Index of Titles Filed Under 'Typography'

◯ is a supercut of all round counters found in Unicode typefaces. Composed first in the summer of 2011 and updated for this 2013 publication, ? presents these counters at 60pts and in Unicode order. The text begins with Basic Latin (0025), contains findings in the Private Use Area, and ends in the Variation Sectors Supp. Section (1F773).
PublisherWeiyi Li2011
BIG AND USELESS and NOW are two projects based on the Inline Futura typeface drawn by Weiyi Li in 2011. This title was included in Library Stack as part of the collection Open Font License, by Bryce Wilner.
PublisherDavid Bennewith2016
bRAZIL: motivated by a tag seen on the wall of an Amsterdam fondue cafE toilet in 2010. Designed in collaboration with Bram van den Berg. This work is licensed under an SIL Open Font License (OFL). For details see here http://scripts.sil.org/OFL For a free printed type specimen, send a self addressed, return envelope to: Colophon, Willemsstraat 32, 1015 JD Amsterdam, The Netherlands.
PublisherThe Serving Library2016
This issue is both *in* and *about* COLOR. Starting with ISSUE #10, we have reduced our format and we are printing in all of the available inks. The issue was published in time to inaugurate (finally!) our first physical space for The Serving Library in a storefront on the north side of the majestic India Buildings block in the heart of Liverpool’s once-colorful mercantile district. Bulletins around the edges of color come courtesy Lucas Benjamin on a green screen, Stuart Bertolotti-Bailey on ephemera, Umberto Eco on conditioning, Emily Gephart on a poetry hoax, James Langdon on kitchen cabinetry, Tamara Shopsin on swimming ...
PublisherThe Serving Library2012
  This issue doubles as a catalog-of-sorts to Ecstatic Alphabets/Heaps of Language, a group exhibition curated by Laura Hoptman at The Museum of Modern Art, New York, from May 6 to August 27, 2012. It is a *pseudo*-catalog in the sense that, other than a section of images at the back, it bears no direct relation to the works in the exhibition. Instead, the bulletins extend in different directions from the same title, and could be collectively summarized as preoccupied with the more social aspects of Typography. In this way we hope to throw some *glancing* light on the exhibition. For ...
PublisherCreative Commons2019
CC Accidenz Commons was designed by Archetypo, a research and type design collective based in Germany and Chile. Archetypo designed the font under these basic premises: To establish a quality framework for a typeface based on the original design of Akzidenz Grotesk To improve the original canonic design that precedes Helvetica and optimize it for better Webfont visualizing To design a versatile text weight to be used in CC’s identity and logo, as well as in headlines, presentations, and other text applications “We wanted a new Akzidenz version with less contemporary expression,” Archetypo explained, “[while] trying to remain close with the original metal carving ...
PublisherBryce Wilner2017
Counter is a font in one weight that assigns a number value to every keystroke in the order in which they appear on a U.S. Apple keyboard. Counter is available under Open Font License.
CIVIL WAR| HOLOCAUST|PHOTOGRAPHS BLOODY, SEVERED LIMBS PILED UP. BEAUTIFUL FOREST VIEWS, LIGHT CASCADING THROUGH THE FOLIAGE, BATHING THE SKULLS AND BONES HAPHAZARDLY SCATTERED ON THE GROUND. THE WHIPPED AND SCARRED BACK OF A BLACK SLAVE, SITTING DOWN LIKE RODIN’S THINKER. WOUNDED SOLDIERS, THEIR EXPOSED BONES MUSHROOMING WITH INFECTED, PROLIFERATING FLESH. LEVELED MAIN STREETS IN DESTROYED CITIES. POST-BATTLE LANDSCAPES WITH UNDEFINED HORSEMEN IN THE BACKGROUND, RIDING AMONG WASTED NATURE AND DEAD BODIES. THE CORPSES LAY WITH THEIR FEET BOOTLESS, THEIR ARMS AKIMBO, THEIR MOUTHS OPEN. WALT WHITMAN DESCRIBED PRISONERS OF THE CIVIL WAR: “CAN THOSE BE MEN—THOSE LITTLE LIVID BROWN, ASH ...
