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.

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

Hecho en Los Angeles

Lux Typographic + Design

Lux Typo is based in Los Angeles, a place where convergence is a way of living. Street food and the visually arresting trucks that deliver it are symbols of this phenomenon. From small vendors with carts of bacon-wrapped hotdogs to that of large food trucks peddling fusion cuisine, they line the streets into the early hours of the morning. As a backdrop, one takes in the contradictory, obnoxious and absurd, but ultimately leaves inspired. It is one slice of an ever evolving lexicon that is “Hecho en Los Angeles”.

Hecho en Los Angeles is the current catalog from Lux Typo. It features commissioned work for clients such as Johnson and Johnson, Kellerhouse Inc., and Universal Music Group as well as fonts available for licensing through Village  - http://vllg.com/

http://luxtypo.com/

Note: GDT Gothic developed with Kellerhouse Inc. www.kellerhouse.com/

—

Thanks to Greg Lindy / LuxTypo for the images and information

Fellow Typetoken contributors Tom & Phil  the dynamic duo from Mat Dolphin have been abusing poor bananas for types sake.

You can take a look at the whole collection here.

Or follow their twitter feed here.

Demian Conrad Design is a creative studio based in Lausanne, Switzerland and boasts a strong graphic style coupled with beautiful typography.

Far from visceral, their approach is forensic and objective, employing a level of thinking and curiosity that has quite clearly rewarded them with many great projects.

Demian has kindly agreed to answer a few questions for TypeToken.

Having studied with Edward de Bono, how much influence has he had on your work?
Edward de Bono is one of the rare brilliant minds who has improved the way we use creativity thanks to a series of techniques he developed. He has also demonstrated that creativity is not a mysterious magic gift but it is a proper skill that you can develop and improve. I’ve been implementing his great techniques for a long time and they help me to find solutions when I’m stuck with a problem. The PO ‘provocative operator’ is a simple tool to provoke new ideas. I used it, for instance, for ‘Camerata de Lausanne’ when I had to set the problem, the question being ‘Can we communicate the concept of contemporary music, without the classic visual elements like a violin, partitions and musical notes?’

Experimentation flows through your studio, but perfection is just as evident. How do you balance them both?
It is always difficult to balance it, in some way we would like to do more experimental projects, but as we are serving an industry we also have to keep an eye on objectivity. I believe my work is a kind of Swiss heritage mixed with a pinch of dadaism. One of our influences is the Fluxus Movement with its performative techniques. So when you see the last project produced for the LUFF campaign you can read there is the wish to try new ways to express a visual sign.

At what point during a project do you introduce typography?
I would say that typography is the starting point of the visual project, having analysed the problems and set the questions of the project. I decided to avoid the use of illustration and figurativism within my studio’s process, and so I give more emphasis to typography and geometry. It is always an exiting and empowering process to communicate within typography constraints.

What’s the best advice you’ve been given?
Do not listen to other people’s opinion when you think you have the right answer.

If you had to favour one typeface, what would it be?
It’s not possible to choose the best one because every typeface has it own purpose and set of values. But recently, I re-discovered Univers by Adrian Frutiger and I have to say that is seems so perfectly objective.

You can view more of Demian Conrad’s work on his site.

The updated edition of ‘Grids’ published by Ava academia – is well worth checking out. Something for everyone (from students to seasoned pros) in this well designed book, explanations / theories behind grid systems and illustrated with some beautiful ‘real life’ grid based work.

Ava information

A comprehensive guide to the use of grids in graphic design.

Argues for an informed and flexible approach to using grids, to allow for effective and creative designs.

Contemporary case studies are supported by concise descriptions, technical expansions and diagrammatic visualizations, enabling the reader to fully understand the work being discussed.

An in-depth guide, supported by interviews, exercises and resources, all presented in a visually stimulating style designed to appeal to students and practitioners of the creative arts.

avabooks.com

You can find out more about the agency and other work on their site, or follow their musings on Twitter.

Enjoy.

Sony Music Timeline

The Sony Music Timeline celebrates 125 years of musical history covering almost 150 square meters of wall space in Sony’s Derry Street headquarters. Using just CNC cut vinyl as the sole medium, 54 columns measuring over 2 meters tall cover feature nearly 1000 of Sony Music’s signed artists from 1887 to the present day.

Emma Pike, VP Industry Relations, who commissioned the piece said, “The brief was to bring the inspiration of our music into the heart of our building and make our office space live and breathe our incredible musical legacy. Alex’s beautiful graphics and illustrations do exactly that.”

