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  • The good, the bad and the many: Marvel unveils 10 new logos at Comic-Con

    Marvel Studios took over Hall H at the San Diego Comic-Con over the weekend causing a super-powered Twitter frenzy to designers and non-designers users alike. 

    MCU Phase 4 had many impressed with the names and the titles coming soon in theaters and tv (Disney+ is launching later this year) and the logos for each project created a meltdown with Loki's tv series latest logo revelation -which many called an "abomination"- ruling the haters-gonna-hate game reports Creative Bloq's Dom Carter.

    “To a designer with no interest in Loki or the Marvel Cinematic Universe though, this identity sure looks like a ransom note written in WordArt. But perhaps the logo makes some sort of sense when you consider that Loki is based on the Norse god of mischief. So what better way to represent a troublesome god than with a logo that flies in the face of typographic convention and the principles of good design? You could even argue that, given the circumstances, the Loki logo is so bad it's good” writes Carter.

    On the other hand, Loki's brother, Thor, and the logo of his next theatrical adventure Thor: Love and Thunder, with Taika Waititi as director, won the hearts of Comic-Con with its nostalgic references to the He-Man/ Thundercats/ She-Ra tv franchises of the past.

    Here we present you all the logos of Marvel Studios Phase 4 superpowered entertainment cocktail with the appropriate release dates to navigate MCU's never-ending saga from paper to screen.

    Eternals - November 6th, 2020

    The Falcon and The Winter Solider - Fall 2020

    Chang-Chi and The Legend of the Ten Rings - February 12th, 2021

    WandaVision - Spring 2021 on Disney+

    Loki - Spring 2021 on Disney+ 

    Doctor Strange in the Multiverse of Madness - May 7th, 2021

    What If…? - Summer 2021 on Disney+ 

    Hawkeye - Fall 2021 on Disney+ 

    Thor: Love and Thunder - November 5th, 2021

    Black Widow - May 1st, 2020

    Blade, TBA 

  • Watch a very old-fashioned birth of a book for your craftsmanship needs

    Founded in 1981 and situated in Otley, the market town where Wharfedale Printing machines were manufactured in the last century, Smith Settle Printers is a company which deserves any Typophile's love and affection. 

    Continuing the tradition of craftsmanship in the printing industry with an “enviable reputation for the highest quality printing and bookbinding” Smith Settle's products are a kind reminder of the spell-binding beauty of bringing a book to life in the old fashioned way. 

    Glen Milner's short film of the Smith Settle printing and bookbinding company documents the production of a hardbound edition of the memoir Mango and Mimosa (1974) by the British writer and painter Suzanne St Albans. This short vignette of a book being created using traditional printing methods was shot, directed & edited by Milner for the Daily Telegraph.

    “How many of us pause to wonder, when we hold a beautiful book in our hands, about the work that went into making it?” writes the Telegraph of its mesmerising video featuring Smith Settle owners, Don Walters and Tracey Thorne working on the making of the 17th Slightly Foxed book. 

    “Here, you’ll get a behind-the-scenes look at the printing plates, the stitching of the 'signatures' (folded sections), the pressing and gluing, the adding of the ribbon bookmark and head and tail bands, the making of the final hardcover in green linen cloth and the numbering of the copies. All of it done with great care, much of it by hand.”

    Press play and enjoy. 

  • When the font stood still! A celebration of type in Space for Apollo 11

    To celebrate NASA’s, and humankind’s, anniversary of Apollo 11 the Design Museum devoted its latest #FontSUnday thread to type in space.

    From Polish posters of Solaris through the iconic title design of Alien to Stanley Kubrick’s exploration in typography during his 2001 space opus, Twitter celebrated the iconic anniversary in pure typographic brilliance reminding us stories and fonts that are part of our common pop culture references, the ones which dictate our visual language on Earth and beyond.

    Michael Bierut has interesting info regarding the typography in 2001. “As a graphic designer, I was interested to learn from the Guardian article that Kubrick was obsessed with typography, with a special affection for Futura Extra Boldwrites Bierut. “This font is so strongly associated with 2001 that I was surprised to realize that it appears only in the promotional material for the movie; the main titles are a kind of cross between Trajan and Optima, and I regret to say this is as horrible as it sounds. In space, however, all is forgiven” he notes.

