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Their adept team creates award-winning typefaces for contemporary use, specialising in custom designs for corporate clients. They excel in multi-script languages like Arabic, Cyrillic, Greek, Hebrew, and Indic, ensuring inclusivity. Their international recognition underscores dedication to innovative type design.","Loew_Flag_Fallback.jpg The Northern Block is an independent type foundry internationally recognised for producing modernist fonts for brands, creatives and makers. Font Spotlight [ Boxal is a pixel font inspired by the enduring charm of classic arcade gaming. Designed by The Northern Block type foundry. ](\u002Ffonts\u002Fp\u002Fboxal) Boxal Boxal is a pixel font inspired by the enduring charm of classic arcade gaming. Each letterform evokes memories of pixelated adventures, capturing the essence of vintage gaming graphics. Boxal’s versatility shines through as it transforms into five distinctive styles—Normal, Diamond, Dot, Square, and Line—offering a range of interpretations of classic pixel artistry. [ Corbert Text—an optical variant of the Corbert typeface, designed by The Northern Block type foundry. ](\u002Ffonts\u002Fp\u002Fcorbert-text) Corbert Text Since its debut in 2013, Corbert has become a favourite for display work, known for its clarity and character in larger sizes. Corbert Text is an optical variant designed for sizes 9pt and below. Rather than simply increasing the x-height, the entire typeface was scaled and refined, enhancing legibility while preserving Corbert’s distinctive geometric charm. [ Pennline Script — a handwritten font by The Northern Block, based on Keystone Type Foundry's Bulletin script typeface. ](\u002Ffonts\u002Fp\u002Fpennline-script) Pennline Script Pennline Script is a digitised revival of Bulletin, first cast in 1899 by the Keystone Type Foundry of Philadelphia, Pennsylvania, USA. This semi-connected script features a lively, brush-inspired design that balances historical authenticity with modern functionality. Its approachable vintage style makes it an ideal choice for projects aiming to evoke a sense of nostalgia. [ Syke Mono Slab Rounded font by The Northern Block ](https:\u002F\u002Fthenorthernblock.co.uk\u002Ffonts\u002Fp\u002Fsyke-mono-slab-rounded) Syke Mono Slab Rounded Syke Mono Slab Rounded is a contemporary monospaced typeface that combines the discipline of slab serifs with softened, rounded detailing. Its precise and consistent geometry, yet the curved terminals bring a warmth that makes text approachable and easy to read. The family includes five weights plus italics, and 755 characters per style. [ Selestin—a high contrast display serif font by The Northern Block type foundry. ](https:\u002F\u002Fthenorthernblock.co.uk\u002Ffonts\u002Fp\u002Fselestin) Selestin Selestin is a high-contrast display serif typeface that combines the fluid elegance of calligraphy with the sharp precision of engraved typography. With distinctive ball terminals, delicate serifs, and graceful stroke modulation, it strikes a perfect balance between expressive craftsmanship and contemporary sophistication. [ Lintel Next font by The Northern Block—A 96-style superfamily, inspired by the architectural principles of Alvar Aalto. ](\u002Ffonts\u002Fp\u002Flintel-next) Lintel Next Lintel Next is the next-generation evolution of the original Lintel typeface, first released in 2012. Inspired by the architectural principles of Alvar Aalto, this geometric sans-serif balances structure with a natural, flowing aesthetic. Its distinctive pill-shaped curves and carefully proportioned letterforms create a precise and approachable typeface. Latest News [ Boxal—The retro typeface with an arcade in its veins. Drop your day job, and come play in a pixelated multiverse. ](https:\u002F\u002Fthenorthernblock.co.uk\u002Fblog\u002Fdiscover-boxal) RELEASES Boxal—The retro typeface with an arcade in its veins. Drop your day job, and come play in a pixelated multiverse. [ ](https:\u002F\u002Fthe-brandidentity.com\u002Ftypeface\u002Fmeet-selestin-the-northern-blocks-calligraphic-high-contrast-serif) NEWS The Northern Block’s Selestin typeface takes over the homepage of The Brand Identity website. [ ](https:\u002F\u002Ftypografie.de\u002Fprodukt\u002Ftypodarium-2026\u002F) NEWS Five typefaces by The Northern Block are set to be featured in the Typodarium 2026 desk calendar. [ The Northern Block’s 2025 in Review: New Scripts, Historic Revivals, and a Year of Creative Collaboration. ](https:\u002F\u002Fthenorthernblock.co.uk\u002Fblog\u002F2025-in-review) NEWS The Northern Block’s 2025 in Review: New Scripts, Historic Revivals, and a Year of Creative Collaboration. [ The Northern Block joins Type Network as its newest foundry partner. ](https:\u002F\u002Ftypenetwork.com\u002Ftype-foundries\u002Fthe-northern-block) NEWS The Northern Block joins Type Network as its newest foundry partner, adding 27 families to the platform. 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Specializing in high-end custom typefaces for corporate clients, the studio bridges the gap between technical precision and artistic expression. Their expertise extends globally, offering sophisticated multi-script support for languages including Arabic, Cyrillic, and Indic, making them a vital partner for brands seeking inclusive and culturally resonant visual identities.