glossário tipográfico

Erik Spiekermann _downloads

2013-01-22T20:25:00.000+00:00

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Why Helvetica sucks at small sizes, especially for user interfaces
by Erik
I have been suffering from Typomania all my life, a sickness that is incurable but not lethal. The Spiekerblog reflects the fact that I see most things from a typographic perspective. As most of what we find out about comes to us by typographic media – i.e. visible language – anything and everything may be reported.
Erik Spiekermann, December 2008

fonte: http://spiekermann.com/en/downloads/

helveticasucks

The Unicode Consortium

2013-01-15T18:27:00.002+00:00

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Welcome!
The Unicode Consortium enables people around the world to use computers in any language. Our freely-available specifications and data form the foundation for software internationalization in all major operating systems, search engines, applications, and the World Wide Web. An essential part of our mission is to educate and engage academic and scientific communities, and the general public. [Ler mais...]

Acclaim for Unicode

“The world is a global village, trade crosses language barriers, and yet every one of us likes to feel comfortable within their own mother tongue. Unicode enabled us to give the local sense to every one of our users, while connecting the world of trade—which is the reason we will support Unicode in all of our products.”
—shai agassi, former Member SAP Executive Board

fonte:
http://www.unicode.org/
http://www.unicode.org/announcements/quotations.html#moro

Unicode and Multilingual File Conversion

2013-01-14T18:01:00.000+00:00

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Alan Wood
Created 26th December 2001
Last updated 23rd December 2004

Unicode and Multilingual File Conversion, Font and Keyboard Utilities for Macintosh OS X Computers

Introduction
Mac OS X 10 did not originally include support for as many languages and scripts as Mac OS 9. Mac OS X 10.1 supported Central European, Cyrillic and Japanese, and Korean, Simplified Chinese and Traditional Chinese were made available as downloads. Mac OS X 10.2 introduced support for Arabic, Devanagari, Greek, Gujarati, Gurmukhi, Hebrew and Thai scripts. Mac OS X 10.3 introduced support for Armenian, Unified Canadian Aboriginal Syllabics and Cherokee scripts.

Character Palette
Character Palette is a character map for Unicode 3.2 (including supplementary planes) that is supplied with Mac OS X 10.2. It is available on the Keyboard menu, not in the Applications folder. Character Palette can arrange characters by Unicode range, or display them in a table. It can show you a catalogue of the characters in a font, and a list of the fonts that contain a selected character. Characters can be inserted into another application by double-clicking them, or by dragging them, or by selecting them and then clicking the “Insert” button.

Character Palette can also display Japanese, Simplified Chinese and Traditional Chinese by radical or by category. [Ler mais...]

fonte: http://www.alanwood.net/unicode/utilities_fonts_macosx.html

Yi Syllables from NSimSun-18030, in Character Palette under Mac OS X

Sean McBride: A Renaissance in Web Typography

2012-11-25T03:35:00.001+00:00

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Sean McBride: A Renaissance in Web Typography

Good design - Oliver Reichenstein

2012-11-20T03:13:00.000+00:00

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Good design is invisible: an interview with iA's Oliver Reichenstein
By Sam Byford on July 24, 2012 01:00 pm

Oliver Reichenstein is the founder and director of Information Architects, the Tokyo, Zurich, and Berlin-based design agency. iA's usual trade is website design and consultancy along with the odd concept like the Twitter strikethrough, but the company has also found recent success in iOS and Mac app development. Writer for iPad is a pioneering minimalist text editor, and its focus-enhancing combination of sparse visuals and refined typography has since made the leap to OS X and the iPhone.

Reichenstein recently took the time to answer some of my questions on design and development. Since iA's work is informed by its presence in Europe and Asia, I wanted to know his thoughts on the differences between the two, and in particular where he sees the state of Japanese design right now. After all, for anyone who's visited a cluttered Japanese website recently, the tasteful and restrained work put out by iA would seem to be entirely out of step with the agency's Tokyo base. Read on for Reichenstein's thoughts on why this is, as well as typography, user interface design, influences, and more — he has a lot to say.

Sam Byford: Where are you right now, and what are you doing?
Oliver Reichenstein: I’m in Switzerland. My wife and I decided to move from Japan after the earthquake, because we deemed a triple meltdown two car hours away from Tokyo too insecure for our 3 year old boy. It’s too early to tell whether we were right or wrong, but I think it was the right decision, if only for peace of mind. Since we have offices in Zurich and Berlin, and most of our clients are European, it was not a big business risk. Actually, this has been our best year so far, and it has helped me being closer to our main clients. [Ler mais...]

(...)

