Remember these?!? Yes, I’m that old and so are some of you, apparently. I snatched this up for a buck at a local thrift store and it looks untouched both inside and out. Nice hand-lettered “Spiratone” logo pairs well with the Cooper Black and the mod deep blue bars finish up a nice and simple package design. Well done.
Posts Tagged ‘design’
Snapped recently in the wild. The “Showboat” sheet music appears to be entirely hand-lettered. Click to enlarge:
I’ve been snapping photos of hand-painted signs (or otherwise handmade) for as long as I can remember and only just today went over the 600 mark. After a recent trip to visit my former home, NYC, I discovered several new “reveals” that were the result of City Gates or Coca Cola awnings being removed during renovations. Luckily I had a decent enough camera on my phone to capture them with. After all the years of having this obsession, you’d think I’d never leave the house without my digital SLR. Click here to view the photos.
A rotating exhibit at the Lillian Goldman Visitor Center of the Seed Savers Exchange highlights some beautiful seed catalog covers from days gone by. I’m nowhere near Decorah, IA, but if you aren’t either, don’t fret. They’re updating this Facebook photo album with samples from the exhibit. Hopefully they’ll be adding more as this is merely the inaugural selection. When you’re done, you should also check out another album of “Early 1900’s Seed Catalog Tin Signs & Magnets,” which they’ve re-issued as tin replicas that you can buy in their online store.
I’m a sucker for 1950s color advertising photography, with its over-saturated colors and idyllic subjects and scenery. The packaging for the baia Instamount Photo Cube was no let down in this respect. Looking like scenes from bygone family-oriented TV shows the sides of this box, which held a once ubiquitous acrylic photo cube, wreak of family values and WASPy middle American life. The eye-catcher for me, though, was the simple 3-color baia logo set in a bold, slightly extended version of Clarendon. It feels rather modern for such a classic and commonly used typeface perhaps due to the even/odd interplay of the flipped words’ alternating characters. I owned a baia 8mm film editor some time ago and never paid much mind to the faded, black logo on it. I’d surely have kept the thing if the logo had appeared like this.
I’ve occasionally collected band/concert posters that I’ve managed to un-secure from walls and poles around the various cities I’ve lived in and visited, but they’ve always ended up rather mangled due to whatever packing tape, wheat paste or staples were keeping them in place. Not to mention have taken up a lot of space, what with their average 12″ x 18″ dimensions. And, no, I don’t remove posters before they’re “old,” so as to ensure they’ve lived out their intended purpose. Well, I’ve recently decided that I don’t need to own every piece of graphical ephemera I come across—mostly because I’ve mainly collected these posters as design inspiration rather than whatever precious little objects I or anyone else might believe them to be. So, here’s my online photo gallery of Austin Music Posters in the Wild. I’ll add new ones as I see/snap them. Sorry if the quality of some seem fuzzy. They are in the wild, after all. Please feel free to comment if you like and/or know the designers of any. Credit where credit is due.
“The Lost Type Co-Op is a Pay-What-You-Want Type foundry, the first of its kind.” So reads the first line on their About Us page. I had to read their About Us page because I wanted to find out what the catch was. Here are several typefaces—many vintage-inspired—that I’d like to own and each has a pay-what-you-will price model that ruffled the skeptical feathers on this bird. But there’s no catch. The Lost Type Co-Op really does sell high quality fonts designed for print and sometimes web use (@font-face) for whatever price—including zero dollars—you are willing to pay. Upon entering the amount and clicking the DOWNLOAD button on a particular font’s page, your download starts immediately and you are then redirected to PayPal to complete your order. Yes, your product is delivered before you finished paying for it. (more…)
Fellow type-obsessed collector, Molly Woodward, has embarked far beyond the shores of this occasional blogger’s endeavors with her website, blog and Kickstarter-funded film project, all appropriately titled “Vernacular Typography.” Visitors of my Hand-painted & Hand-made Signs exhibit may see some overlap, possibly in one or two sign photos, but definitely in a related passion for the often overlooked typographic relics scattered throughout cities as exotic as Havana, Florence and Newark. Her film has been successfully funded and I can’t wait to see what comes of it. While future generations may not have the real artifacts to admire and study, there will surely be sufficient digital archives thanks to the tireless efforts of folks like Molly. Cheers!
Click on over to Letterheady, a one-page scroller featuring letterhead designs for such notable figures as Nikola Tesla and Adolph Hitler to obscure companies like the Liverpool-based Robot Salesmen Ltd. They appear to be legit, with sources linking to other sites from which the examples were culled. Some seem to have been Photoshopped to give them an empty, unused state. Who cares. They’re fun to browse and fit right in here with my love of Visual Junk.
Steven Heller posted this piece on Elaine Lustig Cohen’s recent talk at MoMA’s Library and Museum Archives on the museum’s collection of works by her late husband, legendary graphic designer Alvin Lustig (previously lusted over on this website). Cohen is, of course, a superb graphic designer in her own right and probably too often overshadowed by Mr. Lustig’s high-profile body of work. My favorite piece of hers I discovered years after acquiring it. Huh? Picked up for a song in an NYC used book store, Jose Ortega y Gasset’s On Love: Aspects of a Single Theme sat on my bookshelf of design fetishes for years before I’d ever bothered to look up who’d designed the cover—even though her signature was plainly visible.