Ace Jet 170

I love grids

The art of the grid, via Design Observer.

Citi

Having recently read Paula Scher's book, in which she describes the early days of this ID, I thought this was a really interesting update and a rare overview of a long term plan.

Found Type Friday #13

It's the return of Found Type Friday! After an absence of one whole week, it back and it's better than ever! (Actually, it's just the same as it was before but it was good so that's OK).

Two weeks ago, after being inspired by David's visit to his Gran's cupboard, Simon sent me his collection of Brillo packaging.

Then yesterday afternoon he made my day by sending these. He challenges anyone to identify their country of origin. He can verify your suggestions. Have a go.

The ever generous Ben (who doesn't half get about a bit) has just visited Glasgow School of Art, snapped away and sent me these:

Finally, Dave sent me this excellent page from The Secretary's Handbook – A Manual of Correct Usage, published in 1932:

Specials thanks, as ever, for everyone's contributions. Also, thank you Antonia for your image, I'm holding on to it until I have something suitable to show with it.

If anyone else would care to contribute, try using Email Me through my About page. Alternatively, post them here.

Eric Nitsche

Micheal on Design Observer has linked to both the excellent Bibliodyssey and Derrick and Katie's Flickr set where you'll find work by the brilliant Erik Nitsche.

Neon

I love my job. It's brilliant. I get to work with really interesting people.

Just look at this stuff. We spent this afternoon with a company that make neon and cold cathode lighting (CCL), in fact the only company in NI that do it. It's a family business, they've been doing it since 1958 and the impression I got was that they love it. It's real craft. We got to see them bending glass, we learnt about neon and argon gas and how they can combine red, green and blue CCL inside some kind of defuser to make a light that can change into whatever colour you want with the twiddle of a knob.

We learnt why neon and CCL are still excellent ways to light things: a) it looks brilliant, and b) it lasts for ages; there are, apparently, neon signs that have been burning for 15-20 years.

But what a fantastic job for any graphic designer: we've got to develop a new ID for them, help them define what they offer, get them noticed and show why they're the people to talk to. Lovely job. I'm very, very excited.

Wouldn't it be nice...

I've always liked Johnson Banks, They do really nice stuff; witty, intelligent, above fashion. Rather like the Big Man himself. It's great that they've kept quite small and, at least I think, been pretty consistent with their work.

I found this JB self-promotional piece in Zwemmer (which was taken over by Dillons and now Shipley's I think) on London's Charing Cross Road. I actually bought it for my wife who was an account director and was always looking for new ways to approach potential clients. I nicked it back later.

The Stafford Papers

Dimensional relationships in the composition of text and A system for the co-ordination of the dimensions of intervals on the vertical axis of typographical space (circa 1970) are now available for download from The optimism of modernity. Happy days!

Yentus on Covers

Over there on the left, in my "Good Stuff" list is the very good american Book Covers blog. You get to see some lovely things, like these by designer Helen Yentus.

John Gall's name pops up quite a lot and there's an interview with him here. He designed the first two of these, the last one's by Keenan.

The Mapvua 22 Portable Typewriter

My other very lovely typewriter, complete with documentation and cleaning brush.

Herman Zapf

Peter Gabor keeps a fine blog. There's so much on it, it's a wonder he gets any real work done. I've linked to his stuff before; this time it's to point you at his digitised record of Hermann Zapf's Manuale Typographicum

Barney Bubbles

John has written a really great piece on the very significant Barney Bubbles. I've nicked these images off him (hope you don't mind John) except for PXR5, which I found elsewhere, really like and presume was Bubbles.

Working Holiday in London

Have you seen Gwen's blog? It's brilliant.

Via Paul Coleman's blog Life in the middle. That's Paul, naked, as a bottle of Yakult.

Andy Altmann at Ulster University

Considering where we are we think we're doing pretty well for design talks, what with Eric and Bruno, and now Andy Altmann.

I remember hearing WNA way back in 1990 at Type90 in Oxford when they were making a name for themselves. They were on the same bill as Brody and Phil Baines. WNA do some really nice stuff, like this pathway, although I'm not a massive fan. It'll be interesting to see what they've been up to though and it's great that he's going to the trouble of coming over.

Other than a very select few, I'm not aware that I have a significant local readership but if you are nearby and don't have the details:

Designer Andy Altmann [Why Not Associates] Lecture
University of Ulster Belfast Campus, York Street
Thursday 8 March 6.30pm
Admission Free by reservation from Louise Loughran on 028 9026 7287
(I've got an email address too if you want it)

Andy Altmann graduated in graphic design from the Royal College of Art in 1987 and almost immediately formed the multi disciplinary design group Why Not Associates with fellow graduates David Ellis and Howard Greenhalgh. Located in London, Why Not Associates gained an international reputation based on a creative and experimental approach. In 19 years of experience they have worked on projects ranging from exhibition design to postage stamps via advertising, publishing, television titles, commercials and corporate identity. Their clients include the Royal Academy of Arts, Malcolm McClaren, Royal Mail, Nike, Paul Smith, Virgin Records and Channel 4.

