font 004
DESCRIPTION
font 004: Community debuted in July during Type Week in New York. The magazine was distributed to attendees of the annual typography conference TypeCon2005, and a special public event headlined by FontShop founders Erik Spiekermann and Neville Brody. For this issue of font, editors Tamye Riggs and Stephen Coles worked with art director Joseph Pemberton to explore the concept of “community.” A variety of creative minds helped tackle the theme. with writing contributed by Margaret Richardson and John D. Berry, and design and illustration by Punchcut, Underware, and Marian Bantjes. Also featured were the fonts of Process Type Foundry, Mark Simonson Studio, P22 type foundry, LucasFonts, and FontShop’s own FontFont label, among others.TRANSCRIPT
*According to unesco, in the world today there are about one billion non-literate adults.
font
Fontshop60 Tehama StreetSan FranciscoCalifornia 94105 usa
1 888 Ff fonts toll-free
1 415 512 2093 local
www.FontShop.com
Us
Them
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font is published by FontShop in San Francisco
editors: Tamye Riggs and Stephen Coles
design: Punchcut / www.punchcut.com
art direction: Joe Pemberton and Jared Benson
staff: Joanna Rosenfeld, Michael Pieracci, Zara Evens, Vince Stinson, Ali Norris, and Sarah Bush
contributing designer: Marian Bantjes / www.quatrifolio.com
contributing writers: Margaret Richardson / [email protected] John D. Berry / [email protected]
cover design: Underware / www.underware.nl
printing: Dome Printing, Sacramento / www.domeprinting.com
© 2005 fsi FontShop International. All rights reserved. All trademarks named
herein remain the property of their respective owners. The views expressed
herein are solely the opinions of their respective contributors, and do not neces-
sarily represent the viewpoint of FSI. The contents of this publication may not
be repurposed or duplicated without express prior written permission.
FontShop60 Tehama StreetSan Francisco, CA 94105
1 888 ff fonts toll-free1 415 512 2093 local
www.FontShop.com
headlines: ff Absara Serif, ff Zwo,™ ff Absara Sans, ff Meta,® ff Kievit,™ Bello,™ Sauna™
body: ff Absara Serif, ff Absara Sans, ff Avance,™ Sauna™
captions: ff Zwo, ff Unit,™ ff Kievit™
The panel was chosen to review several candidateswork and collect their impressions and commentsto the board for final approval. These resultsare presented here to commemorate the fine.vlolliSAC À FARINESAC À FARINEembroidery
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Although no sauna was available in the hotel at midnight, we were determined to test the validity of Underware’s claim. We turned the shower on full blast at the highest temperature and let the bathroom fill with steam.
Much to our delight, heretofore unseen stories surfaced in the pages of Read Naked as the heat and humidity increased. Five of us bonded in that tiny bathroom as we discovered the joys of Underware.
In publishing font again after a three-year hiatus, the FontShop® team wanted to explore community. The word has many definitions; to us, it means sharing, participation, and friendship. As you turn the pages of font, I hope you’ll feel that sense of discovery and belonging, as I did in Toronto.
tamye riggs
This issue is dedicated to the
memory of Evert Bloemsma.
background infoAccording to UNESCO, in the world today there are about one billion non-literate adults. This one billion is approximately 26% of the world’s adult population. Women make up two-thirds of all non-literates. 98% of all non-literates live in developing countries. In the least developed countries, the overall illiteracy rate is 49%. 52% of all non-literates live in India and China. Africa as a continent has a literacy rate of less than 60%. In Sub-Saharan Africa since 1980, primary school enrollment has declined, from 58% to 50%. In all developing countries, the percentage of children aged 6–11 not attending school is 15%. In the least developed countries, it is 45%.
the making m a coverFrom: [email protected]: the coverDate: May 17, 2005 1:10:54 am gmt +03:00To: [email protected], [email protected]
I was thinking again about the cover. I still believe that there is also a chance to tell a message. I would like to give a critical point of view on the design community (conferences, awards... you know what I am talking about. Designers celebrating themselves).
I would like to tell this not directly. I would prefer to communicate this indirectly.
I think the fact that 863.000.00 people on earth (13.7 %) can still not read and write could be a good content. But we should use this in a clever way. Perhaps humor helps.
