Katerina Orlikova’s kaleidoscopes use fonts to create their psychedelic patterns.
Kaleidoscopic font patterns created by five different typefaces
Posted by John Lampard on Thursday, 11 March, 2010 to the design and art subset
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This font gives me 100000 words, maybe more, to the cartridge
Posted by John Lampard on Monday, 25 January, 2010 to the design and art subset
Matt Robinson compares eight fonts, including Helvetica and Cooper Black, to determine which produces the most characters per ballpoint pen.
A selection of the most commonly used typefaces were compared for how economical they are with the amount of ink which they use at the same point size. Large scale renditions of the typefaces were [...]
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The differences between Arial and Helvetica, a quick guide
Posted by John Lampard on Friday, 4 December, 2009 to the design and art subset
A handy quick reference graphic depicting key differences between the Arial and Helvetica fonts.
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Lease fonts for your website with Typekit
Posted by John Lampard on Thursday, 12 November, 2009 to the design and art subset
Typekit is a new subscription tool for web designers who are pedantic about typography, which allows them to serve up a selection of OpenType fonts to a website by way of javascript.
Add a line of code to your pages and choose from hundreds of fonts. Simple, bulletproof, standards compliant, accessible, and totally legal.
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Are you a font nerd part two, can you tell fonts from typefaces?
Posted by John Lampard on Tuesday, 6 October, 2009 to the design and art subset
I use the words font and typeface so casually that I’ve never stopped to consider what the actual difference is between the two. How about you? (This is not another quiz by the way.)
A typeface is not a font, nor is a font a typeface. A typeface is a type family’s consistent visual appearance [...]
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Are you a font nerd? Can you tell Arial from Helvetica?
Posted by John Lampard on Tuesday, 6 October, 2009 to the design and art subset
To get your brains ticking over again after the holiday weekend, take the quiz, “So you think you can tell Arial from Helvetica?”, well known logos and trademarks presented in both Arial and Helvetica, can you tell them apart?
My score was 19/20, I messed up with one of the italic styled logos.
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Georgia the second, revising a great screen font
Posted by John Lampard on Friday, 18 September, 2009 to the design and art subset
Screen fonts Georgia – which I use here for post titles – and Verdana – which I’ve used for body text in the past – are to soon receive some enhancing treatment:
The Georgia and Verdana typeface families were originally commissioned by Microsoft to address the challenges of on-screen display. Designed by Matthew Carter and [...]
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How old exactly is the Times New Roman empire?
Posted by John Lampard on Thursday, 6 August, 2009 to the design and art subset
Some recent research has cast doubts on the origin – and age – of the Times New Roman typeface, and Type Master Mike Parker believes the well-known font was created at least 30 years earlier than was previously thought.
The case that Parker makes about the real origins of Times New Roman stands on narrow foundations. [...]
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Helvetica: straightforward perhaps, but never dull “dogshit”
Posted by John Lampard on Monday, 18 May, 2009 to the design and art subset
Helvetica is “dogshit”? I can hardly agree with that. Further, I didn’t realise Helvetica was “available on all computers”, I wonder if the article refers to Arial instead, which would still be available on most Windows computers, which are certainly widespread.
As a text typeface Helvetica is an awkward creature. It is only because it is [...]
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The many faces of the ampersand
Posted by John Lampard on Wednesday, 29 April, 2009 to the comment subset
The ampersand has enjoyed a rich and extensive history:
Though it feels like a modern appendix to our ancient alphabet, the ampersand is considerably older than many of the letters that we use today. By the time the letter W entered the Latin alphabet in the seventh century, ampersands had enjoyed six hundred years of continuous [...]
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