Publisheronestar press2016
For his participation in the 56th Venice Biennale, Rirkrit Tiravanija realized Untitled 2015 (14,086 unfired) an event located in the Central Exhibition, Arsenale, allowing visitors to purchase construction bricks stamped with a Mandarin translation of Guy Debord’s protest slogan “Ne Travaillez Jamais” with proceeds benefiting the Italian foundation ISCOS, a nonprofit supporting international worker’s rights in Italy and developing countries. Inspired by the ubiquitous presence of construction bricks piled before various building sites in Beijing, Tiravanija decided to “make a little factory” in China where this slogan was stamped into bricks by workers, emphasizing their labor as literal building block of ...
PublisherMicrosoft2017
In late April, the Emirate of Dubai announced the release of its eponymous typeface, designed in conjunction with Microsoft and Monotype, which is both openly downloadable and bundled with Microsoft Office. A strikingly generic sans-serif built for some 23 languages, the typeface is designed to be easily read on any screen, at any size. It is marketed in the dramatic language of too-serious PR campaigns) as simultaneously urban, global, ancient and modern: it aims to synthesize Dubai’s architectural futurism with heritage characters both Latin and Arabic. Like its namesake, the Dubai font wants to be anything for everyone — the Helvetica ...
PublisherNat Pyper2020
ERNESTINE ECKSTEIN (1941–1992) was ahead of her time. As the lone Black lesbian at an early gay rights protest in front of the White House in 1965, her legacy is one of courage and unwavering resolve for the liberation of all peoples. She was a vice president and active member of the New York chapter of the Daughters of Bilitis (DOB), the first lesbian civil rights organization in the United States. She helped move the DOB away from the early homophile movement’s emphasis on medical legitimization and towards direct action in the form of protests and demonstrations which she described ...
PublisherBryce Wilner2017
Evening is a font in one weight loosely drawn from lettering in Ian Hamilton Finlay’s book Evening Will Come They Will Sew the Blue Sail (Edinburgh: Graeme Murray, 1991). Evening is available under Open Font License.
PublisherBryce Wilner2017
Fälschungsershwerende Schrift is a font in one weight originally drawn by Karlgeorg Hoefer in 1978. This version is based on a specimen that was published with the essay “Fälschungsershwerende Schrift” by Benjamin Tiven.
PublisherBryce Wilner
Favorite Book is a font in one weight available under Open Font License.
PublisherBryce Wilner2016
Favorite Book is a font in one weight available under Open Font License.
PublisherFroyo Tam2019
Ferrite Core display typeface, by Froyo Tam. This Font Software is licensed under the SIL Open Font License, Version 1.1. This license is copied below, and is also available with a FAQ at: http://scripts.sil.org/OFL
PublisherBryce Wilner2014
Fontlab Font is a font in one weight drawn from the default, placeholder characters in Fontlab Studio 5. Fontlab Font is available under Open Font License.
PublisherNat Pyper2018
G.B. JONES is an artist, filmmaker, and musician with a bone to pick. In the early 80s Jones co-founded the post-punk proto-riot grrrl band Fifth Column and in 1985 started publishing the queer punk zine J.D.s with co-conspirator Bruce LaBruce out of their rundown apartment in downtown Toronto. The zine’s inaugural issue featured the debut of her legendary TOM GIRLS series. Her drawings continue to be exhibited worldwide. Jones’ “no-budget” films often depict the hijinks of bad-mannered girl gangs, homo hustlers, and anarchist mischief-makers. This font is based on the title sequence of her 2008 film THE LOLLIPOP GENERATION. Jones’ matter-of-fact ...
PublisherGNU2002
GNU FreeFont is a free family of scalable outline fonts, suitable for general use on computers and for desktop publishing. It is Unicode-encoded for compatibility with all modern operating systems. The fonts are ready to use, avalable in TrueType and OpenType formats. This title was included in Library Stack as part of the collection Open Font License, by Bryce Wilner.
PublisherBryce Wilner2016
Half is a monospaced font in four weights available under Open Font License.
