A fairy tale, is a folklore genre that takes the form of a short story. Story tale, is a new type family for wonderous, romantic, magical and playful narratives brought to you by Resitenza.
Victoria Rushton is one of my favourite writers, thinkers and designers. She is smart, tenacious, insightful and considerate. So it filled my heart to read her tribute to and gratitude for, her former teacher, mentor and co-worker Cyrus Highsmith as he was recognised with the Gerrit Noordzij Prize.
Creating a compelling and memorable story is at the heart of both great writing and great design. It is time for us to use book typography to craft meaning in collaboration with writers... I wrote this article as an excerpt from my ongoing research on the role of contemporary book designers and their approaches to typesetting, for the ABDA
Designers choose a typeface for its emotive, visceral and visual qualities — how it looks and feels. Designers don’t use typefaces like a builder uses a hammer. The function of a typeface is to communicate visually and culturally. We crave new letterforms, finding them at once fascinating, repulsive and intoxicating.
Dominique Falla has been taking us behind the scenes of contributors process for book 4 of the Typism Series (available for pre-order now), in this post, Anna Schettin, an Italian calligrapher and graphic designer, currently based in Venice. She created this work for the typism book using walnut ink and a ruling pen and then worked it up as a colourful screen print.
FS Industrie is a technological bridge, the ambitious system is crafted by hand and yet is on the leading edge of digital development. The type specimen reflects this by connecting “our industrial past to our technological future, combining traditional and more recent production methods, and pushing the limits of what’s currently possible.”
An honest and insightful post from Myrna the letterpress printer, artist and poets behind Expedition Press about her relationship to time, her work and the focus of her upcoming shows... Comprised of Letterpress prints in multiples paired with paintings of partial letters and the negative space between them, these shows are set to be amazing (it is times like this I wish I was in the US!)
26 typographers and letterers, designed a 9x9 print using only three colours – black (for simplicity), metallic gold (for process), and orange (representing WeMake). Each print is a limited-edition of 40 and showcases a letter, word, or phrase with all proceeds to help fund arts education in Portland.
While undertaking her Masters research on Japanese culture, Émilie Rigaud, profiles the typography, of Motogi Shōzō, diving into the development of Japanese typography, aiming to “show that there are modern elements in what has been regarded as traditional, and that there is a tradition behind what has been taken to be just ‘modernist’.”
Designer Kelly Gilchrist discusses her diligent research on one of New Zealand's typographic greats Robert Harding Coupland, and shares insight into her current creative obsessions.
Should Beatrice Warde’s ‘Crystal goblet’ be seen, at best, as a harmless promotion of Monotype? Antonio Perri and Daniele Turchi, summarise a typographic debate, and shifting points of view on the goblet. The article particularly discusses the notion of transparency as it applies to book design.
On her commission from the Bauer Type Foundry in 1927, Elizabeth Friedlander became one of the first women to design a typeface, and particularly one of such exhaustive variation. Completed in a variety of point sizes in roman letter and cursive, and detailed in bold and swash characters, it took until 1939 for Elizabeth-Antigua and Elizabeth-Kursiv to be cut
Overseen by type designers Göran Söderström and Daniela Juvall, for Stockholm City Museum’s exhibition Östberga, Östberga, which celebrated the eponymous Stockholm neighbourhood. Östberga is divided into two separate areas – ‘good’ and ‘bad’ – both mentally and geographically, the City Museum wanted to stage an exhibition that brought people together, documented histories and inspired pride in the suburb.
Designer Winston Scully grew up playing DIY metal & punk shows. Highground the typeface attempts to capture the punk & metal spirit of an LA gig venue and the feelings it evoked for Scully when playing and attending shows there. Developed at Type@Cooper West the early stages of Highground were inspired by Nicholas Jenson’s Rotunda. Highground still has a twinkle of that inspiration, but it has seen a dramatic shift in goals and aesthetic.
Last month I features Glenn Fleishman's new book London's Kerning. Glenn just (very bravely & generously) outlined the income and expenses of producing the book, laying bare the economics of developing content and self publishing.
Marking fifty years after his assassination in 1968, The Atlantic has released a special issue in memory of the visionary civil rights activist. The type-led magazine is a powerful piece of social activism that pays tribute to a man whose words played a key role in advancing equality nationwide.
“Type design,” says Biľak, “is a formal discipline, and the resulting fonts are collections of black and white forms. Without providing context, it is hard to appreciate them or know how to get the most out of them, so we publish articles describing the creative processes behind the typefaces, the research and development. Some call this marketing, but for us, it is a rare chance to discuss the intentions of the typeface.”
The shapes of letters can influence how a reader perceives them and, by extension, the text they are part of. With New Atten, however, it’s the other way around. Miles Newlyn found inspiration for its design in, very literally, a voice—that of world-renowned broadcaster and naturalist Sir David Attenborough.
Join a line up of respected artists and designers featured in past Secret 7” series. This (sixth installment) has epic tracks to choose from, the format is simple 7 tracks will be pressed to 7” vinyl, 100 copies of each, every one is unique and will be auctioned for charity on the final day of the exhibition. Visit www.secret-7.com to listen and learn more.
I have shared excitement about the future fonts platform (Where Type Designers Sell Interesting Work In Progress.) previously. This week the foundry launched with an impressive catalogue of experimental unfinished fonts. It’s a way to pick up great styles for exceptional value and help type designers fund their design development process, and give them feedback. Win, Win.
The fifth work in her vowel-based installations series which explores material, spatial, cultural and contextual terms; the abstract construction of letter shapes (line, curve, circle); and the speech sounds the forms elicit. Collidescape, uses typefaces from MuirMcNeil, the computer’s default dash and slash lines, and danger tape pattern.
The format of the book is a tried and tested formula and one that is loved by graphic designers everywhere. French designer Laura Jouan is no different. However, for Laura, her interest in the medium has led her to explore how her work can exist beyond the usual form and function of a book
Rig Solid (just launched on Myfonts) extends Jamie's popular Rig Shaded family. Fastidiously constructed (as we have come to expect from Jamie), the ‘Medium Lines’ style is awesome - for which Jamie credits E. Sanderson's, Projected Letters as his historical inspiration.
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