In the competitive field of design catching the attention of potential employers is crucial. Freelance designer Roxy Torres caught the attention of employers before they even got to her resume. Using pencils, protractors, rulers, micro pens, Torres hand-lettered the names and addresses of studios she was applying, creating an amazing first impression.
I stumbled upon one of the more unique (but still usable) typefaces I’ve seen in a while this week. London is an elegant, Gatsby-esque display typeface with a pleasant use of negative space.
I wasn’t surprised to find out who was behind this polished typeface. You’ve probably seen some of freelance designer Antonio Rodrigues Jr.’s other work before, his type illustrations are all over creative aggregation sites. You may recognize his project Better With Flowers, one of my personal favorites, or another project, Stay.
For a while now, I’ve been looking for some work that lends to talking about type and the subconscious. Jonathan Faust‘s redesign of the Danish Soda brand, Frem, is attractive, trendy, type-focused and not unlike some design I’ve seen before. But what really makes Faust’s work so intriguing to me is the fact that each flavor has it’s own identity through typography.
Occasionally a project comes along that I find is worthy of the adjective genius. I tend to use a lot of glowing adjectives but this one in particular, you’ll see me use very sparingly. It’s got to be clever and inspiring and make me wish I could participate, something akin to 10 Paces and Draw. When I saw Typefight, it fit the bill.
Born out of day-job boredom of Drew Roper and Ryan Paule, Typefight began in 2011 as creative exercise between the two. Before long Bryan Butler and Dan Brindley wanted in on the font fight club action. After long hiatus, the site relaunched in October. Now, every week two contenders face off with a randomly assigned character. Designers from anywhere can “weigh-in” and compete. Site visitors can vote on which interpretation they like best.
Typefight also features the “Heavyweight” series in addition to their regular fight. Heavyweight challengers are working through the alphabet A to Z. Designers are Match-ups featured in the series are given a color palette to stick to because they are then printed by Mama’s Sauce, a printing company I mentioned in my post on my favorite instagram accounts, and sold on Typefight’s website. The designers get a portion of the proceeds and the rest goes to Typefight for print costs and upkeep.
It’s so interesting to see the different contenders interpretations of the letters. Some take a solid, geometric strategy, others hand-letter. Some designer play with depth while other play with texture. While the pairings almost always look so nice together, each individual letter could stand along as it’s own print. My favorite match-up so far is when Darren Booth and Mary Kay McDevitt duked it out over the letter D. Booth made his D in a surreal 3-D perspective and layered it with interesting patterns and textures while McDevitt made a goregous, fancy hand-lettered D with some simple patterning. In the end, Booth knocked McDevitt out 908 to 409.
So far Typefight has held 76 fights, 61 from before the hiatus, five since the relaunch and 10 from Roper and Paule’s match-ups. All are on display in Typefight’s gallery.
You could pretty much add typography to any game and I’d be sold. The Quick Brown Fox Jumps Over The Lazy Dog (a type memory game with an obnoxiously long title) is one of my favorites, and I make any of my poor friends with a slight interest in type play me to keep my undefeated streak alive. But this month, Cosmigrafik released Type:Rider, a simple platform game available for iOS and Android.
There are few things I love more than or equal to typography but hockey is certainly a contender. I came across Kevin Zwirble during the playoffs this past season and while I was crossing my fingers his beloved Bruins would lose to my dear Blackhawks, I was also hoping they’d adopt some of his stellar design concepts for the team.
Renner meets Dali in Alexis Gallo‘s type experiment, Form. Gallo, a student at the Fashion Institute of Technology in NYC, used Futura as a reference while creating this distorted typeface for a school project. Gallo was also inspired by the famous melting clocks in Salvador Dali’s The Persistence of Memory.
Lost Type Co-Op, the pay-what-you-want type foundry that brought you Homestead and Cylburn, both of which I featured in my post on fall fonts, is up to something else pretty neat. Starting on Oct. 6th, a team of ten contributors will scour New York City for inspiration on what they’re calling a ‘Field Trip’ or Field Trip NY.
For those of you not in California, or the near season-less Southwest, fall is here or at least near. Time to trade in the summer neons for earth tones and consider some other seasonal design trends. I searched through the work of several foundries and designers for affordable options and pick out a few typefaces that I wouldn’t mind seeing good, legal use of this autumn.
Homestead – Lost Type Co-op, pay what you want
There are so many typefaces from Lost Type suitable for fall but I tried to limited myself to just one (it didn’t work). For my first choice I settled on Homestead after debate with some of my type pals. Homestead, designed by Luke Lisi, is a hearty slab serif with a various texture options reminiscent of plaid flannel. The typeface also had a bit of a varsity feel without feeling too hokey, particularly in the M, making it a great font for football season and school-themed worked. While it’s only available in all caps, it also comes with an inline option, which makes it even more versatile. And if Lumberjacks had offices with nameplates, I am pretty sure they would be in Homestead.