While browsing Ffffound I, er, found a few of the images from this article on Things To Look At on a new book about Geigy’s design and advertising. Some of the examples just call out to be traced - especially the bugs on the pesticide packaging. The illustration for Neocid is quite gloriously morbid - there’s no doubt at all what this stuff is designed to do, even without reading the tagline, “A barrier to house vermin”. The thin white barrier - of death.
The examples make pretty consistent use of (I would guess) Berthold’s Akzidenz Grotesk, with a few other bits of interesting lettering on things like the herbicide and pesticide packaging above. I traced as best I could the letters from the photos, and though I’m not sure what typeface it is (if it is even a typeface) because of the flat curves and how closed the letterforms are, it reminds me just a little bit of House Gothic 23.
One thing that interests me on some of the examples is the Geigy roundel logo (at right). It’s so at odds with the simple wordmark used elsewhere, and with this other logo on Grain Edit, that I’m wondering where it came from - and where it went. I’m not saying it’s any great loss - I find it rather ugly - but it is very curious, and I will admit the treatment of it in one of the examples (detail below) is rather appealing. Does it have historical relevance I wonder?
It’s a logo that works best in multiples, which might explain why it went. Perhaps the book has the answer. And on that note, I would link directly to the book on the publisher’s site, but they don’t have individual pages for them so I can’t. It’s in this list. Look for dolphins.
Coincidentally, not long after coming across Character, I found this article about the Berlin Museum of Letters on Core77 (via NOTCOT). Obviously enough it’s a museum devoted to letters, big ones created for building signage and wayfinding in wood, metal, glass and plastic. Core77 has some beautiful photographs and a bit of background info on each one. I really, really, want the DaimlerChrysler ones; so shiny! Lovely stuff, go and take a look.
I keep meaning to post about Preserve. I had the image ready and everything, then Mark tells me about a big update to the site. It’s a project to record the painted signs on old buildings and other parts of the urban fabric before they fade completely, are painted over or are destroyed by demolition. Most of the pictures are of New Zealand buildings, but there are a few from elsewhere, including a great Bovril one in Brixton below.
The project also invites contributions, so you can help expand the scope of the site. I think something the site does need is a bit more context - it’s a general complaint I have about the subject of “found type” in general: the lack of context or place in the images. They are nice to look at though, so perhaps I shouldn’t complain too much.
On the topic of found type, you may also be interested in the archive of Found Type Friday posts on Ace Jet 170. There’s some beautiful examples in there, so take a look. There are several pages of it, the pagination link is the little ‘»’ at the bottom.
Grain Edit found a great collection of vintage Porsche posters for sale. Well, some of them are for sale because a lot are already sold, buy they can be seen in the VP Racing poster archive. I’ve had a good look through them and I love the ones by Atelier Strenger - to me they make the 60s and 70s the golden age of Porsche posters - such tight composition, typesetting and use of photography! I’ve traced a couple of examples of type from this Strenger one and the numbers from this Holz one. Lovely stuff.
Update: Eric Strenger’s work is a clearly rather special, but there’s precious little out there about him. There’s a little bit here, where it says he designed the Porsche logotype… and yet, there’s virtually nothing online. Anyone know of books/biographies on the guy?
Update 2: Moritz sent this link to a short biography of him. Looks like the preferred spelling of his name is Erich too.
Ah, the things you see on Twitter. Just now @Elianneke linked to this Torontoist article about the hand-painted signs at Honest Ed’s. Yes, they’re hand-painted, in one department at least, by Wayne Reuben and a colleague called Douglas. I bet Honest Ed’s could do a good sideline in selling used signs online - I’d buy some.
Sunday 29th Mar 2009
Here’s a great collection of science and techology adverts from the 50s and 60s, full of wonderful illustration, type treatments, vintage logos and some pretty inspirational layouts. I’ve got a few details of some of my favourites below, but be sure to have a good look through the set as there’s a load more in there that are great, such as this, and this. There are a few other interesting Flickr sets by bustbright too, including this collection of Bebrauchsgraphik covers which I’m going to have a look through. This one is great.
So there are some of my favourites. The top row is that combination of rough-textured painting and precise drawing that characterises mid-century graphic design. I love it. Below those are some nice type and logo treatments: that ampersand, for example, is made from an orbiting particle, yet sits halfway between the classic and commercial ampersands. Interesting! After that there’s six illustration styles: a dramatic JPL illustration which looks like a Victorian steampunk device for testing space-age technology; a cold-war classic world map with presumably The Crossbow of Progress overlaid on it; then a ghostly green hand of A-OK (don’t try this gesture in Turkey); a lovely space scene which I think could do without the little globe inset above the text; a spare and sharp layout and illustration for Philco - though the outline drawing of the computer looks like something demanded by the client rather than part of the original design; then an advert promising a level of defence from incoming missiles that even today we don’t have. Old adverts are great.
Sunday 29th Mar 2009
I’ve been following the excellent Cooper Typography Blog for a little while now, and recently Sasha pointed me to his article on Alfred Mahlau, with a short biography and a large collection of images of his work. Of course I’ve traced a few of them below. The lettering is distinctive and highly geometric - the curves are all based on circles - and has some attractive ligatures. As Sasha said in his article, the treatment of some of the umlauts is attractive - replacing the diacritic with a digraph when writing Lübeck. Check out the rest of the site; it’s got great articles, fascinating examples and links (you may lose a day or three with this one), and is definitely well adding to your RSS/bookmarks.
If you like mid-20th Century print advertising, and like a lot of it, then this page on diskursdisko may well be just for you. It’s a collection of links to various pools on Flickr containing hundreds of scans of old adverts and promotional materials (mostly, but not all, from the mid-20th Century), and is quite a trove of old type, lettering and illustration. I’ve found quite a few inspirational things on there, including this great General Electric illustration. It reminds me a bit of The Stepford Wives (the 1975 film, not the 2004 one) - they’re not selling freezers, they’re selling exultant joy here. I mean, if getting a GE freezer really made you that happy, wouldn’t you want one?
Gosh, doesn’t she look happy? I love the beautiful brush strokes, they’re so satisfying to trace.
I’ve been following this series of articles by Johnson Banks about their Art from Barrels project for Glenfiddich. The aim of the project was to get across the length of time it takes to make a barrel of Glenfiddich Single Malt, and the end results are pretty interesting. I haven’t got all that much to say about it, especially as the articles explain it all pretty well, other than to say I’ve discovered I like sandblasted letters in charred wood:
Hallmark has some very nice trailers for its programmes, usually with great typography, and always with perfect grading. They’re very fond of them too, so you tend to see them several times throughout a programme - something that can easily drive you nuts if you’re not quick with the mute button. Still, they look nice.
This particular one, for Law and Order, uses the nice technique of placing text set in Didot into various scenes in New York. The point of view changes as the text builds up and enhances the 3D in-world effect, and as it does, dribbles of grime (blood?) trickle down from the words. It’s all very nice, but what, I say what is this I see?
The proper Didot apostrophe, and the improper one.
A prime*, used as an apostrophe? A heinous crime, if ever there was one! Someone call the cops! Thing is, you’d have to deliberately turn off “smart quotes” in After Effects to get that symbol to show, and not the correct one (at right). So why?
Perhaps, and here’s a thought, perhaps they did it like that to echo the dribbles in the animation? That would make it an artistic decision, and not an ignorant mistake. I do hope that’s what it is, as the rest of the sequence is rather pleasant:
Update: Yes, yes, I know. It’s not a prime - I’m using the term as a shorthand for the symbol. Thanks to all who wrote in.
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