV is a web-based documentary series highlighting graphic designers and the cities in which they live.
Here is Episode 1:
There are few designers with a more unique story than Austrian designer Elisabeth Kopf. From working as a taxi driver in Vienna, to becoming a self taught photographer in Hong Kong, her path towards design could hardly be called traditional. However, after the birth of her son Luc, her natural talent in the field of graphic design was brought to life. What followed was an explosion of originality—and a completely new take on graphic design. The music packaging in this video is a perfect example of her originality. Beautifully conceptual and innovative, this project not only shows the power of design, but also the importance of looking at the world—and the design brief—differently. Check out Elisabeth’s amazing work on her website: elisabethkopf.com Note: Special thanks to the wonderfully talented Elisabeth Kopf and Kaethe Ivansich, as well as Elisabeth’s son Luc for their amazing hospitality. It was truly a highlight of season 1. To stay up to date, sign up for our mailing list at our website typesetting.tv or follow us on twitter @typesettingtv Music by motionless – motionlessmusic.com
In episode 2, we visit Basics09 in Berlin, Germany to talk about their unique work, mixing print and web and the supreme importance of content in graphic design.
We also discuss the inspiring environment of creativity, community and innovation that Berlin has cultivated.
To see more of Basics09′s fantastic work, visit basics09.de
Special thanks to Basics09 for their participation, as well as supplying the supplementary footage of their work.
Valentina typeface is a lovely tribute to Pedro Arilla‘s grandmother in the form of typography and therefore bears her name. Valentina is a classic didone that follows some of the canons proposed by Bodoni in the eighteenth century but incorporates many of the characteristics of the antique Spanish punches of the time. It is a complete font of 457 glyphs, in which there are 125 alternative lower cases or the 46 ligatures.
You can get this font and 99 more for free at the great research article by Awwwards.
This is a modular typeface family halfway between a 50s style sans serif and the range of numerical characters which most labelling machines use. These are seemingly contrasting concepts which lend themselves to the creation of an atypical font.
Always worth the reading, Fonts in Use latest article is about the font DKT designed by Jonas Hecksher from e-Types. This font family is used in all the communication of the Royal Danish Theater in Copenhagen.
The specially designed typeface, DKT, has reference to the classical Egyptienne typefaces and spans from dogmatic and loud to elegant and refined. In its expression it has a humane element – small details are slightly tilted or off – creating personality, warmth and humour. By virtue of its different values, the font can span both very classical and very modern expressions. This way it captures the diversity of the theatre’s art forms and activities.