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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.
Classic example of a New Graphic Design layout using only two colors, (a two color run for a printing press is much cheaper than full color) but was an exciting visual utilizing space, tension, asymmetrical layout, and san serif letterform .
Mortimer Leach (1906–1975) was one of America’s leading lettering artists, and his work can be found in advertising throughout magazines and newspapers of the 1930s–60s. As an ArtCenter instructor, he taught many career letterers, a legacy that continued through the equally influential Doyald Young, and his Lettering for Advertising (1956) and Letter Design in the Graphic Arts (1960) are some of the best instructional books on the subject. At Letterform Archive we have a small grouping of his original inked boards (including tiny white-out corrections). I think they were some of the first pieces I saw when I visited Rob Saunders before there was an Archive. This week, I identified two originals that were reproduced in Lettering for Advertising: “Lockheed Constellation” and “The Bryson Lectures”.
A very early and ornate British Broadcasting Corporation (BBC) staff badge showing interlocking 'BBC' letterforms and graphic symbolism associated with broadcasting such as thunderbolts (radio waves), and the amplified wings of Ariel, messenger of the gods. The coiled, central column acts as a backbone, binding the symbolism together. This design is a partial extraction from a section of the BBC's Coat of Arms (1927) showing the above thunderbolt in the grasp of a rampant lion.
It was during the WW11 years that this staff badge became the organisation's official war service badge, or in other words, their National Service Badge. Archival photos exist of BBC staff wearing the badge during the war years and although the badge was associated with this period, it was, in all probability, used as a staff badge before hostilities began.
Indeed, the design of the badge shown here was used by the BBC on printed matter as far back as 1930. For example, a 1930 'descriptive souvenir' brochure entitled, 'The London Twin-Wave Broadcasting Station, Brookmans Park', shows this logo design on the front and rear pages.
During WW11, the BBC closed down its television operation and all news and entertainment was channelled through the medium of radio. It was the first 'Broadcast War' and during this austere period the BBC provided a pivotal and mission critical service through its two daily channels - Home and Forces ('on air' from 7a.m. until midnight). The service not only kept the British population 'informed', but the occupied countries as well. Initially, friction existed between the Government and the BBC but as the war progressed there was a wind of change - the independent authority of the Corporation gave way to increasing respect from the Government.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a
variety of print sizes e.g. A4, A3, A2 and A1. The current uploaded
format is for screen based viewing only: 72pi)
My work is featured in The 3d Type Book by Fl@33: 3d-type.com/
___________________________________________________________________________
This book is the most comprehensive showcase of three-dimensional letterforms ever written, featuring over 1,300 images of more than 300 projects by more than 160 emerging talents and established individuals and studios including Sagmeister Inc, Vaughan Oliver, Milton Glaser, Alvin Lustig, Louis Danziger, Roger Excoffon, Paul Elliman, Marian Bantjes, Geoff Kaplan, Clotilde Olyff, Italo Lupi, Marion Bataille, Antoine+Manuel, Frost*Design, Mervyn Kurlansky, Non-Format, Oded Ezer, Rowland Scherman, Post Typography, Rinzen, Underware’s Type Workshop, J. Kyle Daevel, Ji Lee, Pleaseletmedesign and Strange Attractors Design.
As well as pioneering milestones from as far back as the 1940s, this book focuses on recent and brand new typographic projects. 3D type specialist Andrew Byrom explains the context and motivation behind these innovative works in an insightful foreword.
