Latest Posts

Emil Kozak — Circulitos

Emil Kozak wrote us an email saying he just added the category Fonts to his Shop.
He only has one font available at the moment: Circulitos. Some interesting patterns you can create with this one, and only 5€. Looking forward to see more additions…

Emil Kozak is from a small town in Denmark, and was inspired to take on graphic design as a result of his life long passion for skateboarding.

He began at an early age to develop his skills, inspired by skateboard-art and the result today is a unique artist with brilliant ideas. The style is fresh and positive, but often with a message that digs deeper. He is a master of composition and has an eye for detail, that is not seen very often. Typographic, clean lines and few colors is often how Emil Kozak`s artwork is described. Yet, there is always an unexpected surprise: obscure references, playing with words, codes and hints.

As a result his work has been exhibited widely in Europe and US, appeared in numerous magazines and featured on websites. He has produced design and artwork for clients such as Instant Winner (US), Graniph (JP), Ykiki (DK), ELEMENT (US), Monsieur T (FR/US), Blah Apparel (DK), LAB (DK), Streetmachine (US, FR, DK), VANS (US), Eastpak (US), Philip Braunstein (BRA), D:A:D (DK), Planet Earth (US), Hulger (UK) and Norse (DK)

Bio from his behance.

It’s not what you win, but how you conquer it.

Time for some healthy competition time.
The challenge at hand: create a typographical poster about sports, using the phrase “It’s not what you win, but how you conquer it.” Your work will be judged by an international board of designers headed by Jean François Porchez.

The trophy at stake: VIP tickets to the 2012 London Olympic Games.

You have until the 30th of April 2012 to submit your work.
More info at

Calligraphy by Luca Barcellona

Luca Barcellona is a very skilled calligrapher from Milan, where he owns his studio and teaches calligraphy with the Associazione Calligrafica Italiana. His work really embraces the talent of an ancient art, making it coexist with our digital era, in a fresh and reliable approach.

Fraktur writing for the Legacy of Letters italian tour, organize by Paul Shaw, NYC.

Luca Barcellona session during the festival Illuminating York – Wall of Light, wit artists.

Neal Street, London


FontBook – The Bible


I think I need an iPad.
FontBook, now in version 2.0, is the world’s most comprehensive typographic reference tool, containing 110 type foundries and featuring over 620,000 typeface specimens. This 7 min tour explains the main features of FontBook.

Description on their site:
If typography were a religion, this would be the Bible. FontBook is the world’s most comprehensive typographic reference tool, containing 110 type foundries and featuring over 620,000 typeface specimens. Use the FontBook app to look up and view fonts by name, style category, typographical subclassification, designer name, foundry name, year of publication, or by similarity of design. Compile your own list of favorite fonts, and use the “compare” tool to test-drive fonts. Specially designed for fast, easy navigation and also works as a fun playground for finding inspiration.

FontBook is primarily an online browsing application and displays its full content only when your device has internet access through a WiFi or 3G mobile connection. However, if you have no online access, you can temporarily switch the “Include online content” setting to “off”. This will enable the app to display a reduced pool of selected content which will work offline. Whenever you do have online access, you can switch back to the full version by switching the “Include online content” setting to “on”.

Letterpress & Offset Beauty

A short film about letterpress and one of the few remaining movable-type printing workshops in the UK, situated at Plymouth University, featuring Paul Collier.

Subtitles available here:

A film by Danny Cooke
Soundtrack by Tony Higgins
(Available to download here:

Production of Raven’s Wing, the fall edition of COLORS limited-edition Field Notes notebooks. Incredible footage.

More info at

Bleisatz Werkstatt Tutorial, a brilliant film based on a seminar from The University of Applied Sciences in Düsseldorf called “Hot Type – Hand and Work.”
Video Production: Lukas Loss & Roman Tönjes
Sound Design: Roman Tönjes

Via Coudal.

Blackpool Comedy Carpet

Created by artist Gordon Young, and designed in collaboration with Why Not Associates, the Comedy Carpet is a celebration of comedy on an extraordinary scale. Referring to the work of more than 1,000 comedians and comedy writers, the carpet gives visual form to jokes, songs and catchphrases dating from the early days of variety to the present. Sited in front of Blackpool Tower, the 2,200m2 work of art contains over 160,000 granite letters embedded into concrete, pushing the boundaries of public art and typography to their limits.


