‘rare Belgian newspaper article on the publication of Jan Tschichold’s ‘Typografische Vormgeving’ (unfortunately no information on the name of the newspaper nor the date)’

Found via typojo

‘Sketches by Jan Tschichold found in the National Library in Leipzig, Germany’

If one is going to do a Tschichold revival, one should pour through an archive, no?

Photos posted on Behance with a link to Sebastian Nagel’s Tschichold revival, Iwan Reschniev.

Found via Thinking Form

A look at contemporary letterpress printing, the technology that goes back to Gutenberg. Short film by Raspberry and Jam for Cereal magazine.

‘His most famous title sequences include the animated paper cut-out of a heroin addict’s arm for Preminger’s The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper in Hitchcock’s North by Northwest, and the disjointed text that races together and apart in Psycho’

Last night, Google doodled this (above).

Last week in my history class, I presented footage of the original titles that Saul Bass designed that Google doodled this (above) was based on.

Dave Brubeck came along for the ride.

More info here.

Found via Alice Woodruff

Covers for Kenny Burrell’s Blue Lights. Reid Miles, design; Andy Warhol, illustration. Blue Note Records, 1958.

Just because.

Last week I attended TYPO in San Francisco and noticed that my notebook was full. No room for notes.

My solution was the #typo13 hashtag, Twitter, plus big fingers and cranky iPhone. Everything I attended I tweeted, autocorrect had other ideas, TYPO ended up meaning typo.

Typically if I go on a tweeeeting binge like this, I lose ‘followers’ and get bitched out a bit. Instead I ended up meeting some cool people from around the planet.

Sol Kawage lives in South Tyrol, a ‘german speaking region in northern Italy.’ Her tagline on her Twitter account states: ‘Annoying people since 1980.’

Pics are from her blog, cool holdings of a small Museum of Modern Art in the City of Rovereto. More here and here.

Modern graphic design has roots in Russian Suprematism and Constructivism. Here’s a trailer for a film by Sergey Shanovich that looks at what’s been happening since.

Facebook page here.

Found via Motioncollector

I will be giving a talk on April 19 at American River College. Covered will be the history of the Bauhaus (1919-33).

And as an add-on, I’ll be subtly previewing how the Bauhaus, Futurism and early Modern Art has inspired my new educational project, FLomm: THE BATTLE For MODeRN 1923 (which already has a tumblr presence here and twitter here).

For additional information, please visit the Art New Media at American River College Facebook page here.

‘David A. Smith is a traditional sign-writer/designer specialising in high-quality ornamental hand-crafted reverse glass signs and decorative silvered and gilded mirrors. David recently produced a wonderful turn-of-the-century, trade-card styled album cover for popular American singer/songwriter John Mayer.’

More on David A. Smith here.

‘The whole point of animation to me is to tell a story, make a joke, express an idea. The technique itself doesn’t really matter. Whatever works is the thing to use.’

Terry Gilliam on animation. From 1974.

Found via Cartoon Brew

‘The very first rock and roll Music Video. A stop motion film of the Beatles singing ‘I Feel Fine’ drawn by Stephen Verona and hand colored by Verona and John Lennon’

Andrea Stinga and Federico Gonzalez’s The ABC of Architects.

Visit their architectural tumblr here.

‘Cieślewicz always compared himself to a journalist; but he referred to himself as a visual journalist. So Graphic designer, as a profession, is very close to that of journalism; except that it is about articulating clear ideas through the justaposition of imagery and layout – it’s a question of wanting to say something.’ –Professor Andrezej Klimowski, Royal College of Art

Above, a BBC overview of the work of Roman Cieślewicz (1930–96), which was part of a retrospective this summer at the Royal College of Art in London.

Click image to view video/jump.

Found via BBC News

As an educator, I’ve broken graphic design into three components: Message, Typography, Layout.

I’m not the first educator to do this – just happened to constantly notice these three elements staring back at me in all the student pieces I evaluate. In my opinion, careful appreciation, understanding and implementation of the three can lead to beautiful work.

message
Graphic design is a communication field, so Message should always drive the project. Today we are bombarded by thousands of Messages on a daily basis, so being on Message is critical. And yes, this usually involves language and writing – which is why I love when students take their written studies seriously.

typography
I’ve seen an (often not cited/supported) statistic that graphic design is 95% typography. Scientific or not, I agree with this. Type is important. I like comparing the exploration of lettering to that of music – there’s enough complexity for it to become a lifetime endeavor. And most of what I teach is type, from multiple angles.

form
Graphic designers are taught to use grids for layout – though relying on ‘grid’ as a catch all way of handling form can be misleading. Grids provide support, a fallback position for dealing with massive amounts of information. Though important, grids have their limitations. Building structure using symmetry, asymmetry, balance, color – some elements obvious, some not – involves continuous practice, a trained eye, instinct.

