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.
Typocamp is the result of a joint initiative of the Foundry (Digital Agency of Île-de-France), Silicon Xperience and Graffr, within the Futur en Seine festival. It is a type manifestation of a new kind posing as challenge of creating and staging typography in 48 hours in the fields of print, web and animation. We have also noted the presence as a type design team from the Velvetyne type foundry. The first edition took place on 22, 23 and 24 June at the Cantine.
Edited an designed by Maria Inês Cruz and Lozana Mehandzhiyskan, Typography with a view is an annual journal that documents the activities of the postgraduate student community in the Department of Typography at the University of Reading. This department is one of the best place to learn type design in Europe.
We are glad to introduce you the winners of the Conqueror Typographic Games.
Ambroise attempts to reproduce more of what we see printed on paper in the 19th century; a more accurate representation of Didot punches. So, the unbracketed serifs are not truly square straight-line forms but use tiny transitional curves instead. The result on the page appear more softer and less straight, particularly in larger sizes.
Geneo, designed by Stéphane Elbaz, is a synthesis of historic and present-day visions of typography, a slab serif constructed on an oblique axis. Its subtle contrast evokes both Renaissance elegance and the robustness of the Egyptian typefaces that were in vogue during the 19th century. Geneo falls halfway between the classic styles of Garamond and Fournier, with aspects of contemporary slab serifs. From this blend of styles and genres, it emerges with a singular identity perfectly suited for modern illustrations of quality, savoir-faire, and culture.
In a couple of days, we will publish the first no-porchez typeface family. This forthcoming family is a sort of slab serif with trace of writing on it. Its not a revival or a pure old style, more a contemporary typeface, a synthesis of various ideas combined. Obviously you will know everything about the designer and the typeface later, but we will have to wait a bit more for that.
Le Monde Sans is a sanserif based on Le Monde Journal — a practice that become commonplace from early nineties. Designed originally in 1994 for the Le Monde newspapers (they switched to standard fonts in 2005), it was expended over the years to the large family we know today. As many others members of the extensive Le Monde family, Le Monde Sans was revamped for the relaunch of Typofonderie website. The good surprise is that you can enjoy Le Monde Sans in its exclusive Pro version for almost the price of the STD version…