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.

—

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

8faces.com

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/

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.

Ken Garland

Structure and Substance

— Press Info —

Ken Garland: Structure and Substance is the first comprehensive monograph on the entire career of legendary English designer Ken Garland, from student exercises in the 1950s to his self-published photography books of recent years.

The biographical essay, written by Adrian Shaughnessy and accompanied by rare personal photographs, touches on the many sides of Garland: the ethical and political designer; the writer; the teacher; the photographer. It is underpinned by interviews with his contemporaries and peers, and Garland himself co-operated with all aspects of the production of this book.

Now in his eighties, Garland is still as relevant to the (design) community today as he was when he published his famous First Things First manifesto in 1964 (see p.4). He has a strong following amongst young designers and frequently lectures to large audiences, captivating them with his highly personal approach .

Author: Adrian Shaughnessy

Editors: Tony Brook / Adrian Shaughnessy

Design: Spin

Pages: 328

Size: 168x224mm

Format: Paperback

http://www.uniteditions.com

http://www.uniteditions.com/blog/announcing-ken-garland-monograph/

Slanted #19 / Magma Press Release Information

Slanted # 19 – Super Families organized a big family celebration. We are engaged in this issue with the large families (depending on the case, font families), and put their pedigrees an amazing range of variation of the day. They are characterized by a variety of cuts, which spread open to the extremes – a spectacle of Hairline to Ultra Black with compressed to extended because for everyone. In addition, immediate relatives are also represented in Sans Serif, Semi Serif, Slab, Rounded, etc..

In addition, we are pleased to present numerous essays and reports:
Unit Gothic & Uniform Set Gothic, wood type as precursor (David Shields Austin TX U.S.) About box (Frank Wiedemann, Berlin, Germany), Japanese Graphic Design: Not In Production (Ian Lynam, Tokyo, JP), on typographic super families (Julia tower, Berlin, Germany), as No One, but the cases for all! (Maurice van Brast, Weimar, Germany), Mr & Mrs Eaves: A Type Family (Emigre, Berkeley, CA, U.S.), Beyond the interpolation – Draft Font Family with Superpolator (Stefan Claudius, Essen, DE) and The bowlers Bros by Terry Wudenbachs (Buffalo, NY, U.S.).

A special feature of this edition are the many wonderful photographs:

Royal Families (thanks to Ken Johnston Historical Corbis, Brooklyn, NY, U.S.), princesses and football hero (Daniel Schumann, Erkrath, DE), Alison (Jack Radcliffe, Baltimore MD, U.S.), Life on Both Sides of the Border (Joseph Rodriguez, Brooklyn, New York, U.S.), Stranger Than Family (Matthew Avignone, Chicago IL, USA), The Other Family (Nicola Lo Calzo Paris, FR), A portrait of community life at Castle Tonna (Roger Hagmann, Blankenhain, DE), Salt & Truth (Shelby Lee Adams, Pittsfield, MA, U.S.), caches (Sirin Simsek, Cologne, Germany), Miner’s Families (Song Chao, Beijing City, CN), Portrait of a Family (Todd Danforth, Blackstone MA, U.S.).

In an interview, 10 × 10 families gave us expert answers to ten questions – with Łukasz Dziedzic (Typoland, Warszawa, Poland), Hannes von Döhren (HVD Fonts, Berlin), Peter Biľak (Typotheque, The Hague, NL), Christian Schwartz ( Commercial Type, New York City, NY, U.S.), Nadine Chahine (Linotype, Bad Homburg, Germany), Ian Party (swiss typefaces, Villette, CH), Erik van Blokland (LettError, The Hague, NL), Paul van der Laan (Bold Monday, The Hague, NL) and Yanone (Kromsdorf, DE).

We also spoke with Albert-Jan Pool (Hamburg, DE) on the future of FF DIN and what he thinks of other DIN writings, Panos Vassiliou about his magazine publisher Parachute (Atheen, GR), Andreas Frohloff and Ivo Gabrowitsch (font font, Berlin publication, DE) on the importance of large families in one of the most important international font foundries, Olaf Leu (Wiesbaden, Germany) on the tasks of writing systems, Thomas Marecki (Lodown, Berlin, DE / Blurb, San Francisco, CA, U.S.), the ” The Icons of Lodown “, Philippe Apeloig (Paris, FR) about his work and what inspires him.

The eight-page gatefold shows alongside historic family photos from Corbis something very special: a genealogy of the most modern families, the Indra Kupferschmid records for us.

Slanted Store # 19
Super Families

Publisher: MAGMA Brand Design

Release: 30.08.2012
size: 164 pages
Format: 24 × 32 cm
Language: English, German

http://www.slanted.de/

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

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

Information

Gratuitous Type is a pamphlet of typographic smut. Celebrating the letter in all its forms, GT focuses its dirty mind on typography, art, language and publishing.

Issue 1 was released in winter 2011 and features work from Alexis Anne Mackenzie, Buchstabenmuseum, Chicago…Times…Trixie, Christian Hansen, David Smith Atelier, Evelin Kasikov, and Triboro. The issue includes a 12 page centerfold of Cuban Book Covers of the 60s and 70s and is finished with a hand-applied and numbered belly band. Printed offset in an edition of 500.

