Richard Lipton took off from an old bicycle logo and hasn’t stopped since, pushing the weights and fine details of a dynamic script to their limits. In a relaxed manner, of course.
Type Network is a new model for type design, development, and licensing built in response to the increasingly complex needs of type designers and type users.
Occupant Press is excited to announce the publication of Cyrus Highsmith’s new children’s book from Japanese publisher Bunkeidou.
This year again, TypeLab—moderated by Petr van Blokland—took place as a lively side-program at Typographics. You were invited to participate. While on the main stage topics can only be formal presentations, at TypeLab they may be put into practice.
Since then, the English edition has been reprinted once, and other editions were published in Japanese, French, Spanish, and Polish. I have heard comments of all kinds from readers, students, and teachers. And I have had a chance to reflect…
Cyrus Highsmith designed 44 styles in this new Scotch series. Escrow sets the tone of the front page of The Wall Street Journal, envy of the newspaper industry. “Escrow is the spectacular element holding the whole thing together” Design Director…
Matthew Carter’s Roster takes the visual tension of square corners in round shapes and makes this square-circle tension its underlying structure.
Victoria Rushton’s stylish, exuberant, contradictory typeface “is based on nothing, nothing at all,” she says.
Stephen Coles offers clear definitions for commonly abused terms and elaborates on the differences between type and lettering, a typographer and a type designer, and a typeface and a font.