<?xml version="1.0"?>
<rss version="2.0"><channel><title>Typography.Guru All Sections RSS</title><link>https://typography.guru/rss/2-typographyguru-all-sections-rss.xml/</link><description>All public content from our community</description><language>en</language><item><title>Stereotype</title><link>https://typography.guru/term/stereotype-r216/</link><description>A solid flat or semi-circular plate of type metal, usually of an entire artwork or page of handset type, created from a stereo mould (see flong).</description><pubDate>Wed, 27 Jun 2018 17:56:03 +0000</pubDate></item><item><title>Flong</title><link>https://typography.guru/term/flong-r215/</link><description>A flong (or stereo mould) is a relief impression (in materials such as papier-m&#xE2;ch&#xE9; or plaster mould) of a forme created from handset metal type and/or printing blocks. It is used to cast a so-called stereotype, which is then used for printing.</description><pubDate>Wed, 27 Jun 2018 17:42:15 +0000</pubDate></item><item><title>Type founder</title><link>https://typography.guru/term/type-founder-r214/</link><description>A type founder is a person who is casting metallic printer's type.</description><pubDate>Wed, 27 Jun 2018 16:24:12 +0000</pubDate></item><item><title>The Berlin locations of the Eduard Haenel and Wilhelm Gronau typefoundries (1838&#x2013;1918)</title><link>https://typography.guru/weekly/arc/no80/the-berlin-locations-of-the-eduard-haenel-and-wilhelm-gronau-typefoundries-1838%E2%80%931918-r691/</link><description>&#x201C;The Haenel printing house&#x2019;s roots went back to 1731. It was founded in Magdeburg &#x2013; where it was a court establishment (Hofbuchdruckerei)  &#x2026;&#x201D;</description><pubDate>Tue, 26 Jun 2018 08:00:46 +0000</pubDate></item><item><title>Lettering differs from type in the same way that modeling clay differs from LEGO&#xAE; bricks.</title><link>https://typography.guru/quote/lettering-differs-from-type-in-the-same-way-that/</link><description/><pubDate>Mon, 25 Jun 2018 10:34:50 +0000</pubDate></item><item><title>Letraset, design and music</title><link>https://typography.guru/weekly/arc/no80/letraset-design-and-music-r690/</link><description>&#x201C;In our first post we look at how Letraset helped to bring about the visual language of punk and became a staple of the DIY attitude to music-making established in the late 1970s and early 80s.&#x201D;</description><pubDate>Mon, 25 Jun 2018 10:31:26 +0000</pubDate></item><item><title>Yella Dog Press</title><link>https://typography.guru/directory/artisan/yella-dog-press-r445/</link><description><![CDATA[Yella Dog Press, in Little Rock, Arkansas, is a letterpress printing shop where things are done the old-fashioned way. The shop is run by Kate Anderson Askew. She uses two Chandler &amp; Price flywheel presses, a sign press and 16 cabinets of wood and metal type that she shares with two other independent printers. Everything from Yella Dog Press is set by hand and printed by hand.]]></description><pubDate>Sun, 24 Jun 2018 07:05:17 +0000</pubDate></item><item><title><![CDATA[Multiple Sans & Slab]]></title><link>https://typography.guru/weekly/arc/no80/multiple-sans-slab-r689/</link><description>&#x201C;As its name suggests, Multiple is a family with multiple font styles. The idea that sums up the concept behind the typeface is a workhorse&#x2014;the challenge was to develop a useful font fit for any scenario and suitable to any design needs: editorial design, packaging, branding, screen use, etc.&#x201C;  &#xD;
A &#x201C;pay what you want&#x201D; 90 fonts typeface family.</description><pubDate>Thu, 21 Jun 2018 08:23:32 +0000</pubDate></item><item><title>Type tips in Rotterdam?</title><link><![CDATA[https://typography.guru/forums/topic/2091-type-tips-in-rotterdam/?do=findComment&comment=6221]]></link><description>We&#x2019;re heading for Rotterdam this weekend. I&#x2019;m looking for interesting places to visit, besides the touristic scenes.
 


	Any antiquariats, shops with a proper graphic design book collection or other places for a letter and type aficianado to go bananas?
 


