Podcasts about typefaces

Brian, Blake, and Richard are back for Episode 534 of the Chasing Tone - Welcome to the chug spectrum and some major pedal hinting   Brian attempts to immediately cancel Richard as the guys talk about the podcasting life and some recent ill feelings against the podcast world. He has been moderately outraged by a recent thread on Tubescreamers and the guys try not to wind him up further. Blake tests the sound of cardboard. Brian is a defender against misinformation. Richard has been looking at the history of the Big Muff and is amazed at how many variations there have been. Somehow dubstep is involved. Richard has also been given a fantastic tip from the wizards at Reeves Electro and has some of his own DIY tips. It's also new amp day and there are some major pedal hints.Has the recent Neural Nano thingummy started a new modeling war? The guys debate this. Fender have also teased some new images and the guys speculate over which color schemes they will announce. Brian is not impressed and Richard has a new strap. Leprechaun squats, Parts tolerances, Wub, Soldano Astro 20, Typefaces...it's all in this week's Chasing Tone!We are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Awesome Course, Merch and DIY mods:https://www.guitarpedalcourse.com/https://www.wamplerdiy.com/Find us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Youtube:https://www.youtube.com/channel/UCdVrg4Wl3vjIxonABn6RfWwContact us at: podcast@wamplerpedals.comSupport the show

In diesem Podcast teilt Katha ihre Quick Tipps und eigene Erfahrungen zum Thema Sichtbarkeit. - erstelle ein Portfolio, das dich und deine Qualität widerspiegelt, damit du dich selbstbewusst präsentieren kannst - sei als Personal Brand mit verschiedenen Themen sichtbar, denn: Menschen kaufen bei Menschen! - Content? It's a game! Finde deine Zone of Genius, damit es dir Spaß macht und leicht von der Hand geht - Analysiere deine Performance, optimiere deinen Content und zeige Durchhaltevermögen - Ziehe YouTube als Plattform in Betracht Werbung Videoproduktion und YouTube Beratung bei der Liebenau Media GmbH [Buche dein kostenloses Erstgespräch bei Lisa Liebenau hier. ](https://calendly.com/liebenau-media) www.liebenau-media.de Mit unserem Code TYPEFACES10 bekommst du außerdem 10% Rabatt auf dein erstes Strategiegespräch (gültig bis 31.12.2024). Mehr über Katharina & die TYPEFACES family [TYPEFACES family](https://typefaces-shop.de/typefacesfamily/) [Katharina Hailom](https://www.instagram.com/katharinahailom/) [Instagram](https://www.instagram.com/typefaces.family/) [LinkedIn](https://www.linkedin.com/company/78421113/admin/) [Impressum](https://typefaces-shop.de/impressum-2/)

In Race Across The World they font used gets a credit... why? This question was sent in by a big name in TV so we hunted down an answer. Is it beneficial when actors are typecast? What are Marina and Richard's top 3 Britpop bands (that aren't Oasis)? Just a few of the questions answered in this episode of The Rest Is Entertainment with Richard Osman and Marina Hyde. Newsletter: www.therestisentertainment.com Twitter: @‌restisents Instagram: @‌restisentertainment YouTube: @‌therestisentertainment Email: therestisentertainment@gmail.com Producer: Neil Fearn + Joey McCarthy Executive Producers: Tony Pastor + Jack Davenport

Sichtbarkeit für dein Business

In today's episode, I'm chatting with type designer Jen Wagner.Jen is one of the most talented type designers around and not only do we use one of her fonts on our own site, we've also licensed several of her fonts for our templates.As always, links and resources can be found in the show notes. Check 'em out at https://daveyandkrista.com/how-to-choose-license-typefaces-fonts-jen-wagner-btb-231/ And if you enjoyed this episode, please consider leaving a review over at Apple Podcasts.

Welcome to Season 4, Episode 30! This is an ICYMI (In Case You Missed It) encore rebroadcast of The History of Chop Suey Fonts from S03E18. It was a favorite of ours to research because it amazes us how something not created by Asian Pacific Islanders has become so closely aligned to our businesses.  We've all seen them. Typefaces that signal an ethnic establishment. For businesses, especially restaurants that sell Asian food, it's not unusual to see the use of a “Chop Suey Font”. These fonts have also been used for politics, advertising, media, and other businesses. Whether named Chop Suey, Wonton, or any number of mimicry typefaces, using these fonts sends a message that it's a place that's exotic, foreign, yet somehow accessible. We discuss the history of these fonts and whether they're racist.  If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or social media links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com. Segments 00:25 Intro 00:59 The History of Chop Suey Fonts

Maggy Melzer war jahrelang sehr erfolgreich als Produkt- und Brandfotografin, als sie plötzlich herausfand, dass ihre Kunden eigentlich noch etwas ganz anderes von ihr brauchten. Im Gespräch erzählt sie, wie sie ihr WHAT gefunden hat, das sie erfüllt und zu ihren Werten und Stärken perfekt passt. Wir sprechen über Faktoren, die eine wichtige Rolle dabei spielen, um ein Angebot zu kreieren, dass zur eigenen Vision passt. Zum Schluss gibt Maggy dir noch eine kleine Übung an die Hand, die dich direkt ins Tun bringt und beim Reflektieren hilft. Empfehlungen aus dem Podcast [Ikigai Buch](https://www.googleadservices.com/pagead/aclk?sa=L&ai=CcsC3fHxIZrrPOqWNmLAPjo6vkALro8fhd7HRn-rFEPaUwqqKMggEEAEguVQoD2CVuv2BlAegAf6SkOEDyAEHqQLYWKRVcTyyPsgD2CCqBF9P0ILVLw6rZPjzH8HsVhD2tUcRbCdpFnumsf6NVudOy9BVBpqF5kX0fHVC0eYsLcSlaesGENukiS_ulg7dlFwojD0rxC2416Dgzuh9Wc3SpKomdx59PtsjJrXAErOlt8AEicvhiJoEgAWQTogF-bml-0PABS6gBiaAB66BxIABiAcBkAcBqAfruLECqAemvhuoB7masQKoB_PRG6gH7tIbqAf_nLECqAfK3BuoB5KvsQKoB7uksQKoB9imsQKoB961sQKoB9uqsQKoB9CqsQKoB9ywsQKoB-qxsQKoB5S4sQKoB-y4sQKoB763sQKoB-S9sQKoB4PDsQKoB7ytsQKoB7mrsQKoB-i1sQKgCI7ypwSwCAHACAHSCCwQAjIHg-CA7p-AAToMwuGAgICABIKAgMAFQgEESNHs8ypQCVi6_abs-JaGA5oJOmh0dHBzOi8vd3d3LnRoYWxpYS5kZS9zaG9wL2hvbWUvYXJ0aWtlbGRldGFpbHMvQTEwNTY1NzEwODOxCSGGGTUt91G2uQk6eZlkBN7ACfgJAZgLAdALKaoMAggB2gwICgMg0AESAQLoDAaaDQEpqg0CREXIDQHgEvzDxrm-x_zyYYIUBAgBEgDQFQHpFaZeYXdp57KT8BXskbs6-hULQTEwNTY1NzEwODOIFpAGmBYB6hYECNupIPgWAYAXAZIXCRIHCAEQAxigA7oXBDgBSAHgFwLQGAHYGAE&ae=2&gclid=CjwKCAjwo6GyBhBwEiwAzQTmc9pWQzJQQzy_Jj-c4WZtniP8Icpu7W_Fzdy7QkHUyG9MiI8_jlVkChoClHUQAvD_BwE&ctype=46&ved=2ahUKEwju76Ds-JaGAxV_XvEDHZbHD6sQ9aACKAB6BAgIEBg&nis=2&dct=1&cid=CAASFORo1EmbnwxbAZt5EwS4Kv2idExs&dblrd=1&sival=AF15MEBgcFvcvjeTOMz8xDpgrIgp82iRekxZ0OL0CBsqaVmCKm61v_7acW_0YboDbSxYZaK1WjdYfP8FjdnwRkGAPGXCFOTJ3yPQmRWzGWhhi1qVXLhC5p0Frn8VeRgBWVsMVyL6X-J3rQb6w-w94kKaCbh8a17mZRJr_Ckl_NA5Jg5QUmDCACc&sig=AOD64_26YGrTSogdPaeg1Zy8XldV0c797w&adurl=https://www.thalia.de/shop/home/artikeldetails/A1056571083%3FbuchhandlungId%3D5473%26ProvID%3D11007871%26ProvID%3D11000522%26gad_source%3D1 ) [Ikigai TYPESNACK von Katha (für Member der TYPEFACES family)](https://member.typefaces-family.de/courses/typesnack-ikigai/) Hier findest du mehr über Maggy Melzer [https://maggymelzer.com](https://maggymelzer.com) [Instagram](https://www.instagram.com/maggymelzer/) Hier findest du mehr über uns [TYPEFACES family](https://typefaces-family.de) [Instagram](https://www.instagram.com/typefaces.family/) [LinkedIn](https://www.linkedin.com/in/katharina-hailom-premiumkalligrafie/) [Impressum](https://typefaces-shop.de/impressum-2/)

