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.”
Drew’s ABCs is a project of passion that Ned and Brenda have been dreaming about accomplishing for the past 5 years. Limited to an edition of 350. In its wonderful pages, the alphabet comes alive. The concept for the book was to expose the richness of diversity within typography and celebrate its differences.
Melbourne-based Beth Wilkinson is a publishing polymath, the founder, editor and creative director of Lindsay. The publication embodies the ethos of do-it-yourself publishing, and although she does most of the work herself, the publication provides an open perspective on the world and all its culture.
For Printed Pages Autumn/Winter 2018 issue, the it’s nice that team, with help from Pentagram partner Sascha Lobe, look at how in only 14 years, the Bauhaus pioneered a spirit which still rings true today. Available in three colours the cover displays 42 of the 600 glyphs Sascha and his team have created while designing their new identity for the Bauhaus Archive. “We took heritage and adapted it to today without losing the history,”
Eye 97 is entirely devoted to editorial design – The mags profiled span both independent and mass-market titles. The ‘Front matter’ section includes articles about a new type scheme for students, while the ‘Uncoated’ section tackles punk graphics at Cranbrook, other features include Peter Biľak’s Works That Work, membership magazine, and David Crowley delights in the surrealist layouts and covers of Ty i Ja, an ambitious Polish magazine from the 1960s. Check out ‘Eye Before You Buy’ gives viewers a glimpse of the entire issue.
The prolific Penguin designer’s site showcases a portfolio of print design and lettering that is exemplary. This is a fantastic resource of inspiration for us all to up our editorial design, critical thinking and lettering games. David Pearson writes “Jerry’s work has always resonated with me; not simply because of its precise nature but also because Jerry never forgets to have fun. His title-page spreads for the Pelican History of Art series are a perfect example – marrying the rigour of Swiss Modernism with a freedom of expression that is uniquely Jerry’s."
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.
What feeds the inspiration of the designer? Observation. As a typographer I love words, but I am also enamoured with the concept of this book… Every picture tells a story without words, in the language of form. Morrison responds to the arbitrariness of form with simplicity and complexity, poetry and humor in a repertoire of compelling designs. A World Without Words is a pocket-sized school of seeing.
Sarah’s plan is to write, design and publish a series of small books to document the Font Experiment process and share the results of each topic, while also continuing with the research. She is also writing a new novel that plunges readers right into the dystopian history of printing. This will take time and money; write and design the books, and to have them printed. You can become a part of the exclusive community that will make this happen by becoming a Patreon of her work.