Podcasts about Typography

THE (MAGAZINE) DOCTOR IS IN — Megan Schertler wants to help you make magazines. Yes, you … and you … and you too. But she also wants to ensure that once you make a magazine, you make another one. And then one after that. She wants to make sure that you know it's not easy to create a magazine or to run one or to publish a second one or to sustain a magazine or media brand or to run a business. Megan is big on print. She's one of those extremely rare people who's held down numerous magazine jobs while never working on the digital side of things. Yes, really. People like her exist. So she knows more than many her age that print is more engaging, produces more loyalty, and creates a deeper and more meaningful connection with the message on the page than any other medium. And so with her partners, Megan now helms In Real Life Media to help would-be magazine makers sure, but also some of the world's largest brands navigate the realities of the magazine world. Because while we all love print here, it's hard, it's expensive, and it is, quite frankly, a pain in the ass. But it also results in something glorious, and Megan travels the world speaking at conferences and to people like me to spread the word.. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

We speak with Belmond’s global brand and content director, Jonathan Openshaw, about its annual print title, Mondes. Plus: Designer Richard Ardagh on his book Type Archived – A Visual Journey Through Typographic HistorySee omnystudio.com/listener for privacy information.

ATypI 2026 Stanford 系列访谈第三期，我们有幸邀请到演讲者彭措昂杰，以及老朋友张可迪，与我们分享藏文字体设计的基础知识与分类方式，探讨藏文字体的设计现状。 参考链接 藏语 字谈字畅 257：「互相了解的前提是能看见」 河南蒙古族自治县（ᠾᠧᠨᠠᠨ ᠶᠢᠨ ᠮᠣᠩᠭᠣᠯ ᠦᠨᠳᠦᠰᠦᠲᠡᠨ ᠦ ᠥᠪᠡᠷᠲᠡᠭᠡᠨ ᠵᠠᠰᠠᠬᠤ ᠰᠢᠶᠠᠨ，རྨ་ལྷོ་སོག་རིགས་རང་སྐྱོང་རྫོང།），是中国青海省黄南藏族自治州下属的一个自治县 藏区在传统上分为安多（ཨ༌མདོ།，a mdo/Amdo）、卫藏（དབུས་གཙང，dbus gtsang/Wü-Zang）、康区（ཁམས，khams/Kam）三个地区 古文字学（paleography），交叉学科，研究古代手稿、文本，以及古代书法、印刷品等 “The Status of Tibetan Type Design”，彭措昂杰在 ATypI 2026 Stanford 的演讲 更顿群培（དགེ་འདུན་ཆོས་འཕེལ，dge 'dun chos 'phel/Gedun Chophel；1903—1951），藏传佛教大师、启蒙思想家 Sam van Schaik（1972—），英国藏学家，也是目前国际上研究敦煌藏文文献最有影响力的学者之一。他早年参与国际敦煌项目（IDP），现任大英图书馆濒危档案计划负责人。 拉卜楞寺（བླ་བྲང་བཀྲ་ཤིས་འཁྱིལ，bla-brang bkra-shis-'khyil/Labrang Tashi Khyi），位于甘肃省甘南藏族自治州夏河县，藏传佛教寺院 大司徒班禅曲吉久勒（ སི་ཏུ་པན་ཆེན་ཆོས་ཀྱི་འབྱུང་གནས，si tu pan chen chos kyi 'abyung gnas/Situ Panchen Chögyi Jungnye，1700—1774）第八代大司徒仁波切，西藏画家、作家，德体/德格体的创始人 德格印经院，藏语称「德格巴宫」（སྡེ་དགེ་པར་ཁང，sde dge par khang），位于四川省甘孜藏族自治州德格县，藏传佛教印经中心之一，全国重点文物保护单位 藏文字体分类名称 乌金/吾坚体（དབུ་ཅན། ，dcu can/Uchain）即「带头体」 乌梅/吾美体（དབུ་མེད།，dcu med/Umê），即「无头体」 珠匝体（འབྲུ་ཚ། ，'bru tsha/Drutsa） 白徂/柏簇体（དཔེ་ཚུགས།，dbe tshugs/Petsug），即「书写体」 徂仁/簇仁体（ཚུགས་རིང་།，tshugs ring/Tsugring），即「长体」 徂同/簇通体（ཚུགས་ཐུང་།，tshugs thung/Tsuthung），即「短体」 簇穹体（ཚུགས་ཆུང་།，tshugs chung/Tsuchung），即「小体」 簇玛丘/徂玛遒（ཚུགས་མ་འཁྱུག，tshugs ma 'khyugs/Tsumakhyu），即「半草」「行书」 丘伊体（འཁྱུག་ཡིག，'khyug yig/Khyuyig），即「草书」 八思巴文（ꡏꡡꡃ ꡣꡡꡙ ꡐꡜꡞ，mongxol tshi），元朝国师八思巴基于当时的藏文字制定的文字，可书写蒙古语等 苹果设备的系统默认的藏文字体为 Kailasa 字体，另外还有一款 Koronor 字体，版权均属于日本大谷大学真宗综合研究所；前者为冈底斯山脉第二高峰冈仁波齐峰（གངས་རིན་པོ་ཆེ།，gangs rin po che/Kangrinboqê）的梵语名कैलास（Kailāsa）；后者即蒙古语的「青海湖」（ᠬᠥᠬᠡ ᠨᠠᠭᠤᠷ，Köke naɣur） Typotheque 出品的藏文字体系列 “BubbleKern Revisited”，大曲都市在 ATypI 2026 Stanford 的演讲 每年的4月30日是藏文书法日 “Typecrafting: Creating Type from South Asian Crafts”，Ishan Khosla 在 ATypI 2026 Stanford 的演讲 “The Parametric Power of Roboto Delta”，Dave Crossland 在 ATypI 2026 Stanford 的演讲 “Scripts in Transition: Language, Design, and Belonging in Myanmar Theingi Thann”，Theingi Thann 在 ATypI 2026 Stanford 的演讲 SILICON (Stanford Initiative on Language Inclusion and Conservation in Old and New Media)，斯坦福大学关于数字媒介中弱势语言的支持项目 “Designing for Belonging: How Color, Typography, and Iconography Shape Culture, Community, and the Human Experience”，陆怡颖在 ATypI 2026 Stanford 的演讲 微信公众号「藏文字体测评局」 金刚黑体，华康出品的多文种字体家族 嘉宾 彭措昂杰（རྩང་ཕུན་དབང་།，Pentsok W. Rtsang）：藏文字体学者、顾问和测评员 张可迪（@抠迪歪歪歪）：产品设计师，字体爱好者 主播 Eric：字体排印研究者、译者，The Type 执行编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。

Typography is an often overlooked part of UX design, but can have a big impact on usability, trust, and accessibility. Oliver Schöndorfer runs the PimpMyType website and YouTube channel and is a font fanatic. We discuss key elements which factor into font choice and custom typefaces, the failures of Apple's Liquid Glass, the future of Volvo's Centum typeface, how well AI design tools choose fonts, and his favourite font for email.

