Alphabets by Tim Fishlock
Shapeset alphabet. Overlapping colour compositions. Giclee print on 305g stock. Hand-embossed, numbered and signed. A limited edition.
Typeseat alphabet: Screen print. A limited edition of 300. (I beleive the text at the bottom names all of the chairs used).
A to Z : A print commissioned by the London Transport Museum for their ‘Mind the Map’ exhibition. Based on the iconic London Underground map.
I couldn’t resist reposting this from Twenty Six types. The bold colours and composition are so striking. The photo was taken at the Freemont Street Experience, Las Vegas.
Photo. Veee Man
Great composition and color in this photo.
A colourful, ‘modular’ headline typeface by Studio8 Design. An agency based around the corner from me in Clerkenwell (London).
“A typeface designed for Wired. Used throughout the magazine and iPad app for chapter headers the typeface can be coloured in numerous ways in order to suit the page it sits on.”
Mathematical Typography (part2)
This is amazing: There are 20 million lines drawn here to represent these letterforms. The angle of each specific line determines its colour: the more acute the angle, the further along the colour spectrum.
These fabulous Letterform designs are by Tiemen Rapati, based and educated in the Netherlands.
“I’ve gone astray experimenting with math & typography. For each specific math subject I try to create a family of type renderings.”
Working with Computer Type 3: Color & Type. Rob Carter
I found myself referring back to this book today after a conversation with my designers regarding appropriate background colours [UK spelling] for our “50’s red” logo.
Considering that the book was published in 1997 and the changes to digital type over the years together with the improvements to web type we are seeing right now, it is still very relevant.
It runs through the properties of colour; hue, saturation, temperature followed by colour schemes and legibility factors. Then it jumps into pages of reference combinations (shown here) which are much easier to scan through than sliding around the hue variations in Illustrator etc.