Berlin-based illustrator and font designer Ulrike Rausch designs fun handwriting and icon fonts under the font label LiebeFonts. Her most recent release, LiebeGerda, is a brush font that imitates perfectly a lively script. In this tutorial, I will show how the clever OpenType features of LiebeGerda are used for revamping the headlines of the German food magazine “Fischbrötchen Deluxe”.
What image do you have in mind when you hear the typeface name “Kabel”? Let me give away the main thesis of this article right away: There is not the Kabel typeface. Planning a revival of “Kabel” therefore raises the first question: Where do you begin? Between Rudolf Koch’s original design in metal type for the Gebrüder Klingspor Type Foundry in Offenbach am Main in 1927, their face-lift “Neu-Kabel”, various phototype resurrections, eminently Victor Caruso’s interpretation of Kabel for ITC, and Linotype’s digital version, lie several transitions in technology that caused changes in character sets, disproportions and new weight concepts. Marc Schütz discovered his own path in this conglomerate and presents a “Neue Kabel” that overcomes some of its historical burden.
Jim Ford’s latest type family takes retro-futuristic poster lettering of the twentieth century and recreates its various styles along a streamlined typographic continuum. It’s an odd concept, retro-futurism. Its depictions of the future show us an idyllic age of scientific achievement, clean and abundant energy, adventure, leisure, and general tidiness. Using the years as a reference, Posterama’s styles represent major art movements that defined letter shapes, Arts & Crafts, Bauhaus, and Art Deco to name a few.
In Beatrice Warde’s famous crystal goblet essay, she argues that the role of type is to invisibly convey its message, to carry the words’ meaning, and otherwise disappear. And I think it’s clear what she’s saying is that the typography ought not distract the reader from the text, but this “long-winded and fragrant metaphor,” finds its limits outside of “quietly set book-pages.” Editorial design operates under different constraints. Yes, minimize distraction while reading, but a number of other practical concerns peculiar to editorial work define the look and function of editorial faces.
A stencil typeface in use evokes the idea of an ephemeral message. In visual culture letters with gaps in-between strokes and joints usually create connotations of construction sights, warning sings, military equipment and pretty much anything that is rather temporary. The words “this way up” or “fragile” lettered in a stencil face on a wooden box is a popular image. However, the possibilities of applying the stencil style lies far beyond the industrial or vernacular look.