A transmission from the deep south.
Richard Miller’s Westin Black is a great take on the friendly slab, by way of Cooper Black. It’s now available for desktop and web use from Fontspring, as part of a new collection of rounded faces that also includes Museo Sans Rounded and Proxima Nova Soft.
New from TK Type: Chartwell, a type family by Travis Kochel that employs OpenType ligatures to interpret and visualise numeric data as line, pie and bar graphs.
Great coverage of type-related updates to both Esquire and Condé Nast Traveler by André Mora at Fonts In Use. Both publications have adopted Commercial Type’s geometric sans Graphik, pairing it with commissioned serif Granger (named for its editor) and the playful swashes of DSType’s Leitura (pictured), respectively.
Darren Booth’s sparse, Ruscha-inspired cover design for actor Steve Martin’s recent novel An Object of Beauty. Darren describes his process, and the creative freedom he was given by Hachette Book Group’s creative director Anne Twomey, on his blog.
Instapaper creator Marco Arment on Readability’s new service which enables users to financially compensate the content providers whose material they read:
Trust me, these guys really know their stuff, and their heads are in the right place: there are no sinister motives or shady practices. It works exactly the way you’d expect, and is one of the most positive, constructive efforts I’ve seen in the online publishing world in a long time.
Watch the promo video to see how it works.
(Source: marco)
Just a few of the many alternate glyphs in Tomáš Brousil’s new Tabac Sans superfamily — a linear, humanist face that does double duty for both text and titles, with support for more than 40 languages.
Jon Contino’s poster illustration for the Decemberists’ “Here I Dreamt I Was an Architect”. (via Peter Nidzgorski)
Written and designed by Matthew Buchanan. Colophon. Please give credit. Email
