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We all know by now that whatever great things social media might have brought into our lives – new friends, hobbies, entertainment, even a greater appreciation of our lives – it’s also the source of a whole heap of stress, anxiety and attention issues, not to mention premature ageing, relationship problems, sleepless nights… and er, cancer?
So with another opportunity for self-denial arriving this Wednesday, will you be one of the brave masses giving up social media for Lent? But what about the need to reply to that message about that thing, or the need to show your dinner to several hundred strangers?
Your brain might have walked away, but your fingers will keep dragging you back – unless you delete all those social apps. Whether you also want to deactivate your accounts or not is a personal choice (depending largely on how much you like or hate the idea of being totally un-trackdownable), but if you choose to keep them running you’ll need to turn off all email notifications and any desktop pop-ups too. Before the big switch-off, take the time to trawl through Facebook and note down any upcoming birthdays or events you might miss while you’re gone, so you can contact them via other means instead.
Of course, you might want to give up social media for Lent just to prove that you can, or win some kind of bet, with no life-improving ambitions whatsoever. But if you’re taking on the challenge in the hope of coming out the other end a happier, calmer or more productive person, you should probably address some of the reasons social media started eating your life up in the first place. There’s no better time than a social media detox to confront FOMO and FODO head-on, and banish them from your life. So you know that flaky friend who never remembers to reply to anything, but everybody still loves them and the world goes on turning?
This will also have the bonus effect of making all your friends think of you as fun, cultured and interesting, rather than just a generic blue egg where a person once was. Style & Social Media Columnist Lauren is a professional tweeter, pop culture junkie and Netflix addict. Irish graduate from the type design program at the University of Reading in 2010, who joined Hoefler&Frere-Jones in New York in 2011 as type designer. Xanthi-based designer of the Greek type1 font family Phaistos (2004, with Stratos Doumanis).
During her studies at Iceland Academy of the Arts in Reykjavik, Astros Traustadottir created the display sans typeface Seaside (2015), which was inspired by seashells. The 2011 ATypI conference took place in Reykjavik, Iceland, from September 14-18, 2011, at the Harpa Concert Hall. Icelandic designer based in Reykjavik who is working on Broderi (2003, a script bitmap font).
During a type design course at Iceland Academy of the Arts in 2011, Einar Guðmundsson (Reykjavik) made the Harmony typeface based on some letters by Wim Crouwel's typeface Stedelijk. Free Mac fonts in the EversonMono series for CSX, Celtic, Croatian, Cyrillic, Esperanto, Gaelic, Georgian, Greek, Icelandic, Inuktitut, Ogham, Romanian, Sami, and Turkish. New York-based Nicholas Felton's fonts at FELTRON: the pixel fonts Remove (OpenType), Foss (caps inspired by Icelandic writing), Whip, Amtrix S (pixel type), Megabit, Sibilance, Amtrix 4, Amtrix 5, Amtrix 6.
Icelandic designer and type designer in Reykjavik who co-created the experimental display typeface Skuggasveinn with Siggi Eggertsson in 2005.
Handwriting Models An Icelandic Manual, 1883, was written by Benedikt Gröndal (1826-1907), an Icelandic poet, painter, draftsman, calligrapher and library historian.
Reykjavik, Iceland-based designer of these display typefaces in 2013 (while at the Iceland Academy of the Arts): Ping Pong, Pinball (connect-the-dots typeface), Flying Giraf, Pixel Overdrive, Long John, Karlus&Baktus. As a student in Reykjavik, Iceland, Hrefna Lind created the lachrymal typeface Whale (2014). Coding that supports the following languages: Afrikaans, Catalan, Danish, Dutch, English, Faeroese, Finnish, French, German, Galician, Irish, Icelandic, Italian, Norwegian, Portuguese, Spanish and Swedish.