\n\nThe website's design is a masterclass in typographic hierarchy, reflecting the very craft the studio provides. It employs a clean, minimalist aesthetic that allows the intricate details of their typefaces to take center stage. By utilizing expansive whitespace and a disciplined grid, the visual identity communicates authority, professionalism, and an uncompromising commitment to contemporary design excellence. It is a digital space built for design professionals and global brands who value precision and character.",[30,34],[],[],[281,459,460,304,292],"Squarespace","Squarespace Commerce",[462,465,467,470],{"score":463,"category":464},63,"performance",{"score":201,"category":466},"accessibility",{"score":468,"category":469},100,"best-practices",{"score":468,"category":471},"seo",[473,474,475,476],{"score":224,"category":464},{"score":201,"category":466},{"score":468,"category":469},{"score":468,"category":471},[478,118],"white","Website: The Northern Block. Page: Homepage. Page type: Home \u002F Landing Page. Page title: The Northern Block. Page description: Since 2006, The Northern Block has been acclaimed for crafting modernist fonts. Their adept team creates award-winning typefaces for contemporary use, specialising in custom designs for corporate clients. They excel in multi-script languages like Arabic, Cyrillic, Greek, Hebrew, and Indic, ensuring inclusivity. Their international recognition underscores dedication to innovative type design.. Page content: Loew_Flag_Fallback.jpg The Northern Block is an independent type foundry internationally recognised for producing modernist fonts for brands, creatives and makers. Font Spotlight [ Boxal is a pixel font inspired by the enduring charm of classic arcade gaming. Designed by The Northern Block type foundry. ](\u002Ffonts\u002Fp\u002Fboxal) Boxal Boxal is a pixel font inspired by the enduring charm of classic arcade gaming. Each letterform evokes memories of pixelated adventures, capturing the essence of vintage gaming graphics. Boxal’s versatility shines through as it transforms into five distinctive styles—Normal, Diamond, Dot, Square, and Line—offering a range of interpretations of classic pixel artistry. [ Corbert Text—an optical variant of the Corbert typeface, designed by The Northern Block type foundry. ](\u002Ffonts\u002Fp\u002Fcorbert-text) Corbert Text Since its debut in 2013, Corbert has become a favourite for display work, known for its clarity and character in larger sizes. Corbert Text is an optical variant designed for sizes 9pt and below. Rather than simply increasing the x-height, the entire typeface was scaled and refined, enhancing legibility while preserving Corbert’s distinctive geometric charm. [ Pennline Script — a handwritten font by The Northern Block, based on Keystone Type Foundry's Bulletin script typeface. ](\u002Ffonts\u002Fp\u002Fpennline-script) Pennline Script Pennline Script is a digitised revival of Bulletin, first cast in 1899 by the Keystone Type Foundry of Philadelphia, Pennsylvania, USA. This semi-connected script features a lively, brush-inspired design that balances historical authenticity with modern functionality. Its approachable vintage style makes it an ideal choice for projects aiming to evoke a sense of nostalgia. [ Syke Mono Slab Rounded font by The Northern Block ](https:\u002F\u002Fthenorthernblock.co.uk\u002Ffonts\u002Fp\u002Fsyke-mono-slab-rounded) Syke Mono Slab Rounded Syke Mono Slab Rounded is a contemporary monospaced typeface that combines the discipline of slab serifs with softened, rounded detailing. Its precise and consistent geometry, yet the curved terminals bring a warmth that makes text approachable and easy to read. The family includes five weights plus italics, and 755 characters per style. [ Selestin—a high contrast display serif font by The Northern Block type foundry. ](https:\u002F\u002Fthenorthernblock.co.uk\u002Ffonts\u002Fp\u002Fselestin) Selestin Selestin is a high-contrast display serif typeface that combines the fluid elegance of calligraphy with the sharp precision of engraved typography. With distinctive ball terminals, delicate serifs, and graceful stroke modulation, it strikes a perfect balance between expressive craftsmanship and contemporary sophistication. [ Lintel Next font by The Northern Block—A 96-style superfamily, inspired by the architectural principles of Alvar Aalto. ](\u002Ffonts\u002Fp\u002Flintel-next) Lintel Next Lintel Next is the next-generation evolution of the original Lintel typeface, first released in 2012. Inspired by the architectural principles of Alvar Aalto, this geometric sans-serif balances structure with a natural, flowing aesthetic. Its distinctive pill-shaped curves and carefully proportioned letterforms create a precise and approachable typeface. Latest News [ Boxal—The retro typeface with an arcade in its veins. Drop your day job, and come play in a pixelated multiverse. ](https:\u002F\u002Fthenorthernblock.co.uk\u002Fblog\u002Fdiscover-boxal) RELEASES Boxal—The retro typeface with an arcade in its veins. Drop your day job, and come play in a pixelated multiverse. [ ](https:\u002F\u002Fthe-brandidentity.com\u002Ftypeface\u002Fmeet-selestin-the-northern-blocks-calligraphic-high-contrast-serif) NEWS The Northern Block’s Selestin typeface takes over the homepage of The Brand Identity website. [ ](https:\u002F\u002Ftypografie.de\u002Fprodukt\u002Ftypodarium-2026\u002F) NEWS Five typefaces by The Northern Block are set to be featured in the Typodarium 2026 desk calendar. [ The Northern Block’s 2025 in Review: New Scripts, Historic Revivals, and a Year of Creative Collaboration. ](https:\u002F\u002Fthenorthernblock.co.uk\u002Fblog\u002F2025-in-review) NEWS The Northern Block’s 2025 in Review: New Scripts, Historic Revivals, and a Year of Creative Collaboration. [ The Northern Block joins Type Network as its newest foundry partner. ](https:\u002F\u002Ftypenetwork.com\u002Ftype-foundries\u002Fthe-northern-block) NEWS The Northern Block joins Type Network as its newest foundry partner, adding 27 families to the platform. [ ](https:\u002F\u002Fthenorthernblock.co.uk\u002Fblog\u002Fselestin-story) RELEASES Artistry and elegance, elevated by imagination and precision—Selestin is a typographic triumph of harmony.. A Clean \u002F Minimalist, Typographic \u002F Big Type website in the Agency & Studio industry. The overall color palette features White, Black. Built using jQuery, Squarespace, Squarespace Commerce, Stimulus, Typekit. AI description: The Northern Block is a premier type foundry and design studio dedicated to the art of modernist font creation. Specializing in high-end custom typefaces for corporate clients, the studio bridges the gap between technical precision and artistic expression. 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We design our typefaces so they can be used in a wide range of contexts. Even our most radical creations stay sturdy in small sizes and stay legible. 