THE PRIME OF MR. NEVILLE BRODY — “Once you have broken down the rules, literally anything is possible.'” In the business of magazine design, few names resonate as profoundly as Neville Brody. And, to this day, he lives by those words.  Renowned for his groundbreaking work and commitment to pushing design boundaries at magazines like The Face, Arena, Per Lui, and others, Brody is a true auteur in the world of design. We talked to him at the launch of his spectacular new monograph, The Graphic Language of Neville Brody 3. Nurtured on 1970s British punk music, which rejected anything that appeared self-indulgent or overwrought, Brody found the perfect launch pad at The Face, the London-based music, fashion, and culture monthly, created by editor Nick Logan in 1980. The Face inspired an array of fellow magazine rule-breakers, including the late Tibor Kalman, David Carson, and Fabien Baron, who calls Brody's work “powerful, aggressive, and simple.” Since then, Brody's journey in graphic design has been marked by a relentless, almost unforgiving pursuit of innovation. His magazine design challenged conventional norms and redefined visual storytelling. Brody's design approach is characterized by a rejection of conventional grid systems and editorial hierarchies, and a willingness to break free from established design rules. And he thinks magazines today are missing a giant opportunity: “That's the beauty of print, that you can't achieve in the same way digitally. Digital is so commoditized. We're not expressing content anymore. We're just delivering it. Neville Brody's legacy in magazine design lies in his fearless approach to challenging the status quo and his ability to capture the zeitgeist of his time. By pushing the boundaries of traditional graphic design, he not only influenced the look and feel of magazines but also inspired a generation of designers to embrace innovation, experimentation, and a spirit of creative rebellion. Brody's work continues to be celebrated for its enduring impact on the evolution of graphic design and its role in shaping the visual language of contemporary media. A production of Magazeum LLC ©2021–2025

What if design tools helped you make smarter design decisions? This week, Dan Rhatigan talks with Typogram co-founders Hua Shu and Wenting Zhang about typography, side projects, AI, and the thrill of building tools for other creatives. Hua and Wenting share how New York's visual landscape shaped their love of type, how experimental side projects led them to entrepreneurship, and why publishing imperfect ideas can open unexpected doors. They also dig into Typogram's two design tools: Typogram, a guided branding tool for non-designers, and Typogram Studio, a typography-first tool built for designers who want to explore the hidden richness inside fonts. Tune in for a thoughtful conversation about curiosity, craft, and what happens when designers build the tools they wish existed. As a special thank-you for listening, we're giving away a mystery font pack. Inside, you'll get three premium font families to use for commercial projects. All for free. Claim yours at https://typogram.co/launch. You can find blog posts for this and other episodes at https://www.monotype.com/resources/podcast.

BAD BUNNY — Playboy is many things to quite a few people. We don't have to go into its history, but the thing you need to know is this: it's back. Yes, there will be photos of women in various stages of undress, and yes, there will be sharp writing from sharp minds. But mostly, the people behind it are going to try and build up the media brand, and that's important, because Playboy was arguably the first magazine that used its content at the center of a much larger and much more diverse brand ecosystem. The new editor-in-chief also comes with another title, Chief Brand Officer, which gives you an indication that these people aren't messing around. Philip Picardi has a long history in magazines and has also worked in brand. He's also gay, which honestly, I have some trouble saying here because it doesn't matter that he is. But when I tell my friends that the new editor-in-chief of Playboy, an heir to Hugh Hefner of all people, is gay, well, that raises an eyebrow. Because Playboy is a lot of things, but it's also a very male, very heterosexual brand. But what if I told you that some of the best writing coming out of Playboy now was being written by a cadre of hyper-talented young women, that Philip's boss used to work at National Geographic and Disney, or that Philip received his master's degree from the Harvard Divinity School? Should I keep going? Because I could. Just listen to our discussion. We're going to dispel some misconceptions and then some. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

THE INDUSTRY'S LITTLE SISTER — In early April, what's left of the magazine industry gathered at Terminal 5 to see who would win this year's National Magazine Awards—the ASMEs. Throughout the evening, the usual suspects stepped up to accept their Alexander Calder brass elephants—the ‘Ellies'—on behalf of their teams at The Atlantic, New York, and The New York Times Magazine.  Then came the award for General Excellence, Service and Lifestyle—a category that covers every food, fashion, and fitness magazine in the business. And the Ellie went to… content juggernaut Highsnobiety—a sneaker blog-turned-cool kid media amalgam that encompasses a twice-annual $20-per-issue print magazine, plus a flood of social media, a website that is also an e-commerce platform, and a creative agency that does 360-degree marketing and storytelling for brands. Before the crowd could start scratching their graying heads, a Billie Eilish lookalike in a gray Thom Brown skirt-and-pant suit took to the dais. There were plenty of people in that room who had never given Highsnobiety much, if any, thought.  But in that moment, this woman, Willa Bennett, Highsnobiety's 30-year-old editor-in-chief, had officially become a force to be reckoned with. Not only that, but Highsnobiety's business model, which bends rules that had long been sacrosanct in magazine journalism, suddenly appeared to have won the seal of approval from the oldest of the old guard.   The post at Highsnobiety was a major leap for Bennett. Just two years ago, she was the social media manager at GQ. Our friends who worked with her there tell us they thought of her as “the industry's little sister”—hungry, passionate, and looking to translate the magic of magazines to a new generation. They said that even though she's disrupting the magazine as we once knew it, at heart Bennett is a “a magazine junkie who really venerates  the old ways.”  And now the surprise win has put her in the spotlight of the establishment media, with The New York Times Styles running a portrait of Bennett in her signature suit-and-tie look on its cover. The win inspired a segment on the Slate Culture Gabfest in which the hosts pondered, “What Is a Magazine Now?” Over in Spreadlandia, we thought, Why not turn that question directly to Willa Bennett herself? In the end, this conversation left us feeling more optimistic than usual about the future of media. It also made us feel old as shit. We hope you enjoy it as much as we did. — This episode is a special collboration with our friends at The Spread and is made possible by our friends at Commercial Type, and Freeport Press. A production of Magazeum LLC ©2021–2025

Typography is often treated as a detail — the thing you finalize after the real design decisions are made. But for our next guest, it's closer to the foundation everything else rests on. He's spent two decades in editorial design at some of the most iconic American magazines — Men's Health, Esquire, Popular Science, Entertainment Weekly — and he's now the Creative Director of Fast Company, where he recently led a redesign that does something pretty unusual: the magazine gets a completely new typeface every single issue. His name is Mike Schnaidt. This is a preview of a premium episode. Visit our Substack to listen to the entire interview: https://designbetterpodcast.com/p/mike-schnaidt Mike's also a professor, a runner, and the author of Creative Endurance — a book that maps the principles of physical and mental endurance onto the creative life. It's built around 56 rules for sustaining a career in design, drawn from interviews with ultra-marathoners, astronauts, and designers who've pushed way past the limits most people set for themselves. And as you'll hear, he's already working on book two. We chat about the nuts and bolts of typography (utilitarian vs. expressive, food metaphors, Fast Company's per-issue typeface system) to the philosophy underneath it all (design as service, authorship, hospitality). We dig into his book Creative Endurance — 56 rules for sustaining a creative career drawn from athletes, astronauts, and designers — and his counterintuitive take on burnout: the cure isn't rest, it's picking up something creatively different. Bio Mike Schnaidt is the creative director of Fast Company. He's also the host of the Webby-awarded video series It's All in the Typeface, a professor of illustration at the School of Visual Arts, and the former president of the Society of Publication Designers. One of the coolest moments in his life was when Paula Scher said his first book, Creative Endurance, was “beautifully designed.” His second book arrives in 2028. *** Premium Episodes on Design Better This is a premium episode on Design Better. We release two premium episodes per month, along with two free episodes for everyone. New premium subscriber benefit: we've launched a private Slack workspace…join now to connect with designers, product leaders & creative practitioners in our community. And get a behind-the-scenes pass to every episode with The Roundup, where each week we bring you insights and actionable tactics from recent episodes. Premium subscribers get access to the documentary Design Disruptors and our growing library of books. You'll also get access to our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show. And subscribers at the annual level now get access to the Design Better Toolkit, which gets you major discounts and free access to tools and courses that will help you unlock new skills, make your workflow more efficient, and take your creativity further. Upgrade to paid Learn more about your ad choices. Visit megaphone.fm/adchoices

