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  • Displaay type foundry introduces a not so Reckless font family

    Type foundry Displaay started as a final MA project of Martin Vácha back in 2014. Vácha has focused on font sketching continually since 2008 - his love for graphic typography began during his first year of studies for the project Terrain magazine for which he modified Helvetica Textbook. Like all designers he was excited about the idea to create unique fonts for specific projects, so he has continued with this obsession until now.

    Reckless is his latest project. The serif text font family with renaissance (old-style) look and a really raised x-height was designed during his internship at London University of Arts, “where I could study sources of serif renaissance fonts at UAL Saint Martins Library and Monotype Library. I also tried to add some strict and cold alternates (see alternative "a, g, r, t, y"). That was during the same time I fell in love in Paul Renner's first sketch of Futura (see Hellix font)” he says.

    “Reckless is mainly inspirated by Plantin, Plantin Infant (about 1700 Robert Granjon, 1913 Frank Hinman Pierpont), all versions of Times, Times New Roman (1904 William Starling Burgess, 1931–1974 Stanley Morison, Victor Lardent) and all versions of Caslon (1722 William Calson)”.

    Discover more here

  • The Visual history of type in 672 pages is not to be missed

    Graphic designer, Paul McNeil, has vast experience in corporate and brand communications. Therefore the co-founder of MuirMcNeil is the ideal man to guide us though the Visual History of Type.

    The comprehensive, detailed survey of the major typefaces produced since the advent of printing with movable type, in the mid-fifteenth century to the present day is arranged chronologically to provide context for more than 320 typefaces which are displayed in the form of their original type specimens or earliest printing.

    Each entry is supported by a brief history and description of key characteristics of the typeface. This book will be the definitive publication in its field, appealing to graphic designers, educators, historians and design students. It will also be a significant resource for professional type designers and students of type.

    Grab your own copy of The Visual History of Type by Paul McNeil - published by Laurence King - here.


  • Celebrating New York Times Magazine’s stunning bespoke type

    In 2015 The New York Times Magazine embarked on the most extensive redesign in its history. Gail Bichler, the magazine’s Design Director, commissioned an entirely new suite of typefaces as well as customized typography which has been used in the magazine’s covers, features and special issues. The exhibition “The New York Times Magazine – Type: 2015-Present” at the Type Director’s Club includes covers, spreads, and full special issues.

    The focus is on typographic highlights since the redesign including the magazine’s new typefaces and the thinking behind these faces. Also featured is some of the magazine’s most powerful imagery.

    To accompany the show the NYT Magazine has produced a small publication that collects together some of its bespoke type highlights created since its 2015 redesign. The booklet, NYT Mag Type, has been produced through Newspaper Club and features examples of the magazine’s sans and serif faces, alongside a wide selection of more expressive type designs created for specific issues.

    “As Design Director Gail Bichler writes in the introduction, the design of the NYT Magazine does not rely on ornamentation, but instead comes out of the words contained inside its pages – ‘the stories and ideas those words represent. Typography gives tone and voice to those words’. As part of the Magazine’s redesign that was carried out two years ago, Henrik Kubel of A2-Type was commissioned to create a suite of custom typefaces – ‘serif and sans serif fonts that felt unique and modern’ he writes” reports Creative Review.

    The New York Times Magazine – Type: 2015-Present is at the Type Director’s Club, 347 West 36th in New York until 5 September.

    The exhibition is free and open to the public Monday to Friday, 9am to 4pm by appointment only. See

  • Google’s Spectral font is a super responsive shapeshifter to behold

    Google Fonts is getting more customizable and interactive than ever as the company updated its font collection with its very first ‘parametric’ font, “a new typographic technology that makes it easy for designers to tweak and modify the format of virtually any typeface”.

    Developed in collaboration between Prototypo, Spectral follows the principles of responsive design as “the font retains the capacity to alter its form in order to seamlessly fit in with the overall layout of your page”.

     “Opening up to a new era of type design, [our] parametric font technology allows to work with responsive characters improving creativity and exploring new shapes,” Prototypo said in a press release. “Creating intelligent fonts capable of fitting all types of uses and media is now a reality.”

    Spectral gives designers the option to adjust various font aspects such as width, thickness and curviness.
    The typeface will be available in various Google services including Docs, Sheets and Slides. Spectral is currently available for free on Google Fonts.

    Check the shapeshifting here.


  • Time to explore RISD’s abstract and playful typographic map

    To promote the RISD Grad show 2017, which took place this summer, the site is filled with Univers in a stunning and playful mode.
    By repeating information into digital infinity the typography of the site “presents an expansive range of fine art and design work by the 235 students completing master’s degrees at Rhode Island School of Design (RISD) this spring”. Bold and amazing the type experiment will keep you busy for ages.

    Enter the font-expanding universe of ultra talented people here.