Contributors:
Adam Voorhes - Akatre - Alex Robbins - Alexander Egger - Allistair Burt - Alvin Lustig - Amandine Alessandra - Andrew Byrom - Anna Garforth - Antoine+Manuel - April Larivee - Arslan Shahid - AT.AW. - Atelier van Wageningen - Autobahn - Axel Peemoeller - BANK - Bela Borsodi - Benoit Lemoine - Bola Cooper - Bradley–McQuade collaboration - Brent Barson - Charlie Hocking - Charlotte Cornaton - Cheil USA - Chris Tozer - Chris Wilkinson - Chrysostomos Tsimourdagkas - Clotilde Olyff - Conor & David - Corriette Schoenaerts - Craig Ward - Daryl Tanghe - Dave Wood - David Aspinall - Denise Gonzales Crisp - Detail. Design Studio - Dolly Rogers - Ed Nacional - Efsun Senturk - Elfen - Émilie Chen - Emeline Brulé - ÉricandMarie - Ersin Han Ersin - Evelin Kasikov - Fajn Hajp Agency - Farina Kuklinski - Ferdinand Alfonso - FL@33 - Fluid - Form - Frost*Design - Funda Cevik - Gareth Holt - Geoff Kaplan - Georgina Potier and Itamar Ferrer - Gluekit - Go Welsh - HandMadeFont - Handverk - Happycentro - Hat-trick - Helen Mycroft - Helena Dietrich - Hijack Your Life - Hoax - Horst - Hort - HunterGatherer - Huy Vu - Intercity - Italo Lupi - J. Kyle Daevel - Jack Curry - Jamie Hearn - Jan Olof Nygren - Jan von Holleben - Jarrik Muller - Jenna Burwell - Ji Lee - Jim Stevens - João Henrique Wilbert - Johanna Bonnevier - John Morgan studio - Jonathan Hall - Jörger-Stauss - Juan Camilo Rojas - Juan Pablo Cambariere - Jung Eun Park - Kari Szentesi - Karin von Ompteda - Karina Petersen - Kate Lyons - Kris Hofmann - Lee Basford - Lee Stokes - Lisa Rienermann - Louis Danziger - MAGMA Brand Design - Marian Bantjes - Mario Hugo - Marion Bataille - Mark Formanek - Me Studio - Merci Bernard - Mervyn Kurlansky - Mesh Design - Michael Hübner - Michelle Jones - Miguel Ramirez - Milton Glaser - Miranda van Hooft - MoreGood - Nathan Gale - Nemanja Jehlicka - Non-Format - NR2154 - Oded Ezer - Open Studio - Paul Elliman - Pesca Salada - Peter Crnokrak and Karin von Ompteda - Piero Glina - Plasticbionic - Pleaseletmedesign - Post Typography - Praline and RSHP Model Shop - R2 - Rafael Farias - Raphaël Legrand - Rebootlab - Rick Myers - Rinzen - Roger Excoffon - Rowland Scherman - Ryan Molloy - s3studio - Sagmeister Inc. - Sakis Kyratzis - Satsuki Atsumi - Sean Freeman - Sean Martindale - Sebastian Gagin - Sebastian Lemm - Sharon Pazner - Shotopop - Simone Stecher - Siobhan Tarr - Start - Stefan G. Bucher, 344 Design - Strange Attractors Design - Studio for Virtual Typography - Studio Lundsager - Studio Output - Stylorouge - Supermundane - Superscript2 - Sveta Sebyakina - Theres Jörger - Thijs Verbeek - Underware’s Type Workshop - Vaughan Oliver - Wilfrid Wood - Xavier Encinas
Info:
Paperback
1300 illustrations
240 pages
280 x 197 mm
ISBN 978-185669-713-2
£19.95
Published April 2011
Laurence King Publishing
more of my typography: www.flickr.com/photos/sharonpazner/collections/7215760707...
Shoreditch London 331 Old Street pediment carved in an elegant letterform H. Snuggs & Co an ironmonger 19c
englishbuildings.blogspot.com/2019/02/old-street-london.html
@designeour : Experimentation yields the best results. #Letterforms from Mario De Meyer. bit.ly/29wwAIq bit.ly/29yebIm (via Twitter twitter.com/designeour/status/750693088285298688)
You never know what you'll find in a book at Letterform Archive. Burke (best known for Trade Gothic) bookplate in a ca.1895 Reed & Sons/Fann St specimen from the Tholenaar Collection.
Wikipedia: Jackson Burke (San Francisco, California 1908 - 1975) was an American type and book designer. After studying at the University of California, Berkeley, he succeeded C.H. Griffith as Director of Typographic Development at Mergenthaler Linotype from 1949 until 1963, where he designed several type faces.
