Brody’s cryptic Wallpaper* cover

Neville Brody has designed the subscriber cover for the August issue of Wallpaper* – a coded reference to his feelings about his work

“I wanted to create something subsersive,” says Brody in the issue. “Something that seems raw and takes time to work through.” So, can you tell what it is yet?

Brody also designed a typeface for the magazine’s Design Directory section – Peace 2. The face “started with Peace and Love, a project I did in 2003,” Brody says. He created a stencil font, Peace, based on the Tate + Lyle logo, a contentious choice given that the company has combined an industrial past rooted in Empire with the founding of a major cultural institution, Tate Gallery.

The original face was used on a poster for the V&A. Peace 2, apparently, “smooths out the original’s sharp edges and adds a lower case version,” acccording to Jonathan Bell’s piece in Wallpaper*.

Sexy Type

The July, Sex Special, issue of Wallpaper* landed on our desks this week and we noticed some nice type projects featured so we thought we’d flag them up…

Wallpaper* commissioned Airside’s Malika Favre to rework her Alphabunnies typeface (which we posted about last year) into a new, sexy typeface specially for the issue. “I kept my favourite letter – the G – and explored different ways to design the rest,” says Favre. “I feel that the poses are more sophisticated but the spirit remains the same: sexy Amazons exploring the joys of foreplay.”

Visitors to the Wallpaper* website will also find the typeface brought to life in an animated sequence that plays out on the masthead, and fans of the illustrated letterforms will be delighted to hear that Airside are selling individual letter prints, each in a limited edition of 10, via the Airside Shop.

Also in the issue is a preview of work commissioned specially by Wallpaper* and Birmingham-based type-focused educational body, Type for a forthcoming exhibition called Typographical Tart Cards. The magazine and Type, in conjunction with St Bride Library, approached a selection of designers – some well known, some still students – and asked them to create their own version of the calling cards left in London phone boxes. An exhibition of all of the cards will show at the KK Outlet from 22 to 29 June in London. Full details at kkoutlet.com 

 

One of the designers approached to take part in the project, Mike Dempsey, took a different approach to the cards shown above, as he has been working with the Helen Bamber Foundation for the last three years, helping to create greater awareness of the plight of trafficked women in the sex industry. In the letter he wrote to Wallpaper* accompanying his submission he wrote “what seems to be a light-hearted and even frivolous brief on the surface is actually a horrid world of fear, rape and violence. It is a topic that I can’t approach lightly.” Below is his submission. Wallpaper* posted this and the accompanying letter on their site. 

 

 

 

To view more of these projects and find out more about the Wallpaper* sex issue, visit wallpaper.com

New Deal typeface

Research Studios is currently finishing work on the titles for the forthcoming Michael Mann film, Public Enemies. Taking inspiration from the Works Progress Administration posters of New Deal-era America – which were often created by untrained designers – the studio has developed a bespoke typeface that reflects the unrefined aesthetic of the WPA

Jeff Knowles and Neville Brody have been working on the project, having previously created the typeface for Heat and The Insider. Public Enemies follows the exploits of American gangsters John Dillinger, Baby Face Nelson and Pretty Boy Floyd during the 1930s and goes on general release in the UK on 3 July (1 July in the US).

“For this film we designed a bespoke typeface with references to the graphic art created around the time of the President Roosevelt’s New Deal programs, initiated in the mid-1930s,” says Knowles.

“Our graphic references were the associated promotional work program posters that were put together during the time, some of which were created by the Works Progress Administration (WPA). The interesting thing is that the posters were not always completed by professional designers, so occasionally the typefaces and typography are quite crude and unrefined. So we had to figure that into the typeface that we designing for the film.”

Knowles cites the collection of New Deal work held at the Wolfsonian museum in Florida as being integral to their research.

The New Deal typeface is being used on posters and will be used for the main titles of the film which we are currently designing. The trailer can be seen here.

ISTD Lecture: Wim Crouwel

One of 8vo’s posters commissioned by Wim Crouwel in 1989

The International Society of Typographic Designers announces a new series of lectures this week, the first of which is quite a coup: Wim Crouwel on 3 June. The Dutch legend will also be introduced by 8vo’s Hamish Muir, who will talk about the studio’s work that was commissioned by Crouwel in the early 90s

Crouwel’s lecture, entitled Designer and Client, will take place at the The Royal College of Physicians’ Wolfson Lecture Theatre, 11 St Andrews Place, Regent’s Park, London NW1 4LE (7pm – 9.30pm).

Hamish Muir will open proceedings with a talk on 8vo‘s work for Crouwel when he was director of the Museum Boymans-van Beuningen (1989-1994). A Flickr set of some of the work produced for the museum can be found here.

Tickets are £16 (£12 for ISTD members, £10 for students) and are available in advance from istd.org.uk/wim-crouwel.

Attendees will be invited to celebrate the ISTD’s 80th birthday with a complimentary drink in the Dorchester Library after the lecture.

Tickets also includes entry to a raffle for the chance to win a very special prize which will be presented by Crouwel himself.

 

Rubik’s Cube Type Stamp

Jas Bhachu, who will soon graduate from Liverpool School of Art & Design, has created this Rubik’s Cube Font Generator

The Font Generator has rubber stamps attached to four faces of the cube, with two faces blank. The modular elements of the stamps can be combined to form characters which can then be printed.

It comes in this neat packaging

With instructions (always useful)

And can make work like this

More at Bhachu’s website, jashands.com

Stanley Marvin: another tale in type

Brighten the Corners‘ second venture into making books illustrated entirely from type has just been published. In it, Stanley returns home after some time away to find that his sister has had a baby, his brother-in-law has a moustache and his dog, Marvin, doesn’t get walked anymore…

Written and illustrated by BTC’s Billy Kiosoglou, with typography from the studio’s Frank Philippin, Stanley & Marvin uses type in the same way as their previous effort, Victor & Susie (that we wrote about here).

“We like to reduce things to their most basic elements when we design and we have kept to this principle with our story,” explains Kiosoglou. “We like every mark to ‘do a job’ on the page rather than just decorate it.”

Stanley & Marvin deals with the inevitability of change – parents grow old, brother-in-laws can sprout silly facial hair – but reassures younger readers of the importance of friendships which last, as shown in Stanley’s love for his typographic pooch Marvin. Aaaah.

The 80-page pocket book (8x13cm) costs £5 plus p&p and is available from the Brighten the Corners shop.