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"Thinking with Type", Ellen Lupton (PDF)

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"Thinking with Type", Ellen Lupton (PDF)

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https://www.counter-print.co.uk/products/grid-systems

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This book is suitable for those who work with automated text and image design. It shows examples of working correctly on a conceptual level. Exact directions for using all of the grid systems presented (8 to 32 grid fields) are given to the user. These can be used for the most varied of projects.

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Jan Tschichold and the New Typography with Paul Stirton

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Swiss National Library rightfully will regard Karl Gerstner as "one of the most important innovators in typography, commercial art and corporate design" for centuries to come after his passing at the age of 86, on the 1st of January, 2017. One of the foremost Swiss artists and graphic designers, for numerous ground-breaking reasons, Gerstner carefully divided his brilliance between being a painter and a graphic designer and became a pioneer in both pursuits.

Born on the 2nd of July, 1930 in Basel, Switzerland Gerstner studied design at Allgemeine Gewerbschule in Basel under Emil Ruder. As a young man, Gerstner completed an apprenticeship as a typographer. He set up his own graphic design studio in 1949, and by 1963 he had partnered with Markus Kutter, a writer and editor, to form the agency Gerstner + Kutter which then became GGK with the addition of architect Paul Gredinger.

GGK became one of the most successful advertising agencies in Switzerland, with offices in other European countries and the US. Gerstner's pioneering work - in particular, his designs for Geigy, based in Basel - made him one of the most important exponents of modern commercial graphic design in Switzerland.

"He popularized the use of unjustified ragged-right text in typography," writes History of Graphic Design on Gerstner's body of work which transformed numerous forms of art.

"He also proposed what he called Integral Typography which extended on Max Bill's typographic ideas. A message in the form of text can convey a meaning or some information, however, when typography is used in an informed manner, Gerstner felt that it could greatly contribute to the connection between the words and the actual meaning. Gerstner saw typography as a way to express a whole greater than the sum of words and meanings. For example, the large headline in one of his Citroën advertisements stated 'Don't buy this car' which was followed with 'if you don't expect something out of the ordinary in a car' in smaller type. While this may seem commonplace or trite today, Gerstner + Kutter trailblazed the clever use of type to make a point. In other words, Gerstner knew that the aesthetics of typography can aid the communication of ideas and information and that was the foundation of Integral Typography".

One of the first designers to truly exploit grids to create unmatched complex and flexible variations, Gerstner's body of work is pure genius and had typography and graphic design transformed in systematic symmetry.

In 1962 his design of quarterly magazine Capital, a publication bold enough to put the ideas of economics into a human perspective, was clear and aesthetically pleasing. For Capital, Gerstner developed a complex grid which allowed rapid, creative and consistent layouts like a mathematical art form of some kind.

Gerstner's best-known work includes his book ′Programme Entwerfen′, published in 1963 - containing four essays, in which he explains the basic principles of his design method. Instead of setting out step-by-step formulas, the book provides a universal system for developing individual solutions, anticipating technological developments at the very beginning of the computer age.

His corporate identities for such companies as Swissair, Burda and Langenscheidt, his attempts at optically distorting television images with lenses made of Plexiglas (one of his many visual experiments back in 1964) and his work as a world-wide identity consultant and designer for IBM, are some traces of his legacy that will keep designers eternally inspired. Karl Gerstner epitomized the excellence of Swiss graphic design and the beauty of precision like none other - before or after him.

Gerstner's work has been honored in numerous publications all over the world and exhibited in several museums. In 1973, the Museum of Modern Art in New York ran an exhibition about the method and philosophy of his work entitled "think program".

The Art Director's Club New York nominated him for its Hall of Fame, and the Art Directors Club Germany made him an honorary member in 1992. In 2012, Gerstner was awarded the Grand Prix Design by the Federal Office of Culture for producing among "the most important exponents of modern commercial graphic design in Switzerland".

"Just as [Friedrich] Dürrenmatt disguised literature as detective stories, so I created everyday art without forcing people into museums," Gerstner once said, looking back on his years as a graphic designer.

