MOVABLE TYPE: perhaps nowadays few will know the exact meaning of these two words, but until the middle of the twentieth century a letter was a small piece of lead, and to use it for printing you literally had to move it around, by hand. In the 20th century big machines like the Monotype, equipped with keyboard, were used for typesetting; but until 1900 all type was set by typesetters, by hand. This simple object: a piece of lead with a letter on top, formed the central part of Gutenberg’s invention, back in the middle of the 15th century.
Though I have the utmost respect for Massimo Vignelli, and am a fan of his work, his we use too many typefaces is just plain wrong. It’s by no means the first time Vignelli has voiced these views. If you have no idea what I’m writing about, then watch this video:
Dan Reynolds’ review of Bibliothèque Typographique’s
first book, José Mendoza y Almeida
I’m proud to present ‘Blazing’, my new limited edition print. This piece is released exclusively through POW who sell the work of some extremely talented and well known artists including Banksy and Antony Micallef. For anyone who might be interested I thought I’d offer a little background information.
ILT in Tokyo
On May 19, I’ll be in Tokyo to talk about type. I’ll be discussing where letters come from, the history of typography, why typography matters, and how we can all create better typographic pages.
Teaching on a postgraduate course feels very much like a spiral: the annual repetition of projects, each a vehicle for a journey of education and discovery for the student, blurs into cyclical clouds of shapes, paragraphs, and personalities. There seems to be little opportunity for reflection across student cohorts, and yet it is only this process that improves the process from one year to the next. Having passed the tenth anniversary of the MA Typeface Design programme was as good an opportunity as any to reflect, and ILT’s offer to publish the result an ideal environment to get some ideas out in the open. Although my perspective is unavoidably linked to the course at Reading, I think that the points I make have wider relevance.
Though I’ve yet to see it in the flesh, I like the look of Creative Review’s redesign. Everything from logo through type, format, & guts.