Occlusion Grotesque – Bjørn Karmann Occlusion Grotesque is an experimental typeface that is carved into the bark of a tree. As the tree grows, it deforms the letters and outputs new design variations, that are captured annually. The project explores what it means to design with nature and on nature’s terms.
Observing the GANN learning from the tree and reflecting on the way Occlusion Grotesque grew is both fascinating and complex. The changing shape over time really seems to suggest some underlying growth logic, although rationally we know this is not possible with such simple ML models.
To see the typeface in action, head over to Autralian National University’s School of Cybernetics, where they’ve typeset Richard Brautigan’s poem, All Watched Over By Machines Of Loving Grace.
But what if, instead of your own Beech forest in Denmark, you just have some houseplants?
For those of us who just can’t seem to keep a houseplant alive, Anna prescribes her spiky little Sagauro typeface. Its forms mimic the water-absorbing spines of cacti – the perfect option for people who tend to forget to water their plants.
Then there’s Orkyd, which “grew out of the mystery of the grocery store orchid, the houseplant that is always for sale but rarely seen in the home”. Taking just three days to create, Anna spent hours on the floor of her room tracing the symmetrical forms of blossoms from a “600-something-page encyclopaedia of orchids”. This bold yet whimsical typeface was her favourite to create and has enjoyed well-deserved success, recently being featured in Monotype’s 2022 Type Trends report and a Paloma Wool campaign.
Imagine the patience needed for this photography project.
Alphabet Truck – Eric Tabuchi With this edition of Alphabet Truck, Eric Tabuchi completes a work representing several thousands of kilometers traversed over these past four years.
Handwriting can be bold and mad, or beautifully meaningless, but always personal and genuine, right? Designer Jon Hicks wanted to convert his dad’s “distinctive architect’s handwriting” into its own typeface.
Bryan Font – Hicks There were several stylistic choices my dad made in his handwriting that were vital to reproduce in the font. For example, the shape of the lowercase T altered depending on whether it was written cursively or on its own.
It’s very cool, though the motivation behind it could be seen as a little … morbid?
I’ve had a focus for getting this font ready, as I wanted to use it on the Order of Service for his funeral.
That reminded me a little of Bobby McIlvaine’s diary and the desire to hold on to something handwritten by a lost loved one. Except that this Order of Service has been kind of faked — you don’t write your own, surely?
Anyway, here’s another.
Creating a handwritten font for Culture Amp – UX Collective If you think about your own handwriting, there are always letters that you customise and (whether consciously or subconsciously) have become distinctly yours. I remember that era in school where many of my friends customised their handwriting with little love heart or open circle dots on their i’s ….ah simpler times. But I’m not talking about that. I’m talking about little quirks that come from the way you hold your pen badly (as I am notorious for) or because you the way you learnt to construct a letter was backwards. Those are what moves handwriting from feeling like anybody’s to yours. That’s what this typeface needed.
Can’t really get excited about a new version of Windows, no matter how much the Google News algorithm thing wants to push it at me.
Microsoft looks ready to launch Windows 11 – The Verge It’s not long until we find out whether Microsoft is ready to dial the version number of Windows up to 11. The Windows elevent (as I’m now calling it) will start at 11AM ET on June 24th, and The Verge will be covering all the news live as it happens.
Windows 11 is already full of bugs, but you shouldn’t worry about it – TechRadar Microsoft has released an early version of Windows 11 for members of its Windows Insider Program, and users are already encountering issues and bugs with the new operating system. That’s kind of the point of course, as this developer build is being used as a kind of pre-release beta for the full version that’s expected to launch in “Holiday 2021”, and people who are using it are encouraged to spot and report any bugs and issues.
Windows 11 looks a little different. Here’s what’s changing – CNET Windows 11 features a streamlined new design, with pastel-like colors and rounded corners, and overall a more Mac-like look. The Windows Start menu has moved from the bottom left of the screen to the middle, with app icons arranged in the center next to it.
