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Here some new pictures of my font called Threeadvanced in its sub-pixel negative variant
I am still captured by adapting monitor fonts for sub-pixel rendered environment. Two pics from my font meant to work in small sizes and in negative use white on black ground. To create a version that is similar in weight to the original one has to do a very much lighter character design like the one above in this pic.
But it’s worth while because sub-pixel fonts look so much neater and better!
To see it „at work“ here is my credit page part of my homepage: http://www.stefanseifert.com/Contact.html
“At 35 feet wide by 8.5 feet tall, this three-dimensional mural designed by CBS design director Lou Dorfsman and the typographic maestros Herb Lubalin and Tom Carnase took over one entire cafeteria wall of Eero Saarinen’s Black Rock, the CBS Building on Sixth Avenue between 52nd and 53rd Streets. Dorfsman considered this massive frieze of custom-milled woodtype spelling out foods and food groups—from lamb chops to hasenpfeffer—his magnum opus, his gift to the world.”
Read the full article on The Atlantic.
some pics from my work on a font for my webpage destinated for very small sizes around 9px.
I am struggling with balancing hinting for small screen sizes, special versions for negative use on black ground with sub pixel rendering and so on…
In this pic one can see the results comparing (for now only) two browsers Google Chrome and Safari both on Mac.
For me the first one is the best, yet it is achieved with a particular thinner version of the same font only for the use on black ground. Otherwise as known sub pixel rendering tends to make fonts look much bolder than they are in reality.
As a design student, I’m sure you’ve opened up FontBook or the InDesign font menu and scrolled all the way down to Zapfino before realizing that none of the fonts on your computer quite match the fluffy type visions in your mind. So then you head over to a wretched site like dafont.com, only to be confronted with an infinite number of terrible choices. What do you do next?
This is getting to be too regular.
It’s TypeCon Week, which in the land of type geeks, means days and nights filled with typographic inspiration, scholarship and debauchery. Unless, like me, you’re not going to TypeCon this year. As my social media feeds fill with the hashtags, the inevitable filtered shots of Portland signage and the local typographic faux-pas, I’ll be watching enviously and refreshing my browser incessantly from the sidelines. For those of you who are about to embark on your TypeCon voyage, here is some unsolicited advice on what to do (and not to do) from a six-time offender.
Here some pictures while I am working on „Reflection Text“
Cleaning up the huge image library I'm amassing and ran across these typographic inlays we've done.
"DIABLO" in P22 Posada:
"Alexandria" in a custom calligraphy:
"PT" in Psy-Ops Alembic slightly modified to match the vibe of the other fingerboard inlays:
These are all hand cut with a jeweller's saw by some amazing artisans.
Unless you’ve been living in a secluded yurt for the past few days (although you’d probably still be checking your phone, don’t lie), I’m likely not the first person to tell you about Matthew Butterick’s Practical Typography, a new read in a long line of essential reads on typographic rules. Butterick’s writing is especially refreshing and particularly useful for explaining these sometimes confusing and cryptic details to the novice or the first-year design student.
With type conference season in high gear, designers everywhere are uttering sighs of disbelief at the prohibitive costs of getting one’s geek on.
The discussions over conference fees, travel and hotel expenses are understandable. And given the variety of international type conference options available these days (ATypI, TypeCon, TYPO, Ampersand, TypeTalks, ICTVC, Typography Day, Granshan, Kerning, oh and this), how does one even chose what is worth attending?
Take your basic Circle Monogram font and make it tangible in not-so-basic mother of pearl and abalone and you get this:
Which even looks cool on the back that will never be seen again:
And the in-process just for fun:
After dropping off my son at daycare on Monday morning, I took a big gulp of coffee, did that interlocking-finger-knuckle-cracking-thing, and sat down at my computer, ready to get some work done. Instead, I checked Twitter. Of course, my feed was immediately confronted with the week’s latest distraction (NSFW), a Tumblr entitled Fonts & Boobs.
The concept is pretty simple. Combine a ‘high-quality’ typeface with a picture of a ‘cute chick’. Oh yeah, and she’s basically naked and positioned in a variety of provocative poses. All of this is described by the Tumblr’s author, as a ‘useful tool for graphic designers’. Right.
It’s been raining heavily in New York’s Hudson Valley for what seems like weeks now. Oppressive humidity has blanketed the air with a thickness that thwarts all efforts to be a productive member of society. And the extended forecast doesn’t indicate it is going to end anytime soon.
Today’s long-awaited announcement of Hoefler & Frere-Jones’ Cloud.typography came as a welcomed procrasti-distraction from the constant hum of desk fans, window ACs and cranky, bored offspring.
Do typographers and type designers have an unfair advantage when reading eye charts? While sitting at my optometrist’s office last week, I wondered if my years spent researching and using letterforms gave me some sort of visual acuity performance edge.
Optometrist: Can you read Line Three, please?
Me: (Sigh) Well, I know the second letter is a P. But I’m not sure if I’m actually reading the P or if it’s just because I know it’s a P by the heavier typographic color of the bowl in the top right area of the letter.
Recent activity on the Typophile Blog has necessitated some changes in order to make this feature more meaningful for the community as a whole. By keeping this open to everyone, we've getting way too much of the wrong content. (Read as: Type IDs, spam, etc) Starting today, the Typophile Blog will only be written by select authors to post typography related content, both original and showcasing other great sources on the web.
If you would like to be an author on the blog, send me a PM with links to your sample content and a description of how you'd like to contribute. Please understand that we'll keep it to a small circle at first as we shift back in the right direction.
Hello I'also looking for this font, sorry my request is not very original!
We have a letterpress sample in hand. Printed on uncoated stock(highly calibrated smooth stock), Inks used may be magenta or rubine red, or rhodamine. We can print but not match the sample. The sample has a smooth sheen when slightly tilted in light. As if there is gold uniformity sitting on the sample.
Has anyone seen this kind of effect? If so please tell me what I need to do to enhance this smooth gold effect to be shown on our print. We have tried double hits/printing on transparent opaque inks and then print the above inks etc but cannot get the correct result. The pigments in the inks have this gold content but will not settle smoothly. Any help will be appreciated. This is very technical question please.
Hi there, does anybody has an idea what font is this?
Who knows what this sans-serif is? Thanks for your help.
As the title says: this is the html code of a table that should be displayed correctly within a typophile thread using the allowed tag iframe.