::: Toko. Concept. Design. ::: +61 (0)4 136 133 81 ::: Helvetica and Alternatives to Helvetica Helvetica and Alternatives to Helvetica Helvetica is a classic. Helvetica is played out. Each of these statements is true to an extent. There are many reasons why Helvetica is so widespread. But invisibility isn’t always appropriate, particularly in advertising or branding where individuality is key. Cool, Crisp, Clean Much of Helvetica’s appeal comes from its cold, almost clinical modernity. Univers™ — Univers is widely considered Adrian Frutiger’s masterpiece. Why it’s not Helv: In some ways, even more spare (no beards or tails). Heldustry™ — In 1978, prolific photo type designer Phil Martin added “just the right touch of Eurostile‘s squareness” to Helvetica and created a new font for a cable TV news network. Why it’s not Helv: You’ve probably never seen it. FF Schulbuch™ — A series of fonts based on the historical textbook types used in Northern and Southern Germany, and Bavaria. Why it’s not Helv: A single-story ‘a’ and tailed ‘l’. Neuzeit S™ — Wilhelm C. Getting Warmer Further Afield
Lovely Package | Curating the very best packaging design bleed eye | opinion Admiring Cooper Black is like being the most popular kid in school and falling in love with the ugliest person in the class. Sharing this secret, telling people – your friends – about it is hard, and must be done gradually, little by little, until you are comfortable enough to be seen in public together – holding hands, laughing, kissing, using Cooper Black. At the beginning there will be guilt and shame. How then, can a typeface with so much against it be so popular? Cooper Black typeface, designed by Oswald Bruce Cooper of Bertsch & Cooper, Chicago. With help from Herman: www.underconsideration.com/cooper Cargo - Gallery
fonts, typefaces and all things typographical — I love Typography (ILT) No Layout PROTEUS MAG Nicholas Felton | Feltron.com Calling cards. How 76 graphic designers have art-directed their own identities How 76 graphic designers have art-directed their own identities Logos, business cards, letterheads, brochures, websites, packaging: designers spend a lot of time creating other people’s identities, but what about their own? Liz Farrelly’s new book, Designers’s Identities, examines the way 76 practices from around the world have approached their own branding. Packing in 1048 colour illustrations, the book sets an introduction to each studio on a copy of their letterhead, followed by examples of their printed and virtual presentation. Top: NB: Studio make each New Year mailer a collectable. Below: NB: Studio’s pack of cards – this mini portfolio contains images from favourite projects over the decade, packaged in an embossed box. Above: Marc&Anna customise business cards and correspondence with their collection of rubber stamp ampersands (below). Above: Fourpack’s letterhead: icons that match the nature of the letter are taken from the company’s massive library and added to the grid.
Artists Inspire Artists - Art Inspiration Alpha-ville Festival 2011 | Festival of Post-Digital Culture