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GrafikOdyssey.net represents a new project of mine.
Visit us at http://grafikodyssey.net
Hello everyone. I am designing a high school newspaper for my campus, called "The Pioneer". What it pioneered, I do not know.
Here it is:
Some info: the campus publication industry in the Philippines is hyper-competitive -- annual press contests influence school press offices to twerk their writing bugs. And being stuck with Arial and Times New Roman means total loss in this arena (because duh).
Last year, they used system Franklin Gothic and Proforma. Here, it's Flama and Farnham. Thoughts?
I've added 13 more arabic/english corporate identity mashups from my travels in the UAE.
Here's the link:
I have a problem in drawing in fontlab, always my letters are not smooth when I display it on screen. So, what is right way or best way to draw in fontlab? any help please?
i'm looking for some examples (images of spreads) of good and versatile design of book pages -
a good use of type and hierarchy, paper size, cannon, page numbers, foot & side notes, type hierarchy, regular and italic, etc...
thanks for your help!
Monday 11 to Friday 29 January 2010
Exhibition of information design from the nineteenth century. Presented by Paul Stiff, Paul Dobraszczyk and Mike Esbester; talk on 14 January
Thursday 21 January 2010
UK movie premiere
Friday 29 January 2010
Conference exploring this complex, passionate, sometimes obsessive relationship. Curated by Catherine Dixon and John L. Walters
Tuesday 23 February 2010
Fifth annual Justin Howes memorial lecture, given by Claire Bolton
Thursday 4 to Friday 19 March 2010
Talks and exhibition of past and present work. Curated by Jost Hochuli; talks on 4 March and 17 March
Our admission prices remain excellent value for money (the Justin Howes memorial lecture is free). Why not make 2010 the year you join the Friends of St Bride Library and help to keep the Library alive: http://www.stbride.org/friends
We look forward to seeing you soon.
Friends of St Bride Library Events Team
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Hi guys! I'm new here and need some answers. i'm in the final semestre of my design course, and I'm doing the final graphic project. For my project, I must develop a new fashion brand and for this brand I need make a visual identity. Well, to do this visual identity I'm thinking use the font Swiss 721 family. That's my question...would be Swiss 721 family a good font for impression and graphics stuffs?? And if someone can tell me something about Swiss 721 history, designer, criation.... Thanks for now...
We are happy to announce that two of our typefamilies, Adelle and Karmina Sans, have been recently selected in the renowned South-American type design competition, Tipos Latinos 2010.
Okay, so I'm revamping this logo a bit and would love some assistance in creating a logo that has a bit more of a properly swashing capital letter "B".
It's all in illustrator and was began from scratch in 2007.
There it sat, finished enough for production.
Yesterday i figured it needed updating.
I've enjoyed the changes so far, but the initial swash on the B is bugging me.
If you have any tips on getting it right, ANY comments would be appreciated.
(I've used minimal bezier points forever, so that is my underlying style. Extra points dirty up the curves in my humble opinion.)
Initial design: 2007
Idea going forward (not sold on the HIGH-water "B":
Subject: Guidance with selecting typeface for family gravestone...
[First time poster, here. Just did comprehensive search of the forums for similar questions, and understandably found only a few on target (last one back in 2011).]
I appreciate any guidance you might provide on this matter --- I'm trying to select a typeface for the burial headstone for a close female family member (passed away at ripe old age). I'd like the typeface to convey a sense of her strong family ties, as well as her great warmth combined with her no-nonsense/resilient approach to life.
Context: my strong preference would be to find an actual stone-carver and let him do his magic, but that's cost prohibitive, especially since the cost of this sandblasted headstone is already included in the overall package price of the burial. Alas, the funeral home seems to have a very poor aesthetic --- everything is Times Roman (with truly terrible kerning). Long story short, I'm trying to prevent such a design memorializing a loved-on for perpetuity, by providing a camera-ready layout myself (the funeral home will then cut my layout into granite). I'm by no means a professional graphic designer, but I'm at least reasonably comfortable with my own aesthetic.
So far, I've been selecting potential typefaces from among those I already own (all within Adobe's Font Folio), as I'm best able to tell if they're a good match by setting the actual full headstone (name, dates, message, etc) in the typeface (and I don't want to needlessly purchase typefaces just to explore). That being said, if I'm convinced I should use one I don't own, I can purchase something / anything extra.
One direct question, and then one that's more open-ended:
(1) Some of the typefaces that made my final round are part of Adobe's Opticals collection (which means I own them in caption, sub-head, text, and display optical sizes). While normally I would imagine that the display type should be used for such a huge element (100s of points), I'm not sure if similar logic should be transferred from the realm of "ink on paper" to "cuts in granite". Obviously, display types generally have increased stroke contrast (compared to text types), and this seems like a potentially complicating factor for stone-cutting (sandblasting, in my case).
