Tag: Studio43 articles
Created with screen reading in mind, Amariya’s sculpted, understated elegance is specifically designed for long-form copy in Arabic, Urdu or Persian. Its open shapes and streamlined forms are tailored not just to the digital world, but the flow and rhythm required by someone immersing themselves in words.
Neue Kabel brings back the liveliness of the original's strikingly quirky characters, while adding in the long-lost italics and missing glyphs needed for it to address a wide range of editorial and branding purposes.
The making of the serif typeface PMN Caecilia from first sketches to usable fonts took more than seven years. Designed by Peter Matthias Noordzij, it is the child of a time when font technology changed rapidly, not knowing which development the next day would bring. Eventually it was released in 1991 and quickly turned into a quiet tip for designers; not overused, and yet selected for prominent applications. Today, more than 25 years later, Noordzij adds a sans serif companion to his first type family and equips it for today’s needs.
How do fonts influence your perception of a city and its identity? See how the right choice can convey the image of a place is and what it aspires to become.
Fonts play an indispensable role in shaping your experience of published media, working in a deliberate way to communicate the information clearly and legibly.
Tiny type poses a big design challenge. “Micro type”—typically under 10 point—is a fast-growing part of our collective reading diet. Whether in eBooks, smart watches, package labeling, or any number of “micro type” environments, when letterforms become smaller, spacing gets tight, details get lost, and forms blend together. The resulting legibility issues can make for a frustrating reading experience.
In many ways the idea that Helvetica is a 'neutral' typeface has become a self-fulfilling prophecy. That's not to say it isn't, but the neutrality narrative is only half the story.
Ambiguity, from Charles Nix, offers a chance to pause for thought, question the state of affairs, and indulge in a little bit of enjoyable discomfort.
Behind the font highlights the people and process behind the fonts you love and use. This installment features Carl Crossgrove of the Monotype Studio.
More than 150 languages and scripts are supported in this global super family, which uses the warmth and clarity of the original Frutiger design to help brands communicate around the world with consistency.
German designer Paul Renner is best known for his Futura design, but Plak, his 'other' typeface, is long overdue a rediscovery. Monotype designers Linda Hintz and Toshi Omagari have restored this under-appreciated design, creating a versatile set of 60 weights that draw on the forms of the original wood type.
You know what they say, “classics never go out of style.” Maybe this is true, maybe it isn’t. But one thing is certain: When sans serifs took over typography in the early 1900s, they weren’t just a fad. They came to stay.
Sans serifs have long dominated the world of corporate branding, but some companies are going for a different look: Fun, funky serifs. What's behind the change?
Finding the right brand font requires a deep understanding of who you are as a brand, and how you want to present that identity to the world.
Optical sizing has long been part of the type designer’s toolbox, but for many people the term may not be familiar. Here's why that should change.
Malou Verlomme’s Madera is a fresh addition to the popular geometric sans serif font genre, intended as a go-to typeface for branding and visual communication.