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From the middle ages to the Middle East, From Futura to Freight, join us on a journey across the type universe and go where no designer has gone before...Welcome to An Incomplete History of Type. Name: Baskerville Release Date: 1757 Designer: John Baskerville Classification: Transitional Serif Owned By: Well...it’s a bit complicated. The original Baskerville punches are now owned by Cambridge University Press, but the design itself is in the public domain. Many digital adaptations of Baskerville have been introduced over the years, and are owned by the specific type foundries (or individuals) who designed them. Claim to Fame: Baskerville was praised by U.S. founding father Benjamin Franklin. We’ll get to that a little bit later. But first, we must travel back in time to learn about the man, the work, the time, and place behind this dearly loved typeface. So join me...and let’s bask in the glory of Baskerville! John Baskerville was an English printer, typefounder, and businessman, born in Wolverly, Worcestershire in 1707. Early on in life, Baskerville developed a keen interest in lettering. Around the age of 20, he moved to Birmingham, where became a writing-master, a teacher of calligraphy, and a headstone carver. Later on, Baskerville found employment in the decorative art of Japanning, a European imitation of East Asian lacquerware. In this profession, Baskerville became extremely wealthy and was secured for life. But, he wasn’t satisfied just yet... With his newly amassed fortune, Baskerville returned to his first true love...letterforms! However, he wasn’t content to make a hobby out of handwriting. Baskerville had a curious mind and was fascinated by all things technology. It was only fitting for him to explore one of the greatest technological innovations of his time – printing! In 1747, Baskerville leased 8 acres of land, built a luxurious estate, and set up his own printing workshop. He also hired local craftsmen to aid in his ambitious endeavor. John Handy worked as his punchcutter, while Robert Martin became his pressman. Baskerville set out to develop a new style of printing – something that the world had never seen before. According to F. E. Pardoe, Baskerville’s goal was “to change the overall look and feel of the printed page.” With exacting standards and an eye for detail, he aimed to produce books of the highest possible quality. So, how exactly did he achieve this goal? Well...Baskerville was an “all-in” type of guy. His holistic approach even earned him the moniker of “the complete printer.” For seven years, he worked diligently to refine every key aspect of the book-making process. He experimented with casting and setting type, adapting the printing press, improving the quality of his paper and his ink, and of course...designing a brand new typeface. Baskerville's background in calligraphy, stone carving, and Japanning gave him a unique perspective when it came to type design. He cleverly fused his stylistic sensibilities with the meticulous manufacture of moveable type. It was a match made in typographic heaven. While his peers, like William Caslon, focused on refining the work of earlier punch-cutters, Baskerville drew from the field of calligraphy in his effort to create the perfect letterform. In modeling his designs on written script, he was effectively reviving a method used by printers of the early Renaissance (check out the Talk Paper Scissors episode on Blackletter for more on this). Now, let's take a look at some of the characteristics that made Baskerville’s typeface so unique. 1: Heightened contrast between thick and thin strokes As previously mentioned, Baskerville’s designs were inspired by human penmanship, which naturally contains variations in stroke weight. The contrast built into Baskerville had an effect on the typographic colour of the printed page. With additional white space, it had a much lighter appearance than many of its predecessors. 2: Upright stress in rounded strokes From the 15th century to the 18th century, a prevailing type trend was to shift the stress of rounded characters from oblique (or slanted) to upright (or vertical). 3: Sharp, bracketed serifs When designing, Baskerville increased the sharpness of his serifs by tapering them. This characteristic would later be exploited (and taken to the extremes) by individuals like Firmin Didot and Giambattista Bodoni, in their Modern type designs. Baskerville contains several conspicuous characters. These include... A lower-case, double-story “g” with an open bowl, an upper-case G with a spur, and an upper-case Q with a curvy and dramatic tail. Another defining letterform in Baskerville is its uppercase E, whose lowest arm is longer than its highest. Grace Gibson uniquely explains that this arm “protrudes out like an underbite.” Today, Baskerville is classified as a transitional serif typeface. Transitional faces were given this name, as they marked a transition between Old Style, low-contrast typefaces like Caslon to Modern, high-contrast designs like those of Didot and Bodoni. In 1757, Baskerville’s typeface made its striking debut in a collection of Virgil’s poetry. His forms were crisp, clear, and consistent. The typeface was a remarkable feat, however...it wasn’t without its critics. Many of Baskerville’s English contemporaries disapproved of his work, dismissing him as “a silly amateur.” Others complained that the contrast in the typeface was too high and that reading it hurt their