Kelly from Design Crush linked to this last week, a project by designer and Chicagoan Steve Shanabruch to create a logo for each of the Chicago neighbourhoods. Some, he says, are based on personal experience, and others on research. He’s created a lovely set of graphics so far, all of them remind me of old movie title cards (or end cards, like these), some look like they could actually be names of movies set in the neighbourhood.

There’s something particularly compelling about design projects like these, they trigger a sort of completist tendency in me, an appreciation of the collection as object. I like sets of things, and interpretations (and reinterpretations) of things particularly so. Thinking of this, I was reminded of the Branding 10,000 Lakes project by Nicole Meyer, to design an identity for each of the lakes in Minnesota (which is indeed known as The Land of 10,000 Lakes). There are some lovely ones in the collection. Some recent ones here:

Jason Kottke linked to this incredible photoset by Timothy Allen of the Buzludzha Monument in Bulgaria. It was opened in 1981 to celebrate the beginnings of organised socialism in the country 90 years earlier, and it is everything you’d expect from a thumping great monument to communism. From some angles it looks like a World War Ⅱ defence post, from above it resembles part of an Olympic venue, complete with oversized torch for the ceremonial flame, and to many people it’s as if a flying saucer landed on the hillside. A concrete flying saucer. To anyone who’s ever seen a Bond movie, well, that’s clearly a SPECTRE hangout, right there. Taking a closer look, the outside is decorated with a glorious relief of socialist slogans set in gigantic concrete Cyrillic lettering, a lot of which seems to be missing now.

Pictures from the Timothy Allen article, © him.

Inside there were mosaics celebrating the usual themes and noteworthy characters of international socialism, and in the ceiling above the debating chamber, a geometric hammer and sickle, surrounded with the call for the proletariat of the world to unite. Again, a lot of the interior has been stripped out by trophy hunters, vandals, or simply ruined by the weather. Needless to say, the monument isn’t being maintained by the Bulgarian government, and in 2011 they ‘gifted’ the entire structure to the Bulgarian Socialist Party, who hope to restore it someday.

In researching this article, I found a couple of other articles and photo collections on the monument, one by Arch Daily, and the other here on Kuriositas.

This is something I’ve had open in a browser tab for months, and I’m sure it’s officially ‘old’ in internet parlance, but I’m still drawing inspiration from the images. Christian Annyas has isolated (and traced?) these old department store logos and made quite a collection of them. He makes the point that very few stores today use similar lettered styles to these, and that they go for a logo style that “won’t offend” — I wonder though, if all these logos were created with a similar sentiment in mind? After all, brands in a sector do tend to cluster, so as fashions change, they all change together.

Somewhat late to the party mentioning this, but a couple of weeks ago I was at Ampersand Conference here in Brighton. It’s the first conference specifically on web typography, and so naturally a lot of the talks were quite technical, covering the techniques and problems in getting fonts to display at all in the first instance, and ultimately to display well. My friend Yves Peters has written a brilliant and comprehensive review of the day so I’d recommend you read that if you weren’t there.

I think for sheer wow-factor, Hoefler’s talk announcing that the entire H&FJ font library has been made ready for delivery as web fonts really outshone the rest. Well it did for me. The sheer scale of the work is astounding — 90 million hints for a start. I’m glad I was able to buy one of the hinters a beer afterwards.

Something I noticed about the whole ‘web fonts’ thing is that because it’s pretty new, a lot of the discussions around it are very technical. I’m looking forward to the ‘bedding in’ stage where artistry and craft come to the fore and we can start focussing on the what rather than the how. There are already some sites with beautiful typography out there, but this is only the start. I’m really looking forward to seeing what people will make and people focussing less on rendering issues.

Of course, for full disclosure (and mild bragging rights) I should point out my involvement with the conference: I did the logo. That ampersand. I did that. Me.

Another thing I marked as “to look at later”, merely because of the big beautiful lettering. I was wondering what on earth it was all about and only managed to find a few pictures of it from this year’s Macworld and a reference to an iTunes plugin, which may or may not be this (the site doesn’t feature anything with this lettering on it, sadly). Whatever it’s for, it’s lovely. If you know more, let me know. I found it here.

Update: Thanks everyone. Seems Tune Up Media actually blogged about it here.