For years, Apple sold itself as the anti-Microsoft. Now Windows 11 is the anti-Apple – CNET But the Microsoft of old didn’t entirely go away. Analysts believe Nadella’s broadsides against Apple during his Windows 11 launch speech weren’t just about knocking Microsoft’s biggest frenemy. His tone wasn’t jovial, nor was he dismissive like former CEO Steve Ballmer when Apple co-founder Steve Jobs first showed off the iPhone in 2007. Nadella was serious.
This caught my eye, however.
Beyond Calibri: Finding Microsoft’s next default font – Microsoft Design Default fonts are perhaps most notable in the absence of the impression they make. … Calibri has been the default font for all things Microsoft 365 since 2007, when it stepped in to replace Times New Roman across Microsoft Office. It has served us all well, but we believe it’s time to evolve. To help us set a new direction, we’ve commissioned five original, custom fonts to eventually replace Calibri as the default.
So, farewell then, Calibri and hello either Tenorite, Bierstadt, Skeena, Seaford or Grandview.
I’m not sure how the title of that article squares with the title of this one.
Even the Calibri font’s creator is glad that Microsoft is moving on – WIRED It’s the end of an era, but Calibri’s designer, Lucas de Groot, has no qualms about letting his typeface rest for a bit. “It’s a relief,” he says. De Groot created Calibri in the early 2000s, as part of a collection of fonts for enhanced screen reading. “I designed it in quite a hurry,” he says. “I had some sketches already, so I adapted those and added these rounded corners to get some design feeling in it.”
Do you have a favourite?
Microsoft’s new default font options, rated – TechCrunch Bierstadt is my pick and what I think Microsoft will pick. First because it has a differentiated lowercase l, which I think is important. Second, it doesn’t try anything cute with its terminals. The t ends without curling up, and there’s no distracting tail on the a, among other things — sadly the most common letter, lowercase e, is ugly, like a chipped theta. Someone fix it. It’s practical, clear and doesn’t give you a reason to pick a different font.
Regardless, there’s certainly a bewildering number of typefaces out there. Too many?
All you need is 5 fonts – Better Web Type I came to the same conclusion as Massimo and many other designers—I don’t need a huge range of fonts of questionable quality to choose from, I only need a few high quality ones. So I created my own list of 5 fonts that I use most often.
But how about a little background on a very different Microsoft font.
The origin story of the Wingdings font – UX Collective Wingdings was never intended to be typed. Contrary to what happens today, when we can just select one picture from many available online, and copy and paste it on a document; in the ’90s was not easy to find pictures that could be used in an uncomplicated way with the text. In addition, image files were too large for the simple HDs of computers at the time. Therefore, Wingdings offered an alternative for anyone who wanted to use icons in high resolution and that could be resized, but without taking up a lot of space on the machines.
This way, the font can be considered the offline predecessor of the emoji, an alphabet that is now an integral part of modern communication.
Why the Wingdings font exists – Vox “We were influenced by images from similar historical and modern sources,” Bigelow says. The Lucida Icons spanned many eras. “Pointing fingers and hands go back to medieval manuscripts and, before that, to ancient Roman gestures; airplanes are 20th-century inventions; and keyboards, computers, computer mice, and printers, included in the Lucida Icons fonts, were part of office life in 1990 when we drew the images.”
For things that can cost so much money, you wouldn’t think anyone would want to cut corners…
The case for better watch typography – HODINKEE [O]nly a small and decreasing number of watchmakers go to the trouble of creating custom lettering for their dials. More often, watch brands use off-the-rack fonts that are squished and squeezed onto the dial’s limited real estate. Patek Philippe, for example, has used ITC American Typewriter and Arial on its high-end watches. French brand Bell & Ross deploys the playful 1980 typeface Isonorm for the numerals on many of its timepieces. Rolex uses a slightly modified version of Garamond for its logo. And Audemars Piguet has replaced the custom lettering on its watches with a stretched version of Times Roman.
That watchmakers use typefaces originally created for word processing, signage, and newspapers highlights a central paradox of watch design: These tiny machines hide their most elegant solutions under layers of complexity, while one of the most visible components – typography – is often an afterthought.
