Typeroomies, attention needed! “Posters act as a simple vehicle for communication and have provided a powerful framework for political agendas, war propaganda and the dissemination of public information, alongside being used as tools to sell commercial goods and services for centuries” notes Graphic Design Festival Scotland. “However, outwith their functional existence, they provide a canvas for millions of designers around the world. This competition aims to showcase and celebrate contemporary poster design from around the world. The three posters, most highly regarded by the jury, will be awarded cash prizes. A curated selection of entries will also be exhibited in Scotland’s National Centre for Design & Architecture, The Lighthouse between the 19th October – 23rd November 2018”. GDFS’s call for entry in it’s International Poster Competition is open till the 6th of August.
If you are into lettering techniques then you should follow Seb Lester's stunning Instagram account.
Sebastian "Seb" Lester (born 1972 in London) is an English artist, type designer and calligrapher. Lester is notable for prominent type designs and calligraphic prints. He is also known for his videos of hand-drawn calligraphy, often of famous brands, published on social media.
Lester is notable for his 2009–2010 redesigns for Penguin imprint Hamish Hamilton of four covers of J. D. Salinger books, including The Catcher in the Rye and Franny and Zooey, his design of the official font, Neo Sans, of the 2010 Vancouver Winter Olympics.
In addition to type design, Lester is famous for his prints, many of which are characterized by words built up of rich, dense calligraphic strokes and flourishes.
He can be considered to be best known by the wider public for viral videos of him hand-drawing well known logos.
As of mid-July 2018 Seb Lester counts nearly 1,1 million followers only on Instagram where he publishes videos of him performing his calligraphy.
Lester studied graphic design at Central Saint Martins in London, graduating in 1997 and started designing typefaces for Monotype in the early 21st Century. He lives and works in East Sussex, England.
In this “extremely special 35th issue” Posterzine showcases the work of renowned German designer, writer and infamous typographer Erik Spiekermann.
This "Don't work for assholes" issue has kindly been supported by MOO. Spiekermann founded MetaDesign (1979) and FontShop (1988) and is behind the design of well-known brands such as Audi, Bosch, VW, German Railways and Heidelberg Printing to name a few. “In this fabulous issue, you can find an exclusive interview with Erik where he tells us why we shouldn't work for assholes with a glorious fold-out A1 version of his original letterpress printed poster” notes the publication/ poster which is lithographically printed by Pressision Ltd onto quality G.F.Smith Naturalis paper using process black and warm red ink.
Proceeds from Posterzine sales will go to Grafik in the hope of someday bringing it back into print, so please show your support and keep print alive.
"Hermann Zapf is for typedesign and calligraphy what Michelangelo was for sculpture or Beethoven was for music", said one of Hermann Zapf’s former students and he was right. Zapf who passed away on June 2015 created around 200 typefaces in numerous alphabets, including Latin, Cyrillic, Arabic and Cherokee yet today we pay tribute to him as the godfather of the emoji.
After all, if this iconic type designer hadn't envisioned ITC Zapf Dingbats -aka the most acclaimed dingbats collection that went on to become the foundation for Unicode’s symbols- the emojis couldn’t have happened.
Zapf was one of the first designers to “predict that computers would both require and make possible digital typeface”.
Marconi, the typeface he designed for Hell-Digiset in 1972 was the first alphabet designed specifically for digital composition. Five years later, Zapf proposed to his friends Aaron Burns, Herb Lubalin and Edward Rondthaler from the International Typeface Corporation (ITC) to publish a typeface of special characters, arrows and symbols. So, he did.
In 1977, Zapf created about 1000 (or over 1200 according to Linotype) sketches of signs and symbols. ITC chose from those a subset of 360 symbols, ornaments and typographic elements based on the original designs, which became known as ITC Zapf Dingbats.
The font first gained wide distribution when ITC Zapf Dingbats, which consists of the subset chosen by ITC, became one of 35 PostScript fonts built into Apple's LaserWriter Plus.
“Symbol fonts such as Zapf Dingbats were especially handy in the early days of personal computing when integrating symbols and graphics into documents was harder” said a font and typography expert and vice president of FontLab, Thomas Phinney, on Zapf’s iconic legacy.
“Because Zapf Dingbats was built into the first PostScript printers by Adobe, it became a standard. Among designers it achieved a legendary status when David Carson made an entire article about Bryan Ferry unreadable by setting it in Dingbats for Ray Gun magazine.”
Today, as the world celebrates it’s annual World Emoji Day, we pay tribute to Zapf who is the inventor of the emoji long before Japan invented them.
Marc Armand’s Tu Sais Qui, the Paris-based art direction and graphic design studio he founded in 2008, teamed up with a number of creatives to revamp the French national football team’s jerseys before the triumph in this year’s World Cup.
Convoy Agency which was in charge of the art direction of the project teamed up with Studio Jimbo for the graphic design elements of the campaign.
In collaboration with some of Nike’s in-house design teams Studio Jimbo played the field like a pro mixing the images with type in this visually striking, impressive “case study” for the winners of this year’s World Cup 2018.
France's 4-2 victory over Croatia gave them a second star above their crest following their 1998 victory.