3D Printable Type
I know there are designers working on typefaces that are optimised for 3D printing but this alphabet, by Loren Kulesus of Brooklyn, is something else entirely.
“The design uses 1mm wall thicknesses which seem to print very nicely on all 3d printers, and the simple and iterative appearance mimics heat sinks.”
Look at that ‘o’ made by joining two blocks! Very imaginative.
Letters for the weekend
I noticed some lovely vintage letters snaps on the Instagram feed of my friends at Glyphics. They passionately collect letters from all over the place for display and sale in thier London shop.
Glossary of Design Terms
I love these little design booklets by Turkish designer, Volkan Olmez. They were created for presentation at the Turkish Society of Graphic Designers. Each colourful pocket size book describes a common design term such as Amorphous, Contour, Transform or Vector.
I think this print was produced a couple of years ago but I saw again the other day and thought it might be useful to post here.
The attractive Alphabet of Type is more of a type anatomy infographic. Each letter models a specific typographic structure together with the correct nomenclature; ears, loops, links, tittles, hooks, spines, tails, ligatures, and more. Produced by Patrick Mulligan and Ben Gibson.
Although, I just posted an alphabet of lettering, I saw this slick set by Jose Ramirez and Ben Negrete and had to share more.
The pair run the FreshStudio together and are challenging themselve to publish a new original design per day on their blog, Design365, throughout 2014. Sounds easy enough—until clients, families and life-in-general need your time—but duo have kept the quality high so far.
February was DropCaps and now March is city nicknames. They’re on Tumblr, go take a look.
This sparkling letter by typographer, Hilka Riba, wasn’t made with a pin (that kept crinkling the paper) it was created with a CNC Router. This allowed for the variance in hole size—extreme but worth it.
Spotted on the ever-awesome Twenty-Six Types
To achieve a perfectly packaged book, Finnish authors, Christoffer & Kaisa Leka, wanted to take their presentation to a new level by having the stamps designed as well.
Thier latest book, Time After Time comes enveloped in its own wrapping paper, custom printed to match the book’s colorful end papers and is meticulously wrapped and lettered by Christoffer himself.
The beautiful set of characters above have been designed by a host of typographers from all over the world, many well-known in the industry: Erik van Blokland, Maria Doreuli, Dave Foster, Kimya Gandhi, Cyrus Highsmith, Robert Keller, Ben Kiel, Indra Kupferschmidt, David Ross, Nick Sherman, Florian Schick, Nina Stöessinger, Lauri Toikka, Wout Trippas, Teo Tuominen & Bernd Volmer.
I love this obsession to perfect every last detail; Ensuring that the book, which has obviously been lovingly crafted, is placed in the hands of the reader so carefully.
Each letters has been reproduced with gouache paint by designer Markku Mujunen on 6 millimeter thick plywood and each piece measures approximately 180 x 180 millimeters. To cover the costs, the originals paintings are being sold for €50. First come first served.
Make a note: Work Hard and Be Nice to People
I saw these colourful notebooks were released yesterday. Printed in with Anthony Burrill’s now famous slogans, in collaboration with Rubberband.
In a recent conversation with Anthony we discussed the differences between his work and the clichéd derivative ‘quote posters’ that you see so many of—though not on this blog [Keep Calm and Don’t Design One].
His original Work Hard and Be Nice to People poster (see the bottom image) developed from an overheard statement from an elderly lady in a supermarket, passing on some wisdom she’d learnt in her life.
Quite taken with the words, he then composed the statement with visual reference to the powerful civil rights poster, I am a man (1968), and the subsequent War is over John Lennon poster (1971).
By using whatever large wooden type was available at the printers, Anthony’s design consciously achieves the same sense of typographical freedom and naïvety that the reference posters have.
Now Anthony’s poster has in turn been mimicked many times but it’s unlikely to have been done with the same creativity or reverence to the original inspiration.
No, they certainly don’t
I’m not sure how I missed this project from Anthony Burrill a few years ago. Many of his well know works have been letterpressed but this is genius:
A screen-printed poster made with oil from the 2010 Gulf of Mexico disaster.
Proceeds from the sale of the print were donated to CRCL (Coalition to Restore Coastal Louisiana) a non-profit organisation dedicated to restoring the Gulf of Mexico’s coastal wetlands. The project was conceived and produced in collaboration with Happiness Brussels (2010)
I noticed that I’d neglected to post some of my day-to-day type research that’s been piling up over on Instagram and Pinterest.
Here’s a selection of decorative capitals filling rectangles. While I’ve not necessarily chosen the most beautiful of initials they do represent a range of styles. The sqaure shape provides a good structure for patterns and imagery while making it easy to compose blocks of text around them.
Midolle, Silvestre and Others, Florid and Unusual Alphabets
William Morris, Kelmscott Chaucer
Owen Jones, 1001 Illuminated Capital Letters
- Taschen, A Visual History of Typefaces and Graphic Styles