#176 Find out where to get quality free fonts you can legally use for design projects, surprising reasons you should use certain free fonts, and accessibility concerns with certain types of typefaces.  

There are few things more typographically satisfying than recognizing type in the wild. Gotham over here, Futura over there, Helvetica everywhere! Perhaps the only thing more satisfying is sitting down for a hearty conversation about letterforms with a fellow type geek. Pan to my conversation with Jeremy Gladstone, owner and founder of Gladstone Media in Toronto.In this conversation, Jeremy shares more about Gladstone Media and how they do what they do, digging into the step-by-step process behind their creative work. He shares a helpful strategy for starting simple, constructing and then deconstructing creative work until it works. We then dive into Gladstone Media's Typefaces of Toronto project (currently in episode 9), including where it started and where it's going. And we meet Oscar the dog! I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

Ein absoluter Gamechanger für mich als Unternehmerin war es, mir meiner Werte bewusst zu werden. Was sich dadurch konkret verändert hat erzähle ich dir in dieser Folge! 1. Meine Werte zu kennen und zu kommunizieren zieht Kunden mit ähnlichen Werten an. Man ist dadurch direkt auf einer Wellenlänge und kann besser zusammenarbeiten. 2. Ich kann klare Erwartungshaltungen an meine Kunden kommunizieren und schaffe damit einen wichtigen Vorteil im Marketing. 3. Ich habe einen hilfreichen Filter für Entscheidungen und kann Ideen mit meinen Werten abgleichen, um zu prüfen, ob sie zu mir passen. Dadurch kann ich leichter Entscheidungen treffen mit denen ich dann auch langfristig glücklich bin. Im Monat März bearbeiten wir in der TYPEFACES family intensiv das Thema deine Werte, Stärken und Vision.

Anni Schmoll [@annischmoll](https://www.instagram.com/annischmoll/), 27 Jahre alt, hat eine Ausbildung zur Medienkauffrau absolviert und anschließend Online Medien Management studiert. Fotografie hat sie schon immer fasziniert, aber erst während dem Studium hat sie diese Leidenschaft vertieft - insbesondere im Bereich Food. So ist ihr eigener Instagram Account groß geworden und auch ihre ersten Aufträge im Bereich Social Media Management kamen zustande. Heute betreut sie verschiedene lokale Unternehmen im Bereich Social Media und teilweise auch Personal Branding und übernimmt die professionelle Content Creation. Sie vereint beide Bereiche: Content Planung & Erstellung, was für ihre Kunden eine perfekte Kombination ist. **Tipps für deinen Business Instagram-Kanal:** - Richte deinen Content spitz auf deine Zielgruppe aus, um ihre Aufmerksamkeit zu verdienen (und beschuldige nicht den “bösen Algorithmus) - Qualität steht über Quantität: Bevor du einfach nur irgendetwas postest, nimm dir lieber noch einen Tag länger Zeit, um hochwertigen Content zu liefern - Überlege dir ganz genau, wen du mit deinem Content erreichen möchtest und welche Probleme und Herausforderung diese Menschen haben. Wie muss dein Content aussehen, um genau diese Menschen anzusprechen? - Kümmere dich in erster Linie um dein Contentpiece und zerbreche dir nicht den Kopf über die Posting-Uhrzeit und die Hashtags - Instagram hat inzwischen eine Volltextsuche, daher ist der Inhalt deiner Profilinformationen und auch deine Caption-Texte relevant, um gefunden zu werden - Räume deine Highlights auf. Nicht alles, was für dich ein Highlight war, ist auch für deine Kunden wichtig. Hier findest du mehr über Anni Schmoll [Kostenloses Account Analysegespräch](https://annischmou.com) [Instagram](https://www.instagram.com/annischmoll/) **Werbepartner** TYPEFACES family: Das Netzwerk & the place to be für alle Kreativen Selbstständigen & Unternehmer*innen. Wir haben eine Plattform geschaffen, auf der wir einander wohlwollend und auf Augenhöhe begegnen, uns über Fragen aus dem Businessalltag austauschen, voneinander lernen und uns gegenseitig supporten. Mehr Infos und die Möglichkeit, dabei zu sein findest du auf [www.typefaces-family.de](https://typefaces-family.de) [Instagramkanal der TYPEFACES family](https://www.instagram.com/typefaces.family/) Hier findest du mehr über uns [Onlineshop](https://typefaces-shop.de) [Instagram](https://www.instagram.com/hintsundkunst/) [LinkedIn](https://www.linkedin.com/company/78421113/admin/) [Impressum](https://typefaces-shop.de/impressum-2/)

Chase and Timothy talk with Jeremy Dean about their introductions to music, typefaces, and the best band logos. Follow Jeremy Dean: @deansnuts on Instagram https://deswobf.com/password Follow: Customer Service Podcast on Instagram @customerservicepod Canoe Club on Instagram & YouTube @shopcanoeclub www.shopcanoeclub.com

This podcast is a commentary and does not contain any copyrighted material of the reference source. We strongly recommend accessing/buying the reference source at the same time. ■Reference Source https://www.ted.com/talks/matthew_carter_my_life_in_typefaces ■Post on this topic (You can get FREE learning materials!) https://englist.me/193-academic-words-reference-from-matthew-carter-my-life-in-typefaces-ted-talk/ ■Youtube Video https://youtu.be/5bRhMvCAOec (All Words) https://youtu.be/AdfC7R3T4K8 (Advanced Words) https://youtu.be/CKY92UdtbFU (Quick Look) ■Top Page for Further Materials https://englist.me/ ■SNS (Please follow!)

