Typography details in recipe book

Nigel Slater’s cookbook – Tender: A cook’s guide to the fruit garden is full of typographic gems. Here are my favourites:

1) table of contents (landscape style)

2) stylish pagination showing up on the right edge of the page

and… the choice of type is even explain on the last page of the book…

A note on the type

Claude Garamond (c. 1480-1561) cut type for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing it on the type cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his typeface in later versions, adding his own concepts as he developed his skills as a punchcutter.

Adobe Garamond, the type used in this book, was designed by Robert Slimbach in 1989. The roman weights were based on the true Garamond, and the italics on those of punchcutter Robert Granjon. This font has been expanded to include small caps, titling caps, expert fonts, and swash caps, which were typical in the fifteenth and sixteenth centuries.

Make it count posters

My attention got grabbed by this poster when I was on the bus going to work. One more reminder about the forthcoming Olympics. Even if some might feel this is a safe combination (powerful photo and inspiring quote), it worked for me. It’s simple and engaging. Now, how long will I be engaged with handwritten quotes… looks like this is the thing in the advertising world at the moment.

there’s an article about this ad campaign on the Creative Review blog for those who want more info.

Symbols

Too bad I’ve already missed a space for the first typographic circle’s talk this year with designer Angus Hyland. No worries there’s an audio on the design matters website in which the designer talks about logo and symbols creation.

here’s one of my favourite logo – the Woolmark logo – and a link to interesting article about it.

Moustache Xmas tree

Xmas shopping inspiration – thanks to an hairdresser’s window in Covent Garden.

Intensity map on Google fusion

I finally got a few data to try visualising campaigning activity*. I still need to add the full data but today I manage to use to visualise a few constituencies using the intensity map with Google fusion.

* this is just a test and is not representing any campaigning data at the moment

Just spotted! a ‘workify’ button

after

before

This is genius.  After seeing an attractive poster on my way to work this morning, I checked their website and ended up on the DoingSomethingsite and their Wheel of Date.

Apart of the attrative wheel, the genius bit resides in the ‘Workify’ button which lets you switch from your current view to a ‘Work version of it in an Excel spreadsheet’.

if you’re tempted by the Wheel of Date, just go to DoingSomething.co.uk

Letterpress

First try at printing with Adana 8×5 at the letterpress workshop organised by Helen Ingham, St Brides Foundation.

Ginger beer mat

Typographic poster

There are lots of those posters in Brussels at the moment.  Interesting way of using the typography, red letters at the back of a black and white photograph.

If you want to check out the museum, it’s in Meaux, France – Le musee de la Grande Guerre

Woodcutter – Gaylord Schanilec

It was the first time I’ve met a man who is a woodcutter and he was not any woodcutter. His name is Gaylord Schanilec and he is also a poet who ended up also to be a great printer. He was invited by the St Bride Library to give a talk about his various books and projects. The man is from Stockholm not in Sweden but in Wisconsin, US. He opened his talk with some beautiful photographs of the place he lives: on the bank of a huge river, well it’s a lake actually called ‘Le Lac des Pleurs‘. Gaylord went through his books and amazing printing techniques. He showed prints of various species living around the river:  mayflies, carps, pelicans and other elements like shells and woods. He embarked in long term projects like Sylvae, a catalogue of trees in his area with illustrations and historical anecdotes.

Plum tree in the press - Sylvae project

You can see original prints until the 3rd December at Sophie Schneideman gallery in Portobello – 331Portobello Road, London W10 5SA