Andy Polaine recently tweeted a link to this video on David Airey’s site about Hatch Show Print, a letterpress shop established in 1879 in Nashville, Tennessee, which is still operating. The manager, Jim Sherraden, has strong views on how to run the shop, with a motto of “preservation through production”, the idea being that all the equipment, all the blocks, everything, is still used regularly, even if it’s for one print. Sherradden regards the shop as a living museum; everything is letterpress, and done by hand, and interestingly:

we don’t introduce new typefaces because I don’t want to pollute the integrity of the archive.

I’m glad someone is doing this. I’m glad that this style, so American, is being maintained, that these wood blocks are being used for printing and not for decorating someone’s wall, and that these presses are still operating and being maintained. I’m glad someone’s doing this, because I don’t think I’d want to. I know I’d find myself craving new typefaces, screenprinting, digital print, variety. So yes, I’m glad someone’s doing this. Someone else.

Some stills from the video. Look at all those wood blocks. Wow.

One of the design sites I read regularly is Fubiz, and on there I recently read this post on Daniel Carlsten’s work for the new gambling site, Gnuf. I’m rather fond of the type and iconography of playing cards (as I’ve posted before), so a new identity using many of those themes is going to get my attention, especially as Carlsten has designed a typeface for Gnuf based on them. Looking at how the whole identity works on gnuf.com, I like how he’s not tried to ‘smooth out’ the type, keeping the instead the odd widths and shapes of the letters and numerals and their exaggerated, oddly-placed serifs. I guess there are free fonts out there that do the playing card thing well enough, since the theme hardly requires fine kerning or balance, but it’s unusual and worthy of comment to see it as part of a nicely integrated identity like this. It’s worth checking out the rest of Carlsten’s work too, there’s some lovely work in his portfolio.

Normally I find all-Flash websites intensely frustrating and rarely recommend them to anyone. I think no matter how glittering with effects, how technically accomplished they may be, they represent a regrettable attitude to the web; a lack of ‘playing nice with others’ that keeps the information locked away, often unlinkable, frequently unquotable and usually inaccessible. Still, sometimes there are sites that do something so nice it’s worth linking to them, despite their Flashtastic nature. A few days ago It’s Nice That linked to the new site of Established & Sons which has some lovely things, and some lovelier type treatments using URW’s Didoni. One of my favourite examples is below:

Some time ago I quietly redid the logo for The Ministry of Type, recreating the crown image out of little dots. I didn’t make an announcement out of it at the time, but I was (and am) pleased with it — it’s a lot more me now. I had a number of reasons for wanting to redo it, mainly that even though I drew the original crown image, it was very close to the official ones, and related to that, those Keep Calm and Carry On posters have become so incredibly popular that I’ve had more than one person ask whether there was a link between them and my site. Short and long answer: no, there isn’t.

So, it was time to redo it, and with the dots I was feeling very pleased with myself indeed, until the very next day when I saw a link on TypeNeu (I think) to the recent work of Brighton’s own Colophon foundry, specifically their typeface Perfin, which has a crown made of dots in it. Consternation! Had I unwittingly ripped them off? But no, their crown is very different from mine, and I’m pretty sure I had my idea without seeing theirs, and more importantly, there’s plenty of room in the world for lots of things made of dots. Still, it did provide a nice excuse to get in touch and I can confirm they’re an extremely talented and nice bunch of people. Here’s a bit of Perfin, designed by Alison Haigh for Colophon, you can see their inspiration for the face: the perforations and dot-matrix printing Royal Mail use to identify post in their systems.

Perfin, designed by Alison Haigh for Colophon. Images courtesy of Colophon.

That was some time ago, and I was reminded that I’d meant to make a post on this when I read on Brand New about the new Pfizer branding. Ignoring for a moment the regrettable update to their logo, I was drawn to the other brand assets that Siegel+Gale produced for them — the dotted illustrations and typeface, below.

I can imagine that there were all sorts of discussions that likened the dots to pills or something or other, but to me, thinking of Pfizer as one of those old 20th Century companies like ICI, IBM and all that, I had images of mid-century computer displays, specifically a type of nixie tube called (I think) a pixie tube. I’ve got a picture of some basic nixie tubes below, as it seems that the type I’m familiar with—where the letters are formed from individual points of light — are quite rare. Indeed, this is the closest I could find online to the type I saw in my father’s and grandfather’s workshops. They’re really rather beautiful things:

A couple of nixie tubes. Image courtesy of Adam Greig on Flickr.

Update: If you’re interested in perforated typefaces, you may also like to take a look at Dividend, from Hoefler & Frere-Jones. Amusingly, there’s also an article on typography.com about nixie tubes.

So yes, that Pfizer logo change. Overall, it’s good, but it’s just that P. It seems so disconnected from the rest of the name now — I really think they should have kept the serif in it, it provided a visual ‘push’ of the P into the F. Just my opinion, mind.

Entirely coincidentally, I get to post about another archive of a long-running and well-known magazine; this time, Playboy. John of I Love Typography tweeted a link to this, just over 50 issues of Playboy from 1954 to 2006. The site will require you to install Silverlight, but is fairly well put together and easy to use, with a nice contents feature that also lists the ads and a search function that works well. If you need to be reminded that Playboy magazine contains a few pictures here and there of ladies in provocative poses with few clothes on, then consider yourself reminded — for whatever reasons you have, be they sociological, political or because a magic sky-fairy told you, if you find such things offensive, don’t click through. Of course, the images and type I’ve included below are entirely ‘safe for work’.