You can see more and video of the project: Alex Fowkes

Counter-Print

The ninth edition of newspaper, Eight:48, is out now and has been renamed Counter-Print. It now consists of three papers and runs to 56 pages.
Paper #01 focuses on the art and design of freight and heavy goods vehicles, taking a global view on the history, symbolism and craft behind their ornamentation. Paper #02 entitled, ‘new work’, offers a snap shot of some of the best work Counter-Print have had sent to them over the past quarter, as well as inspiring pieces they have come across in galleries and online. Finally, Paper #03 is an attempt to tie up Eight:48, as they move forward with Counter-Print. Its brief montage of new and old articles, drawn from issues one to eight offers a timely look back on all eight themes that have shaped the paper so far.

Specification:

56 pages

289x400mm

4 colour throughout

£6 (with free P&P to the UK)
Counter-print Issue 09 is available to purchase from here

‘Alphabet Truck’ project photography —

Eric Tabuchi http://www.erictabuchi.fr/

Competition
Keep an eye on the Typetoken twitter feed this Friday 31st – we are starting a fresh retweet competition to win the latest issue of Counter-Print

Twitter: @typetoken

Logotype
Michael Evamy

Logotypes – wordmarks, monograms and single-letter marks – are where the verbal becomes visual; where elements that are usually designed to speed the eye across the page invite it to linger; where the choice of font is never less than meaningful; where spaces and spacing are significant; where the composition of words and characters carry weight; where letterforms and even fragments of letterforms can evoke attributes, atmospheres, emotions, events,places, personalities and periods in history.

Once it has become familiar, a logotype is registered by the brain in much the same way as a symbol: as a single, visual entity rather than a set of related verbal ones.

Featuring more than 1,300 international typographic identities, by around 250 design studios, this is an indispensable handbook for every design studio, providing a valuable resource to draw on in branding and corporate identity projects.

Examples are drawn not just from Western Europe and North America but also Australia, South Africa, the Far East, Israel, Iran, South America and Eastern Europe. 

Contributing design firms include Pentagram, Vignelli Associates, Chermayeff & Geismar, Wolff Olins, Landor, Total Identity and Six as well as dozens of highly creative, emerging studios.

Retaining the striking black-and-white aesthetic and structure of Logo (also by Michael Evamy) and Symbol, Logotype is an important and essential companion volume. Logotype will be available from September 2012.

*Competition*

Win a copy of Logotype

Typetoken are running a ‘reweet to win’ competition

Laurence King Publishing will randomly select from the retweets a winner of the book.

Keep an eye on + follow the typetoken twitter feed for details.

Follow on twitter here:  @typetoken

More Info

Laurence King

@LaurenceKingPub

Michael Evamy

@michaelevamy

8 faces magazine #5

8 faces magazine / issue 5 is now available – featuring a great line up including

H&FJ — typeface design powerhouse, revealing all about their web font service

Mark Simonson — type design legend

Trent Walton — web designer extraordinaire

Keetra Dean Dixon — visual artist

Peter Bilak — Typotheque founder

Gerry Leonidas — MA Typeface Design Course Director

Mark MacKay — KernType creator

Also in this issue, there is an introduction by Neil Summerour, an essay on typographic white space by Typekit’s Tim Brown, a mammoth, six-page essay on Octavo magazine by Christopher Murphy, and some beautiful cover artwork courtesy of Erik Marinovich.

Available from 8faces.com

The series of awesome Chinese typographic images for a life style web-magazine “Voicer.me” by More tong (More+), illustrator, typographer and graphic designer based in Shanghai, China, to explain the traditional Chinese culture which tells us about the change of weather.

More is tring to express solar terms – any of 24 points in traditional East Asian lunisolar calendars that matches a particular astronomical event or signifies some natural phenomenon – by typographic design. The series are currently in progress.

Chinese 24 terms on the Behance Network
More+ website
More Tong on Facebook
More+ on weibo
VOICER

The ‘Little Black Font Book’ is a must have designer desk accessory for 2012.

34 pages packed with typographic inspiration for creatives to find and buy truly unique, hand-crafted fonts. An essential desk accompaniment offering a veritable feast of fonts for anyone interested in experimenting with typography, designers getting back in touch with the classic skill and brands looking to find typefaces that standout that and really add depth to the visual language. The book itself is perfect bound, printed on 120gsm recycled paper, and finished with a matt laminate cover.

LITTLE BLACK FONT BOOK (VOLUME #1)

Available at Amazon ›

Thursday 19th July 2012 / 4pm
At Letters Are My Friends / Berlin

On 19th of July the two parties Content & Form are competing visually and interactive at Letters Are My Friends’ typographic concept store: The collaborative exhibition CON<>FORM deals with the subject of conceptual contentdriven editorials versus free-form based graphic design within the setting of a politically incorrect debate: are content and form contradictory or complimentary?

