Signo typeface by Rui Abreu

This is the teaser video for Signo, a typeface Rui Abreu has launched today at MyFonts.

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.

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You can take a look at the Signo Specimen, it is available for download.

LX Type by Leo Burnett

Leo Burnett has created a type for Lisbon by looking at the sky, and it’s pretty cool.
You can download it at the website.

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.

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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.

 

New typeface release by G-Type: Precious Sans Two.

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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.

 

Improvements

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 info@g-type.com

 

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About G-Type

 

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

 

www.g-type.com

info@g-type.com

@gtypefoundry

Slanted Magazine #22 — Art Type

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Slanted Art Type brings together texts and works from the art world. The magazine presents a large number of art works and installation shots that explore language and typography by internationally renowned artists. It features a Q/A section with design studios developing visual identities in the field of culture production and numerous essays and interviews focusing on art, design and type.
Thanks to Augmented Reality and Junaio app Slanted readers can explore lots of interactive extras by moving their smartphone over the magazine’s pages.

 

You can buy at the Slanted Shop for 18€.

 

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Participants:
Mirko Borsche, Lars Breuer, Stefan Brüggemann, Sico Carlier, Rosson Crow, Shannon Ebner, Paul Elliman, Experimental Jetset, Hannes Famira, Edward Fella, Lutz Fezer, Luca Frei, Gilbert & George, Liam Gillick, James Goggin, Tommy Grace, Karl Haendel, Alex Hanimann, Helmo, Dennis Hopper, Jeffery Keedy, Astrid Klein, Zak Kyes, Carolina Laudon, Lola, Chris Lozos, Ian Lynam, Michel M., Michel Majerus, Stefan Marx, Metahaven, David Millhouse, Kate Moross, Neasden Control Centre, Alexander Negrelli, Navid Nuur, Ruben Pater, Dave Peacock, Daniel Pflumm, Project Projects, Allen Ruppersberg, Ed Ruscha, Stefan Sagmeister und Jessica Walsh, Stefan Sandner, Paula Scher, Aurel Schmidt, Pamela C. Scorzin, Jeffrey Shaw, David Spiller, Manuel Raeder, The Entente, Thonik, Mark Titchner, Christian Vetter, Johannes Wohnseifer, Michael Worthington

Font Nerd

 

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.

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Font Nerd is a must-have iPhone app for everyone interested in design and typography, kindly sponsered by MyFonts.com!

New Kröller-Müller Museum visual identity

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

Medusa font, by Re-Type

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 Font

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.

Type design by Benoît Bodhuin

 

 

Typographische Monatsblätter Research Archive

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.

 

Via Aisleone.