This uplifting, colourful poster by tinder + sparks should brighten up your day. It’s a great imitation of letterpress texture and ink opacity. Love the ‘twitter’ bird looking ‘y’.
If you want to see mastery of this style in letterpress, look up Alan Kitching.
This typographic layout in honour of Stanley Morrison really caught my attention. A clever composition by Pedro Arbeláez in Columbia which harnesses scale and contrast to devastating effect. Look at that ‘A’ continuing the angled stroke of the ‘R’.
I’m compiled some other typographic layout examples on Pinterest and more will follow here with an upcoming interview with Pentagram’s Jessica Svendsen.
Today Dribbble got in touch with me to say that they had posted one of my shots along with a number of other Type and Lettering examples. They’ve collected together this beautifully presented sample of designs below, I feel lucky to be included.
Anders by Tom Anders
Ridewell by Kostas Bartsokas
Good News Sans by Kyle Wayne Benson
In-progress typeface by Jamie Clarke (That’s me!)
Uni Sans by Fontfabric
NITRO by Hoefler & Co.
Brix Sans by Hannes von Döhren & Livius F. Dietzel/HVD Fonts
Arkiv by Timo Kuilder
Multi Headline Black Italic by Laura Meseguer
Retiro by Jean François Porchez (Typofonderie)
Companion League by Gumpita Rahayu
Shelley by DJ Sherman
Amsterdam Superstar by David A. Slaager (Fonts of Chaos)
AmpleSoft by Aakash Soneri
Voltage by Laura Worthington
Let It Roll by Jillian Adel
TypeLimited 001, part of Joseph Alessio's TypeLimited project
The Brush Letter by Ken Barber
Just Have Fun! by Scott Biersack
Captain Josh Hill by Claire Coullon
SomeThing unused by JC Deserve
Humble Pie Type by Danielle Evans
Will Letter For Lunch by Lauren Hom
Practice Makes Perfect by Becca Clason
Kingdom by David Grimes
Wonderful Rejects by Melissa Ginsiorsky
buncha hand drawn words by Lauri Johnston
Smooth by Jessica Libby
full by Frances MacLeod
Guilty Pleasures by Anna Ropalo
Wednesday by Stephanie Schlim
Salvage Press printer’s mark by Signal Type Foundry
Regular Display weights finished by Neil Summerour
Handlettered Logotypes 3 by Mateusz Witczak
Chalk Lettering by Valentina Badeanu
Masterfully constructed type bike by Pentagram’s Paula Scher.
Paula Scher, poster PUBLIC, 2012. USA. Via Cooper Hewitt
I’m looking forward to my copy of Lagom magazine #1. Pretty much the whole team from 8 Faces magazine has been involved, including myself, Erik and of course Sam and Elliot Jay Stocks as editors.
Erik Spiekermann might have recently retired from running Edenspiekermann and FontShop, but his version of retirement is somewhat different to most sixty-seven year-olds: he’s decided to go back to his roots and has founded the letterpress workshop P98a in Berlin. In our debut issue, which will be available to buy on Wednesday 24th September, Erik shared some thoughts about his new venture. Here’s an excerpt:
Thirty years ago, the message and the medium were identical. You set letters into words by touching them. The body of a metal letter is an object that compositors can read, from left to right, albeit upside-down. In order to read it comfortably, however, the surface of that object is covered in ink and pressed against paper. That’s what we call printing. We still print today, although the process of converting data into little blobs of ink is all but invisible. The marks on paper show up as ‘printed’ letters and are perfectly readable, but there is no indication of what happened inside that printer. The substrate itself is not supposed to be noticed; it is just a receptacle for the message.
And why did return to printing now?
First and foremost this is an attempt to go back to where type and typography come from: an ingenious system of pre-fabricated elements that we assemble into words and pages.
Wise words, indeed. You can read the full piece in Lagom #1 (the photo above is our proof copy), and to get notified about the issue’s release, sign up to our newsletter.