eyes. Perhaps they were all a bit jealous of his accomplishments. Nevertheless, Baskerville did have several eager patrons and supporters, including the statesman, printer, and contemporary star of the American $100 bill...that’s right, Benjamin Franklin! Baskerville’s designs grew more popular abroad than they were in England, and were particularly influential in France and Italy. His reputation as a fine printer began to spread, but unfortunately, his fame didn’t lead to fortune. The process of printing with moveable type was time-consuming and costly. Because of this, Baskerville’s printed classics and breathtaking Bibles were sold at very high prices, and could only be afforded members of the educated elite. Frustrated by his fate and disheartened by hostile critics, Baskerville temporarily retired in 1764, before returning to print a final series of classics between 1770 and his death in 1775. After John Baskerville died, his widow, Sarah, sold his printing materials to the French dramatist Pierre Beaumarchais. Baskerville’s typeface was used to print the works of Voltaire as well as pamphlets during the French Revolution. In time, his designs went out of style and fell out of circulation. In fact, his typeface could have been lost for good, had it not been for an accidental discovery of his original metal punches in 1917. Baskerville was reintroduced to the world by an American typographer named Bruce Rogers, and gradually expanded in popularity. Over the years, Baskerville has undergone countless revivals. The first modern renewal came in 1923, thanks to Stanley Morison of Monotype. In 1978, the Mergenthaler Linotype Company released an updated version of the typeface, which included additional line weights. Then, in 1996, an innovator in digital typography named Zuzana Licko adapted Baskerville into a family called Mrs. Eaves. Her character sets, named after Baskerville’s wife Sarah Eaves, contain over 200 distinctive ligatures and were released by a type foundry called Emigre. Today, more than 250 years after it was created, Baskerville is everywhere! With clean-cut letterforms that retain their legibility at a range of different sizes, the typeface is useful for both display and text. It can be seen in books, newspapers, magazines, and signage all around the world. Modern adaptations of the typeface can be found in the branding of Kate Spade New York, The Metropolitan Opera, and even in the corporate identity of the Canadian government. Baskerville’s endurance is a testament to its simplicity and adaptability. To the modern-day reader, it may look standard, bookish, and even somewhat plain, but it was radical and unconventional in its time. John Baskerville was ambitious, goal-oriented, and forward-thinking. With a bold new vision of what typography could be, he’s had a pretty darn great legacy. So thank you, Mr. Baskerville, for poring over your letterforms, pouring that hot molten metal, and pouring your heart into all that you did. And thank you for joining me on this journey through An Incomplete History of Type. References: Archer-Parré, C., Carey, A. M., & Adcock, K. (2020). The Baskervillepunches: Revelations of craftsmanship. Midland History, 45(2), 176-189. https://doi.org/10.1080/0047729X.2020.1767973 Beier, S. (2015). The design process seen through the eyes of a type designer.Artifact (London, England), 3(4), 8.1-8.8. http://dx.doi.org/10.14434/artifact.v3i4.6199 Boardley, J. (n.d.). Transitional faces. Google Fonts. https://fonts.google.com/knowledge/history_of_type/transitional_faces Gibson, G. (2016, October 9). Sometimes basic is good. Medium. https://medium.com/@gracegibsonE4/sometimes-basic-is-good-e59b66e8a7b5 History West Midlands. (2012, November 27). John Baskerville and the beauty of letters [Video]. YouTube. https://www.youtube.com/watch?v=6_dy_yMf0pE ITC New Baskerville. (n.d.). Fonts.com. Retrieved January 27, 2024 from https://www.fonts.com/font/itc/itc-new-baskerville/story Kate Spade font. (n.d.). FontMeme.com. Retrieved January 27, 2024 from https://fontmeme.com/kate-spade-font/ McCarthy, S. (2013). Each go hide inside me: Black Baskerville remixed. Visual Communication (London, England), 12(2), 198-206. https://doi.org/10.1177/14703572124540 About Our Guest: Hi there! I’m Audrey. I’m a fourth year student at Toronto Metropolitan University, majoring in Creative Industries and minoring in Communication Design. My passions lie in art history, branding, and visual storytelling. With a playful personality and an inquisitive mind, I’m here to share stories that are one-of-a-kind! Music (public domain): TRG Banks - Above the Earth Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

This is the sixth (bonus!) episode in a 5-part guest lecture series, speaking with type professionals from all over the world! We just finished up our trip to the UK and we’re now headed back across the Atlantic Ocean (just one more time!) to New York, USA. Let’s goooooo…. David Soto is a graphic designer and lettering artist based in New York with over 19 years of experience in the field. At the Fashion Institute of Technology, he explored communication design and typography, finding inspiration in the work of great typographers like Doyald Young. Crafting unique hand-drawn logos and logotypes became David’s specialty, emphasizing balanced letterforms and negative space sculpting. He’s been fortunate to work with a range of small to medium-sized clients, with each project teaching him the value of patience and attention to detail. In