Designed by Design is Play (Angie Wang and Mark Fox). Printed by Dependable Letterpress (Joel Benson). Read more →
Posting soon on Fonts In Use. I am sure you can guess what’s in use here.
Shot with Ansco Shur Shot Jr. Great sign. Great letters. I guy standing in the parking lot said to me, "did you drive all the way from Florida to take a picture of that?" My car had Florida plates on it. I love it.
Martin Venezky spoke tonight in the Letterform Archive Salon Series and showed some of the ephemera and vintage objects that he uses in his work. The last slide included this box, which I happen to have too.
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.
There are decorative Chinese Calligraphy or 'Letterform' (made of light weight concrete?) built on the external wall of the building.
In order to resemble the letterform being 'extruded' from the external wall as shown in the old photos, I cut each letterform individually and attached them on the external facade.
This wonderful and ornate letter 'B' was part of the extended 'Burton' signature so common place in British high streets throughout the early and mid 20th Century (The market town of Abergavenny in South Wales still has, to this day (Jan 2013), a Burton shop with original shop fascia and the original 'tiled' Burton signage) .
As the rear of this badge indicates, it was an employee badge from the Hudson Road Mills factory in Leeds with an accompanying serial number underscoring the letter 'B' on the front. The name 'Montague' stamped across the letter 'B' relates to Montague Burton (1885-1952), the founder of the clothing and tailoring empire.
His illustrious and enterprising career started from humble beginnings. Born in Lithuania, he arrived in Britain and soon started selling accessories on a door to door basis. By 1906, Burton had established shops in Mansfield and Sheffield. Initially known as Burton & Burton, the name changed in 1917 to Montague Burton Ltd and by 1921 Burton started to develop the Hudson Road Mills factory (see badge). By the mid 1930's it had become one of the largest clothing factories in Europe and at its peak, the company had over 600 stores throughout the UK.
Thousands upon thousand of measurements were taken weekly in shops and sent to the Hudson Road Mills factory to be made up into suits. The suit had become the mass male uniform of post-WW1 Britain and Burton dominated the market. There is also hearsay evidence to suggest that the term 'Full Monty' evolved from the Burton empire. Staff who worked in Burton shops often had customers asking by name for the 'Full Monty'......................meaning a full three piece suit.....instead of a two piece suit.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a variety of print sizes
e.g. A4, A3, A2 and A1. The current uploaded format is for screen based viewing only: 72pi)
Letterform Archive has a large collection of 2x7ft screenprinted movie banners. So much lettering invention in nearly every one.
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.
Left to right, top to bottom:
c.1920, Catalog J
1909
1924, Catalogue X
1941, Catalog 41 (pagethrough)
We also have a Spanjer metal letters catalog, not pictured.
From the Tholenaar Collection at Letterform Archive.
Normal-Grotesk was released around 1943. It was reworked from Haas’ Akzidenz-Grotesk (based on a Wagner & Schmidt design, c.1909). It is not the same as the Berthold Akzidenz-Grotesk, but both designs, along with Französische Grotesk, were models for Neue Haas-Grotesk (later Helvetica). Info from Indra Kupferschmid. See also her history in Helvetica Forever.
Mr Cenz, a professional graffiti artist, has been scribbling on surfaces since 1988. His distinctive work can currently be seen all over streets of London. It features layers of intricate and flowing letterforms, shapes and line work, which are abstracted in a unique and aesthetically pleasing way. His style is full of funk and movement and fuses different skills together such as photorealism, illustration and graffiti letterforms. His work is open to individual interpretation and has been described as surrealist graffiti art for the soul.
The graffitied walls of London's Brick Lane with a high quality selection of street art draw visitors from all over the world. Artists from UK and abroad come here to paint, knowing that they will get an appreciative audience and a wide appeal.
It is the epicentre of street art in the city.
London with a 8mm
Samyang 8mm f/2.8 ED AS IF UMC Fisheye Lens with SAMSUNG NX1
If you told me two young boys invented a writing system from scratch which then spread to millions in less than a decade, I’d say it was fantastic fiction. But it’s real. Last year I got to meet the inventors who brought along manuscripts and textbooks from the early days of Adlam. So incredible to see the unassuming marks that would later teach an entire diaspora to read. It was tough to keep my eyes dry.
