Andrea De Rosa

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CKD Design

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R2 Design

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Stop poster

R2 poster for Good 50x70, 3rd edition
Good 50x70 aim is to increase public opinion awareness of who fights to improve life across the worlds.

Hachura ™ _Outras Fontes

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Outras Fontes is an independent digital type foundry based in Rio de Janeiro, Brazil. It was founded in 2006 and it is currently managed by Ricardo Esteves Gomes, a graphic designer and researcher. The name "Outras Fontes" simply means Other Fonts. Our work is focused both on developing brand new typefaces - that you can see in our catalog of fonts - and also in exclusive custom typefaces. We work to provide other options of type designs to the typographic community all over the world, giving value to some of the main characteristics of brazilian people: creativity, diversity and beauty.

Hachura is an impressionist typeface designed by Ricardo Esteves Gomes. Its general proportions are based on the garalde models, with traditional roman serifs. It was initially made by hand using a drawing technique to create a font that simulates the unfinished aspect of a work in constant progress. This textured face is useful for display sizes, making a very visible presence. Because of its basic dimensions and careful distribution of black and white, it still also very readable in text sizes like 10 or 8 points.

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Evelin Kasikov _portfolio

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I am an Estonian graphic designer currently living in London. I love the craft of print and I have studied traditional printmaking techniques: intaglio, letterpress and lithography. After working several years in design and advertising I moved to London in order to study for a masters degree.

In 2008 I graduated with a distinction from MA Communication Design course at Central Saint Martins. I specialized in book design and Printed Matter is my largest project to date. It is an investigation into the relationship between tactile and visual perception, seeing and touching.

Since graduating I have been working freelance in print/editorial design, most recently for The Phaidon Press.

[Ler mais...]

Images:

A set of four A6 postcards created in response to the brief set by UKTYPE (2008). Designers were invited ‘to have some graphic fun and design a tart card either for a typeface or a letter of the alphabet’ in order to support the St Bride Library in London.

Printed Matter. Process is a research book that reveals and explains the various aspects of the process and documents the project development in chronological order.
80x130 mm | 280 pages | Epson print on Somerset Soft White 115 gsm












fonte: Ana Margarida Boavida

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MOUSE_parabénsPARABÉNSparabéns!!!

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MOUSE, parabéns pelo EXCELENTE trabalho destes 3 GRANDES anos :)
ttttt





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Dangerous Curves

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Doyald Young

256tm _Thomas Huot-Marchand

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256tm fonts are compressed as .zip files. Use Stuffit Expander for Mac, or Winzip for Windows, or simply click on the files to extract the fonts

Les fontes 256tm sont compressées en archives .zip. Utilisez Stuffit Expander sur Mac, ou Winzip sur Windows, ou cliquez simplement sur les fichiers pour extraire les fontes.

© Thomas Huot-Marchand / 2007
03-02-08: My portfolio is online

Free Fonts _FontShop

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By downloading any of the free fonts on this page you agree to these conditions: Though we offer these font downloads free of charge, the fonts themselves are copyrighted by the respective designers and foundries and their use is regulated by their respective End User License Agreements. These fonts are not shareware. You may not post them in newsgroups, on FTP sites, or distribute them on CD-ROM, floppy disk or any other media. In short: if you want to share the love with others, please send them to this page. [Ler mais...]

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Eduardo Manso

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"Soy diseñador gráfico y de alfabetos. Me especializo básicamente en cuatro campos de actuación: identidad, editorial, web y tipografía. Con especial énfasis en proyectos gráficos donde la tipografía tiene un rol protagonista. [Ler mais...]"

Handwritten _Typographers

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Hit pause for a moment and consider how greatly we – people in the digital age – are indebted to typographers. Almost all of our visual communication is delivered using the products of their craft: newspapers, SMSes, instant messages, emails, web pages, signs, posters, billboards; the list of purposes is endless. [Ler mais...]

(...) The handwriting of typographers intrigues me because it raises so many questions, big and small: Do typographers exert some extraordinary control of the pen that laypersons don't? Does a typographer's handwriting influence the typefaces they produce? Has the rise of digital communications made handwriting redundant? Do modern typographers, born of digital tools, lack the finesse of their more wizened counterparts? If so, does that change the way their type is designed?

And then, there's just something strangely ... meta ... about looking at the handwriting of people who work with type.

