Quote of Note | Jonathan Foyle on Fonts


Fontastic graffiti, stencilled on a wall in Guelph, Ontario.

“The plague of Times New Roman is the unspoken disease of our age….[S]urprisingly, given a visual training, some architects have fallen victim to the plague. Times New Roman is often incised into new buildings in major cities, unrelated to the essence of their architectural character. Before the TNR outbreak, beautiful signage was normal, whether a take on a classic of architectural typography, or a font pushing the progressive zeitgeist of the building style. Those were the old times. Now a 1930s newspaper font is a default setting for monumental inscription. It’s one that we must switch off.”

Jonathan Foyle, CEO of World Monuments Fund Britain, in the Financial Times

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The Making Of Design Fu Mural

YIU Studio, spécialisé dans la communication visuelle, a conçu une vidéo time-lapse qui retrace la production du design mural dans leur locaux, une pièce qui s’inspire d’éléments relatif au « Kung-Fu » et de citations qu’ils affectionnent. Design Fu est une création très graphique à découvrir en images dans la suite.

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Farewell Company

Projet d’une semaine, de la conception à la réalisation, Farewell Co. donne naissance à un kit de voyage pour gentleman. Esthétique et pratique, le projet ne néglige aucun détail, puisque son logo même est basé sur un symbole Nomad signifiant Good Road To Travel. A découvrir en détails dans la suite.

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Poetic Billboards with Neons signs

L’écrivain et artiste écossais Robert Montgomery a choisi de mettre ses pensées à la vue de tous en les installant à l’aide de panneaux solaires dans les rues. Pensées profondes et réconfortantes, elles sont un appel à lever les yeux du quotidien pour un moment. À découvrir en images dans la suite.

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Sam Winston’s Typography

Pour la prochaine exposition du V&A « Memory Palace », l’artiste anglais Sam Winston a produit une création typographique sur la base d’un texte de Hari Kunzru, écrit spécialement pour l’occasion. Une œuvre hybride à la croisée des formes et des cultures à découvrir en images dans la suite de l’article.

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Komfort Magazine: Prague’s go-to journal for emerging talent in the field of visual art and design

Komfort Magazine


by Adam Štěch Komfort Magazine was founded in 2008 by an industrious group of Czech creatives, including typographer Radek Sidun, graphic designers Olga Benešová and Robert V. Novák, editor and writer Pavel Turek and director Tomáš…

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Typography meets Retro Photography

Stéphane Massa-Bidal alias Retrofuturs nous dévoile avec ses séries « Space Relationship » son talent pour mélanger des anciennes photographies avec des incrustations typographiques du plus bel effet. Le résultat est splendide et permet de plonger le spectateur dans un univers retro-futuriste. A découvrir dans la suite.

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PHUNK + 1956 by Tai Ping Carpets: Singapore-based art and design collective launches a series of carpets inspired by “rule breakers and nonconformists”

PHUNK + 1956 by Tai Ping Carpets


Founded in 1956 to preserve the historical craft of handmade carpets, Hong Kong’s Tai Ping has grown into a global leader in quality carpeting. In recent years the renowned maker of woven Axminster, hand-tufted, machine-tufted, printed carpet and Axminster carpet tile designs introduced…

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Peter Saville on Creating ‘PUNK’ Show Logo for Metropolitan Museum


The gleaming logo, spotlit on the exhibition’s title wall. At right, the cover of the exhibition catalogue, which includes prefaces by Richard Hell and John Lydon.

When it comes to punk, the graphics tend to get gritty–all ragey handwriting fonts and distressed stenciling–but while a hit of GO-RILLA or Kra Kra is sufficient to evoke a Sex Pistols state of mind or a Ramones-era DIY kerning moment, it doesn’t quite capture the sartorial chasm of “chaos to couture.” Enter Peter Saville, who created the exhibition logo for the “PUNK” exhibition organized by the Costume Institute of the Metropolitan Museum of Art. He used lettering by Paul Barnes to evoke the “coup d’état in youth culture” that was punk. “There has been very little liaison with the Met and the photograph on your site is the first time we have seen the logo actually in use,” Saville tells us. “The logo employs an irreverent use of 18th-century typefaces (by Fournier) in keeping with Nick Knight‘s briefing for the design of the show, which was Versailles on the eve of the French Revolution.”

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Functional branding by Aekae for QWSTION

German design studio Aekae has abstracted the logo of Swiss accessory brand QWSTION to form textural laser-cut patterns within the outer fabric of these bags.

Functional branding by Aekae for QWSTION

Aekae collaborated with typographer Fabian Leuenberger from EuropaType to explore ways in which QWSTION could subtly apply branding to their products in a more integrated and functional way.

Functional branding by Aekae for QWSTION

The designers transformed the brand’s logo into various patterns, which were then laser-cut into the outer fabric of QWSTION’s Oyster Grey Special Edition bags, increasing the stretch of the products through the typographic cuts.

Functional branding by Aekae for QWSTION

The QWSTION brand was co-founded by Fabrice Aeberhard and Christian Kaegi of Aekae studio, who act as creative directors and industrial designers for the brand.

Functional branding by Aekae for QWSTION

The bags were made by textile laboratory DevelopmentNeverStops as an experiment in branding and are not intended for sale.

Functional branding by Aekae for QWSTION

Earlier this year we featured these handbags carried by clamping fingers in woven tubes, similar to Chinese finger trap puzzle.

Functional branding by Aekae for QWSTION

See all our stories about bag design ».

Functional branding by Aekae for QWSTION

Here’s some more information from QWSTION:


A few thousand years ago, artisans were the first to place distinctive marks on their fabrications as signs of quality. At QWSTION, we believe that a product should speak in great terms for itself and a subtle statement of origin is all the branding it really needs. That’s why we came up with the concept of functional branding, only placing our name on parts of the product that serve a functional purpose (such as buckles, twist locks, zipper pullers, and rivets).

In correspondence, choosing a typeface that’s simple and timeless was crucial. We discovered it in EuropaType’s modern sans serif typeface EUROPA. Run by graphic designer and typographer Fabian Leuenberger, EuropaType is based in Zurich and London. Their approach of developing typeface turned out to be very similar to our approach of designing functional bags: Questioning, refining, and maybe even redefining the shapes of our heritage.

The goal of this collaboration was to push the boundaries of the functionality of branding. Using a laser cutter and bags of the current Oyster Grey Special Edition, we created various patterns based on our logotype. Branding becomes subtle and abstract, and the otherwise stiff material as a result became expandable and enhanced in its utility through the typographical cuts. The products are not intended for sale.

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for QWSTION
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