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NEW TITLE |
| I LOVE TYPE SERIES (vol.2) |
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| Victionary & TwoPoints.net: |
| I Love Avant Garde |
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click image
for large view |
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| Contributors from A–Z: |
21bis (Frank Dresmé)
Akatre
AREA 17
(George Eid,
Arnaud Mercier)
Big Active
(Richard Andrews,
Gerard Saint,
Sanna Annukka)
Branch
Bunch
Carsten Klein
Christopher Pilkington
Denise Franke
Designunit
(Jesper Johansen)
DHNN (design has
no name)
Everything Design
(Jason Saunders),
Sandii McDonald
Experimental Jetset
Fendy Ibrahim
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grafisches Buero
(Guenter Eder,
Roman Breier)
GVD (Guus Gijben,
Vera Verberne,
David Paans)
HelloMe (Till Wiedeck)
Hint Creative
(Christian Hansen,
Kevin Cantrell,
Ario Vance,
Brad Dowdle)
Huvi
James McCarthy
Jamie Delaney
Joe Hinder
Jonas Wandeler
Kees Bakker,
Lilian Pellegrino
Kris Borgerink
Leslie David
Mark Brooks Graphik
Design
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Make_Studio
Melvin Galapon,
MeirionPritchard
MetaDesign AG
Mike Jarboe
Na Kim
Neil Wengerd,
Elizabeth Myers
no-do
Oliver Daxenbichler
Design
Pam&Jenny
(Nathelie Pollet)
Pierre Jeanneret
Plasticbionic
Praline, John Short
Raffinerie AG für
Gestaltung
Robin Snasen Rengard,
TBWA Oslo
Rockstudios Design
(Horacio Lorente)
Root
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SB Studio
(Benji Holroyd)
Serialize
SILO
Sort Design
Sulki & Min
Tankboys
The Consult
(Alex Atkinson,
John-Paul Warner)
Thern (Dan Moscrop)
This Studio / Visuelle
(David Bennett)
Toko
Triboro (David Heasty,
Stefanie Weigler)
Two
ULTRA:STUDIO
(Ludovic Gerber)
Un.titled
(Andrew Townsend)
workroom
Zip Design Ltd
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| About the Series: |
| I Love Type Series |
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Every designer has a favorite typeface. More than a vehicle to transport words onto a page, a typeface can express taste, style, opinion, and attitude. The typeface a designer uses — and how he has manipulated it — reveals the personality and aesthetic of the designer himself.
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| Using a selection of high-quality graphic design work for books, promotional materials, signage and more, each book in the “I Love Type” series highlights a single typeface and its prevalence in the design community. This narrow focus lends itself to an in-depth study of each typeface — how the same font can be altered to create different moods and generate an entirely original effect. |
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| See also: |
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NEW |
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I Love Type Series (vol.4)
I Love DIN |
| Featuring fluent curves and strokes without serifs, DIN, released by Frankfurt’s D Stempel AG foundry in 1923, is minimal in appearance, bold, striking, and highly legible. The design was based on a 1905 typeface for the Royal Prussian Railway Administration and was originally used for schematics and blueprints. more... |
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NEW |
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I Love Type Series (vol.3)
I Love Bodoni |
| Designed in 1798 by Giambattista Bodoni, the serif font Bodoni drew inspiration from elements of the English typeface Baskerville and the French typeface Didot, with the result widely-regarded as one of the most influential and easily-recognized typefaces in history. more... |
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NEW |
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I Love Type Series (vol.1)
I Love Futura |
| Created in the 1920s, it shows the influence of German Bauhaus, and has inspired an army of geometric typefaces in the years since its inception. Futura’s iconic status and simplicity have inspired the designers in this text to push for innovation. more... |
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