iiinova — where your digital self keeps evolving

Reposted by Dan Reynolds

Fontstand @fontstand.com · 14/09/2026

TYPA has been building a database of its wood and metal type collection. This could help digital type designers today, but they’re using the digital data to make type in physical formats, too. Read Paweł Schulz’s article about what has been going on here: fontstand.com/news/essays/...

A screenshot showing the first thing visitors see when entering the Constellations database. It is a full list of the font families contained in it. The image shows the first six of them: Admiral, Aktsidents Grotesk, Luksus, Appell, Arabella, and Ariston.

Screenshot from Robofont showing a .UFO file with photographs of metal type sorts from Bogatör Bold in 48 pt.

Close-up photograph showing a metal-type ampersand sort, with ruler units for measurement on the left and bottom sides. The ampersand is from the Tiemann typeface in the 48 pt. size.

Screenshot from the public preview of the database website (constellations.typa.ee). It shows the names of 12 typefaces in the database.

041

Reposted by Dan Reynolds

Fontstand @fontstand.com · 28/07/2026

On Fontstand News, @typeoff.bsky.social has just reviewed PampaType’s Gorgias typeface, designed by Manuel López Rocha. He had to wait a whole year to write it, so please check it out here! fontstand.com/news/font-re...

Gorgias, a Fraktur family designed by Manuel López Rocha and published by PampaType.

051

Reposted by Dan Reynolds

Fontstand @fontstand.com · 14/07/2026

Interested in geometric slab serifs and how they developed? A summary on Fontstand News looks into their past and similar typefaces on Fontstand in the present: fontstand.com/news/font-re...

Memphis’s bold style (halbfett) was the first part of the family that the D. Stempel AG typefoundry released. Designed by Stempel’s artistic director Rudolf Wolf, the debt that Memphis paid to Futura is clear when the letters are closely analyzed. For instance, the lowercase a is not only single-storied but the lowercase r is a ball-and-stick form, just like Paul Renner designed for Futura. The printing industry considered that several of Futura’s atypical shapes were too unorthodox, and the ball-and-stick r was quickly replaced. Stempel would soon offer a normal r for Memphis, too. Image from a c. 1934 German Linotype specimen for Memphis digitized by the Staatsbibliothek zu Berlin.

Stymie Medium, designed by Morris Fuller Benton for ATF.

Two all-caps geometric slab serif families. From top to bottom: Irma Slab Bold, Tesla Caps A, and Tesla Caps C.

Six designs with “rounded rounds,” from top to bottom: Tesla Slab Hairline, Mortise Light Italic, Irma Text Slab Pro Regular, Produkt Medium Italic, Elizeth Bold, and Pepi/Rudi Black Italic.

053

Reposted by Dan Reynolds

Fontstand @fontstand.com · 02/07/2026

“Life is all about improv, and Mitch was all about life. He will be dearly missed, but his ideas will live on in the myriad of ways he expressed them.” You can read the rest of Sebastian Carewe’s tribute to Mitch Paone here: fontstand.com/news/essays/...

Mitch Paone on stage at the Fontstand Conference 2025 in The Hague. Photo: Tom Brown.

012

Reposted by Dan Reynolds

Fontstand @fontstand.com · 11/06/2026

Interested in rounded sans serifs from the past as well as today? There is a new summary on Fontstand News, explaining some of their development stages: fontstand.com/news/font-re...

Ornamented, from Robert Besley’s Fann Street Foundry. Published around 1860.

Neueste schmale fette Zeitungs-Grotesque from Ferdinand Theinhardt’s typefoundry in Berlin, first published in 1885.

JAF Cupidus Extralight Italic, JAF Cupidus Text, JAF Cupidus Text Italic, JAF Domus Bold, JAF Domus Bold Italic, and JAF Domus Titling Extrabold.

From top to bottom: Aribau Rounded Black, Aribau Rounded Black Italic, ABC Diatype Rounded Medium, ABC Diatype Rounded Medium Italic, October Pro ExtraLight, and October Pro ExtraLight Italic.

153

Reposted by Dan Reynolds

Robert Komaniecki @komaniecki.bsky.social · 07/06/2026

Feels like a lot of STEM guys believed coding was the hardest thing a human could do, and assumed that once somebody invented an AI that can code, it would follow naturally that the AI can do all of the lesser non-coding things that other dumber people were doing

371705317

Reposted by Dan Reynolds

Fontstand @fontstand.com · 04/11/2025

Riccardo Olocco from CAST has written a heartfelt obituary about James Mosley. It touches a note that will hopefully resound with readers, whether they had the chance to be Mosley’s students or not. fontstand.com/news/essays/...

