We got some offline ❤ from the Mid-Day newspaper
5 July, 2017

@mumbai_typostammtisch ・・・ We got some offline ❤ from…

Repost @mumbai_typostammtisch:

We got some offline ❤ from Mid-Day today. Hope the word spreads and we see more of you this Saturday!

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We’ve been proud to always include the German ẞ in our fonts
4 July, 2017

We’ve been proud to always include the German…

We’ve been proud to always include the German ẞ in our fonts. It’s exciting that it’s now an officially recognized letter! We are hopeful that more designers will make it a part of their standard character sets.

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Ran into a fancy car show in Modena
11 June, 2017

Ran into a fancy car show in the…

Ran into a fancy car show in the plaza outside our bed and breakfast today.

Photo taken at: Modena Cathedral

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The Kerning Conference was a great time (again)!
10 June, 2017

was a great time (again)! It was wonderful…

#kerningconf was a great time (again)! It was wonderful to visit Faenza and see a lot of old friends again. Thanks to all the organizers and speakers. See you again soon I hope!

Photo taken at: Faenza

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Type hunting with @typeoff in Italy :)
8 June, 2017

Type hunting with @typeoff in Italy :)

Type hunting with @typeoff in Italy :)

Photo taken at: Ravenna, Italy

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+1 for Martina Flor’s new book!
22 May, 2017

We have a new member to have just…

We have a new member to have just joined our collection! We are happy to offer @martinaflor’s wonderful new book “The Golden Secrets of Lettering” available in our library. You are welcome to come check it out in person (it may just be the only copy in India currently!). In any case, we highly recommend it and would say it’s worth ordering one for yourself!

Photo taken at: Mota Italic

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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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The Letterform Archive!
17 May, 2017

We FINALLY made it to visit the Letterform Archive this last January. I’ve been hoping to see this in person for years now, and meet the founder of it Rob Saunders. Unfortunately Rob was away on a business trip to see about acquiring some huge collection of materials to add to the Archive.

We only had an afternoon here, and that’s certainly not nearly enough time. Next visit I’ll spend a week there for sure :)

These few images give a glimpse of what the place is like and just how much material they have to go through. This is only the surface and only a fraction of the inspiring and significant items they have.

I’d also like to say a thank you to their librarian Amelia who generously offered a lot of advice for us regarding our own collection. Our Mota Italic library is a similar concept as the Letterform Archive, but still in the infant stage. Being in India, we have some additional book preservation issues due to the climate and Amelia was able to give some good suggestions to help preserve everything.

Keep up the great work Letterform Archive, and I look forward to visiting you again!


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

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SF House Numbers
7 May, 2017

Not so many to share, but I did pass by a few notable numbers on my San Francisco wanderings.


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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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