Benoît Bodhuin’s new typeface  ’Mineral’  is now available — Thanks to Benoît for the images / info

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Mineral is a crystalline font carved into the rock, coming from space, a starry type. Its design is consisted of square module sometimes rotated of 45 degrees. This feature modular gives it a design between a pixel type and kapla constructed type. It comes in three styles – solid, border and outline. The main style – Mineral solid – has the property of being a stencil, the two others are titration versions of the main drawing.

–Mineral is a glittering writing, fractured into multiple tetragonal splinters, rectangular modules slightly spaced, like quartz and pixel. A Kapla style construction, with stencil properties – Solid version only – however offers to the font a great readability. Mineral Solid has 2 stylistic titling alternatives: Border and Outline.

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Further Info

In use @tumblr: http://mineral-font.tumblr.com/

PDF: http://www.benbenworld.com/files/fontes/Mineral/Mineral.pdf

www.benbenworld.com/fontes.htm

Milieu Grotesque’s new type specimen is now available —reviewing the great selection of typefaces from the Berlin—Zurich foundry.

INFO

Milieu Grotesque is a Berlin-Zurich-based, independent publisher and distributor of typefaces and related publications. Set up by Timo Gaessner and Alexander Meyer,

Type Specimen Catalogue
by Milieu Grotesque, 2013
DIN A4 / 32 Pages, Offset Print,
incl. Round Sticker
5.– CHF

Illustrations by Maiko Gubler

Artist / Designer Levi Bunyan (Aekido) has been experimenting with Lego and letterpress.

‘During experimenting with different forms of printing, initially letterpress and wood block, I began to experiment by introducing new elements into my printing process, and the Lego letterpress was born.’

BEIKA is a new typeface from Copenhagen based Rasmus Lund Mathisen.

You can see more from his site — www.lundmathisen.dk

The excellent film on Massimo Vignelli’s approach to book design by Pentagram for Mohawk, just had to feature on Typetoken — Enjoy!

Info

“The grid is an integral part of book design. It’s not something that you see. It’s just like underwear: you wear it, but it’s not to be exposed. The grid is the underwear of the book.” — Massimo Vignelli

Vignelli’s approach to book design is the subject of a new video created by Pentagram’s Michael Bierut and Aron Fay for “What Will You Make Today?” campaign from Mohawk. In the video, Vignelli discusses his use of the grid as the basis for the layout of a book’s pages, using one of his classic book designs for the architect Richard Meier as an example. Working with an audio interview edited by Hilary Frank, Bierut and Fay animated Vignelli’s sketches for the clip, taking them from skeletal grid to finished publication.

Bierut knew Vignelli’s painstaking step-by-step process well. “Because I worked with Massimo for ten years before joining Pentagram, I was very familiar with his unique way of designing books. He sits with all the ingredients—text and images—and draws each page with a pencil, including every photograph, using a grid as a layout guide,” he says.

The video is accompanied by a small limited edition journal that reproduces Vignelli’s grid from the film. The journal is available from Mohawk’s website, while supplies last.

Vimeo Link

The latest issue of limited edition typography 8 Faces is now on sale, available exclusively from the brand new 8faces.com.

Issue 6′s stunning cover artwork (designed by Stefan Weyer) is entirely blind de-bossed, so there’s no ink at all — you have to tilt it towards the light to see all of the details.

This issue features interviews with Simon Walker, Dan Rhatigan, Seb Lester, Nina Stössinger, Grant Hutchinson, Mike Kus, and Eric Olson and Nicole Dotin of Process Type. It also includes essays from Christopher Murphy, Leo Koppelkamm, and Typekit’s Tim Brown, and an introduction by Craig Mod.

Each copy comes with a free type catalogue from Rosetta and a free PDF edition, available for immediate download. The physical edition will ship from 6th May onwards and only 2000 copies have been printed.

The new website was designed and built by Trent Walton, Reagan Ray, and Dave Rupert at Paravel, with 8 Faces founder Elliot Jay Stocks.