His earlier body of work, and no doubt a big part of his legacy, has been housed in the Graphics collection at the Swiss National Library since 2006. Furthermore, the Swiss Confederation honored Karl Gerstner for his pioneering role in graphic design - a phenomenon whose influence has extended far beyond Switzerland.

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An ode to the pioneer of typographic brilliance Karl Gerstner - TypeRoom

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Swiss National Library rightfully will regard Karl Gerstner as "one of the most important innovators in typography, commercial art and corporate design" for centuries to come after his passing at ...

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"Typography has one plain duty before it and that is to convey information in writing" once noted Emil Ruder, one of the pillars of what is called International Typographic Style movement, destined to conquer graphic design ever since it was emerged from Switzerland, back in the 1950's.

A friend and associate of Armin Hofmann, Adrian Frutiger (whose Univers sans-serif typeface was Ruder's favorite) and Müller Brockmann, he is regarded one of the most important figures in design and it is his grid-obsessed philosophy that influenced web design as we experience it.

Bringing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology for Ruder graphic design and type design have to function properly, promoting "the good and the beautiful in word and image and to open the way to the arts."

A Swiss Style visionary Ruder taught that typography's purpose was to communicate ideas through writing, especially in sans-serif mode, and he was totally committed to the discipline of letterpress typography.

Born in Zurich, Switzerland on March 20, 1914, Ruder entered his adventures in design as a teenager.

He was 15 years old when he took a compositor's apprenticeship before immersing himself into the principles of and Jan Tschichold's New Typography during his years studying at Zurich's School of Arts and Crafts.

A scholar by default, Ruder was named a typography instructor at the Schule für Gestaltung, Basel (Basel School of Design) in 1947.

There he met the artist-printer Armin Hofmann and their year-long collaboration kicked off.

Their teaching achieved an international reputation by the mid-1950s and by the mid-1960s their courses were maintaining lengthy waiting lists.

Ruder and Hofmann developed a program structured on principles of objectivity in designthat changed everything forever.

Ruder encouraged the few, selected students to care about the maths of the visual communication, literally establishing the massive Swiss Design movement.

For Ruder what matters the most in type design is precision, proportions and legibility. Type is here to communicate and that is all for Ruder.

A lover of asymmetry himself, Ruder's clear and concise designs "developed sensitivity to negative or unprinted spaces, including the spaces between and inside letterforms" per Philip Meggs.

A contributing writer and editor for the then-popular trade publication Typografische Monatsblätter (Typographic Monthly) he was one of the pioneers to discard all of the conventional rules of traditional typography establishing new laws of composition more in accord with the post war era.

From 1946, Emil Ruder slowly emerged in Typografische Monatsblätter as an exponent of Modernism. Between 1957 and 1959 he contributed a series of four articles with the title 'Wesentliches' (Fundamentals): 'The Plane', 'The Line', 'The Word' and 'Rhythm'.

They formed the basis of his thinking, summed up in 1967 in his magnum opus "Typographie."

"Emil Ruder was already teaching typography for fifteen years at the Gewerbeschule Basel, when the first article in the cycle Wesentliches appeared in TM" writes Helmut Schmid who designed "Emil Ruder: fundamentals."

"With fundamentals (Wesentliches), Ruder set creative typography on fundamental ground. The plane, the line, the word, rhythm, the four articles published between 1957 and 1959 in the Swiss TM, appeared also in the German Druckspiegel in 1959 and in 1972 in the Swedish grafisk revy."

"In this series of articles, free of the confines of any single, narrow, specialized field, Ruder discusses at will the formation principles of typography in relation to the cultures, natural sciences, politics and societies of all times and places" adds Idea magazine's Kiyonori Muroga, who translated the texts in Japanese.

"In addition, Ruder's fundamental thinking always sheds light on the relationship between human life and technology. Half a century has passed since this work was published. It is precisely because historic styles are today consumed superficially that it is worthwhile to review afresh the attitude the author takes in this work dealing with the principles of the creation of typography in terms of the relationship between society and technology."

After twenty-five years of teaching, Ruder published his "Typographie: A Manual for Design", a heavily illustrated book capturing his ideas, methods and approach.

The book represents a critical reflection on Ruder's teaching and practice as well as a lifetime of accumulated knowledge.

The text was published in German, English and French, by Swiss publisher Arthur Niggli in 1967.

