Study of Sheen
If you need an antidote to the ‘ribbon style’ lettering that has become so ubiquitous recently, look no further.
Greg Coulton, working in London, has created several lettering studies based on the places he’s spent time in. Most recently he completed this design of Sheen, a leafy South-West London suburb.
“The piece is a historical celebration of the area, featuring details and iconography to depict its illustrious past.”
It’s great to see the lettering studies before and after they are surrounded with the rest of the composition. The level of intricacy is fantastic. Describing himself as a “designer & illustrator, with a pinch of typographer thrown in”, Greg’s story is familiar: having spent 12 years in advertising agencies, he’s given it up to spend his time illustrating.
“The Geometry of Type" explores 100 traditional and modern typefaces in loving detail, with a full spread devoted to each entry. Characters from each typeface are enlarged and annotated to reveal key features, anatomical details, and the finer, often-overlooked elements of type design, which shows how these attributes affect mood and readability. Sidebar information lists the designer and foundry, the year of release and the different weights and styles available, while feature boxes explain the origins and best uses for each typeface, such as whether it is suitable for running text or as a display font for headlines. To help the reader spot each typeface in the wider world, the full character set is shown, and the best letters for identification are highlighted. This beautiful and highly practical work of reference for font spotters, designers and users is a close-up celebration of typefaces and great type design.
There are many things I like about Stephen Coles’ recent book; the bright, clean design and the accessible structure allowing you to dip in and out; but most of all, it’s the lack of fluff or filler. The content has been carefully honed to focus on the important details, which is in fact what the book is all about: the details of each typeface.
In highlighting and comparing the features that give each typeface its character, anyone exploring this subject can begin to make informed choices between similar typeface options.
The pithy descriptions describe each typeface’s origin and advise what makes each appropriate for certain scenarios and where it might fail. These are occasionally laced with a subtle humour that keeps the tone of the book warm.
The great balance of written and visual explanation means the book works well as a quick reference but has a seductive way of drawing you in to read more and examine further.
Book Review by typeworship
Essential Guide: The Space Church Church Edition
The architecture of churches has always aimed to awe. Yet while some houses of worship convey the staggering unknowable nature of the spiritual with flying buttresses and ornate rose windows, other churches seem ready to take off for the heavens all on their own. We’ve rounded up 20 churches from around the world that look like space ships, from brutalist behemoths to stained glass-studded modernist cathedrals.
For the full gallery, keep reading 20 Churches That Look Like Spaceships on Atlas Obscura!
Designed by Toronto based advertising agency TAXI.
“Why be like everybody else? This question is not only the tagline for Crazy Uncle but a total brand philosophy. With this notion in mind, TAXI came up with the name, visual language and packaging for this newly launched culinary cocktail. Inspired by ‘Dandyism’, the Crazy Uncle packaging features a packet of rimmer that also doubles as a pocket square. Each flavour has a different pattern and is a homage to all the crazy uncles out there.”
Designing Chromatic Wood Type & Printing With It
Earlier this year Nick Sherman lead a workshop during the ]tpc10[ conference in São Paulo, taking participants through creating and printing their own colourful type. As the workshop write-up describes:
“Chromatic” typefaces are designed with multiple sets of corresponding layers, intended to be typeset in different colors, aligning and overlaying to create special typographic effects.
Participants designed the letters on their computers and then had them laser cut into wood vaneers. The separated veneers were then mounted to base blocks ready for printing with. You can see photos of the process on Nick’s Flickr page. The final blocks were locked in a forme together and letterpress printed to produce the workshop poster above. Wishing I was there…