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.”
Birmingham Design Festival returns with programme of inspiring speakers from around the design world all speaking about Truth. Festival Coordinator Luke Tonge said, "In an age which has seen truth questioned and deception utilised in many areas, we’re more passionate than ever about truth… About finding honest insights and sharing them, about confronting difficult subjects head-on, and shining a light on topics which might be uncomfortable. We hope by setting truth as our central theme for BDF2019 we’ll be playing a small part in helping our corner of the creative industries become more transparent, helpful and genuine – a responsibility we all feel."
One of the founders Sandra García says their goal is to disseminate knowledge about the use of typography, “since there is much ignorance - even among the designers themselves - about all the possibilities offered by typography: plastic, expressive, technical, technological. In Tipastype we understand the letter as a graphic symbol that is loaded with many connotations, and the correspondence that exists between the construction of its forms and adjectives such as strength, elegance, lightness, among others, also give it a personality to the letter.”
It looks like Helvetica - it feels like Helvetica - but it has a larger x-height and refined glyphs which reads and performs so much better than anything previously in the family (or broader genre). "Helvetica Now solves the legibility and style challenges that brands using Helvetica have consciously and unconsciously faced for years. The design introduces a new chapter in the Helvetica story—expanding its look and utility, while reinvigorating its heritage."
Printmaking is a very old and beautiful art form but it‘s not accessible for a lot of people. The Open Press Project responds to this with a small but fully functional etching press, designed to be lightweight, inexpensive and portable. Learn more and back the project on Kickstarter here
“Veronika Burian describes her discovery of type as being similar to falling in love. The budding industrial designer would ride the bus to work every morning in Milan, bent over a book recommended to her by a type-obsessed friend, underlining passages. The book was Robert Bringhurst’s The Elements of Typographic Style, the gateway drug for many people just starting to learn about the dense, detailed world of letterforms.”
"Femme Type Book," an all-female collection of essays, type design, and typography that showcases the brilliant typographic achievements of over 40 women from across the globe. Help fund its production via Kickstarter - it has already exceeded its goal (I backed this book and cant wait to see it!)
A few weeks back I was scrolling my twitter feed when some striking marbling stopped me in my tracks. The photographs were progress shots from Emily Hancock’s binding process of her latest release a gorgeous letterpress printed edition of Michael Delp’s poetry.
Tasman‘s shape grammar has gravity and power that speaks to truth, reliability or perhaps more aptly trustworthiness. These are fundamental qualities in the delivery of information in an "alternative fact" age.
A type design periodical published by La Police. 48 pages include; Researching Ladislas Mandel’s typefaces for telephone directories – part 2, Alice Savoie on The ABCC of CACB, The production of typewriter type styles and their influence on letterpress typefaces, and Dan Reynolds Retracing the origins of Akzidenz-Grotesk. I have the previous two editions, they are a critical piece of dialogue in the contemporary type landscape, and from what I have seen online since its launch last week this third edition delivers more robust and innovative thinking. Check it out!
Anthony Burrill and Alan Kitching, have collaborated on a new print entitled Joy. The poster was created in a limited run of 100, with each poster printed by hand.
a comprehensive and heavily illustrated exploration of the meaning, history, value, mechanics and future of the book cover. Most importantly the book examines, in detail, the relationship between text and cover, and tries to unpack both the question of whether the cover may be considered a valid form of literary criticism, as well as whether or not the cover may be considered a work of art in its own right.
“We have the internet to thank — and not just the interface but the economy that’s evolved around it. From the leather-bound volumes of old to lurid mass-market paperbacks, book covers were never designed in a vacuum… When you look at book covers right now, what you’ll see blaring back at you, bold and dazzling, is a highly competitive marketing landscape dominated by online retail, social media, and their curiously symbiotic rival, the resurgent independent bookstore.”
James Edmonson wrote a terrific post about customisations you can make to type in a logotype context. “A good logotype can convey more than just quality. If there is a single chunk of language that is perfectly considered and impeccably spaced, our brains can relax. We can actively delight in the fact that some designer somewhere poured their heart into creating something beautiful and perfect.”
Independent publishing company 404 Ink have blogged about their finances; “where our money goes, how much we earn, our profits, our challenges and so on”. The purpose was to demystify income and costs, of publishing. Particularly interesting is the breakdown of commissions and distribution costs and this article is a must read for any of you planing to publish in the future.
A practical treatise on the production of books in nineteenth century London. The book guides the novice from manuscript to distribution, demonstrating the interconnectedness of the people and processes involved. A facsimile of the 1892 edition alongside new texts by Esther McManus and Samantha Whetton. Available in-person or online londonbookarts.org/shop
Isabel Lea didn’t expect to fall down the rabbit hole of variable font technology. But since the London-based graphic designer started the Adobe Creative Residency in May 2018, she's repeatedly found herself at the intersection between technological experimentation and typographic innovation.
I was invited to contribute to Idealog's creativity month on behalf of Design Assembly; I am not a farmer, but I try to think like one often in my design practice, as I believe for designers, creativity like the land is a resource to be nurtured and invested in. Read more about how I invest in my designer dirt here
Published by the Hong Kong-based viction:ary, the publication sheds light on “the distinction and diversity that women bring to their respective fields.” With a cover story on design hero Jessica Walsh of Sagmeister & Walsh, the book ranges a breadth of design specification from advertising, illustration, packaging design and more.
A special effort was made this year to include diverse voices in the roster of speakers, and this was noticed in the room and on social media. TDC board member Liz DeLuna admired conference organizer Juan Villanueva’s morning welcome that clearly articulated “the underlying intentions that drove the creation of this conference agenda, as well as the broader significance and impact of diversity and inclusion in the worlds of type, design and culture.”
It’s rare to see someone focusing only on one thing, and structuring the days with a single repeating activity. It is the combination of different activities that make our lives unique and interesting, and so very often, we clearly see how one action in our days affects the other in a big pile of, well, life. Elena’s name pops up whenever someone mentions writing, research, design, and publishing. She is a woman of many traits that made Liron Lavi fascinated by how in reality this works for her.
Catch Paul Luna talking about his book, 'Typography: A Very Short Introduction https://itunes.apple.com/au/podcast/paul-luna-typography-a-very-short-introduction/id1456142151?i=1000431693875&mt=2 In which Luna offers a broad definition of typography as design for reading, whether in print or on screens, where a set of visual choices are taken to make a written message more accessible, more easily transmitted, more significant, or more attractive.
Maria Montes is all around amazing. She is a first class human, calligrapher, letterer, type designer, teacher and friend. I love that she wears her heart on her sleeve and she has an endless energy for her work and the creative community. Her talk called “What a Shitshow: The use of language as cultural identity” has just been released by the TDC team and I cant wait to watch it.
After completing Kontiki to much celebration and admiration from our community, Felix set to work expanding the family by developing the characters that informed his woodcuts. The resulting font is Pulpo, a friendly and comfortable looking slab serif inspired by Century Schoolbook and Clarendon.
Graphic designers and type designers need each other (aww!). Our relationship is a powerful force that shapes the typographic landscape. And yet, we never get together. It’s time we talked. Join Elizabeth Carey Smith, June Shin, Lisa Smith, Nina Stössinger, and YuJune Park on March 27th where we’ll be catching up and shedding light on our unique and collaborative process. The speakers will be giving a brief presentation of their creative processes, and will gather around for a panel discussion.
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