A book was published in 1998 by Booth-Clibborn Editions documenting the first ten years of their work. A second was published in 2004 by Thames and Hudson which documented another five years. They still strive to push the boundaries of graphic design and more recent projects collaborating with artist Gordon Young have moved them into the world of public art.

What's wrong with this picture?

Within a day of expressing my love of the Air Mail letter I was stopped in my tracks, when entering our local supermarket, by this brilliantly executed bit of CD cover art. It really is well done. Ben would be pleased to see that the script has been done for real, even looks like it's been written on the envelope, which is nicely distressed. The postage mark is spot on. As is the unecessary kiss. Even that pompous photo of Phil looks just like a stuck on stamp. Flip the CD over and the back cover is just as good with the track listing typed onto the back of the envelope on an old typewriter (that wasn't you was it Matt?).

It's so good, I almost (please note, I say "almost") bought it.

Just one problem. Can you see what it is?

Unlike David, I won't keep you waiting. You see, to me, Phil Collins is the musical equivalent of Comic Sans; he's rubbish. Mind numbing, middle of the road, dull, dull, dull drivvle. And yet, I almost bought it. I wanted to buy it. I found myself wishing it was someone else's album, anyone else. I couldn't even bring myself to buy it for my wife who has terrible musical taste and for whom I would buy CD's that I secretly would like but are just too uncool.

I have another problem with it. Is it just me or does anyone else have a problem with compilation CDs that feature both new and old material? If Phil's new stuff is any good, why release it along with the same old shite? Doesn't that just smack of desperation, exploitation of his fan base? Isn't one just "a crutch" for the other? Perhaps I'm missing something. Feel free to correct me.

The last thing I'll say on the matter is how it inevitably reminded me of his last attempt to flog a dead horse (see below). Surely, that's a typo on the cover! Surely, surely that "S" is in the wrong place...

Actually, I must add that the intention here is not to offend any fans of the man but just to express my personal opinion. That's all it is.

Air Mail

Like airline tickets and folding rulers whenever I see air mail envelopes, I pick them up. There's so many different kinds, I can't help wonder who uses them? In this email age, is there really a need for so many kinds? My favourite is the one with the graphic that looks like an upside down Stanley Knife blade.

Not Helvetica

Typically, I can't remember signing up to it but periodically FontShop's Newsletter lands in my inbox. It's very good and the latest one includes thoughts on the big H and just a little bit more info on Standard, otherwise known as Basic Commercial.

Found Type Friday #12: Supplement

It's been "a bit of a week" in the studio and while I wouldn't normally talk about the day job on Ace Jet I feel moved to just this once.

You see this week, on top our always busy schedule, we've been involved in a competitive pitch. Nothing unusual there you might say, but for us it is. We very rarely have to pitch. Did it all the time in England but since moving over here it's been rare. This isn't a perculiarity of NI; I know many of our contempories do it. But for some reason, we don't; almost all our work comes through referals.

Now I have a theory: One of the first things I noticed after I'd made the move was how the "degrees of seperation" rule is so different here. It's not six. It's about two. I kid you not. For example, everyone, everyone, knows someone who knew George Best. Really! Consequently, a good reputation is vital. We have a good rep. Because: a) we do good stuff, b) we don't rip people off, c) people seem to like us, and (our secret ingredient), d) we have Kenney. Our sometimes comedy monkey, sometimes brand guru but always our hugely likeable hairless head man who can get on with anyone, from cottage industry baker to hard-nosed business tycoon.

But this week has been thrilling. The whole studio got involved and contributed significantly. We really wanted the job and had one great idea. It was logical but unconventional, bold and yet could be subtle, which, I know makes little sense, but trust me on this.

Best of all, we pitched it with passion and we won because of it.

So today it was off to The Pharoah for a celebratory kebab and chips, courtesy of the big man himself (that's Kenney, not God).

Oh, and today we also had all our Macs replaced with shiney new ones and a big black server which I will, from now on, refer to as The Beast.

I tell you all this because it was such a buzz, competitive pitches are ace! I love them. But it also explains why this week it's been "FTF Lite". Special thanks to Antonia down-under and Simon for your pics. They'll be up next week.

Pelican: The Managerial Revolution

I've got loads of Marber Grid era Pelicans up in the loft, which I really must get down to blog. This Colin Forbes designed Pelican cover is probably my favourite.

I love how that management bloke breaks into the header bar and leans out of the artwork area. Typical Forbes wit.

Regarding Pelicans in general, what makes them so fascinating to me is, a) many covers are designed by designers that went on to greatness, like Forbes and Fletcher, and b) many remain excellent examples of clever, ideas-based graphic design.

The cover below is by Bruce Robertson, who specialised in diagramatic designs and who I've mentioned before. Robertson hid the Marber Grid in the drafting grid image but the masterful stroke is in the way he distorted the type, aligning it to the technical illustrations.

Found Type Friday #12

I have had contributions this week but for boring technical reasons I can't access them right now, so I'll add them in here during the day. Apologies to those who sent me stuff this week.

