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A Journal Dedicated to Typography & Graphic Design

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A Journal Dedicated to Typography & Graphic Design ISSUE Nº-3 2020 A journal dedicated to typography & graphic design 2 3 I cannot claim to be the most beautiful, for me that is not the 03 idea. To live in this world and be myself, truly be myself… that is what I want. Welcome to the third issue of TypeNotes, Fontsmith’s magazine dedicated to typography and graphic design. In this special issue we have advice on creative block (we all get it) from five brilliant creatives; a collection of 1960s and 70s beer mats; typography in art; a guide to type styles; a big typographic night out; we go behind the scenes at St Bride Library, the British Film Institute archives and the fascinating bespoke print shop Perrott Press, and much, much more. ♠ The Fontsmith studio has been busy making new fonts and developments in the world of type design this year . ♣ Issue three of TypeNotes has been a while in the making but well worth the wait we know you’ll agree. ❦ Thanks as always to our brilliant editor Emily Gosling, designers Counter Studio and our contributors from [↓] around the world. Meet two brand new fonts from Font- smith: FS Split Serif FS Split Sans Available in Roman & Italic Bold + Regular + Light See more at fontsmith.com Jason Smith → Founder, Fontsmith 4 CONTENTS COLOPHON 5 4 One billboard in Powderhorn, Erik Brandt’s garage gallery goes global Typefaces used throughout Contributors Published by Fontsmith by Fontsmith Minneapolis Chris Bolton, designer and founder, Pulp Culture Creative director Jason Smith 8 The arty type Kern-ceptual — from Ed Ruscha to Tracey Emin, Body copy: FS Neruda Erik Brandt, graphic designer, educator and Editor Emily Gosling via Bob and Roberta Smith, and the Guerrilla Girls Headlines: FS Ostro & founder, Ficciones Typografika FS Industrie Condensed Design and art direction Elizabeth Ellis 14 Five things… to tackle creative block Pum Lefebure, Design Army Captions & page furniture: Luke Brown, design director, and David Marshall, Counter Studio FS Industrie The Company You Keep 16 The big typographic night out East London letters and the night bus home — Marketing Tamasin Handley 30 Never the bridesmaid, always St Bride Meet Fleet Street’s hidden gem — then plan a visit Unless otherwise stated, Lee Fagan, management team, Threads Radio hero type includes: Writers 36 Five things… to tackle creative block Dava Guthmiller, Noise 13 Georgia Fendley, founder, Construct Pedro Arilla, Tom Banks, Erik Brandt, Page 1: FS Cattle Dava Guthmiller, founder and chief creative Stuart de Rozario, Georgia Fendley, 38 After hours Inspiration out of the office Pages 2 – 3: FS Koopman officer, Noise 13 Phil Garnham, Emily Gosling, 42 Variable is the spice of type Phil Garnham delves into variable type Page 4: FS Split Sans Pages 8 – 13: FS Lucas David Heasty, partner, Triboro Krista Radoeva, Angela Riechers 46 Get with the programme A treasure trove of typography at the BFI Pages 14 – 15: FS Meridian and Laura Snoad Pages 36 – 37: FS Split Sans Adam Higton, artist and illustrator 54 Five things… to tackle creative block Luke Brown, The Company You Keep Page 38: FS Marlborough Photographers Pum Lefebure, co-founder and chief creative 56 That’s the spirit A look at what makes some bottles more Pages 54 – 55: FS Split Serif Tim Bowditch and Rachel Hardwick Pages 60 – 61: FS Berwick officer, Design Army quaffable than others Pages 72 – 73: FS Industrie Illustrator Alva Skog Stephen Perrott and Catherine Perrott, 60 Pulp culture Chris Bolton takes us through his best beer mats Pages 94 – 95: FS Charity Pages 96 – 99: FS Kim Perrott Bespoke Printing Contact 66 Sketching it out… Meander through Adam Higton’s otherworldly sketches Page 103: FS Emeric Tamasin Handley, marketing director Pages 104 – 107: FS Koopman Chris Pitney, freelance graphic designer 68 For the beauty of writing The ABC of orthotypography [email protected] — 72 Five things… to tackle creative block Chris Pitney, freelance designer FONTSMITH Thanks to 26 – 27 Great Sutton Street 74 Estd. 1926 Behind the scenes with Perrott Bespoke Printing The staff at the BFi London and those at London EC1V 0Ds 82 A guide to type styles A quick look at typographic groupings the St Bride Foundation. +44 (0)20 7490 9380 90 Lovely Corita The Hollywood sister and graphic design luminary finally The periodical Footnotes, published by La Police in fontsmith.com getting her due Switzerland. Reproducing a spread from issue A’s 94 Five things… to tackle creative block David Heasty, Triboro reprint of Typewriter typefaces by Alan Bartram (Typographica #6, 1962) allowed us to generously 96 Mad Men Georgia Fendley, Construct, grapples with her illustrate Stuart de Rozario’s article on typewriter controversial design hero Jean-Paul Goude typefaces in TypeNotes Issue Two. You can support 102 To the point Question mark & exclamation mark it by purchasing a copy: readfootnotes.ch 108 Letters page From the pens and pencils of Fontsmith THREE 6 FEATURE FEATURE 7 Above: Ed Fella, Ficciones Typografika 103 Above: Rejane Dal Bello, Ficciones Typografika Opposite page: Kia Tasbihgou, Ficciones Typografika (24"×36"). Installed 20 October 2013. 