In the context of the global upheaval brought on by the pandemic, Zetafonts have been taking a sharp look at the movements of (typo)graphic trends over the last year. In search of ways to ensure that our visual culture remains…
Since its beginnings in 2016, Type.Today has been hosting a small collection of contemporary typefaces with high-quality Cyrillic letters which “reflect the visual language of the present and the near future.” Publishing fonts created by designers and studios globally, although…
The Museum of Contemporary Art Cleveland (moCa)’s new visual identity emerged, broadly, as a response to modern art’s demand to be viewed from multiple perspectives. Through concepts developed by Michael Aberman, the graphic designer behind the identity, Camelot Typefaces were…
With fonts laying somewhere between creative assets, artefacts of intellectual property, and intangible clusters of data, a huge challenge within the design industry now is trying to figure out a font buying system that works for everyone. That is, one…
We’ve seen some staggering work from independent type designers over the last year, so we thought it about time for a refresh on our last roundup. So here it is: our top 30 independent type designers you need on your…
We bring you an artifact of our fast-moving, motion-filled kinetic typography culture, designed to transform the way you engage with printed matter. Focusing on kinetic (moving) type, Issue 02 speculates on the motion-filled design world of the present (and future),…
Matthieu Salvaggio founded Blaze Type (BLZT) in 2016, when he says there weren’t as many young foundries doing what they’re doing now, and that in the world of font licensing and selling, he wasn’t aware of many setups aligning with…
Every good typeface— in my opinion— has been designed with the intent, to be used to fulfill a certain purpose. That might be one of the answers to the question “why do we need more typefaces”, (if not the ultimate…
Serving up a welcome dose of the ‘most trendsetting, forward-thinking and provocative type specimens produced in the last decade’, we’re obsessed with Lars Harmsen and Marian Misiak’s newly published book of independent type specimens, ‘Support Independent Type—the New Culture of…
Laying somewhere between a Transitional and a Scotch Roman, CoType Foundry’s glistening new release, Orbikular, brings two of modern history’s most influential and iconic font styles into the realm of variable technology. With its relaxed familiarity, subtle intricacies and deeply…
We’ve loved seeing type playing a huge, defining role in tons of branding and visual identities this year. With the abundance of incredible work, we decided to create a roundup of some of our favourite typographic branding & visual identity…
Jo Malinis is a graphic designer from the Philippines whose work spans across brand identities, type design and working with letterforms in different forms. When the Category 4-equivalent Typhoon Ulysses (Vamco) struck the Philippines in November, Jo created a typeface…
We are so unbelievably excited to announce that we’ve finally got our hands on our first ever edition of TYPEONE Magazine in print! Alongside our incredible partners and supporters, we are so proud of all the work that’s gone into…
The Brand Identity (@thebrandidentity) are a platform committed to supporting and empowering graphic design communities. Regularly publishing articles, deep-diving into design news, creating incredible brand-based content, designing their own products and collaborating with designers and brands, The Brand Identity have…
Whilst there are a growing number of online type design courses at the fingertips of young designers, many of these courses don’t extend the study of type design beyond introductory level. Luckily, the talented folks over at Practica (@practicatype) have…
