Type Network

Violeta by Quintana-Font in use for the book Hotel Love by Petra Piuk Hotel Love is a novel by Austrian author Petra Piuk, published by Leykam Buchverlag and described as “a creepy love story with AI.” Vienna-based Sellerie Studio designed the book, developing a series of lipstick lettering along with the layout and typesetting. The designers say they wanted to package the dystopian story in a way that was as toxic as possible. The typesetting pairs MT Baskerville for the main text with Violeta for titles and highlights, and Input Mono Compressed for the ISBN and the book’s sections. 👉 License Violeta at typenetwork.com

Milanesa is Argentina's favorite comfort food. It's also a serif. That's type from Latinoamérica in a nutshell: rigorous, award-winning, and never too serious to name a font after dinner. For Hispanic Heritage Month, meet nine foundries from Buenos Aires to Querétaro. One standout face each. Swipe through ➡️ 🇦🇷 Sudtipos · Milanesa Serif The comfort food serif, warm as the dish itself. 🇦🇷 Fer Cozzi · Síncopa Three styles named for jazz queens: Nina, Billie, and Ella. 🇦🇷 PampaType · Atahualpa A reverse-contrast slab honoring folk legend Atahualpa Yupanqui. 🇺🇾 Reset Type Studio · RST Trasandina German mechanical type meets 1970s sci-fi paperbacks. 🇨🇱 Quintana-Font · Mazúrquica Chilean character, with a Compressed width and Cyrillic support. 🇲🇽 Lechuga Type · Mestiza A name that honors mixed heritage, built into a full identity system. 🇧🇷 Plau · Vinila It began as lettering for a Brazilian album. Now it has 49 styles. 🇧🇷 Naipe Foundry · Pacaembu Art Deco stone lettering from a São Paulo football stadium. 🇦🇷🇨🇿 TypeTogether · Adelle Sans A global family from a global team. Nine studios. Five countries. One shared conviction: letterforms carry culture. Which one are you putting to work first? #HispanicHeritageMonth #Latinoamérica #Typography #TypeDesign

Ringold Clarendon by Bijou Type in use in Nation’s Dumbest – Nation’s Dumbest follows celebrities competing in school-themed challenges, where the goal isn’t to win but to avoid coming in last. Each week, the smartest contestants graduate, until a final exam determines who’s left with the unwanted title of Nation’s Dumbest. Images: Nation’s Dumbest promotional materials 👉 License Ringold Clarendon at typenetwork.com

Dyana Weissman is typically not a fan of sans serif typefaces, but on a trip to Norway, she was inspired by the labels on antique medicine bottles she saw on display in a museum. The robust personality of the letters convinced her to give sans serif a try. License Apotek at typenetwork.com

There's no universal rule for knowing when a typeface is done. We asked three designers how they figure it out. 1️⃣ Evan Deterling of Typonym – “The way I work, A typeface design is finished after I’ve lived with it in testing for a significant time and can no longer see anything that would improve it, and when further changes become detrimental. It’s important to test extensively to encounter problematic glyph pairings but it’s also important to call it done at some reasonable point. I learned that latter lesson as a painter in art school. Get it right but don’t obsess or second guess yourself into destroying it. The point at which a typeface is ready to release is another chapter. All the engineering finesse must still be done. Even when I think everything is tight, I run my fonts through Font Bakery before anything gets out to assure wide support across the spectrum of print and digital platforms. Larger foundries have the luxury of font engineers but the jarring shift between designer and engineer is a digital age proficiency the independent type designer must embrace. Both roles must be mastered.” 2️⃣ Fer Cozzi of Fer Cozzi – “Honestly? It’s finished when I begin spiraling about what else to add. That’s my signal: the moment I catch myself thinking “what if I also do X, and Y, and maybe Z”… that’s not the typeface saying “give me more”… that’s just me not being able to let go. If I can build a glyph system that tells one clear idea, I’m done. Better a clear idea than a project crammed with everything possible just because the technology makes it easy. So it’s less about “is it perfect” and more about “does it need anything else.” Knowing what to leave out is the hard part. Overcomplicating something simple is the easiest trap in type design. The hard part (and that actually takes me the longest) is making sure the idea is what matters. And you know it worked when the outcome seems obvious in hindsight, like it was inevitable, like it couldn’t have been any other way. When I get there, I also get this weird clarity: I suddenly know exactly which things don’t belong to that original idea, that search. Knowing when to stop, think, and let go sounds hard, but it’s actually much simpler than chasing perfection forever.” 3️⃣ Max Phillips of Signal Type Foundry – “When a reporter asked Truman Capote, “How do you know when a story is finished?” he snapped, “Somebody comes and takes it away.” But since type designers don’t have editors, I have to go by my gut. Does the work feel affirmatively right to me, and not just problem-free? Does a line of type have its own authority, its own personality, a bit of life? Does it look like a line of type, instead of a careful drawing of a line of type? If I find myself nodding slightly when I look at a proof, that’s the go code.” What's your answer? We'd love to hear how you know when your own work is done.

The season begins, and it’s time to send out the premiere invites. Here are six scripts, six different ways to make an entrance. Some are polished and formal, others are playful and a little unexpected, but all have plenty of personality. Together, they make a case for letting your type do a little of the talking. https://lnkd.in/eiq2u3Wp

Fall issues are cast long before they hit the newsstand, and there is no better time to audition your typographic masthead. We're recommending five typefaces with real newsroom pedigree, each matched to the publication it was born to run. Read it here: https://lnkd.in/edxNwmd8

Meet Naipe Foundry, a duo from Rio de Janeiro and now based in Barcelona, who have been helping brands find their typographic voice since 2018. Watch their Meet the Network episode, where they talk about how they navigate being both business and design partners, share a recent favorite project, and let us in on what they get up to when they’re not designing type. Catch it in our Instagram Reels: https://buff.ly/6D254nj

Apostil is a typeface rooted in handwriting, drawn to harmonize with hand-drawn sketches while still holding the cadence, texture, and rigor of a font. It comes in Light, Regular, and Bold, with stylistic alternates throughout. License Apostil at typenetwork.com

Winner of the 2023 Gerard Unger Scholarship, Dargon was designed by Anne-Dauphine Borione for TypeTogether, with razor-sharp legibility for console screens and TV renders in mind, commanding UIs, menus, and dialogue from across the room. Its uncial roots draw on myth and forgotten runes, equally suited to fantasy novel covers, RPG magazines, and game packaging. The family comes in two parts: six uncial-inspired display fonts, each named for a school of magic (Ignis, Limen, Mutatio, Oculus, Aegis, and Umbra), and Dargon Text, five text and italic styles built for continuous reading on screen and page. In total, Dargon spans 16 styles, supports over 200 Latin-based languages, and includes a variable font format for its text subfamily. License Dargon at typenetwork.com