Of personal musings and interests.
Bea says that the art of reading is slowly dying, that it’s an intimate ritual, that a book is a mirror that offers us only what we already carry inside us, that when we read, we do it with all our heart and mind, and great readers are becoming more scarce by the day.
— Carlos Ruiz Zafón, The Shadow of the Wind (via isaboutwords)
- Never use jargon words like reconceptualize,demassification, attitudinally, judgmentally. They are hallmarks of a pretentious ass. - David Ogilvy
Let’s face it — English is a crazy language. There is no egg in eggplant nor ham in hamburger; neither apple nor pine in pineapple. English muffins weren’t invented in England or French fries in France. Sweetmeats are candies while sweetbreads, which aren’t sweet, are meat. We…
(Source: -sorry)
#coneyisland. #hellobrooklyn cc @nancyfoo @kwerthman (at Coney Island Beach & Boardwalk)
SEEKING JAZZ OR SEX OR SOUP. @ocdagency sweating the details at the HOWL! festival. #howlfestival2013 #allenginsberg (at Tompkins Square Park)
After 5 years of running our studio Raw Color it was about time to develop an own identity. We tried to find the right feeling that communicates our work the best way.
The most important focus point was colour, material, tactility and combining these into a system. We chose 5 different shades that are a blend from two PMS swatches. Within each shade different intensities are created. The business card starts with 100% of the colour, compliment card is 80%, envelope is 60% and the letter is 40% of the original shade. This means the smaller the surface of the item, the more intense the colour will be.
The stationery is offset printed on Recycling Paper. The items of complimentcard and business card are printed on heavy paper and are embossed, adding extra sensitivity. By mixing the different parts the identity allows us to make endless combinations.
Book Review: The Geometry of Type
There are many things I like about Stephen Coles’ recent book; the bright, clean design and the accessible structure allowing you to dip in and out; but most of all, it’s the lack of fluff or filler. The content has been carefully honed to focus on the important details, which is in fact what the book is all about: the details of each typeface.
In highlighting and comparing the features that give each typeface its character, anyone exploring this subject can begin to make informed choices between similar typeface options.
The pithy descriptions describe each typeface’s origin and advise what makes each appropriate for certain scenarios and where it might fail. These are occasionally laced with a subtle humour that keeps the tone of the book warm.
The great balance of written and visual explanation means the book works well as a quick reference but has a seductive way of drawing you in to read more and examine further.
The 100 “essential” typefaces chosen covers a decent range and they have been categorised in the most straight-forward way. Historically it stretches from Gill Sans 1928-32) right up to Heron Serif (2012), but also acknowledges original creation dates for revivals such as Bembo (1495).
I’ve already found it useful in my work and I know I’ll enjoy repeatedly picking it up in the future to compare other typefaces in my collection and those I’ve spotted in the wild.
We’ll worth picking up a copy. Take a look the book’s online companion on tumblr: The Anatomy of Type
In a poor city in a poor country on a poor continent, there is a group of people with a singular purpose: to look rich.
Or, rather, to look good — and to fully embody the suave, elegant style that a wardrobe of three-piece suits, silk socks, fedoras and canes might suggest.
They are called sapeurs or members of the Societe des Ambianceurs et des Personnes Elegantes (the Society of Tastemakers and Elegant People). And when they go out, they turn the streets of Brazzaville, the capital of the Republic of the Congo, into a fashion runway.
The Surprising Sartorial Culture Of Congolese ‘Sapeurs’
Photo Credit: Hector Mediavilla/Picturetank