Some suggestions for the texts:
front: we can change the world*back: *if you know how to write and talk.
front:Our community counts 5.400.000.000. But that’s not enough!*back: *we also want to have the 862.000.000 who can not read this.
front: ‘We can change the worlt’ - Adi Bubil, 35 yearsback: Adi Bubil is a farmer in Zimbabwe, living with his 5 kids and his wife in a tribe counting 200 people. His wife is 32, his kids 1,2,3,4 and 6 years. he loves his country and his family. Adi is illiterate.
hmm I do not really like one of these suggestion, but perhaps they bring up more ideas by you?
gruß Akiem=====Perhaps a short sentence about a nearly dead language?
Silbo Gomero is a whistling language from one of the Canary Is-lands. It was used to communicate over long distances...and sounds quite ingenious. It is now required for all children on the island to study Silbo Gomero until age 14, ensuring that even if the language isn’t necessarily practiced, it will not be forgotten.
For the Yavapai-Apache Nation, there are only eight fluent Yavapai speakers. The youngest of these eight is 58 and the average age is 72. Teaching the language to the younger generations is now critical, according to Yavapai Cultural Preservationist Katherine Marquez.gruß Akiem
From: [email protected]: Education for girls & women (mothers!)Date: May 17, 2005 1:34:46 pm gmt +03:00To: [email protected], [email protected]
Our community counts 5.400.000.000. But that’s not enough!we also want to have the 862.000.000 who can not read this.
So such a message also needs a real link to a real campaign, like this: http://www.unicef.org/girlseducation/campaign_accelerating-progress.html
groet,Sami
From: [email protected]: font mag, one try.Date: May 17, 2005 2:07:23 pm gmt +03:00To: [email protected], [email protected]
Feel free to improve this:
groet,Sami
Hmmm, I do notreally like my
suggestions, butperhaps they bring
up ideas for you?From: [email protected]: Re: Date: May 17, 2005 2:37:15 pm gmt +03:00To: [email protected], [email protected]
In addition:http://www.sil.org/lingualinks/literacy/PrepareForALiteracyProgram/WhereThePeopleCannotRead.htm==another idea:
front:
back:
Half of the 860 million an-alphabetic adults live in one of these two countries.
From: [email protected]: school yearDate: May 17, 2005 3:40:45 pm gmt +03:00To: [email protected], [email protected]
Perhaps a bit too radical...
:)groet,Sami
Make ourcommunity larger. In the end, type is
about reading, not about design.
From: [email protected]: alsoDate: May 17, 2005 3:47:03 pm gmt +03:00To: [email protected], [email protected]
front: What’s the messageback: if you can’t read?
front: Send us a short statement on your daily life...back: ...if you can write
==http://www.sil.org/literacy/LitFacts.htmhttp://www.lovetoread.org/literacyfacts.htmlhttp://www.uis.unesco.org/ev.php?ID=4960_201&ID2=DO_TOPIC
There are an estimated 799 million illiterate adults in the world, about two-thirds of whom are women
==Literacy A person is literate who can, with understanding, both read and write a short simple statement on his or her everyday life.
==http://www.uis.unesco.org/ev.php?ID=5020_201&ID2=DO_TOPIChttp://www.uis.unesco.org/ev.php?ID=4958_201&ID2=DO_TOPIChttp://www.mapsofworld.com/thematic-maps/world-illiteracy-map.htm
groet,Bas
blurbfront: When you buy a typeface, also donate some moneyback: and help illiteracy to dissappear
front: Okay, you buy a typefaces.back: But how many people can read your designs? front: What’s the message...back: if you can’t read?
front: Send us a short statement on your daily life...back: ...if you can write
From: [email protected]: iChatDate: May 17, 2005 3:52:12 pm gmt +03:00To: [email protected], [email protected]
ugh, let’s change to iChat, enough of emailing for today!
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toronto was a cool place to be in the summer of 2002. Despite a garbage worker’s strike which left festering mounds of refuse piled on the sidewalks, summer in the city never felt so fine. For I, along with a couple of hundred other aficionados (aka fanatics), was immersed in the typographic geekfest known as TypeCon.
Conference attendees, obsessed with all things type-related, had a golden opportunity to feast on their favorite mental meal in a roomful of like-minded inviduals. It’s not often that type geeks are able to wax poetic on the supple curves of the latest Jannon revival or the fit factor of Avant Garde’s™ alternate ligatures without sounding insane.
