A typeface used to contain multiple fonts.
Now a font can contain multiple typefaces.
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The most important development in the world of type in the last few weeks is undoubtedly 'Variable fonts' - Being somewhat isolated down under I was not able to attend AtypI to hear about the development and launch of this innovative new font format first hand. But from what I have seen and read online this is a major and important technological leap for typography. Wired said 'Even if you’re not a developer or a typography nerd, this is a big deal'. The variable font format has the potential to radically change the experience of reading in digital environments. I have a couple of great resources below for those of you keen to know more about how this flexible font format works.

The example below is by Erik van Blockland - check out some of the awesome stuff he is doing with the format here.
So speaking of typography on the web - a segway to the elephant in the room - some of you may have noticed I am making changes to without going into too much detail I had some very public (and a lot of private) feedback that the type treatment on my site needed to be improved. As a book designer with zero experience in HTML or CSS the typographHer site has always been a template. Last year I worked with a brilliant developer that enabled me to customise the design to try and create a better blog presence and e-commerce experience but I appreciate there is still a lot of room to advance the site.
I had been hoping to install a beautiful new typeface by Victoria Rushton and have a new improved version of to launch this month - but I quickly discovered my template was not as flexible as I hoped (or that my ambition for the site outweighed my web ability!) so at this stage I am still figuring out what changes to make and how best to move forward. It has been a very challenging month (and a steep learning curve for me!) but I wanted to say I am so grateful for the wonderful support, encouragement and kind words from our community (you're champions!) so thank you for being awesome and please excuse the mess while I am fooling around with the back end of the site!
At the other end of the technology spectrum, I excitedly acquired some more wood (and metal) type this month - this analogue (static & slow!) typography is much more my speed and I am really excited to be spending the next few days printing in preparation for an upcoming group exhibition (Disrupt) in Brisbane late October.

Enjoy the TypoMusings & keep up the great work!

X Np
A variable font is a single font file that behaves like multiple fonts. Learn more about how the technology works in this article by John Hudson.
Ferdinand Ulrich on the perception of black & white in relation to contrast in Type Design: “You don’t actually design the black, you design the white: the space inside it and the space around it."
Check out this great TDK feature with local letterer Leona Fietz: Leona generously shares advice, talks about her journey, inspiration and process.
Swooning over this beautiful print play by @smelltheink
Each year the typefaces from the MATD class at Reading are exciting - this year they are nothing short of exceptional.
Chromatic wood type is as legendary in the letterpress world as the unicorn was in Antiquity. Happily, Virgin Wood Type has tamed the beast and is now manufacturing a chromatic.
Honoured to have TYPOgraphJournal in such wonderful company on the new Design Assembly site
If you are new to typography or keen to refresh your memory, then the Type Terms animated cheat sheet will help you know the difference between your tittle and your tail!
There’s no particular ‘visual problem’ that can be graphically solved: Studio Vanessa Ban’s book design plays with space and typography
I am loving Fonstand's new type filtering by Indra Kupferschmid which makes navigating thousands of fonts easy! Read more in this TypeThursday feature with fontstand founder Andrej Krátky
"Kinda like Helvetica, except for absolutely everything about it." Forma: A stylish revival of the classic Italian sans by DJR and Roger Black, seeks to create the warmth of a printed page within digital text, embodying the peculiar collision of midcentury modernist precision and the smudgy realities of metal, ink, and paper. This revival is not based on Forma’s original drawings, nor does it try to truly capture its designers’ original intent. Instead, it brings new life to a bygone typographic era.
Check out this comprehensive overview of the AtypI2016 event from the Alphabettes
I fell in love with Luke Lucas's lettering for All Good Organics all over again when I submitted this for @typechaps recent #Fontsunday
Liron Lavi Turkenich continues her wonderful profile series with an interview Marina where they talk type design, ornaments, freelancing, culture and green juice!
Check out the Calander with loads of new TypeCentric workshops and events listed worldwide
Copyright © 2016 Nicole Arnett Phillips, All rights reserved.

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