I am a long time fan of Craig’s work. His typographic experimentation is incredibly exciting I particularly love his manipulation of type in space and testing of legibility for expressive means. Unsorted chatted with Craig about his career to date in this excellent insight into one of the most important typographers practicing today.
The 1800s were a time of massive transformation in printing. The 1700s saw printing move from cottage to larger scale, but many factories held back industrial operations. Those changed dramatically right around 1800 and proceeded through the end of the century. In this article Glenn Fleishman focuses on an overlooked aspect: paper molds used to duplicate entire pages of type and images, often for newspapers, that were cast as metal plates. These remained in use until the 1980s in American newspapers!
Hundreds of items from Rand’s archive, including process material and personal copies of his work, are now at Letterform Archive. Stephen Coles highlights objects that exemplify three trademarks of his design: timelessness, simplicity, and playfulness.
Designed by Bernd Volmer Seraphs is font family that encompasses multiple typographic styles in one single system. Unlike other families with a sans and serif style, Seraphs doesn’t stop there. Utilising variable font technology Seraphs delivers 6 genre in one font and allows the user to define intermediary styles meaning the aesthetic possibilities are vast!
Hidden for over forty years. One of the most original display faces from the 1970s. “Finding Sväng was like discovering a hidden treasure. Designed in 1976 by Claes Nordenstam, the fiercely original alphabet only existed as drawings on paper.” Until that is, Letters from Sweden brought it back to life.
With over 80 hours of free talks and workshops, 3 headline events which are just £15 each, and a variety of exhibitions, masterclasses and screenings, we wanted to make this festival accessible for people of all incomes to learn from the best in the industry and experience what Birmingham's design sector has to offer .
I follow Letterpress printer and fine book maker Phil Treble via instagram, last month I was overjoyed seeing Phil’s production of Tamlane. The craftsmanship this book is glorious.
Type designer and lecturer Barry Spencer has put together his first solo exhibition focusing on his unique, experimental and speculative approach to design and typographic practice called Type. Grid. Play. which will run from 03–28 June 2019 at LCI Melbourne.
The baseline is one of the foundations of legibility, allowing letters to be read in a flowing fashion along a horizontal line our minds construct. So how did type foundries keep a consistent baseline? They did not. At least for most of the first four and a half centuries of printing before industrial scale had fully set in and before standardization became keenly important as an element of efficiency and productivity. Read this fascinating article from Glenn Fleishman for more.
I think the Better Letters events are phenomenal and am so excited to see they are selling the Mike Meyer’s workshop resources as merch. The poster series is fantastic but I am most excited by this A5 booklet showing stroke sequence and spacing for a variety of sign painting styles. The 12-page booklet contains: Block (upper and lower case); Thick & Thin; Casual; Slanted Casual; Script (upper and lower case). It also includes reference pages for spacing, shadows and convex bevels.
Ever since 2010, The Print Project "has been raising hell and the dead with its distinctive high quality letterpress printing from its base in the small northern town of Shipley. From posters that will poke you in the eye to finely crafted pieces of print that will knock your teeth out, the Yorkshire based outfit exclusively uses 500 year old printing technology killed off by commercial interests and given the kiss of life by our resident print maniacs" notes the website of TPP.
Narrow and straight-sided, Aglet Sans playfully exploits a system of angles and corner radiuses to arrive at a vocabulary of shapes that becomes more diverse and intriguing as it grows more substantial in weight and provides a dynamism that offsets the strictures of other forms, urging the eye forward. I spoke with Designer Jesse Ragan to learn more
The issue includes ‘Type Now’ (with articles by Jan Middendorp, Sarah Snaith and Peter Biľak on three burning issues in contemporary type); an article about the late Bram de Does; Ferdinand Ulrich visits the living archive that is Rainer Gerstenberg’s foundry in Darmstadt and Paul Barnes’s excavation of the St Bride ‘treasure trove’ that inspired Commercial Classics. Eye Before You Buy’ the special issue here
In awe of the powerful work included in the Present Tense: Wāhine Toi Aotearoa initiative, my submission was 'Reform Required’ calling for us to all do better, & to stop placing people in rigid silos of gender, faith and ethnicity to create space for everyone to succeed.