this episode, you’ll hear David discuss his creative process, as well as the way that building time into his practice and cushioning deadlines is critical to produce his best work. You’ll learn about David’s creative rituals, the Dope Type Society, as well as his future art and design aspirations. Let’s listen in… https://www.instagram.com/aka.dope/ https://www.instagram.com/dopetypesociety About Our Guest: Hello there, I'm David Soto, a graphic designer and lettering artist based in New York with over 19 years of experience in the field. My fascination with drawing led me to the High School of Art and Design, where I discovered a passion for design through a mentorship program that introduced me to industry professionals. At the Fashion Institute of Technology, I explored communication design and typography, finding inspiration in the work of great typographers like Doyald Young. Crafting unique hand-drawn logos and logotypes became my specialty, emphasizing balanced letterforms and negative space sculpting. My design process involves thoughtful research, conceptualization, and sketching, resulting in meticulously refined logos. I've been fortunate to work with a range of small to medium-sized clients, with each project teaching me the value of patience and attention to detail. Sharing my journey and insights on social media, I'm dedicated to fostering a supportive community of designers eager to learn and grow together. Music: Bouncy Gypsy Beats by John Bartmann, Licensed Under CC0 1.0 Universal Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

This is the fifth episode in a 5-part guest lecture series, speaking with type professionals from all over the world! We just finished up our trip to Toronto and we’re now headed back across the Atlantic Ocean to Margate, UK. Let’s goooooo…. Melanie Johnsson is a french illustrator currently living by the sea in the UK with her partner Mike and daughter River. She loves bright colours, bold shapes and quirky characters. When she isn't working for her roster of worldwide clients, she can be found in the water, either kitesurfing, surfing or freediving. Melanie is in love with the Planet thus she prioritises working with sustainable brands and passionate people. Her work is bold, colourful, modern and joyful. She has previously worked with brands such as Vans, Adobe, MOO, Lucy & Yak, Hallmark, E.ON, Givingli and more. In this episode, you’ll hear Mel discuss her family history in design, as well as her favourite tools including how and why she loves Adobe Photoshop. Mel describes how personal branding plays a huge role in today’s world of graphic design and the ways that making your core values known to the world can be critically important to working with your dream clients. Finally, you’ll hear the way in which Mel’s home by the sea in Margate, UK positively affects her creativity. This episode was recorded as part of a guest lecture series in GCM 806 - Advanced Typography in winter 2024 at The Creative School at Toronto Metropolitan University. Let’s listen in… www.melaniejohnsson.com www.mimiforcreatives.com About Our Guest: Melanie Johnsson is a french illustrator currently living by the sea in the UK with her partner Mike and daughter River. She loves bright colours, bold shapes and quirky characters. When she isn't working for her roster of worldwide clients, she can be found in the water, either kitesurfing, surfing or freediving. Melanie is in love with the Planet thus she prioritises working with sustainable brands and passionate people. Her work is bold, colourful, modern and joyful. She has previously worked with brands such as Vans, Adobe, MOO, Lucy & Yak, Hallmark, E.ON, Givingli and more. Music: Bouncy Gypsy Beats by John Bartmann, Licensed Under CC0 1.0 Universal Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

This is the fourth episode in a 5-part guest lecture series, speaking with type professionals from all over the world! We just finished up our trip to Lagos, Nigeria and we’re now headed back across the Atlantic Ocean to Toronto. Let’s goooooo…. Andrea Cataro a Toronto-based creative designer and artist renowned for my vibrant murals and intricate lettering that transform everyday surfaces into storytelling canvases. Her work bridges cultures, offering viewers a blend of joy, inspiration, and connection. With over 12 years of experience and a solid educational background in Design and Art Direction, she’s collaborated with leading organizations to enhance public spaces across Toronto. Andrea is committed to creating art that resonates, invites engagement, and celebrates the diverse fabric of our community. In this episode, you’ll hear Andrea share many, many tips and tricks for creating typographic chalk murals, including tools and strategies for transferring your design on to the wall. If you’ve ever considered dabbling in chalk mural creation, this episode is for you! This episode was recorded as part of a guest lecture series in GCM 806 - Advanced Typography in winter 2024 at The Creative School at Toronto Metropolitan University. Let’s listen in… https://www.andreacataro.com/ https://i.ytimg.com/vi/opMY3o0l-Oo/maxresdefault.jpg https://www.andreacataro.com/mural-art/wild-and-free About Our Guest: Andrea Cataro a Toronto-based creative designer and artist renowned for my vibrant murals and intricate lettering that transform everyday surfaces into storytelling canvases. Her work bridges cultures, offering viewers a blend of joy, inspiration, and connection. With over 12 years of experience and a solid educational background in Design and Art Direction, she’s collaborated with leading organizations to enhance public spaces across Toronto. Andrea is committed to creating art that resonates, invites engagement, and celebrates the diverse fabric of our community. Music: Bouncy Gypsy Beats by John Bartmann, Licensed Under CC0 1.0 Universal Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

