pshero
MAY 30, 2010
Introduction In this Photoshop tutorial we’re going to step outside my usual Photoshop Only philosophy and use the 3D rendering power of Adobe Illustrator to create a cool little 3D text effect. Don’t worry noobs, you don’t need to know anything about Illustrator, as usual I’ll coach you through the whole process, but you do […].
Fonts by Hoefler&Co.
JUNE 16, 2010
Learning to draw letters is hard enough, but learning to create typefaces is something else entirely. For those with an interest in both, H&Co’s Sara Soskolne will be teaching “Turning Letters into Type,” a week-long workshop at New York’s School of Visual Arts, July 12–16. Registration is now open , and seats are limited.
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Illustration Art
JULY 30, 2010
Comic-Con provides a unique vantage point on the digital future of the popular arts. The invention of digital media had an obvious quantitative impact on art, but I always listen at Comic-Con for early evidence of a qualitative impact. Everybody knows the quantitative benefits: computers enhance the efficiency, speed and precision of the creation and distribution of images.
pshero
FEBRUARY 18, 2010
Introduction In this tutorial I’m going to show you how to convert a flat black on white photo border into a much more usable one in just a few simple steps. The image we’ll be working from comes to us courtesy of Andrea Rascaglia who put together a nice collection of these a few years […].
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
pshero
FEBRUARY 11, 2010
Part 2 – Introduction Welcome to Part 2 of the High Dynamic Range (HDR) Photoshop Tutorial. Read Part 1 here. As a reminder, please remember that this is simply MY process, HDR processing is an art form subject to the artists opinion. There is no right or wrong way to produce an image, only to […].
Fonts by Hoefler&Co.
JANUARY 12, 2010
Please welcome Vitesse®, a new slab serif in twelve styles. Slab serifs are one of typography’s most vibrant categories, yet they remain dominated by two ancient forms: the nineteenth century Antique, and the twentieth century Geometric. Both are vital and living genres — we’ve explored each of them, in our Sentinel and Archer type families — but what of the twenty-first century slab?
Graphic Arts Today brings together the best content for graphic arts professionals from the widest variety of industry thought leaders.
Fonts by Hoefler&Co.
AUGUST 4, 2010
There are stylized typefaces that speak in a singular, powerful voice, and there are versatile ones capable of expressing many different moods. We feel the pull of both extremes, and are especially fascinated by the typographic styles caught in between. Sans serifs based on the rounded rectangle are an interesting study: they’re adaptable enough to have survived almost two hundred years, but in every incarnation they return with a new but overly specific agenda.
Fonts by Hoefler&Co.
AUGUST 4, 2010
There are stylized typefaces that speak in a singular, powerful voice, and there are versatile ones capable of expressing many different moods. We feel the pull of both extremes, and are especially fascinated by the typographic styles caught in between. Sans serifs based on the rounded rectangle are an interesting study: they’re adaptable enough to have survived almost two hundred years, but in every incarnation they return with a new but overly specific agenda.
Fonts by Hoefler&Co.
JUNE 15, 2010
Typeface designers live with the permanent possibility of encountering their work at unexpected moments. Your old college now uses a font that you designed; in a movie, whose story takes place before you were born, your typefaces are used for prop newspapers and storefronts; the intimidating signs that scold you in public places now address you in your own handwriting.
Fonts by Hoefler&Co.
JUNE 10, 2010
We’re pleased to introduce an expansion of our Whitney® typeface, for our friends in Greece, Russia, Bulgaria, and the Commonwealth of Independent States. We’ve taken the fonts that already serve more than 140 languages, and extended them into the Greek and Cyrillic alphabets to satisfy sixty more. All editions of Whitney now feature both the Greek alphabet and our Expanded Cyrillic character set, accommodating not only major Slavic languages such as Russian and Ukrainian, but o
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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.
Fonts by Hoefler&Co.
JUNE 10, 2010
We’re pleased to introduce an expansion of our Whitney® typeface, for our friends in Greece, Russia, Bulgaria, and the Commonwealth of Independent States. We’ve taken the fonts that already serve more than 140 languages, and extended them into the Greek and Cyrillic alphabets to satisfy sixty more. All editions of Whitney now feature both the Greek alphabet and our Cyrillic-X™ character set, accommodating not only major Slavic languages such as Russian and Ukrainian, but o
Fonts by Hoefler&Co.
