Podcasts about fonts

For episode 433 we're taking some post-tour downtime and bringing it back to our Tampa live show from 2019 to kick off hot ghoul summer! First Em brings us an Ybor City two-fer with the ghosts of the Cuban Club and Don Vicente de Ybor Historic Inn. Then Christine covers a collection of the ever-present, ever meme-able “Florida Man” crime stories. And don't mind us as we silently guffaw at the ghosts dragging Tampa… and that's why we drink!  Start listening and discover what's beyond the edge of your seat. New members can try Audible now free for 30 days and dive into a world of new thrills. Visit Audible.com/DRINK or text DRINK to 500-500. Cancel your unwanted subscriptions and reach your financial goals faster with Rocket Money. Go to RocketMoney.com/drink today.  Grab an Angry Orchard Cider today. Don't Get Angry. Get Orchard. Please Drink Responsibly. Treat your closet to a little summer glow-up with Quince. Go to Quince.com/drink for free shipping on your order and 365-day returns. Learn more about your ad choices. Visit podcastchoices.com/adchoices

THE PERSON BEHIND THE PERSON BEHIND THE CAMERA—Close your eyes and picture a classic Rolling Stone cover. Dozens probably come to mind—portraits of music legends, movie stars, political icons, cultural rebels. Bruce. Bono. Madonna. These images are etched into our cultural memory as more than mere photographs. They're statements.But when we remember the cover, and maybe even the photographer, how often do we remember the person who made it all happen? The one who dreamed up the concept, found the right photographer, navigated the logistics, managed the personalities, and ultimately brought that unforgettable image to life?It's the photo editor. But who thinks about the photo editor?Photo editors are essential—especially at a magazine like Rolling Stone—for decades its covers defined our visual culture. Behind every iconic cover is a photo director making hundreds of invisible decisions under pressure and facing tight budgets, unpredictable talent, and shifting editorial winds. They're the ones keeping shoots on track when the talent shows up two hours late. They're the ones coaxing photographers into greatness—the person behind the people behind the camera. Photo editors are expected to be tastemakers, producers, diplomats, caterers, and art directors all at once. Although their work is everywhere, their names are not. They're under-thanked. Underseen. Too often unknown. This is the paradox of their work: When a shoot goes well, it looks effortless. When it doesn't, they take the bullet.Laurie Kratochvil, Rolling Stone's visionary director of photography from 1982 to 1994, knows this all too well.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

IT'S LE MONDE'S WORLD AND WE'RE JUST LIVING IN IT—Name a major newspaper—anywhere in the world—and you will find a magazine. Or two. Or three. The New York Times is the obvious example of this. The Times of London is another obvious example. And now more and more legacy newspapers from around the world are publishing their magazines in English.La Repubblica in Italy publishes D. And now France's venerable Le Monde is out with M International, a glossy biannual that distills their weekly M magazine for an English-speaking audience.Long called “the newspaper of reference” in France, Le Monde occupies an oversized space in the French media. When the Olympics returned to Paris, Le Monde decided to create an english version of their newspaper for the web. Then they decided to create the magazine—in English—something that not just added an extra piece of land to their media ecosystem, but one that pleased their advertisers as well. We spoke to Louis Dreyfus, the CEO of Le Monde about the business case for English, how the magazines attract new readers to the newspaper, the power of print, and how AI is one of the reasons Le Monde can create in english in the first place.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Reobren les fonts del Passeig de la Plaça Major i de quatre places més

TWIST & SHOUT— Philip Burke's portraits don't just look like the people he paints—they actually vibrate. Just look at them. With wild color, skewed proportions, and emotional clarity, his illustrations have lit up the pages of Rolling Stone, The New Yorker, Time, and Vanity Fair, capturing cultural icons in a way that feels both chaotic and essential.But behind that explosive style is a steady, spiritual core.Burke begins each day by chanting. It sounds like this: “Nam Myōhō Renge Kyō. Nam Myōhō Renge Kyō. Nam Myōhō Renge Kyō.” It means “devotion to the mystic law of cause and effect through sound,” he says. The chant grounds Burke and opens a space where true connection—on the canvas and in life—can happen.This daily practice is more than a ritual—it's a source of creative clarity. Burke's rise was rapid and raw. Emerging from Buffalo, New York, he made his name in the punk-charged art scene of the 1980s with a fearless, high-voltage style. But it was through his spiritual journey that the work began to transform—less about distortion for shock, and more about essence, empathy, and insight. Less funhouse mirror, more human.Our Anne Quito spoke to Burke about how Buddhism reshaped his approach to portraiture, what it means to truly see a subject, and why staying present—both on the page and in life—is his greatest creative discipline.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

Send us a textElliot Jay Stocks is a designer and musician, known in typographic circles thanks to his time as Creative Director of Adobe Typekit, founder of typography magazine 8 Faces, and for his recent collaboration with Google that lead to the creation of Google Fonts Knowledge. In this conversation, you'll hear about Elliot's prolific career in type. We talk passion projects and opportunities to broaden skills sets and unique opportunities that can happen from following one's genuine interests. Elliot also shares his process for writing and designing my very favourite typography textbook, as well as the entry point for students who are just beginning to formally explore the world of letterforms. A quick note that this episode isn't sponsored — as always I'm just a curious human trying to connect with interesting, creative people and projects out in the world. I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

THE NEW, NEW COFFEE GENERATION—On today's show we're creating a storm in a coffee cup about everyone's cup of joe. We're spilling the beans about your morning brew. You're going to hear a latte puns about your cuppa, your high-octane dirt, your jitter juice, your elixir, and by the time we're done you will have both woken up and smelled the coffee.Luke Adams is the editor in chief of Standart, a magazine about a bean that was first cultivated in Ethiopia in the 9th century and within a few hundred years had many of us hooked. It is a subject obviously and extravagantly rich in history, lore, and possibility. What it is not, however, is a paean to what Luke calls “cutting-edge coffee-making geekery.” Rather, Standart is about growers and roasters. It is about cafes and third spaces. It is about culture. It is, in other words, about you, the coffee drinker. It attempts to bring together a disparate potential readership around a singular subject, one that not too many actually talk about. Because while cafes encourage conversation, that conversation is rarely about what we're drinking. Even when it's a “damn fine cup of coffee.”—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Enter The Multiverse} [The Festival Project ™] Fonts get into into it Quinta Brunson In the box Or is your frontin He said, “I want to hurt you” Did you? Did you? I want to hold you, Dissolve you Completely disarm you— Did you— Did you? I don't want to feed you to the wolves But I absolutely will I absolutely will if I have to “I wanted to hurt you.” Said, Did you? Did you? I wanted to hold you. Did you? Did you? I don't want to harm you; Completely disarm you Did you? Did you? A complete totality. A complete fatal— Did you ask me? For what, I wonder I was nobody at all I'm no one I don't want to feed you to the wolves But I absolutely will if I have to. Problem solved. (I Wonder.) Copyright © The Festival Project, Inc. ™ | Copyright The Complex Collective © 2019-2025 ™ All Rights Reserved. -Ū.

