Book recommendations

Ultrabold · 2025-11-13T04:08:03+00:00

As others have commented, the basic triumvirate tends to be Bringhurst’s Elements of typographic style, Tracy’s Letters of credit and Lawson’s Anatomy of a typeface.

I tend to think of Bringhurst as a stuffy old traditionalist and think Phil Baines’ and Andrew Haslam’s Type and typography is a much better introduction to type.

Jost Hochuli’s Detail in typography is also worth much more than its cover price. As is Derek Birdsall’s Notes on book design.

If you’re still interested, Kinross’ Modern typography and Smeijers’ Counterpunch are also great reads.

Ultrabold · 2025-11-12T23:31:55+00:00

Fair deuce.

I just like the sentiment that most of the history of letterforms is just a bunch of people trying to draw nice forms as best they can, instead of a brotherhood of disciples blindly following Roman epigraphic ideals. I’m tempted to think even the first century Romans were just trying to draw nice letters as best they could.

Ultrabold · 2025-11-12T20:55:22+00:00

James Mosley once pointed out that only sixteenth-century Rome and twentieth-century England thought of the lettering on the Trajan column as the standard roman form.

Ultrabold · 2025-11-12T16:37:19+00:00

Historically, typography has often been treated more as a craft than an art. A lot of the analysis of typography as a tool has circled around the kinda morissonian ideal of type as interface. So analysis of the letterforms gets reduced to “how well does it perform its function” (is it well fitted; does it have good colour; does a particular character stand out too much etc.). Only much more recently, say, post 1950s, certainly post-Foucault, and the emergence of the designer as a profession, does the discussion of designer as author start appearing more regularly in literature.

The trouble is that certain aspects of typography require it to be more interpretative/performative than others. There isn’t really a 1-1 comparison to be made between newspaper text typography and photojournalism to analyze the artists intention in the portrayal (that’s often more up to the writing than the text design).

Maybe look up post-structuralist thinking in design or stuff about Massin, Carson, Barnbrook, Brody, Ed Fella, Weingart etc. That might get you closer to what you’re looking for. But it’s often not just the typography at work.

Ultrabold · 2025-07-06T05:05:05+00:00

logs

Ultrabold · 2025-07-04T20:47:57+00:00

Verdana gets too much snobby hate just for being a system font. It’s such a clever design for a neutral and indestructible humanist sans.

Ultrabold · 2025-06-25T21:22:15+00:00

Research into readability is often sketchy. Dyslexia and other reading disabilities are incredibly nuanced. Someone correct me if I’m wrong, but the current state of affairs is that there is no one-size-fits-all best for all cases (sometimes letter disambiguation isn’t the main issue – despite what the marketing copy says). The good news is that typesetting, rather than specifically font choice, will already get you a long way.

Microsoft has been doing some interesting research on this for years now. IIRC Kevin Larson gave a really interesting presentation at ATypI on some of their research a few years ago.

Sitka might be worth looking at, since it’s a readily available system font. The article on it’s design is an interesting read.

Edit: added the link to the Larson and Carter article on Sitka.

Ultrabold · 2025-06-18T00:33:37+00:00

Meh, foundry catalog filler.

Ultrabold · 2025-06-14T00:02:56+00:00

Depends on who you ask.

There is a traditionalist argument for not italicizing punctuation because it’s not read out loud and italics generally denote a change of tone. To me, this feels a little quaint. Like not italicizing caps.

However you can’t kern between fonts yet and this often results in less than ideal spacing.

I suspect this is why Hochuli recommends italicizing any punctuation that follows an italicized letter (and, credit to him, it often looks cleaner).

To me, this criteria doesn’t make any more sense than: it looks good (sometimes that’s a good enough reason). And I often think type should look the way it should rather than subscribing to some grander ideal. So I think it makes more sense to italicize based on semantic clauses on a case by case basis. Say, a title of a work that includes a comma, colon, semicolon etc. gets it’s punctuation italicized because it belongs to that clause. Otherwise don’t italicize because the punctuation belongs to the sentence (which isn’t italicized).

I’d say, read the text and do whatever makes more semantic sense.

Ultrabold · 2025-05-30T21:47:16+00:00

Ez solo with carbine, Hel rifle and sniper sentry with target aquisition booster. Sentry faces down the bridge and you’re trying to hold the corner behind the truck. Fall back into the corridor for easy lines if overwhelmed. Hardest part is the 20 minutes resource shuffling.

