You are here


  • The typographic tumblr we love: Clippings from my Kindle

    Former graduate of Nottingham Trent University and previous winner of Computer Arts Magazine’s ‘Excellence Award’ (Graduate Showcase, 2010), Adam Sharp obviously spends a lot of time reading on his Kindle. That’s good for him and especially inspiring to all of us as in his Tumblr, Clippings From My Kindle the graphic designer shares words of wisdom in pure typographic format. From a Steve Jobs quote to a line from the script of Dead Poets Society, the meaning of life is presented in letters because, verba volant, scripta manent.

  • Milton Glaser On THAT Hillary Clinton’s Campaign Logo

    So, is this big blue H with a red arrow striking through it, pointing to the right as bad as everyone is saying? Along with her campaign announcement on Sunday, Hillary Clinton showed off her new logo and the Internet did what it does best, freaking out. Critics commented on everything from the direction the arrow is pointing to the FedEx rip-off and a variety of other super-oddball associations. Hillary Clinton’s, designed by Pentagram partner Michael Bierut, “H” didn’t exactly get a warm reception during its rollout. For some design experts it is too blocky, too familiar, with bad colors.“The use of blocky shapes and primary colors are what make the logo feel immature and clunky”, says behavioral scientist Susan Weinschenk. “People like curves, and this has no curves. It’s a stark, corporate, hard-edged logo” she said. “Red on blue is typically a faux pas in design because it can hurt viewers’ eyes and make the text look like it’s vibrating” she added. Even Sol Sender, a strategist who worked on Obama’s successful campaign logo, was negative about the big blue H: “It’s not a particularly galvanizing symbol. It doesn’t say a whole lot.” But when AIGA’s Eye On Design asked Milton Glaser what the renowned designer thinks about the onslaught of new presidential campaign logos from Hillary and the Republican hopefuls this is what he said:

    “As we all have witnessed, politics in America is divisive and mean-spirited. The mark itself seems strong, simple, and memorable. Whether it embodies the spirit of Hillary’s objectives is another story.”

    “The difficulty of such a mark is the requirement to be ambiguous in order to avoid alienating any part of your audience. In any case, as usual in communication, the relationship of the familiar to the novel is significant. Too much novelty results in confusion and indifference. Too much familiarity yields banality and indifference. The question of whether we must use stars, stripes, Statues of Liberty, torches, or rising suns as required symbols in a presidential identity becomes central to the problem.”

    “In this case, we have an ‘H’ for Hillary and an arrow for movement. Whether it also contains the twin towers or the suggestion that the arrow faces right seems irrelevant. The mark doesn’t seem to be a breakthrough in the history of trademark design, but it’s professional and competent compared to the previously revealed identities of Ted Cruz and Rand Paul.” Read the rest of his comment here.

  • Photographic portraits of Berlin’s astounding U-Bahn typography

    “I have a personal obsession with 70’s design and the Berlin U-Bahn is particularly rich with examples from this era” says Australian-born photographer Kate Seabrook to Creosote Journal’s Aurora King. “My favorite stations are mostly along the U7 between Berlinerstraße and Rathaus Spandau. I love tracing the development of 70’s pop art morphing into 80’s postmodernism during the journey. These stations were designed by Rainer G Rümmler. Pankstraße station on the U8 (also a Rümmler creation) is another favorite for the use of the fabulous ’70s Octopuss font designed by Colin Brignall. Coincidentally, the same font was also used for the cover art of a Blondie release of The Tide Is High. Changing lines at Fehrbelliner Platz is like going in a time machine. The U7 platform is a bold Rümmler design with a bright orange arrow guiding the train into the tunnel. Upstairs on the U3 platform you can see a more austere and classical early 20th century design by Wilhelm Leitgebel. More often than not, I will hone in on the typography and tiling rather than taking photos that show the wider atmosphere of the station and commuters” she added. Immerse yourself in the wonderfully diverse
    U-Bahn typography here.

  • The repetitive typography of our favorite City Guides du jour

    When Joseph Djenandji and Philipp Majcher founded 38HOURS in 2013, the travel experience got richer. Bringing their services to print, they decided to publish six city guides that alerted our typographic instincts. Designed by acclaimed Berlin based studio Node, the editions follow a simple, yet very effective format. Each of the A5 issues focuses on a different European city with direct references to the heritage of the place. Take Milan for example. “The typeface is a redrawn font called Sintex by Italian type master Aldo Novarese” told us Majcher. “The type reminds us of Italian 70s/80s bars – and maybe magazine and tobacco shops” he commented whilst the stylish repetitive typography brings the element of a very curated, on point, reference to the Italian fashion capital. The font and color of each edition convey a sense of insider-knowledge and capture the cities very accurately through typographic elements that inspire us to explore our habitat once again. Get your own copy here.

  • Mario De Meyer’s mesmerizing typographic experiment

    Belgian graphic designer DM2 is a very patient creative individual. When he launched his “Alphablocks” into the Behance stratosphere everyone was amazed at how many different typographic styles and techniques he meticulously combined to breath life into this vibrant project of his. We decided to ask Mario De Meyer some questions and shed some light on this laconic freelancer.


    How much time did you spend on the project?

    Longer than I expected. I tried to do it in two months, on and off between other projects, but it turned out three. The project became bigger and bigger along the way with several elimination rounds to replace the weakest links and eventually to find out the way to ‘glue’ the whole project together in one cohesive piece.


    What inspired you to explore these different typographic techniques?

    I get inspiration from lots of things. Like many of us, I get my daily dose of inspiration on great sites like TYPORN, but I also get a lot of inspiration out of nature and music. The ‘V’ in this alphabet was actually inspired by a song that was playing which had a sharp/edgy electronic sound to it. Some of these letters started as sketches, others were already in my mind, some kept me busy for days to avoid ‘the obvious’. This project was the perfect excuse to use as a playground for exploring different styles and techniques and learn from this procedure.


    Do you have a favorite one?

    Although it’s pretty hard to pick just one, I think ‘E’ is a personal favourite of mine. This was actually the 3rd ‘E’ I designed for this project, as the previous two didn’t survive the elimination rounds.


    What are you working on now?

    I’m working on a submission for the goodtype-book and have a collab in the pipeline, I’m exploring some new techniques as well I discovered recently and I do hope I can share those results soon enough.


    What is typography to you?

    It’s hard to put it in words without describing the definition of it. Good typography has emotion and communicates with you on another level. It’s the thing that prevents you to turn the page and look a little longer.


    Please, share your mantra with us.

    Embrace your mistakes, learn from them and try to outdo yourself every time.