Type News: —
What kind of breathing room does an em dash require? Plenty of other things happened this week, but that question is what really matters — and we’ll get to it in due course.
But first—the news. And we begin with congratulations to Mike Parker, who will be awarded the TDC Medal on April 6.
The January type acquisitions by the Museum of Modern Art are back in the news. Paul Shaw has seen the exhibition and has a thoughtful response to it. For another take on the MoMA type acquisitions, there is an AIGA-sponsored conversation with Matthew Carter, Jonathan Hoefler, and Paola Antonelli on March 28. Alas, it’s too late to get tickets — and the likelihood of no-shows is slim. Maybe some kind folks will write about it, too.
Let’s take a break from the news and enjoy this week’s new type:
When Mark Simonson recently took the edge off his workhorse geometric sans with Proxima Nova Soft, it might have started a bit of a trend. This week saw the release of Jos Buivenga’s Museo Sans Rounded, an “unsharpened” addition to the increasingly prodigious Museo series.
Speaking of soft and rounded … Colophon released the ultra clean Monosten earlier this year and has since propped it up with the addition of light and bold weights, including the obligatory stencil variations.
Delicate blossoms, leaves, buds, and tendrils propagate through Weingut, a fanciful high contrast script from FaceType. Separate weights containing letterforms and flourishes allow for stacking and coloring for a chromatic effect. And as if that wasn’t enough flair to illuminate your manuscript, there’s also a set of decorative swashes and ornaments.
The seemingly inexhaustible Pablo Impallari has graced us with yet another two faces specifically designed as webfonts. The first is the low contrast, classically proportioned Quattrocento Roman — appropriately described as both “elegant” and “sober.” In an interesting aside, Pablo reveals that he designed the capital Q to reflect his admiration of Doyald Young.
On the other end of the typographic spectrum, Pablo presents Dancing Script. This bouncy, casual number tips its hat to popular display scripts of the 1950s.
Google Web Fonts was definitely on a roll this week, with two more typefaces gracing our news. Vernon Adams’ Oswald is a fairly traditional, condensed gothic sans that has been redrawn and optimized for that pesky pixel grid.
Next, we have Gesine Todt’s lovely Amaranth, a very readable, upright italic with distinctive loops and swings reminiscent of José Scaglione’s and Veronika Burian’s Bree. As always, all four of these webfonts are free, web-ready, and open source.
Serbian designer Dušan Jelesijevic took twenty four of his eighth grade students and asked them to create a hand drawn Cyrillic headline font for use in their school magazine. The result was Osmacka Azbukovica, a charming typeface packed with personality and unsullied by adult intervention (except for the technical bits).
How about an extra condensed, grotesque-inspired display face from Latinotype? We thought you’d never ask. Mazúrquica features three wonderfully named weights (Liviana, Media, Pesada) and a selection of uppercase ligatures that’ll add some Latin heat to your headlines.
With so many new typefaces to choose from, it would be good to know how to choose wisely. Stephen Coles offered guidance at South by Southwest and has posted his thoughts and other resources on Typographica. Douglas Bonneville also has written some advice on choosing a typeface for Smashing Magazine. On the web, we don’t always have the luxury of using our first choice, even when we’re using
@font-face; Josh Brewer has come along to save the day with his “Choosing Fallback Fonts” for the Typekit blog.
And now — the rest of this week’s news:
- Ostensibly about type but really about lettering, “I Believe in Type” is still worth a gander.
- Lovely lettering abounds in “Sentimental Journey,” a postcard series by Kris Sowersby, Sarah Maxey, and Kate Camp.
- LetterCult has named Niels Shoe Meulman its 2010 Person of the Year.
- Dyana Weissman reviews Typeface, the recent documentary about the Hamilton Wood Type and Printing Museum.
- A newer technology headlines the latest Field Notes limited edition notebooks — and are just about perfect for the budding typesetter. Get them while you can.
- Thomas Phinney guides us through the reality of point size and the em square in the age of digital type.
- Speaking of technology: four monitors! — or more? In any case, check out Martin Majoor working on Questa.
- Elliot Jay Stocks would like you to share your thoughts on using webfonts in desktop design apps, which is a glaring hole in the web designer’s toolbox (at least when he or she isn’t designing in the browser).
- If you know Korean (or have a good translation arrangement), you might be interested in this interview with Xavier Dupré.
- Katie Parry covers Birmingham’s Type Writing Symposium for the blog of Eye Magazine.
- Find out what happened at the second annual type design workshop this past February in Trenta, Slovenia.
- Do you have an iPhone and love games like Space Invaders? Vetica might be the game for you.
- Process Type Foundry is looking for a communications manager.
- Simon Pascal Klein covers the design of quotations and citations.
- Today is the last day to submit your glyphs to Font Aid V: Made For Japan.
Finally, Twitter was abuzz this past weekend over the the appropriateness of the presence (or absence) spaces on either side of an em dash. No matter where one lands on this most pressing issue of our time, I’m sure we can all agree that — when used sparingly — the em dash is a wonderful rhetorical tool — and that it’s fun to discuss the minutiae of its use.
That’s it for this week. But surely something is awry, surely we got some niggling detail or other wrong—please let us know about it in the comments.
Thanks to the pro-space Grant Hutchinson for guiding us through this week’s new type!
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