"HARDLY ANYONE CAN DISCERN GOOD FROM BAD TYPOGRAPHY, BUT EVERYBODY CAN FEEL IT"

(...)

fonte: http://www.theverge.com/2012/7/24/3177332/ia-oliver-reichenstein-writer-interview-good-design-is-invisible

Musée de l'imprimerie Lyon

2012-11-17T03:47:00.000+00:00

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Le Musée de l'imprimerie : présentation et historique Le musée de l'Imprimerie est un des musées de Lyon dont les missions principales sont d'enrichir, de conserver, de documenter et de valoriser auprès de divers publics le patrimoine livresque et graphique. [Ler mais...]

Corpus Typographique Français 150 ans de lettres en France

Le Corpus typographique français recense les polices de caractères dessinées en France entre 1850 et aujourd’hui. Il se veut une illustration de la création française dans ce domaine. Il n’a pas pour but d’être exhaustif mais représentatif : s’y côtoient des grands classiques et des créations plus obscures, des caractères de labeur « sérieux » et de la « titraille » fantaisiste, des créations de haute volée mais, aussi, des caractères médiocres, voir mauvais, car l’histoire de la typographie en comporte également. [Ler mais...]

fonte: http://www.imprimerie.lyon.fr/imprimerie/sections/fr/musee#
http://www.imprimerie.lyon.fr/imprimerie/sections/fr/documentation/corpus

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FontShop Education _Typeface Anatomy

2012-07-26T19:20:00.003+01:00

fonte: http://www.fontshop.com/education/
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OnCreativity.tv - Milton Glaser Interview - Part 1

2012-07-12T03:44:00.000+01:00

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On Creativity sits down with legendary graphic designer Milton Glaser, to discuss the creative process, the act of making things, and cocker spaniels.

fonte: http://www.youtube.com/watch?v=5BGlNBnlpPA&feature=plcp

Jean-Baptiste Levée

2012-06-02T02:56:00.001+01:00

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Après une formation en communication visuelle à l’école Estienne, Jean-Baptiste Levée (né en 1981) poursuit son cursus en intégrant la section de création typographique en 2002. Il y suit les cours de Franck Jalleau, Michel Derre & Margaret Gray. Il s’intéresse alors aux systèmes de ligatures et à la typographie en signalétique, tout en développant un goût pour les techniques traditionnelles d’impression. [Ler mais...]

fontes:
http://www.jblt.co/about/bio
http://www.esad.pt/pt/eventos/esad-talks-jean-baptiste-levee

Photo © Pascal Béjean

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Mauro Zennaro

2012-04-19T16:37:00.001+01:00

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Mauro Zennaro è nato a Roma nel 1953.

Si occupa di grafica, calligrafia e type design.

Insegna presso l’Istituto d’istruzione superiore Carlo Urbani di Roma e presso l’Università per Stranieri di Perugia.

Ha scritto numerosi articoli sulla grafica, la scrittura e la didattica.

È stato tra i fondatori della rivista Calligrafia e nel comitato di redazione della collana di libri sulla grafica Scritture, pubblicata da Stampa Alternativa/Graffiti.

Suoi lavori manoscritti e a stampa, pubblicati dalle Edizioni dell’Elefante, sono stati esposti in numerosi musei e biblioteche europee e statunitensi.

È membro dell’Aiap–Associazione italiana progettazione per la comunicazione visiva.

fonte: http://www.scriptoria.it/maurozennaro.html

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Bold & Justified: The Huge World of Typography.

2012-02-16T19:55:00.000+00:00

Bold & Justified: The Huge World of Typography. [Infographic]

Design with love by Meghan Robichaud

fonte: http://static.colourlovers.com/uploads/images/typographic_infographic.html

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Typotheque: Julien, geometric display typeface

2012-01-31T14:58:00.000+00:00

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Julien — the making of
by Peter Biľak

Julien is a playful geometric display typeface loosely inspired by the early 20th century avant-garde. It is based on elementary shapes and includes multiple variants of each letter. [Ler mais...]

Julien, geometric display typeface
by Peter Biľak

We are pleased to present a new typeface — Julien. It’s a playful geometric display typeface loosely inspired by the early 20th century avant-garde. It is based on elementary shapes and includes multiple variants of each letter (over 1000 glyphs per style), as well as intelligent OpenType scripts that select glyphs to create the best word shapes. Julien is a unicase typeface in which upper case and lower case letters are mixed together. [Ler mais...]

fontes:
http://www.typotheque.com/articles/julien-the_making_of
http://www.typotheque.com/blog/julien

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Tipos online

2012-01-19T21:34:00.000+00:00

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Tipos online: Directório das fundições digitais, ordenado alfabeticamente

[Ler mais...]