Nadja Kargruber (Nana Kar, Reykjavik, Iceland) was born in Italy and grew up in Tesido in northern Italy. Graphic designer in Reykjavik, Iceland, who works for Glamour Iceland and Condé Nast. Dima Pole (Slovolitni de Grande Tartaria) is the Russellstown, Ireland (according to Behance) or Berjozovskii, Iceland (according to Hellofont)-based designer of the clean sans typeface Hinton (2016), and the hand-crafted typefaces Rusich, Etruria (semi-runic), Hors, Fufluns, and Fufluns Luna.
Icelandic dreator of the art nouveau typeface Harmonia (2011) and the slab typeface Albania (2012, Ten Dollar Fonts). Graphic and type designer from Reykjavik, who created two experimental typefaces in 2008 with Jared Eberhardt: Syrillic, and Worn. How do you extract yourself from the social media universe without it having a negative effect on your offline life? Maybe the constant barrage of other people’s thoughts and achievements is making you feel insecure, or perhaps you just find it really hard to get anything done.
Don’t just move them to the last page of your home screen or bury them in a folder, actually delete them.
Just gather the key info – births, marriages, possible deaths – in your digital knapsack and be on your merry way. However hilarious and interesting you may be, there will be eleventy hundred equally hilarious and interesting people to fill up the little void left in everyone’s feeds. Maybe you’re not going to learn Japanese or embroider a quilt in five and a half weeks, but you could read a whole heap of books, go on some brisk walks or finally mend the holes in your favourite jumper. Give yourself a single snap to capture a scene or a moment, then put your phone down and enjoy the rest of the experience without a screen in the way.


So while a bit of empty headspace is nice, you should probably make an effort to see people in real life too. Rather than just going to the pub, think of nice things to do – art exhibitions, plays, sporting events, evening classes – and plan a few friendship dates to give yourself something to look forward to. You just need to fight the urge to plaster your lovely day all over the internet afterwards, obviously. Your digital life is part of that, but too often we let it be all of that,’ says Nancy. She's written about fashion since she was in flared jeans, and barely a trend goes by that she doesn't have an opinion on. Salamanca, Spain, 1963) is a professor of classics at the University of Plasencia in Spain. He also created the "oinuit" system, a set of Lambda (Omega LaTeX) typesetting tools for the Inuktitut language which comes bundled with the type 1 family Inuit (2002). He designed the pearly typeface Typhoon in 2008 diring the course Holy Geometry at the Iceland Academy of the Arts. Nelsson (based in Honningsvåg, Norway) sells fonts by Ray Larabie, Brian Kent, Nick Curtis, Derek Vogelpohl and Kevin King that were originally freeware fonts.
During his studies at IOED in Barcelona, he created the shiny rounded bubblegum typeface Bubble (2012) and the pixel typeface Acid Make-Out (2012, FontStruct).
In 2008, during a course called Holy Geometry at the Academy of the Arts in Iceland, he created the geometric modular typeface Rotunda. Asplund's Stockholm public library inspired him to create the geometric compass-and-ruler family Tornado (2010).
During his studies at the Iceland Academy of Arts, he created Turning Night (2013, a decorative typeface) and Trouble Dawn (2013, a wavy font). Some of his work may be viewed at Adobe, in particular Adobe's multiple master font Briem script.
After a master's degree in Scandinavian Studies from the University of Copenhagen in 1863, he taught, wrote, and published a periodical, Gefn.
He created the monoline rounded all-caps rounded typeface Gelato (2011, Ten Dollar Fonts) and Live A Lot (2012, alchemic; at Ten Dollar Fonts). She graduated from the Accademia Leonetto Cappiello in Florence in 2014 before moving to Iceland. Since 1989, he has made fonts for phonetic transcription and fonts for writing out Old Icelandic as it appears in Icelandic manuscripts. In 2015, she created the high-contrast fashion magazine typeface Glam, which is used in Glamour Iceland Magazine. Siglufjordur), who got a BA in graphic design from Iceland Arts in 1993, and lived in Reykjavik.
