#typedia

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Over 100 shapes and 1,000 alternates that can be mixed and matched to create a sea of unique flags.

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A guest post by educator and typographer Dr Shelley Gruendler for the Adobe Type blog.

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From the site: “The latest version of Anisette reinforces the initial idea by adding an outfit set of ‘associated capitals’ and contextual forms. Because of the benefit of OpenType features, the Anisette advanced typography is easy to use in any work of graphic designer. Indeed, the wide and narrow capitals can alternatively be used alone, mixed or manually since the early days of Anisette. Today, the resulting mixture is provided by various context functionalities, providing alternative settings. Many capitals ligatures sometimes in narrow, as in wide versions, are embellished with small capitals aligned on top of capitals which are positioned contextually in key locations in your headlines. A simple sentence set in Anisette Pro will have so much diversity in its representations that the number of Anisette variables offers to its user.”

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Cicero’s “De oratore”, the first extant book printed on Italian soil and the first to use Roman (or more accurately, semi-Roman or semi-Gothic) type.

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A two-day workshop with Commercial Type’s Christian Schwartz, March 17–18 at the Gestalten Space in Berlin.

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From the site: “[Jordi Embodas’] Nomada explores the concept of typefaces on the move continuously: sometimes printed, in books, catalogues, posters or packaging; at other times projected on screens of mobile and fixed devices, as text or as image. Because of it’s nature, Nomada is a comfortable and highly legible typeface for any use, language or application. The recipe for it was to take Verdana and mix with Gill Sans, not forgetting a dash of Lucida Sans, Frutiger or Franklin Gothic.”

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From the site: “In more smartphones, tablets, and other devices, it’s how you interact with what’s on the screen that matters most, as products keep evolving to fulfill new roles and offer new user experiences. In response, and to enliven a variety of other touchpoints with consumers, we have developed an original typeface. Join us behind the scenes to see what the project was all about.”

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Chris Cheng-Huan Wu will lead a workshop introducing designers to typesetting Chinese, including an overview of Chinese typefaces that are available, current trends in type design and use, and basic principles of Chinese typography. Participants will hear about current practices, will typeset display type and text in Chinese, and will have their efforts analyzed in critiques. February 8th at the Type Directors Club in New York.