Type Battle 40 // Typophile's 10th Anniversary
This week's battle: Draw the number 10, to commemorate the 10th anniversary of Typophile.
To celebrate our 10th anniversary, we are inviting everyone to draw the number 10! After collecting the best entries, we plan to incorporate them back into our logo for this year and then perhaps even create some limited edition artifacts for the community.
Winner take all, no holds barred. May the best designer win.
// REQUIREMENTS
- Solution must be typographic and contain only the numerals "1" and "0".
- Numerals must be custom drawn. No use of existing fonts!
- Image size: 550 width x 400 height. 72 dpi*
- Color: Black and White
- Format: PNG, GIF or JPG (Preferred in that order. Make sure there are no spaces in the name)
New typeface design program at Cooper Union
Cooper Union's new typeface design program, organized in conjunction with the Type Directors Club was just recently announced. It is currently a certificate program offered through Cooper's continuing education department. The new website has all the info on curriculum, faculty bios, and application details:
http://coopertype.org/
While there have been many type design workshops and classes offered in North America before, this is the first program of its kind to take place on the continent. Having moved to New York not too long ago myself, I must say I can't think of a better city to hold such a program in – if for nothing else than to have access to such a vast pool of talented type folks living in the area.
Furthermore, Cooper Union and the Type Directors Club couldn't be much better organizations to have involved. Among other things, Cooper has made typography a priority with their Herb Lubalin Study Center of Design and Typography, and the TDC's annual typeface awards are among the most notable in the industry. Plus it goes without saying that both have long typographic histories that include some of the greats of American type, lettering, and design.
The course list and roster of people involved for the first term alone is quite impressive (not to mention surprisingly diverse), and I'm sure the second and third terms will be just as good. More information will be posted on the site as it becomes available.
I apologize for shamelessly tooting the horn of a project I'm obviously involved with, but I'm really excited about it and thought some of you might be as well. As always, I'm appreciative of any feedback – critical or otherwise – and am happy to answer any questions.
Windows Phone 7: Typography makes the interface
Wanted to share this with all:
http://gizmodo.com/5590572/windows-phone-7-gallery//gallery/12
Shots of the new Windows Phone 7 in action—with its UI up and running. It appears that the type and copy will be the UI's principle element. I do not know the typeface but it's crisp and warm. ( EDIT: Type appears to be Segoe UI here.
Gizmodo's thoughts on the interface:
"The Interface
World Cup Jerseys
A bit like the whole England performance, terrible!
I like the Algeria font, although it's a shame the numerals are not the same.
I realise most of the shirts have a generic manufacturers design but it's a shame the typography doesn't reflect the countries a little more.
Has anyone else been following the shirts rather than the game?
TypeCon2010 Registration Now Open!
The Society of Typographic Aficionados (SOTA) presents its annual letterfest in the City of the Angels this summer, featuring more than 70 of the brightest names in type and design, including:
Akira Kobayashi, Doyald Young, Jill Bell, Teri Kahan, Andrew Byrom, Sean Adam, Richard Kegler, Kevin Larson, Jean Françous Porchez, Hank Richardson, Matthew Carter, John Downer, Gerald Bieler, Chaz Bojorquez, Ricardo Martins, Johanna Drucker, Kris Sowersby, Denise Gonzales Crisp, Shelley Gruendler, Miguel Sousa, Adam Twardoch, Satya Rajpurohit, Adrian Wilson, and many more.
Topics being covered at TypeCon2010 include an eye-popping look at antique lettering of the textile trade, the typography of Disneyland, a documentary on the life and work of Jim Rimmer, the current state of web fonts, an exploration of a graduate program in type design in the US, and much more.
Read moreLearn typeface design this summer in NYC
Join me, Sara Soskolne (senior designer, H&FJ) for "Turning Letters Into Type," a whirlwind introduction to digital typeface design, taking place July 12–16 at New York's School of Visual Arts. Details and registration for this 5-day workshop — during which students will embark on a project of their own choosing, with lots of guidance and introductory schooling from me — are here. There are only a few spaces left, so click away... hope to see you there!
Read moreDalton Maag is recruiting
Dalton Maag is looking for a full time type designer at its London office:
New series: Parisine PTF Gris
During the summer 2009 we’ve been asked by Real Simple to customize Parisine PTF for their own use. We've adjusted few things for Real Simple and created new weights. Today, we've integrated this idea of intermediate weights into Parisine PTF Gris: A new Regular between the original Parisine PTF Clair Bold and Parisine PTF Regular (as on the image above). Bold follow same mechanism. Finally, it’s also why this new sub-family was called *Gris* (Gray in English).
P22 & IHOF Release Foxtrot Pro Family
P22 and the International House of Fonts proudly announce the release of the Foxtrot Pro Family.
The P22 Foxtrot Pro family of fonts is the latest design by Norwegian type designer Torleiv Sverdrup for IHOF. The design of Foxtrot is inspired by the lively ballroom dance of the same name. It is a transitional antiqua with rounded serifs that features ligatures, smallcaps, oldstyle numerals and full Central European support for those with applications that support OpenType features. The companion, Foxtrot Sans, is a sans serif version with a little more jazzy expression. Both fonts are great for text and display.
Read more
