New type foundry launches with twelve fonts inspired by the capital, its buildings, language and traditions
Its first collection features fonts designed by the founders and a London Dingbat set by designer Peter Grundy. The set combines famous London landmarks, iconic designs and symbols with a set of London door numbers (added by Harpin).
London Hoxton Square by Paul Harpin
London Fatface by Paul Harpin
London Modern by Paul Harpin
London Bloomsbury Old style by Paul & Patricia Hickson
London Belgravia Pro by Paul Hickson
In the 1970s and 80s, artist and designer Biman Mullick distributed thousands of posters highlighting the harmful impacts of smoking and passive smoking. With his work featured in a new exhibition at the Wellcome Collection.
In the 1970s, Biman Mullick was teaching at an art school in England when he became concerned about the dangers of passive smoking. At the time, smoking indoors was commonplace and almost half (45%) of the UK’s adult population were cigarette smokers. Doctors had already established a link between smoking and lung cancer but little was known about the consequences of inhaling second-hand smoke.
Mullick was not a smoker but became concerned that if smoking was bad for you, then passive smoking might be too – so he created a set of posters asking students not to light up in his classrooms. He printed them out in black and white and put them up around the college but was quickly asked to remove them by the prinicipal. “There was no law against smoking in the classroom … and he said that smoking was a part of British culture,” says Mullick.
He sent his posters to newspapers and public health authorities, who immediately took notice. “Health operatives had started noticing that smoking should not be permitted in hospitals and health buildings, and they started buying my posters,” explains Mullick. Within a few years, his posters were in use throughout the country and by 1984, he had distributed 186,000 of them.
Most were distributed in hospitals, schools and colleges. They also appeared in the background in several TV shows.
Mullick’s designs are striking: the influence of Indian visual culture is evident in his work and his posters combine bold colours with hard-hitting phrases and playful illustrations. One reads ‘smoking is slow motion suicide’ and features an image of a deceased turtle with a cigarette in its mouth while another warns that ‘passive smoking kills’.
Graphic designer Anna Potter addresses female empowerment, internet culture and our obsession with social media through witty Instagram posts and zines. Her iGIRL project – described as “the burn book of Instagram” – captures the millennial’s quest for the perfect feed with a series of statements inspired by real-life comments on the platform.Potter studied graphic design at Central Saint Martins. She is based in Bournemouth and has been working under the name Top Girl Studio since graduating in 2015. Explaining her decision to go freelance, she says: “After finishing uni, I realised I didn’t want to end up producing work that I wasn’t in love with or vaguely interested in.” She set up an Instagram feed and began sharing self-initiated projects – a strategy which led to commissions from Nike and Missguided.Potter recently collaborated with Nike and fashion blogger Girl on Kicks to create a series of images promoting Air Max Day. She also created a limited edition poster celebrating International Women’s Day for Riposte magazine. Potter was one of six female artists asked to create a poster – along with Lakwena Maciver, Tracey Ma, Paula Scher, Lynnie Zulu and Sonya Dyakova – and proceeds were donated to humanitarian organisation Women for Women.
Potter’s Instagram feed is carefully curated. She sees the platform as an opportunity to promote not just her work but herself and her interests, with photos of her favourite brands alongside recent work and images of things, people and places that have inspired her. “I’m a designer, but I also look at myself as a brand. I don’t want people to just buy into the product or idea I create, I want people to buy into me,” she says.
She hopes her account – and the success she has had with it so far – will inspire others to forge their own route into the industry. “I really do believe that social media gives us a unique opportunity where there are no rules to abide by. You don’t have to ‘do that’ or ‘do this’ because it’s normal or what everyone else does. Do what you love, show the world what you’re good at and make money doing something you’re passionate about. Take Instagram seriously. Follow everyone and start the conversation,” she says.
I just love typography as the main element of brand design. LOVE has just designed packaging for LA fashionista and socialite, Peri Arenas.With a new fashion boutique opening on California’s Robertson Boulevard, Peri briefed LOVE to design packaging that would create standout and match her ballsy personality.
Taking cues from the playful fashion labels Peri loves – as well as her straight-talking style – LOVE developed the PERI.A brand identity and rolled it out on the packaging. Brought to life with punchy copy and attention grabbing type, PERI. A sets out to shake up the American fashion-scape which Peri felt had become “boring and safe”.
Chris Myers, senior creative director, who headed up the project explains how LOVE was approached: “It’s not often that you’re recommended to a client in a Beverley Hills hair salon – but that’s how we ended up on a call with Peri.
if you like this, here a brand I created using type. Design Museum Rebrand
London type foundry Fontsmith has launched a print magazine dedicated to lettering and type design. Issue one of TypeNotes includes a look at great type for TV and film, choosing the right typeface for an ad campaign and the challenges of creating Cyrillic fonts.
The magazine was launched to mark Fontsmith’s 20th birthday. Founder Jason Smith says it celebrates the foundry’s love of type and the craft behind it. “TypeNotes is a collection of ideas about type and design that we hope will be something to keep and collect…. My ambition is to share our little world of craft – what we do and what makes us think,” he says.
Issue one is priced at £10 and each copy comes with a free poster of typographic terms designed by Exeter studio Believe.
You can order copies here.
ManvsMachine created animations and graphics using retro patterns and a custom font inspired by the bubble in Nike’s famous shoe. Films and graphics combine witty one liners with photography and illustrations that hint at the history of the Air Max.
The campaign is one of a series of projects commissioned by Nike to mark the 30th anniversary of Air Max. The company teamed up with Unit 9 to broadcast a short animation on to the facade of the Pompidou Centre in Paris last month and ran a series of creative workshops for young people in London.
Nike also released a series of limited edition Air Max styles in the run-up to the event – from ‘remixes’ of classic styles to new designs.