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Thanks to 8 Faces | Elliot Jay Stocks for the latest 8 Faces issue #6 images + information

8faces.com

Grist and Glue are new font releases from Alias —  Thanks to Gareth Hague / Alias for the images and font development info below

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As their names suggest Grist and Glue share an idea. Broadly that is making stencil letters using simple shapes.

Grist was designed originally as a logo proposal for art-pop band Fischerspooner. It was one of a series of ideas exploring ways of taking an upper case serif font and making it ‘graphic’, so like a logo rather than a typeface. I tried this in various ways – by making the serifs thicker, or making the serif oversized and angular. These generally weren’t very successful.

The most successful version stripped out the thin stress of the typeface and added a circle as an occasional serif. This made a dotting effect when set as multiple words. This was presented, to be rejected and a more neutral serif typeface used in what became a very untypographic series of record sleeves (also discussed elsewhere and on alias.dj).

Having written a blog post and reminding myself about the project, I wanted to develop this serif stencil circle typeface further. As it happened during the Fischerspooner project and in a fit of enthusiasm I had drawn a complete A-Z.

What I liked about the idea originally was that the typeface was made up of these big, dramatic shapes, either the circle or bits of circle or these swashy triangles or rectangles. There were no small fussy shapes, so it could be cut out and used as a stencil. The serif was a useful connecting device and the letters were, generally, readable.

As I developed the character set rows of circles became diagonal lines or dashes, so accented characters, or currency, hash or @ signs (etc) became these codified, braille-like shapes. I enjoyed designing them. As a headline typeface they were free of at least some of the rigours of clarity, and able to rely on impact.

As I was designing these – particularly @, © – I noticed that I was removing the seriffy connecting swash and the characters were getting more simplified and abstract. It was or could be a separate idea, and I developed the typeface Glue from these.

It is more clearly a typeface from a limited set of graphic shapes. It is modular, but its grid forces the shapes to work fit together in non obvious ways making non obvious shapes. Its limited modular structure means that shape arrangements are recycled, with an A flipped to make  a 7, or X flipped to make a Z – I’m rather proud of these typographic firsts, I suspect they’re my only ones.

So it is semi abstract, but readable. It expects the reader to try quite hard, expecting them to decide for themselves whether its design makes it worth the effort.

Grist and Glue are available from FontShop.

http://alias.dj

http://alias.dj/blog

A film documenting the publishing (ad)venture of Baseline Magazine. It is a brief, yet in depth summary about how the International TypoGraphics Magazine is produced and shows it’s associated activities. The film is a collaboration between Marta Patlewicz, film maker based in Rochester, the University for the Creative Arts (UCA) and Baseline Magazine.

baselinemagazine.com

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Thanks to John Hunt | HDR

Spanish design studio, Lo Siento, have recently completed a new project for Wired Magazine UK.

It’s an unusual take on a halftone, creating letters from bubble wrap that has been individually injected with coloured inks.  And, not only is it a tricky process (I had a go myself) but it must take the patience of a saint to build each letter, dot-by-dot.

There’s more experimental work on — their site

Renowned type design studio Fontsmith has today launched FS Emeric, a new typeface that represents the culmination of over two years’ work by Fontsmith’s type design director, Phil Garnham.

The original brief that Phil set himself carried a bold ambition — a sans serif typeface that was capable of adding a fresh new voice to the classic modernist fonts.

As Phil explains:
“The timeless alphabets of the fifties have a deliberate neutrality, born out of an unfaltering mechanical solidity in each line and curve. FS Emeric has been designed to share this sense of structure and universality but it also introduces a new approach, intuitively informed by a sense of today, one of progress and optimism.” As a result, FS Emeric enjoys a connection to the familiar typefaces that have shaped the world of graphic design for so many decades, while also exhibiting a characteristic humanity that adds energy and personality.

It is available to purchase from fontsmith.com in 11 weights with italics, which together form a ‘Superfamily’.

