Swiss graphic design — A communication tool
This is the story of how Swiss graphic design, throughout the 20th century, branched out into the world, became a recognised standard and then found its way back to its homeland
ReadIn case of type
shopping_cartThis is the story of how Swiss graphic design, throughout the 20th century, branched out into the world, became a recognised standard and then found its way back to its homeland
ReadKingsley Read, ‘Androcles and the Lion’ and the final results of the G.B. Shaw’s campaign to replace Latin with a new alphabet
ReadSince 2000 this somewhat irregular publication based in São Paulo has been hitting its readers with a storm of letterforms. Here’s an interview with Claudio Rocha, one of its masterminds
ReadHistorical inscriptions and more recent signs from all over the country
ReadThey were the stock type for theological, legal and scholastic texts all over Europe, including Germany. Until the reformation marked their decline
ReadPerondi re-reads Kinross’s 1992 article and recalls what happened during the decades that followed
ReadA carefully illustrated review of 1470s types based on humanistic hands but differing a great deal from Jenson
ReadIn which the Author quotes Ariosto and talks about Galileo and his depictions of the Moon and the Medicean planets
ReadHistorical inscriptions and more recent signs from all over the country
ReadThe interview turns on writing and the digital: ‘We have missed an opportunity so far. But I remain hopeful’
ReadAn interview with the author of ‘The golden thread’ on this mythological research centre in the 1990s
ReadHow Kingsley Read built a writing system to match George Bernard Shaw’s alphabetic utopia
ReadThose who are concerned with the form of letters should be conscious that writing is not a simple transcription of speech
ReadEvidence tells us that all the roman lowercase letters to this day have been designed on the same framework as Jenson’s
ReadA discussion on their origins and development and a detailed look at their features
ReadTheir lives and work stimulate reflection on the designer’s role in today’s world
ReadThe idea was to start a dialogue between typography and design. All conditions were met except that it just did not happen
ReadIn 1965 Milan’s design elite was invited to team up with the Studio Artistico in a quest for new typefaces of quality
ReadShould Beatrice Warde’s ‘Crystal goblet’ be seen, at best, as a harmless promotion of Monotype?
ReadIs there a typeface that helps dyslexics to read?
ReadWhy Jenson’s and Spira’s model has to be found in the ‘Paduan style’ rather than in the script of Poggio or other Florentine humanists
ReadGiovanni Lussu questions whether movable types were strictly necessary for the spread of books
ReadFrancesco Simoncini was a type designer and an innovator. An exhibition and a catalogue mark his re-discovery
ReadThe background of the alphabetic utopia theorised by G.B. Shaw, between spelling and phonetic reform of the English language
ReadAn interview with the Dutch type designer whose well-defined style has marked recent decades
ReadThe role punctuation marks play within the discussion of writing and speech according to Bredel’s approach. Clarifying their functions puts them into a fresh light
ReadA close look at the earliest types cut in Venice shows that Jenson is one of the most important characters in the history of typography
ReadIn this article, adapted from «TipoItalia» 3, De Franceschi deals with the popular Italian script face and shows more samples of its use
ReadColizzi and Olocco dig under the surface of hagiography taking a cue from «TipoItalia» 3 and Kupferschmid’s article on Novarese
ReadLuciano Perondi, who knows about type and about cars too, kicks off with an intriguing discussion on the similarities between the world of typefaces and the world of cars
ReadL’Accademia della Crusca ne ha parlato in un post. Il nostro commento e gli interventi di James Mosley, John L. Walters, James Clough, Alessandro Corubolo, Silvia Sfligiotti
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