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What's new in Visual Communication?
Selected news about graphic design, photography, film studies and media & interaction design for CV students at ECAL (Lausanne, Switzerland)
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dalton maag launches its oscine font family

dalton maag launches its oscine font family | What's new in Visual Communication? | Scoop.it

dalton maag has launched its oscine font family - originally intended for use in low resolution TV screens the font has been updated for modern use.

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Chineasy illustrated characters designed to make learning Chinese easy

Chineasy illustrated characters designed to make learning Chinese easy | What's new in Visual Communication? | Scoop.it

Entrepreneur ShaoLan Hsueh and graphic designer Noma Bar have created a system of illustrated characters and animations to help people learn to read Chinese.

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Min Ji Lee - Interview

Min Ji Lee - Interview | What's new in Visual Communication? | Scoop.it

I am a graphic designer based in New York. I am originally from Seoul, South Korea. After studying graphic design at Seoul National University, I worked as an interface designer for 3 years. This experience affected my work, since I often use interactive elements.

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Teen to government: Change your typeface, save millions

Teen to government: Change your typeface, save millions | What's new in Visual Communication? | Scoop.it

A teen's science fair project led him to realize that changing fonts could save the U.S. government millions of dollars.

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interview with graphic designer ruedi baur

interview with graphic designer ruedi baur | What's new in Visual Communication? | Scoop.it

ruedi baur's eponymous studio specializes in identity and wayfinding projects for the cultural sector.

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Watch the Documentary 'Font Men' About Jonathan Hoefler and Tobias Frere-Jones Who Have Designed Typefaces for 'The New York Times' & Others

Watch the Documentary 'Font Men' About Jonathan Hoefler and Tobias Frere-Jones Who Have Designed Typefaces for 'The New York Times' & Others | What's new in Visual Communication? | Scoop.it

Although they are currently engaging in a $20 million USD lawsuit regarding equity in the Hoefler Type Foundry – who has designed fonts for everybody from The Wall Street Journal to the President of the United States – it’s undeniable how much impact Jonathan Hoefler and Tobias Frere-Jones have had on the world of font creation. Font Men profiles both before the split and delves into their ethos as to what it takes to create a typeface – pointing to the capital letters “O,” “H,” and “D” as vital to unlocking the mystery.

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Extra Ball Typography

Extra Ball Typography | What's new in Visual Communication? | Scoop.it

The collection called "Extra Ball" was inspired by the Baimu's childhood in game centers and specifically in the Pinball machines , claiming the culture of classic games before the advent of video games.

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The Reputation Squad Typography

The Reputation Squad Typography | What's new in Visual Communication? | Scoop.it

Following our series of weird/creepy typography posts we bring to you The Reputation Squad project created by Jasse Kyttanen. With clever usage of 3D, humor and a little bit too much details the text effect achieved is nothing less than amazing.

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Hansje van Halem

Hansje van Halem | What's new in Visual Communication? | Scoop.it

Hansje van Halem graduated from the Gerrit Rietveld Academie in 2003 and works as an independent graphic designer since. She has great love for typography, book design and all other types of printed matter. Besides creating letters, textures and patterns (digitally and manually) she loves to solve editorial problems with typography and materialisation.

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What Hoefler & Frere-Jones’ Breakup Means for the Future of Type Design

What Hoefler & Frere-Jones’ Breakup Means for the Future of Type Design | What's new in Visual Communication? | Scoop.it

Chances are you’ve probably looked at the work of Jonathan Hoefler and Tobias Frere-Jones at least one time today. The type designers are behind many of the world’s most-loved fonts, like Gotham, made famous by Obama’s 2008 campaign. But according to a nasty legal document making the rounds today, the duo has parted ways.

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What are some typeface minisites of note?

What are some typeface minisites of note? | What's new in Visual Communication? | Scoop.it

Answer (1 of 4): Thierry Blancpain, Type foundry co-founder http://grillitype.com

* Meta Serif * Neue Haas Grotesk * FF Mark * Harriet Series * Serge * FS Emeric * Brandon Text * Flandria * FF Kievit * FF Trixie * Eames Century Modern * The Monokrom Catalog * The Reading Edge Series * Canapé * Daphne Script * Ladislav * Concourse

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type/dynamics by jurriaan schrofer/lust

type/dynamics by jurriaan schrofer/lust | What's new in Visual Communication? | Scoop.it

The exhibition type/dynamics: jurriaan schrofer/lust sees two galleries at the stedelijk museum adorned with large, innovative typographic installations. gallery 0.29 contains a selection of the work by graphic designer jurriaan schrofer. the second gallery, 0.28, features an interactive work by lust, who were asked to use cutting-edge media to create an installation that plays off, reacts to, and dialogues with schrofer’s work. the visual dynamic of schrofer’s typographic art suggests that his designs were created on the computer but they predate the digital era: schrofer designed everything by hand. for LUST, though, the computer is an indispensable tool; they derive inspiration from exploring the possibilities of design for new media and technologies.

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As a designer, is there shame in using web fonts that are already heavily in use/trendy for your personal site?

As a designer, is there shame in using web fonts that are already heavily in use/trendy for your personal site? | What's new in Visual Communication? | Scoop.it

Answer of Erik Spiekermann, Typographyer (1 of 12): Just as Tim and Andy say: use whatever suits the project. If a typeface – say Helvetica or Gotham or Proxima or even my own Meta become too ubiquitous, evaluate what makes them suitable and then find alternatives that share the same properties but may offer a slightly different look. There are even lists with alternatives to popular (aka over-used) fonts on FontShop.