I’ve never looked at Playboy magazine before — it’s not really my thing, shall we say — but have of course heard the somewhat defensive assertion that the articles are worth reading. Just a quick look through reveals interviews with Fidel Castro, Miles Davis, Sterling Moss, loads of fiction, journalism, pages and pages of dense, dense text, and then, so rarely you almost ask “What’s that doing there?” a picture of a young woman with not much on. I must admit I didn’t really look at the newer issues, as after the logotype changes in 1972 the whole thing looks a whole lot less appealing, and makes me think perhaps the magazine becomes a little less, er, cerebral from this point. The bits of type and spreads below are mostly from the late ’50s and early ’60s, and are just an example of some of the lovely bits of type and layouts in the magazine. So yes, go and have a look at the Playboy magazine archive and do some of your own typographic research, if that’s what you’re after.

The ‘$4.32’ bit is from an advert, all the rest is from editorial content. I haven’t verified these forensically, but the editorial text looks like a mix of Clarendon, Nimbus Sans, Caslon, Caslon Italic and Cheltenham.

I love the use of the rabbit device to end an article, and that it’s still in use today. Note also that the Playboy wordmark at the top left of the page has a serif on the A, which is missing on all other uses of it. I’ve reproduced it larger at the top of this article.

It’s Nice That linked to this great piece on Amusement magazine, telling the ‘real’ story of how the iconic figures and objects in videogames were made. I love the idea of these things being made in a workshop - the pong one below is great. It took me a moment to recognise the Mario mushrooms being carved out of stone, but boy, if someone ever was to make them that way I know of quite a few people who’d want to buy one.

I’m often saving links from the Contemporist, but this hotel, Creators Inn by Elvine (and others), caught my eye for the nice labelling of the wardrobes and the printed history of Elvine on the shower screen. It’s a nice touch, but I wonder if it doesn’t seem a little incomplete as an implementation - things like this are best left subtle or taken to the extremes; if every item in the room was labelled in the same way, with usage notes perhaps, it would be quite the thing. Also, as one of the commenters pointed out, it’s hard not to notice the similarities between the hotel logo and that of a rather large hotel chain. Still, it does look rather nice, and if you’re a creative person visiting the city, you can get free accommodation there. Now that’s a nice touch.

I saw the cover of this magazine, designed by Ill Studio, on ISO 50 and immediately saved the link; I love the type, the photo, the composition, everything. The rest of the magazine is beautiful, but it’s the cover I love - go and take a look at the rest of it. Now if only there was a link to the magazine’s site - with such a generic name it hardly pops right up on Google.

The cover and an inner page, from the Ill Studio portfolio.

Here’s something I’ve been meaning to post about for a while, and happily it’s a local project, right here in Brighton and Hove. There’s a new service, just launched, which lets you text a code for a particular bus stop to a number and get an SMS back telling you the next five buses to go from that stop. It’s quite a neat idea and pretty fast (I tried it), and a nice complement to the other ways of getting bus information*.

So that’s the back-story. What is good, and particularly appealing to me, is the advertising campaign and the various materials to help people keep a track of the bus stop codes, designed by David Earls of Typographer.org, for Brighton & Hove City Council. I saw a fair bit of the development work on this and I’m glad that this design was chosen and made it through to print unscathed. It’s a beautiful arrangement of type and colour, designed to appeal mainly to teenagers and young adults (and, incidentally, typographers) and adapts well to a wide variety of applications. The typeface (Rockwell Extra Bold) lends itself well to this kind of extreme kerning, with the nicely balanced word shapes the alternating colours and tones ensuring the message remains perfectly readable. The campaign included billboards, bus-stop adshels, A4 posters, information stickers, leaflets with punch-out cards, and a competition to win a new mobile phone:

Available for pick up from buses, local ticket and travel agencies and council offices, these cardstock leaflets publicised the scheme, and…

…they have a wallet-sized card you can pop out for you to record bus stop codes on. The card stock is only glossy on one side to make it easier to write on the reverse.

A mockup of the bus stop adverts.

* Note: I should point out that it’s not free, or even particularly cheap. It’s not provided by Brighton & Hove City Council either - though it is partially subsidised by them I believe.

The rebranding of UKTV’s channel lineup has been going on for a while now; every couple of months another of their channels gets a new name and identity, and the original, extraordinarily pleasant and consistent network branding (at right) takes another step closer to oblivion. One of the recent rebrands was for UKTV Style, which got a pretty dreadful implementation of a reasonably nice idea - David Earls wrote more about that on Typographer.org. Next to go is UKTV Food, which will get a logo more suited to a free supermarket magazine (it really reminds me of the old Sainsbury’s one).

I guess you could say I’m not much of a fan of the overall quality of the rebrand, but there are a few good bits in there - Dave, Blighty and Eden are quite pleasant, with some nice ident work. My favourite by far though is Alibi, previously UKTV Drama. They’ve gone for a treatment reminiscent of your fashionable dynamic typography, but incorporated imagery of escape, fear, crime and violence. The typewriter typeface is perhaps a little cliché for the genre, done to death in countless private investigator made-for-tv stuff, but the stylish animation rescues it, keeping the familiar associations while providing some originality and freshness. There’s a montage of the channel idents here, and I’ve a few screenshots below.

Lovely.