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November/December 2007 V23N6
There are over 200,000 digital fonts currently available to designers, which begs the questions: "Do we need all these fonts?" and "Why are there so many?"
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September/October 2007 V23N5
The accomplishments of Hermann Zapf continue to confound and amaze,
even today striking into unknown territory.
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July/August 2007 V23N4
Bruno Maag discusses the business and emotional nuances
of crafting a career designing letterforms.
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May/June 2007 V23N3
From ardent traditionalists to irreverent iconoclasts, everyone
seems to have strong typographic opinions. This pull-no-punches section is for those who are passionate about type.
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January/February 2007 V23N1
There are currently hundreds—maybe thousands—of people designing type and building new fonts. Many are young … and a few of these are already masters of their craft.
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Sept/Oct 2006 V22N5
This time we look at a handwriting font, two interpretations of W.A. Dwiggins’ work,
two new sans serif families, and a delightful new roman.
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July/August 2006 V22N4
Type can be fickle. After hundreds of projects where the
type behaves, helping to create elegantly simple graphic
communication, it can suddenly turn on you—making your
project look like something hacked out of a tree stump by
liquored-up beavers.
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May/June 2006 V22N3
Learn how a young man with “authority issues” become a world-class typeface designer and found happiness in one of America’s most scenic spots.
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January/February 2006 V22N1
Rod McDonald’s work as a graphic designer, lettering artist, educator, historian, and prolific writer has encompassed virtually every aspect of the typographic arts. Despite his success as a lettering artist, however, it was 20 years before McDonald tackled his first typeface design.
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Nov/Dec 2005 V21N6
Sibylle Hagmann, Teri Kahan, Ronna Penner, Olivera
Stojadinovic, and Mira Vucko are part of a new and growing
group of female typeface designers. While you may not be
familiar with their names now, you soon will be.
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Sept/Oct 2005 V21N5
Unlike BetaMax and 8-track tapes, OpenType is a technology that is here to stay.
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July/August 2005 V21N4
Type designer James Montalbano talks about Giacomo and Alfon
from conception to “birth,” and lends some insight into
his world of typeface design.
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May/June 2005 V21N3
It's easy to think about type as being cold and technical, just another element of craft. It should really be elegant, not something you'd pick up at a roadhouse bar.
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May/June 2005 V21N3
In 1985 purists predicted desktop publishing meant the death of typography. Twenty years later, typography—despite the bleak outlook in 1985—is still very much alive.
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May/June 2005 V21N3
We looked at the work of three businesses that turn out very different print products. All are mildly obsessive about type: a design firm that rigorously balances strategy and execution, an author who illustrates and designs her own books, and a traditional typesetter-turned-letterpress designer.
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May/June 2005 V21N3
To the degree that a typeface has personality, spirit, or distinction, however, it often suffers proportionally on the legibility scale -- but, of course, it doesn't have to.
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May/June 2005 V21N3
Typography plays an important part in the work Robert Valentine does for his clients. This is why he aspires to classicism and lasting aesthetics rather than trendy decoration.
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May/June 2005 V21N3
This year we look at a handwriting font, a replication of Albrecht Dürer’s 16th century design, a 21st century send-up to Oz Cooper, and yet another industrial-strength sans.
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January/February 2005 V21N1
Writing and typographic design are very closely related disciplines. The problem is that sometimes they fail to talk to each other.
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