ONCE UPON A TIME IN THE WEST — Where do magazine designers go after all the magazines are gone? That's a question we've often pondered in recent years. Well, if you've been paying close attention, you'd probably guess, as it turns out, a lot of them go to Cupertino. And much of this migration can be traced to 2014, when today's guest, AIGA Medalist and Emmy award-winning creative director Arem Duplessis, left his storied job at The New York Times Magazine to go to work at Apple. You might be asking yourself, "Why would one of America's most high-profile magazine designers leave a coveted job at an iconic publication—one that brought him global recognition, countless awards, and deep creative satisfaction—for a famously secretive company known, well, for locking away its talent in a vault of non-disclosure agreements?" But the better question might be, "Why wouldn't he?" Duplessis is arguably one of the most influential creative directors of his time. His ten years of covers for The New York Times Magazine shaped its vision and identity. As creative director at GQ, he helped create the now-ubiquitous Gotham family of fonts. And he's blazed the trail for print designers in search of digital futures. While the departure of big-name magazine designers like Rem to Silicon Valley may strike fear in some, it reaffirms what many of us have long known: Despite years of slumping newsstand sales and magazine closures, the all-purpose skills of elite creative directors are still very much in demand. As former ESPN creative director Neil Jamieson says, “Why wouldn't Apple be hiring magazine designers? No category of designer is more multifaceted. Beyond the fundamentals, they do branding, packaging, identity, storytelling. They have experience on set, with video, social, and short-form storytelling.” There's no question there's a dire need in the corporate field for these kinds of skills. The question that remains unanswered, so far, is: Can that kind of digital work ever deliver the same creative fulfillment that magazines do? We talked to Duplessis about learning to scuba dive in his Dad's Virginia quarry, the modeling career that wasn't, cutting his teeth at the controversial hip-hop magazine, Blaze, adapting to life on the West Coast, and what he's planning for life after work. — THIS EPISODE IS MADE POSSIBLE BY OUR FRIENDS AT COMMERCIAL TYPE AND FREEPORT PRESS. A production of Magazeum LLC ©2021–2025

CHECK, PLEASE — Thanks for tuning in. Just a note before we get going: This is the 50th episode of The Full Bleed, and I, along with the team here at Magazeum, truly appreciate the time you spend with us. Waiting is what I consider a perfect magazine. Not because of its design or the writing, though both are stellar. But mostly because it functions as a closed loop. How? The subject and the audience are one and the same. Waiting, you see, is a magazine about creatives in New York's service industry. And it is a magazine for creatives in New York's service industry. That's a neat trick and also makes me wonder why no one had done this before founder, editor-in-chief, and complete magazine neophyte Adele Blanton hit upon the idea. Adele has done the math: 10 percent of the estimated 700,000 people working in the food and beverage industry in New York are artists of some kind. Artists, actors, writers, dancers. You name it. And that number is a healthy baseline for any publication. Waiting has published three well-received issues and now she and the team behind it has to figure out how to maintain and grow the media. That's one of the many things we talk about on the show. Did we tell you this is our 50th episode? Because it's our 50th episode. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Send us Fan MailWelcome, dear friends, to The Library Loiterers.Each episode finds Diana loitering in a library with a special guest in a library location of their choosing. We comb the stacks and have a chat about passions, practices, and possibilities—letting the story unfold as it will. You're encouraged to read between the lines because it's going to be a real page turner… This episode features type geek and delightful human, Carl Shura, as the duo explores the Toronto Reference Library. Each floor takes us into the past, present, and future of what it means to love type, the sharing economy, and community spaces. Let's Connect on the web or via Instagram. :)

Send us Fan MailMeet emerging typeface designers, Juliette Bifolchi and Jasmin Gulati! Juliette designed a typeface called Road Block and Jasmin designed a typeface called Invertia. In the following conversation, you'll get to hear about each typeface. You'll also hear their perfect type pairings, sensory descriptions of each (sight, smell, touch, sound and even taste), as well as what was easy and difficult about the process. Let the type geekery begin!  Let's Connect on the web or via Instagram. :)

Send us Fan MailToday's guest is Elliot Jay Stocks, designer and author, known in typographic circles for his work as the co-creator of Google Fonts Knowledge, founder of 8 Faces magazine, and creative director of Typekit (now known as Adobe Fonts). In this conversation, you'll hear why Elliot wanted to make his new book (Fine Specimens) and what it contains. You'll hear just how small the type design world actually is (Hi Jamie! Hi Mark!), as well as Elliot's take on traditional type classification systems. He explains why he chose to integrate non-Latin typography throughout the book (versus it living in a separate section) and where type designers who want to expand into multiple new, unfamiliar scripts can start to think about collaborating with other foundries. Finally, Elliot shares his advice for designers creating specimens today—what to keep and what to consider reinventing. Let's Connect on the web or via Instagram. :)

Michael Rosen finds out about fascinating literary errors from editor Rebecca Lee, the author of Rogues, Widows and Orphans: Mischief and Misadventures in the World of Books. They share favourite famous typos and find out where the phrase "out of sorts" originated.Produced for BBC Audio Bristol by Beth O'Dea, in partnership with the Open University. Subscribe to the Word of Mouth podcast and never miss an episode: https://www.bbc.co.uk/sounds/brand/b006qtnz

