Thursday June 11, 2009
Filed under:
Font News
Anonymous Pro Now Available
I announced back in April that a new version of my popular free font Anonymous™ would be available soon. That would be today.
Anonymous Pro is now available.
Monday June 8, 2009
Filed under:
Personal Archaeology
The Making of Kandal on LetterCult
Probably more than you ever wanted to know, but it was fun rummaging through my old stuff to piece the story together.
(Thanks, Brian!)
Monday May 11, 2009
Filed under:
Font Sightings
Son of Typecasting
Changeling Cast in Star Trek
I saw the new Star Trek movie this last night and was thrilled to spot one of my fonts, Changeling, in a supporting role. Here are some examples from a couple of high resolution publicity stills for the movie:
Changeling was a redesign and expansion of an old film font from the seventies called China. I added more weights, more styles, and more characters, as well as modifying the design as I saw fit. One of the more noticeable things I changed was the “4”, which is how I know it’s Changeling that was used in the film.
What’s funny about all this has to do with my choice of the name “Changeling”. It contains all the letters in the name “China” (I added things to it, get it?). A “changeling” refers to something that comes back in a different form, and this was a font coming back in a different form. It’s also the title of an episode from the original Star Trek t.v. show, something I was aware of when I chose the name—the sci-fi connection made me like the name even more, because of the way the font looks. Finally, that particular Star Trek episode was the basis for the first Star Trek movie.
Needless to say, I was in several kinds of geek heaven last night.
Friday May 1, 2009
Filed under:
Font News
Links
Veer Premieres "F is for Fail"
Proxima Nova stars in a new animated short film by Brent Barson, sponsored by Veer: “F is for Fail” (and co-starring Adobe’s Arno Pro). The still from the film (above) sums up my reaction. Well done, Brent! (And thanks to Veer, too.)
Thursday April 23, 2009
Filed under:
Font News
Links
Lakeside and Filmotype Zanzibar Favorited
I’m really honored to have my Lakeside and Filmotype Zanzibar among the 40 typefaces chosen in Typographica’s “Our Favorite Typefaces of 2008”. Thanks so much, Dyana and J.F.
I participate in this annual tradition from the other side of the fence as well. I chose Nick Shinn’s Modern Suite, which blew me away when I saw the specimen book for it at last year’s TypeCon in Buffalo.
Friday April 17, 2009
Filed under:
Font News
Coming Soon: Anonymous Pro
This has been in the works for a while now. I released the current version of Anonymous in 2001, with a few tweaks and updates since, but nothing you could call a major new feature.
In fact, there have been numerous requests for features from users, and many of these have been incorporated into Anonymous Pro, such as:
- Bold and italics, making it a complete four-style family
- Expanded character set, covering most Latin-based languages, as well as Greek and Cyrillic
- Metrics adjusted to make it more similar in size to other fonts
- Several characters redesigned for better readability and clarity
- Many small improvements to the overall design of the characters
- Box-drawing characters—you never know when you might need them
I’m still in final testing, but I expect to release Anonymous Pro soon. [Update: Anonymous Pro is available now.] And, like the current version, it will be free. Here is a sneak peek (click to see it bigger):
Sunday April 5, 2009
Filed under:
Type Industry
Links
You Say Font, I Say Typeface...
The results of a survey on the meanings of the words typeface and font among both “type industry professionals” and graphic designers, conducted by Thomas Phinney. My opinions on the matter fall squarely with the “type industry professionals” for the most part.
(via Typophile.com.)
Tuesday March 31, 2009
Filed under:
Font News
Sneak Preview: SketchFlow Print
I’ve recently been working on a font for Microsoft called SketchFlow Print. It will be bundled with the next version of Expression Blend, part of Microsoft’s Expression Studio suite. A new feature of the program, called SketchFlow, allows a designer to create a prototype of an application that looks like a sketch, and it comes with fonts to support that look. Christian Schormann, one of the brains behind the app, demoed SketchFlow at MIX09, and you can see SketchFlow Print in use throughout his presentation.
The idea for SketchFlow Print came from Doug Olson at Microsoft, who wanted a typeface in the style of lettering used by architects. There are already many “architect” fonts, but none of them had the natural, lively look he wanted. Doug had worked previously with talented residential architect Michaela Mahady of SALA Architects, Inc., and was taken by her lettering. She agreed to let it be the starting point for SketchFlow Print and provided samples for me to work from.