So, to satisfy my own curiosity I asked a number of prominent typographers to send me a scan of their handwriting. This is the result.

(...)
Erik is a renowned designer and typographer who has been involved in every facet of visual communication – practicing, writing and teaching, as well as running his international agency SpiekermannPartners.
He has designed corporate typefaces for Nokia and Deutsche Bahn, as well as the fonts FF Meta, ITC Officina, FF Info, LoType, Berliner Grotesk and many more.

Hugo d'Alte

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ESAD

NEWWORK Magazine 03

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NEWWORK magazine is a large-format arts publication for conneusiers of fresh ideas. Designed and published biannually by studio NEWWORK, each issue features new work from a wide range of artists and creators in the worlds of fine art, design, high fashion, culture, and politics. From art directors to business leaders, design students to curators, NEWWORK's contributors are united in their passion to push the boundaries of their disciplines. Among the magazine's special features are bold, custom-designed typefaces and a twist on the traditional newspaper format, offering a stimulating juxtaposition of striking design and everyday simplicity. Since pages can be separated, each layout can be hung on the wall as an individual art piece.

While the second issue of NEWWORK explores the role of imagination in creative life: changing styles, changing minds, changing worlds, the theme of ISSUE NO. 3 is Face as an idea that is both literal and abstract. It invokes our contributors to break down "Face" and show how it manifests itself in their work.



Keywords
NEWWORK 03, New Work, Magazine, Newsprint, Large Format, Halftones, Graphic Design, Typography, Fashion, Willi Kunz, Adrian Frutiger, Will Davidson, Akira Kobayashi, Wayne Levin, Ruedi Bour,

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Astigmatic One Eye Typographic Institute

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The typefaces on this page have been designed for you to use and enjoy free of charge. Use them in your Personal and Commercial projects and designs. (...)

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Type in Flash

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LOGO, FONT & LETTERING BIBLE All contents copyright 2004 by Leslie Cabarga, published by HOW Design Books

Here are some ways of handling type in Flash. I created this demo for the book, FLASH MX: Complete Course by Bill Sanders, from Seybold publishers

Absolut Sequel

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EBDA

Hannes von Döhren

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In August 2008, we introduced Quench®, a contemporary display family by Berlin-based Hannes von Döhren. Since that successful release, Hannes has followed with three more items: Opal™, which is a noble, luxury text face, and Snoogle™ and Snoogle Dingbats, contemporary display faces. Opal’s design pays respect to Renaissance serif type, yet Opal is not based on any specific predecessors. The family includes an Italic, Bold, and Script variant (Opal Script is suited for additional text emphasis, or as an alternative to Opal Italic). Snoogle is a friendly, rounded display face with many OpenType ligatures, which almost give the letters the feeling of a script face. A Dingbats font, with hard-core pictograms, complements the design.

Examine Opal, Snoogle, and Snoogle Dingbats’ character sets online.

Images:

The following pages illustrate two great new Linotype families: Opal™ and Snoogle™. Opal was designed by Hannes von Döhren. Hannes collaborated with Raimo Böse on the Snoogle project. Both Hannes and Raimo are young, Berlin-based designers.

From top to bottom: Opal Italic (Swash), Opal Regular, Opal Bold, and Opal Script. In addition to the Italic, the Opal type family includes a script face, whose letters are includes connections, similar to handwriting.

With a little bit of care, designers will be able to create the finest of traditional, elegant work with this family.

Hannes von Döhren in his Berlin studio during the design of the Opal family.

A QUINTESSENTIALLY TALENTED TYPOGRAPHIC QUARTET

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Here are four young designers who have created some exceptional typefaces.

January/February 2009
TYPE
A QUINTESSENTIALLY TALENTED TYPOGRAPHIC QUARTET
by Allan Haley

Type design tends to be a self-taught skill—one that a formal education can augment, but not one that requires it. Nathanael Bonnell, Erik Faulhaber, Hannes von Döhren and César Puertas are four young designers who have created some exceptional typefaces—and each designer will tell you that formal education in typeface design was not an essential ingredient in the success of his work.

