I was looking through this particularly linkbaity article and found the beautiful piece below, Alphabet, by Irina Vinnik. It really reminds me of a couple of books of fables and fairytales I had as a kid — they all had beautifully ornamented capitals at the start of each story and I was completely fascinated by them. I did trace quite a few and spent rather a lot of time trying to draw my own. Sadly I’ve not got any of those early attempts so I can’t see if they were any good or not, but it did get me into a long and happy habit of tracing and redrawing letters and lettering which has been incredibly useful throughout my career. Funny thing with kids, I’ve noticed with friends of mine who have children that shovelling tons and tons of information at them and seeing what sticks seems to be a pretty good strategy. Your mileage may vary, of course.

I saw this a couple of weeks ago and I reminded myself of it with my look-at-me post, then didn’t get around to finish writing about it. I really like Kenn Munk‘s designs, they’ve got a real historical feel to them, and remind me of Civil War-era state and privately-issued money in the US. I like the idea of using stamps to print money yourself — I’d love to have a go. I think the only thing I’d suggest adding is a bit of red somewhere, like a serial number or something, but that might just be because I like black and red in print.

I guess now and again I can promote some of my own work — hey, it’s what keeps me from writing articles for Ministry of Type all the time, and this piece draws together a number of themes I’ve written about before here so it feels pretty relevant. This is an illustration piece I did for Wired Magazine for their US edition’s cover story, The Future of Money. It’s also appeared in the UK and Italian editions and in GQ magazine in Mexico and South Africa, which I’m pretty thrilled about.

The full illustration.

When creating, or even looking at, a banknote design, one of the first things you realise is their inherent and very deliberate imperfections. There’ll be an apparent mis-registration of colour, a strangely ragged line, a discontinuity in a pattern or an odd serif or ligature on a piece of lettering, but it’s exactly how it was designed. Without it, it wouldn’t be right. The design of banknotes represent something I find gloriously poetic — imperfect perfection — if it was perfect by our usual standards, it would be imperfect. Wonderful. So tried to capture some of that in my design, overlaying colours with an offset, adjusting the lettering a little bit to reflect the kind of oddities on real dollar notes and creating the odd layer of extra guilloche-work barely fine enough to see. I’m glad Wired is well printed and that it all came through.

First off, my favourite, guilloches! Guilloches have an irresistable fascination for me, the finely detailed patterning building on top of itself, over and over, to create anything from complex shaded illustrations or subtle fields of colour, and all you need to do is to look a little closer to get drawn in… wonderful. Fractals have a similar kind of appeal, but there’s more of a craft to creating guilloche patterns, some idea of I made this rather than I discovered this. A subtle distinction for some, but it just gives one an edge over the other in my mind.

The lettering was actually the most time consuming part of the piece. The denomination took some time, but the big bit of work was the multi-layered title. The faces of the letters themselves are shaded with two sets of guilloche patterns, and the 3D effect was done mostly by hand — adjusting for optical clarity and to bring in a few of those all-so-important errors. I toyed with the offsetting on the faces (to create the pale outlines and shadowed cuts) especially as the “R” came out a little strange, with that square cut-off on the inner edge of the outline. I left that for a while and when I came back to it I decided I actually liked it, so it stayed.

The cropping out of the guilloche patterns to create the shading took time to set up and then quite a lot of time for the computer to do the necessary intersections. Anyone who was following my Twitter personal account at the time may have noticed a fair bit of bitching about Illustrator’s pathfinder tools, often spitting out “The filter produced no results” after 10 or so minutes of thinking, which generally drives me to use Photoshop’s vector tools for stuff: they have their deficiences, but they do the job without Illustrator’s tedious whining errors. It took 30 minutes of it thinking about it, but it got there in the end. It seemed a bit easier the second time around, when I did the localised title for Wired Italy, though sadly no quicker.

The circular pattern of cubes I did using Google Sketchup, which I’ve been using a fair bit to create another piece (which may be a poster one day), outputting it as an EPS and then going over it in Illustrator changing all the outlines to the right thicknesses and colours, then doing it again for the offset colour overlays. Fun times.

It was great to be able to use many of the ideas I’d explored before and have to make them work together in a full commercial piece. It’s fun when you’re given a brief like this, and pretty exciting seeing your work printed in a magazine.

More, please.

I’ve been thinking for a little while that the text on Ministry of Type is maybe a tad too small, making me guilty (perhaps) of that terrible designers’ conceit, small type syndrome. I’ve been designing sites for clients lately with much larger text, around the 13-15pt range, and coming back to my own site with its small text gives me a bit of a jolt. So here goes, bigger text, and a switch to FF Dagny Web Pro from FontFont, delivered via Typekit. I like FF Dagny a lot for its own characteristics, but I have to admit I’m fond of it too because it reminds me of Univers and Folio. Of course, if either of those two Linotype faces were ever to be available for online embedding (ice-skating through Hades, anyone?) there’s no guarantee they’d actually work well in the browser anyway. Perhaps right now type designers at Linotype are working on web versions of their entire back catalogue?

