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AisleOne ::: Toko. Concept. Design. ::: +61 (0)4 136 133 81 ::: Marian Bantjes I Wonder by Marian Bantjes 208 pages Hard cover 15.5 cm × 24cm (approx. 6 × 9½ inches) Printed in full colour plus gold throughout. List price: £19.95 / $40 Release date: October, 2010 Published in the UK by Thames & Hudson, ISBN 978-0-500-51529-7Published in the USA by The Monacelli Press, ISBN 978-1580932967 I spent 15 months writing, illustrating and designing this book. It’s a gorgeous hardcover, with gold and silver foils on a satin cloth, with gilded page edges. Every single illustration is new, created for the book, and the content is not about my work (i.e. not a monograph), but instead combines graphic art with the written word, and lends my own contemplative but frequently amused voice to my observations of the world. Some of the articles were originally published as blog posts for the now-archived blog Speak Up, but they have been resurrected, edited, rewritten and given new life in these pages. There are even secrets … Here are some shots of the press proofs:

HELLOWON Elsewhere by Von | New solo show at KK Outlet Gallery, London | 1.5.14 — 31.5.14 I'm very pleased to announce my forthcoming solo show "Elsewhere" at London's KK Outlet Gallery in Shoreditch. The show will consist of all new work and have both originals and prints available for sale. Four collaborative exhibition posters have been created especially for the show with some of my favourite designers — Hort, Non-Format, David Pearson and Darren Firth (whose poster is above). Leading up to the show these will be released as hand pulled screen prints in a strict edition of 20. 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. The world’s most recognizable typeface will soon star in a new film that documents both its omnipresence and its timelessness. 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. Why it’s not Helv: A single-story ‘a’ and tailed ‘l’. Neuzeit S™ — Wilhelm C. Getting Warmer Further Afield

Ace Jet 170 bleed nice device by pete brundle. web development | interaction design and code, melbourne australia Alexis Kaneshiro contact + links wedding sam francis pmca print projects tomorrow point blank winery usc roski commencement usc roski holiday card & mug wake up pmca annual report tag arts day of discovery zombie in love illustrated type fragments exhibition fragments book beautiful boy book japan & hawai'i book

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. Some mockery is to be expected, but the rewards will be many and the pleasures enormous. The first step in fully understanding Cooper Black is to accept the fact that it is ugly: sexy ugly. 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:

I love Typography Nicholas Felton | Best Awards

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