Reporting from Typecon
I’m in Washington DC this week attending Typecon. The Society of Typographic Aficionados official convention. There are all sorts of programs and presentations with notable typographers and designers appearing as speakers. As well as exhibits and new products to see.
I’m merely going as a humble attendee because for all the prominent projects my fonts have appeared in (movies, games, book covers etc.) and despite having designed hundreds of fonts over a 25 year career, I have never really sought the recognition of my peers. I’ve always seen font design as more of a craft than an art and have focused on the commercial aspects of that craft rather than the aesthetic recognition.
But this year Typecon is in DC, where I grew up and where I have family to stay with, so I figured I might as well attend. I didn’t submit any fonts for consideration in the font gallery, but I did arrange to be a sponsor for the convention, for nice-looking Scriptorium brochures to be in the “goodie bag,” an advertisement to appear in the program and a special Walter Crane sampler to be on sale in the convention store.
Some elements of the program are rather eclectic and obviously directed at a very specialized audience. I have to admit to not being a typographic fanboy or attracted to the idea of raising designers to celebrity status. But other elements of the program are pretty interesting particularly a series of presentations called “Type in Twenty” consisting of brief presentations on aspects of type design or particular design problems presented in short form in only 20 minutes.
It’s odd, but I feel like a bit of an outcast among professional typographers. I don’t have the right academic or design credentials, I didn’t study with Hermann Zapf or Matthew Carter, my designs certainly aren’t trendy and I’m hardly prepared to discuss design movements or what’s hot in typography. I know what I like and I know some history, but I’m largely self-taught when it comes to type even if I’ve been doing it for 25 years and have hundreds of designs to my credit. Not to mention that I have 30 years on most of the attendees and lack their devotion to typographically interesting body art.
So in about 10 minutes I’m going to head down to the introductory mixer and mingle. Which may be a disaster and which fills me with dread because I’d much rather be sitting at home in my easy chair with my MacBook on my lap hammering out my latest font and not worrying about what anyone thinks about it or whether it defines the cutting edge of modern typography.
July 31, 2014 | Filed Under Typecon
New Font: BigBlok
A great many years ago when working in game publishing I had a real fascination with doing titles in a strong, super-bold font called Bolt Bold. The truth is I rather overused it. In doing some research I find it on more than a dozen different game books I wrote in the early 80s, all quite collectable and out of print today.
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BUY NOW TRY DEMO Custom Preview Iphegenia was one of our early designs, a creative advertising script font with a modern, hand-drawn look but regular character forms and a nice even line to it. It has high readability despite its decorative look and works well in combination with a variety of other fo[...]
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BUY NOW TRY DEMO Malagua was originally released in 1999 and has been revised several times since then, culminating in this new release with improved weighting and additional special characters. MAlagua is based on examples of rough hand lettering from the 17th century. It has characteristics [...]
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