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.
Maan Agsalud wrote us with a wonderful project: TYPE KITA, the first-ever typography exhibit in the Philippines, in Manila. TYPE KITA means “You’re my type” in English.
It’ll be held on March 15 & 16, 2014, and will feature artists, letterers, penmans and other type-lovers to exhibit their own typographic pieces and installations. The two-day event will be open to anyone who shares the same passion for typography. Actually, the event itself is a fund-raising effort for the continued rehabilitation of the areas hit by Haiyan typhoon. Proceeds from the sold art/typographic pieces will be donated for the cause.
Nicolas Rodriguez Fuchs wrote us from Argentina, introducing one inspiring project, a documentary about the present of woodtype presses in Argentina. You can help this project come to completion at:losultimosdoc.com.ar
Buenos Aires deepest suburbs, July 2013. Three old print shops disputes the printing of cumbia and boxing posters. Second and third family generations keep these old presses going on printing in the way that workshops worked 100 years ago: the same machines, letterpress and workers, as if time had not passed. But they are getting old, machines are breaking and workshops agonize. They are aware that the road ahead is short. They are the last letterpressers in Argentina.
However, in the chaos of Buenos Aires downtown, some young designers started printing posters and cards with this ancient technique. In their small ateliers they combine the old craft with modern materials and designs, keeping it alive. Inspired and energetic they face the limitations and reflect about the value of time.
These two worlds combines old knowledge with new visions. A new dimension, where time limits get diffuse. A new voice appears, which includes the workshops slow music and gives eternity to feelings experienced for all those years.
Endless letterpress is a film about typography, but above all, about a group of people passionate for an ancient craft. Will these old presses and workshops survive in a new art? Or it’s a new fad?
Wallpaper Magazine asked various graphic designers and illustrators to design a series of covers for their August Handmade 2012 issue. This is the heartwarming and emotional story of one, Alan Kitching and his late wife Celia.
For more Information: wallpaper.com/design/handmade-2012-custom-covers/5818
Designer and illustrator Richard Vickers launches Goods Carrier, a new range of limited edition prints inspired by Indian truck art. Most people return from India inspired by the spirituality, landscape or food – but for London-based graphic designer/illustrator Richard Vickers it was the ornate decoration of Indian trucks which caught his attention. Driving across a country the size of India can be a lonely job, so drivers of Indian goods carriers understandably like to make their vehicles feel more homely. As you pass trucks adorned with fresh hanging flowers, psychedelic patterns and hand-painted gods, driving along an Indian highway can be more akin to visiting an art gallery. Vickers was inspired to create a range of colourful designs based on Indian truck art on his return to the UK. His first release in the Goods Carrier range is “Horn OK Please” – now available online at goodscarrier.co.uk as a limited-edition print.
In a land where using rear-view mirrors or even road lanes can be rare, the drivers of goods carriers send warning messages to other road users in the form of eye-catching painted signs on their trucks. “Horn OK Please was a message I saw a lot on the roads of India,” says Vickers. “It basically means – if you’re coming past, you’d better let me know!” Prints are available now at goodscarrier.co.uk
Through this unique font design, you can tell the phonetic sound of a Hindi character by looking at the corresponding Roman letter superimposed on it.
Hindi is written in the Devanagri script, which has many more characters than the English alphabet. This font, then, cannot teach you how to read words as they are spelt in Hindi, but its aim is to demystify individual letters in its script and make India more approachable.
Despite the superficial distinctiveness of English and Hindi, the two borrow from the same phonetic pool – they both belong to the Indo-European group of languages. This font design playfully highlights these commonalities. To quote a now-popular phrase,”We’re same same, but different!”
More info at The Hinglish Project.
A recent Thursday at 10:23 a.m.: In the basement of Arion Press, where they still print books the old-fashioned way, Lewis Mitchell slid open a box of parts used to change the font size on the Monotype casting machines he has maintained for 62 years.
“I thoroughly enjoy the sound of the machines turning, and seeing the type come out is a joy,” Mitchell said.