    For a more thorough investigation of type in Space, we dare you to enter Dave Addey’s Typeset in the Future. The site -and book- breaks down every bit of type launched in Space in iconic sci-fi films such as 2001, Alien and more.

    “Alien's 1978 teaser poster was part of a series of concepts by Hollywood legend Bill Gold that played with the typography of ALIEN” writes Dave Addey 

    “Typography and font choice are often used to create a sense of futurism in movies. Indeed, it’s got to the point where you can set your calendar to FUTURE simply from the presence of Eurostile Bold Extended on the wall of a passing spaceship. This site is dedicated to typography and iconography as it appears in sci-fi and fantasy movies and TV shows” writes Addey who insists that his project “isn’t really about typography at all. It’s about storytelling through design.”

    For more space-in-type adventures Typeroom has plenty to offer as well.

    How Apollo 11 launched Futura to the moon

    NASA celebrates its space odyssey milestones with two logos and beyond

    From Alien to Seven: 7 times typography ruled the silver screen

    Launching! NASA’s long-forgotten design manual is yours to own

    In the meantime enter Twitterverse and remember, in Space no one will hear you scream but EVERYONE will see your design. 


  • Watch: Tobias-Frere Jones on that geometric sans-serif reign & the risks of going retro in type

    Typography is one of the core elements in setting apart a brand’s identity and geometric sans-serif fonts are dominating the visual language circa 2019, yet this is not something that happened overnight.

    As awarded type designer Tobias Frere-Jones, principal of type foundry Frere-Jones Type, notes in his insightful interview for Ad Age the trend “has been building for a number of years.” Well, is it over?

    “There’ve been some other trends slowly building over the last few years one of which is a nostalgia, sometimes full-on camp, a reference to the typography of the 1960s and ’70s, like the titles for ‘Stranger Things.’ This has triggered all kinds of memories for all kinds of people because it was done so spot-on—a Proustian moment of going back in time” comments Frere-Jones, adding the risks in investing to that nostalgia feeling which bonds people together.

    ITC Benguiat, the decorative serif typeface designed by legendary Ed Benguiat and released by the International Typeface Corporation (ITC) in 1977 is a real star in Netflix's hit series "Stranger Things."

    For Frere-Jones using a typeface is a dangerous choice “because each one of these has a set of associations already attached to them... If you take Windsor and set it centered, just a couple of words, white on black, you will not be able to think of anything else but a Woody Allen movie.” 

    For the acclaimed type designer branding succeeds when it infuses nostalgia with fresh elements to create something new.

    “A good type designer can step in and sort of fill in the history that may not be so apparent. Like the building inspector can inspect the foundation of the house that you’d like to live in, [typographers] can steer this away from something that might have some awkward association, or just remove something that was motivated by a technology that is no longer relevant.”

    Read more here and watch the interview below

  • Monotype's Ambiguity: a typeface with five “states” of letterforms unleashed

    Charles Nix, designer, typographer and educator for over 20 years at the Parsons School of Design and Chairman Emeritus of the board of the international organization dedicated to furthering typographic excellence, the Type Directors Club, is challenging the font industry through Monotype's latest release after Helvetica New, Ambiguity

    Inspired “by the idea that utopia is within reach if we embrace ambiguity and fluidity as states of perfection” Monotype's type design director is challenging the norms in type design with Ambiguity, a typeface with five “states” of letterforms that aim to provide a diverse palette of fonts for designers and brands “wanting to both challenge and express their typographic voice.” Per Monotype the “multi-voice typeface designed to encourage experimentation, and question our assumptions. As a design, Ambiguity embraces an impressively broad set of voices. It’s radical but also traditional, and conservative without sacrificing quirkiness.”

    To achieve this, Nix divided the design into five different ‘states’, all of which exist on the same spectrum and bear names that speak to their personality - Tradition, Radical, Thrift, Generous and Normate. Nix's “font-palette” is created in the hope of breaking designers out of their comfort zone, and encouraging brands to try on entirely new points of view. 

    “Ambiguity started as a thought experiment,” says Charles Nix, who began turning over ideas for the design in 2016, after listening to Paola Antonelli lecture in Toronto notes Monotype. “She illustrated the point with a collection of works that challenged borders—between design and science, human and machine, technology and nature, and gender,” explains Nix. “The challenge and promise of transforming the world by changing our frame of reference resonated with me. It’s an essential part of the process and products of design” says Nix. 

    Explore Monotype's Ambiguity multi-faceted universe here.