	Thanks
 


	Andy</description><pubDate>Thu, 21 Jun 2018 07:06:11 +0000</pubDate></item><item><title>Flexible Typesetting by Tim Brown</title><link>https://typography.guru/weekly/arc/no80/flexible-typesetting-by-tim-brown-r688/</link><description>Because of the web, the role of the typographer has changed. We no longer decide; we suggest. In this book, available July 24, Tim Brown illuminates the complex, beautiful world of typesetting&#x2014;arguably the most important part of typography, as it forms the backbone of the reading experience&#x2014;and shows us how to parry the inevitable pressures that arise when we can no longer predict how, and where, our text will be read.</description><pubDate>Wed, 20 Jun 2018 11:48:06 +0000</pubDate></item><item><title>Beatrice Display from Sharp Type</title><link>https://typography.guru/weekly/arc/no80/beatrice-display-from-sharp-type-r687/</link><description>The family is an exploration of contrast methodologies, combining various aspects from the canon expansionist systems, inverted contrast, and the contrast behavior of standard sans-serif grotesks.</description><pubDate>Wed, 20 Jun 2018 11:41:34 +0000</pubDate></item><item><title>The Alphabet Press</title><link>https://typography.guru/directory/artisan/the-alphabet-press-r444/</link><description>Cliff Leong Kok Kit, Zeejay Wong Zi Jian, Fidella Ch&#x2019;ng Pei Feng and Helios Loo Hoe Tiang are the founders of The Alphabet Press, a letterpress stationery company based in Petaling Jaya, Malaysia.
 


	Alphabet Press creates bespoke wedding stationery, business cards, event invitations and corporate stationery with letterpress printing.</description><pubDate>Wed, 20 Jun 2018 07:35:30 +0000</pubDate></item><item><title>Elegante Press</title><link>https://typography.guru/directory/artisan/elegante-press-r443/</link><description>Elegante Press is a Lithuanian print and design studio. They print wedding invitations, custom letterpress business cards, business stationery and announcements. They also produce custom wine labels and packaging. 
 


	Elegante Press uses letterpress, silkscreen, hot foiling, engraving technologies in-house. They will work together with you in designing and printing custom print works to come up with a unique design tailored only for you, to outline your individuality and elegance.</description><pubDate>Tue, 19 Jun 2018 07:07:31 +0000</pubDate></item><item><title>Brody Fonts launched on Type Network</title><link>https://typography.guru/weekly/arc/no79/brody-fonts-launched-on-type-network-r686/</link><description>Brody Fonts is a new development in partnership with Brody Associates&#x2014;Neville Brody&#x2019;s global visual design agency, located in London, that specializes in typography, identity, and digital design. The foundry focuses on publishing new typefaces from Brody as well as from other studio associates, and will also revisit key moments in Brody&#x2019;s typographic legacy, re-engineering, enhancing, and expanding some iconic font families for contemporary use.</description><pubDate>Fri, 15 Jun 2018 10:18:32 +0000</pubDate></item><item><title>Futura meets Blackletter&#x2014;Reviving Krimhilde</title><link>https://typography.guru/journal/fdi-krimhilde/</link><description><![CDATA[In 2015 I published a revival of Elfen-Fraktur—a unique monolinear blackletter typeface. With the release of Krimhilde I am continuing on this path. Elfen-Fraktur was originally published in 1919—the year the Bauhaus school was founded in Weimar. The Bauhaus designers had radical ideas about typography. They tried to reduce the letterforms to the most simple geometric shapes and even proposed to stop using uppercase and lowercase together in favor of one alphabet. Their experimental designs didn’t came into broad use, but type designers outside the Bauhaus incorporated some of the ideas. This gave birth to the category of the “geometric sans”, which remains popular until today. Erbar-Grotesk (by Jakob Erbar released at Ludwig &amp; Mayer), Kabel (by Rudolf Koch released at Gebr. Klingspor) and Futura (by Paul Renner released at Bauersche Gießerei) are typical and successful examples of this category.
 


