Solar Lab´s logo has been developed by Kenshō Agency - based of Laif typeface.
Laif´s characters have been manipulated in order to achieve a unicase logotype, with adjustments made to various letterforms in order to improve legibility and scalability.
Even after all these years, it is still exciting and rewarding to be awarded for good work, especially from Communication Arts - a bible of the industry. @communicationarts
Our T26 large-format “itty-bitty” project for @t26fonts which showcases an extensive collection of bitmap, pixel, lcd and dingbat fonts is one of the winners in Communication Arts Magazine’s 2024 Typography Competition, one of the most respected in creative industry.
Only 125 selected projects to appear (from 1,262 submissions) in the 14th Communication Arts Typography Annual that will be published in the January/February 2024 issue of Communication Arts . Thanks to CA and the Jury - Anthony De Leo, Bianca Dumitraşcu, Ben Kiel, Trevett McCandliss, Joana Monteiro and Man Wai Wong.
A love letter to discovering historic type foundaries…
Upon admiring a handsome building near work, I discovered it was once a Type Foundry!
Blackfriars Type Foundry (1904-1931) had a catalogue that included beautiful serif fonts such as; Blackfriars, Greyfriars, Whitefriars, Richmond Old Style, Cadmus, etc. Gorgeous type!
This discovery got me really interested in Revival Type. Typographical archaeology if you will… the process of converting pre-digital typefaces into usable modern day formats, while preserving it’s history.
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Part 2: Solar Lab´s logo has been developed by Kenshō Agency - based of Laif typeface.
Laif´s characters have been manipulated in order to achieve a unicase logotype, with adjustments made to various letterforms in order to improve legibility and scalability.
This week we present another type specimen book from the estate of our late friend Dennis Bayuzick: Fine Ornament & Decorative Material Available to "Monotype" Users published in London by the Lanston Monotype Corporation in 1924. It includes 48 specimens intended for printers who could order their types by the indicated matrix number.
From 1923 to 1967, the British typographer and printing historian Stanley Morrison (he was a principal designer for Times New Roman) was a prominent advisor to the Lanston Monotype Corporation. He wrote the introduction to this display book where he outlines the history of the type ornament and states:
In clever hands it is possible to design with one or two units almost an infinite number of combinations. . . . It is here that the printer's flower rises to the height of it potentiality, and . . singularly beautiful results will reward the ingenious compositor. The sympathy in line and colour subsisting between the ornament and the type confers upon the composition the note of unity and consistency, always the underlying necessity of fine typography. This desideratum is joined in the present series to a supremely practical convenience: the ornaments are cast on the "Monotype" Composing Machine.
Laid into this copy is a type specimen sheet of Monotype ornaments (first image) from Hill & Dale Private Press and Typefoundry in Terra Alta, West Virginia
View more posts related to Lanston Monotype.
View a post on Stanley Morrison's Times New Roman.
View other books from the collection of Dennis Bayuzick.