These three are not formulas, can’t be added together. They need to work in tandem, like cooking a great stew where the ingredients are based on what feels just right.

Click to view/jump

On a related note, the above film – Edward Tufte’s Ingre Druckrey: Teaching to See – found its way into my Twitter feed. It’s about graphic design and beauty. And much more.

In January I’m going to be teaching my first non-type course on Form and Space. I’m starting prep now because I consider form so important – so powerful, so delicate.

And beautiful when done right.

Video found via ayana baltrip

‘As a student, live by these words, ‘Quantity rather than quality.’ The more you design the better your quality will become and you will continue to grow’ –Tony Montano

I like that quote.

Quality does come later. Being a designer becomes all about instinct – not having the best computer, not software, not measurements, not rules.

I’ve just started teaching another semester of Graphic Design History and Typography at American River College – have a whole new group of kids to introduce to my gospel of visuals.

One thought that’s been weaving its way thru my classes over the years is simply, ‘the more you do, the better you get.’ We’ve all heard this, and yeah, it’s true. The only real stumbling block is ‘the more you do, if you’re not paying attention, you probably won’t get better.’

This year the student work has been incredible – but only when tied to good, old fashioned Hard Work. Risk taking, going out on that edge, trying something one has never done before leads to fantastic creations.

I haven’t been blogging much – I also have my usual four type classes at Ai Sacramento and a rather large project that’s been taking up the rest of my time (more on that soooooon) – so something had to give. It was blogging.

I’ll be posting more as time permits; otherwise been immediately throwing finds up on my Twitter account.

I’m keeping busy. Hope you are too.

Infographic found via Ai Sacramento Graphic Design; click image to jump/view larger

Dancing in the Street, 1985.

Found via Library of Congress

From 1978: The work of Arnie Lynde.

Found via It’s Nice That

From 1970.

Boombox: Doomsday Train

Sleeve found via Klaus Hiltscher

Video for Kraftwerk’s Trans Europe Express. From 1977.

‘Chemins de fer de l’état, Cie. Gle. Transatlantique.’

Vintage travel poster, art by Albert Sébille (1874-1953). More here.

Found via Culturenik

‘Remixing is a folk art but the techniques are the same ones used at any level of creation: copy, transform, and combine’

4-part documentary by NYC-based filmmaker Kirby Ferguson.

Part 2

Part 3

Part 4 is in production, donations accepted here.

Website here, Facebook page here. Remixes (inspired by part 3) here and here.

Found via Creative Bits

The work of Christian Marclay. Monograph here.

Found via This Blog Rules

Found via Heidi Andermack, mashKULTURE

‘Between 1939 and 1944, the OWI and the Farm Security Administration made thousands of photographs, approximately 1,600 of them in color’

Despite what my dad told me, the 1930s and 40s were actually in color.

More pics here, here, here and here.

‘You’ll see Playland, our oceanside amusement park which was closed in 1972, very rare footage of the SkyTram (an extinct ride over Seal Rocks and Sutro Baths), and a brakescreeching ride down the Crookedest Street in the World.’

From 1955: Color Cinemascope footage of San Francisco by Tullio Pellegrini.

Found via Boing Boing

‘The graphic images were an instant success when they premiered in bus shelters around the city. San Franciscans loved them. Too much, in fact, as some of the posters were stolen from the shelters.’

Often copied, Michael Schwab’s posters for Golden Gate National Parks. Brand implementation by Rich Silverstein and Jeff Goodby, circa 1993-7.

Case study here. Parks Conservancy store (Schwab’s art on prints, mugs, shirts, chocolate tins and more) here.

‘This poster was created by L.N. Britton circa 1918. It promotes food and resource conservation.’

Many years ago I found a small brochure at the National Archives building in San Bruno, CA. From it I ordered a bunch of inexpensive reproductions of early 20s century posters (pictured) – direct from the government. Framed, they looked great in my first apartment.

Everything is now online. All around 10 bucks a pop.

‘Originator of Type Fashions’

American Type Founders’ complete 1912 specimen book. 1348 pages.

Entire book posted online here.

The industrial revolution changed the size of font offerings. What were once posters or broadsheets from small type foundries, ‘type specimens’ became elaborate volumes – today collected as rare editions.

more
Since 2007, Open Library has been digitizing rare type specimens. Available to read online or as PDF downloads.

I found out about them just this weekend – font specialist Laurence Penney had posted links on his Twitter feed. These are them:

Caslon, 1785
Binney & Ronaldson, 1812
Montreal Type Foundry, 1850
Boston Type Foundry, 1860
Fann Street Foundry, 1874
Cincinnati Type Foundry, 1882
Allison & Smith, 1889
Cleveland Type Foundry, 1895
Inland Type Foundry, 1897
Toronto Type Foundry, 1899
Keystone Type Foundry, 1906
Barnhart Bros. & Spindler 1907

and
One of my favorites, here’s a link to Bauer’s offerings from 1900.

