The latest book release from Letterform Archive is Morla : Design a career-spanning monograph of leading designer and AIGA medalist Jennifer Morla. It features exquisite reproductions of her work, vital design insights, reflections on Jennifer’s 26 favorite characters from 19th and 20th-century typefaces, and behind-the-scenes stories, all brought together an astonishing print package devised by Morla herself.
I feel nervous posting this as there has been a lot of heat around this topic in type lately! But this article shares my story of doing the wrong thing then correcting course when building a font library.
Emily Gosling reviews a Graphic Design Play Book: An exploration of visual thinking by Paris-based graphic designers Sophie Cure and Aurélien Farina offers up the idea of design and play in a fun new way. The book acts as both a simple introduction to the basic principles of graphic design; and a gentle, fun way for those who already design to think about their craft in newer, simpler ways.
Since establishing Bizzarri-Rodriguez. nine years ago, Thomas and Alain have focused their practice on the book as a medium as well as the practice of typography. “It’s probably one of the most all-encompassing design exercises you can find,” explains Thomas. “Designing a book involves so much knowledge and so many different practices; it is everything except a science.” They try and learn something new every day, keeping in mind what has or hasn’t worked previously and trying out new ways of working to deliver the best possible outcomes within design.
Rather than being modern interpretations where the designer leaves an obvious mark, the Commercial Classics are careful reconstructions, made not for yesterday, but for today’s users. They take the old forms, and expand them in new directions, whilst retaining the charm and beauty of the originals. This talk took place on July 8, 2019, at The Cooper Union as part of Type@Cooper's Herb Lubalin Lecture Series.
James Edmonson of OHNO type company, has a new (work in progress) release via Future Fonts. Its incredibly fun and you can grab it now for just $9 USD. “This counterless semi-connecting script is an ode to unbridled enthusiasm and a complete disregard for the ruler tool.” James explains most of his work is scaffolded by the idea of “counterspace equals letterspace”, but when the counters get removed things feel more abstract, and with the unfamiliarity comes a different sort of impact.
Tallone Press’ collection of typefaces, archiving styles ‘from gutenberg to the moon’ features beautifully photographed fonts, punches, printed specimen and plates. This is an exquisite source of inspiration and information for printers, and typographers.
It is no secret I am a fan of everything Jamie Murphy produces. his work is always of an outstanding quality - this month he shared photos via instagram (not yet on his website) of a recent project called 1753. “It was made in reaction to a report stating there were 1753 homeless families in Ireland in the lead up to Christmas 2018. How can a number like that hold actual weight when we can’t easily visualise it? My idea was to represent each family with a single empty page. Each spread therefore representing two families. The resulting book is eight inches thick.”
“The history of typefaces can be a rather sketchy affair at times, with many questions that defy definitive answers: When was a certain style first introduced? Which foundry created it first? For the writer and historian, it is near impossible to write with complete certainty, with the fear that something will be discovered that changes our understanding of the past, a concern has only increased in the age of the internet. Yet, at the same time, we are living during a time that offers new possibilities of new discoveries, which is why we have embraced the challenge.”