Designworks undertook a studio project Pepeha.nz – a website to help all New Zealanders introduce themselves in Te Reo Māori. ‘The Pepeha typeface is reminiscent of the land, the culture, the people and generations that have gone before us, both modern and timeless. Limiting the use of straight lines meant we were creating something that felt like each glyph was carved from the land itself. Something natural and formed organically.’
If you ever wondered what it means to focus solely on one thing and do it at your very best (or if you like me you are a Craig Black fan) or you’re finding your way with your freelance hustle this episode of the adventures in creative fields podcast is for you! From professional footballer to designing the UEFA typeface Craig's journey is a story of hardship and achievements that culminates with him heading straight back from London to the small town of Gourock in Inverclyde where he services world class clients.
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.
After a stint living in NZ Anastasia immerssed herself in the avian world, her main interest was capturing the beautiful colour combinations our native birds, she wanted to represent them in a unique way: without any reference to their size, shapes or voices, celebrating their distinctive palettes in the form of a book.
Husar by Jorge Morales is a text and display serif type family inspired by the rebellion and diplomacy that framed the events in Latin America during the first half of the XIX century, also known as the period of independence. I LOVE the unique form and shifting weight in this delightful face and think it is exceptional value at only $10 (US)
Te Papa recently released Tatau: A History of Sāmoan Tattooing. While the books text is culturally significant, it is also a compelling piece of design. On the occasion of the book being released, Lana Lopesi interviewed Arch MacDonnell, Inhouse Creative Director for Design Assembly.
New Zealand’s foremost graphic and visual design community, Design Assembly, celebrates its ten-year anniversary this year. The leap spoke with founder and designer, Louise Kellerman, about how the organisation has grown into a business and a national hub for Kiwi designers.
My family is from the north east of England, I lived and workedthere in my late teens so it holds a special place in my heart. These Northern Types, is ambitious, expansive, and inventive. It consists of 17 small publications, each of which explores a different aspect of what northern identity is, and can be, in the 21st century, and each of which reflects a custom typeface produced for the project.
Ten years ago, Lynette Shum at the National Library received a call from the Wai Shing market garden in Pukekohe. Their shed was falling down, and inside that shed was a metric tonne of metal letters and characters, overflowing from wooden printing trays. It turned out to be New Zealand’s only surviving set of printing type in the Chinese language, once used to print the New Zealand Chinese Growers’ Monthly Journal (僑農月刊, published 1949-72).
A music icon, a place, an identity, a typeface and an artist come together to share and create new memories.