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table of contents Peter Bil’ak on the process of designing his newly released Karloff typeface

Our Favorite Typefaces of 2013 Wookmark Typodarium 2014 Crystal Kluge

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After a long hiatus (inexcusably skipping 2009 and ’10) we’re back with our annual review of the year in type.

The idea is simple: I invite a group of writers, educators, type makers and type users to look back at 2011 and pick the release that excited them most. The reviews range from the academic (like Paul van der Laan on Zizou or Jens Kutilek on FB Alix) to the theoretical (such as Jan Middendorp on Agile) to the personal (like Carolina de Bartolo who reviewed Calibre and Periódico after firsthand experience with a redesign of WIRED magazine) to the playfully unexpected (Microsoft’s Si Daniels praises Apple Color Emoji) to the exclamatory (Matthew Butterick on Neue Haas Grotesk). This is not a juried contest. The result isn’t necessarily the “best fonts of the year”, or even those most used or ballyhooed. But these 50 selections do capture a pretty accurate snapshot of where type design is now, and where it’s headed. If 50 seems like a lot, consider the thousands of new releases that didn’t make the list. The general public’s interest in typography continues to grow, and with that comes hundreds of new designers who are dabbling in or starting new careers in type making. Our list of honorable mentions represents only a small slice of the new fonts published in 2011.

Unlike most of our interviewees, Crystal Kluge never dreamt of working OpenType magic or getting the most out of FontLab software. Pens, pencils and brushes are her tools of choice. She’d already found her own enchanting style of lettering and illustration when she was approached by Font Diner’s Stuart Sandler, who had spotted her work when shopping for wedding invitations in Minneapolis’ Uptown area. In 2006 the twosome started the Tart Workshop. It’s a dream team: Kluge draws cheerful, sassy letterforms and pictograms, Sandler makes them into smart and usable fonts with a catchy swing. And the beat, as they say, goes on.

You’re a lettering artist rather than a type designer. Do you have a formal education in calligraphy or lettering? Drawing letters has been a recurring theme in my life. I’ve been attracted to letterforms since I was a child. In college, I studied Interior Design and Art. While I did plenty of architectural lettering, calligraphy was certainly not in the curriculum. During that time, I worked as a graphic artist for the university’s graphics shop and as a sign maker for a hardware store (lots of hours with chisel-tipped sharpies mimicking the head sign maker’s hand). After college, I worked in interior design for a few years. Seeking a change, I took a position at a stationery store, where among other tasks, I did store displays. From there, I launched a thriving career as a freelance artist. Although I’ve taken many courses in the book arts (western calligraphy, Japanese calligraphy, letterpress, illustration) and attended calligraphy conferences over the years, I am self-taught. As a lettering artist, who are your clients? What is the kind of job you enjoy most? I’ve been blessed to have a range of great clients. For me, having a variety of projects on my plate

Do you have any heroes in the calligraphic world? I first became interested in calligraphy as a 11-year-old having seen a book with Sheila Waters’ art at my grandmother’s house. I am still in awe whenever I see any of her work. She has been integral to the calligraphy revival in the United States and has taught and inspired so many talented calligraphers.


F25 Digital Typeface Design is part of Grafisches Kontor in Berlin, Germany. F25 designs and creates fonts. Further we offer services about digital fonts, e.g. creating a font of your handwriting, integrating your logo or pictograms into a font or creating a separate font with the logos of your company. Please feel free to ask us. Two key aspects of our activity comprise experimental fonts and old typewriter fonts. Many of our fonts are free for private use and you can use them test them as well in your layouts of your commercial projects. Enjoy the different designs and feel free to use our fonts in your designs and layouts!

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Peter Biľak on the process of

designing his newly released Karloff typeface, demonstrating just how closely related beauty and ugliness are. Karloff explores the idea of irreconcilable differences — how two extremes could be combined into a coherent whole. In 2010 I was invited to a design conference in Copenhagen to speak on the subject of conceptual type. The organisers were interested in examples of typefaces whose principal design feature was not related to aesthetic considerations or legibility, but rather some underlying nontypographical idea. In my address I argued that there is no such thing as conceptual type, since type design is a discipline defined by its ability to execute an outcome;

The Beauty

While any choice representing beauty is bound to be very personal and subjective, many agree that the high-contrast typefaces created by Giambattista Bodoni and the Didot clan are some of the most beautiful in existence. Bodoni was one of the most widely-admired printers of his time and considered amongst the finest in the history of the craft. Thomas Curson Hansard wrote in 1825 that Bodoni’s types had “that beautiful and perfect appearance, which we find it difficult and highly expensive to equal.”¹ In his Manuale Tipografico of 1818,

The Ugliness I have to admit that dealing with ugliness was a lot more interesting than revisiting the beauty contests of the classicist printers. The search for ugliness triggers a certain

About this font family WOOD TYPE COLLECTION from BORUTTA is a set of wonderful, warm and weathered hand made typefaces designed by Mateusz Machalski. The Inspiration for this collection comes from a wooden letter blocks and other old technologies used for printing. WTC supports 40 different languages and contains over 6000 glyphs. The Family consists of 7 typefaces in 14 different styles! (Regular & Italic) ENJOY!

Typography Cookies taske super good (from the Greek words τύπος (typos) = form and γραφή (graphe) = writing) is the art and technique of arranging type in order to make language visible. The arrangement of type involves the selection of typefaces, point size, line length, leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning). Type design is a closely related craft, which some consider distinct and others a part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers.In modern times, typography has been put into motion—in film, television and online broadcasts—to add emotion to mass communication. Typography is performed by typesetters, comp

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