As a designer with a keen interest in the history of design, typography and printmaking, I am more than a little embarrassed that I was not aware of my home town’s Central Print before now. St. Louis artist Doug Weaver takes us on a tour through their space and gives a short, but enlightening lesson on typesetting and printmaking.
This was just what I needed on this rainy quarantine day. From the always awesome The Kid Should See This:
In 2014, Camera Lucida and Radio France teamed up to create a series of classical music-filled apps for children. One of these shared Sergei Prokofiev’s Pierre et le loup in a typography-filled adaptation by Gordon (Thierry Guernet), Pierre-Emmanuel Lyet, and Corentin Leconte. It’s a stunning version that mixes animation, musical symbols, and musicians, featuring the National Orchestra of France, conducted by the maestro Daniele Gatti.
Don’t let the name fool you, The Kid Should See This has plenty of wonderful stuff that adults will enjoy, too.
As promised in this post, here is a shot of this beautiful old, recently-restored sign near my house. The first time I posted a shot of this sign, I used color film in my then recently-acquired Olympus OM-10 camera. This time, I used my trusty original silver Canon Digital Rebel. I shot in RAW, which is something I don’t normally do because I don’t like having to fiddle with my shots if I don’t have to. This is the result of my first attempt at RAW developing with Adobe Lightroom, and I have to say that I was impressed with the ease of making adjustments and pleased with the quality of the result. I may have to get this one printed and framed.
Particularly for something as multi-faceted as a university, typography can be a way to create visual coherence across various schools and other parts of the institution. In the case of Syracuse, the hunt for the perfect typeface also unearthed an unlikely connection between past and present, and between the academic world and the rich history of type design. When Bierut and Jesse Reed, his associate partner at the time, discovered a typeface linking the university and the famous early 20th-century type designer Frederic Goudy, it set into motion a typeface excavation that resulted in the central element of the new school identity.
MinaLima (Miraphora Mina and Eduardo Lima) is the design studio that designs all of the graphics, signs, newspapers, decrees, posters, labels, maps, book covers, and packaging that you see in the Harry Potter movies.
“One of the best things about working on the Harry Potter films was being able to try out so many different styles, from Victorian letterpress to modern design,” says Lima.
I, personally, don’t really have a problem with Comic Sans, per se. My problem is when it is used inappropriately, as any font can be used inappropriately. But this story, by Lauren Hudgins, really got me thinking about fonts, in general, and Comic Sans, in particular, in a different way.
It is the story of Hudgins’ sister, Jessica. Jessica is dyslexic, and reading materials using Comic Sans is one of the ways she copes with this disability. It turns out that the irregular shapes of the characters in Comic Sans make it uniquely suited for use by dyslexics, as it is easier to distinguish individual letters and parts of words.
The irregular shapes of the letters in Comic Sans allow her to focus on the individual parts of words. While many fonts use repeated shapes to create different letters, such as a “p” rotated to made a “q,” Comic Sans uses few repeated shapes, creating distinct letters (although it does have a mirrored “b” and “d”). Comic Sans is one of a few typefaces recommended by influential organizations like the British Dyslexia Association and theDyslexia Association of Ireland. Using Comic Sans has made it possible for Jessica to complete a rigorous program in marine zoology at Bangor University in Wales.