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Typography project based on Jasper Johns' series 0 though 9. I used pencil, fine liner, water colours and ink.
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Make Something Cool Every Day is a personal, (ideally-) daily design exercise wherein I churn out type-centric black and white drabbles using song titles, the Univers type family (Kozuka Gothic for Japanese type) and some wonderful public domain images. (IMG)
Web typography? Sounds good, but looks awful! How to recognise poor web typography? Why is it that micro-typography on the Internet lags centuries behind? What is the connection between text lines and Laurel & Hardy? Why is web typography actually a misleading designation?
This newspaper tells in a nutshell what designers should keep in mind when deciding on typography for web users, including key design-elements and often overlooked facts.
More info & order here:
A post from tamiltypography.com curated by Tharique Azeez www.facebook.com/tamil.typography/photos/a.13938987375540...
A type family originally developed for New York’s Whitney Museum, Whitney contends with two different sets of demands: those of editorial typography, and those of public signage.
Typefaces for catalogs and brochures need to be narrow enough to work in crowded environments, yet energetic enough to encourage extended reading. But typefaces designed for wayfinding programs need to be open enough to be legible at a distance, and sturdy enough to withstand a variety of fabrication techniques: fonts destined for signage need to anticipate being cast in bronze, etched in glass, cut in vinyl, and rendered in pixels.
While American “gothics” such as News Gothic (1908) have long been a mainstay of editorial settings, and European “humanists” such as Frutiger (1975) have excelled in signage applications, Whitney bridges this divide in a single design. Its compact forms and broad x-height use space efficiently, and its ample counters and open shapes make it clear under any circumstances.
www.typography.com/fonts/font_overview.php?productLineID=...
A beautifully printed and presented multi-page publicity brochure for the Legend/Legende typeface that was designed by F.H. Ernst Schneidler for the famous Bauer Typefoundry in Frankfurt-am-Main and first issued in 1937. This particular brochure was issued by the company's London agents Soldans Limited as shown on the front cover.
The typeface is titled with its English/American nomenclature Legend but it was issued as Legende for the German and Continental market. It was designed by Friedrich Hermann Ernst Schneidler (1882–1956) the German typographer, calligrapher, typeface designer, and influential teacher at the Stuttgart Academy (1920–1948).
No date of publication is given but one of the specimen adverts has a 1937 date and introduction speaks of a "new typeface - different, eye-arresting, vivacious" and so it seems likely this was close to the date of being issued. The final specimen page notes a new 'y', and I suspect additional to the fount, that has been cut as well as alternative h and th. The specimens show Legend/e at 18 point through to 72 point as well as the characters in the complete fonts. I have also scanned a selection of the display pages under the title "How to use Legend".
Advertising Agency: Brunner, Pittsburgh, USA
Art Director: Derek Julin
Photographer: Tom Cwenar
Retoucher: Dwight Pritchett
Copywriter: Eric Schlauch
Creative campaign leader: Dave Vissat
"Typography is a minor technicality of civilized life." - Stanley Morison
Image: English typographer, Stanley Morison (May 6, 1889 – October 11, 1967)
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A typography of unique medication, selected for their juxtaposition between uniformity and uniqueness. Inspired by the colours and layout of Jeff Brouws work
Latest Free font Havana Harbor 1889 preview. www.freefontspro.com/fonts/28107/havana_harbor_1889.html
Results of tutorial from David Leggett at www.tutorial9.net/photoshop/text-effect-quickies-bubble-t...
A threadless submission work in progress.
The idea is a contour map of text. The text reading "They don't love you like I love you" are lyrics from the Yeah yeah yeah's song "Maps"
Let me know what you think
As the title suggests, my aim was to pastiche a piece by Stefan Sagmeister. I chose to use my mother as the model (: and decided to photoshop lyrics of her favorite song (Since You Been Gone by Rainbow) onto her person. Pretty happy with the outcome, I plan to create a few more with various different means.
Detail of the 'Time' art project: time of war.
To everything there is a season, and a time to every purpose under heaven: (…)
A time to tear, and a time to sew;
a time to keep silence, and a time to speak;
A time to love, and a time to hate;
a time of war; and a time of peace.
(Ecclesiastes 3:7-8)
Based on this phrase I made this cardboard.There is so much wisdom in in here that I decided to make a typographic project from it. This was my first big experiment with black letters on a white background with fineliner and marker.
I tried to let the typography tell the story: I love trying to say something not only with words but also with typography. ‘A time to tear’ is at the top of the cardboard: the letters are actually tearing themselves. Looking at the ‘time to sew’ in the middle, you will see that it is actually made of threads, curling and forming words. War and hate are written in big black fonts, while peace and love are made of lighter capitals. And ‘a time to speak’ and ‘to keep silence’ form a sound symbol, together with the hourglass.
In the central you can read the moral of the story: “what time is it?” It can be time of war or time of peace today; this can change from minute to minute. The crack right through the cardboard stands for the enormous difference between all these contradictions and the strange way in which they belong together.
If you take a closer look to the clock you’ll see it’s actually not a clock. You will see the numbers 21, 3, 7 and 8. These numbers refer to the place of the text in the Bible: the 21st book, 3rd chapter, 7th and 8th verse.