Nathanael Bonnell is only in his second year of college, and he is not studying to be a type designer. “Although I am not studying typeface design,” he says, “I’m sure my font making will influence my eventual choice of concentration. I may go for a concentration in linguistics.” Bonnell spent his childhood in Cincinnati, Ohio, and has been drawing alphabets for as long has he can remember. “My mom has old sheets of paper on which I had drawn the alphabet and then put serifs on all the letters … including the O,” he observes. “As I got older, the letters I made began to look better and better.” Bonnell eventually found a trial version of a crude font-making software and started creating digital type. “I’m entirely self-trained,” he says. “What I know about type design I’ve derived from carefully examining every font I see, noticing what makes letters look good and gradually learning the conventions of the craft.” [Ler mais...]


PRACTICE WITHOUT PEDAGOGY
Typeface design is a craft in which visual acuity, a love of letter-forms and design talent are combined in a unique and remarkable manner. A formal education may be beneficial in refining the skill, but this quartet of designers proves that it is not an absolute prerequisite.

fonte: STEP inside design

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Fedra Sans Condensed Alt _Peter Augustovič

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Peter Augustovič
Typotheque has designed the basic typographic template for the Slovak Euro stamps. Fedra Sans Condensed Al Bold is used for the denomination of the stamps, domicile is in Fedra Sans Display Thin, and the name of the monument is in Fedra Sans Alt Medium. The post stamps are printed on rotary recess press combined with gravure. Stamps are engraved by various artists, and layout is implemented by Peter Augustovič following the basic template.



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Talkin’ ’bout font generations

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ATypI 08: The Old · The New
Beloselsky-Belozersky Palace, St Petersburg
17-21 September 2008
Reviewed by Sofie Beier

‘Do you guys always talk this much about yourself in presentations?’ asked Vladimir, a Russian, after listening to several speakers from the West. With the Russians in one room often citing other people’s work when talking about the Cyrillic alphabet, and English speakers in another room often showing their own work when talking about the Latin alphabet, Vladimir’s question pinpointed the difference between the presentations given by Russians and by visitors at the ATypI type conference in St Petersburg. The conference appeared divided between two alphabets and two languages (though the organisers had arranged for professional translation of all the Russian talks and of a couple of the English ones). [Ler mais...]

fonte: eyemagazine.com

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realities:united (realU)

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In 2000 the brothers Tim Edler and Jan Edler founded realities:united (realU), a studio for art, architecture and technology. realities:united develops and supports architectural solutions, usually incorporating new media and information technologies.

MuseumX (2006)

Playful Type

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Ephemeral Lettering and Illustrative Fonts
Editors: R. Klanten, H. Hellige

Graphic designers have always developed and designed new fonts for application in individual projects. Playful Type discovers a new and young generation of designers who are applying typography beyond the classical typeset and creating a dynamic range of playful and illustrative fonts and ephemeral lettering.

Playful Type examines how designers today are creating typography with the aid of a multitude of different techniques. From manual lettering, calligraphy and collage to manipulative time exposure of photographs, designers are developing fonts for the moment which are irregular and often accidental. Blocks of ice are even being staged as real characters and paper cut forms and shadows metamorphose into letters and spatial installations. This book shows such cutting-edge examples of elusive scripts that are being translated into serially employable alphabets to be used digitally with the computer.

Playful Type presents an inspiring collection of illustrative fonts and hand-made typography created from a variety of cutting-edge approaches and indicates current development in font design.

Related Gestalten.tv podcast feature:
ContainerPLUS

Dan Flavin

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Dan Flavin was born on April 1, 1933 in New York City. In the mid 1950s he served in the US Air Force as an air weather meteorological technician in Korea, after which he returned to New York and attended art history classes at the New School for Social Research and Columbia University. While he had an interest in art and drawing throughout his life, he never received formal art instruction. [Ler mais...]

Read Design Assembly’s post about Dan Flavin.

fonte: TypeNeu

images:
Dan Flavin, untitled (to the "innovator" of Wheeling Peachblow), 1966-1968.
Daylight, yellow, and pink fluorescent light. 8 ft. (244 cm) square across a corner.
Photo: Billy Jim. Courtesy Dia Art Foundation.

Feisar _Paul van der Laan

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Feisar, designed by Paul van der Laan, was initially drawn as a 12 PPM bitmap typeface for the user-interface of the veejay application Resolume.

Since its debut the design has gradually expanded into a complete font family of several bitmap variants for use on screen and a number of outline versions – ExtraLight, Light, Regular, Medium and Bold – for use in print.

