This site will especially be helpful to the students who are going to design a visual identity in the course VA 301. Unlike popular font bases like daFont,
Font Squirrel is picky about the typefaces uploaded to their site, so there are no broken type in their list of good typefaces. Take a look!
These doodles were produced by Andrew van der Merwe using instruments and techniques he has developed over the past 6 years. They just blew me away. Especially the carefully calculated meticulous stroke modulations. No kidding, I am definitely going to try out this summer in Bodrum, though the beaches there are not nearly as flat.
“The more complex-looking characters in some pieces are usually taken from the Adinkra symbols of the Akan people of Ghana and the Ivory Coast. The last piece was inspired by the structure the characters on Bamana mud cloth.”
Happy April’s Fool Day – from Google! Just about gave me a heart attack! :-D
I put these together for our 3rd year project studio class since their current job is designing a calendar. Many more on behance for them to look at also of course…
a nice survey on how color names are known among girls and boys. i feel weird about this…
An interesting allegation to Stanley Morrison’s work on the creation and consultation of the typeface Times Roman. Who knows maybe it’s true…
‘The ever-inventive studio Pentagram has come up with a witty typeface quiz anyone can take. Once you enter the micro site and enter the password ‘Character’, a distinctly Freudian psychoanalyst asks four questions about your personality. Based on your answers, the site shows you one typeface that matches your traits. You can also see a list of who else shares your typeface and the 15 other possible fonts.’
According to the test, I am Expanded Antique. I never thought I would be a wood type. I guess being in the heart of Midwest and getting ready to attend the “Typeface” Chicago premiere made me fall into Hamilton’s wood type collection.
Letterheady is an online homage to “offline correspondence; specifically letters. However, here at Letterheady we don’t care about the letter’s content. Just its design,” notes its website. Everybody, as you all worked on designing letterheads, here are some out of the ordinary ones. These are too illustrative but fun. I feel this attitude would have fit more to the ones who worked on BitPazari.
I just watched a great video about an ongoing research project on the future magazines. I expected Bill Hill to show up on the video, who directed the development of the ClearType project in Microsoft in the late 1990s and played crucial role on the development of the Electronic Book project that came afterward. He is also the author of “The Magic of Reading”, which discusses the ClearType project, conventions of reading and perception.
However, it turned out to be not Bill Hill but some other folks who are extremely serious about changing the conventions of the future magazine. These folks are Bonnier R&D.
One great point by the speaker is that the future of the magazine should not mimic the present magazine’s physical structure. It wouldn’t look ‘sincere’ to have some ‘page turning’ effects. Simply scrolling is more effortless. That is what Hill has been discussing over the last decade.
Take a moment and watch this interesting video
I strongly recommend Hill’s “The Magic of Reading” to those who are curious to understand how we process the cognitive of reading now and how we should in the future. You may have problem finding this lengthy article online. Thanks to Alessandro Segalini, I’m still keeping the copy he made for me, so I can lend it to anyone who is interested in it.
Alejandro Paul, aka Ale, is an Argentinean typographer, type designer and teacher who currently lives and works in Argentina Buenos Aires. His obsession for packaging and hand lettering have instigated the design of over 50 script typefaces at Sudtipos. Most Graphic Design education students are taught to avoid using decorative and script typefaces. This is simply because of the overly used and cliché types that the operating systems (MAC OSX and Windows) can offer. However, when a “good” script type, like many of Alejandro’s typefaces, are used appropriately and intelligently the result can be very successful and original. For instance take a look at the catalogue he designed to promote Semilla “The Top Ten Albums by Semilla Records“. There, he collaborated with a photographer and found a wonderful ground to promote his typeface with images.
Our grad student Cem found this website http://www.graphic-exchange.com/03identity.htm. I suggest everybody to check this website and see some good visual identity solutions. Especially, pay attention to the “family” concept of the design products, how things work as a whole and individually.