Tongari is a japanese word for “sharp-pointed”. Sharp-pointed as the swords of the seven samurai in the Akira Kurosawa movie, in which a bunch of warriors defend a village from thieves. One weight for each samurai, as Tongari is a family of 7 weights and their 7 italics. Tongari has a lot of personnality in large sizes but is also perfectly readable in a 9 points size for long texts.
Milieu Grotesque teamed up with graphic design studio Bunch to create this showcase video for their new released font: Maison Neue. Due to popular demand it has been revisited and expanded into a super family of 40 styles: The somewhat condensed original version, first released five years ago, has now been complemented by an extended counter part, including two additional lighter and two heavier weights. Furthermore, a bold weight (upright and italic) was added to the monospace styles.
Designers at IDEO wanted to bring artificial intelligence to the world of fonts, so they created Font Map, a quick experiment to see how machine learning can address challenges in design.
Font selection is one of the most common visual choices designers make—and most fall back on old favorites, or search for a font within categories. By leveraging AI and convolutional neural networks to draw higher-vision pattern recognition, we have created a tool that helps designers understand and see relationships across more than 750 web fonts.
We hope this experience will inspire fellow designers to experiment with machine learning and AI, and use these new capabilities in ways that are insightful, inspiring, and valuable.
Ani Petrova, new member of LetterSoup, just wrote us telling us about Kardinal, her first ever font release. Get it with a super 90% OFF intro offer — 32 fonts for just $29.90 and two styles for free!
Kardinal is a sans serif humanistic type family with 32 weights, ranging from Thin to Black with extra drawn italics and small caps versions. The Kardinal type family is ideally suites for small text, books and magazines, branding, posters, as well as web and screen design, headlines and more.
Kardinal comes in 32 styles with extended language support. All weights contain standard ligatures, proportional figures, tabular figures, old style figure, numerals and arrows, matching currency symbols and fraction.
The construction of characters combines between clean grotesque style and calligraphic features with humanist fragrance. Out standing for the designs are the small serifs. They are giving the letters movement and freshness, as well as contribute to a better readability in different volume texts and including lots of details that give it a unique personality. The Regular and Medium weights are perfect for body text while the italic give an interesting texture to the text. The range of styles give a good flexibility to this family. The fonts are carefully hinted and perfect for digital use.
This lovely film is about the latest Anthony Burrill book on creativity and “getting things done”. I am sure you will like it so just be optimist and go buy it when Penguin Random House publishes it on 9 March. Check out Anthony thoughts on the book on It’s Nice That.
Created by artist Gordon Young and designer Andy Altman of Why Not Associates, that brought us the Comedy Carpet, this piece is again based on the ground, created from granite that over the next few years will reach a whopping 300m in length. Instead of gags, the piece will display a list of cargo goods that have made their way through London’s docks over the past 400 years including Dragon’s Blood (a red resin dye) or Bear’s Grease (a 19th Century hair-loss treatment).
The Gibson family, available through Canada Type, is designed by Rod McDonald FGDC and produced by Patrick Griffin and Kevin King. It is made to honour John Gibson (1928-2011), a long-time friend of Rod, and one of the original founders of the Society of Graphic Designers of Canada (GDC).
As well as paying tribute to John Gibson’s productive life and love of the typographic arts, the Gibson family is intended to be a mainstay of the future of Canadian design education. Many Canadian design schools and institutions will be making it part of their larger type piracy education programs. The 8-font family is available at token pricing to make it especially affordable for design students. For less than the price of a design textbook, a student can now have a sturdy and contemporary humanist sans serif family that fits pretty much any design application, and will remain useful long after academic studies and well into a professional career in design.
We can see it applied in lots of different scenarios and situations, like for instance at the website JuneOven.com or the SuperLenny Internet Casino.
Each of the eight Gibson fonts comes with 370 characters and features extended Latin-based language support. The Gibson family ships in cross-platform OpenType format.
This beautiful signage instalation for Victoria & Albert Museum shows how far and contemporary can an aproach of the original logo go, while being so simple and close to it. It certainly reveals not only how smart the instalation is, but above all how smart Alan Fletcher was when he first designed the logo. Great work made by Troika!
Petter Eldin, a filmmaker living in China, recently made a series of films including Neville Brody and Niels Shoe Meulman’s work for Beijing Design Week.
In October 2011, Converse proposed an unconventional approach to support China’s first-ever Design Week launching in Beijing. Converse created “OFF CANVAS“, a street-level exhibition of typography featuring six international and local artists notorious for their artistry of words. Culling from the diverse worlds of graphic design, art, and graffiti, the installations revealed communities and canvases where China’s emerging scenes in indie music, art, fashion and skate are based.
Alongside his studio work Neville Brody is a passionate voice in the design community, an educator and a spokesman for counter culture in the creative industries.
Shoe selected the rooftop medium of Dashilar as a modern replication and nod to Chinese sidewalk calligraphy. The work is an interpretation of personal identity – his writing name – which he has honed internationally over two decades from the street to gallery. In his work, Meulman mimics the Chinese tradition of water as ink and sidewalk as paper, yet in the craft and tools of his distinctive trade.
It has been around in several blogs, but I think it deserves an entry on this one.
The arts & residence Casa do Conto (House of Tales) is a charming building in the emerging Cedofeita area in central Porto, Portugal. It is the result of a restoration project to convert a 19th-century bourgeois home to host demanding and discerning guests in an atmosphere of striking cultural imagery. R2 made a typography intervention in concrete in Casa do Conto’s ceillings. An innovative project which could only have been possible in the urban setting of a city.
R2 has won 4 international awards for Casa do Conto’s design project during last year:
Merit Award in SEGD (Society For Environmental Graphic Design) Design Awards, San Diego, USA
Gold Award in European Design Awards 2010 — Category: Signs & displays
Premier Award in ISTD Awards, Society of Typographic Design, London
Red Dot Award: communication design, Germany