Paul shaw’s newsletter this month previewed a book on the history of the Tipoteca. Designed by Simon Esterson, the designer of Eye magazine, printed and produced [metallic inks, short sheets, letterpress inserts, gatefolds and more] by Grafiche Antiga, run by the Antiga family that created the Tipoteca. There are contributions by James Clough, James Mosley, Jim and Bill Moran of the Hamilton Wood Type Museum, Alan Kitching, Erik Spiekermann, Leonardo Sonnoli, Enrico Tallone and others.
This interview with legendary designer Chip Kidd is annoyingly locked behind a google survey which is a drag - but its worth the 2 minutes of admin to learn more about Chip’s process, career highlights, favourite radio station and more!
Design writer Robin Rendle reviewed one of my all time favourite Typography Books; Inside Paragraphs by Cyrus Highsmith. “The book is also beautifully designed with Cyrus’s wacky and crooked illustrating style that makes it feel more like a children’s book than a serious one devoted to the art of typesetting (and it’s designed in such a way that the visuals never feel patronizing either).” Do yourself a favour and buy the book here!
For Printed Pages Autumn/Winter 2018 issue, the it’s nice that team, with help from Pentagram partner Sascha Lobe, look at how in only 14 years, the Bauhaus pioneered a spirit which still rings true today. Available in three colours the cover displays 42 of the 600 glyphs Sascha and his team have created while designing their new identity for the Bauhaus Archive. “We took heritage and adapted it to today without losing the history,”
But apparently google auto clones out thumbs in their digitization of books. But Whitney Trettien (who’s profile notes she gesticulates wildly about old books) started a number of twitter threads about the bizarre phenomenon.
There has been a lot of debate on twitter over this article and the movement calling for the revival of ‘lost’ punctuation marks. There are two tribes of thinking - first that these symbols add to our linguistic expression, while others debate that emojis function better making these (and other marks) redundant. I am in the revival camp - these forgotten glyphs should make a comeback!
These street name signs 'hide in plain sight' they are read daily for navigation as visual wayfinding anchors but not often seen. Especially by locals, Allistair’s project is about looking at these signs critically to understand where they have come from and what narrative they may tell of his city.
Fontsmith has released trial versions of their entire library. I can set a sample chapter in a font (with limited character set) and present it to the client for approval without having to purchase up front. Once the client has approved my design I can then buy the full version to produce the finished work. This will save designers money up front and allow us to present clients with more diverse options at the concept development phase. It truly is fantastic news for our industry.
As featured on Typostrate: “Glyphs are the silent arbiters of written communication, the fringes of language that regulate its pace, meaning and tone. This book looks at the punctuation marks, textual indicators and mathematical symbols that we so often take for granted.”
“I love learning new styles and feel as if I’m always a beginner at something.” Julie Wildman on the never-ending task of learning calligraphy. Wildman’s letterforms, though drawn or painted, have a nearly typographic feeling to them. Her deliberate negative shapes burst with vitality. She has integrated lessons from many teachers to develop a unique style, while honoring the tradition of the art.
Book design lovers - check out this (close-to-funded) Kickstarter project celebrating Juan Ángel Cotta's outstanding illustrated book covers… “Juan Ángel Cotta (1920-1962) was a talented young artist from Buenos Aires that charmed art critics from across the globe with his personal graphic style. His later work, the 103 covers of Los Libros del Mirasol — one of South America's most unique and appealing illustrated editorial collections — has been mostly lost and forgotten over time. Until Now.”
In aid of its 125th birthday, Battersea Arts Centre is celebrating its cultural heritage by digitising its entire poster archive. “The posters are a great visual way of understanding the huge breadth of activity that has happened here over the decades, how embedded the building has always been in the local community and how what happened in Battersea reflected what was happening across the country,” says Lucy Parker, Battersea Arts Centre’s collections access manager.
For Verònica Fuerte, Hey’s founder and creative director, the concept of publishing a book of her studio’s output “wasn’t something I had ever thought about before,” she tells It’s Nice That. Verònica feels that all of the projects the studio have completed in the past 11 years, both the “failures and successes”, are significant for the studio and for people to discover in the book too. “They all had some value, something learnt, however insignificant it seemed at the time.”