3.23 In this video, I discuss the importance of selecting the right typefaces for your publication because they play a vital role in shaping the overall aesthetic and readability of your work. This a high-level view intended to provide the basic guidelines for beginners to aid in producing a product that is both easy to read and aesthetically pleasing. Links:  https://www.creativebloq.com/typography/20-perfect-type-pairings-3132120 https://www.leadpages.com/blog/best-google-fonts https://www.typewolf.com/top-10-body-text-fonts https://www.thoughtco.com/body-copy-in-typography-1078253 https://www.lifewire.com/classic-serif-fonts-print-projects-1077407 https://fabrikbrands.com/best-sans-serif-fonts/ https://fontmeme.com/famous-logos-created-with-futura-font/ https://gatekeeperpress.com/most-readable-font-for-print/ ———————————————————————————————— Patreon - https://www.patreon.com/RPG_Ramblings ———————————————————————— ————————————————————————          ———————————————————————————————— Jeff Jones Twitter: @I_Am_Jeffrey Itch.io:  https://jeffrey-a-jones.itch.io DriveThru: https://www.drivethrurpg.com/browse.php?author=Jeffrey%20A%20Jones Intro and Outro Music: Jungle Juice by Wataboi from Pixabay.com/music Sound Effects:  https://sound-effects.bbcrewind.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/jeffrey-jones6/message

In dieser Podcastfolge teilen wir mit dir, woran wir die letzten Monate intensiv gearbeitet haben. Denn endlich gibt es ein Ergebnis! Eine Neuausrichtung, auf die wir uns wahnsinnig freuen, weil sie sich so gut anfühlt! Nach dem Formulieren unserer Werte und unserer Vision haben wir viele Interviews geführt, Ideen gesammelt und wieder verworfen, Konzepte gebrainstormed und unendlich viel miteinander gesprochen. Wir haben den Markt analysiert, uns immer wieder gefragt, welchen NEED wir in unserer Branche sehen und wie WIR ihm mit unseren Werten und unseren Stärken begegnen wollen. Stück für Stück hat sich das Puzzle in unserem Kopf geformt und ist zu einem klaren, wunderschönen Bild geworden. Im Gespräch: [Hier findest du mehr Infos zur TYPEFACES family](https://typefaces-shop.de/typefaces-family/) Werbung in eigener Sache: Kennst du schon unser TYPEFACES Magazin für Kreative Selbstständige? Darin geben wir Artists eine Plattform, sich und ihre Arbeit vorzustellen. Außerdem kuratieren wir Artikel und Interviews von verschiedenen Autor*innen zu Themen aus der Creative Business World. Du bekommst ehrliche Einblicke hinter die Kulissen von anderen Kreativen, kannst über deren Werdegang lesen und dich in ihren Geschichten wiederfinden. Mit dem TYPEFACES Magazin kannst du eine kreative Auszeit ganz analog auf der Couch oder dem Liegestuhl genießen. Lass dich inspirieren und motivieren, dein Kreativbusiness erfolgreich und selbstbewusst aufzubauen! Mit dem Code **TYPEFACES5** sparst du **5€ auf das Magazinbundle** mit allen bisherigen Ausgaben. [Klick hier um direkt zum Produkt zu gelangen.](https://typefaces-shop.de/shop-seite/thema/watercolor/typefaces-bundle-no-2-no-3/) Hier findest du mehr über uns: [Website / Onlineshop](https://typefaces-shop.de) [Instagram](https://www.instagram.com/hintsundkunst/) [LinkedIn](https://www.linkedin.com/company/78421113/admin/) [Impressum](https://typefaces-shop.de/impressum-2/) Viel Spaß beim Zuhören!

Are you in the process of designing your brand identity? Are you maybe about to start doing that or maybe you're hiring someone to help you? Well, either way, I wanna make sure that you do it right so that you have an amazing, effective, efficient, kickass brand identity that does what it needs to do. So in this episode let's talk about the 12 mistakes to avoid when designing your brand identity.–––––––––––––––––––––––Read the accompanying blog post.Tag me on Instagram @makerandmoxie and let me know you're listening.And sign up to the Moxie Musings newsletter for more goodness like this.–––––––––––––––––––––––Want to support the show & help me make the world a more creative place one brand at a time? You can pop something in my tip jar hereAny amount is appreciated, as is sharing the episodes or recommending the show to your creative friends!Want to sponsor the Brand Your Passion Podcast? You can view the options & book in here.

Welcome to Season 3, Episode 18. We've all seen them. Typefaces that signal an ethnic establishment. For businesses, especially restaurants that sell Asian food, it's not unusual to see the use of a “Chop Suey Font”. These fonts have also been used for politics, advertising, media, and other businesses. Whether Chop Suey, Wonton, or any number of mimicry typefaces, using these fonts sends a message that it's a place that's exotic, foreign, yet somehow accessible. We discuss the history of these fonts and whether they're racist. To begin the episode, we talk a little about the shooting in Allen, Texas. To end the episode, we begin a new segment on Supporting Athletes of Asian Descent, and we provide a non-hockey fan's guide to the Stanley Cup Playoffs. Which NHL players of Asian descent are still playing? Find out here! For previous episodes and information, please visit our site at https://asianamericanhistory101.libsyn.com or social media links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com. Segments 00:25 Talking a Little about Allen, Texas Shooting 08:17 The History of Chop Suey Fonts 21:57 Supporting Athletes of Asian Descent, Stanley Cup Edition

Dr. Tanvi Gupta is an Associate Professor of Marketing at the Indian Institute of Management Udaipur (IIMU) and a practicing semiotician. Her academic research focuses on brand language and consumer culture—and her research has been published in Journal of Consumer Research—one of the top marketing journals in the world. Tanvi co-leads the Consumer Culture Lab at IIM Udaipur, a platform to foster research on consumer culture in India. She is also a member of the Editorial Review Board at the Journal of Retailing. Before doing a Ph.D. in Marketing from IIM Bangalore, Tanvi has worked as a marketing research professional with Kantar. During her stint in the MR industry, she has worked on semiotics, brand tracking and advertising research—integrating both quantitative and qualitative methods. Tanvi also holds a communications masters from MICA, India with the director's award for academic excellence. Tanvi also has a flair for creativity and aesthetic sense. Being a trained graphics designer, her passion for visual aesthetics and culture drives her interest towards visual semiotics and brand language. In this Super CMO episode with Swami, Dr. Tanvi talk about: - Why Prof. Tanvi Chose Marketing & Semiotics - What is Semiotics? - Anthropology, Sociology & Psychology in Semiotics - How Brands Can Use Semiotics - How Brands Can Decode Indian Culture - Binary Opposites, Plotting and Code Trajectory in Semiotics - Residual Vs. Emergent -Lakme Vs L'Oreal - How Brands Can Revive Themselves - The New Code Trajectory: Role Reversal in Brand Advertisments - Can Tech Companies Apply Semiotics in Design? - Culture Hues Embedded Into User Experience - The Influence of Typefaces in Brand Building - Semiotics and the Diverse Indian Culture - The Consumer Culture Lab @ IIM Udaipur - Tulsi, the YouTube Village of India - How Brands Can Tap Into Emerging Regional Digital Identities - Advice to Brands From a Semiotician - Advice to a Young Marketer From a Semiotician Listen to the podcast on Apple Podcasts | Spotify | Anchor | Google Podcasts | Amazon Music Watch the full video episode on YouTube For show notes and earlier guest interviews, please visit www.contraminds.com To sign up for our weekly newsletter, please visit https://contraminds.substack.com/ Connect with Dr Tanvi: https://www.linkedin.com/in/tanviguptamr/ Connect with Swami: https://www.linkedin.com/in/sivaraman-swaminathan-9856501/ Connect with Vignesh: https://twitter.com/hrorq Connect with us: LinkedIN: https://www.linkedin.com/company/contraminds/ Instagram: https://www.instagram.com/contraminds/ Facebook: https://www.facebook.com/contraminds Website: www.contraminds.com

In this episode, Diana shares her week of serendipitous BIG MAGIC centered around books while she was filming her Domestika course in New York City. Interwoven throughout the story are excerpts from Elizabeth Gilbert's incredible book, Big Magic: Creative Living Beyond Fear. Expect sunshine, rainbows and some serious BIG MAGIC.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

Welcome Oliver Schöndorfer of Pimp My Type! In this episode you'll hear Oliver's approach to pairing type, a helpful framework to think about categorizing type in a different way and rethinking font classification systems for ‘finding' type versus for ‘filing' type. You'll also hear Oliver's favourite pairing right now, the typeface he would choose if he could only choose one and so much more. Let the type geekery begin!Do you have an idea? Want to share a story? Collaborate on an interesting project? Let's Connect on the web or via Instagram. :)