This week on Blurry Hysteria, we bring you two stories that prove reality is glitching hard—either that, or someone spilled Bot Booze on the simulation control panel again.First up, scientists literally get the green light to mess with Earth's mood lighting. That's right—sun dimming is no longer just a Bond villain plot or a Metallica album concept. It's geoengineering in real life, and we're one step away from giving Earth a cosmic dimmer switch. What could possibly go wrong?Then, we deep-dive into the ultimate case of design karma: the iconic "You Wouldn't Steal a Car" anti-piracy ad—yeah, the one that haunted your dreams before every DVD menu—might have used a pirated font. That's right, the ad meant to stop digital theft may have committed... digital theft. The irony is so rich it should be locked in a vault labeled “MEME GOLD.”Join us as we shade the sun, question the kerning, and try not to get sued by Helvetica.Links & Resources

THE WHISTLEBLOWER—I was a reporter and editor in newspapers, including Chicago Today—which had no tomorrow—the Chicago Tribune, and the San Francisco Examiner. I made a shift to magazines becoming TV critic for People, where I came up with the idea for Entertainment Weekly, launching in 1990.After a rocky launch—a story I tell in my new book, Magazine—I jumped ship for the Daily News, then TV Guide, and finally the internet at Advanced Publications. I left to teach and write books about the fall of mass media in 2006. My name is Jeff Jarvis, and this is The Next Page.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Meg Burk shares how she started her design business, By Meg Burk, how font creation grew her income, and how it led to a dream project with Kendra Scott.Follow Meg⁠Join Social Butterfly Club (Marketing Membership For Designers)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Brief Collective Design Biz Academy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Unlock Secret Podcast Episodes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Share Your Unapologetic Opinion⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Podcast Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠

IN THE REALM OF THE SENSES—Psychedelia has an image problem. At least that's what editor and journalist Hillary Brenhouse realized after she saw through the haze.Both in art and literature, psychedelia was way more than tie-dye t-shirts and magic mushrooms. Instead of letting that idea fade into the mist, she kept thinking about it. And the more she looked, the more she realized maybe she should create a magazine to address this. And so she did.Elastic is a magazine of psychedelic art and literature. It says so right there on the cover of the beautiful first issue that just launched. So this is not your standard issue lit or art mag. After all, this is one backed by … Harvard, and UC Berkeley, and a couple of major foundations. Hillary Brenhouse has learned a lot about the craft and the business of making and selling magazines this past year. Lucky for us, she and her team are quick studies. You can see it on every page of Elastic. And she also may have redefined the literary magazine. Without a single tie-dyed t-shirt or magic mushroom in the lot, man.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

WHEN EUSTACE MET FRANÇOISE— I first met Françoise Mouly at The New Yorker's old Times Square offices. This was way back when artists used to deliver illustrations in person. I had stopped by to turn in a spot drawing and was introduced to Françoise, their newly-minted cover art editor.I should have been intimidated, but I was fresh off the boat from Canada and deeply ensconced in my own bubble—hockey, baseball, Leonard Cohen—and so not yet aware of her groundbreaking work at Raw magazine.Much time has passed since that fortuitous day and I've thankfully caught up with her ouevre—gonna get as many French words into this as I can—through back issues of Raw and TOON Books. But mostly with The New Yorker, where we have worked together for over 30 years and I've been afforded a front-row seat to witness her mode du travail, her nonpareil mélange of visual storytelling skills.Speaking just from my own experience, I can't tell you how many times at the end of a harsh deadline I've handed in a desperate, incoherent mess of watercolor and ink, only to see the published product a day later magically made whole, readable, and aesthetically pleasing.Because Françoise prefers her artists to get the credit, I assume she won't want me mentioning the many times she rescued my images from floundering. I can remember apologetically submitting caricatures with poor likenesses, which she somehow managed to fix with a little digital manipulation—a hairline move forward here, a nose sharpened there. Or ideas that mostly worked turned on their head—with the artist's permission, of course—to suddenly drive the point all the way home.For Françoise, “the point” is always the point. Beautiful pictures are fine, but what does the image say? Françoise maintains a wide circle of devoted contributing artists—from renowned gallery painters to scribbling cartoonists, and all gradations between—from whom she regularly coaxes their best work. I thank my étoiles chanceuses to be part of that group.And now, an interview with Françoise. Apparently. —Barry Blitt—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

Un grup d'investigadors del departament d'Enginyeria Civil i Ambiental de la Universitat Politècnica de Catalunya han publicat un article a la prestigiosa revista científica Science of the Total Environment amb les primeres conclusions dels estudis que han portat a terme a la platja de l'Aiguadolç. L'equip científic ha utilitzat dues tècniques diferents per avaluar la quantitat tant de l'aigua de la surgència superficial, com de la de les nombroses fons submarines de la mateixa platja, on arriba després d'un recorregut sota el massís càrstic del Garraf. L'aportació de nutrients al litoral d'aquest tipus de surgències és fonamental per a la biodiversitat de la costa mediterrània, i Aiguadolç és un entorn molt destacat per poder-lo estudiar, motiu pel quan esta previstes noves campanyes d'investigació. N'hem pogut parlar amb un dels responsables de l'estudi, Marc Diego-Feliu. L'entrada L’aigua dolça d’Aiguadolç té nombroses fonts sota el mar ha aparegut primer a Radio Maricel.

What happens when two legendary type lovers turn their year into one big creative experiment? You get insight, income—and maybe even $100K.In this episode, we sit down with the powerhouse duo behind Goodtype to talk about their bold new mission: using experiments to explore what brings them joy and financial success as artists. From their $100K art challenge to unconventional income streams, they're documenting it all—wins, failures, and everything in between.We talk about:Why 2024 is the “Year of the Experiment”How artists can use small tests to unlock big growthLessons from launching the $100K challengeCreative blocks, money mindset, and building happiness into your businessPractical ideas you can steal to start experimenting todayOh—and a spicy lightning round. Fonts were harmed.If you've ever wondered how to make a living from your art without selling your soul, this one's for you.InstagramWebsiteThe Kernference (we have student pricing!) Podcast (this has both apple and spotify)Youtube 

