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Printer Brand for Officina Plantiniana from 1636

Labore et constantia

The book and the printer; an insight into the design process of the typeface Portonovo.

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Astronaut and Mission Specialist Ellen Ochoa on the Discovery mission in 1993, NASA image library.

Let’s talk about space

I often get ask about horizontal and vertical spaces of fonts. Here is a short overview on; spacing, kerning, tracking and line-height. 

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Licencing can seem difficult, we try to make it easy!

All about Licencing

A Licence gives you a specific right to use a typeface. It defines how and on which medium a font can be used. These rules are defined in the End User Licence Agreement.

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Web typography

This article covers a brief introduction in to web typography and different thoughts on variable web fonts.

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Its the pen

An overview of the design process of Yport; the grotesque typeface with calligraphic expression.

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Moka Express from the designer Alfonso Bialetti, 1933, Foto Herbert Goetsch

The Shapes and its Feel

Type can transport more than its written content, objects as well.

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Studio Simdo

Studio Simdo is black and white photography studio located on Seochon village in Seoul. The designer Jaehoon Choi organised the brand identity with a variable typographic grid system using Messina Sans and Optical illustration from “Cyclopædia: or an Universal Dictionary of Arts and Science” by Ephraim Chambers from 1728. The logotype designed with repetitive form of its name “Studio Simdo”.

The typographic system is applied on different types of printed matter with the clamp shape as section dividing and a numeric system from the Gray-scale value tabel which is used frequently in black and white photography. The original hand-drawn optical illustration from ‘Cyclopædia’ are applied as symbolising the principles of lens and camera. Spatial Design and Photography by Giseok Kim.

Type

a

Design

Space

Type; a Design Space

Summary of the design process from 2017 until 2020 of Spezia and Spezia Serif

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Exhibition Digital Type Hype

Technical and cultural developments shape the form of fonts and how they are used. How will we deal with and work with typography in the future? The “Digital Type Hype” exhibition offers an inventory and orientation.

Luzi Type has contributed with its variable font Spezia. The exposition is in the School of Design Bern and Biel (Sfgbb) and open until 04th of April 2020.

Exhibition curated and designed by Juliane Wolski (Atelier Pol), exhibition poster by Marc Zenhäusern (Atelier Pol). Exhibition construction by the Sfgbb exhibition team.

Find more information at www.sfgb‑b.ch.

Every Size it’s Design

Back in 2015, the book ”Letters of Credit” was recommended to me. An astonishing overview of type design by Walter Tracy from 1986. It gave me great new insides, especially the chapter regarding proportions.

In it Tracy explains how in metal type each font size had its own design. The idea followed me since.

Smaller sizes had larger lowercase which makes counterforms more open therefore better readable. Details are added and contrasts increases as the font gets larger. This gives headline a more pronounced voice and makes fonts usable in scrolling text. A part of the quality seen in letterpress books is due to this concept.

I was delighted to see in 2017 the introduction of variable fonts. It gives the designer again a convenient access to individual designs for each sizes. I am currently finalising Spezia Serif, a typeface with 3 Axes; weight, width and optical size.

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