Found via Hoefler+Frere-Jones, Lawrence Penney, Oded Ezer, Nina Stoessinger, Falstaff & Fakir and Kris Sowersby

‘A collection of WPA-era US Travel Bureau Posters as reinterpreted and screen printed by Providence’s Head Light Hotel’

Available thru Tiny Showcase: Reproductions of 1930s ‘See America’ poster art.

So much cooler than the current government-sanctioned offerings of Brand USA, Inc.

Bérénice Bejo as Peppy Miller in The Artist.

Finally saw it last weekend. Beautiful little nouveau ‘silent’ film.

‘The goal is to incorporate the luxurious fabrics, mixed prints and textures from the 20s while keeping the silhouette modern and figure flattering’

Retro, contemporary and nouveau: Project Runway 9 contestant Fallene Wells is seeking Kickstarter funding for her latest collection.

More info here, Kickstarter here.

‘custom blue silk embroidered with cotton and copper thread’

Detail of the fabric used in the bedroom of Jeanne Lanvin (1867–1946). From her residence on the rue Barbet-de-Jouy, rebuilt at the Musée des Arts Décoratifs, Paris.

Found via ArtisphereOnline

‘While there aren’t any tweed skirts hanging from picture frames, or cap-toe shoes in jars, there are some brilliant photos of bookshelf vignettes, bejeweled tchotchkes, and a mismatch of furniture styles, inspirations, and references’

Coco Chanel’s Paris apartment.

Slideshow here. Photographed by The Coveteur.

Found via Refinery 29

‘On one occasion, referring to Benguiat as a ‘printer,’ Allen asked him what a good typeface was. Benguiat had an affinity for Windsor and suggested it to him that morning. He’s used it in every film since.’

Woody Allen and the Windsor typeface. Since 1977. Story here.

Thanks for your reads in 2011. Up next, more boldness. Looking forward.

Pictured is an image from an upcoming project I’ve been working on as of late – which with some luck and spit, should see the light of day in the next few months. Click to view larger. Powered, of course, by Gill Kayo.

‘the story of the rise and fall of Black Horse Disco, a youth club set up in the centre of a large working-class estate in North London’

Knuckle Sandwich. Cover photographed by Red Saunders, a.k.a MC Redman. Powered by Gill Kayo. Details.

The Clash: What’s My Name

Found via The Pelican Blog

Percy Sledge. Powered by Gill Kayo.

Percy Sledge: Any Day Now

Found via Buro Destruct

Kriminal-Serie Kommissar X No. 1281. Powered by Gill Kayo.

Found via mickey the pixel

Kriminal-Serie Kommissar X No. 1168. Powered by Gill Kayo.

Found via mickey the pixel

Dynascript is the latest font from the great Michael Doret.

Details here, buy it here.

These vintage Santas are just a tad older than me.

Them, with their cartoony script lettering, would grace the table every year – with or without the requisite salt, pepper, for which they were created. Made in Japan.

Below, track from the ultimate 1960s Christmas album.

Ray Conniff: Twelve Days of Christmas

Reading glass case with outlined Helvetica. Genuine 1970s soft plastic.

Some light reading. Graphics designed by the Saul Bass studio.

Found via Spokane7

‘These things are becoming harder to find these days and I wish to have a record of their fine existence.’

Photographs from Sam Platz’s Pay Phone Tribute Album (on Facebook).

‘next door to Cricket’s Cafe off Auburn Blvd  . . .  in Citrus Heights, CA’

Photograph by Ian Webb.

‘This film was made by his company as a presentation to AT&T executives. It would have extended to be shown to the public, but a number of his ideas in the film were not ultimately adopted, like his phone booth designs, and men’s and women’s uniforms.’

Complete pitch by the master. It’s everything anyone ever wanted to know about how good logos and visual identity systems work. From 1969. Historical details here.

Found via Scott Stowell

‘Watch the definitive documentary on the husband-wife design icons’

A new biography on Charles and Ray Eames is airing on PBS this week. Powerful and unflinching, more than just chairs. Playful optimism, powerful clients, amazing budgets, odd obsessions. Narrated by James Franco, titles feature the incredible Eames fonts.

Watch it online here.

Above, the IBM Pavilion at the 1964 Worlds Fair.

Below, Eames’ complete short film The Information Machine. Commissioned in 1958 by IBM, it was designed to get a fearful population to trust this perceived-dangerous, unknown mechanical variable: Computers!

‘from Alphabets 1964, edited by R. S. Hutchings’

Image found by the great Steve Matteson – who was recently interviewed by Mashable.