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  • From Cobain to Bowie or Cohen these downloadable fonts will bring music to your type

    “The Songwriters fonts have been created to give musicians inspiration. Writing lyrics with the handwriting of influential songwriters helps imagination to develop. Being in the mood of Bowie, Cobain, Cohen, Gainsbourg, Lennon, might be purely imaginative... but that's precisely the point” claim Nicolas Damiens and Julien Sens aka the creative duo behind the downloadable fonts based on the handwritings of iconic musicians of the 20th century.

    From the Kurt (Cobain) Font through the David (Bowie) Font or the John (Lennon) Font the typographic elements of the most groundbreaking minds of music are ours to own.

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  • Expedia Group owns the lowercase 'e' with Pentagram's help

    “We are the world‘s travel platform. We bring the world within reach” suggests Expedia Group's latest brand identity. Designed by Pentagram's Paula Scher the identity "better unites Expedia Group's extensive family of travel brands, businesses and teams, while also acknowledging the unique contribution of each individual brand to the success of the Expedia Group global business". 

    Expedia Group is one of the world’s largest travel platforms, with an extensive family of the most trusted online travel brands and Pentagram worked closely with the Expedia Group team to develop the identity which "centers on a distinctive lowercase 'e' which the designers drew as an aerodynamic letterform with a tapered eye and flat-cut terminal, then worked with type designer Jeremy Mickel to develop a full custom font, Expedia Group Display. The unique typography enables Expedia to own the 'e'; in applications like promotions and collateral, it is immediately recognizable and accessible". 

    "The cohesive system extends the typography to Expedia’s many B2B sub-brands, and to an endorsement line that may appear alongside the consumer brands. Secondary type is set in the sans serif Neuzeit Grotesk, and the palette features a brilliant blue, as well as black".

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  • With his latest project Kosuke Takahashi upgraded braille for all

    Braille Neue is a universal typeface that combines braille with existing characters” notes Kosuke Takahashi, the Japanese designer who spediaciazes in design, planning and prototyping of his latest project, a typeface which communicates to both the sighted and blind people in the same space.

    “This typeface Braille Neue consists of two typesets - Braille Neue Standard which is for English alphabet and Braille Neue Outline which is for Japanese and English. Our aim is to use this universal typeset for Tokyo Olympics and Paralympics 2020 to create a truly universal space where anyone can access information” adds Takahashi.

    “Currently, we rarely see braille implemented in the public space since it takes additional space and sighted people consider it not important. Braille Neue addresses this issue by making braille easy to use for sighted people. By spreading this typeset I believe more people will get acquainted with braille. I also conducted a research to see if large signage with braille was readable for blind people. Through the research, I found out that as long as there is the 6 dotted pattern, it is possible for them to read it regardless of its size. Braille tends to be small and invisible, but with Braille Neue it has the possibility to expand spatially into public signages in new ways”.

    “With Braille Neue, it is also possible to overwrite existing signage in public space by adjusting the kerning. It is easy to implement into the existing infrastructure and is a stepping stone for a sustainable and inclusive future” adds Takahashi who is “interested in unconsciousness action of human”.

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  • Unpacking the harsh history of the iconic Green Book travel guide in USA

    Before the Civil Rights Act of 1964 ended legal segregation in USA, a Harlem postal worker named Victor Hugo Green paved the safest paths for black Americans in the Jim Crow era.

    African Americans knew where they would be welcome through an iconic publication aptly named The Negro Motorist Green Book, a travel guide for New York City that listed businesses and private homes that would reliably serve African Americans which was first published in 1936. 

    The Green Book was created by Victor H. Green, a postal service worker from Harlem, N.Y., who began publishing the guide to help African Americans avoid, as he put it, "embarrassing moments" after motorists started exploring long-distance roadways including Route 66, the nation's first transcontinental highway.

    Today, Green's rare paperbacks are more than just evidence of the hazards of travel faced by African Americans in Los Angeles before the passage of the Civil Rights Act in 1964.

    In an age of social media and 21st century racial justice movements such as Black Lives Matter, the Green Book stands as a reminder of a little-known African American history of the American road trip.

    Curated by Samantha De Tillio the exhibition Unpacking the Green Book: Travel and Segregation in Jim Crow America explores the history of The Green Book in an interactive project space through materials such as a library and reading area devoted to the topics of segregation, automobility, travel, and leisure, specifically as they relate to the black American experience in the midcentury; digitized copies of The Green Book; interactive maps that explore travel destinations included in it; and multiple film excerpts from upcoming documentary projects.

    It will also include two banners by Cauleen Smith, featured in the 2017 Whitney Biennial, and now in the permanent collection of the Museum of Arts and Design, and two sculptures exploring locations in Harlem and D.C. from William D. Williams’s 2012 Dresser Truck Project

    Unpacking the Green Book, Travel and Segregation in Jim Crow America is on through April 8 at the Museum of Arts and Design (MAD) in New York.  

  • Netflix is the latest leader to join the bespoke typographic tribe

    And now let the world debate on Netflix's bespoke font. "Is it any good? Is it boring? Is it smashing? Is it Netflix enough?" The online tribes are debating hard on the latest bespoke font to hit the market.

    Aptly named Netflix Sans the font was created by the company’s in-house design team with type foundry Dalton Maag for the company's ever-expanding  branding and marketing purposes.

    The bespoke choice of font brings Netflix into a "shockingly large league of big technology companies with their own custom fonts, alongside Apple (San Francisco), Samsung (SamsungOne), Google (Roboto and Product Sans, because naturally Google has font fragmentation), and Microsoft (sort of, depending on how you score Segoe)" reports Verge.
    Per the project design leader Noah Nathan, Netflix chose to create its own font for "unique identity" and, duh, licensing Gotham is pretty pricey. 

    "With the global nature of Netflix’s business, font licensing can get quite expensive. Developing this typeface not only created an ownable and unique element for the brand’s aesthetic (moving Netflix away from Gotham, which is widely used in the entertainment industry), but saves the company millions of dollars a year as foundries move towards impression-based licensing for their typefaces in many digital advertising spaces" notes Noah Nathan.

    "The unique characteristics of the typeface were chosen very carefully as it is meant to serve both display and functional purposes. The clean and neutral lines give without taking, favoring art over distraction, and eliminating excess. The arched cut on the lowercase “t” is discreetly inspired by the cinemascopic curve that is so iconic to the brand’s wordmark and symbol. It has always been a dream of mine to work on a custom typeface, and I was lucky enough to be a part of this amazing project".

    Netflix Sans is poised to save the company "millions of dollars a year" and that's what matters, as bespoke typography is a wise choice for the leaders.