For a century, from the 1870s to 1970s, typesetters were routinely paid to set type that was discarded. This “bogus copy” has to due with unions and managers, keeping a decent wage, preserving jobs, and ultimately the end of the era of metal type. Learn about the last man at the New York Times who had a job for life as an outcome of “bogus.”
Yale University Press published an original account of the life and work of legendary designer Jan Tschichold and his role in the movement in Weimar Germany to create modern graphic design. This important book explores a legendary figure through the artists, ideas, and texts from the Bauhaus that most influenced him. Offering a new understanding of Tschichold’s work, and of the underlying theories of the artistic movement he helped to form, by analyzing his collections.
In this video they profile Briefcase Type… a foundry offering a wide range of unique and original Czech fonts by authors, who may not wish to set up their own type foundry. It profiles itself as an independent type foundry. Briefcase digitizes original font designs, offer fonts by young authors and help publish older, previously unreleased fonts. The project is a logical extension of the Suitcase Type Foundry.
I am a long time fan of Craig’s work. His typographic experimentation is incredibly exciting I particularly love his manipulation of type in space and testing of legibility for expressive means. Unsorted chatted with Craig about his career to date in this excellent insight into one of the most important typographers practicing today.
The 1800s were a time of massive transformation in printing. The 1700s saw printing move from cottage to larger scale, but many factories held back industrial operations. Those changed dramatically right around 1800 and proceeded through the end of the century. In this article Glenn Fleishman focuses on an overlooked aspect: paper molds used to duplicate entire pages of type and images, often for newspapers, that were cast as metal plates. These remained in use until the 1980s in American newspapers!
Hundreds of items from Rand’s archive, including process material and personal copies of his work, are now at Letterform Archive. Stephen Coles highlights objects that exemplify three trademarks of his design: timelessness, simplicity, and playfulness.
Designed by Bernd Volmer Seraphs is font family that encompasses multiple typographic styles in one single system. Unlike other families with a sans and serif style, Seraphs doesn’t stop there. Utilising variable font technology Seraphs delivers 6 genre in one font and allows the user to define intermediary styles meaning the aesthetic possibilities are vast!
Hidden for over forty years. One of the most original display faces from the 1970s. “Finding Sväng was like discovering a hidden treasure. Designed in 1976 by Claes Nordenstam, the fiercely original alphabet only existed as drawings on paper.” Until that is, Letters from Sweden brought it back to life.
With over 80 hours of free talks and workshops, 3 headline events which are just £15 each, and a variety of exhibitions, masterclasses and screenings, we wanted to make this festival accessible for people of all incomes to learn from the best in the industry and experience what Birmingham's design sector has to offer .