THE INTERNET WILL NOT BE TELEVISED — The tech industry is easy to dislike, admire, ridicule, resent, need, and all of the above. Look, this podcast doesn't exist without tech. But there is also no "enshittification" without tech. Coined by writer Cory Doctorow that word has entered the general lexicon with a speed and ubiquity that might make someone like, I don't know, Shakespeare envious. If he knew what was going on. Which he doesn't. All of this to introduce InFormation, a magazine about tech, but more importantly, a magazine about “what tech is doing to us.” The people behind it work in the industry and so understand it, which makes them dislike it even more. Twenty-five years ago, InFormation was like the Spy magazine of the dot com boom, a bit of a kick in the pants to an industry and a group of people who saw themselves in utopian if not messianic terms. And while they might still see themselves that way (spoiler alert: they most certainly do), a lot of people in the world do not, and so InFormation is back, it has reformed, and is being published again, with the same attitude, that is it continues to kick ass but with more feeling, because Silicon Valley is no longer a place but a mindset, techbros are a thing and a wealthy thing at that, and, well, there's a general feeling that the world has been thoroughly colonized and completely enshittified. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Send us Fan MailThis is the third episode in a 4-part guest lecture series, speaking with an incredible range of design and typography pros from across North America! In this eye opening look into the history of typography, signage, protest, and histories, Tré Seals thoughtfully explains the ways in which type has caused a lot of harm to various communities, but the ways in which it's also a hopeful gateway to make meaningful change. You'll hear Tré's origin story, back to his early childhood learning cursive and calligraphy, as well as the incredible family artifact that's been translated into a font for broader audiences. You'll hear how he uses historical references and deep research as the foundation of much of his work at Vocal Type. Tré shares examples of what “diversifying design” really means, as well as the systemic barriers that perpetuate in the type design world. This episode was recorded as part of a guest lecture series in GCM 806 - Advanced Typography in Winter 2026 at The Creative School at Toronto Metropolitan University. Let's Connect on the web or via Instagram. :)

Send us Fan MailThis is the first episode in a 4-part guest lecture series, speaking with an incredible range of design and typography pros from across North America! This episode features type designer and founder of OH no Type Co., James Edmondson.In this conversation you'll hear James' typography origin story (he's still an 8-year-old at heart!), how he uses “Pen Logic” to help construct systems of type, and how he knows when a typeface is complete. You'll hear some great questions from students asking for all the juicy details about mistakes in his work, as well as what James hates about the process.This episode was recorded as part of a guest lecture series in GCM 806 - Advanced Typography in winter 2026 at The Creative School at Toronto Metropolitan University. Let's Connect on the web or via Instagram. :)

REALITY BITES —  I am Gen X. I'm telling you this because, well, this is hardly something that is ever relevant to any conversation when, in fact, it is also always relevant to everything. But I just don't talk about it because who cares when I was born, or that we Gen Xers all live in the long and darkest of dark shadow of Boomers, or the loud echo of Millennials, or the annoyingly brash and unknowing living of whatever the other younger generations are called. I'm Gen X, and I just know one thing: there are more of you than there are of me, and there always have been. I'm saying all this because today we're gonna talk about Geezer magazine, as if any Gen X-er in their right mind would ever call themselves a geezer, because that's Boomer stuff. And hey, did you see we're turning 60? For fuck's sake. As if. So yes, Geezer, a magazine by and for Gen X that is both completely irreverent and surprisingly serious and even tender, that balances nostalgia with irony. And while Gen X's favorite word might be whatever, the secret is we care what you think. We always have. You just have to first extract a whole lot of other stuff, that cold exterior built up as a defense mechanism against a world that is stupid, and that for whatever reason the Boomers keep running. Meaning sure, we like to say never mind, but we also sang “Don't You Want Me” and “Debaser.” So just take a chill pill. I promise we'll talk about a rad magazine on today's show.. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Fast Hours has entered the witness protection program. Same Drew. Same Rory. But fewer syllables and more chaos.In this episode, Drew Brucker and Rory Flynn officially drop “Midjourney” from the podcast name and relaunch as Fast Hours, a broader home for the creative AI ecosystem: image models, video models, LLMs, vibe coding, Claude, ChatGPT, Midjourney, and whatever tool drops five minutes after they hit publish. Naturally, the rebrand lasts about four minutes before they're elbows-deep in GPT-Image-2, OpenAI's new ChatGPT image model that quietly showed up and immediately started making designers question their calendar, career choices, and relationship with kerning.The big topic: GPT-Image-2 is shockingly good with text, typography, brand systems, visual decks, product mockups, and multi-image outputs. Rory walks through how he used ChatGPT and Claude to create a custom typeface from visual references, generate a premium typography presentation, extract geometry, and turn the whole thing into usable font files. Drew then shows how he turned his own handwriting into a working typeface, because apparently “personal brand” now includes making your lowercase g file a tax asset.They also dig into the uncomfortable middle ground of AI creative work: when it saves time, when it still needs human judgment, why anti-AI panic and AI hype both miss the point, and why the real advantage is context. Not prompts. Not magic buttons. Context.The episode also covers GPT-Image-2 vs Nano Banana Pro, richer color rendering, micro-text improvements, AI-generated sports graphics, brand kit concepts, Freepik settings, Claude Design, 4K video generation, Kling, Veo 3.1, Seedance, and the strange reality that a custom brand typeface can now go from “that'll be $150K” to “Rory did it before lunch.”Basically, it's an episode about the exact moment creative production stops feeling like a tool demo and starts feeling li ke a factory someone accidentally left unlocked.---⏱️ Fast Hour00:00 Fast Hours is (re)born03:36 Going tool-agnostic04:34 GPT-Image-2 quietly drops05:31 Text becomes the unlock07:31 The AI backlash returns10:57 Hype, fear, and the middle12:10 Typography gets weird14:50 What custom fonts cost15:43 GPT-Image-2 vs Nano Banana17:39 Rory's font experiment18:47 Fiddleheads become a typeface19:39 Building the type deck20:36 The nine-slide image unlock21:14 Geometry, spacing, and logic22:11 Turning images into font files23:02 Micro-text gets better24:19 Claude builds the font package26:41 The revision loop changes27:50 Context is the silver bullet32:11 Drew makes a handwriting font35:35 Why designers obsess over type37:52 Reverse-engineering prompts39:51 Richer color and sports graphics41:27 Fixing artifacts and details42:37 Nano Banana vs GPT-Image-2 tests44:26 Sports realism gets scary good45:27 Why teams need this now46:43 Freepik settings and ratios48:36 Testing, tokens, and limits49:44 Brand kits and rebrand concepts53:19 Google I/O and the next model53:48 Veo 3.1 falls behind55:04 Kling adds native 4K56:40 Character sheets and macros58:07 Rebrands as visual prototypes01:00:53 Building a reference library01:01:36 Three weeks in a row01:02:58 Claude Design tease01:03:37 Tell your local [fill in the blank] spam finale

THE MAGAZINE'S THE THING — When you chat with a filmmaker who has become a magazine editor you start to note the parallels between filmmaking and magazine making that you never considered before. Ok, that I hadn't considered before. The relationship between editors and art directors, and the relationship between a director and cinematographer, well, that's actually almost the same thing. Editors and writers. Editors and actors. Copy editors and film editors. On and on. It's uncanny. Seen is a magazine about the art of film and filmmaking that comes from BlackStar Projects, home of an annual film festival in Philadelphia and a creative space that “uplifts the work of Black, Brown and Indigenous artists.” Seen grew out of the program notes for the festival and it is everything cinema magazines used to be: thorough, intellectually stimulating, challenging.  Heidi Saman, the editor, trained as a film maker and then worked at Fresh Air for over a decade. She doesn't come from the magazine world. But she's a storyteller. And after you listen to our chat, you, too, will see, perhaps, that making a magazine is a lot like making a movie. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Send us Fan MailFrom 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 6!)This episode is guest hosted by Jordan Grey.Name: ClarendonRelease Date: 1845Designer: Robert BesleyClassification: Slab Serif (Egyptian)Owned By: Today its multiple versions are owned by multiple foundries.Claim to Fame: This is the first first-ever registered and patented typeface.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

