Art director and musician Yves Peters casts an eye over the nominees and winners in the design categories at the Recording Academy’s sixtieth annual awards.
A gift from his daughter led Sindre Bremnes to turn the interwar lettering on Norway’s phone booths into a retro-toned geometric sans family with a decidedly modern voice.
Named after the hedera symbol, or what Robert Bringhurst calls a “horticultural dingbat,” The Ivy Foundry offers a cool quartet of type designs from Denmark.
Type sorcerer Oded Ezer extends the mighty morphing display family to support the Hebrew script.
After releasing a supersized modular bitmap family in 2017, Petr van Blokland raises the bar for sans faces with his first “traditional” type release in nearly two decades.
Defying legibility conventions. Shattering images. Subverting any sense of scale. Turning the world upside down. This episode looks at posters for The New Radical, The Shape of Water, Foxtrot, Kaleidoscope, Star Wars: The Last Jedi, Downsizing, The Phantom Thread, and…
After hiring each other for multiple projects during a prolonged business courtship, Ben Kiel and Jesse Ragan committed to starting a foundry together in 2017. They join us with a vibrant type library and a passion for craft and technology.
This episode of ScreenFonts unexpectedly turned out to resemble a blind taste test. I look at posters for My Friend Dahmer, Roman J. Israel, Esq., Mugen no jûnin (Blade of the Immortal), Along for the Ride, Thelma, Most Beautiful Island,…
Designer Jeremy Landman takes Font Bureau’s seven-width wonder to mind-bending heights in a new Netflix docudrama.