🡢 Continue reading ⏷ Brut Grotesque⏷ Bold⏷ OpenType 144px 110% 0em 5 words A A A A Brut Grotesque 🡢 About Brut Grotesque 🡢 Try 🡢 Buy ⏷ Boogy Brut Poster⏷ White⏷ OpenType 144px 110% 0em 5 words A A A A Boogy Brut Poster 🡢 About Boogy Brut 🡢 Try 🡢 Buy ⏷ Ostia Antica⏷ Regular⏷ OpenType 144px 110% 0em 5 words A A A A Ostia Antica 🡢 About Ostia Antica 🡢 Try 🡢 Buy [ Aa ](\u002Ffamily\u002Fbrut-grotesque) [ Aa ](\u002Ffamily\u002Fboogy-brut-poster) [ Aa ](\u002Ffamily\u002Fbourrasque) [ Aa ](\u002Ffamily\u002Fbourrasque) [ Aa ](\u002Ffamily\u002Fdroulers-clarendon) [ Aa ](\u002Ffamily\u002Fdroulers) [ Aa ](\u002Ffamily\u002Fmatorral) [ Aa ](\u002Ffamily\u002Fmatorral) [ Aa ](\u002Ffamily\u002Fostia-antica) [ Aa ](\u002Ffamily\u002Fostia-antica) [ Aa ](\u002Ffamily\u002Froman-grotesque) [ Aa ](\u002Ffamily\u002Fround) [ Aa ](\u002Ffamily\u002Fround-ultra) [ Aa ](\u002Ffamily\u002Ftotentanz) [ Aa ](\u002Ffamily\u002Ftotentanz) [ Aa ](\u002Ffamily\u002Ftraulha) [ Aa ](\u002Ffamily\u002Ftraulha) [ Aa ](\u002Ffamily\u002Ftraulha-lineara) [ Aa ](\u002Ffamily\u002Fboogy-brut) [ A ](\u002Ffamily\u002Fboogy-brut-wild) [ Explore our catalog ](\u002Ffonts) What’s up, doc? Newsletter Sign up to stay up-to-date with everything going on in our foundry: latest releases, projects, events and what we ate yesterday. Try all our fonts, entirely, for free. Smiling cat face with sunglasses on an orange background It wouldn’t make sense to try on shoes without the laces. That is why we think it doesn’t make sense to try an incomplete font. Our test fonts include the full character set! Exactly the same you receive when buying a license. 🡢 Continue reading Students, get a free license! Winking cat face on a green background Studies are for practicing and learning, and we don’t agree with the idea of making you pay to use our fonts during your studies. That’s why our test fonts can be used for free to create school-related and non-commercial projects only. 🡢 Continue reading Need help? [ Understanding our licenses with 7 questions ](\u002Flicenses) 🡦 Font: Boogy Brut Poster White 🡢 Read our FAQ 🡥 Explore our license system We do custom typefaces We create fonts tailored to your needs and your vision. We work on logotypes for small brands as well as on large families for global communication purposes. 🡢 Explore all our custom typefaces To graphic designers: we also love to collaborate with design studios! 🡢 Tell us more about your project [ Carnault ](\u002Fcustom-fonts\u002Fcarnault) [ Pierre Droulers ](\u002Fcustom-fonts\u002Fpierre-droulers-charleroi-danse) [ Peclers Paris ](\u002Fcustom-fonts\u002Fpeclers-paris) [ Lebreton ](\u002Fcustom-fonts\u002Flebreton) [ paris-belleville ](\u002Fcustom-fonts\u002Fparis-belleville) [ Explore all our custom typefaces ](\u002Fcustom-fonts) We design fonts, you use them, and we love it. For us, a typeface left unused is only a relatively organized sign collection: it is the way you use it that gives it its purpose. 🡢 See more projects on _Fonts In Use_ Did you use our fonts? 🡢 Share your project BUREAU BRUT TYPE FOUNDRY 🡦 Font: Brut Grotesque Medium 🡢 About the foundry 🡢 Follow us on Instagram 🡢 Contact us Fonts - Boogy Brut - Boogy Brut Poster - Boogy Brut Wild - Bourrasque - Brut Grotesque - Brut Grotesque Mono - Droulers - Droulers Clarendon - Matorral - Ostia Antica - Roman Grotesque - Round - Round Condensed - Round Ultra - Totentanz - Traulha Help - Test fonts - License - FAQ - My account Information - About - Custom - Fonts In Use - Cookies Contact - Email - Newsletter - Instagram Fonts made by the people and for the people, as a happiness to the maker and the user. Copyright © 2015–2026. All rights reserved. Newsletter Sign up to stay up-to-date with everything going on in our foundry: latest releases, projects, events and what we ate yesterday. Welcome to bureaubrut.com. We use cookies for our visit statistics\\. Reject Accept \\* GDPR-compliant statistics, no third-party data sharing. See our legal notice. 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Its mission is rooted in a human-centric philosophy, creating typefaces that serve as a source of joy for both the designer and the end-user. The website serves as a digital catalog and manifesto, showcasing unique, character-driven fonts that challenge conventional typographic norms.\n\nThe visual identity is unapologetically bold and high-impact, leaning heavily into a neo-brutalist aesthetic. By utilizing massive, high-contrast serif typefaces against vibrant, saturated color blocks, the design establishes an immediate sense of authority and artistic flair. The layout prioritizes scale and legibility through sheer size, targeting creative professionals, graphic designers, and brand agencies looking for distinctive typographic assets.",[593,34,594],"Brutalist \u002F Neo-Brutalist","Vibrant \u002F Colorful",[],[597,597,598,598,598,598,598,598,599,599,598,598,598,598,599,599,598,598,598,598,600,600,598,598,601,601,600,599,599,598,598,598,598,597,597,599,599,597,597,599,599,600,600,599,599,600,600,599,599,601,601,599,599,598,598,599,599,600,600,601,601,597,597,601,601,597,597,597,597,601,601,597,597,597,601,601,600,600,601,601,601,601,599,599,600,600,599,599,597,597,601,601,600,600,601,601,601,601,601,601,597,597,601,601,601,601,600,600,600,600,600,597,597,597,597,600,600,599,599,600,600,598,598,600,600,599,599,600,600,599,599,601,601,597,597,597,597,599,599,597,597,597,597,597,597,600,600,600,600,600,600,598,598,599,599,601,601,599,599,599,599,597,597,597,597,597,597,599,599,598,598,598,598,601,601,597,597,598,598,601,601,599,599],"Brut Grotesque","Roman Grotesque","Brut Grotesque Mono","Boogy Brut","Droulers Clarendon",[287],[604,605,606,608],{"score":200,"category":464},{"score":217,"category":466},{"score":607,"category":469},96,{"score":609,"category":471},83,[611,613,614,615],{"score":612,"category":464},56,{"score":217,"category":466},{"score":607,"category":469},{"score":609,"category":471},[478,617,118,122],"brown","Website: Bureau Brut. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Bureau Brut - Home. Page content: 0 Bureau Brut - Fonts - Custom - Test fonts - Fonts in use - About - License - FAQ - My account - Cart 0 - EN FR [ Fonts ](\u002Ffonts) Fonts made by the people and for the people, as a happiness to the maker and the user. 