Beautifully Briefed 24.3: Bloomin’ Breadth

The end of March here in Middle Georgia means flowers aplenty, and usually with that, some photography — but I’ve not yet had a chance. (Stay tuned.) I have, however, been saving up links o’ interest: fonts, books, photography, and new(ish) car logos. Let’s go!

Kottke Meets 2024

Starting with one of the very few places that is still around from Foreword’s old days, the always-interesting Jason Kottke:

2024 marks Kottke.org’s 26th year on the ’net.

Great new looks for great content, with better Quick Links — the previews are ace — and incredibly-appreciated gift links to places like The New York Times and The Atlantic. If you haven’t been in a while, click and enjoy.

Fab Spring Type

With “a plethora of captivating new typefaces,” CreativeBoom celebrates spring with 11 new faces to tempt, inspire, and bring joy:

Arillatype.Studio brings us a thousand glyphs of greatness.

Zanco, with its bell-bottom style; Seabirds, inspired by 1930s book covers; Module, a “fluke side hustle;” and Graffeur, improvised from gaffer tape and glimpsed in this post’s header image, are all great. My far-and-away favorite, though, is At Briega, “inspired by the concept of hybridisation” and shown above.

See ’em all here.

Literary Three-Fer
M.C. Escher’s Lesser-Known Works
“The Drowned Cathedral,” a 1929 woodcut.

“Unique perspective” never does justice to someone whose name defines the term. See some never-before-seen images alongside old favorites in a new Escher book highlighted at Hyperallergic.

Multidimensional Libri

“Experimental books are flourishing, [a]nd the evidence is seen” in this Daily Heller from PRINT: a traveling exhibition on three-dimensional books, all published titles.

Oh, those Italians. Read on.

Book Design Snobbery
Hoover vs. Atwood — no joke.

“Don’t get held back from the simple pleasures of reading,” argues Natalie Fear at CreativeBloq, “not everything needs to be minimalist.” Justification for commercialism or a common-sense explanation for the bookshelves’ current look? You decide.

Photography Three-Fer
Winners of Monochromatic Minimalism
“Black Pearl” by Sascha Kohne. An honorable mention for the magazine, but a winner for me.

Some incredibly good stuff here — but perhaps more importantly, did you know of Black & White Minimalism Magazine? There’s no end to today’s continued diversification, methinks.

“Traveling through Costa da Morte, Galicia. 600m above sea level where the mountains separate the Cantabria sea from the Atlantic Ocean,” explains third-place winner Alexandre Caetano.
Aging Facades of France

“Shuttered blinds, peeling paint, and aging doors don’t usually indicate an invitation, but for French photographer Thibaut Derien, the fading facades of long-closed shops are well worth a stop,” This is Colossal says.

Sony Photography Awards: Architecture
The Ciudad de las Artes y las Ciencias (City of Arts and Sciences) in Valencia, Spain: “Hemispheric,” by Eng Tong Tan, Malaysia.

ArchDaily‘s coverage of the annual Sony awards shortlist announcement was an insta-click.

New Bull: Now Flat. (And a BMW.)

Lamborghini practically defines flamboyant. So it’s worth a link when their logo gets less interesting:

Old logo, left, new, right.

Late at following the industry trend of flat-is-better, because, well, Volkswagen. (Okay, I undersell. Perhaps.) Read the lack of news at Motor11Motor1 also has a decent roundup of new car logos, from 2016-present, which underscores the “flatness” trend. or The Drive, where they manage to convey the brand’s use of the phrase “digital touchpoints.”

I don’t know whether this will make any more sense in a few or even many months — which is relevant because of BMW. Four years ago, one of the industry’s design leaders expressed strong this new style, and I didn’t get it. But it’s worn better than most, and superlatively on occasion — check out the logo’s use on the Vision Neue Klasse X:

Rather than a standalone, plastic part sitting on the paint, it’s etched into the finish. Man, I hope that makes it into production.

Neue Klasse: do like. Bull? No so much.

Update, 2 April: BrandNew, itself sporting a new look, has weighed in on the new Lambo style, calling it “not good.” (FYI, BrandNew is a subscription, quite possibly the best $20/year someone interested in design can spend.)

