Garamond vs Garamond | physiologie d’un caractère typographique Re-édition d'une note publié la première fois le 3 février 2006. En attendant un nouveau billet (suis en plein bouclage d'un magazine ;-) que je prépare pour lundi prochain, je vous invite à revisiter cette note. Et surtout n'hésitez pas à me laisser vos commentaires... Avertissement: an English translation of this chronicle is available here . Combien de fois a-t-on entendu cette exclamation: «que c'est beau un Garamond!»... Les Garamond de la famille des Garaldes, par opposition à Humanes et Réales datent du 16e siècle. Voici quelques lignes composés avec ces différents modèles de Garamond (cliquez sur les images pour les voir à la taille de lecture optimale à l'écran): Et encore: cliquez sur les images pour les voir à la taille de lecture optimale à l'écran. Voyons dans le détail les différences entre toutes ces formes alphabétiques: J'ai posé un rond gris sur les points où votre regard doit se porter pour vous permettre d'analyser les différences de conception. Biographie Hermann Zapf.
fonts, typefaces and all things typographical — I love Typography (ILT) Gencay Karakuş These are some of typography videos from youtube. They are very interesting if you are intersting in typography art… [youtube= [youtube= [youtube= Typography is thought to be the art, the craft and techniques of type design. I never really thought about typography as a discipline until I got into graphic design. These are some of my designs which create for the homework =) Helvetica is world’s most recognizable font for this reason all known logos are created by Helvetica.
typomanie | actualités, histoire, théorie, pour tous les amateurs de typographie et les typographes-amateurs… Graphic Design Blog is a blog about general graphic design, lear 10 Free Hipster Fonts Details May 08, 2012 by Tom McCracken Our society seems to be experiencing an explosion of creativity, and typeface design is certainly no exception to that. While watching a new favorite show of mine, Portlandia, I was reminded about how awesome the 90's were and how hipsters encouraged innovation. 1. An industrial-inspired, condensed slab serif font that includes four weights: Thin, Regular, Bold, and Extra Bold. 2. Based on the signage for the Cup and Saucer Luncheonette in New York, Duke features three layers: Fill, Shadow, and Fill+Shadow. 3. This award-winning font is a dynamic slab serif conceived specifically for intensive editorial use, but its personality and flexibility make for a real multiple-purpose typeface. 4. A gothic sans serif typeface inspired by late 19th century industrial fonts with german roots regarding straightness and geometry. 5. An all-caps font family that was designed to create unique titles on the fly. 6. 7. 8. 9. 10.
Thinking with Type | Home TypeRadio December 2013, Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 10 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface, designed by a Dutch designer, along with the assignment: ‘translate the typeface into a one minute sound piece’.
 The resulting 10 sound pieces were the starting point of another workshop, in collaboration with Jan Willem Stas and the students of the Type]Media 2014 typography master coarse in The Hague, The Netherlands. Each T]M student was handed an (anonymously labelled) sound piece and their challenge was to ‘create a typeface concept inspired by the sound’. The results were quite surprising! 1) Original typeface: Neutral by Kai Bernau 2) Sound piece by Maria Sieradzki 3) Chinese whispered typeface by James Taylor Edmondson At first James thought the audio piece sounded like a combination of water, air, and electricity. HBK Saar Type]Media
Inconspicuous vertical metrics | i love typography, the typograp by Alec Julien Five? There are generally taken to be five vertical measures of note in type design (from bottom to top): descender, baseline, midline*, caps-height, and ascender. But if you delve into the minutiae of font design, you soon discover that there are a slew of important vertical metrics that aren’t much talked about. t-height Take a look at the basic alphabet from the venerable Minion, with the top three measures highlighted across each glyph: You’ll note that the lowercase ‘t’ sticks out like a proverbial sore thumb. The tradition for serif types is, like with Minion, for the crossbar of the ‘t’ to be at the font’s midline line, and for the top stem of the ‘t’ to come up somewhere midway between the midline and the caps-height. Typically, sans serif faces adhere to the same rule, as do slab serifs. Overshoot Looking at the string ‘xoXO’, you might think that there are only three of the standard five vertical metrics in play: baseline, midline, and caps-height. e-bar height
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