This week's challenge: make a proper Zettelkasten.You can hear the after show and support Do By Friday on Patreon!------Edited by Alex Cox------Show LinksHow to Write a Morrissey Song ("Sing The Third") - YouTubeLin-Manuel Miranda Lip Bite | Know Your MemeTwitter: LexTwitter: GriffinBob Wachter on Twitter: "…moderate surge in SF…"How Cranbrook's Design Program Redefined How We Make and Talk About Graphic Design – Eye on DesignEmigre: MagazineCranbrook Style GuideHistory Of The FedEx Logo Design - Meaning & Evolution 2022Home | Paul Rand: Modernist Master 1914-1996Designculture • Massimo VignelliJan Tschichold : Design Is HistoryThe New Typography (Weimar and Now: German Cultural Criticism (Paperback)): Tschichold, Jan, McLean, Ruari, Kinross, Robin, Hendel, Richard: 9780520250123: Amazon.com: BooksJan Tschichold and the New TypographySwiss Style: The Principles, the Typefaces & the Designers – PRINT MagazineNo. 3236: The Humble Index CardGetting Started • Zettelkasten MethodThe Archive (macOS) • Zettelkasten MethodIntroduction to the Zettelkasten Method • Zettelkasten MethodFolgezettel • Zettelkasten Method(Recorded on Wednesday, November 30, 2022)

Oliver Schöndorfer is a user interface designer and educator from Baden, Austria. Connect with Oliver PimpMyType website PimpMyType YouTube channel Oliver's Instagram Oliver's Twitter If you enjoy the podcast, we'd love for you to leave a 5-star review on Apple Podcasts or Spotify to help others discover the show. You can send a message to @danalanstudio on Instagram or Twitter with any feedback, ideas, or thoughts about the episodes. Thanks for listening!

This is a very special crossover episode between Talk Paper Scissors and the Graphic Design is Fun podcast where Diana and Canadian graphic designer, Dan Alan, chat about the topics of teaching and learning graphic design.In this conversation, Dan describes what he believes it takes to be a graphic designer, as well as his thoughts about learning graphic design. He reveals what's on his radar right now and what it might mean for the future of the industry.After listening to this episode, head over to Dan's podcast, Graphic Design is Fun, where you'll hear him pick Diana's brain about her teaching origin story (which may surprise you!), how her role as an instructor has evolved over the last 10 years and the pair dip their toes into topics very close to Diana's heart; namely creative confidence and normalizing failure.Do you have an idea? Want to share a story? Collaborate on an interesting project? Let's Connect on the web or via Instagram. :)

From 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 2!).This episode is guest hosted by Andres O'Brien Ramirez.Name: Geometos NeueRelease Date: 2017 Designers: Depak Dogra Classification: Sans SerifOwned By: GraphiteClaim to Fame: Futuristic designDo you have an idea? Want to share a story? Collaborate on an interesting project? Let's Connect on the web or via Instagram. :)

From 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 2!).This episode is guest hosted by Zoe Soeiro.Name: Proxima NovaRelease Date: 2005Designers: Mark SimonsonClassification: Geometric Sans SerifOwned By: Mark Simonson StudioClaim to Fame: Replacing Helvetica as the world's most popular typefaceDo you have an idea? Want to share a story? Collaborate on an interesting project? Let's Connect on the web or via Instagram. :)

From 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 2!).This episode is guest hosted by Ian Ugale.Name: ITC BenguiatRelease Date: 1977Designers: Ed BenguiatClassification: Serif DisplayOwned By: International Typeface CorporationClaim to Fame: The typeface used in Stranger ThingsDo you have an idea? Want to share a story? Collaborate on an interesting project? Let's Connect on the web or via Instagram. :)

From 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 2!).This episode is guest hosted by Maya Navarro.Name: Times New RomanRelease Date: 1932Designers: Stanley Morison and Victor LardentClassification: Mixed Transitional Old-Style (Serif)Owned By: MonotypeClaim to Fame: The typeface commissioned by The Times and the most widely installed serif typeface 

From 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 2!).This episode is guest hosted by Johanna Gibson.Name: Gill SansRelease Date: 1928Designer: Eric GillClassification: Humanist Sans-SerifOwned By: MonotypeClaim to Fame: Typeface for London North and Eastern Railway

Welcome to the future… FONT FUTURES!In this episode, we meet Toronto-based type designer, Kevin King, who is working to revitalize and preserve North American Indigenous languages in digital spaces. You'll hear Kevin's career origin story, the challenges that exist in digital spaces for minority language support, current barriers to access and the process involved in helping to remove these barriers. You'll learn the process involved in taking on a project of this magnitude, including a research methodology that helped Kevin reach out to Indigenous communities and work with language keepers directly. Finally, Kevin provides excellent advice for up-and-coming type designers.

Welcome to the future… FONT FUTURES!Today's guest is the legendary Charles Nix, Creative Type Director at Monotype. In the following talk, you'll hear the who, what, why, when, where and how of variable type technology, including some incredible examples of variable type that already exist in the world. You'll hear about the technology behind variable type, as well as the creative solutions possible for both the digital and physical world when designers are able to play with type as a medium. Variable font technology allows creatives to move beyond the binary to space that's fluid and dimensional, exploring a spectrum of type. This episode could be called ‘Variable Type 101' and it's jam-packed with insight! 

Welcome to the future… FONT FUTURES!In this first of three episodes in the series, you'll meet emerging typeface designers Nate Evangelista and Sarah Zahavi. You'll learn about their original typeface designs (Aqua and Negative Space), as well as their process, sources of inspiration and their favourite glyphs. Nate's original typeface is derived from feeling, while Sarah's is derived from thinking. Nate's is organic and natural, while Sarah's was born on city streets. These two typefaces, their processes and their designers are incredibly different, but each is also incredibly successful in their interpretations of the creative brief.

I am joined by the lovely author and typography professor Indra Kupferschmid to chat about type classification and combining typefaces. We cover why the old systems don't work, and touch on a font matrix. It's a brilliant way by Indra, that tells you how to describe typefaces differently, and helps in making better decision in pairing them. Besides that, Indra also shares: ➡️ how calligraphy taught her why letter forms change when using different writing tools. ➡️ that her student's don't feel that intimidated by combining fonts. ➡️ why popular typefaces like Roboto and Inter work so well and still might stick around for some years. Talking points: 00:00 – Introduction 04:36 – Greeting to Indra Kupferschmid 05:36 – Avoid flipped apostrophes (should look like a 9) 08:01 – Consistent typography makes text easier to understand 11:44 – Categorizing typefaces 16:23 – About historic type classifications 20:07 – Why the old type classification models don't work 22:31 – Filtering Fonts to make it easier to pick one 25:55 – Filtering based on features 27:54 – Terminology is the biggest problem, better describe what you see 28:59 – The Font Matrix 38:04 – Creating contrast 39:50 – Don't use too light typefaces for body text 43:23 – Why are Roboto and Inter so popular for UI design? 48:25 – Why there are so little serif typefaces on screen? 53:59 – Are more typefaces now shown than images? 56:03 – Rapid Round of questions 58:32 – Goodbye

Letters have no gender, but that hasn't stopped our species ascribing masculine and feminine qualities to them. It's a phenomenon type designer and scholar Marie Boulanger examines in her debut book, XX XY: Sex, letters and stereotypes. She joins Blueprint For Living to tell us the origins of this habit, and why we need to be critical about type and gender. This was first broadcast on October 23, 2021.

It's here! We've made it! EPISODE 100! To celebrate, Diana's looking back at some of her favourite answers to the question: “If you could only choose one typeface to use for the rest of your life, what would it be and why?” Diana's own ‘desert island typeface' is Proxima Nova and a very special guest joins us to make all of Diana's type dreams come true.