—
In 1989, two brothers in Guinea, aged 10 and 14, invented an alphabet from scratch for their native language. Pulaar (and Fulfulde) were spoken by millions of Fula people dispersed across Western Africa, but had no writing system of their own. Within a few years, the boys’ script spread like wildfire, as a culture embraced a new literacy. The alphabet is called ADLaM (or Adlam) after its first four letters and an acronym for a phrase meaning “the alphabet that protects a people from vanishing.”
On March 19, 2019, we’re honored to host Abdoulaye and Ibrahima Barry for a Letterform Lecture at SFPL. They’ll be joined by type designers Mark Jamra and Neil Patel who are creating the first complete font family for Adlam.
Photo by Laura Serra.
Nice letterforms here by Rudi Bass (i'm assuming since that was the name of the illustrator on the front). This was on the back of this NY summer brochure, 1966.
The painted letterforms are based on Weiß-Fraktur-Kursiv, one of only a few italic fraktur typefaces, designed by E.R. Weiß and cast by the Bauer foundry in 1924.
This is among the second generation of textbooks used by the Barry brothers to teach the Adlam writing system to people in their town. Fellow students helped create the illustrations based on the school books they were all using at the time.
—
In 1989, two brothers in Guinea, aged 10 and 14, invented an alphabet for their native language. Pulaar (and Fulfulde) were spoken by millions of Fula people dispersed across Western Africa, but had no writing system of their own. Within a few years, the boys’ script spread like wildfire, as a culture embraced a new literacy. The alphabet is called ADLaM (or Adlam) after its first four letters and an acronym for a phrase meaning “the alphabet that protects a people from vanishing.”
On March 19, 2019, we’re honored to host Abdoulaye and Ibrahima Barry for a Letterform Lecture at SFPL. They’ll be joined by type designers Mark Jamra and Neil Patel who are creating the first complete font family for Adlam.
The first time we ever participated in a craft show (four years ago) we had no idea about how to display everything - so we grabbed a bunch of egg cartons we had been saving (why?) and turns out, they made a pretty awesome display for food related cards. Pratical AND pretty.
Needless to say, we've kept the egg cartons around and continue to use them.
Feel like shopping?
Mortimer Leach (1906–1975) was one of America’s leading lettering artists, and his work can be found in advertising throughout magazines and newspapers of the 1930s–60s. As an ArtCenter instructor, he taught many career letterers, a legacy that continued through the equally influential Doyald Young, and his Lettering for Advertising (1956) and Letter Design in the Graphic Arts (1960) are some of the best instructional books on the subject. At Letterform Archive we have a small grouping of his original inked boards (including tiny white-out corrections). I think they were some of the first pieces I saw when I visited Rob Saunders before there was an Archive. This week, I identified two originals that were reproduced in Lettering for Advertising: “Lockheed Constellation” and “The Bryson Lectures”.
Left to right, top to bottom:
c.1920, Catalog J
1909
1924, Catalogue X
1941, Catalog 41 (pagethrough)
We also have a Spanjer metal letters catalog, not pictured.
As far as I can tell, Klingspor’s Information (release dates unknown) was either an expansion or copy of Stempel’s Reform Grotesk (first released in 1908). Reichardt lists 13 styles in the Information family (with the Breithalbfett cross-referenced to Reform Grotesk). His records are missing samples of some of these styles so I’m sharing these here.
The most commonly used style, at least after 1958 when it was published, was Information Breitfett (Extra Bold Wide). That weight appears to be the only one that was issued widely in phototype and it was made perhaps most famous by Pablo Ferro’s iconic opening titles for Bullitt.
This scan is excerpted from a specimen by Stempel (who acquired Klingspor in 1956). Thanks to the Letterform Archive.
Tholenaar Collection at Letterform Archive.
Anyone know this wackadoodle? We’d like to date it, but it’s not listed in Reichardt or Seemann. It also does not appear on Klinkhardt’s 1883 catalog: archive.org/stream/McGillLibrary-108933-462/108933#page/n... My guess is 1890s.