Ben Barrett-Forrest about his animated history of typography
Ben Barrett-Forrest, from Forrest Media presents a stop-motion version of the history of the history of typography. Since Johannes Gutenberg and his invention of printing using movable type, he goes on to track the different types that have emerged and diverged since Nicolas Jenson’s invention of roman typeface. We asked him a few questions…
Report of the 2013’s Adobe FDK workshop at Typofonderie
Last week, Typofonderie hosted a Adobe FDK workshop for the first time. This workshop was conducted by Miguel Sousa, who comes specially from the production department font Adobe, San Jose, United States. All participants were fully satisfied with their three days spent to learn how to manage font production following Adobe methods.
Adobe FDK workshop at Typofonderie, 26-28 March 2013
The purpose of the workshop which will be held for the first time in France is to provide professional high-level training dedicated to the production of fonts with the Adobe FDK. The goal of the Adobe Font Development Kit for OpenType is to offer tools created and developed by the team in charge of typography at Adobe. These tools can produce OpenType fonts (and in some cases TrueType) of high quality, adding OpenType features beyond what some software typeface design can propose.
About Geneo typographic specimen
Interview of Félix Demargne
Few weeks ago, we received the printed specimens of the recently launched Geneo. For this new typeface, we decided with Stéphane Elbaz to ask Félix Demargne, a talentued graphic designer, to design the new typeface specimen. We through that it would be a good thing to ask a few questions to the really first user of this wonderful typeface. Here after are his answers…
Inside Paragraphs: type setting explained
Cyrus Highsmith, type designer working for the Font Bureau, just published Inside Paragraphs: typographic fundamentals, a book about fine type setting. Thinking the reader is not an idiot, Cyrus Highsmith doesn’t just tell how to do things, but explains why it has to be like that. A must-have for all the graphic-designers.
Typography is everywhere, except where there is none, anymore
Typography is Latin-centric, just as Mercator maps are Europe-centric. But, we live in a time of globalization, and the new Gutenberg galaxy fosters this “global village” effect. Far is near, there is no such things anymore as “remote borders” we could afford to ignore.
On type classifications
Classifications of Typefaces is an endless activity. Many books cover the subject, and try to adapt, optimise the system. There is no perfect system, I still use The Vox ATypI system mainly as terminology to describe typefaces. Maximilien Vox, founder of the Rencontres Internationale de Lure, its author said repeatedly that his system should work by combining the names of categories
Off Seasons typography
A type family story
Unless you are a typeface designer it is unlikely that you are paying much attention to the shapes of the letters that make up this sentence. This is at it should be. Letterforms in text should not attract attention to themselves. They should be quiet, orderly, & familiar so that the focus can remain on reading.
