These are the final days of 2014, so it is high time to consider which calendar to get for the new year. The tear-off calendar that has become a fixture on any self-respecting typophile’s desk or wall is Typodarium, which makes you discover a new typeface every day. It is the secret weapon against typonotony, a (fortunately) curable form of typographic monotony, frequently manifested through the constant use of always the same font (in most cases Helvetica).
Like every year Christmas springs itself upon us. Those of us who are slightly disorganised are left in a panicked present-buying frenzy when realising we only have a few more shopping days left. But what to buy? What to ask for? Stay cool. FontShop might be able to help …
Friedrich Bauer was a type designer, typographer and printer, whose legacy includes numerous essays and articles on type and printing technology in the late 19th and early 20th century. Without question his essential contribution to type history is the Chronik der Schriftgießereien in Deutschland und den deutschsprachigen Nachbarländern (chronicle of type foundries in Germany and the German speaking neighboring countries), published in 19281. Towards the end of his career, in 1934, Bauer designed a grotesk typeface2 that bears his name; a design that never gained much recognition in the era it was released in. Eighty years later Friedrich-Bauer-Grotesk has been rediscovered, carefully digitized and re-released as FF Bauer GroteskTM typeface.
I recently learned the Japanese have a word for this affliction I tend to suffer from. “Tsundoku” is the questionable habit of acquiring books without reading them, letting them pile up on shelves or floors or nightstands. I still read a lot, but because most of it happens online that doesn’t really help with the physical book situation. Though it is a little early for New Year’s resolutions, I decided to jump the gun and have been going through my reading pile lately. This is why this new series of book reviews, now on FontShop News, will be a mix of recent and less recent publications. I hope it will be good enough an excuse to help me catch up on all those tomes that tempt and taunt me on the shelves of my library.
After expanding his award-winningNovel family into a type system consisting of a serif, a sans serif, a rounded sans, a monospaced, and hairline variants, Christoph Dunst is now applying the ‘one form, many typefaces’ principle to his idiosyncratic Heimat.