Before Ivan Chermayeff and Tom Geismar, logos were often literal representations of products. via: The Atlantic
Maybe you’ve heard of this font: Comic Sans?
Some people really dislike comic sans. They are wrong.
It’s beautiful when used correctly. And always puts a smile on my face when I see it.
Here’s the story behind the most polarizing font ever made. Told by Vincent Connare, font designer from Microsoft.
via Great Big Story
Similar to last week’s post, a film created by Carl Schlesinger and David Loeb Weiss documenting the last day of hot metal typesetting at The New York Times.
This film shows the entire newspaper production process from hot-metal typesetting to creating stereo moulds to high-speed press operation. At the end of the film, the new typesetting and photographic production process is shown in contrast to the old ways.
See more printing, journalism, and typographic-related films at: printingfilms.com
Vox’s Phil Edwards looked into it and found an aesthetic shaped by comics culture, technology, and really cheap paper.
Excited for this documentary to be released. Graphic Means – a history of graphic design production.
Growing up primarily digital as a designer my brain cannot process how things were done — even a few decades ago.
I had some vague knowledge about production before the Mac, but it was only based on brief references my teachers made, or the little-used-tools that remained in various studios I worked in.
It occurred to me that if I knew so little, my graphic design students know even less! So with this, I set out to document the tools, processes, and people, of this brief moment in the design world. — Briar Levit, Director/Producer
Paul used to build race cars out of paper. Today, he designs the real thing with sophisticated software, as part of the Infiniti Red Bull Racing team.
How a simple mark ends up meaning something big. Joe Posner, and Michael Bierut (designer of the Hillary Clinton logo) explain.