Issue 2 will be released this week and features Astrid Stavro, Buffalo Zine, El Celso, Damien Gautier (Éditions 205), Kathryn Murray, Martine Mathijsen, Rob Lowe (Cagoule, Anorak, Fire & Knives), Visual Editions, and Wayne White. The issue includes a screenprinted insert hand-lettered by Kathryn Murray, and a special peel-out centerfold project from Mark Pernice. Printed offset in an edition of 1000. Each issue is hand-numbered.

Purchase Here

www.elanaschlenker.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

Slanted #16 – Bold/Light

Slanted.de and it’s associated magazine — Slanted are well worth checking out — Slanted is a award-winning typography and design magazine, which is published four times a year and focuses on the areas of experimental typography, layout, illustration and photography links.

Information

Slanted #16 – Bold/Light is contrast. The new issue deals with the loud and the silent, the eye-catching and the inconspicuous.

BOLD is the opposite of despondent. In typography it is a popular method of accentuation. LIGHT is the opposite of noisy and bigmouthed. For this theme of contrasts we initially had more loud and bold fonts, works and pictures in mind than quiet, restrained ones. We are impressed of a time – striking and epic in its occurrences – which rushes past and carries us off. The soft overtones only get little attention at this rapid speed.

So, how can we pause, set the LIGHT against the BOLD? The fluid, cinematic moment of presentation has an exceptional meaning for us also in this issue. We are bothered about a linear concept of narration. The rhythmic comparison encourages to stay and immerse. Creative decisions and the use of typography for this compilation were stretched far to specific borders, to underline the topic and to work out the character of the two extremes. This precipitates also in the production: By the use of different, metallic Chromolux papers and a two-colored finishing, issue #16 appears with six different covers. Furthermore a haptic surprise awaitsthe reader in the inner part.

We are glad having the chance to present two photo series, which interpret the terms BOLD and LIGHT on a special, distinctive way: The historical photography of the propably most significant heavyweight champion of all times, Muhammad Ali (UPI/Bettmann/Corbis), as well as a critical photographical counterdraft to the “soft-washed” and alleged airy aesthetics of David Hamilton, created by Mareike Foecking (Düsseldorf).

We feature type essays by Jean Francois Porchez (Clarmart), Horst WoÅNhrle (Esslingen), Reinhard Albers (Constanz) and Nanna Funke (Münster), furthermore interviews with Ian Party (Lausanne), Ludwig UÅNbele (Berlin), Eric Gill, Michael Horsham (London), Doug Wilson (Springfield), Raffinerie AG für Gestaltung (Zurich), Jost Hochuli (St. Gall), Thomas Lupo (Weissach) and Mareike Foecking (Düsseldorf), as well as reports by Michael Schmidt (Munich), Ian Lynam (Tokyo) and a musical travel report by Frank Wiedemann (Berlin).

http://www.slanted.de/

8 Faces #4

With a cover by Jessica Hische, printed on metallic stock with white ink and foil-blocking, issue #4 features interviews with
John Boardley — founder of I Love Typography
Craig Mod — thought-leader on digital publishing
Kris Sowersby — designer of our beloved FF Unit Slab
Doug Wilson — director of Linotype: The Film
Nadine Chahine — Arabic type expert
David Brezina — designer of the first ever 8 Faces artwork print
Silas Dilworth & Neil Summerour of TypeTrust

http://8faces.com/

Name: Emanuela Conidi
Time at Fontsmith: 3 Years
Role in the studio: Type Designer

Did you always want to design type and how did you get started?
Well, I was baptised by a typographer. Seriously. My godfather was the owner of the only typographic office in my small town in southern Italy which I like to think wasn’t a coincidence! Afterwards, I grew up happily unaware of type, and of the fact that there was such a career as typeface designer. I had a fascination for letters since an early age and when I was in high school I did spend a lot of time drawing letters on my school desk or on my friends school diaries. I would choose quotes from Latin authors, troubled musicians, philosophers or poets, in the way that teens do, and I would draw a piece. I was basically doing (bad) lettering, without knowing it. I found it relaxing, creative and expressive. Following these instincts I choose to study Graphic Design at the Politecnico in Milan. I got the bug for typography after meeting James Clough and Lucio Passerini in an evening course at the CFP Riccardo Bauer in Milan, where I also experienced metal type hand composition, bookbinding and letterpress printing. Their passion and absolute dedication to typography has been such an inspiration that I changed the subject for my final dissertation, embarking in a year long research on nineteenth-century Italian typefaces, typographers and founders (together with my former colleague and good friend Marta Bernstein). When I graduated in 2006 I was already a partner in a graphic design studio in Milan with four former University mates but with time I grew to understand that my real inclination was towards type itself. The year after I decided to move to Reading to attend the MA in Typeface Design, a choice that changed my career path. It was an amazing and challenging year spent discovering new passions and learning about types with great teachers. At the end of the course I moved to London, started working at Fontsmith and it’s been nearly 3 happy years since.

Which commercially available fonts from Fontsmith have you worked on?
Completing and expanding the established Fontsmith library fonts was one of my first jobs at Fontsmith. I started with Rufus, then Dillon and some small work for Albert Pro. I have also worked with the team on many custom fonts like Champions League, Lurpak, Zain, Telefonica and Movistar. My first solo font for the library is FS Blake. I decided to test myself, I wanted to explore a high contrast sans family. It was a very personal project, tricky but fun, and I think it fits quite well into the variety of what the Fontsmith library offers.

