What do these terms mean anyway? The most simple explanation is: a typeface is what you see, a font is what you use.
Courtney Gooch is an Associate Partner at Pentagram in New York.
Courtney Gooch is a designer and Associate Partner at Pentagram, originally from Kingston, New York, and now living in Brooklyn. At Pentagram, she works on identities, environmental graphics, and packaging for a range of clients, including the NYC Department of Parks & Recreation, the Philadelphia Museum of Art, Planned Parenthood, and the High Line.
An attempt to building a font database with opentype.js
Once “typographically promiscuous,” Bierut has a simple method for selecting typefaces–as detailed in this exclusive excerpt from his forthcoming book “Now You See It and Other Essays on Design."
Companies from Best Buy to Forever 21 use Futura, but probably not the original. That’s because it has been endlessly reimagined, imitated, and blatantly ripped off.
Conceived and curated by designer, podcaster, and brand strategist Debbie Millman, this exhibition is an attempt to organize, express, translate and reflect both how we live in language and how language now defines our lives.
In this week's installment of Design To Go, Diane Burk visits California, stopping in Laguna Beach and Los Angeles.
Dermot MacCormack, Designer, Educator, Writer, Associate Professor at the Temple University Tyler School of Art
Dermot MacCormack worked in various leading design studios both in Ireland and the US before joining Temple University in 1997 as an assistant professor in the Graphic & Interactive Design Department at Tyler School of Art. His design work has appeared in many prestigious design publications both nationally and internationally.
Chelsea Sanders is a Graphic Designer at MSA Architecture in Cincinnati.
Before joining MSA Architects in Cincinnati, Chelsea Sanders worked for POSSIBLE as a member of the creative team. POSSIBLE are a digital advertising agency. While there Chelsea created and contributed work that includes responsive website design, creative pitches, campaign development, and social media executions for brands including: IAMS, Eukanuba, Gillette, Unstopables, Safeguard, Crest, Oral-B, Curate and P&G Corporate.
Mike Carsten is an Senior Environmental Graphic Designer with Archigrafika in New York.
The Rolling Stones, one of the most iconic and influential musical acts of the last five decades, are the subject of the lauded traveling exhibition entitled “Exhibitionism: The Rolling Stones,” designed by Pentagram.
Many—and you know who you are—are extraodinarily creative and active in the later ages, sometimes doing the best work of your lives. But for those of you who are not exactly sure about your status here is a little quiz that will, within a certain margin of error, determine levels of old fogey-hood.
Peter Bain is a designer working from a deep background in the application of typography to solve design challenges. His experience includes environmental graphic design, brand identity, custom letterforms, books and publications, advertising, and marketing communications. He has worked across a wide range of sectors, from financial services to sports marketing, and from academic and cultural organizations to pharmaceuticals and real estate.
Andrew (Drew) Freeman is the founder and principal of afreeman. He works with clients and colleagues to envision, create and implement conceptually significant yet commercially successful design solutions. Drew is responsible for excellence across all afreeman projects.
Who really made the first design of Futura?
From the SEGD Archives, circa 2014: At Adidas' new research and design building, Büro Uebule uses turbocharged typography to express the essence of sports.
For over five decades, the Rolling Stones have continually reinvented themselves as musicians, performers and cultural icons, transforming music, art, fashion and popular culture in the process. This incredible legacy is explored in “Exhibitionism: The Rolling Stones,” a major exhibition opened at New York’s Industria Superstudio after a blockbuster run in London. The designers collaborated on the exhibition with producers Tony Cochrane and Thea Jeanes-Cochrane of iEC and curator Ileen Gallagher.
Building a wall between the U.S. and Mexico was a focal point of the 2016 U.S. presidential election; the idea has turned attention to the border between the two countries but ignores the point that they coexist in a complex synergy. Designed in collaboration with FR-EE / Fernando Romero Enterprise in response to the official theme, “Utopia by Design,” “Border City” is the Mexico installation at the first annual London Design Biennale.
The Contemporary Craft Center is a place to both see and make art. The center emphasizes a hands-on approach to learning and creating—the same approach Art Center College of Design student Britteny Teng took when creating a visual language for her micro-exhibition.
The assignment was to create an interactive installation to complement the exhibition of an artist’s work and distill the concept that the artist is trying to convey and reimagine it for others to not only enjoy the experience but to understand the process behind the artist’s vision.
When Tacoma Art Museum nearly doubled their exhibition space with an expansive new wing of Western Art, they commissioned Studio Matthews to create new signage and wayfinding inside and out.
Script-writing is usually the first step of film production. The One Plus Partnership Limited design team thus incorporated this element into the design of this cinema project. Breaking down scripts into smaller elements, Chinese characters are used as a representation of script-writing.
American Conservatory Theater (A.C.T.) is San Francisco’s preeminent theater company. The 50-year-old arts nonprofit recently commissioned the design and renovation of a derelict cinema on San Francisco’s Market Street. Care was taken to sensitively retrofit the shell of the former 725-seat cinema: the façade was restored and essential modern theater elements were layered over the raw backdrop of the original building.
For more than 140 years, The Washington Post has stood as one of the most respected and trustworthy names in journalism—committed to responsible reporting and an inexhaustible search for the truth. The company is evolving, using new forms of media to expand its tireless mission in both delivery and dialogue.
In December 2014, following a three-year renovation that has restored the historic Andrew Carnegie Mansion and increased the museum’s exhibition space by 60 percent, the Cooper Hewitt, Smithsonian Design Museum reopened to the public. Pentagram’s Michael Gericke and Eddie Opara have collaborated on the graphics for the revitalized institution, including a bold new graphic identity, website, signage, wayfinding, and exhibition graphics.