We are happy to welcome Britt Möricke. She is an independent graphic and type designer and teaches at the Willem de Kooning Academy in Rotterdam. We talk about her “project stereotypos”, how to choose a typeface and the difficulty to get rid of “stereotypos”. Certain typefaces communicate certain messages. Further on we talk about typographic interventions in the city space, for example the typeface for Rome by Gerard Unger. Shownotes Trend Listwww.trendlist.org StereoTypowww.sterotypo.nl typeroomwww.typeroom.eu Websitewww.brittmoricke.com BookLanguage and typography by Cal Swann

Unser immerwährendes Ziel bei allem, was wir tun ist es, ein Problem zu lösen bzw. eine Win-Win Situation für möglichst viele Parteien zu schaffen. Es motiviert uns unheimlich, Prozesse und Strukturen zu optimieren und sind stets auf der Suche, welchen Beitrag wir ganz speziell dazu leisten können. So entstand auch die Idee, eine Künstleragentur speziell für Handletteringkünstler*innen und Illustrator*innen aus unserer Branche zu gründen. Wir hatten im Lauf des letzen Jahres mehrere Erkenntnisse, die wir in dieser Folge mit euch teilen, die uns diese Idee haben entwickeln lassen. Welchen Mehrwert wir mit der Agentur schaffen wollen und auf welche Art und Weise wir eine Win-Win Situation für Künstler*innen und Auftraggeber gleichermaßen schaffen wollen, erklären wir in kompakten 40 Minuten. Wenn du dich angesprochen fühlst, und gerne Kontakt mit uns aufnehmen möchtest, schreib uns an typefaces@hintsundkunst.de

Letters have no gender, but that hasn't stopped our species ascribing masculine and feminine qualities to them. It's a phenomenon type designer and scholar Marie Boulanger examines in her debut book, XX XY: Sex, letters and stereotypes. She joins Blueprint to tell us the origins of this habit, and why we need to be critical about type and gender.

Wir sprechen über die Rolle von Typografie in der Markenkommunikation und im Brand Design, klären den Unterschied zwischen Typefaces und Fonts, Mikrotypografie und Makrotypografie, Ligaturen und Glyphen – und werfen einen Blick auf die kleinen aber feinen Details, die gute Schriften ausmachen.

Some things deserve to be fought about and opinions hard fought for. One of those things for my friend Marie and me is typefaces. Fonts. How letters are shown in the world. Sometimes it is good. Sometimes it is really bad. But above all else, NEVER use Comic Sans, Papyrus, or Bleeding Cowboy. Check out Here We Are on Instagram, Facebook, or Patreon!

If Comic Sans showed up at a house party, would it be welcome or shown the door? In this episode, the Wireframe team parties down with a wild array of fonts, good and bad, to learn about the rise of novelty typefaces like Comic Sans and the proliferation of the now all-too-familiar geometric sans serif typeface. They'll find out what the popularity of these fonts says about how we think about the role of typography in today's world. And they'll also talk to some exciting new type designers who think that it's time for a new chapter in the story of type, one that reflects a richer, more diverse set of voices.Join host Khoi Vinh, and producers Pippa Johnstone and Dominic Girard as they explore the personalities of the typefaces we know and love and ideas that are influencing what we'll see next.Emma Tucker is a Comic Sans apologist. She's a senior writer and deputy editor at Creative Review, and believes there's a time and a place for this font. Though she's noticing how its “time and place” has become more subversive and cynical than before. Next, Stephen Coles is a major expert on type. He's the co-publisher of Fonts in Use and Typographica and editorial director at Letterform Archive. He explains how Comic Sans's rise made sense, and follows up with an argument for why design is ready to embrace more expressive fonts, and not fear personality so much.Then, young independent type designers introduce us to a pair of fonts they've created that embrace personality and expression in very personal ways. Tré Seals is the founder of Vocal Type - and we hear about how he made his Martin font, and its connection to the American Civil Rights era. Lynne Yun, of Space Type Continuum, introduces us to her “earthy and bold” font, Ampersandist. Both of these designers explain how they find creative reward, and liberty, in type design.Other fonts mentioned in this episode: Times New Roman, Impact, Arial, Comic Sans, Calibri, Garamond, Windsor, Cooper Black, Roboto and Wingdings. And here's an excellent resource of comic book style alternatives to the font we love to hate. Find a transcript to this episode here.

Isabela Freire is a Luso-Brazilian digital designer & art director driven by technology and art. She is currently the Design Team Leader at Arduino, the world's leading open-source hardware and software ecosystem. The Company offers a range of software tools, hardware platforms and documentation enabling almost anybody to be creative with technology.  Isabela believes in design as a lifestyle. Episode highlights: Isabela's backgroundSome of the most impressive stats of ArduinoBig companies and enterprises using ArduinoIsabela's role in Arduino there and what are some of the products she works onIsabela on leading a team of 10 designersIsabela on working and living in ItalyWhere's the revenue coming from?What are some of the best practices in designing for Arduino?Designing tools for interface designersPek asks Isabel: What are some of the Arduino devices in Isabela's home that she's using to control something?What Isabela loves the most in working with Arduino?How Isabel navigated her career and ended up working in Arduino?And much MORE!Links:Connect with Isabelahttps://www.isabelafreire.com/ https://www.arduino.cc/ Instagram: @isabela.freTwitter: @1sabelafreireHere are some books Isabela suggest for designers who are starting:AlfaBeta by Aldo Novarese (recently re-edited by the Turim based Archivio Tipografico) for a historic overview and deep dive into Italian typeType: A Visual History of Typefaces and Graphic Styles collection from Taschen. A thorough archive and eye candy bookThinking with Type by Ellen Lupton is a must for anyone who wants to approach typographyRuined by Design by Mike Monteiro, fellow Portuguese designer who puts into perspective our responsibility as designers and ethicsSusan KareHere are some of the Arduino products they've talked about:Arduino Starter Kit: for the first approach to Arduino and programmingArduino Opla IoT Kit: everything you need to create an IoT project very quicklyArduino Cloud: our cloud-based platform to control the world around you by creating Things and dashboards and code online

Typefaces and culture, font classification controversy, microsites + more Gosh! So much type and design news this week! We’re talking brand new fonts with big launches, a great type-collation project that captures the stories behind Latin American typefaces, Microsoft’s search for their new default font, and a brand-gone-bad. Phew. But wait, there's more! There’s been a big move in the type-classification world as ATypI has decided to stop using the Vox-ATypI classification. Hear more about this, and what it means, in this week's Nerd Alert...

In this Episode, we speak to Liam Spradlin, a designer on Google's Material Design System, Speaker, author, and host of the famous Design Notes Podcast.  We spoke about designing a design system, the difference between Android and iOS, and how he went about designing several typefaces.  Design Notes: https://designnotes.fm/ Liams Typefaces: https://iamli.am/work

Security threats surround us. Several months ago, I signed up for a Liker account as a possible alternative to Facebook. In mid-March, Liker abruptly shut down because of a serious data breach. They say they'll be back when they've reworked their code to be more secure. Threats can come from anywhere. In Short Circuits: When it's time to replace a computer monitor, you might consider a television because you can get a larger screen for a lower price, but should you? • If you use an application that shows the temperature of your computer's CPU, you may wonder why there's so much fluctuation and why the various cores don't all report the same temperatures. If so, I have just the information you're seeking. In Spare Parts (only on the website): If you're considering a Windows S Mode computer, be sure that you understand the limitations, and if you have one of these computers, there's a way to remove the restrictions if you find them too limiting. • Buying Apple products you see on Instagram might be dangerous. Beware fakes and counterfeit devices. • Twenty years ago: Typefaces on websites were limited to about half a dozen that were present on all computers, but Bitstream was trying to change that.

