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Sneak peak of a shirt that will be printed for BRLSQ and Co-Exhibition's T-shirt show and available in extremely limited quantities for purchase.
Custom created typography combined ink spills.
caligrafia tipográfica contemporânea estética caligráfica do estilo de escrita . quadro - tamanho 50 x 60 feito com canetão spray e tinta olio .
arte vive.
Vom Schriftschaffen der Schriftgießerei und Messinglinienfabrik D. Stempel AG, Frankfurt am Main, 1939
8°, 68 p.
Lots of information (in blackletter) about the history of this foundry and some one-line showings of the type faces released from the start up to 1939. Helpful to check release years and designers of the type faces.
Related type specimen books:
www.flickr.com/photos/59825996@N00/1369953533/
Typositor Typography by Aaron Burns & Company, a division of Rapid Typographers, Inc., 1965.
Herb Lubalin Study Center of Design & Typography at Cooper Union; East Village, Manhattan
This beautiful art nouveau typography on an old commercial building in Ultimo, Sydney. They certainly don't make them like that any more!
'Three Blind Mice' / De Collecties: Visser, Peeters, Brecht.
Catalogue cover, 1968
Stedelijk Van Abbemuseum, Eindhoven, The Netherlands
Personal Collection
Get it
www.myfonts.com/fonts/sudtipos/blog-script/
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Technology is making it so that we’re all connected without the need for the physical-presence kind of being connected. That is strange, fascinating, and has a certain magnetism that is very difficult to resist. What’s at stake is no less than the transformation of centuries of human behaviour, and that’s part of the fascination. But while our existence morphs and we rush headlong into our socially minimalist future, we use our present culture to helplessly signal our nostalgia about our past. We know what our future will be missing, and we’re already full of nostalgia about it, but we know that what little we can do about isn’t going to affect the outcome that much.
So, almost in full hindsight now, the DIY implosion of the past few years must have really been a reaction to our technological dis/connection. In typography, the minimalist future is already here, with something as austere as the sans serif having become the preferred expression of progress and fortune, both part of the connected isolation we are undergoing. But when physical interaction must take place, like coffee shops and gin joints, our organic alphabets ride high and mighty. That sense of human heritage — elegance and exuberance in our writing, the use of flaws to charmingly brand our own individualism — keeps turning up in all kinds of places, most unexpected of which is the digital world. The overall message seems to be that we’re still creative, imaginative, and unique. In the digital world, on blogs where we write about our puny music and fashion preferences, we’re just articulating this individualism of ours, this third domain of existence our future seems eager to dismiss.
These were the thoughts behind Blog Script, the second collaboration between Carolina Marando and Alejandro Paul, after their successful stint with the Distillery set of fonts. This typeface comes in two weights, alternates for most letters, and a strong aesthetic rooted in individuality and freedom of spirit. Use it to be alone together, to tell the world that we’re still human, for now.
For more quotation mark atrocities, visit the delightfully obsessive 'the "blog" of "unnecessary" quotation marks'
there is (there's?) even a group devoted to it
Get it
www.myfonts.com/fonts/sudtipos/merengue-script/
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Merengue Script is the second typeface designed by Panco, once again together with Ale Paul, who supervised the whole development. In this opportunity, the process of shape research and the systematization of signs led him to dive into new waters. The objective was to generate a system of signs in which the construction of such was not directly bound to traditional calligraphy, nor to texts typography. Instead, the point was to create signs inspired in “Brush pen” calligraphy but with their main features drawn or literally illustrated. The result was a font with personality, authenticity and uncommon formal aspects that make Merengue Script an interesting, highly attractive and rather unusual font.
From the very beginning, the search was based on creating a font with weight and good presence in big formats, but, at the same time, efficient for brief texts of small formats. The aim was to make it usable mainly in candy, sweets and chocolate packaging.
The predominance of round shapes, harmonious modulations and funny and friendly-looking visual rhythms spark a special effect in the usage of Merengue Script. Texts are enhanced with an interesting visual charm, capable of transforming a very simple text into a virtual illustration that semantically reinforces the messages in a simple way, without putting legibility at risk.
With a basic set of stylistic alternatives full of frills and flounces for initials, ornamental and final letters, plus a set of disconnected signs, Merengue Script offers a wide and versatile range of options for graphic designers in the process of packaging design.
Designed by Henri van de Velde 1899, An Art Nouveau advertisement which was unusual for the times. It did not picture the product but simply used type (the name of a food concentrate) and an Art Nouveau abstract illustration.