Matt Baker: Fyi, the above chart was actually just a simplified promo for a much larger chart – a Writing Systems of the World poster. So, if you’re concerned about the fact that thorn, wynn, or any other letters are missing, rest assured that they were indeed included on the main chart.
“Shouldn’t you have titled this ‘Evolution of the Latin Alphabet?'” Well, yes, that would have been correct as well. But it’s also not incorrect to refer to an “English alphabet”. Obviously, many European languages use the same Latin script. But some use a slightly different number of letters. When one is referring to the set of Latin letters used for a particular language, it’s ok to refer to that set as the “[language name] alphabet”. — Matt Baker / UsefulCharts.com
Boing Boing: In a recent Johns Hopkins experiment, only 7 out of 25 people were able to identify the correct letter. Only 2 out of 38 even knew a second lowercase “G” existed, and only 1 was able to correctly write it.
Johns Hopkins: Many researchers are thinking now that learning to write plays an important role in learning to read. People are writing less and less in our culture nowadays. This kind of gives us an intriguing way of looking at some of those questions. The main thing this makes us question is the notion that if you see something enough times you know it. There are things that we see in everyday life all the time but somehow don’t possess enough knowledge of it to access it consistently.
I was able to identify the correct ‘g’ — but it took me a moment and I’m someone who takes a particular interest in type design. I’ve actually recently been working on two typefaces of my own and I think that type designers may be partly to blame for this unfamiliarity as this character lends itself to some unconventional experimentation. The single-storey ‘g’ is probably the better choice for typefaces intended to be readily legible.
The Public Domain Review: A selection of the more inventive entries to a competition to design a new tower for London. The year previous, 1889, saw the hugely successful Eiffel Tower go up in the centre of Paris, and the good people of London, not to be outdone, decided to get one of their own. A wonderful array of designs were put forward. Many were suspiciously similar to the Eiffel Tower and many erred on the wackier side of things…
The very practical design number 37 by Stewart, McLaren and Dunn was eventually chosen to be awarded the 500 guinea prize-money and built in Wembley Park. Construction began in 1892 but the company in charge of the erection, The Metropolitan Tower Company, soon ran into problems including falling chronically behind schedule due to marshy ground and then financial difficulties which eventually led to their liquidation in 1889. Construction ceased after only 47 metres had been completed.
(via @PublicDomainRev)
A selection of the more inventive entries to a competition to design a new tower for London.
Even before modern times the Afro-Eurasian world was already well connected. This map depicts the main trading arteries of the high middle ages, just after the decline of the Vikings and before the rise of the Mongols, the Hansa and well before the Portuguese rounded the Cape of Good Hope.
Credit for this map goes to Martin Månsson who posted this on /r/MapPorn, which has some interesting discussion.
The map also depicts the general topography, rivers, mountain passes and named routes. All of which contributed to why cities came to be, and still are, up until modern times.
The Silk Road is not just one, but many roads that leads through all of Asia, from Constantinople in the west, through Central Asia and the Himalayas, to Liangzhou in the east. During this time, the Chinese Song dynasty was in its height and it was one of those Chinese dynasties that were open to foreign trade and invested in commerce and infrastructure. Foreign trade was mostly concentrated to the southern ports were both Jews and Muslims had their own communities.
(via @stephenniem)
The high middle ages were a time when the stars aligned in terms of commerce for many areas of the world. In central Europe many German and French cities initiated annual trade fairs, some of which are still active today – most notably in Frankfurt.
This week I have been watching lots of the talks from the ATypI 2017 Montréal type design conference. Below are just a select few that particularly inspired or intrigued me.
Shani Avni: The first Hebrew type family by Ismar David – In 1932, Ismar David emigrated to Palestine from Germany. With his knowledge of, and familiarity with, the richness of Latin type, he conceived the first Hebrew typeface family. The design process spread over two decades, during which David researched the origin of the Hebrew script and writing traditions, and experimented in search of innovative letterforms.
In 1954, David completed his typeface family. However, it was not fully published until 2012. Parts of it were never produced, others were rejected by the locals, leaving Hebrew typesetters short.
This talk is based on research for my MA dissertation at the University of Reading. I will present David’s design process and ground-breaking results and will share the story of this lost design, offering reasons for its disappearance.
