Brandy Willetts discusses the revolution of postscript, Adobe’s impact on the democratisation of design and how the desk top publishing revolution gave users a complete set of tools to do their own typesetting and printing (and what that meant for typographic design).
Sophie Elinor Brown was the latest speaker announced for the 2019 conference - I have waxed lyrical about her many talents here before. In this interview she discusses how she accidentally stumbled across typography, her process and passions. Learn more (and grab a ticket to hear Soph speak!) here.
Designer Jeremy Tankard describes his latest release as ‘expressive, emotive and explosive’. The Brucker family has 4 weights in 2 styles, and is designed as a ‘restless typeface’ which adds drama and energy to text through the use of interrupted curves, a dynamic rhythm and disjointed baseline. The forms are commanding, and I was captivated so I caught up with Jeremy to learn more…
John Boardley tells of a 15th century best seller ‘a tale of illicit love and adulterous passions’ the latest article on ilovetypography.com which is sure to please all the book and print historians. “This a woodcut from the only illustrated printed edition of the fifteenth century. Printed by Pacini around 1500. Only four copies survive: three in Italy and one in the United States, held at the Metropolitan Museum of Art in New York.”
It was Beatrice Warde who first compared typefaces to the clothes that words wear. A finely tailored suit can completely change a person's appearance, and in the same way typefaces can drastically alter what words mean, how they work, and how they make us feel. But just as a torn seam or a missing button would spoil the effect of a Savile Row suit, so too can the details of a typeface put readers off. Read the latest installment of Monotypes ‘Good Type’ articles to read more.
The bold identity celebrates the rich character of Digbeth, an area that has been a place for manufacturing since the Middle Ages and played a key role during Birmingham’s industrial revolution.
Following his fascinating medium post about “How to design an awarded letterpress printed book.” I caught up with Portugal-based Designer and teacher Ricardo Dantas to learn more about his creative journey, the production process and heartbeat behind Fiapo, the book he is working on currently and of course the joys of letterpress as a medium.
Creative Commons has officially launched CC Search, a search engine that indexes over 300 million images from 19 image collections, "including cultural works from museums, graphic designs and art works, photos from Flickr, and an initial set of CC0 3D designs from Thingiverse." All of the indexed images are in the public domain and released under Creative Commons licenses--meaning the images are generally free to use in a non-commercial setting. ("1577121268711282" by edmerritt is licensed under CC BY-NC-ND 2.0 )
It is a huge honor to have my work exhibited alongside those I admire! I would have loved to be there to see the show in person - by all accounts (Yes I have been obsessively following on twitter!) BDF 2019 sounds like an epic event and I look forward to checking it out in person some day.
An 81 year old artisan printer is seeking an heir to inherit his business in an effort to revive the fortunes of the letterpress printing trade after his children decided to pursue different careers. Stanley Lane has worked as a ‘monotype’ hand printer for over 60 years, producing meticulously crafted books from Gloucester Typesetting workshop in Stroud to a select group of publishers.
Doug Wilson is creating a terrific resource for people looking for quality ‘free’ fonts after observing a recent trend of high quality, open source fonts he began compiling a list and inviting people to contribute and comment via twitter
Check out this incredible Animation created for Richard Ardagh’s talk on Monotype punchcutting at the Printing Museums conference in Belgium. The face of this steel punch measures 0.2 inches (approx 5mm) square and you see the approx 30 stages of the engraving process. This ct ligature is from Hungry Dutch, a font by Russell Maret
Honored to have work included in the PHORM, Black & White exhibition opening the 2019 Birmingham Design Festival. Playing on the theme of Truth, it will consist of 50 graphic posters by designers both local and international. The art will be auctioned for charity.
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 .
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
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