Here’s an interesting twist on variable fonts: one of variable axes is serificity …serificousness …serifness. The serifs. The serifs, is what I’m trying to say.
One small point: it seems a bit of a shame that there are separate files for regular and italic—it would’ve been nice to have a variable axis for italicity …italicousness …ah, screw it.
Conceding that a typeface is a tool sounds dangerously close to an excuse: toolmakers cannot be held responsible for things made with their tools, or the tasks leading up to those things. They are only responsible for the making of the tool itself. If a person decides to use a hammer to drive home a screw, then so be it. The hammer was only designed for nails. It’s not our fault the typography doesn’t look good. The typeface is just a tool — you’re using it wrong.
I love this idea (and implementation)—instead of treating braille signage as something “separate but equal”, this typeface attempts to unify lettering and braille into one.
Braille Neue is a universal typeface that combines braille with existing characters. This typeface communicates to both the sighted and blind people in the same space.
A simple resource for finding and trying variable fonts.
Some lovely branding work for the UK Parliament, presented very nicely.
A handy browser-based tool for examining font files to see which features they support.
Tal Leming’s thoroughly delightful (and obsessive) account of designing the 90 Minutes typeface for U.S. Soccer.
FIFA has strict regulations that govern the size and stroke weight of numbers and letters used on official match uniforms. This made me unbelievably paranoid. I had a nightmare that one of the national teams would be set for kickoff of an important match and the referee would suddenly blow the whistle and say, “Hey, hey, hey! The bottom stroke of that 2 is 1 mm too light. The United States must forfeit this match!”
You’ll need to be comfortable with using the command line, but this is a very useful font subsetting tool from those clever folks at Filament Group.
A rather handsome looking free serif typeface based on Gargantua. Spectral is available under an Open Font License.
Rob walks us through the typographic choices for his recent redesign:
Most of what I design that incorporates type has a typographic scale as its foundation, which informs the typeface choices and layout proportions. The process of creating that scale begins by asking what the type needs to do, and what role contrasting sizes will play in that.
A nice free and open source font designed for digital interfaces:
Inter UI is a font for highly legible text on computer screens.
The book draws together the many and varied uses of Futura that make it a universal language while simultaneously confirming its unique typographic voice. The book is a playful yet passionate rebuttal to the perceived dominance of Helvetica as the typeface of modern design.
This forthcoming sci-fi quarterly publication looks intriguing:
Each issue contains a part of a previously untranslated novel as well as essays looking at the world through the lens of different writers.
I’m loving their typeface. It’s called Marvin. It was specially made for the magazine, and available to download and use for personal use for free.
Marvin gets its distinctive voice not only from its Art Nouveau vibe but also from its almost geometrically perfect construction. Its roundness and familiarity with Bauhaus typefaces shows its roots in geometric sans serifs at the same time.
Interface is a font for highly legible text on computer screens.
And it’s free!
A blog dedicated to documenting the letterforms on display in Berlin.
The accompanying video lists the design principles:
- Elevate our status
- Surprise & inspire
- Change perceptions
- Do good things
- Be unmistakably Wales
Two new typefaces, designed to be deliberately lacking in expression.
The write-up of the making of the typefaces is as open and honest as the finished output. This insight into the design process rings very, very true:
Post rationalisation is an open secret in the design industry. Only when a project is finished can it be written up, the messy process is delineated and everything seems to follow a logical sequence up until the final thing is unveiled, spotless and perfect.
However, I suspect the process is largely irrational for most designers. There is a point where all the input has been processed, all the shit drawings, tenuous concepts and small ideas have been thrown away and you just work towards the finish, too exhausted and distracted to even know if it’s worth anything or not. And, if you’re lucky, someone or something will come along and validate the work.
Here’s one of them new-fangled variable fonts that’re all the rage. And this one’s designed by David Berlow. And it’s free!