In the middle of the mixing and mingling at TypeCon, a trio of young European designers joined us in Toronto, offering friendship and delicious type to a hungry crowd. The Underware boys went way beyond drawing beautiful letters. They brought us into their world with warmth, humor, and sexy typefaces.
After a long and satisfying day at the conference, I was in my hotel room with a few young type designers, listening to ’80s new wave through a Powerbook’s tinny speakers while we fondled Underware’s Read Naked, a book allegedly designed to withstand rough treatment in the heat and moisture of a sauna.
Lavande
Out on the veranda, I saw Tom down below.He was talking to himself about the bustedplumbing he was attempting to fix. In his back jean pocket, covered with mud, was my letter. I could see the words, “A MI QUERIDO” that I had written just a few hours ago. I wondered if he had opened it already, or if he had shoved it back there with disregard, with aggravation. From the look on his face, I gathered that if he
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to swap hints from their favor
10
Font ShopUnderware is Akiem, Bas and Sami. They sit in three different studios in three different cities. So, when they work on the same project, there’s always a huge amount of emails and iChatting.
When FontShop & Punchcut asked Underware to design a cover for this issue of font, these emails, screenshots and iChattings reveal what happened before the final idea for a cover was born.
FontShop.com 03
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Sure, a picture can paint
a thousand words. But
in graphic design, words
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Austin Veterinary Clinic triumphs with newest permitIncludes maps, biographical info Freight™ Text
Hawaiian luau interests runners quintessential phyllo recipe wins Freight™ Sans
A key formula interests land remediation professionals and the small scientific community who will participate with the regionalFreight™ Text
Shut your eyes, gents. One moment. A little trouble about those white corpuscles. Silence, all. He peered sideways up and gave a long slow whistle of a call, then paused awhile in rapt attention, his even white teeth glistening here and there with gold points. Chrysostomos. Two strong shrill whistles answered through
Freight™ Micro
FREIGHT
The latest and most ambitious release from GarageFonts, this 60-font family was crafted by Joshua Darden to work well in any setting. Freight™ Serif and Sans are elegant text faces, and Micro is tuned for tiny print, but every font in the package has headline potential.
The FontShop collection is infused with the latest work of today’s most engaging type designers so your work always stays fresh. Keep up to speed on new font releases by subscribing to the FontShop newsletter: send email to [email protected].
font 00408 2
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FontShop.com 19
15 years of type for independent minds
In 1990, Neville Brody and Erik Spiekermann founded FontFont®, a type library created “by designers for designers.” It quickly became a haven for type connois-seurs and a digital playground for creative wizards worldwide.
Fifteen years and more than 3,500 fonts later, FontFont is still setting standards, pushing limits, and influ-encing new generations. While a decade-and-a-half might seem like a relatively short time in the history of the centuries-old type game, it’s a lifetime in the technology age.
FontShop is celebrating this 15-year anniversary with an exhibition documenting FontFont’s history and extraordinary impact on design. The show opened in London in November 2004, then visited Manchester, Berlin, and New York. FiFFteen will travel to other venues in the coming months. Next year, Dutch designer and writer Jan Middendorp will publish a book exploring the FontFont universe.
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BrooklynFreehand™ 521 bitstream
Stock Exchange Hollander™ elsner+flake
FeaturedDistractions
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|io +UEJO Mantinia™ carter and cone
Akihabara Station Metroflex™ garagefonts
GOLDEN GATE BRIDGE Regency Gothic™ stylus
Venturing into a new project, it’s too easy to revisit the same tried-and-tested typefaces. Our advice: look beyond. The fonts most fitting are often found on the road less traveled. Explore these underexposed faces that can take your work places it’s never been.
Walburn™ shinntype
font 00422 FontShop.com 23
top, from left: Michael, Flora, and Volker; middle: Larry, Wes, David, and Danny; and bottom:KD, Joanna, and Jason.
font 00424
there’s more to see on fontshop.comThe handpicked selection of fonts in these pages are just a taste of the 35,000+ available at FontShop.com.Browse by foundry, designer, or font name and immmerse yourself in our recently expanded showings. Each customizable font sample is now larger, more complete, and easier to use. Pricing for our entire selection is available online.