What are you working on right now?
Lately I have been involved in custom projects by working on Greek and Cyrillic character set extensions for some of our existing library fonts. My non-Latin script love lies in the Arabic script, but I do enjoy exploring other forms.

What is your greatest (type design) achievement to date and why?
I think you can never forget your first typeface. Mine was a font titled Nabil which was designed during the MA Type design course in Reading. It was a double achievement for me, because I did include an Arabic counterpart, which was as much challenging as rewarding. Nabil also represents the start of my career as a type designer, it won type design prizes in Europe and Japan, a highlight being the trip to celebrate the TDC Tokyo Award in 2009. FS Blake also holds a special place as it was my first published font. It represents the translation of my type views on a sans family. With this project I also experienced a new approach in the design, drawing the extremes first (display and text), which was very inspirational. This allowed me to play with weights at an early stage, in order to see how the whole thing could work as a family.

Can you give us an overview of the process you would usually take when creating a new typeface?
In the studio, I get to be involved in both custom and self-initiated projects. The practical process for the two can be very similar, it’s just the brief comes from someone else rather than yourself. This can be helpful or tricky. As a first step, it is important to isolate an idea to shape into curves, a problem to solve, a goal to achieve, an inspiration to explore and so on. We search and ask questions that will find solutions within the design. This will help not only the identity of the design, but also the creation process itself, making it more focused. Good visual research is also useful to set the tone of what best fits the project’s needs. When the sketching time comes, I like to draw random letters, playing with weight, proportions, details and shapes. As much as I love sketching, drawing on screen is the real test of an idea, as details on paper do not always have the same effect when digitised and vice-versa. Unfortunately, it is quite pointless to have a beautiful letter if it doesn’t fit with the rest of the design. It can be hard to give up a pretty looking shape. When I start digitising, I usually begin with the lowercase “n” and “o”.  The main decisions about the design are then taken working with a word (usually “hamburgefonstiv”), which contains a good mixture of letter shapes. Using a few other testing words is also useful in order to have an immediate feel of the design’s direction. The character set extension and the production side is a bit tedious, especially when you are working with big families, but it represents the closure of the design circle. Spacing and kerning are like refining a drawing, and it is really satisfying at the end to see everything coming together, and working nicely.

What is your favourite part of that process?
The beginning of designing a typeface is always very exciting, because you get to experiment without the idea of what the final product will look like. I love diving into images and books, mostly old material (but keeping an eye on what’s new around it is important as well). It’s like setting my ming in black and white shapes, I find it very helpful. And obviously the sketching stage is very important. Drawing a shape is a way to visualise a thought, narrow down ideas, and define what could potentially work.

Do you find yourself drawing inspiration from any particular era, culture or movement, and how does that impact on your work?
As generic as this could sound, I am a lover of beautiful, well thought and well executed stuff. That is why I like to pick my inspiration from different eras and movements – it depends what kind of project I am working on. I highly appreciate the pre-digital lettering works and experimentation on type, logos and graphics, when the slower execution imposed by the means was certainly beneficial to a more considerate thinking in the first place. Talking strictly about type, I do have a soft spot for the nineteenth century. This period is generally considered to be a backwards step in the evolution of type design, as a period devoid of good taste and full of typographic excesses, between the classic era of the eighteenth century and the new typography of the twentieth century. I just love it as a time of great spur to explore all routes of creativity with surprising, beautiful, funny, sometimes unconceivable or just ugly results. Talking about the history of typography, I cannot avoid to mention the Italian Rinascimento and the calligraphy masters of the time: Arrighi, Tagliente, Palatino, Cresci and Griffo. I always love to look at their beautiful work, even if it hardly finds space in my everyday work.

Outside of Fontsmith whose work and faces do you most admire?
I think when a type is good, its voice speaks louder without trying too hard. I have a long list of types I like for different reasons, probably because I have used many of them as graphic designer. So I will mention just few that have stuck with me because they relate to a special project or a place: Spectrum by Jan van Krimpen, Sabon by Jan Tschichold, Dante by Giovanni Mardersteig, Johanna by Eric Gill, Galliard by Mathhew Carter, Scala by Martin Majoor, Fedra by Peter Bil’ak, The Sans by Lucas de Groot, Mrs Eaves by Zuzana Licko, Swift by Gerard Unger. I have a great appreciation for the playful yet functional designs of Underware and Alejandro Paul. Moving to Arabic fonts, I cannot avoid to mention Tim Holloway, whose work I look up to and admire. And last but not least, Thomas Milo and Mirjam Somers, whose tireless and dedicated work with Deco Type has represented and still is an invaluable contribution to the Arabic script knowledge, design and technology.

Where is the coolest place you’ve seen your work applied?
So far, it has to be the Champions League font. It was my first main project when I started at Fontsmith, and it represented such a present for me, since I am a huge football fan and a supporter of AC Milan. As soon as I could talk about it I told all my friends. My dad was obviously impressed, even if I can’t say for sure that he actually noticed the font during matches. I remember feeling really proud of it, and slightly moved when I first saw it used on TV during a match of my favorite team.

