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.
“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.