This Made by Hand poster is the first print in a series of four screen printed posters celebrating hand crafted art and design. Each print in this limited edition of 50 is signed and numbered. You can find specs and purchase one in my shop.
Here’s a look at the finished cards. I couldn’t be more pleased! Printed on Lettra 220# double thick cover. The thickness of this super toothy paper makes my heart happy. Truly superb printing by Genghis Kern Letterpress.
From the description on MyFonts : “WARNING! I cannot stress this enough. Please know what you are getting into with this typeface. Like a supermodel, it can’t be squeezed into every situation. It needs room and size to breathe. The regular weights can support 36-point or higher settings, whereas the display weights shine above 72-point (preferably 100-point).”
I have tremendous respect for book design and its designers. I think most people underestimate the process and effort it takes to produce a truly great cover—it can be a rigorous exercise in efficiency of type and image that must check the boxes on several demands. At a bare minimum, it should conceptually capture the essence of the story within and ideally do it at a glance. It also needs to be visually compelling so that it captures people’s attention as they browse hundreds of other covers on display. When this combination of things occurs, the results can be stunning.
The New York Times recently posted their top picks for the Best Book Covers of 2014. You can see a few below but be sure to check out the article on the NYT website to see the entire list.
Looking forward to getting my hands on the recently re-imagined Recorder magazine from Monotype. First published in 1902, The Recorder was originally used to showcase new developments in typography but this time around, the magazine’s focus is exploring type’s role in a wider cultural context. The bold and beautiful redesign was led by Luke Tonge from Life Agency.
One of the more drool-worthy teasers I’ve seen is this collection of hand drawn and collaged typography by Stephen Smith. Love.
This 100+ page first issue is a limited print run. Get one before they’re gone!
I’m a sucker for a chunky serif so when I saw this lovely specimen used in the updated masthead for Makeshift magazine designed by studio Rifle, it was love at first site. Clearface was originally designed by Morris Fuller Benton in 1907 for American Type Founders and was enhanced in 1978 when ITC commissioned Victor Caruso to add additional weights and italics.