He can tell by the sound of the moving springs and levers if something is awry with his machines — a skill he said all good technicians should have. Four different owners have run the business since Mitchell walked through the doors at age 18, and he has had several opportunities to leave, including a scholarship to the Massachusetts Institute of Technology that he declined. Now 80, Mitchell can’t imagine retiring from the job he loves so much.
When Mitchell started making this kind of type, it was really the only way to print things, and now he doesn’t know how many books he’s helped print over the decades. There were once type-casting operations in most major U.S. cities, but now the practice is almost extinct. There are only two companies left in the world that cast type for printing presses, and Arion is by far the largest.
Mitchell has four grown children and nine grandchildren, but he calls the 20 type-casting machines his “babies.” “I treat them with kindness. I don’t use a hammer on them or an oversized screwdriver.” The first machine, which started the company during 1915 Panama Pacific International Exposition, is still its best machine — proof that Mitchell’s methods work. “My dad taught me from square one if you going to do something, you’re going to do it right or you don’t do it.”
Until the 21st of May 2012 entries can be submitted for the 5th
International Type Design Competition for non-Latin typefaces which is under
the patronage of the Ministry of Culture of the Republic of Armenia and the
tgm – Typographische Gesellschaft München (Typographic Society Munich).
Additionally to the categories Armenian, Cyrillic and Greek text typefaces,
this year for the first time entries can also be submitted in the new
categories Indian and Arabic text typefaces. Further information can be
found here: www.granshan.org
Due to the 500th anniversary of the first printed Armenian book this year,
the committee of GRANSHAN 2012 has decided to accept Latin text typeface
entries as well. Thereby the organizers want to express the diverse
connections of the Armenian book production and typeface design: the first
Armenian book was printed in Venice in 1512. With it Armenia was one of the
first countries which used the revolutionary technology of Gutenberg. To
enable the participation of as many type designers and typefoundries as
possible it is also allowed to enter all the typefaces created in the last
The 2008 initiated competition GRANSHAN expresses the importance of type as
an integral part of cultural identity and also enhances the importance of
other often less noticed script systems in the face of globalization. Since
2010 the competition is held in cooperation with the tgm.
From the 14th to the 16th of June the winners of the competition will be
chosen during a conference for non-Latin alphabet systems in Jerevan, this
year’s World Book Capital. The awarded works of GRANSHAN will be displayed
at exhibitions in various cities such as Jerevan, Munich or Hong Kong.
Petter Eldin, a filmmaker living in China, recently made a series of films including Neville Brody and Niels Shoe Meulman’s work for Beijing Design Week.
In October 2011, Converse proposed an unconventional approach to support China’s first-ever Design Week launching in Beijing. Converse created “OFF CANVAS“, a street-level exhibition of typography featuring six international and local artists notorious for their artistry of words. Culling from the diverse worlds of graphic design, art, and graffiti, the installations revealed communities and canvases where China’s emerging scenes in indie music, art, fashion and skate are based.
Alongside his studio work Neville Brody is a passionate voice in the design community, an educator and a spokesman for counter culture in the creative industries.
Shoe selected the rooftop medium of Dashilar as a modern replication and nod to Chinese sidewalk calligraphy. The work is an interpretation of personal identity – his writing name – which he has honed internationally over two decades from the street to gallery. In his work, Meulman mimics the Chinese tradition of water as ink and sidewalk as paper, yet in the craft and tools of his distinctive trade.
Time for some healthy competition time.
The challenge at hand: create a typographical poster about sports, using the phrase “It’s not what you win, but how you conquer it.” Your work will be judged by an international board of designers headed by Jean François Porchez.
The trophy at stake: VIP tickets to the 2012 London Olympic Games.
You have until the 30th of April 2012 to submit your work.
More info at www.conqueror.com/typographicgames
This post may be a little outdated, but I haven´t seen this page before, so I´m gonna post it, because perhaps some of you haven´t seen it also, and i think the quality is well worth it.
Here are the best 100 posters from 2006, according to [please insert name here, I don´t know german].
Here is also the link to the homepages of the winners, where you can further explore each individual participant.