PublisherNazli Ercan2018
“Helvetica Placed on Arial (in Illustrator)” is a typeface that comes in two styles: Minus Front and Minus Back. Minus Front subtracts Helvetica from Arial (in Illustrator) and Minus Back subtracts Arial from Helvetica (in Illustrator). Below are the steps used for designing this typeface: 1- Set the entire glyph set in 50 pt Helvetica in Illustrator. 2- Set the same glyph set also in 50 pt Arial in Illustrator. 3- Place Helvetica glyph set on Arial Glyph set. 4- Expand both glyph sets. 5- Ungroup both glyph sets. 6- For each glyph, center align the Helvetica and the Arial versions both horizontally and vertically. 7- For achieving ...
PublisherLuuse2018
The Hershey fonts are a collection of vector fonts developed c. 1967 by Dr. Allen Vincent Hershey at the Naval Weapons Laboratory, originally designed to be rendered using vectors on early cathode ray tube displays. Decomposing curves to connected straight lines allowed Hershey to produce complex typographic designs. In their original form the font data consists simply of a series of coordinates, meant to be connected by straight lines on the screen. SIL Open Font License
ШєƖ⊂σṃє ʈσ ʈңє ďσẘ␤σαď ρα⅁є ғσΓ ʈңє Ĥ∪ṃαи 尺єαďαӸє Ƭƴρє
ↁє√єƖσρєď ℁ ραΓʈ ℉ 〞尸Γσ₠§§㏌⅁〞
αиď ʈңє Ᏻ␄ңє ιи§ʈįʈ∪ʈє ⅂į♭ΓαΓƴ’§ 〞єиď(§) θғ Ƭңє ⅂į♭ΓαΓƴ єχңį♭įʈįσи Ƭңє Ĥ∪ṃαи 尺єαďαӸє Ƭƴρє ʪ α ғΓєє ďσẘ␤σαďαӸє αиď є℁ƴ ʈσ ㏌§ʈαƖƖ Ⱪєƴ♭σαΓď ρƖ㎍㏌ ғσΓ ᗰα⊏ ʈңαʈ ㏚σď∪₠§§ ң∪ṃαи-σ␤ƴ ΓєαďαӸє ʈєχʈ ℁ ƴσ∪ ʈƴρє․ ШσΓď§ ẘΓįʈʈєи ʈңʪ ẘαƴ αΓє įƖƖє⅁įӸє ʈσ α∪ʈσṃαʈį⊂ §єαΓ⊂ң ㏚σ₠§§є§ αиď ďαʈα ṃٱи㏌⅁ σρєΓαʈįσ觧․ ␟є įʈ ғσΓ ␙αįʪ˛ ẘє♭ρα⅁є§˛ ғα₠♭σσʞ ρσ§ʈ§˛ єʈ⊂․ ιʈ ʪ ΓєαďαӸє ♭ƴ ң∪ṃαи§ σи αƖṃσ§ʈ αиƴ ďį⅁įʈαƖ ďє√į₠ αиď ρƖαʈғσΓṃ
Ƭңє ғįƖє ʪ θρєи Ƨσ∪Γ₠˛ αиď ∪ρďαʈє§ ẘįƖƖ ♭є ρσ§ʈєď ℁ ʈңєƴ σ⊂℆Γ. ιЍƧƬ尺ΰ⊏ƬιθЍƧཿ ɭ․ ⊂Ɩį⊂ʞ ʈσ ↁσẘ␤σαď αиď §α√єƬңє ☡įρρєď ṃα⊂․θ§ ғιƖє ...
PublisherNazli Ercan2018
In Between is a typeface created from video animations of a stroke font’s letters. These videos capture the letters of the English alphabet transforming into each other in a consecutive manner. Each form of the In Between typeface is taken from the exact middle point of this translation between consecutive letters. In Between asks several questions: Although it is classified as a typeface, if the glyphs are pending letters, would this not disqualify In Between as a typeface? Are these letters readable? If so, how do they sound like? Or, are they pure silence? How would one even type these ...

We use cookies to improve your experience on our site. Read our privacy policy to learn more. Accept

Join Our Mailing List