"I am not a type designer. This is the story of the creation of a new font, Avería: the average of all the fonts on my computer. The field of typography has long fascinated me, and I love playing with creative programming ideas, so it was perhaps inevitable that the idea came to me one day of “generative typography”. A Google on the subject brought up little, and I put the idea to the back of my mind until it occurred to me that perhaps the process of averaging, or interpolating, existing fonts might bring up interesting results. Luckily at this point I didn't do any more web searching – instead I grabbed my laptop and came up with an initial idea for finding what the average of all my fonts might look like – by overlaying each letter at low opacity. The results can be seen in the below image."

"I highly recommend you spend the next half-hour watching this very interesting and highly informative talk…"

"Trade secrets of medieval book illuminators, the private press movement and Barker's welcome apostasy ("Who the hell reads Kelmscott Press books?"), the degradation of paper quality, the improvement in ink, bookshop merchandizing, the importance of visual detail and symbolism and how the ability to read images has decayed, the importance of the shape of letters as a map of the human mind, Congolese bards, calligraphy, copperplate engraving and the personality of the engraver, Victorian typography, Goudy, Gill, Dwiggins, Morison, the importance of curve, and the current state of "Jine" printing. "

"The Museum, at 40,000 square feet, is no doubt one of the largest fully functional workshops in the world. Not only do the thousands of visitors who come through every year get to see how wood type was made at the foundry, students, artists, typographers and designers visit to take workshops and actually put their hands on and use the collection to create works of art and scholarship in our pressroom at the Museum. To be able to use the type and cuts and a press to make a print can broaden a design student's understanding of typography and color and layout, and artists make work with wood type that would have surprised and delighted Ed Hamilton, the company's founder."

"Some fonts dazzle, some fonts delight. And some are full of extra characters and features you can unleash – if you know how to use them. Learn all about OpenType fonts in the newest animated short, and then see them in action in the latest tutorial."

beautiful lettering

"Willson founded 3IP in 1989 to self-publish a book of pretentious nature essays. Soon after, he found himself tinkering with type design, and 3IP has since become known for its library of authentic-looking handwriting fonts—many of them modeled after historical penmanship—and antique text simulations."

"So who was responsible and when is it from? Since the sheet is neither signed nor dated, we can only make this assertion thanks to the sleuthing done by earlier scholars, most importantly by John Dreyfus for his collection of type specimen facsimiles, and the source of much of the information I give here.1 This sheet can be connected to its type caster thanks to the detailed records kept by the Dutch printer Christophe Plantin and the remarkable longevity of his press, now the home of the Plantin-Moretus Museum. Plantin’s 1575 inventory of fonts includes the double pica italic typeface shown on this sheet (it’s the largest size of the italic face, on the right-hand column), with a note on the facing page identifying it as “Ascendonica Cursive de Guiot.” François Guyot was a type caster in Antwerp who worked from the 1540s until his death in 1570, and who was the main caster for Plantin from 1555 onwards; he also seems to have worked briefly for John Day in London."

"Spice up your design with genuine ornaments from XIXe century sources, carefully vectorized by hand.

Perfect design job as packaging, logos & graphic design, publishing, Web design...

This monumental collection include hundreds of ornaments, scrolls, rule lines, frames borders, flourishes... all for the price of only one font!"

I had no idea this still existed.

"There's quite a bit of interest in the .tex code behind the Grid Computing Cluster report, but I think posting the raw code in its entirety would be a bit too overwhelming to quickly glean useful tips from it. (Also to avoid getting into any issues with my university... etc...) "

"The flowfram package enables you to create frames in a document such that the contents of the document environment flow from one frame to the next in the order in which they were defined. This is useful for creating posters or magazines, indeed any form of document that does not conform to the standard one or two column layout."

"Now I'll go to the e-commerce MyFonts.com business. MyFonts.com continues to grow, recording its highest quarterly revenue since inception during the first quarter of 2011. First quarter, 2011, MyFonts revenue was up 25% year-over-year. MyFonts revenue growth was driven by new user acquisition and the addition of Webfonts. Over 70,000 new users registered in MyFonts during the first quarter.
As we discussed on the last earnings call, MyFonts introduced Webfonts in January of this year as a way to offer customers a streamlined way to purchase and manage fonts for their websites. Webfonts enabled publishers of Webfonts -- of webpages to use any font just like print media. Before Webfonts, web designers were limited to a certain fonts like Times New Roman and Arial."

