Circular is the members magazine of The Typographic Circle, the non-profit, all-volunteer organisation for anyone with an interest in type and typography. Designed by Pentagram’s Domenic Lippa and Jeremy Kunze, the latest issue of the publication, Circular 18, puts type front and center with a layout that is almost entirely typographic. Circular 18 is the tenth consecutive issue designed by Lippa and his team.
The Typographic Circle prides itself on providing a platform for a number of voices, and is known for its series of diverse monthly lectures by leading industry figures, as well as the London presentation of the annual New York Type Directors Club exhibition. Speakers at Circle events have included Trevor Beattie, Stefan Sagmeister, Ken Garland, Jonathan Barnborook, Anthony Burrill, Rick Poynor and Sir John Hegarty, among others. Lippa has had a long-standing relationship with the organisation, having served on the committee for many years and also as its Chair.
These many different voices come into play in the new Circular. Each edition of Circular is individually designed, giving Lippa and his designers an opportunity to explore different typographic solutions. The previous issue, Circular 17 (from 2011), was completely visual. For the new issue, Lippa wanted to create a design that was predominantly typographic. Titled “Words & Images,” the new issue features a series of interviews with previous guest speakers conducted by Lippa himself, as well as other members of the Circle executive committee, including current chairperson Alan Dye of NB Studio, Louise Sloper and Val Kildea.
Quick Link: Circular 18 Featured on It’s Nice That
Quick Link: Circular 18 Featured on Creative Review
The ongoing series of typographic posters designed by Pentagram’s Michael Bierut for the Yale School of Architecture has made use of literally hundreds of different fonts since the series began in 1998. For the poster announcing the school’s fall 2014 lectures and exhibitions, Bierut and designer Jessica Svendsen wanted to try Maelstrom, an unusual new font by Kris Sowersby of Klim Type Foundry. The reversed-stress typeface makes the typically thick strokes of a letter thin, and the thin strokes thick. The font’s architectural quality is brought out in the poster, which stacks the letterforms and their heavy horizontals into a typographic structure. (The designers made some small modifications to the “E” and “F” to slightly improve legibility.) The school’s circular “Y” emblem also appears in Maelstrom.
Project Team: Michael Bierut, partner-in-charge and designer; Jessica Svendsen, designer.
A behind-the-scenes look at the development and installation of Century at the AIGA National Design Center.
This week is your last chance to see Century: 100 Years of Type in Design, the landmark exhibition at the
AIGA National Design Center that celebrates the incredible diversity of typefaces and their integral role in design over the past 100 years. Created by Pentagram’s Abbott Miller and produced and curated by Monotype, the exhibition transforms the AIGA gallery into an immersive environment of typography.
In this video, Miller and Monotype Type Director Dan Rhatigan talk about how Century came together. Miller’s concept for the exhibition design builds on the idea that a single period contains the DNA of a typeface. In the finished exhibition, the walls and floor of the gallery at AIGA have been covered in a pattern of 1,058 different periods, drawing from 630 typefaces.
Century is on view at the AIGA National Design Center in New York through Thursday, July 31.
Domesticity is perhaps one of the most fundamental beginnings of architecture—realized as bedrooms, dining rooms, bathrooms, dressing rooms, etc.—each devoted to a programmatic specificity. The Taiwan Pavilion at the 2014 Venice Architecture Biennale explores the idea of private domesticity inverted as public space in the exhibition Township of Domestic Parts: Made in Taiwan. Curated and designed by the noted architect Jimenez Lai, the pavilion is a collection of nine small houses, each embodying one domestic program. Pentagram’s Natasha Jen and her team have designed an identity for the exhibition that showcases the theme in a lively mix of colorful graphics and custom typography, both in English and Chinese.
Pentagram’s Harry Pearce and his team have created a new visual identity and a series of performance materials for Riotous Company, the dance and theatre group that creates large-scale performances and chamber pieces with a worldwide collective of composers, dancers, singers, actors, writers and visual artists. Riotous Company’s work has been created in collaboration with leading companies and festivals in South Africa, Cuba, Nepal, Palestine, Portugal, Macedonia, Denmark and the UK.
The logotype was created by staging the typography, manually building a miniature stage and allowing the type to perform. The core idea of type integrating with performance weaves through all the poster work and becomes the visual language for the brand.
Pentagram’s Paula Scher has designed a bold new identity for the Philadelphia Museum of Art that puts “art” front and center. Iconic and expressive, the logo customizes the letter “A” in the word “art” to highlight the breadth of the Museum’s remarkable collection. The identity launches this week with the unveiling of plans for a major renewal and expansion of the Museum by the celebrated architect Frank Gehry.
One of the largest museums in the United States, the Philadelphia Museum of Art has a world-class collection of more than 227,000 works and more than 200 galleries presenting painting, sculpture, works on paper, decorative arts, textiles, and architectural settings from Asia, Europe, Latin America, and the United States. The Museum’s Greek Revival-style Main Building is one of Philadelphia’s great landmarks, and its 10-acre campus anchors the western end of the city’s Benjamin Franklin Parkway.