Entre os requisitos essenciais para um bom trabalho de tipografia está, em primeiro lugar, a boa matéria-prima: fontes digitais de primeira qualidade. Nesta secção, listam-se (e comentam-se) web-sites onde vê-las e obtê-las. Todas as empresas que comercializam fontes digitais têm sites para apresentar em detalhe os desenhos e vender as fontes. Basta possuir um cartão de crédito. O tamanho das empresas e as ofertas variam. Existem pequenas digital foundries e as produtoras dos indie fonts, que vendem apenas meia dúzia de fontes – o que não deixa de ter interesse, pois esses pequenos produtores independentes vão colmatando as lacunas de criatividade que os grandes supermercados de fontes (como a Monotype/ Linotype, por exemplo) Não passa uma semana em que não haja novidades a apresentar no web tipográfico. Hoje, os sites das «digital foundries» substituem os antigos mostruários editados pelas fundições de tipos de metal. Na maioria destes web-sites, os interessados podem comprar as fontes directamente online.

Descobriu alguma falha nesta página? Falta alguma fundição? Escreva um email a Paulo Heitlinger.

fonte: http://tipografos.net/mercado/index.html

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Ricardo Santos

2011-12-10T06:57:00.001+00:00

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Ricardo Santos studied at António Arroio school and is graduated from IADE (Instituto de Artes Visuais, Design e Marketing), both in Lisbon, Master de Tipografia Avanzada - EINA (Escola de Disseny i Art) in Barcelona. He began his career as both a graphic designer and illustrator, and since 1997 has designed his own typefaces. He now works as a free-lance type designer and teaches at ESAD.CR in Caldas da Rainha. [ler mais...]

ABOUT VANARCHIV
Vanarchiv is an independent digital type foundry based in Lisbon, Portugal, directed by Ricardo Santos.
Vanarchiv develops and markets original text and display type fonts for both Mac and PC platforms. Vanarchiv typefaces are distributed by: Myfonts, Fountain and FontShop.

fonte: VANARCHIV

Louise Fili

2011-01-03T03:16:00.006+00:00

2004 HALL OF FAME

From an essay by Gail Anderson

Louise Fili reinvented book jacket design in the 1980s during her eleven-year tenure as art director of Pantheon Books. Louise may never have known that all the assistant designers, myself included, collected her covers like baseball cards, since we guarded our stashes like they were all Mickey Mantles and would never have traded unless we had doubles. [Ler mais...]

fontes: http://www.louisefili.com/
http://www.adcglobal.org/archive/hof/2004/?id=6

The origins of abc

2010-09-21T02:29:00.004+01:00

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WHERE DOES OUR ALPHABET COME FROM?

We see it every day on signs, billboards, packaging, in books and magazines; in fact, you are looking at it now — the Latin or Roman alphabet, the world’s most prolific, most widespread abc. Typography is a relatively recent invention, but to unearth the origins of alphabets, we will need to travel much farther back in time, to an era contemporaneous with the emergence of (agricultural) civilisation itself.

Robert Bringhurst wrote that writing is the solid form of language, the precipitate.[1] But writing is also much more than that, and its origins, its evolution, and the way it is now woven into the fabric of civilisations makes it a truly wonderful story. That story spans some 5,000 years. We’ll travel vast distances, meet an emperor, a clever Yorkshireman, a Phoenician princess by the name of Jezebel, and the ‘purple people’; we’ll march across deserts and fertile plains, and sail across oceans. We will begin where civilisation began, meander through the Middle Ages, race through the Renaissance, and in doing so discover where our alphabet originated, how and why it evolved, and why, for example, an A looks, well, like an A.

SUMER
Cuneiform

The Sumerians began to experiment with writing at the close of the fourth millennium BC, in Mesopotamia between the rivers Tigris and Euphrates (roughly modern-day Iraq). Like most writing systems, Cuneiform, initially scratched — later impressed by a stylus — into soft clay, started out as a series of pictograms — pictures representing words. The word for bird, for example, existed at first as a simple pictorial representation of a bird. The figure below demonstrates this process of abstraction or rationalization. In time, the pictures of things came to represent, not only things but, sounds. It is clear that a written language with signs that represent sounds requires fewer characters than a language in which a sign stands for a thing or an idea. We use 26 letters (and the Romans used only 23 to create some of the most outstanding literature the world has ever known) while the Chinese, for example, have to learn thousands of characters to express themselves. Even early cuneiform comprised some 1,500 pictograms. A language in which a picture or grapheme represents a thing or an idea has its advantages: people may speak any language while the written form stays the same. So a Chinese from the Southern provinces can speak a totally different dialect than his compatriot in Beijing, who would not understand him when he speaks, but can read what he writes. [Ler mais...]

