Univers (1957)
A new generation of typefaces on the mid 50s, univers was built in a similar system than chemistry elements are classified.
simple, beautiful & functional, Univers have many combinations and was part of the modern graphic design movement
Mi segundo poster para type a week por @legoiste
Week 11
Kaligraf Latin by Lazar Dimitrijevic
All characters are formed from personal handwriting, which was taken from the pages of my calligraphy.
I hope that it will help those who are less skilled at calligraphic writing. Font includes a few ornaments that can be useful in creating typographic pages.
Week 10
Poetica by Robert Slimbach
Poetica was designed in 1992, and is the first Adobe Originals script typeface; modeled on chancery handwriting scripts developed during the Italian Renaissance. This elegant style of writing formed the basis for italic typefaces and for modern calligraphy.
Adobe designer Robert Slimbach captured the vitality and grace of the chancery writing style in this new series of designs. Characteristic of the chancery hand, Poetica contains alternate swash characters, ligatures, and ornamental designs to embellish an otherwise formal script.
To represent the variety of form and richness of this hand, Slimbach created alternate alphabets and character sets that include a diverse collection of letterforms.
by @zolitariuz
Archer Pro, a typographic poster where shape & form are one.
Week 9
League Script by Haley Fiege
This ain’t no Lucinda. League Script #1 is a modern, coquettish script font that sits somewhere between your high school girlfriend’s love notes and handwritten letters from the ’20s. Designed exclusively for the League of Moveable Type, it includes ligatures and will act as the framework for future script designs.
Week 8
Museo by Jos Buivenga
One day this uppercase letter U just came to me as an image in a daydream. I saw the top of both stems bended into semi-slab serifs. From this principle I worked out the rest of the uppercase letters. My first intention was to make it an all-caps display font but after a few months I changed my mind. I wanted it to be a bit more versatile, so I decided to add lowercase and adjusted spacing and kerning to increase legibility. This OpenType font family comes in five weights and offers supports CE languages and even esperanto. Besides ligatures, contextual alternatives, stylistic alternates, fractions and proportional/tabular figures MUSEO also has a ‘case’ feature for case sensative forms.
Week 7
Junction by by Caroline Hadilaksono
Inspired by my favorite humanist sans serif typefaces, such as Meta, Myriad, and Scala, Junction is where the best qualities of serif and sans serif typefaces come together. It has the hand drawn and human qualities of a serif, and still retains the clarity and efficiencies of a sans serif typeface. It combines the best of both worlds.
Week 6
AW Conqueror Didot by Jean François Porchez
Jean François Porchez was approached at the end of 2009 by Reflex Image to create a set of typefaces to relaunch the Conqueror papers collection. An important website and various others communications material was created by the agency. The designer Seb Lester and the photographer Thomas Brown have been hired to created various visuals using Conqueror fonts.
Launched in 2010, AW Conqueror is a family of Free fonts available at Conqueror.com website. This family include 5 variations with great potential: Small glyph sets, mostly all caps, but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skillful to beginner.
We should recall that a paper collection is generally based on similar roots, with various flavors, colors. A collection of typefaces should reflect this similar mood, even the style of papers should be reflected into the fonts. The typefaces style built all together the brand. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast.
The AW Conqueror Didot typeface is not inspired by the Didot dynasty of the early 19th century but rather the spectacular interpretations of them appearing in the 1960s and 70s. Decades in which large type sizes were all the rage in advertising and publishing, contrasted typefaces were everywhere. This new font is an ode to the heyday of dry-transfer alphabets and Herb Lubalin, the typographer who mastered the tight but not touching art of glyphs set ascloseasthis without overlapping.
Week 5
ETNO by Mikus Vanags
Etno font family is designed with traditional latvian forms and sense and inspired from various applied art materials from beginning of 20th century, from national textile design and ancient scandinavian rune writing. Etno type family is characterized with strict geometrical structure and historical unified x-height among all diacritical marks.
Last, but not the least, feature is usage of opentype contextual alternates. This function allows for software such as indesign to write text using multiple glyphs for each character based on it’s neighbors. Or, if user prefers, to select glyph manually from 2-6 alternatives, by doing that, achieve unique and more personal writing form. To allow more flexible use of typeface, it’s design is available in four different weights.
Week 4
Wilhelm Klingsplor Gotisch by Rudolf Koch
Designed from 1924 to 1926 for the Klingspor foundry. Koch was a talented calligrapher, and he put this skill to use in this blackletter design. Also known as Wilhelm Klingspor Schrift, this is one of the most magnificent and legible blackletters, and is in the textura style with traditional flourished capitals.
Week 3
Arno Pro by Adobe
Named after the river that runs through Florence, the center of the Italian Renaissance, Arno draws on the warmth and readability of early humanist types of the 15th and 16th centuries. While inspired by the past, Arno is distinctly contemporary in both appearance and function. Designed by Robert Slimbach, Adobe principal designer, Arno is a meticulously crafted face in the tradition of early Venetian and Aldine book types. Embodying themes that Slimbach has explored in typefaces such as Minion® and Brioso™, Arno represents a distillation of his design ideals and a refinement of his craft.
Week 2
Lobster by Pablo Impallari & community
A lovely bold condensed script fully loaded with hundreds of subtle ligatures and alternates…
79 subtle ligatures. Lettering style ending glyphs.
The Lobster font was inspired by the work of all this fine people: Alan Meeks, Ale Paul, André Gütler, Angel Koziupa, Chank, Chuck Davis, Doyald Young, Ed Benguiat, Eduardo Manso, František Štorm, Gerrit Noordzij, Herb Lubalin, House Industries, Ian Brignell, Jason Walcott, Jess Lathan, Jim Parkinson, Laura Meseguer, Mark Simonson, Michael Doret, Mike Stevens, Neil Summerour, Ortiz-Lopez, Oswald Cooper, Pablo Cosgaya, Patrick Griffin, Phil Martin, Philip Bowvsma, Richard Lipton, Rob Leuschke, Seb Lebster, Steve Jackman, Underware, Von Glitschka, Whilliam Caslon and many more. Thank You! To all of you!
made by The League of Moveable Type
League Gothic is a revival of an old classic, and one of our favorite typefaces, Alternate Gothic No.1. It was originally designed by Morris Fuller Benton for the American Type Founders Company (ATF) in 1903. The company went bankrupt in 1993. And since the original typeface was created before 1923, the typeface is in the public domain.
We decided to make our own version, and contribute it to the Open Source Type Movement. It’s free, not only in price, but in freedom.
Typographical posters, dedicated to an specific font each week.
