Classike

Posted on by Emtype

Get to know the Art Déco inspired typeface Classike by Emtype Foundry which adds an exclusive touch to your design.

Classike is a high contrast squarish display typeface. Inspired by the Art Déco period from a modern perspective. Refined and elegant yet with a mechanical vibe, it is ideal for pairing with any functional font, it works especially well with Geogrotesque, from which it inherited its proportions and soul. Classike adds an exclusive touch and helps enrich your graphic voice.

The typeface is inspired by the Art Déco period and street signs typography. While traveling, designer Eduardo Manso noticed that many signs combine squarish sans typefaces with high contrast styles of the same typeface. Those typefaces, sometimes lettering, thanks to the contrast, were more elegant and refined but had the same structure and conceptual essence as the squarish sans.

Classike inherits the proportions of Geogrotesque Sharp. The designer decided it was a solid starting point to create a high contrast sans. In the beginning he did several proofs to see how far he could push the contrast, but finally opted for a moderate solution to make it usable in a wider range of situations. Despite this, it still looks luxurious and elegant.

Apart from the high contrast that adds most of the charm, there are less visible details like the middle bar that has been aligned in several letters such as, B, E, F, G, K, and H and the numbers 3 and 8. It is reminiscent of the hand painted street signs, where the letter artist would use only a few alignment lines for all letters. These regular proportions emphasized the Art Déco look of the family.

Classike comes with just two alternates, M and R. Not a lot, evidently, but just enough to expand possibilities without deviating from the concept.

Pairing with Geogrotesque is obviously easy due to its origin, but also with any functional sans. The family include a Variable Font that adds all the advantages of the format (All in one file, low size, custom styles, etc). Although Variable Fonts are not fully established in the market yet, it is ready and waiting for that moment.

Classike

Design: Eduardo Manso
Foundry: Emtype Foundry
Release: October 2021
Styles and Weights: UltraLight, UltraLight Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, and Bold Italic
File Formats: woff, woff2, otf, ttf, eot + Trial fonts
Price Single Style: from € 45.–
Price Whole Family: € 299.–
Buy

Zivi

Posted on by slanted-api

At the beginning the idea was to create a typeface with simple and small amount of shapes. I really liked the outcome of it so I decided to use the Typeface for a personal project. I created an Instagram Filter with the Letters that was used around the New Years celebrations in 2021.

PoseType – Characters in Motion

Posted on by slanted-api

PoseType was started in spring 2020 by Michael Kreß and Erik Seitz. The idea was to push the boundaries of what can be achieved with the OpenType “font variation” feature in a playful way. We explored the concept of an installation in which the user interacts with a glyph in an approach slightly more unusual than the slider game you normally know from variable fonts.
PoseType encourages the user to explore the design space of different glyphs which we designed especially for this project. With a pose estimation framework we keep track of certain key points of the users body to then calculate a value for the variable font axes. From there we can display specific transformations of the glyphs.

Call for Papers

Posted on by Franzi Haeussner

The GfDg—Gesellschaft für Designgeschichte (Society for the History of Design) invites you to participate in their Call for Papers for the competition Design für Spiel, Spaß, Spannung—Gestaltung von Artefakten zum spielerischen Handeln (Design for play, fun, excitement—designing artifacts for playful action).

Design—understood as conception, shape and color, choice of materials as well as image and movement design—represents a significant factor in the development of games and toys. One thinks, for example, of the so-called Bauhaus chess, the designs by Renate Müller for the Volkseigener Betrieb Therapeutisches Spielzeug in Sonneberg, the plywood elephant by Charles and Ray Eames, Nintendo’s Super Mario, or Barbie. Against this background, it is surprising that the history of design has so far only selectively dealt with games, their contexts and objects. After all, design has often led to groundbreaking innovations in the games market: in conception, in the reflection of social and technical contexts, in the adaptation to the needs of the game, in the development of the game itself, and technical contexts, the adaptation to different cognitive and physical abilities, the formal nature, with regard to the designed narratives and the use of technology.

This Call for Papers asks for contributions dedicated to the design of games, game forms, and toys of industrial culture. In addition, a special focus will be on digital games up to the year 2000. Please send your abstract of up to 3,500 characters, a short biography of up to 800 characters, and your contact information by March 30th, 2022.

Design für Spiel, Spaß, Spannung—Gestaltung von Artefakten zum spielerischen Handeln (Design for Play, Fun, Excitement—Designing Artifacts for Playful Action) is the title of the GfDg Annual Conference 2022. On the GfDg website you will find the call for papers and also the key visual for the event.

