Decorative letters may have piqued my interest in designing type, but text is what keeps me here.
Inspired by vernacular lettering and the art found everywhere, the Type-Ø-Tones are known for their eclectic typographic explorations, and their gift for turning collaboration into an art form all its own.
The London-based designer, known for his identity work crafted for major international brands, finds a new home for his versatile typefaces at Type Network.
The second half of Day 2 made one thing abundantly clear: the new business track is a vital addition to the ATypI program, and needs to be held in bigger rooms to accommodate demand.
Inventor aspirations, technology from Japan, ocean exploration—for CJ Dunn, it all leads to typeface design.
Font Bureau founder David Berlow, a pioneer from the early days of digital type, thinks we’re finally ready to embrace the power of variations.
On the second day of the ATypI conference at the National Audiovisual Institute (NInA), a huge announcement overshadowed the rest of the proceedings. OpenType 1.8 now supports variable fonts, making this the biggest news in digital type…
DJR’s expansive revival of Novarese’s mid-century classic reimagines a near-forgotten gem for the modern typographer.
Most digital revivals of old metal fonts start with printed specimens. But Indra Kupferschmid, who led the research effort, suspected we might be able to get to the source.
The Italian type foundry Nebiolo of Turin was the biggest type and printing equipment manufacturer in Italy. It started in 1852 and thrived in the first half of the 20th century, but never made the transition to phototype. The foundry…
The development of Forma is an extraordinary story, and the question of who designed it is not as easy to answer as it is with other typefaces.
Turin-based Aldo Novarese was one of the most inspired type designers of the 20th century.