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"Type and type-founding."
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Revival type : digital typefaces inspired by the past
In this fascinating tour through typographic history, Paul Shaw provides a visually rich exploration of digital type revival. Many typefaces from the pre-digital past have been reinvented for use on computers and mobile devices, while other new font designs are revivals of letterforms, drawn from inscriptions, calligraphic manuals, posters, and book jackets. Revival Type deftly introduces these fonts, many of which are widely used, and engagingly tells their stories. Examples include translations of letterforms not previously used as type, direct revivals of metal and wood typefaces, and looser interpretations of older fonts. Among these are variations on classic designs by John Baskerville, Giambattista Bodoni, William Caslon, Firmin Didot, Claude Garamont, Robert Granjon, and Nicolas Jenson, as well as typefaces inspired by less familiar designers, including Richard Austin, Philippe Grandjean, and Eudald Pradell. Updates and revisions of 20th-century classics such as Palatino, Meridien, DIN, Metro, and Neue Haas Grotesk (Helvetica) are also discussed. Handsomely illustrated with annotated examples, archival material depicting classic designs, and full character sets of modern typefaces, Revival Type is an essential introduction for designers and design enthusiasts into the process of reinterpreting historical type.
Book
Blind Impressions
What is a book in the study of print culture? For the scholar of material texts, it is not only a singular copy carrying the unique traces of printing and preservation efforts, or an edition, repeated and repeatable, or a vehicle for ideas to be abstracted from the physical copy. But when the bibliographer situates a book copy within the methods of book history, Joseph A. Dane contends, it is the known set of assumptions which govern the discipline that bibliographic arguments privilege, repeat, or challenge. \"Book history,\" he writes, \"is us.\" InBlind Impressions, Dane reexamines the field of material book history by questioning its most basic assumptions and definitions. How is print defined? What are the limits of printing history? What constitutes evidence? His concluding section takes form as a series of short studies in theme and variation, considering such matters as two-color printing, the composing stick used by hand-press printers, the bibliographical status of book fragments, and the function of scholarly illustration in the Digital Age. Meticulously detailed, deeply learned, and often contrarian,Blind Impressionsis a bracing critique of the way scholars define and solve problems.
eBook
esFont: A guided diffusion and multimodal distillation to enhance the efficiency and stability in font design
Font design is an area that presents a unique opportunity to blend artistic creativity and artificial intelligence. However, traditional methods are time-consuming, especially for complex fonts or large character sets. Font transfer streamlines this process by learning font transitions to generate multiple styles from a target font. Yet, existing Generative Adversarial Network (GAN) based approaches often suffer from instability. Current diffusion-based font generation methods typically depend on single-modal inputs, either visual or textual, limiting their capacity to capture detailed structural and semantic font features. Additionally, current diffusion models suffer from high computational complexity due to their deep and redundant architectures. To address these challenges, we propose esFont, a novel guided Diffusion framework. It incorporates a Contrastive Language–Image Pre-training (CLIP) based text encoder, and a Vision Transformer (ViT) based image encoder, enriching the font transfer process through multimodal guidance from text and images. Our model further integrates deep clipping and timestep optimization techniques, significantly reducing parameter complexity while maintaining superior performance. Experimental results demonstrate that esFont improves both efficiency and quality. Our model shows clear enhancements in structural accuracy (SSIM improved to 0.91), pixel-level fidelity (RMSE reduced to 2.68), perceptual quality aligned with human vision (LPIPS reduced to 0.07), and stylistic realism (FID decreased to 13.87). It reduces the model size to 100M parameters, cuts training time to just 1.3 hours, and lowers inference time to only 21 minutes. In summary, esFont achieves significant advancements in both scientific and engineering domains by the innovative combination of multimodal encoding, structural depth pruning, and timestep optimization.
Journal Article
Out of Sorts
The new history of the book has constituted a vibrant academic field in recent years, and theories of print culture have moved to the center of much scholarly discourse. One might think typography would be a basic element in the construction of these theories, yet if only we would pay careful attention to detail, Joseph A. Dane argues, we would find something else entirely: that a careful consideration of typography serves not as a material support to prevailing theories of print but, rather, as a recalcitrant counter-voice to them.In Out of Sorts Dane continues his examination of the ways in which the grand narratives of book history mask what we might actually learn by looking at books themselves. He considers the differences between internal and external evidence for the nature of the type used by Gutenberg and the curious disconnection between the two, and he explores how descriptions of typesetting devices from the seventeenth and eighteenth centuries have been projected back onto the fifteenth to make the earlier period not more accessible but less. In subsequent chapters, he considers topics that include the modern mythologies of so-called gothic typefaces, the presence of nontypographical elements in typographical form, and the assumptions that underlie the electronic editions of a medieval poem or the visual representation of typographical history in nineteenth-century studies of the subject.Is Dane one of the most original or most traditional of historians of print? In Out of Sorts he demonstrates that it may well be possible to be both things at once.
eBook
Adrian Frutiger
Based on conversations with Frutiger himself and on extensive research in France, England, Germany, and Switzerland, this publication provides a highly detailed and accurate account of the type designer's artistic development and his work. With the support of Pro Helvetia, Swiss Arts Council
eBook
Futura : the typeface
This is an examination of one of the most popular typefaces ever created, Futura. Celebrating its 90th anniversary this year, the story of Futura is a fascinating one. Charting its Bauhaus origins to its use as the first font on the moon in 1969, this book tells the story of how the typeface went from representing radicalism in design to dependability. It is durable and timeless, and is worthy of being rediscovered and celebrated.
Book
From Pen to Plate: How Handwritten Typeface and Narrative Perspective Shape Consumer Perceptions in Organic Food Consumption
With growing awareness of health and sustainability benefits, organic food has surged in popularity, highlighting the critical need for effective communication strategies in product promotion. While extant research extensively examines the effects of textual content in organic food advertising, little attention has been paid to the persuasive power of typeface design on consumers’ responses. Grounded in cue utilization theory and message consistency framework, this study investigates how handwritten typefaces and narrative perspectives influence consumer responses in organic food advertising. Two experiments were conducted. Study 1 (N = 139) shows their positive effects on consumer attitudes and purchase intentions than machine-typed fonts; Study 2 (N = 206) extends these findings by revealing a significant interaction between typeface and narrative perspective, where first-person narratives amplify the positive effects of handwritten fonts. Moreover, a moderated mediation model shows that the influence of handwritten typefaces on consumer responses is sequentially mediated by perceived congruence and perceived sincerity, with the indirect effects being stronger for first-person narratives than third-person ones. The findings advance marketing theory by demonstrating how visual–semantic alignment enhances communication efficacy, especially in organic product contexts. Practically, this study proposes the strategic implementation of handwritten typography combined with the use of first-person narratives for organic food promotion. These insights hold significant implications for fostering organic consumption patterns, potentially driving environmentally conscious agriculture practices and supporting environmental sustainability efforts.
Journal Article