Type News: Bottle-Arsed
This week is a bit light on the news but packed with new type. So let’s get right to it!
FontFont has launched a new website (featuring the lovely Dagny, if your browser supports WOFF). How did we recognize Dagny? Well, the lowercase f gives it away, but if that weren’t there, you could use the handy new WhatFont Bookmarklet to find out. While exploring various websites’ type choices, you might even find a few of Terris Kremer’s favorite FontFont-crafted webfonts.
But FontFont hasn’t just been busy with a site redesign. Which brings us to this week’s new type:
More FontFonts? Yes, please. Łukasz Dziedzic’s FF More gives us just that — spanning five widths and 30 fonts. This sturdy, “gentle contrast” serif was built to work toe-to-toe with FF Good, Łukasz’s recently expanded sans superfamily.
After eleven years in the shop, New York-based Max Phillips has released his very first type design, the highly readable FF Spinoza. Deemed an “elegant workhorse,” this Germanic-inspired text face shows off some mighty tasty details at display sizes.
Also available from FontShop this week are Aspic, Asphalt, and Aspect — a trio of related italics by Gareth Hague of Alias fame. Each of these complementary, condensed display faces sport medium and bold weights.
What did the typographic tag team of Angel Koziupa and Alejandro Paul bring us this week? Why, Aventura of course — a “burlesquely round, stylishly seductive” display face packed with plenty of alternates.
From scrumptious to luscious. Neil Summerour pulls out all the OpenType stops with Lush Script, a fabulously fluid script in the handlettering style of the 40s and 50s. Lush is tricked out with hundreds of stylistic and contextual alternates, ligatures, swashes, and other typographic treats for “flexibility and forgiveness.” If the monstertruck-sized type samples on the Positype site aren’t enough to sway you, download the amazing Lush Script specimen and poster PDFs.
René Verkaart’s Insider is not so much a sequel as a major retooling. This solid, corporate sans family has been expanded to eight styles across four weights. It has also been summarily purged of the odd, stencil-style romans.
Are you kidding me? Yet another free webfont from Pablo Impallari? When does this guy sleep? Miltonian lifts some inspiration from the imperfect world of tattoo lettering. Both the open and filled variations of this wobbly serif include a handful of matching dingbats.
This is what happens when you mix together the unlikely flavours of gothic woodtype and notebook doodles. Gothic XS Hand, from Montréal’s UrbanPixel, provides two styles of ultra-condensed display type with plenty of hand-scribbled variations. A surprisingly loose creation from a foundry better known for their tight bitmap fonts.
The inspiration for Rui Abreu’s Aria was born out of the “peculiar capitals” spotted in an inscription on the frame of a nineteenth century painting. This observation led to the high contrast and vertical structure of this elegant, calligraphic titling family. The italics are especially delicious. There’s also a short film for Aria created by Abreu himself.
Aria doesn’t have the only calligraphic video this week. For calligraphy of a different vintage, the Linotype blog has shared a video of Hermann Zapf at work. But why stop at 40 years or so in the past when you can go back another 3,500 years and witness the oldest readable writing in Europe? (OK, “oldest” until someone uncovers something even older. But still.)
And now for the rest of the week’s news:
- Yves Peters interviews Robin Richmond, the organizer of TYPO London.
- Typophile has a lively debate about how we read.
- For reading of a different sort, typography and fiction meet in Alexa Lash’s short story “Kern, Baby, Kern.”
- Do you like chrome lettering? Chromeography is probably for you.
- Simon Walker guides us through a technique for aging type in Adobe Illustrator.
- Gotham, popularized in part by the 2008 Obama campaign and now ubiquitous in movie poster design, apparently needed serifs for President Obama’s reelection campaign. Hoefler & Frere-Jones were happy to oblige.
2012 still feels like a long way off. Here are a few slightly more pressing dates:
- Today is the deadline for TypeCon programming submissions and Catalyst Award nominations.
- Registration is open and submissions are welcome for ATypi’s Letter.2 competition.
- April 11 — next Monday — at the Cooper Union, Sébastien Morlighem is giving a talk on “The Swan Song of Metal Typography in France,” at 6:30 in the evening.
- Spatial Typography is a featured course for Design in the Field, June 18–26 at Emily Carr University.
That’s the news for this week. Let us know what we missed — or should take note of next time — in the comments.
Give Grant Hutchinson a round of applause for guiding us through this week’s overabundance of new type.
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