Type for you.

Michael Lebovitz from Big Spaceship made a great work with user interaction and typography.
Using a controller, Michael made possible to elongate or widen the Laika typeface. The other option was trough user position and reflecting that position in changes to the Sputnik typeface.
Check the videos from PSFK

Here is my first attempt with typographic stop motion.
Hope you like it.

This is a project of Evan Stremke, a poster where he lays down the Rules of Typography, not only this is a great reminder to have on any design studio but it’s also free for download.

After some thoughts on the submissions we had, we have come to find a winner of the competition that us, Typeforyou and Hypefortype created. The winner of this competition was Shane Bzdok with a very nice crafted typeface that we in the end thought it was the best.We want to thank all of the participants, and let me say already that we will be displaying all the submissions on the site, were just preparing the material, so stay tuned.

As for the winner, Shane Bzdok, we will contact you so that you can get your prize, and ofcourse we want some words from you.

One more time, thank for all the hard work you had on entering this competition, hope to see more from you in the future.

To celebrate the launch of the Turkish version of the journal, the New York Times created a video of the most remarkable landscapes of Manhattan and Istanbul using typography. A great piece of work where type once more proves to be something unquestionable.
View the video

Yamaguchi work is around calligraphy, graffiti, typography and sound and his new installation at Open Space Exhibition 2009 in Tokyo he presents a font he created while riding a bike equipped with a GPS on the streets of Shibuya.
(via PSFK)

Hello Alex.

1- Tell us a little about yourself and your background.
I’m a freelance senior designer / art director originally from Sheffield. I run a small studio called Thinkdust and also work alongside large digital agencies on large accounts for well known brands.

2 – When did you first notice your interest on design and typography?
It all started when I left school and studied graphic design in Sheffield, back in 2001. Whilst studying I had a part time jobs to fund my way through education. Although not the most glamorous of scenes, thinking back my first ever design related job was my core foundation and introduction into typography. It began at a Sheffield Newspaper. I would finish college and then go to work until around 2 in the morning setting small text adverts for the newspaper. After around 2 months of doing this I found myself beginning to craft. It was quite funny really as I found I wasn’t satisfied, I never am in life. So whilst the other co-workers were typing adverts straight out and saving I would purposely work quicker to spend time on the kerning, leading, and generally just experimenting with type to see what worked. These were the core basics and probably the most important introduction I could of had. Following this like everything else design related in my life, it turned from “attention” to “obsession”.

3 – When and how did you decide to create your first fonts?
BAQ Rounded was the first ever typeface I was happy with. This was originally designed for a french magazine I have art directed over the years called Glo. I started designing type from a serious point of view around 2 years ago.

4 – After your first fonts, when did you decide to open a type foundry?
We live in an era where anyone with a computer and basic knowledge can easily create something, yet actual quality is a completely separate entity. I am sure many others find this problem is also related to graphic design. I respect the days where computers were not around, and design was all in the detail, craft and talent. Unfortunately this technical side opens up the doors to dilution. If you’ve got freehand/illustrator and fontlab you can create a typeface, it’s as simple as that. The real question is, what percentage of the typefaces produced over the past 4 years hold real aesthetic and technical quality? This is one of the two reasons I started the HypeForType foundry, beautiful typefaces, high technical quality, and affordable for designers. As any designer knows if you’ve got a nice print or digital project, finding something that’s got both an aesthetic and technical quality is tough. Finding this for an affordable price, even tougher.

5 – You’ve opened Hype For Type with some fonts from renowned designers. How did they collaborate with you?
We worked together and I basically gave the designers an open brief, which helped to bring the best out of the project. Following this we advised and then took the original designs into the build process.

6 – What are your plans for the future of Hype For Type?
A solid exciting type foundry which doesn’t look at what’s been done, but focuses on what’s not been done and how we can take typography forward for designers.

Alex thank you for your time, any words for those that want to start designing types?
I would say just throw yourself into it, everyone always has plenty to learn, and it’s always with everything a case of working extremely hard, and keeping that drive and focus.

You can see Alex work at www.thinkdust.com and visit Hype For Type at www.hypefortype.com

Very nice work by Martin Plonka, creating two posters with Typeface Classification.
Give it a check.

“Webtrendmap.com collects, summarizes and publishes all of the trending links on individual maps onto a Macro-Aggregate represented as Top Trending Links.”
This is an excellent service to explore and create your own web trend map.