Type Nite NYC


If you happen to be in New York on July 16, don’t miss a great evening with Type Nite NYC at the Strand. Featuring Ellen Lupton, Abbott Miller, Tobias Frere-Jones, and Peter Mendelsund talking about mess-ups and do-overs in typography. If you are not in New York (like unfortunately it’s my case), you can tune in to the live stream or participate in the Q&A via Twitter.

More info at the Princeton Architecture Press BlogThis event is sponsored by Princeton Architectural Press, The Type Directors Club, and Designers & Books.





The AZ Project is a wonderful resource of graphic design, an archive of great designers and typographers. It is a site and a book, and we will focus on some designers presented on the book, that by the way can be downloaded in english or italian.

Here is its concluding paragraph: “100 graphic designers to tell a story, to describe different approaches to visual communication, some rather unique, others more common, all relevant in some way, in five important areas of graphic design. These 100 may not be the greatest graphic designers of all time but they are certainly among the finest. Thanks to them, the AZ Project Graphic Design took off, an archive on international graphic design that will soon be expanded with new profiles of other important designers, of the past or present. It is the first step, a way to launch the project, a pondered selection of some of the most successful graphic design projects of the past century. However, a lot of work still has to be done…”



Meticulous and impeccable, Aicher’s approach to graphic design is interdisciplinary. Opposed to Nazi authoritarianism, he is arrested in 1937; he is then drafted into the German army, and in 1945 he prefers to desert rather than to take part in World War II. He studies sculpture at the Akademie der Bildenden Künste in Munich in 1946. A year later he opens his own studio, Büro Aicher, in Ulm. In 1953, together with his wife Inge Scholl, he founds the Hochschule für Gestaltung in Ulm, one of the most important schools of design in the world, where he teaches visual communication from 1954 to 1966 and becomes the director from 1962 to 1964. He starts working for Braun (1954) Westdeutsche Landesbank, Blohm & Voss and Lufthansa (1962-1964). In 1972 he takes care of the Munich Olympics Games corporate identity designing a series of internationally comprehensible pictograms. In the same year he works for Bayrische Rückversicherung, in 1974 for Zweites Deutsches Fernsehen and from 1976 for Erco. In 1982 he moves to Rotis and in 1984 he founds the Institut für Analoge Studien. In addition, he designs numerous typefaces, like the Rotis font family (1989), which includes sans-serif, semi-sans, serif and semi-serif versions.


Aicher is an interesting example of how a designer can creatively develop his work using a limited vocabulary.

Peter Dormer

According to Aicher, only by using a precise series of standards is it possible to generate a consistent and unambiguous brand identity. An example is the Lufthansa project, a brand that obtains high visibility thanks to the use of few simple and systematically repeated elements, all gathered in a manual which describes each of their applications. This manual is based upon three essential elements: the pictographic logo that portrays a stylised crane in flight, with a sharp and essential silhouette, contained in a circle which stresses the incisiveness of the bird; the use of the typeface, Helvetica, sans-serif and minimal; the chromatic system, based on yellow (for the circle) and blue (for the crane and the circumference). Moreover, the logo and lettering are always present, essential and integral components of an approach that pursues uniformity for an unerring identification. With all the possible combinations of the basic elements, the manual defines the graphic landscape of Lufthansa: from the interior (and exterior) design of the planes to the photographic style of their ads, from the uniforms for the personnel to the packaging, right up to the smallest details like the sugar, salt and pepper sachets.

Source: AZ Project


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The book AZ Project Graphic Design, both in Italian and English, is the last step of the project, an “extra” respect its modifiable online counterpart. Created for the nostalgic and still numerous lovers of printed books (which provide better reading and can be kept with care), the book is supplemented by an essay on the history of graphic design by Dario Russo, which introduces the project with precise references to the 100 graphic designers and their seminal work.


Jurriaan Schrofer — Restless Typographer


Unit Editions has launched a new book celebrating the experimental typography of Dutch graphic designer Jurriaan Schrofer. He worked for the renowned design studio Total Design and was an outspoken figure within Dutch professional design organisations.

Most of all he was an experimentalist in letterforms and typography. He was a pioneer in corporate identity; a designer of photo books; and art director of the architectural magazine Forum.

Design writer Frederike Huygen describes his work as ‘research into perception, visual effects and the optical illusion of perspective: or the interplay of letterform, pattern and meaning.’ She also refers to him as a ‘computer-designer before the computer’.

