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Poem Script is a mixed collection of interpretations conjuring a late nineteenth century American pen script style. Though not an actual Italian letterform, this style was called "Italian Alphabet" stemming from an old penman's term for an alphabet where the stress or shades are opposite their normal placement. The American variant followed from the late eighteenth century British hand also confusingly called "Italian Hand," which itself evolved from some seventeenth century French batarde scripts.
It showcases the phenomenal control and mastery of hand skills required to create such ornamental and lively letters centuries ago. Producing the shaded strokes in reversed positions such as this required holding the pen in a position horizontal to the baseline, or the letterforms would have to be written backwards or by rotating the paper at peculiar and extreme angles to achieve the effect.
Exotic, elaborate and very attractive, Poem Script contains plenty of variations on each letter and comes with hundreds of calligraphic ornaments.
Poem Script received a Certificate of Excellence at the Type Directors Club NY.
We celebrate this release with 2 wonderful specimens.
A Video Specimen directed by Santiago Idelson and a Photo-novel Specimen (8,82mb PDF) photographed by Sergio Recabarren
We hope you enjoy this release as much as we did!
Typefaces in use:
Torbjörn Olsson’s (T4) striking, cut out typeface »One Night Stand«.
One Night Stand – Torbjörn Olsson’s experimental type – deserves a longer relation.
Use it for drop caps or quotes, to add drama in dull surroundings and to spice up bland editorial content. One Night stand is also the perfect way to seduce readers of advertisments, as well as delivering contrast in headlines. Do you want to show the world in stark black and white? The One Night Stand is for you!
One Night Stand is an OpenType typeface for both PC and Mac. Swedish type foundry T4 releases new fonts every month. One Night Stand is our twelfth introduction.
Note: The underlying sans-serif font for One Night Stand is Esans Bold, also designed by Torbjörn Olsson. Esans is a fine sans, excellent for headline use, inspired by Granby, Tempo, Gill and others.
and
Silas Dilworth’ (TypeTrust) clean, geometric sans-serif face »Breuer Text«.
Breuer Text is a simple geometric sans with relaxed curves and slightly condensed proportions suitable for moderate lengths of body copy. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs for a warmer read.
Breuer Text offers the distinct aura of technical precision in a personable tone, ideal for instructional copy or safety warnings. Its basic structure and conservative letterforms maintain a level voice without turning robotic or sterile.
Pair with the two-font Breuer Headline family for a simple and complete editorial type system. Breuer Text includes Small Caps, Old Style Figures and Tabular Figures.
#shadowtype #manmadetype #handpaintedtype #letterforms #customtype #typejunkie #typefreak #typoholic #typtopia #alwayshandpaint #savethesigns #signstalkers #signjunkies #everything_signage #justsigns #instasign #igsigns #handpaintedsign #handlettering #handletteredtype #ilovetypography #writing #letteringdesign #letteringco #letterhunt #lettergetter #strengthinletters #signhunting #brushlettering #brushwork
Thanks to my good friend Area-info for helping me get this double page spread together for the above book available at www.operina.com
Free digital dload available and hard copys in print.
Komet
Book :
Die Fläche
Design And Lettering Of The Vienna Secession 1902 - 1911
Letterform Archive
2023
CD :
The Durutti Column
Vini Reilly
Factory Benelux
FBN244
Sounds . Vini Reilly . Bruce Mitchell
Photography . Mark Warner
Design . Johnson / Panas
Use Hearing Protection
GMA
Telephone pole guide wire got in the way of an otherwise successful observation of painted letters.
Shot with a Polaroid Super Shooter Plus. Negative scan. No Photoshop.
Yes, this is about half the size of our entire little kitchen. We transformed it into the screen printing studio for about a week in January to get all of the labels done for Nice Cream's winter line of flavors. Cramped space but nice lighting. No complaints. (also sorry for the low quality photo -- obviously julie took this one)
We were fascinated to watch our log burning the other night in our wood stove, as the flames seemed to be carving out an important message in letters!
"When evil men plot, good men must plan.
When evil men burn and bomb
When evil men shout ugly words of hatred,
good men must commit themselves to the glories of love."
~ Martin Luther King, Jr. ~
Caslon’s Specimen of Printing Types, 1844. This generically named ornamental tuscan was cut in small sizes and offered by various foundries in the 19th century, as early as 1838. Image: Letterform Archive
Novel Effects with Novel Gothic brochure, undated.