Oh, and yes, I was thinking of this when I wrote the title.

I was browsing through the AIGA Design Archives and was attracted right away to this book cover for Design and the Elastic Mind. Irma Boom designed the cover and the beautiful lettering was done by Daniël Maarleveld, you can see more of his lettering and some background info here (thanks to Sean Kelly for the info). I’ve been experimenting with creating letters from guilloches, so I wanted to look a bit closer at how the designer had done these. It’s pretty interesting, though I’m guessing it’s software filling paths with a basic guilloche than any kind of mathematical derivation of the letters themselves. It’s still very attractive and effective, and I’m wondering what software was used to make it — exploring Excentro I’ve not seen any path-filling options — so I shall ask.

I had a look round for more info on the book, and found that it’s supporting an exhibition of the same name at MOMA. There’s a website devoted to it including this Flash ‘interactive’ thing, which grandly introduces itself thus:

The exhibition highlights designers’ ability to grasp momentous changes in technology, science, and history—changes that demand or reflect major adjustments in human behavior—and translate them into objects that people can actually understand and use.

Now, after a while poking around on the site I can say that it’s somewhat lacking in that regard. The typography is unremittingly dreary; a set of very long lists set in microscopic low-contrast text with odd arrows that imply function but give none, bullets all over the place and thoroughly opaque labelling of everything. There’s an animated overlay that briefly shows images from the extended info for each of the list entries (which of course obscures the title and brief intro to it), and traces lines to other things that it’s apparently related to. You can click each of the things and find some actual interesting information in there, and some really nice imagery, but the sense of confusion never really goes away, you’re left with questions — where am I in the site, what is this, what are these connections for and about? If the intention is to show that there’s loads of stuff out there, that it’s hard to read and that finding out about any of it is an onerous task and that following the connections between things is baffling and involves you having to do work to even find out what it is and is connected to, then the site is a blinding success. And what is it with those arrows?

Shame really, because the book cover is quite lovely.

Kris Sowersby tweeted a link to this specimen page, and it’s quite lovely. I wonder how much whoever made it was intending it to be a play on words for English readers - gutrot being anything but good in English, and you’d certainly hope that you didn’t encounter anything red as a direct result of it. As it were. Possibly. Probably not though. It’s a lovely page, but all the others are worth having a look through - specimen books are always good for time travelling a few hours into the future. Shame there’s not more pages in the set, though I recalled (somehow) that Martin Schröder had posted up some pictures of a Schriftguss AG specimen book, amongst other things.

This post falls squarely into an imaginary new-to-me category, as it’s apparently been around since 2004 and I’ve never ever seen it before. I’m not sure how, I’m convinced I’ve looked at stuff related to Liechtenstein in the last 6 years, and this is exactly the kind of thing I like. So yes, the other day I was emailed a link to the portal of The Principality of Liechtenstein with a message to have a look at their ‘new’ brand (I think my correspondent may have seen it here on Creative Roots). I’m wondering whether the brand just hasn’t been promoted much — or maybe I’ve just missed it. That website doesn’t do it any favours that’s for sure. Anyway, big surprise: it turns out the brand was designed by Wollf Olins, so I can only assume that their work from 2004 must predate whatever decision they made to push ugly and huh? as brand virtues, as this is rather lovely.

The type is essentially made from dots (an idea I love) and this presents a nice twist on that, using stages on a morph between a flower and a star, theoretically including a circle as one of the steps. According to the brand documentation, the flower represents the agrarian roots of the Principality, the circle is the financial side and the star is ‘industry’. I’m a little unconvinced by that, as I’m pretty sure that industry wasn’t the endpoint in Liechtenstein’s development, nor was finance merely a step along the way. Perhaps it’s best thought of as a device to indicate the range of things you can find in Liechtenstein. Regardless of that, it makes for a pretty story and an attractive logo. The overall effect is of something encrusted in diamonds (or at least Swarovski crystals), though looking at it again I’m reminded a little of early-20th Century theatre illuminations, the old ‘name in lights’ thing. Certainly the associations are of glamour and wealth, which seems to suit the Principality just fine.

