1. Best Typeface: GeoGrotesque by Eduardo Manso, Em Type

2. Best Actor: Mr Eaves by Zuzana Licko, Émigré

3. Best Actress: Liza Pro by Underware

4. Best Sans: Alright Sans by Jackson Cavanaugh, Okay Type

5. Best Serif: Calluna by Jos Buivenga

6. Best Superfamily: Trilogy by Jeremy Tankard, Jeremy Tankard Typography

7. Best Actor in a Supporting Role: Giorgio Sans by Christian Schwartz

8. Best Revival: Burgundica by Gerrit Noordzij, The Enschedé Type Foundry

9. Best Foreign Language Font: Nara by Andrej Krátky with Nikola Djurek and Peter Bilak, Typotheque

10. Best Visual Effects: Klimax by Ondrej Jób, Typotheque

11. Best Free Font: League Gothic by the League of Moveable Type; revival of Morris Fuller Benton’s Alternate Gothic No.1

12. Lifetime Achievement: Wim Crouwel

    About Video: For the occasion of the Gerrit Noordzij Prize 2009, Tobias Frere-Jones introduces the work of Wim Crouwel.

    The GNp is an initiative of the master course Type and Media and is organised by the Royal Academy of Art and the Meermanno Museum, under the auspices of the Dr. P.A.Tiele Trust in The Hague.

http://www.printmag.com/article/oscars-of-type

Rich Typography Options for the Web or Why sIFR is Dead in 2009 by Paul Irish

http://paulirish.com/type/

Ommwriter is a simple text processor that firmly believes in making writing a pleasure once again, vindicating the close relationship between writer and paper. The more intimate the relation, the smoother the flow of inspiration.

Minimum Software Requirements: Mac OS X 10.5 or higher.

Recommended Hardware Requirements: Intel-based Apple Macintosh computers.

Ommwriter

The typical browsing experience is conducted through a single application window. This is indeed a useful, practical thing. Browser Pong instead exists between a collection of windows. During play the negative space between windows is transformed into a playing field? The abstracted tennis court of Pong. The idea of thinking inside or outside some “box” is of course a dead and beaten horse.

Browser Pong was designed to take advantage of emerging HTML5 features (including Audio elements), intentionally breaking compatibility with older browser versions and substandard contemporaries such as Internet Explorer. Good for Macintosh. Best in Safari 4, Chrome 4, FireFox 3.5, and Opera 10 in that order.

Stewdio - Browser Pong

For the first ten years of my career, I worked for Massimo Vignelli, a designer who is legendary for using a very limited number of typefaces. Between 1980 and 1990, most of my projects were set in five fonts: Helvetica (naturally), Futura, Garamond No. 3, Century Expanded, and, of course, Bodoni. {…}

{…} Why spend hours choosing between Bembo, Sabon and Garamond No. 3 every time you needed a Venetian Roman? For most people — my mom, for instance — these were distinctions without differences. Why not just commit to Garamond No. 3 and never think about it again? My Catholic school education must have well prepared me for this kind of moral clarity. I accepted it gratefully. {…}

{…} Those thousands of typefaces are still out there, but my recovery has required that I become more discriminating and come up with some answers to this seemingly simple question: why choose a particular typeface? Here are thirteen reasons. {…}

1. Because it works.

2. Because you like its history.

3. Because you like its name.

4. Because of who designed it.

5. Because it was there.

6. Because they made you.

7. Because it reminds you of something.

8. Because it’s beautiful.

9. Because it’s ugly.

10. Because it’s boring.

11. Because it’s special.

12. Because you believe in it.

13. Because you can’t not.

Design Observer

Textorize by Thomas Fuchs

Readers of Jytte Klausen’s “The Cartoons that Shook the World,” which was officially released by the Yale University Press on Monday, may find that the 2005 Danish cartoons are not the only element absent from the book.

The Yale University Press began phasing out its distinctive logo, designed in 1985 by acclaimed graphic designer and former School of Art emeritus professor Paul Rand, in books published this fall, Yale University Press Director John Donatich said.

And while it has not yet removed the logo from its Web site, the Press will now feature the word “Yale” in the University’s official typeface along the spines of new books - in what observers described as an effort to bring Yale and the press closer together.

The two organizations, which have “complementary missions,” may be trying to bring together paths that have diverged in recent years, University Printer John Gambell said.

Although Gambell said he was fond of Rand’s logo, he added that the design had plenty of critics.

“A lot of people didn’t like it,” Gambell said.

“A lot of people found it kind of asymmetrical and untraditional and kind of a little bit hard to decode.”

Yale Daily News - Yale Press Drops Distinctive Logo

Firefly Press from Somerville, MA & its proprietor John Kristensen.

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