Tholenaar Collection at the Letterform Archive. Better photos of this booklet in the Online Archive.
As far as I know, this is one of only two ATF specimens of Novel Gothic. For some reason it does not appear in the 1934 ATF catalog, which was their last major specimen book. The typeface was initiated by Charles H. Becker and finished by Morris Fuller Benton for ATF in 1928.
There are many digital typefaces in this 1920s showcard style (such as Kobalt), and many poor digitizations of Novel Gothic, but no faithful revival currently exists. Telenovela NF is a digital interpretation with an additional highlight effect, while Napoli and Naked Power are attempts to tame Novel Gothic’s comical personality into large, straightforward sans families.
When we made the mix-and-match FontBooklet at FontShop eight years ago I thought I was the first to come up with this idea. Then I saw Letraset (1976) did it 30 years earlier, and Linotype's Heads and Bodies (1946) came 30 years before that. And now I find this at Letterform Archive: from 1956, by a type shop in Chicago.
See also:
Typotheque Specimen No.10 (2014)
Setting a first-day orientation table for Type West at Letterform Archive. Baker’s grid is not a direct reference to Noordzij’s cube (it's more about variation in terminal shape and construction than weight and contrast), but I couldn’t help but sit them next to each other.
An illustrated guide of "Modern and Historical Typography", from 1948 by Imre Reiner. The first edition was published in 1944. The book has many fine examples of historic title pages, calligraphy, bookplates, labels, billheads and other ephemera, including some nice work of Reiner's as well.
letterology.blogspot.com/2011/02/iconoclast-designer-imre...
Typeface in use:
Rui Abreu’s (Fountain) outstandingly beautiful flared serif typeface »Aria Pro«.
In the words of Rui Abreu:
The inspiration for Aria came from the epigraph on a frame of a nineteenth century painting. I was fascinated by the peculiar capitals of the inscription. The high contrast, and the overall quirkiness, especially the tail of the R and the oblique stems on the M, were interesting.
I decided to draw a display font with high contrast and a vertical axis, in a reference to the transitional form. Still I wanted to capture the spirit of the original letters, which to me are so imbued with Romanticism. This approach allowed for some exuberance on the regular style, but also led to more calligraphic letterforms in the italic – in which “the flow of the curves” lead the way.
To add to this epigraphic nature there is a number of ornaments that accompany words accordingly to their uppercase or lowercase form. For versatility there’s also a good amount of ligatures, alternative glyphs, and a special set of ornamental numbers.
Setting a first-day orientation table for Type West at Letterform Archive. Baker’s grid is not a direct reference to Noordzij’s cube (it's more about variation in terminal shape and construction than weight and contrast), but I couldn’t help but sit them next to each other.
The Letterform Archive's "Subscription to Mischief" exhibition features a beautifully curated collection of ephemera from the dawn of graffiti zines in the 1990's.
letterformarchive.org/news/subscription-to-mischief-graff...
A concise specimen booklet of the Futura family as it stood in the early 1930s, with its designer Paul Renner on the cover. Sadly, this cover has separated from the unusual mini ring binding, but it’s no less beautiful.
One of many duplicates from Letterform Archive’s collection available at our Rare Book Sale starting shortly.
Monumental Mada'ini - the ligature between "L" and "A" [لا]
Although I came up with the rough design for Ha ("E") first, I used this ligature to work out all of the widths and proportions used in other letterforms.
The first sketch was based on the golden ratio (φ - gold rectangles), which (no doubt due in part to its irrationality) proved impossible to apply in practice (note small but increasing deviations).
See:
Livio, Mario. (2003). The Golden Ratio: The Story of Phi, the Extraordinary Number of Nature, Art and Beauty.
Novel Effects with Novel Gothic brochure, undated.
Tholenaar Collection at the Letterform Archive. Better photos of this booklet in the Online Archive.
As far as I know, this is one of only two ATF specimens of Novel Gothic. For some reason it does not appear in the 1934 ATF catalog, which was their last major specimen book. The typeface was initiated by Charles H. Becker and finished by Morris Fuller Benton for ATF in 1928.
There are many digital typefaces in this 1920s showcard style (such as Kobalt), and many poor digitizations of Novel Gothic, but no faithful revival currently exists. Telenovela NF is a digital interpretation with an additional highlight effect, while Napoli and Naked Power are attempts to tame Novel Gothic’s comical personality into large, straightforward sans families.