Podcasts about fonts

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

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

Mari kita bicarakan soal kebiasaan untuk membuat sertifikat, undangan, ijazah pada jalan dahulu. Tidak pakai komputer. tetapi pakai cetakan. Printing press.

“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

THE REST OF THE STORY—Most people in the world live in what we in the west sometimes dismissively call the “rest of the world.” Depending on where you live, “the rest” probably includes parts if not all of Latin America, Africa, the vast majority of Asia. Much like the tendency of Americans to call the champions of their sports leagues “world champions,” the word “world” is never what it seems. Except when it is.Founded as a non-profit by Sophie Schmidt in 2020, Rest of World is meant to challenge the “expectations about whose experiences with technology matter,” as its mission states. With a global editorial team led by Anup Kaphle, Rest of World's emphasis on the technological transformation of the daily lives of billions of people is eye-opening, educational, entertaining and fills in the gaps in our general understanding of how technology is used everywhere. When it won a National Magazine Award last year, one sensed that it had finally arrived to a broader audience.The rest of the world is a big place, perhaps too big for a paper magazine. That's why it's digital. Those in the “west” would be better served by understanding it. Because everything and everyone is, ultimately, connected.On another note: this is the final show of season 2. We'll be back after a short break to continue exploring the future of magazines, and the magazines of the future. ©2024–2025 The Full-Bleed Podcast is a production of Magazeum LLC. Visit magazeum.co for more information.

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

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. ©2024 The Full-Bleed Podcast is a production of Magazeum LLC. Visit magazeum.co for more information.

Crafting a cohesive visual identity is just like building the perfect veggie platter—each element should complement the others to create something vibrant, balanced, and uniquely you. In this episode, Peachi shares how to mix colors, fonts, and design elements to create a visual identity that stands out. Plus, don't forget the foundational ingredients: your brand's purpose, vision, values, and voice. Let's slice into the essentials and serve up a look your audience won't forget! Ready to whip up something amazing for your brand? Follow us for more inspiration:IG & Facebook: @cookingupbrands, @talklikeabrand, @colormybrands.Sign up for insider tips and updates: bit.ly/colormail.Explore our brand-building ecosystem: Colormebrand.com.Keep stirring the pot, creating your flavor, and serving success!

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

Thanks for coming to Jingle Jam, Courtney's now app for phone fonts, a special in-studio performance from Don Campbell, and two new weekend scary movies

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

IMAGINE FRIENDSGIVING AS A MAGAZINE—The pandemic hit New York first and harder and longer than most places. And as a New Yorker, Joshua Glass was appalled by the eerily quiet and empty city that resulted. He wanted to connect with people, any people, but he wanted quality gatherings as opposed to quantity. When restrictions on gatherings began to ease up, he started curating a series of dinner parties around town. And these get-togethers led to the creation of Family Style, a media brand that brought all his interests under a single, and perhaps singular, cultural umbrella. The result is, finally, what the people at those highly-curated, and probably well-dressed, dinner parties talked about—and the magazine is the core of a growing brand that encompasses production, events, digital, and social. Family Style is a magazine at the intersection of food and culture—an interesting magazine about interesting people interested in interesting things, all united by a kind of global glossy aesthetic. So is Family Style a fashion magazine, a culture magazine, a food magazine, or an arts journal? The answer is “yes.”  ©2024 The Full-Bleed Podcast is a production of Magazeum LLC. Visit magazeum.co for more information.

