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ScreenFonts: February 2019

Questionable typesetting can still be beautiful, as the posters for Asher, Bitter Melon, Chef Flynn, Pimp, If Beale Street Could Talk, The Favourite, The Mule, and The Front Runner attest. This episode takes a look at some perfect imperfection.

Retype shares Reiher Headline, Tasman, and Guyot Press with Type Network

Ramiro Espinoza’s new offerings include a rerelease, an expansion, and the beginnings of a superfamily.

Kamala Harris runs with Type Network type

The Democratic senator’s 2020 presidential bid uses typefaces from Font Bureau, The Ivy Foundry, and DJR. Let the race begin.

Inside the fonts: BF Buffalo travels back in time

Neville Brody lets typographers choose between the original and updated versions of BF Buffalo by way of well-thought-out Stylistic Sets. Now you can have your fonts and eat them, too.

ScreenFonts: January 2019 | The Leftovers

These posters didn’t make the cut, but are still noteworthy for their design and/or typography.

Type Network turns a page

We finished 2018 with a shifting leadership roster. Now we’re ready to break fresh ground in the new year.

ScreenFonts: January 2019

A lot of struggle surfaces in the posters for this episode. This time around, I look at art for Suspiria, The Bray Road Beast, Beoning (Burning), Can You Ever Forgive Me?, What They Had, Beautiful Boy, Private Life, and Bikini…

ScreenFonts: December 2018 | The Leftovers

These posters didn’t make the cut, but are still noteworthy for their design and/or typography.

ScreenFonts: December 2018

A lot happens with a little in the posters for A Simple Favor, Matangi/Maya/M.I.A., Assassination Nation, White Boy Rick, Monsters and Men, Call Her Ganda, Hale County This Morning, This Evening, and Hal. It’s all about space.

Elevate your display game with TYPETR’s PowerLift

Petr van Blokland surprises with a chunky, funky, punchy display slab serif.

Scout and Heron Serif explore new horizons

Two type families from Cyrus Highsmith spruce up their language skills.

ScreenFonts: November 2018 | The Leftovers

These posters didn’t make the cut, but are still noteworthy for their design and/or typography.