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Type Tasting Open Studios

Type Tasting Open Studios | What's new in Visual Communication? | Scoop.it

Fresh from creating edible lettering and talking type in Texas at SXSW festival, graphic designer and Type Tasting founder Sarah Hyndman is opening up her studio this weekend to celebrate all things typography.

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The Evolution of Typography (Infographic)

The Evolution of Typography (Infographic) | What's new in Visual Communication? | Scoop.it

Typefaces and fonts are at the forefront of design, whether it be designing a word document for work or designing a Fortune 500 website.

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Typographie: A Manual of Design - free ebook for designer

Typographie: A Manual of Design - free ebook for designer | What's new in Visual Communication? | Scoop.it

Emil Ruder's Typography is the timeless textbook from which generations of typographer and graphic designers have learned their fundamentals. Ruder, one of the great twentieth-century typographers was a pioneer who abandoned the conventional rules of his discipline and replaced them with new rules that satisfied the requirements of his new typography. Now in its sixth printing, this book has a hallowed place on the bookshelves of both students and accomplished designers.

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Thierry Blancpain - Interview

Thierry Blancpain - Interview | What's new in Visual Communication? | Scoop.it

I’m one half of Grilli Type, an independent Swiss type foundry started in 2009. A friend once described me as an “internet person”, which fits me quite well. I love the intersection of design and technology and all the things made possible by that – like starting a small type foundry while still being students. I studied Visual Communication at the Bern University of the Arts from 2007 to 2010 and have been a freelance web and identity designer before, during and after studying. Now I work full time for Grilli Type. I met my co-founder Noël Leu when he joined our class from ECAL after the first semester. We quickly became friends after I saw him work on a typeface on his first day in school.

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New Paris, Euclid et Swiss Typefaces 2.0

New Paris, Euclid et Swiss Typefaces 2.0 | What's new in Visual Communication? | Scoop.it

Il y a quelques mois Swiss Typefaces a sorti deux nouveaux carac­tères, à cette occasion la fonderie en a profité pour revoir en profon­deur son catalogue et sa politique de diffusion.

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Tips for Designing Better Mobile Typography

Tips for Designing Better Mobile Typography | What's new in Visual Communication? | Scoop.it

Mobile is big right now. But often the typography is small. When it comes to creating great type on small screens, there are plenty of challenges.

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'Impossible' font inspired by optical illusion

'Impossible' font inspired by optical illusion | What's new in Visual Communication? | Scoop.it

Martzi Hegedűs was studying at the Hungarian University of Fine Arts in Budapest when he started playing around with letterforms based on the Penrose triangle, an Escher-esqe "impossible object" that can't be fabricated by any earthly means, but makes for a stunning TrueType font.

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Typotheque: Eric Gill got it wrong; a re-evaluation of Gill Sans by Ben Archer

Typotheque: Eric Gill got it wrong; a re-evaluation of Gill Sans by Ben Archer | What's new in Visual Communication? | Scoop.it

Gill Sans is the Helvetica of England; ubiquitous, utilitarian and yet also quite specific in its ability to point to our notions of time and place. As a graphic designer’s in-joke once put it ‘Q. How do you do British post-war design? A. Set it in Gill Sans and print it in British Racing Green’. As the preferred typeface of British establishments (the Railways, the Church, the BBC and Penguin Books), Gill Sans is part of the British visual heritage just like the Union Jack and the safety pin.

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These glasses let you see the world through your favorite typeface

These glasses let you see the world through your favorite typeface | What's new in Visual Communication? | Scoop.it

It's cool to understand typography now, to have a favorite typeface, and to be able to bore your friends about the differences between Arial and Verdana. The Japanese companyType wants to put your favorite typography on your face in the form of glasses. Type has created two lines of glasses that take design inspiration from a couple of the most well-known typefaces, Helvetica and Garamond. Each line has three versions of the spectacles — light, regular, and bold, of course — that delineate the thickness of the frames.

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In Memory Of Colby, The L.A. Print Shop That Made Posters For Jimi Hendrix, The Sex Pistols, And Ed Ruscha

In Memory Of Colby, The L.A. Print Shop That Made Posters For Jimi Hendrix, The Sex Pistols, And Ed Ruscha | What's new in Visual Communication? | Scoop.it

How a family-owned poster shop shaped the visual landscape of L.A. by ignoring the rules of typography.

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How do you decide which combination of fonts to include in a publication (magazine, newsletter, etc). Are there any aesthetic guidelines?

How do you decide which combination of fonts to include in a publication (magazine, newsletter, etc). Are there any aesthetic guidelines? | What's new in Visual Communication? | Scoop.it

Answer: A very complex topic made easy: there are two big families of fonts: serif and sans-serif (sans=without).

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Why do the points on Futura in letters like A and N rise slightly above and below the heights of other capital letters?

Why do the points on Futura in letters like A and N rise slightly above and below the heights of other capital letters? | What's new in Visual Communication? | Scoop.it

This is called an “overshoot” http://en.wikipedia.org/wiki/Ove.... It's a compensation technique to resolve the problem of rounded and pointed shapes not optically aligning with flat shapes. Rounds (such as in C, G, O, Q, S, U) and apexes (A, N, W) need to rise above the cap height (or x-height in lowercase) and below the baseline just a bit or those letters will look smaller than the others or appear to float above the baseline.

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