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  • Richard Greenberg: From Alien to Matrix the legacy of this iconic master of the title is alive

    Oscar-nominated title designer Richard Greenberg passed away on June 16. The legendary graphic designer who made iconic franchises such as “Superman,” “Alien,” and “The Matrix” into letterforms which will always haunt us died of appendicitis. He was 71.

    "Greenberg received multiple award nominations for his creative work throughout his career, including a visual effects Oscar-nomination in 1988 for Predator and a visual effects BAFTA nomination for 1983’s Zelig" reports Variety.

    “I had the opportunity the other day to screen a reel of Richard’s work, and I was amazed at the uniformly high quality of his work. The fact is, he’s the only guy around whose work I wish I had done” noted Saul Bass in 1994.

    "The titles came from the idea of something 'unsettling'” Greenberg said in his Art of The Title interview . "It’s disturbing to people to see those little bits of type coming on. I think Steve once said to me that sound is 50% of a film and I agree with that. So we abstracted the idea of the off-putting sound but in a typographic way. We wanted to set up tension and as these little bits come in, they seem very mechanical. We wanted to break the type apart using that letter-spaced sans serif, which really hadn’t been done in film before. When the bits finally resolve into a word, I think people weren’t prepared to read it as a title because of the spacing" he noted on that slight variation on Futura which will always hunt the cinematic universe of all. 

    R/Greenberg Associates: A Film Title Retrospective from Art of the Title on Vimeo.

    Greenberg contributed his talent in the art of the title in iconic movies. Some of Greenberg’s art can be seen now in the permanent collections of The Louvre museum in Paris and the Museum of Modern Art in New York

    Greenberg received a bachelor’s degree in industrial design, as well as a master of fine arts degree in graphic design


  • Lovegunn scores in the World Cup 2018 with typographic strength

    With the World Cup kicking-off in Russia on June 14th, creative branding agency Lovegunn created a series of typographic posters depicting each of the 32 teams competing this summer.

    “Using a series of Soviet typefaces, a minimalist three colour process and a backdrop of inspiration from the 20th-century Russian futurism and constructivism movements, led by artists like Kazimir Malevich - we've created a striking set of World Cup fan posters. The posters' bold geometric shapes and block lettering also suggest they’ve been inspired by another iconic Russian design movement, with a strong visual link to old Soviet and communist propaganda posters” notes Lovegunn.

    “We wanted to be a part of football fans' World Cup conversations by doing something creative, but we didn’t want to produce another wallchart or sticker album. We wanted to do something new which would reflect both our studio and the passion that the World Cup evokes. Being in Shoreditch we’re surrounded by ever-changing surfaces and messages through street art, murals, and fly-postering. We wanted to capture something about our own surroundings, as well as creating something obviously inspired by the host nation, Russia”.

    “Given the current global political climate, it seemed an interesting concept to explore the link between nationalistic propaganda and football fandom. Subsequently, the design of each poster feels like that of a national or political campaign, a visual expression for each nation to get behind. We want fans to engage with the posters and use them to represent their country. For us, there’s nothing better than watching the World Cup in London, where every nation is represented by their colourful and charismatic fans.”

    Lovegunn will be releasing a new poster every day of the World Cup on it’s Instagram feed as well as on it’s website.

    Follow their typographic Mundial 2018 here

  • Spires inspire Leo Colalillo's very italian typeface Guglia

    "Observing and analyzing the intricate details of what surrounds me is exciting and it is my main source of inspiration" notes Leo Colalillo.

    "The result is a natural, curious and careful process – a synthesis of what we absorb every day incorporated into my work" adds the Milan based graphic designer. 

    "This method provides me with a good dose of experimentation by using new techniques and media, but also rediscovering traditional techniques, without dismissing those that are most unusual and forgotten, creating ever changing projects".

    To further proof his working method Colalillo presents Guglia. "An extra textura typeface inspired by the gothic architecture shapes and in particular to his vertical extremization based on a rigid scheme, like the calligraphy of that period. A spire (Guglia in italian) is a tapering conical or pyramidal structure on the top of a building, often a skyscraper or a church tower" adds Colalillo.