If you weren’t a type designer what would you be?
That’s a seriously hard question! I could write a few options if I think about it for more than five minutes. So I will go for the two that are on top of the ranking, which both have to do with enjoying beautiful things. I would either make them, as an accomplished Arabic master calligrapher like Mir ‘Imad al-Hasani, Hashim al-Khattat and Hasan Celebi, or I would travel around the world to discover them, ideally as Sir David Attenborough right-hand (wo)man.

Thank you Manuela for taking time out of your extremely busy schedule. Best of luck with all your future creations and enjoy those Arabic curves.

Fontsmith is a leading London based type design studio founded in 1999 by Jason Smith. The studio consists of a team dedicated to designing and developing high quality typefaces for both independent release as well as bespoke fonts for international clients.

http://www.fontsmith.com/

If you could only use eight typefaces for the rest of your life, which would you choose?

— 8 Faces magazine poses this question (and many others) to eight leading designers from the fields of web design, print design, illustration, and of course type design itself.

8 Faces magazine – now in it’s 3rd issue, is beautifully designed and produced by Elliot Jay Stocks and the 8 Faces team/key contributors. Printed on quality heavy stock with a foil-blocked cover, pressed at just 2,000 limited editions, each issue becomes a collectors item.

8 Faces issue #3 features interviews with Ellen Lupton, Frank Chimero, Steve Matteson, Mark Caneso, Vincent Connare, Yves Peters, Jason Smith, and Phil Garnham of Fontsmith.

Other features include –  an introduction by Peter Bilak, a review of Codex, and an essay on Type Rendering & Web Fonts by Typekit’s Tim Brown.

Thanks to Elliot for the images/info – if you want to get a copy don’t hang about as he mentions ‘out of the 2000 copies, there are now less than 100 left’

http://8faces.com/

Following up from one of my earlier articles I’ve managed to get an interview with Iñigo, the man behind the amazing Textaxis. Although not an English speaker we’ve managed to put together the following with the power of Google Translate. Enjoy.

1) Did you always want to design type and how did you get started?

Not always, I’ve always loved drawing, first studied illustration and had no idea it was typography, finishing, at age 23 I decided to continue studying graphic design, that’s when I discovered typography. The end everything has made sense, drawing and type design are linked together, graphic design context where use of typography.

2) How do you split your time between type design and other design work?

Very complicated, I like to work in typography without charge, and that is very difficult to combine work and commercial life, it is becoming more difficult, now resolve professional engagements, but I started and what continues to motivate me is the pleasure of learning.

3) What are you working on right now?

In a Scotch typeface, for a book.

4) What is your greatest (type design) achievement to date and why?

Perhaps “Quixote” for everything I’ve learned in the work process, discover the intricacies of the Baroque typography I proved enlightening.

5) Can you give us an overview of the process you take when creating a new typeface?

Analysis of the briefing and context of use of the letter. Freehand drawing, 2. Digitization. 3. Corrections

6) What is your favourite part of that process?

No doubt in the freehand drawing, sketching is the phase of the work I like, in the digitization project is always growing, but I at least set on paper only, with any tool with that can translate a line through his hand.

7) Do you find yourself drawing inspiration from any particular era, culture or movement?

Years ago the only thing that inspires me are the historical movements, classical models, now I’m obsessed with the nineteenth century was the end of the book and the burst of publicity. I hope it’s just a time and move to another phase soon.

8) Whose work and faces do you most admire?

As Mr Frutiger contemporary typographer, and typefaces, historical patterns, if I’m a bit boring, but I can not think of anything more interesting. All printers and craftsmen through something as hard as lead typography did evolve deserve my admiration.

9) where is the coolest place you’ve seen your work applied?

Suite, a free magazine trends, the opportunity to mix art direction, editorial design and type design, was a luxury. Oh, no, no, typography and logo redesign for a major bank, typography is not very interesting in itself, but is labeled in the car of Fernando Alonso, white on red, in a Ferrari Formula 1 , Cool!

10) If you weren’t a type designer what would you be?

Artisan, which I would connect the brain with hands, but I think that’s why I like the typography.

David Airey is a very successful brand identity designer and blog writer of logodesignlove.com and davidairey.com. His sites attract 250,000 online visitors and approximately 1 million page views per month. David recently published his first book Logo Design Love, a guide to creating iconic brand identities. The book is a great compilation of practical advice and real-life anecdotes, combined with FAQ’s and identity examples. We are very happy that he has taken his time to share some insight into his life and work.

So tell us, David, describe a typical day in your world?

I’ll normally wake depending on the time my wife starts work. 06:30-07:30. We’ll have breakfast together and when she leaves I’ll begin my 10-metre commute.

The inbox comes first. It’s mainly filled with blog comments, student questions, and unwanted press releases, but I skip those until I’ve replied to client emails.

My working day’s a mix of email, design work, and blog updating. The percentages vary depending on how many active clients I have (they’ll always take priority).

I’ll finish work around 17:00 or 18:00, but with working from home there’s always that temptation to keep my inbox open. Sometimes it’s 22:00 before I close it.

Time away from work revolves around movies, exercise, walks, meals, drinks, and whatever TV series my wife and I are into.

Irish by birth, you have lived in Scotland since you were a teenager – I have noticed quite a few designers working from Scotland lately, do you think it’s becoming a hot spot for design?