The crown is a nice touch as well, and if I’m honest was what caught my eye at first — one of the perils of using a crown as your own logo I guess. Again, as is apparently unavoidable with country branding, the elements of the crown have particular meaning related to aspects of how Liechtenstein would like you to think it thinks of itself as having (sorry). Made of symbols for nature, dialogue, finance, industry and rootedness the crown works well and forms a recognisable little device when used on its own or with the abbreviated LI mark. The component symbols are used across brochures and other materials as a rather refreshingly retro pattern. I doubt I’m alone in being reminded of 1970s wallpaper, but all in all it works well and compliments the other decorative elements — the flowers, mountains, trees and (especially) that nice illustration of Vaduz Castle.

Martin Schröder recently posted about the small amount of the beautiful Rautendelein script he has, and asked if anyone could shed some more light on it. He knows it was most recently cast by TypoArt, and all I’ve been able to find (thanks to a native German-speaking friend) is this entry on Google Books, listing the face as being produced by Schelter & Giesecke (which became TypoArt when it was nationalised by the East German government in 1946).

It’s a lovely face, and like Schröder I’m impressed at the casting, and like he says it must be incredibly easy to lose those delicate overhangs, and a real pain to have to lock all the sorts together with those little notches. So, any ideas, anyone? He can be contacted here.

Original image from LIFE.

Here’s a nice topical post for St. Valentine’s Day. I just read about this fun project over on Brand New: Redesigning Valentine’s Day. Studio 360 came up with the idea, following on from previous ‘challenges’ to redesign Christmas Day and the Gay Freedom Flag. I normally like reading things like this because of the fresh thinking and the usually interesting return to first principles as a place to start, but this feels a bit flat. Brand New give a list of positives and negative aspects of Valentine’s Day, and they have some interesting ideas, but if this was a branding brief, I’d start with a list of brand aims, what we want to achieve:

• Accessible—Whatever symbols you use, they have to be recognisable. At some level it’s a similar task to designing a national flag; a child must be able to draw it recognisably.
• Obvious—Love may not actually be blind, but it’s certainly not thinking at full capacity, so whatever you use to characterise it has to work on an emotional, intuitive level. If you have to think about it too much, it’s failed.
• Fun—It really can’t be serious. Romantic love is mad, illogical, impulsive and emotional — there’s no tedious routine here, no worries about bills or ailments or whatever, it’s about life, and it’s exciting.
• Optimistic—It has to speak of unbounded promise, of potential, of positivity, happiness and, not to put too fine a point on it, the fruits of love — kids, basically, assuming reproduction is possible with one’s intended. It has to lift our spirits and make us feel good.

To go with the brand aims, you want to see what’s wrong with the existing brand:

• Commercialisation—Money (or the exchange of valuable/useful items) has been part of love, marriage and romance for however long we care to look back into human history: dowries, bride prices, dynastic unions, etc. Negative? Perhaps. Just part of life. I say deal with it.
• Waste—An increasingly valid point. If you value something, you keep it safe, dry and clean. Otherwise, you’re going to discard it, right? You’d want it to be biodegradable and recyclable — and surely you wouldn’t want the symbols of your unending love to have poisoned a river with its manufacturing byproducts?
• Taste—Ah, it’s all so crass, isn’t it? The schmalzy, glittering gifts, the plush, the fluff, the overly decorated crap that fills the shops, the low-quality chocolate, the forced roses, the sheer lowbrow nature of it all. Yes, if I admit it, this is the main problem I have with it all.

So what did Brand New come up with? A cross, essentially, a cross that sort of looks like a V. Made from the diagonal axes of the heart symbol, curved a bit to soften them up, and vertically orientable to indicate availability, it’s iconic and reasonably flexible, and the suggested application on Facebook and the like is pretty nice. The thing is, with those colours it really reminds me of the brands for the Pink Ribbon Campaign and Breakthrough Breast Cancer. If I saw this symbol without knowing its origins, I’d assume it was part of the branding for one of these two charities, and given that Valentine’s isn’t serious, and breast cancer is, this is a problem. Also, it’s too reliant on accurate reproduction of those gentle curves. In most people’s hands it’ll just be a plain ‘X’, a symbol of affection certainly, but not quite the heartfelt romantic love you’re trying to get across. So as much as I respect Armin and Bryony, I think this symbol is a dud. It’s too serious, too cold, too (sorry) dull. It’s based on diagonals across a heart, so it’s based on a heart. Why not use a heart symbol then?

What defines the new curves on the cross? Where do they come from? It’s all a bit arbitrary.

And this is the root of it. We already have a set of well-recognised, simple, straightforward symbols we use to indicate romance and love, and we have a very flexible brand palette, ranging from rose pink to carmine red. The biological (and anatomical) associations with the colour are pretty obvious, and happily elicit a strong emotional response of exactly the sort we’re looking for with Valentine’s Day. No other colour does the job; for example even if Tiffany Blue is a welcome sight for some on Valentine’s Day, it’s not the colour that people will ever associate with love, just merely one of the benefits of it.

