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  • Creative Boom X: Anthony Burrill, Supermundane & more celebrate its 10th anniversary

    Today marks 10 years of Creative Boom and Katy Cowan, founder of the site, has many reasons to celebrate a decade of inspiring and supporting the creative community.

    “Started from a spare bedroom on 24 July 2009, it was an idea I had following the global economic crisis – a frightening time for many creatives who were either struggling to find jobs straight out of university or losing clients from their small freelance businesses. It was a case of giving something back. I wanted to share people's work online to give them a little boost and offer career and business tips to provide further support” writes Cowan in her announcement of Creative Boom X.

    To celebrate its tenth anniversary CB invited 10 leading artists and designers to each design a limited-edition poster. All profits will go to the British Heart Foundation. 

    “In alphabetical order, we have commissioned Abbey Lossing, Anna Parini, Anthony Burrill, Araki Koman, Craig&Karl, David Sedgwick of StudioDBD, Lisa Congdon, Stan Chow, Rob Lowe of Supermundane, and Verònica Fuerte of Hey. These are people we feel represent the spirit of Creative Boom, those we've previously featured and ones we greatly admire” notes Cowan. 

    More details on Creative Boom X here.


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  • Typophiles alert! Help Letterform Archive move to its brand new home ASAP

    Letterform Archive urgently needs a new home and it needs the Typophile community to make this dream, a reality.

    “When we imagine the Archive of the future, we imagine a place worthy of the history we hold. We see a purpose-built, contiguous space for classes, tours, collections, and staff. We dream of a larger venue for events, where more of our community can gather. We picture a dedicated gallery for exhibits. We long for accessibility to public transit. Most of all, we need room to grow” writes LA of its crowdfunding campaign for the Archive of the future at San Francisco's administration building of the American Industrial Cente. 

    The Archive, founded by Rob Saunders, a collector of the letter arts for over 40 years, as a place to share his private collection with the public opened its doors to the public in February 2015 and now offer hands-on access to a curated collection of over 50,000 items related to lettering, typography, calligraphy, and graphic design, spanning thousands of years of history. So far, the Archive has welcomed over 5,000 visitors from 30 countries, including students, practitioners, and letterform admirers from every creative background. 

    “We hold physical and digital artifacts in a variety of formats, including books, periodicals, posters, sketches, original art for reproduction, and related ephemera, as well as a robust reference library. Together, these works chronicle the history of written communication, from the invention of writing and medieval manuscripts to modernism, the age of print to the present explosion of digital type” notes LA which doubled its holdings in 2015 by acquiring the typeface specimen collection of the late Dutch publisher Jan Tholenaar.

    Recently donated archives include Emigre, pioneers of experimental digital design; Ross F. George, author of the Speedball textbooks; and Aaron Marcus, a seminal figure in computer graphics. Also featured prominently in the collection are Rudolf KochJack Stauffacher, Irma Boom, and Piet Zwart.

    American Industrial Cente, the 100-year-old complex stretching for several blocks on San Francisco’s Third Street, “a prototype of successful urban revival” per Letterform Archive houses nearly 300 tenants, from architects and designers to bakers and brewers. Fortunately for LA, the entire fourth floor of this building is available for a long-term lease at a reasonable rate and this can happen only with the support of its community.

    It is pretty obvious that there has never been a better time to support the Archive.

    Donate here and support Letterform Archive's inspirational mission for the generations to come.

    David Kindersley, Variations on the theme of twenty-six letters, 1969.​

    Ross F. George, original artwork for the Speedball Textbook. Blue pencil note reads “Benday like below”, an instruction to add a dot pattern fill to the headline. 

    bauhaus year 2, no. 1, 1928, cover design by Herbert Bayer. 

    Detail from Suzanne Moore, A Musings, handmade book and calligraphy, 2015.

    David Kindersley, Variations on the theme of twenty-six letters, 1969.

    Paul Rand, Westinghouse annual report cover, 1978.

    From Wood Letter, Stephenson, Blake & Co., 1936.



