Sunday 14th Nov 2010
I wanted to trace this for the fun conceit of the C being used as a retort stand. It’s an interesting way of dealing with the open space created inside the Ch pair — I don’t think it quite works, the horizontal bar is a bit clumsy and the positioning of the retort glass itself could be more balanced, but it is all rather fun. I’ve traced it as best I can, not having any higher resolution example than what you see below, so yes, the script is quite clunky. At a certain point you realise you’re creating rather than copying. Who knows, maybe the original was even more wonky? I’d love to see a high-res example of it though. Originally seen here on CO₂Comics, via Drawn.
Thursday 7th Oct 2010
I like the idea of typographic maps, from the fairly abstract ones by ORK to the impressively detailed linocuts by Andrew Webber, so it’s nice to see another approach, especially when there are some clever little touches. These posters from Axis Maps show maps of Chicago and Boston made entirely from type, using a technique that is fairly straightforward and which could risk producing a rather dull result, but Axis have created textures and used typographic colour to create an interesting set of images. The overall effect is pleasing, and I think if there was a New York or London version I’d be tempted to get one. A couple of details showing some of the effects I like — using a heavy stroke on type to create the dark line of a river and the overlapping curved text to create the waves on Lake Michigan:
One little niggle though. As much as I like and admire Museo, I don’t think it works as a titling face on these maps, not at this size, and not in this context anyway.
Sunday 12th Sep 2010
Definitely catching up with old news with this one; I’ve had this Brand New article on the new Royal Opera House identity by Someone bookmarked for a while. If you’ve not seen it already, the new identity centres on a fantastic new cut of the royal crest by Christopher Wormell and is supported by new type and image guidelines. The new typeface is Gotham Light, which is lovely and works wonderfully with the new brand, but I can’t help but feel a little sad to see the Caslon-esque old wordmark go. Still, if it had to go, it had to go, and given how Covent Garden looks and feels nowadays Gotham is a good choice — it’s a fresh clean and light companion to the dense complexity of the crest, and works perfectly with the more modern layouts and imagery they’re using, but was Gill really just too much of a cliché?
The new crest itself is wonderful. The old one had a certain old-time charm to it, but next to the new one it looks distinctly shabby. Like Armin Vit, I’m especially impressed that they produced two versions for use on light and dark backgrounds, rather than simply inverting the image. The work is so well done that it’s hard to work out what’s actually different between the two images — they’re not just outlined or trimmed, the thickness, detail and density of each image is different, but designed to give the impression they’re the same. Clever and skillful work by a true master of engraving:
Well with a title like “Ampersand Print” this post could refer to any number of things, but this time it’s this rather pleasant letterpress print by Colorcubic. It’s a limited edition of 250, but as I type they have some in stock — I just bought one in fact. The image is a recreation of Herb Lubalin’s ampersand made of Inksie’s four icons and what with the tiny symbols tracing the thin lines it reminds me of fractal patterns. However, unlike most fractals this looks good and it’ll go great on my wall.
Saturday 28th Aug 2010
This is a very belated post, but one I’ve been meaning to do for a while. Cameron Moll’s Colosseo Type poster is a joy to behold. The level of detail in it is astounding, using type to create textures, patterns and outlines to illustrate the Colosseum. The piece is letterpress, and took over 250 hours to create; it’s set in Goudy Trajan and Bembo Pro, and interestingly, some glyphs recreated using tracing and redrawing:
Additionally, glyphs have been recreated based on the work of master Italian calligrapher M. Giovambattista Palatino, as featured in Libro di M. Giovambattista Palatino Cittadino Romano, published in Rome around 1550 AD.Cameron Moll
Belated or not, it turns out now is a good time to post this as Moll is having a sale of not just this, but the Salt Lake Temple poster and the EPS of the traced glyphs from the Palatino book (one of which is up at the top right). So yes, 25% off, and you get a free glyphs poster with one of the larger posters. Excuse the sales-y tone, but I think these posters are worth every penny; they’re lovely on screen, but as physical objects they’re quite beautiful.
Friday 30th Jul 2010
Me Design Magazine highlighted this fascinating project, While Stocks Last by designer Leandro Lattes; a massive collection of photos of Madrid, across two books, documenting the incidental details of the city; shop signs, intercom buzzers, bars, cafés and the like. I’m normally pretty wary of ‘found type’ collections as they tend to lack any kind of context, analysis or insight — or indeed any sense that they are curated, but what makes this different is the restriction to the one city, and the intent to document things that are likely to disappear without record. There’s very much the power of the collection going on with projects like this; individually the objects and scenes may have some interest, but all together like this they draw you in — the similarities and differences become compelling and before you know it you’ve lost an hour or two. Go and take a look.
It looks like the UK’s Financial Services Authority, theoretically responsible for making sure financial institutions (like banks) stick to the law, don’t do stupid things and don’t rip people off, is to be shut down, or merged into the Bank of England, presumably because it didn’t do enough of those things well enough and often enough. This will make everything OK again, we are led to assume. Such is life. I guess this is the beginning of the end for the FSA logo though, which is a bit of a shame. The lettering is crushingly dull, but the scroll-and-circle device is lovely — a real I wish I’d done that kind of thing. It’s drawn to resemble a continuous scroll such as you’d find on a certificate or banknote, but is just cleverly constructed to look like that. It’s just so beautifully and simply done it’d be a shame for it to disappear altogether.
