An interview with Ilia Muraviov from Workspiration, July 2016. Continue reading

Financier is a new typeface family drawn for the redesign of the Financial Times (FT), which was launched in September 2014. It comprises two complementary sets of styles: Financier Display and Financier Text. Continue reading

Rudy VanderLans’s reply to our “Welcome to the Infill Font Foundry” article. Continue reading

A response to Rudy VanderLans’s claim of “In-fillism” in the typeface design industry. Continue reading

“Why do we need new typefaces?” is a perennial question from non-designers and folks who don’t use typefaces. This is an attempt at an answer. Continue reading

Four limited edition posters to raise money for the Hone Tuwhare Trust. Continue reading

I was interviewed by Kim Hill for Radio NZ in her famous Playing Favourites program. It’s a great format, a casual, informed conversation interspersed by songs I have chosen. Kim is a stalwart interviewer with broad knowledge on many subjects. We discuss my recent Black Pin award, the Financial Times redesign, the NZ flag debacle and bogans. Continue reading

PayPal Sans is a new screen-first typeface family designed for PayPal Inc. It is comprised of two complementary sub-families: PayPal Sans Big and PayPal Sans Small. It was designed with direction from the PayPal product team over the course of several months. Continue reading

An interview with Justin Zhang for “Beauty”, the Cooper Hewitt Design Triennial. Continue reading

Pure Pākati was designed for exclusive use by Tourism New Zealand, who were looking to move their “100% Pure” campaign away from several years of Middle Earth. This shift included an overhaul of their typeface and visual language. The typeface was designed by Phil Kelly, Rangi Kipa, Karl Wixon and Kris Sowersby. Continue reading

“Adobe InDesign is a desktop publishing software application produced by Adobe Systems.” It is used by professional graphic designers and typographers on a daily basis. It does many things well, but it does not provide a good OpenType feature user interface. What it does provide is, in fact, abysmal. This has frustrated many of us over the years. Continue reading

Domaine was an exploration into the unpopular Latin typeface genre; Domaine Sans delves into another unpopular genre: sans serifs with contrast. Continue reading

Logotypes used to be hard. Not any longer! Continue reading

Maelstrom is a reversed-stress typeface. It’s a “perverse” typeface, to be sure, but that is exactly its charm. It belongs to a genre that seems destined to be perpetually a typographic outsider—never really fashionable yet never fully abandoned. Continue reading

The Domaine typeface family descends directly from the Hardys logotype and typeface, which I designed under direction from Adelaide-based design consultancy Parallax. Continue reading

I often get interview requests from students. Most of the questions are pretty standard and answerable, but the dreaded “What is your inspiration?” is also guaranteed to be in there. This is a hard question to answer. I’ve given some thought to what my inspiration actually is, and I’m finally going to attempt to answer this question properly. Continue reading

The impetus for Founders Grotesk originally came from Duncan Forbes of The International Office. We had often discussed the nature and usefulness of the classic grotesks, and the possibility of creating a new one. After trawling through my 1912 Miller & Richard specimen, he became enamoured with their series of Grotesques, particularly the No.7 all-caps showing. Continue reading

Sample pages from the 1896 H.W. Caslon & Co. ‘Epitome’ type specimen. Continue reading

Playing favourites! I’m often asked, “What is your favourite font?”. It’s an impossible question—I like too many typefaces to answer with any brevity. So here is a list—in alphabetical order—of a few typefaces I like, accompanied by specimens and short explanations. Continue reading

Playing favourites! I’m often asked, “What is your favourite font?”. It’s an impossible question—I like too many typefaces to answer with any brevity. So here is a list—in alphabetical order—of a few typefaces I like, accompanied by specimens and short explanations. Continue reading