This is the third episode in a 5-part guest lecture series, speaking with type professionals from all over the world! We just finished up our trip to Toronto and we’re now headed back across the Atlantic Ocean to Lagos, Nigeria. Let’s goooooo…. Jordan is a Nigerian designer and creative director based in Lagos. He began his career in 2012 and has since worked across different facets of design including branding, experiential, editorial, set design and advertising. Prior to starting the design studio Belonwus, Jordan was a Brand Designer at Bamboo. With a focus on branding, art direction and production design Jordan’s work maintains cultural relevance through his designs for some notable brands like Piggyvest, OctaFX, Pocket, Paystack, and most recently Sporting Lagos. In this episode, you’ll hear Jordan discuss what differentiates Nigerian typography from Eurocentric typographic standards, including its tendency to focus on expressiveness. Jordan highlights a project that takes type from the archives and makes it functional, which can introduce new opportunities and meaning in art and design. You’ll also hear the process for creating a typeface for Sporting Lagos, as well as Jordan’s great advice for taking on projects that help you learn and grow as a creative. You can find visuals and links discussed in the show notes at www.talkpaperscissors.info. This episode was recorded as part of a guest lecture series in GCM 806 - Advanced Typography in winter 2024 at The Creative School at Toronto Metropolitan University. Let’s listen in… Links Discussed in the Episode: Nigerian Typography: Catching Lightning in a Bottle https://www.instagram.com/jordanbelonwu/ festac 77 https://www.instagram.com/ciromaadekunle/ About Our Guest: Jordan is a Nigerian designer and creative director based in Lagos. He began his career in 2012 and has since worked across different facets of design including branding, experiential, editorial, set design and advertising. Prior to starting the design studio Belonwus, Jordan was a Brand Designer at Bamboo. With a focus on branding, art direction and production design Jordan’s work maintains cultural relevance through his designs for some notable brands like Piggyvest, OctaFX, Pocket, Paystack, and most recently Sporting Lagos. Music: Bouncy Gypsy Beats by John Bartmann, Licensed Under CC0 1.0 Universal Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

This is the second episode in a 5-part guest lecture series, speaking with type professionals from all over the world! We just finished up our trip to Athens, Greece and we’re now headed back across the Atlantic Ocean, home to Toronto, Ontario, Canada. Let’s goooooo…. Christopher Rouleau is an independent graphic designer and lettering artist in Toronto. Along with his full-time freelance work, he is also a public speaker, lettering instructor, and published author, and his work has been featured in Spacing Magazine, Uppercase Magazine & Flare Magazine. He attended the Alberta College of Art & Design, and holds a Bachelor of Fine Arts from the University of Calgary. He recently received a Communication Arts Award of Excellence in Typography. He is also an instructor for the online tutorial website, Domestika. In this episode, you’ll hear Chris discuss his professional lettering journey, hear more about his large-scale type mural projects (including practical tips for creating large-scale type murals), the magic behind Chris’ Alphabet 100 practice and tips for drawing cohesive alphabets. You’ll also hear about the contents of Chris’ pencil case (and how he uses each tool), as well as his ideas for delightful new alphabets! This episode was recorded as part of a guest lecture series in GCM 806 - Advanced Typography in winter 2024 at The Creative School at Toronto Metropolitan University. Let’s listen in… https://www.instagram.com/chris_rouleau/ https://christopherrouleau.com/murals-and-chalk/ https://christopherrouleau.com/type-and-alphabets/ https://www.instagram.com/p/C28ssEJLRjN/ About Our Guest: Christopher Rouleau is an independent graphic designer and lettering artist in Toronto. Along with his full-time freelance work, he is also a public speaker, lettering instructor, and published author, and his work has been featured in Spacing Magazine, Uppercase Magazine & Flare Magazine. He attended the Alberta College of Art & Design, and holds a Bachelor of Fine Arts from the University of Calgary. He recently received a Communication Arts Award of Excellence in Typography. He is also an instructor for the online tutorial website, Domestika. Music: Bouncy Gypsy Beats by John Bartmann, Licensed Under CC0 1.0 Universal Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

