I saw a real wild and free weevil in Scotland! It was so beautiful and happy (and much bigger than I imagined)
36 days of type
I noticed this open project over on Instagram recently, organised by Alejandro López Becerro. There’s a huge variety of characters to look through including just these 3D designs by Alejandro himself.
While the main letters were going up in April/May the project still seems quite active. Search on Instagram #36daysOfType and #36days_<glyph name>.
Quote of the week - 14/07/2014
Dweller | http://noelshiveley.tumblr.com
Noel Shiveley is a 22 year old letterer and designer based in Pasadena, CA, USA. He is focused on calligraphy, typography, graphic design and is always interested in collaborations.
"Be the rainbow in someone else’s cloud" - Maya Angelou…. Lettering Daily
Here are some awesome examples how typography can be used in space and play with your optical sense. Just by moving yourself you can see different kinds of effects sich as shadows, 3D sketches, mirrored letters and interesting optical illusions in different places. Enioy them!
Follow Typostrate on:
This pocket friendly bottle by @fredwater gives me life
Super realistic oil paintings by Alyssa Monks
Alyssa Monks is an artist who creates super realistic oil paintings mostly of bathing or showering women.
Making the invisible visible, with ink and type
After documenting its progress on Twitter for over a month, Laura Hudson’s inky typographic project reached its zenith this weekend. As part of her final degree project, Laura has created a time-lapse film of ink being absorbed into a lettered design to reveal a message about the invisible nature of mental illness.
As a sufferer of depression Laura wanted to highlight a cause she felt passionate and aligned her project with the Time to Change mental health campaign. “The idea is as the ink absorbs it’s physically making the fact visible, raising awareness.”
Inspired by Oscar Diaz’s Ink calendar, she contacted him to ask about paper typed used, but after a slightly cagey response she decided to test out different types of paper herself, finally settling on 300gsm scientific grade blotting paper.
Her lettered design was then laser cut into the paper and suspended in her studio. The ends of the paper structure rested in vials of cyan printer ink and the natural capillary action of the paper drew the pigment up the lettering. The process produced some lovely chromatic bleed effects (as shown).
Laura took time-lapse photos to record the process. In tests the ink moved 15cm in five minutes over a straight line but at the scale of the final design it slowed dramatically after six days, requiring only one photograph every 12 hours to measure its progress. Other challenges also cropped up on the way: “Unfortunately I’ll be pressing the camera shutter for my project. Time lapse is broken so now I’m babysitting!”
After a little ‘encouragement’ with warm water the ink was finally absorbed into the whole piece and the film was completed. Take a look here.
Hello beautiful! #lettering #handlettering #letteringdaily… Lettering Daily
In english “barrette” made by Maude Lescarbeau graphic designer from Montreal, Quebec, Canada. About the project she says:”The starting point was to create an authentic typeface with an object less than 10 cubic centimeter. The original shape is inspired by a weird object named Haarspange. Each character is inspired by the object’s two possible shapes: open clip, close clip.” We like this project and find it interesting that unexpectable things laying around in your household can be used for making typography.
Follow Typostrate on:
Clerkenwell and the type industry.
Today sees the beginning of Clerkenwell Design Week 2014, a huge festival celebrating all types of design and creativity in the most vibrant area of London.
To coincide with the event, I wrote an article for the latest edition The Clerkenwell Post about the area’s typographic heritage and its influence on my work. The article feature my Exmouth Market letterpress print (above) about one of the area’s well-known streets. Here’s the unabridged article:
Clerkenwell’s creative profile continually evolves. Over the last ten years high-end furniture stores have outnumbered the design agencies and the area, once known for watchmakers and publishing companies, is now home to more architect firms per square mile than anywhere else on the planet. Clerkenwell’s creative history however is dominated by one industry: type.