Ryan Polich is a design director at Lucia Marquand, a design agency in Seattle that develops designs and produces books for museums and other cultural institutions. What Ryan does at Lucia Marquand [0:31] The process of designing a book [3:33] What a physical book can be [7:26] Solving your client's problems [9:35] Favorite books Ryan has worked on [10:16] Interpreting a collection into a book [12:30] Crediting designers for work in different mediums [14:38] How Ryan became a book designer [16:23] How to choose typography for a project [20:03] Designing for the present vs. designing for the future [23:10] Favorite books Ryan didn't work on [25:44] Ryan's favorite typefaces, and ones he considers most overused [27:45] Episode Transcript & Mentions:  Clyde Golden is a creative agency in Seattle specializing in research, strategy, and content creation via Customer Journey programs.

In this episode, the guys get back to their regularly scheduled programming. Nico takes us back to a time when typefaces were a symbol of nationalism, and Chad talks about why its a good idea not to run a scam related to the CIA. Credit: Central Intelligence Agency https://www.cia.gov/Typefaces aren't just related to art and advertising, they also have a long history with politics.  Think of Fraktur. Fraktur is a gothic font. It's also calligraphic meaning that rather than just being gothic it has a handwritten quality to it that makes it somehow both curvy and pointy at the same time. Fraktur arose in the 16th century and remained popular until the 18th century, at which point many European countries moved away from Fraktur in favor of the much easier to read Antiqua typeface (for example Times New Roman is technically Antiqua in style). Germany viewed Antiqua as a symbol of the classicist age and emerging cosmopolitanism in most of the European countries that had previously used Fraktur.  The Antiqua-Fraktur Dispute was such a big deal that two centuries later, it has its own Wikipedia page.  The Fraktur typefaces remained in use in Nazi Germany, and was represented as “true German script.” In fact, during World War II, German presses were “urged” to only use “German script,” meaning Fraktur. “Urged” because the Fraktur font was heavily associated with Nazi Germany. This association was partly, if not largely, because of the Bauhaus.  The Bauhaus is a German art school founded by German architect Walter Gropius after World War I in 1919. Bauhaus was founded on principles of how design could be used to serve people and transform society. The Bauhaus School led to the first concrete foundations of modern design. Additionally, its influence was not only limited to Germany. The revolutionary art movement not only helped create what is now known as modern design but shaped cityscapes and entire urban centers elsewhere in the world. The nationalist movement that soon developed into Nazi ideology in Germany considered Bauhaus to be a rejection of traditional German values.  On January 3, 1941, the Nazi Party ended this controversy by declaring Fraktur to be Judenlettern (Jewish letters) before prohibiting it and switching to Antiqua.  German historian Albert Kapr has speculated that the regime viewed the hard-to-look-at-let-alone-read Fraktur as inhibiting communication in the occupied territories during World War II.  War took precedence over having a “German” font. What's Up With The Art History Lesson?  Today, when we see illegible fonts in advertisements, it's considered a marketing fail.  Which is essentially what happened with Germany. By insisting on using Fraktur for - give or take -  four hundred years, as a metaphor you could say Germany turned themselves into a bad billboard.  Whether you're a company or a country, the lesson here is to embrace art, marketing, and the place where those two overlap.  On January 8th, 2021, the Central Intelligence Agency unveiled a new design for its website, CIA.gov. Not a big deal, right? Well… Apparently, it was.Or at least it was a big enough deal that the rebranding made news. Why? Same reason the Bauhaus did 100 years ago. Simply for breaking the status quo.  CIA.gov abandoned the formal signifiers of government authority: dense bureaucratic text, link directories, declarative headers, nothing too fancy CIA.gov is now set against a stark black background, offset by dots and lines that form topographical contours. There's pops of red, bold, white font, and a clear design theme. In other words, the CIA seems to have discovered graphic design and modern art. There are subtle hallmarks of modern web design, like the site's animated scroll. The crisp lines and muted color palette suggest a minimalist branding strategy. Like with all things political, artistic, or both, the website has received a lot of mixed reactions. Online,

Legibility vs Readability, Uniwidth Typefaces, and more! This week we're going into detail about what really is the difference between the terms legibility and readability and why it's important to distinguish the two as a designer. Plus, we've gathered some fantastic Internet finds. There's a one-of-a-kind article about the science of reading, an unbelievably detailed thesis covering the design of italic type, and we'll top it off with a list of recently released typefaces that will rock your socks off. Weekly Typographic Newsletter Links

Episode: 1982 Albrecht Dürer and Times Roman Letters: Art that endured.  Today, let us write in CAPITAL LETTERS.

Click here to buy: https://adbl.co/343Tb8o A delightfully inquisitive tour that explores the rich history and the subtle powers of fonts. Fonts surround us every day, on street signs and buildings, on movie posters and books, and on just about every product that we buy. But where do fonts come from and why do we need so many? Who is behind the businesslike subtlety of Times New Roman, the cool detachment of Arial, or the maddening lightness of Comic Sans (and the movement to ban it)? Simon Garfield embarks on a mission to answer these questions and more, and reveal what may be the very best and worst fonts in the world. Typefaces are now 560 years old, but we barely knew their names until about twenty years ago, when the pull-down font menus on our first computers made us all the gods of type. Beginning in the early days of Gutenberg and ending with the most adventurous digital fonts, Garfield unravels our age old obsession with the way our words look. Just My Type investigates a range of modern mysteries, including how Helvetica took over the world, what inspires the seemingly ubiquitous use of Trajan on bad movie posters, and what makes a font look presidential, male or female, American, British, German, or Jewish. From the typeface of Beatlemania to the graphic vision of the Obama campaign, fonts can signal a musical revolution or the rise of an American president. This book is a must-read for the design conscious that will forever change the way you look at the printed word.

Fonts vs Typefaces, Freelance Resources & more! This week we'll be diving into one of the most frequently asked questions for those not yet in the know — what's the difference between a font and a typeface, and why you should care! We'll chat about how it relates to licensing and why you sometimes see so many similar fonts under the same name. Also, we share new typefaces that we are loving (and the process behind one of them) and our favorite new resource for freelancers. Weekly Typographic Newsletter Links

Custom fonts, bold typefaces and famous logos This week’s newsletter has a special focus on custom typography — besides a handful of awesome resources and links about it, we've got an awesome Nerd Alert about why so many companies have been getting their own fonts designed for them instead of using type off the shelf. Weekly Typographic Newsletter Links

We again, meet up with Frank Romano, Godfather of Print, at the Print Museum in Haverhill Massachusetts.  We discuss more missteps in the creation of the Gutenberg Bible. How the lessons of the past developed into today's modern serif typeface. Some of the early type foundries and the Declaration of Independence. History of Serif and Serif typefaces.

Typography is a fundamental part of logo design, but what does it take to design a font from scratch? What software do you use? How do you sell and licence the font once complete, where can you seek advice when you get stuck? In this weeks episode Ian Paget interviews type designer Adam Ladd to answer these questions and more. Adam Ladd is a type designer and graphic designer based in Cincinnati, Ohio with experience in fonts, branding, and art direction. He worked as art director and designer for HOW and PRINT magazines before building his own full-time, independent font foundry. Show notes and full transcription can be found here: https://logogeek.uk/podcast/design-a-font/ Resources & Books Mentioned Adam Ladd Type Design Portfolio Adam Ladd on Twitter, Linkedin, Dribbble and YouTube Font Software: Glyphs App, Fontlab, Robofont Font Forums: TypeDrawers Forum, Glyphs App Forum, Fontlab Forum Book: Type Tricks by Sofie Beier – Buy on Amazon UK | Amazon US Book: Designing Type by Karen Cheng – Buy on Amazon UK | Amazon US Thank you to the sponsor, FreshBooks I’m incredibly thankful to FreshBooks for sponsoring season 6 of the Logo Geek Podcast! FreshBooks is an online accounting tool that makes it really easy to create and send invoices, track time and manage your money. You can try it out for yourself with a free 30 day trial.

