These 16,000 BBC Sound Effects are made available by the BBC in WAV format to download for use under the terms of the RemArc Licence. The Sound Effects are BBC copyright, but they may be used for personal, educational or research purposes, as detailed in the license.

Find the library here: http://bbcsfx.acropolis.org.uk/

A few that caught my eye (and might catch yours):

• All the Mighty World: The Photographs of Roger Fenton, 1852–1860
• American Musical Instruments in The Metropolitan Museum of Art
• American Ingenuity: Sportswear, 1930s–1970s
• American Art Posters of the 1890s in The Metropolitan Museum of Art, including the Leonard A. Lauder Collection
• Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan Museum of Art
• Ancient Art in Miniature: Ancient Near Eastern Seals from the Collection of Martin and Sarah Cherkasky
• Ancient Egyptian Calligraphy
• Arms and Armor: Notable Acquisitions, 1991–2002

Prairie Paradise from Patrick Gannon on Vimeo.

Sure, the x-height changed, the spacing changed, the widths changed, the weight changed and the g changed, but overall? It’s pretty close. After looking at this, I started wondering: Why did it take me over six years to finish this!? To answer that question, I ventured deep into the depths of my hard drive…

via The Development of Balto | Type Supply.

The typeface was, of course, Johnston Sans and, although Eiichi didn’t know it at the time, it was a typeface created by Edward Johnston and unique to the London Underground. It was this typeface that helped motivate him into becoming a typographer and indirectly this that meant when Colin Banks (one of his course assessors and the “Banks” part of Banks & Miles) offered him a job as a typographer post-graduation, he leapt at the chance.

It was also this typeface, Colin Banks told him when he arrived, that Eiichi would be working on. He had been hired to redesign Johnston Sans.

“That morning,” says Eiichi, “was a bit of a shock.”

via A Typeface for the Underground – London Reconnections.

Among other very insightful comments, he questioned my decision to bring the terminals [the tip-ends of the ‘S’] all the way around. His point was that it seemed out of character with the style. He was right. So, I went back to trying to figure that out. I opened the terminals back up. Then I opened them up as far as I could. That looked awful. Then I brought them back a little. Then some more. Then some more. Eventually I settled into something that I thought worked. These tiny things may seem like inconsequential details but they are very important. I teach type design and I like to tell my students that while these minuscule changes won’t be noticed by most people, they will be felt.

To create the Balto typeface, typographer Tal Leming tried numerous variations of every letter and symbol of the alphabet in various styles. The GIFs above show the transitions from start to finish for the letters G and W, rendered respectively in Balto Black right and Balto Ultra left.

via The Typography of Speed — re:form — Medium.