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.
“It’s definitely the typeface I was searching for”: Nicholas Felton found Input to be the perfect choice for a hard-hitting presentation of raw data.
Matthew Carter restores the authenticity of Isaac Moore’s 18th-century display face, in a design meant to be used, well, Big.
Rustic but not unrefined, David Jonathan Ross’s Turnip can be planted in any ground, and still come up hardy, tasty, and readable.
DJR takes the thicks and thins of letters and turns them on their heads.
The Museum of Modern Art acknowledges type’s importance to the history of modern art and design.