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The type of Rolling Stone

A look back at Rolling Stone by the visual creatives on the staff. John Williams, the first art director, was there, along with Joe Hutchinson, the current office holder; Jodi Peckman, the creative director who now directs photography was there, as was Karen Mullarkey, the photo editor in the mid-70s. And a dozen more. Hilarious stories were told about the good old days. And then the participants turned to the lessons they learned along the way. . . . Read more

New in TYPE

Scenes from the Art of Rolling Stone

Scenes from the Art of Rolling Stone

Our first event brought together greater than a dozen art directors and photo editors from Rolling Stone’s 50-year history. The result was a mix of professional insight, practical how-to, and emotional reunion. Here is a look back at some of the event's best moments. Read more

Erik Spiekermann is back with a set of Bauhaus typefaces

Erik Spiekermann is back with a set of Bauhaus typefaces

When you think of Bauhaus type you might think of Futura and Paul Renner—who were never at the school. But now, thanks to Adobe, the Bauhaus Foundation, a group of type students, and Erik Spiekermann, the school’s modern “typographic exercises” become completed fonts. Read more

The stories and the ‘lessons learned’ from the visual leaders of a great magazine

The stories and the ‘lessons learned’ from the visual leaders of a great magazine

Rolling Stone magazine is at a turning point in its history. This conference celebrates its contributions to the worlds of typography, publication design, photography and illustration—and considers the changes ahead for the iconic brand. Read more

The new face of the Wall Street Journal

The new face of the Wall Street Journal

The target of consistency poses both the highest obstacle and greatest opportunity for The Wall Street Journal, which continues to pile on new subscribers. The Journal employs no centralized design team to implement these changes broadly, so their Global Head of Design says, “it’s not team effort; it’s a community effort." Read more

Weekly Roundup: February 3

Weekly Roundup: February 3

Typographics, a “design festival for people who use type” launched the website for its fourth-year event; Ralf Herrmann published an essay explaining why not every letter you see comes from a specific font; and Alice Savoie released a free typeface based on the various forms of the animal kingdom. Read these and other stories in this week's typography roundup. Read more

“Pop Culture Typography”

“Pop Culture Typography”

Isaac Moores’s Pop Culture Typography surveys America’s most popular pieces of media, recreating them to the tune of Madeon's mashup song Pop Culture. Read more

Take a visual vacation with Russia’s new branding

Take a visual vacation with Russia’s new branding

The end of 2017 marked the conclusion of Russia’s two-year-long tourism brand competition. The winner's colorful and dynamic avant-garde brand system goes into effect this year. Read more

Slate ‘Redux’

Slate ‘Redux’

Slate's recent “Redux” makes use of bright colors, hand-drawn elements, layers upon layers, and two strong typefaces. Read more

Coca-Cola’s new typeface divides critics

Coca-Cola’s new typeface divides critics

Coca-Cola controversy usually surrounds ingredients; this week, the conversation turns to type, as the new TCCC Unity polarizes the type world. Read more

Buffy’s fluffy brand

Buffy’s fluffy brand

Pentagram revealed its branding for Buffy, a cruelty-free, vegan-safe duvet company. Read more

Two European schools receive contemporary rebrands

Two European schools receive contemporary rebrands

Two European schools—Masaryk University and University of Bergen Faculty of Fine Art, Music and Design—unveiled new identities this week. The brands offer contemporary typographic treatments, lending themselves to comparison. Read more

“Earn your black belt in typography.”

“Earn your black belt in typography.”

In early 2016, Rachel Elnar started Typography Dojo as a “way to learn more from [her] friends.” Today, the free webcast is among the internet’s most impressive typography resources, boasting more than forty interviews over nearly two years. Read more

Zürich embraces the Swiss Style

Zürich embraces the Swiss Style

Zürich pays homage to its design roots with a new identity that could be confused for the work of Müller-Brockmann himself. Read more

The next big thing—in fonts

The next big thing—in fonts

DESIGN AND TECH are hard to separate today, even if you wanted to. And you can’t start a magazine about design without talking about the latest technology. In type, that’s Variations, announced last year at ATypI in Warsaw on an Olympian plinth with representatives of Google, Apple, Microsoft and Adobe. Read more

The treasure of St. Bride: Part I

The treasure of St. Bride: Part I

Within these walls, there are thousands of volumes—from histories and bibles to stacks and stacks of specimen books. There are also tons of steel, copper and various blends of metal formed into punches, matrices, and a horde of typecasting equipment. Not to mention a certain amount of wood. Read more

The treasure of St. Bride: Part II

The treasure of St. Bride: Part II

Two of the giants in type founding were the Caslon and Figgins foundries. Based in London, both operated in various guises from the 18th to the 20th century. What remains of these enormous ventures can be found at St. Bride Library in Fleet Street, the historical neighborhood of printers and newspapers. Since opening in 1895, St. Bride has become a leading collection of printing and graphic design material. Read more

The new illuminated manuscript

The new illuminated manuscript

The Bible has always been the standard for mastery of communication in new media, evident in the evolution of writing from calligraphic scrolls, to illuminate manuscripts, to Gutenberg’s moveable type and his 42-line Bible. So, it is perfectly logical that the text used to truly test this newest medium of communication—the digital frontier—would be the Bible. Read more