The shot above is of a piece of metal type onto which the Lord's Prayer has been cast. The surface area is about 4mm x 4mm – you could get it onto a 1st Class stamp twenty times over. We were given it as a souvenir of a visit to the fantastic Type Museum in Kennington around eight years ago. But it now looks like the museum is under threat of dismemberment:
"The Type Museum in Kennington is looking like it might finally close, beginning with all its contents being moved from the museum into storage, and then the eventual break-up of the collection. Please help us prevent this from happening.
The Type Museum has successfuly collected a large proportion of all the definitive historical materials relating to the art, design and manufacturing production in Britain of the typefaces in which the world's languages are communicated and recorded. This collection has been closed for two years and needs re-opening to public access, educational and scholarly use – not broken up or put into storage as is curently being proposed. The Type Museum's collections need exhibiting, curatorial and conservation development and educational workshops – not storage. This legacy is vital for the quality of education of future generations of communicators in which Britain has frequently led the world. We appeal for resources to restore and safeguard educational access to these collections."
We hate to smug off, but our good friend Charlie over at the distinctly wonderful Tantramar has just posted an interview with Alistair as part of his series of interviews with artists, designers and illustrators, which currently also features Seripop and Miles Donovan.
Charlie's a groovy guy, and he wears his facial hair better than anyone we know.
If you've got a couple of hundred bucks to hand, you can pick up a pair of their rather fine ampersand bookends in cast iron (bet the shipping cost is gonna cause some damage), or for slightly less cash (and a third of the weight) you can get them in cast aluminum.
Or, if your wallet's not feeling quite so hefty, you can grab an ampersand t-shirt for just $26. We're getting one sent over, and it's only costing us £20 including shipping.
For the past five years his design studio, Square Two, together with faculty members and students at CAFA, and the olympic art research center at CAFA, have been heavily involved the design work for the beijing olympics. (It'll be interesting to see if the London 2012 Olympics identity involves London design colleges in any way at all. We're not holding our breath...)
Min Wang's team have been working on identity guidelines, pictograms (above), medals, the way-finding systems, the core graphic, the look for the torch relay, and the overall look of the games. Not a bad gig if you can get it.
The pictograms use strokes of seal characters as their inspiration - they're kind of bonkers aren't they? And they don't half remind us of this postcard from Tom Gauld. Hmmm... Tom Gauld to do the pictograms for the 2012 Olympics... that's not a bad idea...
The pictograms cover the following sports: rowing, badminton, baseball, basketball, boxing, canoe / kayak flatwater, canoe / kayak slalom, cycling, equestrian, fencing, football, artistic gymnastics, rhythmic gymnastics, trampoline, weightlifting, handball, hockey, judo, wrestling, swimming, synchronized swimming, diving, water polo, modern pentathlon, softball, taekwondo, tennis, table tennis, shooting, archery, triathlon, sailing, volleyball and beach volleyball.
Most of those we get - though the distinction between baseball and softball is a bit fuzzy, trampolining looks more like falling-over, and the triathalon seems to involve escaping a swarm of insects.
Check out this page for a full list of what's what, as well as examples of the pictograms from previous games.
Well heck, it's that time of year again, and the third volume of Penguin's Great Ideas Series is about to hit the shelves (early August we're reliably informed).
Once again, the bulk of the designs are by the marvellously talented David Pearson, including the magnificent The Sickness unto Death cover (above); with additional covers by Phil Baines and Catherine Dixon. Our very own Alistair Hall also got in on the act with a cover for The Evils of Revolution by Edmund Burke (below).
You can see the complete volume on this Flickr set, and check out David Pearson's site for Volume I and Volume II.
We think they're all looking great, but if we had to choose, our personal favourite is Pearson's cover for The Work of Art in the Age of Mechanical Reproduction, which takes the design from the spine and simply repeats it on the front cover (below).
The exhibition will look at "the evolving relationship between technologies of communication and their users", which sounds a bit dry, but should be lots of fun. They've got a large wall-drawing machine, and another machine for hole-punching posters. They've also got a running programme of Thursday evening events which promise to be pretty groovy.
We'll fill in some more detail once the show opens.
Image: Dots on Demand, Jürg Lehni & Alex Rich, 2008