James Mosley at St Bride in 1983 examining a print of five ornamented letters from the Pouchée foundry. Photo: Ian Mortimer.

James Mosley at the tomb of William Caslon, c. 2005. Photo: Alastair Johnson.

A view of the storage stacks inside the St Bride Library. Had it not been for James Mosley‘s tenure, many of the invaluable typographic materials now within the library’s collection would never have been preserved. Photo: Bob Richardson.

James Mosley and Gillian Riley at the tomb of T. B. Reed, c. 2005. Photo: Alastair Johnson.

052

Dan Reynolds @typeoff.bsky.social · 17/10/2025

This book is out now! Over 196-pages, it dives into the technological differences between the systems of movable type pioneered in East Asia and Western Europe. It is probably the most challenging thing I have designed so far but if it sells well, I might get to do it all over again in English 😉

0103

Reposted by Dan Reynolds

Fontstand @fontstand.com · 15/04/2025

Do you remember when ANRT held its third Automatic Type Design conference? Silvia Sfligiotti was there, and now she’s written all about it for Fontstand News! fontstand.com/news/design-...

From left to right: Radim Peško, Kai Bernau, Alice Savoie, and Roland Früh standing in the back of a room with part of a conference presentation shown on a screen above their heads.

Overview of the exhibition “Univers: from light to matter,” curated by Tânia Raposo and Varya Goncharova.

Photo showing participants at one of the conference’s workshops.

IBM typewriter “golfballs,” from the “Univers: from light to matter” exhibition.

0112

Reposted by Dan Reynolds

Fontstand @fontstand.com · 10/03/2025

What would it feel like to be asked to create an all-new typeface for the City of Graphic Design? On Fontstand News, you can find out in Matthijs Sluiter’s new interview with André Baldinger and Toan Vu-Huu of BVH Type. fontstand.com/news/essays/...

A festive launch event was organized in a local art center. Photo © Baldinger-Vu-Huu, 2024.

Dina Chaumont Display and its pictograms are designed in both landscape and portrait versions.

Toan sketching letters. Photo © Baldinger•Vu-Huu.

Assembly image from Dina Chaumont’s launch showing lettering being mounted onto a wall behind a ladder.

071

Reposted by Dan Reynolds

Friedemann Karig @friedemannkarig.bsky.social · 10/02/2025

„Migration“ als politische wie mediale Fixierung ist spätmoderner Aberglaube, die Angst vor dem bösen Blick der anderen. Als könne das Land ein paar Nadeln in die Schwächsten stecken und dadurch allen realen Flüchen entkommen. Zwanghaft gewordenes magisches Denken, so regressiv wie rassistisch.

161010245

Reposted by Dan Reynolds

Fontstand @fontstand.com · 28/01/2025

On Fontstand News, Indra Kupferschmid looks back on the previous year and selects some of her favorite typefaces released back then on Fontstand, month by month. Which typeface from last year was your favorite? fontstand.com/news/essays/...

0111

Dan Reynolds @typeoff.bsky.social · 12/12/2024

A few years ago, the Deutsches Technikmuseum uncovered surviving records from H. Berthold AG’s type-cutting department. Thanks to funding from digiS, files 70 years old or more were digitized. berlin.museum-digital.de/collection/1...

2102

Reposted by Dan Reynolds

Fontstand @fontstand.com · 11/12/2024

On Fontstand News, Silvia Sfligiotti presents a review of Identita, a lovely exhibition showing 100 years of Czech graphic design. If you have the chance to visit in person, it is on display at the Museum Kampa in Prague until February 2nd. fontstand.com/news/essays/...

Exhibition view. Photo by Martin Šimral, courtesy of the Museum Kampa.

Metal letters designed by Jiří Rathouský, Malostranská station, Prague.

Cover of the Czech edition of the Identitabook, 2024. Concept and editor: Linda Kudrnovská. Design: Filip Blažek and Adéla Svobodová. Photo: Tomáš Rasl.

074

Reposted by Dan Reynolds

Marta Bernstein @martabernstein.bsky.social · 04/12/2024

“Where is our Emigre?” Yet again, J Dakota Brown said better then me what is desperately missing in our field: we have no place to discuss our profession, collectively. (Screenshot of his IG story)

4194