New Art

kasikov_detail

I am so excited that our artwork from Evelin Kasikov (who we featured a while back) arrived today. It is just as lovely as I had hoped — I can’t wait to get it on the wall.

kasikov

TypograFriday: Tania Alvarez

Tania Alvarez is from Mexico City but studied in Montreal. She put together these astonishingly delicate, organic vector art alphabet systems. The first sample is from “Fabric” which wraps its vector tatters about a bodoni-esque hairline frame. The second is from “Overseas,” where the tatters themselves make the letterforms.

tania_fabric_ft

tania_overseas_o

One more of each after the jump. Lots more through the links.

Continue reading TypograFriday: Tania Alvarez

Tattooday

Thomas Brodahl1Thomas Brodahl2

I am loving Thomas Brodahl’s project Tattooday. I have always been  a fan of typographic tattoos, but have yet to come  up with something that I’d like to have permanantly on my skin. I think this might be the perfect solution.

Every day I’m gonna draw/write a saying or lyric or phrase on my arm. Document it here. They will be like temporary tattoos. Hopefully the sayings will stick in my mind if I look at them all day. Maybe the meaning of the words will also sink into my body, along with the ink.

Thomas Brodahl3Thomas Brodahl4
via design work life

Typografimonday: Canadatype sale!

canada1

Attention loyal readers; one of the most prolific foundries around is having a spectacular half off everything sale for one day only this Monday. Get em while the US dollar’s worth somethin! Ten of our favorites after the jump.

Continue reading Typografimonday: Canadatype sale!

TypograFriday: No Futura

vwandserson_kruger

ddcikea3

Paul Renner’s Futura is an amazing typeface, equally adept at playing 60s modernism as timelessly contemporary cool. Some have made iconic use of it: A. Volkswagen (an Erik Spiekermann variant), B. fave-director Wes Anderson (not just for titles but in-film signage), C. Barbara Kruger (bold italic), D. Draplin Design Co./Field Notes and E. Ikea… whoops, until now.

ikea2

Yes that’s right. Ikea just switched from their bold, iconic use of Futura to Verdana, and their stated reasoning reflects a very poor thought process. They want to use the same type for all countries, including Asian ones, and Verdana has Asian character sets. And yet: there’s tons of modern monoweight Asian character sets that would match Futura perfectly well. They want to match the web to print. Yes, that does get a bit tricky, but other companies have found workarounds, and besides haven’t these people read “Harrison Bergeron“? Handicapping your display signage by putting it in a web text face just so that everything can match, for shame! So Futura doesn’t have Asian characters: Verdana doesn’t have effin display weights, it’s made for onscreen legibility! Use it large (as Ikea is bound to do) and it looks plain goofy instead of awesome like big Futura. Will every piece of furniture be available only in websafe colors?

There’s a lot of outcry and discussion on this (see designer discussion on typophile, mostly nondesigner discussion on metafilter, a good visual post on idsgn, the online petition, sets on flickr, etc.) and our hope is they quickly reverse their decision. The CIO claims that their identity is not wrapped up in Futura, but we disagree. See this 1965 catalog for what we mean.

ikea1965

Typografriday: playplayplayplay

It’s not new but people who aren’t type geeks may never have seen it. Quietly, unassumingly, and for years on and off, thirsttype founder Rick Valicenti, along with young designers Robb Irrgang and Satoru Nihei have been curating The Playground.canada goose mens jacket

play_0005_Mike-Essl
Mike Essl

play_0004_Andrea-Tinnes
Andrea Tinnes

play_0006_Guang-Yu
Guang Yu

play_0003_Rick-Valicenti
Rick Valicenti

play_0002_Marion-Bantjes
Marian Bantjes

play_0000_Paula-Scher
Paula Scher

play_0001_Ed-Fella
Ed Fella

The interface/navigation is one of my favorites ever, and the concept simple. Each project’s designer makes an alphabet of 26 characters (or sometimes more; Paula Scher did like a dozen alphabets). The letters, some details about the alphabet and its designer, and in many cases a few designs using the type, are available to explore. Recent designs are available for download, though this is disabled after time. Type lovers: take some time to play.