The International Olympic Committee has released a new policy on the protection of the female (women's) category in Olympic sport, which calls for gene screening for all female athletes. We talk about what this entails, what it could mean for sports, and whether or not we, as two women, feel protected.  If you want to read the policy for yourself, you can find it here: https://stillmed.olympics.com/media/Documents/International-Olympic-Committee/EB/policy/policy-on-the-protection-of-the-female-category-english.pdf The UN's response is here: https://www.ohchr.org/en/press-releases/2026/04/un-expert-welcomes-international-olympic-committee-policy-protecting-female Here's the Time article we referenced: https://time.com/article/2026/04/03/how-the-olympic-ban-on-transgender-women-could-affect-all-women-athletes/ And geneticist Andrew Sinclair's thoughts on SRY gene screening: https://www.mcri.edu.au/news/insights-and-opinions/world-athletics-sry-gene-conversation   Also, LA 2028 has released its "look of the Games," which is called "LA in Full Bloom." Inspired by the California Superbloom phenomenon, the look features colorful graphics. Typography is inspired by signage found throughout the city of LA. Overall, the look caused us to have different--and surprising--reactions. Listen on to find out more! Ticket sales have also started for the LA28 Olympics. Aren't those two years away? Yes, but there's no time like the present to create some hype (and FOMO). We've got word on how the first ticket drop is going, and what you can do if you haven't gotten tickets yet (spoiler alert: time is on your side). USA Fencing is working on an exhibit for LA28 and is looking for fencing-related movie/TV artifacts. If you have an item of interest, let them know: https://airtable.com/appAn0O4fg39xtN9Y/pagB3jzyIt9DbFzD1/form Plus, we have a new Olympic and Paralympic travel segment, which features exhibits, events and more. On this episode, we feature Georgia Tech's new exhibit about its legacy with Atlanta 1996. Find out more about that here:  https://www.library.gatech.edu/news/now-open-centennial-summer-georgia-techs-olympic-legacy And USA Gymnastics announced the location for its 2028 Olympic trials, which will be in Louisville, Kentucky. Learn more here: https://usagym.org/louisville-to-host-2028-u-s-olympic-team-trials-gymnastics-become-gymnastics-city-usa-2028/   For a transcript of this episode, please visit http://flamealivepod.com.   Thanks so much for listening, and until next time, keep the flame alive!     *** Keep the Flame Alive: Obsessed with the Olympics and Paralympics? Just curious about how Olympic and Paralympic sports work? You've found your people! Join your hosts, Olympic aunties Alison Brown and Jill Jaracz for smart, fun, and down-to-earth interviews with athletes coaches, and the unsung heroes behind the Games. Get the stories you don't find anywhere else. Tun in weekly all year-round, and daily during the Olympics and Paralympics. We're your cure for your Olympic Fever! Call us: (208) FLAME-IT. ***     Support the show: http://flamealivepod.com/support Bookshop.org store: https://bookshop.org/shop/flamealivepod Become a patron and get bonus content: http://www.patreon.com/flamealivepod Buy merch here: https://flamealivepod.dashery.com Hang out with us online: Facebook: https://www.facebook.com/flamealivepod Insta: http://www.instagram.com/flamealivepod Facebook Group: hhttps://www.facebook.com/groups/flamealivepod Newsletter: Sign up at https://flamealivepod.substack.com/subscribe VM/Text: (208) FLAME-IT / (208) 352-6348      

Send us Fan MailFrom 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 6!)This episode is guest hosted by Sol Riquero.Name: VerdanaRelease Date: 1996Designer: Matthew Carter and Thomas RicknerClassification: Humanist Sans SerifOwned By: MicrosoftClaim to Fame: A typeface that was designed not for print, but for the screen, changing the way digital text looked and felt.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

Send us Fan MailFrom 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 6!)This episode is guest hosted by Lilly Clements.Name: GaramondRelease Date: Mid 16th CenturyDesigner: Claude GaramondClassification: Old Style Serif TypefaceOwned By: Not owned by one single person, but digital variations are owned by multiple different companies: Adobe Garamond, Monotype Garamond, Stempel Garamond, and EB GaramondClaim to Fame: Garamond is the most legible text typeface for publishing for centuries. I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

In this essay, Roberta Cesana examines the relationship between anarchism and print culture through the figure of Leda Rafanelli (1880–1971). It shows how writing, printing, and publishing functioned as forms of self-construction, shaping Rafanelli's identity as a militant, an intellectual, and a professional. Roberta Cesana is Associate Professor of History of Bibliography, Books and Publishing at the University of Milan. She is President of Apice. Her recent work focuses on women's roles in editorial production and includes L'altra metà dell'editoria. Le professioniste del libro e della lettura nel Novecento (Ronzani, 2022) and Libri e rose. Le donne nell'editoria italiana degli anni Settanta (MUP, 2024), both co-edited with Irene Piazzoni. Her essay on Inge Schöntal Feltrinelli as Publisher has been included in The Edinburgh Companion to Women in Publishing 1900-2020 (EUP, 2024). She has published articles and essays on Leda Rafanelli in journals and edited volumes and is currently working on a monograph on the subject. Anarchist Essays is brought to you by Loughborough University's Anarchism Research Group and the journal Anarchist Studies. Follow us on Bluesky @anarchismresgroup.bsky.social Our music comes from Them'uns (featuring Yous'uns). Artwork by Sam G.

Send us Fan MailFrom 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 6!)This episode is guest hosted by Emma Pereira.Name: CalibriRelease Date: 2007Designer: Lucas de GrootClassification: Sans SerifOwned By: Microsoft CorporationClaim to Fame: Calibri made history by dethroning Times New Roman as the default font of the MS Office Suite.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

THE JOY OF READING — Newspapers are in trouble and that's not news to you. Print is expensive, the ads moved to Facebook and Google, the classifieds bled over to Craigslist. You know all this. So, hats off to the newspapers that succeed today. And the ones that do, the big ones, the legacy media, have a surprising thing in common: magazines. The New York Times. The Times of London. Le Monde. Germany. Italy. All over Asia. A lot of them produce print magazines as editorial add ons, supplements, not just for reader loyalty and engagement, but as a way to expand inventory for advertisers and a way to diversify business and the brand. That's what The Guardian newspaper is doing and, being The Guardian, they are also doing it differently than their competitive set. How? By taking an existing feature of the newspaper, The Long Read, and reproducing their favorites in a stand alone magazine. A kind of greatest hits package if you will. Well designed. Very printy. Heavy stock. Debossed covers. So why do it? Who benefits? What is the business rationale behind it? To answer those questions, I spoke to David Wolf, the editor of The Long Read, the section and the magazine, about these topics and, mostly, about the joys of immersive storytelling, the state of journalism today, and the absolute joy of long reads in a world of shortened attention spans and general slop. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Efforts to curb kratom use among teenagers, Czechs beat Ireland in World Cup qualifier, history of Czech typography