The book helped spread and propagate the Swiss Style, and became a basic text for graphic design and typography programs in Europe and North America.

Considered a masterpiece on typography, the publication is pure design philosophy overdose.

"Through a perusal of other fields we are better placed to understand our own subject matter, in the same way that a small hamlet, only when set against its open surroundings, can be properly viewed and judged" Ruder writes in fundamentals.

"It will be seen that the manifold influences or larger occurances in our daily tasks cannot be ignored."

Emil Ruder passed away on this day, the 13 th of March, in 1970 at the age of 55.

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In grid we trust: Emil Ruder aka the iconic pioneer of Swiss Style - TypeRoom

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"Typography has one plain duty before it and that is to convey information in writing" once noted Emil Ruder, one of the pillars of what is called International Typographic Style movement, destine...

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https://watchdocumentaries.com/helvetica/

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Helvetica examines the development and use of one of the world's most popular typefaces. Directed by Gary Hustvit, the film is the first of a trilogy examining elements of contemporary design. Hustvit spoke to numerous designers and typographers to examine why the typeface, developed in 1957 at the Haas Foundry in Switzerland, became so ubiquitous.

Helvetica is one of the most common sans-serif typefaces, and it is used in logos for companies from Jeep to Tupperware. It is considered the most widely-spread font in the Western world. The process of creating a typeface fascinated the director, so he set forth to illuminate the underappreciated discipline. Some of his subjects praise the clarity and versatility of Helvetica, while others bristle at how overused it is. The filmmaker treats the differing opinions fairly.

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Watch Helvetica (2007) online. Documentary by Gary Hustvit examining the development and use of one of the world's most popular typefaces.

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https://www.a2-type.co.uk

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https://commercialtype.com/

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Action Condensed Action Text Algebra Atlas Austin Austin News Ayer Blanchard Brunel Canela Caponi Caslon Doric Caslon Ionic Chiswick Grotesque Chiswick Sans Chiswick Serif…

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https://typefoundry.directory/

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The Type Foundry Directory is a curated index of type foundries by Matthew Smith of Morning Type.

This directory is not intended to extensively document or list every type foundry (active or otherwise). Instead, this exists to better organize the foundries I've come to know, like, and/or find interesting while supplying the additional information that I look for when browsing foundries.
If you are looking for a more extensive list of foundries then I might suggest exploring the Type Foundries Archive. For a simpler index take a look at type.lol.
Filter

To filter the list below, simply click on the labels along the top row. Clicking on the "i" to the left of each entry expands the item to reveal a screenshot and more information. Alternatively, clicking on the "i" in the first row expands all of the foundry listings.

Webfonts

Only indicates self-hosted webfonts.

Trial Fonts

Does not include Fontstand's 3-hour trial.

If trials are available via email, the foundry's site must specifically state so.

Variable Fonts

If a foundry offers variable fonts via email, their site must specifically state so.

Educational Discounts

Discounts and licenses are handled differently by every foundry. While some have an educational license you can choose upon checkout, others may require you to reach out to them directly.

If a foundry offers student discounts via email, their site must specifically state so.

You should really check out Indra Kupferschmid's Education Discounts for Fonts list.

Language/Script Support

For the sake of simplicity and familiarity, Language Support refers to both supported languages and scripts, and the listings are fairly generous.

For example, if a foundry primarily produces Latin fonts, but offers one or two families with an Arabic counter-part, the Language Support section might also list Arabic.

Yes, I know languages and scripts are not synonymous.

Language filtering is coming soon.

Submit a Foundry
Contact

If you have any additional information on a foundry that should be included in the list or see any errors, please send me an email <matthew [at] morningtype.com> or tweet at me

Sponsorships

Sorry, the Type Foundry Directory is a free resource and does not accept sponsorships, paid promotions or donations. If you would like to support this project, you may hire me for type or graphic design work.

Colophon

Fonts in use: Triptych Grotesque by The Pyte Foundry, and Aglet Mono by XYZ Type.
The Type Foundry Directory was first published on April 2, 2018, and was last updated on May 25, 2023.