Your thoughts on this, please? Should I just ignore the actual size of the type, and select a "text" type from within the Opticals collection?
(2) I'm open to suggestions on typefaces beyond what I've considered, please. Currently, my final list is:
Adobe Jenson Pro Opticals
Adobe Kepler Std Medium Opticals
Adobe Goudy Old-Style Bold
I've reviewed every font mentioned on the three existing Typophile forum threads on this topic, and a number of them are either too stylized, or too "sans serif" to fit the overall (but definitely not exactly uniform) style of other markers within our family plot. However, I did like the following typeface suggestions made in other threads:
ITC Golden Cockerel Titling
Bitstream Iowan Old-Style
and will consider adding these to the pile under consideration (of course, I already own the ones on my current final list, and don't own any of these new ones, but I can handle that as necessary).
One final note, FWIW: the headstone will also include some Hebrew (actual typeface currently undecided and likely subject of a separate forum thread after I finalize this choice).
Thanks for your consideration, and any thoughts or assistance is gratefully received...
This is my first attempt to get competent critique about my font. So please, Don’t beat me up too hard :)
I will be very appreciated about any critics and comments.
My first serif typeface I am trying to make a little bit retro, fashy, but contemporary.
It has 5 different serif shapes depending on the position of prominent parts of letters (maybe a little bit too complicated, but I like it).
I know there are still many things to work on and improve, but the main parts I am really not sure about are sharp ends of stems. The stems are the only parts without any serifs and I guess it makes the whole face unusual.
Please look at PDF files attached below.
I made the stems a little bit out of the baseline to prevent them to look shorter than next letters, but I think it still looks wired at large points. At sample "i" looks longer than next "l" and so on.. . May be I made them too sharp or too long? Is there any way to do not change the shape? Or may be I need to make the bottom parts of letters more consequent? Or it is Okay?
I need your opinions.
Thank you for your time and responce!
| Attachment | Size | | --- | --- | | Unique.pdf | 767.08 KB |
I just released my first experimental font called Kadrin.
Any feedback would be amazing!
Link to Kadrin
Kinda new here haha
Consider it as the first of a line of experimental apps for the AppStore:
Hi all typography lovers!
I'm a new comer here, and I hope to tell you guys about the iphone app we've finished that's called Helvetication.
My friend Andrew as an graphic/typopgraphy designer himself, always wants to challenge his designer friends about helvetica, but really can't find a good looking one or one that is appealing to him.
We came up with a simple and elegant app that lets you compete with your friends, and also see how well you actually know helvetica (vs arial).
It's only 99 cents, but it's really a lot of fun! and I hope you guys can just try it out
Also please tell us anything we can improve on, as we are going to do upgrades soon and I really hope you all are happy. Thanks!
Mostly designers deliver a PDF preview of their font(s) when one in made. About how it's made, how it looks, blabla. What is your opinion about what should be in it? And which already excisting promotions do you think are good?
I'm trying to make one for myself (more like a catalog but well designed), containing my font collection.
does anybody knows a free reliable barcode maker/utility? or just cheap?
Abril, the new typeface by Veronika Burian and José Scaglione is on the way. It is a font family engineered mainly for newspapers and magazines that features friendly and elegant styles for headlines and robust and economic styles for text. For the first time ever, we will be posting images showing the progress of the develoment of a font family. So stay connected to our Flickr group!
I'm planning to move to Aachen, Germany this year from the Netherlands. I would like to find a nice agency to work there (as graphic designer). I'm willing to travel a bit as well, but I'm limited to public transport. I'm not very familiar with the design world in Aachen or its surrounding area, but I thought one or two of you might be. I hope you've got some tips for me, or perhaps some places to start looking. Thanks a lot!
TypeTogether is proud to announce the release of Etica, a strong yet delicate sans serif.
Etica, the-moralist-typefamily-project, was born at the end of 2000, but its development is ongoing, overcoming many hurdles and diversions. On one hand, the original idea was spurred by a certain esteem for Helvetica, in particular, its strength and versatility, and on the other, an intolerance to its plenty but inadequate applications; created by those who erroneously consider it to be a neutral and timeless design.
We believe that Helvetica is a beautiful typeface, but very deeply rooted in its own era. It is often unsuitably used in contexts that have changed profoundly since its birth. From this initial intention, we coined the ironic payoff ‘The-Moralist-Typeface’.
