Latest Articles in Typography

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Friday Finds 5.13.11

It's an exciting week for Dwell as our editors are off in New York City for Design Week. If you aren't able to make the trek to Gotham, have a gander at the designs in this week's Friday Finds. First off, a typographic poster of those golden two-letter words acceptable to use in Scrabble and "Sumo Lake," an animation drawn entirely by hand.
May 13, 2011
Crap equals good

Crap = Good

This morning I came across a terrific new design blog with a clean, if quirky, aesthetic. Crap = Good is rather a strange name for a blog, and I confess that I can't totally fathom their mission statement. It could be a rough translation into English, or perhaps I'm too far gone from my college days reading abstract philosophy, nodding along in half-comprehension. "In today's over-designed, visual culture," the blog's description reads, "a counter-flow is appearing. With the title 'Crap is good' we name a common thought, and a sence (sic) of aesthetics." I don't know as I can quite parse it, but let me assure you that Crap is indeed good.
May 3, 2011
Salone Internazionale del Mobile 1961 Camillo Pizzigoni poster

Salone Posters

In the beginning, there was Italy. When a handful of furniture manufacturers formed Cosmit in 1961, Salone Internazionale del Mobile was conceived to promote homegrown talent. In the subsequent half-century, the Milano fair went über-international and has since become the biggest design spectacle of the year. Here, we take a look back at how the graphic identity of the event has evolved. Buon compleanno, Salone!
March 7, 2011
Hero and Sound Design Studio

Hero Design Studio

For many setting out to make it on their own, a storefront is a destination. But for husband-wife team Mark Brickey and Beth Manos Brickey of Hero Design Studio, their shop in Buffalo's Allentown neighborhood has been a way to introduce future clients to their brand and a stop along their path toward full-time design.
March 5, 2011
Matthew Carter's Verdana (1996) and Big Caslon (1994), Wim Crouwel's New Alphabet (1967), American Type Founders' OCR-A (1966), and Tobias Frere-Jones' Interstate (1993-1995) are five of the 23 digital typefaces recently acquired by MoMA.

Carmody Talks Typefaces

When it comes to museums, we often hear about their blockbuster exhibitions, the thousands of people who crowd their galleries to see those exhibitions, or the latest architecture firm selected to design their new wings. But how do works come to be on display? Objects in a museum's permanent collection go through a rigorous vetting process that takes many months—and often years—to complete. On January 24th, the Museum of Modern Art announced the accession of 23 digital typefaces into their permanent collection. Kate Carmody—a curatorial assistant in the Department of Architecture & Design who worked on the acquisition—answered a few questions about the process, shedding some light on how museums build their collections. "This type of collecting allows us to distinguish great design anywhere we see it," says Carmody, an expert in the history of design and decorative arts. "We are now able to draw attention to the process of graphic design as well as its finished product."
February 9, 2011

Matthew Carter's New Typeface

Matthew Carter has a letter for web designers, typography geeks, and design buffs everywhere. Actually, he has a whole brand spankin’ new alphabet. On February 2nd, the iconic type designer unveiled his newest commercial typeface, Carter Sans, at the Book Club of California in San Francisco to the delight of more than 80 graphic design glitterati. In a fireside-like chat with Editor/Designer Patrick Coyne of Communication Arts Magazine, Carter shared the behind-the-scenes story of his new typeface, his bemused thoughts on Ikea “scandalously” switching their catalog design from Futura to Verdana, and how the John Coltrane Quartet rocked his typographic youth. Plus, with far more typefaces than ever now being produced for the web (including Carter Sans), he jestingly added, “web designers can finally stop blaming me for their boredom with Georgia and Verdana.” Although the world’s most accomplished typographer doesn’t consider himself to be an artist, the Museum of Modern Art—who recently acquired several of his widely used typefaces for their permanent collection—seriously begs to differ. And so do we. Click through the slideshow for highlights of the inspirational evening.
February 7, 2011
barcelona javier mariscal magazine

Barcelona, Day Two

On our second day in Barcelona, fueled by café con leche and enough jamon to kill a horse, we excitedly settled into a breakneck tour of modern Catalan design and architecture. From Gaudi and Dali to Mariscal and Alvarez, our Barcelona education continues in earnest.
January 29, 2011
paperless post hanukkah thumb

Eco-Friendly Holiday Cards

I've known about Paperless Post for a while now; this past wedding season, a handful of Save-the-Dates arrived in my email inbox rather than in my mailbox. It struck me as a great idea, and surprisingly appealing—a far cry from the gaudiness (to my eye) of e-vites, and a much greener alternative to paper goods (did you know that 1 tree = 1,000 greeting cards?).
December 7, 2010
3d typography cover thumbnail

3D Typography

Does the alphabet take on more meaning when it’s freed from the confines of cast-in-lead movable type, pen and paper, and the frame of a computer screen? Capturing words and letters in media that range from human skin to mini-sandwiches, 3D Typography is a celebration of the words that
 emerge in unexpected locales and language that has an intrinsic bond to its varied means of conveyance.
October 19, 2010