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.
A remarkable photo essay by Christopher Payne who spent 2 years documenting the Times printing plant in Queens “to find the beauty in newsprint and the people who produce it.”