Kimya is a type designer from Mumbai with a passionate interest in Indic type design. Kimya interned with Linotype GmbH, Germany, in their font design department in 2010. Over the next several years she worked as a freelance designer for numerous type foundries catering to their multi-script requirements. Since 2015 she’s been a partner at Mota Italic focusing on Indic and Latin designs for retail and custom corporate projects. How has new technology and new software along with OpenType features, changing the face of Type design for Indian scripts? What has now become possible due to advancing technology?  You engage yourself in educating about type design. What are your observations about it?  You have been promoting and teaching importance of Indian typefaces, why? What value you see in it? How do you see things changing if type Design or taught in school and other primary educations institutes? We all know about the famous Oscar blunder due to bad typography. It’s not end of the world when it comes to Oscar, but its life and death when it comes to medicine and other important areas. Do you think better fonts can make a difference or it’s just better typography?  What are your thoughts and long term vision w.r.t spreading awareness about Indian Typefaces? How you and Mota are working towards it?  You have been working on 3D type faces recently. Can you tell us more about it?

One of the core assets of a brand is its typeface. Most design and marketing people would agree. The challenge, however, is getting the everyday user to grasp the importance of this and empower them to use fonts consistently to improve brand integrity. But how do brands with thousands of employees roll out fonts to the entire organization? Mathias Jepersen talks us through the value in choosing an immediately recognizable font. Templafy Co-Founder, Christian Lund, joins Mathias to discuss the need for seamless solutions to get all employees to embrace and use corporate fonts. Key takeouts from this episode: - How easily customers can recognize a brand by reading a few words in a bespoke typeface, and why small details matter - The technical and change management difficulties of getting all employees in a company to use custom fonts in their daily work - The key reasons behind the ever increasing demand for bespoke typefaces - A success story from Playtype on creating a new typeface for Københavns Kommune (Copenhagen Municipality) for their communications across the city - Whether it is possible to measure the ROI of bespoke fonts in a company For show notes and links, visit:https://www.templafy.com/blog/the-rise-of-bespoke-typeface-for-brands-with-playtype-head-mathias-jepersen For more information on Playtype's Font Foundry, visit:https://playtype.com/

#25 Part of the Creative Briefs series of mini-episodes with quick design- and marketing-related tips, this episode covers how to find out which fonts have been used in an image or PDF.

Tonight is part 2 of my Adobe MAX series. In this episode I'm talking to Dan Rhatigan, Senior Manager of Adobe Type Development. We're chatting about fonts and typefaces, variable fonts, the constantly changing nature of graphic design in an increasingly digital world, and working for Adobe. Dan's recommended links: Getting started with variable fonts on the web by Oliver Schöndorfer   Amazing tutorial videos for web-based typography and design by Jen Simmons. Fonts in Use is a pretty incredible resource for both identifying typefaces and finding inspiration and background information on what people do with them. Rich Rutter’s web-centric adaptation of Robert Bringhurst’s essential book, “The Elements of Typographic Style.”  Lessons from the Adobe Type team about working with type and text. Adobe Font Packs making it easy to jump-start design projects with curated sets of fonts from the Adobe Fonts library. Music for the show provided by OGRE.

Co-creator of "Processing" and founder of Fathom Information Design — Ben Fry (@ben_fry) — on the beginnings of the Processing programming environment, the use of information design and visualization to understand complicated data problems, and his approach to design, life, & work. Ben Fry is founder and principal of Fathom Information Design, a studio in Boston focused on understanding complicated data problems. He holds a Ph.D. from the MIT Media Laboratory and is a Lecturer at MIT. Fry has authored and co-authored multiple books and develops "Processing" — the programming environment he co-created with Casey Reas used by artists, engineers, scientists, and students all over the world since 2001. His work can be found in museums, feature films, research labs, and the portfolios of Fathom's clients such as Nike, JP Morgan, DARPA, and National Geographic. In 2011, Fry was honored to visit the White House to receive the National Design Award for Interaction Design. Connect with Ben at Fathom.info, benfry.com, and Processing.org. Links Processing Netscape Fathom Information Design Arduino OpenFrameworks Open Render acu by Ben Fry, Jared Schiffman, and Tom White (1999) acWorld by Tom White, Jared Schiffman, and Ben Fry (1998) acWindows by David Small (1996) OpenGL C++ Bad Windows by Bob Sabiston (1988) Visible Language Workshop Aesthetics + Computation Group (ACG) Design by Numbers Human genome project NYU ITP Valence by Ben Fry (1999) Valence in Minority Report National Air and Space Museum Star Wars Star Trek NASA MIT Media Lab Valence in the Hulk On needing approval for what we create, and losing control over how it's distributed by Ben Fry (2010) SGI Octane Photoshop Sentinel typeface by Hoefler & Co. National typeface by Klim Fabriga typeface by Lux Typo Ringside typeface by Hoefler & Co. ProPublica MacRecipes by Fathom Rocky Morphology by Fathom Books The Information by James Gleick The Innovators by Walter Isaacson Movies Big Hero 6 2001: A Space Odyssey by Stanley Kubrick Alien by Ridley Scott Powers of Ten by Charles and Ray Eames Episode notes Intro. [0:05] Who is Ben Fry? [2:05] The beginnings of Processing - "Can we actually build an environment that feels as immediate and simple as Design By Numbers having something more performant on the back?" Learn about how Processing was conceived, the role it played in Ben's live when it got started, and why Processing is still around after almost 20 years. [6:00] Information design and visualization. [15:42] The human genome project - Information design and visualization to understand genetic data. [16:33] Casey Reas. [18:27] Daniel Shiffman - How did Daniel Shiffman join the Processing community? [19:03] Valence - How do you make visualizations that can withstand change over time? One of Ben's visualization projects—which dynamically updates as you feed it with new data—made it to The Hulk and Minority Report. [22:02] John Underkoffler. [27:00] Valence in the Hulk. [27:44] On needing approval for what we create. [30:20] Building your own tools. [40:17] Your favorite user interface. [45:57] Typefaces. [47:36] What you look for in a design - How do you look at what's there, think about the context a design is going to be used in, and account with the audience you are trying to reach. [49:22] Fathom - Learn about what mediums Fathom works on. [52:21] Projects that spread - In-house projects to understand movies like Rocky and MacGiver, or countries like China. [59:07] Is your life simple? [1:01:32] Daily habits. [1:03:34] Non-work activities. [1:04:26] Boredom - "I really despise boredom." [1:05:06] Social media. [1:05:51] Disconnection. [1:07:53] Technology. [1:10:44] Ads - How do online ads affect us? [1:12:33] Success. [1:16:31] A message to the world - "We act as though comfort and luxury were the chief requirements of life, when all that we need to make us happy is something to be enthusiastic about." —Charles Kingsley [1:18:28] Book recommendations. [1:20:30] Side projects. [1:23:39] Simplicity. [1:24:06] People mentioned John Maeda Casey Reas Daniel Shiffman Andres Colubri Tom White David Small Bob Sabiston John Underkoffler Tom Cruise Jose Luis García del Castillo y López Jack Dorsey Charles Kingsley James Gleick Walter Isaacson Submit your questions and I'll try to answer them in future episodes. I'd love to hear from you. If you enjoy the show, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds and really helps. Show notes, transcripts, and past episodes at gettingsimple.com/podcast. Theme song Sleep by Steve Combs under CC BY 4.0. Follow Nono Twitter.com/nonoesp Instagram.com/nonoesp Facebook.com/nonomartinezalonso YouTube.com/nonomartinezalonso

