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Bad practise, even worse when used in London signage:/

Bad practice, even worse when used in London signage:/

Whilst waiting for the bus home, I noticed this really bad typography that was used as part of the London transport signage system. Notice how tight the kerning on the last line is. Don’t think this can be put down to a genuine mistake, rather I think it was purposefully done out of pure laziness! Especially on such signage that represents our capital city’s transport, I didn’t think this was good practise at all.


I might be able to make conclusions on people's interaction with print on a more visible level?

Making conclusions as to people's interaction with print on a more visible level?

After performing the various experiments on my printed pieces, it might be that I am able to visibly see how people have interacted with them, as well as the latent fingerprints that I will uncover. This will however, depend greatly on the amount of time in which I decide to allow each printed experiment to be handled.

A typeface designed with Generative Graphics in mind.

A typeface designed with Generative Graphics in mind.

Tephra is a typeface that Hamish Muir has developed in recent years whilst teaching at various design and communication courses around the country. The typeface is based around a systematic process in its weight of stroke. The type family is made up of these variations of character size and stroke weights.

Tephra represents an interesting concept that I was able to make connections with in terms of my Extended Major Project. A lot of the typography in which Muir produces, bases itself around sets of mathematics. Almost, like a generative graphic, where the designer does not get himself involved in decision making and personal judgement. I could see this approach to typography, working effectively when I come to design the content for my printed pieces for the final experiment(s). It would allow the experiment(s) to be as non biased as possible from my part.

A guest lecture by type designer Hamish Muir on the 10 March 2009.

A guest lecture by type designer Hamish Muir on the 10 March 2009.

Hamish Muir, formal pupil of the Bournemouth & Poole Institute of design and the Basel school of design, Switzerland held a presentation in the main lecture theatre on the 10 March 2009, commencing at approximately 1045 hours on the Tuesday morning.

He covered many ideas in design, particularly in typography that I found personally, very interesting. His earliest pieces of design were completed using purely hand crafted techniques. Muir worked from a small, shared office during the early 1980’s, without the digital technologies that we take for granted today. He expressed how in 1989, himself and a colleague bought their first Macintosh computer which set them back a massive £9,000. This price included a basic software package, with programmes such as Quark 2 and a hard-rive that was just 20 mb in size!

One particular concept that Muir expressed was his belief of ‘how little you can possibly do as a designer in order to be most effective.’ This idea was evident most predominantly in his typographical work, especially throughout the International Journal of Typography of which he was a co founder in, Octavo (meaning 8 pages, otherwise known as a signature.)

He also talked about how not everything within Graphic Design has to come from a ‘big’ idea, and that sometimes, a response to something quite insignificant, has the potential to be as equally powerful.

A typeface by Global designer, Craig Ward.

A typeface by Global designer, Craig Ward.

A beautifull typeface by illustrator and art director, Craig Ward. A mixture of curved body and angular terminals, gives ‘Lovetype’ a really unique aesthetic that makes it emotionally strong at the same time as retaining a sence of legibility.


Stumbled across this clever design process. I think this focuses on a nice concept that considers closely the aesthetics of both hand rendered and digitally rendered typography. In an abstract sense, the outcome of this piece, visualises both ideas effectively.


Creative Communications Agency, SPRANQ, have created ‘Ecofont.’ A typeface that has been designed to increase environmental awareness, ‘Ecofont’ consists of a hollow body that depending on the quantity of use upon print, can use up to 20% less ink than a normal sans serif typeface.


The Feltron 2008 Atlas.

From recording his first Ice cream of the summer, to the number of visits to the Gym. New York based Graphic Designer, Nicholas Feltron has produced some really nice Info Graphics over recent years.

Above is an image of Feltron’s 2008 Atlas, from his 2008 Annual Report. Since 2005, Feltron has produced Annual Reports in document and Poster format. They are visual recordings of an orray of events, activities and personal thoughts that have happened on a day-to-day basis in his life. Personally, I think this is a great example of how rich Info Graphics has the potential to be. It will be worth baring in mind the work of Nicholas Feltron, and applying his process to my own interests and daily activities as a peice for my portfolio maybe. is a site made by Nicholas Feltron which is dedicated to the collection and communication of daily data.

Using the natural occurance of moss to create typography.

Using the natural occurance of moss to create typography.

Nice typography from crosshatchling. Combining nature with the built environment using ‘Moss Type.’ By allowing moss to grow and behave in its natural environment, something with quite an urban, manmade aesthetic has been produced.

July 2018
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