Type Classes for the Masses
Typesetting for the Jetsetting
facebook Twitter

Blog: Rag Right


 

Process makes perfect.

I was taught to handle both ends of the type spectrum. Meaning, you can hand-draw type, which is lettering, where you’re handling three or four words at the max. I was also taught that a good designer has to be able to handle 300 words or more on a page in typesetting. A good designer needs to handle both. I…


{ Read More } →


 

The Typography of Children’s Books

Cordouroy

I grew up with children’s books, and truly loved the stories. Every evening, a favorite book of mine renewed a spark of imagination before bedtime. Story time was the fun part of school while delivering life’s lessons and eventually encouraging me to read. Those books provide me the adventure I craved, allowed me to become a hero for a day and granted me permission to visit new worlds in my daydreams.


 

Design Mentorship is Important

My partner Rachel has been interviewing designers called in a series called Typography Dojo. On the program we’ve had lettering artists, type designers and typographers. One message that many of our guests have shared is the importance of mentorship. When Joseph Alessio began lettering, he found a small tight-knit community on Dribble who provided him de-facto education “that wasn’t shy about giving critique. While…


{ Read More } →


 

Pairing Typefaces to Symbols for Logotype Design

Graphic designer Ana wrote me a message, “I have been working as a freelance graphic designer for over 20 years. When I’m working on a logo, I can spend HOURS browsing through fonts looking for inspiration.” And you know what? This isn’t an isolated situation. We hear this frustration all the time. This type of work comes up often among…


{ Read More } →


 

Hrant Papazian Questions the Limits of Legibility

TrajicSet_6130

Type designer Hrant Papazian designed the Trajic notRoman, which consists of invented glyphs, questioning the decipherablility of various forms and put to the test in a real-world experiment at TypeCon 1998. What is a “Q”? What is the morphological essence of a letter? Such questions led to an experiment that taunted the limits of legibility in order to better understand the character-recognition processes of the human mind.