Typography Weekly #29

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Creative Characters: Jovica Veljović

“By the time Jovica Veljović released his first font family in 1984, he was already an internationally renowned calligrapher. Back then, he taught at the art academy in Belgrade, the capital both of Serbia and the former Yugoslavia …”

www.myfonts.com

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Yanone on Designing FF DIN Arabic

“Yanone, (shorthand for Jan Gerner), is an exciting type designer, filmmaker, developer, and person. His recent commission led to an interesting exploratory process and resulted in the successful family expansion of one of our most popular and versatile typefaces, FF DIN …”

www.fontshop.com

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Skill by Maximiliano Sproviero released

“After my font Indie I wanted to create something much more wild. Something that splashed the letters with life. To do this, I knew I'd have to break the barrier between analog and digital, so I took my best brush and started to play.”

www.myfonts.com

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Renault Carname font by Production Type

“Renault Carname is a new typeface system for the interior and exterior badges on Renault vehicles, designed to remain visible even when the car is in motion.”

www.productiontype.com

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The First Title-Pages

John Boardley writes about when and how books got their title-pages.

ilovetypography.com

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Digital Lettering: Designing 3D Type and Lettering

“Join designer and illustrator Jeff Rogers for a 70-minute class on designing dimensional type. In this fun and practical class, you'll dive into the essentials of working with typography in your digital illustration work …”

www.skillshare.com

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French printmaking 1890–1905

“Dive into the Parisian print world of the fin de siècle. Discover a period of artistic innovation and decadence, from quiet interiors to the bustling streets of the modern city.” From the Van Gogh Museum Amsterdam

www.vangoghmuseum.nl

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Operator from Andy Clymer released at Hoefler&Co.

“A monospace typeface and a monospace-inspired typeface”.

www.typography.com

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The Trajan Letter in Russia and America

“On the role of the Tra­jan let­ter in the his­tory of So­viet ty­po­graph­ic design, and the de­vel­op­ment of Cyril­lic ver­sions of Adobe’s two typefaces, Tra­jan Pro 3 and Tra­jan Sans Pro.” by Maxim Zhukov

typejournal.ru