Creator of the decorative caps typeface There Be Monsters (2013), which is based upon the illustrations found on a 1598 map of Iceland drawn by Abraham Ortelius. He has had a varied career in design, with work in magazine design, interaction design, art direction, tomb-stone lettering, custom type design and other fields. He moved to Reykjavik in 2005 to study graphic design at the Iceland Academy of the Arts (B.A. Maybe you think ducking out of social media for 40 days will show you who your real friends are, or help you shake off a few duds. If you crack within three hours and Instagram last night’s pancake, just try again tomorrow. An early adopter, she can usually be found hunting for a bargain on the virtual high street and blasting the latest high-tech skincare claims. Old Standard is part of the Google open font directory of free web fonts, and was adapted for TeX use. Aoife writes: from the Latin Magna, meaning great or large, and the Indic Anima, meaning spirit or soul. In 2007, he published the Philokalia package, which includes a free Philokalia OpenType font developed with Ioannis Gamvets.
This may well have been the first ATypI meeting in which the host country's President addressed the assembly. Nelsson reworked them (more glyphs, more multilingual) and asks about 10 dollars per font now. He graduated in graphic design from The Icelandic Academy of the Arts, Reykjavik, Iceland in 1991. In 2007, a foreword and useful introduction to handwriting models was added by Gunnlaugur Briem, and he placed all on his web site for free download. Gunnarsson created R23095, a typeface based on Icelandic car license plates that were used between 1950 and 1989.
She designed these typefaces in 2014: Aventa (human figurines) and Allure (ultra-condensed thin sans). After graduating from ECAL (Lausanne) in 2009, Brunse has experience from working with people such as Node Berlin Oslo (Germany), Vladimir Llovet Casademont (Germany), Sofie Spindler (The Netherlands) and OK-RM (UK). Nan Jay Barchowsky, who published it in her series called Cursive Italic News says: The Ministry of Education in Iceland is introducing italic handwriting in schools. And means no one will give two toots when you’re resurrected on Easter Sunday, either.
Stop complaining about their flakiness, and instead think about how much calmer and happier the inside of their head must be.
He writes: Old Standard is supposed to reproduce the actual printing style of the early 20th century, reviving a specific type of Modern (classicist) style of serif typefaces, very commonly used in various editions of the late 19th and early 20th century, but almost completely abandoned later.


He says his fonts now cover these Latin languages: Afrikaans, Albanian, Basque, Belarusian (Lacinka), Bosnian, Breton, Catalan, Chamorro, Chichewa, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino (Tagalog), Finnish, French, Frisian, Galican, German, Greenlandic, Guarani, Hungarian, Icelandic, Indonesian, Irish (Gaelic), Italian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Luxembourgian, Malagasy, Maltese, Maori, Northern Sotho, Norwegian, Occitan, Polish, Portuguese, Rhaeto-Romance, Romanian, Saami (Inari), Saami (Lule), Saami (North), Saami (South), Scots (Gaelic), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Spanish, Swedish, Tswana, Turkish, Turkmen, Ulithian, Walloon, Welsh, Yapese.
Made an Icelandic font, Eidlundur (Mac Icelandic encoding), Edlund Insular, Edlund SmallCaps, Edlund (Italic). He designed BriemTimes in 1990, which was the basis for Times Millenium, used by The Times (read about the controversy at that page).
I quote: In 1875, Denmark changed handwriting models, replacing blackletter cursive by copperplate. About his experimental typeface Morthens (2007), he writes: Morthens is a strict script display typreface. In the next five years, Stefan worked his way from interactive designer to creative director. At KABK, he designed the rounded sans serif family Sultan (2012) and Paperclip People (2012).
After his graduation, he moved to Berlin, where he shares a studio space with his friend Siggi Eggertsson.
