PUBLIC MARKS from sbrothier with tags lang:en & typography

'I would advise young people to look at everything they encounter in a critical light . . . Then I would urge them at all times to be self-critical'

A small but growing number of designers and institutions are creating typefaces for the public domain. These designers are participating in the broader open source and copyleft movements, which seek to stimulate worldwide creativity via a collective information commons.

DesignWritingResearch.org is the personal and professional Web site of Ellen Lupton. This self-service storefront provides essays, teaching materials, links, free advice, and more

What are the most popular typefaces on the front pages of our daily newspapers? A recent survey of 100 papers reveals much about the type business today.

The 10 most popular typeface families in American newspapers according to a study by Ascender Corporation

From a professional for professionals, here is the definitive word on using grid systems in graphic design. Though Muller-Brockman first presented hi interpretation of grid in 1961, this text is still useful today for anyone working in the latest computer-assisted design. With examples on how to work correctly at a conceptual level and exact instructions for using all of the systems (8 to 32 fields), this guidebook provides a crystal-clear framework for problem-solving. Dimension: 81/2 x 113/4 inches, English & German Text, 357 b&w examples and illustrations.

Veteran graphic design/typography and letterpress teacher from the London College of Printing: David Dabner talks... giving an insight into the principles of design, creative letterpress and why computers make students sloppy

Fontsmith is a leading type design studio. We create bespoke fonts for corporate identity, working with design groups or direct with the end user.

We manufacture top quality wooden templates & teaching aids in two thicknesses of plywood

Fountain is an independent and friendly digital type foundry. Our aim is to provide our discerning clients with modern, well-crafted fonts guaranteed to meet the most strenuous requirements of aesthetics, legibility and originality.

For too long typographic style and its accompanying attention to detail have been overlooked by website designers, particularly in body copy. In years gone by this could have been put down to the technology, but now the web has caught up. The advent of much improved browsers, text rendering and high resolution screens, combine to negate technology as an excuse.

Typographica is a journal of typography featuring news, observations, and open commentary on fonts and typographic design.

Wear Your Typographic Pride Like You Mean It! Support Subtraction.com! Make an emphatic statement about your typographic savvy while showing your support for Subtraction.com!

This is the site for the JustFontIt project, a new utility for font professionals. In addition to GUI font editors, JustFontIt provides a wide range of features, required to quickly bring the fonts to a sellable state. This includes through font testing against effective criteria what allows to pinpoint typical font bugs, ability to make safe patches in Type1 fonts, generating clean font metrics, conversion between Type1 Binary and Type1 ASCII formats, generation of customizable lists of font properties and more.

95% of the information on the web is written language. It is only logical to say that a web designer should get good training in the main discipline of shaping written information, in other words: Typography.

Erik Spiekermann is information architect, type designer (ff Meta, itc Officina, ff Info, ff Unit, LoType, Berliner Grotesk et al) and author. He was founder (1979) of MetaDesign, Germany’s largest design firm with offices in Berlin, London and San Francisco. In 1988 he started FontShop. He holds an honorary professorship at the Academy of Arts in Bremen, is board member of ATypI and the German Design Council, and president of the istd International Society of Typographic Designers. In July 2000, Erik left MetaDesign Berlin. He now lives and works in Berlin, London and San Francisco, designing publications, complex design systems and more typefaces.

The Typograf top class font manager * previews all OpenType, TrueType, PostScript Type 1 and printer fonts, * displays all font properties (typeface classification, kerning pairs, file data, copyright...), * views character set, keyboard layout, zoom view, * finds similar fonts and compares several fonts, * prints fonts in many ways and * manages fonts in database and font groups.

For that reason, I created the Roadgeek fonts in 2000, based on FHWA specifications. The original Roadgeek 2000 fonts were released before I was completely done with them, but they've seem to caught on. I didn't want to go back to finish those fonts for fear of having competing, possibly not-quite-compatible, versions of these fonts floating around the web.

Sassoon® typefaces were researched and the findings published by handwriting expert Dr. Rosemary Sassoon and since 1987, in partnership with Adrian Williams a whole range of font products for reading and handwriting education in schools has been developed. They cater for National Literacy Strategy Guidelines used in UK schools.

Designed to assist dyslexic readers, Read Regular is a typeface designed by Dutch designer Natascha Frensch. Letterforms like b and d are typically drawn as the same character and then just swapped. Read Regular differentiates these forms by making each unique.

It seems that just about everyone is using the word “font” when they are referring to a typeface. “Fonts” and “typefaces” are different things. Graphic designers choose typefaces for their projects but use fonts to create the finished art.