  • Matthew Carter partners with Morisawa for Role, a superfamily of 200 Latin typefaces

    Matthew Carter, the legendary type designer with fifty yearsʼ experience of ever-evolving typographic technologies has partnered with Morisawa for Role, the company's brand new superfamily

    With a total of 200 typefaces and a maximum of nine font weights prepared per typeface Role's design variations “have been optimized for four classes, namely, Serif, Sans (sans serif), Slab (slab serif), and Soft (rounded), and three optically-scaled sizes, namely, Text (used for text), Display (used for small headings), and Banner (used for large headings).” The Role family has a variety of built-in OpenType functions that enable advanced typography, and which are provided via a character set Pro corresponding to 98 languages which use the Latin alphabet.

    All of the family's typefaces “take ‘integrity’ and a ‘sense of stability’ as their core identities and enable characteristics and impressions which are inherent to the class to be delicately expressed, that is, Serif is ‘elegant,’ Sans is ‘clean,’ ‘Slab’ is authoritative, and ‘Soft’ is friendly, and within each typeface there is a strong degree of consistency. The rich typefaces, finely tuned to visually maintain density during typesetting and alphabet length, are most suited to unified content production and the production of corporate identities that need to be widely deployed.”

    The project team for this typeface commenced work in 2015. Role was created through the collaborative work of Carter, who was welcomed into the fold as main designer, Kunihiko Okano of Shotype Design, and a team of four Latin type designers specially launched by Morisawa for the project.

    “The project was an opportunity for designers trained in Kanji and Kana to take on an ambitious Latin superfamily of serif, sans, slab and rounded, in a wide range of weights and at three optically-scaled sizes. For me, I learned that there are fundamental aspects to type design that are independent of writing system, and that many of the skills my Japanese fellow designers brought with them were transferable across typographic cultures” Carter said during his recent talk at this year's Typographics design festival. 

    Carter’s type designs include ITC Galliard, Snell Roundhand and Shelley scripts, Helvetica Compressed, Olympian, Bell Centennial, ITC Charter, Mantinia, Sophia, Big Caslon, Big Moore, Miller, Roster, Georgia, Verdana, Tahoma, Sitka and Carter Sans. Carter is now a principal of Carter & Cone Type Inc. in Cambridge, Massachusetts.

    Explore more here.

  • Will you help Fast Company redesign a better online experience for all?

    “Organized feedback is a key part of the redesign process. It’s what makes the information valuable to designers” says Fast Company's creative director Mike Schnaidt on the upcoming redesign of the company's online presence which will be pinpointed by the site's target group aka the creative industry.

    “I’m excited to be able to pinpoint our users’ feedback into specifics such as layout, color, and typography, in order to deeply understand exactly why they like something” he adds on Fast Company's first redesign since 2015. 

    To bridge what is called “Experience Gap” Fast Company will invite visitors to share their feelings and feedbacks over the coming weeks. Enabled by SAP Experience Management, visitors to Fast Company will be asked about their experience on the website.

    What works, what doesn’t; where they spend the majority of their time, what they avoid; how frequently they visit; what are the topics that make them return—and what, if anything, makes them yawn! This feedback will guide us as we redesign the site and help keep us on point as the site evolves” notes Fast Company. 

    Watch this space and help Fast Company do a better online experience here. 

  • DEMO wants your design in motion talent exposed in Amsterdam ASAP

    A festival celebrating the finest motion from the finest studio’s, designers, upcoming talents and art academies from all around the world is about to overtake Amsterdam's central station this November. 

    Showcasing work for 24 hours on all 80 digital screens located on every platform and hall of Amsterdam Central Station DEMO will feature the best in motion design in all its form and glory.

    The works are curated by DEMO’s curatorial team, Liza Enebeis, creative director Studio Dumbar, Koos Breen, interdisciplinary designer and Xavier Monney, graphic and motion designer bringing you a programme that changes every hour that creates a whole new motion experience.

    “It’s time to give motion design a platform – and in this case 80 screens. DEMO is here to intrigue, inspire and create a lasting experience. Offering a break from commercial messages for 24 hours and transforming a central hub into a gallery, giving a smile to everyone” notes DEMO.

    “On a dark stormy night, after endlessly scrolling on our Instagram accounts, we dreamt of all the beautiful motion we had seen. And we kept dreaming what if we could show all this great work on 100’s of giant screens? Not just for our fellow designers but to everyone! And it was meant to be…” writes DEMO, which is founded by Studio Dumbar (part of Dept) and Exterion Media Netherlands. 

    DEMO aka Design in Motion Festival is curious to all motion design out there, be it posters in motion from abstract to typographic- and you are invited to submit your work till the 31st of July. 

    More info here.