There’s great design talent in Scotland. Everywhere in the UK and Ireland you’ll find excellent designers. Looking at Scotland in particular:

http://www.effektivedesign.co.uk/ (small Glasgow studio, smart identity work)

http://www.whitespacers.com/ (larger Edinburgh design agency, great people)

Where and how do you best find inspiration? And what has been the biggest influence to become a brand identity designer?

I don’t know if it’s specifically a source of inspiration, but the life into which I was born is a huge motivator when it comes to “getting things done.” I need only watch the news to see how different my circumstances could’ve been, perhaps born into a life of poverty, or passed from foster home to foster home. That’s the unfair luck of life’s draw. And I got lucky.

As for any influence on my specialty, I think it’s because every brand needs an identity, so even though you might view identity design as a niche, it’s one that every company in every industry needs. You could say my choice was a combination of wanting to specialise without posing too many limitations.

What are you working on at the moment – and what are your plans for the future?

I currently have one active client. It’s a communication start-up in the US with a small but greatly talented team spread into Europe. I can’t say anything about the service at this time, but everyone involved has a lot of hope in it’s success. I’m excited.

The two most recent project completions include a new identity for the Asian Development Bank’s annual meeting, and the identity for a new organic tequila brand in California. Images for those in my portfolio soon.

Where do you think the trends are going? What’s hot and what’s not for 2011/12?

I wouldn’t call it a trend in the “here today, gone tomorrow” fashion sense, but more and more identities feature highly flexible designs, i.e., a brand-mark with multiple variations, or an identity element that allows the brand to be known even when the logo isn’t seen. One of the most effective ways to achieve this flexibility is by crafting a company-specific typeface for the client’s sole use. Miles Newlyn is a designer doing this to great effect.

How long do you typically spend working on a brand identity? What factors contribute to how long it takes?

Projects vary from three weeks to six months, but on average I’d say it’s six weeks. Contributing factors include the specific project deliverables, and perhaps more importantly, the time a client needs to send feedback and ultimately achieve committee consensus.

In your opinion, what makes someone a good identity designer?

Curiosity. It’s the same for any designer, regardless of speciality. If you’re curious about the client, about the product or service, and the industry in question, you’ll uncover exactly what’s needed to fulfil the brief.

And lastly, who would you least want to be stuck in a lift with?

Carlos Tevez.

Name: Fernando Mello
Time at Fontsmith: 3 years
Role in the studio: Senior type designer

Did you always want to design type and how did you get started?
I have a mixed creative background which travels through illustration, architecture and graphic design. During my childhood I was always into drawing, colouring and reading every kind of comic book, and when a teenager I was myself for years creating characters and graphic novels. When university time came, I tried architecture, for being related to drawing and apparently offering a more promising future. Although becoming an architect years later, I never really liked to design buildings and structures, it was boring, impersonal, not very creative to me, although I enjoy the history of architecture and looking at nice buildings or interiors. The good thing about it was that in this university I had my first contacts with typography as we had some graphic design assignments for the architecture course. I was very lucky to work later on with my former university teacher Vicente Gil, top-notch brazilian graphic designer and great type appreciator, and I can blame him and his peerless work for putting me on the road of learning type properly. In 2006 I decided to come to the UK to study on the MA in Typeface Design from the University of Reading, a course that changed my life and taught me a lot about type. After that, I moved to London and met Jason and Phil. The connection to their work and way of being was natural.

Which commercially available fonts from Fontsmith have you worked on?
My first job in Fontsmith was to create together with Jason a legible, unconventional but corporate font for a new video-on-demand service, which became the typeface FS Joey. I also developed together with Jason FS Jack, another corporate font which Jason had been designing for years in his spare time. Both of us are Gill-Kayo fans, I remember we had good fun designing the exaggerated poster weight. Moreover, I did some small work on new weights for FS Me, FS Albert Pro and FS Rufus, and worked on many custom fonts for clients such as Lurpak and Sky News. For the last two years I’ve been developing FS Pimlico in between jobs on my own, a special project where the guys gave me total freedom and support to experiment with my own ideas.

What are you working on right now?
I’m involved in a few custom font jobs and I’ve also been working on some Cyrillic and Greek extensions for some of our library fonts. I had contact with both of these scripts while studying in Reading, but now it is being the first time I have to work with them in a professional project, which is very exciting. I am passionate about type in general so studying different scripts and designing non-Latin typefaces is something that also interests me.

What is your greatest (type design) achievement to date and why?
I tend to think all of the fonts I have created have their specialty and significance to me. It is impossible not to mention the joint Latin-Tamil work I created in Reading, which has kickstarted my type career through recognition prizes in Latin America, Europe and Japan. FS Pimlico was also a very special moment to me because I could put a lot of energy in developing something highly personal, well-humoured, very related to the way I live my life but which also translates my concerns for a typeface to be very usable. It was an experience that will always be in that font and I will hardly forget (that is one of the nice things about fonts, we die, they live forever!). The process of designing FS Joey was also something which I consider very important, since it was the first time I was involved in a real, difficult brief of designing a very unique corporate typeface for a client.