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we’re here to helpWe live for your questions about fonts. Need something identifi ed? Looking for a specifi c style, but don’t know where to start? Our type gurus are standing by, ready to do what they love: help designers fi nd the perfect fonts. Go ahead, ask for help – it’s free.
contact fontshopCall 1 888 ff fonts toll-free within the usa1 415 512 2093 local1 415 512 2097 [email protected]
Play before you pay at FontShop.comOur font sampling system is so advanced we could call
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fonts used: ff Meta,,® ff Unit,™ ff Info™
Dive deeper at the Font Detail level, where you’ll fi nd a
text setting and character map. Set the sample size all
the way up to 388 pts(!) for inspecting the subtlest of
curves and the smallest of serifs (see 2).
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ExaminerEnter sample text:
© Copyright 2005, FontShop International :: 1888 FF FONTS toll free :: [email protected] of Use :: Privacy Policy :: About FSI :: Contact
Looking for the Euro currency symbol (€)? It will displayed to the right of the $ character above if available in this font.
Search by font name:Home > View by Foundry > Linotype Library >Fette Fraktur > Fette Fraktur
Fette Fraktur | $ 21.00
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Can’t findwhat you’relooking for
Character Set
Available FormatsMac PostScript $ 21.00Win PostScript $ 21.00Win TrueType $ 21.00
DesignersLinotype-Hell AG
Trademark InfoTrademark of HeidelbergerDruckmaschinen AG, Licensed to Linotype
Font Detail
144ptSize:
ExamA quick brown fox jumps over the lasy dog. Sphinx of black quartz judge my vow. About sixty codfish eggs will make a quarter pound of very fizzy jelly. Grumpy wizards make toxic brew for the evil Queen and Jack. New farmhand proves strong but lazy, picking just six quinces. Crazy Fredericka bought many very exquisite
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ExaminerEnter sample text:
© Copyright 2005, FontShop International :: 1888 FF FONTS toll free :: [email protected] of Use :: Privacy Policy :: About FSI :: Contact
Looking for the Euro currency symbol (€)? It will displayed to the right of the $ character above if available in this font.
Search by font name:Home > View by Foundry > Linotype Library >Fette Fraktur > Fette Fraktur
Fette Fraktur | $ 21.00
View fonts by:
category
designer
foundry
name
Can’t findwhat you’relooking for
Character Set
Available FormatsMac PostScript $ 21.00Win PostScript $ 21.00Win TrueType $ 21.00
DesignersLinotype-Hell AG
Trademark InfoTrademark of HeidelbergerDruckmaschinen AG, Licensed to Linotype
Font Detail
144ptSize:
ExamA quick brown fox jumps over the lasy dog. Sphinx of black quartz judge my vow. About sixty codfish eggs will make a quarter pound of very fizzy jelly. Grumpy wizards make toxic brew for the evil Queen and Jack. New farmhand proves strong but lazy, picking just six quinces. Crazy Fredericka bought many very exquisite
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz(.’;:?!$€&-*@)01234546789[äöüßåø]{ÄÖÜÅØÇ
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Text Setting 14ptSize:
TypeNavigator
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new soy milk, soy beverages, and other low-flavor goodsfound to decrease appetite and ensure nutritional benefinally an excuse to binge on fast food that is not so fast
Better paper and new ink means lessnewsprint on your fingers and minimized dot gain! All our papers are 40% post-consumer waste or greater.
the sans™Thesis was designed to be the definitive font for every aspect of a corporate identity campaign. The font is so carefully drawn, that it maintains its form in sizes ranging from business card text to lettering on the side of a building.
the antiqua™A book serif, Luc(as) style. Designed for newspaper copy, but versatile enough for any text.
jesus loves you all™Rarely do you find a typeface with such emotional power. Three fonts with varying effects. None of them tame.
spiegel™Inspired by Franklin Gothic™, de Groot updated the look of the popular sans for the German weekly magazine Der Spiegel.
lucasfonts
the sans™
spiegel™
“Community is in my head. Ik ben een
Einzelgänger – always have been.”