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The Type Foundry Directory is a curated index of type foundries by Matthew Smith of Morning Type. This directory is not intended to extensively document or list every type foundry (active or otherwise). Instead, this exists to better organize the foundries I've come to know, like, and/or find interesting while supplying the additional information that I look for when browsing foundries.

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https://omglord.com/type-foundries

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Type Foundries

A2 Type
London based type foundry set up by design studio A2/SW/HK, they produce a unique collection of specially crafted fonts.

Adobe Fonts
An online service which provides Adobe subscribers with access, under a single licensing agreement, to its entire font library.

Blackletra

Blaze Type
A type design and art direction agency based in Lyon, France.

Colophon Foundry
An international, award-winning type foundry in London and Los Angeles.

Commercial Type
A venture between Paul Barnes and Christian Schwartz. Based in NYC and London, the company publishes retail fonts developed by Barnes and Schwartz, their staff and outside collaborators.

Dalton Maag
An independent font foundry with offices in London, UK and São Paulo, Brazil.

Darden Studio
A smaller foundry founded by Joshua Darden, based in New York.

Displaay
A small independent Type Foundry and Design Studio founded by Martin Vácha based in Prague, Czech Republic.

DJR
Typefaces designed by David Jonathan Ross.

Dunwich Type
The work of James Puckett, a one-man foundry based in Colorado.

DS Type
An independent type foundry since 1994, they have an extensive list of custom fonts for well known clients, as well as experimenting with variable fonts.

Edition Studio
High-quality fonts, crafted with care by New York based graphic design studio, Edition.

Exljbris
A one-man Dutch foundry and many of the high quality typefaces are free.

Fatype
A two person type foundry in Estonia, they produce retail and custom typefaces.

Florian Karsten
An independent type foundry publishing high quality retail and custom typefaces. All typefaces are sold exclusively through this website.

FontShop
An international manufacturer of digital typefaces, based in Berlin. It is one of the largest digital type foundries in the world.

Foster Type
The typographic work of Dave Foster, an independent designer based in Sydney, Australia.

Frere-Jones
An independent type design studio in New York City, led by Tobias Frere-Jones.

Grilli Type
An independent Swiss type foundry, producing high quality retail and custom typefaces.

HvD Fonts
A type design studio based in Berlin, they produce a lot of the most recognizable typefaces both commercially and for well known clients.

Hoefler & Co.
Based in New York since 1989 with a library of nearly 1,500 typefaces, Hoefler & Co. is one of the bigger type foundries.

Just Another Foundry
Founded in 2004 and based in Germany, JAF is Tim Ahrens and Shoko Mugikura, who design and produce fonts for print and screen.

Kometa
A boutique design studio producing progressive retail and bespoke typefaces.

Klim
Founded by Kris Sowersby in New Zealand, he and Noe Blanco produce high quality commercial typefaces.

Letters From Sweden
Designing retail and custom typefaces for local and international clients.

Lineto
A foundry based in Switzerland since 1993, Lineto is a network connecting some 20 internationally renowned designers offering digital typefaces and font-related projects.

Lost Type Co-op
A collaborative digital foundry since 2011, it's a pay-what-you-want foundry with a collection of over 50 different faces from contributors all over the world.

Ludwig Type
A one man foundry based in Germany producing high quality retail and custom fonts as well as custom lettering.

Mark Simonson
A studio founded by Mark Simonson in 2001, specializing in lettering and typography.

Milieu Grotesque
An independent publisher and distributor of typefaces and related products based in Portugal.

Monotype
A company with, among other divisions, one of the world's largest and most comprehensive collection of typefaces, as well as a suite of products for design and marketing.

My Fonts
A digital fonts distributor, based in Massachusetts, retailing over 130,000 fonts.

Nodo
Specializing in developing retail fonts and custom type services for clients and agencies.

Nonpareille
A French/Swiss studio specialising in custom fonts and typographic branding.

Nouvelle Noire
A type design and development studio with an emphasis on modern technique and technical options.

Or Type
An Icelandic type foundry, aiming to challenge the conventions found in typographic traditions and contemporary values.

P22 Type
A foundry renowned for working with museums and foundations to ensure the development of accurate historical typefaces that are fully relevant for today's computer user.

