I follow Letterpress printer and fine book maker Phil Treble via instagram, last month I was overjoyed seeing Phil’s production of Tamlane. The craftsmanship this book is glorious.
Type designer and lecturer Barry Spencer has put together his first solo exhibition focusing on his unique, experimental and speculative approach to design and typographic practice called Type. Grid. Play. which will run from 03–28 June 2019 at LCI Melbourne.
The baseline is one of the foundations of legibility, allowing letters to be read in a flowing fashion along a horizontal line our minds construct. So how did type foundries keep a consistent baseline? They did not. At least for most of the first four and a half centuries of printing before industrial scale had fully set in and before standardization became keenly important as an element of efficiency and productivity. Read this fascinating article from Glenn Fleishman for more.
I think the Better Letters events are phenomenal and am so excited to see they are selling the Mike Meyer’s workshop resources as merch. The poster series is fantastic but I am most excited by this A5 booklet showing stroke sequence and spacing for a variety of sign painting styles. The 12-page booklet contains: Block (upper and lower case); Thick & Thin; Casual; Slanted Casual; Script (upper and lower case). It also includes reference pages for spacing, shadows and convex bevels.
Ever since 2010, The Print Project "has been raising hell and the dead with its distinctive high quality letterpress printing from its base in the small northern town of Shipley. From posters that will poke you in the eye to finely crafted pieces of print that will knock your teeth out, the Yorkshire based outfit exclusively uses 500 year old printing technology killed off by commercial interests and given the kiss of life by our resident print maniacs" notes the website of TPP.
Narrow and straight-sided, Aglet Sans playfully exploits a system of angles and corner radiuses to arrive at a vocabulary of shapes that becomes more diverse and intriguing as it grows more substantial in weight and provides a dynamism that offsets the strictures of other forms, urging the eye forward. I spoke with Designer Jesse Ragan to learn more
The issue includes ‘Type Now’ (with articles by Jan Middendorp, Sarah Snaith and Peter Biľak on three burning issues in contemporary type); an article about the late Bram de Does; Ferdinand Ulrich visits the living archive that is Rainer Gerstenberg’s foundry in Darmstadt and Paul Barnes’s excavation of the St Bride ‘treasure trove’ that inspired Commercial Classics. Eye Before You Buy’ the special issue here
In awe of the powerful work included in the Present Tense: Wāhine Toi Aotearoa initiative, my submission was 'Reform Required’ calling for us to all do better, & to stop placing people in rigid silos of gender, faith and ethnicity to create space for everyone to succeed.
View online or RAMP Gallery, Kirikiriroa, April 30 – May 24, 2019
Thanks to Catherine Griffiths, Alice Connew & Katie Kerr for their sweat equity and intelligence propelling #designersspeak(up)
I am enamoured with this gorgeous specimen from Klim in all its typographic and holographic foil glory. The Sincerity/Irony Heldane book is a collaboration between the New Zealand foundry, poet Hera Lindsay Bird and design agency altgroup