🡢 Continue reading 🡦 Font: Boogy Brut Poster White 🡢 Read our manifesto 🡥 Explore our catalog Meet the families Our artistic direction strikes a balance between legibility and visibility. We design our typefaces so they can be used in a wide range of contexts. Even our most radical creations stay sturdy in small sizes and stay legible. 🡢 Continue reading ⏷ Brut Grotesque⏷ Bold⏷ OpenType 144px 110% 0em 5 words A A A A Brut Grotesque 🡢 About Brut Grotesque 🡢 Try 🡢 Buy ⏷ Boogy Brut Poster⏷ White⏷ OpenType 144px 110% 0em 5 words A A A A Boogy Brut Poster 🡢 About Boogy Brut 🡢 Try 🡢 Buy ⏷ Ostia Antica⏷ Regular⏷ OpenType 144px 110% 0em 5 words A A A A Ostia Antica 🡢 About Ostia Antica 🡢 Try 🡢 Buy [ Aa ](\u002Ffamily\u002Fbrut-grotesque) [ Aa ](\u002Ffamily\u002Fboogy-brut-poster) [ Aa ](\u002Ffamily\u002Fbourrasque) [ Aa ](\u002Ffamily\u002Fbourrasque) [ Aa ](\u002Ffamily\u002Fdroulers-clarendon) [ Aa ](\u002Ffamily\u002Fdroulers) [ Aa ](\u002Ffamily\u002Fmatorral) [ Aa ](\u002Ffamily\u002Fmatorral) [ Aa ](\u002Ffamily\u002Fostia-antica) [ Aa ](\u002Ffamily\u002Fostia-antica) [ Aa ](\u002Ffamily\u002Froman-grotesque) [ Aa ](\u002Ffamily\u002Fround) [ Aa ](\u002Ffamily\u002Fround-ultra) [ Aa ](\u002Ffamily\u002Ftotentanz) [ Aa ](\u002Ffamily\u002Ftotentanz) [ Aa ](\u002Ffamily\u002Ftraulha) [ Aa ](\u002Ffamily\u002Ftraulha) [ Aa ](\u002Ffamily\u002Ftraulha-lineara) [ Aa ](\u002Ffamily\u002Fboogy-brut) [ A ](\u002Ffamily\u002Fboogy-brut-wild) [ Explore our catalog ](\u002Ffonts) What’s up, doc? Newsletter Sign up to stay up-to-date with everything going on in our foundry: latest releases, projects, events and what we ate yesterday. Try all our fonts, entirely, for free. Smiling cat face with sunglasses on an orange background It wouldn’t make sense to try on shoes without the laces. That is why we think it doesn’t make sense to try an incomplete font. Our test fonts include the full character set! Exactly the same you receive when buying a license. 🡢 Continue reading Students, get a free license! Winking cat face on a green background Studies are for practicing and learning, and we don’t agree with the idea of making you pay to use our fonts during your studies. That’s why our test fonts can be used for free to create school-related and non-commercial projects only. 🡢 Continue reading Need help? [ Understanding our licenses with 7 questions ](\u002Flicenses) 🡦 Font: Boogy Brut Poster White 🡢 Read our FAQ 🡥 Explore our license system We do custom typefaces We create fonts tailored to your needs and your vision. We work on logotypes for small brands as well as on large families for global communication purposes. 🡢 Explore all our custom typefaces To graphic designers: we also love to collaborate with design studios! 🡢 Tell us more about your project [ Carnault ](\u002Fcustom-fonts\u002Fcarnault) [ Pierre Droulers ](\u002Fcustom-fonts\u002Fpierre-droulers-charleroi-danse) [ Peclers Paris ](\u002Fcustom-fonts\u002Fpeclers-paris) [ Lebreton ](\u002Fcustom-fonts\u002Flebreton) [ paris-belleville ](\u002Fcustom-fonts\u002Fparis-belleville) [ Explore all our custom typefaces ](\u002Fcustom-fonts) We design fonts, you use them, and we love it. For us, a typeface left unused is only a relatively organized sign collection: it is the way you use it that gives it its purpose. 🡢 See more projects on _Fonts In Use_ Did you use our fonts? 🡢 Share your project BUREAU BRUT TYPE FOUNDRY 🡦 Font: Brut Grotesque Medium 🡢 About the foundry 🡢 Follow us on Instagram 🡢 Contact us Fonts - Boogy Brut - Boogy Brut Poster - Boogy Brut Wild - Bourrasque - Brut Grotesque - Brut Grotesque Mono - Droulers - Droulers Clarendon - Matorral - Ostia Antica - Roman Grotesque - Round - Round Condensed - Round Ultra - Totentanz - Traulha Help - Test fonts - License - FAQ - My account Information - About - Custom - Fonts In Use - Cookies Contact - Email - Newsletter - Instagram Fonts made by the people and for the people, as a happiness to the maker and the user. Copyright © 2015–2026. All rights reserved. Newsletter Sign up to stay up-to-date with everything going on in our foundry: latest releases, projects, events and what we ate yesterday. Welcome to bureaubrut.com. We use cookies for our visit statistics\\. Reject Accept \\* GDPR-compliant statistics, no third-party data sharing. See our legal notice. Your choice is remembered for 30 days.. A Brutalist \u002F Neo-Brutalist, Typographic \u002F Big Type, Vibrant \u002F Colorful website in the Agency & Studio industry. The overall color palette features White, Brown, Black, Gray. The typography features Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut). Built using Vue.js. AI description: Bureau Brut is a specialized type foundry and creative studio dedicated to the craft of expressive typography. Its mission is rooted in a human-centric philosophy, creating typefaces that serve as a source of joy for both the designer and the end-user. The website serves as a digital catalog and manifesto, showcasing unique, character-driven fonts that challenge conventional typographic norms. The visual identity is unapologetically bold and high-impact, leaning heavily into a neo-brutalist aesthetic. By utilizing massive, high-contrast serif typefaces against vibrant, saturated color blocks, the design establishes an immediate sense of authority and artistic flair. The layout prioritizes scale and legibility through sheer size, targeting creative professionals, graphic designers, and brand agencies looking for distinctive typographic assets.",{"id":620,"website_id":621,"page_id":620,"name":622,"slug":623,"url":624,"website_name":622,"website_slug":623,"website_url":625,"result_url":624,"fetched_at":626,"score":489,"score_boost":355,"ai_score":627,"freshness_score":627,"scored_at":628,"page_name":46,"page_url":624,"page_title":629,"page_description":630,"page_content":631,"page_sort":355,"is_home":361,"is_home_rank":362,"page_type_id":363,"page_type_name":53,"cover":632,"cover_mobile":635,"cover_sequence":637,"translations":641,"industry":644,"styles":645,"credits":646,"font_families":647,"technologies":649,"pagespeed":651,"pagespeed_mobile":657,"buckets":662,"search_payload":664},"8e603985-deb5-4b39-b1a2-ec40c98116b2","f863dc50-a61d-435e-830f-67c74076b566","Zapier