Of course, it’s not all like that.
Our favourite uses of typography in watches – A Collected Man Good typography should be almost unnoticeable. Blending seamlessly into the rest of the design, it should tell you everything you need to know, without you being aware of it. Despite the many restrictions that are applied to dial layout, the creativity that can be seen in typography across horology is quite staggering. To put it simply, typography is the art and technique of arranging type to make written language legible and appealing when displayed. As the dial is the main point of interaction with a watch, it is arguably one of its most important parts, and certainly one that can produce the most emotion. This is why typeface can play such a vital, yet subtle, role in how we experience and feel about a certain piece.
A rather unexpected instance of a brand using a completely different typeface for just one model is the Patek Philippe 5212A weekly calendar. Perhaps designed to reflect the singularity of the rarely seen complication, this reference was printed with a handwritten typeface that, when studied, almost looks shaky. While this could appear like a mistake at first, it was revealed that the typeface was in fact chosen by their design team to “recall an epoch in the not too distant past when notes were still written by hand in paper diaries.”
Here’s more on that “handwritten” watch.
Complications Ref. 5212A-001 Stainless Steel – Patek Philippe Patek Philippe introduces a new complication to its calendar watches: the weekly calendar, a semi-integrated mechanism displaying the current week number, in addition to the day and date. A particularly useful feature for the modern businessman.
I love that, “the modern businessman” indeed. Like this one, you mean? But anyway, it’s not occurred to me until now that, for these watchmakers, typography is more numerical than alphabetical.
Breguet numerals – Breguet Some Breguet watches display the distinctive numerals that A.- L. Breguet designed. Although he himself was no calligraphist, Breguet’s Arabic numerals show his flair for combining function with elegance. Still used today, particularly on watches with enamel dials, Breguet numerals first appeared before the French Revolution when they shared the dial with tiny stars to mark the minutes and stylised fleur-de-lys at five-minute intervals. By 1790 they had assumed their definitive form.
You can see these Breguet numerals on the Dubuis watch above, as well as the Patek Philippe in the header image. But manufacturing limitations also play their part in watch typography. Have a look at these 4s.
Decimal fonts – Fonts by Hoefler&Co. Watch lettering is printed through tampography, a technique in which ink is transferred first from an engraved plate to a spongy, dumpling-shaped silicone pad, and from there onto the convex dial of a watch. To reproduce clearly, a letterform needs to overcome the natural tendencies of liquid ink or enamel held in suspension: tiny serifs at the ends of strokes can create a larger coastline, to help prevent liquid from withdrawing due to surface tension; wide apexes on characters like 4 and A eliminate the acute angles where liquid tends to pool.
Hence that flat top 4. I hadn’t noticed them before, but they’re everywhere.
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I may have been familiar with this type of word puzzle, though I was unaware of its name or history.
Emoji 🐝4 Emoji – I love Typography Rebus writing substitutes pictures or symbols for words, but not in the same way that pictograms do. With pictograms, a picture of, for example, a bee simply represents the insect. But in rebus writing, a picture of a bee is used to substitute for the letter b or its sound — as in the title of this article. Likewise, a picture of an eye represents the letter i, and so on. The use of rebuses turns what is otherwise an unremarkable broadside advertisement into something much more engaging, fun, and valuable.
Although emoji started out as a limited number of symbols, they were eventually expanded into a dizzying number of pictograms and ideograms, many of which can be used in rebus writing. The ancient Sumerians, Egyptians, and Chinese, to name just a few, used rebuses thousands of years before emoji appeared on our screens. And it would appear that our fascination with symbols, of all kinds, and our willingness to experiment and use them in reshaping how we communicate is motivated by the very same thing that inspired our very distant ancestors — a desire to communicate better.
Sorry to any bean curd enthusiasts out there, but this has nothing to do with coagulating soy milk but is about these little boxes and Google’s plan to get rid of them.
