Less Adjectives More Verbs

"I learned about serif and sans-serif typefaces, about varying the space between different letter combinations, about what makes great typography great. It was beautiful. Historical. Artistically subtle in a way that science can’t capture. And I found it fascinating. None of this had any hope of any practical application in my life. But 10 years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would never have multiple typefaces or proportionally spaced fonts."

Thursday 10/6/2011

2:07am (22 notes)

steve jobs; apple; typography; macintosh; all;

Calligraphy student Steve Jobs

Ice Typography by Cameron Zotter
(via Colossal)

Tuesday 10/4/2011

5:42pm (4 notes)

typography; things you've probably already seen;

Ice Typography by Cameron Zotter

(via Colossal)

quoteskine:

A Day in the Life
Quoteskine . Shop . Hate . Tweet . Ask

Yup.

Monday 10/3/2011

11:42am (1,136 notes)

Quoteskine; Brain; Tea; Work?; A day in the life; graph; chart; illustration; Quotes; Hand Drawn; Type; Typography; Felt Tip; Pens; Moleskine; Sketch Book; Art; Design;

quoteskine:

A Day in the Life

Quoteskine . Shop . Hate . Tweet . Ask

Yup.

(via quoteskine)

Make it Bigger - Aaron Carambula
That’s the answer.

Wednesday 9/7/2011

9:05pm

typography;

Make it Bigger - Aaron Carambula

That’s the answer.

princetonarchitecturalpress:

Typical typography books follow a format designers could probably navigate in their sleep. There’s an impressive intro from a well-known designer, a developed thesis or reason for the following selection, and by the end, one might even be convinced this is the future (if only of graphic design). Function, Restraint, and Subversion in Typography, however, is no typical typography book.
This book is no counterfeit watershed, no tired and self-serving synthesis, no declaration of the state of graphic design today. Instead, it is one of the many states of graphic design today. It’s a back-to-basics, black-coffee, shot-of-whisky approach to type. Nothing is added that might detract from the message. Perhaps not surprisingly, 90 percent of the projects were not created for the louder-faster-brighter world of advertising. What’s inside is “culture”—designs for museums and art galleries, independent bookstores, schools, and art projects. Author J. Namdev Hardisty’s striking survey offers clarity, brevity, and wit through discernable isms: brutalism, modernism, and minimalism. But please, don’t label it.
In the end, this book is simple. That is what makes it so extraordinary.
Featured designers include: A Practice For Everyday Life, Browns, Anthony Burrill, Daniel Eatock, Xavier Encinas, Experimental Jetset, Graphic Thought Facility, Hey-Ho, Hudson-Powell, Zak Kyes, MGMT., Mike Mills, Rune Mortenson, Neue, Project Projects, Manuel Raeder, Research and Development, Matthew Rezac, SEA, Spin, Studio Temp, Walker Art Center, John Wiese, and YES.
J. Namdev Hardisty is a co-founder of The MVA, through which he has worked on print, web, and signage projects for a variety of clients, including Intermedia Arts, Minneapolis College of Art and Design, The Weisman Art Museum, and Analog Clothing. Hardisty’s work is featured in Over & Over: A Catalog of Hand-Drawn Patterns and Hand Job: A Catalogue of Type, both published by Princeton Architectural Press. He is the author and designer of New Skateboard Graphics (2009). He received his BFA in Graphic Design from Minneapolis College of Art and Design in 2003.

Tuesday 8/23/2011

8:10pm (12 notes)

typography; Princeton Architectural Press; J. Namdev Hardisty; design;

princetonarchitecturalpress:

Typical typography books follow a format designers could probably navigate in their sleep. There’s an impressive intro from a well-known designer, a developed thesis or reason for the following selection, and by the end, one might even be convinced this is the future (if only of graphic design). Function, Restraint, and Subversion in Typography, however, is no typical typography book.

This book is no counterfeit watershed, no tired and self-serving synthesis, no declaration of the state of graphic design today. Instead, it is one of the many states of graphic design today. It’s a back-to-basics, black-coffee, shot-of-whisky approach to type. Nothing is added that might detract from the message. Perhaps not surprisingly, 90 percent of the projects were not created for the louder-faster-brighter world of advertising. What’s inside is “culture”—designs for museums and art galleries, independent bookstores, schools, and art projects. Author J. Namdev Hardisty’s striking survey offers clarity, brevity, and wit through discernable isms: brutalism, modernism, and minimalism. But please, don’t label it.

In the end, this book is simple. That is what makes it so extraordinary.

Featured designers include: A Practice For Everyday Life, Browns, Anthony Burrill, Daniel Eatock, Xavier Encinas, Experimental Jetset, Graphic Thought Facility, Hey-Ho, Hudson-Powell, Zak Kyes, MGMT., Mike Mills, Rune Mortenson, Neue, Project Projects, Manuel Raeder, Research and Development, Matthew Rezac, SEA, Spin, Studio Temp, Walker Art Center, John Wiese, and YES.

J. Namdev Hardisty is a co-founder of The MVA, through which he has worked on print, web, and signage projects for a variety of clients, including Intermedia Arts, Minneapolis College of Art and Design, The Weisman Art Museum, and Analog Clothing. Hardisty’s work is featured in Over & Over: A Catalog of Hand-Drawn Patterns and Hand Job: A Catalogue of Type, both published by Princeton Architectural Press. He is the author and designer of New Skateboard Graphics (2009). He received his BFA in Graphic Design from Minneapolis College of Art and Design in 2003.

Monday 8/22/2011

4:31pm (19 notes)

architecture; le corbusier; typography; cartography; design; writing; letters; france; architect; Princeton Architectural Press;

princetonarchitecturalpress:

On his French identity card, legendary architect Le Corbusier listed his profession as “Homme de Lettres” (Man of Letters). Celebrated for his architecture, which numbers fewer than sixty buildings, Le Corbusier also wrote more than fifty books, hundreds of articles, and thousands of letters. Le Corbusier, Homme de Lettres is the first in-depth study of Le Corbusier as a writer as well as an architect. Featuring more than two hundred archival images from Le Corbusier’s life and work, this groundbreaking book examines his many writing projects from 1907 to 1947, as well as his letters written to two mentors: Charles L’Eplattenier and William Ritter. In Le Corbusier, Homme de Lettres author M. Christine Boyer focuses on the development of his writing style as it morphed from romantic prose to aphorisms and telegraphic bulletins. For each of his books, Le Corbusier was meticulous about the design of the page layout, the form of the type, the impact of the ideas, and even the promotional material. As a man of letters, Le Corbusier expected to contribute to the cultural atmosphere of the twentieth century. Le Corbusier, Homme de Lettres shows for the first time how his voluminous output—books, diaries, letters, sketchbooks, travel notebooks, lecture transcriptions, exposition catalogs, journal articles—reflects not just a compulsion to write, but a passion for advancing his ideas about the relationship between architecture, urbanism, and society in a new machine age.