Typefaces based on handwriting can be tricky because typefaces are unnaturally consistent compared to real handwriting. This problem is sometimes overcome by using multiple variations of common letters, which can then be substituted automatically or manually to avoid obvious repetitions. Fortunately, Michaela’s handwriting is quite neat and consistent already, so we decided to keep it simple and just have one version of each letter. The challenge for me was to make subtle changes to minimize conspicuous patterns or disruptions in the overall texture, without resorting to alternates or draining the life out of it. All of us are pretty happy with the way it turned out.
Wednesday March 25, 2009
Filed under:
Links
Personal Archaeology
Interview on ArtBistro.com
Sorry for not posting more stuff here lately. I’ve been busy working on fonts (probably a better use of my time anyway). In the mean time, here is another interview with me, this time with Grant Friedman of ArtBistro.com.
Sunday March 15, 2009
Filed under:
Links
Personal Archaeology
RBtL Interview
I’m the featured guest on episode #6 of the typography and design podcast Read Between the Leading.
Wednesday February 25, 2009
Filed under:
Links
Old Type & Lettering
Township Type
On his blog, Shane Durant is sharing his collection of photos of South African township type and signage.
Sunday February 22, 2009
Filed under:
Son of Typecasting
Links
Art of the Title Sequence
I purposely exempt titles from my nitpicking about anachronistic type in movies. I consider them part of the world in which the film was created, not the world in which the story is set. They may be appropriate or inappropriate, but they can’t be anachronistic.
Nevertheless, it’s one of my favorite parts of watching movies. A friend alerted me to an op-ed in yesterday’s New York Times, Credit Where Credits are Due, about how there ought to be Oscars for movie title sequences. Perhaps, but the lack of an award hasn’t stopped title designers from doing brilliant work.
This reminded me of my favorite site on the topic. The Art of the Title Sequence maintained by a pair of fans, Ian and Alex, who have compiled a growing list of their favorites from movies and TV shows. You can watch most of the sequences in their entirety, some in HD. Many include short articles or interviews with the designers.
Thursday February 12, 2009
Filed under:
Links
Font Haikus
Extensis is having a font love haiku contest (with prizes) to help promote Suitcase Fusion. Kind of silly, but could be fun.
Sunday February 8, 2009
Filed under:
Son of Typecasting
Old Type & Lettering
Not a Font
I spend a fair amount of time (too much, probably) helping to identify fonts at Typophile.com’s Type ID Board. One thing that comes up over and over is when someone offers a photo or sample of a sign or advertisement from before the 1960s or 1970s, and they want to know what font it is. Except it’s not a font, it’s lettering or sign painting or some other sort of custom-made letters.
Handmade sign in San Francisco, photographed April 2, 2008.
It’s not surpising that most people (including younger designers) assume that any letters they see out in the world were made using some sort of font. In the modern world, they are usually right. Computers have made it possible to set type at any scale, from the tiniest footnote on the back of a credit card to letters several stories tall on the side of a building. This was not always so.
Vintage painted sign on the side of a building during restoration, Beloit, Wisconsin, August, 8, 2004.
Type did not used to be so flexible. It existed as raised images on small bits of metal (or sometimes wood). It came only in certain sizes. The number of styles available was small—a few thousand at the most, and most typesetting houses offered only a dozen or two of the most popular typefaces. You couldn’t reverse it, change its size, print it over a photograph, make it multi-colored, change its porportions, distort it, make it follow a curve or a wavy line, or even set it at an angle.
Machine-set metal type for a newspaper page.
However, there was a simple solution: The lettering artist.
Ad for sign painting how-to book, 1957.
Because of the inflexibility of type, sign painters and lettering artists flourished. Lettering could go where type could not: Large signs and posters, over photographs and illustrations in magazines and advertisements, on windows and billboards, on the sides of automobiles and appliances, on clocks and watches, on packages and movie titles. Lettering was ubiquitous because it was practical. It was easier, cheaper and more flexibile than trying to do the same thing with type.
Nameplate on an automobile.
As phototypesetting began to replace metal type in the 1950s, type started getting more flexible. It was no longer limited to fixed sizes. With cheap photo-based headline setting machines, the number of styles available exploded in the 1960s, and demand for lettering began to decline. By the mid-1970s, type had become so flexible, the role of lettering was greatly reduced. Digital type and large-output devices in the 1980s all but killed it.
Today, lettering is very much a specialty area, used mainly when a unique design solution is desired, or when the few remaining limitations of type are still encountered.