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    Motor1 also has a decent roundup of new car logos, from 2016-present, which underscores the “flatness” trend.

Beautifully Briefed, May 2022: Two on Type, Two on Photography, and Kottke

This month’s favorites cover a delightful new extension of the typeface DaVinci, Google’s updated mega-font, Noto, photographs of a desert aircraft boneyard from above, and mega-photographs of the Milky Way.

Before we get there, however, I wanted to wish Jason Kottke — whose 24 years of web sleuthing has been a source for items here on Foreword dating back to its original iteration in the ’90s — good luck on his sabbatical:

“I need some space to think and live and have generative conversations and do things, and then I’ll make something, but I can’t tell you what it is just yet.”1Alexandra Bell, NYT That’s the sort of energy I need to tap into for a few months.

Hear, hear.

The Beautiful DaVinci Italic

It’s Nice That points us to a new, extended version of the font DaVinci, done for Sydney’s Biennale:

“When you do this sort of type exercise — based on printed letters — it gives a very organic shape and form, in opposition to the very metallic sharp shape from type materials.” Furthering this organic look by pushing the fluidity curse at its maximum, Virgile ended with a design “which is very historical, yet with a contemporary twist.” 

Just look at those glyphs!

Makes you want to find an excuse to use it. But that’s not all: Flores is an incredibly diverse artist whose work both challenges and inspires. See more.

Google’s Noto

Called “A Typeface for the World,” Google’s Noto defines “megaproject.”

Noto is a collection of high-quality fonts with multiple weights and widths in sans, serif, mono, and other styles. The Noto fonts are perfect for harmonious, aesthetic, and typographically correct global communication, in more than 1,000 languages and over 150 writing systems. 

Google’s Noto font collection.

According to Google,

“Noto” means “I write, I mark, I note” in Latin. The name is also short for “no tofu”, as the project aims to eliminate ‘tofu’: blank rectangles shown when no font is available for your text.

While the font itself has been around for a few years — 2013 seems like yesterday in so many ways! — it’s updated regularly, cover 150 out of the 154 scripts defined in Unicode, and deserves attention from every web designer and type nut. Read more at Google or Wikipedia. (Via Kottke.)

Aircraft Boneyard, From an Aircraft

This is Colossal introduces us to Davis-Monthan Air Force Base in Tucson, Arizona, whose desert conditions are ideal for storing — and scrapping — aircraft:

What happens when the military’s aircraft are end-of-lifed

The photographs are by Bernhard Lang — whom Colossal has highlighted before — and who has an incredible talent for finding patterns from above. See many more at his website.

Milky Way Photography

We don’t get many opportunities here in Middle Georgia, but in other, less populous (read: less light-polluted) places in the world, the Milky Way shines forth from the heavens:

Mountain, redefined.

The Guardian points us to the 2022 Milky Way Photographer of the Year, and many just wow:

Take cover . . . in awe!

Check ’em all out, be inspired to take one of your own, or simply be reminded just how big this system we’re a part of is. Enjoy.

Beautifully Briefed, Late March 2022: Type Museum, Toshiko Mori, and … Buick?

Catching up with a few unrelated stories that I’ve been meaning to post — including one pretty significant failure on my part, one potentially significant failure, and because not everything should be about fail, an extremely interesting and thoughtful interview.

Tiny Type Museum Sold Out

I was cleaning up open Safari tabs on my phone the other day — the detritus that results from checking things on the fly when out and about, often or never closed — and noticed that I’d sort-of bookmarked something for action and … missed it. Crap!

The Tiny Type Museum & Time Capsule, with specimens and those beautiful drawer pulls.

The Tiny Type Museum & Time Capsule is a celebration by journalist and printing historian Glenn Fleishman of type and printing, and an effort at preserving history for future generations to re-discover. Each custom, handmade wood museum case holds several dozen genuine artifacts from the past and present, including a paper mold for casting newspaper ads in metal, individual pieces of wood and metal type, a phototype “font,” and a Linotype “slug” (set with a custom message), along with original commissioned art, a letterpress-printed book, and a few replicas of items found in printing shops.

