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.
“The PVS [Pre-Vinylite Society] Journal is a unique publication featuring essays, stories, interviews, and inspirations on commercial art and its contexts.” The idea for a print magazine came from PVS love of tangible objects and a desire to explore the contexts of sign painting and other applied arts. As practitioners and enthusiasts of hand painted signs, it made sense to celebrate their many contexts with a beautifully printed magazine that showcases the artistry inherent in this field.
The third Issue promises to build on the strength of their previous publications with features including; “The Noordzij Parameter” by Jan Middendorp, A riff on using variable fonts from the always insightful Jason Pamental and a delve into the typographic Campaign trail with Nolen Strals and Bruce Willen who explore the Type used in the US midterm elections
For most of us, story books are our first introduction to reading and letter recognition. For a lucky few, it’s a gateway to loving type. in this event (part of the Letterform Lecture series, co-presented by Type@Cooper West and the San Francisco Public Library), Kate will explore how type can be used for good and evil in the rich world of children’s books.
Looking to treat yourself or a fellow typo-lover to something fun? PampaType just launched a new Online Store, where you can buy their beautiful printed specimen, as well as a brand new book on the fundementals of letterforms, (typographic, calligraphic, lettering). And a epic new range of typographic Tees!
Craig Mod is a writer and designer based in Japan, in this beautifully thoughtful narrative on the importance of margins and whites space in book design. “A book with proper margins says a number of things. It says, we care about the page. It says, we care about the words. We care so much that we’re going to ensure the words and the page fall into harmony. We’re not going to squish the text to save money. Oh, no, we will not rush and tuck words too far into the gutter.”
There is a real joy in creating something unexpected from a simple idea. That notion is echoed throughout issue five, be it an Argentinian artist bringing together a series of small printed pieces to create a breathtaking letterpress sculpture, or printmakers using overheard phrases as a jumping off point to create imagined worlds and bold poster prints.
The publishers will correctly tell you, this book has a broader reach than type design professionals, and that it is a must-read for students and professionals alike. My thinking is this is a book I wish was written sooner - but I am grateful exists now. Whether you're an art director, graphic designer, calligrapher, historian, print enthusiast or harbour any curiosity for the mechanics of visual language this book is essential reading.