Show Us Your Type is a design project created by Neue, a thrice-yearly online magazine that focuses on two things that the Neue founders say they “adore” – typography and cities. Each issue is about a different capital city, and designers are invited to submit their interpretation of the chosen city through posters that are primarily typographic. It is interesting to note what each artist sees as iconic of the culture. To look at a broader selection, go to showusyourtype.com.
Celebrated Dutch book designer Irma Boom continues to push the boundaries of book design by defying the conventional use of publishing materials and printing. Boom’s special edition for Chanel No. 5 is loaded with images and text and uses absolutely no ink. The sheets are completely white and blind embossed throughout. The result is sensual, intriguing, ethereal and haunting, like the best fragrances. Boom’s approach to book design is that of a fine artist. In fact, of the more than 250 books she has designed, more than 50 are in the Museum of Modern Art in New York. Boom created this limited edition book for the No. 5 Culture Chanel exhibition at the Palais de Tokyo in Paris.
“Why Asian advertising is strong and mystic” was the theme of AdFest 2011, an exhibition of the best ad work in Asia. Commissioned by the Yoshida Hideo Memorial Foundation/ Advertising Museum Tokyo to promote this pan-Asian event, Dentsu Inc. in Osaka developed a poster series with lavish illustrations that reminds one of a reflexology foot chart or, in the case of the open palm, like a spiritual mudra (a hand gesture that symbolizes divine manifestation).
“Enough with the typography already!” My complaint to Kit is that every other story he wants to post in @Issue has to do with type. So, I’m writing this somewhat under duress.
“Humor me,” Kit says.
But the truth is that perhaps more than any time in history, the average person on the street is acutely aware of the differences in typefaces. Thanks to the computer, we can pick the digital font that suits our mood and voice. As a culture, we have become type snobs, sneering at Comic Sans, forming snap opinions about people who make Arial their default font, arguing over whether Helvetica is deserving of its popularity, and ridiculing some faces as “so last century.”
By Peter and Charlotte Fiell
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