Posts tagged scripts
It’s been fun watching Martina Flor’s Supernova script develop over the last year. Today it exploded at Typotheque where it was given the foundry’s typically thorough documentation. This charming illustration from the article explains that scripts rarely have extended families like text typefaces do.
Talking Santa: He’s 3 Stories Tall.
Via IAAFOTS
Chromeography Exhibition: The Logo
Collaborating with Laura Serra on the exhibition logo was a delight. I tossed her a disparate pile of photos from the collection and (short of a few final touches) she came back with this.
She managed to balance the flowing style of her natural freehand lettering with the more mechanical nature of mid-century emblems cut from metal. It clearly references several decades of classic automotive brightwork without leaning too heavily on any one example or era. The allusions are obvious yet the mark is completely original. This thing really could exist on a car or refrigerator made anytime between 1930 and 1965.
Two objects — one for the title wall (on Laura’s Bel Air silhouette) and one for the window — were milled with a slightly angled bevel and sprayed with a chromesque coating.
More photos of the show later, but for now it’s best seen in person.
Thanks to Rob Keller of Mota Italic for these photos.
“Beauty”, by my friend Laura Meseguer (lettering) and Laszlo Kovacs (shading).
Hotel Claremont Band Programs of the 1940s–’50s
That Bill Clifford lettering is choice.
Elektro Popp (by Michael Hochleitner)
Electronics shop in Mariahilf, Vienna.
Adolf Prenner: Konditormeister, Spezialist in Marzipan
Vienna, Austria
Roland Hörmann
Coiffeur
Vienna, Austria
Stephen ColesOne of my all-time favorites.
(via fleurs-coiffeur-liqueur)
Ad for Kosca pens, Italy 1951.
From the Epoca archives
Kalmine pain reliever ad, Italy 1951.
“against neuralgia(?), headaches, colds, flu, toothaches”
From the Epoca archives.
Speaking of Storefront, the 3D samples created by Dado Queiroz are pretty ridiculous and awesome. See more in the Storefront PDF specimen.
Sudtipos is sure to have another hit with the new Storefront typeface, which reminds me a bit of one of my favorite signs: The Berghoff in Chicago. I hope my friend Alejandro Paul won’t mind a little dig, but I think there are some curves here and there that aren’t as smooth as they could be (see the ‘ho’ connection). Still, Ale is in a class of his own with these kinds of novelty script fonts.
Friseur
Berlin, Germany
Pascal Duez
That mark above the ‘u’ is not an umlaut (ü). As Florian Hardwig explains:
The bar or hook is a “courtesy mark” (as Ken Barber calls it) a courtesy to the reader to emphasize that this is a ‘u’ and not an ‘n’. I use the tag “u distinguisher”.
The u hook was a common means in German handwriting and was indispensable with the zigzag style of Kurrentschrift. It has survived in some more contemporary (script) lettering styles.
Related and confusing: the habit of putting a (straight) bar on the ‘n’, to denote a double ‘n’.
(via fleurs-coiffeur-liqueur)
