Type.today

In our latest article we tell the history of Mari scripts and give some tips on how to design a typeface that supports all three dialects of this language

https://type.today/en/journal/mari

Xprmntl 01 by CSTM Fonts and Proto Grotesk by Production Type in use in the Maria Kosheleva's student project dedicated to arious forms of resistance in the social life, culture and lifestyle of the Soviet people in the 1950-1980s

https://type.today/en/journal/resistance

We started the series about the Cyrillics on Google Fonts in 2020. Since then, new fonts with Cyrillic support have appeared in the Google collection. So we went back to our old materials and decided to update them

Today we are reviewing six new humanist sans serif typefaces (Commissioner, Finlandica, Carlito, Ysabeau, Lunasima, Bellota Text) and an updated one (Source Sans 3)

Cyrillic on Google Fonts: Humanist Sans Our series helps designers navigate free Cyrillic type available on Google Fonts. This episode addresses humanist sans serif typefaces

Platform by Commercial Type (with Cyrillic by CSTM Fonts) in the identity of the Big Wall Sport climbing center

Big Wall Sport with its merch, identity and even interior details is a graduation project of Lisa Kanygina a HSE Art and Design School graduate

A joint release with TypeMates: a non-proportional companion to the warm, geometric workhorse Cera!

Designed by Antonia Cornelius, Cera Mono supports more than 270 languages. The typeface is available in six weights and contains useful arrows and an extensive range of geometric symbols.

Cera Mono is well-suited to no-nonsense typography: equipment manuals for hovercraft, captions in industrial material exhibitions, visualising the data from volcanoes, and technical documentation for deep-sea farming.

https://type.today/en/journal/ceramono

In the interview with Nick Sherman, Stephen Coles, and Florian Hardwig, we've discussed the current state of design criticism. Here’s what Elizabeth Goodspeed, an editor at It's Nice That, thinks about it

“I picked a bad time to become a critic” – Elizabeth Goodspeed on the collapse of design critique Design critique, much like any criticism nowadays, falls into two opposite camps – and neither is constructive.

We asked the Fonts In Use founders Nick Sherman, Stephen Coles, and the project's managing editor Florian Hardwig why they love bad fonts and dislike Instagram, and we talked with them about how to (and how not to) give design critique

https://type.today/en/journal/fontsinuse

Maregraphe by CSTM Fonts in the identity of the fictional community of palaeontologists created by Nastya Bashanina during her studies at the course by Svyat Vishnyakov at Bang Bang Education

https://type.today/en/collection/maregraphe

Recently, Khaled Hosny, the founder of Alif Type studio, wrote a detailed article explaining the structure of mathematical fonts and offering several tips for those planning to design them

https://github.com/notofonts/math/blob/main/documentation/building-math-fonts/index.md

Navigo by CSTM Fonts in the titles of the Bodkin series released on Netflix!

https://type.today/en/navigo

Talked to Gianpaolo Tucci, the author of Aesthetic Imperfections book about ethical AI, prompting strategies, and Japanese philosophy

https://type.today/en/journal/tucci

Yet another question that we suggested type designers to answer

8/20: How to sell one’s own typeface?

We continue sharing the result of our small, (un)representative survey, exploring what the font community is thinking about and what it looks like today.

Question 7/20: How would you define the term “personal use of a typeface”?

Krista Likar and Alja Herlah (Type Salon) shared their favourite uses of Spektra:

1. Climate Catastrophe Pack
Designed by Cards Against Humanity

2. ARGO Magazine
Designed by Ajdin Bašić

3. Women’s History Month 2023 by Apple
Designed by Meredith Schomburg, Jelly

4. Skolkovo Career Lab
Designed by Maryco

5. Events at Muzej Jugoslavije / Museum of Yugoslavia
Designed by Type Salon

Recently, we decided to ask our authors 20 questions about their work and type design in general. Designers whose fonts are not on our storefront heard about this and asked to participate as well. This is how our small, (un)representative survey came about, exploring what the font community is thinking about and what it looks like.

Today we are sharing the answers for the question #6: Why not make all the fonts free and open source?

