I’m delighted that live, in-person events are happening again after a very long break. It’s wonderful to be in the same room as all of you with the collective energy, banter and all those random post-event conversations. I’ve especially missed those.
Recently I spoke at the incredibly inspiring TBD evening at Fora (you can see how happy I was to be there). Tonight I’ll be live at the London Transport Museum for a fun evening of Fontastical Games as part of their After Dark series. This will be part gameshow and part quiz. It’s heavily influenced by my love of 1970s gameshows full of laughter and things that will inevitably go wrong.
Roll up roll up for an evening of fonts, letters and signs. Can you guess the tube station from the font clues? Will you spot the real sign from the fake? Shout along with typography karaoke. Play along with font charades. And we’ll end with the classic lost property conveyor belt game.
You’ll have the chance to win spot prizes of my books and a set of Hidden London virtual tour tickets.
Friday 12th November Fontastical Games at the London Transport Museum After Dark 6.30–9pm, £10/£12 Come along and join me
Are you looking for a unique gift for the graphic designer in your life? Or someone who loves typography? Are you searching for an unusual Secret Santa gift? Visit the Type Tasting Typography Emporium for a range of items created for font fans young and old. These are all designed by Sarah Hyndman and published by Type Tasting.
Vouchers • T-shirts • Cards • Books • Zines
(More items will be added over the next few weeks, get in touch if you have a request).
Exclusive Type Tasting t-shirts. Designs range from puns and ampersands to asterisk snowflakes and secret messages hidden in Letraset-inspired designs. The t-shirts are 100% organic cotton printed by Teemill in the UK in a renewable energy-powered factory. Worldwide shipping is available.
Send an exclusive typetastic card. The ampersand and asterisk cards are the current top sellers. Printed in the UK by Thortful with worldwide shipping on premium quality paper stock with a premium grey GF Smith embossed envelope. “Everything is lovely about them. Even the envelopes” Theo.
Passive Aggressive Fonts Typographic colouring book for adults By Sarah Hyndman
Colour your fonting frustrations away. Vent your vexations colouring a confrontation of snarky fonts. Exorcise your exasperations as you creativity the heck out of an antagonism of tetchy typefaces. Scribble your way through a clamour of passive aggressive phrases. Including those classic fonts you love to hate.
Typography time machine gift vouchers Draw & learn online workshop series Series gift voucher £40 / £190
Curious to know why there are so many typefaces? Intrigued by where the different styles come from? Fonts are like magical time machines. They transport you to different times and places. They conjure up stories of decadence, revolutions, transformation and ingenuity.
T-shirts, birthday cards and colouring books for the young dinosaur fans in your life. They’ll learn to recognise the letters in each dinosaur’s name with fonts matched to the personality of the each prehistoric creature. Fontosaurs evolved from a typographic collaboration between Sarah and her then 12-year-old nephew Eddie.
Typography Time Machine drawings shown (left to right, top to bottom). Terrific Tuscans drawings are by Olivia Krawczyk, @minarama, Sarah Wilson, Mina Bach, @stircreativenz and Kat Gaska. Book to Poster drawings are by Amy Muddle, @typographHer, @minarama, @jenna_b_design, @nicewriting, @thecreativeapes, @Jenna_b_design and @mycolourfullife.online. Sans (Serif) Seekers drawings are by Jenny Monds, Kat Gaska, @stonkingfidosetc, Olivia Krawczyk, Jitka Hrůzová.
Kerning is a geeky typography term for the spacing between individual letters. There are lots of examples of when kerning goes wrong with unfortunate and amusing results. One of my near-misses was when I set the words FLICK THE PAGES on a scented book for an exhibition. I realised just in time that the close spacing between the L and I looked more like a U. Oops.
The three typefaces that feature on the Kern Baby Kern t-shirt were available as rubdown Letraset sheets. Chromium One was designed by David Harris in 1983. This was perfect for a decade of chrome and airbrushed posters. Shatter is an experimental typeface designed by Vic Carless in 1973. Carless literally smashed Helvetica up, which is what Punk did to Modernism in the 1970s. Piccadilly was designed by Christopher Matthews in 1973—this neon font is pure 1970s disco.
