![]() Kevin Finn, founder and creative director, TheSumOf, founder of Open Manifesto Michèle Champagne, designer and founder of A-B-Z-TXT, a school for 21st-century typography Peter Biľak,, ,, Ĭurtis Canham, author, A-holes: A Type Book, #yayforaholes Jason Alejandro, designer and educator, art director at JK Designĭoug Bartow, principal and design director, id29 Sean Adams, executive director, ArtCenter Graduate Graphic Design (For the scoop on our methodology, scroll to the bottom of this page.) The following contributed their thoughts and votes, trusting their eyes and personal tastes. ![]() To pull together this list, we contacted typographers and designers in the trenches, along with educators, writers and critics. So the next time somebody asks that familiar question-“Why do we need another typeface?”-simply reply, “Why not?” ![]() But the exercise shows that amazingly talented typographers continue to deliver the goods to a marketplace of designers as hungry as ever for new typography. The final results are by no means conclusive nor are they complete since there’s still time left in 2016. These experts considered craft, aesthetics, concept, function, technology, utility and versatility during the judging process, and they also judged beauty-or the lack thereof. Seeking to suss out some highlights, Print polled an array of experts to get their take on the best of the best so far. ![]() And the fonts released up to this point in 2016 are a treasure trove of delights. They range from the baffling-“We have enough already! Who needs more?”-to the rather limiting, albeit humorous, “Can’t we just use Helvetica or Univers for everything?” The inevitable debate begins whenever somebody remarks, “Wait-why are people still making typefaces?” From there, the responses come in rapid succession. Subscribe today-and don’t miss the chance to enter our Type & Lettering Awards ! The following article appears in the Fall 2016 issue of Print, currently on newsstands. ![]()
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