Typography

Showing 413 posts tagged Typography

Posters at Reading

Following on from the Type Design course (TDi) course I attended at Reading University last year, I’ve returned to learn more about type design and the industry. If you like to know more about the intensive summer course take a look at my daily diary from last year.

Meanwhile here are some of the cool posters I’ve spotted around the faculty. Top by Jamie Wieck, bottom right, specimen of MATD 2013 graduates.

Lace Lettering Magazine Cover
You may have seen a few past posts about the lettering stitchwork of the twin designers Maricor & Maricar. Here is one of their recent projects. I can’t think of a more perfect evolution of the textile twins’ work.

We embroidered lettering for the cover of French magazine Paulette and their Romantique issue. The mood board we were given was lace, white and Virgin Suicides. It was tricky knowing the type would appear against a very light airy image and the first time we’ve had to composite our embroidery onto a photographic image but it turned out well I think.

via type-lover High-res

Lace Lettering Magazine Cover

You may have seen a few past posts about the lettering stitchwork of the twin designers Maricor & Maricar. Here is one of their recent projects. I can’t think of a more perfect evolution of the textile twins’ work.

We embroidered lettering for the cover of French magazine Paulette and their Romantique issue. The mood board we were given was lace, white and Virgin Suicides. It was tricky knowing the type would appear against a very light airy image and the first time we’ve had to composite our embroidery onto a photographic image but it turned out well I think.

via type-lover

London Transport Type

Last week I had the chance to visit the London Transport Museum in the old Flower Market building in Covent Garden Piazza.

I’d been meaning to go for a while, particularly after the 100th anniversary of Johnston’s pervading typeface last year, and to see the history of the iconic roundel logotype which first appeared in 1908.

With a rich visual heritage spanning 200 years there’s plenty of graphic design and typography to see. There’s a decent sized display dedicated to graphic design and signage of the transport system with lots of printed ephemera. However type and lettering examples cover everything: vintage buses, underground carriages, posters, wayfinding.

Above, you can see some print examples together with hand–painted signage, ceramics, metalwork, and even some beautiful Pouchée type in use.

Covered in characters

Above are a few of the typographically led book cover designs from the David Pearson exhibition, currently on in London.  

I love the ‘redacted’ George Orwell, 1984, cover with it’s debossed title under black ink. I was also quite taken with the chilling cover for Cormac McCarthy’s The Road.

There’s a week left to go, so if you find yourself in Shoreditch, London before the 28th June, drop in.

David Pearson is an acclaimed British designer, famed for his beautiful series of Penguin book cover designs.

David studied at Central St Martins in London (1999–2002) before taking a job at Penguin Books as text designer and later, cover designer. He left to establish his own studio – Type as Image – in 2007.

David played a key role in the recent re-emergence of Penguin Books through projects such as the multi-million selling Great Ideas series, Penguin by Design and thePopular Classics series. He has won numerous awards for book design, has been listed as one of Britain’s Top 50 Designers by the Guardian and nominated for the Design Museum’s Designer of the Year Award.

Advanced Web Typography

In case you’ve missed them, Elliot Jay Stocks has written a series of excellent tutorials about web typography. His blog posts show you how to improve your typography and layout designs by focussing on new techniques and demystifying the ever-improving technology.

The Advance Web Typography posts so far are:

Elliot, the Creative Director of Adobe Typekit and founder of 8 Faces magazine, will be giving a talk at The Type Directors Club in New York next month to cover the series.

Typography on the web has made huge leaps forward in recent years, allowing web designers to realize their designs with an almost print-like level of control. However, the details surrounding that control can still be challenging, and bleeding-edge technology like OpenType support is still in flux. In this talk, Typekit’s Creative Director and 8 Faces founder Elliot Jay Stocks takes attendees through some of the most exciting recent developments that allow us to take web-based typography to the next level.

Advanced Web Typography: Elliot Jay Stocks
The Type Directors Club,
New York, 
July 22 @ 6:30 pm - 8:30 pm

Hebrew Club Typography

I was keen to show this impressive typographic work by 3rd year visual communication students at Shenkar College of Engineering and Design.

