WLDWLVS and Peacock Visual Arts bring you #SEENINTHEDEEN, a site featuring creative characters from Aberdeen and beyond.

They’re asking everyone to get involved in the project, just tag any image on Instagram or twitter with #SEENINTHEDEEN to have these images displayed on the website. They’re looking for images of street typography from around the city, from old shop signs to graffiti and everything else in-between.

The project includes a linked exhibition with WLDWLVS at Peacock Visual Arts from 22 November – 21 December 2013 displaying work from local artists such as: Stu Awesome, John Mackenzie, Paul Mullen, Cameron Fraser, Brian Ross among others. Their work will be shown alongside more established artists such as Adam Bridgland, Chu, Salvador Dali, Jeremy Deller, ESPO, Mike Giant, Seb Lester and many more.

The exhibition will also include a specially commissioned projection of examples of kinetic typography.

More: Website | Facebook | Twitter

A rare typography manual found in an old bookshop in Prague in 1999 sparked the interest of designer Emlyn Firth. With its beautiful diagrams and notations, Firth ponders the historical context in which it was produced.

From a post-war Czechoslovakia, solid and geometric typefaces are born which “owe a lot to Constructivist principles” and are “satisfyingly slabby, brutal and black.” These typefaces have a structure and presence in written language. Their aesthetic clearly references the regime within which they were created.

To find out more and see the full Collection, visit here.

(originally published on Central Station V1)

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For more Collections we’ve gathered, take a look here.

start all over again by Berlin based Illustrator & Designer, Heinz Aimer.

Behance

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Browse more Featured Work  |  Find out how to be featured

Salford Type Foundry was initially conceived as an outlet for the typographic developments of the students on the BA (Hons) Graphic Design programme at the University of Salford.

Typography plays an important, but often invisible, role in all our lives, so for Graphic Design students, it is vitally important that typography is experienced and studied in relative detail. A part of this study is the opportunity to develop typefaces, initially constructing those twenty-six shapes that define our language, moving through numerals, considering upper and lowercases, punctuation, ligatures, bold, italic etc.

Having constructed independent projects and workshops within modules that ask the students, of all levels, to engage specifically in experimental type design, it became apparent that these fonts, after careful and often painstaking manufacture, did not have a voice. They were often unused, left to languish in sketchbooks or on hard-drives. The need to provide a platform for these creations was evident.

After collecting typographic submissions from our students we had a large database from which we could begin the project. It was important that the project involved students at its core, so we openly invited interested participants to help us shape and mold the proposal. Our first meeting drew a large crowd of 50 or so students that gradually narrowed to a smaller nucleus dedicated to bringing the exercise to its initial conclusion, that of launching a typographic foundry or repository dedicated to showcasing the typographic excellence of the students on our programme. Students, George Dunkley and Megan Jones took the lead in the project.

The first few meetings decided aspects like formats, names, proposed outcomes, technical requirements, logos/identities and strategies for development. Over a period of five months these were refined to the point of being able to launch the site as a live entity, which along the way included asking individual students to resubmit their fonts onto a specified format and upload them to the Foundry, crafting and polishing the identity, building and testing the website, producing content for the blog, alongside organising a launch exhibition and the associated press coverage.

It was decided early on in the project that success would be measured through our ability to provide a professional platform for the students to showcase their work. Once a student has downloaded the necessary template to place their letterforms into, they simply email their creations to us, complete with a biography about its construction and the associated links to blogs and personal websites. These enable interested parties to see other work produced by individuals and potentially contact the designer directly. Each typeface will be given its own page on the site, although the STF team does hold some editorial control (rarely exercised).

An initial or ‘soft’ launch of the site was achieved at the international design conference Typo London, which took place in November 2012 at Logan Hall, University of London, where we were able to introduce the website to specialist professionals and students of related subjects. This opportunity not only allowed us to take, free of charge, 45 students from our course to a major three-day design conference, but also to test our branding and solicit responses from our intended target market.

Havas Lynx by Mike Warren

The official launch of the site took place in late November 2012 in conjunction with Creative Lynx (now Havas Lynx) in their tremendous mezzanine gallery space at 52 Princess Street, Manchester, were we were able to present a launch exhibition that attracted significant media attention and critical praise, notably Creative Review, Manchester Evening News, Times Higher, Creative Times etc.  We generated A2 prints of a selected number of typefaces from the Foundry, presenting them as portraits, whilst a selection of GIFS and short videos generated from the fonts was also projected into the space. On the evening of the launch a series of screens were available from which the website could be explored.

There are currently have 60 typefaces displayed on the site, designed by 50 students and recent graduates. We’ve also featured work in progress, videos, exhibitions and interviews with type designers on our blog.

Over the next few months STF will also be reaching out to feeder colleges, partner institutions, and other universities both nationally and internationally, through social media and printed promotional packs. A specific brief will be set on 20 March with chosen responses being featured on the site and blog. In doing this, we hope to build a better understanding of the importance of typography in students’ work and future practice. Also to introduce a wider range of typographic experiments and ideas to the Foundry, ensuring that it continues to stay contemporary, relevant and beneficial.

Website | Blog | Twitter

Top 20 Typefaces by Jimmy Edmondson – a Graphic Designer based in Manchester.

Website | Behance | Twitter

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Discover more work by creatives we’ve featured, here.
If you have a Flickr, Vimeo, SoundCloud, Behance or Cargo account connect with us.

Peterborough based Dominic Le-Hair is a designer with a thing for typography. We came across this project on both our Vimeo & Behance networks and knew that it needed to be shared.

If you are wondering how the piece was achieved, Dominic explains:
“Rubber magnets were cut out with an X-Acto knife and attached to a sheet of paper. Another piece of paper was then laid on top of this. The iron filings were sprinkled from a shaker and attracted to the magnets creating lyrics from the Bonnie “Prince” Billy song – ‘Even if Love’ ”

Find out more about Dominic here.
See more work from Dominic, including images from the Magnetic Typography project, on Behance.

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To celebrate our first 50 days of the new-look Central Station, we showcased an artists a day. See the full list of artists here.

Amid growing landscapes of strip malls and vinyl signage, hand-crafted lettering retains an aesthetic to be treasured. Like other disciplines suffering in the digital age, artful sign making is in danger of becoming an occupation of the past. The aim of TypArchive is to document, inspire, revitalize and preserve the art of vernacular typography.

Here are some examples of the gems you’ll discover on Typearchive:

Dusty Signs from Hunter Johnson on Vimeo.

Legacy of Letters from Luca Barcellona on Vimeo.

Take a look at Typearchive here.

Projection Mapped Cityscape by Lumen

N T R E by kheesiong

Ireland, Europe & Middle East Dot Circle Map by Louweasley

The Shippinthingy by Robertsworld

Map Paper Garlands by Milomade

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See more of our Top 5 selections here.

Personal Project, based around Michael Corleone, taken from Mario Puzo’s The Godfather. Focusing on typographic design, layout and colour, direct quatations were obtained from the novel and used to reinforce the transformation of Michael’s character from good (white) to evil (black).

See more work from michaelcorr1 here and here.