Commercial Type Optimo Type Foundry Antenne Books Grilli Type | Independent Swiss Font Foundry The Shelf | Journal Pourquoi créer une revue papier sur le livre à l’heure où l’Internet remet en question le matérialisme tout naturel de l’Occidental moyen, à l’heure où la valeur pécuniaire de «l’objet livre» refoule les adeptes du savoir gratuit disponible sur la toile ? Que deviennent aujourd’hui ces cahiers reliés, fondement de notre société, détenteurs de notre Histoire ? Face à la dématérialisation des contenus éditoriaux, la pratique du design au sein du livre prend une dimension d’autant plus importante. Objets anodins ou véritables œuvres d’art, les livres, à travers leurs formes et les histoires qu’ils racontent, ont la vocation de créer un lien unique avec ceux qui les lisent, les consultent ou les possèdent. The Shelf Journal revue bilingue français/anglais Conception éditoriale: Morgane Rébulard & Colin Caradec Conception graphique: The Shelf Company Édité par: The Shelf Company
pure typography top Optimo Type Foundry Medium XB | Type Foundry | Amsterdam February 13, 2015 6:15 PM We are an Amsterdam based independent publisher and distributor of type. Our fonts are a blend of normality with an utilitarian and contemporary aesthetic. Every once in a while we also make bespoke typefaces for associates in art, culture and commerce. ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890 Unless otherwise indicated, all material on this site is copyrighted. • You request an order by email. © 2015 M XB.
A tutorial for good typography in InDesign - Setting up a baseline grid Good clean typography is a fundemental skill of any designer. Most designers believe they have good typography but in my experience it is something which is developed through time and experience. I think we all begin our design lives with a desire to be outrageously creative, and only as we mature, begin realise that simplicity and structure is just as, if not more important. In this article, I will go through some simple steps to acheive good clean well structured typography in Adobe Indesign. The first step is to choose your typefont. Next choose how many columns you want the page to be. So we have set up a grid vertically, the next step will be to set up a horizontal or baseline grid, which all our text will stick to. Start the grid at 10mm in accordance with your borders. Now we will add a heading. I shall now add an introduction paragraph in the exact same way. As you can see, everything is aligning perfectly giving the page a neat structured feel.
Scandia Font Family | Process Type Foundry Swapping angularity for lush curves, Scandia picks up where Scandia Line leaves off. If its sibling is the skeleton, then Scandia is the flesh. With a nod to the classic geometric sans serifs of the 20th-century, Scandia builds a steady rhythm across its four weights and matching italics to create a versatile family of fonts. While developing Scandia, care was given to avoid simply wrapping curves around Scandia Line’s primitive forms. Instead, it was used as a proportional guide before imagining curves and a different weight structure for what would become Scandia. To complement the four primary styles, a stenciled variant modeled on the Bold weight has been added to the family. Scandia also includes a handful of alternate characters that can be found as an OpenType Stylistic Set. If you hadn’t guessed by now, Scandia Line was designed first and served as the inspiration for Scandia.
10 Display Faces that Digital Forgot Because of your enthusiastic response to my last column, I’ve moved up its sequel. In this installment, I’ll be looking at display and decorative faces that were somehow left in the archives when the winds of digital technology swept through the dusty vaults of yesteryear’s metal type foundries. Of all the thousands of typefaces that are created each year, the lion’s share are display and decorative faces. Once again, for lack of a better organizing principal, I’ll take these on in alphabetical order. Atlantis Grotesque is an apt name for a face that sank beneath the waves when the Weber type foundry foundered in 1970. I would like Atlantis as an alternative to the ubiquitous and rather cold Futura. In its day, the Atlantis family sported light, medium, and bold weights. Figure 1: There are lots of typefaces available with the catchy name Atlantis, but none of them are the face shown here. W. Figure 4: Condensa is a typeface on the go.