Tami Dever, co-owner and founder of TLC Book Design, discusses key elements of book design that signal professionalism, readability, excellence, and permanence What are the elements a book designer needs to consider when designing an interior? A cover? Tami Dever discusses how she works with clients and notes the factors that make a book look good against the competition. Topics include things to keep in mind when designing a book: audience, competition, tone, readability the importance of interior design in sealing the deal and drawing customers to the cash register favoring longevity over trendiness using Word to prepare text for a designer (hint: avoid overformatting!) key elements of cover design that must work together (and it’s not easy!): size of elements typography color images use of space and margins avoiding Photoshop gimmickry Typefaces mentioned in this podcast: Esprit Berkeley To reach TLC Book Design, go to http://www.tlcbookdesign.com/. Notes to the Q&A segment The article in the IBPA Independent on Authors.me can be found at http://articles.ibpa-online.org/article/finding-real-creativity-with-artificial-intelligence/. Participants Tami Dever is the co-owner and founder of TLC Book Design in Austin, Texas. The business has grown from a design studio to a complete publishing development firm, with a wonderful reputation for providing outstanding design and caring customer service. Peter Goodman (host) is publisher of Stone Bridge Press in Berkeley, California. He began his publishing career in Tokyo, Japan, in 1976. A longtime member of IBPA, he has served on the IBPA board and as IBPA board chair.

Today I have Noopur Datye with me on Audiogyan. A graduate of J J Institute of Applied Art, Noopur is a type designer and calligrapher from Mumbai. She is the co-founder of Ek Type – a collaborative type design studio that focuses on designing contemporary Indian typefaces. Her work has won a D&AD, Black and Blue Elephants at Kyoorius Design Awards and has been featured in 365 typo and in Typografica’s favourite typefaces of 2015 and 2016. Noopur is an active member of ‘Aksharaya’– A non-profit that channelises its collective efforts to document, promote, explore and create awareness about Indian scripts. 1. You work with Multiple script at Ek type. can you tell us more about multi-script type design in India and why is it important. 2. How many scripts do we have in India? 3.How do you approach multi-script type design projects? Our scripts are complex. What are the current challenges that you face? Why is that? 4. You spoke about unicode and opentype. How did the changing technology affect the design of Indian fonts 5. Tell more about ek type and what you guys do? Tell us about letterbox? tell us about Aksharaya?

SuAnne saw Hamilton. Kyle's got the excitement for Westworld Season 2 and a new project. Michael's been organizing the Meetup train. Twitter cuts back on third-party app access. We discuss the shift in the social media movement. LinkedIn introduces hashtags. Netflix debuts their own typeface, saving them money and branding the experience. Great example of guerrilla design for highway signage. Stripe introduces invoicing and recurring fees.

Episode 4: Color Fonts and Color Palettes Hello! Welcome to Rasterized, a podcast about life and design with Sydney and Eric. While having much experience with print and digital design, the duo have decided to try their hand at working with the podcast medium and discuss a range of topics. Those include, but are not limited to, design, technology, life as a young professional in a creative field, and  occasional SEO optimization.  In this episode we talk about: — Trip details. — Color Fonts: what they are and our opinions on them.  https://www.colorfonts.wtf/ — Our Typeface of the week the color font Gilbert. https://www.typewithpride.com/ — How we used our previous Typefaces of the week. — Dixie cups and shot glasses — A game that helps you learn the pen tool. http://bezier.method.ac/ — Avoiding stress from sizing yourself up with numbers. — Not dealing with school anymore, and note-taking tips! — Knot tying. — Color palette tools, include the Adobe Capture app and Palette Tabs for Chrome. http://www.adobe.com/products/capture.html https://chrome.google.com/webstore/detail/palettab/bidckpnndigbjhmojikkhmejkfkpgoih?hl=en — Some final thoughts on color fonts!

What is a difference between a font-family and a typeface? How does one define / gauge / comment that a particular font is bad and good? For e.g.: Comic sans is considered to be an ugly font. Why? Every typeface has a particular emotion. Is there any other way to feel the mood of that typeface? A lot of times, in a given context of a word or typography, 2 letters are mathematically equi-distant but they feel to be visually off. Why does that happen? What is the way to correct them? What are the challenges of designing font for Indian scripts? Why do we always have these serif and san-serif font pairs. Any suggestions to spread the importance of Typography, especially to designers so they get inspired to design fonts and typefaces for Indian context?

Chappell and Robyn join us for a lively episode wherein we discuss the language we use to describe ourselves and our work. With her recent transition to the private sector, Chappell gives us her take on agency life and the vernacular associated with it. Find out why the words we use matter, even just internally. Links Sidecar Communication Studies Product Requirements Document (PRD) Huge Business Requirements Linguistic Relativity Telephone Line World of Warcraft Chicken or the Egg Dilemma Anthropology Industrial Revolution Basic Income Socialism Squarespace “Verbal Designer” Why Women Don’t Apply for Jobs Unless They’re 100% Qualified Minimum Viable Product Heuristic Subtweet Agile Software Development Metahaven Design Sprint Fonts vs. Typefaces

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Typography is a powerful way to immediately communicate the tone & voice of a site. But how exactly do you create great typography? Jason Santa Maria joins Jen Simmons to talk about his approaches to designing with type.

Designing typefaces isn't easy. They generally consist of thousands of glyphs, all of which need to be designed, given kerning and hinting instructions and of course tested. It can, therefore, take years to complete a typeface. Luc(as) will go over what it takes to produce webfonts as well as discuss licensing issues from a type designer's perspective. More info at: https://fronteers.nl/congres/2013/sessions/on-designing-typefaces

Designing typefaces isn't easy. They generally consist of thousands of glyphs, all of which need to be designed, given kerning and hinting instructions and of course tested. It can, therefore, take years to complete a typeface. Luc(as) will go over what it takes to produce webfonts as well as discuss licensing issues from a type designer's perspective. More info at: https://fronteers.nl/congres/2013/sessions/on-designing-typefaces

Mandy Brown joins Jeffrey Zeldman and Dan Benjamin to discuss the value of support, the future of type on the web, font choice on reader platforms, what print publishers can learn from web publishers, why you've got to write, and why the future belongs to editors. Links for this episode:this is a working libraryMandy Brown (aworkinglibrary) on TwitterTypekitA List ApartA Book Apart, WelcomeTypedia: A Shared Encyclopedia of TypefacesType rendering: review, and fonts that render well « The Typekit BlogSponsored by MailChimp.

Jeffrey Zeldman and Dan Benjamin are joined by Jason Santa Maria and discuss mitigating the isolation of working in your underwear by reaching out to the community, avenues for creativity, struggling with the line between good enough and perfection, focus, why speaking and teaching are important, and why sometimes the distraction of working with other people is worth it. Links for this episode:Jason Santa MariaJason Santa Maria (jasonsantamaria) on TwitterDribbble - Jason Santa MariaMighty, a Design StudioTypekitTypedia: A Shared Encyclopedia of TypefacesAIGA/NYA List ApartHappy CogWhat deux yeux have teux deux teuxday?Sponsored by An Event Apart.

What's the difference between a Font and a Typeface? What fonts can I use for a printed project, web, video? Listen to this podcast for a lesson in typology. Email Campaign: Send a letter in favor of RD to: info@printmag.com Keys to the Game: Lock guides in Photoshop Mac: Command + Option + ; PC: Control + Alt + ; Rookie Mistake Tip: Do yourself a favor and pretend those Bold, Italic and Underline buttons are not there in your favorite layout app. Using these and then sending off to the printer can cause problems. Links from todays show: US TV going Digital House Industries Adobe Type Library Linotype Library In the Bullpen: OurStage Todays show featured music by: The Offspring