That is the result of pressure from teachers who were dissatisfied with the style they had, a copperplate-based business hand. The UM Typewriter font family (2008, for OpenType fonts) is a monospaced font family that was built from glyphs from the CB Greek fonts, the CyrTUG Cyrillic alphabet fonts ("LH"), and the standard Computer Modern font family. Designer at FontStruct in 2008 of cowboy_hippie and Syndrome X (DNA-look typeface inspired by Syndrome BRK by Brian Kent).
This extended to its Icelandic dominion, where copybooks and model sheets in the new style were in short supply. Autoscape is very robotic monospace font and History is a font that consists of 20 layers, each representing a different period in type history. He co-founded the interactive agency Armchair, and has directed projects such as Coca-Cola's M5.
Nelsson's fonts are Classic Trash BRK Pro, Dynamic BRK Pro, Galapogos BRK Pro, Genotype BRK Pro, King Cool KC Pro (kid's hand; done with Kimberly Geswein), Lamebrain BRK Pro, Matrise Pro and Matrise Text Pro (dot matrix), Phorfeit BRK Pro, Syndrome BRK Pro, Technique BRK Pro, Vigilance BRK Pro, Grapple BRK Pro.
Eight years later, a much needed handwriting manual by Benedikt Gröndal was published.
In support of the Open Font Library, he created the rune font Icelandic (2008: this font includes most "magical" staves that have been used in Iceland. The stratospheric registration fee of 895 USD ensures that ATypI survives for another year---it has nothing to do with the actual expenses of the meeting. In 2013, Or Type offered these sans typefaces: La Pontaise Bold (contrasted, Peignotian style), Rather Semibold (wide grotesk), L10 Bold (geometric sans), Separat. Each letter is a block, and when you write a text with it, the blocks connect to each other, so in the end you have some kind of a digital quilt. In 2009, he added a number of fonts that were done by Nick Curtis some years before that (hence the "NF"): Boogie Nights NF Pro (art deco face), Copasetic NF Pro, Coventry Garden NF Pro, Pro, Fontleroy NF Pro, Hamburger Heaven NF Pro, Monterey Popsicle NF Pro, and Wooden Nickel NF Pro. Skuggasveinn (2006-2007): a 3d-folded paper style typeface made in collaboration with Gunnar Vilhjalmsson. He also made Asana Math (2007), which references Young Ryu (2000) and Claudio Beccari (1997-1999). Helldorado Pro (2009) is a Tuscan wood type style typeface based on a font by Levente Halmos.
Cumulus and Foam (2010) is totally experimental, with shapes that evoke both plastic and sex.
In 2011, he created two simulation fonts called Sefarad and Al Andalus which imitate Hebrew and Arabic calligraphy, respectively.
She moved to Akron, Ohio, where she continues to work as a freelance typeface designer for H&FJ.
Still in 2010, he created the Armchair Modern family of elliptical sans typefaces, from AGauge (hairline) to EGauge (very fat and yummy)---Armchair Modern was derived from the logo created for Armchair Media Group by Stefan Kjartansson.
Cyrillic OCS (2012) is a pair of Latin fonts that emulate Old Church Slavonic (old Cyrillic). The design is ultra-modern, reminiscent of work by Mark Newson and Arne Jacobsen furniture. Letters of support have come in from handwriting experts in many parts of the world, Education authorities in other countries have suggested collaboration. Paleographic fonts for Greek (2014) has ten fonts designed by Marcos: Angular Uncial, Biblical Uncial, Coptic Uncial, Papyrus Uncial, Round Uncial, Slavonic Uncial, Sloping Uncial, Minuscule IX, Minuscule XI and Minuscule XV.
These fonts are representative of the main styles of Greek handwriting used during the Classical World and Middle Ages on papyrus and parchments. When you've sketched down your main ideas, there is not much room for creativity, it just becomes hard labor, a bit like doing the dishes. Briem concludes: Handwriting based on copperplate was largely abandoned in Icelandic schools in 1984. It was replaced by italic, a modern monoline version of renaissance handwriting that owes much to Ludovico Arrighi's approach.



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