lettering

Showing 225 posts tagged lettering

Embrace the wobble

In this, the second of our guest posts, Ged Palmer, designer, letterer and burgeoning sign painter, reminds us of how wide the pool of inspirational lettering is… 

Good typography is all about clean lines, smooth curves and harmony, right? Well, for the most part I subscribe to that philosophy whole-heartedly. I mean you only have to see Herman Zapf drawing curves to agree with that! Then again, these days I find myself more and more attracted to the weird and wonderful world of vernacular typography and lettering. I’m talking about the type of design that’s not made by designers: wonky signs, yard sale posters, janky tags and sketchy handwriting. Things that are made by hand are imperfect and that human quality is what gives it life, as Margaret Kilgallen once eloquently put.

So whilst we strive to make our work as beautiful and well polished as we can, let’s take a moment to embrace the wobbles, the drips, the busted-up, the forgotten and the downtrodden. 

Recently the Type Worship blog reached a milestone of 150,000 followers. To mark the occasion we have invited a selection of creative leaders to guest blog on the subject of their choice. In the first of these posts, Rob Clarke describes a pivotal time in his education that led to his career in lettering and typography, and offers his advice to aspiring designers.

Why a career in type?

I’m often asked why I got into such a niche career as typography. Back in my student days there weren’t many opportunities or information on a career in type design or lettering. I didn’t even think you could make a living purely out of playing around with type. In the early 90s I studied an ordinary graphic design degree course and loved the work of many contemporary designers of that time including Neville Brody, David Carson, Jonathan Barnbrook, Emigre, Why Not and 8vo. However it was Erik Spiekermann who really caught my attention. He had recently co-founded FontShop and was proving an inspirational speaker. 

With Brody at the helm FontShop developed ‘the magazine for the future’ entitled Fuse. In each issue four designers were commissioned to create a font and poster based on a theme. The designs rejoiced in pushing the boundaries of legibility and creativity. It was this experimentation with type that I found most inspiring at that time. I only have a couple of Fuse issues but now I wish I’d bought them all.

I had the pleasure of meeting Erik in his MetaDesign studio in Berlin in December 1992. I was hungry to learn and this short visit would prove incredibly important to my future career decisions. At this time MetaDesign were working extensively with Berlin Transport Services (BVG). I was lead through the process of designing fonts and bespoke type in order to suit the needs of a particular project. I was also given a copy of Erik’s book entitled ‘Rhyme and Reason – A typographic Novel’ – a light-hearted look into the world of type and well worth a read if you can get your hands on a rare copy.

Berlin Map Sketch
 
When I met Erik, 1992

The revelation of my trip, however, was being introduced to an emerging East Berlin design collective called Grappa. They were originally established in 1987 and were pioneers of the Mac – embracing both its capabilities and limitations. Prolific poster designers for dance, theatre and music, I found their work so expressive and engaging. With a minimal and inventive style they created an unpredictable relationship between type and image. They were not traditional typographers and went with their gut instinct. Co-founder Andreas Trogisch told me they wanted their work to stay fresh and experimental. Their supplies were limited and budgets low therefore creativity was essential. Andreas was both warm and passionate and continues to champion freedom in design today. Grappa became Blotto in 2002 and recently Andreas left to form Troppo.

Andreas Trogisch talking through his process 1992
 
Grappa1
 
Grappa2

Meeting these guys had a lasting effect on me and I couldn’t help but be hugely inspired. To see how they worked in the real world and getting physically involved proved to be the real inspiration. I based my thesis on the emerging graphic design scene in Berlin and it heavily influenced how I would look at and treat type in the future. I still had no idea that I would end up concentrating purely on type and it wasn’t until I got my first job alongside a calligrapher that my education really started.

My advice for students/aspiring designers today: If you don’t ask you don’t get. It’s all too easy to send a generic email to a designer you admire, in the hope of receiving some magical inspiration. You have to dig a little deeper than this. Without becoming a stalker, try and meet your idols – go to as many talks as possible, you may bump into them in the pub afterwards. If this isn’t possible look at websites, like Dribbble, I’ve found this a great place to get feedback and virtually rub shoulders with all levels of designer.

We all had to start somewhere and my experience is that us designers aren’t a bad bunch and most are willing to help. 

Image Credits:
Above from top left: Neville BrodyJonathan Barnbrook, EmigreTypography Now2 (Why Not Associates), Fuse Packaging, Fuse poster by Neville Brody.
Images 7-10 & 12: Rob Clarke, December 1992, aged 21.
Image 11 Eye Magazine Winter, 1991

Something Wonderful in the post

Martina Flor, based in Berlin, is embarking on a charming side project to design and send around 100 lettered postcards to people she likes, loves, knows or wants to get in touch with around the world. Each will be entirely made, written and sent by her over a period of time.

Her dedicated blog, Letter Collections, documents the postcard design and receiver. I’ve picked a few of my favourites above. I’ll keep you posted if I’m lucky enough to receive one!

You maybe remember Martina’s work as part of last year’s Lettering vs. Calligraphy project and exhibition. You can see more of Martina’s work on her Tumblr.

via londondesignz:

More from No Straight Lines.

Following my recent post showcasing the ‘No Straight Lines’ exhibit that formed part of the Alchemy Festival, here’s a few more examples that were on display. This time the glyphs derive from the Roman character set, but the forms are more delicate and exhibit organic elements. Quite a contrast to the Geometric San Serif qualities of the letters based on a hybrid of the Sinhala and Tamil writing systems.

There’s more detail on the work in general at dropr.com/aodgraphicdesign, while a summary of No Straight Lines can be found on the South Bank Centre’s website.

36 days of type

I noticed this open project over on Instagram recently, organised by Alejandro López Becerro. There’s a huge variety of characters to look through including just these 3D designs by Alejandro himself. 

While the main letters were going up in April/May the project still seems quite active. Search on Instagram #36daysOfType and #36days_<glyph name>.

Lace Lettering Magazine Cover
You may have seen a few past posts about the lettering stitchwork of the twin designers Maricor &amp; 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&#8217;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.

Painterly poster type

A set of eye catching and slightly surreal lettering posters by Pawel Nolbert, working in Warsaw, Poland. 

He describes this ‘Atypical’ set as half-realistic, half-illustrative figurative sculptures. The colour mixes are brilliant. It’s so strange to see the paint whipping and hovering in the air like that.