— Luc(as) de Groot
the antiqua™
jesus loves you all™
FontShop.com 27font descriptions: ff Kievit™
The panel was chosen to review several candidateswork and collect their impressions and commentsto the board for final approval. These resultsare presented here to commemorate the fine.vlolliSAC À FARINESAC À FARINEembroidery
BREAKFASTPRANZO**tangerine
BRUNO’S38*
“I spent four years touring the States in a punk rock band,
and it was the most meaningful interaction I’ve had with a
community. The sense of collective sufficiency, support, and
independence gave me direction. Years later, it still shapes the
way I consume, earn a living, and treat others.” — Eric Olson
klavika™A modern squarish sans designed with identity programs and editorial design in mind. Emphasis was given to alternate numeral styles and typographic details like small caps and ligatures.
fig™A set of three typefaces (sans, serif, and script) in the spirit of early email and ascii art explorations.
locator™Originally proposed as a custom typeface for the Design Institute at the University of Minnesota, Locator™ is now a complete family of 12 fonts with a true italic.
stratum™The austere geometry of early 20th century display faces paired with a desire for a contemporary lowercase have merged to produce this contemporary family of six weights.
bryant™Long since replaced by computers, the mech- anical lettering kits used by draftsmen and amateur sign makers served as the inspiration for the Bryant™ family of typefaces.
process type foundry
klavika™
bryant™
fig™
locator™
stratum™
FontShop.com 29
coquette™The charismatic Coquette™ celebrates the happy marriage of a geometric sans and a French upright script. Il est adorable.
mostra™Based on a style of lettering often seen in Italian Art Deco posters and advertising of the ’30s. Each multifaceted weight comes with three alternates.
goldenbook™An Art Deco take on classic Roman letterforms. With its fine features, it shines at large sizes.
changeling™A redesign of China, a VGC Photo-Typositor face released in 1975. Four styles — Light, Regular, Stencil, and Inline — were added, as well as extensive kerning tables for perfect, ’70s-style spacing.
mark simonson studioLavande
Out on the veranda, I saw Tom down below.He was talking to himself about the bustedplumbing he was attempting to fix. In his back jean pocket, covered with mud, was my letter. I could see the words, “A MI QUERIDO” that I had written just a few hours ago. I wondered if he had opened it already, or if he had shoved it back there with disregard, with aggravation. From the look on his face, I gathered that if he
PATH
!
gamers from all categories me
to swap hints from their favor coquette™
“Community is where you are, either physically
or metaphysically. It’s the context of what you
do in your life.” — Mark Simonson
mostra™
goldenbook™
changeling™
FontShop.com 31
Penneall’ArrabbiataSugo di Carne
RISOTTOALLA MILANESE
Pasta allaHot Dogplus some BaconA SIDE OF CHEESE
sticks
cézanne pro™p22’s most popular fontjust got the OpenTypetreatment. Over 1200 glyphs and “smart features” emulate the handwriting of French artist Paul Cézanne.
stanyan™Created for beat poetRod McKuen. Reads likea serif roman at small sizesand sketchy letteringwhen set large.
ed rogers™ Rogers’s vibrant ink slinging has been featured on album art for rem and others. Now it’s a font. Includes a set of his erratic illustrations.
fllw exhibition™One of three sets basedon lettering by Frank Lloyd Wright. The architect’s stylized geometry in three headline fonts and linking borders.
p22 type foundry
fllw exhibition™
stanyan™
ed rogers™
v
cézanne pro™
“Community evokes a shared sense of purpose and
common goals. The typographic community shares
an unattainable goal of typographic perfection.”— Rich Kegler
FontShop.com 39
POSTER E
XHIB
IT
POSTER E
XHIB
IT
GALLERY 74
HHHHHHHPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPO
PPPPPPPPPPPPPPPPPPPPP4 PPP4 PPPPPPPPPP44 P444
OO
444
OOOOOOSSSSSSSSSSSSSSSTTTTTTTTTTEEEEEEEEEEEEEEEERRR
OOOOOOOSSSSSSSSSSST
STTTTTTEEEEEEEEEEERRRRRRRR
OOOOOOOOOSSSSSSSSSSST
STTTTTTTEEEEEEEEEERRRRRR
london underground™p22 teamed up with London’s Transport Museum to digitize Edward Johnston’s legendary face of the Underground.
constructivist™Six fonts recreate the bold graphic design of early Soviet Era artists such as Rodchenko and Popova.
