She feels in italics and thinks in CAPITALS. Henry James
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I want to begin this month by expressing gratitude for all the wonderful support, and encouragement I received from my recent talk at the Design Conference. It was intimidating sharing a stage with such amazing speakers - Jess Hische is an extremely hard act to follow! This was the largest crowd I had presented to and I was incredibly nervous but the overwhelmingly positive feedback from our community - and the way people embraced my creative play, approach to practice and the TypographJournal with such enthusiasm was awesome! Thank you all so much! (The above photo was shot by the amazing lens lady - Camille Santiago). For those of you unable to make it - the whole conference was recorded - and the presentations will be released via video soon - but in the meantime, you can check out this little timelapse which gives a sneak peek at my print play on a typical Saturday in the printpavilion.
Since the conference I have been ramping up my mileage with the pencil in preparation for my upcoming alphabet is code workshops with Design Assembly. In contemporary culture, we are constantly bombarded with communication and the most powerful messages we experience today are those which are visually expressive. I believe that form and function are inseparable - and type has the potential to carry meaning in multiple ways. In this full day typography workshop we delve into the modularity and anatomy used in different typefaces, and the way various genres of type carry and distribute their weight. Participants will be guided through a series of exercises to visually interrogate the construction and tone of typefaces. Then use what we learned to start to draw letterforms with proportion, aesthetic cues and weight distribution appropriate to a specific genre. In the afternoon session, we follow up all the mechanical thinking with a series of analogue type experiments where we use layout devices, space, proportion, surface and edge treatment of letterforms in an attempt to more closely align our visual and verbal language. It is a full and fun day and there are still spots available in Auckland and Hamilton.

Hope you enjoy this months TypoMusings! I am always keen to profile the awesome stuff happening in our community so if you have something to share please get in touch! Thanks again for your continued support - it is awesome to be part of such a fantastic typographic community! Keep up all the brilliant work!
X Nicole
Barry Spencer makes letters that may or may not look like letters. His speculative approach to type design as documented in his thesis 'Speculatype - A Transformative Approach to the Perception, Understanding and Creation of Latin Letterforms' is a brave leap toward innovation.
I spoke with Caroline Roberts from Grafik about my love for type, my approach to practice and TypographJournal volume04 in this recent interview.
Check out this 'Creative Mornings' video with local sign painting dynamos Rick and Emily aka Frank and Mimi. The talented duo talk about their approach to creative practice and encourage us all to think about our contribution and impact as creatives.
JS1: is a fantastic new modular display type system inspired by Dutch designer Jurriaan Schrofer
Warin (Joseph) Wareesangtip's Unhinted 96 is a clever exploration of how early digital type was rendered on screen.
Thrilled my 'AnalgoueBitmap' Q has been selected for the third volume of the Typism Book. These stunning publications always sell out - so ifyou'ree keen for a dose of type and lettering eye-candy you should preorder and take advantage of the free shipping!
Typography Guru - shares his thoughts on the optical and metric indesign settings. He defines the spacing values of digital type. Ralf is a wealth of knowledge and these videos he is making are fantastic.
TypeEd's Michael Stinson also weighed in on the optical vs. metric debate with some great visual comparisons between the two kerning settings in commonly used faces.
Great little post on how typographer Craig Black creates beautiful texture in his lettering work with dry-erase markers
I love that our community has a good sense of humour - this photo of me making a typographic dick joke shot by Mrs Typism (Dominique Falla) has been getting a lot of attention! I was encouraging designers not to compare themselves to others by pointing out all these DICK's are the same size!
Roland Hörmann's Gloss Drop has unexpected rhythm and movement. It’s comprised of loose, nervous, and stuttery hand-painted strokes. Each letter is drawn with a thick wet brushstroke, with so many alternates for each form it looks text like legit painting - you’d never know this was a digital typeface!
Rafael Serra's Letterdrop is an ode to alphabetic enquiry and having fun with form!
André Toet creates typefaces that can be used in multiple mediums, dimensions and scales. Toet's display typefaces intend to give designers creative opportunity. And to encourage them to consider the potential of letterforms rather than the archetype.
Alphabette Lila Symons designs fonts for Hallmark. Lila and her colleague Lynn talk about collaboration and the process of turning lettering into a font.
Tara Hanrahan looks at the ellipsis – exciting and suggestive, it's a character which is the typographic and literary equivalent of doof-doof.
I have a #fontcrush on parachutes Centro Slab especially in the bold italic - Centro Slab Press is a very clean and legible typeface even at heavier weights, a characteristic which is not often seen among slab typefaces.
David Jonathan Ross has a knack for creating letterforms that are both unconventional and beautiful!
Optimum Compress is a futuristic, Blackletter display typeface. Constructed with a limited number of base shapes and forms it has a strong geometric edge but still retains subtle authentic references to hand drawn Textura type of the 13th and 14th century.
Monotype unveils it's redesigned Transport for London typeface, Johnston100
Stuart Tolley's latest Publication MIN (Thames & Hudson) is an ode to simplicity and restraint in contemporary graphic design. It is an honor to have TypographJournal featured in it's pages.
Type Network is a new model for type design, development, and licensing built in response to the increasingly complex needs of type designers and type users.
Alistair McReady follows up on his 'Case for Penmanship' series I shared last year - with a fantastic interview with one of my former lecturers Peter Guilderdale who is an exceptionally talented calligrapher.
Forget London's burning (unless it is burning with desire) London's Kerning! - Lust is probably the only word I have to describe how this map of London makes me feel. It is epic.
I love a good blackletter and Irrlicht is a fantastic example! Based on C. H. Kleukens’ 1923 typeface Judith Type. Irrlicht 'Dunkle' is a fairly faithful rendition and extension of Kleukens’ typeface, the 'Licht' style (ampersand shown here) was added as a stencil interpretation.

Massive congratulations to Alphabette Roxane Gataud - The Society of Typographic Aficionados has announced that Roxane Gataud is the recipient of the 2016 SOTA Catalyst Award. Created in 2010, the award recognizes a person 25 years of age or younger who demonstrates significant achievement and future promise in the field of typography.

New events listed in the calendar include Brush Lettering with Carla Hacket and Barbara Enright as well as the DVC graduation show which is bound to be amazing!
Copyright © 2016 Nicole Arnett Phillips, All rights reserved.

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