I nearly missed this. One of the Matts at Bearded Design (I’m guessing Matt Griffin) emailed to tell me about their Kickstarter project, which is to create new digital type from wood types - rare wood types. Digitisation of old types is one of those things that thrills some people and gets others in a froth, but I think this is a project that deserves some support. If anything it’ll help preserve some wood type designs that might otherwise end up as vile, execrable knick-knacks on Etsy. As they say in films and on TV, you’ve got 24 hours (as of writing, to get involved early before the project is funded on Kickstarter). Featured below is a ‘beta’ face they’ve started digitising, currently called ‘Fatboy Husky’. It’s available to download through the Kickstarter page.

Fatboy, featured on the Kickstarter page. Kerned (roughly) by me. Ahem.

Some images of type and prints from the project Flickr set.

I’ve been sent a book by Thames & Hudson that I think is worth putting on here. The (slightly contentious) title is Scripts: Elegant Lettering from Design’s Golden Age*, and shows the collection by the authors, Steven Heller and Louise Fili, of handbills, flyers, posters, photos of signs, type samples, you name it, as long as it’s got script lettering or type on it. I’ve linked to a few big online collections of ephemera before, but never seen one in book form before. The photos are clear and detailed, and while I regret some (all) of the arty cropping, it’s a pretty good resource if you want to research scripts. The collection is broken down by country of origin (rather than by era or style, say) so there are chapters for French, British, German, Italian and American scripts. Thankfully, each chapter has at the end a listing of the origins of each of the pictured pieces, which provides some much needed context; however, I think I’d prefer to have had each image captioned, even if that might have reduced the impact of some of the spreads. A personal preference, I think; your mileage may vary. It’s definitely a book to enjoy browsing through, which is what I’ve been doing, funnily enough.

Interestingly, the book design is by Jessica Hische — I immediately thought of her lettering when I saw the cover, above left.

* Contentious? It’s that ‘Golden Age’ bit. What are we in now? I can endorse the book, if not the title. And no, I’m not being paid for this post.

Another serendipitous find, this time via Font Bureau on Twitter. The linked image, of a piece by Micah Lexier and Christian Bok, got me looking for some background on it, and more info on the artist himself, and through that I found this wonderful installation: I Am The Coin, a story from the viewpoint (apparently) of a coin, told in 20,000 coins attached in a grid to a wall, with no spacing or punctuation. The bottom half of the grid has the story in a conventional readable form, while the top half has the mirror image of the text. Wonderful stuff — I’m off to have a look for more of his work.

Below is the image that Font Bureau linked to, followed by a few from the I Am The Coin website. Lexier’s site is mostly ‘under construction’ but there are a few links to further information, and of course there’s always Google.

Update: The original image is by Jacklyn Atlas from this article by Booooooom.

Linked image from Font Bureau’s tweet.

Some ‘making of’ images from the I Am The Coin installation

Creative Review highlighted this new issue of stamps from the Royal Mail by Hat-Trick, celebrating the 50 year anniversary of the Royal Shakespeare Company. The stamps feature images of David Tennant as Hamlet, Anthony Sher as Prospero, Chuk Iwuji as Henry VI, Paul Schofield as King Lear, Sara Kestleman as Titania, Ian McKellen and Francesca Annis as Romeo and Juliet accompanied by a line from a play rendered in gorgeous expressive lettering. I know that lettering has been applied to portraits for centuries, but these have a particularly graphic novel feel about them — the expressiveness, the iconic phrases used, the packing of text into white space, these are all ideas best known (to me at least) from the world of comics. Makes a lovely change from your usual setting of Shakespeare for stuff like this in an antique revival type — and is perfect for a company like the RSC. Get them from Royal Mail here.

Lettercult has posted an incredible collection of custom lettering projects by hundreds of lettering artists, all completed in 2010. There are so many projects that they’ve split the post across two days, and there are 33 (quite long) pages in each post. I’ve not had a chance to go through all of them yet, but the variety and the quality is remarkable — so much to look at! I’ve posted a few favourites below, one by David Croy, another by Jordan Jelev of The Fontmaker, and I’d be surprised if you’ve not seen her work already (but very worthwhile admiring again), a piece by Dana Tanamachi.

• Lettercult Best of 2010, Day 1
• Lettercult Best of 2010, Day 2

By David Croy

By Jordan Jelev of The Fontmaker

By Dana Tanamachi