Posts tagged typography
Last Friday, we preached the gospel of Chromeography to the citizens of Berlin. Hear the short story of how the site came to be and learn a little bit about car emblem design and history.
“ The amazing thing about typography is that you can go your whole life never thinking about it (or so I’ve heard) yet once you begin to study it, you discover a vein of material so rich enough to mine for a lifetime. Typography is about the way we form language into pictures. It is where the literary and visual arts rub together and make sparks. And those sparks are visible to anyone who wants to see them.”
Gaslight Style | Sheaff : ephemera (via @typegirl)
One pronounced aspect of Victorian design was a great interest in creating the illusion of depth, particularly so with lithographers. Type, vignettes, products and design elements are made to seem multi-layered through the use of shadows, superimposition, dimensional banners and ribbons, turned-up faux page corners and choice of colors. Some have labeled this the “Gaslight Style” approach to design…Questions: How common was this style at the time? An everyday kind of thing? I wonder if it was as beautiful to the Victorian era public as it is to us now.
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.
Graphisch-statistischer Atlas der Schweiz 1914
(Graphic-statistical Atlas of Switzerland)
Prof. Michael Stoll
“ Unfortunately, many researchers in type classification become so involved they forget the basic purpose of any attempt to formalize a structure: simple communication.”
The Duke’s Men (c.1987) — an homage to Duke Ellington by Michael Harvey using handmade stencils (via Imprint)
Ping Pong by Krispin Heé and Simone Farner
I’m not a fan of the trendy Swiss anti-design found on the rest of the Heé site, but this piece is great.
Thanks Chris.
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)
