Anna Raff Illustration

JULY 9, 2017

This week brought to a close another June of teaching Illustration at the School of Visual Arts Summer Residency. Now in it’s tenth year, the residency gives artists a chance to immerse themselves in the New York illustration world through a rigorous program of coursework, as well as visits with professionals, organizations, and exhibitions. Focusing on narrative illustration, my class guides students through the creation of a series of images inspired by a text of their choosing.

Exhibition 75

Exhibition Visual Art Programming Illustration 75

Fonts by Hoefler&Co.

JULY 11, 2017

I recently had the privilege of speaking at the third annual Typographics conference, an event organized by the Type@Cooper program at The Cooper Union, to share a new project with fellow designers. While visually this new typeface would be unlike anything we’ve ever done before, in many ways it’s the quintessential H&Co project, taking on many of the themes that have characterized our work over the past twenty-eight years.

Typography 60

Typography Fonts Presentation Artist 60

Typographica

JULY 5, 2017

This is not a typical typeface review. It’s a review of a whole foundry. I don’t know why I took it upon myself to review fifty-two typefaces instead of just one, but I feel it’s necessary to review them together. These fifty-two typefaces gave me much joy in 2016, and I want to give some of that back to their creator. The Foundry. Stefan Ellmer (also known as Ellmer Stefan, following the Austro-Hungarian name order) is an amazing designer.

Fonts 84

Fonts Advertising Advertising Digital 84

Inspo Finds

JULY 12, 2017

Studio Ouam have designed a colourful, exciting and interactive identity for POOMCLAP. An independent record label and booking agency based in Nice and Rennes. The 'young tri-colour house distinguishes itself with its records based on Nu Disco, Future Funk and French Touch'. Studio Ouam have created a bright and energetic brand: the colours are strong, bold and colourful; pinks and oranges.

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Agency Brand Branding Photography 49

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

Illustration Art

JULY 8, 2017

In February I wrote about the wall of portraits at the Society of Illustrators in New York, where each president of the Society was drawn by a prominent illustrator of the day. Unlike typical portraits which are designed to flatter subjects who know little about art, the portraits on the walls at the Society were pictures of working artists, done by working artists, to be displayed in front of a judgmental audience of working artists.

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Illustrator Illustration Artist Art 53

Fonts in Use

JULY 17, 2017

Contributed by Florian Hardwig Source: [link] License: All Rights Reserved. US poster by United Film Distribution Co., 1978. Dawn of the Dead from 1978 is the second film made in George A. Romero ’s Living Dead series after Night of the Living Dead (1968). It is also known internationally as Zombi(e). Looking at the various international posters reveals that the film has at least four different typographic identities.

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Print Typography 46

Fonts by Hoefler&Co.

JULY 31, 2017

It’s always thrilling to see designers combining type in interesting ways, an excitement that’s amplified when a designer uses an exceptionally large set of fonts in a single project. But it’s icing on the cake when that designer shows you ways of combining fonts you’d never have expected. Designer Tré Seals accomplishes all of these things in his new portfolio site, which uses a whopping six font families from our collection: Obsidian , Surveyor , Ideal Sans , Rings

Fonts 47

Fonts Portfolio Theme Inspiration 47

Typographica

JULY 5, 2017

Designing something directly on a computer, like many people do these days, risks letting the computer dictate the forms of the thing you design. It’s easier to draw a perfectly straight line in a font editor than it is to draw an organic-looking almost-straight line. Kakadu finds inspiration in the rigid vectors used in early technical computer fonts, and takes them as a challenge.

Fonts 74

Fonts Vectors Layout Print 74

Graphic Springs

JULY 26, 2017

As far as logo trends go, minimalist logos are popular right now, but brands are maintaining their individuality through different simplified styles.

Brand 28

Brand Branding 28

Illustration Art

JULY 31, 2017

One of the rich and remarkable stories of American illustration has remained buried in museum vaults for many decades. It's the story of the eight illustrators who were selected in 1917 to accompany American troops into battle in World War I. The illustrators were selected by Charles Dana Gibson's "Pictorial Publicity Committee," under the auspices of the wartime "Committee on Public Information.

Art 36

Art Exhibition Publication Illustration 36

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

Typographica

JULY 5, 2017

There are more exciting tasks than digitizing someone else’s designs. Staying faithful to the original can be limiting; as a result, many typeface revivals are empty vessels, adding little (if anything) to typographic diversity. All the more reason to highlight releases that manage to push the original design to a different level. Prismaset is a great example of such a successful reinterpretation.