My Advanced Typography class this semester dared to go where no Advanced Typography class has gone before... it was our most ambitious field trip to date, across the Atlantic Ocean four times in a single class! This episode is the first in a 5-part guest lecture series, speaking with type professionals all over the world, from Greece to Toronto to Nigeria, back to Toronto to finally to the UK, it was a trip of Eras Tour proportions. We learned about designing for major streaming services, as well as what it’s like to draw hundreds of unique letters and alphabets. We heard about the ways in which Nigerian type is uniquely bold and expressive, practical how-to’s for designing typographic chalk murals and finally the importance of communicating your personal values to better attract the clients and work that matter most to you. Buckle up because the first stop on our world tour is Athens, Greece! Chris Ellinas is a versatile professional fuelled by a passion for design thinking and creative problem-solving. His journey in the industry has seen him collaborate with leading brands such as Netflix, Disney+, and Amazon, where he's crafted logos and motion graphics that resonate with global audiences. Beyond his creative endeavors, Chris is dedicated to sharing his expertise through empowering fellow creatives to reach new heights in their careers. In this episode, you’ll hear Chris discuss what it’s like recreating design assets for the entertainment industry, including the tools he relies on across multiple languages (4000 assets and counting!). You’ll also learn about Chris’ digitally nomadic lifestyle, the favourite places he’s lived and worked, as well as a rapid fire Q&A from students. The episode ends with a beautiful story and important lesson that all creatives should hear about passion projects turning into something bigger than themselves. This episode was recorded as part of a guest lecture series in GCM 806 - Typography in winter 2024 at The Creative School at Toronto Metropolitan University. Let’s listen in… Links to Chris' work: https://www.behance.net/chrisellinas https://www.instagram.com/chrisellinas https://www.youtube.com/c/ChrisEllinas https://www.chrisellinas.com/links About Our Guest: Chris Ellinas is a versatile professional fuelled by a passion for design thinking and creative problem-solving. With a background spanning Graphic Design, Video Production, and Mentorship, Chris thrives on crafting visually compelling solutions that leave a lasting impact. His journey in the industry has seen him collaborate with leading brands such as Netflix, Disney+, and Amazon, where he's crafted logos and motion graphics that resonate with global audiences. A true digital nomad at heart, Chris embraces a lifestyle of travel, seamlessly blending work and exploration as he traverses the globe. Beyond his creative endeavors, Chris is dedicated to sharing his expertise through empowering fellow creatives to reach new heights in their careers. With an unwavering commitment to excellence and a knack for storytelling. Music: Bouncy Gypsy Beats by John Bartmann, Licensed Under CC0 1.0 Universal Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

I’m thrilled to introduce my guest today, Ryan Kough, who believes in design as a community-building tool creating partnerships between community members and student designers to create sustainable, long-term design solutions. She is currently an associate professor of Integrated Media Arts at Juniata College. Ryan earned a Bachelor of Fine Arts in Graphic Design from the Savannah College of Art and Design, followed by her Masters of Fine Art in Visual Communications Design at Purdue University. In her free time, she is in the process of restoring a 1930’s Vandercook No. 2 press in her home studio. In this conversation, you’ll hear about Ryan’s gallery exhibition called Under Pressure (opening reception happens this week!). You’ll hear what it’s about, how it got started and key insights Ryan has learned along the way. You’ll also hear from Ryan as to how she uses experimentation in the classroom, specifically revealing the transformative power of the ‘Problems Exercise’; how it’s used as a tool to build trust, practice listening, build empathy and make meaningful change. You’ll also hear the ways in which experimentation has gone sideways for Ryan,  the potential contained in designing ‘with’ versus designing ‘for’ communities, as well as the importance of listening to understand versus listening to respond. On that note, let’s listen in… About Our Guest: Ryan Kough joined the Juniata College faculty in 2014 while instructing a video production course and hosting the first Film Premiere Night on campus in Neff lecture hall. She has taught in departments of Visual Communication Design at Purdue University, the Graphic Design Department within the College of Arts and Architecture at Penn State, and currently offers courses across the departments of Information Technology, Studio Arts, and the Integrated Media Arts Program at Juniata College. Kough has industry experience in multiple design fields ranging from publication design, branding, social media marketing, and pro bono community design initiatives. Most recently, Kough worked with Harper Collins Publishing to create medical illustrations for Dr. Vincent Pedre's Happy Gut. She has won a variety of professional design awards, presented her academic research nationally and internationally, and has published her current research on community-engaged design curriculum and alternative assessment methods including ungrading. Ryan’s passion for letterpress, experimentation, and design history is currently being fulfilled in her personal research. She is currently working to restore a Vandercook No. 2 Proofing press with the goal of one-day offering letterpress workshops. Music: Rubiks Cube by John Bartmann, Licensed Under CC0 1.0 Universal Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

