Fonts by Hoefler&Co.

DECEMBER 7, 2007

Every design studio has at least one of Edward Tufte’s books. They’re traditionally distributed during the sacred initiation ceremony through which one becomes a Graphic Designer: a cloaked celebrant makes the sign of command-option-escape and anoints the novice with toner, the congregation recites the paternoster from Paul Rand’s Design, Form, and Chaos, and the now-ordained Designer is presented with the Holy Relics that will form the heart of his or her own workplace: a mang

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Illustration Art

DECEMBER 26, 2007

In the comments with readers after my last post I wrote, if you go online and look at the 2,284 drawings in the collection of the Museum of Modern Art in New York , you will be stunned by the amount of unmitigated crap in their collection.the ratio of money to talent at the MOMA cathedral is downright asphyxiating. Some of you scolded me for hyperbole.

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Fonts by Hoefler&Co.

DECEMBER 16, 2007

A visit to Shorpy inevitably lasts the rest of the day. This tremendous archive of hundred-year-old photos has much to recommend it to anyone interested in period typography: the optimistic lettering of the New Deal is well represented, and there’s an excellent cross-section of sidewalk Americana as well; entertainingly, the whole collection is leavened by an undercurrent of quiet menace that I find delightfully surreal.

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Fonts by Hoefler&Co.

DECEMBER 13, 2007

The arrival of a new year means it’s time for a new Pentagram Calendar. We’ll forever be partial to the 2006 edition, for which Pentagram commissioned us to design twelve new fonts of numbers ; we subsequently added three additional styles, anticipating of course the post-revolutionary 15-month calendar under which all earthlings will unite in observance of Hoefluary.

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Speaker: Amber Asay, Creative Director and Founder of award-winning design studio Nice People

Understanding what trends are happening and how they’re impacting the competitive landscape is crucial to providing top dollar design strategy to your clients. With so many trends coming and going, it can be overwhelming to determine which ones you should capitalize on and which ones might not be worth the trouble. In this exclusive webinar with Amber Asay, we’ll explore graphic design trends that need to die, trends that are starting to pick up and why, trends that have come and gone, and how t

Graphic Design

Fonts by Hoefler&Co.

DECEMBER 10, 2007

I’ve yet to meet a designer that didn’t have a thing for cartography. In any medium (to this day, maps are printed, engraved, drawn and painted) cartographers have to be excellent and inventive typographers, and mapmaking has given typography some of its most interesting styles. Some of the more exotic letters we’ve drawn certainly owe something to mapmaking, in this case the engraved maps of the very fertile Age of Enlightenment.

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Fonts by Hoefler&Co.

DECEMBER 5, 2007

A few weeks ago, I posted some scans of nineteenth-century wood types by William Page, from the rare specimen book Wm. H. Page & Co. Wood Type of 1872. The designers at the Cary Graphic Arts Press (Rochester Institute of Technology) apparently share my love of Page's colorful woodtypes, for their lovely Wood Type Notecards reproduce some pages from the exceedingly rare Specimens of Chromatic Wood Type, Borders, &c. of 1874.

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Fonts by Hoefler&Co.

DECEMBER 11, 2007

It’s hard to begrudge the polish and flexibility of a good pixel, but I’ll always have a soft spot for the earlier technologies. Mechanical and electronic displays with fixed images were somehow knowable in a way that screens are not, lending a palpable something to the things they inhabited. Has train travel been the same since the disappearance of the thip-thip-thipping flap display ?

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Fonts by Hoefler&Co.

DECEMBER 7, 2007

If there’s one thing that says Gotham Fabulous, it’s rhodium-plated silver with a hit of CZ. Sara found these Initial Pendant Necklaces online, each offering 0.2 carats of genuine cubic zirconium in a tarnish-free setting. A full alphabet’s available, though sadly no ampersand, otherwise the whole H&Co posse would be rolling in style.

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Fonts by Hoefler&Co.

DECEMBER 6, 2007

Much nattering takes place on this blog about the distinction between lettering (letterforms rendered for a particular situation) and fonts (sets of type designed for reproduction.) Edible lettering is an ancient tradition , but edible fonts may be something new: our designer Sara Soskolne discovered this marvelous set of Movable Type in Chocolate , created by Sandra Kübler and Christine Voshage.

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Fonts by Hoefler&Co.

DECEMBER 4, 2007

Since the countdown to the holidays has begun in earnest, we thought we’d dedicate the rest of the week to recommending typographic-themed holiday gifts for the designers in your life. Our own Ksenya Samarskaya liked these Alphabet Mugs from Fishs Eddy. The monograms draw from different decorative traditions: the A and C are from decorated American wood types (and you know we love those ), the T from signwriting, and the K and Y from nineteenth-century lettering manuals.

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Advertiser: Issuu

Brands must create and share impactful content to thrive, but they have less people, tighter budgets, and fewer resources to do so. Learn how to publish and market digital content with the same professionalism as organizations with million-dollar budgets.

Publishing

Fonts by Hoefler&Co.

DECEMBER 2, 2007

I started a typeface called Feldspar some years ago, which I’ve yet to complete. After eight years, most such projects would have lost their inertia, but this one’s moving steadily along, driven by a single, fervid dream: I am determined to one day see it in the hands of Dan and Mike at Aesthetic Apparatus. Aesthetic Apparatus is one of those studios we love to see using our fonts.

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Fonts by Hoefler&Co.

DECEMBER 20, 2007

Harry Beck’s map of the London Underground is one of those seminal information graphics that has come to define an entire category. It must be as widely recognized as Mendeleev’s design for the periodic table of the elements; it’s surely been as influential, and as widely imitated and spoofed. What makes both diagrams significant is that they bravely dispense with information traditionally thought to be crucial.

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