Today, type designers are challenged with creating larger type systems of manifold scripts. The making of this typeface family is therefore presented as a case study. It is particularly relevant to those who engage in enriching type systems outside the Latin realm, as it illustrates how to draw from the prosperity of the Latin, without forcing it on a different script.
Victor Gaultney: Soon after the invention of upright roman type, an interloper entered the arena—italic. Rather than displacing roman, it wound its way into our typographic culture, becoming an essential part of languages that use the Latin script. Our written communication depends on it, yet in all the books that have been written about type design there are often only a handful of pages about this essential style.
This talk will explore the roles italic plays in our typographic culture: as a language feature, a typographic element, a historical marker, a design object, and a business product. These roles have shaped the design of italic and inspired innovation and creativity. But they have also often forced italic into a subservient position. What is the essence of italic? Has that identity survived its use as a secondary complement to roman? Is it possible that this servitude has given italic the freedom to flourish?
This is the story of how italic established itself as part of our typographic language, was transformed as it was relegated to secondary roles, and yet remains a strong and essential part of typeface design.
David Jonathan Ross: As a native English speaker, I draw hundreds of accented Latin characters in my fonts that I will never use myself. These can easily become a source of stress, because of their unfamiliarity and their sheer quantity; I often find myself wondering, “Am I doing this right?”
Sofie Beier: When a reader encounters an illegible letter, he or she can draw on information from the neighbouring letters and from the sentence structure and thus make an educated guess as to what the letter might be. The same is not the case when the target is a number. In such situations, there is no additional help from the surrounding numbers or from the structure of the text. It is therefore essential that one number not be mistaken for another. In spite of this, there is very little relevant research on numeral legibility.
Legibility is one of the aspects of type design I find to be most interesting and worthwhile. Sofie Beier’s book Reading Letters is highly recommended.
Bruno Bernard: “Excoffon will be the end product of all my thinking, the sum of everything that I have accumulated during my career as a typographer.” This is how typography master Roger Excoffon would describe the typeface he was working on in 1974, a daring and uncommon oldstyle face. Unfortunately the typeface failed to be published because of a contractual misunderstanding, and Excoffon died a few years later.
Based on Bruno Bernard’s exploration of the Excoffon archives this presentation will summarize his gatherings about this fascinating project. It will try to identify the concepts Excoffon wanted to piece together to propose new ways of thinking about type design. Finally it will raise questions about how to find the right way to value this typeface and present it to the public.
See also: Other posts tagged ‘type design’ & ‘typography’
Caleb Kraft for Make: I needed a desk for my office. Being a maker that is also loaded down with fancy tools, I couldn’t bear to go to the store and buy something. I decided I wanted to make something, and the design would have to be one that I wouldn’t mind looking at for long periods of time.
The big question at this point, however, is what to do with the files. Do I share them even though this is a knockoff of Helmut Magg’s work?
This is a lovely project idea and something I would very much like to do for myself.
This particular project raises some interesting questions as the desk is based on a fairly famous 50s writing desk designed by Helmut Magg. It and other similar Magg desks are still sold from licensed vendors for thousands of dollars apiece. There is also a pretty healthy knockoff market. Like the author, I think these kinds of designs are fine to use as inspiration for personal projects, but selling them — or even giving away the design blueprints — definitely puts you in a grey area. You’d probably be opening yourself up to a lawsuit, even if you were ultimately well within your legal rights.
In Autodesk Fusion360, I designed my own. This is where things start to get muddy. I looked at his, then put it away and designed my own. All my angles and measurements are actually different than his. However, I very obviously was designing something to look pretty much just like his.
A visual experiment that evaluates the evolving graphic symbolism of the United States, True Colors is a collection of flags generated from the 2016 American Community Survey. Each flag is based on data specific to its state, and provides information at a glance.
Most existing flags share the same common visual cues: stripes, circles or polygons, and stars. You’ll find these familiar components in the flags of True Colors as well but their color, size, shape, and position are all determined by data.
Each layer of the flag corresponds to subjects that provide an informative snapshot of life in that state. The background visualizes population, the stripe shows housing, the circle or polygon represents economics, and the star indicates education.
(via @WalterStephanie)
How do the United States flags look when data decides their designs? True Colors was created by Olivia Johnson, a graphic designer and flag enthusiast based in New England.
