La mail art inizia a diventare un trend. Questa è la volta dell’artista di San Francisco Erik Marinovich con questo progetto chiamato Do not open. Ogni busta dipinta sapientemente a mano, verrà venduta singolarmente, potete ordinare la vostra qui.
Prendetevi 5 minuti di tempo e ammirate la mano magica di Glen Weisgerber.
Steve Heller et Louise Fili reprennent des typographies du début de siècle et en présente une collection en 3D dans ce livre intitulé Shadow Type. Des enseignes de magasins aux titres de films, tout y passe. Leur livre est un voyage dans le temps au travers des lettrages d’époque. En images dans la suite.
Focus sur le travail de Tobias Hall qui possède un talent indéniable pour la typographie et la création de différents lettrages à la main. Des créations qu’il réalise pour divers clients et projets tous plus réussis les uns que les autres. A découvrir en images avec sa série « Tobias Hall Lettering » dans la suite de l’article.
For his second book, “A Sky Full of Kindness,” artist Rob Ryan has put his paper-cutting skills to use in a story about a pair of songbirds eagerly awaiting the hatching of their first chick. The intricate illustrations marry words with images to create a seamless tale about family,…
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Focus sur les différents travaux de Erik Marinovich, un illustrateur et typographe basé à San Fransisco qui multiplie les créations typographique d’une beauté incroyable. Une large sélection de ses travaux et différentes séries en « Lettering Work » sont à découvrir en images dans la suite de l’article.
After almost two centuries of making iconic silks and bags, masterful watches and fine saddlery, what Hermès is still best known for is its dedication to craftsmanship. In “An ABC of Hermès Crafts,” the French luxury label offers an unprecedented glimpse into the world of their storied workshops by…
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Découverte de Lettering vs Calligraphy : le nom du projet réalisé par Guiseppe Salerno & Martina Flor. Il s’agit d’un dialogue visuel entre une typographe et un professionnel de la calligraphie, où chacun des 2 artistes donne une vision d’une lettre de l’alphabet, et laisse par la suite le choix aux internautes de voter.
How one designer represents the antiquity of type in the digital age
Austrian designer Andreas Scheiger celebrates the “craft of etching, engraving and letter design” with a nod to both science and the graphic design of the Victorian era. Scheiger believes that letters are “full of life” and, in an effort to explore “the means of communication by dissecting and rearranging its basic elements,” he delves into the heart of typography with his sculptural letter series, The Evolution of Type, inspired by Frederic W. Goudy’s tome, The Alphabet and Elements of Lettering (1918). Says Scheiger, “Goudy analyzes the denomination of letters as we know them today. For him, the birth of the alphabet is the most momentous achievement because with it, written communication is independent from pictograms like hieroglyphs.”
Turning typography into a metaphor for evolution, Scheiger depicts the immortal nature of the written word with his latest contribution to the Evolution of Type series, Exhibit 16/1-9. Reminiscent of fossilized specimens suspended in amber, Scheiger takes an anthropological look at the future of the craft. Casting solitary letters made of balsa wood into polyester glass resin, the designer spells out a cautionary tale that echoes the way of the extinct trilobite fossil group. Scheiger reflects, “With digital print processing, letterpress letters indeed become something like ancient species.”
The seemingly petrified letter blocks follow in Scheiger’s alphabet, which also includes sculpted letters splayed in sections to reveal a realistic array of muscles and marrow. Using a combination of wood and carved chicken bones mixed with polymer clay, Scheiger’s Evolution of Type exhibits visually conjure up an anatomical riff on the children’s alphabet—S is for Spine, T is for Tendon and so on.
For Scheiger, “letters are organisms and typefaces are the species, all classified similar to biological taxonomy. Each letter displays the anatomical features and evolutionary characteristics shared by so many living creatures,” an idea harkening back to Goudy’s inspiration, which focuses on the notion that “a letter should possess an esthetic quality that is organic, an essential of the form itself and not the result of mere additions to its fundamental form nor to meaningless variations of it.” As a result, Scheiger becomes somewhat of a “font surgeon” of design-focused, dissected specimens.
Items from The Evolution of Type series along with Scheiger’s graphic prints are available for purchase in his shop.
From toothpaste to x-rays, typography’s new creative shapes
As common as alphabet soup or as involved as Craig Ward‘s plant-cell letterforms, “The 3D Type Book” proves how exciting syllabary can be when it comes off the page. The book features over 160 designers and 300 projects, all compiled by London multidisciplinary studio FL@33.
Apart from a brief foreword by Andrew Byrom, the reference book relies on strong imagery (over 1,300 photos in total) to show the wildly creative variety of works inspired by the shape of letters. Byrom—whose “Interiors” furniture font is also featured— says of the impressive breadth of ingenious ideas, this is not simply “Helvetica rendered in pebbles, neckties, venetian blinds, socks or cheese.” Stunningly inventive works like “Typeface in Skin” by Dutch designer Thijs Verbeek are a good example of Byrom’s positioning of the phenomenon as really “a reaction to the limitations and constraints of unexpected materials and processes that help shape—or often force—the outcome.”
Other standouts include the transgenic (DNA-mixing) “Typosperma” project (above) from self-proclaimed “typoholic” Oded Ezer; Sean Martindale’s eco-focused “Nature” concept; and the colorful “Medicine Capsule Alphabet” by Simone Stecher.
Many lettering projects are self-initiated, but the publishing industry often taps designers to add visual appeal to otherwise dry text. For their 2009 design issue, Independent Magazine enlisted Australian design group Rinzen, who integrated script into a chair for their cover. HunterGatherer‘s work has graced the front of both New York and The New York Times magazines with sculptural works deceptively constructed from wood.
“The 3D Type Book” sells online from Laurence King and Amazon.
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