Inspired by the pirates of the Atlantic, Captain Edward is an all-caps display serif. Named after Captain Edward Teach—otherwise known as Blackbeard. The font takes cues from Cooper Black’s lighter-weight siblings as well as inspiration from the rugged New England coast…
I love the look of an all-caps heading, even though it’s probably not great for readability. (I love small caps even more.)
This one’s got a good vibe. And $20 for a desktop + web license is pretty affordable.
e.e. cummings ish typography though breaking the leading instead of the words
I like to see people play with what a website can be.
With enticing visuals and a fascinating text, Japanese Modern: Graphic Design between the Wars is the first book to examine an often igno…
Looked at the pictures, skimmed some of the text 😂 Much more detail than I was interested in 🤷♀️
Occlusion Grotesque is an experimental typeface that is carved into the bark of a tree. As the tree grows, it deforms the letters and outputs new design variations, that are captured annually.
Virtual access to Letterform Archive’s collection of lettering, typography, and graphic design.
The first open-source font foundry. Your source for learning how to use & make type, and level up your skills as a designer.
We all constantly interact with type in almost every aspect of our lives. But how do fonts affect what we read and influence the choices we make?
This book opens up the science and the art behind how fonts influence you. It explains why certain fonts or styles evoke particular experiences and associations. Fonts have different personalities that can create trust, mistrust, give you confidence, make things seem easier to do or make a product taste better. They’re hidden in plain sight, they trigger memories, associations and multisensory experiences in your imagination.
* Fonts can alter the meanings of words right before your very eyes.
* See what personalities fonts have, and what they reveal about YOUR personality.
* Explore how you respond to fonts emotionally and can make fonts work for your message.
* Be amazed that a font has the power to alter the taste of your food.
I heard about this during an Adobe Max presentation from the author that I enjoyed. I liked her conceit that typography and design subconsciously influence emotional reactions and experiences, and are a big part of storytelling. I also like her point that typography is a shared cultural construct, that we have created meaning for many styles of type that all of us learn. I appreciate that she advocates for everyone to express design opinions, not just designers with an extensive background.
The approach to this book was a bit jumbled, a combination of scientific research quoted, her arguments, activities, and anecdotal data presented as scientific data (which bugged me). It couldn’t quite decide what it wanted to be, and feels like it may have started as a more technical work and been expanded and adapted to a more general / less designer audience?
My biggest takeaway is how little typefaces have changed, and what a frankly conservative design field it is – we are still using typefaces based on the first printed books, five hundred years ago. Caslon is from the 1500s!
Apparently type shapes (round, jagged) influence what we taste – ‘sensation transference’.
Tat* is a bit of a graphic designer’s curse. Walk into any design studio and you’ll see bits and pieces of graphic ephemera pinned to the walls or taped to a computer screen. Even the purist will have a secret cache hidden away somewhere. Designer Andy Altmann has been collecting tat for more than 30 years. He finds inspiration in the ordinary, and magic in the mundane. Finally he has decided to share his collection with the world. Conceived and edited by Andy, this is the apotheosis of tat. A visual treasure trove, full of surprises, it should find a place on every graphic designer’s desk.
Tat: anything that looks cheap, is of low quality, or in bad condition; junk, rubbish, debris
This book was a delight to wander through. A good bit of the appeal is wonderment at what someone else has decided was worth saving – and his delight in his own collection is evident throughout. It’s playfully designed, creating collages out of ephemera and commentary.
It’s also an exercise in seeing what you’re looking at. It’s lowbrow, finding art in the untrained and accidental and utilitarian.
I think the author would be tickled that I’m saving my favorites on what’s basically my online scrapbook.
Babyfat – font by Milton Glaser, 1964
Bingo lingo – slang phrases to represent various numbers
