Please thank the foundry with a visit and follow: @mass-driver.com

MD UI · Mass-Driver™ The International Typographic Style projected one step into the future. MD UI is a neo-grotesque tuned for maximum performance across all scales; a typeface that augments the function of a timeless fo...

Today Mass-Driver has revealed its latest release: MD UI is a neo-grot in three optical sizes, complementing the monospaced MD IO. Check it out at mass-driver.com/typefaces/md... and read the design notes: mass-driver.com/article/md-u...

Mass-Driver is the type foundry of Rutherford Craze (@craze.co.uk) and one of the fine sponsors that make Fonts In Use possible.

#fonts #FontsInUseSponsors

Have you used any of our fonts in a live project?

If you’re able to share an image or two (or better yet, submit a @fontsinuse.com post!), I’d love to hear what you worked on, and potentially feature it on the next version of our website

I found a couple events and articles from Feb and Mar and they said she was still in the role. Dunno.

Replied!

Screenshot from myfonts.com showing Shelley Script, a formal calligraphic script, spelling out “The Oval Office”.

It’s Matthew Carter’s typeface, Shelley (fontsinuse.com/typefaces/27...), but like much Word Art it’s been artificially bolded.

But the White House has a Chief Calligrapher (en.wikipedia.org/w/index.php?...), so why not have her do something proper? (Unless she’s been laid off like everyone else.)

Yes, we have quite a backlog. If it’s rejected, you’ll know. Otherwise, thanks for your patience!

Linotype faces used by winners of @AIGAdesign’s “Fifty Books” award, 1924–36. archive.org/stream/Mergenthaler1935T...

A table titled “Linotype Faces—“Fifty Books” Selections”. On the left is a list of typefaces with columns for years 1924–1941 and a Total column. The typefaces are listed in order of appearances Caslon Old Face is at the top with a count of 71. Next are Baskerville, Granjon, Janson, and Scotch.

In 1941, Linotype updated this booklet as “The Readability of Type” and added 1937–1941 to the table.

(This is a reply to an archived post from 2016. We just migrated everything from X using the wonderful @cyd.social and will finally archive our account there.)

Lovely deployment of Churchward Roundsquare for Yorgos Lanthimos’ Bugonia. fontsinuse.com/uses/71654/b...

Brasilia in use Designed by Albert Hollenstein and Albert Boton in 1958–60. Initially a lowercase design by Hollenstein in two weights, to which Boton added capitals [1964 Graphis feature]. “Apparently, the design wa...

This appears to be hand lettered. No two repeating letters are identical. Similar: fontsinuse.com/typefaces/32...

Can’t nail the cover gothic. The signature letter there is the squared ‘O’. Not many gothics with that shape in metal or wood at the time. Possible that this is hand lettering, or one of the many unnamed wood typefaces that are not well cataloged.

Specimen sheet for Placard Condensed (series number: 568) | Science Museum Group Collection A page from "Specimen Book of 'Monotype' Printing Types" volume two, displaying samples of Placard Condensed (series number: 568), in various size from 42D on 48pt up to 72pt. Produced and distributed...

(the Condensed style) collection.sciencemuseumgroup.org.uk/documents/aa...

Placard in use Designer unknown. Monotype mentions it “is based on drawings received from Germany.” [MyFonts] Originally issued in five styles; Condensed 568 (1937), Condensed 522 Titling, Light Extra Condensed 505,...

Title page is Placard fontsinuse.com/typefaces/49...

Faire Type We are a Brooklyn-based type foundry creating dynamic retail fonts that fit the moment and bespoke custom fonts and logotypes for brands.

Big thanks to @fairetype.bsky.social who just renewed their Fonts In Use sponsorship for another year. Please support them with a follow and a visit to www.fairetype.com.

DJR really is a treasure and I'm thrilled he's promoting other designers.

Independent type design is critical to the future of written communication, as well as a subtle, exacting and exciting means of expression in its own right.