The Tiny Type Museum. (Bottom drawer.)

The museum includes a letterpress-printed book written for the project, Six Centuries of Type & Printing, in which Fleishman traces the development of type and printing starting before Gutenberg printed his Bible around 1450 up through the present day. This book acts as “docent” for the museum, providing insight into the stages in technological and artistic development that took place, and explaining the importance and nature of the artifacts. It also slides out neatly as part of a sled from the top of the museum case, and provides the visible name.

The letterpress book is still available: get your copy, or subscribe to the podcast. But even if you don’t, take a moment to appreciate the work that went into this — well done, indeed.

Buick’s New Logo

This one … I dunno. The race to do car logos flat black-and-white has seemed like a race to the lowest common denominator. (See previous coverage of BMW, Volvo, Cadillac, and more.) Below, Buick’s old (left) and new (right) logos, courtesy of Motor1:

The trademark filing for Buick’s new logo.

Thankfully, there’s been a leak — Instagram, natch, so no link here — demonstrating that it’ll still be in color:

From Instagram (alas): The new Buick logo in living color.

Still, not sure. Will have to see the official announcement and package that goes with it; Motor Trend suggests that it might be part of an EV-only future. Stay tuned for Brand New’s take, I guess….

Toshiko Mori

The former chair of Harvard’s graduate architecture program has given a great and wide-ranging interview to New Reader:

I think innovation doesn’t come in one huge leap. It’s a series of small steps. Accumulations of small discoveries, followed by incremental implementation. And then it all adds up. Innovation is not a single idea—it’s incredibly incremental and additive. Even these small discoveries can change the way we think about things very quickly. So I think every step of the way—problematizing “what are the issues?” and “what are the solutions?” filtering issues of sustainability, supply chain, accessibility, will eliminate many solutions which are not possible. And then you end up with small nuggets of potential. In a way it’s very systematic, innovation, and so is experimentation. It’s the elimination of what’s not possible and focusing on goals.

Toshiko Mori. Image courtesy of New Reader.

You know, history is not about the past, really. History is about the story of an individual interpreting history. Historians cannot be unbiased narrators. Every history is a story, and then yes, there are facts—which are important, but the way you connect facts and then make diverse narratives is super interesting. 

As you can see, Fox News provides false narratives, and a lot of times they skew the facts, and that’s a problem. It can be used dangerously, but it can also be used productively. I think that’s what makes history rich. It’s not about the past, it’s about projecting into the future. So when I teach students, I ask them to make their own story based upon their research. But it’s a story—so that’s kind of their own reality. And based upon that reality, they can develop diverse narratives and then communicate the story to others. It’s not as if you have different opinions, but you have different stories to share. It’s not about controversial opinions, but about the way we each look at life very, very differently—and that enriches everybody.

The whole thing is definitely worth a read: Archinect News called it a “nuanced interview,” and if anything, that’s an undersell. Please go, reflect, and appreciate.

Side note: New Reader‘s notes throughout the interview deserve special mention (see the red Greek letters and separate, well, sidenotes). Nice.

Letterpress Typeface from Plymouth Press

Letterpress type, digitally

James Brocklehurst is leading a new kind of innovation method for typography, harking back to the good old days of the letterpress. The technology uses scanned letterpress prints for each letter, and through scripting, randomly cycl[ing] through a range of alternate letterforms whilst you type.

The font uses OpenType scripting to automatically cycle through a range of alternate glyphs for each character, giving a ‘random’ appearance as you type. (Alternates can also be chosen manually in supported applications.) Very nice, and if you jump through some hoops, some neat results:

Letterpress type, digitally

It’s display only — no numbers, limited punctuation — but absolutely worth the download. And did I mention it’s free? Go!

(Via It’s Nice That. Thank you.)

Typographic Illusions

“A collection of free tools for demonstrating typographic phenomena, for anyone teaching or studying typeface design.”

Great stuff from Hoefler & Co., stemming from an episode of the Netflix series on design. Enjoy.