106 – 108 (72"×36"). Installed 23 October 2013. 046 – 048 (72"×36"). Installed 7 August 2013. “Love this man. When Ed sent this in, he told me “I remember when Rejane’s email came in, I was/am “I’ll never forget Kia’s submission, it was one of the to show it to my wife, a poet, and that she would a massive fan of her work and was overjoyed to see first that was aggressively contemporary but also get it. One of the wonderful parts of the project her proposals. They really helped extend the project extremely timely, intelligent, and political. Kia will was the unexpected translucence that sometimes and what was possible.” also never forget it because I erroneously identified allowed unexpected collaborations—under Ed’s him as female, but his quick ‘I’m a boy!’ comment piece is the brilliant Iman Raad, and Ed’s is visible taught me a valuable lesson.” under Rejane’s first, above.” Back in 2013, Erik Brandt, a Minneapolis-based designer and educator, “The idea behind Ficciones Typografika was to her companion was surprised nobody had from. I was defining typography quite broadly ONE BILLBOARD decided to embark on a bold and unusual project he called Ficciones be public about it, and I had this obviously semi- tagged it yet. I was laughing, and she said, “No, — much as I like to do with my teaching — so it Typografika; using the side of his garage in Powderhorn as an ever- perfect location already. What was most perfect it’s because people have respect for it!” allowed people to have an idiosyncratic response. changing exhibition space holding three 24" × 36" posters. What started about it was that it was — and still is — a place “There were loads of unexpected conversations “The works came from all over: it was a nice IN POWDERHORN, as a very local, very personal project — the initial intention was for Brandt where a poster exhibition really shouldn’t be, with people. There wasn’t any negativity, people balance between being a real thing that needed just to show his own work — soon snowballed into a global behemoth, a this little neighbourhood in Minneapolis. That were often just mystified. One time, a construc- maintenance and changing, but also reaching MINNEAPOLIS… celebration of the printed format, collaboration and pushing the bounda- was part of the appeal of the project for people: tion worker type guy drove past and came to a a pretty large audience online. The invite-only ries of what typography means. The works were shown online as well that it was public, and the works were real — the screeching stop, shouting “I have to know, what period was actually very short. I was talking as physically, creating a dialogue around type and design in the digital posters would be printed and re-posted, but the the fuck is this? I love it!” I explained the idea with Benoît Bodhuin, the French type designer, And how it spoke to a global type sphere, as well as locally. The project came to an end last year, and since work would also have a digital life before and that it’s not just for designers, but artists, poets, and he persuaded me to open it to submissions. its formation 1,641 posters were shown from designers, typographers, after being printed. By far the most dominant photographers… a place for experimentation in At first I hadn’t wanted to, as I was worried and design community, one poster at artists, poets and more from across the world. Some were political, some audience was online, but it also created quite an a public setting. That really appealed to people about the quality; then I worried about being a time. Erik Brandt talks us through were experimental, others simply beautiful. impact in the neighbourhood: people changed here. On two occasions when I had to take the the person that had to say “no” — I didn’t neces- This year, Brandt published a book that brought together the works the way they walked their dogs, they changed board down for repairs, people stopped and sarily want to be that guy. But when I did open his thoroughly local but entirely global into a single publication created in collaboration with Mark Gowing their commute to and from work. It was a really were angry, saying “you can’t stop the project!” it up, I was really pleasantly surprised, as the poster project. of publisher Formist Editions. Entitled Ficciones Typografika 1642, the nice engagement with the community as well.
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