The original purpose behind the creation of the typeface Haas Unica was to provide a sympathetic update of Helvetica. But now the font designer Toshi Omagari has decided to make this typeface his own and has thus significantly supplemented and extended it.

It’s Neue Haas Grotesk + Helvetica + Univers so it’s called Neue Haas Unica, get it? Silly name aside, I like it, it’s sturdy and versatile, a great riff from the original typefaces, a great remix that blends the best of both Univers and Helvetica.

Adobe’s first open source type family Source Sans Pro:

The primary need for type in Adobe’s open source applications has thus far been for usage within user interfaces. A second environment of perennial interest to Adobe is the realm of text typography. Thus the immediate constraints on the design were to create a set of fonts that would be both legible in short UI labels, as well as being comfortable to read in longer passages of text on screen and in print.

You can download it here.

The design of the Rio 2016™ font depicts the essence of the Olympic and Paralympic emblems: Passion and Transformation. The boldness of this creation is not only in the design, but also in its importance for the design market in Brazil. The Rio 2016™ font is one of only a few bespoke fonts created by a Brazilian team.

Type as a brand is more lucrative than just a logomark alone.

Ooh, yummy. Bree Serif by TypeTogether is basically a steal.

(via Niklas Gerber)

Helvettaca or something like that?

Disclaimer: This is an excerpt from an actual email from Cooper’s teacher that came to my inbox yesterday. I almost fell over when I read it. As designers, we’re trying to raise design-minded kids and Cooper has always shown an affinity for typography from a very young age… but no one will believe us when we say we aren’t forcing this on him. He IS right about Comic Sans, though. Maybe he’ll start a movement to improve typography in preschool classrooms across America!

Ya can’t make this stuff up, folks.

Watch Cooper (at age 3!) try to convince the internet that his dad loves Zapfino.

Agreed, you can’t make this stuff up.

The Origin: Neue Haas Grotesk

Font Bureau released the origin of now ubiquitous Helvetica.

Type designer Christian Schwartz has newly restored the original Neue Haas Grotesk in digital form.

Knowing Christian Schwartz, you know that this is a high quality digital type – ehem, I mean font – which included text and display cut, alternate glyph, small-caps, to name a few. All in glorious total 22 styles. Also talking about Christian Schwartz, read his post at ILT about why he started a type foundry.

Don’t know the story behind Neue Hass Grotesk/Helvetica debacle? Head over to the history section of this nicely done minisite.

I like Khoi Vinh’s take on this:

Designer Martzi Hegedus’ Frustro typeface is a well-executed implementation of the kind of idea that occurs to most type students at some point or another: letterforms that appear as if they’re facing in more than one direction.

My take? Frustro typeface, a Jedi mind-trick.

twotimeselliott:

You can buy this type specimen and others from Twotimeselliott.bigcartel.com

Wow, this single post could last for a month or more in my browser. Bookmark it.

Design too insistent on calling attention to itself, Gerard Unger once remarked, can turn readers into lookers. Yet he was quick to point out that details matter in running text: noticing them, however fleetingly or unwittingly, allows readers to come up for air and put things into perspective. What we call “reading” is, in fact, a constant negotiation between looking and reading.

It’s a typeface review article so, why did I quote this paragraph? Because it’s insightful and illuminating. Also FF Tundra looks like a well-rounded workhorse of a typeface.