The book is luxuriously printed with a spot Pantone and has an open printed spine. The front and back covers have a matt textured finish.

Slanted #14 — Grotesque 2



While Slanted #13 dealt with contemporary and historical humanist grotesque fonts, Slanted #14 – Grotesque 2 focuses on current fonts that are in tradition of Lineal, Neo- or Geometric Grotesque.

They mainly have their origins in the time of the turn of 19th to 20th century. In 1880 Ferdinand Theinhardt designed the Royal Grotesque with four weights for the Königlich-Preußische Akademie zu Berlin, from which developed the Akzidenz Grotesque in 1918. Simultaneously, from 1905 to 1930, Morris Fuller Benton created fonts on the basis of Lineal Neo- grotesque: the Lineal Grotesque. Nowadays there can be observed different procedures of designing fonts, which can be named as quotations. A variety of fonts bear on historical models.

The type essays by Flo Gaertner (Karlsruhe), Robert Schumann (Berlin) and Anna Sinofzik (London) deal with them. Worth seeing photos stories are “Almost Europe” by Miguel Hahn and Jan-Christoph Hartung (Frankfurt am Main) who visualize the situation of refugees in the Spanish enclave Melilla, as well as »Ein Abend auf der Wiesn – Pictures taken during the great beer rush« by Volker Derlath (München). Numerous interviews with Lizá Defossez Ramalho and Artur Rebelo (Porto), Edwin van Gelder (Amsterdam), Marta Podkowinska and Karol Gadzala (Krakow) and Hans Gremmen (Amsterdam) as well as an article about Kiyoshi Awazu as well as the 4th part of the Tokyo Report, both by Ian Lynam (Tokyo) and a musical travelogue by Frank Wiedemann (Berlin) round up the stuff to read.

By the way: Slanted #13 and #14 are conceived as a double-issue featuring the wide field of grotesque fonts. The availability of issue #13 is limited. Get the last copies from our shop at www.slanted.de/shop.

Type as Object – 3D Type Book


This book conceived, written and designed by FL@33, present us with some amazing examples of type as an object in more than 1300 images and 300 projects. It doesn’t pretend to be (only) about typography, and should not be understood like that. To the purists of typography, the distinction between typography and lettering is well understood by the authors, that are mainly interested in showing what designers are doing with this trendy (we can’t deny it) 3D look, in the post-digital reaction.

As Andrew Byrom points out in the Forword:

Perhaps the term “3D” is out of place in this book. This is not the effect of three dimensios; These are actual objects. In relation to a 3D movie, the work that FL@33 has compiled here is theatre. There is no illusion. There is no need for blue and red glasses. This is type as object; physical and real.

It is mainly focused on contemporary works: Antoine+Manuel, Underware, Sagmeister, Marian Bantjes, but you will find there also some references to more pioneering projects of  the 40’s.

Here you can take a look inside the book

And there is even an iPhone site for more info at: 3d-type.com

Buy the 3D Type Book.


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Tomás Valle, from Barcelona, just send us this great video.

From the lenticular cover that changes with the angle of your hands, all the way to the Z, ABC-3D is as much a work of art as it is a pop-up book. Each of the 26 dimensional letters that move and change before your eyes is a treat. C turns into D with a snap. M stands at attention. X becomes Y with a flick of the wrist. And then there’s U… Boldly conceived and brilliantly executed with a striking black, red, and white palette, this is a book that readers and art lovers of all ages will treasure for years to come.

MARION BATAILLE is graphic and book designer who lives in Paris. This is just a hand-made mock-up of the actual book which publishes in Oct. 2008.

Logo Book

Spin has designed the new Logo Book, written by Michael Evamy, published by Laurence King.
352 pages of logo design history, since Paul Rand to modern days.

The next time you are tempted to design a logo, take a look at this book. Chances are, it has already been done. By raising the bar, this wonderful resource will make better designers of all of us.
Michael Bierut of Pentagram Design

Available right here at typeforyou shop, go get one! 🙂

Typography book

A book by Zeixs, covering the topics Letterdesign, Corporate Identity, Corporate Design, New Fonts and Experimental Typography, featuring more than 600 works from a wide range of international typedesigners, ilustrators and calligraphers.

125 x 125 mm, 700 Seiten / pages, ca. 600 Abbildungen / approx. 600 Images.
gepolstertes Hardcover / wadded Hardcover
Deutsch / English / Francais / Espagnol / Italiano