1.1 The pictographic origin of Cuneiform.

fonte: http://ilovetypography.com/2010/08/07/where-does-the-alphabet-come-from/

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Wood Type Museum

2010-02-16T01:00:00.005+00:00

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This Web Museum is established for the purpose of educating the general public, and the next generation, on the beauties of wood types and engraved blocks. Our mission is to gather, save, preserve, and interpret wood types and information about them.

As the demand for broadsides increased during first years of the nineteenth century, the need for the process of producing large letters cheaply arose. Wood was a logical material choice because of its ready availability, lightness, and proven printing qualities. In 1827, Darius Wells of New York City first found the means to mass produce wood letters. In March of 1828, first wood type catalogue was published by Wells. Throughout the wood type manufacturing history, many manufactories were in business. Among those, Wm. H. Page & Co., Vanderburgh, Wells & Co. and Hamilton Mfg. Co. was the most noted ones. [Ler mais...]

Museum of Creative Calendar Design

This Web Museum of Creative Calendar Design is established for the purpose of showcasing the outstanding calendars created by creative graphic desingers thoughout the world. It is a part of our on-going initiative designed to encourage and aspire people with creative talents in various fields to keep creating calendars in physical form. It is open to all with no cost to participants. Calendars have been with us since the beginning of the time. It is an essential part of the civilization. Calendars listed here are chosen for its beauty, uniqueness, and quality of finish. Entries here are essentially by invitation only, from all over the world and selected works will be displayed throughout the year.. So come often, enjoy !!

fonte: Wood Type Museum > Museum of Creative Calendar Design

Jan van Toorn

2009-12-14T02:02:00.003+00:00

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Rick Poynor
Jan van Toorn: Arguing with Visual Means

Jan van Toorn, subject of a meticulously researched retrospective that opened today (21 March) at the Kunsthal in Rotterdam, is one of the most distinguished and provocative figures in an exceptional generation of Dutch graphic designers. Van Toorn’s social and political concerns, and his way of talking about them, set him apart, even among such colleagues as Wim Crouwel, Anthon Beeke, Gerard Unger, Swip Stolk and Hard Werken founder Rick Vermeulen, who all attended the opening celebration. Van Toorn has described himself as someone interested in the history of ideas, who also happens to be a practical person, a designer, and this is how he comes across. The observations that follow are based on a talk I gave at the opening ceremony. [Ler mais...]

fontes:
Design Observer
D&AD

Kohei Sugiura

2009-12-12T00:57:00.001+00:00

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Speakers Profile: Kohei Sugiura by Zara Arshad

Kohei Sugiura by designboom
at the recent icograda world design congress in beijing,
the japanese graphic designer kohei sugiura
gave a lecture entitled 'one is two, two is many, and many returns to one'.

we quote here:
'that’s the flow of yin and yang.yin and yang seem to be two things and in fact
have different meanings but canbe combined into one'.I often use our fingers
as a metaphor. the ten fingers stand for many. this one can be science, this one
the society, this one the environment… but they all stem from the same origin,
the one. people nowadays tend to make things more and more complex, as in
thenonstop development of science. yet they don’t know how to return to the origin,
and this I think is the problem.one contains two and many, and, many will return
to one.you should nurture yourself with all the information, all the pictures and texts,
and try to make them one.' [Ler mais...]

was born in tokyo in 1932. he graduated from tokyo university of fine arts and music
with a degree in architecture. he has been a graphic designer for five decades, and is
a recognised innovator, especially in the area of book design. sugiura taught at the ulm
school of design in germany from 1964 to 1967, and at kobe design university from 1989 to 2003.
he has written extensively about visual communication, perception, music, and iconography,
with a particular focus on the cultural traditions of asia. among them 'asian and japanese
forms and designs', 'swallowing up the universe','spirits of form and design', 'drumming the cosmos', 'wind and lighting: a half-century of magazine design by kohei sugiura', 'books, texts, and design in asia', and 'luminous mandala: book designs of kohei sugiura'.
sugiura has received numerous awards, including the special prize at the leipzig book design
fair, the mainichi newspaper arts prize, and the arts award from japan’s ministry of education.
in 1997, he received the medal of honor with purple ribbon from the japanese government.