Pangram Pangram Foundry
Trend-conscious quality, free to try fonts for designers. Each typeface, each glyph is crafted with great care and attention to details for your everyday designs.

Phase
A generative type concept. It is systematically designed with modular components, which form the base for an infinite number of shapes.

Pizza Typefaces
Typefaces designed by Adrien Midzic and Luc Borho.

Play Type
A foundry and online shop with a strong emphasis on promoting Danish type design.

Pretend Foundry
A real type foundry with fonts designed and produced by FuzzCo.

Process Type Foundry
An independent type design studio in Minnesota, specialising in the design of original typefaces for retail and custom use.

Production Type
A digital type design agency creating retail type for design professionals.

Rosetta
Addressing the needs of global typography, enabling people to read better in their native language.

Schick Toikka
An independent type foundry by Florian Schick and Lauri Toikka. Located in Berlin and Helsinki.

Swiss Typefaces
A collection by typeface design specialists.

Temporary State
Typefaces of the Temporary State is a library of fonts, created for different occasions and purposes with the ultimate goal to develop a self-sufficient set of tools for sovereign typesetting.

The Designer's Foundry
A hand-picked international team of type designers with a library of accessible and quality typography.

Tightype
An independent type foundry, providing visually strong typefaces for people who value contemporary type design.

Typeclub
An archived, curated online platform for type designs and type sketches
by students of the University of Applied Sciences Düsseldorf. It was founded in 2017 and active until 2019.

Type Together
An international team of professional type designers, specialising in editorial and corporate typography.

Type Trust
A type design studio and independent digital font foundry of Silas Dilworth based in Los Angeles.

Typotheque
A type foundry, publisher and a design studio run by Johanna Biľak, Peter Biľak, and Nikola Djurek. They focus on innovation in web fonts and particularly on extended language support.

Type-Ø-Tones
A typographic design company founded in 1990 by Joan Barjau, Enric Jardí, Laura Meseguer and José Manuel Urós.

Ultra Kühl
A small studio based in Berlin, working with a multidisciplinary approach on the intersection between type design and visual interaction.

Vocal Type
A type foundry for creatives of color who feel that they don't have a say in their industry. Diversifying design, preserving culture and history.

VJ Type
A focus on drawing strong and peculiar fonts. Not a lot of weight variants but you'll find many glyph alternates.

You Work For Them
A collective run by designers, committed to providing the most usable, affordable, fonts and stock art in the world, while remaining easy and accessible.

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Type Foundries A2 Type London based type foundry set up by design studio A2/SW/HK, they produce a unique collection of specially crafted fonts. Adobe Fonts An online service which provides Adobe subscribers with access, under a single licensing agreement, to its entire font library.

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https://fonts.google.com/

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Making the web more beautiful, fast, and open through great typography

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https://www.youtube.com/watch?v=96fuXitEwhk&feature=emb_logo

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The Secret History of Writing - BBC Full Documentary

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https://www.behance.net/gallery/5226613/Not-strong-mark

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https://www.toptal.com/designers/typography/typeface-classification

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Virtually all designers, from brand designers to UI designers to dedicated typography designers, can benefit from expanding their knowledge of typography and typeface classification. Possibly with the exception of color, the different types of fonts used in a design have a greater impact on the way a user perceives that design than virtually any other individual design element.

Great typography can elevate a design from "good" to "amazing," while bad typography design (or worse - illegible type) can make even the "best" projects unusable. Taking time to learn about typographical elements can help any designer improve their craft and create superior finished projects.

Typography Basics

There are five basic classifications of typefaces: serif, sans serif, script, monospaced, and display.

As a general rule, serif and sans serif typefaces are used for either body copy or headlines (including titles, logos, etc.), while script and display typefaces are only used for headlines. Monospaced typefaces are generally used for displaying code, though they can also be used for body and headline copy, and were originally used on typewriters.

Not all serif and sans serif typefaces are equally suitable for both body and headline copy. Different typefaces are more legible than others at small sizes, while others are more suitable for larger type. (This kind of information can generally be found in the commercial descriptions of the various types of fonts.)

History of Typeface Styles

The oldest typefaces were called blackletter, and date back to the 1400s. These early typefaces were reminiscent of handwritten calligraphy.

