A daily stream of tweets, links, tunes, images, and other bloggish bits and bobs posted by Grant Hutchinson.
Lovingly compiled for you in somewhat linear format.
Enjoy.
From the site: “Substance, the new typeface designed by Marcus Sterz, fulfills the primary role of emphasizing content. Substance is a workhorse with loads of subtle OpenType features, tabular options, 21 currencies signs and a diversity of symbols and arrows. Substance provides everything you need for demanding briefs like signage or corporate design.”
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A short video by Rui Abreu showing the last stages in the design process of his Aria Text type family.
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Smashing Magazine revisits their three year old survey of typographic design patterns and practices, revealing some interesting web font usage statistics and other tidbits.
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From the site: “A whimsical and fun calligraphy style font that is perfect for informal and fun occasions. The design was inspired by a series of scrapbooking style fonts that I have been exploring over the past couple of years. Inspired by a hand lettered sample in a lettering how to book. Contains language support for both Latin-based and most Eastern European languages. Designed by Jason Walcott.”
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From the site: “A heavy, cartoonish and fun font based on a hand lettered 1960s advertisement. The hand-lettered original gave me the idea to expand this into an OpenType font with multiple interlocking ligatures. There are over 260 alternate [discretionary] ligatures which lend the font a hand drawn look. Great for any design that requires a fun and light-hearted mood. Contains language support for both Latin-based and most Eastern European languages. Designed by Jason Walcott.”
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“A comma and a fucking dot …”
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“Today I’ve got some very exciting personal news to share: I’m proud to announce that I’ve joined the Adobe Typekit team as Creative Director.”
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From the site: “The FontStruct community has proven that its members can breathe life into the grid, make the organic from the static, and push modularity to its creative limits. That’s why we have no qualms in assigning you with a formidable challenge for the next FontStruct competition: scripts!”
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You are invited to exhibition of the winners of the 59th Annual Type Directors Club Competitions. The opening ceremony will reveal the winner of the Best of Show for Communication Design. Recipients of the 2013 TDC Scholarship Awards will also be announced. The Cooper Union and The Rose Auditorium, NYC, July 16, 2013.
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From the site: “This text was created as a talk for An Event Apart in San Diego 2013. Many thanks to Stephen Coles for his advising and light editing.”
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From the site: “[…] a typically Danish typeface, rooted in architectural lettering rather than book typography. Originally designed for signage — hence the name — [Ole Søndergaard’s] FF Signa is now a typographic family with three widths. All weights include italics, small caps, and several styles of figures.. [R]adically different from most sans serif text typefaces that were published during the 1990s. It neither belongs in the “humanist sans” category, nor is it on the list of typefaces based on 19th-century grotesques. Its concise letterforms and a minimum of detail produce clear and harmonious word images. Yet its proportions are classical, and the underlying geometry has been subtly adjusted in order to create letterforms which are at once interesting, harmonious, and contemporary. The typeface has developed into a versatile family, with Condensed, Extended, and Correspondence versions. In 2005, a Signa Serif family was added; in 2011 Stencil variants and in 2013 a Slab version joined, too.”
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Related family to FF Dora.
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From the site: “Originally drawn as a graduation project at the Type and Media masters course at the Royal Academy of Art in The Hague, FF Dora was designed by editorial and book designer Slávka Pauliková. It is a strong-willed type family consisting of five styles: Regular, Italic, Bold, Bold Italic, and Display. FF Dora’s construction principles — especially in the italic and display styles — are based on a detailed study of today’s handwriting styles. The main focus was on transforming handwritten shapes into a serif text typeface, not a script face. Much of the distinctive personality of the typeface is derived from this idea. The name Dora is taken from the Slovakian nickname for headstrong girls. FF Dora suits small sizes but its qualities and styles, particularly the display style, also bring a certain playfulness to larger sized text.”
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From the site “… what’s it really like being a FontFont designer? We caught up with one of the newest designers to join the FontFont family, Travis Kochel (designer of the groundbreaking FF Chartwell) to find out about the path that he took to become a type designer and why he chose to submit his already successful typeface Chartwell to our library.”
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