View online or RAMP Gallery, Kirikiriroa, April 30 – May 24, 2019
Thanks to Catherine Griffiths, Alice Connew & Katie Kerr for their sweat equity and intelligence propelling #designersspeak(up)
I am enamoured with this gorgeous specimen from Klim in all its typographic and holographic foil glory. The Sincerity/Irony Heldane book is a collaboration between the New Zealand foundry, poet Hera Lindsay Bird and design agency altgroup
There is a small scrapbook in the original W.A. Dwiggins Collection at the Boston Public Library. Among its miscellaneous contents are five small sheets of paper bearing undated outline drawings of rotunda alphabets. Paul Shaw deep dives into the provinance of these important and lovely sketched letters.
One of my favourite designers Luke Tonge talks about the freelancing life, helping others and co-founding Birmingham Design Festival. He is an inspiration, lovely dude and has abundant creative energy… this interview is a fantastic insight to how he does so much - so well, and what to expect from the 2019 Brumfest line up.
“The London Type Foundry release new fonts infused with creativity, innovation, heritage, tolerance, fun and cultural diversity — they are all inspired by LONDON.” They recently released a super bold type specimen showcasing their place responsive type.
Designed by children’s book illustrator Warren Chappell in 1938 Lydian is a “humanist” sans-serif typeface. It has crisp, knife-cut-looking edges and gives the impression of being written by a human hand. Jason Heuer, attributes the font’s resurgence to “The contemporary artisanal movement that has been happening for some time — from craft brewing, furniture making, and bee-keeping to hand lettering and printmaking — is a reaction to the digitized world we see every day. I think consumers yearn for something visceral, sincere, and authentic.”
Birmingham Design Festival returns with programme of inspiring speakers from around the design world all speaking about Truth. Festival Coordinator Luke Tonge said, "In an age which has seen truth questioned and deception utilised in many areas, we’re more passionate than ever about truth… About finding honest insights and sharing them, about confronting difficult subjects head-on, and shining a light on topics which might be uncomfortable. We hope by setting truth as our central theme for BDF2019 we’ll be playing a small part in helping our corner of the creative industries become more transparent, helpful and genuine – a responsibility we all feel."
One of the founders Sandra García says their goal is to disseminate knowledge about the use of typography, “since there is much ignorance - even among the designers themselves - about all the possibilities offered by typography: plastic, expressive, technical, technological. In Tipastype we understand the letter as a graphic symbol that is loaded with many connotations, and the correspondence that exists between the construction of its forms and adjectives such as strength, elegance, lightness, among others, also give it a personality to the letter.”
It looks like Helvetica - it feels like Helvetica - but it has a larger x-height and refined glyphs which reads and performs so much better than anything previously in the family (or broader genre). "Helvetica Now solves the legibility and style challenges that brands using Helvetica have consciously and unconsciously faced for years. The design introduces a new chapter in the Helvetica story—expanding its look and utility, while reinvigorating its heritage."
Printmaking is a very old and beautiful art form but it‘s not accessible for a lot of people. The Open Press Project responds to this with a small but fully functional etching press, designed to be lightweight, inexpensive and portable. Learn more and back the project on Kickstarter here
“Veronika Burian describes her discovery of type as being similar to falling in love. The budding industrial designer would ride the bus to work every morning in Milan, bent over a book recommended to her by a type-obsessed friend, underlining passages. The book was Robert Bringhurst’s The Elements of Typographic Style, the gateway drug for many people just starting to learn about the dense, detailed world of letterforms.”
"Femme Type Book," an all-female collection of essays, type design, and typography that showcases the brilliant typographic achievements of over 40 women from across the globe. Help fund its production via Kickstarter - it has already exceeded its goal (I backed this book and cant wait to see it!)
A few weeks back I was scrolling my twitter feed when some striking marbling stopped me in my tracks. The photographs were progress shots from Emily Hancock’s binding process of her latest release a gorgeous letterpress printed edition of Michael Delp’s poetry.
Tasman‘s shape grammar has gravity and power that speaks to truth, reliability or perhaps more aptly trustworthiness. These are fundamental qualities in the delivery of information in an "alternative fact" age.
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