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Rosetta is a publisher and distributor of high-quality fonts for a growing number of the world’s writing systems. So far our library supports pan-European Latin, Arabic, Armenian, Greek, Indic scripts like Gujarati and Devanagari, and Cyrillic (besides Slavic languages we also support many Asian languages). In total, our library covers 172 languages. The released fonts are of top-notch quality, and have won numerous design awards. They not only support the writing systems individually, but also make them work well together, making the life of any designer dealing with multiple scripts much easier.
From Smashing Magazine: Everyone knows their serifs and sans, slabs and scripts, but most classifications go much deeper than that. Type classification, while helpful, is often convoluted, confusing and even controversial. This article, distilling some of the complexities into a more understandable format, lands somewhere in the middle between the basics and genuine type nerdery — the perfect level for a practicing designer.
Fashion-Font has been created since 2007 by Paris based Korean designer Yvette Yang with her original view on typography and fashion. The concept “Image is message” is always maintained in her project which makes the work visually more attractive and meaningful. She uses collage method by hands as she would not want to estimate the form of typography and tries to explore the maximum chance to find beautiful matches coincidentally.
From Smashing Magazine: Layout, for both print and screen, is one of the most important aspects of graphic design. Designs that extend across multiple pages or screens, whether containing large or small amounts of type, must be carefully controlled in a way that is enticing and is easy for all to access. Careful control of visual hierarchy is a key aspect of the design decisions we have to consider.
In this article, we will look at how frequently type needs to be broken down into different levels, such as topic, importance and tone of voice. We will explore how this can be achieved visually by relying on several things: texture and tone, seeing the designer as reader, combining typefaces, using color, employing multiple types and, of course, using the grid. Seeing the complexities that can be expressed through typography is fascinating — not to say that images cannot help to order content, but simply that the most significant elements are expressed typographically.
In 1974, ITC began publishing U&lc, The International Journal of Typographics. Herb Lubalin was the editorial and art director of the first issue and his seminal design set the stage for future issues of trend setting and award winning editorial creations.
All 26 volumes are now available as .pdf downloads.
The modest 24-page first issue declared, “U&lc will provide a panoramic window, a showcase for the world of graphic arts – a clearing house for the international exchange of ideas and information.”