#typography

Cropped screenshot of fontsinuse.com showing a square image filled with script font samples. Below the image: Sponsor Petra-D Type Foundry Beautifully crafted handwritten fonts that explore the endless possibilities of hand lettering & sign-writing. Check them out!

Not only is David Jonathan Ross one of our longest-running sponsors, he’s now devoting some of his ad space to other type designers whose work he admires – starting with Petra Dočekalová, who just launched her new foundry site, petra-d.com. What a gent!

Instrument Serif in use A condensed display font designed for the Instrument brand. Designed by Rodrigo Fuenzalida with direction from Jordan Egstad. Comes in roman and italic styles.

Yep, good catch. It’s Instrument Serif. fontsinuse.com/typefaces/21...

Walker Brothers Carpets ad, 1880 This ad in The Salt Lake Herald., April 18, 1880, demonstrates the ingenuity of late nineteenth-century typographers. Given the cost of producing and printing engravings, newspaper ads rarely used ill...

The ingenuity of 19th-century newspaper ads never ceases to amaze me. This is 1880: fontsinuse.com/uses/24847/w...

#Typography #GraphicDesign #Victorian #1880s

Don’t have an account yet? It lets you do stuff like save likes, create sets, and create a custom “Stream” of Typefaces, Foundries, Type Designers, and Users you want to follow.

Fonts In Use is not active on Instagram We’ve abandoned problematic platforms, embraced ethical alternatives, and survived to talk about it.

As we mentioned in our June blog post (fontsinuse.com/uses/63903/f...), we’re gearing up to send the first issue of our email newsletter.

You can subscribe here: fontsinuse.com/newsletter

Or check the box on your account settings page: fontsinuse.com/user/settings

Moore Computer typeface (modified)
Linton, ND

Calligraphy in the Digital Age The work of the calligrapher, the specific and intended arrangement of 26 simple characters, is unique amongst the visual arts in that we are held to the literally “carved in...

The script is written by hand, perhaps by the Chief White House Calligrapher, Lee Ann Clark.

Rick Paulus previously held the position. He spoke at @letterformarchive.org’s Letterform Lecture in 2019. letterformarchive.org/events/view/...

[SPOTTED] Cool branding for Cherry Creek Framing, designed by Amélie Lehoux.

Very clever work.

● More: amelielehoux.com/cherry-creek...
● Via: fontsinuse.com/uses/69360/c...

Curate your own newspaper with RSS Escape newsletter inbox chaos and algorithmic surveillance by building your own enshittification-proof newspaper from the writers you already read

I’ve been hoping for this! My favorite tech writer, @molly.wiki, just wrote a great intro to RSS: www.citationneeded.news/curate-with-...

@fontsinuse.com has long provided RSS feeds for many aspects of our site.

A collage of typographic details from Black Sabbath’s first four albums, shown alongside cropped specimens of the typefaces used.

New on the blog: The arcane alphabets of Black Sabbath

To commemorate Ozzy Osbourne, we took a deep dive into the obscure typefaces used on Black Sabbath’s first four album covers.

fontsinuse.com/uses/35835/t...

(Buckle up, it’s a long one.)

The cover of Rosey Grier's Needlepoint for Men, published in 1972. On the cover, Rosey is working on some needlepoint. He's looking into the camera. He's ready to talk to you, but he's not going to put his needlepoint down to do it.

My world just got a little bigger, a little brighter, thanks to @fontsinuse.com. fontsinuse.com/uses/41221/r...

Geordi La Forge “No/Yes” meme. No: Dystopian corporate platforms. Yes: Autonomy, standards, and the Open Web.

Fonts In Use is not active on Instagram.

We’ve abandoned problematic platforms, embraced ethical alternatives, and survived to talk about it.

More here:
fontsinuse.com/uses/63903/f...

Thanks to Elizabeth Goodspeed at @typographicsnyc.bsky.social for suggesting Fonts In Use as a place to find true and varied references to specific moments in the past (in an age when AI gives a false impression of design eras based on a tossed salad of samey pastiches of that past).