Today I share a story about stories within stories pertaining to the illustration and written work of my guest, Raymond Biesinger. Raymond Biesinger is a Montréal-based illustrator, artist, and best-selling author who has been part of more than 1000 assignments on five continents since 2002. Raymond’s past clients include Billboard, the Economist, Fast Company, the Globe & Mail, GQ, Harvard Business, the New Yorker, the New York Times, PRINT, Real Simple, Time, WIRED and many, many more. In this conversation, you’ll hear about the ways that storytelling is baked into Raymond editorial, commercial and personal projects. We do a deep dive into one of Raymond’s poster projects that took him 20 working days to complete through ‘chasing the density dragon’. You’ll also hear Raymond’s creative process and the tools he uses, the way imperfections play a vital role in the spirit of his work, and ultimately how layers of narrative make Raymond’s work clever, complex and consistently exciting. Let’s listen in… Raymond's Portfolio About Our Guest: I’m a Montréal-based illustrator, artist, and best-selling author very into editorial and commercial work, and I’ve been part of more than 1000 assignments on five continents since 2002. Other interests: minimalism, maximalism, world and local history, equality, diversity, economics, music, science fiction, historic buildings, pictorial maps, Canadiana, wall art, preserving a 145-year-old home, etc. I’m also a proud member of Illustration Québec, which is a non-profit organization whose mission is to bring together and support illustrators. You can think of much of my work as a collage that doesn’t look like a collage—pieces made from real-world lines, shapes, and textures scanned into a computer that’s used as an infinitely-forgiving Xerox machine, glue, and scissors. These “collaged” components lose their recognizability in the process, but through repetitive use bring flaws, eccentricities, and geometries that form a unique visual vocabulary. Music: Smooth Criminal by John Bartmann, Licensed Under CC0 1.0 Universal Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

In this final episode of 2024, I sit down with type designer, Anna Khorash. Anna is currently based in The Hague, Netherlands, where she completed the TypeMedia Masters program in type design at the Royal Academy of Arts. Her graduation project Loza will soon be available on Women in Type platform. Today she is balancing commercial projects with her own experimental typefaces and teaching type design online. In this conversation, you’ll hear from Anna about her background in type design and her newest experimental typeface, Invert; why it started, how it got going and where it is now. You’ll learn how variable fonts work and Anna’s unique technical and creative constraints in this highly complex typeface. Anna shares why platforms like Future Fonts are ideal for experimental projects like this, Invert’s future expansion plans into other writing systems, as well as which typeface she’d use for the rest of her life... if she had to choose. I encourage you to head over to futurefonts.xyz and download a free trial version of Invert to play along with as you listen. See below for Anna’s generous sharing of her process in designing this typeface. Let’s listen in… FutureFonts trials of Invert https://www.futurefonts.xyz/anna-khorash/invert Using variable fonts in web https://abcdinamo.com/news/using-variable-fonts-on-the-web CoFo Sans https://contrastfoundry.com/typeface/cofo-sans Drawbot (the tool to create animations with variable fonts by scripting) https://www.drawbot.com About Our Guest: Anna is graphic and type designer, currently based in the Hague, Netherlands. She completed her master's degree in type and typography at the Moscow University of Printing Arts in 2018. After that she worked as a freelance graphic designer with art exhibitions, teatral festivals, museums and architect schools. She combined her practice with a type designer job in Contrast Foundry. But the interest in type design was  serious and she focused on type design mostly. In 2020 Anna moved to Israel, to learn Hebrew language, explore the culture and start to design Hebrew typefaces. She worked with Fontef and AlefAlefAlef type studios. In 202q Anna applied for the TypeMedia master program in type design at the Royal Academy of Arts in The Hague and moved to the Netherlands. Her graduation project Loza will soon be available on Women in Type platform. After graduation she is working as a freelance type designer. Today she is balancing commercial projects with her own experimental typefaces and teaching type design online. Her current clients are BoldMonday, Typotheque, Letterror, Contrast Foundry, Fontef, AlefAlefLafe, JulyType, TypeWest and others. Music: A Little Shade by HoliznaCC0, Licensed Under CC0 1.0 Universal Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash

