Because David Jonathan Ross designed Fit to fit just about any text into just about any space, text set in it looks best when it’s stacked tightly. Yves Peters explains how you can achieve the best results with…
Once in a great while, a typeface shows up that occupies a realm of its own. Fit, David Jonathan Ross’ wildly imaginative all-caps constructivist juggernaut, operates in a fascinating twilight zone between type and image.
Most digital revivals of old metal fonts start with printed specimens. But Indra Kupferschmid, who led the research effort, suspected we might be able to get to the source.
The Italian type foundry Nebiolo of Turin was the biggest type and printing equipment manufacturer in Italy. It started in 1852 and thrived in the first half of the 20th century, but never made the transition to phototype. The foundry…
The development of Forma is an extraordinary story, and the question of who designed it is not as easy to answer as it is with other typefaces.
Turin-based Aldo Novarese was one of the most inspired type designers of the 20th century.
David Jonathan Ross first combined his drawing skills and an affinity for coding on the websites he built in middle school. It’s fitting, then, that a type family he developed for computer programmers is what ultimately inspired him to launch…
Input 1.1: David Jonathan Ross’s elegant font for coding has new characters that users have asked for.
“It’s definitely the typeface I was searching for”: Nicholas Felton found Input to be the perfect choice for a hard-hitting presentation of raw data.
Forma is a neo-grotesque typeface by the Italian type foundry Nebiolo. It was designed in 1965–68 by a team of eight designers, and spear-headed by Nebiolo’s art director, Aldo Novarese. This is the story of its revival.