Letterbugs : Typography by Shutterbugs
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AI-assisted digital painting with Procreate and iPad Pro.
This started out as a photo of graffiti. The base letterforms are still visible.
The first step was to retouch the graffiti getting rid of stray marks and some excess texture in TouchRetouch. The photo was then put through WOMBO dream to produce about a dozen variations. The best variation became the base layer and specific pieces of three or four others were collaged onto the top of it in Procreate.
After stacking and collaging the layers were flattened and, exported, and upscaled.
After upscaling the image was brought back into Procreate and multiple stages of repainting were done.
According to Procreate;
5hrs for stack and collage
17 hrs for repaint
"As time goes on, I realize
Just what you mean to me.
And now, now that you're near,
Promise your love that I've waited to share
And dreams of our moments together.
Color my world with hopes of loving you."
~ Chicago ~
Look closely, and you'll be able to pick out some of the letters from one of my favorite songs, as the shapes of the stacked pastels actually seem to become letterforms!
In The Crown pub, Belfast, they have 'snugs' which are enclosed booths for sheltered, private drinking. They each have a fancy glass window with a letter on, and a bell so you can order more drinks from the main bar. The interior of the pub is really elaborate. Apparently it was decorated by Italian artisans who were over in Belfast working on another commission. They worked nights doing the pub up.
One of the few pubs owned by the National Trust and an absolute national treasure.
Some paper typog I just made for an advertising gig. Those curving letterforms are a total challenge frankly. Luckily 'tangible' was on the design brief.
I decided to finally finish the alphabet that I’d begun some years back. The R through Z and the punctuation marks were added during the past 24 hours. It was fun to at long last call it a day.
On one side of the Pompidou Centre, the modern pedestrianised quarter of the Horloge (Clock) owes its name to Jacques Monestier's famous clock which was installed there in 1979. -------- (PAR_0507_3262 - Image copyrighted).
Some stuff from my collection. I don’t have a lot of metal type specimens — I visit Letterform Archive for those — but the ’90s are covered!
Before the internet, printing and mailing specimens was a key part of foundry promotion. Today, there are very few who still do paper things. Most of those few who do, do it well (FontFont, Typonine, Typotheque, Commercial Type, Production Type, Storm Type, Briefcase).
Image for Type Foundries Today. Photo assist by Laura Serra.
Specimens shown: Emigre, Hoefler Type Foundry, Club-21, Font Bureau, LucasFonts, 2Rebels, Jeremy Tankard, Porchez Typofonderie, Virus, House Industries, PsyOps, The Enschedé Font Foundry, T-26, ShinnType, FontFont.
My first photo for a billboard for Heritage House of Kimball. (yes, that's me) Also shown are Kathy and (Melissa's) Grandpa George.
I haven't been uploading everything on flickr now that the website's up, but I'll continue to fill up this stream with more stuff as time goes on :-)
Since this is my final month at school, I won't be around flickr as much as I used to so my apologies for all of those who have sent me private messages and for the delays; I truly appreciate every message I receive :-)
"30 Years of Metafont" at the SF Public Library. Part of Type@Cooper West and Letterform Archive’s lecture series.
I'm still trying to get past writing rude words in beautiful and genteel letterforms. It just works.
An old alphabet I knocked up, based on Pixação letters (a Brazilian graff style - get to know) . This seems to have got around a fair bit, making a recent appearance in the new book from Black Dog Publishing: Alphabets: A Miscellany Of Letters, which you can cop at blackdogonline.com/all-books/alphabets.html
Spread from Lettera 1 (Niggli, 1954), featuring a capital alphabet (A–Z plus exclamation mark) and a partial matching lowercase (“schenk ein buch”), both shown in reverse.
The letterforms were drawn by Walter Haettenschweiler (1933–2014), based on a lettering style used by Pierre Gauchat (1902–1956) in 1951 and 1953. This style was further developed at the School of Applied Arts (the Kunstgewerbeschule) in Zurich, amongst others by Haettenschweiler, who referenced Gauchat’s lettering in a student project. When editor Armin Haab (1919–1991) saw this work, he asked Haettenschweiler to draw a full alphabet for the projected lettering source book. In the index of the book, this alphabet design is simply named Grotesk. In the preface to the third edition, Haab refers to it as Lettera-Grotesk.
→ More about Lettera-Grotesk on Fonts In Use.