arts & crafts™ The lettering of Dard Hunter at the Roycroft, circa 1900. Part of a 16-font a&c celebration, including the styles of Frank Lloyd Wright, Maxfield Parrish, and William Morris.
czech modernist™Drawn from the work of designer Vojtech Preissig. Combines bold experimenta-tion with a high degree of legibility.
posada™The poster lettering and imagery of Mexican print-maker Jose Guadalupé Posada (1852–1913). Two fonts and 60 illustrations celebrating the Day of the Dead.
london underground™
posada™
constructivist™
arts & crafts™
czech modernist™
font 00440
AT ANY PLANNED GATHERING OF A COMMUNITY THAT’S TOO LARGE OR FAR-FLUNG FOR EVERYONE TO KNOW EVERYONE ELSE BY SIGHT, THE TIME-HONORED SOLUTION TO THE RECOGNITION PROBLEM IS NAMETAGS. AT A FAMILY GATHERING, THESE ARE PROBABLY PLAIN WHITE STICK-ON LABELS, WITH NAMES HANDLETTERED BY AUNT FRIEDA; AT A CONFERENCE, THEY’RE USUALLY PREPRINTED AND HOUSED IN PLASTIC HOLDERS MADE FOR SUCH AN EVENT. NAMETAGS ARE A VERY LOCAL AND SPECIALIZED BRANCH OF INFORMATION DESIGN, AND, AS SUCH, THEY FORM PART OF THE GLUE THAT BINDS TOGETHER A COMMUNITY.
what’s my name?
Although the tag from TypeCon2004 gives pride of place to
the name and uses a clear typeface, there was no reason the
point size couldn’t have been a good deal larger – even while
allowing for unusually long names. (That’s a good reason for
using a fairly compact face.)
nametags in theory and in practice
This cosmic badge, while sporting a charming illustration,
is cluttered. The name is too small and blends into the
background, making it diffi cult to discern.
FontShop.com 43font 00442
by
Nametags are utterly practical, or at least
they should be – they exist as labels, and nothing more.
In a professional environment, where a hefty admission
fee may be charged, they serve dual purposes: in
addition to identifying the person, a nametag signifi es
that the wearer is a registered attendee of the
conference, convention, or trade show. That aspect –
and the (sometimes casual, sometimes serious)
attempts to prevent an outsider from counterfeiting
a badge in order to get in – can lead to baroquely
elaborate badges, where the name of the attendee is
relegated to a fairly minor position. To the professional
event organizer, it may seem more important to
identify each person as a member of the group; but
to the individuals themselves, it’s more important to
identify other individuals.
This is where the humble nametag enters the same
realm as highway signage and wayfi nding systems, as
a kind of walking environmental design. The moment
the design of nametags really matters is when one
is stumbling about at an opening reception, trying to
spot familiar names without rudely staring at people’s
chests. That surreptitious sideways glance – trying
to catch a glimpse of a person’s name without being
too obvious – certainly has a better chance of being
inconspicuous if the name on the tag is typeset in a
large, clear typeface, in upper and lowercase letters
against a background that doesn’t clash with the type.
Even 24-point Helvetica™ Bold will do, if there’s nothing
around it on the card; something like 40-point ff Meta®
Bold Condensed would be far better, or perhaps
36-point Medium. Given the distance at which these
names will be read, a typeface that is normally reserved
for use at very small text sizes could work well – Bell
Centennial,™ for example. The idea is clarity, above all.
A motley collection of nametags from various events over many years suggests some of the possibilities – good, bad, and peculiar. How many could actually be read from six feet away?
fonts used: ff Absara Sans™, ff Zwo™
And, of course, there is the straight-forward skewing
of expectations. What would you write in the space
provided when the tag says, “Hello, My Name Is Not?”
Times™ Bold isn’t a highly legible typeface at a
distance, but it’s at least familiar. At this size, on an
unusually large nametag, it manages to do its job.
The nametag from FontShop’s Fuse98 conference, while
elegant and spare, suffers from a common problem: the
conference’s visual identity takes up more room than
the attendee’s name.
The least functional is the nametag for a science fi ction
convention held in 1986, where the plastic badge-holder
serves as an advertisement for the convention and a
frame for an illustration, but only incidentally as a way
of identifying the individual wearing the tag.