Google Noto Fonts When text is rendered by a computer, sometimes characters are displayed as “tofu”. They are little boxes to indicate your device doesn’t have a font to display the text. Google has been developing a font family called Noto, which aims to support all languages with a harmonious look and feel. Noto is Google’s answer to tofu. The name noto is to convey the idea that Google’s goal is to see “no more tofu”.
I had picked the Noto Sans typeface for this blog without realising any of this — I just thought it looked quite elegant.
Preserving endangered languages with Noto fonts – Google Keyword From billions of readers to very small language communities, the freely available, open source Noto font family from Google Fonts supports literacy for hundreds of languages. The Cherokee Nation, with an estimated 20,000 speakers, uses Noto on phones for texting, email and teaching their language in the USA. Noto is used every day for Tibetan, millions of African users, and hundreds of languages of Asia. The government of British Columbia in Canada, with a population of 5 million people, wanted to cover all their languages, including indigenous ones, in a single font and merged Noto Sans + Noto Sans Canadian Aboriginal into a single font, BC Sans font.
Google and Monotype launch Noto, an open-source typeface family for all the world’s languages – It’s Nice That Many of the scripts required significant research for Monotype, in order to apply the rules and traditions of the individual languages to the designs of their fonts. For example for the Tibetan face, Monotype did in-depth research into a vast library of writings and then enlisted the help of Buddhist monks to critique the font and make adjustments to the design.
“There are some characters you can only see on stones,” says Xiangye Xiao, product manager at Google. “If you don’t move them to the web, over time those stones will become sand and we’ll never be able to recover those drawings or that writing.”
These images from Cássio Vasconcellos remind me of Pelle Cass’s work, shared previously. I wonder if ‘painstaking photography’ is its own genre yet.
Amazing collective photography in solitary times – Print “Vasconcellos’ compositions were painstakingly assembled through hundreds of aerial shots taken over the course of a decade,” the project details. “The outcome is a striking body of work, which was reinterpreted by the designer in the context of what ‘distancing’ means in pandemic times.” The images, fascinating in their own right, are even more fascinating with our newfound pandemic perspective.
Collectives – Cássio Vasconcellos In this series, Vasconcellos instigates a visual debate on the urban chaos of modern civilization by exploring jam-packed situations typical of our society: crowded beaches; cluttered car parking lots; motorcycle gatherings; huge aircraft boneyards in the US; masses of people; and the truck pandemonium in São Paulo’s Ceasa, Latin America’s largest municipal fresh food wholesale market.
This sequence from the series, Noise, is terrifying, I think.
How about something less agoraphobic but still full of hidden detail.
Hundreds of symbols from prehistory to modern day comprise a gold ‘S’ screenprint by Seb Lester – Colossal Centered on the letter “S,” an anachronistic print from Seb Lester (previously) blends hundreds of symbols into one embellished form. Rendered in metallic on black paper, the typographic piece captures an incredibly long timeline, from prehistory to the Dark Ages to the Renaissance to present day. Look closely and you’ll spot snippets of cave paintings, Egyptian hieroglyphics, emojis, and modern logos.
Via The Browser, a look into a font design process I hadn’t really considered before. If “typography is about the spaces between the letters as much as it is about the letters”, then a popular way of evaluating how well those letters and spaces work together is through the use of ‘pangrams’, sentences that contain each letter of the alphabet at least once. But perhaps the quick brown fox has had its day.
Text for proofing fonts – Fonts by Hoefler&Co. The far more pernicious issue with pangrams, as a means for evaluating typefaces, is how poorly they portray what text actually looks like. Every language has a natural distribution of letters, from most to least common, English famously beginning with the E that accounts for one eighth of what we read, and ending with the Z that appears just once every 1,111 letters. Letter frequencies differ by language and by era — the J is ten times more popular in Dutch than English; biblical English unduly favors the H thanks to archaisms like thou and sayeth — but no language behaves the way pangrams do, with their forced distribution of exotics. Seven of the most visually awkward letters, the W, Y, V, K, X, J, and Z, are among the nine rarest in English, but pangrams force them into every sentence, guaranteeing that every paragraph will be riddled with holes. A typeface designer certainly can’t avoid accounting for these unruly characters, but there’s no reason that they should be disproportionately represented when evaluating how a typeface will perform.