But, the next time you see a “font” in an old movie or on the cover of an old magazine, remember: It’s probably not a font.
Hand-lettered title from Paths of Glory, 1957.
Postscript: The topic of this item was suggested by San Francisco sign painter Bill Stender, who has created hand-lettered signs and other props for period movies. Bill pointed out that, in my discussion of the use of Helvetica in the movie Tucker, not only would Helvetica not have been available in 1949, type would not have been used for such a large sign. It would have been designed and built by hand.
Friday January 30, 2009
Filed under:
Personal Archaeology
MyFonts Interview
MyFonts has been doing interviews of typeface designers for the last year or two in their Creative Characters series. Yesterday, they posted one featuring yours truly.
Sunday January 25, 2009
Filed under:
Links
ADDA Slide Show from 1962
AIGA New Orleans has posted a really cool video on Vimeo: A slide show from 1962 created by the Art Directors and Designers Association of New Orleans (now an AIGA New Orleans). The pace is almost painfully slow by today’s standards, but patience yields a fascinating glimpse into the design world of the early 1960s.
Several things caught my eye as I watched it, including two Filmotype typefaces I recently revived: Ginger (at 4:43) and Glenlake (at 14:16). But I did a double take, and then a triple take when I saw this slide (at 30:52):
First of all, it looks like a White Stripes CD cover.
Second, the gizmo in the guy’s hand is a Scaleograph, an aid for sizing photos and art that was commonplace before computers made their way into design studios.
Third, according to the narrator, the guy in the photo, New Orleans designer Bob Brandt, invented it.
I still have one of these once handy gizmos hanging in my office for sentimental reasons. Sure enough, in small print it says: MFD. BY THE BRANDT CORP., NEW ORLEANS, LA.
Cool.
(Via Typohile.com.)
Tuesday January 20, 2009
Filed under:
Font News
Introducing Changeling Neo
In 2003, I released my interpretation of China, an old VGC face, which I called Changeling. I redesigned many of the characters for more even type color. I also added lowercase-style variants to nearly all the uppercase forms, for endless “unicase” combinations, alternate forward- and back-slanting characters for A, M, V, and W, and a more complete character set. I spaced it to emulate the “tight, but not touching” style of spacing popular in the ’70s. Finally, I created four new styles—Light, Regular, Stencil, and Inline.
Changeling Neo (2008) builds on this with even more alternate characters (including a few from VGC China I had previously left out), extensive language support, and lots of improvements in fit and finish. Changeling Neo is available exclusively in the OpenType format. Alternate characters are accessed using OpenType Stylistic Alternates and Stylistic Sets features. Standard characters that were “hijacked” in Changeling (to make room for alternate characters) have been reinstated. Changeling Neo also includes support for fractions, superscript and subscript, as well as tabular figures.
For more information, I’ve made two PDFs you can download:
Changeling Neo is available now from MyFonts.com.
Wednesday January 14, 2009
Filed under:
Links
Eric Hanson Has a Blog
Long-time friend and colleague Eric Hanson has a blog now (ER-H Blog). Eric is an illustrator and writer. I used to hire him quite a lot to do spot illustrations back in my art director days. He just published a wonderful book called A Book Of Ages this last Fall.
Friday January 9, 2009
Filed under:
Font News
Introducing Refrigerator Deluxe
Refrigerator dates back to 1988 as one of my earliest PostScript typefaces. The concept was very simple: A blocky, condensed sans serif with rigidly geometric forms. I was inspired partly by Neville Brody’s Industria, but very quickly it veered toward more of a mid-20th century vernacular appearance. It wasn’t based on anything specific. Rather, it seemed to come from memories of block-style lettering from when I was young.
Refrigerator Deluxe (2008) extends the family from a specific vernacular style to an anthology of vernacular styles through the extensive use of alternate characters, nearly doubling the character count. (The alternate characters are accessed either through OpenType Stylistic Sets or the Glyph palette, depending on your software application). These range from squared off, closed shapes, with a minimum of angled strokes, to open, stylized shapes with more of an Art Deco feel. Using different combinations of these alternates, Refrigerator Deluxe can take on an endless variety of appearances from basic block to high style.
Also new in Refrigerator Deluxe is the addition of a fourth weight (Regular), improvements in many small details, like spacing, kerning, hinting (for better on-screen display), character design refinements, extensive language support (most Western and Central European Latin-based languages), fractions, case-sensitive forms, and lots of “f” and “t” ligatures.
