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The Museo Bodoniano in Parma, Italy, is a mecca for one of the world's most enduring, and ubiquitous, typefaces. Meet Giambattista Bodoni, the ''prince of typography.'' It appears on book [...]

Creative output of any kind depends upon a steady stream of tiny self-delusions. A different font helps me believe in my own words. I cannot start any document -- a [...]

The essential features of Gutenberg's discoveries were so well-conceived and engineered that, in the centuries after his death, few changes occurred in the processes of type-casting and printing. By the […]

German nationalists, early in the century, promoted blackletter type as synonymous with German identity. Modernists opted for roman. Hitler resolved the issue. 'Writing systems are political, and typography is just [...]

ON DARK evenings in late 1916, a frail 76-year-old man could often be seen shuffling furtively between The Dove, a pub in west London, and the green and gold turrets [...]

The origin and development of the typeface slab serif, which has been patterned after sans serif since the late 1920s, is discussed. Slab Serif has acquired a true italic companion, a trend continued through David Jonathan Ross' Trilby. How Ross imparted the renegade style of the traditional typeface of the Old West is also described.

American industrial designers called the Italian Futurists' aesthetic 'streamlined' for their reverence to speed. This aesthetic design was incorporated into several contemporary typography and graphic symbols.

The origin and development of the typeface Priori Acute Serif, which is patterned after 19th-century display types, is discussed. Aside from having a decorative three-dimensional face with shading and perspective, Priori Acute Serif also integrates a fishtail leg. Priori Acute Serif is intended for titling considering the absence of lowercase, italic, and other weights.

The development of the typeface Kis Antiqua Now, which is named after the 17th century punch cutter Miklos Kis, is discussed. Kis Antiqua Now has a text design coming in regular and semibold with related italics, while its display design comes in regular and italics. The said typeface is a synthesis of several of Kis' typefaces.

Typefaces dating back to the 1920s and that have also been used as anthropomorphic characters are presented. Some of these typefaces are made to appear to perform human activities, while others are characterized by combined features of humans and animals.

For a (then) fledgling Los Angeles ad agency, a line of wheelchairs helped cement its reputation. This is because Jean Robaire (the art director), John Stein (the writer), and Paul [...]

This week The Economist appears for the first time in its own new type-face-knovm as Ecotype. it could never have been designed but for a revolution that has shaken up [...]