EVERY DAY IS MOTHER'S DAY—A monochromator is an optical device that separates light, like sunlight or the light from a lamp, into a range of individual wavelengths and then allows …… Sorry. I failed physics the last time I took it and I would fail it again. I'm not telling you about my shortcomings for any reason, because a podcast about my shortcomings would be endless.But I thought I'd look up the word when confronted with Monochromator magazine, which aims to “deconstruct selected films under a shared monochrome to reconstruct them for social relevance.” Look, that's what it says on the website.But when you read the magazine, you get it. This is politics and social issues filtered through big movies. How big? The first issue uses Barbie and Oppenheimer to examine the rise of American power (hard and soft).Having said that, it's very interesting reading and not heavy. And editor Alex Heeyeon Kil is not even sure she's editing a film magazine. She sees Monochromator as a discussion about the real world using fictional stories, in this case movies. And her team, divided between South Korea and Germany, publish this annual magazine knowing they might step on more than a few landmines.Strap in. Or turn on a lamp and take a look at the light and maybe you'll understand what you're seeing better than I ever will.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

From the archive, a big publisher is experimenting with page-saving fonts to cut down on paper.Read more about the fonts here ★ Support this podcast on Patreon ★

Join Scott as he finishes up work on LVGL font on disk support and answers any questions folks have. He's been trying Windsurf AI assistant for coding too! Visit the Adafruit shop online - http://www.adafruit.com Thanks to dcd for timecodes: 0:00 Getting started 1:11 Hello everyone - welcome to Deep Dive 2:15 Fruit Jam will be available in the future 2:40 Thanks to Tim / FoamyGuy for filling the past few weeks 3:00 Scott will not be doing Deep Dives in May 4:40 Status update: Added third drive to CP 7:00 NerdSnipping - supporting emojis 8:37 unifoundry.com emojis 9:14 added lvmfont to the Adafruit_CircuitPython_BitMap_Font library 10:05 used Claude code to generate file parsing code (it checks for error message from compiler) 12:00 Demo of what is working so far - using new capture card - live output from Fruit Jam 13:16 Windsurf - (a fork of vscode) 14:13 emojipedia.org 15:01 partypopper, parting face, and other emojis 15:40 fonts loaded off the "disk" - not using all the RAM 17:13 NERD FONTS nerdfonts.com - fetching rain cloud icon 21:26 Status Bar emojis vs. terminal emojis 22:40 meta-period to get to emoji selector 23:09 emojipedia / wire keyboard / unicode plains 24:30 Circuitpython-font-generator (created by AI Friend) 26:53 Unicode Character Ranges at jrgraphix.net 27:18 using Cascade AI to help generate code - using Windsurf for code review 30:26 Might look at RooCode in the future 37:08 eject the drive and restart 39:07 Look at Claude code 43:22 vscode issues - the constant pop-ups.... 48:55 check out the Japanese fonts - ( see tio showing the fonts ) 54:45 return to windsurf and add some debug prints 1:00:27 Disable some of the serial mirroring 1:11:23 More debugging required :-) 1:27:06 fix might be to use the counts...54:45 return to windsurf and add some debug prints 1:00:27 Disable some of the serial mirroring 1:11:23 More debugging required :-) 1:27:06 fix might be to use the counts...54:45 return to windsurf and add some debug prints 1:00:27 Disable some of the serial mirroring 1:11:23 More debugging required :-) 1:27:06 fix might be to use the counts...54:45 return to windsurf and add some debug prints 1:00:27 Disable some of the serial mirroring 1:11:23 More debugging required :-) 1:27:06 fix might be to use the counts...54:45 return to windsurf and add some debug prints 1:00:27 Disable some of the serial mirroring 1:11:23 More debugging required :-) 1:27:06 fix might be to use the counts... 1:29:46 add ascii font also to a few languages 1:33:10 that fixed it - ascii in title bar and terminal 1:34:44 update settings.toml ( selecting fonts? ) 1:38:00 staging changes and rebuild 1:42:35 now we have emojis 1:45:10 how to get cascade to remember context 1:48:50 edit ing .windsurfrules 1:49:29 claude created CLAUDE.md, windsurf didn't 1:51:38 stage more changes and git commit --amend 1:53:41 the new HDMI capture card was XR1 lite from EVGA ( was using the adafruit card ) 1:56:46 wrap-up 1:58:39 artifacts in the circuitpython-font-generator ----------------------------------------- LIVE CHAT IS HERE! http://adafru.it/discord Subscribe to Adafruit on YouTube: http://adafru.it/subscribe New tutorials on the Adafruit Learning System: http://learn.adafruit.com/ -----------------------------------------

A MAN AT HIS F*#KING BEST—While several interesting themes have surfaced in this podcast, one of the more unexpected threads is this: Nearly all magazine-inclined men dream of one day working at Esquire. Some women, too.Turns out that's also true for today's guest, which is a good thing because that's exactly what David Granger did.“But all this time I'd been thinking about Esquire, longing for Esquire. It'd been my first magazine as a man, and I'd kept a very close eye on it.”Unless you're old enough to remember the days of Harold Hayes and George Lois, for all intents and purposes, David Granger IS Esquire. And in his nearly 20 years atop the masthead, the magazine won an astounding 17 ASME National Magazine Awards. It's been a finalist 72 times. And, in 2020, Granger became a card-carrying member of the ASME Editors Hall of Fame.When he arrived at Hearst, he took over a magazine that was running on the fumes of past glory. But he couldn't completely ignore history. Here, he pays homage to his fellow Tennessean, who ran Esquire when Granger first discovered it in college.“What Phillip Moffitt did was this magical thing that very few magazine editors actually succeed at, which is to show their readers how to make their lives better. And while he's doing that, while he is providing tangible benefit, he also coaxes his readers to stay around for just amazing pieces of storytelling—or amazing photo displays or whatever it is—all the stuff that you do because it's ambitious and because it's art.”Upon taking over at Esquire, Granger's instinct was to innovate—almost compulsively. Over the years, he's introduced some of print's most ambitious (and imitated) packaging conceits: What I've Learned, Funny Joke from a Beautiful Woman, The Genius Issue, What It Feels Like, and Drug of the Month, as well as radical innovations like an augmented reality issue, and the first print magazine with a digital cover.Over and over, those who've worked with Granger stress his sense of loyalty. Ask any of his colleagues and you'll hear a similar response: “David Granger is one of the finest editors America has ever produced. He also happens to be an exceptionally decent human being.”At his star-studded going-away party after being let go by Hearst in 2016, Granger closed the evening with a toast that said it all: “This job made my life, as much as any job can make anybody's life. It had almost nothing to do with me. It had everything to do with what you guys did under my watch. I've done exactly what I wanted to do—the only thing I've ever wanted to do—for the last 19 years. I'm the luckiest man in the world.”We talked to Granger about retiring some of Esquire‘s aging classics (Dubious Achievements, Sexiest Woman Alive), his surprising and life-changing Martha Stewart Moment, and what really went wrong with the magazine business.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