AN ART BAR FOR EVERYONE — ArtBar is the perfect name for ArtBar magazine and that's not always the case with the names of magazines. Founded by photographer and filmmaker Sarah Ingram in LA, ArtBar is like a dive bar for artists and their art. It's democratic in its tastes, and wide in its scope. And fun. Sarah wanted to hang with artists and so she created a space for them. Literally. From a recent editorial: "Art Bar is a hole in the wall where the graffiti artists, punks and poets, filmmakers, philosophers, painters, photographers, musicians, and wild-eyed creatures find themselves at the end of the day to tell our stories and share our work." So. A dive bar. And that bar was going to be in print. And she wanted to get the magazine in your hands no matter where you lived. ArtBar is widely distributed, available on newsstands, and seeks more. Sarah wants to create a community, of course, all editors do, but she also wants to create a community of indie magazine folk. She wants to break things and rules and invite like-minds to her art bar and hang out and see some cool stuff and do some cool things. Think I'm taking the dive bar thing too far? Here's that editorial again: "We wanted to foster a place to gather, a common ground to share the stories of our human experiences and how they shape our work. This is a place where we can break things, break rules, get our hands dirty." I wasn't joking. I may joke about a lot of things but not about a magazine set up like a dive bar for artists. Are you kidding? Doesn't this sound like a place you might want to hang for a bit? Can you tell I love dive bars? — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Your Brand Is Your Business Outfit: The Unspoken Rules of Brand Identity That Drive Real GrowthGuest: Lexy Rubin, Owner and Creative Director of Rubin Design Company Host: Julie RigaOverviewIn this episode of the Stay On Course Podcast, Julie Riga sits down with Lexy Rubin, Owner and Creative Director of Rubin Design Company, an award-winning branding agency in South Florida. Lexy is a purpose-driven brand strategist whose career spans NASA internships, New York City corporate branding, and 11 years building her own legacy as a founder.Together, they explore what it truly means to build a brand that connects and stands the test of time. From first impression psychology to the rise of AI in design, this conversation delivers authentic growth strategies for entrepreneurs and business leaders ready to elevate their brand.Your Brand Is Your Business Outfit: The Unspoken Rules of Brand Identity That Drive Real GrowthAbout Lexy RubinLexy Rubin is the owner and creative director of Rubin Design Company, a South Florida-based branding agency offering custom logo design services, brand identity design, and brand strategy consulting nationwide. A graduate of the Rhode Island School of Design, she became the first graphic designer to intern at NASA's Kennedy Space Center, then worked with Bath and Body Works and L'Oreal in New York City.Fun Fact: Lexy's favorite food is Chicken Romano from the Cheesecake Factory.Key Topics DiscussedWhat Is a Brand, Really? Your brand is your business's first impression. It is the outfit your company wears every day. It shapes purchasing decisions, team recruitment, and client trust before a word is spoken.Why Professional Branding Matters in 2026 Working with a professional logo designer or corporate branding agency is your foundation. With AI everywhere, authentic human-crafted brand identity is a genuine competitive advantage. Apple, Nike, and Starbucks invest heavily in branding because perception is everything.The AI Question Every Business Owner Is Asking Can AI replace custom logo design services? Lexy says not at the soul level. There is an emotional and spiritual dimension to brand identity that no algorithm can replicate. Investment in professional brand strategy consulting is more urgent than ever.Branding Trends for 2025 to 2026 Typography is king, with bespoke typefaces driving personality across logos, websites, and cards. Motion graphics are replacing static visuals. Video-first design is now expected. If your brand has not been refreshed in ten or more years, it is outdated.You Are the Brand Your personal leadership presence and business brand are inseparable. In the age of AI cloning, being authentically yourself is your single most powerful asset.Memorable Quotes"Your brand is basically your first impression. It is the outfit your business wears.""The real, authentic version of yourself is going to be craved now more than ever because of AI.""There is a magical recipe to great brand identity: part logic, part skill, part soul."Key TakeawaysYour brand is your foundation. Get it right before you scale.Authenticity is your superpower in a world of AI-generated content.Every touchpoint is a brand moment: your logo, LinkedIn, and background.Refresh your visual identity as trends and audience expectations evolve.You are the brand. Leadership presence and professional branding are inseparable.Connect with Lexy RubinWebsite: www.RubinDesignCo.comLinkedIn and Facebook: Rubin Design CoConnect with Julie RigaWebsite: julieriga.com/leadCoaching: Learn more about leadership coaching and transformation#BrandIdentity #StayOnCourse #AuthenticLeadership #PurposeDrivenBusiness #BrandingTips2026Subscribe to Stay On Course wherever you listen to podcasts. Share this episode with any business owner who needs to hear this.

THE MAGAZINE OF THE MONTH CLUB — One of the things I've learned while hosting this podcast is that there are a lot of magazines out there. More than I imagined. Meaning there was never a “death of the magazine,” simply a realignment of dollars and attention. If anything, there are more magazines being published than ever.  But, and it's a big but, they are harder and harder to find. There are fewer magazine stores. There are almost no newsstands, at least in North America. And bookstores, well, ok, go to your local bookstore and good luck. Which brings us to Steve Watson. He worked in the industry and he lived what was happening to it. And so he created Stack which is, essentially, a discovery system. Or a club. Call it The Magazine of the Month Club. Join it and you receive random independent magazines from around the world, chosen by Steve—or curated, let's use the word—curated by Steve, and if you like the magazine, great, go out and subscribe to it, and you've just expanded your world.  I asked Steve about the changes in the industry, how he builds community and what the future of magazines might be. He's an optimist. And that makes me feel good about things. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Nikki Villagomez knows a thing or two about fonts, not only because she's a designer but also because she's a published author and historian who loves typography. In addition to learning about her books Culture+Typography: Examples in Font Pairings and also the sold out Culture+Typography: How Culture Affects Typography, hear why Pretty in Pink means so much to her. Plus, we touch on Miami Vice, the Brat Pack documentary called Brats (2024), Mondrian, and hair gel. This episode appeared on Season 1 of the show in 2024.-Nikki Villagomez is a nationally recognized speaker on typography, and a graduate of Louisiana State University with a BFA in Graphic Design. After working as a designer in New York City, she moved to her home state of South Carolina where she became a full-time freelancer. She's the founder and former president of the South Carolina chapter of AIGA, has been an educator teaching Graphic Design and Typography at the University of South Carolina and the University of Akron, and lives in Charlotte, NC. Learn more at her blog, culture+typography, online since 2012.https://nikkivillagomez.wordpress.com/https://nikkivillagomez.wordpress.com/my-book/https://www.linkedin.com/in/nikki-villagomez/-Pretty in Pink (1986)https://www.imdb.com/title/tt0091790/

