News - Parachute® on Tuesday, September 29th, 2009
The results of the International Type Design Competition “Modern Cyrillic 2009″ were announced last week. The competition took place in Moscow and was held by ParaType with support by the Federal Agency for Press and Mass Communications of Russia. It was dedicated to the 300th anniversary of Peter the Great’s reform of Russian typography. This event follows the success of “Kirillitsa‘99” which took place ten years ago. The competition judges included well-known Russian designers and font specialists representing leading Russian type foundries and schools of type design. Cyrillic typeface projects and completed typefaces created and/or released after January 1, 2006 were eligible. This applied both to original works as well as revivals. There were 234 entries from 13 countries. The jury which convened on September 14, reviewed and evaluated 185 works presented by the Selection Committee. Then they selected 23 entries for Honor Diplomas for Excellence in Type Design.
PF Centro Pro, last year’s winner of the European Design ED Awards 2008 for Original Typeface, was selected to be among the winners. Centro was also in the list of the 10 best typefaces of 2008 which was compiled by the independent Evasion. Centro Pro is not just a type family, it is a type system.This large series of 40 fonts with 1519 glyphs each, is composed of three superfamilies (serif, sans and slab), includes true italics and supports Latin, Greek and Cyrillic. Centro is a very legible contemporary group of typefaces, which is ideal for a wide range of design works. You may also read a very informative article here in this blog about the making of Centro Pro.
PF Champion Script Pro, one of the most-talked-about typefaces, was also selected by the jury. This is the most advanced and powerful calligraphic typeface ever made. Its contemporary appearance blends perfectly with its classic roots. Each one of the two weights is loaded with 4280 glyphs(!), offering simultaneous support for all European languages based on the Latin, Greek and Cyrillic scripts. It includes an extensive array of ligatures and alternate glyphs in all languages, never before released or incorporated within the same font. The article on the making of Champion Script Pro explains how it was designed and put together as a typeface.
Finally, PF Goudy Initials Pro and Ornaments is a revival taken to a higher level. The Latin characters were designed originally by Frederic Goudy around 1918. The craftmanship of these complicated initials as well as the endless creative coloring possibilities offered by the 6 additional styles which function as overlay layers (may be colored individually), make this typeface an essential part of your type library. The 3 winning typefaces were designed by Panos Vassiliou.
History - Parachute® on Thursday, September 24th, 2009
Our summer destination was Budapest the capital of Hungary, one of the most beautiful capitals of Europe with a flavor of art deco architecture. We paid a visit to the Budapesti Történeti Múzeum (Budapest History Museum) which is inside the palace of Budapest. One of the permanent exhibitions includes “Budapest in the Modern Age” which highlights the birth and development of Budapest. Guests may explore the city and how it came to be, its economy, the ephemeral life of its citizens and its officers. A large section of the exhibition revolves around the art of typography, with newspapers, posters, contracts, even citizen lists of the past centuries. A well organized exhibition which gives you an insight about the typographic culture of Budapest.
Doug Clouse and Angela Voulangas’ book The Handy Book of Artistic Printing is one of the best publications devoted to the history of American artistic printing. This handsome book which was recently published by the Princeton Architectural Press, takes you back to the late nineteenth century where letterpress printers, engravers and lithographers boldly challenged the rational sobriety of traditional design by introducing intricate borders, corner embellishments and quirky typefaces. The particular aesthetic movement was spread from Britain to the United States and was quickly embraced by consumers who eventually forced manufacturers and printers to satisfy market demand with a loosely interpreted notion of the artistic. Eventually, ornate typography became the style of choice for printed matter, only to fall out of favor at the end of the nineteenth century. The Handy Book of Artistic Printing features more than 150 examples of promotional printed pieces and type specimens of that period anything from advertisements to book covers, cards and flyers. The book is particularly useful to graphic designers, fine artists and type designers.
Gadget - Parachute® on Thursday, September 10th, 2009
What do you think about the idea of having a table that can organize your fonts and help you find the right ones to use for your project as well as compare them with other fonts that you may have in your font database? When most designers search for a typeface, they have two options: either to use a catalog by flipping pages or to click through hundreds of websites, without the option of printing large blocks of text on paper. Both choices are quite boring and tiring. The Fontplore setup allows you to combine the advantages of both web and print media and brings a completely new feeling into the process.
The interaction of the table is based on tangible objects such as a round shape which is the primary navigation object and some pyramid-shaped objects which are used to apply actions such as save, print and reset.
The development of interactive tables is still in its early days but the Fontplore table could be used as some kind of customer attraction for bigger design agencies, where clients and designers get together to select a suitable typeface for a project.
Promotion - Parachute® on Thursday, September 03rd, 2009
This is a set of brilliant print ads for STIHL machinery, directed mostly to an upscale market. Typography is used creatively to emphasize the entire concept and underline the product. The eye of the reader successfully stays with the product through the use of typographic sections and open white space. The first ad highlights a grass trimmer which is used to give the page a professional -looking finish. In the second ad a blower blows away the bad news from the newspaper while a chainsaw alters the landscape of the entire page in the third ad.
Advertising Agency: Winsper, Boston, USA
Creative Director: Steve Bautista
Art Directors: Brian Fandetti, Mitch Lunsford
Copywriters: Steve Bautista, Chris Lee
Photographer: Ed James
This blog is administered by Parachute®, an independent typefoundry dedicated to producing sophisticated multilingual opentype fonts for the discriminating designer. Here, you'll find useful typographic tips, new releases, pre-release notifications, historic references, trends and everything else typographic. Obsessed with type? Yes, we are!