[Ler mais...] > designboom

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Min Wang

2009-11-14T00:42:00.002+00:00

© designboom

the beijing olympic games will begin on august 8, 2008 - and if it’s
not already the case, you can expect to see the game's iconography
on just about everything in the coming weeks. with such a massive
global audience guaranteed, the job of communicating the event
is no small task.

one of the people taking responsibility for this is min wang,
design director for the beijing 2008 olympic games. wang and his
team have been the creative force behind everything from street
banners to the olympic medals.

designboom recently spoke to him about his role.

past, present, future
I was born in china, where I also grew up and began my studies
before leaving for europe. I went to university of arts in berlin
and then the school of art at yale university in the US.
after studying, teaching and working in europe and the US for
over twenty years, I made the decision to come back to china
to focus my work on two things: design education and
design for the 2008 beijing olympic games. [Ler mais...]

about min wang
min wang was born in china, 1956. he completed his BA in art
at zhejiang academy of fine arts (now the china academy of
fine arts) before studying in berlin and then later achieving
an MFA at yale university school of art in 1986.
since graduating from yale he has worked at adobe systems
where he developed digital kanji typefaces (japanese fonts).
later he worked at a graphic design studio in connecticut,
while continuing in his roles as graphic designer, art director
and design manager in the creative services division at adobe
systems. in 1998, wang left adobe to form square two design
with eddie lee and the consultancy now has offices in
san francisco and beijing. in 2003 wang was appointed as
the dean of the school of design, at china central academy of
fine arts (CAFA) in beijing. after the creation of the art research
centre for the olympic games (ARCOG) at CAFA, wang became
the design director for the beijing 2008 olympic games.

[Ler mais...] > designboom

Periodic Table of Typefaces

2009-10-11T21:38:00.004+01:00

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Large image link HERE

Prints are available HERE

The Periodic Table of Typefaces is obviously in the style of all the thousands of over-sized Periodic Table of Elements posters hanging in schools and homes around the world. This particular table lists 100 of the most popular, influential and notorious typefaces today. [Ler mais...]

fonte: BehanceNetwork

Jean François Porchez

2009-07-30T02:34:00.005+01:00

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This month marks the second anniversary of our acclaimed series of interviews. Thank you all for your compliments and encouragements! We celebrate the event with a lengthy interview conducted in French (don't worry — we did translate it)…

Ever since he vaulted onto the type scene fifteen years ago with a series of widely visible and award-winning typefaces, Jean François Porchez has been among the most prominent type designers in France. He designed custom type for clients ranging from the Baltimore Sun to Louis Vuitton and the Paris Métro, and drew some of the best-known logos in his country. He has been with MyFonts since our first year and has recently made available several more of his spectacular font families. Meet Jean François Porchez, our man in Paris.

[Ler mais...] > Creative Characters is the MyFonts newsletter dedicated to people behind the fonts.

¿Que es Carácter Tipográfico?

2009-06-02T03:06:00.004+01:00

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"Carácter tipográfico es un lugar para todos aquellos que gustan, entienden u otorgan un valor importante a la tipografía y a la letra en general. Es un medio digital a partir del cual proponemos informar o participar en la creación de una cultura tipográfica en castellano. Queremos convocar inteligencias y voluntades, muchas o pocas, en torno a una representación de nuestra época: vivimos una era interesante para la letra y la cultura impresa; los medios digitales, lejos de sustituirlas por otra cosa, las transforman y desarrollan."

fonte: Carácter Tipográfico

Buchstaben Museum

2009-05-08T19:23:00.007+01:00

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Ziel des Buchstabenmuseums in Berlin ist es, die Exponate in einem repräsentativen Museum der Öffentlichkeit zugänglich zu machen. Geplant sind Dauer- und Sonderausstellungen sowie begleitende Aktionen, um weiterhin das Bewusstsein für Typografie und das Interesse für die Sammlung zu wecken. [Ler mais...]

Petit guide de typographie

2009-04-19T21:24:00.005+01:00

Eric Martini

Quand et comment abréger,
où mettre des capitales,
quels caractères choisir,
qu'est-ce qu'un sigle,
comment utiliser les espaces…

En accord avec l’éditeur, l’auteur, Eric Martini, reprend ici la quasi-totalité des recommandations présenté dans le Petit Guide de typographie (Editions Glyphe. Deuxième édition, 2008).

Le livre – plus facilement consultable, annotable – est disponible en librairie et sur le site de l’éditeur: Petit guide de typographie

L’auteur
Eric Martini dirige l’entreprise Glyphe, qu’il a créée en 1999. Au sein des Editions Glyphe, il corrige les textes et conseille les auteurs dans la présentation de leurs manuscrits. [Ler mais...]
fonte: Editions Glyphe

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