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  • Insights galore! Monotype presents The 2018 Font Purchasing Habits Survey results

    Mary Catherine Pflug is passionate about the type industry and the graphic designers who use fonts. For her "type design is a multi-faceted business, and today selling fonts is more than just design" therefore her "2018 Font Purchasing Habits survey" for Monotype is an insightful treasure for thought.

    Pflug's survey was sponsored by 10 other companies, consisted of 56 questions related to font preferences and purchasing habits, polled 15,745 creative professionals around the world and its goal is loud and clear. “What do customers really want?”

    According to the survey, the first thing font customers care about are the numbers of styles in a font family (82%) followed by number of glyphs (42%).

    When surveyed regarding font evaluation, customers want to see the entire character set (89%), type out their own words and phrases (77%), see if the font has alternates and ligatures (56%), and want to have the option to select and compare fonts with each other (53%).

    55% of respondents answered that they purchase 1 to 10 individual fonts in a year on average, 21% of them use OpenType features in fonts and most of them spent between $100 and $249 on fonts for either themselves or a client or organization in the last year. 

    As for the variable fonts some type education is needed. 36% of the creatives surveyed have never heard of variable fonts. The full results were announced at TypeCon 2018 and make sure to spend some serious learning time in the the full, extensive report here.

    31Jan
  • #TGIIF: The only Instagram account to follow this Friday is @guidodeboer

    Inspiration is just the beginning upon "entering" Guido de Boer's instagram account. 

    The Dutch designer and teacher at the Graphic Design department of the Royal Academy of Art, The Hague (KABK) and this 30 year old creative is on a mission to spread the art of the letterform in any way possible. 

    Guido de Boer graduated as graphic designer in 2011 at the University of the Arts in Utrecht (HKU). Right after his studies he started to work as independent graphic designer and artist. 

    "Guido’s tools are letters, which he almost always makes by hand. So, themes as spontaneity, directness and imperfection always appears in his work. With his collective High on Type he organised several Type- and Calligraphy events and traveled through a number of non-Latin-writing-countries to teach and learn about other letterforms" notes his resume. His Instagram tells us so much more. 

    Explore his work here


    Images @guidodeboer

    25Jan
  • GBH.London gives SailGP the dazzling sans-serif rebranding it deserves

    "If your mind is open, we will move mountains to work with you" is GBH's statement in the company's website, yet in their latest project the fearless creatives of GBH sailed away with a brand new dazzling visual identity for SailGP.

    The international sailing race in which athletes from different nations compete at high speeds in various locations across the world aims to make the sport more accessible to a wider audience. In exact the same spirit GBH.London decided to push the event into a brand new typographic route with an all-capitals logo in the sans-serif typeface Founders Grotesk by Klim Type Foundry

    This bold, seriously very contemporary visual language of the event which kicks off next month in Australia is already riding the biggest waves in typography as it shifts the old tranditional narrative of what sailing is all about across multiple platforms, both print and digital. 

    The game has been upgraded in dazzling ways and GBH.London is for the win.


    Images via GBH.London

    23Jan
  • Kunstbibliothek’s 150th anniversary is filled with the ABC of travel

    To mark its 150th anniversary, the Kunstbibliothek is investigating the theme of travel and the trend of the contemporary nomads of nowadays through the exhibition “ABC of travel”.

    The exhibits take the viewer through an alphabetical tour of the concept of travel in all its complexity – from A for Album to Z for Ziel (destination). Under C for Cartography, Theodor de Bry’s America (1596) and early map-books meet posters from the 1920s.

    Under N for Nations, Baroque playing cards, early books of national costume and illustrated broadsheets divide the world into regional types. Under T for Tourism, travel posters, from 1880 to the present day, capture the longing for foreign places, while V for Virtual presents travel pictures for slide projectors, stereoscopes and dioramas – the forerunners of virtual travel.

    The exhibition includes works by Otto Arpke, Marcus Behmer, Peter Behrens, Lucian Bernhard, Bernhard von Breydenbach, Marcel Broodthaers, Cornelis de Bruyn, Theodor de Bry, Flavio de Marco, Emil Cardinaux, Adolphe Mouron Cassandre, James Cook, Josef Furttenbach, Julius Gipkens, Uwe Häntsch, Johann Daniel Herz, Herbert Kapitzki, Julius Klinger, Elli Kowalski, Bernard Larsson, Jeanne Mammen, Erich Mendelsohn, Jakob Mores, Joseph Maria Olbrich, Emil Orlik, Rico Puhlmann, Paul Sachse, Caspar Scheuren, Jan Tschichold, Anton von Werner, Robert Wimmer and others.

    Explore this travelling experience till 10.02.2019 here.


    ABC des Reisens. 150 Jahre Kunstbibliothek
    Banner der Ausstellung
    © Staatliche Museen zu Berlin / formdusche


    Lois Gaigg
    Lloyd-Express. Schnellster Dienst der Welt, 1929
    Plakat, Lithografie, 100 x 70 cm
    © Staatliche Museen zu Berlin, Kunstbibliothek / Dietmar Katz


    Anton Stankowski
    Sparen ermöglicht die Urlaubsreise, 1954
    Plakat, Offset, 83,7 x 58,7 cm
    © Stankowski Stiftung / Staatliche Museen zu Berlin, Kunstbibliothek


    Emil Cardinaux
    Zermatt / Matterhorn, 1908
    Plakat, Lithografie, 102,3 x 71,7 cm
    © Staatliche Museen zu Berlin, Kunstbibliothek / Dietmar Katz


    Jupp Wiertz
    Germany Wants to See You, 1929
    Plakat, Offset, 99,5 x 63 cm
    © Staatliche Museen zu Berlin, Kunstbibliothek / Dietmar Katz


    Albert Knab
    Riviera Dienst. Hamburg-Amerika Linie zwischen Genua und Nizza, 1914 
    Plakat, Lithografie, 98,4 x 73,5 cm
    © Staatliche Museen zu Berlin, Kunstbibliothek / Dietmar Katz


    Grafikbüro Luigi Salomone
    Hotel Massimo D’Azeglio, Roma, um 1928
    Kofferaufkleber, 9,8 x 14,2 cm
    © Staatliche Museen zu Berlin, Kunstbibliothek / Dietmar Katz


    Kofferaufkleber, 1910er- bis 1950er-Jahre
    Etiketten aus Afrika, Europa, Lateinamerika und den USA 
    © Staatliche Museen zu Berlin, Kunstbibliothek / Dietmar Katz

    18Jan
  • The ABCs of the perils of climate change in type

    "I’m interested in visualizing concepts in an unconventional way, finding touch points where ugly meets beauty, philosophy meets data and inner ideas finds external envision" notes Johan Elmehag who has decided to introduce to us, the humans, the perils and dangers of climate change which we have ignored although the gradual rise in surface temperature on the earth never stops. 

    A-Z: Coast to Coast Shore to Shore is a project which aims at finding innovative ways to present the geographical impact of climate change. "The idea was born out of the sense that climate change is somewhat abstract and difficult to address, both emotionally and informationally" notes Elmehag who conveys his message with deconstructed letterforms

    "The core of the project is a typeface based on future vulnerable coastal areas, the letters are shaped after the way the world would look like if all the world’s ice melted. The font is presented in an ABC book where each letter represents a specific area and a unique future. The letters organize the information and creates a natural way of presenting it" writes Elmehag. 

    A-Z: Coast to Coast Shore to Shore is also available in the form of a web page and a big world map for us to explore and take serious action as there is overwhelming scientific and empirical evidence from notable research institutes that climate change is real and is almost certainly caused by us. 

    Learn more here.

    15Jan