While undertaking her Masters research on Japanese culture, Émilie Rigaud, profiles the typography, of Motogi Shōzō, diving into the development of Japanese typography, aiming to “show that there are modern elements in what has been regarded as traditional, and that there is a tradition behind what has been taken to be just ‘modernist’.”

Overseen by type designers Göran Söderström and Daniela Juvall, for Stockholm City Museum’s exhibition Östberga, Östberga, which celebrated the eponymous Stockholm neighbourhood. Östberga is divided into two separate areas – ‘good’ and ‘bad’ – both mentally and geographically, the City Museum wanted to stage an exhibition that brought people together, documented histories and inspired pride in the suburb.

On #InternationalWomensDay Kate launched Our Wahine - an illustrated history of 125 extraordinary New Zealand women - http://www.ourwahine.nz #IWD2018

Marking fifty years after his assassination in 1968, The Atlantic has released a special issue in memory of the visionary civil rights activist. The type-led magazine is a powerful piece of social activism that pays tribute to a man whose words played a key role in advancing equality nationwide.

On her commission from the Bauer Type Foundry in 1927, Elizabeth Friedlander became one of the first women to design a typeface, and particularly one of such exhaustive variation. Completed in a variety of point sizes in roman letter and cursive, and detailed in bold and swash characters, it took until 1939 for Elizabeth-Antigua and Elizabeth-Kursiv to be cut

the newest publication from St Brigid Press: "Permeable Membrane", is a powerful essay on poetry and politics by the eminent American poet and prose writer Adrienne Rich.

An honest and insightful post from Myrna the letterpress printer, artist and poets behind Expedition Press about her relationship to time, her work and the focus of her upcoming shows... Comprised of Letterpress prints in multiples paired with paintings of partial letters and the negative space between them, these shows are set to be amazing (it is times like this I wish I was in the US!)

The format of the book is a tried and tested formula and one that is loved by graphic designers everywhere. French designer Laura Jouan is no different. However, for Laura, her interest in the medium has led her to explore how her work can exist beyond the usual form and function of a book

Last month I featured Glenn Fleishman's new book London's Kerning. Glenn just (very bravely & generously) outlined the income and expenses of producing the book, laying bare the economics of developing content and self publishing.

I have shared excitement about the future fonts platform (Where Type Designers Sell Interesting Work In Progress.) previously. This week the foundry launched with an impressive catalogue of experimental unfinished fonts. It’s a way to pick up great styles for exceptional value and help type designers fund their design development process, and give them feedback. Win, Win.

Signature (designed by Emil Karl Bertell) is super slick with loads of alternates for each character enabling textual variation for a true hand scrawled look. I love the generous round loops and bouncing baseline.

Each year I look forward to the launch of the typemedia class graduation website, it is exciting to discover the innovative forms and fresh thinking in the students work and the 2017 class absolutely delivers!

Designer Winston Scully grew up playing DIY metal & punk shows. Highground the typeface attempts to capture the punk & metal spirit of an LA gig venue and the feelings it evoked for Scully when playing and attending shows there. Developed at Type@Cooper West the early stages of Highground were inspired by Nicholas Jenson’s Rotunda. Highground still has a twinkle of that inspiration, but it has seen a dramatic shift in goals and aesthetic.

Should Beatrice Warde’s ‘Crystal goblet’ be seen, at best, as a harmless promotion of Monotype? Antonio Perri and Daniele Turchi, summarise a typographic debate, and shifting points of view on the goblet. The article particularly discusses the notion of transparency as it applies to book design.

MyFonts have put together a resource to point out (and help correct) mistakes that budding type designers often make. It briefly provides information on design and production errors, and points you to more comprehensive resources on how to get things right.

“Type design,” says Biľak, “is a formal discipline, and the resulting fonts are collections of black and white forms. Without providing context, it is hard to appreciate them or know how to get the most out of them, so we publish articles describing the creative processes behind the typefaces, the research and development. Some call this marketing, but for us, it is a rare chance to discuss the intentions of the typeface.”