MAY 5, 2010
Designers who use our fonts have been sharing their work on our Facebook page, much to the delight of both the designers at H&Co, and our followers online. Some recent lovelies, clockwise from top left: Christopher Simmons designed this cheerful festival poster using Ziggurat, Leviathan, and a little Hoefler Text; a corporate identity that uses Archer (and a clever emboss) by Mike Kasperski ; Gotham in a terrific typographic abecedarium by Paul van Brunschot and his students; a lovely collec
Fonts by Hoefler&Co.
FEBRUARY 17, 2010
A friend who teaches typography to undergraduates recently asked an unexpected favor: “can my students browse the e-mails Hoefler&Co sends out?” Apparently he’s in the habit of circulating printouts with his students, when they raise questions that we’ve recently discussed with our readers — how to choose fonts for information-heavy projects like annual reports being an especially hot topic, though he also encourages his students to dig deeply in the character s
pshero
FEBRUARY 8, 2010
An Introduction to HDR (High Dynamic Range) Photography For those of you not familiar with HDR Photography, it is quite simply the process of combining multiple bracketed exposures into a single photograph, underexposing for highlight detail and then overexposing for shadows we can capture every last bit of detail from both… Details that just aren’t […].
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Fonts by Hoefler&Co.
JANUARY 12, 2010
Please welcome Vitesse®, a new slab serif in twelve styles. Slab serifs are one of typography’s most vibrant categories, yet they remain dominated by two ancient forms: the nineteenth century Antique, and the twentieth century Geometric. Both are vital and living genres — we’ve explored each of them, in our Sentinel and Archer type families — but what of the twenty-first century slab?
Illustration Art
SEPTEMBER 25, 2010
Illustrator Robert Blechman's tiny, distinctive drawings became a phenomenon in the 1960s. Blechman graduated from college with virtually no artistic training and no portfolio except the work he had done for a college literary magazine. He later recalled, Nothing could have been more impractical than becoming a professional illustrator. My style--such as it was-- had no precedents and therefore no clear outlets.
Illustration Art
SEPTEMBER 17, 2010
Seymour Chwast Some readers didn't like the traditional figure drawings in my previous post: I can't believe such pointless work is still being appreciated today. Anyone can achieve the same thing in half a second with a camera. My camera is capable of interpretations too, I can set it to add filters and thus alter the actual captured photons. After all, you can call every human drawing an interpretation.
Illustration Art
MARCH 5, 2010
In my opinion, illustration art has a brand of potency unrivaled by any other school or genre in the history of art. Peak Frazetta Hale N.C. Wyeth I defy you to find images with greater vigor and assertiveness in any art museum. The difference in visual impact between illustration art and traditional painting is not simply a question of subject matter.
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In today’s competitive markets, how do you make sure that your content not only stands out but performs well? How can you predict whether certain design choices will result in clicks, engagement, downloads, and other drivers of ROI? Shutterstock’s Creative Insights Report (Q3) is your window into the hottest trends that are transforming the creative world.
Illustration Art
AUGUST 28, 2010
These are original student drawings from the 1911 class of the famous art teacher, George Bridgman. Bridgman, constantly inebriated and chewing on a large black cigar, would rail at his students about the importance of mastering anatomy: "Don't think color's going to do you any good. Or lovely compositions. You can't paint a house until it's built." His students adored him and vied for his approval.
Illustration Art
JANUARY 19, 2010
Art is a double edged sword. It enhances our experience of life, but also obstructs and diminishes it. We spend most of our time here at the good ol ' Illustration Art blog focusing on that enhancement part, but today as a special public service we offer some thoughts on that dark side of art-- the part they never mentioned in your Art Appreciation class.
Illustration Art
MARCH 12, 2010
Compare Saul Steinberg's observation on the obstacles to creation.with John Cuneo's treatment of the same theme: Cuneo's hapless artist suffers from very different constraints. You'll rarely find a theme-- or a line-- in Cuneo's offbeat world as straight as Steinberg's leash. Cuneo's artist is bedeviled by his diminutive artistic size, by the huge, languid planet of muliebrity between him and his art, by that rump distracting him from his artistic mission, by that wobbly little easel perched on
Illustration Art
FEBRUARY 13, 2010
William Hatherell was a Victorian era illustrator who worked for magazines such as The Graphic , Harpers , Scribner's and the Century. Today he is mostly remembered for crudely printed images such as these: The printing technology in Hatherell's day was pretty primitive. Combined with cheap paper stock, it stripped Hatherell's work of much of its sensitivity and expressiveness.