"While Adelle is a slab serif typeface conceived specifically for intensive editorial use, mainly in newspapers and magazines, its personality and flexibility make it a real multiple-purpose typeface.<br />
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 flawlessly in continuous text setting, even in the most demanding editorial applications.…"

"NovelSans Pro is new humanist grotesque typeface family matching the award winning serif typeface Novel Pro.<br />
NovelSans' carefully attuned character design, well balanced weight contrast and the classic proportions show many similarities with the serif version and enable designers to combine those two families and reach highest quality in typography.…"

"One of the characteristics of the titles was that they used multiple variations of the same basic letter forms to create unusual variations in character placement and to allow nesting of certain characters in special relationships with other characters. Simulating this effect required the creation of three complete sets of characters, representing three possible positions and forms for each letter. A few letters even have a fourth variation. For the user this means that hitting the any letter key in combination with shift or option will produce different versions of the letter.…"

"But what if you wanted the data sorted by column, not by row? For this, CSS is inadequate: it’s capable of flowing from left to right, top to bottom."

lovely

http://www.p22.com/ihof/stickley.html for the actual family

"What that means is web designers can get easy access to creative fonts without having to spend the time preparing images or Flash files to render them, ideally resulting in time and cost savings in the design stage. It should also provide a more lightweight experience for your web server, because it won’t have to serve up the comparatively heavyweight image or Flash files to render a variety of design-quality fonts."

"Below is the same text rendered in HTML using the Fell Types revival fonts by Igino Marini with OpenType features enabled. Note the ‘ct’ ligature and the contextual form of the ‘s’:..."

"Here's a tongue-in-cheek geek celebration font for my friends at Clockwork.net and other code-jockeys who've been longing for a new monospace font. Programmers and others working in command-line terminal windows mostly use fixed-width, monospace fonts, because it makes lines of code clearer when viewed on screen. There's no tab feature in terminal windows, so when UNIX-geeks look at a directly listing in columns, the columns are formed by lots of space characters between them (not tabs). So the font they use to view these readouts needs to be monospaced, or else all the info comes out wavy, in crooked columns. So at the request of my friend Mr. Koppelman (lolife.com) I set out to create the world's greatest monospaced font. I failed a few times, then another friend suggested I make a sarcastic font...."

OLDSTYLE & SMALL CAPS FTW

"The Fell Types took their name from John Fell, a Bishop of Oxford in the seventeenth-century. Not only he created an unique collection of printing types but he started one of the most important adventures in the history of typography. You will find here a non-exhaustive history and a modern digitalization of some of them."

"There are still some extremely frustrating limitations though. First of these is the resolution of drawing the graph. I’m sure for most graphs the default resolution is fine, but when creating these patterns you need tiny increments. Tiny tiny ones. If the line is going from one side of the graph to the other and back again a thousand times in a couple of radians, you don’t want the graph program to start dropping line segments, or corners, or anything really. Grapher does allow you to increase the resolution, but it’s not sticky - change anything in the equation and it pops right back to the default. Every. Single. Time. The same thing seems to happen with the line thickness too - I wanted all the designs to be at 0.1, but it kept changing it back to 1.0. Frustrating! There are a couple of other UI things I’d change, like having an option to keep axes at 1:1 ratio to each other, even when you resize the window."

"type, typography, lettering, & signage."

"Manifest Destiny: a 4-weight Font Family Approved by God Himself

Designed in 2004 during the American national election."

"This ornamental font family is the result of a long collect through the streets of Bordeaux. From 1489 motifs collected, 310 were chosen to compose Soupirs."

"Cufón aims to become a worthy alternative to sIFR, which despite its merits still remains painfully tricky to set up and use. To achieve this ambitious goal the following requirements were set:

No plug-ins required – it can only use features natively supported by the client
Compatibility – it has to work on every major browser on the market
Ease of use – no or near-zero configuration needed for standard use cases
Speed – it has to be fast, even for sufficiently large amounts of text
And now, after nearly a year of planning and research we believe that these requirements have been met."

Thinking seriously about how to use this, and how often I might do so. Seems rental might be the way to go....

"This map, quite simply put, distorts the size of countries proportionate to the ‘distance’ of their writing systems to ASCII code. Countries with a lot of ‘exotic’ characters are biggest, while countries adhering closely to the ‘regular’ western (i.c. English, i.e. Latin) alphabet, are normal-sized. The legend on the left of the map shows some of the diacritical signs and special letters ‘added’ to the ASCII (English) alphabet in other European languages. Each diacritical sign and special letter has a story to tell. Here are just a few of those:..."

Found a modern digitization of a face whose specimens we were seeing in an 1895 <i>Inland Printer</i> we have around the house.

"more monstrous exaggerations of nature"

Der Große Eszett

planning something

Also an interesting idea for other things.

WANT

Silentina

FAQ on photopolymer letterpress plates

"to convert a regular text document to LaTeX format"

via some bigot

Fabiol seems like alovely font family... but I can't suss out whether the license allows use in PDFs or not. :P Damned lawyers.

Seems like there *ought* to be a use for these....

Vague Innovation, LLC logo design?

Vague Innovation, LLC logo design?

Vague Innovation, LLC logo design?

Vague Innovation, LLC logo design?

Vague Innovation, LLC logo design?