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.
In 1983 Rudy VanderLans, Zuzana Licko, Marc Susan, and Menno Meyjes began Emigre, a magazine about “…the global artist who juggles cultures, travels between them, and who is fluent in the cultural symbols of the world. An émigré.” Early issues meandered through essays, interviews, fiction and poetry. VanderLans directed wild layouts that ignored the so-called rules instilled by modernist design pedagogues. After four issues Susan and Meyjes had left the magazine, allowing VanderLans and Licko to steer Emigre toward being a design magazine that explored experimental and usually computer-driven work like their own.