The annual conference of the GfDg will take place on July 1st and 2nd, 2022 in the Haus der Wirtschaft of the IHK Nuremberg where the winners of the competition will be showcased with their work. The deadline for the Call for Papers is March 30th, 2022.

Call for Papers
Deadline: March, 30th, 2022
Participate by sending an email

Design für Spiel, Spaß, Spannung—Gestaltung von Artefakten zum spielerischen Handeln

When?
July 1st and 2nd, 2022

Where?
IHK Nuremberg
Hauptmarkt 25/27
90403 Nuremberg
Germany

 

Deforme

Posted on by slanted-api

DEFORME is a unicase type display font, comprising the Adobe Latin 2 set, with more than 350 characters. It was created to be used in digital media, in spaces like music, publishing, fashion, etc.

Its form is inspired by psychedelic typefaces, its personality is incongruous, its development experimental, and its substance is liquid. It has audiovisual bases, which were an important part of its morphological proposal.

If you are someone who seeks to break the rules, liberal and without fear of what they will say, this is your typeface. If you dare to use it, it will behave better in spaces such as headlines and short texts, since it likes to be the interpreter of its own story.

Foam Typeface

Posted on by slanted-api

The FOAM typeface was made from a typographic experiment using letterforms from the font “Times New Roman”. The intent of my investigation was to experiment with letters as an art form. As a result, I created cropped letters as unrecognizable compositions. I added black and white textures, such as cardboard, window nets, image distortion, and spray foam to each abstract piece. I gravitated towards the rough uneven surfaces of spray foam, a material that allowed me to create a unique typeface.

Olivetti Identities

Posted on by Franzi Haeussner

Olivetti Identities by Davide Fornari and Davide Turrini presents the results of an interdisciplinary research project by ECAL and the University of Ferrara. This beautiful book analyzes the Olivetti phenomenon as a whole.

Olivetti’s world-famous typewriters best embody the company’s industrial legacy and visible identity, which was both innovative and complex, material, and immaterial. These identities are at the heart of an interdisciplinary research project carried out by ECAL/Ecole cantonale d’art de Lausanne and the Università degli Studi di Ferrara in collaboration with the Association for the Historical Archives of Olivetti in Ivrea.

Olivetti Identities—Spaces and Languages 1933–1983 presents the results of this research with the aim of analyzing the Olivetti phenomenon as a whole, paying particular attention to the context of corporate evolution, and the approaches of designers such as Xanti Schawinsky, Renato Zveteremich, Ettore Sottsass, Hans von Klier, Egidio Bonfante, and Walter Ballmer, among others.

The research analyzed the corporate identity journey of Olivetti from the establishment of the Olivetti advertising office in 1933 to the opening of the permanent Olivetti pavilion at the Hanover Fair in 1983, which was intended as the final step in a particularly efficient corporate identity strategy.

The volume of Olivetti Identities is organized in four sections dedicated to the design of showrooms and exhibition design at trade fairs and expos, the analysis of languages that have shaped corporate vocabulary as well as visual communication and interaction design, and cultural, and promotional activities, respectively.

A final section summarizes the credentials of designers Santiago Miranda and George Sowden, as well as former Olivetti collaborators in sales and training.

Two visual essays featuring published and previously unpublished documents from the Olivetti historical archives complete the book.

About the author:
Davide Fornari is associate professor at ECAL/Ecole cantonale d’art de Lausanne and Head of the Applied Research and Development department. He has authored, edited and served as art director for a number of publications on design, including Mapping Graphic Design History in Switzerland, Bianca und Blu Monica Bolzoni (2019), Carlo Scarpa: Casa Zentner a Zurigo (2020).

Davide Turrini is associate professor at the Department of Architecture of the University of Ferrara, where he teaches design theory and sustainable design. He has conceived and coordinated research projects on Italian product design and craftmanship. His publications include Giuseppe Terragni. Album 1925 (2018), Creativa produzione. La Toscana e il design Italiano 1950–1990 (2015).

Olivetti Identities—Spaces and Languages

Publisher: Triest Verlag
Editor: Davide Fornari, Davide Turrini 
Designer: Federico Barbon
Release: January, 2022
Bookbinding: Softcover with flaps
Papers: Fedrigoni Sirio Grigio Perla, Lessebo 1.3 Rough White, Magno Gloss
Language: English
Volume: 400 p.
Format: 16 × 24 cm
ISBN: 978-3-03863-060-9
Price: CHF 39.–, € 39.–
Buy

Photos: © ECAL / Niccolò Quaresima.