Xavi García is a student at Central St. Martins, and recently produced this banknote-inspired piece, which I find quite beautiful. It’s entirely hand-drawn and has an impressive array of security features: watermarks, UV-responsive inks and see-through images — the attention to detail here is absolutely perfect. There’s a few images here, but go and look at Xavi’s site for more. Interestingly, he’s also a student of Kenn Munk, who I wrote about before here.
Thursday 17th Jun 2010
I wasn’t expecting to have anything to write about that was football-related, even during such a big event as the World Cup, but wonders never cease. When Benjamin Prescott mailed me about a personal project to create and sell limited edition World Cup wall charts he’d designed I had a big of trouble thinking what it was for — I’m so out of touch with such things. I mean, yes, I’ve a theoretical knowledge of the offside rule (something that’s talked about as if it’s one of the Great Mysteries of the Ancients) and yes, I played it at school, but the whole yelling-at-the-tv, wearing team colours and flying the flag kind of thing always passed me by. Still, I know enough people who like it all (so I can ask), and as it turned out I was just re-reading the email when I noticed I was sat right next to one of the wall charts, and a lovely thing it is too! What really interested me in it was the recreation of the typeface from Subbuteo scoreboard references — I like lettering and illustrations made from dots anyway so this was a nice find, and it works well with the Avenir used on the rest of the chart too. The wallcharts are limited edition, so I hope I’m not too late in writing about them and you can still get one if you want one.
I’ve been following with some interest (especially after my e-reader post) the reaction to Wired’s iPad app. To say that it’s polarised opinion is an understatement and a half, and there have been a hell of a lot of confident-sounding assertions and assumptions about all aspects of how to take a magazine from print to screen, a few of which have got me thinking. The first of those things is:
There is this idea that there are print designers and screen designers — you are one or the other, you can’t be both, or neither, or some hybrid. This is a false dichotomy. I am a designer. I design for print, and I design for screen. I’ve also designed for ink on paper that wasn’t printed at all but applied with a pen. I’ve designed for paint on canvas (in a sense, it’s still designing). I design for a number of media, but it doesn’t mean my having skills with one precludes my having skills with another, and this is what gets me about this taking-magazines-online argument — it’s a form of ad hominem attack to begin with a dismissal of a piece of work for screen because the designer normally works in print. Ad hominem is a dreadful and ultimately sterile way to attempt to win an argument or ‘score points’. Focus on what has been made, first.
I’m generalising with that title somewhat, as no-one is saying quite that. Oliver Reichenstein wrote an excellent piece on some of the print conventions that have been used in the Wired (and other) apps and how they don’t work. I agree with what he’s said, but perhaps not to the same degree. He presents many assertions as hard fact, as absolute truth, and I simply can’t accept them as such. Generally, yes, multi-column layouts can make a piece harder to read, and in the Wired app they rapidly become tiresome and distracting, but that’s not an effect limited to on-screen reading — I’ve found some newspapers and printed magazines hard to read for exactly this reason, but I’ve read stuff on screen just fine too, and the opposite (and conventional understanding) is true too. Wired’s use of multiple columns feels jarring, and in most cases throughout the magazine I’d like to just read the page as a single column of text. His other points on signalling, ornamentation and mixing fonts are largely true, but again, they’re not the entirety of the truth. It’s a matter of how skilled you are as a designer whether you make each thing work or not. Hard rules are true until you discover all the exceptions, and when dealing with human behaviour and preference I think it’s pretty much all exceptions.
This is the kicker for me. I’ve read a lot of comments recently expressing the fear that the Wired app will not only start a trend for how they do things, but establish conventions. Possibly, but as pretty as it was, and as much of a wow-factor it had, the web today doesn’t look like Praystation (if you can remember that far back). Wired’s print magazine has always experimented with new ideas, from printing articles in spot varnishes, metallic and fluorescent inks, setting all the type on spiral paths and all sorts of fun, crazy things that make the damn thing impossible to read, but it was Wired. That’s a big part of what it’s always been about. To complain that the Wired app isn’t a paragon of usability is to complain about bears’ lavatorial habits spoiling your walk in the woods.
I don’t know how magazines are going to develop and change for on-screen reading. The production values (and costs) of the Wired app are incredibly high — video, animations, complex interactive illustrations all cost a lot of money to make but don’t provide much ‘body’ to a magazine — you still have to produce a lot of editorial content as well. Most magazines will find such a high cost with such a low apparent return unsustainable, just as most print magazines aren’t full of expensive paper stocks and printing techniques. So don’t expect that to become a trend, instead they’ll be special features, just as a CD on the cover or a pull-out section is in the print world. No, I think most on-screen magazines will be dominated by long articles of fairly plain text interrupted with advertising, just as print ones are now. I’d like to see some better means of delivering advertising on-screen than we have now though — I find flickering and flashing adverts unbearably distracting and can’t imagine paying for any magazine that uses them in its articles, so I’d hope for something more respectful and dignified.
Whatever happens, and whatever conventions we end up with, I suspect that the reality will be at once quite wonderful if you stop to think about it, but disappointingly dull and prosaic on first impressions. I doubt we’ll have a wow moment from it, which is, I think, kind of the point.
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