For the Love of Lettering: Stories About Typography

I didn’t pay attention to font until I worked for my college newspaper. After months of poring over proofs in InDesign, I realized I was learning the differences between fonts, their specific names, where they fit best. I’m no typographer—I don’t have the patience—but I’m fascinated by the subtle ways type entrances us and the absolutely grueling work that goes into its design and placement. Now, not only do I know the difference between type design and typography, but I try to make an effort to appreciate the work that goes in to the books I love, the gig posters for my favorite bands, the fonts on my blog.

1. “Praise the Colophon: Twenty Notes on Type.” (Nick Ripatrazone, The Millions, March 2015)

Colophon: a statement at the end of a book, typically with a printer’s emblem, giving information about its authorship and printing. You know: the details about the typeface, the typographer, the publisher, the who, what and where of the book’s creation. Nick Ripatrazone researches the colophon’s history and its artistic purpose. He concludes, “I call for the return of colophons. The battle of the book is not to be won or lost in preferences of print or digital. The page will always remain. Letters will always remain.”

2. “A Type House Divided.” (Jason Fagone, New York, June 2014)

Jonathan Hoefler and Tobias Frere-Jones: two of today’s preeminent type designers. They worked hard, formed the Beatles of type houses, fell apart and ended up in court. What happened?

3. “The Gorgeous Typeface that Drove Men Mad & Sparked a 100 Year Mystery.” (Kelsey Campbell-Dollaghan, Gizmodo, February 2015)

Type house feuds aren’t only a modern phenomena—in 1916, Dove Press’ founder dumped thousands of bits of his original, revered typeface into the river in an effort to hide them from his business partner. In November 2014, a team of divers rescued some of these lost artifacts.

4.  “Designing the Visual Identity of Girls. (Becky Chung, The Creators Project, March 2015)

Lena Dunham collaborated with production house Grand Jeté to design the opening credits for “Girls,” the brand for her production company with Jenni Konner, and the trailer for “It’s Me, Hilary: The Man Who Drew Eloise,” which Dunham produced.

5. Wes Fest

At Art of the Title, Lola Landekic interviews Jessica Hische, who designed the striking typeface for the credits of Wes Anderson’s “Moonrise Kingdom.” And Wes’ whimsical direction strikes again at the Creative Review, where Annie Atkins, the lead graphic designer for “The Grand Budapest Hotel,” discusses the intricacies of the gorgeous props.