After blackletter came the first serif typefaces. Serifs include slight projections that finish off the strokes of their letterforms (called serifs, where the style gets its name). Emerging in the 1500s, the first serifs were Old Style serifs. This style includes Garamond and Goudy Old Style.

The successors to the Old Style serifs were called Transitional serifs, which made their first appearance in the 1700s. These typefaces had high stroke contrast and were more upright than their Old Style predecessors.

The natural evolution of the trends present in Transitional serif typefaces became known as the Modern serifs during the 1800s. These Modern serifs include font types like Didot and Bodoni. They have extreme contrast between strokes and no brackets on their serifs.

Slab serifs are the final evolution of the serif style. With the advent of mechanization (e.g the Steam Press, 1814), and other important innovations in printing technology, as well as a new wave in advertising with advertisers reaching for a bold type that really asserted its presence, they were designed in part to withstand much more industrial printing processes. They have little contrast between strokes and most are unbracketed. Slab serif typefaces include Rockwell and Clarendon, among others. They're sometimes thought of as typewriter fonts but were used much more extensively throughout the 20th century.

While serifs were the first typefaces to evolve after the original blackletters, sans serif typefaces largely came on to the design scene in the early 20th century. These early sans serif typefaces were called grotesque or gothic fonts and included typefaces like Franklin Gothic. They were called "grotesque" due to their rejection of the more "elegant" serif design elements.

Later in the 1900s, after the Grotesques came to the Neo-Grotesque sans serif typefaces. These typefaces were designed to be more legible than their earlier counterparts and generally have much plainer designs. Helvetica and Arial are both examples of Neo-Grotesque sans serifs.

Rounding out the sans serif typefaces are the Geometric and Humanistic styles. Geometric sans serifs, like the Modern serifs, took the style to the edge. They have letterforms based on simple geometric shapes - most notably the circular 'O' shapes - and are very modern. Their ultra-modern shapes do sacrifice legibility at smaller sizes, however. Futura is the most notable Geometric sans serif.

Humanistic sans serifs sought to retain some of the influence that natural handwriting had on the letterforms of earlier typefaces. The letterforms are made more approachable through features like variable stroke widths. Gill Sans is one of the more popular sans serif typefaces.

Other typeface styles - script and display - are harder to classify along a timeline. Blackletter is technically a script typeface, while new scripts are being developed all the time. The same goes for display fonts: they've been around almost as long as movable type itself.

While the time periods in which they were designed can go a long way toward helping to identify different typefaces. Since different styles can evoke different feelings in a project (formal or casual, traditional or modern, etc.), knowing the specific characteristics that set these styles apart from one another is valuable knowledge for a designer. The typography infographic below includes information on how to tell each style apart.

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Understanding the Nuances of Typeface Classification | Toptal®

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Virtually all designers, from brand designers to UI designers to dedicated typography designers, can benefit from expanding their knowledge of typography. Possibly with the exception of color, the typeface styles used in a design have a greater impact on user perception than virtually any other individual design ele...

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https://www.monotype.com/type-trends

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The latest in type design, from the Monotype Studio.

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Dig in to learn more about how design reflects society, key trends in typography and branding, and how the creative world is adopting technology like animation,

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https://www.youtube.com/watch?v=BsjDWFpAqfw

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How to transform static words into beautiful, moving type | Anna Mills

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GRADUATION PROJECT.
Animation which shows typography evolution from paper to screen.
The animation is divided in two parts.
The first deals with the basic rules of typesetting.
The second, is about the evolution of typography in cinema.
Used mainly for Opening and Closing title.

Music : 
Clair de Lune - Debussy
Shoot the Piano Player: Poursuite - Hugh Wolff & London Sinfonietta - Georges Delerue

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FontStruct is a free, font-building tool funded by advertising and some generous sponsors.

With FontStruct you can easily create fonts using geometrical shapes.

You create " FontStructions" using the " FontStructor " font editor.

Once you're done building, FontStruct generates TrueType fonts, ready to download and use in any application.

You can keep your creations private, but we encourage users to share their FontStructions. Explore the Gallery of fonts made by other FontStruct users. Download them, or clone them and make your own variations.

