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  • Brucker is a purposefully restless typeface unleashed

    June 10 sees the publication of the latest typeface from Jeremy Tankard Typography. Aptly named Brucker this "purposefully restless typeface" with a robust presence is designed to create an aggravated and expressive text image through the use of interrupted curves, a dynamic rhythm and disjointed baseline. Primarily created for display use it does, however, function surprisingly well at text sizes.

    Brucker takes its inspiration from the emotively charged art of the Expressionists. Their vision of the world is made from broken lines and uncompromising, energetic, feverish marks. Several of the posters produced to publicize their new art use crude, black letter shapes.

    These are directly cut and jammed together to make dense evocative blocks of text. Building on these immediate and expressive letters, those of Brucker have been "carefully drawn to avoid the cleansing mechanical line of the computer."

    Read more on the story behind the inspiration and development of the typeface here.

  • So how difficult is Chinese typography? Very!

    Interesting and insightful, Typegeist's latest entry in its series of talks is all about Chinese type design and the multiple challenges it demands from the creatives in the country.

    In the interview, Synoptic Office’s Caspar Lam and YuJune Park invited leading type designers from mainland China, Taiwan, and Hong Kong to discuss the present and future of Chinese type design. Joe Chang, Julius Hui, and Li Zhiqian answer every bit of question on the massive work that a standard Chinese text font demands (it contains a minimum of seven thousand glyphs) and the new technologies that are about to change the way type designers work on Chinese characters. 

    "How would you define Chinese typography?" asks Synoptic Office. "Difficult" answers Julius Hui. "There is nothing called Chinese typography right now because we don’t have textbooks on it or even a definition of Chinese typography. Many people think they are doing Chinese typography. However, I would say they are just playing with type or making typographic design. Hopefully, type education will improve."

    Variable fonts and advanced software are sure to change the way Chinese typography will evolve, especially online. Read more insights on China's typographic evolution here


  • Kerning 2019: Louise Fili, Sarah Hyndman and more in Italy's first international typographic conference

    Kerning, the first international conference in Italy dedicated solely to typography and web typography is coming to Milan for three days filled with fonts.

    Kerning, a non-profit event, features two days of workshops and a Conference day full of talks. Kerning offers a very interesting chance to meet developers, gurus, managers, and innovators from all over the world. The conference's task is to help grow a community of prepared developers keeping knowledge affordable and this year's line up of speakers is stellar to say the list.

    From Sarah Hyndman, the British graphic designer, writer, founder of the innovative Type Tasting studio and public speaker who is asking all the right questions on multi-sensory typography always searching for answers on the psychology of type through Louise Fili, director of Louise Fili Ltd, a New York-based design studio specializing in branding as well as type design, a woman who has consistently been influenced by Italian typography over her forty year spectacular career which kicked off when a 16 years old Fili fell in love with a poster for Perugina to Monica Dengo, graphic designer, calligrapher and teacher who will pay her tribute to the art of handwriting -"an art of direct experience" she notes- Kerning is calling all type lovers in Faenza, in the very heart of Italy, for a top-notch, unique event.

    More here. 

  • And now for something completely different: FontSunday's circus fonts challenge

    Yesterday Design Museum's FontSunday challenge was playful and, well, a bit of a Flying Circus affair. The museum challenged the Twitterverse to bring out the #circusfonts element to the front and the social media platform's timeline was filled with serifs, serifs, oh, did we mention serifs? 

    On the event of this typographic circus affair here is another foray into the lands of type history, featuring Clarendon, a typeface which has been featured in all those infamous wanted posters, on proclamations from the German Empire during World War I and on numerous circus posters, at least the French Clarendon version of the family. Clarendon, the first face to be patented, is a traditional English style of typeface from the 1840’s, named for the Clarendon Press in Oxford, designed by Robert Besley for Thorowgood and Co. Eventually Besley's patent under Britain’s Ornamental Designs Act of 1842 expired after three years and Clarendon was radically altered by foundries in the United States in the late nineteenth century. 

    The result was the French Clarendon type style, which had enlarged block serifs at top and bottom, is traditionally associated with wild-west printing and is commonly seen on circus posters and wanted notices in western movies.

    Explore more #circusfonts here.  


  • Watch! Futura, an iconic typeface for the Bauhaus in all of us

    As Bauhaus100 reminds us of the importance of design in all things visual, Futura, the iconic font is more relevant than ever. Futura is a geometric sans-serif typeface designed by Paul Renner and released in 1927.

    Based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period Futura was designed as a contribution on the New Frankfurt-project. The typeface was developed by the Bauer Type Foundry, in competition with Ludwig & Mayer's seminal Erbar typeface of 1926.

    Futura has an appearance of efficiency and forwardness. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. 

    Renner's design rejected the approach of most previous sans-serif designs (now often called grotesques), which were based on the models of sign painting, condensed lettering and nineteenth-century serif typefaces, in favor of simple geometric forms: near-perfect circles, triangles, and squares. 

    Futura is based on strokes of near-even weight, which are low in contrast. The lowercase has tall ascenders, which rise above the cap line, and uses nearly-circular, single-story forms for the "a" and "g" -the former was previously more common in handwriting than in printed text. The uppercase characters present proportions similar to those of classical Roman capitals. The original metal type showed extensive adaptation of the design to individual sizes, and several divergent digitizations have been released by different companies.

    Eventually, Futura was extensively marketed by Bauer and its American distribution arm by brochure as capturing the spirit of modernity, using the German slogan "die Schrift unserer Zeit" ("the typeface of our time") and in English "the typeface of today and tomorrow". Obviously, Futura's dominance is evident throughout our visual language, since Bauhaus and beyond.

    Watch the story of the typeface in the following presentation directed by Parachutes & Christopher Van Wilson and animated by Parallel Studio Paris.