NO RESERVATIONS — Welcome to a new season of The Full Bleed. This year, we're going to be talking to makers and creators, of course, but also more about the business of magazines. Because, let's face it, making a magazine is not easy. It never has been. But we're seeing more and more magazines—in print—out in the world and there's a reason for that. At a time where the digital world is a messy place, and that's being polite, magazines are perfectly positioned as a part of an “analog” wave that is going to become more and more important in the media and in marketing.  We open the season with Nathan Thornburgh from Roads & Kingdoms, a media brand that started out as a media brand—stay with me here—with the support of Anthony Bourdain, yes, that one, and then pivoted to becoming a kind of gastronomic tour company with loads of content on their website, and has now published their first magazine. And it won't be their last. Travel, especially these days, is pure analog, a completely human experience. It touches the senses in a way not many things can. Think about Anthony Bourdain's work and you think of how immersed he was everywhere he went. Whether he was writing about the reality of a kitchen or filming a meal of noodles at a roadside stand in Thailand, he was all in. His was a very human-centered media, full of sights and smells and sounds and people. And that's what Roads & Kingdoms will try and replicate. On the page. On every page. — This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Send a textThis is the third episode in a 3-part guest lecture series, speaking with a diverse range of design and typography pros from across North America! This episode features the owner of foundry Type Du Nord, Libbie Bischoff. In this conversation, you'll hear how Libbie got started in type professionally and what a typical day looks like as a foundry of one. You'll hear about the way Libbie's signature may actually be your signature, now or in the future and the storytelling power of type. We talk revival fonts, what success looks like beyond measurable metrics, advice for making type for a living, and how advancing technology is changing (or not changing) Libbie's approach to her work.This episode was recorded as part of a guest lecture series in GCM 230 - Typography in fall 2025 at The Creative School at Toronto Metropolitan University.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

Send a textThis is the second episode in a 3-part guest lecture series, speaking with a diverse range of design and typography pros from across North America! This episode features a Creative Director dedicated to social change and inclusive city building, Jay Wall. In this conversation you'll hear about Jay's origin story as a designer and the evolution of his path towards designing for social change. You'll hear about the Design Justice Network (DJN) and learn a less naïve way to frame the question “can design save the world?” You'll hear concrete examples over the last 70 years that have challenged the status quo and helped catalyze change in a variety of contexts, both on the streets and on the screen. Lastly, you'll hear what Jay's currently up to regarding inclusive city building; a project called ‘Yonge Tomorrow', a project with the City of Toronto to redesign downtown Yonge Street, nodding to the past, embracing present needs, and planning for a more accessible future.This episode was recorded as part of a guest lecture series in GCM 230 - Typography in fall 2025 at The Creative School at Toronto Metropolitan University.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

The strange history of a punctuation mark that makes writing feel human, and why people now think it proves the opposite. Subscribe to SiriusXM Podcasts+ to listen to new episodes of 99% Invisible ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

THE VIEW FROM THE WINDOW SEAT—Despite its name, Direction of Travel is not a travel magazine. Sure, it's a celebration of a certain kind of travel, but this is not a publication that takes you somewhere. Unless you think of Air World as a destination. Which I do.Founder Christian Nolle is an AvGeek. Which is not an insult. More an acknowledgement of a state of mind. Christian loves all things aviation. And mostly he loves how it looks and feels and, perhaps more importantly, how it looked and felt.Direction of Travel is a loving homage to route maps, in-flight entertainment, ticket offices, and airports. It is a magazine about the culture of flight and the aesthetics one finds in Air World. And for anyone with even the slightest interest in flight, it is a glorious—and loving—celebration of that world.Regular listeners of this podcast may have noticed that I've been speaking to quite a few people from travel magazines recently, and there are reasons for that. One could argue that no other type of magazine has had to weather such a variety of competition from the digital space. And travel itself is subject to forces that have nothing to do with travel itself. But it remains aspirational even to those lucky enough to travel often.So whether you're a frequent flying business person, or someone who might fly once in a while, the magic of lift off—and touch down—remains.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

去年十月，Eric 应邀于中国美术学院视觉传播学院「大路讲坛」系列讲座发表演讲。本期节目为现场录音，以飨听众。 参考链接 「寻找中文的字体排印师」，Eric 主讲，大路讲坛系列讲座之一，中国美术学院视觉传播学院主办 小林章著，刘庆译．《西文字体：字体的背景知识和使用方法》．中信出版社，2014 年 小林章著，刘庆译．《西文字体 2：经典款字体及其表现方法》．中信出版社，2015 年 字谈字畅 010：Typography 考 字谈字畅 244：百年照排光与影 倪锡英．《都市地理小丛书：杭州》．南京出版社，2011 年 高冈昌生著，刘庆译．《西文排版：字体排印的基础与规则（增补修订版）》．上海人民美术出版社，2024 年 曹洪奎．《活字排版工艺》．轻工业出版社，1979 年 “East and West, Grid is Best”，Eric 在 ATypI 2024 的演讲 字谈字畅 226：「开明式」有多开明 孔雀计划：中文字体排印的思路 主讲 Eric：字体排印研究者、译者，The Type 执行编辑 鸣谢：中国美术学院 题图摄影：方舒弘 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。

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

A 5-STAR MAGAZINE (DO NOT DISTURB)—Orlando is the magazine as hotel, quite literally—we'll explain what that means in a bit—a magazine that one can inhabit and live in, a love letter to culture in the most expansive use of the word. It's also very Italian. Maybe because it comes from Italy. More specifically, from the mind of Antonella Dellepiane Pescetto, who is Italian. But more importantly, she is someone with exquisite taste.And, yes, the magazine is set up as a hotel. Just go to the table of contents and you start to see how this concept works. Or visit the website, it's obvious there, too Ad the concept structures all various—and sometime disparate—ideas that go into the making of Orlando.And if you visit the website, again, you'll find courses and tours and podcasts and a Spotify playlist to accompany each story in each issue as well as a boutique, and you can sense the publishing plans as well. But mostly you'll find yourself in a charming confection of a magazine, kind of like something Wes Anderson might have come up with had he been Italian, which might work for you, or not—not everyone loves Wes Anderson, sure—but just like you know a Wes Anderson movie when you see or hear one, once you enter the hotel that is Orlando, you know. You just do. And it's the kind of place you can get comfortable in very easily.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

ONE CITY AT A TIME—There are two kinds of travelers. The first group are those that need to see as many attractions as they can. The second are those that would rather wander around, get a feel for the place they're visiting, and live as much like a local as possible. Neither is better. There's no judgement here. But the people who are behind the bi-annual Fare Magazine are definitely of the latter group.Founded almost ten years ago, each issue of Fare explores a single city, using food as an entry point to talk to locals and tell stories that you won't find in your typical guidebook. You do not read Fare to find lists of must try restaurants. You read it to meet the people that make a city worth living in and worth visiting. You will learn something. And, maybe, this city will go on your list of places to visit. Going from city to city is, of course, not the easiest way to make a magazine, but ten years in, Fare is still going strong, and the business is growing to include new titles and new offers. It's a big world. And I get the sense Fare is going to keep wandering it, meeting the people who make every city taste better.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

A MODERN MAGAZINE EDITOR IN A POST-MAGAZINE WORLD—In the media storm that is 2025, the person you want captaining your ship is smart, decisive, and cool, calm, and collected—in other words, she's Nikki Ogunnaike.The editor-in-chief of Marie Claire, whom we got to know when we worked together at Elle, is the very model of a modern magazine editor, in that—unlike the lifers of old—she hopscotched through a ton of jobs, accruing skills as a writer, a fashion editor, a digital editor and a print editor, and, oh yeah, a social-media savvy multi-platform operator—to become what she is now: someone uniquely equipped to lead a new era of Marie Claire.We talked to Nikki about what it's like to run a modern media brand in a post-magazine world—what does the job of “magazine editor” even mean now? Also: how is the post-Hearst Marie Claire evolving to meet a new reader, or should we say “follower,” and which parts of its original DNA Nikki is working to preserve. Also: Is the “girlboss” back?—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