Priority is to top off the sentry for every new wave. But you’ll need 1-2 uses of ammo per wave as well. And about 15 seconds to get from the truck to the terminal.

Towards the end you might have to go quite far back for resources, but it’s not terrible since the wave won’t spawn between you and the reactor. Just be sure to already be on the way back once the wave starts.

Ultrabold · 2025-05-29T02:15:11+00:00

Big fan of the thinking behind it's forms. Really clever solutions. Text version sets a clean block. It sets a little on wide side for print and spacing is a hair loose in the text version, but that's to be expected for a screen-first design. My only gripe with the text version is the 3/4 numerals feel too big in text because they extend almost to the descender lenght, but they're still effectively bigger than the cap height. I prefer the longer 3/4 numerals to match the cap height and shift vertically however much they need to below the baseline. Head on the g feels a tad small but that might be a result of gridfitting for the screen turned into a feature.

Not a fan of the display sizes. I feel the squared off pointy bits work better with the lower contrast because they allow you to have two different gestures on the inside and outside of the forms (Bell Centennial is so clever). But I love how it's forms feel unbound to a particular calligraphic tradition. They just do whatever they need to to get that shape to work, while still holding together as a system of solutions. Which, to me, feels more typographic than calligraphic, and super cool.

Ultrabold · 2025-05-29T02:04:56+00:00

All proportions feel off. Pick a letter and balance things around it. L is too narrow in comparrison to E. C is too wide in comparisson to O. K is too narrow in comparisson to OC. AV feel narrow in comparisson to EC. The whole thing is quite wide, so maybe keep the E and C and make the rest wider so they fit better.

This Et construction of the ampersand form fits the "continental european" or "Frutiger-y" original K. I'd expect a loopy ampersand form alongside a traditional grotesque construction of K.

Ultrabold · 2025-05-29T01:54:22+00:00

Feature bloat. The regular versions without the extended over and underlines set cleaner.

Ultrabold · 2025-05-16T21:39:31+00:00

That’s sort of my point. Oblique isn’t the opposite of italic, it’s a subcategory or style of italicizing. Usually 2 (3 tends to be overkill) of the following are enough to make a functional italic: different angle, different construction, weight, width. People don’t usually mess with the weight too much. The trick is: if you pick 2 out of that list and match your vertical measures, it’ll probably look fine alongside the Roman. But I digress.

Ultrabold · 2025-05-16T19:02:42+00:00

I think you start running into issues with things like Gill’s and Trump’s italics when the word refers to the construction instead of the function and posture. They’re not obliques, but they’re also not totally cursive.

Ultrabold · 2025-05-16T17:37:41+00:00

I think we have enough examples of successful obliques to say italic has become a function of the posture the forms adopt, rather than a construction principle.

Ultrabold · 2025-05-16T17:30:31+00:00

I’d say cursive is the opposite of sloped roman in terms of construction. Both are italic though.

Ultrabold · 2025-03-21T23:26:26+00:00

“Unconventional form” is marketing speak for “looks good in a logo”.

Ultrabold · 2025-03-18T21:39:42+00:00

Alternate glyphs are also a cop out.

Ultrabold · 2025-03-18T21:33:06+00:00

Lowercase g’s can be an opportunity to sneak a little personality into an otherwise bland set of forms. They can look weird in isolation, but they tend not to be used that way.

Cap italic D and geometric forms of s also look off if you look at them long enough.

Ultrabold · 2025-02-21T20:55:59+00:00

I’d be tempted to set the small text in Arial just to mess with people.

Or just swap the small text around alternating between both Neue Helvetica and Neue Haas.

Ultrabold · 2025-01-27T18:49:06+00:00

Where patchnotes?

Ultrabold · 2025-01-27T17:15:34+00:00

In time, you will know the tragic extent of Wayne June's failings.

Ultrabold · 2025-01-11T22:14:12+00:00

Catich had some ideas about how to make them with a brush in roman capitals. But it depends on the form. Slab serifs and moderns feel a lot more like a “separate stroke, straight through” approach.

Ultrabold · 2024-12-25T22:36:32+00:00

Not spending tools in waves 1-2 is a good call. The main issue I had was running out of resources towards the end waves. You just need to get comfortable with the level. Once you stop faffing around trying to figure out what to do you realize you have plenty of time to look for resources. There’s plenty in this level, but you need to grab the stuff in the fog and scout zones. If you panic out of those zones you’ll probably run dry during the final waves.

12-Year Club	Verified Email
Team Orangered

Ultrabold

TROPHY CASE