These are unisex t-shirts in regular men’s sizes (different colours and styles can be arranged on request). They’re printed on a 100% organic cotton t-shirt and printed in the UK in a renewable energy-powered factory. Worldwide shipping available.
Not-to-be-missed interactive, funny and fantastical live events. Sarah’s on a mission to make typography exciting for everybody by inviting you to take part in games and demonstrations so you can make the discoveries for yourself.
Come along to this fun and irreverent online event with author Sarah Hyndman. Join in with games from her bestselling book Why Fonts Matter. She’ll answer as many of your questions as possible, no questions are too silly or too strange!
Ideal for beginners, students and anybody curious about reading fonts. We’re all font consumers in our everyday lives. Sarah will show you that you’re already an expert, even if you don’t realise it.
WHO’S THAT FONT? Tuesday 14th September, 7pm to 8pm (BST) Do fonts have personalities? Which would you date, ditch or just be friends with? What does a font reveal about your personality?
DO FONTS SMELL? Tuesday 28th September 7pm to 8pm (BST) What might different fonts smell like and what memories do they evoke? Can a font make your jellybean taste different? How do fonts interact with all your senses? Bring a matching pair of jellybeans for an experiment. £1.99 per person, only 25 tickets. Book here
Once you’ve purchased your ticket you’ll be sent the Zoom details. Please tell your friends, let’s have some fun.
Are you ready to immerse yourself in the fantastical world of fonts?
Many of you know about (and share) my love of Letraset—the sheets of rub-down lettering that often featured the fashionable fonts of the day. The first gig I went to was with my friend Caryl to see David Bowie. He was the soundtrack to our teenage years. My school books were adorned with meticulous drawings of lettering from his record covers. I was so excited when I found the Hunky Dory title typeface, called Zipper, as a sheet of Letraset. Now I could make my books look like Bowie merch with the official Hunky Dory font.
Your t-shirt is inspired by that sheet of Letraset. Letters have been removed to leave a secret message on your shirt. They spell out Hunky Dory, David Bowie, Changes, Life on Mars and 1971. (Geeky detail: the second ‘1’ in 1971 is made from a deconstructed ‘T’ because Letraset sheets don’t always have enough of the characters you need).
I’ve been chatting to artist friends recently who’re interested in psychogeography. I always assumed that psychotypography would be a similar field, just with type instead of geography. Searching hasn’t turned much up but I think psychotypography describes what I do pretty well so I think it should be a thing.
Since psychogeography describes the effect of a geographical location on the emotions and behaviour of individuals (Tate), then I propose that psychotypography describes the effect of the typographic environment on the emotions and behaviour of individuals.
I love that an early influence was the flâneur, or urban wanderer. I think my Dalston Type Safaris could be considered a flâneur’s ramble through lettering in the urban environment.
Who’s experimenting in this space?
I made a psychotypography website ready for some experiments, it’s very empty right now.
This is a question I’ve been asking recently. Thank you for all your great answers, keep them coming.
Maybe it’s “I want to use more trending fonts” or “I want to know what font rules I can break, so I can have fun with fonts” or even “My teacher wants a simple design that is typeset in Arial. Is there any way I could secretly drop in another font without them noticing?”.
I recognise many as problems I had earlier in my career, when I also shared your feelings of anxiety and frustration.
By sharing your problems you’re joining me in my mission to change the way we think and talk about typography by making it exciting for everybody. Let’s all go from “overwhelmed” to “empowered”.
I’ll pick one a week to answer. You’ll also be helping me to make sure my books and workshops are really useful for you.
These are some of the problems you’ve written to me about, how many of them resonate with you?