The launch campaign for FS Emeric was developed by Exeter-based brand design studio Believe in®, whose Founder and creative director Blair Thomson said: “Our goals with the campaign were twofold — to demonstrate FS Emeric’s potential and to show off its extraordinary range and versatility. We’ve tried to capture a sense of possibility, so it feels expressive while preserving a pure typographic approach.”

The campaign consists of a striking type specimen booklet, an ambitious series of limited edition screen – printed posters and a campaign microsite at www.fsemeric.com.

The specimen booklet tells the story of the typeface through a range of brand applications, including packaging, signage and screen-based design. The finished booklet is beautifully crafted with a wraparound cover, printed in 4 spot colours with2 foils on GF Smith papers.

For the poster series, 11 leading design studios from around the globe were invited to create a limited edition A1 poster using one weight of FS Emeric. Believe in® designed an additional campaign poster, and all 12 have been screen-printed onto 175gsm Colorplan and hand numbered by Dan Mather in London.

Participating studios included Pentagram, Build and Bibliothèque in London, Manual in San Francisco, Studio Dumbar in Rotterdam and Lundgren+Lindqvist in Gothenburg.

Doctrine is a recent release from Virus Fonts

A contemporary sans-serif typeface with an agreeable character—Doctrine Sans is the moderate comrade of the display typeface Doctrine Stencil

From the obscure starting point of the North Korean national airline livery, Doctrine has grown to encompass a series of more mature typographic influences. By blending elements of twentieth-century neo-grotesque, humanist and geometric styles, Doctrine is at once universal and idiosyncratic.

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Designed by Jonathan Abbott, Jonathan Barnbrook and Julián Moncada
Visit: virusfonts.com

Check out  LL Circular — Lineto’s / Laurenz Brunner’s beautiful new geometric sans serif.

A family of 8 cuts currently ranging from Book to Black weights, with corresponding Italics.

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Thanks to Laurenz Brunner for the images / info

LL Circular pdf Specimen

http://lineto.com/

http://laurenzbrunner.com/

Gentleman Scholar Gets Wild with “Spring Breakers” Title Design

When Director Harmony Korine needed the perfect opening for his latest feature-length masterpiece, Spring Breakers, he turned to his friends and collaborators at LA-based creative studio Gentleman Scholar. The famously exacting American auteur entrusted the Gentleman Scholar team with the entire concept and design process. The result is a gorgeous testament to hallucinatory visual excess – a title sequence that stands toe-to-toe with the film’s glittering feminine allure.

Easily ranking as one of the most buzzed-about Hollywood films of the year, Spring Breakers was already well on its way onto the pop-culture landscape when Gentleman Scholar began working with Korine to establish the eerie aesthetics of the titles and credits. Numerous attempts with other designers had left the director especially receptive to new approaches, and he invited the Gentleman Scholar team to invent its own creative brief. “We eventually came up with some weird stuff,” noted GS creative Will Johnson, “but it vibed with him from the get-go. Harmony is a really open dude. He had some ideas as far as framework was concerned, but it was a very open dialogue. Ultimately, we came to him with several ideas and he was very receptive, so things progressed from there.”

The Gentleman Scholar designers were relentless in their search for ideas, eventually finding a muse in the day-glow aesthetics of their own Los Angeles surroundings. “We drew a lot of inspiration from our own “local cheesy vacation spots,”” says GS creative William Campbell. “We went to a Santa Monica beach and explored around there, drawing on the kitschy local beach community ‘look’ and had illustrators and artists on the boardwalk create little things that we eventually drew from to give the titles their final look.”

Gentleman Scholar creatives worked tirelessly with Korine to match the tone of the title sequences to the film’s story, allowing their work to fit seamlessly into Korine’s universe. “The vibe of his storytelling is the kind of work we love to do,” notes Johnson enthusiastically, “but the most exciting thing about this project was the breadth of creative freedom we were given. We really excel at matching an initial concept to flawless execution, and it’s something we would love to do more often.”