The respective representatives for form and content are VA 300 – a screenprint poster edition created 2010 in Augsburg, Germany and a free quarterly publication called POSTRmagazine from Ghent, Belgium.

Both sides have a very unique and opposed approach on design: VA 300, initiated by Michael Titze, Sebastian Onufszak, Benjamin Stephan & Christoph Haag followed a curated exhibition concept. As part of it they invited well-known national and international design studios to create a silkscreen poster for the 300th anniversary of the University of Augsburg. Contributing artists are Mirko Borsche, C100/Purple Haze, HelloHikimori, Evgeny Kiselev, Eike König, Eva Krusche, The Rainbowmonkey, Sebastian Onufszak, Smatik & Viagrafik.
VA300 also came up with a generative poster creator.

POSTRmagazine, piloted by Pieter de Kegel & Rob van Jaarsveld, dubs itself a ‘counter culture chronicle’. In an editorial landscape of ad-driven content and sponsored magazines, POSTR sports a new form of non-mainstream gonzo journalism, infused with a healthy dose of accurate paranoia and surprising revelations. On the day of the exhibition, POSTRmagazine will also be releasing its latest issue on identity and privacy in the digital era.

Dressed up as a BBQ election fun(d)raiser, which is also the 1year birthday celebration party of Letters Are My Friends, both parties will attempt to raise the most votes for their posters. At the end of the day we will know which side will take the throne and wave its tyrannical scepter over the bloody battlefield that is the public space.

VA 300 Artists:

Mirko Borsche
C100/Purple Haze
HelloHikimori
Evgeny Kiselev
Eike König
Eva Krusche
The Rainbowmonkey
Sebastian Onufszak
Smatik
Viagrafik

Dates:
Thursday 19.07.2012 / 16 Uhr / BBQ & Vernissage with all representatives
- a contribution of 5€ includes BBQ flatrate and a goodybag -

With lovely music by
— WORLD GANG (LIVE-SET) // http://music.world-gang.com/World-Gang-Radio
— COMFORT FIT (LIVE-SET) // http://soundcloud.com/comfort-fit
— SARAH FARINA (DJ) // http://soundcloud.com/sarahfarina

Letters Are My Friends Boppstrasse 7 10967 Berlin

Exhibition:
Friday 20.07.2012 – Sunday 05.08.2012

FB Event:

http://www.facebook.com/events/429347660443237/

Check:

http://www.postrmagazine.com

http://www.va300.de

http://lettersaremyfriends.com

Presskit:

http://lettersaremyfriends.com/presskit_conform.zip

THIS EVENT IS PROUDLY SUPPORTED BY
WULLE BIER (http://www.wulle-bier.de/), HUETTENPALAST (http://huettenpalast.de/), STICKMA (http://www.stickma.de/) ,
Klub7 (http://klub7.de/ottobaum/) & ONFORMATIVE (http://onformative.de/).

 
Herb Lubalin
American Graphic Designer
1919-81
Unit 07

Author: Adrian Shaughnessy
Editors: Tony Brook, Adrian Shaughnessy & Alexander Tochilovsky
Design: Spin

This meticulously researched book offers a complete career overview of Lubalin, beginning with his early days as one of the original Mad Men in the New York advertising world of the 50s and 60s, and continuing into the years of his greatest achievements as one of the world’s most influential typographers and graphic designers.

Pre-order now for only £55 (includes free postage)
Go to: www.uniteditions.com/shop/pre-order-herb-lubalin

Munich ’72 Design Legacy Exhibition and Symposium

29 June – 31 July 2012
Herbert Read Gallery
University for the Creative Arts,
UCA Canterbury CT1 3AN

http://www.munich72.org/
https://www.facebook.com/M72DesignLegacy

Information

This exhibition at the UCA Canterbury campus presents the design heritage of the Munich Olympiad during 1972. The project draws upon Ian McLaren’s collection of relevant material (some of which can be seen on this website) obtained as a result of his having been a senior member of the design team. The exhibition provides a first hand account of the evolution of the designs and subsequent commercialisation of aspects of the work produced for Munich’72. An accompanying symposium will combine contributions from figures who worked with Aicher alongside respected practicing designers. The exhibition coincides with the passage of the Olympic flame through Kent.