So, let’s look at the symbols of love and Valentine’s Day, then. What do we have?

The Heart

Hearts on everything! This surely is the main thing everyone associates with Valentine’s Day. It’s simple, obvious, easy to draw, recognisable, and even has a kind of logic to it. It may not be a perfect image of a human heart, but it’s close enough — the way it’s usually drawn, it’s round, plump, healthy, it’s a symbol of fullness, of comfort, of abundance. It’s even the symbol Armin and Bryony started with to create their cross, so why gild the lily?

Cupid

The god of erotic love, we all recognise Cupid; the winged, plump little boy carrying a bow and arrow. These days he’s pretty much interchangeable with the legions of generic winged babies floating around with ribbons, hearts, garlands of flowers and the rest. They’re often called cherubs, but these aren’t the four-winged, four-faced, ninth-rank angels from the Bible at all, so while there’s not going to be much confusion, you can call them putti. Whatever you call them, they’re often depicted doing something slightly mischievous; Cupid represents the impulsive and childish nature of love. He is anything but serious, he is newborn love personified. In a literal sense too, he represents that ultimate product and beneficiary of love - the child.

Roses

What better symbol of romantic love than the genitals of a plant? I guess a picture of our own organs would be considered a little forward and might embarrass the waiter at that nice restaurant you’re at. People give all sorts of flowers on Valentine’s Day, but it’s the rose, the red rose that’s become the ultimate gift of love. It’s the richness of colour, the fullness of the shape of the flower, the heady scent, they’re beautiful and inspire our senses. They’re also a bit pricey around Valentine’s Day, so to be cynical for a moment, they say, “Look, you’re worth me shelling out for these things, even if they are going to be dead tomorrow”.

Food

Chocolates, sweets, a nice meal – a gift of food has been a tangible sign of love for as long as we can tell. It has to be something rich and indulgent, preferably sweet, uncommon and yes, expensive. In the past, honey was the acme of sweets, to get at it you usually had to kill the hive (and face the angry bees), and that made it much, much more expensive. It’s no accident that we have a honeymoon (not exactly an everyday occurrence) and that the promised land was described as a land of milk and honey. Giving a gift of honey to your beloved showed that you were willing to spend money on them, and that you had it to spend. Commercialisation is hardly new when it comes to love.

The Brand

I think the branding of St Valentine’s Day is pretty much perfect. It fulfils everything it needs to do. Sure, it can be tasteless and crass, but it can be refined and beautiful too. You’ve four symbols with which to express your love, the abstract heart, the figurative cupid, the symbolic flowers and the tangible gifts of food, and you have a colour scheme you can use to brand any additional gifts and accessories, lingerie, wines, foods, lighting, and so on — you can simply do whatever you want with them.

Valentine’s Day is an incredibly democratic event; the barriers are low, the incentive to be creative high, and the rewards of success extraordinary.

And, of course, you can refuse to have anything to do with it and grumble about all these grinning idiots facehugging all over the damn place and upsetting the horses. Clearly, that’s the sensible opinion, held by all right-thinking people, which, I guess, is the point.

There seems to be a lot of ampersand-related activity about at the moment. Ampersands are of course beautiful things, and occupy a special place in most designers hearts, so you’d expect there to be a constant low-level hum of ampersand appreciation online, but two projects came up recently that are particularly interesting.

The first is a straightforward commercial venture, by Haäfe and Haph, who have designed a set of 10 display ampersands, on sale for $9.99. That’s less than seven quid! Of course I bought the set, how could I not, for I am weak:

The second project is Font Aid IV, organised by the Society for Typographic Aficionados to raise money for the earthquake rescue and reconstruction in Haiti. The idea is to get submissions for ampersand designs from loads of designers, assemble them together into a font and sell it, giving all the profits to Doctors Without Borders. Yves Peters wrote a bit more about the project on the FontFeed here, and there’s a good selection of submissions on this Typophile thread. Some of them are really rather lovely — a few of my favourites are below — I look forward to the font being available to buy:

From left to right, submissions by Sulekha Rajkumar, Jos Buivenga, Victor Zuniga, Oleg Macujev and Anderson Maschio. I curse my own talents for procrastination for not doing one myself.

Another recent post is this one by Alex on ISO50, showing some of his favourite ampersands and talking of the variations in the ampersand and the challenges in drawing the symbol. There’s also a calendar project showing a different ampersand every day, 300&65 and a whole blog about ampersands, called (you guessed it) Ampersand.

Then of course there’s Hoefler & Frere-Jones’ middle name, with historical information on the various forms of ampersands and how they appear in H&FJ fonts.

I can end this post with an appropriate quote from Bringhurst, “In heads and titles, use the best available ampersand”. You’ve a lot of choice, even online — even more if you use a font service, or some other method for showing type online.