- 01.27.12
Neue Haas Grotesk
Erik Spiekermann: That, Matthew, is why Helvetica was so successful: nobody except a few Swiss & German designers would have ever dared order t… - 01.27.12
Apple Color Emoji
Christoph: You can find a complete overview of all the Apple Color Emoji characters here. (Works only with Safari. Hover to see Unicode … - 01.27.12
Sutturah
Marian Bantjes: I love this! My highest compliment: envy.… - 01.26.12
Changing
André Mora: I would love to read a 5,000 word review by Paul Shaw on this typeface. Though something tells me he'd only need 5.… - 01.26.12
Ambicase Fatface
Stephen Coles: Celebrating its inclusion on this list, Ambicase Fatface is now 30% off at MyFonts.… - 01.26.12
Our Favorite Typefaces of 2011
Stephen Coles: Jason Santa Maria just posted a nice summary of highlights from the list.… - 01.26.12
Reina
Marian Bantjes: Whoa. Fantastic!… - 01.26.12
My Favorite Font Sources: A Shortlist of Trusted Foundries and Retailers
Josh Farmer: What about Underware and TypeTogether?… - 01.26.12
Elena
Fredrik Jönson: I remember seeing Elena in an early specimen (from the MA?) some years ago already. Loved it instantly. Now I feel there are …
The Swedish foundry Fountain has released a few very good typefaces in the past few years including Eason, and the swashy Gábor Kóthay blockbusters Zanzibar and Incognito. Proprietor Peter Bruhn’s chops have matured since he first launched Fountain in 1993, but he hasn’t released a retail typeface of his own in several years, focusing instead on proprietary commissions and working with other designers on their fonts.
Fortunately, this is about to change very soon if Bruhn’s blog is any indication. In recent weeks he has given us a sneak peek at typefaces in progress. There’s a script in the spirit of Aldo Novarese’s Fluidum, two revisions of his Corpus Gothic, a strong book typeface called Adrian, a woody grotesque, and a Didot, as seen above, that pushes the boundaries of classic type in the same way that Tom Caranase and Ed Benguiat did in the ’60s–’70s. I don’t think anyone has ever tried a ‘g’ quite like this, though. Marvelous.
Great to see Peter cranking up the font engine. I must express my concern however. I fear Peter may be struggling through a strong bout of Type Design ADD, a disease I’m all too familiar with. Now that he’s given us this collosal tease of tasty type treats, Lotta must chain him to his desk in the dungeon until he finishes.
Best wishes for very long, very cold winter in sweden! Can’t wait for spring.
Two words: Duck Tape :)
Nice. Speaking of the “g”, Peter is in fact the author
of the best Baskerville “g” yet made – no mean feat.
hhp
It feels much better now that Randy diagnosed me.
Now I know it’s not my fault, it’s a disease.
Is laziness a desease too?
OK, since Stephen decided to kick my butt off the lazy couch — I’m working on making type design schedules for myself now, that I have to follow no matter what.
Hrant: I can’t take credit for that ‘g’ — it’s all Lars Bergquist’s.
Ooh. I’d hang it on my wall.
“g” is for groovy, and this is one groovy “g”.
Yum!
Schedule. Ha!
In my professional opinion, yes, laziness is also a disease. You poor man: with two conflicting diseases it must be like drinking a beer and chasing it with a cup of coffee. Even though it’s not your fault, you still must finish…
It’s for the good of the children.
Nice work as always. How about South? Any idea when that one will be available?
I don’t really like the ‘g’. Mainly due to the middle part.
Chris: South will be available. I just need to make some fixes.
Korodzik: I understand — the middle part is not for everyone.
Really a new strange but beautiful “g”
It looks like a “g”, I saw on a Lubalin Poster
Hello, is the g-Didot available yet?
thx
micki z