	
 


	While blackletter was still in broad use during that time, the type modernization of the 1920s was almost exclusively applied to non-blackletter or “roman” typefaces—called Antiqua in German. As Jan Tschichold put it in his New Typography manifest:
 


	❝ None of the typefaces to whose basic form some kind of ornament has been added (serifs in Roman type, lozenge shapes and curlicues in Fraktur) meet our requirements for clarity and purity. Among all the types that are available, the so-called “Grotesque” (sanserif) or “block letter” (skeleton letters would be a better name) is the only one in spiritual accordance with our time.❞
 


	In the 1930s, designers and type foundries started to consider to replicate the popular modernization of sans-serif designs in the category of blackletter typefaces. But how should this be done? The typical German blackletter design of this time was the Fraktur—a rather calligraphic, broad-nip pen design, that wasn’t very suitable to be reduced to simple geometric shapes. So the designers came up with a different approach: They went back to the origins of blackletter—the textura of the Gothic period. Those designs already used a very simple and geometric letter skeleton, but often had elaborate decorations at the same time. By stripping all the decorations, a modern blackletter look was created. Several of these typefaces started to appear from 1933 onwards, creating a new blackletter category. 
 


	
 


	Modern German blackletter in the 1930s. Left: Element typeface by Max Bittrof. Right: Hindenburg Lettering by Georg Wagner
 


	But there was another benefit in going back to the origins of blackletter. At that time, roman and blackletter designs were much closer together. So using the old textura letter skeletons bridged the gap between roman and blackletter designs. This contributed to the modern look and reduced legibility concerns. 
 


	And this brings us back to Krimhilde. Its designer Albert Auspurg also tried to bridge the gap between blackletter and roman typefaces to create modern and legible letters. But he chose a different path to achieve this. Instead of going with textura letter shapes, he merged the geometric sans with Fraktur in a rather unique way. The lowercase letters of Krimhilde use roman proportions and geometric designs, just as typefaces like Futura. But where possible, a blackletter treatment is added as well. The angular stroke endings are an example of this. The uppercase letters of Krimhilde use the typical Fraktur designs, but in an unusual monolinear application. 
 


	
 


	
 


	Type specimen images of the metal type version of Krimhilde published by Ludwig &amp; Mayer
 


	Krimhilde was published in a regular and a bold style. It didn’t became very successful in the 1930s. After World War II, blackletter came out of use in Germany and so there was little demand for any of the modern blackletter fonts from the 1930s. Krimhilde was dropped from the catalogs of the type foundry Ludwig &amp; Mayer and became forgotten. 
 


	
 


	Krimhilde from FDI Type, released in 2018
 


	But I believe Krimhilde has its charm and so I decided to revive it. Just as with Elfen-Fraktur, I did not just digitize the outlines from scans. Instead I recreated both the regular and bold design by starting with just the letter skeletons. And I also created two versions again: version A is close to the original design with all its traditional blackletter shapes. Of course the fonts also include a long s (ſ) and the German blackletter ligatures such as ch/ck/ſch/tt and tz as stylistic set. Version B swaps some letters with roman letter shapes, which are more legible to readers not familiar with the traditional blackletter designs. 
 


	
 


	
 


	Version A and B of the new Krimhilde
 


	In addition to the basic set (regular and bold as version A and B), I added some display styles to use Krimhilde as layer font with multiple colors. There is a shadow and a fill style available for the regular and the bold version and an outline style just for the bold versions. All Krimhilde styles have a full Latin 1 character set. 
 


	
 


	
 


	
 



		Krimhilde at Fontspring
	
	
		Krimhilde at FDI Type Foundry
	
	
		a free style (Krimhilde A regular) is available exclusively to Typography.Guru Patrons.]]></description><pubDate>Fri, 15 Jun 2018 06:01:00 +0000</pubDate></item><item><title>Letterform Archive starts postgraduate certificate in typeface design</title><link>https://typography.guru/weekly/arc/no79/letterform-archive-starts-postgraduate-certificate-in-typeface-design-r685/</link><description>Beginning in October 2018, the year-long program will include in-depth courses in type design history, theory, and fundamentals, with classes led by James Edmondson, Grendl L&#xF6;fkvist, Graham Bradley, Catherine Leigh Schmidt, Christopher Slye, and several guest instructors and advisors</description><pubDate>Thu, 14 Jun 2018 18:57:32 +0000</pubDate></item><item><title>Monotype releases greatly extended Walbaum font family</title><link>https://typography.guru/weekly/arc/no79/monotype-releases-greatly-extended-walbaum-font-family-r684/</link><description>&#x201C;It&#x2019;s been fully restored for this expansive family, which includes 5 optical sizes, ornaments and two decorative cuts.&#x201D;</description><pubDate>Tue, 12 Jun 2018 08:22:31 +0000</pubDate></item><item><title>Adobe Hidden Treasures: Bauhaus Dessau</title><link>https://typography.guru/weekly/arc/no79/adobe-hidden-treasures-bauhaus-dessau-r683/</link><description>Fonts based on sketches of Bauhaus designers exclusively available to Creative Cloud members.</description><pubDate>Mon, 11 Jun 2018 18:10:49 +0000</pubDate></item><item><title>Archive of styles - Reserve of punches | Alberto Tallone Editore</title><link>https://typography.guru/directory/website/archive-of-styles-reserve-of-punches-alberto-tallone-editore-r442/</link><description>The Reserve of Punches brings together several thousands hand-cut punches from the 18th, 19th and 20th century, while the Archive of Styles includes the complete range of engraver's and founder's tools.</description><pubDate>Fri, 08 Jun 2018 13:46:25 +0000</pubDate></item><item><title>Relatively new; looking for type design reference materials</title><link><![CDATA[https://typography.guru/forums/topic/2062-relatively-new-looking-for-type-design-reference-materials/?do=findComment&comment=6114]]></link><description>I'm rather new to the field, and coming from an engineering background, I'd like to get my hands on reference materials, handbooks, etc. that spell out guides / rules / recommendations for proportions, stroke weights, and the like.  What are good sources of this sort of information? 
 