In 2015, I dumped the pangrams we’d accumulated and rewrote our proofs from scratch, trading their wacky and self-satisfied cleverness for lists of words that are actually illustrative.
These lists of words, whilst not being as easy to memorise, are far more useful—to the professional typeface designer, at least. Here’s just a part of them.
[…] Linden linden loads for the ulna monolog of the consul menthol and shallot. Milliner milliner modal for the alumna solomon of the album custom and summon. Number number nodule for the unmade economic of the shotgun bison and tunnel. […]
It reminds me a little of lorem ipsum. I wonder if these new typefaces went through a similar process.
Times New Arial is a new experiment utilising the latest technology of variable fonts – It’s Nice That With Times New Arial, the collaborators combine the visual extremes of both Times and Arial into one interpolated typeface. With new technological possibilities, the hybrid represents a new era of font usage, challenging the role of variable fonts in the present cultural scape. As well as being poster children for web typography, Times and Arial also represent progress and proxies within digital design. “We wanted to combine this conventional aesthetic with new technical possibility in order to revive and refine them, so in turn, we could experiment with them in our projects,” continues David.
Scunthorpe Sans 🗯🚫 profanity-blocking font – Vole.wtf A s*** font that f***ing censors bad language automatically. It’s able to detect the words f***, s***, p***, t***, w***, c*** and dozens more, but with a special exemption for “Scunthorpe”; that town has suffered enough.
Logofonts – Behance Often when we see a logo, a question arises: “which font was used?” In this project I did some research on the logos of some of the most famous brands, trying to understand which font they use or which have been modified to get to the final result. Follow Logofonts on Instagram.
More video game nostalgia. You would think that having to fit an entire set of fonts into tiny, 8 x 8 grids would result in some unimaginative typefaces. Think again.
The 8-bit arcade font, deconstructed – Vox
In his book Arcade Game Typography, type designer Toshi Omagari breaks down the evolution, design, and history of arcade game fonts. In the video above, he guides us through this delightful 8-bit world and breaks it down pixel by pixel.
Want to read on? Here’s a link to the book’s publisher.
Arcade Game Typography – Thames & Hudson Arcade Game Typography presents readers with a fascinating new world of typography – the pixel typeface. Video game designers of the 70s, 80s and 90s faced colour and resolution limitations that stimulated incredible creativity: with letters having to exist in an 8×8 square grid, artists found ways to create expressive and elegant character sets within a tiny canvas.
Pierre et le loup, a stunning, typography-filled animated story – The Kid Should See This
In 2014, Camera Lucida and Radio France teamed up to create a series of classical music-filled apps for children. One of these shared Sergei Prokofiev’s Pierre et le loup in a typography-filled adaptation by Gordon (Thierry Guernet), Pierre-Emmanuel Lyet, and Corentin Leconte. It’s a stunning version that mixes animation, musical symbols, and musicians, featuring the National Orchestra of France, conducted by the maestro Daniele Gatti.
All this news getting too much? Just switch browser fonts.
Color Dot Font – And Repeat
The Color Dot Font is a font composed entirely of colored circles. In the Color Dot Font, each Latin character is replaced with a circle of a certain color. For example, an “a” character is represented by a blue circle, a “t” by a yellow circle, and so forth. Available as a TTF file, the font can be installed and used on any computer operating system.
Using trees to make paper to write on, I get that. But writing with trees? Katie Holten, an artist-in-residency with NYC Parks, has developed a typeface to allow us to do just that. (via Futility Closet)
NYC is planting secret messages in parks using this typeface for trees – Fast Company
It would be fair to say that Holten is at least a little obsessed with turning trees into typefaces. Back in 2015, she developed her first so-called Tree Alphabet, made up of sketches of 26 different trees that each stood for its own letter. The project led her to publish a book, About Trees, typed in forests rather than paragraphs. “I’m interested in creating something that lets us translate our words into something beyond us,” writes Holten over email. “It forces us to slow down and think about what we’re writing, or reading.”