Can you give us an overview of the process you would usually take when creating a new typeface?
Usually I start by analysing the brief thoroughly and then doing some visual research for references. The next step is to sketch ideas by hand. I quickly draw a few letters experimenting with basic features, but that is normally done very roughly, nothing very elaborate like old school type designers would do. After that point the experimentation continues through designing a few key glyphs in Fontlab (well, sometimes Illustrator), a stage where I can get much more precision through the Bezier tool. Then it takes some time, weeks or even months, for the design of basic letters to get consolidated, and it is after this stage that I start to extend the character set and create punctuation, diacritics, etc. A final stage comprises refining spacing, kerning, curves and shapes in general, and then testing the font in many different ways.

What is your favourite part of that process?
I think obviously the creative part is one of the best, when you start experimenting and ideas start to get materialised. But in my opinion, the very best part it is the final stage when you are refining the design, doing tests and putting it to work nicely. Reviewing and retouching the letters several times, seeing them working together again and again at the final stage, and imagining what people will think of them or how they will use them at the moment the font goes out to the world, is something very joyful and hard to describe.

Do you find yourself drawing inspiration from any particular era, culture or movement, and how does that impact on your work?
As it happens with music, I try to face graphic design placing it in a historical timeline and analyze it as a whole. I can love Müller-Brockmann grid-based solutions in the same manner I can love Victor Moscoso’s album covers. Although there are lots of things that interest me and lots that don’t, I try to be at least aware of everything which is happening culturally in the contemporary world–and that can be applied to design, music or technology. But I must confess that I was raised in the early 80s disco/synthpop era, and maybe because of that, I became a dedicated collector of old funk & disco vinyls, retro toys, books, dry-transfer sheets, Letraset catalogues, analogue synthesizers, early drum machines and sequencers, and anything else which may suggest a link to the 70s/80s. It may well be a personal preference but I just think those times were very important and full of breakthroughs, for both graphic design and music. This personal nostalgia thing obviously had a huge impact on FS Pimlico, but the typeface’s main idea is to bring back some kind of feeling related to the experimentation with type which guys like Lubalin, Carnase and Di Spigna were doing with fonts and logotypes in New York during the 70s. I believe during those days, when phototypesetting and early digital systems had started to make things a bit easier, designers in a way had some sudden kind of broader or less restrictive conceptual freedom if compared to contemporary designers confined to Illustrator/InDesign/Photoshop environments and easy-to-use commands, and that’s what interests me. That was my inspiration for FS Pimlico, which is a very personal project. However, I also wanted to make it a very usable and versatile family, so I tried to put some kind of overall contemporary feel to it, since I personally think there is not much point of creating something vintage or retro just for the sake of nostalgia. Type design must be tied to a brief, to a purpose, this is what dictates how the font will or should look like, so I believe it is a good thing for a type designer to be flexible and open-minded, and not to be always tied to a certain style.

Outside of Fontsmith whose work and faces do you most admire?
I am a great appreciator of fonts which work well but have something unique, weird, ownable. Like Eric Gill said, “letters are things, not pictures of things”, and we type designers deal with well established standard shapes when creating letters, in the same manner illustrators deal with standard forms and features for things they draw, like let’s say, an elephant or a tree. The thing about type is that we have to design a bunch of standard shapes in a way that they work together, but if that was the only thing to be achieved, we wouldn’t need more fonts in the world. Like we need new shoes, new cars, new shirts, I believe that yes, we will always need new and fresh fonts, that kind of necessity is the human reason for design to exist. To me the most interesting fonts play with these standard shapes in their very own, intelligent way, it doesn’t matter if they are display or text fonts. I am a big fan of Martin Majoor’s Scala Serif, Chauncey Griffith’s Bell Gothic and W.A. Dwiggins Electra, they are all full of ‘weird’, very personal and uncommon details, but do their job in an impressive and efficient way. Going back in time, I greatly admire the work of Nicholas Jenson and Claude Garamond, I think the roman typeface Jenson created in the 1400s will always be the great standard, the most perfect or default model for how each of our Latin letters look like in essence. Oh, yes, and I cannot avoid to mention I love Cooper Black. Speaking of more contemporary stuff, there are too many nice fonts, but if I would have to pick five, I would choose Ratio by Mark Caneso, Klavika by Eric Olson, Caput by Natascha Dell & Kai Oetzbach, Motet by Sarah Solskolne and Maiola by Veronika Burian – these are five original and beautiful fonts that I admire every time I look at them.

Where is the coolest place you’ve seen your work applied?
I really enjoy the fonts we designed for the running ticker strip for the Sky News HD TV channel. They were created to substitute Helvetica Bold in that context. The design took into consideration the fact that the letters had to work well in caps text setting and that the text would be moving on-screen. Everything was designed taking that into account, including the spacing of the letters, and this was something interesting to experiment with. The typeface results are quite simple, legible, it has more open terminals and more generous counters than Helvetica Bold, and that makes it fresh and easier to read on TV screens.

If you weren’t a type designer what would you be?
I wish I could be a synthesizer genius such as Herbie Hancock. Or maybe, a great controversial comic book illustrator like Robert Crumb!