Name: Didot Release Date: Between 1784 and 1811 Designer: Firmin Didot Classification: Modern Serif Owned By: Various type foundries, most notably Hoefler & Co. and Linotype Claim to Fame: The beginning of the Neoclassical typeface movement and recognized fashion icon as Vogue Magazine’s logo Didot has often been regarded as the first Modern typeface. This style was perfected by Firmin Didot and later by Giambattista Bodoni, with both men eventually being recognized as the fathers of the Didone typography movement. Inspired by perhaps one of the most widely known Transitional typefaces of the 18th century, Baskerville, Firmin Didot experimented with the current letterforms of that era, stretching the boundaries of typography to its extremes before releasing his first typeface in 1784. Interestingly, the original typeface was never fully completed by Firmin Didot and he actually spent over 27 years making changes before his death. As a result, many type foundries have created their own Didot derivatives in honour of the typographic giant. For this episode, we will explore two revivals of the Didot typeface--HTF Didot by Hoefler & Co. and Linotype Didot by Linotype. The Didot typeface features a character set with increased stroke contrast, condensed armature, hairline strokes, vertical stress and flat, unbracketed serifs. While unsuitable for body copy due to its almost extreme contrast level, Didot is often seen in large format signage and for various display purposes. The Hoefler & Co. revival of this typeface features a staggering 42 fonts compared to its Linotype cousin which only has 7 variations. This was possible with their introduction of italics that they designed to work at large sizes which in the realm of modern typography, was the first of its kind. Additionally, Hoefler & Co. drew each of the family’s 6 styles in 7 different “optical sizes,” to keep its hairlines delicate at every size: 6, 11, 16, 24, 42, 64, and 96 point. Using the appropriate font along with its corresponding size keeps the hairlines crisp and the type legible. Didot as we know is often associated with grandeur, denoting luxury, opulence and artistry of only the highest degree, attracting the eyes of large fashion publications, designers and brands. In fact, Didot also found itself being sought after by royalty, thanks to Firmin Didot himself whose family owned the most influential and successful print shop and font foundry in France. So much so that Firmin along with seven other family members became printers for the King himself at the time. Eventually, the Didot typeface would be considered the standard in French printing for over a century. Vogue, the most influential and most recognizable publication in the world of fashion, decided to use the typeface for its iconic logo in 1947. From Japan to the United States, the typeface’s fame spreads. In 1991, Harper’s Bazaar, a prominent magazine dedicated to looking at the lives of women through the lens of fashion, commissioned Hoefler & Co. to create a typeface that, in their words “works like no other, a Modern which--unlike the commercial cuts on Bodoni--would have hairline serifs, and maintain over a range of sizes.” This was followed by companies and brands such as the Columbia Broadcasting Station or CBS, the band Nirvana, Zara, and Giorgio Armani. Ironically, Firmin Didot, inventor of this widely known “luxurious” typeface and trusted printer of the King of France, is also credited with the invention of stereotypography, an innovation in print production and distribution that ultimately changed the book industry. It involved the use of a stereotype, a solid plate of type metal that was cast from a papier mache or plaster mould taken from the surface of a forme of type. Fun fact, the mould used in creating a stereotype was indeed called a flong. Didot’s stereotypes were far lighter, less fragile and took up less space than a forme full of type. This process allowed books to be printed less expensively which opened up book ownership and casual literacy to the masses. Printing this typeface required only the highest quality paper and equipment, which given its association with luxury, seemed almost fitting. Writer and typographer Sarah Hyndman, embarked on an investigation that explored the relationship between typography and cost. Hyndman’s previous book discussed the tastes we associate with different fonts so this time she was on a mission to discover whether a typeface could truly make a product appear more expensive and also whether other typographic characteristics have been associated with being cheap. Hyndman conducted her survey in a vacuum, with black typefaces laid out against white paper, with only the words “Buy Me.” I found this particularly interesting since typefaces are rarely seen in such an isolated manner--free from any kind of context. Hyndman’s survey which was answered by over 370 participants, suggested that bold typefaces with round terminals appear inexpensive whereas lighter weights, serifs and contrasts elicited a higher price point, with Didot being considered the diamond of all typefaces. Reading about these results had me wondering whether the same associations would be made for a designer working on a luxury brand, which begs to ask the question--Can a typeface or a family of fonts like Didot truly symbolizes luxury, and therefore distinctiveness, if they’re commonly used? Roanne Adams, creative director of RoAndCo, a boutique agency, sees luxury as an “ever-evolving space” rather than some static concept. She says “For a long time, thin, wispy or high contrast serifs were common and seemingly only associated with luxury. But, as the industry evolved and looked for new customers, naturally a more subtle, less flashy aesthetic was born.” This can be seen in brands like Chanel, Proenza Schouler, Balenciaga, and Fendi who have all led the trend towards a more subdued and somewhat understated sans serif type system. If we think about it, this change actually suits the time if we consider the digital space, where thin serifs are often