Brand","zapier-brand","https:\u002F\u002Fbrand.zapier.com\u002F","https:\u002F\u002Fbrand.zapier.com","2026-05-04T07:27:21.000Z",74,"2026-05-23T19:21:57.000Z","Zapier Brand Guidelines 1.0","Zapier's official brand portal","",{"id":633,"height":13,"width":12,"blurhash":634},"08e81171-8018-4457-bc4e-602d8708f218","radial-gradient(at 0 0,#fffffe,#00000000 50%),radial-gradient(at 33% 0,#fbf9f6,#00000000 50%),radial-gradient(at 67% 0,#f1ece9,#00000000 50%),radial-gradient(at 100% 0,#f3f1ee,#00000000 50%),radial-gradient(at 0 50%,#ffffff,#00000000 50%),radial-gradient(at 33% 50%,#ffffff,#00000000 50%),radial-gradient(at 67% 50%,#ffffff,#00000000 50%),radial-gradient(at 100% 50%,#ffffff,#00000000 50%),radial-gradient(at 0 100%,#f1eae6,#00000000 50%),radial-gradient(at 33% 100%,#d6d3cf,#00000000 50%),radial-gradient(at 67% 100%,#b4b2ae,#00000000 50%),radial-gradient(at 100% 100%,#c3c2be,#00000000 50%)",{"id":636,"height":15,"width":14,"blurhash":69},"72013e8e-78d8-4e9d-8ea5-feccdddf5623",[638],{"directus_files_id":639},{"id":640},"076b8ee8-85ac-4b21-90e1-ee7d90782aeb",[642],{"languages_code":453,"description":643},"Zapier Brand serves as the definitive digital repository for the company's visual and verbal identity. It is a highly functional, internal-facing portal designed to ensure brand consistency across all touchpoints, providing employees and partners with direct access to guidelines and protected assets. \n\nThe design language is a masterclass in modern, high-impact minimalism. Utilizing a bold, typographic-driven layout, the site leverages massive scale and a stark high-contrast palette of black, white, and a signature punch of orange. The aesthetic is unapologetically confident and structured, reflecting a sophisticated tech brand that values clarity, efficiency, and a strong, recognizable presence.","SaaS & Software",[30,34],[],[92,648,324,307,307,324,324,648],"Söhne Mono",[650,285],"Google Cloud",[652,653,655,656],{"score":159,"category":464},{"score":654,"category":466},94,{"score":468,"category":469},{"score":206,"category":471},[658,659,660,661],{"score":210,"category":464},{"score":654,"category":466},{"score":468,"category":469},{"score":206,"category":471},[478,118,663,122],"red","Website: Zapier Brand. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Zapier Brand Guidelines 1.0. Page description: Zapier's official brand portal. A Clean \u002F Minimalist, Typographic \u002F Big Type website in the SaaS & Software industry. The overall color palette features White, Black, Red, Gray. The typography features Times New Roman (Serif), Söhne Mono (Sans Serif, Klim Type), Söhne (Sans Serif, Klim Type), Inter (Sans Serif), Inter (Sans Serif), Söhne (Sans Serif, Klim Type), Söhne (Sans Serif, Klim Type), Söhne Mono (Sans Serif, Klim Type). Built using Google Cloud, React. AI description: Zapier Brand serves as the definitive digital repository for the company's visual and verbal identity. It is a highly functional, internal-facing portal designed to ensure brand consistency across all touchpoints, providing employees and partners with direct access to guidelines and protected assets. The design language is a masterclass in modern, high-impact minimalism. Utilizing a bold, typographic-driven layout, the site leverages massive scale and a stark high-contrast palette of black, white, and a signature punch of orange. The aesthetic is unapologetically confident and structured, reflecting a sophisticated tech brand that values clarity, efficiency, and a strong, recognizable presence.",{"id":666,"website_id":667,"page_id":666,"name":668,"slug":669,"url":670,"website_name":668,"website_slug":669,"website_url":671,"result_url":670,"fetched_at":672,"score":488,"score_boost":355,"ai_score":356,"freshness_score":627,"scored_at":673,"page_name":46,"page_url":670,"page_title":668,"page_description":69,"page_content":674,"page_sort":355,"is_home":361,"is_home_rank":362,"page_type_id":363,"page_type_name":53,"cover":675,"cover_mobile":678,"cover_sequence":680,"translations":690,"industry":693,"styles":694,"credits":696,"font_families":698,"technologies":699,"pagespeed":701,"pagespeed_mobile":707,"buckets":712,"search_payload":714},"cf9f198b-d6ac-4ca6-a7eb-d14d9f6c4fc2","f9fbdbd5-d5d4-450b-8457-f6edaab30558","Face Forward","face-forward","https:\u002F\u002Ffaceforward.typography.ie\u002F","https:\u002F\u002Ffaceforward.typography.ie","2026-05-04T09:21:59.000Z","2026-05-23T19:09:49.000Z","_Face Forward_ is an international peer-reviewed conference focused on typography that seeks to examine design and typographic practice, and to make explicit existing connections between craft, research, theory, history, criticism and pedagogy. This conference aims to provoke informed, rigorous and critical debate on aspects of typographic research and practice that relate to current discourse and contexts. It is the inaugural event in what will become an annual international conference. This year’s conference is supported by ID2015 Year of Irish Design and the Dublin Institute of Technology. In the field of visual communication and typographic practice, a great deal of epistemological uncertainty still exists. As a consequence, concrete theoretical or methodological positions around which the discipline could cohere have yet to emerge—a situation this conference seeks to address. The conference will provide a forum for research into typographic production, representation, dissemination and use. It encourages interdisciplinary enquiry; thus we welcome papers dealing with typography in all its forms, material and immaterial. We encourage submissions that consider typography in as broad a sense as possible, that celebrate the vitality and range of typography and which seek to expand definitions of both typographic object and practice. – Registration is now open. In partnership with: Identity by Clare Bell and Brenda Dermody. Site by BONG and Post Friday track a - 9.00 _Registration_ – - 10:00 Tom Spalding _Show me the way to go home! Eighteenth and early-nineteenth century lettering and public signage, Cork City, 1730–1840_ – - 10:30 Elena Veguillas _Architectural lettering and