These wooden name puzzles by John Christenson are great. Grain Edit posted about them recently and I kept the link — one part of me really wants one of my own name, but the sensible part of me warns that I’ve got more than enough stuff and I’m supposed to be minimising clutter, but still, they are very nice. Seeing the photo of a number of them together makes me wonder whether a poem or short piece of prose would be a good subject, then it’d go on the wall and it’d be art and it wouldn’t be clutter at all, oh no. Rationalisations, rationalisations…
Up There is one of those things that’s been linked to like crazy across Twitter and most of the sites I read, but I’d not got around to watching it. I find that with a lot of online video, I mark it to watch later when I’ve a bit of time to devote to it and then, well, don’t get around to it. So, if you’re like me and haven’t seen this yet, I do recommend watching it. It’s only 12 minutes, very well composed and edited and really gives you an insight into the work of people who hand paint signs and adverts on the sides of buildings. It’s a craft that (not surprisingly) is dying out, but one that can be kept alive by commissions from a few enlightened companies and agencies. The film was sponsored by Stella Artois who, as JJ from Graphicology points out, are producing more narrative-based advertising lately. Kudos to them for this, I’ve a lot more respect for Stella Artois the company now. Less said about the lager.
Another link to the ever-inspiring The Art of Hand Lettering, this script is beautiful. I love the composition and the flow of the letterforms, the even colour across the lettering takes my breath away, and it was all done by hand, late at night. I guess that’s the sign of an expert, no? Lovely. Go and take a look at more of his work.
Michael Bierut hates ITC Garamond. I wouldn’t normally link to something like this, but unusually for Design Observer there are a couple of actual laugh-out-loud moments in the article, including this gem:
The most distinctive element of the typeface is its enormous lower-case x-height. In theory this improves its legibilty, but only in the same way that dog poop’s creamy consistency in theory should make it more edible.Michael Bierut
Go and have a read of the whole thing. It’s good to see an actual taste-based critique on something for a change. I’m a big supporter of backing up your statements with facts or reasoned arguments, but from time to time we’re all entitled to a bit of plain old raw opinion. And if you’d like to make up your own mind (why wouldn’t you?), here’s a sample of ITC Garamond Light:
I was reading the latest post on The Art of Hand Lettering earlier and found the stages in the process fascinating, in that I preferred some of the sketches to the end result. I do really like the final logo, but there was something about one of the on-screen workings of the logo that I thought really brought the word alive — it’s the one in the detail I cropped from the article at the bottom right below. There’s something really playful about it, like the rest of the word is being bounced along by the K. Still, that’s my impression and it most likely wasn’t the client’s intention — and that’s the difference between doing stuff for yourself and doing stuff for paying clients!
Friday 26th Mar 2010
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.
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:
To go with the brand aims, you want to see what’s wrong with the existing brand:
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?
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?
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?
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.
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”.
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.
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:
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.
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