Like with good wine, there can never be enough good type, referring to Adrian Frutiger’s answer to the question if we still need more typefaces. But to find your favorite bottle of the tasty red, you might need to take a few sips.
Huge diversity, all the details and possible combinations do not make it an easy decision to pick out the right typeface – and this is where it comes down to a good strategy.
On designing the cryptic cyrillic “K”. In her workshop, Gayaneh Bagdasaryan revealed her approach to design one of the most confusing Cyrillic letters.
Nie zuvor fanden auf der TYPO Berlin so viele Workshops statt! Und wie immer kannst du überall mitmachen, denn alle Workshops sind im TYPO-Ticket enthalten. Allerdings gilt: Begrenzte Teilnehmerzahlen – first come first served.
//// We have so many workshops at a TYPO conference then never before. And even better news: all workshops are included in your TYPO ticket! Only one restriction applies: the number of participants is limited for each workshop. Be early get hold of a place.
Den Themen E-Publishing und E-Books widmete sich das kompakte Seminar zur Font-Technik am vergangenen Freitag, auf seiner ersten Station 2015, in Berlin. Sprecher waren der Digitalmedien-Produzent Fabian Kern, die preisgekrönte Technik-Autorin Katrin Passig, der Interaktionsdesigner und Software-Entwicker Frank Rausch und Atilla Korap, Experte und Berater für Font-Entwicklung und Digital Publishing.
Web typography has come a long way since the early days of the Internet. The pace of innovation has ebbed and flowed, and according to Elliot Jay Stocks (Creative Director of Adobe Typekit) typography on the web is currently experiencing a relative state of calm. This provides a great place to reflect and build a foundation for the future. And since “web design is 95% typography,” it is critical that we do just that.
167 designers and counting. And perhaps a few more could soon be enlisted into the mighty FontFont family.
Thanks to Toshiya Izumo, we are proud to present the first ever TYPO-Blog post in Japanese! Please scroll down for German version!
Sean McBride is an engineer and product developer at Typekit, which is to say, he does a little bit of everything. In, “More Than Type,” he reveals how Typekit does a little bit of everything too. In developing a service to license and display fonts on sites for a subscription, Typekit introduced a radical idea: in addition to their fundamental service, Typekit educates its customers about how to get the most out of that service.
He took the audience on a whistle-stop tour of the history of FontFont, an independent Berlin-based font foundry that has been at the the forefront of innovations in type for the past two decades.
Let’s face the ugly truth: Typography on the web is still in an awful state. There may be countless positive things to be said about the internet, but fine typography is definitely not among them. In his talk on Friday, Matthew Butterick blamed this on low expectations: While most web developers (excuse the generalization) don’t care about good typography, most web designers have grown up with just a handful of fonts to choose from and still decide to stick to them. Consequently end users are accustomed to seeing bland, standard typefaces.
Es begrüßt uns ein Butter-Männchen auf der TYPO stage. Maurice Göldner, Meisterschüler an der Hochschule für Grafik und Buchkunst Leipzig, erzählt von seiner Forschungsarbeit über die in Vergessenheit geratene Schriftkultur der Brüder Butter aus Dresden und seiner entdeckten Leidenschaft für diese besondere Schriftgießerei. Der technische Fortschritt ließ viele der spannenden Schriftentwürfe aus dieser Zeit unberührt. Im zweiten Teil des Vortrags präsentiert Maurice Goldner seine Schriften NE-PO (Negativ-Positiv) und Stan die aktuelle Interpretationen aus Butters Zeiten sind.
