Le designer et graphiste espagnol Jabier Rodriguez invente un logotype pour chaque typographie qui l’inspire, cependant celui ci est réalisé avec une typographie différente de celle qu’il présente. Ainsi le Comic Sans est réalisé en Caslon et l’Avant Garde en Garamond pour une série très réussie à découvrir en images.
Sawdust, duo composé de Rob Gonzalez and Jonathan Quainton, réalise aujourd’hui une typographie pour le Shanghai Jiao Tong Top 200, qui recense les meilleures universités à travers le monde. Elle s’inspire des rubans et médailles donnés pour récompenser l’excellence. Un projet très réussi à découvrir en images.
The September issues are beginning to roll in, and Wallpaper* is celebrating the month that Candy Pratts Price describes as “the January in fashion” with a top-to-bottom redesign across its print and digital platforms. The layouts have “a new, fresh, sophisticated, modern elegance” according to editor-in-chief Tony Chambers, and the pages, now printed on higher-quality stock, are sprinkled with custom typefaces (type families “Portrait” and “Darby,” pictured above and designed by Berton Hasebe and Dan Milne, respectively) from Paul Barnes and Christian Schwartz of Commercial Type. The magazine also has a new tagline–”The stuff that refines you”–and an overhauled iPad edition, reimagined by Nicolas Roope of Poke London and Marc Kremers, which ensures that the September features, on topics such as “the fashion world’s top ten go-to architects” (we’re looking at you, Pedro), the bags-to-riches story of Loewe, and Paul Smith, look just as vibrant on the screen as on the page.
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Récemment diplomée en Media and Graphic Design à l’Indiana Wesleyan University, Rachel Krueger a imaginé une série de visuels reprenant des repliques célèbres tirées des différents films d’animation Pixar. Des créations typographiques très réussies à découvrir dans la suite.
Le photographe américain Marc Shur a toujours été attiré par les vieux panneaux et différentes enseignes qu’il a pu rencontrer. Avec de superbes clichés, ce dernier immortalise des créations typographiques ayant pour certaines plusieurs décennies. Une sélection d’images issue d’une série « Sign Language » toujours en cours.
Once upon a time, creating signage involved more than Microsoft Word, 72-point Comic Sans, and an inkjet printer. Everything from storefronts to street signs were hand-lettered—with brush and paint. But all is not lost. Even as staid (and quick-and-dirty DIY) signage proliferates, there’s a revival afoot in traditional sign painting. Dedicated practitioners get their close-up in Faythe Levine and Sam Macon‘s Sign Painters, published last fall by Princeton Architectural Press. But with a subject as scintillating as hand-lettered signage, why stop at a book? The anecdotal history of the craft and stories of sign painters working in cities throughout the United States comes to the big screen in a documentary that is now making the rounds (next up: screenings in Orlando, New York, and Seattle). The trailer is bound to inspire you to drop that die-cut vinyl lettering:
New Career Opportunities Daily: The best jobs in media.
La marque Philips fait déposer des tables typographiées dans lesquelles les clients peuvent brancher leur casque audio au travers de pubs dans Londres. La sélection de musique proposée, comme les typographies, sont faites en fonction de chaque quartier. Une campagne de publicité innovante réalisée par Ogilvy London.
Déjà connu pour son travail in-situ dans les locaux de Sony à Londres, Alex Fowkes revient avec une pièce qu’il a conçu et réalisé à la demande de Olly Murs. Un projet qui regroupe plus de 200 noms relatifs aux influences musicales de l’artiste anglais. À découvrir en images et en vidéo.
Jessica Walsh and Tim Goodman are best friends who find themselves single at the same time. Walsh is the hopeless romantic, always looking for love, and Goodman is afraid…
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Poor typeface selection, butchered executions of proper glyph handling, the ridiculous setting of justified copy: these are just some of the typographic tragedies that TypeEd aims to banish from the planet. “We exist to protect and serve the letterform, typesetting against the villains of bad design,” say Michael Stinson and Rachel Elnar, who founded the Los Angeles-based program of typography and typesetting courses last year in their design studio, Ramp Creative+Design. “Our mission is to educate designers, students, and practitioners on the fundamental skills of typography.” Among their latest offerings is “In the Loop,” a six-hour script letterform workshop taught by veteran creative director Leah Faust. We asked Stinson, a veteran designer/art director and TypeEd’s lead instructor, to tell us more about “typesetting for the jetsetting” and couldn’t resist the ‘ol desert island fonts question—read on for his top three typefaces.
What led you to create TypeEd?
Rachel went back to teach in the Cal State University system after an elevan-year hiatus, and noticed that with the overflow of computer-based classes into college curriculums, design fundamentals like typography were pushed to the wayside. So, she brought me in as guest speaker to give her interactive class a few typography tips. After seeing the enthusiasm, we eventually we decided to start an education program in our design studio.
What will “In the Loop” workshop participants learn?
In The Loop is an exploration of script-making and letterform crafting. The workshop will cover the history of iconic script signage in Los Angeles, and discuss how to make a script memorable and effective. Attendees will learn about the aspects of readability, angle, stroke variation, and how to translate scripts to digital form.
What is your greatest design pet peeve?
My greatest design pet peeve is the absence of thinking in design. When a designer chooses elements because of personal preference instead of being informed by research, history or concept, I feel that they’ve really missed a great opportunity. Designing without thinking is pure lack of consideration for the reader.
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New Career Opportunities Daily: The best jobs in media.
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