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Selected works from weekly typographic poster exercises. Created: Jan 2018—Dec 2018 Size: Arch B / Arch D
ID Team: 10888 - CRIOLLO (Laura Parra, Sara Olier Brome, Juan Jose Arbelaez, Mateo Agudelo, Benjamin Gomez (Colombia)
David over at SeptemberIndustry spotted this gem on Experimental Jetset's Myspace page. A gorgeous set of print work EJ did for an Heimo Zobernig exhibition in Bordeaux. The work includes an A2 folded to A5 Invitation, A4 Catalog and a massive poster. I love how the minimal design really makes the poster stand out in…
IAPA shared with us their proposal for the Guangzhou Daily Group of Culture Center, a large multi-purpose building complex, which recently won the...
1924us x - Fern by Elle MayOTF
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There are many great things about the latest issue of _Gratuitous Type_, Elana Schlenker's gorgeous printed publication celebrating this geekiest corner of the graphics world. The third instalment is the first based around a theme; kicking off with colour (or "color" as the Canadian publishers insist on having it...).
_Gratuitous Type_ is a magazine which celebrates typography and graphic design in a slew of glorious layouts and beautiful printing approaches. The mag is the brainchild of New York-based designer and art director Elana Schlenker and this month sees the launch of a new breed of “half” issues of the publication.
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The names Mark Pernice and Elana Schlenker are two those in the design sector will know well. Elana runs her own multidisciplinary practice, Studio Elana Schlenker, and founded font fanatic magazine _Gratuitous Type_. Mark, on the other hand, has his own illustration practice, has worked as an art director with the likes of Stefan Sagmeister and Paula Scher and his own project, _Photo Booth Mask_, garnered viral global attention. Together, two of contemporary design’s intuitive minds have formed their own studio, Out of Office, and one of its first projects is going to have any designer carefully watching their backs.
Few things in life inspire as much obsession as typography and football. So surely designer Rick Banks' decision to bring them together in his new book _Football Type_ makes perfect sense. It's a limited edition title which explores some of the weird and wonderful ways in which fonts and footy have intersected down the decades; from Gaudi's influence on Barcelona's shirt numbers to Maradona's famous "10" (and all that it evokes in any still-bitter Englishman.) And with all the proceeds going to The Football Foundation charity, there's simply no excuse not to make this the next addition to your bookshelf, in whichever of the five different covers you can get your mitts on. Football!
Released today (11 September), "_The Visual History of Type_":http://www.laurenceking.com/en/the-visual-history-of-type/ is a definitive survey of the major typefaces produced since the advent of printing, from movable type in the mid-15th century to the present day. Arranged chronologically, more than 320 typefaces are presented in the form of their original type specimens or earliest printings, located in their historical context through brief overviews and descriptions of the key characteristics of each face. Here, rather than attempting to provide a potted version of 500 years of typographic history, _The Visual History of Type’s_ author, Paul McNeil, has selected a few of his current favourites from the book for It's Nice That. h3. The Aldine Italic / Griffo’s Italic / 1501
One of the best things about hearing from professional creatives is learning what they focus on when they're not at work. Adrian Talbot, design director at London-based creative studio, "Intro":http://www.intro-uk.com/, has just launched his own site to showcase his fonts called _Talbot Type_. As you'd expect from a designer with his professional experience, the site is an all-things-considered portfolio presenting the functional fruits of his lettering labour since his college days and his early time at Intro in the early 1990s. It also offers those who love type context by way of _Specimen Handbooks_ and postcards, "typographic curiosities which display them [the faces] to their best advantage" in a straight-up, tangiably qualitative format.