As part of a “Type as Image” course, the brief was to create three design formats for past Israeli music venues: an A0 poster, 4 A2 posters and 16 flyers.

With no illustration allowed, the students were pushed to create innovative layout and typographic systems that interpret a wide range of musical genres.

I’m unable to read Hebrew but Senior Lecturer, Nadav Barkan, was kind enough to steer me through some of the great work.

Above work (from top):

Itay WeinstockAriel MedinaTal ManiDenis Kushnir

Colourful Typefaces

Here are a few of the vibrant spreads showing the typefaces choices of our interviewees, in the final edition of 8 Faces magazine.

The limited edition print run and will be launching at the Kerning conference in Italy tomorrow, at apporx:

  • 09:15 PDT 
  • 11:15 EDT 
  • 16:15 GMT 
  • 17:15 CEST 
  • 01:15 AEST (7th June)
Coming this Friday…
I have the pleasure of announcing that the final edition of 8 Faces magazine will be available to order this Friday, 6th June. 
8 Faces is packed with informative articles and interviews with high-profile type people, and this final issue is no exception. Our 8 interviewees are:
Fiona Ross 
Jeremy Leslie 
Jan Middendorp 
 Robert Slimbach 
Steven Heller
Elliot Jay Stocks 
Pintassilgo Prints (This issues’s design duo) 

About 8 Faces: If you could use just eight typefaces, which would you choose? 8 Faces is a magazine that asks this question — and many more — to eight leading designers from the fields of print, web, illustration, and of course type design itself.
Eighty-eight pages of in-depth interviews, critical essays, and inspiration from the very best in the business. We pride ourselves on producing a printed magazine that you’ll want to keep on your bookshelf. Our covers are adorned with our foil-blocked silver logo and each issue is an experiment with an attention-grabbing new printing technique.
High-res

Coming this Friday…

I have the pleasure of announcing that the final edition of 8 Faces magazine will be available to order this Friday, 6th June.

8 Faces is packed with informative articles and interviews with high-profile type people, and this final issue is no exception.
Our 8 interviewees are:

About 8 Faces: If you could use just eight typefaces, which would you choose? 8 Faces is a magazine that asks this question — and many more — to eight leading designers from the fields of print, web, illustration, and of course type design itself.

Eighty-eight pages of in-depth interviews, critical essays, and inspiration from the very best in the business. We pride ourselves on producing a printed magazine that you’ll want to keep on your bookshelf. Our covers are adorned with our foil-blocked silver logo and each issue is an experiment with an attention-grabbing new printing technique.

Making the invisible visible, with ink and type

After documenting its progress on Twitter for over a month, Laura Hudson’s inky typographic project reached its zenith this weekend. As part of her final degree project, Laura has created a time-lapse film of ink being absorbed into a lettered design to reveal a message about the invisible nature of mental illness.

As a sufferer of depression Laura wanted to highlight a cause she felt passionate and aligned her project with the Time to Change mental health campaign. “The idea is as the ink absorbs it’s physically making the fact visible, raising awareness.”

Inspired by Oscar Diaz’s Ink calendar, she contacted him to ask about paper typed used, but after a slightly cagey response she decided to test out different types of paper herself, finally settling on 300gsm scientific grade blotting paper.

Her lettered design was then laser cut into the paper and suspended in her studio. The ends of the paper structure rested in vials of cyan printer ink and the natural capillary action of the paper drew the pigment up the lettering. The process produced some lovely chromatic bleed effects (as shown).

Laura took time-lapse photos to record the process. In tests the ink moved 15cm in five minutes over a straight line but at the scale of the final design it slowed dramatically after six days, requiring only one photograph every 12 hours to measure its progress. Other challenges also cropped up on the way: “Unfortunately I’ll be pressing the camera shutter for my project. Time lapse is broken so now I’m babysitting!”

After a little ‘encouragement’ with warm water the ink was finally absorbed into the whole piece and the film was completed. Take a look here.