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  • 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.


  • The good, the bad and the many: Marvel unveils 10 new logos at Comic-Con

    Marvel Studios took over Hall H at the San Diego Comic-Con over the weekend causing a super-powered Twitter frenzy to designers and non-designers users alike. 

    MCU Phase 4 had many impressed with the names and the titles coming soon in theaters and tv (Disney+ is launching later this year) and the logos for each project created a meltdown with Loki's tv series latest logo revelation -which many called an "abomination"- ruling the haters-gonna-hate game reports Creative Bloq's Dom Carter.

    “To a designer with no interest in Loki or the Marvel Cinematic Universe though, this identity sure looks like a ransom note written in WordArt. But perhaps the logo makes some sort of sense when you consider that Loki is based on the Norse god of mischief. So what better way to represent a troublesome god than with a logo that flies in the face of typographic convention and the principles of good design? You could even argue that, given the circumstances, the Loki logo is so bad it's good” writes Carter.

    On the other hand, Loki's brother, Thor, and the logo of his next theatrical adventure Thor: Love and Thunder, with Taika Waititi as director, won the hearts of Comic-Con with its nostalgic references to the He-Man/ Thundercats/ She-Ra tv franchises of the past.

    Here we present you all the logos of Marvel Studios Phase 4 superpowered entertainment cocktail with the appropriate release dates to navigate MCU's never-ending saga from paper to screen.

    Eternals - November 6th, 2020

    The Falcon and The Winter Solider - Fall 2020

    Chang-Chi and The Legend of the Ten Rings - February 12th, 2021

    WandaVision - Spring 2021 on Disney+

    Loki - Spring 2021 on Disney+ 

    Doctor Strange in the Multiverse of Madness - May 7th, 2021

    What If…? - Summer 2021 on Disney+ 

    Hawkeye - Fall 2021 on Disney+ 

    Thor: Love and Thunder - November 5th, 2021

    Black Widow - May 1st, 2020

    Blade, TBA 

  • Watch a very old-fashioned birth of a book for your craftsmanship needs

    Founded in 1981 and situated in Otley, the market town where Wharfedale Printing machines were manufactured in the last century, Smith Settle Printers is a company which deserves any Typophile's love and affection. 

    Continuing the tradition of craftsmanship in the printing industry with an “enviable reputation for the highest quality printing and bookbinding” Smith Settle's products are a kind reminder of the spell-binding beauty of bringing a book to life in the old fashioned way. 

    Glen Milner's short film of the Smith Settle printing and bookbinding company documents the production of a hardbound edition of the memoir Mango and Mimosa (1974) by the British writer and painter Suzanne St Albans. This short vignette of a book being created using traditional printing methods was shot, directed & edited by Milner for the Daily Telegraph.

    “How many of us pause to wonder, when we hold a beautiful book in our hands, about the work that went into making it?” writes the Telegraph of its mesmerising video featuring Smith Settle owners, Don Walters and Tracey Thorne working on the making of the 17th Slightly Foxed book. 

    “Here, you’ll get a behind-the-scenes look at the printing plates, the stitching of the 'signatures' (folded sections), the pressing and gluing, the adding of the ribbon bookmark and head and tail bands, the making of the final hardcover in green linen cloth and the numbering of the copies. All of it done with great care, much of it by hand.”

    Press play and enjoy. 

  • When the font stood still! A celebration of type in Space for Apollo 11

    To celebrate NASA’s, and humankind’s, anniversary of Apollo 11 the Design Museum devoted its latest #FontSUnday thread to type in space.

    From Polish posters of Solaris through the iconic title design of Alien to Stanley Kubrick’s exploration in typography during his 2001 space opus, Twitter celebrated the iconic anniversary in pure typographic brilliance reminding us stories and fonts that are part of our common pop culture references, the ones which dictate our visual language on Earth and beyond.

    Michael Bierut has interesting info regarding the typography in 2001. “As a graphic designer, I was interested to learn from the Guardian article that Kubrick was obsessed with typography, with a special affection for Futura Extra Boldwrites Bierut. “This font is so strongly associated with 2001 that I was surprised to realize that it appears only in the promotional material for the movie; the main titles are a kind of cross between Trajan and Optima, and I regret to say this is as horrible as it sounds. In space, however, all is forgiven” he notes.

    For a more thorough investigation of type in Space, we dare you to enter Dave Addey’s Typeset in the Future. The site -and book- breaks down every bit of type launched in Space in iconic sci-fi films such as 2001, Alien and more.

    “Alien's 1978 teaser poster was part of a series of concepts by Hollywood legend Bill Gold that played with the typography of ALIEN” writes Dave Addey 

    “Typography and font choice are often used to create a sense of futurism in movies. Indeed, it’s got to the point where you can set your calendar to FUTURE simply from the presence of Eurostile Bold Extended on the wall of a passing spaceship. This site is dedicated to typography and iconography as it appears in sci-fi and fantasy movies and TV shows” writes Addey who insists that his project “isn’t really about typography at all. It’s about storytelling through design.”

    For more space-in-type adventures Typeroom has plenty to offer as well.

    How Apollo 11 launched Futura to the moon

    NASA celebrates its space odyssey milestones with two logos and beyond

    From Alien to Seven: 7 times typography ruled the silver screen

    Launching! NASA’s long-forgotten design manual is yours to own

    In the meantime enter Twitterverse and remember, in Space no one will hear you scream but EVERYONE will see your design.