corporate identity, early branding on commercial buildings: the Truman’s case_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Ann Bessemans _Type design features for children with low vision_ – - 12:00 Luciano Perondi, Giulia Bonora and Daniele De Rosa _Pass — augmentative and alternative communication_ – - 12:30 Silvia Barbero and Irene Stracuzzi _Sustainability for typography design processes_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Hilary Kenna _A practice-led study of design principles for screen typography: with reference to the teachings of Emil Ruder_ – - 14:45 Tom Grace _The alluring trap of vector-based drawing_ – - 15:15 Marcus Leis Allion _Typrograms: The Shaped Typography of Computer Programs_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Amy Papaelias _Future displays: towards a history of type specimens in digital environments_ – - 16:45 Mathieu Lommen _Lettering artists’ model books_ – - 17:15 _Discussion_ – - 17:30 _Close_ – track b - 9.00 _Registration_ – - 10:00 Marcus Swan _Meaning without words: the emoji revolution_ – - 10:30 Johannes Bergerhausen _Digital cuneiform_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Aoife Mooney _Super-charged type: An investigation into the potential for a dynamic typeface family modelled on axes of typographic expression_ – - 12:00 Siobhán Murphy _Print, Pixel and notions of Legacy — recalibrating Harold Innis’ time-binding and space-binding communication technology theories for a post-digital age_ – - 12:30 Cathy Gale _This is your life: the multiplicities of X_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Sheena Calvert _Punctuating Philosophy_ – - 14:45 Pavel Pisklakov _Typography and Media: History of Evolution and Contemporary Tendencies_ – - 15:15 Kyle Rath _Form vs. Fame: exploring the craft of typographic selection_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Robin Fuller _Linguistics, grammatology, typography_ – - 16.45 – _–_ – - 17:15 _Discussion_ – - 17.30 _Close_ – - 19:00 Tobias Frere-Jones _Keynote_ – track c - 9.00 _Registration_ – - 10:00 – _–_ – - 10:30 – _–_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Diederik Corvers _The architect’s new face_ – - 12:00 María Pérez Mena, Eduardo Herrera Fernández and Leire Fernández Iñurritegui _An artistic approach to typography from Eduardo Chillida’s graphic language_ – - 12:30 Naoise Ó Conchubhair _An Post: typography rooted in the past — ahead of its time_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 – _–_ – - 14:45 Dermot McGuinne _Accident by design_ – - 15:15 Teresa Breathnach _Matthew Walker: nationalist printer 1846–1922_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Richard McElveen and Pauline Clancy _Typographic DNA of place_ – - 16:45 Michael Everson _Authenticity and Ireland’s tradition of Gaelic type_ – - 17:15 _Discussion_ – - 17:30 _Close_ – Saturday track d - 9:00 Aspasia Papadima _Introducing a new set of typographic characters for the representation of Greek-Cypriot dialect’s distinct sounds_ – - 9:30 Robert Lzicar _Swiss Types — the invention of a national typography_ – - 10:00 Radek Sidun _Milestones in Czech type design_ – - 10:30 Keith Tam _Typographic cueing in bilingual documents_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Juan Luis Blanco _The case of the Tifinaghscript: typeface design to the rescue_ – - 12:00 Meta Newhouse and Nathan Davis _Type of place: a systematic preservation of cultural memory_ – - 12:30 Ian Montgomery, Liam McComish and Ruth Brolly _Graphic de:re:generation_ – - 13:00 _Discussion_ – - 13:15 _Lunch break_ – - 14:15 Evripides Zantides _Exploring the mythical qualities of letterforms through semiotics and content analysis_ – - 14:45 Jill Spratt _The word_ – - 15:15 Liam McComish and Ian Montgomery _Spread the word_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16.15 Onur Yazıcıgil and Özlem Özka _Ottoman Typography towards Modernisation_ – - 16:45 Dan Reynolds _East German typefaces, twenty-five years on_ – - 17:15 Crystian Cruz _Unveiling censored content through typography_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track e - 9:00 Denise Gonzales Crisp _Educating toward the discipline_ – - 9:30 Gerry Leonidas _A framework for developing discourse in typeface design_ – - 10:00 Silas Munro _Hands on-again, off-again: a paradigm of typographic pedagogy in hybrid learning_ – - 10:30 Brenda Dermody _The role and impact of the professional body in typographic design education and practice in Ireland_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 John Paul Dowling _Teach content, not type!_ – - 12:00 Gabriel Solomons _Family monograms: tradition and a connection to the past through typographic form_ – - 12:30 Connell Vaughan and Glenn Loughran _Typography and the Video Essay_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Jo De Baerdemaeker _Lean back: the evolution of reverse italics_ – - 14:45 Jesus Barrientos Mora _A typology for calligraphic type_ – - 15:15 Frank E. Blokland _Application of archetypal patterns in present-day type design practice and related education_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Timothy Donaldson _Type is clip-art_ – - 16:45 Will Hill _Letter, craft and ornament in post-digital practice_ – - 17:15 Phil Baines _Fonts and restoration_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track f - 9:00 John Mulloy _Body type_ – - 9:30 Jamie Mahoney _Gutenberg remix: a case study_ – - 10:00 Mary Plunkett _Letterpress as commemoration: making books for Yeats2015_ – - 10:30 Jamie Murphy and Thomas Mayo _End grain impressions: letterpress printed display type in the twenty-first century_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Niall McCormack _Soul Type: the Ludlow Typograph and 1960s Chicago soul record label art_ – - 12:00 Annette O’Sullivan _Letter marking with bold upright letters: stencilling histories on New Zealand sheep stations_ – - 12:30 Mohammad Shahid and Dharmalingam Udaya Kumar _Evolution of title design in Bollywood film posters_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Lozana Rossenova and Maria Inês Cruz _The form of the book in alternative publishing practices_ – - 14:45 Trond Klevgaard _From