    Explore more of his work here.

    Submit your works and portfolio here.


  • Sit still. Chinese fonts are on the way to conquer the typographic realm

    "It took China’s communist government more than 10 years of dedicated work to complete its character simplification scheme, and even now it is not without controversy. For the same reason, there has not been much innovation in fonts ever since” reports Quartz on the Chinese fonts, an instant design obsession of it. “There are many things people in the West take for granted, but here’s a big one: typographic diversity. For Latin languages, you can find sites that offer 10,000 fonts for $20—a variety for every possible mood, style, and feel. For Chinese, there is no equivalent; it’s just too massive a written language” notes the report. “The default set for English-language fonts contains about 230 glyphs. A font that covers all of the Latin scripts—over 100 languages plus extra symbols—contains 840. The simplified version of Chinese, used primarily in mainland China, requires nearly 7,000. For traditional Chinese, used in Taiwan and Hong Kong, the number is over 13,000. An experienced designer, working alone, can create a new font in under six months that covers dozens of Western languages. For a single Chinese font, it takes a team of several designers at least two years” adds Quartz which hails a brand new era in the painstakingly art of typographic Chinese fonts thanks to "better technologies for the design, display, and transmission of fonts".

    For more visit Quartz here and here

  • Anthony Bourdain and the typographic art of Arion Press in full bloom

    Anthony Bourdain, the gifted storyteller, writer, chef and activist, is dead at 61. CNN confirmed Bourdain's death on Friday and said the cause of death was suicide.

    "It is with extraordinary sadness we can confirm the death of our friend and colleague, Anthony Bourdain," the network said in a statement Friday morning. "His love of great adventure, new friends, fine food and drink and the remarkable stories of the world made him a unique storyteller. His talents never ceased to amaze us and we will miss him very much. Our thoughts and prayers are with his daughter and family at this incredibly difficult time."

    A master of his crafts, "the original rock star" of the culinary world per The Smithsonian,  or "the Elvis of bad boy chefs" wrote many best selling books and hosted a series of programs for the networks.

    Fine Arts Museums of San Francisco 

    From his first "A Cook's Tour" on the Food Network to "Anthony Bourdain: No Reservations" on the Travel Channel through "Νo Reservations" and CNN’s “Part’s Unknown” Bourdain wanted to share the best bits of the world with us. Yet, he was much more than that.

    A talented man who appreciated the masters of any craftmanship, Bourdain paid a visit to Arion Press, the acclaimed book publisher in San Francisco, California. Arion Press is one of the few printers still casting type by hand everyday and as founder Andrew Hoyman puts it “the business owes much to the culture of this city where printers with aesthetic sensibilities have thrived for more than 125 years”.

    Fine Arts Museums of San Francisco 

    In this episode of Raw Craft, the documentary series he created for the web, Bourdain meets with founder Andrew Hoyem, the master typographer, printer and publisher at Arion Press in his attempt to show his fans “how craftspeople behind beautiful, handcrafted objects share a similar genius to the cooks behind great dishes”.

    Fine Arts Museums of San Francisco 

    “The kinds of craftspeople who excite me most tend to be those who have chosen a solitary, often difficult path, doing a very hard or niche thing that all of good sense and conventional business acumen would indicate are foolish aspirations” Bourdain told Quartz on his dedication to all things real.

    Arion Press aims to match the finest contemporary art with the finest literature past and present in books that are beautifully designed and produced. Two to three limited edition books are published per year. Each is conceptually unique, bringing together a significant text with a contemporary artist, or in other cases, a purely typographic interpretation.

    Fine Arts Museums of San Francisco 

    Editions are strictly limited and are designed and produced, mainly by hand, in a handsome industrial building (1928) at the Presidio national park in San Francisco.

    Type is composed and cast on the premises by M & H Type, established in 1915, the oldest and largest typefoundry still operating in this country. A complete book bindery and the historic letterpress equipment of the Grabhorn Press are in use, alongside the technology of the twenty-first century.

    Fine Arts Museums of San Francisco 

    Raw Craft with Anthony Bourdain - Episode Five: Arion Press