Type Kita


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.


LX Type by Leo Burnett

Leo Burnett has created a type for Lisbon by looking at the sky, and it’s pretty cool.
You can download it at the website.

The trams are part of Lisbon’s landscape and become an icon of the city. In addition to painting the street yellow, they also scratch the capital’s blue sky with their wires.
From the complex mesh made by them, emerged the idea of creating a typography, whose trace is formed by the wires’s random mating.
Thus, the LX Type becomes Lisbon’s official type.

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The LX type website has a nice feature that lets you type anything and discover lots of interesting places in Lisbon, where you can get… by tram.


New typeface release by G-Type: Precious Sans Two.

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G-Type’s first new font release of 2014 is actually a major reworking of an old one, Precious Sans, which originally appeared back in 2002. The new family is called Precious Sans Two, available from g-type.com with a 50% discount until the end of January, then with 25% off the standard price until Feb 28th 2014.


Over a decade after it’s first appearance G-Type’s Nick Cooke decided the time was right to re-appraise the typeface, scrutinise the old letterforms and make some important enhancements.


Make no mistake though, Precious Sans Two is no rudimentary re-release; nearly every character has been redrawn, re-proportioned, respaced and generally improved.



The original Precious Sans was well received at the time but certain quirkier characteristics, the extended lower case ‘f’ for instance, or the binocular ‘g’, were perhaps too prominent and a little distracting. Short terminals on the ‘a’ and ‘s’ also made the first Precious incarnation less appealing when used as body text. Second time around the major overhaul has not only addressed the shortcomings of the original but made huge improvements right across the board:


• enhanced legibility and suitability for text use

• more streamlined range of 6 weights; Thin to Black plus matching italics

• cross platform compatible OpenType OTF format

• proportional and tabular figures

• extended language support for Western & Central Europe, the Baltic states & Turkey

• small caps, accented small caps & related case sensitive forms

• extra stylistic set containing the original quirkier I, f & g alternate glyphs

• extensive suite of discretionary ligatures

• 20 directional single and double arrows in each of the six weights


Precious Sans Two is a crisp and distinctively modern typeface, well equipped for advanced typographic use in print, web and digital publishing environments.


Visit g-type.com/precious-sans-two-font for more specimens & information, or email info@g-type.com


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About G-Type


G-Type is a digital font foundry and experienced type design studio founded by Nick Cooke in 1999.


G-Type excels at designing logos and custom fonts for leading brands and organisations around the world. Companies and publications as diverse as Vauxhall, Tesco and The Mail On Sunday have had well received typographic makeovers courtesy of G-Type and many more, including NBC and Cadburys, use G-Type commercial fonts as the cornerstone of their corporate styling.


Cooke’s Chevin typeface brands the Royal Mail with distinction and is highly visible at every Post Office throughout the UK. Three other popular G-Type typefaces to achieve international acclaim are the sans serif Houschka family and the successful handwritten scripts Olicana & Rollerscript.


The G-Type retail library is a wonderfully varied and versatile collection of high quality original fonts, invariably containing feature-rich ‘Pro’ character sets brimming with alternates, ligatures, multiple figure options and extensive language coverage.



All fonts & images © Nick Cooke / G-Type





Casino Typography

Casino Typography

Fonts for a casino marquee

Typography is more than an art—it’s actually a science. In fact, research on the subject has revealed that choices in font style, letter spacing, font size, font color, and line spacing sparks various reactions from readers. According to Voltage New Media which published the study, typeface affects readability, comprehension, and reader’s mood; a business establishment must therefore convey the right message when it comes to logos, ads, product labels, letterheads, or any virtualization by the company. This principle did not escape casino owners, as evidenced by the powerful and bold marquees in Las Vegas and Atlantic City. One tries to be flashier than the others, while some stand out in their simplicity and classic elegance. Typography styles in casinos, like other businesses in different industries, target a specific market, and creativity plays a crucial role in drawing people in.