Otl Aicher
The design work was led by Otl Aicher who sought to project the lightness of the Bavarian landscape and the character of southern Germany. Aicher’s team developed a range of material which is probably best remembered for the innovative and exemplary series of posters; and a range of pictorial symbols which subsequently has been adopted and extended worldwide with considerable commercial success, thanks to Aicher’s close collaboration with the German lighting manufacturer ERCO.The story of Aicher’s work with ERCO and his influence on later designers will provide the theme for a symposium accompanying the exhibition.

Identity
The colour palette was one of the most significant aspects of the identity. It was based upon the heraldic colours of Bavaria, light blue and white (as used by BMW and the Hofbräuhaus brewery). Aicher chose these, together with the light green of the Bavarian alpine landscape, as the principal elements to provide a light palette (which required bespoke ink formulations). The lightness of colour was reflected in the adoption of a light typeface (Univers 55). The colours in the German national flag were expressly excluded.

Sunburst
Each Olympiad produces it’s own distinguishing symbol, used in association with the Olympic rings. The original proposal in the case of Munich a simple radiating ‘sunburst’ was felt by the legal department to be unenforceable when licensing official products. A competition was held for the symbol, which Graphicteam Köln won with a more complex design combining the ‘sunburst’ with a dynamic radiating spiral.

Gymnastics poster
The sport posters were designed by a team led by Gerhard Joksch. In the case of ‘Gymnastics’ note the inversion from left to right; removal of the curtains; introduction of two horizontal bands; and the retouching of the Japanese insignia on the costume, to remove identification with a particular nationality.

Munich ’72 (first graphic poster)
The first graphic poster to be produced was required to act as an intital ‘banner’; and frequently was used in conjunction with the photographic posters at promotional events. Because it was used internationally in unspecified language zones, to avoid verbal translations no text was included other than the headline “Munich ’72”. As no buildings were yet completed it used a graphic treatment of part of a photograph of the architectural model (which used a woman’s stocking to simulate the stadium roof). It set the graphic style for the later sport posters.

Cultural programme posters
The posters for the associated cultural events combined horizontal colour bands in the official colours with graphic imagery. Ian McLaren chose to use a consistent single horizontal line running throughout each. The poster for Folklore was the sole occasion where Aicher permitted black to be used within a graphic device.

Copy by Ian McLaren

Types We Can Make | swissnex San Francisco

Until 15th June 2012

Curated by master typographer François Rappo and former ECAL director, Pierre Keller, Types We Can Make presents a selection of new typography works from Switzerland, where type design has had the status of a high art for generations. Young Swiss designers today confront this long tradition with irreverence, humor, and boldly creative strokes using digital and traditional design tools. Types We Can Make is all about the confrontation between this contemporary approach and the classics.

Types We Can Make reflects in detail the design methodologies taught at ECAL and highlights some of the external collaborations that made the school into one of the world’s best art and design institutes. The exhibition design was done by Alexis Georgacopoulos, Director, and it showcases the work of both students and teachers at the school and the intense exchange that takes place between them.

Some of the most prominent recent graduates of ECAL’s graphic design program have their font designs represented: Nicolas Eigenheer, Phillippe Desarzens, Matthieu Cortat, Emmanuel Rey, Jeremy Schorderet, Ian Party, and many others. Types We Can Make extends beyond the typefaces themselves to show their use in a variety of formats: editions of the art magazine Sang Bleu, logos designed for rapper Jay-Z’s Roc Nation, artist monographs for Die Gestalten and JRP Ringier, art direction and poster design by the likes of Körner Union or Tatiana Rihs, not to mention digital scripting projects for interactive design.

swissnex San Francisco
730 Montgomery Street
San Francisco, CA 94111
USA

http://swissnexsanfrancisco.org/Ourwork/events/typeswecanmake

http://swissnexsanfrancisco.org/aboutus/contactus

AVA Academia publish some excellent books covering applied visual arts and design subjects, there recent Typography focused titles are well researched and illustrated with some great typographic work

The Fundamentals of Typography (second edition) is an updated version of the popular first edition of this book, in which Ambrose and Harris introduce the fundamental principles of typographic theory and practice. It covers a wide range of subjects, including the history of typography, typographic detailing and the use of creative typography across a range of media. Packed with clear explanations, expanded illustrations and historical and contemporary examples from leading practitioners around the world, this book offers an essential guide to the subject of typography and its role within graphic design. The second edition includes considerable new and revised content from the authors, including new case studies and student exercises.

more

Basics Typography 02: Using Type is a wide ranging and practical guide to typography. The book starts with an exploration of how to define type, where it is found and its many different uses. It goes on to examine layout and practice within a graphic design context, teaching designers how to work with type through specific projects and student exercises. Highly illustrated, this title contains images of historically important work alongside many examples from contemporary design studios. A helpful running glossary and examples of successful student and professional work make this an esential handbook for students of graphic design and visual communication.

more

I Love Type Series 1 — 6 | Viction:ary

The excellent series of ‘I Love Type’ books continues with the release of ‘I Love Gill Sans’ and ‘I love Franklin Gothic’. Beautifully illustrated with contemporary and inspiring design examples utilising each classic typeface. The collection includes I Love Futura (Vol. 1), I Love Avant Garde (Vol. 2), I Love Bodoni (Vol. 3), I Love DIN (Vol. 4) and I Love Franklin Gothic (Vol. 6).

