Pariah Burke's List: __Typography Preschedule

The most popular fonts featured on Betype over 2014.

Sweynheym and Pannartz are credited with introducing printing to Italy via their press at the monastery of Santa Scolastica at Subiaco, outside of Rome in 1465. They appear to have been relatively successful, even sending quite a number of their books to Rome itself. However, in 1467 they move their press to Rome, where by 1473 they were all but out of business. However, in addition to being Italy’s first typographers, they were the first to print a Latin Bible in roman type (ISTC: ib00535000; Type: 2:115R)

As a letterer I tend to use a lot of script letterforms in my work. These are based on handwriting or calligraphy and therefore respond differently depending on the hand behind them. When working with these I vary the design parameters according to how loose, how nervous, or how static I want ‘the hand’ to appear.

Expletives and Art seem to make the perfect pair. A simple word can invoke an emotional response or set a specific tone, which makes it a powerful tool for designers and artists to convey their message. In today’s showcase I feature 30 fun examples of profanity filled typography designs which will either entertain or offend. Either way, they’re probably not safe for work or the eyes of children!

Barbs, beaks, brackets, bowls.

Baffled by typography terms? You’re not alone.

One of the most common questions we field at Print is what the heck typography’s various terms all mean. We called in Denise Bosler, author of Mastering Type: The Essential Guide to Typography for Print and Web Design, to serve as our official translator. Here, Denise shares a selection from her book breaking it all down:

Enjoy these ten things you (probably) didn’t know about the man, the myth, the Spiekermann:

In this collection, you will find 12 awesome and wonderful capital fonts that can be used in almost any type of project. If you want some exciting and outstanding results then use these capital fonts. If you play creatively and smartly with width and thickness of the font, you can take your project to the next level of creativity.

This tutorial will help you understand the various kinds of typography that exist all around us, such as the typography you see in books, billboards, store signage and everything else in between. You'll gain a great amount of knowledge to help you decipher typography characteristics and what their usage is in this day and age.

You know the question mark, exclamation point, and period, but have you heard of the love point? How about the acclamation point? If you haven’t, the infographic below will introduce you to each one, and they’ll even tell you how to enter them on your computer.

Warning: The following images may seriously offend your eyes!

Jamie Clarke of Type Worship explains how to get started in creating your own typography.

Monotype's Dan Rhatigan discusses why we need new fonts and what makes a good typeface.

Designers have revelled in the chance to use Comic Sans with impunity for this poster project to raise money for Cancer Research.

These posters are created daily and they show creative ways of forming an ampersand, like using a pair of hands or two sunny side up eggs.

Can you tell the difference between Arial and Helvetica? Or Courier and Geneva? Put your skills to the test in our fun typography quiz.

But many designers have little knowledge about the origin and meaning of the ampersand. The ampersand has a long and rather interesting history, though.

And with all the variations available out there, there are a whole host of design possibilities presented by this particular character.

Read on for more information, a history of the ampersand, and a gallery of ampersand designs from a variety of different typefaces.

And so people pile on Comic Sans in a way that they’d never pick on nerds in school. And every time you see your library or your community center making a poster with Comic Sans — “Hey, come to the puppet show!” — there’s a bit of a nose wrinkle, an almost-sneer. Like they didn’t get the memo. Like they don’t even know. Like a puppet show is serious business.

But think back to 1994. We’d just gotten the graphical web and all web page backgrounds were grey. Cutting edge at this point was changing that color to white. Microsoft’s website — you know, the people who released Comic Sans — looked like this.

But I’m not here to talk only about Helvetica (personally I have no real qualms with it), but to talk about the idea of fonts that some designers consider to be “overused.” Who gets to decide when a font has “jumped the shark,” so to speak? Does using a so-called overused font diminish others’ perceptions of your creative abilities? Or does it signal that you know what current clients need and are actively looking for?

For me, Žižek’s words are even more potent in light of recent news about domestic surveillance programs. As a former contractor with the US National Security Agency (NSA), these issues hit especially close to home. During my service in the Korean military, I worked for two years as special intelligence personnel for the NSA, learning first-hand how to extract information from defense targets. Our ability to gather vital SIGINT (Signal Intelligence) information was absolutely easy. But, these skills were only applied outwards for national security and defense purposes — not for overseeing American citizens. It appears that this has changed. Now, as a designer, I am influenced by these experiences and I have become dedicated to researching ways to “articulate our unfreedom” and to continue the evolution of my own thinking about censorship, surveillance, and a free society.