Credits:

Product: Spring Breakers

Movie
Title: ‘Spring Breakers’

Airdate: 3/22/13

Length & Version: Opening Title Sequence, Main on End Titles

Director: Harmony Korine

Post Supervisor: Anthony Gore

Production / VFX Company: Gentleman Scholar
Executive

Producer: Rachel Kaminek

Producer: Tyler Locke

Designers: John-Patrick Rooney, Heather Aquino, Jordan Lyle, William Campbell, Will Johnson

Animators: Rachel Yonda, John-Patrick Rooney

Creative Directors: Will Johnson, William Campbell

Gentleman Scholar is a group of solution-driven artists situated at the intersection of story, style and technology. Wielding extensive experience in strategy, live-action production, animation, digital and print, we help the world’s leading agencies and brands tell their stories.

With the revision and the extension of the typeface T-Star up to version 3.0. Type Foundry Binnenland have published and designed ‘The Giro type specimen’

It presents the wonderful story of the first cycle race in Italy (Giro d’Italia) and provides some background information about the typeface.
Download The Giro Typespecimen as pdf

Buy the specimen here

T-Star Typeface more info

Revolution or evolution? Fall or rise? Whorehouse or paradise? Cola or guarapo? Marlboro or Cohiba? Beans or lobster? Freedom or Guantanamo? Track suit or tie? Internet or carrier pigeon? Salsa or rap? Old-timer or Turbo? Museum or future-lab? Work or none? Hope or exile? Or a mix of all of these queries? It’s different than we think – much more complicated, deep and full of surprises. Reason enough to dedicate the 21st issue of Slanted Magazine to a young generation of Cuban designers and artists.

“Slanted #21: CUBA – The New Generation” illuminates contemporary design, photography, illustration and typography from Cuba with a special focus on Cuban poster art – most projects and artworks have never been shown outside Cuba

We are very happy to present numerous essays and reports: “Chico & Rita – A film by Fernando Trueba and Javier Mariscal” as well as “Malecón Buena Vista” by Wolfgang Wick (DE), “Happiness” by Frank Wiedemann (DE), “Havana Today, Havana Cultura” by Randall Koral (FR), “Necessary Things” byå Ernesto Oroza (US), “Posters as Bridges” by Carlos Zamora (US), “Design on an Island” by Pedro Contreras Suárez (CU), “Give Guantanamo Back to Cuba” by Jonathan M. Hansen (US), “Equal among equals – The Emporer’s New Clothes” by Michael Schmidt (DE), “The Human Memory Machine” by Ian Lynam (JP) as well as “Cuba, mi amor” by Anna Berkenbusch (DE). Furthermore we talked to Hartwig Runge (Ingo Graf, DE), Javier Mariscal (ES), Mario MC (CU), Sachie Hernández Machín (CU), Sara Vega Miche (CU), Nelson Ponce Sánchez (CU), Raúl Valdés González (Raupa, CU), Michele Miyares Hollands (CU), Giselle Monzón Calero (CU), Roberto Ramos Mori (CU), Edel Rodríguez Molano (Mola, CU), Pepe Menéndez (CU), Eduardo Sarmiento (US), Daniel Díaz Milán (CU), Carlos Segura (US), Pablo A. Medina (US), Claudio Sotolongo (CU), Jorge González (DE) and Yoan Pablo Hernández (DE). In our interview format (10 x 10) 10 international designers gave answers to 10 questions about poster design – Andrew Lewis (CA), Anette Lenz (FR), Götz Gramlich (DE), Gunter Rambow (DE), Harmen Liemburg (NL), Jeff Kleinsmith (US), Kiko Farkas (GR), Niklaus Troxler (CH), Takashi Akiyama (JP) und Yossi Lemel (IL).