The Making of:

A remarkable homage to those who have made the nation laugh, it’s also a stage for popular entertainment that celebrates entertainment itself.

Watch the full project here.


II National Meeting of Typography (Portugal)
Universidade de Aveiro, 30 September 2011

The second edition of the National Meeting of Typography is an event organized by the Department of Communication and Art at the University of Aveiro (DeCA), through the Center for Technology Studies and Communication Sciences ( the Institute for Research in Media Design and Culture (ID +).
With the general theme “Contexts of Research and Application”, the conference’s main objective is to be the center for the dissemination and discussion of research and development of typography in Portugal. Already confirmed is the participation of international guest speakers Petr van Blokland ( and Steven McCarthy (

Portuguese text

A segunda edição do Encontro Nacional de Tipografia é um evento organizado pelo Departamento de Comunicação e Arte da Universidade de Aveiro (DeCA), através do Centro de Estudos das Tecnologias e Ciências da Comunicação (CETAC.MEDIA) e do Instituto de Investigação em Design Media e Cultura (ID+).
Com o tema geral “Contextos de Investigação e de Aplicação”, esta edição da conferência tem como principal objectivo constituir-se como o centro de divulgação e discussão sobre a investigação e o desenvolvimento tipográfico em Portugal.Já está confirmada a participação dos oradores convidados internacionais Petr van Blokland e Steven McCarthy conforme o programa provisório da conferência.

More info at

prototyp-0: Font generator / Processing

Yannick mathey is the author of an amazing application,  developed in Processing, for his diploma. Prototyp-0 is designed for the drawing of characters with an automated process, that greatly speeds up the creation process, thus generating in a very short time a multitude of fonts. The user can set twenty parameters (fat, hunting, x-height, wheelbase, etc.). You can check his website at while the app (for MAC and PC) is not yet available. Looking forward to see some interesting results with this.


Fotolia bold move with only type ad.


In MacLaren McCann’s new ad campaign for Fotolia, a European-based stock
photo company, typography plays the main, and surprisingly, only visual
role. Armed with a block of tightly cut letters, some very creative writing,
and some tastefully arrogant sarcasm, MacLaren McCann set themselves up for
an ad with award-winning potential – and win they did. At the One Show
Design Awards, they walked away with the very prestigious Silver Pencil
Award alongside some very influential peers such as Ikea, Nike, and BMW.

Copywriter Nicolle Pittman, played to both American and European
stereotypes — and challenged them — to create ten short narratives that
encourage their audience to take the trendy route and join Fotolia’s
Europeanized, uber-cool list of users. These ads contain no images, only
typography and in no more than three colours — a bold move for a company
that makes its money selling images.

Mike Meadus, the typographer for the campaign decided to use Gill Sans
Ultra Bold and give it a screen-printed look by rounding off the corners to
soften it slightly. Meadus is a big fan of slab-type, plus, he jokes, the
font fit the content of the ads because “the capital O’s look like
boobs!” With the circle in the middle of the O being placed higher up, for
example, the font choice evokes a comical feeling, signaling the intended
humorousness of the content. This is important, because if taken literally,
these ads could unintentionally insult Fotolia’s potential clients.

Some typographers may critique the ads due to their hard-to-read nature,
however, what might not be apparent is that this was, in fact, very
intentional. What is unique about typography-heavy advertising is that it
requires more from the viewer than passive observation; it requires an
active participation — reading. The idea was to create a “block of type
out of blocky type,” and in all caps, so that it required cognitive
investment on the part of the reader, and made it memorable. Meadus figured
that the writing was interesting enough that the readers wouldn’t mind
being challenged to get through it, and “given the abrasive, pompous tone
of voice, it was fitting that they be hard to read.”

In addition, the plump look of the typography was chosen to produce a
feeling of indulgence. This speaks to the stereotypical satire of European
character as often viewed by North Americans, further enhancing the humor
and content of the ad itself.

However, the most obviously striking aspect of the ads is, of course the
company’s name: Fotolia. This simple use of colour ensures that at a
glance, without having necessarily read the ad, the viewer is drawn to the
name. Given that no URL, talk of quality or product is involved, the idea
was to put the focus on the brand name to invoke the reader’s curiosity.

The use of typography in these ads is quite innovative given the product
being sold. This stock photography company will definitely be remembered as
the one that rejected the actual use of stock photography in their ads.
It’s amazing how simple typography design choices can change affect the
viewer’s experience of the ad and its message entirely.