Moar Hebrew!
5 January, 2018

This large collection of letters comes from Tel Aviv. It’s a rather random assortment of interesting things spotted while wandering around.


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Tel Aviv Signage
4 January, 2018

I have so many images from Tel Aviv, this is a loose category to sort our some.


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Letters from Jerusalem
3 January, 2018

Here is a mixed bag of some interesting type and lettering.


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Archivio Tipografico Prints
13 December, 2017

Archivio Tipografico is really great. Based in Turin, Italy, they are making some very cool prints and are super friendly to deal with. I ordered a copy of this awesome eBoy print called Pixel Press. It’s a simple idea that’s ridiculously complicated to execute. The posters are letter press printed, the pixel squares are printed using individually set square sorts, and the five colors means that each poster had to go through the press five times. This production of this alone is impressive, not to even mention the fun illustration of a print shop. Here’s a great video showing the making of it.

There was a problem with the shipping and unfortunately the posters arrived very seriously damaged. Archivio Tipografico was super kind to send a new copy that reached in perfect condition. They also generously threw a bonus poster to make up for the trouble! This one is composed of type all designed by Alessandro Butti. It fits perfectly with some of our other letterpresses alphabet posters.


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Faenza – Second Visit
21 August, 2017

Thanks to the Kerning Conference, I’ve had the fortune to visit Faenza Italy two times now. These are a few of the nice letters I snapped while visiting this last June.


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Faenza Ceramics Museum
6 August, 2017

Besides type, ceramics is another major personal interests. On my second trip to Faenza I had the pleasure of visiting this substantial ceramics museum. Since this site is dedicated to type, I’m only sharing the few relevant images that overlap with this core focus. But I should mention that these few excerpts weren’t actually the major highlights of the museum… never-the-less, these typographic specimens are still pretty nice.


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36 Days of Type 2017
17 May, 2017

Earlier this year I participated in the 36 Days of Type and used it as an excuse to show off a new typeface I’m calling “Collection”. It also seemed like the perfect time to launch a new Instagram account, something that I’d been planning since I began working on this new design. But there is still a lot of work to go on the font before it can be released, this 36 Days of Type just pushed everything a bit forward.

My plan is to keep posting daily glyphs from this typeface, keep drawing more letters, and sooner rather than later release Collection. Since the end of 36 Days of Type I’ve been sidetracked with other projects, and haven’t posted anything new on Collection’s Instagram account. But I will do more… Have a look there to see these glyphs in more detail and feel free to follow along and share it!

www.instagram.com/collection_typeface


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Letters from a few great days in San Francisco
17 May, 2017

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Vintage Wine, Beer, & Spirits Label Exhibition in SF
5 May, 2017

Like some sorta typographic-acid flashback, the last few days have brought many random flashbacks of my awesome time in San Francisco last January. I been remembering a lot of my visit to Kadam, Tânia, and Frank, and finally getting to see the Bay Area. Most of the time was spent buried in books or cocktails – both at Frank & Tânia’s library & kitchen, or many of the cities book shops and bars. Books and drinking, that was pretty much the theme of the visit.

So over the next few posts I’ll be sharing photos of misc SF finds.

First up was a great exhibition at the California Historical Society on Vintage Wine Beer & Spirit Labels. Sadly I’m posting this after the closing date (it ran December 8th 2016 – April 16th, 2017), so hopefully you caught it while it was up if you are nearby. The collection of labels was produced by the Lehmann Printing and Lithographic Company of San Francisco. The exhibition stated:

Designed during the terrible privation and unrest of the Great Depression, Lehmann’s labels graced hundreds of thousands of bottles of mass manufactured, highly alcoholic wines and liquors, invoking deliciously unrealistic fantasies of peace, plenty, and the high-class life. Marrying design with consumer ideology, the Lehmann oeuvre represents a forgotten high point of American commercial art.

Founded in 1911 by Adolph Lehmann with an initial investment of $190, the firm expanded into a major industrial printing operation valued at $600,000 by 1935. A dazzled correspondent for the Inland Printer dubbed Lehmann “the printer who hasn’t heard about the depression.” The company employed one hundred people, including a permanent staff of anonymous artists who designed each custom label with skillful care. To meet an ever-increasing demand for labels, Lehmann also pioneered a stock label service in the mid-1930s, creating catalogs of generic labels with stock vignettes that could be applied to a wide variety of products.

From a typographic standpoint I of course enjoyed many of the labels on display. There were numerous great examples, only a few of which are shown here. My only complaint would be that the lighting made photography extremely difficult. The exhibition was very both well organized and beautiful with its differently colored thematic rooms and archival photos, stories, and other ephemera along side the labels to put things in context and explain the lithographic process and business side of things in more detail.


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Mere Apne Film Typography
3 May, 2017

Watching the 1971 Hindi film Mere Apne, I was struck by the lettering of the title credits. It’s all hand done, in simple serif letters with deliberately bumpy contours. The typographic choices are interesting, even if a bit unclear… Letters are set in all caps, except for the main film title which is lowercase. The title ‘mere apne’ is also written in Devanagari and Urdu, and even though the film is entirely in Hindi, the rest of the credits are in Latin with job titles in English. This is a pretty standard practice from what I’ve seen so far, but it’s still strange. I wonder how much of the original audience would have understood.

For sake of completeness, I have screen caps of all the opening title cards. This shows the progressions, color choices, and layout variations.

The bulk of the film is set in a small town that repeatedly offers glimpses of posters and painted signs. These aren’t specifically highlighted, but they add some realism to the sets and some eye candy for font nerds. A few are shown here.

We rented this film on YouTube (thanks to it having subtitles), and strangely, there were no end credits – it wraps up with the black screen shown here. I’ve looked for other copies of the film online but none have end credits either… I’ll need to investigate more to see if they did anything unique with the final credits.


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Cyber Hub Social
24 October, 2016

The unique Social bar/club/social/co-working space chain is taking over India. Each new branch is slightly different and tailored to the specific location. This one in Gurgaon’s Cyber Hub complex is quite unique compared to the ones in Mumbai. The look of this space must be at least partially thanks to Mr. Hanif Kureshi of handpaintedtype.com and ST+ART India fame who is involved with the branding and design of Social. The outside is nicely surrounded with beautiful hand painted hoardings by the legendary Painter Kafeel.


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New Screen Printed Business Cards
18 October, 2016

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Hot off the screen printer’s table (the same guys that did our wedding invitations) are my funky new business cards! Since I couldn’t pick just one or two typefaces, there are 10. The paper stock is a matte white 350gsm paper and the ink is a sexy matte black. The edges are finished off with a coat of Mota Italic’s signature green color.

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Kimya also got new cards!

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