For now, here's a few signs from our honeymoon in Italy a few years ago that I've recently rediscovered. And which kind of go alongside this entry from way back.

My Favourite Pencil

In response to David's post, this is my favourite pencil. It's beautiful. My mate Pete gave it to me after I'd admired it many times. I was thrilled when he handed it over. Check out the non-slip, knurlled grip.

It's been sitting unused for a year because I've run out of it's 0.7mm lead. Inspired by David, I've just ordered some so it'll be back in operation by the morning.

The Disease Pool

If you haven't already seen it, look what Ben's gone and started. Damn him, it's going to be better than FTF. I won't be able to beat 'em so I'd better join 'em. Now, how the hell does Flickr work?...

The Firefly Press

Michael on That's Right has very kindly linked to Ace Jet and also features a link to this brilliant film of the Firefly Press. Dig around a bit and you'll also find David causing trouble again.

Kitching at St Bride

Alan Kitching shows significant works and shares seminal influences from his fifty-year journey from printer to printmaker, apprentice to professor, Darlington to Kennington via experimental printing in Watford and letterpress in Clerkenwell to The Typography Workshop, Printroom & Studio in London SE11.

Talk: Tuesday 13 February 2007 at 7pm
Exhibition preview: 5.30pm
Exhibition: Wednesday 14 February to Thursday 8 March 2007

It's times like this that I wish I was over on the mainland. If anyone is going (and if you can, please, please do) I would be eternally grateful if you could take lots of photos* and put them on Flickr or just send me some?

* Assuming they don't mind. I'll ask them.

Ootje on e-cr

Over on e-cr there's a great interview with Robert Deodaat Emile Oxenaar, designer of, "what many consider to be the most beautiful money in the world."

Now even cheaper!

I've been thinking about this one for ages now and I'll warn you, it's going to be a long one; probably my longest yet and please remember I'm no Rick Poynor or Adrian Shaunessy so stick with it, there is a point...

You see, every Christmas I like to get a good book about a dead designer. Previous years have included brilliant books about Abrahm Games (a book that inspired probably one of the finest bits of graphic design I've ever done), Hans Schleger, Hendrik Werkman, Paul Rand and Ladislav Sutnar (to be blogged soon I hope).

I've always found that there's so much more to be learnt from books about dead people. You get a critical overview of a lifes worth of work and often insight into technique and influences less common in books about people still breathing.

In 2005 I broke with tradition and got Frost*. I like Frost's work a lot and the book is very nice. Printed on a surprisingly light but bulky uncoated stock; it's thick but weighs very little. I think it's also ecologically sound which is admirable. Alas, contents-wise I was disappointed: nice pictures but I learnt nothing.

This year, not to be put off and despite the temptation to get the Fletcher book, I got Make it Bigger by Paula Scher (who is very much alive). Can't quite remember why I chose it; I think Ben might have mentioned her sometime. Certainly, it's a book that had passed me by when it was first published in '02, not sure why but quite possibly because I don't like Scher's work.

Now, I've learnt that not liking a designer's work is no reason to ignore it, so in I went and although it's too late to say, "to cut a long story short", I must say that it soon became apparent that it's a bloody brilliant book. Scher takes us through the highs and many lows of her career to date and it's the failures that are most fascinating. Or rather the things she learnt from them. Her experiences are insightful and her frankness welcome. For example, she mentions a poster she did on which she'd included an image of Churchill doing the V sign, only when it was put up around New York his first finger was blackened out with marker pen, leaving him "doing the finger". She was actually thrilled.

Then I came to her hand drawn maps and diagrams and suddenly realised I did like her work, I just hadn't realise it was her work. These are fantastic and obsessive and remind me of the big man himself.

Later she gives us a peek at the innered's of Pentagram, a brief history in diagramatic form and even the studio layout which is all very interesting.

To be totally honest, I still don't like all of her work but now I know more about it I have a much greater respect for it and her. Best of all, it's a book that you can learn stuff from, so although I still think there's much to be learnt from books about dead designers, it's not just the dead ones. And I guess that's my point.

That and the one I've already mentioned, i.e. not liking someone's work is no reason to ignore it. Think I might read that Peter Saville book now, I never really liked his stuff.

(And I got through that without mentioning the Boston cover...read the book).

Found Type Friday #11

A perfect combo: beer and type, from Felix's excellent vintage beer mat Flickr set:

Beer mats are lovely; that pulpy board and chunky type, just a little soft at the edges; the natural embossing and uneven ink coverage. Lovely.

Hugo very kindly sent in lots of stuff after I'd linked to his image of an old Remington No.12 criminally disgarded in a skip. Here are some highlights:

Meanwhile, the very generous Loïc from Bureau L'Imprimante sent me more brilliant vintage Frenchness:

Bigs thanks to Felix, Hugo and Loïc for taking the trouble.

If anyone else would like to contribute, try using Email Me through my About page. If that doesn't work leave a comment and I'll give you alternative route.