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The Type Nerd Tumbld

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pentagramdesign:

Pentagram partner Domenic Lippa and designer Lucy Groom worked with Emily Johnson from 1882Ltd to produce a set of campaign crockery. As a means of subverting the twee messages messages that commonly adorn tablewear, the Protest Plates adopted the aggressive typography found on protest placards and the avant-garde approach to demonstration. Each of the eight plates are influenced by a particular statement or quote that relate to food in some way, and are designed to be deliberately reactionary, disordered and unique.

The plates are on display as part of the 1882Ltd Sand and Clay Exhibition at the London Design Festival.

David A. Smith is a traditional sign-writer/designer specialising in high-quality ornamental hand-crafted reverse glass signs and decorative silvered and gilded mirrors. David recently produced a wonderful turn-of-the-century, trade-card styled album cover for popular American singer/songwriter John Mayer.

This is such an astounding piece of work. The level of craftsmanship and detail that went into this album is impossible for me to wrap my head around. This is an album I may just have to buy in order to keep this little piece of history.

http://paulstonier.com/graphic-design-blog/david-a-smiths-design-of-john-mayers-born-raised-album-cover/

Tibor Kalman - Perverse Optimism

This book changed the way I look at design.

http://www.amazon.com/Tibor-Kalman-Perverse-Optimist-Peter/dp/1568982585

Sketch for SATOR magic square page, Orbis Typographicus by Hermann Zapf (1990)

From “Spend your alphabets lavishly * The work of Hermann & Gudrum Zapf * Cary Graphic Arts Press RIT”

Jonathan Ive’s influence by Dieter Rams

“ A dozen top Microsoft Corp. designers convened in a conference room at their company headquarters in February 2010 and studied a collage of product screen shots plastered along a 40-foot wall. […] “It felt like we didn’t really know what our soul was or our design ethos,” said Sam Moreau, who oversees Windows design. “When we put it all up on the wall, it became amazingly evident that we didn’t have a voice.” ”

Joshua Bullock

Change your language.

Instead of saying “I don’t have time” try saying “it’s not a priority,” and see how that feels. Often, that’s a perfectly adequate explanation. I have time to iron my sheets, I just don’t want to. But other things are harder. Try it: “I’m not going to edit your résumé, sweetie, because it’s not a priority.” “I don’t go to the doctor because my health is not a priority.” If these phrases don’t sit well, that’s the point. Changing our language reminds us that time is a choice. If we don’t like how we’re spending an hour, we can choose differently.

—    via SwissMiss

Typographic Personality (for the fellow type nerds)

An excerpt from "Using Type" 

The traditional term atmosphere value, also called feeling tone, is described by Ovink (1938) as “those properties by which [a typeface] excites feelings within the reader”. In his extensive research of the phenomenon, Ovink not only found a collection of qualities like ‘unwieldy’ or ‘whimsical’, he also specified of both book- and display-typefaces, 30 in all, their status with regard to speed (liveliness and excitement), inclination (heartlessness and reserve), pastiness (sensuality and intellectualism), and many other associated properties. Analysis resulted in three general typeface clusters; namely ‘luxury-refinement’, ‘economy-precision’, and ‘strength’. While people are able to attribute characteristics to typefaces, he concludes that the average public will be unable to make the distinction between the atmosphere values of two typefaces which physically resemble each other. Consequently, the typographer “who did not hit upon the specially appropriate type, will not have done actual harm to the transmission of the meaning of the text, but … missed an opportunity to intensify the force of impression of the text in a considerable degree” (Ovink, 1938).

More recently, the term congeniality is often used by both designers and researchers. The term refers to the “correspondence between content and visual form” (Zachrisson, 1965). In other words, congenial typography is the result of the successful use of a typeface, where atmosphere value and the actual content of the words set in that type share meaning. Harmony of form and content is exemplified by a love story printed in a delicate and warm typeface. If the atmosphere value of the type used would be one of rigidity and anger, the effect of that same story on the reader would be gravely disturbed, whether the reader would be consciously aware of this or not.

One problem in congeniality research is the impossibility of generalization. While research has been done using quite a number of typefaces, most studies have been carried out for use with a single application. For example, studying the appropriateness of Bodoni bold for the logotype of a computer company says nothing about the (im)possibility to use it on milk bottles. In an apparent attempt to stress that research can also be organized in another way, Rowe (1982) uses the general termconnotative meaning rather than atmosphere value. She suggests that typeface connotation, preferred product connotation, and connotation of message content can all be assessed separately. This might enable us to use results of one particular study for more than one specific application by matching them with other results.

 
 

Aarron Walter covers not only how users benefit from bringing emotion into design, but also the business case.

(Source: paulstonier.com)

bookart:

Type is a book based on quotations about seeing and writing. The book explores four themes:  * Type and colour * Typographic colour * Estonian traditional type  * Type as image.

210x210 mm | 92 pages | Hand embroidery on paper | French folds | Deckle edge

(via Evelin Kasikov)

Doyald Young lettering for Stefan Bucher

(Source: underconsideration.com)