An exhibition at San Francisco’s Letterform Archive highlights typography’s role in iconic social movements from the 1800s through the present.
The conference organizers set out to see what Native practitioners are making, and what they’re needing or wanting in the realm of type.
The Canadian designer/letterer/artist Marian Bantjes’s book I Wonder is a wildly illuminated manuscript of observational philosophy.
Artist Katie Holten created the New York City Tree Alphabet, and soon will lead the planting of messages with the living typeface.
From 2001: A Space Odyssey to Blade Runner, Typeset in the Future examines the typography and design that filmmakers have used to lend a believability to visions of the future.
Want to type a message to a loved one and think it just needs more corporate branding? Here you are.
Adobe and the Bauhaus Dessau Foundation teamed up to turn fragments of five unfinished typeface designs from the 1920s and ’30s into full-fledged digital typefaces.
The renowned font designer will be remembered in an online project created Cooper Union, his alma mater, highlighting various objects for a 100-day run.
The Grolier Club celebrates a century of Bruce Rogers’s Centaur type, the “noblest Roman of them all.”
In a smoky atelier in Torino, Italy, Giuseppe Branchino works as one of the world’s last punch cutters.
More than 5,000 wine labels at the University of California, Davis, chronicle the industry from the 1800s to the 1950s, before and after Prohibition in the United States.
The Latin alphabet’s letter A can be traced back to an Egyptian hieroglyph of an ox head; the letter M is believed to have its origins in a hieroglyph representing water.