As you might have heard, MoMA recently acquired 23 typefaces for its Architecture and Design collection. I was curious about how such an acquisition works, so I sent a quick email to Jonathan Hoefler, one of the principals at Hoefler & Frere-Jones, a New York City type foundry that contributed four typefaces to the MoMA.
Kottke: Three of the four H&FJ typefaces acquired by MoMA are available for purchase on your web site. Did they just put in their credit card info and voila? Or was there a little more to it?
Hoefler: MoMA’s adopting the fonts for their collection was much more complex than buying a copy online (and not only because Retina, one of our four, isn’t available online.) I should start by stating that you can never actually “buy fonts” online: what one can buy are licenses, and the End-User License that surrounds a typeface does not extend the kinds of rights that are necessary to enshrine a typeface in a museum’s permanent collection. The good news is that H&FJ has become as good at crafting licenses as we have at creating typefaces, an unavoidable reality in a world where fonts can be deployed in unimaginable ways. This was a fun project for our legal department.
It was actually a fascinating conversation with MoMA, as we each worked to imagine how this bequest could be useful to the museum for eternity. What might it mean when the last computer capable of recognizing OpenType is gone? What will it mean when computers as we know them are gone? How does one establish the insurance value of a typeface: not its price, but the cost of maintaining it in working order? Digital artworks are prone to different kinds of damage than physical ones, but obsolescence is no less damaging to a typeface than earthquakes and floods to a painting. On the business side there are presumably insurance underwriters who can bring complex actuarial tables to bear on the issue, but I think it’s an even more provocative issue for conservators. 472 years after its completion, the frescoes of the Sistine Chapel underwent a restoration that scholars still find controversial. What might it mean for someone to freshen up our typefaces in AD 2483?
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This study demonstrated that student retention of material across a wide range of subjects (science and humanities classes) and difficulty levels (regular, Honors and Advanced Placement) can be significantly improved in naturalistic settings by presenting reading material in a format that is slightly harder to read…. The potential for improving educational practices through cognitive interventions is immense. If a simple change of font can significantly increase student performance, one can only imagine the number of beneficial cognitive interventions waiting to be discovered. Fluency demonstrates how we have the potential to make big improvements in the performance of our students and education system as a whole.
I agree with Lehrer…get David Carson on the horn. (thx, lara)
Linotype: The Film is a feature-length documentary film centered around the Linotype typecasting machine invented by Ottmar Mergenthaler. Called the “Eighth Wonder of the World” by Thomas Edison, the Linotype revolutionized printing and society, but very few people know about the inventor or his fascinating machine.
The Linotype completely transformed the communication of information similarly to how the internet is now changing it all again. Although these machines were revolutionary, technology began to supersede the Linotype and they were scrapped and melted-down by the thousands. Today, very few machines are still in existence.
In the middle of Gotham, our family of 66 sans serifs, there is a hushed but surprising moment: a fraction whose numerator has a serif. So important was this detail that we decided to offer it as an option for all the other fractions, a decision that ultimately required more than 400 new drawings. Why?
As you’ll read below, it’s something that we added because we felt it mattered. Even if it helped only a small number of designers solve a subtle and esoteric problem, we couldn’t rest knowing that an unsettling typographic moment might otherwise lie in wait. We’ve always believed that a good typeface is the product of thousands of decisions like these, so we invite you to join us on a behind-the-scenes look at some of the invisible details that go into every font from H&FJ.
Want to see the state of the art in web design using web fonts and Typekit? Check out Lost World’s Fairs. It’s all good, but Frank Chimero really knocked it out of the park with the 1962 Atlantis World’s Fair. With HTML5 and web fonts, experimentation with web design seems open and fun again; reminds me of the 90s a bit.
Back in July, Ben Terrett wrote a post about how many instances of the word “helvetica” set in unkerned 100 pt Helvetica it would take to go from the Earth to the Moon:
The distance to the moon is 385,000,000,000 mm. The size of an unkerned piece of normal cut Helvetica at 100pt is 136.23 mm. Therefore it would take 2,826,206,643.42 helveticas to get to the moon.
But let’s say you wanted to stretch one “helvetica” over the same distance…at what point size would you need to set it? The answer is 282.6 billion points. At that size, the “h” would be 44,600 miles tall, roughly 5.6 times as tall as the Earth. Here’s what that would look like:
The Earth is on the left and that little speck on the right side is the Moon. Here’s a close-up of the Earth and the “h”:
And if you wanted to put it yet another way, the Earth is set in 50.2 billion point type — Helvetically speaking — while the Moon is set in 13.7 billion point type. (thx, @brainpicker)
It is not a list of my favorite typefaces, nor is it a list of the most popular typefaces. Instead, it is a list of typefaces that have been “important” for one reason or another. However, I am not going to provide my reasons. Instead, I am going to let the readers of this blog see if they can figure out the contribution that each of these ten faces makes.
Great song by Cee-Lo, who you may know as one half of Gnarls Barkley.
NSFW in both the visual and audio departments for extensive use of the phrase “fuck you”.
I love Anil’s comment that the video is “a little bit Tobias, and a little bit Sasha”. And indeed the typeface in the video is Champion Gothic, designed by Tobias Frere-Jones’ partner, Jonathan Hoefler.