Feisar strikes a balance between two worlds. From a superficial point of view it’s a modern display typeface, but at closer inspection the construction and spacing reveal the influences of traditional type design. This makes Feisar instantly recognisable, but still very readable at smaller sizes as well.(...)


Type Invaders was founded in 2000 as a small independent typography studio focused on the design, production and sales of original and high quality typefaces. [Ler mais...]

green earth

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competition results !

theme:
green earth
'green'
create a graphic artwork that illustrates the environmental protection
and how human beings and nature could coexist in a greener world.

'earth'
give the gift of a greener world at christmas. create a graphic artwork that
will make this festive time of the year a moment to consider what we
can do to help our planet's survival. you can use iconic christmas motifs
in your design for example reindeers, trees, etc.

the jury was composed of:
katsumi asaba, art director, JAPAN
seijyu toda, art director, JAPAN
yoske nishiumi, designer, JAPAN/GERMANY
carole guevin, netdiver.net, CANADA
andy butler, designboom

- co organized by designboom, DA design association japan and TOBU DEPARTMENT STORE

name of design : RRRO
design by : craig devitt + Typographer and Designer: Sarah Parker + Art Direction: Sha-mayne Chan from australia

A Rebelião dos Signos: A Alma da Letra

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Designers ibéricos apresentam livro
História da letra vista a quatro mãos

Lançada a edição em castelhano para Espanha e América Latina, em 2009 a obra de Joan Costa e Daniel Raposo sobre a história, usos e evolução dos signos chega ao mercado português e brasileiro

Depois de ter estado no Fórum ESART 2006, o catalão Joan Costa regressou à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco para apresentar com Daniel Raposo, coautor do livro, a versão castelhana de “A Rebelião dos Signos: A Alma da Letra”. “O convite veio do Joan Costa, uma vez que ele conhece o meu trabalho e temos trocado muitas ideias”, refere o docente português, em alusão ao mestrado que fez na Universidade de Aveiro na área da identidade corporativa. “Começámos por fazer um índice provisório a partir do qual cada um escreveria determinados capítulos, mas em que o outro poderia acrescentar nova informação”, conta o investigador, exemplificando como a letra resulta da simplificação de ideias complexas. “Hoje ninguém pensa que o eme vem do som da onda do mar ou da forma da serpente”.

Na obra, desenvolvida ao longo de ano e meio pelos dois designers, estes esboçam parte da história e evolução da letra, numa abordagem distanciada dos códigos e da linguagem da escrita. Um olhar visual sobre os usos e costumes dos signos linguísticos, onde se procura também analisar a influência da letra no quotidiano e no mundo da arte e da comunicação.

“O livro trata da forma como a letra se vai libertando ao longo dos tempos, nomeadamente para deixar de ser um signo de escrita e ganhar maior expressividade, chegando quase a ser um elemento de análise de antropologia humana”, explica Daniel Raposo. “A letra nasce para transmitir conhecimento e informação, mas como é um produto de design – cada letra é um desenho - e tem uma estrutura inspirada na geometria e na matemática, através do tempo vê-se como está sempre a evoluir, seguindo o ritmo da cultura e marcando-a, e também sujeita ao suporte de inscrição”, acrescenta Joan Costa. “Mudam o suporte e o traço, e mudam a ferramenta de escrita e a forma da letra”.

Da ornamentação rebuscada à simplicidade funcional, eis um retrato sobre as diversas personalidades da letra num percurso extenso que a levou do formalismo da escrita para a rebeldia do desenho. Pontos de vista agora lançados numa investigação que vai da escrita pictórica, do cuneiforme, dos hieróglifos e do nascimento dos alfabetos à criação da imprensa e do logótipo e à abstracção gráfica.

“Em redor de Gutenberg, a arte gráfica da gravação serve para a ilustração, mas o mesmo artista é quem desenha as letras, faz de tipógrafo e a paginação”, recorda o designer espanhol, lembrando artistas como Leonardo Da Vinci, Luca Pacioli e Albrecht Dürer. “Uma só mão faz tudo, e é isto que eu entendo que é o grafismo: é a mão que escreve e desenha”, acrescenta Joan Costa. “É um mundo completamente oposto ao da pintura, que é o da mancha e da cor. Em contrapartida, a linha é um arabesco que se move sobre o fundo”.

