Showing 16 posts tagged Typeface
If the typeface did the talking
After working for many happy years in Shoreditch, once London’s ultra-trendy artist and tech area, and enjoying a recent spin around Williamsburg, Brooklyn, these posters strike an amusing chord, poking fun at hipsters.
They were created to promote “Hipster Script” a gorgeous typeface launched last year by Argentinean type designer, Alejandro Paul, with the words and concept by Brooklyn based Jon Parker. I particularly like “You’re using a font that came with your operating system? Oh.”
It is a beautiful typeface, as one poster says, with more swashes than most and ligatures for customising your typography. Ale Paul is also one of the founders of Sudtipos, the first Argentinean type foundry collective who have built an impressive collection of over 100 typefaces. He say’s about this design:
Hipster Script is another of my habitual attempts at trying to reduce the divide between manual and digital. In this case, I try to articulate brush lettering, try to get the computer to emulate continuous painting.
I also toyed with ligatures containing apostrophes, something I’ve never seen before. With this typeface I think I’ve become more balanced in uniting the spontaneity of post-war ad lettering with the current trends in illustration and design.
Hipster Script received a Judge’s choice Certificate of Excellence at the Type Directors of New York and was selected to be part of the Bienal Tipos Latinos 2012.
Happy Birthday Johnston and the London Underground
This week London sees the 150th anniversary of the London Underground. To commemorate the occasion a stream locomotive used in the 19th century made a journey through the modern tunnels of the Metropolitan line. See more on the BBC
It is also 100 years since its iconic typeface Johnston Sans was released as the the ‘Underground’ typeface. Dan Rhatigan, type director at Monotype and forthcoming interviewee of 8 Faces talks about Edward Johnston and the typeface here.
The structured, based on a calligraphic nib held at a 45 degree angle, is emphasised by Johnston’s diamond tittle shapes (the dots over the i and j), one of it’s most recognisable characteristics.
A sneak peek of Áron Jancsó’s new typeface in progress. That’s a lot of ligatures!
I am obsessed with how expressive just one character can be when displayed in isolation. Given the right ingredients — colour, composition and scale — combined with the right characters, you can cook-up some fantastic specimens.
I do like this poster by Joseph Walsh for his typeface Modernline, created as a final year project at Salford University in the UK.
M C Escher inspired 3D typeface
This 3D optical ‘illusion’ typeface has been carefully constructed to be freestanding with the minimum physical structure required. Each still represents the character of its letterform and the whole alphabet is visible when viewed from the same angle.
The sketches look beautifully intricate and were designed by a student (named as “Alice V”) studying on a typography course with Paul Vickers.
New prints by House Industries: Worthe Numerals collection
A TypeFace with real characters
I just came across this illustrative typeface by Canadian design student, Julien Poisson. It gave me a real smile: as novelty typefaces go, this one is well conceived—and even pretty legible.
"Avantgarde" 3D logo, Damien Roach
I love this piece of sculpture. The ‘70s font family, Avant Garde, has never been a favourite of mine. It was derived from the Avant Garde logo/masthead (as above) that Herb Lubalin originally created for the US Magazine (1968-71).
After seeing this extruded version and reading of Avant Garde’s editor Ralph Ginzburg asking Lubalin to create an identity that resembled “a jet taking off the runway into the future” I appreciate it a whole lot more.
London Based artist, Damien Roach, created this piece for an exhibition called Lemuria that examined how objects are viewed and our desire to fill in the gaps.
Wood, steel and base, Edition 3 + 1 AP, 132 x 123 x 115 cm. Courtesy Sies + Höke Gallery, Düsseldorf. Photograph Achim Kukulies, Düsseldorf
Avant Garde by Damien Roach
David Bennewith, 2s
This Detail from a screen print that features in the ‘Graphic Design—Now in Production’ on Governors Island, New York.
Churchward International Typefaces, 2009, Photo by Franz Vos, Jan van Eyck Academie, Courtesy the artist
The Average Font
What happens if you combine all the typefaces on your computer to find the average shapes?
Avería is generative typography project that takes the experiment all the way to a complete typeface.
Available free here
Beautiful numbers found in the most unexpected place: Waitrose (British supermarket) free magazine. Century Schoolbook, almost 100 years old. (Taken with instagram)