You are here


  • Calligraphy, lettering and printmaking in full force: Gunnlaugur SE Briem at the Type Archive

    Handwriting guru Gunnlaugur SE Briem arrives at the Type Archive for a three-week long exhibition to celebrate handwriting with works of calligraphy, lettering and printmaking. “Lettering is calligraphy with cheating” notes Briem. 

    “Everything is subject to cutting and patching, erasure, second thoughts. Only the end result matters. Before picking up a chisel and mallet, sensible stonecarvers work out every detail of their inscriptions. And spending an extra day making a week’s work look as if it had been knocked up in twenty minutes is often time very well spent. Printmaking creates its images with a machine, a mechanical pen substitute that can weigh half a ton. Tools and processes that lead to ink on paper, such as an engraver’s burin, the etching needle, gouges for wood- carving, have their own possibilities and limitations. There are many choices” adds this lover of the letterform

    “Playing with letters is a joy. Every style has a mood of its own, its own tone of voice. Lettering occupies a secure place among the decorative arts. It stands alongside other worthy callings: weaving, stained glass, ingenious pottery perhaps. It brightens our lives on soap wrappers and bisquit boxes; its decorative value is beyond dispute. But can it be judged on its own merits? Fine art generally has no function other than to be seen. Sometimes this can apply to matters alphabetical. But demands for an upgrade in the cultural ranks have so far neither excited informed opinion nor popular imagination. Still, letters delight as one minority pursuit among many: an interest in Chinese bronzes, Easter Island statuary, Dead Sea scrolls” he adds.

    The exhibition showcases a collection of old and new works that highlight the beauty of lettering. In a time when handwriting is threatened by technology and taken off schools' curricula, Briem reminds us of the importance and art of writing by hand. The exhibition runs from the 29th of June through the 16th of July. Donations to the exhibition are welcome and will be used for the restoration and upkeep of the Type Archive’s extensive library. Please book your ticket at Eventbrite.


  • Hailed as the latest Type Bible, Yearbook of Type III is the must have book of the season

    The Yearbook of Type III features an independent selection of new digital typefaces created all over the world—from larger publishers to smaller, independent typographers and foundries.

    The comprehensive compendium presents a well curated overview that gives an impression of the typeface and its appearance on paper.

    The emotional and well constructed informative presentation of the typefaces serves designers and agencies as a source of inspiration and help select the right typeface. As a catalog and reference work it is also of interest to all those who are interested in the contemporary world of typesetting and the latest in typeface design.

    A small online microsite leads to the type’s or foundry’s website, to simplify the connection between print and web and to help the user to select, try, or buy a typeface. This new and updated edition with all recent typefaces features  detailed presentation of all selected fonts, even more trivia on the creators and the type foundries (our very own Parachute is presented in all it’s glory) and essays and articles by Boris Kochan, Ferdinand P. Ulrich, Viktor Nübel, Laurence Penney, David Jonathan Ross, Rainer Erich Scheichelbauer, Stefan Hattenbach.

    Grab your own copy here.


  • Print is definitely not dead. Interview Magazine set to relaunch by September

    The iconic magazine which recently announced it was filing for Chapter 7 bankruptcy and folding on May 21 amid financial trouble may be back by September, reports Page Six.

    Interview’s chief revenue officer Jason Nikic penned a memo four days later saying he plans to relaunch the Andy Warhol-founded mag, and is in the process of acquiring the intellectual property with a new holding company, Crystal Ball Media, with Interview’s president Kelly Brant. The new version would retain Nick Haramis as editor-in-chief and use Mel Ottenberg as creative director, Daily Front Row reported.

    “Over the coming weeks, our editorial and creative teams will take on the responsibility of making this re-birthed Interview as beautiful, as creative, and as visually stunning as ever” says the memo. “We are equally committed to bringing the same set of creativity, acumen, and devotion to the business of Warhol’s legacy as we have always brought to the editorial side.” Nikic signs off as the publisher. “Interview is dead. Long live Interview,” it ends.

    Interview magazine was founded by Pop Art arbiter Andy Warhol in 1969 as a film journal. Soon the magazine evolved into an eclectic zeitgeist of pop culture.

    With over the top interviews from over the top celebrities (in the magazine John Lennon talked about the time he thought he saw a UFO from his window in Manhattan and  David Bowie, about his brother’s mental illness) the pioneering magazine almost came to an end when last May its owner, billionaire art collector Peter M. Brant, announced that he was shutting it down amid financial difficulties and lawsuits.

    “In recent months, the editorial director, art director and stylist have all left, and in fact the editorial director, Fabien Baron, reportedly sued the magazine earlier this month, claiming Brant owed him $600,000 in unpaid invoices” reports the Washington Post.

    The bankruptcy revealed that Brant Publications owes money to 300 writers, editors, photographers, models, and agents, among them former Interview editorial director Fabien Baron and his stylist wife Ludivine Poiblanc

    Baron issued a statement regarding the closure, writing, “I am saddened and surprised by the news that Brant Publications has chosen to shutter the cultural icon that Interview has been since its founding by Andy Warhol. The abrupt decision to liquidate the magazine is regrettable given the myriad other options that were available to avert this outcome. The artistic success of the magazine was due to the extraordinary work of a raft of talented contributors, many of whom are unfortunately now creditors due to the owner’s flagrant disregard for their welfare.”

    Now the iconic edition is set to prove that is still relevant -and profitable. Watch this space.

  • Secret 7” & Squarespace wants us to speak our minds through type for a good cause

    A collaboration between DIA Studio and Zach Lieberman, Speak Your Mind is a web-based generative expressive type application that allows users to create their own unique posters to be printed and displayed at the exhibition. For this year Secret 7’’set a goal. “To raise as much money and awareness as we possibly can for Mind, the mental health charity. For us, communicating how you’re feeling is really key to a maintaining a positive mental health, so we’re excited to announce a unique collaboration with Squarespace called Speak Your Mind. It is a interactive website experience that allows you to express your feelings through art, inspired by seven emotions featured in our tracks.Create an original work, then share it with the world. For every social share Squarespace will donate £1 to Mind and you’ll be helping further drive awareness of the charity”.

    Last but not least Secret 7", the exhibition which brings together musicians and artists for a good cause is open until the 23rd of June at The Jetty in Greenwich Peninsula’s Summer Hub.

    “Secret 7” takes 7 tracks from 7 of the best-known musicians around and presses each one 100 times to 7” vinyl. We then invite creatives from around the world to interpret the tracks in their own style for every 7”. 700 unique sleeves are exhibited before going on sale on a first come, first served basis priced at £50 each. You don’t know who created the sleeve, or even which song it’s for, until you have parted with your cash - the secret lies within. Since 2012 we have produced 3,500 one-of-a-kind records for 35 different tracks. We’ve sold every single one and raised over £175,000 for great causes”.

    Check more here and here

  • 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