You are here


  • The Face: Bureau Borshe rebrands the iconic magazine for a new generation

    Bureau Borsche, the renowned for its versatility graphic design studio which since 2007 redefines the visual language of our digital times, has done it again. 

    Mirko Borsche first became involved in the project after receiving an email from Dan Flower, the magazine’s managing director reports It's Nice That.

    “He asked whether I would be interested in designing a website and magazine that was from the 90s – he didn’t mention the name, but he’d left The Face’s logo in the footer of his email, so I knew that’s what it was about. After three or four emails, we agreed [Bureau Borshe] would do the art direction and creative direction for the magazine and the website,” Borsche notes of the just relaunched online edition of an iconic magazine and brand that defines an era.

    Rebranding Neville Brody’s iconic graphic design legacy is risky, Borsche says but eventually the same DNA runs free in this relaunching that is totally revamped. "We re-did all the typefaces, we tweaked the logo and redesigned the layouts” he adds of the magazine which will feature three new and custom typefaces -one solely for online use and the other two for the first print issue which will be available later this year. 

    The Face’s new website is live and we loved the Language of Now feature and from this Friday on everything old is new again here

  • National Poetry Month: Enter New York Time's 10th annual spring blackout poetry contest

    Every April since 2010 New York Times celebrates the joys of spring and National Poetry Month with a found poetry contest. This year NYT asks from its readers to participate in a brand new typographic-infused format. Instead of using articles from the paper is inviting students to make blackout poetry from the print paper.

    "Why? Well, this new method has all the literacy goodness of the previous format — the same need for close reading, experimentation with language and attention to detail — but it also celebrates the 'daily miracle' that is the print paper, at a time when fewer and fewer young people read the news in print" notes the paper.

    What is blackout poetry? you ask. NYT answers: "A blackout poem is a kind of found poem in that it, too, is verse composed from words and phrases found in another text. But, unlike the digital found poems we asked for in years past, this kind of poetry demands print and a marker. The best explanation we have found is the one in this video, embedded above, by Austin Kleon, who has popularized the method. To see many more examples, take a look at Mr. Kleon’s Newspaper Blackout site. And to experiment yourself, try The Times’s own online blackout poetry-maker. Fun, right?"

    All poems submitted must be created using The New York Times in print. "However, you can use any words on any page of any New York Times ever published. So, feel free to use that yellowed copy of the paper currently acting as wrapping for breakable objects in your attic — or use one hot off the presses this week. You can also feel free to make poems from special Times sections like T Magazine or NYT Kids, and you can use any of the words found on any page, including in advertisements. To get started, you might consider what sections of the newspaper interest you most, whether sports, the arts, food, business, global news, science or style, and experiment from there".

    All entries must be received by Thursday, May 9, 2019, at 11:59 p.m. Eastern.

    Watch the video, be inspired and use your imagination to make poems out of NYT's daily miracle. For more check here


  • This #FontSunday the beauty of the exclamation mark marched online!

    Watch out! The exclamation mark, also sometimes referred to as the exclamation point in American English, is a punctuation mark usually used after an interjection or exclamation to indicate strong feelings or high volume (shouting), or to show emphasis, and often marks the end of a sentence. Similarly, a bare exclamation mark (with nothing before or after) is often used in warning signs.

    Graphically the exclamation mark is represented as a full stop point with a vertical line above. One theory of its origin is that it is derived from a Latin exclamation of joy (io). 

    The modern graphical representation is believed to have been born in the Middle Ages. Medieval copyists wrote the Latin word io at the end of a sentence to indicate joy. The word io meant "hurray". Over time, the i moved above the o, and the o became smaller, becoming a point.

    The exclamation mark was first introduced into English printing in the 15th century to show emphasis, and was called the "sign of admiration or exclamation" or the "note of admiration" until the mid-17th century; admiration referred to its Latin sense of wonderment.

    The exclamation mark did not have its own dedicated key on standard manual typewriters before the 1970s. Instead, one typed a period, backspaced, and typed an apostrophe.

    In the 1950s, secretarial dictation and typesetting manuals in America referred to the mark as "bang", perhaps from comic books where the ! appeared in dialogue balloons to represent a gun being fired, although the nickname probably emerged from letterpress printing.

    This bang usage is behind the names of the interrobang, an unconventional typographic character, and a shebang line, a feature of Unix computer systems.

    This #FontSunday, Design Museum challenged the graphic design community to post the beauty of the exclamation mark in use. Explore more on Twitter's hashtag adventure here

  • Amen! The resurrection of The Pyte Foundry is upon us

    Monotype's Helvetica Now was obviously the viral sensation of the week for graphic designers and typophiles alike. But there was another viral sensation for the Twitteraties with a thing for Nordic design. The Pyte Foundry, aka the commercial protraction of Ellmer Stefan’s 2016 free font lunacy of the same name, is back. 

    "The typography of the 2020s is gonna look like the typography of the nineteenth century (definitely not modernism, thank goodness) – just digital, instead of analog" comments Dan Reynolds of the Pyte Foundry's second coming. 

    "In late 2015, Ellmer set out on a quixotic journey: he decided to release a new display typeface every Monday in 2016. And thus The Pyte Foundry was born" writes Typographica's Frank Griesshamer of Pyte Foundry's viral appeal back in 2017. 

    Eventually, Stefan's task was viable as this type foundry operated according to the following rules.  Every typeface was new. Every typeface was available free of charge. Every typeface was available for one week only. Therefore a weekly habit for type geeks was created each Monday before a brief pause to Stefan's portfolio.

    Ellmer Stefan studied graphic and type design in Vienna, Arnhem and Leipzig. Since 2011 he runs an independent practice combining custom type design, historical research and self-initiated projects. He is teaching regularly in typography and type design and has in the past collaborated with (amongst others) ANTI, Los&Co, Creuna Norway, NODE Oslo Berlin, Heydays, Olssøn Barbieri, Skald Forlag and Modest. In recent years he won the occasional award and honorable mention for his type design work. 

    In this second coming "a selection of the back catalogue will be reissued, aside newly envisioned Pyte-faces balancing functionality and idiosyncrasy, historical reference points and contemporary design practice, hopefully to the delight of designers and readers alike" but they are not free to download. The rules may have changed and typography still rules. Explore Triptych and more here.

    All images via The Pyte Foundry and Typographica

  • Kickstarted: Munich ‘72 The Visual Output of Otl Aicher's Dept. XI

    There have been a number of books on designer Otl Aicher but to date, none have provided a detailed account of the 1972 Munich Olympics and Aicher’s design team, Dept. XI, or the full and breathtaking scope of their outputs; not just print and the sports and info pictograms, but apparel, signage, stadium decoration, cityscapes, the official mascot Waldi, and the souvenirs. Well, this is about to change. 

    Following 3 years of research, the first in-depth book on the '72 Munich Games design team and the breathtaking scope of their outputs. The book is researched, written, designed and published by Mark Holt, co-founder of London’s internationally acclaimed design studio, 8vo, and co-editor and co-publisher of the typography journal, Octavo. 

    The successfully funded publication will be printed mid-September and available exclusively to Kickstarter pledgers in mid-November 2019, a few weeks prior to general release and launch.

    50 years on from the Munich Games project it’s time for such a publication, for the story to be finally told. Learn more here.