Send us a textFrom the middle ages to the Middle East, From Futura to Freight, join us on a journey across the type universe and go where no designer has gone before...Welcome to An Incomplete History of Type (Part 5!)This episode is guest hosted by Sam Weinberg.Name: EurostileRelease Date: 1962Designer: Aldo NovareseClassification: GeometricOwned By: URW Type FoundryClaim to Fame: Popular in Sci-fi media and space exploration branding. Used in the original Dr Who title sequence.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

EVERY DAY IS MOTHER'S DAY—If The Full Bleed's second season had a theme, it just might be “We Made A New Magazine During the Pandemic.”  Listen to past episodes and you'll see that our collective and unprecedented existential crisis ended up producing a lot of magazines.Melissa Goldstein and Natalia Rachlin met as coworkers at the lifestyle brand Nowness in the UK. Later, with Melissa in LA and Natalia in Houston, they bonded over their new status as mothers: they had given birth a day apart. And they both found that magazines aimed at mothers were deficient. These titles spoke of babies and parenting and the decor of the baby's room, but they rarely spoke of the moms as… people. So they created Mother Tongue, a fresh look at womanhood and motherhood, and a kind of reclamation of both terms. The magazine functions as a conversation between like-minded moms from everywhere. Plus, like all modern media brands, Mother Tongue has great merch. The election looms large, of course, over the magazine and our discussion—we spoke a week after it and let's just say both Melissa and Natalia were still processing the results. But Mother Tongue is not going to shy away from talking about that either.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

This week, we're scratching The Itch to talk with the Captain! Alan Koenig, founder of ASK4 Entertainment and its flagship event Shiprocked (see what we did there?) joins us to discuss the past, present, and future of The Itch's favorite festival at sea. Join us for some fascinating insight into how the festival was born out of a working relationship with Vince Neil, the excitements and challenges of booking a lineup, and how Alan avoids issues with font size on festival posters. Plus, a sneak peak into the Carnival Horizon, the cruise's new boat for 2026, and The Itch makes a pitch. Enjoy. If you like what you hear, you can hear more of us every Sunday night broadcasting rock to the masses from 6-9pm CST on KCLC-FM. If you're not in the St. Louis area, you can stream the show from 891thewood.com, TuneIn, Radio.net, and OnlineRadioBox! And if you have the itch to hear some of the best new tracks in rock, follow our New Rock Roundup playlist! For any and all friendship, questions, inquiries, and offers of pizza, The Itch can be found at the following: Website: itchrocks.com Facebook: Facebook.com/itchrocks Instagram: Instagram.com/itchrocks Email: itchrocks@gmail.com Thank you so much for listening. If you like what you hear, please subscribe and leave a positive review and rating on Apple Podcasts, Spotify, or Podchaser to help our audience grow. If you don't like what you hear, please tell us anyway to help our skills grow. Our theme song "Corrupted", is used with permission from the amazing Skindred. All other content is copyright of The Itch. All rights reserved, including the right to rock on.

Scott and Wes dig into the wild world of CSS fonts—covering fallbacks, variable fonts, and new tricks like text-box-trim. They also break down font-display, font kits, and how to avoid layout shifts when loading custom type. Show Notes 00:00 Welcome to Syntax! 01:06 Brought to you by Sentry.io. Damnit Sans. 02:53 @font-face. 03:27 Font Display. 07:40 Avoiding layout shift. Fallbacks. 10:45 Variable fonts. Fontaine. font-kit Wakamai Fondue. Syntax Ep. 782. Font Variation Settings. 16:23 Variable font sizing. 17:46 v-fonts. 19:10 text-box-trim & text-box-edge. text-box-trim examples. 21:28 Browser support. Hit us up on Socials! Syntax: X Instagram Tiktok LinkedIn Threads Wes: X Instagram Tiktok LinkedIn Threads Scott: X Instagram Tiktok LinkedIn Threads Randy: X Instagram YouTube Threads

“THAT'S WHAT HAPPENS WHEN YOU HAVE GRAPHIC DESIGN”—Simon Esterson is one of the most influential figures in British magazine design shaping the field for decades with his distinctive approach to editorial work.Unlike many designers who built their careers within major publishing houses, Esterson chose a different path, gravitating toward independent publishing where his influence could be greater and his contributions more impactful. This decision allowed him to play a key role in fostering a rich culture of design-led publications.His early work at Blueprint, the legendary British design and architecture magazine, set the stage for a career that would lead him to The Guardian, The Sunday Times of London and the Italian architecture magazine, Domus, before establishing his own London based studio, Esterson Associates.Today, Esterson's most visible project is Eye, the internationally-renowned journal of graphic design. As its art director and co-owner, he has been instrumental in maintaining its reputation as one of the most essential platforms for design professionals.Thanks to his nonstop editorial work, Esterson is widely considered to be a mentor and role model for generations of British designers proving that great editorial design does not require vast resources, but rather a clear vision and an understanding of how design can elevate content.That's what great designers do.—This episode is made possible by our friends at Commercial Type and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

A WEED GROWS IN PORTLAND—Anja Charbonneau would be the first to admit she didn't have a strategy in mind when she launched her dreamy celebration of all things marijuana, Broccoli magazine, back in 2016. Having worked as a freelance photographer and writer, and then as Creative Director of lifestyle favorite Kinfolk, she started Broccoli with the simple idea to explore Portland's then burgeoning cannabis scene and its culture.Fast forward to today: Anja Charbonneau oversees a publishing conglomerate that produces a number of magazines, books, and something called “oracle cards”—while also spearheading an advocacy group, and a whole lot more. If anything has changed, ironically, it's that the last edition of Broccoli was the last edition of Broccoli. Yes, there are new magazines on the way, and new books, and new ideas to explore, because Anja Charbonneau does not sit still, even while sitting atop her nascent empire.From cats to mushrooms to artful snails to all things celestial, Broccoli publishes stuff that tastes great and that's good for you and your soul.—This episode is made possible by our friends at Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

THE RETURN OF THE PRODIGAL SON—Nearly 40 years after its launch, Spin magazine has returned to print—and at the helm, once again, is its founding editor and today's guest, Bob Guccione Jr. Launched in 1985 as a scrappy, rebellious alternative to Rolling Stone, Spin became a defining voice in music journalism, championing emerging artists and underground movements that mainstream media often overlooked. Now, as it relaunches its print edition, Spin will attempt to find its place in a media landscape that looks completely different. But Spin's origin story—and Guccione Jr.'s career—has been shaped by a complicated legacy. His father, Bob Guccione Sr., was the founder of Penthouse magazine, a publishing mogul who built an empire on provocation and controversy. Launched in 1965 as a scrappy, rebellious alternative to Playboy, Penthouse was more than just an explicit adult magazine. It was a cultural lightning rod, sparking debates on censorship, free expression, and morality. Though Penthouse funded Spin's launch, the father/son dynamic was soon fraught with conflict over Spin's editorial direction combined with Penthouse's declining appeal. That tension led to a deep rift—the two were estranged for years. But Spin survived, thriving under Guccione Jr.'s leadership as it defined a new era of music journalism.We talked to Guccione upon his return to the magazine he built, and offers a spin-free take on dad, the launch, and the comeback.—This episode is made possible by our friends at Commercial Type and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

High on a hill somewhere in Prescott sits one of the world's last functioning type foundries. Why Times New Roman is more than just an option in the Google Docs font menu. Plus, Arizona's Democratic attorney general on the threat of a constitutional crisis in the second Trump term.