There are also some innovations to go along with the new issue:

a) The first issue of 2013 appears in a new format (16 x 24 cm) and bigger volume (320 (!) pages) and will be released 2 times a year in spring and autumn from now on.

b) Thanks to the preceded crowdfunding, this issue is completely bilingual (English/Spanish).

c) Slanted is now interactive: With the free Augmented Reality app Junaio you can experience lots of extras.

d) The additional booklet “Contemporary Typefaces” presents the most interesting typefaces from the last six months: Agmena (Linotype Originals), Aleksei (Fatype), Classic Grotesque (Monotype), Conspired Lovers (HaraldGeisler.com), Daphne (TypeManufactur), Gemma (Mota Italic), Irma Text Narrow (Typotheque), Lettera-Txt (Lineto.com), Lupa Sans Pro (Volcano Type/MyFonts), Macula (Bold Monday), MeM (26+), Paris Pro (Moshik Nadav Typography), Publico Banner (Commercial Type) and Worthe Numerals (House Industries).

e) Slanted #21 is the bachelor thesis of Falko Gerlinghoff and Markus Lange, students at Burg Giebichenstein University of Art and Design.

Slanted Magazine #21: CUBA – The New Generation

Spring/Summer
320 pages
16 x 24 cm
English/Spanish

http://cuba.slanted.de/

http://www.slanted.de/

The changing faces of Bowie (2013) by Blam and contributors.

A limited release print has been created exclusively for the V&A and will only be available during the David Bowie is exhibition.

Screen-printed matt white onto rainbow holographic, 240gsm Mirri paper.

To create The Changing Faces of Bowie, designer Blam approached over 100 artists and designers and invited them to produce the word ‘Bowie’ in a favourite or bespoke typeface of their choice or creation. The response to the project was overwhelming, a demonstration of the widespread love, respect and admiration that exists for Bowie. Blam has combined 101 Bowies – a dazzling array of typographic styles, logos and symbols representing the constantly changing and ever evolving style of the artist David Bowie. Including contributions from Build, The Chase, Spin, Nom de Strip, Studio NMO, Stockholm Design Lab, Monocle, v23, Paul Belford, Design Project, Corey Holms, Brett Wickens, Johann Zambyski, Pentagram, Crispin Finn, Wallzo, Blam, Anthony Burrill, Wallpaper, Martyn Atkins, The Designers Republic, Trevor Jackson and Jonathan Barnbrook.

The print is available to purchase here

Thanks to Mark Blamire for the images | info

More info |  Blanka |  Print-Process

In a recent two-day Gestalten workshop, participants worked closely with Jessica Hische (a letterer and illustrator) to develop a full vector alphabet and learn about drawing type in a short amount of time. Hische has been named a Forbes Magazine “30 under 30” in art and design as well as an ADC Young Gun and one of Print Magazine’s “New Visual Artists”. Gestalten.tv filmed the workshop and interviewed Jessica about some of the pros and cons of the letters B/E/R/L/I/N.

http://jessicahische.is/

Thanks to Lina Kunimoto | Gestalten

D8 are a Glasgow and Birmingham based design consultancy. Set up in 1999 their clients include The BBC, The Glasgow School of Art, Spalding and Greenpeace.

As you’d imagine their current site only contains a limited selection of recent work. If you’d like to see more, their Creative Director, Adrian Carroll has been tweeting a project from the archives every morning.

Check out the morning archive here:
Great work from an inspirational agency.

Sign Painter Documentary

Directors: Faythe Levine & Sam Macon

There was a time, as recently as the 1980s, when storefronts, murals, banners, barn signs, billboards, and even street signs were all hand-lettered with brush and paint. But, like many skilled trades, the sign industry has been overrun by the techno-fueled promise of quicker and cheaper. The resulting proliferation of computer-designed, die-cut vinyl lettering and inkjet printers has ushered a creeping sameness into our landscape. Fortunately, there is a growing trend to seek out traditional sign painters and a renaissance in the trade.

