Font Proofer creator Peter Nowell moderates. Type design tools—and other resources serving our small community—are rarely sustainable long-term projects for the people who make them. Whether it’s an app, plugin, script, or website, we’ve all experienced a project get abandoned, which has real impacts on type designers. As toolmakers and as a community, we can… Continue reading Can Type Tools and Community Projects Be Sustainable?
Naïma Ben Ayed likes to define her practice as telling stories with letters. How does that translate in terms of process? Her first step is creating and/or researching a context for type design projects. This may mean designing for a specific location, working in a thoughtful collaboration, or looking at a particular reference. In this… Continue reading On Process(es)
Presented by Peter Bilak to the ATypI Letter.2 conference in Buenos Aires on 4 October 2011 One of the most common questions that type designers face is whether there aren’t enough typefaces already. In this talk, I’ll talk about growing inspirations in type design, as I firmly believe that there are more reasons to make… Continue reading Expanding possibilities of typography
Jo de Baerdemaeker investigates the roots of manufacturing inline typefaces and illustrates the reasoning of their development through the typographic analysis of ornamented types. From the 2013 ATypI conference in Amsterdam. Inline vs outline’ investigates the roots of manufacturing inline typefaces and illustrates the reasoning of their development through the typographic analysis of ornamented types.… Continue reading Inline vs outline
Presentation given by Gerard Unger to ATypI Amsterdam 2013 on 11 October 2013 In Alverata elements from the Romanesque period (1000–1200) are comined with influences from 20th century modernism and modern classicism, as well as from recent developments in communication. Romanesque capitals in inscriptions were used for 200 years in a large part of Europe,… Continue reading Alverata: Present-day European letters with roots in the Middle Ages
Victor Gaultney leads a discussion panel about open or collaborative font projects. From the 2013 ATypI conference in Amsterdam. “Over the last eight years, the number of open or collaborative font projects has gone from a small handful to over 600, and even major foundries such as Adobe are releasing fonts under open licenses. What… Continue reading Open and collaborative font design in a web fonts world
Frank Grießhammer explain what creates an overflow in a kern table and what we can do about it. From the 2013 ATypI conference in Amsterdam. It is quite common for modern fonts to contain a great number of kerning pairs. Despite modern tools, kerning still is tedious work for the type designer. After all the… Continue reading Yearning for kerning
Presentation by John Hudson to ATypI Letter.2 in Buenos Aires on 4 October 2011 Most of the time, the shapes of letters do not affect their meaning. An A is an A is an A, regardless of whether it is roman or italic, light or heavy, serif or sans serif. For scholars dealing with historical… Continue reading Athena Ruby: when shape has meaning