Typografriday: Wood on the Web

There’s a finite amount of woodtype out there in the world; nobody’s making the stuff anymore and haven’t for a while. Not only was some of it never produced in quantity, but much was lost over time, discarded when the letterpress era seemed over, burned during the Dust Bowl or (most aggravatingly) made into knickknacks or sold one piece at a time at antique fairs. It also represents a distinct (and distinctly American) transitory moment in typography, where all number of styles were flourishing – condensed and extended, bold slabs and tuscans, rough sans, display faces of all sorts.

Luckily, in this information age, some typographic/historicalminded sorts have put together some fantastic resources to keep woodtypes from fading into the dustbin of memory.

woodtype_kelly

The Rob Roy Kelly American Type Collection digitized. What Harry Smith did for American Folk Music, Rob Roy Kelly did for woodtypes. His book is by all accounts the one to get, (sadly we have yet to pony up for a copy). His 150+ specimens, plus copious information about the manufacturers and history, are all archived and well-organized at this University of Texas site.

woodtype_unicorn

Unicorn Graphics’ Wood Type Museum has scans of type specimen books, in their entirety, plus pictures of every piece of numerous full typefaces. Yes, the letters themselves. They seem interested in collecting and preserving more, so if you have drawers of woodtype lying about, you could do worse than to contact em to get it preserved digitally before selling it off piecemeal.

Vai com Deus

er293 copy
von02

This Portuguese typographic facade is just amazing—I wish I had seen it in person; I think I love it. It was designed by R2 Design and won an Honor Award from the Society for Environmental Graphic Design (SEGD) and is one of the winners of the Type Directors Club’s TDC 55.

Here’s a little more about the project (from the SEGD site):

When an 18th century Portuguese chapel was reopened as an art gallery, the owners and R2 Design (Porto, Portugal) used its façade as the canvas for an artful typographic composition that recalls the building’s former use, but creates a new cultural venue.

With a tight budget and only two months to bring the project to fruition, R2 Design needed to draw visitors’ attention to the gallery, located down a small alleyway adjacent to several important historical buildings in Lisbon. They started by painting the yellow façade white and using it as the slate for idiomatic expressions that refer to God and that by force of repetition have crystallized in the Portuguese language.

The words were rendered at various depths and scales in Knockout type, chosen because it is a sans serif typeface that offers a wide range of sizes and expressions. The letters were built from Intasa MDF hydrofuge sheets, an environmentally friendly product recommended for moist environments. A thick paint made it possible to simulate the texture of the façade.

See a couple more lovely photos after the jump.

via The Refined.

Continue reading Vai com Deus

TypograFriday: Sharp Curves

sharpcurves_0000_origamisharpcurves_0001_MAESTsharpcurves_0007_ALBERTUSsharpcurves_0006_BRIMLEYsharpcurves_0005_PREISSIGsharpcurves_0004_ALEXANDER QUILLsharpcurves_0003_vendettasharpcurves_0002_freightmicro

Happy TypograFriday! [we were calling it Font-y Friday then went several weeks in a row featuring handlettering and typographic experiments and not fonts at all, so we’ve rebranded it. That said, this week it’s back to fonts.] Credits and writeup after the jump.

Continue reading TypograFriday: Sharp Curves

TypograFriday: Alida Rosie Sayer

four1

Whether or not you’ve read Slaughterhouse Five, with its four-dimensional Tralfamadorians who can see every instant of their lives at once, I think we can all appreciate the marvelously interesting dimensional typography Alida Rosie Sayer made using bits of its text.

moments

A recent graduate of the Glasgow School of Art, her work is thoughtful and interesting. There’s a short interview with her over at Yatzer. A few more of these Slaughterhouse Five pieces, a design for film titles, a beautifully reconfigured Yellow Pages, plus a of her influences after the jump.

Continue reading TypograFriday: Alida Rosie Sayer

Blog Widget by LinkWithin