São imagens sobre traços transformados ao longo da linha do tempo, numa obra dirigida sobretudo a estudantes e profissionais do design de comunicação, artes plásticas, tipografia, publicidade, ilustração, grafismo de identidade, relações públicas ou marketing. Para já o livro, publicado na Argentina pela Editorial La Crujía, está também disponível no México, Perú, Guatemala e Espanha. Primeiro volume de uma colecção de 14 títulos sobre design, dirigida por Joan Costa, e que antecede uma obra sobre os novos suportes gráficos, em particular as caixas de CD, e outra dedicada ao desenho do incorrecto e às deformações gráficas na arte, com especial incidência na caricatura e na sátira política. No início de 2009 será a vez de Portugal e Brasil receberem a edição da Dinalivro, numa série mais alargada que deverá abranger temas como a comunicação e a publicidade.

“Não só a letra está a causar uma rebelião, como queremos que o próprio livro causa alguma rebelião”, graceja o coautor português. “E agora, com a edição portuguesa, esperamos também vir a fazer uma revolução em Portugal ao nível de publicações em português, que não abundam e que muitas vezes são apenas traduções, algumas de qualidade duvidosa”, confessa Daniel Raposo. “Isto fez-se nas duas línguas porque o Daniel escreveu a sua parte em português, e então o livro estava predestinado a ser também publicado em Portugal”, conta Joan Costa. “Trabalhar a quatro mãos é sempre mais interessante”, contrapõe Daniel Raposo. “Tanto eu como o Juan somos duas mentes muito inquietas, e em cada conversa surgem-nos novas ideias para novos livros que iremos fazer”.

Com mais de duas dezenas de livros e centenas de artigos publicados, Joan Costa foi o autor da primeira enciclopédia de desenho do mundo e um dos pioneiros na investigação ligada ao design utilitário, sinalética, esquemática e cientigrafia (difusão da ciência através da imagem), tendo sido ainda responsável pela comunicação empresarial e identidade corporativa de empresas como o Deutsche Bank ou a suiça Zurich. À margem das colaborações com o comunicólogo da Universidade Autónoma de Barcelona, Daniel Raposo, coordenador do curso de Design de Comunicação e Produção Audiovisual na ESART e responsável pela revista digital Convergências, irá lançar o livro “Design de Identidade e Imagem Corporativa”, obra que deverá ser publicada ainda este ano pela instituição. Soma-se a participação na obra “Ver, Ouvir e Sentir Letras”, onde, junto com José Silva, também docente da ESART, e outros três investigadores, se tenta contextualizar a prática do design no ensino universitário, sintetizar tradição e identidade tipográfica e novas tecnologias, bem como falar sobre a capacidade da letra em criar significado não verbal.

Jorge Costa/Beira TV

fonte: IDENTIDADE-CORPORATIVA

[Ler mais...] > tipografia em portugal

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Antoine+Manuel _graphiste et designer

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EXPOSITION > Les Arts Décoratifs
14 janvier / 12 avril 2009

FF Mister K _Franz Kafka’s Pen

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FF Mister K

The manuscripts of author Franz Kafka had such a profound impact on Finnish graphic and type designer Julia Sysmäläinen that she decided to convert his handwriting with its unusually strong calligraphic characteristics into a digital script.



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Eduardo Aires _design editorial

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Fotobiografia (im) Possível de Rodrigues Lobo
Tinta Fresca

Depois da Fotobiografia de Afonso Lopes Vieira apresentada no final de 2007, a editora leiriense Imagens&Letras volta a “surpreender com uma obra de elevada qualidade gráfica e científica, um livro de arte, desta vez dedicada a Francisco Rodrigues Lobo, o mais notável dos escritores leirienses.” Carlos André, professor da Faculdade de Letras da Universidade de Coimbra assina o texto. Eduardo Aires, designer editorial e professor da Faculdade de Belas Artes da Universidade do Porto assumiu a direcção artística do projecto transformando este livro num álbum de rara beleza. (...)

Trata-se de uma edição de luxo, de capa dura, a cores e com impressão em papel de qualidade...

Design Editorial – Direcção Artística

EDUARDO AIRES – Iniciou a sua formação na Alemanha Federal, tendo passado por Coimbra e, em 1987, termina o curso de Design de Comunicação da Faculdade de Belas Artes da Universidade do Porto. Nesse mesmo ano é admitido como docente no Departamento de Design, onde permanece actualmente.
Além da docência universitária, desenvolve inúmeros projectos multidisciplinares na Whitestudio, atelier que dirige. Faz parte do Júri Nacional de Design desde 1987 e tem participado - a título individual ou representando Portugal – em diversos congresso mundiais da ICOGRADA – International Council Graphic Design Association. Doutorado em Design Editorial, é membro do Art Directors Club (NY). [Ler mais...]



