They’re based in Newcastle-upon-Tyne, a city that, like Liverpool and Manchester, was a one-time center of the industrial revolution. Jonathan Hill is from Sheffield, where he worked as a graphic designer for the thriving local music industry. After several years in a London studio he moved back to North East England to set up his own logo and type design studio. Mariya Pigoulevskaya came to the region from Belarus in 2006 to study Art and Design and joined Jonathan’s studio after graduation. Their company’s type library is a fast-growing and increasingly popular collection of type families — many of them clean, modern sans serifs with an industrial or tech touch. Getting better all the time: here is The Northern Block.
They’re based in Newcastle-upon-Tyne, a city that, like Liverpool and Manchester, was a one-time center of the industrial revolution. Jonathan Hill is from Sheffield, where he worked as a graphic designer for the thriving local music industry. After several years in a London studio he moved back to North East England to set up his own logo and type design studio. Mariya Pigoulevskaya came to the region from Belarus in 2006 to study Art and Design and joined Jonathan’s studio after graduation. Their company’s type library is a fast-growing and increasingly popular collection of type families — many of them clean, modern sans serifs with an industrial or tech touch. Getting better all the time: here is The Northern Block.
They’re based in Newcastle-upon-Tyne, a city that, like Liverpool and Manchester, was a one-time center of the industrial revolution. Jonathan Hill is from Sheffield, where he worked as a graphic designer for the thriving local music industry. After several years in a London studio he moved back to North East England to set up his own logo and type design studio. Mariya Pigoulevskaya came to the region from Belarus in 2006 to study Art and Design and joined Jonathan’s studio after graduation. Their company’s type library is a fast-growing and increasingly popular collection of type families — many of them clean, modern sans serifs with an industrial or tech touch. Getting better all the time: here is The Northern Block.
Belated best wishes for 2014 from the MyFonts team! Convinced, as usual, that the year ain’t over till its over, we waited longer than most other list-makers to compile our overview of the Fonts of 2013. This is a list that you, as our customers, have voted for — with your wallet. It is a font hit parade that is based on average sales (revenue, not number of copies sold), with some correction for what we sometimes call the Introduction Sales Peak, and making sure that popular genres are fairly represented. There you go: your annual barometer of trends in type. Thanks for helping us put it together.
Dear Reader: Get ready for the longest Creative Characters interview ever. It’s not just that Stuart Sandler is a talented talker, he also has a lot to talk about. He runs and co-directs no less than five foundries and labels that MyFonts represents: the Font Diner, Sideshow, Breaking The Norm, the Tart Workshop and, most recently, Filmotype. He runs a handful of other companies and web shops as well, including Mister Retro. He is enamored with the lettering and typefaces of the 1920s through the 1960s, a period when letter-making was a very different craft indeed. Meet Stuart Sandler, a master of digital retro-americana.
Many type designers make script fonts, but precious few match Rob Leuschke’s consistent high-quality production. Although his letterforms often have an immediate familiarity to them, they are seldom based on existing letterforms. Rob Leuschke does not revive typefaces, he draws them afresh. He doesn’t think of himself as a calligrapher, though. Then how does he do it? Read on and find out how much of what looks like spontaneous handwriting was in fact painstakingly drawn.
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