Roll on ‘I love Akzidenz-Grotesk’ (vol.7)??

Information

I Love Type Series (vol.5): I Love Gill Sans

Edited and designed by TwoPoints.net

Centering on Gill Sans and its modern variations in graphic applications, I Love Gill Sans is the fifth volume of the I Love Type series, prefaced by Jan Middendorp, a specialist in the development of type and graphic design.

I Love Type Series (vol.6): I Love Franklin Gothic

Edited and designed by TwoPoints.net

Named in honour of American printer, Benjamin Franklin, Franklin Gothic had been a popular sans serif typeface for headlines and display settings. Designed by Morris Fuller Benton (1872-1948) and released by American Type Founders in the early 1900s, Franklin Gothic originated as two designs – for display and text – and later grew to a full range of alphabets, including condensed, Wide and Book, over the century, widely adopted as corporate typeface and for logo design even today.

With its focus on Franklin Gothic and its modern variations in graphic design, I Love Franklin Gothic reintroduces the type in the current with a foreword by Allan Haley, former vice president of ITC and currently the director of Words and Letters at Monotype Imaging.

http://www.victionary.com/

http://www.twopoints.net/

«An edding can write on anything.» Thanks to the new Büro Destruct font «edding 850» it even keeps that promise on your computer. End of story? Quite the opposite, actually: Together with Hamburg based ad agency «kempertrautmann» & «shift» this idea is the core of a new campaign «Type-For-Type.com» for the german brand «edding» – famous for their permanent markers.

Our design/development of the font was portrayed by director Kai Sehr that paid us a visit with his crew in Bern 2011. Kai Sehr is well known for his music videos (from Bad Religion to Backstreet Boys…) and commercials. With his documentary «Skateistan» he got highly awarded at film festivals around the globe.

Type-for-type describes the deal: You contribute something to the collaborative realtime text-editor. Once you’re done, the «edding 850» opentype font is available for download. It comes together with a PDF-magazine that features the most liked designs from the project gallery, basically the blog side of the site, where everybody can upload anything using the font. Sounds complicated? It isn’t. Have a look: BD edding Elk is already part of it.

14/41 – 14 Years, 41 Logos is the first book from Mash Creative (www.mashcreative.co.uk) founder Mark Bloom.

Produced as a limited run, the book showcases 41 of his favourite logos designed during a 14 year career. Includes five golden rules of logo design and an insight into how he approaches an identity brief.

148mm x 210mm, 100 pages, P.U.R bound with white foil debossed logo to the cover, this beautiful soft back book has been printed with an enticing mix of GF Smith Colourplan and Olin rough papers.

Available to buy from :  www.thisisourshop.com

Also available to buy from Design Museum Shop, Magma books and Artword Books.

Sofia is a building designed by architect Cesar Pelli for One Development Group located in San Pedro, Mexico.

Anagrama explain what they regarded as the three key aspects of their thinking around this brand project.

Logotype: the keys and the coat of arms are inspired by San Pedro’s coat of arms.

Typography: we developed a custom typeface designed especially for Sofia, it is inspired by british san serifs.

Layout: the text and information arrangement is inspired by the typographical treatment used before grids were popularized by the swiss grid system.

www.anagrama.com

Typography / Computer Arts Collection Issue 2

The latest ‘Typography’ focused Computer Arts Collection looks to be of special interest to Typetoken readers.

The 224 page issue includes a 48-page special project, guest-edited by Shoreditch-based studio Sawdust. Co-founders Rob Gonzalez and Jonathan Quainton walk through the entire creation process behind a striking display font, produced exclusively for Computer Arts Collection, including video diaries and behind-the-scenes footage of the studio at work (available for secure download).

Other features include:

Deep behind the scenes of leading type-focussed projects, including Fontsmith for San Miguel, Dalton Maag for Nokia and Frost* for Typographic magazine

Extended interview with Jonathan Barnbrook, creator of the fonts Bastard, Sarcastic and Exocet

The enduring influence of Germany, Switzerland and The Netherlands on global typography

Further Information

Preview