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Typography Videos

The best videos from the fields of typography, calligraphy and lettering

The Font Wars

A look back at the 1980s and 1990s when a new computer-based design industry was built around the Macintosh and companies like Adobe, Apple and Microsoft moved from bitmap to vector fonts.
Ralf Herrmann

How to find fonts that include specific characters

When you work with text on a computer, you can easily get into the situation, that you need to use a certain character, but you don’t know which of your fonts support this character. So what do you do? Just try out every font one by one? Well, let’s look at a few ways to do this a little bit more efficiently.
From the Typography.Guru YouTube Channel ☞ https://www.youtube.com/c/typographyguru 
 
Ralf Herrmann

The Lost Art of Paste-Up

Arranging and rearranging a magazine’s layout before it goes to press is all done on computers now. But in the years before desktop publishing software, the work of cutting and pasting required a sharp scalpel, a parallel-motion board and plenty of glue.
Ralf Herrmann

Karen Cheng, Kevin Larson: Truthiness and information graphics

Readers are more likely to believe the content of text when the layout and text quality is easy to understand. For example, the statement “Osorno is a city in Chile” is more likely to be rated true if it’s written in black text on a white background than if it’s written in lower contrast gray text on a gray background. Other studies have shown that readers rate authors as more intelligent when the text is easy to understand. Our project extends this work by studying the effect of well-designed information graphics on table of contents pages. We found that readers who saw the well-designed information graphics, rated the content as more interesting, more clearly written, and more scientifically rigorous. Good design literally changes how we process information.
Ralf Herrmann

Typeface vs. Lettering

“Typography is remarkably complex. Catherine Dixon stopped by Monki Gras to clear up some of the issues facing the modern designer and to discuss some of the finer details of typography. explaining the way design is taught and how skills can be maintained.”
Riccardo Sartori

The Typefaces of F.H.E. Schneidler with Paul Shaw

This talk took place on April 3, 2018 in the Rose Auditorium at The Cooper Union as part of Type@Cooper's Herb Lubalin Lecture Series. We are grateful to Hoefler & Co. for their generous support to archive this lecture series. 
The world of German typefaces in the first half of the 20th century was incomparably rich, though not as widely known as it deserves. Most of the focus has been on the work of Rudolf Koch and the raft of geometric sans serifs that proliferated in the 1920s in the wake of the Bauhaus. Of the many schriftkunstlers—Georg Belwe, F.H. Ehmcke, F.W. Kleukens, Walter Tiemann, and E.R. Weiss—whose work dominated German typography and book design at the time, the one most deserving of rediscovery is F.H. Ernst Schneidler (1882–1956).
Schneidler studied architecture at the Kunstgewerbeschule Düsseldorf under Peter Behrens and was later a student of Ehmcke’s. From 1920 until 1949 he was the director of the Department of Graphic Arts and Book Design at the Württembergische Staatliche Kunstgewerbeschule in Stuttgart. The program that he created provided an alternative to the crafts expressionism of Koch’s Offenbacher Werkstatt and the modernism of the Bauhaus, emphasizing a broad experimentation that encompassed calligraphy, typography, title page design, monogram and logo design, and book illustration. A sampling of the work that Schneidler and his students did between 1922 and 1935 was gathered into a four-volume portfolio entitled Der Wassermann (1945). His teaching was influential with a number of his students going on to become noted calligraphers and/or type designers in their own right, chief among them Georg Trump, Imre Reiner, Walter Brudi and Albert Kapr.
Schneidler’s output as a type designer is not only varied, but fascinating for its reinterpretation of traditional forms. His twenty-one typefaces include a range of blackletters as well as several romans, a script and some designs that are hard to classify. His most famous design is undoubtedly Legende, though Schneidler Initials and Schneidler Mediaeval have had their adherents. This talk will survey all of Schneidler’s type designs, both issued and unissued, in the context of their time.
Ralf Herrmann

We Are Family! I’ve Got All My Variations With Me

The new OpenType variable font format will redefine what it means to make and use a typeface family; in this new format, a single font file can contain multiple weights, widths, optical sizes, and more! I will discuss the development of type families in the 20th and 21st centuries, and share my own experience creating large series of type. I will illustrate why variable fonts have the potential to influence this creative process, and in doing so how they may affect the relationship between type maker and type user.
David Jonathan Ross draws letters of all shapes and sizes for custom and retail typeface designs. A native of Los Angeles, He began drawing typefaces at Hampshire College and joined The Font Bureau in 2007 where he honed his bézier-wrangling skills. Now he publishes his designs at his own foundry, DJR, as well as working on projects with Type Network and developing display faces for his Font of the Month Club. You’ll find him in Western Massachusetts with his partner Emily and their two dogs, Sophie and Lily.
Ralf Herrmann

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