Fonts 53

Fonts Inspiration Digital Color 53

Typographica

JULY 5, 2017

We are in a period in which media — both digital and print — is thriving, offering new opportunities for editorial typeface design. Helvetica/Futura and Bodoni/Didot — archetypal magazine faces — are increasingly challenged by numerous contenders, each aiming to redefine the notion of “Now”. So what does “Now” look like in contemporary display fonts for editorial use?

Typography 45

Typography Magazine Fonts Publishing 45

Typographica

JULY 5, 2017

Tsukushi is a family of Japanese typefaces that began with Mincho (the Japanese equivalent of Roman) in the early 2000s and now contains a variety of subfamilies, some of which you can find as macOS system fonts. In 2016, the designer Shigenobu Fujita added Tsukushi Antique Gothic S and L (small and large bodies, respectively). Both versions occupy the same monospace grid, which makes L appear slightly denser.

Textures 75

Textures Fonts 75

Typographica

JULY 5, 2017

As a type designer who is currently landlocked in the middle of the United States, I have moments of envy when I scroll through Instagram and come across square after square of oceans. So it doesn’t surprise me that the typeface I decided to write about means “sea” in Italian. Di Mare is a three-font monoline script by Russian type designer and lettering artist Ksenia Belobrova.

Fonts 75

Fonts Travel Textures Artist 75

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Graphic

Typographica

JULY 5, 2017

You know what really sucks? Coding for hours only to realize you’re using a terrible monospace font that shoots lightning bolts of tension through your forehead. You know why that happens? Because designers and coders don’t understand what they need from each other, same as every other Internet Design Argument since 1996. Ha ha ha… Ugh. I code, nearly every day, and I hate looking at typefaces for code.

Coding 58

Coding Patterns Fonts 58

Typographica

JULY 5, 2017

The Braille FAQ, featuring Confettis. 1.01 Why do we need another Braille font? If you’ve ever brought up the subject of fonts at a party, a couple of things’ve likely happened. First, you weren’t invited back. (Just kidding, fonts are the coolest.) Second, someone responded with “Aren’t there already enough fonts out there?” At which point so many arguments bubbled up in your head that you couldn’t shove all the words out one by one, and it came out as a muffled BWHAMHAAAGUUZ.

Fonts 53

Fonts Coding Print Consulting 53

Typographica

JULY 5, 2017

Although a renaissance of geometric sans serifs has been underway for the past several years, two of the original classics experienced rebirth only recently. Kabel and Erbar-Grotesk have always been my favorite geometric faces — with a slight preference for the latter, a design by Jakob Erbar (1878–1935). Fortunately, the idea of an updated Erbar-Grotesk fell into the skilled hands of a type designer who happens to have a strong interest in the latest font technology.

Fonts 49

Fonts Networking Digital 49

Typographica

JULY 5, 2017

I recently made an amazing discovery: the portfolio of Natalia Vasilyeva , whose latest typeface release, Scientia (PDF) , calls for scientific work in more ways than one.*. She may not be widely known in the West, but Vasilyeva is an accomplished Russian type designer, book designer, and calligrapher hailing from Barnaul, a big city in Western Siberia, near the borders of Kazakhstan, Mongolia, and China.

Fonts 45

Fonts Portfolio Book Design Publication 45

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Theme

Typographica

JULY 5, 2017

Paul McNeil and Hamish Muir told an interviewer not long ago that they think of themselves not as type designers, but as designers who make type. I understand wanting to avoid claiming for themselves skills they don’t have, and they probably want to keep their typographic work in its proper context in their larger practice. […].

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Typographica

JULY 5, 2017

Kufam Arabic first grabbed my attention through its varied horizontal rhythm. While many contemporary interpretations of so-called Kufic tend to present prevailingly narrow letters, Kufam pleasantly alternates between narrow and wide letterforms. Kaf, Sad, Seen, and the final Beh — along with its siblings of various dot forms — lend the line of text a dynamic variation [a].

Presentation 40

Presentation 40

Typographica

JULY 5, 2017

Maximiliano Sproviero is a skilled young type designer specializing in script and display typefaces, some with a distinctly ’70s vibe. He has even done a pitch-perfect ’70s script typeface called Seventies. I started my design career back then. Herb Lubalin and his various collaborators dominated the New York design scene, and ITC dominated the type […].

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