Joshua Darden | |
|---|---|
 | |
| Born | 2 January 1979 Los Angeles, California, US |
| Known for | Type design |
| Awards | Print's New Visual Artists 2006 |
Joshua Darden (born 1979 in Northridge, Los Angeles, California) [1] is an American typeface designer. [2] He published his first typeface at the age of 15, becoming according to Fonts In Use the first known African-American typeface designer. [3] [4] [1] [5] [6]
In 1993, Darden and his high school friend Timothy Glaser co-founded The Scanjam Design Company, a studio for interactive, identity, and type design. Scanjam's retail type families included Diva, Interact, Locus, Out, Profundis, and the Macromedia-award-winning Index. [7] These were distributed by David Carson's GarageFonts foundry. [3] [8] [9] [10] [11]
Darden joined The Hoefler Type Foundry in 2000 as a freelancer, and in 2001 as a full-time employee. [1] [12] In 2004–2005, after a lengthy court battle, [13] [14] [15] he established his own foundry, Darden Studio, in Brooklyn. [4] [16] [17] Soon after, he published the font superfamily Freight, 120 fonts in five families (Big, [18] Display, [19] Micro, [20] Sans, [21] and Text). [22] [23] It was inspired by the "Dutch taste" school of typeface design, including the work of Kis, Caslon and Fleischman, [22] [24] and was named a "Favorite Typeface of 2005" by Typographica. [25] It became one of his most widely seen designs, used by art directors such as Abbott Miller, Mark Porter, and Rick Valicenti, and employed by editorial platforms such as W magazine and Medium. [4] [26] [27] Its popularity was perhaps matched by Omnes, as of 2020 Darden Studio's best-selling typeface; [15] initially designed for Landor, it was released in 2006 and has been used by AT&T, Carrefour, Courrier International, Crayola, Eventbrite, Fanta, and Huggies. [15] [28] [29] Darden's other releases for his foundry include Birra Stout, Corundum Text, Dapifer, Halyard, and TDC award-winner, [30] Jubilat [31] the logo typeface of Bernie Sanders' 2016 and 2020 presidential campaigns. [32] In 2006, Darden was named one of Print magazine's "New Visual Artists", an annual award given to 20 designers under the age of 30, and he juried the prize in 2010. [33]
In 2019, Darden sold Darden Studio to Joyce Ketterer, who had been working at the company for 13 years. The company retained his name and continues to expand and release Darden's type designs. [15]
Darden has lectured at the University of California, Santa Barbara, has sat on panels at the TypeCon and South by Southwest Interactive conferences, visited the Rhode Island School of Design as a Guest Critic, and taught the design and use of typefaces at Parsons School of Design. [34]
Joshua Darden's typefaces include the following:
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A typeface is a design of letters, numbers and other symbols, to be used in printing or for electronic display. Most typefaces include variations in size, weight, slope, width, and so on. Each of these variations of the typeface is a font.
Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since. Bodoni's typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville—increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. Bodoni had a long career and his designs changed and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.
William Addison Dwiggins, was an American type designer, calligrapher, and book designer. He attained prominence as an illustrator and commercial artist, and he brought to the designing of type and books some of the boldness that he displayed in his advertising work. His work can be described as ornamented and geometric, similar to the Art Moderne and Art Deco styles of the period, using Oriental influences and breaking from the more antiquarian styles of his colleagues and mentors Updike, Cleland and Goudy.
A type foundry is a company that designs or distributes typefaces. Before digital typography, type foundries manufactured and sold metal and wood typefaces for hand typesetting, and matrices for line-casting machines like the Linotype and Monotype, for letterpress printers. Today's digital type foundries accumulate and distribute typefaces created by type designers, who may either be freelancers operating their own independent foundry, or employed by a foundry. Type foundries may also provide custom type design services.
Jonathan Hoefler is an American type designer. Hoefler founded the Hoefler Type Foundry in 1989, a type foundry in New York.
Oblique type is a form of type that slants slightly to the right, used for the same purposes as italic type. Unlike italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except slanted. Oblique and italic type are technical terms to distinguish between the two ways of creating slanted font styles; oblique designs may be labelled italic by companies selling fonts or by computer programs. Oblique designs may also be called slanted or sloped roman styles. Oblique fonts, as supplied by a font designer, may be simply slanted, but this is often not the case: many have slight corrections made to them to give curves more consistent widths, so they retain the proportions of counters and the thick-and-thin quality of strokes from the regular design.
Didone is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the 19th century. It is characterized by:
Tobias Frere-Jones is an American type designer who works in New York City. He operates the company Frere-Jones Type and teaches typeface design at the Yale School of Art MFA program.
In metal typesetting, a font is a particular size, weight and style of a typeface. Each font is a matched set of type, with a piece for each glyph. A typeface consists of various fonts that share an overall design.
Hoefler&Co. (H&Co) is a digital type foundry in Woburn, Massachusetts, founded by type designer Jonathan Hoefler. H&Co designs typefaces for clients and for retail on its website.
Clarendon is the name of a slab serif typeface that was released in 1845 by Thorowgood and Co. of London, a letter foundry often known as the Fann Street Foundry. The original Clarendon design is credited to Robert Besley, a partner in the foundry, and was originally engraved by punchcutter Benjamin Fox, who may also have contributed to its design. Many copies, adaptations and revivals have been released, becoming almost an entire genre of type design.
Didot is a group of typefaces. The word/name Didot came from the famous French printing and type producing Didot family. The classification is known as modern, or Didone.
Gotham is a geometric sans-serif typeface family designed by American type designer Tobias Frere-Jones with Jesse Ragan and released through the Hoefler & Frere-Jones foundry from 2000. Gotham's letterforms were inspired by examples of architectural signs of the mid-twentieth century. Gotham has a relatively broad design with a reasonably high x-height and wide apertures.
Monotype Grotesque is a family of sans-serif typefaces released by the Monotype Corporation for its hot metal typesetting system. It belongs to the grotesque or industrial genre of early sans-serif designs. Like many early sans-serifs, it forms a sprawling family designed at different times.
Typeface anatomy describes the graphic elements that make up letters in a typeface.
Typefaces are born from the struggle between rules and results. Squeezing a square about 1% helps it look more like a square; to appear the same height as a square, a circle must be measurably taller. The two strokes in an X aren't the same thickness, nor are their parallel edges actually parallel; the vertical stems of a lowercase alphabet are thinner than those of its capitals; the ascender on a d isn't the same length as the descender on a p, and so on. For the rational mind, type design can be a maddening game of drawing things differently in order to make them appear the same.
Memphis is a slab-serif typeface designed by Rudolf Wolf and released in 1929 by the Stempel Type Foundry.
Beton is a slab-serif typeface designed by Heinrich Jost and released originally by the Bauer Type Foundry from 1929 onwards, with most major styles released by 1931. "Beton" is German for concrete, a choice of name suggesting its industrial aesthetic.
Iowan Old Style is a digital serif typeface designed by John Downer and released by Bitstream in 1991.
In typography, a fat face letterform is a serif typeface or piece of lettering in the Didone or modern style with an extremely bold design. Fat face typefaces appeared in London around 1805–1810 and became widely popular; John Lewis describes the fat face as "the first real display typeface."