No amount of experimentation can ever prove me right;
a single experiment can prove me wrong. Albert Einstein
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Why Hello!

I have a little stage fright writing this update! The typographcommunity has seen significant growth in the last two months. I am really humbled by the interest and support you have shown the journal (and me!) so I wanted to start this month with saying thank you! I am so inspired by all the outstanding work, thinking and knowledge you're producing and sharing. And I have been moved (to tears at times!) by your feedback, cheer-leading and encouragement.

I mentioned last month that I am working on an update to the typographHer website - so I can share more digital content. I am also really keen to profile more of you there. So we will be building in a mechanism for you to submit work. I encourage you to share the design, type and print outcomes you're proud of, your thinking (articles), knowledge, process, inspiration and events. I can't publish everything but am really genuine about wanting to serve this community and if you're doing awesome stuff (and I know you are) I am keen to help others discover it.

The experiments...

It has been quite a long time since I offered any of my letterpress prints for sale. So much of what we do as designers is about the outcome (the eyecandy) - but for me letterpress and 'playing' with type and ink is all about the process. When I used my letterpress equipment to print for others (I had to focus more on the deliverable) I found it took the joy away from printing. I see the #printpavilion as a sort of laboratory for my learning (and as good therapy!)

So for the last 3-4 years when I would do a series of print experiments, they would sit in my studio collecting dust until I slowly distributed them to consulting clients, friends, collaborators and people in industry I admire. Occasionally I would use them to trade for artwork and I have a massed a beautiful collection of prints through swapping with other enthusiastic creatives.

The Saturday before last, I had lots of fun (made a glorious mess) in the print pavilion cutting up foam insulation into letters and printing them with Oil, Soy and Water based inks. I explored layering the impressions in different sequences to see how the foam, oil, water and soy would respond. In each print I played with composition and alignment to celebrate the counters and apertures of the layered letters. The glimpses to the process (on instagram) generated a lot of interest and inquiries. So I have decided to list some of the test prints for sale (an experiment in itself!). These prints are small runs and were not intended as art prints so the price points reflect that. You can check out the available prints here

Your monthly fix of TypePorn, LetterLust and DesignDelight is below!

Philippe Apeloig creates rich typographic identities and complex posters for a range of cultural clients, exploring type as physical form and abstract system. His work is super inspiring! He is speaking with Georgie Stout at Cooper Hewitt on Saturday, September 26th. They will talk about their work and methodologies in today's rapidly changing world of graphic design. Discussing design, typography, branding, digital media, global practice, and more. Moderated by author of Thinking with Type Ellen Lupton.   Register Today 

Those clever typophiles at Old School New School have just launched an amazing new course taking designers through 9 weeks of intensive type design. Study Type History, Calligraphy, different drawing techniques, and learn the process of designing and digitizing your font. It's the ultimate labour of love for type obsessors. Full details and Bookings here... OSNS have also announced the 2015 Type Carousel. Designed to rekindle your love, honour and respect for typography. Read about the Type Carousel short course here

Thank you so much to People of Print - for the very generous feature on TypographJournal this month!
I confess I have always been really polarized by monospaced fonts - But Mikser (a new release from Briefcase Typefoundry) has me intrigued (in a good way). "We rank both contemporary and historic typefaces according to established definitions and categories. If we attempt to describe Mikser by these habitual means, we can say that it is a monolinear, dynamic, sans serif typeface with a uniform character width (in other words “monospaced”), combining a vertical axis with distinctive modelling of the drawing. We thus acquire a tortuous mix, or rather “miks”, which demands the creation of its own typeface category." This visually peculiar font sure commanded my attention - check it out!
Have you ever wondered what a font might smell or taste like? Or what your choice of font says about your personality? Join innovative type expert Sarah Hyndman and this years London Design Festival to explore a series of multi-sensory games with type. Profile the personalities of typefaces; explore whether a font can make a product more expensive, more enjoyable and how it could even alter the taste of what you eat. Find out which typefaces you would date, ditch or be ‘just good friends’ with and go home with your own Font Fortune.

