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  • #TGIIF: The only Instagram account to follow this Friday is @xtianmiller

    "Obsession is a more extreme version of ambition" writes Xtian, an interdisciplinary designer in Detroit with a dream to impact & inspire people through creativity & design. "Without obsession, the well runs dry. You lose interest. You settle for mediocre. Obsession can give you the fuel to persevere through the times you’re feeling unmotivated or tired, and excel when you’re not. You know you’re obsessed about something when it keeps you up at night and you’re think about it at least 298 times a day. If you can’t obsess over what you’re currently working on, maybe it’s not for you.

    Find something you can get obsessed about and you’ll naturally want to improve and become the best at it. It’s that simple. But don’t be a slave to your ambition—have some self-compassion. Understand that obsessions progress and evolve, and most will only pay off over a long period of time" notes Xtian in one of his insightful social media posts. We are obsessed with his Instagram account which is filled with typography and posters to keep us inspired. 

    The British-born Detroit based designer is specializing in UX/UI and he is " been blessed to work with a variety of clients including F500s like FCA, Ford, Lear & Mercedes".

    Having studied Graphic Design Xtian is the former art Director at Moncur & Design Lead at SOtech and he is currently the senior sesigner at Vectorform.

    Founder of Attack The Front; a resource to empower creatives, creator of Notchless & the Emergence plugin and author of revered articles such as "Your Body Text Is Too Small", "How To Brutalize The Web" & more this "interdisciplinary designer, writer, dreamer, creativity & productivity hacktivist", maker of @attackthefront and more is the only Instagrammer to follow this #TGIIF, the latest addition to the Typeroom typographic adventures online. 


    @xtianmiller


    @xtianmiller


    @xtianmiller


    @xtianmiller


    @xtianmiller


    @xtianmiller


    @xtianmiller


    @xtianmiller


    @xtianmiller


    @xtianmiller


    @xtianmiller


    @xtianmiller


    @xtianmiller


    @xtianmiller


    @xtianmiller


    @xtianmiller

    06Jul
  • Why Forgotten Shapes is the nostalgic type foundry you should know

    The past is the present for Forgotten Shapes, a new type foundry with a twist.

    “Forgotten Shapes publishes digital reconstructions of typefaces that have somehow vanished. "We revive such typefaces according to the guiding principle of Werktreue -that is, in a form as faithful to the original as possible” note Stephan, Reymund and Pierre, the creative forces behind FS.

    “Extensive research in archives, museums and libraries builds the foundation to our library of digital reconstructions of typefaces that have somehow vanished. This research and the entire background of each typeface is further made accessible within appropriate articles on our website” adds Forgotten Shapes.

    Enter their typographic adventure beyond space and time here.


    ©Forgotten Shapes. All rights reserved


    ©Forgotten Shapes. All rights reserved


    Private Collection (Stephan Müller), ©Stephan Müller 
    (Found on Forgotten Shapes. All rights reserved)


    Private Collection (Stephan Müller), ©Stephan Müller 
    (Found on Forgotten Shapes. All rights reserved)


    Swiss National Library NL, ©Stephan Müller 
    (Found on Forgotten Shapes. All rights reserved)

    Swiss National Library NL, ©Stephan Müller 
    (Found on Forgotten Shapes. All rights reserved)


    ©Forgotten Shapes. All rights reserved


    Private Collection (Gert Wunderlich), ©Reymund Schröder
    (Found on Forgotten Shapes. All rights reserved)


    Private Collection (Gert Wunderlich), ©Reymund Schröder 
    (Found on Forgotten Shapes. All rights reserved)


    Private Collection (Gert Wunderlich), ©Reymund Schröder 
    (Found on Forgotten Shapes. All rights reserved)


    ©Forgotten Shapes. All rights reserved


    ©Forgotten Shapes. All rights reserved


    ©Forgotten Shapes. All rights reserved


    Stadtgeschichtliches Museum Leipzig [Inv.Nr.Inv.Nr. 1848/49:129/40 Nr.67] ©Pierre Pané-Farré 
    (Found on Forgotten Shapes. All rights reserved)


    ©Special Collections, University of Amsterdam [OTM KVB LPM 1808] 
    (Found on Forgotten Shapes. All rights reserved)


    Stadtgeschichtliches Museum Leipzig [1848/49:129/40 Nr. 70] ©Pierre Pané-Farré 
    (Found on Forgotten Shapes. All rights reserved)


    ©Herwig Kempenaers (Found on Forgotten Shapes. All rights reserved)


    ©Rare Book & Manuscript Library, Columbia University in the City of New York, [Call BOOKART z250.H27 1835] (Found on Forgotten Shapes. All rights reserved)


    ©Special Collections, University of Amsterdam [OTM KVB LPP 140 (1-13)] 
    (Found on Forgotten Shapes. All rights reserved)

    02Jul
  • Calligraphy, lettering and printmaking in full force: Gunnlaugur SE Briem at the Type Archive

    Handwriting guru Gunnlaugur SE Briem arrives at the Type Archive for a three-week long exhibition to celebrate handwriting with works of calligraphy, lettering and printmaking. “Lettering is calligraphy with cheating” notes Briem. 