The acquisition of @ takes one more step. It relies on the assumption that physical possession of an object as a requirement for an acquisition is no longer necessary, and therefore it sets curators free to tag the world and acknowledge things that “cannot be had” — because they are too big (buildings, Boeing 747’s, satellites), or because they are in the air and belong to everybody and to no one, like the @ — as art objects befitting MoMA’s collection. The same criteria of quality, relevance, and overall excellence shared by all objects in MoMA’s collection also apply to these entities.
Clever idea: you can measure the amount of ink required to print different typefaces simply by writing them out with ballpoint pens. The pens themselves become the usage graph:
“We continue to make subtle changes” Ashworth admits, “but we’re very wary about doing too much and are always happy to roll back changes if they end up not feeling ‘right.’
“The most recent major change was to the numbers 1 and 4 earlier this year. Not a lot of people noticed until a poster appeared advertising engineering work on the 14th of February — then I got A LOT of emails.”
This will change the way you design websites. Add a line of code to your pages and choose from hundreds of fonts. Simple, bulletproof, standards compliant, accessible, and totally legal.
I haven’t had a chance to play around with this yet, but hope to soon. And hey, you can use Silkscreen with Typekit.
Emigre has released a sans serif companion for Mrs Eaves, Mr Eaves.
Mr Eaves was based on the proportions of Mrs Eaves, but Licko took some liberty with its design. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique characteristics.
Very handsome. I’ve always liked the attitude and flourishes of Emigre’s typefaces. (via quips)
To that end, our Javascript is minified and the fonts themselves are represented as Base64 encoded strings. You may see right through this, but the vast majority of web users wouldn’t know what to make of it.
Those Base64 encoded strings are then placed right into the CSS file. And even better than that, the fonts are split up into multiple files and recombined using the CSS font stack. Pretty clever stuff.
At 5, Edward received a toy printing press as a gift and began publishing his own newspaper. (It was a very small newspaper, about the size of a postcard, his son said.) Only a few years later, he and a friend opened a print shop in a nearby basement, doing jobs for paying customers; they ran the business through high school and for a year afterward, to earn college money.
The Typography Manual has several useful features and resources for designers, including a visual type anatomy glossary, a font size ruler, an em calculator, and a enough content to fill a 60 page book. It has the all the essentials of a desk reference in a regularly updated pocket resource.
Throughout the nation men and women, forgotten in the typographical philosophy of the Foundries, look to us here for guidance and for more equitable opportunity to share in the distribution of typefaces… I pledge myself to a New Deal for the American people. This is more than a font. It is a call to arms.
Typekit is an upcoming typeface hosting service which will provide vetted fonts that you can include in your site’s stylesheet using the @font-face mechanism.
That’s where Typekit comes in. We’ve been working with foundries to develop a consistent web-only font linking license. We’ve built a technology platform that lets us to host both free and commercial fonts in a way that is incredibly fast, smoothes out differences in how browsers handle type, and offers the level of protection that type designers need without resorting to annoying and ineffective DRM.
What a great idea. And web entrepreneurs pay attention, this is how to make a compelling online property: take an idea that everyone loves in theory but doesn’t use in practice because it’s a pain in the ass (in this case, embedding type on the web) and offer a hosting service to solve that problem. YouTube did this with videos, Blogger/Blogspot, TypePad, & Wordpress did this with blogs, Flickr did it with photos, etc. etc.
Both houses of Congress have recently passed credit card legislation which will cut down on credit card companies abusing their customers. The NY Times has a guide to what the new legislation could mean for consumers. The bill that passed the House contains some interesting provisions on how card companies can use type.
The House throws in what ought to be called “The Fine Print Rule.” Card companies must print their account applications and disclosures in 12-point type or greater. A supervisory board will also probably declare certain hard-on-the-eyes fonts off limits. The Senate is silent on typeface but imposes many other communication requirements.
Section 122 of the Truth in Lending Act (U.S.C. 1632) is amended by adding at the end the following new subsection:
“(d) Minimum type-size and font requirement for credit card applications and disclosures. -All written information, provisions, and terms in or on any application, solicitation, contract, or agreement for any credit card account under an open end consumer credit plan, and all written information included in or on any disclosure required under this chapter with respect to any such account, shall appear-
“(1) in not less than 12-point type; and
“(2) in any font other than a font which the Board has designated, in regulations under this section, as a font that inhibits readability.”.
I haven’t seen a credit card application or bill in years (we’re paperless)…what unreadable fonts are these companies using? Do they set their terms and conditions sections in 6-pt Zapf Dingbats a la David Carson?
Sensationalism aside, it’s significant that the ever-increasing quality in type design these days — dubbed by some as the new “golden age” of type — has caused this year’s list to supersede previous lists in many ways.
Joe liked the idea of measuring how long this number would be if it were set in type, which immediately called into question the choice of font. The number’s length would depend chiefly on the width of the font selected, and even listener-friendly choices like Times Roman and Helvetica would produce dramatically different outcomes. Small eccentricities in the design of a particular number, such as Times Roman’s inexplicably scrawny figure one, would have huge consequences when multiplied out to this length. But even this isn’t the hairy part. Where things get difficult, as always, is in the kerning.
In some cases, properly kerning the number resulted in a difference of more than 1000 feet for 12 pt. text.
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