Thanks to Fernando for taking the time to talk with us. FS Pimlico is available to view / buy from here

Fontsmith is a leading London based type design studio founded in 1999 by Jason Smith. The studio consists of a team dedicated to designing and developing high quality typefaces for both independent release as well as bespoke fonts for international clients.

http://www.fontsmith.com/

Miles took some time out from his busy schedule to answer a few questions for Typetoken®

Did you always want to design type and how did you get started
Yes. I began by drawing typefaces whilst at St. Martins in 1990. My tutor at the time, who was also dabbling in type design, was very reluctant to help me. I assumed that this was because he saw me as competition, which was encouraging. Within a couple of years I’d release three typefaces through Emigre. Of those fonts Democratica sold very well.

What are your working on right now?
Nothing, so it’s a holiday! But tomorrow there will probably be a couple of global businesses that need an identity by the end of the week, or it could be the beginning of a six month type design project, I have no idea, and I like that.

What is your greatest (type design) achievement to date and why?
I have not made great achievements, I see design as a job that I enjoy, part of living, and the entirety of that is great – designing type is a part of my great life, but life is never ‘achieved’.

Can you give us an overview of the process you take when creating a new typeface or logotype?
I am often asked to describe my process. There is no process for designing logos, and I think that when you look at successful logos, you can see that. What surprises me is to think that when seeing things I have done, some people would assume that there is a process that led to it. Creativity has no process, it is a state. At best I can say that I listen, I bring my full attention to the client. I do not let anything cloud that attention.

There is no agenda, nothing I want to achieve from a job; there is no need since I enjoy doing it. If the work is performed with joy, awareness and confidence, it will be the best you can do. However, designing typefaces is different, I begin with some shapes that I feel bring something new. My rapport with the Roman alphabet then guides me. After a while there is a rapport with the design and from there it guides me, telling me what it needs and what it doesn’t need.

What is your favorite part of that process?
The satisfaction I receive from hearing encouragement from friends and colleagues.

Do you find yourself drawing inspiration from any particular era, culture or movement?
“Inspiration is for amateurs; the rest of us just show up and get to work.” – Chuck Close. I don’t exactly agree with this, since Close goes on to describe how he is process driven, and so he might consider me an amateur in this respect, but I don’t like the idea of inspiration as being something that one looks for.

Inspiration seems to me to come from within, as an openness to the present. I am most inspired when I’m with either friends or nature.

Outside of Newlyn whose work and faces do you most admire?
There is so much great type design now, graphic designers are very fortunate to have such an abundance of quality fonts.

Where is the coolest place you’ve seen your work applied?
1 degree west. My friend with whom I worked on the Telenor logo is proud of its application on the Thor satellites, because he has a love of astronomy. The side of a rocket or a discarded plastic bag in the gutter, it matters little to me.

If you weren’t a type designer what would you be?
Captain of paddle steamer.

Newlyn is a world renowned typographer and designer, specializing in the positioning and iconography of large organizations.

http://www.newlyn.com

After her BA in Graphic Design in Rio de Janeiro, Rejane went on to study under Milton Glaser at the School of Visual Arts in New York City. She  completed a MA at Post St Joost Academy in The Netherlands in 2006. During her MA, Rejane joined Studio Dumbar, a graphic design studio that has established a unique position in the Dutch Design scene.

Rejane is currently a Senior Designer at Studio Dumbar, as well as a member of the faculty of Post St Joost Academy, where she teaches Graphic Design and Creative Process.

http://rejanedalbello.com

Here is the first in a series of 4 exclusive interviews with the über-talented Fontsmith team. We start with bass wielding, graphic loving, print obsessive Type Design Director Phil Garnham.

Name: Phil Garnham
Time at Fontsmith: 8 Years
Role in the studio: Type Design Director

Did you always want to design type and how did you get started?
I really liked the idea, but I never actually believed that I could make it my full-time career. As a kid, I used to spend a lot of time with crayon’s, copying other peoples drawings and letters. I clearly remember my first lettering book that showed me how to draw proper bubble lettering and go-faster stripes. It wasn’t until many moons later, at Middlesex University, under the guidance of Andy Gossett (ex-Total Design, now Studio Gossett), that I got an opportunity to get stuck in properly by designing two very simple alphabets. When I left university, I knew that I had very strong opinions about type, I found that type was something I could intricately handle and it’s tone, texture and placement really mattered to me. In 2002, I met Jason Smith by chance whilst I was working my portfolio on the internship circuit and we got along right from the off. I think he was intrigued by my peculiar ‘graphic design’ thinking approach to type and I wanted to learn more about his ‘crafted lettering’ approach. Jason set about teaching me how to draw letterforms on-screen, how to craft their relationships, how to space, kern, critique and sculpt typographic form into a visual voice. I became more confident in my new skills and so I began exploring typographic form with real conviction.

Which commercially available fonts from Fontsmith have you worked on?
My first commercial typeface was FS Clerkenwell which was a real push and pull creation between myself and Jason. With my initial ideas, it soon became clear that is was Jason’s job to pull me back into realms of legibility. I’ve never had any difficulty in injecting personality into type, but in the early years I found it hard to retain focus and that practical continuity required in a type’s design.

My first 100%, solo effort was FS Lola. At the time I wanted to create something that was beautifully crafted, something that had a fast-paced energy and rhythm but retained a graphic impact. I would like to think that it has turned into something of an understated modern classic. It is used so widely, but it’s not overtly obvious or imposing, Lola’s character changes so much depending on how he or she is applied.