For more information, I’ve made two PDFs you can download:
Refrigerator Deluxe User Guide
Refrigerator Deluxe is available now from MyFonts.com.
Sunday December 28, 2008
Filed under:
Roving Photographer
R & Nails?
At first glance, I thought it said “R & Nails” with some sort of weird ampersand, but a second look reveals that it actually says “Red Nails.”
I wouldn’t recommend hiring a graphic designer to do a manicure, either.
Monday November 24, 2008
Filed under:
Font News
Coming Soon: Diane Script
I recently partnered with Mark Solsburg of FontHaus, who has lately become fascinated with twentieth century French type foundries and type designers, to create a faithful digital revival of Diane, a typeface designed by Roger Excoffon. It was released in 1956, around the same time as his more famous Mistral and Choc. For reasons that aren’t clear to me, Diane seems to have never become as popular as his other faces, especially in the U.S. Finding full specimens of the font turned out to be quite a challenge. In many cases, only the caps and lowercase are shown.
With Mark’s help, I was able to get hold of source material from the University of Groningen in the Netherlands, D. Stempel GmbH metal type services in Frankfurt, Germany, as well as from some type specimen books that I already had in my possession.
As I researched and studied the face, many curious facts came to light. The caps in earlier specimens of Diane are completely different from specimens published later, suggesting that the face was redesigned at some point, perhaps in the mid-1960s. So we are left with two different sets of caps.
The original had very elaborate, swirly strokes, characteristic of Excoffon’s gestural designs for posters and logos. Later on, these appear to have been replaced by a set of simpler, more traditional script caps. The original caps are criticized in one source I found (“Practical Handbook on Display Typefaces”, 1959) as being “exquisite” but “not highly legible”. Perhaps this is what led to the simpler caps being introduced.
Even more curious, the caps shown in the Olive specimen “3 Scriptes” that accompanied its release in 1956 are noticeably different from the ones found in existing Diane metal fonts. The only conclusion I can make is that Diane, as it was shown in the “3 Scriptes” specimen, was not yet finalized when this was published. (Some of these earlier character designs are included in my revival.)
Changes appear to have been made in the lowercase as well. Several characters have non-connecting incoming strokes in the 1956 version. In the later version, the strokes all connect. The lowercase o also differs, with the original “3 Scriptes” specimen showing a loop inside the counter, apparently dropped in the released version.
In my digital revival of Diane, I’ve included many of these differences. Diane Script Première includes the beautiful caps from the original version, while Diane Script features the later, simpler caps. Both faces include the non-connecting lowercase characters and the earlier lowercase o as alternate characters. Diane Script Première includes three of the “unfinished” caps from the “3 Scriptes” specimen as alternates.
Of course, metal foundry faces had nowhere near the number of characters that modern digital faces do, so it was necessary to design quite a few new characters to match Excoffon’s original ones. This proved to be a fairly straightforward process, with one exception: the ampersand.
As hard as it is for me to believe, it appears that Diane never had an ampersand. None of the specimens I’ve found so far has shown one. I still hold out the possibility that one exists, and intend to add it if it turns up. In the mean time, I have come up with two that I am satisfied with. The first is a simpler design to go with the simpler caps in Diane Script. In the second, I tried to capture the energy and exuberance of Excoffon’s original caps. Studying Excoffon’s gestural design work was very helpful for this. Diane Script Première includes both ampersands, with the simpler one as an alternate.
Diane Script and Diane Script Première are not the first attempt to revive Diane digitally. However, in my research, I discovered a detail that previous attempts have gotten wrong: the alignment and spacing of the caps in relation to the lowercase. Unlike most typefaces, Diane’s caps actually sit slightly below the lowercase baseline. The most easily found specimens of Diane show the caps and lowercase separately, so this fact is hidden. Luckily, my source material included a few obscure specimens in which the correct relationship can be seen.
Several of the lowercase letters have disconnected outgoing strokes, intended to connect to the following letter. However, when it falls at the end of a word, the disconnected stroke is conspicuous and unnecessary. In the metal typeface, this was apparently an acceptable compromise. But in OpenType format, we can have it both ways. When such a character falls at the end of a word, the orphaned stroke is omitted automatically. (An OpenType-savvy application and/or operating is system required for this feature to work.)
In reviving Diane, I’ve sometimes felt more like a detective than a type designer. I’m very happy with the way it turned out and hope my efforts will bring new life to Roger Excoffon’s masterpiece.
Diane Script and Diane Script Première are available now from FontHaus.