In 2010 filmmakers Faythe Levine and Sam Macon began documenting these dedicated practitioners, their time-honored methods, and their appreciation for quality and craftsmanship. Sign Painters, the first anecdotal history of the craft, features the stories of more than two dozen sign painters working in cities throughout the United States. The documentary and book profiles sign painters young and old, from the new vanguard working solo to collaborative shops such as San Francisco’s New Bohemia Signs and New York’s Colossal Media’s Sky High Murals.

The book published by Princeton Architectural Press in November 2012 features a foreword by legendary artist (and former sign painter) Ed Ruscha.

All Photos © Signpainter Movie

More Information

http://signpaintermovie.blogspot.co.uk/

http://www.flickr.com/photos/signpaintermovie/

Press inquiries: signpaintermovie@gmail.com

Today saw the arrival of Jurriaan Schrofer (1926-90) Restless Typographer the latest publication from Unit Editions.

This beautifully crafted book celebrates his work and preoccupation with experimental typography and letterforms.

Frederike Huygen, who has written an essay for the book, describes his work as ‘research into perception, visual effects and the optical illusion of perspective: or the interplay of letterform, pattern and meaning.’ She also refers to him as a ‘computer-designer before the computer’.

Schrofer worked at renowned design studio Total Design and was an outspoken figure within Dutch professional design organisations.

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Jurriaan Schrofer (1926–90): Restless typographer
Paperback 
150x250mm
144 pages
ISBN 978-0-9562071-8-0
£25

Essay: Frederike Huygen
Editors: Tony Brook and Adrian Shaughnessy
Design: Spin

Pencil to Pixel NYC by Monotype

3—9 May 2013

The forthcoming exhibition by monotype brings together the past, present and future of a unique typographic institution.

Spanning over a hundred years, the expertise and craftsmanship of monotype has shaped the way in which we see and read the everyday world around us.

Tribeca Skyline Studio

205 Hudson Street

Penthouse, New York 10013

http://www.youtube.com/watch?v=tWDhhCGywI0

http://www.youtube.com/watch?v=0nP-bkqiah4

To book a guided tour or reserve a ticket

Free Admission

http://penciltopixel.eventbrite.com/

https://twitter.com/byMonotype

http://www.monotype.com/

Petrobras Launch New Corporate Font Designed by Dalton Maag

Petrobras, one of the largest energy companies in the world, has unveiled a new custom font designed by Dalton Maag as part of its corporate identity.

The energy company has a presence in 28 different countries, and is a household name in Brazil, with more than 7,000 petrol stations across the country. This is the first time during the 60 year history of the company that Petrobras has had its own, unique font. The new font family ties the brand elements together to form a consistent whole, unifying their identity across the company.

Dalton Maag were approached by The LED Project, based in São Paulo, to help them with the typography for the new approach to the Petrobras identity. The Dalton Maag team in Brazil worked in collaboration with the London studio to produce a total of 40 concepts which were then discussed with the LED Project and narrowed down to six for presentation to Petrobras.The new font, Petrobras Sans, is a confident sans serif typeface with a firm construction that suggests the solidity of a multinational business, whilst including a softer human side. The terminals taper smoothly to create a more organic feel to the letter forms, which also adds individuality to the design. This difficult and interesting balance was created to reflect the human talent which Petrobras feels is one of the keys to the success of the company. Classic principles of typography were then used to make sure that every letter was legible even in the smallest sizes.

Fabio Haag, Creative Director of Dalton Maag Brazil, said: “All of us Brazilians at Dalton Maag are especially proud of being part of this project, and helping to create the new voice of Petrobras. The biggest challenge was to create a typographic concept with the unique personality of the brand, while keeping it extremely legible so that it would perform well at display and text sizes. It had to work for the complex range of applications used by Petrobras, from TV commercials to the gas stations and everything in between.”

http://blog.daltonmaag.com/

http://www.daltonmaag.com/

LetterScapes

A Global Survey of Typographic Installations

Anna Saccani

Fans of vernacular typography and ‘SuperGraphics’ will love ‘Letterscapes’ by Anna Saccani, A fantastic photographic survey – featuring some of the best large scale typographic installations from around the world

Press Release info

LetterScapes is a tribute to the power of type writ large. 
A global survey of one of the most creative areas of public art – 
large-scale typographic installations – featuring work by 
nearly forty practitioners.

