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
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BUY NOW TRY DEMO Custom Preview Edifice is a decorative titling font based on samples of lettering by J. M. Bergling. It has an architectural, constructed look to it. Very well suited to sign and poster design. It's stylish but still readable and clear. Edifice includes a full uppercase charac[...]
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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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BUY NOW TRY DEMO Custom Preview Quicksilver was designed as one of the original featured fonts included in our Psychedelic Fonts Package. It was developed into a full font from a sample of lettering from Quicksilver Messenger Service's live album Summer of '68 and posters for shows associated with it [...]
Click any font to see a larger sample: The culture of the east entices and allures. From the stony walls of Petra to the fabled spires of ancient Samarkand, the the legend of the great days of Caliphs, Wazirs and brave adventurers outshines the modern era of oil and petty tyrrany. W[more]
BUY NOW True Golden is a classic font based on a design by legendary arts and crafts designer and author William Morris. It is a special rendering of Morris' Golden type, based on printed samples rather than digitized steel type, preserving a more accurate representation of the look in print. True[more]
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The Pre-Raphaelite movement emerged in the mid-1800s as an attempt to return art to its traditional styles and themes. While the Pre-Raphaelites did draw stylistically on Renaissance models, the movement soon developed its own unique style and philosophy, producing art which was traditional, yet uniquely new. An artist[more]
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