6 December, 2012
An H&FJ Type Tasting
We keep a running tally of the interesting media in which we’ve seen H&FJ fonts used, from corrugated cardboard to topiary. The designers who choose our fonts often share their more startling experiments on our Facebook page, including more than a few typographic tattoos. But with the holiday season upon us, things have taken a decidedly gustatory turn.
Designer Luke Elliott kicked things off over Halloween with his Gotham jack-o-lantern, to our knowledge the first example of in-gourd typography featuring an H&FJ design. An anonymous designer followed over Thanksgiving with a beautiful collection of Gotham cakes that revealed the challenge of inlining a sans serif, in fondant no less. The latest contribution to the genre came last night, with designer Zach Higgins tweeting his exploration of the Sentinel Light Italic lowercase z rendered in toast. We’re left to wonder if our graded faces, such as Mercury Text or Chronicle Text, might provide designers with micro-fine control to adjust the relationship between color and burn. Please help us with this important research and share your findings. —JH
16 December, 2009
Typographic Gifts for Designers, Part 16
"Modern Gaspipe" is the charming taxonomic name for this kind of letterform. We’ve explored the style in our Tungsten type family — itself a fine holiday gift at $99, ahem. But for those with a hankering for decor, the always fruitful Three Potato Four has this unlittle item for sale, a huge handpainted wooden figure three (34" / 86cm), perfect for your living room, studio, or threearium. Thanks to our designer Brian Hennings for finding this one: frankly I'm amazed that he hasn't had his fill of these kinds of letters. —JH
10 December, 2009
An Acropolis Italic sighting is a rare event, so even at 48 pixels I couldn’t help but notice that George Garrastegui used the font’s letter G in his Twitter icon. George was kind enough to send me the original file, though it’s not the mere design fragment I’d assumed: it’s a photo of a foot-high sculpture in corrugated cardboard, made manifest by fellow designer Maurizio Masi. Thank goodness George’s name begins with a letter that can stand on its own, for had he been ‘Frank’ or ‘Peter’ he’d have been doomed to the Sisyphean life of forever righting his own lopsided initial.
Is it me, or is there something vaguely menacing about the typeface when it’s enlarged to these proportions? Maybe it’s a byproduct of being given material form; curiously, this is not the first time Acropolis Italic has gotten a spooky 3-D treatment… —JH
11 November, 2009
A Type Tablet
When Abi Huynh sent me this image, I thought at first that it was a website graphic in the prevailing style: a digital rendering of high-gloss black acrylic, against a reflective white surface, in that "web 2.0" style that will not go away. But no! It’s an actual artifact, and a lovely one at that. Dominic Hofstede and Wendy Ellerton designed this limited edition stencil, a lovely laser-cut thingum at A5 size, produced as a promotional gift for the Australian studio Hofstede Design. Front and center here is our Ziggurat typeface, the lone representative of roman capitals to join a great typographic crew: among others, the design features one of the world’s best ampersands (from Caslon), along with sundry other punctuation (you know I love paragraph marks and daggers), and a Fraktur capital S. —JH