Lumber Co. is a perverse reverse contrast face designed by Drew Melton and represents all the best qualities and charm of a western slab-serif. Lumber Co. is proud, rugged, playful and charming to use. It draws on a rich visual heritage without feeling dated due to subtle modern details. Includes special 'AND & THE' graphic glyphs located in the glyphs panel. Its exclusive to The Designers Foundry and its on sale right now with all four weights for $39.20

Each year in October the Brisbane open house event unlocks our city to celebrate our Brisbane's rich architectural diversity. This year my talented friend Peter Rudledge (aka Mr_Smudge featured in TypographJournal Volume02) created a series of outstanding illustrations for the event that shine a spotlight on Brisbane's built icons. Read more about celebrating Brisbane (in art, books and buildings) here!
Amy Constable (of St Gertrude Letterpress) shares the love for her craft in this beautiful video by Eightball films. Amy describes the allure of letterpress and the ability for hand made crafts to engage contemporary audiences.
Excellent interview on FormFiftyFive with Rob Gonzales (Sawdust) about their custom typeface for NBA basketball player Kobe Bryant. Check out the full interview and see the typeface (and design development process) here
It is your last chance to get your hands on a copy of the first, (limited) edition of The Type Taster. The first edition is only available until 23rd October 2015. (Future volumes will not include the amazing font goggles)! And you can choose from 5 limited edition covers (400 of each cover design): Baskerville, Clarendon, Didot, Gill Sans, Helvetica. Inside the book you will find the corresponding personality analysis of your cover choice. The second edition will be published by Penguin/Random House as ‘Why Fonts Matter’ from February 2016.

It is no secret I am a big fan of the super slick curves of Matt Vergotis hand lettering. I featured Matt in volume 02 of TypographJournal and I regularly refer my nico!eap clients to Matt as I know that he will always do a great job for them. Script, flourish and cursive styles are definitely not my typographic forte. Its actually a genre of type I really struggle with drawing/designing and an area I know I need to improve upon. I have had the pleasure of doing a hands on workshop with Matt to see first hand how he crafts those super sleek letterforms. So I know he is an awesome teacher which is why I was really excited to hear Matt had launched his first online learning class with skillsshare.

Designer and critic Bob Gill  shares his thoughts on creative culture, collaboration, authenticity and authorship in contemporary design in this interview with it's nice that

I know I have mentioned them before (recently!) but I have a crush on Playtype! They seek to embrace and magnify the junctions between typography and aesthetic compositions, bringing you fonts, design and lots of beautiful homewares and merchandise! Their latest collection 'Macrography' is now available online and includes 4 styles of postcard blocks, posters, notebooks and more. Check it out at

Join Design Assembly for an evening of graphic design, arts and culture trivia  — sure to prove who the biggest design nerds in Auckland are. (I provided a few curly geographic and food based typography questions for this event!) And it is set to be lots of fun. I am gutted I can't make it along.

Our industry often debates authorship and intellectual property. In typographic design this is a particularly difficult arena. The visual logic of a letter demands that all designs of that letter share common characteristics to be recognisable. An 'A' requires an apex and a cross bar in order to be read as an 'A'... How many different (unique) ways can we draw an 'A' and still read the sign it represents. Combine three letters (three 'F's) into one mark and while there are a vast number of potential visual outcomes - the constraints of legibility, inevitable trends in visual language and the huge volume of work being produced across the globe is bound to result in some synchronicities and similarities in designs. There is a really interesting, honest and insightful conversation happening on FormFiftyFive right now about two marks designed independently and without influence that share a lot of consistent form.
Loving Jess Cruickys new website (and of course her work too!) This Sydney based letterer and illustrator is killing it with her beautiful expressive type work. Jess is teaming up soon with Wayne from ATF to host her first type by hand workshop and its sure to be AMAZING. Details and bookings for the workshop here. And see more of Jess' beautiful work here
Copyright © 2015 Nicole Arnett Phillips, All rights reserved.

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