The easiest way to get started with the FontStructor is to watch the intro screencast or read the quick start guide.

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FontStruct | Build, Share, Download Fonts

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FontStruct. Build, Share, Download Fonts

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https://sbf.org.uk/venue-hire/the-print-workshop/

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Capacity:
Max 8 people for a workshop
Max 20 people for a tour and talk

Formally a gymnasium, the Print Workshop was opened in 2010 to give visitors the opportunity to experience printing hands-on, to learn traditional printing techniques using items from the Foundation's collections. The space houses a number of historic printing presses, wood letter, and equipment used by compositors to typeset print.

The workshop is perfect for team building days focusing on letterpress, wood engraving workshops or bookbinding. Our experienced tutors can cater for everyone from schools and absolute beginners to industry creatives with an established practice of their own. A full programme of events runs throughout the year and tailor-made workshops can be provided.

- Tea, coffee / refreshments and catering available
- Wifi internet available
- On the lower ground floor, the workshop is accessible by a few steps from the
street or one flight of stairs from the main reception

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The Print Workshop - St Bride Foundation

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Capacity: Max 8 people for a workshop Max 20 people for a tour and talk Formally a gymnasium, the Print Workshop was opened in 2010 to give visitors the opportunity to experience printing hands-on, to learn traditional printing techniques using items from the Foundation's collections.

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Grid systems in graphic design - Josef Muller-Brockmann

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QMUL CopyShop

Located in: Queen Mary University of London

Address: Queen Mary University of London, Mile End Rd, Bethnal Green, London E1 4NS

You visited in August

Hours:

Friday | 8am–5pm
Saturday | Closed
Sunday | Closed
Monday | 8am–5pm
Tuesday | 8am–5pm
Wednesday | 8am–5pm
Thursday | 8am–5pm

Suggest new hours

Phone: 020 7882 6262

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https://www.counter-print.co.uk

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https://www.uniteditions.com

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Last week we asked our newsletter subscribers to nominate a favourite design-related book that they've turned to for inspiration in these strange and stressful times and would recommend to others. We had a great response to the call-out and our highlights from the suggested titles are below. Thanks to everyone who has contributed to our lockdown reading list so far - details of how you can add your book to the ongoing list are at the bottom of the post. The Medium is the Massage by Marshall McLuhan and Quentin Fiore (Penguin 1967)Nominated by Graham WoodThe Making of Kubrick's 2001 by Jerome Agel and Quentin Fiore was my introduction to Fiore's work, when I was about 11. I don't remember how I got hold of it,...

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Like everyone else, designers and design studios are facing unprecedented times at the moment as they navigate a new landscape in light of the coronavirus crisis. And whether you're adjusting to working from home, self-isolating, or enduring any of the countless new challenges we now face, we wanted to offer a small gesture of community support.Since last week we've been sharing some of the Q&A interviews from our very first book, Studio Culture: The Secret Life of the Graphic Design Studio (2009), as a series of free, downloadable PDFs, in advance of our Kickstarter campaign to publish a follow-up edition, Studio Culture Now.We hope that these texts not only keep you occupied, but that they offer some advice, inspiration and a...

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Last week we asked our newsletter subscribers to nominate a favourite design-related book that they've turned to for inspiration in these strange and stressful times and would recommend to others. We had a great response to the call-out and our highlights from the suggested titles are below.

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https://www.phaidon.com

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Ballymaloe Desserts, Iconic Recipes and Stories from Ireland (Signed Edition)

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https://www.dentdeleone.com/products

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https://www.taschen.com/?gclid=CjwKCAiApvebBhAvEiwAe7mHSFfZMpjyEElBQYEmXVOdL1gZ7nKrU2nJOc5IFqw6NKsoqMCQ2Ydh_xoCLHkQAvD_BwE

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TASCHEN Books: Publisher of books on art, architecture, design and photography

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TASCHEN Books trigger the desire to buy: Jean Nouvel by Jean Nouvel. 1981-2022. Art Edition - Steve Schapiro. Andy Warhol and Friends - Christo and ...

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https://www.penguinrandomhouse.com

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Animation specs:format: GIF Tatiana Gontar

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Animation specs:format: GIF Tatiana Gontar