    “Everything is subject to cutting and patching, erasure, second thoughts. Only the end result matters. Before picking up a chisel and mallet, sensible stonecarvers work out every detail of their inscriptions. And spending an extra day making a week’s work look as if it had been knocked up in twenty minutes is often time very well spent. Printmaking creates its images with a machine, a mechanical pen substitute that can weigh half a ton. Tools and processes that lead to ink on paper, such as an engraver’s burin, the etching needle, gouges for wood- carving, have their own possibilities and limitations. There are many choices” adds this lover of the letterform

    “Playing with letters is a joy. Every style has a mood of its own, its own tone of voice. Lettering occupies a secure place among the decorative arts. It stands alongside other worthy callings: weaving, stained glass, ingenious pottery perhaps. It brightens our lives on soap wrappers and bisquit boxes; its decorative value is beyond dispute. But can it be judged on its own merits? Fine art generally has no function other than to be seen. Sometimes this can apply to matters alphabetical. But demands for an upgrade in the cultural ranks have so far neither excited informed opinion nor popular imagination. Still, letters delight as one minority pursuit among many: an interest in Chinese bronzes, Easter Island statuary, Dead Sea scrolls” he adds.

    The exhibition showcases a collection of old and new works that highlight the beauty of lettering. In a time when handwriting is threatened by technology and taken off schools' curricula, Briem reminds us of the importance and art of writing by hand. The exhibition runs from the 29th of June through the 16th of July. Donations to the exhibition are welcome and will be used for the restoration and upkeep of the Type Archive’s extensive library. Please book your ticket at Eventbrite.

     

    29Jun
  • Hailed as the latest Type Bible, Yearbook of Type III is the must have book of the season

    The Yearbook of Type III features an independent selection of new digital typefaces created all over the world—from larger publishers to smaller, independent typographers and foundries.

    The comprehensive compendium presents a well curated overview that gives an impression of the typeface and its appearance on paper.

    The emotional and well constructed informative presentation of the typefaces serves designers and agencies as a source of inspiration and help select the right typeface. As a catalog and reference work it is also of interest to all those who are interested in the contemporary world of typesetting and the latest in typeface design.

    A small online microsite leads to the type’s or foundry’s website, to simplify the connection between print and web and to help the user to select, try, or buy a typeface. This new and updated edition with all recent typefaces features  detailed presentation of all selected fonts, even more trivia on the creators and the type foundries (our very own Parachute is presented in all it’s glory) and essays and articles by Boris Kochan, Ferdinand P. Ulrich, Viktor Nübel, Laurence Penney, David Jonathan Ross, Rainer Erich Scheichelbauer, Stefan Hattenbach.

    Grab your own copy here.

     

    28Jun
  • Print is definitely not dead. Interview Magazine set to relaunch by September

    The iconic magazine which recently announced it was filing for Chapter 7 bankruptcy and folding on May 21 amid financial trouble may be back by September, reports Page Six.

    Interview’s chief revenue officer Jason Nikic penned a memo four days later saying he plans to relaunch the Andy Warhol-founded mag, and is in the process of acquiring the intellectual property with a new holding company, Crystal Ball Media, with Interview’s president Kelly Brant. The new version would retain Nick Haramis as editor-in-chief and use Mel Ottenberg as creative director, Daily Front Row reported.

    “Over the coming weeks, our editorial and creative teams will take on the responsibility of making this re-birthed Interview as beautiful, as creative, and as visually stunning as ever” says the memo. “We are equally committed to bringing the same set of creativity, acumen, and devotion to the business of Warhol’s legacy as we have always brought to the editorial side.” Nikic signs off as the publisher. “Interview is dead. Long live Interview,” it ends.

    Interview magazine was founded by Pop Art arbiter Andy Warhol in 1969 as a film journal. Soon the magazine evolved into an eclectic zeitgeist of pop culture.

    With over the top interviews from over the top celebrities (in the magazine John Lennon talked about the time he thought he saw a UFO from his window in Manhattan and  David Bowie, about his brother’s mental illness) the pioneering magazine almost came to an end when last May its owner, billionaire art collector Peter M. Brant, announced that he was shutting it down amid financial difficulties and lawsuits.

    “In recent months, the editorial director, art director and stylist have all left, and in fact the editorial director, Fabien Baron, reportedly sued the magazine earlier this month, claiming Brant owed him $600,000 in unpaid invoices” reports the Washington Post.

    The bankruptcy revealed that Brant Publications owes money to 300 writers, editors, photographers, models, and agents, among them former Interview editorial director Fabien Baron and his stylist wife Ludivine Poiblanc

    Baron issued a statement regarding the closure, writing, “I am saddened and surprised by the news that Brant Publications has chosen to shutter the cultural icon that Interview has been since its founding by Andy Warhol. The abrupt decision to liquidate the magazine is regrettable given the myriad other options that were available to avert this outcome. The artistic success of the magazine was due to the extraordinary work of a raft of talented contributors, many of whom are unfortunately now creditors due to the owner’s flagrant disregard for their welfare.”

    Now the iconic edition is set to prove that is still relevant -and profitable. Watch this space.

    25Jun