THE PURPOSE OF TRAVEL—The world is adrift in travel magazines that tell you to go here and stay there, to order certain foods at “of-the-moment” restaurants. And when you go to these places you find yourself surrounded by other travelers like you, and the only locals you interact with are, maybe, the waiter, or your Airbnb host, or the tour guide taking you on a generic definitely-not-what-the-locals-do tour of the trendiest neighborhood in town. Or you might not even meet a local. Or ever stop looking at the screen on your phone.You will have ticked items off your travel bucket list, but will you have actually traveled? Travel becomes consumption and as with all manner of consumption, you are never quite sated, and hey, there's a media ecosystem out there to help you along.And then there's Ori. Founded by journalist Kade Krichko, Ori bills itself as a “travel, art and education platform” that allows local storytellers to tell their stories on a global scale. It is a magazine that understands travel is an experience first and foremost, and that traveling well means an immersion into people and places, an opportunity to grow and to heal.It's a magazine that assumes you should think about and experience the world around you, and that if you think about it and experience it enough, the world becomes a more interconnected and better place; it becomes a place of wonder.And isn't that why we travel?—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

PART OF THE STORY—Susan Casey has won National Magazine Awards for editing, writing, and design—a feat that may well be unprecedented in the industry's history.In her native Canada, they call people like this “Wayne Gretzky.”She has worked—under various titles—for the following magazines: The Globe & Mail, Outside, Time, Esquire, eCompany, Business 2.0, Sports Illustrated Women, National Geographic, Fortune, and O, The Oprah Magazine. She also worked for the iconic 1990s fashion brand Esprit. These days—literally on any given day—you're likely to find Casey in the water, where she spent much of her childhood, later with the swim team at the University of Arizona, and, as an adult, as the author of four immersive books—all best sellers—about the ocean: The Wave: In Pursuit of the Rogues, Freaks, and Giants of the Ocean; The Devil's Teeth: A True Story of Obsession and Survival Among America's Great White Sharks; Voices in the Ocean: A Journey Into the Wild and Haunting World of Dolphins; and her most recent, The Underworld: Journeys to the Depths of the Ocean.A self-proclaimed “outspoken designer” early in her career, she refused to accept the career path limits others imposed and instead laid the groundwork for a rich creative life.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

Magenta & Bernard's weekly dose of absinthe-soaked, slow burn esoteric ramblings. Haunted phones! Typography jokes! Dropping a social hand grenade at your office Christmas party! All this and more. On Wednesday 26th November at 8pm UK time (3pm ET) - tune into the MOCKERY MANOR S1E1 Live Listening Party! Watch on YouTube here And you can still donate to this week's charity, International Rescue Committee, by visiting the GoFundMe page here. Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Magenta & Bernard's weekly dose of absinthe-soaked, slow burn esoteric ramblings. Haunted phones! Typography jokes! Dropping a social hand grenade at your office Christmas party! All this and more. On Wednesday 26th November at 8pm UK time (3pm ET) - tune into the MOCKERY MANOR S1E1 Live Listening Party! Watch on YouTube here And you can still donate to this week's charity, International Rescue Committee, by visiting the GoFundMe page here. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode I sit down with indie app builder and designer Chris Raroque to break down how solo developers can make apps that truly stand out in a world of “vibe-coded” clones. Chris walks through concrete examples from his own products, Ellie (planning), Luna (budgeting), and Amy (calorie tracking), showing how small details in animations, interactions, and haptics dramatically change how an app feels. We dig into mascots and illustrations, iconography and typography, widgets and Apple Watch apps, and the design resources Chris studies to sharpen his eye. The episode is a practical blueprint for turning AI-assisted prototypes into polished, premium-feeling apps that users remember and keep coming back to. Timestamps 00:00 – Intro 03:54 – Animation and Interactions 20:50 – Illustrations and Mascots 33:57 – Iconography and Typography 37:28 – Widgets 43:04 – Design Inspiration Resources Key Points In a world where anyone can ship an AI-generated app in 24 hours, polish and interaction design are the real differentiators. Thoughtful animations, micro-interactions, and haptics can be the difference between a tweet that flops and one that goes viral. Mascots and custom illustrations give apps a recognizable personality and can transform empty states and onboarding into memorable moments. Consistent iconography and basic typography choices have outsized impact on perceived quality, yet are often overlooked by “vibe-coded” apps. Home screen, lock screen, and watch widgets act as retention engines by giving apps constant real estate in users' daily flows. Continuously studying well-designed apps and curated UI libraries sharpens design taste and makes it easier to brief AI tools effectively. The #1 tool to find startup ideas/trends - https://www.ideabrowser.com LCA helps Fortune 500s and fast-growing startups build their future - from Warner Music to Fortnite to Dropbox. We turn 'what if' into reality with AI, apps, and next-gen products https://latecheckout.agency/ The Vibe Marketer - Resources for people into vibe marketing/marketing with AI: thevibemarketer.com Startup Empire - get your free builders toolkit to build cashflowing business - https://startup-ideas-pod.link/startup-empire-toolkit Become a member - https://startup-ideas-pod.link/startup-empire FIND ME ON SOCIAL X/Twitter: https://twitter.com/gregisenberg Instagram: https://instagram.com/gregisenberg/ LinkedIn: https://www.linkedin.com/in/gisenberg/ FIND CHRIS ON SOCIAL Youtube: https://www.youtube.com/@raroque  X/Twitter: https://x.com/raroque  Instagram: https://www.instagram.com/chris.raroque/

FOOD IS FOR EVERYONE—That meal your grandmother always cooked. Or your mother. Or your father, for that matter. The odors that permeated a kitchen or the entire house. The first taste. The idea of comfort food.So much of who we are and what we remember are about food, sure, but also about place, and most definitely about the person doing the cooking.While many food magazines go beyond food to create the context about the recipes they print, writer and editor Kyle Yoshioka felt they lacked the backstories that make food about more than taste or trends or wine accompaniments. And with no experience in the form, he was part of a team in Portland, Oregon that decided to launch Provecho, a magazine all about the backstories, and especially the culture and communities, behind each and every ingredient that goes into each and every lovingly created dish. And without a single recipe.Provecho, then, is not really a food magazine at all, but a cultural review that uses food as a focal point. It's anthropology that tastes good. One that is, in its own way, creating a community all its own.—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

In this week’s First $1,000 segment, learn how a font designer earned their first digital payday with a clean, subway-inspired typeface. With just two fonts and a Creative Market listing, they passed $1,000 in less than a month. Side Hustle School features a new episode EVERY DAY, featuring detailed case studies of people who earn extra money without quitting their job. This year, the show includes free guided lessons and listener Q&A several days each week. Show notes: SideHustleSchool.com Email: team@sidehustleschool.com Be on the show: SideHustleSchool.com/questions Connect on Instagram: @193countries Visit Chris's main site: ChrisGuillebeau.com Read A Year of Mental Health: yearofmentalhealth.com If you're enjoying the show, please pass it along! It's free and has been published every single day since January 1, 2017. We're also very grateful for your five-star ratings—it shows that people are listening and looking forward to new episodes.