iKern: type metrics and engineering - spacing (autospacing) and kerning (autokerning) for type designers » News

Two 2010 projects

Igino Marini — Fri, 07 Jan 2011 23:28:04 +0000

In 2010 I collaborated several times with Luciano Perondi for projects of particular interest. One is the new typeface designed for Voland, a nonconformist publishing company founded in Rome in 1995. The serif font is based on the cut specimen of the Double Pica John Baskerville: “We decided however not to make an accurate reconstruction, but to reinterpret the design to suit a contemporary use.” http://www.wuz.it/articolo-libri/4553/voland-collana-classica-nothomb-quindici-anni.html

Another is the realization of Sole serif, the new typeface for il Sole 24 Ore, the leading Italian financial daily, that actually debuted on the sunday cultural supplement Domenica. http://www.molotro.com/sole.html .

In photo from left: Dave Crossland, now at the Google Font Directory, come in Urbino to visit Luciano for his http://www.campivisivi.net/titillium/ fame, me, Paolo Mazzetti (among the collaborators for the Sole serif project) and Luciano Perondi (april 2010).

Seminar on Letterfitting & iKern at POLI.design Milan

Igino Marini — Fri, 07 Jan 2011 23:15:34 +0000

In September I gave a seminar on “Letterfitting & iKern” during the 5th edition of the Corso di Alta Formazione in Type Design (Advanced Course in Type Design) – at the Politecnico di Milano, POLI.Design http://www.polidesign.net. Direction of Giancarlo Iliprandi, scientific supervision of prof. Giovanni Baule, coordination of Francesco E. Guida, teachers in the different modules were James Clough, Giò Fuga, Marta Bernstein, Piero De Macchi, Andrea Braccaloni and Michele Patané.

In photo from left: Giò Fuga, me, Michele Patané, Marta Bernstein and Paolo Mazzetti.

Lecture by Jos Buivenga

Igino Marini — Sun, 21 Feb 2010 16:14:13 +0000

The lecture Jos Buivenga gave to students of the art school at Dortmund during the 33pt Typography Symposium “Eskapade” / FH Dortmund, 2009 is (finally) online. Maybe you’d like to see > http://vimeo.com/8748172

Interview on Slanted

Igino Marini — Wed, 23 Sep 2009 20:06:08 +0000

There’s an interview by Tanja Rastätter on Slanted: http://www.slanted.de/eintrag/ikern.

Free Font Index 1

Igino Marini — Tue, 25 Nov 2008 00:32:37 +0000

The Free Font Index 1 cover

The Free Font Index is an indispensable guide to free fonts and thir creators. Over 500 fonts from 35 type foundries in 17 countries have been collected in this book and CD-ROM set. The book includes comprehensive letterproofs of all 500+ fonts and interviews with 6 font designers: Jos Buivenga (exljbris), Lopetz (Buro Destruct), Brode Vosloo (The Sacred Nipple), Shamrock (a.k.a. Jeroen Klaver), Janusz Marian Nowacki and the men behind Fontstruct: Rob Meek and Stephen Coles. The Fell Types are present too! It’s a beautiful book edited by The Pepin Press and written and organized by Hans Lijklema.

Fell Types sample

Fell Types sample 2

Italic 2.0

Igino Marini — Tue, 25 Nov 2008 00:31:45 +0000

Exhibition's picture showing The Fell Types and iKern (by nina.ninana)

Italic 2.0
il disegno di caratteri contemporaneo in Italia
contemporary type design in Italy

mostra a cura di / exhibition curated by
Marta Bernstein, Luciano Perondi, Silvia Sfligiotti

inaugurazione / opening
17.10.2008
h. 18.30
Politecnico di Torino
Manica d’approdo Cittadella politecnica
Corso Castelfidardo 39, Torino

la mostra fa parte di / the exhibition is part of
Icograda Design Week Torino
icogradadesignweektorino.aiap.it

Aiap
associazione italiana progettazione per la comunicazione visiva
www.aiap.it

In september 2002, Italic 1.0 was presented at the ATypI conference in Rome: promoted by Aiap, it was the first book dedicated to contemporary Italian type design, and presented the output of less than thirty designers. Although this included some outstanding work, on the whole it seemed that Italy was still on the margins of the global typographic scene. Six years after the publication of that book, Italic 2.0 reflects a very different situation: the number of designers, the average quality and the quantity of projects have all increased, and although we cannot really talk about the rebirth of an Italian “school” of type design, finally we can see some promising developments. Bearing this in mind Italic 2.0 has not only been conceived as a book but also, through a blog (www.progetto-italic.org) and a database where all typefaces designed are collated, it is intended to become an observatory, an active way of monitoring the phenomenon and creating a network of designers, which will be kept updated after the publication of the book. [Excerpt from the introduction]

I myself I’m present with the iKern project. The Fell Types are also shown as example of its first practical application.

Book's cover (by oinoi)