In this debut issue of our new monthly column, design legend Steven Heller takes a look at René Bieder’s Magnat font family. Heller is not only an award-winning designer, design educator, and author and editor of hundreds of books, but is also one of the world’s foremost commentators and historians of graphic design.
Read More
We interviewed the brilliantly talented folk at Fontfabric. Their clients include high-profile brands like Nike, Lipton, Hyundai, CNET, and the US national football team. We talked about how they got started, what makes them tick, and about their new release, Audela.
Read More
Among my favorite kinds of typefaces are those that don’t fit neatly into predefined or existing categories; those that dip their toes into more than one genre, or take their cues from disparate historical periods. These twilight zone hybrids aren’t always easy to pull off. Welcome to Magnat…
Read More
Ulrike Rausch is an author and award-winning type designer based in Berlin. She’s also the designer of one of my all-time favorite handwriting typefaces, the beautiful and authentic, LiebeHeide.
Read More
In episode #2 of Ask ILT, I tackle the question, Why do fashion brands and magazines use so much Bodoni & Didot? Read on to find out why!
Read More
For the first in my brand new series of reader questions, I begin with two common type classifications. They sound pretty much the same and they do have a lot in common, but their differences are significant, and that makes them suitable for different applications.
Read More
After more than 50 years, the Association Typographique Internationale (ATypI) chose to de-adopt (dump) the Vox-ATypI font classification system. Why the breakup? And does it really matter? Is there anything to be gained by devising replacement systems? Do we need font classification at all? And what’s a typographic dog?
Read More