hard to replicate on screen and inadvertently called for stronger, more usable and clear typography. Type expert and designer Jonathan Hoefler describes HTF Didot as a “major part of the most fashionable brands, a testament to the flexibility and durability of the style.” However, he also adds “the best [typefaces] are those that can speak in different voices, and convey different things.” So, perhaps there’s no one typeface that can truly evoke a sense of luxury. Instead, the relationship between typography and luxury is an ever-evolving concept that adapts with consumer trends that are also ever-evolving. However, Hyndman’s survey does suggest that cultural associations are in fact deeply ingrained in the way we experience typography and until she conducts another study, Didot will forever remain a diamond in the world of typography. REFERENCES Dumitrașcu, B. (2020, June 9). The revival of the neoclassic typefaces, part II: The Didots. Bianca Dumitrașcu. Retrieved February 26, 2022, from https://biancadumitrascu.com/the-didots/ Admin, J. (2021, July 19). Vogue Logo & Its History. LogoMyWay. Retrieved February 26, 2022, from https://blog.logomyway.com/vogue-logo/#:~:text=The%20Didot%20font%20made%20an,scripts%20alongside%20illustrative%20picturesque%20letters. Encyclopædia Britannica, inc. (n.d.). Didot family. Encyclopædia Britannica. Retrieved February 26, 2022, from https://www.britannica.com/topic/Didot-family Encyclopædia Britannica, inc. (n.d.). Stereotype. Encyclopædia Britannica. Retrieved February 26, 2022, from https://www.britannica.com/technology/stereotype-printing Hart, D. (2015, June 10). Firmin Didot: A French Legacy. Metmuseum.org. Retrieved February 26, 2022, from https://www.metmuseum.org/blogs/in-circulation/2015/firmin-didot Harvey, A. (2016, March 7). Didot typeface. Medium. Retrieved February 26, 2022, from https://medium.com/@redheadedmandy/didot-typeface-d38ee7c02c4c Hoefler, J. (n.d.). Fonts by hoefler&co. Fonts by Hoefler&Co. Retrieved February 26, 2022, from https://www.typography.com/fonts/didot/design-notes About Our Guest Host: I’m Nate (he/him/his) and I’m a Toronto-based graphic designer, a Graphic Production Artist at TC Transcontinental and a graduate of the Graphic Communications Management at Toronto Metropolitan University. I have had the pleasure of working with various clients to help them with brand strategy, custom print and digital products, contract work and social media management. I love taking on new challenges in order to learn and add to my ever growing skillset. While I mainly work in graphic design, I enjoy dabbling in photography, videography and web design too. Outside of work, you can find me cooking and developing new recipes, working out, spending time outdoors and hanging out with my boyfriend, siblings and friends. Music (public domain): TRG Banks - Above the Earth Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo byAlex on Unsplash

Name: Bodoni Release Date: 1798 Designers: Giambattista Bodoni Classification: Modern Serif Script Owned By: Linotype Claim to Fame: One of the older typefaces still in use as a font today. REFERENCES Boardley, J. (2021, May 30). A Brief History of Type. I Love Typography. https://ilovetypography.com/2008/05/30/a-brief-history-of-type-part-4/ Bodoni Font Family Typeface Story. Fonts.com. (n.d.). Retrieved March 3, 2022, from https://www.fonts.com/font/linotype/bodoni/story Design: Bodoni. CBA Italy. (2021, July 28). Retrieved March 3, 2022, from https://cba-design.com/italy/en/insights/bodoni-2/ Evans, J. (2016, September 14). Typeface History: Bodoni - Janee Evans. Medium. https://medium.com/@jevans67/typeface-history-bodoni-f2ef2d285cfe Giambattista Bodoni | Italian printer. (2022, February 12). Encyclopedia Britannica. https://www.britannica.com/biography/Giambattista-Bodoni Keskinen, S. (2021, April 16). Bodoni Typeface- Giambattista Bodoni | GD 203. NC State University. https://go.distance.ncsu.edu/gd203/?p=69814 Lekach, M. (2018, January 23). 8 famous fonts and designers who made them. 99designs. https://99designs.ca/blog/creative-inspiration/8-famous-fonts-and-designers-who-made-them/ Morganlmurray, P. by. (2014, July 3). Bodoni. The History, Style and Use of Type. Retrieved March 3, 2022, from https://morganlmurrayims224researchtopic.wordpress.com/2014/07/03/bodoni/ Suk, S. (2019, November 21). Typeface — Bodoni - Stefanie Suk. Medium. https://medium.com/@ssuk/typeface-bodoni-e08160eeefdd About Our Hosts: Hey, I’m Shelby Cooper, a recent graduate from Toronto Metropolitan University in the Graphic Communications Management program with a concentration in packaging and a minor in communication design. I am currently working full-time as a Digital Solutions Associate at Impetus Digital, a company delivering virtual collaboration experiences for life sciences companies. In my free time, I run a freelance graphic design business where I get to express my creativity and create client relationships. @shelbyxcooper @shelbycooperdesign I am Zohal Rashid, a recent GCM graduate from TMU with a concentration in packaging and a minor in Criminology. I am currently working in a QC role at StickerYou, a sticker printing company based in Toronto. I like to think of myself as a silent artist, simply an observer and admirer and very rarely making art. Music (public domain): TRG Banks - Above the Earth Talk Paper Scissors Theme Music: Retro Quirky Upbeat Funk by Lewis Sound Production via Audio Jungle Boat Origami Photo: Boat Origami Photo by Alex on Unsplash