InUX CollectivebyNeel DozomeRay Bizarre: an alternate approach to typographyOn the texture of Satyajit Ray’s graphic designSep 30, 20231Sep 30, 20231
InUX CollectivebyNeel DozomeTimes New Roman: can we make serifs great again?Matthew Carter and the re-invention of type design for screens and desktop printingSep 23, 20235Sep 23, 20235
InUX CollectivebyNeel DozomeFrutiger: from a dot to the Paris airportBalancing black and white, developing a universal language, and deconstructing what made Adrian Frutiger the designer’s designerSep 30, 20223Sep 30, 20223
InUX CollectivebyNeel DozomeFutura: grace under pressurePaul Renner’s quest for “sachlich” created a typeface that is as technically astute as it elegantJun 21, 20224Jun 21, 20224
InUX CollectivebyNeel DozomeHelvetica: An ode to the joy of retail therapyThe ghost in the machine of “corporate vanilla”Mar 1, 20222Mar 1, 20222
InUX CollectivebyNeel DozomeGill Sans: the sacred and the profaneBhakti as typographySep 18, 20211Sep 18, 20211
InUX CollectivebyNeel DozomeThe typographic voice of LondonEdward Johnston’s diamond-shaped “tittle” and the origins of a classic typeface designJul 22, 20211Jul 22, 20211
InFanfarebyNeel DozomeThe OBEY sign from They LiveThe COVID-5G tower conspiracy theory and the typography in John Carpenter’s movieJun 9, 20201Jun 9, 20201
Neel DozomeThe Jar Jar Binks of TypefacesThe Comic Sans debate and ‘vulgar’ crimes against good tasteMay 7, 20191May 7, 20191
Neel DozomeThe Magical, Surprising History of SerifsOnce viewed as “uncivilized,” sans serif typefaces somehow became the epitome of streamlined efficiencyMar 5, 20199Mar 5, 20199
Neel DozomeA for ArialThe curious history of a font from the heyday of Microsoft WordFeb 21, 2019Feb 21, 2019