Alphabette Veronika Burian published this article on giving credit in the type industry. Crediting authorship is not standarised. It varies across different disciplines, crediting in type design depends on the foundry or studio policies, and, somewhat, on their generosity toward their workers. Although crediting seems a straightforward task, it has proven quite the opposite.
'Permission to Belong' is the result of years of documenting the lives of resettled families from Myanmar/Burma, and a tribute to all refugee and migrant families. Limited to 95 handmade copies. A story of migration, home and belonging.
Read this insightful interview with lettering (& type) queen Jess Hische on her career and New York times best selling book. “Almost everyone has a fear of failure and that emotion can feel paralyzing when it comes to both life and work. Achieving is great, but, as Jessica Hische has learned, real accomplishment is pushing through the initial fear to actually start creating.”
The Galapagos typeface with its geometric letterforms and swooping descenders is one beloved by designers. Designed by Dinamo and Felix Salut, the typeface was originally developed from a game Felix designed titled the Galapagos Game. Felix’s original incarnation was acquired by Amsterdam’s Stedelijk Museum as a nugget of design history, but now there is an affordable, pocket version.
A new membership based online archive was made with graphic designers in mind. The visual search feature supports a serendipitous browse, see instant results as you filter and combine people, firms, disciplines, decades, countries, and formats. I am thrilled as it gives those of us remote to the physical archive unprecedented access to this important collection… become a member today and get beta access later this month.
The Dutch typeface designer Gerard Unger, who has died aged 76, did much to improve legibility in newspapers, books and transport systems. His best known typeface, Swift, with sharp serifs (the horizontal feet of letters) was used to typeset the Shorter Oxford English Dictionary, alongside his matching sanserif type, Argo.
Abyme is a digital type foundry which also publishes texts on typography, its culture and history; their latest essay by Charles Mazé dives deep into the history of french type design focusing on Deberny & Peignot’s Série no. 16
“I have always been interested in the topic of synesthesia and I wanted to explore typography together with sound” Zheng told Typeroom of her LOOK/HEAR project which explores the relationship between scenes and soundscapes, looking and hearing. “A system of aural and visual signals generates shifting typographic forms and triggers associations about people and environment”.
Book designer Daniel Benneworth-Grey’s website has the most gorgeous project photography. This beautiful books are shot on corresponding coloured backgrounds while the flat-lays shadow reveals the book extent. If you have an interest in book design I strongly urge you to check out Daniel’s work (and do yourself a favour and sign up for his bookish newsletter too).
Chloe Berry is a final year Graphics Student at the Manchester School of Art University. She recently reached out to talk to me about the value of working analogue as part of an assignment she was working on which explored a tension between Analogue and Digital Practice. I asked her to tell me more about her work, creative practice and the Analogue/Digital project for this latest installment of the Student Spotlight.
The awesome How to Create Typefaces book is now available exclusively from St Brides and the type/book-centric e-commerce site also has a letterpress section including The William Morris Society London: 1958 a letterpress printed catalogue for the William Morris exhibition (1957) at the St Bride Foundation Institute. Lots of treasure to explore here!
Amsterdam-based artist and illustrator Karan Singh and New York-based graphic designer Zuzanna Rogatty, explored the bonfire night, where fireworks are lit and crowds gather to marvel. Prior to the project, Karan had been drawn to Zuzanna’s work for its forms “so full of character”, particularly within her typographic work where the designer transforms any old letterform into a fluid, bold vector of wonder. With Zuzanna an equal fan of Karan’s brightly composed patterned work, the pair set to work.
Billie Muraben, spoke with Chantra and Lucas Sharp on how travel, collaboration and making friends has helped to carve out a space for their innovative foundry, move outside of conventional design territory to create risky and ambitious work.
Alcalá, designed by Damien Gautier, is based on the Polyglot Bible of Alcalá. The first drawings go back to 1995 and was progressed in 2011 as a client commission, and now available as a full featured retail font. Alcalá’s characteristics are perfect for editorial design, especially newspaper and magazine layouts. (not just religious texts!) Its sharp design guarantees high readability, space saving and smart printed rendering in small sizes, as well as a great look in bigger uses.
Crushing on this painting by Alphabette Jillian Adel, who in addition to her original artworks, patches, prints and totes, has a new lettering offer in development where she will paint quotes and lyrics on commission. Buy direct from witchsy or use the contact button to chat with Jillian about something custom!
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