This first selection of 23 typefaces represent a new branch in our collection tree. They are all digital or designed with a foresight of the scope of the digital revolution, and they all significantly respond to the technological advancements occurring in the second half of the twentieth century. Each is a milestone in the history of typography.
The site lists all of the typefaces and the reasoning behind the selections.
See examples of Fonts In Use. The site takes a look at various web and print sources, and examines which typefaces are used. You can also narrow the results down to a specific font and see samples of it in action. File this one away for inspiration.
One of the main objectives of the foundry is to create a retail library of high-quality typefaces that are respectful of the traditions and cultural background behind each of the supported scripts. Rosetta actively promotes team-work and collaboration between designers, consultants and language specialists.
Two studies, by Princeton psychologists, have found that using a hard-to-read font can lead to improved memory performance. They compared the retention of material set in Monotype Corsiva, Comic Sans Italicized and Haettenschweiler versus the same material set in Helvetica and Arial. From the research paper published in Cognition:
This study demonstrated that student retention of material across a wide range of subjects (science and humanities classes) and difficulty levels (regular, Honors and Advanced Placement) can be significantly improved in naturalistic settings by presenting reading material in a format that is slightly harder to read.
Fluency interventions are extremely cost-effective, and font manipulations could be easily integrated into new printed and electronic educational materials at no additional cost to teachers, school systems, or distributors. Moreover, fluency interventions do not require curriculum reform or interfere with teachersâ€™ classroom management or teaching styles.
I doubt that textbooks are in any danger of being typeset in crappy typefaces, but there’s probably some room for typeface variation that could improve learning. This technique is probably more relevant for handouts and classroom materials provided by teachers.
Capucine defies traditional categorization, it sits in a genre we are drawn to as users of type: a face with distinct personality able to straddle the worlds of both text and display with ease.
I had the honour of knowing both Alice and Nicole Dotin (from Process Type) in my year at Reading and love that Capucine has finally reached a publication point. Capucine looked beautiful three years ago, but I imagine the perfectionist in Alice wanted everything to be just right. Congrats to both Alice and Process Type on the release. I look forward to using the typeface at some point in the near future.
The aim of the project is the creation of a collective fonts released under OFL to be promoted and shared through a web platform. Each academic year, a dozen of students are working on the project developing and solving problems. The type designers interested in the amendment or revision of Titillium are invited to cooperate or develop their own variants.
Reverting to Type aims to highlight the pioneers at the helm of the current resurgence of interest in letterpress; from computer-based designers with a desire to ply a craft with a tactile immediacy that has been lost with moderntechnology, to traditional presses finding a new way to revitalise their design output.
This is definitely on the list of things to do during my last couple of weeks in England. See this pdf release for more details about the show, including the final list of contributors.
In the early twentieth century, there were medicines to cure everything that ailed you. Many of them contained lots of alcohol, or a variety of opioids and other random root extracts. Hard to know if the medicines were effective or if the users were just drugged out and couldn’t feel any pain. Regardless, they lived in a time of gorgeous typographically oriented packaging.