‘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
B-movie typography eCards, designed by Will Staehle for TDC. Go here.
And check out Will Staehle’s website here.
Found via Ilene Strizver
‘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 →]
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 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
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.
Model Bruna Tenório, photographed by Geoff Barrenger for Ports 1961 Fall/Winter 2010 campaign.
More here.
‘Old buildings, abandoned hospitals, industrial palaces overgrown with plants and trees . . . These places have become hard to find, difficult (or illegal) to access, dangerous to explore . . . great to spend the day!’
Photos and website here.
Found via Monsieur Bandit