Speaker: Eden Spivak, Design Expert and Editor at Wix & Nir Horesh, Accessibility Lead and Senior Product Manager at Wix
When we design products or websites for people like ourselves, there are many others who are, as a result, left out. From visually impaired users who rely on assistive technology, to people with a temporary injury such as a broken arm, tech users are forever diverse and beautifully unique. The products we design can, and should, reflect the extremely wide range of human experiences and needs.
Illustration Art
JUNE 20, 2010
In 1863, artist Albert Bierstadt and writer Fitz Hugh Ludlow left New York on a camping expedition into the great American wilderness. Bierstadt dreamed of painting western landscapes while Ludlow dreamed of writing about them. The two men also had something personal to work out between them: Bierstadt was in love with Ludlow's wife, Rosalie. The men traveled together for nearly nine months.
Illustration Art
JANUARY 3, 2010
Civilizations can be judged by how their illustrators portray the story of St. George and the Dragon. The basic facts of the eternal triangle between man, woman and dragon are well known. But while the facts don't change, the artist's interpretation changes dramatically through the ages. Contrast these four wonderful pictures of St. George and the dragon: First is a breathtaking painting created circa 1438 by the Catalan master Bernardo Martorell: This painting was created in an age of unshakeab
Fonts by Hoefler&Co.
OCTOBER 13, 2010
In the middle of Gotham, our family of 66 sans serifs, there is a hushed but surprising moment: a fraction whose numerator has a serif. So important was this detail that we decided to offer it as an option for all the other fractions, a decision that ultimately required more than 400 new drawings. Why? Join us for The Finishing Touches , a behind-the-scenes tour of some of the invisible details that go into every font from H&Co.
Fonts by Hoefler&Co.
SEPTEMBER 24, 2010
So you love HTML5. You’re psyched that the IE9 beta looks so promising, because you’ve got enough IE6 war stories, though personally you’re rocking the latest Firefox nightly. Sometimes you can’t remember what life was like before jQuery, but in a pinch you’re prepared to roll your own library. (Which, let’s face it, makes you feel a little like MacGyver, and you like working with folks who notice.
Speaker: Michele Berdinis
This session will answer business law questions that people are asking most during the pandemic. If my business can’t pay its bills, can my creditors come after my personal assets? Do I have to pay the rent on my co-working space or office? Can my clients cancel signed contracts? Can I cancel contracts for things I no longer need because my business has slowed down?
Fonts by Hoefler&Co.
JUNE 23, 2010
Our creative director Brian Hennings stumbled across a great resource this morning: on the website of the Library of Congress, a collection of 926 posters from the Works Progress Administration. The LOC has done a nice job with this collection, providing for each poster not only the relevant archival information, but high-resolution TIFF files that are free to download.
Fonts by Hoefler&Co.
MAY 11, 2010
I have a special affection for decorated letters, especially the ornamented designs of the nineteenth century. You know the kind: they're chubby Regency typefaces, slab serifs or high-contrast ‘Fat Faces,’ mostly, whose surfaces are emblazoned with intricate patterns or pastoral scenes. The collection of L. J. Pouchée contains some genuine masterpieces that I’ve long admired, letters festooned with grapevines or peonies or cobblestones, or illuminated with bucolic vign
Fonts by Hoefler&Co.
APRIL 23, 2010
When we designed the Knockout type family, which celebrates the exuberance of nineteenth century wood type, we wondered: what designer would knowingly use the fonts to recall a world of quack medical cures and traveling vaudevillians? The answer, as it so often turns out to be, is “smart aleck Canadian advertising agencies.” Behold the truly excellent Grip Limited , who have created a typographic tour-de-force in Knockout (and a little Archer ) that really repays scrolling in all dir
Fonts by Hoefler&Co.
MARCH 29, 2010
Every font shown on this site is accompanied by a set of suggested pairings. These are all personal selections (would that they could be automated!) and we’re often asked about our methodology for deciding what fonts go together. The truth is that these are intuitive choices: since we design all the fonts ourselves, we’re intimately familiar with their visual, functional, cultural and historical qualities, and just have a general sense of “what goes.” And yet there are al
Speaker: Sean Adams, ArtCenter College of Design
Thomas Edison once said “Vision without execution is hallucination.” This statement applies not just to invention, but to graphic design. One of the greatest strengths of graphic designers is the ability to first develop a concept and then execute it to make it real. From visualization and ideation all the way through to actuation and execution, each step of this process takes skill and expertise.
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