Anne Brady offers an insight into the creative thought processes she followed in designing a typographic solution for the Garda Memorial Garden. She discusses her choice of typeface, the detailed layout, the size of type, the materials, and more.
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Exploring design options on paper using drawing and mark-making is a great way to ensure that we are moving in the right direction with a project. In this article, the authors focus on different types of drawing and mark-making as problem-solving tools and skills.
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Just as living species depend on mutation and adaptation to survive, typefaces too depend on their features to optimize the performance of text in a given environment. This principle seems to determine, in a way, the degree of failure or success that printing types (old and new) have in the physical world.
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For years you have been searching for it. You hear the question being asked in your dreams as you go on an Indiana-Jones-type-crusade to find the answer. When the answer comes to you, you know that the confetti will fall from the ceiling and the band will start playing your favorite song.
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Every now and then, we look around, select fresh free high-quality fonts and present them to you in a brief overview. The choice out there is enormous, so the time you need to find them is usually time you should be investing in your projects. We search for them and find them so that you don’t have to.
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If you’re using Google Web Fonts on your websites, then there’s a very good chance that 1 in 5 visitors are seeing faux bold and italic versions of your fonts — even if you correctly selected and used all of the weights and styles. That’s because the implementation method recommended by Google Web Fonts doesn’t work with Internet Explorer 7 or 8.
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Serifs, sans serifs and… scripts. In theory not a bad typographic palette to play with, but when it comes to practice, the options are always far fewer.
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This article relies heavily on numbers and aims to provide an understanding of character sets, Unicode, UTF-8 and the various problems that can arise.
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A strong understanding of how designers control meaning is essential for anyone interested in graphic design or typography. In a previous article, we discussed how sophisticated and complex visual and verbal language can get, examining instances that show how type can be used to effectively take control of meaning.
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What is it that makes a typeface into a text font, instead of a font for larger sizes? The answer differs slightly, depending on whether one aims for print or Web-based environments.
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