functionalist to functional typography in Scandinavian book design_ – - 15:15 Niall McCormack in conversation with Peter Maybury _–_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Brian Dixon _Experiencing the Structure: considering the possibility of studying how typographic forms are encountered through the application of information design theory_ – - 16:45 Barrie Tullett _Of progress and loss_ – - 17:15 _Discussion_ – - 17:45 – _–_ – - 18:00 _Close_ – …",{"id":676,"height":13,"width":12,"blurhash":677},"ee6ba0b9-978f-4682-94f5-f10503f98584","radial-gradient(at 0 0,#babaff,#00000000 50%),radial-gradient(at 33% 0,#7878ff,#00000000 50%),radial-gradient(at 67% 0,#b2b2ff,#00000000 50%),radial-gradient(at 100% 0,#dfdfff,#00000000 50%),radial-gradient(at 0 50%,#bfbfe8,#00000000 50%),radial-gradient(at 33% 50%,#a2a2e1,#00000000 50%),radial-gradient(at 67% 50%,#c6c6ed,#00000000 50%),radial-gradient(at 100% 50%,#dedef7,#00000000 50%),radial-gradient(at 0 100%,#b4b4e6,#00000000 50%),radial-gradient(at 33% 100%,#9c9cf7,#00000000 50%),radial-gradient(at 67% 100%,#b3b3f5,#00000000 50%),radial-gradient(at 100% 100%,#cbcbed,#00000000 50%)",{"id":679,"height":15,"width":14,"blurhash":69},"d4e07c88-6674-4460-9621-b66d952ea4f3",[681,684,687],{"directus_files_id":682},{"id":683},"b5f1f613-ecd9-4c14-8e2d-8bfcb012ccc8",{"directus_files_id":685},{"id":686},"2a247199-2226-423a-9962-6fd931df0026",{"directus_files_id":688},{"id":689},"09fdf48e-0b65-4ae6-bda7-9f4e6eb98664",[691],{"languages_code":453,"description":692},"Face Forward is a sophisticated digital platform dedicated to an international peer-reviewed conference centered on the evolution of typography. The website serves as a scholarly hub, facilitating critical discourse between craft, research, theory, and pedagogy. It is designed to attract academics, designers, and typographic practitioners seeking to explore the intersection of visual communication and epistemological inquiry.\n\nThe visual identity is a masterclass in typographic expression, utilizing a bold, high-contrast aesthetic that mirrors the site's subject matter. Through a striking combination of electric blue and stark monochrome, the design employs massive, experimental letterforms and a rigorous grid system. The layout is unapologetically structural, using scale and negative space to create a sense of intellectual authority and avant-garde elegance.","Art & Culture",[30,695,34],"Monochrome \u002F Grayscale",[697],"Bong",[92],[281,282,700],"Three.js",[702,704,705,706],{"score":703,"category":464},99,{"score":159,"category":466},{"score":607,"category":469},{"score":215,"category":471},[708,709,710,711],{"score":200,"category":464},{"score":181,"category":466},{"score":607,"category":469},{"score":215,"category":471},[478,713,118,122],"blue","Website: Face Forward. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Face Forward. Page content: _Face Forward_ is an international peer-reviewed conference focused on typography that seeks to examine design and typographic practice, and to make explicit existing connections between craft, research, theory, history, criticism and pedagogy. This conference aims to provoke informed, rigorous and critical debate on aspects of typographic research and practice that relate to current discourse and contexts. It is the inaugural event in what will become an annual international conference. This year’s conference is supported by ID2015 Year of Irish Design and the Dublin Institute of Technology. In the field of visual communication and typographic practice, a great deal of epistemological uncertainty still exists. As a consequence, concrete theoretical or methodological positions around which the discipline could cohere have yet to emerge—a situation this conference seeks to address. The conference will provide a forum for research into typographic production, representation, dissemination and use. It encourages interdisciplinary enquiry; thus we welcome papers dealing with typography in all its forms, material and immaterial. We encourage submissions that consider typography in as broad a sense as possible, that celebrate the vitality and range of typography and which seek to expand definitions of both typographic object and practice. – Registration is now open. In partnership with: Identity by Clare Bell and Brenda Dermody. Site by BONG and Post Friday track a - 9.00 _Registration_ – - 10:00 Tom Spalding _Show me the way to go home! Eighteenth and early-nineteenth century lettering and public signage, Cork City, 1730–1840_ – - 10:30 Elena Veguillas _Architectural lettering and corporate identity, early branding on commercial buildings: the Truman’s case_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Ann Bessemans _Type design features for children with low vision_ – - 12:00 Luciano Perondi, Giulia Bonora and Daniele De Rosa _Pass — augmentative and alternative communication_ – - 12:30 Silvia Barbero and Irene Stracuzzi _Sustainability for typography design processes_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Hilary Kenna _A practice-led study of design principles for screen typography: with reference to the teachings of Emil Ruder_ – - 14:45 Tom Grace _The alluring trap of vector-based drawing_ – - 15:15 Marcus Leis Allion _Typrograms: The Shaped Typography of Computer Programs_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Amy Papaelias _Future displays: towards a history of type specimens in digital environments_ – - 16:45 Mathieu Lommen _Lettering artists’ model books_ – - 17:15 _Discussion_ – - 17:30 _Close_ – track b - 9.00 _Registration_ – - 10:00 Marcus Swan _Meaning without words: the emoji revolution_ – - 10:30 Johannes Bergerhausen _Digital cuneiform_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Aoife Mooney _Super-charged type: An investigation into the potential for a dynamic typeface family modelled on axes of typographic expression_ – - 12:00 Siobhán Murphy _Print, Pixel and notions of Legacy — recalibrating Harold Innis’ time-binding and space-binding communication technology theories for a post-digital age_ – - 12:30 Cathy Gale _This is your life: the multiplicities of X_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Sheena