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typography

Guest Post by Stewart Devlin
Chief Creative Officer at NYC-based Red Peak Branding 

We’re now a few months into 2015, and have already witnessed several of the big tech conferences — CES to MWC, Cebit and SXSW. One thing that strikes me at these events is the incredible diversity of the interfaces we are now interacting with. From smartbands and smartwatches to 3D printing to virtual and augmented reality — the content we engage with is changing in a big way. And who knows what’s coming next.

As a designer and type enthusiast, I see a lot of implications for fonts. This interface fragmentation makes me excited to see how type can adapt to new surfaces and materials. If the jump from pages to screens twenty years ago caused a massive shift in the type industry, we can only imagine the disruption that these new forms and devices will cause. The implication, of course, is that brands that want to present content on cutting-edge devices need to have the power to control the very fonts they use. This is one of the most compelling reasons to invest in the development of a proprietary font. The trend is on the uptick — and it’s no surprise. Check out some of my favorite examples below:

Intel
Red Peak Branding worked with type foundry Dalton Maag to design a global proprietary font for Intel, called Intel Clear. Watch this video to learn more about Intel Clear.

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In the January/February 2015 edition of GDUSA, Mohawk was the exclusive sponsor of the 52nd Annual People To Watch editorial feature. That kicked off a year long initiative in the pages of GDUSA by the fine paper maker to recognize the work of aspiring and seasoned designers through a series of storytelling inserts entitled “Champions of Craft.”

The second installment: a Champions of Craft piece in the March/April 2015 issue of GDUSA featuring Erik Marinovich. Marinovich, a designer and letterist, is the co-founder of Friends of Type.  The collective quickly gained a large and enthusiastic following and, almost 6 years later, it is still going strong. Marinovich has refined his craft and is now a leader in the form. He is also three years into another venture, this one with the legendary Jessica Hische. Marinovich tells Mohawk: “I discovered that good lettering is like aged whiskey. It takes effort to craft and time to age. To date I have have only created my first batch. I now continue the never ending process of refining it.” 

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“Tooling Around” is an ongoing series of letters crafted out of tools by typographic illustrator Joseph Alessio, publishing one glyph daily through the end of February.

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