In 2006-ish I put together a series of headline fonts in the form of FS Alvar, FS Kitty, FS Pele, FS Sinclair and then I jumped back into the world of formal serif type design with the FS Sally typeface. I think as a typeface Sally has so much to offer, it is quite underestimated and beautiful.

At Fontsmith, we have a very good team spirit, each of us sees things a little bit differently and that’s a great thing for us in terms of developing our work and injecting just that little bit more into each project. Our process can be quite collaborative, we all worked on our FS Rufus typeface at one time or other, I designed the curly ligatures. I also developed additional weights of FS Joey and FS Me, and helped to turn FS Albert into FS Albert ‘Pro’ with it’s Greek and Cyrillic alphabets.

What are your working on right now?
A typeface for the discerning millennial modernist. Top secret.

What is your greatest (type design) achievement to date and why?
Designing FS Conrad was a big thing for me. We were approached by the artist, Conrad Shawcross to investigate how a typeface could take on the aesthetic of an artwork. Conrad was in the process of creating a giant mechanical installation entitled ‘Chord’ and he wanted us to help bring a typographic continuity and visual harmony between the artwork and it’s promo material. I created a fine linear and modular alphabet which overlaps and entwines in the same nature as his sculpture. Despite it’s appearance FS Conrad is not a strictly rigid typeface. It has varying character widths, it is informed by real typographic proportions. It certainly isn‘t the most versatile of alphabets, you can only really use it at super large sizes and its character is very imposing, but that’s why I love it so much.

Can you give us an overview of the process you would usually take when creating a new typeface?
I initially set about understanding the intentions, the context and the mood. I like to make notes and spend a few days scribbling in my sketchbook before working on screen. It’s more instant and decisions can be made much more swiftly. I sketch a few of my thoughts on-screen, I draw in colour, or on-top of images. I design the personality by using short test words with a variety of formal character. When I get to a happy place, I push things onto Fontlab and start thinking more seriously about craft, balance, spacing and letter-relationships. The whole process is documented, we show each other where things are going and all offer our ideas and thoughts along the way.

What is your favourite part of that process?
The inner conversation. I literally just talk things through with myself whilst I’m drawing. I talk about the shapes and whether they fit the objective. Designing type for type’s sake is a pointless exercise, there should always be a brief, something to bounce your idea off. This constant private discussion helps me to push, pull, chop, slice and scribble. It helps to mould the visual tone of what’s before my eyes.

Do you find yourself drawing inspiration from any particular era, culture or movement, and how does that impact on your work?
I am influenced by graphic and visual fashions. I simply think that it’s impossible to not be. I like what I like but I’m also a very firm believer that the brief is everything. When we design new typefaces for our library, we discuss our ideas and put together an objective. We don’t create type for the sake of more type, we want to offer something new, unique and with focus. I do think that design movements and visual styles are important for us in the sense that they are visual markers that we can pitch our ideas in and around but I don’t think that I’m a subscriber to just one specific way of thinking. I would like to  think that the broad variety of my work and ours as a foundry is testament to that.

Outside of Fontsmith whose work and faces do you most admire?
In terms of typography, nobody can touch Emil Ruder, Wolfgang Weingart and Wim Crouwel. Their design philosophy – simple, direct and inventive, like graphic scientists. Type foundries that I admirer are Jean François Porchez / Jeremy Tankard /  Fred Smeijers. Their types are carefully balanced with beauty, craft, function and flamboyant creativity. Those guys know how to deliver exciting ideas without sacrificing purpose.

Where is the coolest place you’ve seen your work applied?
It’s very difficult to say what the ‘coolest’ place or execution is. Peter&Paul have done some superb work for Jefferson Sheard Architects using FS Pele, and Vince Frost have done great things, again with FS Pele, for D&AD’s Ampersand booklet.I’m a huge print fan but seeing our television brand typefaces daily is pretty special. Our types are talking to millions of people in the UK everyday… now that’s pretty cool.

If you weren’t a type designer what would you be?
Bass Guitarist. Peter Hook style.

Thank you Phil for getting involved and we look forward to seeing your upcoming fonts as they are released. Seriously top bloke on all accounts.

Fontsmith is a leading London based type design studio founded in 1999 by Jason Smith. The studio consists of a team dedicated to designing and developing high quality typefaces for both independent release as well as bespoke fonts for international clients.

If you want to follow Phil on Twitter you can find him here

http://www.fontsmith.com/

The book 158 Answers is an effort to expand the physical limitations of the traditional school by giving the Type Media students* the opportunity to choose persons relevant to their own studies, to interview them, and be taught by them personally, if only for a short time.
Typotheque offers 158 answers as an offset printed book and as an eBook (in PDF, EPUB and MOBI formats), and presents one (René Knip) of the eleven interviews online.

Dutch design and typography icon, Wim Crouwel, was recently interviewed by Dezeen magazine and .Cent magazine for his first UK retrospective exhibition, A Graphic Odyssey, currently showing at London’s Design Museum.

In the first video, Crouwel talks about the exhibition, as well as the rug and wallpaper in the hotel room that are based on his designs.

In the second video, Crouwel talks on depth about his career.

In the final video, Crouwel discusses his controversial computer-age typographic forms from the 1960s,

Dezeen interview on Vimo: part 1 part 2
.Cent magazine interview on Vimeo

http://www.typeradio.org

http://eight48.com/category/issue/