It's not that type designers can see the optical compensations. Rather, type designers train themselves to be aware of and see the kinds of things that need compensation, to see when and where it's l… (View Post)
@Adam Ladd - Years ago I noticed something: When I would go to a party and tell people where I work no one would ever say "I used Freight Micro/Big/Sans/etc on a project and loved it". They would a… (View Post)
Bauer’s Futura series evolved over time, without a masterplan. Futura Black (1929) was an early addition, preceding any of the italic or condensed cuts, for example.
Futura and Futura Black are rela… (View Post)
Futura is a trademark of Bauer. Futura Script credits Bauer's trademark. So no, you can’t just put Futura in the name of your typeface without permission, unless you want to invite legal action.
I s… (View Post)
Probably because that ship sailed too long ago. There was never a good point in the evolution of type where the market expectation could be shifted.
When type was cast metal, the price for … (View Post)
Design work has some intended function, solves some communication problem to be successful. Art has no functional limitation. It only exists because the artist made it and need not be recognizable … (View Post)
London bookshop Collinge & Clark has an archive of Stephenson Blake drawings and correspondence. I got a kick out of reading E.B. Hanson’s typewritten reactions to SB’s suggestions. Things moved … (View Post)