	 
 


	By the way, I use FontCreator, since the purchase price for FontLab for a hobbyist is pretty steep: not prepared to invest that kind of money until I see some results of the font design learning curve.</description><pubDate>Thu, 07 Jun 2018 15:26:38 +0000</pubDate></item><item><title>Early Printed Books</title><link>https://typography.guru/directory/website/early-printed-books-r441/</link><description>Early Printed Books focuses on what was unique about books printed during the hand-press period&#x2014;those features particular to works printed between 1450, when the printing press began to be developed, and 1800, when the machine press began to take its place. On this site you&#x2019;ll find images showing details like title pages, woodcuts, signature marks, volvelles, and more. And if you&#x2019;re looking for pedagogical exercises to use in teaching with old books, or resources for further study, those tools are there as well. 
 


	The site is run by Sarah Werner. She is a book historian and digital media scholar based in Washington, DC. She worked at the Folger Shakespeare Library for nearly a decade as Undergraduate Program Director and as Digital Media Strategist. In her role as the former, she was responsible for founding and leading the semester-length program for students doing advanced research on books and early modern culture. Her book and this website grew out of that teaching experience.</description><pubDate>Thu, 07 Jun 2018 05:43:09 +0000</pubDate></item><item><title>Unicode 11 was released</title><link>https://typography.guru/weekly/arc/no79/unicode-11-was-released-r682/</link><description>Unicode 11.0 adds 684 characters, for a total of 137,374 characters. These additions include 7 new scripts, for a total of 146 scripts, as well as 66 new emoji characters.</description><pubDate>Thu, 07 Jun 2018 05:37:30 +0000</pubDate></item><item><title>Herb Lubalin: American Graphic Designer</title><link>https://typography.guru/weekly/arc/no79/herb-lubalin-american-graphic-designer-r681/</link><description>Herb Lubalin was born 100 years ago. To celebrate, Unit Editions launched a Kickstarter campaign to republish Herb Lubalin: American Graphic Designer (1918-81) a limited-edition, numbered and boxed monograph first published in 2012.</description><pubDate>Wed, 06 Jun 2018 13:40:29 +0000</pubDate></item><item><title>How I added 6 characters to Unicode (and you can too)</title><link>https://typography.guru/weekly/arc/no79/how-i-added-6-characters-to-unicode-and-you-can-too-r680/</link><description>Star characters (&#x2606;&#x2605;) have long been part of the Unicode standard, which means they can appear as characters in web pages, text, and email. But half-stars were missing, so they required special images or custom fonts. Until now.</description><pubDate>Wed, 06 Jun 2018 10:30:17 +0000</pubDate></item><item><title>New type foundry: Forgotten Shapes</title><link>https://typography.guru/weekly/arc/no79/new-type-foundry-forgotten-shapes-r679/</link><description><![CDATA[Forgotten Shapes publishes digital reconstructions of typefaces that have somehow vanished. Run from Leipzig,  Germany by Stephan Müller, Pierre Pané-Farré & Reymund Schröder.]]></description><pubDate>Tue, 05 Jun 2018 14:47:52 +0000</pubDate></item></channel></rss>