Calvert _Punctuating Philosophy_ – - 14:45 Pavel Pisklakov _Typography and Media: History of Evolution and Contemporary Tendencies_ – - 15:15 Kyle Rath _Form vs. Fame: exploring the craft of typographic selection_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Robin Fuller _Linguistics, grammatology, typography_ – - 16.45 – _–_ – - 17:15 _Discussion_ – - 17.30 _Close_ – - 19:00 Tobias Frere-Jones _Keynote_ – track c - 9.00 _Registration_ – - 10:00 – _–_ – - 10:30 – _–_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Diederik Corvers _The architect’s new face_ – - 12:00 María Pérez Mena, Eduardo Herrera Fernández and Leire Fernández Iñurritegui _An artistic approach to typography from Eduardo Chillida’s graphic language_ – - 12:30 Naoise Ó Conchubhair _An Post: typography rooted in the past — ahead of its time_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 – _–_ – - 14:45 Dermot McGuinne _Accident by design_ – - 15:15 Teresa Breathnach _Matthew Walker: nationalist printer 1846–1922_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Richard McElveen and Pauline Clancy _Typographic DNA of place_ – - 16:45 Michael Everson _Authenticity and Ireland’s tradition of Gaelic type_ – - 17:15 _Discussion_ – - 17:30 _Close_ – Saturday track d - 9:00 Aspasia Papadima _Introducing a new set of typographic characters for the representation of Greek-Cypriot dialect’s distinct sounds_ – - 9:30 Robert Lzicar _Swiss Types — the invention of a national typography_ – - 10:00 Radek Sidun _Milestones in Czech type design_ – - 10:30 Keith Tam _Typographic cueing in bilingual documents_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Juan Luis Blanco _The case of the Tifinaghscript: typeface design to the rescue_ – - 12:00 Meta Newhouse and Nathan Davis _Type of place: a systematic preservation of cultural memory_ – - 12:30 Ian Montgomery, Liam McComish and Ruth Brolly _Graphic de:re:generation_ – - 13:00 _Discussion_ – - 13:15 _Lunch break_ – - 14:15 Evripides Zantides _Exploring the mythical qualities of letterforms through semiotics and content analysis_ – - 14:45 Jill Spratt _The word_ – - 15:15 Liam McComish and Ian Montgomery _Spread the word_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16.15 Onur Yazıcıgil and Özlem Özka _Ottoman Typography towards Modernisation_ – - 16:45 Dan Reynolds _East German typefaces, twenty-five years on_ – - 17:15 Crystian Cruz _Unveiling censored content through typography_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track e - 9:00 Denise Gonzales Crisp _Educating toward the discipline_ – - 9:30 Gerry Leonidas _A framework for developing discourse in typeface design_ – - 10:00 Silas Munro _Hands on-again, off-again: a paradigm of typographic pedagogy in hybrid learning_ – - 10:30 Brenda Dermody _The role and impact of the professional body in typographic design education and practice in Ireland_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 John Paul Dowling _Teach content, not type!_ – - 12:00 Gabriel Solomons _Family monograms: tradition and a connection to the past through typographic form_ – - 12:30 Connell Vaughan and Glenn Loughran _Typography and the Video Essay_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Jo De Baerdemaeker _Lean back: the evolution of reverse italics_ – - 14:45 Jesus Barrientos Mora _A typology for calligraphic type_ – - 15:15 Frank E. Blokland _Application of archetypal patterns in present-day type design practice and related education_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Timothy Donaldson _Type is clip-art_ – - 16:45 Will Hill _Letter, craft and ornament in post-digital practice_ – - 17:15 Phil Baines _Fonts and restoration_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track f - 9:00 John Mulloy _Body type_ – - 9:30 Jamie Mahoney _Gutenberg remix: a case study_ – - 10:00 Mary Plunkett _Letterpress as commemoration: making books for Yeats2015_ – - 10:30 Jamie Murphy and Thomas Mayo _End grain impressions: letterpress printed display type in the twenty-first century_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Niall McCormack _Soul Type: the Ludlow Typograph and 1960s Chicago soul record label art_ – - 12:00 Annette O’Sullivan _Letter marking with bold upright letters: stencilling histories on New Zealand sheep stations_ – - 12:30 Mohammad Shahid and Dharmalingam Udaya Kumar _Evolution of title design in Bollywood film posters_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Lozana Rossenova and Maria Inês Cruz _The form of the book in alternative publishing practices_ – - 14:45 Trond Klevgaard _From functionalist to functional typography in Scandinavian book design_ – - 15:15 Niall McCormack in conversation with Peter Maybury _–_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Brian Dixon _Experiencing the Structure: considering the possibility of studying how typographic forms are encountered through the application of information design theory_ – - 16:45 Barrie Tullett _Of progress and loss_ – - 17:15 _Discussion_ – - 17:45 – _–_ – - 18:00 _Close_ – …. A Clean \u002F Minimalist, Monochrome \u002F Grayscale, Typographic \u002F Big Type website in the Art & Culture industry. The overall color palette features White, Blue, Black, Gray. The typography features Times New Roman (Serif). Built using jQuery, PHP, Three.js. AI description: Face Forward is a sophisticated digital platform dedicated to an international peer-reviewed conference centered on the evolution of typography. The website serves as a scholarly hub, facilitating critical discourse between craft, research, theory, and pedagogy. It is designed to attract academics, designers, and typographic practitioners seeking to explore the intersection of visual communication and epistemological inquiry. The visual identity is a masterclass in typographic expression, utilizing a bold, high-contrast aesthetic that mirrors the site's subject matter. Through a striking combination of electric blue and stark monochrome, the design employs massive, experimental letterforms and a rigorous grid system. The layout is unapologetically structural, using scale and negative space to create a sense of intellectual authority and avant-garde elegance."]