Here's a brand new episode with Vicky and Robby of Sicksense

THEY'RE FIXIN' TO CHANGE YOUR MIND—The people behind The Bitter Southerner are many things but they are not, they will remind you, actually bitter. The tongue is planted quite firmly in the cheek here. But The Bitter Southerner is, for sure, like it says on the website, “a beacon for the American South and a bellwether for the nation.” Sure, why not.But what started out as an ambitious e-newsletter has evolved now into a … project. Read The Bitter Southerner and you realize how ambitious and radical their business—and message—truly is. This is not just a brand but a movement, a way to talk about the South and Southern things, but through a lens many of us, through our own biases and ignorance, won't quite see. And the world is listening. Stories from The Bitter Southerner have either won or been nominated for eight James Beard Awards. And now they are up for a National Magazine Award for General Excellence. We spoke to co-founder Kyle Tibbs Jones about the genesis of the magazine, about what it means, about the community it has found and spawned, and about the future, not just of the brand but, maybe, of the South, and where The Bitter Southerner fits into it all.—This episode is made possible by our friends at Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

Imagine Dolly Parton's Jolene. Now, imagine Miley Cyrus singing it. It's the same song and the same lyrics—but they feel completely different, right? That's exactly how typefaces work. A typeface sets the tone before a single word is read. It tells your audience who you are—before they even realize it. And whether your brand feels classic and trustworthy like Dolly's Jolene or bold and modern like Miley's version depends on the choices you make in your typography.” Today, we're diving into the world of fonts, branding, and first impressions. We'll break down: The difference between a typeface and a font (spoiler: Jolene analogy included

MAKE IT BIG. NO BIGGER—Paula Scher is not really a “magazine person.”But if you ever needed evidence of the value of what we like to call “magazine thinking,” look no further than Pentagram, the world's most influential design firm. The studio boasts a roster of partners whose work is rooted in magazine design: Colin Forbes, David Hillman, Kit Hinrichs, Luke Hayman, DJ Stout, Abbott Miller, Matt Willey, and, yes, today's guest.Paula has been a Pentagram partner since 1991. She's an Art Director's Club Hall of Famer—and AIGA Medalist. She has shaped the visual landscape for iconic brands—Coca-Cola, Citibank, Tiffany, and Shake Shack—always with her instinctive understanding of how typography, design, and storytelling come together.In other words, she plays the same game we do.In 1993, Paula collaborated with Janet Froelich on a redesign of The New York Times Magazine and built a platform for pioneering editorial innovation that continues to this day. In 1995, she helped me break down Fast Company's editorial mission, in her own distinctively reductive way: “It's about the ideas, not the people,” she said. It was a game-changer.But Paula isn't just a design legend—she's also a complete badass.Starting out at a time when the industry was still predominantly male, Paula carved out space for herself by fighting for it. Her work at CBS and Atlantic Records redefined album cover design. Later, her rebranding for cultural institutions like The Public Theater and the Museum of Modern Art helped cement the importance of an unforgettable identity system for any organization.And, as a longtime educator at New York's School of Visual Arts, Paula has molded generations of designers who have gone on to shape the industry in their own ways—including our very own Debra Bishop.We spoke to Paula upon the launch of her new, 500-plus page monograph, Paula Scher: Works.—This episode is made possible by our friends at Commercial Type and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

WTF IS AFM?—Feeld is a dating app “for the curious” and its users are an adventurous, thoughtful bunch. And Feeld is also a tech company that happens to be led by thoughtful long-term types who see the value in print as a cornerstone for their community of customers. Enter A Fucking Magazine.Led by editors Maria Dimitrova and Haley Mlotek, AFM is a cultural magazine about sex that is also not about sex. Maybe it's about everything. Or maybe my old lit prof in college was right and everything really is about sex. The first issue of the magazine is out and it demands attention because it is beautiful and smart and literate. And also because it feels like something new.Discussions about AFM also lead to discussions about custom publishing: There is no hiding Feeld in the pages of AFM. All of the money behind the magazine is from Feeld, and half the contributors are also users of the app. Customers, in other words.As someone who came out of the custom world, I have long said the best custom media were the products of brands that were confident and forward thinking; when a brand saw itself more as patron and less as custodian. Meaning they didn't get overly involved.Luckily, the higher ups at Feeld are relatively hands off, and allow Maria and Haley to do their thing. Which is very fucking smart.—This episode is made possible by our friends at Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

THE WINNER—Clang! Clink! Bang! Hear that? It's the sound of all the hardware that Jake Silverstein's New York Times Magazine has racked up in his almost eleven years at its helm: Pulitzers and ASMEs are heavy, people!When we were preparing to speak to Jake, we reached out to a handful of editors who have loyally worked with him for years to find out what makes him tick. They describe an incredible and notably drama-free editor who fosters an amazing vibe and a lover of both literary essay and enterprise reporting who holds both an MA and an MFA. As one New York Times Mag story editor put it, Jake's superpower is his “vigorous and institutionally-shrewd support of skilled reporters with strong voices pursuing projects that were just a little beyond the paper's ordinary comfort zone.” Here's a theory we set out to test in this interview—one that we've floated in our newsletter, The Spread, for years now: Is The New York Times Magazine the best women's magazine out there? Yes, we're talking about the stories they produce under Jake, like Susan Dominus's ASME-winning, game-changing story about menopause and hormone replacement therapy, and Linda Villarosa's feature shining a light on the Black maternal health crisis. But we're also talking about the woman-loaded top of the Times Mag masthead, on which Gail Bichler, Jessica Lustig, Sasha Weiss, Ilena Silverman, and Adrienne Greene reign supreme—and seriously outnumber their male counterparts. And we could spend all day name checking favorite writers, like Dominus and Villarosa, but also Emily Bazelon, Danyel Smith, Taffy Brodesser-Akner, Irina Aleksander, Jordan Kisner, Azmat Khan, Pam Colloff, Nikole Hannah-Jones, J Wortham, Wesley Morris. We could go on and on—you get the idea! So, did Jake agree with our women's mag theory? And what is it like to have the deep resources it takes to make these kinds of stories these days? You'll have to listen to find out.—This episode is made possible by our friends at Commercial Type and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