A PRETTY COMPLICATED ORGANISM—Like many of you, I was stunned by what happened on November 5th. It's gonna take me some time to reckon with what this all says about the values of a large portion of this country. As part of that reckoning—and for some much-needed relief—I've opted to spend less time with media in general for a bit. But on “the morning after,” I couldn't ignore an email I got from today's guest, New York magazine editor-in-chief David Haskell. [You can find it on our website].What struck me most about his note—which was sent to the magazine's million-and-a-half subscribers—was what it didn't say.There were no recriminations. Nothing about how Kamala Harris had failed to “read the room.”  Not a word about Joe Biden's unwillingness to step aside when he should have. No calls to “resist.” In fact, the hometown president-elect's name went unspoken (as it is here).What Haskell did say that left a mark on me was this:“I consider our jobs as magazine journalists a privilege at times like this.” I was an editor at Clay Felker's New York magazine, the editor-in-chief of Boston magazine, and I led the creative team at Inc. magazine. And it was there, at Inc. that I had a similar experience. It was 9/11.I wrote my monthly column in the haze that immediately followed the attacks, though it wouldn't appear in print until the December issue. It was titled, “Think Small. No Smaller.” In it, I urged our community of company builders to focus their attention on the things we can control. This is how it ended:What we can say for certain is that the arena over which any of us has control has, for now, grown smaller. In these smaller arenas, the challenge is to build, or rebuild, in ourselves and our organizations the quiet confidence that we still have the ability to get the right things done.For all the attention that gets paid to EICs, most of the work you do is done through the members of your team: writers, and editors, and designers, and so many others.My friend, Dan Okrent, the former Life magazine editor and Print Is Dead guest, once said, “Magazines bring us together into real communities.”—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

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”

In this episode, Katie and Ilana catch up with graphic designer and type aficionado Harbor Bickmore, as he takes us through his journey from design student to thriving type designer. Harbor breaks down the delicate balance between passion projects and making a living, the hurdles of marketing and selling fonts, and the importance of knowing what your audience wants and needs. He also gives us a sneak peek into his future ventures and offers some insight into how he has navigated the type design market.All that and more when you listen to this episode:• Strategies for making passive income through designing fonts• Harbor's unique approach to pricing typefaces• Understanding your target audience and designing with them in mindConnect with Katie & Ilana from Goodtype• Goodtype Website• Goodtype on Instagram• Goodtype on Youtube• Join the Good GuildConnect with our guest:Instagram:pizza_waterWebsite: thebestgraphicdesignerintheworld.comLinkedIn: Harbor (Pizza Water) BickmoreYoutube: Harbor BickmoreMentioned in this episode:• Tom Cunningham• Brian Collins• Stefan SagmeisterLove The Typecast and free stuff? Leave a review, and send a screenshot of it to us on Slack. Each month we pick a random reviewer to win a Goodtype Goodie! Goodies include merch, courses and Kernference tickets!Leave us a review on Apple PodcastsSubscribe to the showTag us on Instagram @GoodtypeFollow us on Tiktok @lovegoodtypeKeep the conversation going on SlackLearn from Katie and IlanaGrab your tea, coffee, or drink of choice, kick back, and let's get down to business!

WHAT MAKES STEVE BRODNER HAPPY—When your boss tells you to track down an amusing Steve Brodner factoid to open the podcast with, and one of the first things you find is a, uh, a “dick army,” welp, that's what you're going to go with. Lest you judge me, I can explain. Brodner's drawing of this army was inspired by a guy who was actually named Dick Armey (A-R-M-E-Y)! He was Newt Gingrich's wingman back in the nineties. I thought to myself, the people need to know this.However, with the election now a few days behind us, maybe the time for talking about men and their junk is over? What you really want to learn about is this Society of Illustrators hall of famer's career. Brodner's work, which has been called “unflinching, driven by a strong moral compass, and imbued with a powerful sense of compassion,” has been featured in Rolling Stone, The Washington Post Magazine, Esquire, The New Yorker, and many others.In this episode, Brodner talks about how the death of print has led to the current misinformation crisis. As it gets harder and harder to tell what's true, the future becomes increasingly uncertain. Even his most biting drawings are rooted in truth. “Satire doesn't work if you are irresponsibly unreasonably inventive. If satire doesn't have truth in it, it's not funny.”A production note: This episode was recorded exactly one week before the election. As our conversation began, we took turns telling stories about memorable election night parties, and our plans for November 5th. Here's Steve, talking about his  plans…—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

