The legendary type designer Adrian Frutiger once described an epiphany he had: “When I put my pen to a blank sheet, black isn’t added, but rather the white sheet is deprived of light. […] Thus, I also grasped that the empty spaces are the most important aspect of a typeface.” […]

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Massimo Vignelli was canonically adamant that a contemporary designer only requires a handful of typefaces and should “trash the rest.” He was talking about five to be exact: Helvetica, Bodoni, Futura, Century Expanded, and Times New Roman. He was right for his times, but styles and customs have changed, and […]

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I once taught a research/writing class called “No Google” that lasted until it dawned on me that “Google” was indeed the research tool for the 21st century. The realization came when, for an article I was writing about water balloons — yes, you read that right, water balloons — and […]

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“Brutal” is such a nasty, albeit seductive, word. A quick visit to my desktop Oxford dictionary confirms that the adjective “brutal” is, etymologically speaking, derived from a corruption of the name Brutus, the Roman immortalized as Julius Caesar’s infamous assassin (tip of the hat to William Shakespeare). “Brutal” in current […]

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Welcome to another edition of Fonts in Focus, our under-500-word reviews of great typefaces. Today, we focus on a recent release from Kostas Bartsokas of Foundry5. Evert is a large, thoroughly modern sans serif family that has been designed with a lot of thought to the details. It draws inspiration […]

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Welcome to the debut issue of Font Faces: the people behind the type. We ask type designers from around the globe the same five core questions (plus some potential follow-up or topical questions) and thus gain some insights into their working practices, their personalities and what makes them tick. Nick […]

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Sometimes I get a hankering to see someone use a good old Blackletter, spikey Fraktur, or rounded Textura that transports me back to medieval Europe when a printer’s digital handiwork was created with ten fingers. That Blackletter was anathema to the later movements of Modern European designers and typographers, so […]

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