Ripple Swing

Posted on by slanted-api

We have developed another, lighter typeface of the Ripple font family with eighteen lines in the letterform. The character is smooth and harmonious, and its missing rigid structure makes this font perfect for any kind of visual experience. Each letter interacts with any letter of the typeface to produce unique combinations. We wanted to take the lined forms to the next step and obtain more illustrative variations of the Ripple font without compromising on the idea. Ripple Swing Display font is made for showing off in posters, headlines, and on large-scale implementations.

Video Series for nature.org

Posted on by illo.tv

illo.tv is a creative design studio based in Italy, which has created a motion design video series for nature.org exploring the things they can do to preserve the planet.

Climate change represents one of humanity’s most pressing issues, but how do you manage to get that message across, while mixing science facts with an engaging and witty tone? illo.tv explored the answer to this question in the video series designed for The Nature Conservancy, the environmental nonprofit working to create a world where people and nature can thrive together. Their unique goal is to clearly showcase what needs to to be done now.

The aim was to create a video series for nature.org that could stand out individually and also work as part of a bigger story. To achieve that the creative studio developed four different styles for each video, working with the same color palette and tone of voice to make the series cohesive. Engaging storytelling, a pinch of humor and their staple motion design magic added to the mix, while the studio’s recognizable color approach brought an extra vibrant touch to the project. The environmental organization’s signature green worked as a starting point for the color palette, while flashy contrasts and bold pairings helped the videos stand out. The result? Four compelling stories combining distinctive style with bright designs and strong messaging to get us one step closer to saving the world.

The studio will release the videos one by one and the first one to shine in their portfolio explores the importance of biodiversity, diving into the variety and the links that are vital for this natural delicate balance. Tune in for the next ones, tackling natural climate solutions, carbon markets, and regenerative food systems!

In the first episode they explored the importance of biodiversity, diving it into the variety and the links that are vital for this natural delicate balance. The second episode is about the year 2050, they look back on how they managed to save the world. It all started with one of the most advanced carbon capture: trees. In the third episode they embark on a revealing journey into this little understood, yet practical solution to the planet’s rapid heating problem: carbon markets. The last episode tackles the relationship with food, how it shapes our lives, our economies and our cultures—but most of all, our planet. Enter, regenerative food system.

Video Series for nature.org

You can watch the video series here and find out more about the project.

 

Am Ende Licht

Posted on by slanted-api

„Am Ende Licht“ ist eine typografische Auseinandersetzung mit dem Sprichwort „Es gibt Licht am Ende des Tunnels“. Gerade jetzt, in Zeiten vieler Krisen, ist nicht immer klar, dass der Tunnel endet, wir ihn passieren können und danach wieder unter Sonnenlicht stehen werden. „Am Ende Licht“ ist in hellen, lebendigen und warmen Farben gedruckt, die nicht nur Hoffnung geben, sondern den Betrachter auch beruhigen. Denn ja, es gibt Licht am Ende.

Off the Grid

Posted on by Vicky Blake

Today we would like to present you the book Off the Grid. This book has been edited by Sara De Bondt and gives us a brief overview about Belgian graphic design.

Off the Grid offers a collaborative panorama of Belgian graphic design history from a multiplicity of perspectives, with essays on type design, colonization, and labour relations among other subjects. Contributors include historians, practicing designers, teachers, and first-hand accounts. With hundreds of previously unpublished illustrations such as posters, signage, typography, book design, logos, and archival photographs.

The book Off the Grid includes interviews with Sophie Alouf-Bertot, Rob Buytaert, Boudewijn Delaere, Paul Ibou, and Herman Lampaert. It also features essays by Jo De Baerdemaeker, Pia Jacques and Leroy Meyer (Belgian Institute Graphic Design), Sara De Bondt, Jan Ceuleers, Katrien Van Haute, Richard Hollis, Jean-Michel Meyers, Hilde Pauwels, Hugo Puttaert, and Katarina Serulus.

Off the Grid

Publisher: Occasional Papers
Editor: Sara De Bondt
Release: February 22nd, 2022
Bookbinding: Softcover, full color
Language: English
Volume: 272 p.
Format: 170 × 240 mm
ISBN: 978-0-9954730-8-9
Price: £ 20.–
Buy

Panorama : a colored monospaced font

Posted on by slanted-api

Panorama is a colored monospaced font that emerges from a desire of finding other visual ways of communication and transmission rather than using typography and letters.
This book depicts and illustrates the diverted using of “Glyphs”, known as a software allowing the construction of fonctional fonts.
Led by an ongoing process of creating a font in a paradoxical
modern way, this diverted use software allowed the creation of a visual typography. It permitted to generate different panoramas thru the creation and the construction of this monospaced font.
Behind this collection of landscapes hide a real alphabet made with a font-tool. A new way opening a door to the creation of new alphabets