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The treasure of St. Bride: Part I

Within these walls, there are thousands of volumes—from histories and bibles to stacks and stacks of specimen books. There are also tons of steel, copper and various blends of metal formed into punches, matrices, and a horde of typecasting equipment. Not to mention a certain amount of wood. Read more

New in TYPE

The new face of the Wall Street Journal

The new face of the Wall Street Journal

The target of consistency poses both the highest obstacle and greatest opportunity for The Wall Street Journal, which continues to pile on new subscribers. The Journal employs no centralized design team to implement these changes broadly, so their Global Head of Design says, “it’s not team effort; it’s a community effort." Read more

The next big thing—in fonts

The next big thing—in fonts

DESIGN AND TECH are hard to separate today, even if you wanted to. And you can’t start a magazine about design without talking about the latest technology. In type, that’s Variations, announced last year at ATypI in Warsaw on an Olympian plinth with representatives of Google, Apple, Microsoft and Adobe. Read more

The treasure of St. Bride: Part II

The treasure of St. Bride: Part II

Two of the giants in type founding were the Caslon and Figgins foundries. Based in London, both operated in various guises from the 18th to the 20th century. What remains of these enormous ventures can be found at St. Bride Library in Fleet Street, the historical neighborhood of printers and newspapers. Since opening in 1895, St. Bride has become a leading collection of printing and graphic design material. Read more

The new illuminated manuscript

The new illuminated manuscript

The Bible has always been the standard for mastery of communication in new media, evident in the evolution of writing from calligraphic scrolls, to illuminate manuscripts, to Gutenberg’s moveable type and his 42-line Bible. So, it is perfectly logical that the text used to truly test this newest medium of communication—the digital frontier—would be the Bible. Read more

The faces of Microsoft

The faces of Microsoft

Bill Gates was having an informal meeting with Steve Shaiman, a cheerful gnome of a man with a head of frizzy hair who was general manager of Microsoft’s hardware division, and with Raleigh Roark one of the two people who had started the division. They were talking about fonts and applications, especially Word. This was the era of desktop publishing and proliferating office applications, and users needed more than just the bitmapped system fonts on their computers to get their work done. Courier, Tms Rmn, and Helv were not going to be enough. Read more

The story of Yatra

The story of Yatra

Visiting India as a student, I wondered: why Why are there so many hand painted signs here? There weren’t nearly as many Devanagari typefaces as there were sign painting styles. I met with Indian typographers, calligraphers, and type designers who patiently explained to me why designing and setting Devanagari is more difficult than Latin. Read more

Design and type working together

Design and type working together

Atelier Marge’s work stands out by its use of type as texture or object. With the typographic collages for Théâtre de la Bastille, Atelier Marge brings type to life through scale and color, often creating work with no purely graphical elements. Read more

A classic style endures

A classic style endures

As a regular park visitor, JP Boilard learned the benefits of deep gratitude for natural wonders and basic curiosity. As a Boy Scout, Jim Walker felt the tug of nature upon his burgeoning soul. Neither of them understood how necessity and altruism would eventually drive them back to the wilderness, this time through the lens of design. Read more

The Typographics NYC 2016 Lecture Series

The Typographics NYC 2016 Lecture Series

Certain common themes became apparent during the series of lectures at Typographics NYC 2016, along with overarching threads. The first of these was problem solving in typeface design, more specifically optimizing fonts for screens, building connections in a script without using alternates, and tackling reverse contrast in a serif text face. Read more

Typographics NYC 2016 Resounding Success

Typographics NYC 2016 Resounding Success

For ten days Typographics 2016 turned The Cooper Union in New York City into the epicenter of the type and typography world. The second edition of the annual conference was a resounding success. Read more

A party for Typographics, the magazine

A party for Typographics, the magazine

As Typographics was under way last week, it coincided with the announcement of a new publication—and the launch of this site. Thursday, June 16, Adobe Typekit and Roger Black organized an evening of cocktails and conversations at the Astor Center Gallery to celebrate Typographics: The Magazine. Read more