Today we are bombarded with words – public spaces are saturated with a discordant mix of messages. But sometimes a sentence, a word or even a single letter can stop us in our tracks. LetterScapes features thirty-seven such works from all over the world, by artists and designers with large international followings.

Photographs, maps and diagrams explore each project in detail, and an introduction highlights the cultural importance and common themes of the works featured. Interviews with key designers provide a personal insight into why they chose words over images to transmit their message, how the locations for their work are chosen, how they selected the material and the typeface, and how they think their work connects with its particular landscape or setting.

Includes work by Ahn Sang-soo • Ashton Raggatt McDougall • BBPR • Joan Brossa 
Cardozo Kindersley Workshop • Paul Carter • Caruso St John
 Chermayeff & Geismar • Estudio SIC & Buj+Colón • FA+ • Ian Hamilton Finlay
 • Catherine Griffiths • Rudolph de Harak • Robert Indiana
 • Intégral Ruedi Baur • Ilya Kabakov • Richard Kindersley • René Knip
 Attila F. Kovács • Maya Lin • Karel Martens • Anton Parsons
 • Michael Bierut / Pentagram • Paula Scher / Pentagram • 
Roberto Behar & Rosario Marquardt • Maarten de Reus • Pierre di Sciullo
 • Smith-Miller+Hawkinson

Anna Saccani studied Visual Communications and Multimedia Design at IUAV, Venice. She has worked as a graphic designer and writes for such architecture and design magazines as Casabella.

More Info

http://www.thamesandhudson.com/LetterScapes/9780500241431

 
A geometric sans serif typeface influenced by Bauhaus and the early modernist era. Precise circles are optically adjusted to create a clear, natural typeface with great legibility. Details include 540 characters >with alternative lowercase a, e and g, 5 variations of numerals, manually edited kerning and Opentype features.

The regular and italic weights are available as FREEWARE which is great news for many people who have enquired about sample fonts to test out in their projects. The rest of the family is still in the development and will include 9 weights with Italics.

Made by Jonathan Hill — The Northern Block

Ten is a magic number by Bunch:

It’s the perfect number for lists, collections and thoughts. A list of ten we can remember and gain adequate insight from – the Ten Commandments, the top ten, let’s count to ten, ten out of ten, ten fingers, ten toes! Any less than ten, we feel there isn’t enough substance. Any more, and we may begin to forget or become confused.

Perhaps this is why Milton Glaser chose the number ten when writing his iconic essay, Ten Things I Have Learned, which was part of the AIGA talk he gave in 2001. His list of ten insights inspired some in the following years to prepare their own lists of ten, while others (like us) were simply grateful for their enlightening honesty.

When considering the design of this book we found the experience of a stock book to be both visual and tactile. One touches and examines the texture, weight and colour of the stock. Perhaps also smelling the paper to substantiate a decision. After that the mind stores a memory of the paper, should we need touse it at another time.

To complement this, we’ve weaved the ten insights into this book. So that as you consider the paper and absorb its qualities, you also take away an insight which might come in handy some day.

The limited edition of 300 entitled “TEN” after Milton Glaser’s essay “Ten Things I Have Learned”, showcases a cross section of paper stocks available from paper merchant, HYPERLINK “http://www.igepa-plana.hr/”Igepa-Plana, with beautifully illustrated statements enveloping the pages. The ten “things” were presented typographically and illustratively via 
a wide range of media.

48 page, cloth-covered hardcover book, 4 colour with gold and silver stamp with 6 different foil covers. Produced in a limited edition of 300.

Collaborators:

OmegaTheKid! Phoenix — Illustration

Ivo Sousa — Illustration

Vanja Solin — Photography

Cerovski — Print

Links:

www.igepa-plana.hr

Milton Glasser

Bunch