Ilya Ruderman and Yury Ostromentsky divide the list of 221 typefaces into several groups:
• typefaces with perfect Cyrillic;
• typefaces with good or acceptable Cyrillic;
• typefaces with questionable Cyrillic;
• and typefaces with visible mistakes in Cyrillic.
“A team of researchers at Columbia University, led by Changxi Zheng, have found a way to embed secret messages in typefaces by making negligible tweaks to their designs that are almost indistinguishable to the human eye.”
“How did we get to this state of affairs? Why do we exist in this maddening world where we are taught to write one way and our books are printed in another?”
“This is a 2,300-word article on the Leipzig punchcutter Otto Erler (1890–1965), whose career began before the First Word War and lasted all the way through to his death. For decades, he ran the punchcutting department at Schelter & Giesecke, one of the largest twentieth-century German typefoundries – and probably one of the world’s largest, too.”
“The special cut of Ivar, tailored for compact, high-impact headlines, flirts with almost-forgotten faces like Times Modern, Caslon Graphique, Trooper Modern, Hawthorn and ITC Grouch.”
“With our basic family package we offer you 14 weights from Light to Black, which will convince you of the versatility of this modern classic typeface.”
“People are not perfect, why should typefaces be? — wonders Göran Söderström, a founder of the type foundry with the name that speaks for itself — Letters from Sweden.”
“The Master TypeMedia at the Royal Academy of Art, The Hague, NL, is a one year programme that delves into type design and typography for different contexts including print, screens and interactive media.”
Netflix has unveiled a new custom typeface to be used across the streaming platform’s brand identity, developed by the in-house design team in partnership with foundry Dalton Maag.
“The assertion “a typeface is a tool” is a typical justification for making new typefaces. It’s convenient, reassuring and sounds practical. It’s also false …”
“Fontsmith launches FS Industrie, a new adaptive type system designed around five different widths and seven different weights, creating a total of 70 different variants (including italics).”