With the rise of literacy and the Church and State’s weakening control over what was published, printing flourish in the 18th Century. Centres of the craft rapidly grew around Fleet Street and the City of London. With Clerkenwell conveniently close by, type foundries gravitated here to supply the trade. These foundries designed and cast metal fonts—families of individual letters—used by printers, and specifically typesetters, to compose the texts for countless publications; prayers books, newspapers, fiction and advertising. The Founder’s London A-Z, a gazetteer of historical foundries published in 1998 by the St. Bride Printing Library, lists 30 in EC1 alone, of which William Caslon’s remains the most famous.
As a designer working with and writing about type in Clerkenwell it’s uplifting to be surrounded by 300 years of the craft’s heritage. Although technological advancement saw the metal type foundries disappear from the 1960s, just a short walk is enough to see a reminder of the influence type had in this area. The founders erected many buildings here, a few still bearing their names. Although Caslon’s foundry is associated with his grand premises on Chiswell Street, he produced his first type specimen while based on Ironmonger Row, near the site of his conspicuous family tomb in St. Luke’s churchyard.
Caslon’s classic type designs from the 1720s set the style for English type for hundreds of years, surviving numerous typographic trends. The typeface synonymous with his name was used to print the American Declaration of Independence in 1776 and for many years a common rule of thumb amongst printers and typesetters was “When in doubt, use Caslon”. The Caslon typeface has been recreated digitally ensuring its popular use on computers today (and by this very magazine). I’ve used the typeface on several occasions when something formal, antique or floral is required, with its beautiful swashes (look at the ‘T’ in this magazine’s masthead, and flourishes in the introductory paragraphs), it’s not surprising to learn that Caslon had previously engraved rifles for wealthy clients.
Unconsciously, I’m certain these local typographic prompts contributed to my rekindled passion for typography and my recent career change from owning a web design agency to refocus on type. My first self-initiated project was a ‘typographic time capsule’ of Exmouth Market and this one street alone provided a huge source of type and lettering inspiration. The print documents the street’s colourful history; its beginnings as a Spa, the blood sports and atrocious graveyard, then captures a snapshot of its current restaurants, shop, cafés and bars (three of which have already closed since the print was produced late last year). Each of the decorated initials spelling “Exmouth” reflects the story that’s weaved around them. For example, the ‘O’ represents Joseph Grimaldi—father of all modern-day clowns, who lived at № 56 and the ‘H’ echoes the original butcher’s livery, now maintained by the restaurant Medcalf. I chose the typeface Minion Pro, which isn’t connected to our location but is a classical modern typeface that retains the flair of Caslon’s approach.
Together with various lettering projects, I’m currently in the process of designing my first typeface. The learning curve is steep and the process requires and incredible amount of patience. Designing a harmonious a-z is challenging enough but practical usage requires; italics, bolds, diacritics, numerals and European language support, resulting in a typeface of hundreds of carefully crafted characters. Extremely large font families with many weights can include tens of thousands of characters.
But I’m not the only designer to appreciate the location for its illustrious past. While the metal type foundries are gone, digital type design is booming and in this Internet age the demand for new and innovative typefaces continues. Two well-respected foundries have set-up type design studios here; the first, Font Smith, has designed custom typefaces for Channel 4 and the Post Office, as well as Clerkenwell, a typeface inspired by the area. The second, Monotype, patented the first hot metal typesetting machine in 1896 and maintains an extensive catalogue of over 18,000 typefaces including Helvetica and Times New Roman.
Whether this is an indicator of Clerkenwell’s resurgence as a home of type or not, nowhere in the world can match its history. I recently discovered that once there were even two foundries on my street, one in the vicinity of my home. I’d like to think the foundry was right here where I write. [Ends]
If you’re in the area this week, the Exmouth print is on sale at Family Tree, 53 Exmouth Market.
Super sweet little find on Instagram which I couldn’t resist sharing. Tiny PMS Match is the personal project of designer Inka Mathew. She matches everyday objects to their Pantone® colour equivalences but with mini things and tiny swatches. Nothing more to add except that I wish I had thought of it and had the time to do such a fun project.