The challenge was to obtain the same force, versatility and colour that are, from our point of view, Helvetica’s greatest qualities. The same proportions have been maintained, albeit with slightly reduced letter width. The resulting design has soft strokes, open counters and terminals; aesthetically resting somewhere between a grotesque and humanist sans serif. It successfully combines masculine force with female delicacy.
Etica’s wide range of styles, together with a large character set and OpenType features, such as 4 sets of numerals,
fractions, several stylistic alternates and a set of arrows and dingbats, allows for a vast variety of applications, be they editorial or corporate.
Santa is late but he's finally here! The OpenType Basic version, full commercial licence, of Adelle Bold and Bold Italic can be downloaded free of charge at TypeTogether's website.
The award winning Adelle is a dynamic slab serif designed by Veronika Burian and José Scaglione. While it is conceived specifically for intensive editorial use, its personality and flexibility make it a real multiple-purpose typeface. The intermediate weights deliver a very legible and neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobstrusive appearance, excellent texture and slightly dark color allow it to behave flawlesly in continuous text setting, even in the most demanding editorial applications.
As it becomes larger in print, Adelle shows its personality through a series of meassured particularities that make it easy to remember and identify. Its energetic character, so inherent to slab serif fonts, becomes evident as the typeface is used for subheadings and headlines.
The full OpenType Pro version of this font family has 12 styles, ranging from light to heavy, with more than 900 characters per font. It provides support for many OpenType features such as small caps, stylistic alternates, fractions, five sets of figures and more.
To download the fonts go to the address below and use code: f21dd6a
I'm working on a logotype for a friend's etsy store. Her plan is to sell quaint/crafty items. She'll turn the logo into a rubber stamp, so she can stamp packing slips and such. This is the design I have so far, and this is her etsy page so far.
I'd like some feedback on the fitting-ness of this lettering, drawn on Illustrator from scratch. I was going for an etsy-ified antiquated feel, but patently 2000's since "BLoveLee" is a name that could not have existed pre-URLs.
Jan Middendorp is a Dutch page maker and type writer, living in Berlin, Germany.
He was a literature and theater critic, DJ and b-2-b copywriter before that.
First type interviews: Rudy Vanderlans (1987, de Volkskrant, NL), Neville Brody (1988, MAN Magazine, NL).
Moving Minds (1999)
Lettered (about Clotilde Olyff, 2000)
Ha, daar gaat er een van mij! Graphic design in The Hague since 1945 (2002)
Dutch Type (2004)
ARK/ABC (about and with René Knip, 2004)
Made with FontFont (with Erik Spiekermann, 2006)
A Line of Type (about Linotype, with Alessio Leonardi, 2006)
Area 2 (co-curator, 2008)
TypeBookTwo – Jeremy Tankard (contributor, 2008)
José Mendoza y Almeida (foreword, translations, 2010)
Playul Type 2 (co-author, 2010)
Creative Characters (co-author, 2010)
Precursor (co-author, 2011)
Type Navigator (with TwoPoints.Net, 2011)
I Love Gill Sans (introduction to a book ed. by TwoPoints.Net, 2012)
Shaping Text / De Vorm van Tekst (2012)
Hand to Type (2012)
Eye (London) – contributor since 2004
Druk ( FontShop Benelux, Gent) – founding editor and art director, 1999-2002; "96" (same), 2002-2004
Other collaborations have included Items (Amsterdam), tipoGrafica (Buenos Aires), TYPO (Prague), Typographic (London), Etapes (Paris), Matrix (Bad Homburg), Baseline (Kent).
Brochures, programmes and booklets for Belgian clients in the academic and cultural worlds (De Beweeging, Antwerp; University of Leuven; the City of Ghent Culture Dept., etc. (1990s)
Books and book covers for Lannoo Publishers, Belgium (2000–2013)
Catalogues for VOUS ETES ICI Gallery, Amsterdam (2003–2008)
Of interest to most designers here on Typophile. I've shot more examples of Arabic versions of Western Identities (some are actually dual designs from the ground up.) Additional packaging/consumer good examples forthcoming.
Older sets from last year can be found within the article too. Enjoy.
In the past few years (especially 2014) of looking at design blogs on Tumblr or browsing Behance, I've come across a lot of similarities between designs, aka "trends". And I think trends are driving a lot of the most celebrated design work of today.
You can look at http://trendlist.org/ for a good example of what I'm talking about.
Just a few of the most popular design trends:
I'm sure you've all seen a number of these trends while browsing online. My question is, do you think using popular trends in your designs is a good or bad thing? Does it show that your work is "of the times" and that you have your finger on the pulse of the moment or are you simply being an unoriginal follower?
+ What are your favourite design trends, and what are your most loathed?