To see the typeface in action, head over to nyctrees.org and try it for yourself.
New York City Trees
The New York City Tree Alphabet is an alphabetical planting palette, allowing us to rewrite the urban landscape by planting messages around the city with real trees. What messages would you like to see planted?
These messages aside, it seems the trees are busy communicating by themselves.
The fascinating science of how trees communicate, animated – Brain Pickings
But trees are much more than what they are to us, or for us, or in relation to us. They are relational miracles all their own, entangled in complex, symbiotic webs of interbeing, constantly communicating with one another through chemical signals dispatched along the fungal networks that live in their roots — an invisible, astonishing underworld only recently discovered, thanks to the work of Canadian forest ecologist Suzanne Simard.
You don’t normally associate McDonald’s with minimalism, but these new billboard ads are pretty cut back, to say the least. No photos, no logos, no branding.
These ads make you think of McDonald’s with just 5 words and 5 colours – Digital Arts
The messaging is equally simple. It isn’t introducing ‘healthy’ options, a new burger, offer or competition – or putting the idea of McDonalds as comfort food in your mind. It’s just designed to catch your eye, bring a moment of delight at the recognition of what you’re seeing and make you think of picking up a McDonalds on the way home or stopping during a long journey.
I admit I find these ads quite appealing. The product, not so much.
the 800×600 and 1024×768 screens of the late 1990s and early 2000s had biggish pixels, so the result was on the small side but not as small as it might look today;
designers and their clients were accustomed to 9, 10 and 11 point sizes for body copy in print (books, magazines, leaflets…), and the prospect of using bigger values felt like shouting at readers.
It took quite an effort to pull web designers away from this assumption that screens should be treated the same way as print.
In November 2006, iA’s Oliver Reichenstein ran a simple experiment: he compared a magazine’s body copy at arms’ length and a typical site’s body copy at a common, eye-to-desktop-screen distance. The website’s text looked much smaller. Oliver argued for setting the body copy to the browser’s default, or 100%, which by convention is 16px in common browsers. In 2006, and even a few years later, it was a revolutionary proposition. Web designers and clients thought it was extreme. Five years later, we still had to fight for the death of 11px body copy (example, in French).
Verschelde’s exploration into this aspect of web design is full of links to examples and other articles about typography and layout, including Jeremy Keith’s Resilient web design, a online book that uses CSS to smoothly vary the font size depending on the width of the screen. It’s a great read, especially the opening chapter’s review of the intertwined history of interfaces.
Resilient Web Design – Chapter 1
The hands on a clock face move in a clockwise direction only because that’s the direction that the shadow cast by a sundial moves over the course of a day in the northern hemisphere. Had history turned out differently, with the civilisation of the southern hemisphere in the ascendent, then the hands on our clocks would today move in the opposite direction. […]
These echoes of the past reverberate in the present even when their usefulness has been outlived. You’ll still sometimes see a user interface that displays an icon of a Compact Disc or vinyl record to represent music. That same interface might use the image of a 3½ inch floppy disk to represent the concept of saving data. The reason why floppy disks wound up being 3½ inches in size is because the disk was designed to fit into a shirt pocket. The icons in our software interfaces are whispering stories to us from the history of clothing and fashion.
The quote used in the introduction to that online book seems appropriate here.
We look at the present through a rear‐view mirror. We march backwards into the future.
Marshall McLuhan
The reviewsfortheupcomingStarWarsmovie are now appearing, ahead of its general release tomorrow. Will it live up to the hype? Is ‘fan service’ a thing, now? Which spelling of cannon should I be using?
But never mind all that now. Let’s go back to the beginning, and take a look at the evolution of the franchise’s logo (though back in 1977, of course, they probably wouldn’t have used that word), with this wonderful collection of images, care of Alex Jay’s typography blog.
Anatomy of a logo: Star Wars During the film’s pre-production, a decal was produced. … “It was done as a symbol for the film—to go on film cans and letters. George [Lucas] had had one for American Graffiti, and wanted one for Star Wars.”