Factor A by Interval Type in the identity of the contemporary art festival SOÑJ, which is currently taking place in Landerneau, France

Design: Studio T&D

https://type.today/en/factor_a

Together with Anya Danilova and Alexey Murashko, we recall the correct names for ®™©@℗& and explain how to use them

https://type.today/en/journal/etc

Geometric but dynamic, constructed but grotesque, friendly but serious, modern but also very classy. Supporting 250+ languages and packed with a quiver of arrows, it features stylistic alternates, case-sensitive punctuation, multiple sets of figures, and small caps.

That's all about Juneau by Philipp Neumeyer, a new typeface on our storefront!

https://type.today/en/journal/juneau

The last question from the first part of our questionnaire. We will share the other questions (and their answers) later!

5/20: Where would you never want your typeface to end up?

We continue sharing the result of our small, (un)representative survey, exploring what the font community is thinking about and what it looks like today.

Question 4/20: Do you ever market your own typefaces? Do you enjoy this activity?

Yet another question from our list!

3/20: For what/whom would you fancy developing a typeface for?

The Morisawa Design Awards competition is now open for submissions! The applications will be accepted until August 29.

https://competition.morisawa.co.jp/en/

Fonts supporting any of the five scripts are accepted for the competition: Latin, Simplified Chinese, Traditional Chinese, Japanese, and Hangul script. In each category, the jury will select one winner, and an additional font will be awarded the Audience Award (based on voting on the competition website).

Images: Curbe, Olga Pankova. Special mention, Morisawa design awards 2019; Ribaasu, Tien-Min Liao, 3rd prize, Morisawa design awards 2019

We continue sharing the responses to our questionnaire!

Question 2/20: Does a modern type designer need to know how to code?

Recently, we decided to ask our authors several questions about their work and type design in general. Designers whose fonts are not on our storefront heard about this and asked to participate as well. This is how our small, (un)representative survey came about, exploring what the font community is thinking about and what it looks like today.

We asked designers to respond to 20 questions, and this week we will share the answers for the first 5 of them.

Question 1/20: How do you come up with ideas for new retail typefaces?

Talked to a creative coder and type designer Lena Weber about the programmers’ way of thinking, the future of color fonts, and ambiguous aesthetics

https://type.today/en/journal/lenaweber

Production Type founder Jean-Baptiste Levée shares his favourite uses of Spectral, Porto Grotesk and Tesseract:

1. Design as an Attitude by Alice Rawsthorn (Russian edition)
Set in Spectral
Designed by Masha Kasatkina

2. Edition Moderne publishing house identity
Set in Proto Grotesk
Designed by Claudio Barandun, Julia Marti

3. Trax Magazine
Set in Proto Grotesk
Designed by Large

4. Wired Italia, n. 91
Set in Tesseract
Designed by Pitis e Associati

5. Christie’s Magazine
Set in Proto Grotesk
Designed by B.A.M.

Nostra, designed by Lucas Descroix (together with Neue Haas Grotesk) in use in the logo of Studio Coebergh, an interior design studio based in Amsterdam

Desgined by Vincent Brod

Some time ago, we received a message from Nilya Musaeva , an artist and researcher from the University of the Arts Bremen, whose grandfather comes from Khinalug village in Azerbaijan

Nilya took a trip to Khinalug and realized that there's a lack of fonts supporting the unique language of the village people. Together with Nilya, we explored the history of the Khinalug language and found out that one cannot even properly post in Khinalug on social media

https://type.today/en/journal/khinalug

Loos by CSTM Fonts, Nib by Colophon Foundry and Nieuk by Le Laïc on the After Russia musical album cover. The album is based on the poems of the unnoticed generation (the poets who migrated from Russia in 1920s)

Designed by Tuman Studio

The Berlinletters festival, which will take place from July 5th to 7th, has announced its program.

It includes lectures on decolonization in typography, revivals of WordArt fonts, and work with artificial intelligence. Also, there will be a Lettering Walk through one of Berlin's districts. Early bird tickets are available until the end of April!

Festival Programme Feder, Pinsel, Tastatur, Spraydose, Strick- oder Gravurnadel. Hier ist die Übersicht des Festival-Programms rund um Buchstaben.