Our bookmarks on this topic are also at pinboard.in/u:unison/t:design/
From Fast Company: In The Missing Ink, Philip Hensher argues that handwriting is good for us and one of the defining behaviors that make us human. Here is his guide to help you reclaim the written word.
The Windows of New York project is a weekly illustrated fix for an obsession that has increasingly grown in Jose Guizar since chance put him in this town. A product of countless steps of journey through the city streets, this is a collection of windows that somehow have caught Jose’s restless eye out from the never-ending buzz of the city. This project is part an ode to architecture and part a self-challenge to never stop looking up.
From Fast Company: It’s never easy to hear a client critique your work. But there are ways to handle feedback that won’t create tension or cause your work to suffer. In Success by Design, Frog’s David Sherwin explains how.
From Smashing Magazine: Everyone knows their serifs and sans, slabs and scripts, but most classifications go much deeper than that. Type classification, while helpful, is often convoluted, confusing and even controversial. This article, distilling some of the complexities into a more understandable format, lands somewhere in the middle between the basics and genuine type nerdery — the perfect level for a practicing designer.
Pentagramʼs Abbott Miller has worked with the Foundation and the architects to capture the distinctive sensibility of the Barnes Foundation in its new identity, as well as in environmental graphics, publications and the museum’s website.
From Smashing Magazine: Layout, for both print and screen, is one of the most important aspects of graphic design. Designs that extend across multiple pages or screens, whether containing large or small amounts of type, must be carefully controlled in a way that is enticing and is easy for all to access. Careful control of visual hierarchy is a key aspect of the design decisions we have to consider.
In this article, we will look at how frequently type needs to be broken down into different levels, such as topic, importance and tone of voice. We will explore how this can be achieved visually by relying on several things: texture and tone, seeing the designer as reader, combining typefaces, using color, employing multiple types and, of course, using the grid. Seeing the complexities that can be expressed through typography is fascinating — not to say that images cannot help to order content, but simply that the most significant elements are expressed typographically.