Finding the perfect typeface for your next project takes skill and know-how. Here we put together three different takes on type and why they work so well.
Type says a lot about a brand. Letters are a language in themselves, communicating personality traits like sophistication, simplicity, and whimsy. They can shout or they can whisper. It’s also very subjective, so knowing your audience is critical. With so many typefaces to choose from, it can be overwhelming—and nearly impossible—to make the right choice for your client. Read the rest of the article here.
As a young, horny man living in his mother’s house in Milan, Italy, Matteo Bologna taught himself how to design type while on the phone with an annoying girlfriend. While she talked and complained and cried for hours on end, he toyed with the seductive curves and shapes of letterforms on his computer, and eventually broke up with the girl. He found typography to be much sexier. Besides, her pasta would never be as good as his mama’s.
Young Matteo’s love of typography only intensified when he started receiving The Type Director’s Club (TCD) annuals filled with designs by Louise Fili, Paula Scher, Seymour Chwast, and Charles S. Anderson. He copied and cajoled their work, and knew the only chance he had to really break into design was to move to New York City, which he did in 1994. Shortly thereafter, he formed Mucca and he landed a big break, designing the brand for a new French brasserie, Balthazar, which quickly became famous for its delectable breads, pastries, and pommes frites. The design community also took notice of Matteo for his exquisite handling of the restaurant’s identity. The rest, as they say, is history.
Here we talk to Matteo about the power of type in design and the ways in which he pushes it. Read the interview here.
In recent years, lettering and calligraphy have experienced a resurgence in popularity. These two art forms have a strong kinship and are well worth exploring. You’d be well advised to understand their differences before listing them in your portfolio, though.
Martina Flor and Giuseppe Salerno challenged each other a couple of years ago to a competition of sorts. They created a site called Lettering vs Calligraphy, and each day they would create a letter—Flor, a letterer and Salerno, a calligrapher— “to explore the capabilities of the two technical approaches.” Here, they discuss the finer points between the two practices and talk about the competition and recent projects.
What is hand lettering and how is it different from calligraphy and type design?
Martina: Lettering is essentially drawing letters. While type design focuses on creating a full alphabet that works in all its possible combinations, lettering often deals with just a word or phrase. These are drawn for a particular use and no fonts are involved.
Lettering and calligraphy have a doubtless relationship. However, the different nature of each (lettering is drawing, calligraphy is writing) has an impact on the artwork. While lettering often imitates the spontaneous movement of writing, it is the result of careful decision-making. It is the product of determined calculation on how that curve or shape should look. In this sense, lettering and type design are design-related disciplines, whereas calligraphy stands on the side of art. Read the rest of the article here.
If Brooke Bucherie, the force behind the uber-popular @Goodtype Instagram feed, has learned anything from her sizable social media presence (150,000 followers and counting), it’s this: stick to what you know and do it really well. However, the Austin, Texas-based designer didn’t start out trying to take over #typography; she was just trying to organize the growing photo album of hand-lettered pics on her phone. Now, what began as a personal obsession has grown into a design destination for lettering junkies to see inspiring work, interact with one another, and post their own projects. So how did it all happen? Turns out it was actually kind of an accident. Read the rest of the article here.