Places like Sin City are more than just a gaming haven; they’re also a place design enthusiasts can get lost in. Admittedly, patrons choose a particular casino not only for the offered table games or slot machines, as these will most probably be the same all throughout the block—for this reason, casinos strive to up the ante by being uniquely designed and virtually engaging. Since the marquee is the first one seen by potential clients, it should grab the most attention. Let’s take for instance the famous Atlantic City casino, the Trump Taj Mahal. Aside from its recent partnership with online gaming platform casino.betfair.com, another move worthy of acclaim is its design, specifically the typography. It veered away from the traditional ostentatious casino signs by incorporating an Indian vibe, with the “Trump” insignia as a banner. This complements the total structure of the casino resort, while at the same time maintaining a formidable look by itself.

Since it has become known as an effective design, many want to add casino typography to their websites. Photoshop Tutorials & Resources gave a step-by-step procedure on how to achieve casino style typography, as follows:

Step 1:
Select black background, then type text using “Impact” font.

Step 2:
Layer style: tick drop shadow (opacity 100%, angle 95 degrees).

Step 3:
Tick inner shadow box, with opacity at 87% and angle 95 degrees).

Step 4:
Select bevel and emboss option and adjust accordingly.

Step 5:
Add stroke to the font; remember to make it lighter than the one used as font for main text.

Step 6:
Make light bulbs using the Ellipse tool.

Step 7:
Add a backdrop using a textured image by bringing it in the canvas.

Step 8:
Add depth by selecting “overlay” in the blending options.

Step 9:
Add a Gaussian blur. Go to Filter, Blur, then choose Gaussian blur effect.

Step 10:
Add final touches.

Los Ultimos – Endless Letterpress

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

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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?

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Slanted Magazine #22 — Art Type


Slanted Art Type brings together texts and works from the art world. The magazine presents a large number of art works and installation shots that explore language and typography by internationally renowned artists. It features a Q/A section with design studios developing visual identities in the field of culture production and numerous essays and interviews focusing on art, design and type.
Thanks to Augmented Reality and Junaio app Slanted readers can explore lots of interactive extras by moving their smartphone over the magazine’s pages.


You can buy at the Slanted Shop for 18€.


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Mirko Borsche, Lars Breuer, Stefan Brüggemann, Sico Carlier, Rosson Crow, Shannon Ebner, Paul Elliman, Experimental Jetset, Hannes Famira, Edward Fella, Lutz Fezer, Luca Frei, Gilbert & George, Liam Gillick, James Goggin, Tommy Grace, Karl Haendel, Alex Hanimann, Helmo, Dennis Hopper, Jeffery Keedy, Astrid Klein, Zak Kyes, Carolina Laudon, Lola, Chris Lozos, Ian Lynam, Michel M., Michel Majerus, Stefan Marx, Metahaven, David Millhouse, Kate Moross, Neasden Control Centre, Alexander Negrelli, Navid Nuur, Ruben Pater, Dave Peacock, Daniel Pflumm, Project Projects, Allen Ruppersberg, Ed Ruscha, Stefan Sagmeister und Jessica Walsh, Stefan Sandner, Paula Scher, Aurel Schmidt, Pamela C. Scorzin, Jeffrey Shaw, David Spiller, Manuel Raeder, The Entente, Thonik, Mark Titchner, Christian Vetter, Johannes Wohnseifer, Michael Worthington





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.


Font Nerd


Guess, discover and favorite the fonts that you love. Like everyone else in this business, Andreas likes coffee. He’d really appriciate a cup from you, if you like the game and want to play further than the first level. He’ll throw in another font pack or two or maybe three down the road without asking for more liquids. Have fun guessing some fonts, you nerd!

The man behind Font Nerd is the Copenhagen based graphic designer Andreas M. Hansen, who has always been a natural graphic talent. Andreas finished his education as graphic designer in the summer 2012 and have been working hard to develop his career further. A frustration towards a chaotic job market intensified Andreas’ will towards creating design and realizing graphic dreams as Font Nerd. Andreas’ background for creating this font game is, beside his passion for typography and graphic design, based on his past position as a graphic design student in one of the most successful learning companies in the world, Area9.

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Font Nerd is a must-have iPhone app for everyone interested in design and typography, kindly sponsered by MyFonts.com!