In this episode: Expressive Type Today: A groundbreaking book that reimagines typography as a powerful storytelling medium, showcasing designs that evoke emotion and challenge traditional perceptions of the written word. Small-Scale Creativity: Illustrator and printmaker Kelly Belter demonstrates how everyday objects, like stamps and matchbooks, can become intricate works of art, inspiring us to find beauty in the mundane. Design's Role in Catastrophe: A deep dive into the Notre Dame Cathedral fire and how a poorly designed alarm system turned a minor incident into a billion-dollar disaster. Learn the critical lessons designers can take from this tragic failure. Reviving a Classic: Lukas Schneider's digital reimagining of Matthew Carter's iconic Airport typeface breathes new life into a 1960s design, making it as relevant in the digital age as it was in the jet age. Marvel's Bold Type: From Ant-Man's playful shrinking font to Wolverine's claw-slashing chaos, we explore how Marvel's lettering history captures the essence of its characters and proves that even the smallest design details tell the biggest stories. To learn more about Design Atlas, please visit ⁠⁠www.designatlaspod.com⁠⁠. To get in touch with us, DM us on Instagram ⁠⁠@designatlaspod⁠⁠, or send us an email at ⁠⁠hello@designatlaspod.com⁠⁠. ⭐ Support the creative journey of the Design Atlas Podcast by becoming a patron on Patreon! Whether you're a casual listener or a dedicated fan, there's a tier to fit your budget. By contributing, you'll help us continue to deliver insightful and inspiring content that explores the world of design. Plus, you'll gain access to exclusive perks and behind-the-scenes content. Join our community of design enthusiasts and be a part of the creative process. Visit us at ⁠⁠⁠patreon.com/designatlaspod⁠⁠⁠ and choose a tier that suits you best. Your support makes all the difference!

THE HEART OF ROCK ‘N' ROLL—There's a saying about the Velvet Underground's first album: it didn't sell a lot of copies but everyone who bought it went on to form a band. Not everyone who read Creem went on to form a band, but almost everyone who ever wrote about rock music in a significant way has a connection to Creem. Founded in Detroit in 1969 by Barry Kramer, Creem was a finger in the eye to the more established Rolling Stone. Creem called itself “America's Only Rock ‘n' Roll Magazine” and its cheeky irreverence matched its devotion to its infamous street cred. Punk, new wave, heavy metal, alternative, indie were all championed at Creem.Writers and editors who worked for Creem read like a who's who of industry legends: Lester Bangs. Dave Marsh. Robert Christgau. Greil Marcus. Patti Smith. Cameron Crowe. Jann Uhelszki. Penny Valentine. And on and on and on.The magazine stopped publishing in 1989 a few years after Barry's death. A documentary about Creem's heyday in 2020 helped lead to a resurrected media brand, founded by JJ Kramer, Barry's son, and launched in 2022. The copy on the first issue's cover: “Rock is Dead. So is Print.”Totally typical Creem-assed fuckery. And still totally rock n roll, man. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

Send a message to InsidetheSquareIn this episode of ThinkInsideTheSquare, we're diving deep into the technical side of web typography while keeping things practical and easy to understand. You'll learn why web fonts are different from regular fonts, what to look for when choosing fonts for your website, and how to ensure your typography is both beautiful and functional. Key topics covered:Web Fonts vs System Fonts ExplainedWhy Font File Types Matter (TTF, OTF, WOFF)Font Accessibility Best PracticesPro Tips for Choosing Website FontsImportant Links

[italic] FONTS! [italic]. We know ‘em, and we love them. But do we know enough of ‘em? Today we're joined by graphic designer, typographer and professor, Carl Shura, to discuss the design lurking behind every word you read. We chat about the history of typesetting, what makes a really bold font, the rockstars of the typeface world, and the elements that make typeface design so intricate. Plus, we learn some scandalous facts about our favourite fonts and discover a newfound respect for the much maligned Comic Sans. Produced by Andrew Ivimey as part of The From Superheroes Network.

FARM-TO-NEWSSTAND PUBLISHING—The pandemic screwed a lot of businesses over, but it did a real number on the restaurant industry. Beset by low margins at the best of times, Covid was to the business what a neglected pot of boiling milk is to your stove top. But Max Meighen, a restaurant owner in Toronto decided to fill in his down time by … creating a magazine. Because of course he did.And so he cooked up Serviette, a magazine about food that feels and looks and reads unlike any other food title around.Nicola Hamilton came on as Creative Director soon thereafter. She had worked for a number of Canadian titles and during Covid, founded Issues Magazine Shop, one of Canada's—if not the world's—leading independent magazine shops. Because of course she did.Food magazines, like all media, have gone through a lot recently, and the changes wrought by digital media have been amplified by Influencers, TikTokers, Instagram recipe makers, Substackers, bloggers, you name it. The food industry is ruthless and not for the weak. And I think you'll find that both Max and Nicola are anything but. They are, quite simply, Master Chefs. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

NOT THE SAFE CHOICE—Most magazines are not political. Unless, that is, you create a bilingual Arabic-English language magazine about design out of Beirut. Or another bilingual magazine about women and gender—also out of Beirut. Then, perhaps, your intentions are a bit less opaque.Maya Moumne is a Lebanese designer by training who now divides her time between Beirut and Montréal. She is the editor and co-creator of Journal Safar and Al Hayya, two magazines that attempt to capture the breadth and diversity of what we inaccurately—monolithically—call “the Arab World.” Both magazines are also examples of tremendous design and, frankly, bravery.The subject-matter on display here means the magazines have limited distribution in the very region they cover—which is both ironic and the exact reason the magazines exist. That both have also been noticed and fêted by magazine insiders in the West is perhaps also something worth celebrating.Maya Moumne is a designer. Of the possibilities for a better and more inclusive future for everyone, everywhere.[Production note: This conversation was recorded prior to the violence in Lebanon. We send our best wishes to the staff of Journal Safar and Al Hayya and hope they are safe. And mostly we wish for a peaceful future for all.] Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

CHAMPION OF A BETTER FUTURE—Wired magazine feels like it's been around forever. And perhaps these days any media that has been around for over 30 years qualifies as forever.It has, certainly, been around during the entirety of the digital age. It has been witness to the birth of the internet, of social media, of cellphones, and of AI. It feels like an institution as well as an authority for a certain kind of subject. But what is that subject? Because Wired is not just a tech publication. It never was.Katie Drummond is the editorial director of Wired, a position she has held for just over a year. This job is the closing of a circle in a sense, because her first job in media was as an intern at Wired. She has worked almost exclusively in digital media since, for a range of outfits—many of them shuttered—proof of the vagaries and the reality of media in the digital age.At Wired Drummond oversees a robust digital presence, including video, the print publication, as well as Wired offices in places like Italy, Mexico, and Japan. She says that Wired “champions a better future” … meaning Wired seems like the publication of the moment, in many ways, at the intersection of tech, culture, politics, and the environment. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

