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A few years back, I put the fetish work of Olivier Lelong in an exhibition of New Media.

Recently, he posted his latest work on my MySpace page, images from his Ophelia’s Dead series. I still love the crowd on MySpace.

Halloween in Heaven

‘With a sense of humor blacker than the clothing that the individual band members wear and a profound distaste and disgust for both humanity and political correctness’ –Roadrunner Records

Type O Negative is a ‘Gothic/Doom’ metal band from Brooklyn. Below, their Halloween in Heaven track, off their Dead Again album. Lead singer Peter Steele died in 2008, the current status of the band is up in the air.

Type O Negative: Halloween in Heaven

Found via Jessica Jackson

Pumpkin guts

Apnea with pumpkin innards.

And if you have a pumpkin lying around, here’s the ‘official’ recipe for my absolute favorite pumpkin pie.


Illustration by Al Parker for The American Weekly, November 1958. Details.

Happy Halloween!

Lord of the Logos

‘The hallmark of Szpajdel’s work is his surprisingly fluid combination of letters with visual elements from art movements such as art deco and art nouveau.’

The dark metal logo work of (Belgian forestry engineer) Christophe Szpajdel – compiled in convenient book form. Published by Die Gestalten Verlag.

Interview here. Another interview here.

Wolves in the Throne Room: A Looming Resonance

Found via Robynne Raye

‘Escape from Comic Sans’

B-movie typography eCards, designed by Will Staehle for TDC. Go here.

And check out Will Staehle’s website here.

Found via Ilene Strizver

The U&lc archive: Free as PDFs

‘Over the 26 years that it was pub­lished, U&lc gathered a fol­low­ing of thou­sands of avid read­ers that eagerly anti­cip­ated each issue. It became the most import­ant typo­graphic pub­lic­a­tion of its time.’

The 1970s looked like the 1970s because of Herb Lubalin.

And the way he did this was thru Upper & lowercase magazine. Tabloid in size, printed on newsprint, U&lc was read by most of the graphic design industry. Within, the fonts and philosophy of Lubalin’s International Typeface Corporation [ITC] stressed letters that were set ‘close, but not touching’ and  . . .  aw, hell, let them touch, overlap and be funky.

By the time I was in design school, the look had fallen out of favor – most ITC fonts were actually banned from use in my homework. ITC’s philosophy was to reinterpret the classics, often into something strangely unique, full of its own style – or a lack of style. Like Helvetica.

The 1970s were all about that. Taking things like Art Deco and doing something totally new with it. [Read more →]

The old Linotype office in Chicago

Entrance to the Mergenthaler Building, old printer’s row, Chicago.

Kate Nash: Nicest Thing, from the album Made of Bricks

Photo by mehallo

Linotype: The Film

‘Linotype: The Film is a documentary about Ottmar Mergenthaler’s amazing Linotype typesetting machine and the people who own and love these machines today.’

Trailer above, film now in production. More info here.

Music by Iron & Wine

The amazing linotype machine

Film from 1960. Info here.

Printing and wine

Been busy since I’ve gotten back from TypeCon 2010, so I’m only now slowly going thru photos.

For the TypeCon afterparty at The International Printing Museum, one of my little design touches was bottles of California Typographic Wine; which came in four varieties: Oldstyle, Transitional, Modern and Sans.

Labels were printed on a fabric stock by Hal Hammond – and helping me with the whole vin production were Lucy Schallberger, Jon Coltz, Delve Withrington and (pictured below) Angela Glenn.

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