Lucas referred to the crawl used in the Flash Gordon and Buck Rogers serials. … Dan Perri designed a logo, with a vanishing point, for the opening crawl, but it was not used. Instead, it appeared in print on posters and advertisements.
Suzy Rice, who had just been hired as an art director, remembers the job well. She recalls that the design directive given by Lucas was that the logo should look “very fascist.”
“I’d been reading a book the night before the meeting with George Lucas,” she says, “a book about German type design and the historical origins of some of the popular typefaces used today—how they developed into what we see and use in the present.” After Lucas described the kind of visual element he was seeking, “I returned to the office and used what I reckoned to be the most ‘fascist’ typeface I could think of: Helvetica Black.”
Suzy Rice’s original logo was tweaked a little by another designer, Joe Johnston. You can see that both versions have accidentally made their way onto this book cover; Rice’s original on the back, Johnston’s on the front. (And Luke and Darth Vader are left-handed now?)
Alex has gathered together a fantastic range of 70s and 80s publicity material, for the movies, books, games, comics, posters, calendars etc etc. You must check it all out.
And when you’ve finished, check out what this strange tale would look like if it took place, not long ago in a galaxy far away, but in a 1980s high school.
Finally though we have something that hits home for an actual good cause, delivered in the form of Age UK’s latest promo campaign ‘No one should have no one to turn to’, launching today in the UK.
Trump’s handwriting was in the news the other day, when cameras caught a glimpse of the notes he’d made for himself before meeting reporters.
Handwriting expert says Trump’s ‘I WANT NOTHING’ note bears ‘the sign of a liar’ – Rolling Stone As for the large, blocky writing, Lowe attributes that to him being “someone who has a strong need for security and to be in control, to be looked up to.” The way the letters disconnect point to “someone who was unable to assimilate the difficulties he experienced in childhood, which leaves him open to life’s various adversities. He lacks good coping mechanisms and has trouble relating fully to himself and to others.”
Goodness me, have you ever seen a more attention-seeking, egotistical ‘I’? Now you too can write like the president, though why on earth you’d want to is another matter.
Write your own notes in Trump’s handwriting with this new web generator – Fast Company Part of what made the photo notable was that it revealed that the unique writing style the president uses online—the Twitter-friendly brevity of character count and a seemingly unpredictable all-caps emphasis—applies to good old pen on paper, too. For the website, called Final Word From the Pres, the Jones Knowles Ritchie team took those characteristics and automated them. The generator will autocorrect words, turning “we” to “I,” “Trump” to “Stable Genius,” “big” to “yuuge,” and “SNL” to “unfunny,” so the note you write is adapted to the president’s voice. But there are many more autocorrections, with over one hundred Easter eggs up for discovery as you uncover the distinctive language patterns of a very stable genius.
This isn’t the first time such a typeface has been created.
Tiny Hand will be your new Comic Sans — Buzzfeed News I was struck not only by the peculiar delivery of the notes, but also by the idiosyncratic way Trump writes the alphabet. At that moment it was clear to me — as it surely must be to you, dear reader — I had to make a font based on Donald Trump’s handwriting.
Mad to think that’s from 2016. Here we are, nearly 2020, and he and his juvenile writing/thinking is still here.
The inspiration behind the redesign of the new Norwegian banknotes.
Norwegian banknotes: Original design and main concept – Metric Norway is a coastal nation. The Norwegian coastline is unique on a world scale; it is Europe’s longest and extends over 13 latitudes. 90% of Norway’s population live within 10 km of the ocean. When it comes to productivity, diversity in species and distinctive character, it is unparalleled throughout the world. The Norwegian livelihood is the ocean – it is the origin of our most important resources. It is our food basket and our major source of income. It is also the origin of our shared history and knowledge – a source to our worldview and our identity.
The banknote motifs are all about how Norwegians use the ocean; about how we combine our access to resources with knowledge and how the ocean affects the Norwegian way of life and social model – both politically and socially.
I love the way black and white photography is used here, to contrast with the macro shots of the notes themselves.
Miscellaneous Details 