EVERYONE IS A SALESMAN—In 1995, New York magazine declared Martha Stewart the “Definitive American Woman of Our Time.” And, as the saying goes (sort of), behind every Definitive American Woman of Our Time is another Definitive American Woman of Our Time. And that's today's guest, designer Gael Towey.But let's back up. It's 1982, and Martha Stewart, then known as the “domestic goddess”—or some other dismissive moniker—published her first book, Entertaining. It was a blockbuster success that was soon followed by a torrent of food, decorating, and lifestyle bestsellers.In 1990, after a few years making books with the likes of Jackie Onassis, Irving Penn, Arthur Miller, and, yes, Martha Stewart, Towey and her Clarkson Potter colleague, Isolde Motley, were lured away by Stewart, who had struck a deal with Time Inc. to conceive and launch a new magazine.Towey's modest assignment? Define and create the Martha Stewart brand. Put a face to the name. From scratch. And then, distill it across a rapidly-expanding media and retail empire.In the process, Stewart, Motley, and Towey redefined everything about not only women's magazines, but the media industry itself—and spawned imitators from Oprah, Rachael, and even Rosie.By the turn of the millennium, Martha Stewart Living Omnimedia, as it was rebranded in 1997, included seven magazines, multiple TV projects, a paint collection with Sherwin-Williams, a mail-order catalog, Martha by Mail, massive deals with retailers Kmart, Home Depot, and Macy's, a line of crafts for Michael's, a custom furniture brand with Bernhardt, and even more bestselling books. And the responsibility for the visual identity of all of it fell to Towey and her incredibly talented team. It was a massive job.We talk to Towey about her early years in New Jersey, about being torn between two men (“Pierre” and Stephen), eating frog legs with Condé Nast's notorious editorial director, Alexander Liberman, and, about how, when all is said and done, life is about making beautiful things with extraordinary people.—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

THE BRAND CALLED US—In the summer of 1995, I got an offer I couldn't refuse. It came from my guests today, Alan Webber and Bill Taylor, the founding editors of Fast Company, widely acknowledged as one of the magazine industry's great success stories. Their vision for the magazine was an exercise in thinking different. Nothing we did hewed to the conventional wisdom of magazine-making. Our founders came from politics and activism born in the ivy halls of Harvard. Our HQ was far from the center of the magazine world, in Boston's North End—“leave the pages, take the cannolis.” And Fast Company was not a part of the five families of magazine publishing. It wouldn't have worked if it was.  I was one of the first people Alan and Bill hired, and as the magazine's founding art director, I could tell Fast Company was going to be big. And it was big. Huge, in fact. Shortly after its launch, a typical issue of the magazine routinely topped out at almost 400 pages. We had to get up to speed, and fast.Its mission was big, too. Bill and Alan's plan sounded simple: to offer rules for radicals that would be inspiring and instructive; to encourage their audience to think bigger about what they might achieve for their companies and themselves, and to provide tools to help us all succeed in work … and in life. Their mantra: Work is personal. The effect, however, was even bigger. The magazine was a blockbuster hit, winning ASME awards for General Excellence and Design. It was Ad Age's 1995 Launch of the Year. Bill and Alan were named Adweek's editors of the year in 1999. It even spawned its own reader-generated social network, the Company of Friends, that counted over 40,000 members worldwide. And it brought together an extraordinary team of creatives who, to this day, carry on the mission in their own way—including the founders. Nearly thirty years after the launch of the magazine, Alan is currently serving his second term as the mayor of Santa Fe, New Mexico. Bill is the best-selling author of Mavericks at Work, among other books, and continues to lead the conversation on transforming business. We often said that Fast Company was the one that would ruin us for all future jobs. It was a moment in time that I and my colleagues will treasure forever. I am thrilled to be able to share that story with you today.—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

SHE LOOKS FORWARD TO YOUR PROMPT REPLY—Jody Quon's desk is immaculate. There's a lot there, but she knows exactly where everything is. It's like an image out of Things Organized Neatly.She rarely swears. Or loses her temper. In fact she's one of the most temperate people in the office. Maybe the most. She's often been referred to as a “rock.”She remembers every shoot and how much it cost to produce. She knows who needs work and who she can ask for favors.She's got the magazine schedule memorized and expects you to as well. She's probably got your schedule memorized, too. She's usually one of the first in the office and last to leave. In fact, on the day she was scheduled to give birth to her first child, she came to work and put in a full day. When her water broke at around 6pm, she called her husband to say, “It's time.”I don't know if any of this is true. Except the baby thing. That is true. Kathy Ryan told me so.I had a teacher in high school, Ms. Trice. She was tough. I didn't much like her. She would often call me out for this or that. Forty years later, she's the only one I remember, and I remember her very fondly. In my career, I've often thought that the best managing editors, production directors, and photography directors were just like Ms. Trice. These positions, more than any others, are what make magazines work. They're hard on you because they expect you to be as professional as you can be. They make you better. (I see you, Claire, Jenn, Nate, Carol, and Sally.)I suspect that a slew of Jody Quon's coworkers and collaborators feel that same way about her. Actually, I don't suspect. I know. I've heard it from all corners of the magazine business. I heard it again yesterday from her mentor and good friend, Kathy Ryan.“She just has that work ethic,” Ryan says. “It's just incredible when you think about it. The ambition of some of the things that they've done. And that has been happening right from the beginning. Ambition in the best sense. Thinking big. And she's cool, always cool under pressure. We had a grand time working together. I still miss her.”Jody Quon is one of those people who makes everybody around her better. That's what I believe. And after this conversation, you probably will, too.es.”—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

Have you ever wanted to find a font specimen underneath the tree on Christmas morning‽ Then you might just be...a type person. With gifting season upon us, it is once again time for Josh and Kyle to bring you their favorite physical media from indie foundries and shops, ranging from type that is cuddly to tools that facilitate play to a hat that might just help you get lucky at the bar. And we're really into pencils on this podcast if you're into that sort of thing too. Josh also has a very Grinchy present for Kyle this year, and won't be waiting until Arbor Day to give it to him...Online type shops:Letterform Archive ShopGood Type ShopLetterperson ShopHamilton Wood Type Museum ShopDraw Down BooksCounter Print BooksPresent & Correct Type specimens for your favorite type nerd:Sharp Type Volume OneA Concise Synopsis of the Commercial Type Library as of June 2024After Michaux Type SpecimenOtto: A Tale of a Boy and a Tail — ABC DinamoKelli Anderson BooksGift ideas for that last minute (or Arbor Day) gift:Typotheque Strokes ToteSpecimen Cap — Grilli TypeNebulith Throw Blanket — Space Type Co.Alphabet Runner Stamps — Present & CorrectLetter Love Postcard Set — Letterform ArchiveZuzana Licko 'g' Throw Blanket — Letterform ArchiveKarl Martens 2025 Calendar — Draw DownUniversal Stencil Plate — Draw DownSupport the show