The most beautiful of these nametags was created
for the opening of a student book design exhibition.
In keeping with the aesthetics of many of the book
designs, this badge has no clutter at all. But the tag is
small, and the name is too tiny to be read easily.
In a less security-conscious era, attendees sometimes took
matters into their own hands. In 1977, the Westercon xxx
nametag – more decoration than identifi er – inspired
cartoonist Dan Steffan to turn the cardboard card over and
draw a larger and more amusing nametag on the back.
font 00444
In a less security-conscious era, attendees sometimes took
And, of course, there is the straight-forward skewing
of expectations. What would you write in the space
Allowing attendees to customize their nametags can help break the ice.
At TypeCon2004, FontShop’s stickers served as a catalyst for conversation.
Clockwise from above: Mike Parker (Font Bureau®), Dyana Weissman
(Font Bureau), Stephen Coles (Typographica®), Thomas Phinney (Adobe®),
Calliope Gonzales (Tricky Pup®).
Times™ Bold isn’t a highly legible typeface at a
distance, but it’s at least familiar. At this size, on an
Who are you?We believe a typeface can be as expressive as the human face. The hundreds of images posted to the
“I Am” Gallery prove this is true. Join in our celebration of typographic diversity at FontShop.com/IAm.
5/17/05, 3:55 PM / Sami invites Akiem & bas to ichat.
¶ Akiem / typeface Auto 1 italic
Sami / typeface Auto 2 italic Bas / typeface Auto 3 italic
A cover: it’s about reading, not about design B cover: when you buy a font,
also donate a school year for a girl in India
Bas Jacobs has joined this chat.
Akiem Helmling has joined this chat.
¶ Ugh... much too forced... keep it simple and ¶ funny and people will listen.
Ok, ok.
4:00 PM
Akiem, I think you’re the master in combining fun & serious stuff!!
So we take the portable dog again... Okay, we keep on posting content in this chat.
front: the fonts in this magazine are for reading. back: but 1 billion people
will use the mag as toilet paper.
4:05 PM
front: this mag is toilet paper for 1 billion people. front: What’s the message back: if you can’t read?
4:10 PM
Combining only text can make it easily serious. So adding an image helps to get the fun.
4:15 PM
¶ Getting religious: you should love othermens fonts, ¶ as much as you love your own ones. ¶ The holy community. ¶ Peace on earth.
4:20 PM
(again, what’s the message if you can’t read). ¶ front: this type sucks. back: if you can not read.
That’s it!
¶ or both one on page really big and really small. ¶ front: type sucks. ¶ typedesign sucks.
4:25 PM
Typedesign is dead, if you can’t read. A typeface is meaningless, if you can’t read. This typeface is no damn good, if you can’t read. (sucks might be a bit rough maybe?) This typeface is useless, if you can’t read. ¶ No way! It is the power.
4:30 PM
Check your mail.
Reminds me of this:
¶ Where is this from? I took it at the KABK. ¶ Who did it? A student I guess (graphic design?)
Check your mail.
4:45 PM
Okay, so the text is decided now? This type(face?) sucks, if you can’t read. That’s it? ¶ Hmm, why not: type sucks - if you can not read. Okay. ¶ What is the format again? 184 × 279.
Also okay for me, but on the other hand ‘This typeface’
looks really strong in the sketches of Bas.
4:50 PM
Okay, let’s send this screenshot of Akiem to FSI/Punchcut and let them discuss. Again, it’s about the concept, not about the final visual form. Let’s do that now, and don’t waste too much useless time today. ¶ One second please.
4:55 PM
¶ I think it is more easy to convince them with the design ¶ I just sent by email. ¶ So we would need front and back. ¶ I think I am happy with it. Type rocks, if you can design. Type rocks, if you can read. Type rocks, if you design.
Wauw, Akiem, you did it! Works really well with front + back
¶ Perhaps it does not need a bubble on the front?Yes, it’s stronger to have only one bubble (in the back)
rock = front? ¶ Of course. Okay, send it.
Yes, do it. ¶ Now it is much more positive. Yes please send it. Don’t go to details yet (colours, etc). First we need approval for this concept. Sami, you send it, shall I do it?
Ok, so it’s my job to send it? Type faster guy! I’ll send it.
5:00 PM / chat ends