The biggest gifts are often those buried in adversity. In my case, the ones concealed in lockdown have been essentially those of time and space—time to declutter, review and organize, and space to breathe, observe and reflect. London in lockdown is, I imagine, pretty much similar to anywhere else: largely desolate streets, clearer air, and a mix of anger and fear, the intensity of which is continually adjusted based on the ever-varied extent of interpersonal distance. There a
Close to a year ago Neville Brody announced “TCCC Unity: The New Typeface for Coca-Cola.” It seemed incredible that Brody, once the maestro behind The Face and Fuse magazines and the emblematic types of the late 80s and early 90s was creating type for one of the world’s most emblematic corporations (and products). But his design has long been evolving along with his expertise as a go-to designer and I got the scoop behind the upgrade of the Coca Cola font then and am looking
Take your animation designs to the next level with this advanced animation design certificate Neville Brody is coming to New York on June 14 to speak on “Type and Time” as part of the TDC at Parsons program. He will discuss type on a grand stage (he is on a roll with Coke’s Unity type) but also the introduction of his latest two type families, Bonn and Buffalo. I caught up with him right before flying across the pond. You can hear more tonight. Beautiful faces.
Thank you! You
Graham Moore creates fine-art pieces that put you in a dancing mood, just by looking into them. In fact, many of them began as vintage LP record album covers, several decades pre-mp3. Then, under his knife, texts lose their legibility, images lose their identity, and those often dull cardboard sleeves are reconfigured into visual bop rhythms and beats that delight the eye. This art grew out of Moore’s graphic design career. He worked at studios and ad agencies in London back