entries Tagged as [typography]

Bauhaus at the MoMA

”It’s a Haushold word, the Bauhaus, but a misunderstood one. Its influence is all around us, from Ikea furniture to glass skyscrapers, but it is credited – and blamed – for much more than it should be.’ -Candace Jackson, Wall Street Journal

The bauhaus was about advanced thinking in design, and it has its successes and failures. It was a great experiment and it changed the world. Its influence can be seen in everything today.

Workshops for Modernity: Bauhaus 1919-1933 just opened in NYC. And the exhibition is about going beyond the basics, show how far reaching the school actually was.

WSJ article here. Exhibition info here. Catalog here. TIME magazine video here. Show runs thru January 25, 2010.


Ludwig Mies van der Rohe armchair, 1927-30

Julien Breton: More

 
Interview with calligrapher Julien Breton (in French, above); Virtual calligraphy v.0.1. performed in real time with the Digital Slaves (below).

 

Julien Breton: Light calligraphy


Déraciné 2007

Light calligraphy by Julien Breton. Photography by G.J. Plisson. Created without the use of Photoshop. Go here.


Poésie 2007 (photo by Julien Breton)


Kata 2008


Le savoir 2007

Unicode typography, interpreted by mehallo

I’ve developed photographic visuals for the past three versions of The Unicode Standard. Unicode is a programming language that makes it possible for computers to operate in any language. This Wiki explains it better than I can.


The Unicode Standard 5.0, wraparound cover by mehallo

Working on the Unicode materials has been an incredible learning process – both from a technical standpoint as well as cultural. These are some of my images.

Global type art

Arabic and more. The work of Saeed Al Madani.

South Central Swiss

‘Talk about a psychedelic mimicking of rubricated blackletter!’ –Tiffany Wardle

South Central Swiss is a free fontstruct by dom nokes (domald). Grab it here.

Check out domald’s other fontstructs here.

Mota

Mota Italic the name of a type foundry out of Berlin. Their types are both unique and (most important) very usable. Check out their Vesper text types here.

Roos

New from Canada Type: Roos. An historical revival of type designed during World War II by Sjoerd Hendrik De Roos (1877-1962). Go here.

Ysobel fonts

Nimrod is (secretly) one of my favorite type families. I used it on my father’s memorial booklet (he loved reading the daily newspaper). And Ysobel is a more modern interpretation in the same genre.

Newspaper (and publication design-friendly) Ysobel is now available as a superset thru Monotype. It was a collaborative design project with Robin Nicholas at the helm; Delve Withrington and Alice Savoie all making it work.

More details here.

Here’s an interview with Alice Savoie at i love typography.

And drop by Delve Fonts, where one can – for a limited time – snag a copy of Delve Withrington’s free type teaser, Blasphemy. And do check out the nifty Tilden Sans. I know Delve has some cool stuff up his sleeve (I’ve seen some of it), get on his newsletter mailing list for updates.

Emigre’s new Baskerville Sans + No. 70

Taking the personality of Baskerville, mixing it with the thinking of Gill Sans (Sans version) and Futura (Modern version)  . . .  Zuzana Licko has finished work on the latest companion fonts for her popular Mrs Eaves typefaces.

Mr Eaves (above) is a sans serif take on the types of John Baskerville (1706-75). It can be snagged here.

And  . . .  also available is Emigre No. 70, a retrospect of Emigre Magazine. Emigre – which ran from 1984-2005 – was ‘the next big thing;’ which was a term they used a lot to describe design trends.

Emigre was a highly-influential, experimental and controversial design magazine that pushed the envelope to where the envelope didn’t look like the envelope anymore. I can safely say its influence can still be seen everywhere today. I miss going to Tower Books (owned by Tower Records) or Printers Inc. to snag the latest issue.

Details about Emigre 70 here.

Karamel Sans

‘Czech graphic design student Marta Maštálková has designed a typeface by pouring liquid caramel onto glass.’

Details (and recipe) here.


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