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Literary acquisition through voice:

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a new notation for enhancing literacy, representing all voice expressions in a single system
Jorge Dos Reis Tavares Duarte

"My research has two aspects. First, can letter shapes represent, without ambiguity, the different oral sounds in speech and chant? Secondly, could such a new typographical representation be used as a tool for language acquisition and literacy development? By probing these questions, I hope to reveal the important social function a new notation system could have in resolving reading and comprehension problems among children and adults in countries such as Britain and Portugal." [Ler mais...]

Peter Saville _fonts download

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ImprovLisboa

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Cristina Reis _Teatro da Cornucópia

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Cartazes

New Work: ‘02138’

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Cover of the redesigned, now dead 02138.

02138 was the luxury lifestyle magazine of the Harvard elite, sent exclusively to the school’s top 50,000 alumni (out of 320,000 Harvard alums worldwide—yes, you can go to Harvard and still be considered not good enough). Sadly, the magazine folded on Black Friday, the same day Radar died, just as the first issue of our redesign was set to go to press. Working closely with the editors, Luke Hayman and his team had developed a design that tweaked the culture of Harvard just as it embraced it.

Now the publishers have posted the entire final “lost” issue online, and 02138’s exclusivity is shared with the world. Enjoy the privilege!

Click here for the 02138 December 2008 issue.

A look inside our shortest-lived redesign after the jump.

Continue reading "New Work: ‘02138’"

Editorial Design, Recent Work, New York, Luke Hayman
11 / 05 / 2008 | Permalink

A Number of Numbers _by Pentagram

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This year’s book, A Number of Numbers, has been designed by Michael Gericke and his team.

Go to the A Number of Numbers site

ciclo de Conferências promovidas pelo ISEC

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Na sequência do ciclo de Conferências promovidas pelo ISEC na área de Design e Produção Gráfica, vimos por este meio convidar-vos a assistir já esta 5ª feira a uma sessão com Paulo Heitlinger, autor do livro "Tipografia - Origens, formas e uso das Letras".

Abaixo o link com o convite e mais informação:

http://gcd.isec.universitas.pt/anexos/email.jpg

Eric Olson _Process Type Foundry

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In a relatively short time span Eric Olson’s Process Type Foundry has become one of the most successful micro-foundries in the US. His retail fonts, such as a the cool, clean Bryant and the highly fashionable Klavika, enjoy increasing popularity in print as well as on screen. In addition, he has worked on a wide range of assignments for clients ranging from Chevrolet to the Walker Art Center in Minneapolis, his home town. All this is good news for typography, because Olson’s typefaces are carefully drawn, well-equipped and original. They’re also quite extensive: you might say that Eric Olson is a family man.

Eric, you've worked in and around Minneapolis during a large part of you career. Is it an attractive city for designers and artists to work in?
It must be, because there are thousands of them here. It doesn't move with the pace of New York or London. And if you've decided to stay, chances are you find that valuable. It seems to follow that, with the slower pace, the room for working naturally opens up and things start to happen.

You're a full-time type designer and the principal of your own foundry. Was this something you envisaged when you designed your first typefaces in the late ’90s?
Never. When I designed my first typefaces I was in design school and very focused on becoming a graphic designer so the thought never crossed my mind. At the time my dream was to design magazines and album covers and drawing typefaces was just a way to make my graphic design more original. I think along the way I realized designing type was really satisfying and soon I couldn't stop.

Designing type all day, every day – does it ever get boring?
There is a certain amount of tedium associated with type design because it's exacting work – and maybe that notion is at the root of your question – but the detailed construction and care of every glyph is what really makes a typeface sing. Attempting to get the total system of a font into harmony might be frustrating, annoying, or exasperating but never boring. And of course, when you publish your own typefaces, you become involved with every aspect of running a business and that means there is always something to do besides just drawing letters. Customer questions have to be answered, new website features need to be implemented, ads have to be designed, or whatever the business requires at the moment. In fact, it is often a luxury to be able to focus solely on designing type for hours on end. [Ler mais...] > MyFonts