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Busy June: Nassim, poster, TypeTalks, and Neacademia
It was a very long June this year. Allow me to report in four points here:
1. At Rosetta, we finally produced and released Nassim by Titus Nemeth. One of the best Latin+Arabic typefaces out there imho. Currently, it is one of the most-read webfonts in the world as the BBC Arabic and BBC Persian use it for their content which, I believe, reads more than 50 million readers each month! You can read about it here. And you can order it as well. And if you are not interested in Arabic, get the Latin only. It is okey with us.
2. In June I also designed the first Rosetta promotional poster playing with the motto “The world writes in many scripts”. And I can tell you, designing with multiple scripts and languages you do not understand is not easy! Luckily, our designers have been very helpful. You can see some images elsewhere on this web or you can get your copy from Rosetta .
3. Together with Anna and UAP we conducted the second TypeTalks mini-conference, this time in Poland. The experiment with TypeShorts turned out to be an excellent idea. Type in a pub, what more should a type geek (not a type snob!) hope for? The exhibition of Sign and typography studio at UAP probably took most of the audience as a surprise; student work on international level.
Obligatory message to some of the big conferences: a. being small helps us to have overall higher quality level b. the conference does not need to be long to count (no one can stay awake on the third day anyway, so what is the point of having it?). c. we do not make speakers pay for attending, instead we pay to the speakers. It is not much, but it is money. They deserve it. d. we save on overpriced catering and registration systems e. we are having fun delivering good talks to audience that actually needs to hear them. See more photos here or read Florian Hardwig’s report in German at MyFonts.
4. Back from Poland, I helped to produce another beautiful typeface: Neacademia by Sergei Egorov. It is a revival, indeed, but it has been done differently. It does not “modernize” the look of old stuff, it does not “replicate the ink spread”, … Instead, it questions the existing concepts and tries to revive the lost feel of old metal types by means of contemporary tools and consistently applied inconsistencies. And that being done well in all languages it supports! As I said earlier on Twitter, from helping with this type I learned more than from reading books on typographic history. Go, see for yourself.
All of this in one month. I think I deserve a vacation now.