Are you creating a brand that truly connects with your ideal clients? Cagney Collins, of Cagney Davis Designs, explores what it takes to build a brand that goes beyond colors and fonts. Cagney shares how consistency, quality visuals, and a clear brand voice work together to attract the right audience. She discusses why understanding your clients' lifestyle and preferences is essential in crafting a brand vibe that resonates. Plus, Cagney offers tips on balancing personal preferences with the needs of your target market for a cohesive, memorable brand experience. Main topics: Branding consistency for connection Identifying target audience traits Importance of quality photography Using color psychology effectively Developing brand voice Main takeaway: Branding is essentially about conveying a feeling. It's about curating a vibe that resonates with your target audience, beyond just colors and fonts. Cagney Collins is as passionate about her two beloved cats as she is about designing unforgettable brands for pet businesses! With over six years in the graphic design world, she started out creating illustrations for friends and family, transforming her hobby into a thriving career. Today, Cagney runs her own business, Cagney Davis Designs, where she specializes in crafting unique, cohesive brands that help small businesses stand out. She also collaborates with Pet Marketing Unleashed to create stunning brand identities and websites tailored for businesses in the pet industry. From logo design to brand strategy, Cagney brings a deep understanding of what makes a brand memorable and impactful. Links: hello@cagneydavisdesigns.com https://cagneydavisdesigns.com www.petmarketingunleashed.com Check out our Starter Packs See all of our discounts! Check out ProTrainings Code: CPR-petsitterconfessional for 10% off Give us a call! (636) 364-8260  Follow us on: Instagram, Facebook, Twitter Email us at: petsitterconfessional@gmail.com Full show notes and transcript   Sponsored by: ❤️ Our AMAZING Patreon Supporters   Time to Pet Visit: https://timetopet.com/confessional Code: 50% off first 3 months   Pet Perennials Visit: https://petperennials.com/pages/register-for-a-business-account Code: 'PSC' when registering for a $2 off coupon on any purchases in the 1st 90 days  

This week on the podcast, we speak with Andrew Martinez-Fonts, VP of Product at Honeysales, to discuss product strategy and how that should always come before any technological advances. Andrew stresses the need to truly understand customer needs and align strategies with business goals.Featured Links: Follow Andrew on LinkedIn | Honeysales | 'Five things we learned at the #mtpcon + Pendomonium roadshow - Berlin 2024' feature by Louron PrattOur HostsLily Smith enjoys working as a consultant product manager with early-stage and growing startups and as a mentor to other product managers. She's currently Chief Product Officer at BBC Maestro, and has spent 13 years in the tech industry working with startups in the SaaS and mobile space. She's worked on a diverse range of products – leading the product teams through discovery, prototyping, testing and delivery. Lily also founded ProductTank Bristol and runs ProductCamp in Bristol and Bath. Randy Silver is a Leadership & Product Coach and Consultant. He gets teams unstuck, helping you to supercharge your results. Randy's held interim CPO and Leadership roles at scale-ups and SMEs, advised start-ups, and been Head of Product at HSBC and Sainsbury's. He participated in Silicon Valley Product Group's Coaching the Coaches forum, and speaks frequently at conferences and events. You can join one of communities he runs for CPOs (CPO Circles), Product Managers (Product In the {A}ether) and Product Coaches. He's the author of What Do We Do Now? A Product Manager's Guide to Strategy in the Time of COVID-19. A recovering music journalist and editor, Randy also launched Amazon's music stores in the US & UK.

We took a field trip to a New York City head spa, and we'll tell you all about it. Then, Jess asks graphic designers why we've been seeing so many big, round, “wavy gravy” fonts in beauty packaging. Plus, we're talking about executive changes at Estée Lauder Companies; an Anna Sui laptop with built-in perfume pods; the hot back-to-school beauty item; a surprising trick for getting rid of bumpy skin; and why a good shower caddy is so hard to find. Episode recap with links: fatmascara.com/blog/ep-545Products mentioned in this episode: shopmy.us/collections/763110Sponsor links & discount codes: fatmascara.com/sponsorsPrivate Facebook Group: Fat Mascara Raising a WandTikTok & Instagram: @fatmascara, @jenn_edit, @jessicamatlinSubmit a "Raise A Wand" product recommendation: email info@fatmascara.com or text us or leave a voicemail at 646-481-8182 Become a member at https://plus.acast.com/s/fatmascara. Hosted on Acast. See acast.com/privacy for more information.