Stories, thoughts, and our
perspectives on typography
and visual communication
We spoke to Roger Black about the Readability Series and Reading Edge Series fonts. These two programs evidence the efforts that Roger and his company, The Font Bureau, is making in designing typefaces for readability through print technologies and digital resolution.
As a creative director, much of my job is about finding the right design tools to work for brands. That includes typefaces. Typefaces need to match personalities with the brand, accommodate the possible range of content and range of characters that the company will need to use in their communications, and be fresh enough to attract their audiences.
Ed Benguiat had once said, “I do not think of type as something that should be readable. It should be beautiful.” And in 2013, type choices were gorgeous. It was a scriptaculous year with the interest in script type, hand lettering and calligraphy was at an all time high. Perhaps it was a bit of penmanship nostalgia due to our increasingly digital lifestyles or the fact that cursive handwriting is starting to disappear from public classrooms. Whatever it might be, we're glad that people love it.
“Lately of I've been switching all my Microsoft apps to Courier—if you can believe it. I think I've reached that point in my life that I'm sick of thinking about which font to use. Otherwise, I'm a Gotham guy.”—Steven Ryan, Partner at VSA Partners
