It’s not every day you come across something that you’ve not only never heard of before, but never even suspected existed. Such it was with me and Mongolian Calligraphy until yesterday evening. I found some examples of it in a Google image search from here and here and decided I needed to learn more about it.

It turns out that thanks to Stalin and the Soviet Union we nearly ended up losing the classic Mongolian script as a living writing system entirely:

Introduced in the times of Chinggis Khaan, some eight centuries ago, it was widely used until 1942, when Stalin decided that Asian nations including Kazakhstan, Uzbekistan, Turkmenistan and Mongolia must all use Cyrillic instead of their native script. Mongolia Today

Thankfully, now that the Soviet Union is dead and gone there are now efforts to revive interest and skills in ‘Old Script’. There are a couple of other writing systems used for Mongolian, but I’m mostly interested in the classic script, and especially the calligraphy it makes possible. It really is beautiful. Interestingly, it’s read from left to right, as Wikipedia explains (from the classic script article):

Most other vertical writing systems are written right to left, but the medieval Uyghur alphabet and its descendants - the Mongolian, the Oirat Clear, the Manchu, and the Buryat alphabets - proceed from left to right. This is because the Uyghurs rotated their script 90 degrees anti-clockwise to emulate the Chinese writing system.

I noticed the left-to-right reading direction after a bit of research led me to The Mongolian Bible site, which has the New Testament translated into Mongolian and presented in classic script. You need Internet Explorer to see it, as it uses Microsoft-specific things to display the font and the vertical type, but if you have IE it’s worth a look.

Made me look twice, thrice… does that say, “kerning?” or “keming?”. A neologism from David Friedman:

Just a little, hey-look-at-this post. I love these illustrated (or would that be illuminated?) fruit by Sarah King. See them (and a banana) on the Evening Tweed site.

I’ve had some images from these articles in my ‘inspiration’ folder for about two years now, maybe even three. I’ve only just got around to looking closely at the lettering on them - it was the virtuoso watercolour technique that attracted me to them originally. The most interesting one for me is the Sudana chocolate poster… or is it packaging? The article doesn’t say. I think the best way to understand lettering is to redraw it using beziers - not a technique that works for everyone, but it works for me. I noticed right away that the letters are drawn with refinement and precision, and it was a very pleasant job to reproduce them with (almost) every point at extrema. The ‘S’ needed a couple of extra points along the main stroke, as if Holwein applied a little extra pressure at the midpoint to create a subtle bulge there. The swirly ‘a’s are a little more involved, and to draw them so they can be rendered reliably means a few extra points and outlines, and what with this being lettering they are of course different from each other. I doubt I’ll want to create a font out of these, but I’ll keep them handy for any lettering projects I have, that ‘R’ especially.

I remember as a kid finding a load of little glass bottles buried among some building waste in the garden. I’m not sure where they came from or what they were for, but I know one still had a bit of cork stuck in its top, and each one had a different shape embossed into the front. I was fascinated with them, and what they could have been for - clearly nothing environmentally persistent, nothing toxic anyway. I washed them out and kept them for a while, eventually losing track of them in the whole growing-up thing. So, when I came across this collection of perfumes (via Non 2) I had quite a nostalgic moment. It’s an oft-remarked phenomenon that things that are individually uninteresting or unremarkable gain a special significance and appeal when collected together. A scan of a coffee stain on paper is nothing special, but scan a whole load of coffee stains in and upload them to Flickr, hey presto! It’s interesting!

I am so wanting some of these from Harmonie Intérieure. Definitely bookmarked for when I get round to decorating, and I’m looking forward to seeing the ‘urban’ collection too.

I just found this great collection of mostly French and Dutch promotional materials for the Citroën 2CV. I love the typography of the 2CV bit on a lot of the examples especially.

A few weeks ago, I spent a good hour trying to find some background info on the rebrand of Dubai International Airport, without success. I just went back to the Brand New post on it and there it is, a link, courtesy of Ty Wilkins.

While the airport logos have patterns similar to the tesselations characteristic of islamic art, the main logo pattern is rather reminiscent of a compass rosette, perhaps to imply that Dubai is at the centre of things? I generally agree with the Brand New post (and many of the comments) in that the positioning of the type on the individual airport logos seems clumsy and distracting. Having the type endpoint line up with the apex of the implied sphere is a straightforward solution, and yes, it’s not all that bad, but it’s not all that good either.

There’s something oddly old-fashioned about the choice of typeface and colour too, like something from the late 1980s. I’d prefer to see either the word “Dubai” or the airport identifier in a different weight, or black (instead of grey), or something - anything to give the type some life. I’m not sure about the face - it does look a bit like the Emirates logo, and I’m interested to see that there’s no arabic version of it too. Changing the positioning of the type, as below, focuses attention on that centre of the centre-of-things pattern and would look even better in arabic right-to-left lettering - in my everso humble opinion, naturally:

Mind, when we get some wider applications of the logo to brochures, signage, wayfinding and the like, it could appear quite different, with the odd type integrated and comfortable with the patterned globe.

…

Oh, and I have to point out the odd language on the logolounge article,

Dubai Airports tapped Cato Purnell Partners in 2007 to develop an identity system that would not only unite the organization’s holdings, but also mark Dubai as an international air hub.

Tapped? How do you tap an agency? I have horrific visions of plumber-surgeons installing chromeware directly into living flesh, a media agency relationship direct from the mind of Guillermo del Toro! Of course, this would hardly be the only linguistic horror inflicted on the language by the media industry, I say over and over again, the word creative is not a noun, no, not even when applied to a person, and especially not when referring to artwork. Rant over.

I just came across this site, The Dieline, which claims to be “The Web’s Leading Packaging Design Blog”. There are some very nice things on there indeed, including these wine labels. I must admit to being rather heavily influenced by the labels on wine - if I like the label, generally I think I’ll like the wine, and oddly enough it’s been quite successful in the past. Is that so wrong? After all, I’m not alone (same site, another nice wine label). So, having said that, I think I would definitely like to try this:

I just saw the new Animal Planet logo here, then after a search, here (of course). My first impressions weren’t too great, immediately I was wondering why the M was on its side - it looks like a reversed sigma, a kind of mathematical AniΣal Planet, if you will - and the mixed of weights and stretched type just seemed confusing and messy. However, after looking at some of the applications on the website (there aren’t many yet, though look at the videos on the home page, and here) I’ve changed my mind. Despite the obvious typographic objections (stretched type - ow!) I actually like it. I still think the sideways M isn’t too great, but overall the logo has a strong identity and fits with the aim of moving the channel from exclusively family friendly fare. They wanted to make the channel more grown up, and I think they’ve done it, simultaneously cutting the apron strings to the main Discovery brand by losing the spinning globe. I often like global ‘over-brands’ like Discovery had but it requires a consistently high standard of application and I think the old Animal Planet logo shows that that wasn’t the case. The new logo has a big advantage in that as it lacks imagery, it has a much wider range of applications for combining it with photography and video - a big strong typographic logo is much easier to apply to transitions, fades and tints than something with an image of an elephant on it, by far. The old one had some nice applications, but I look forward to far more from the new one.