Behind almost every character you see displayed on a page or a screen, there's a complex — and sometimes lucrative — web of licensing deals. Zachary Crockett is just your type. SOURCES:Lucas Czarnecki, creative director of Type Network.Gerry Leonidas, professor of typography at the University of Reading.Chantra Malee, co-founder and C.E.O. of Sharp Type.Lucas Sharp, professional font designer and co-founder of Sharp Type. RESOURCES:"What Fonts Are Used by The New York Times?" by Nona Blackman (Envato Tuts+, 2024)."Legendary Type Foundry Monotype Sold to Private Equity for $825 Million," by Suzanne LaBarre (Fast Company, 2019)."Calibri's Scandalous History," by Ross Arbes (The New Yorker, 2017)."This Was The First Computer Font," by John Herrman (BuzzFeed News, 2012)."Manuscripts and Special Collections," by the University of Nottingham. EXTRA:"Are Our Tools Becoming Part of Us?" by People I (Mostly) Admire (2024).

CHIC, BUT MAKE IT NICE—It's a cliché because it's true: in the fashion world, you've got your show ponies and you've got your workhorses. We mean it as a compliment when we say that Samira Nasr truly earned her place at the helm of the 156-year-old institution, Harper's Bazaar. Don't get us wrong; Samira is seriously glamorous—she's the kind of woman who phrases like “effortless chic” were invented to describe. But she did not cruise to her current perch on connections and camera-readiness alone. Rather, she worked her way up, attending J-school at NYU, then making her way through the fashion closets of Vogue, Mirabella, Vanity Fair, InStyle, and Elle—where we met in the trenches, and got to see firsthand how she mixes old-school, roll-up-your-sleeves work ethic and her own fresh vision. When Samira got the big job at Bazaar in 2020, she became the title's first-ever Black editor-in-chief. The Bazaar she has rebuilt is as close as a mainstream fashion magazine gets to a glossy art mag, but it is far from chilly. As she has long put it, “I just want to bring more people with me to the party.” Which, when you think about it, is a brilliant mantra for a rapidly shifting era in media and culture. How to keep a legacy fashion magazine going circa 2025? Drop the velvet rope.The timing for this mantra could not have been better. After her first year in the role, Bazaar took home its first-ever National Magazine Award for General Excellence. In our interview, Samira talked about remaking one of fashion's most legendary magazines — plus, jeans, budgets, and even the odd parenting tip. We had fun, and we hope you—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2024

THE SHOP AROUND THE CORNER—“I was a publication designer for 20 years, making book covers at Knopf with Sonny Mehta, Carol Carson, and Chip Kidd. Later, in the early aughts, I made stories and books—and other things—at Martha Stewart Living. Then I took a brief adventure to graduate school—to learn a new trade. And finally I moved to The New York Times, where I helped create several of its legendary digital products, like NYT Cooking.In December 2020, I bought a building on the Delaware River—and opened the Frenchtown Bookshop.My name is Barbara deWilde … and this is The Next Page.”—This episode is made possible by our friends at Mountain Gazette, Commercial Type, and Freeport Press. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2024

Send us a textTired of horribly designed holiday cards? Ever wondered why a 'u' on some old stone buildings looks like a 'v'? Curious as to why some fonts have such weird names? Worry and wonder no more! This week, we're exploring all TYPES of fonts, and how we came to get just so many different ones today! Join us for this quirky, trivia filled episode! 

Simple ways to improve the look of your creations without hiring a designer.My free Clients From Content: 1-Page Masterclass: https://fortheinterested.com/subscribe-yt/8 things you'll learn in this episode:02:00: How to audit your current designs in 10 minutes05:00: How to choose fonts and colors11:00: An unexpected place to find design inspiration17:00: The 3 biggest decisions to make when designing your brand25:00: The one mistake that will doom your rebrand30:00: How to design your brand when you're not sure what your brand even is32:00: How to decide when to rebrand37:00: A huge list of design tools to help youShow Notes: Tools: Design: https://www.figma.com/Canva: https://www.canva.com/Photos/Visuals: https://visualelectric.com/Fonts: https://fonts.google.com/ Fonts: https://fontshare.com/Fonts: https://www.myfonts.com/Fonts: https://www.latinotype.com/Colors: https://colorai.app/Colors: https://www.realtimecolors.com/Copy: https://www.typingmind.com/Moodboard: https://www.playbook.com/Mind Mapping: https://whimsical.com/Headshots/Photography: https://photoai.com/Newsletter: https://kit.com/Website Design: https://www.framer.com/Books: The Brand Gap by Marty Neumeier: https://amzn.to/4icgIIKBuilding a StoryBrand by Donald Miller: https://amzn.to/4ik2dT9Thinking with Type by Ellen Lupton: https://amzn.to/3VoGyiSTo Connect with Nate Kadlac: Website: https://www.kadlac.com/ To connect with Josh Spector:Newsletter: https://fortheinterested.com/subscribe/ Skill Sessions: https://joshspector.com/sessions/Consulting: https://joshspector.com/consulting/Twitter: https://twitter.com/jspectorApply to be a guest on the show: https://joshspector.com/questions/Intro Music Provided By Uppbeat

Welcome to another insightful episode of the Grant Writing & Funding Podcast! This week, Holly Rustick is joined by Erin Davis, founder of Matchbox Women and a renowned brand strategist and marketing coach. Together, they break down why branding is so much more than just colors and fonts—it's about building a strong foundation that resonates with your values, mission, and unique voice in the nonprofit and freelance sectors. In this conversation, Erin and Holly discuss the transformative power of building a cohesive brand strategy to communicate effectively and attract your ideal clients. From clarifying your core values and creating a mission-driven approach to building a brand that resonates on every level, this episode is packed with actionable strategies for freelancers, nonprofits, and entrepreneurs alike. Connect with Erin Davis: LinkedIn: https://www.linkedin.com/in/erin-davis-68893611/ Website: https://matchboxwomen.com/ Access Erin's free resources and learn more about her branding course and coaching services. Tune in today to listen to this podcast. To learn more about the podcast episodes go to https://grantwritingandfunding.com/grant-writing-podcast/ Rate, Review, & Follow on Apple Podcasts Favor, please? If you love this podcast, would you please do me a favor and leave a review on iTunes or your podcast listener? This helps others find the podcast and I read each and every review! “Every time I listen to Holly's show, I learn something”