“Finding the right fonts for client’s websites” • “I want to use more trending fonts” • “My teacher wants a simple design that is typeset in Arial. Is there any way I could secretly drop in another better font without them noticing?” • “How to choose the best font” • “I love fonts, but never know when to use serif or non-serif ones—what should guide this decision?” • “I’m struggling to find a consistent font theme for my sector” • “I can’t decide” • “I want to know what font rules I can break, so I can have fun with fonts”.
How these make you feel
“Screaming” • “Disoriented” • “Old fashioned and stuck” • “Overwhelmed about how to start” • “Frustrated” • “Unsure” • “Frustrated, apprehensive (did I get it right?) & unconfident” • “Anxious that the font we select may not resonate” • “Frustrated” • “Curious”.
How you would like to feel about choosing typefaces?
“Happy” • “Relaxed” • “Free” • “Successful and able to more clearly communicate” • “Really happy” • “Empowered & confident (& thus relaxed!)” • “A lot more confident” • “Empowered” • “Joyous”.
I’m a sucker for typographic ephemera and you’ve glimpsed the objects I collect in the background at my online events. Maybe you spotted Phrenny the phrenology head, the black lobster, jars of stale Helvetica, bottles for font sniffing, rescued shop sign letters, a zoetrope, or packaged childhood memories. I’m asked about them all the time and each curious object has a story to tell.
Would you like to become an official curiosity sponsor?
Take a look through the collection—which is your favourite curiosity? You can now be its proud sponsor. You’ll receive an official certificate of sponsorship and you’ll be credited here as the sponsor. You’re also amazing because you’ll be supporting my research and writing.
More objects will be added to the virtual collection so if a curiosity catches your eye that isn’t listed yet, just drop me a message and call first dibs on it.
Curiosities shown: C/13 Phrenny, C/1 Black Lobster, H/5 Jar of Brilliant Ideas, D/14 The H that Ran Away from the Circus, H/11 Caustic Sarcastic Scathing Bitter, G/4 Zoetrope the Analogue Animation Machine, A/18 Matchmaking of Ampersands, F/0 1777 Not-by-Baskerville Prayer Book, H/16 Preserved Scent of Childhood. .
Looking at typeface trends might seem super-geeky, but it’s a way to unlock the secret visual codes that reveal so much about today’s social attitudes and the things you care about. Typefaces don’t just spell out words, they’re also visual codes for ideas. You interact with typefaces almost constantly in your everyday life. They’re the interface between you and your day-to-day experiences that not only inform, but shape, influence and narrate the choices you make.
The typographic landscape around you changes constantly, even if you might not notice at the time. It happens just like tastes in fashion and music change. Sometimes typeface silhouettes mirror the clothes of the day, think of those fat-bottomed fonts in the 1970s when everybody was wearing flares and big platform boots. Typefaces also reflect the cultural attitudes of the moment—ransom note type embodied the rebellious voice of Punk and Stephen Coles of the Letterform Archive observes that the popularity of minimalist typefaces happens in cycles coupled with new technology and waves of modernisation.
Do you want to know what type trends reveal about social attitudes today?
I’m excited to be launching two brand new experimental publications on Patreon. These are inspired by the conversations I’ve had with you at online events over the last few months. One of the most popular topics with everybody, not just designers, has been about type trends. Do they matter and what they mean?
As a result I’m creating two digital publications, which you can get hold of on Patreon. De-code looks at trends and cultural messages. En-code is for designers who use type.
The first trend you’ll explore is ink trap type. I was a judge for the D&AD Awards recently and I noticed that lots of the entries featured ink trap style typefaces. I wondered why, so this became the topic for the first issue.
Sign up to the tasting type curiosity club on Patreon. You’ll be supporting my research and writing, and you’ll get access to the publications:
What stories are these curious-looking letters telling you?
In this experimental pdf zine you’ll decode the cultural attitudes that a trend reveals and explore how creates meaning.
Discerning or gimmicky? How to use this typeface trend
I’ll do the legwork for you and curate a directory of fonts for a current type trend each month to inspire you. You’ll also discover when to (and not to) use them in this experimental pdf companion to De-code.