sarayamadesign
sarayamadesign
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the-rd:

Nice. Lê Thanh Bình from Ho Chi Minh City in Vietnam C50. Via The Bike Shed.
the-rd:

Nice. Lê Thanh Bình from Ho Chi Minh City in Vietnam C50. Via The Bike Shed.
the-rd:

Nice. Lê Thanh Bình from Ho Chi Minh City in Vietnam C50. Via The Bike Shed.
the-rd:

Nice. Lê Thanh Bình from Ho Chi Minh City in Vietnam C50. Via The Bike Shed.
the-rd:

Nice. Lê Thanh Bình from Ho Chi Minh City in Vietnam C50. Via The Bike Shed.
History
History
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7while23:

Alex Shou, Nostalgia #10, 2011 (Oil on canvas)
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unwrittennature:

_SDI3517 (by Kazu Sakai)
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jedavu:

Ecto 1 and Batmobile…
jedavu:

Ecto 1 and Batmobile…
jedavu:

Ecto 1 and Batmobile…
jedavu:

Ecto 1 and Batmobile…
jedavu:

Ecto 1 and Batmobile…
jedavu:

Ecto 1 and Batmobile…
jedavu:

Ecto 1 and Batmobile…
jedavu:

Ecto 1 and Batmobile…
jedavu:

Ecto 1 and Batmobile…
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typostrate:

Fuse 1-20
Today I reached this awesome compendium Fuse 1-20 from Taschen Verlag. At first site the book is packed into a cardboard. By opening and turning around for unpacking it, a card with a code appears. I asked myself what that could be for, but I will tell you later. Than I put the whole packaging aside and found some posters from Neville Brody, Tom Balchin, Barnbrook, Bob Wilkinson and Rad Hoc. I suppose you know these typographers, if not please google them all, because they are a big part of the typography history. At least I found this great and big book with all the Infos and content of the Fuse magazines.
But what it Fuse?
Let me explain to you. Fuse is a magazine launched in 1990. It appeared quarterly. Assembled in London it was originally published by FontShop International. Each issue was compressed of a plain carton, such as the book of Taschen Verlag here, but with a disc containing four or more fonts plus five printed posters. Every issue follows a certain theme given by the tendencies of communications and the consequences of them.
Four type designers had the mission to explore this theme and design a typeface upon it. Therefore Fuse has always been intended to be an exploration. It is a laboratory, a free art space, a universe itself and practioners or non-practioners are invited to enter this experiment with the visual language it uses.
The Base of Fuse is the concept that all language is fluid, not fixed and the digital systems allows us to disseminate ideas that are alterable in the visual form.
The first sentence, by opening the book, smiles at me and says:”the sacred can seem to feel sacred because no equivalent in the modern world seems to be - this is a setback.” Wow! By reading this sentence, ever and ever again, I feel like needing, knowing and exploring more of this book. Sure I have, but you must explore it by yourself to get your own sight and thoughts about it.
And now the Card. By using the code on the backside I can get way more informations about Fuse online. This card is the access to all the informations about the universe of Fuse.
If i made you somehow curios, let me tell you, this book is a really must-have for typographers, interested designers and those who want to explore the 90ies experimentations of the king of typography to its time - Neville Brody - and of course the other great typographers. This book tells you why all the Profs in design schools love the 90ies (ok, they were studying when the magazine was published and digital fonts were hyped). If you need more informations borrow it from someone who has it or buy it here:
typostrate:

Fuse 1-20
Today I reached this awesome compendium Fuse 1-20 from Taschen Verlag. At first site the book is packed into a cardboard. By opening and turning around for unpacking it, a card with a code appears. I asked myself what that could be for, but I will tell you later. Than I put the whole packaging aside and found some posters from Neville Brody, Tom Balchin, Barnbrook, Bob Wilkinson and Rad Hoc. I suppose you know these typographers, if not please google them all, because they are a big part of the typography history. At least I found this great and big book with all the Infos and content of the Fuse magazines.
But what it Fuse?
Let me explain to you. Fuse is a magazine launched in 1990. It appeared quarterly. Assembled in London it was originally published by FontShop International. Each issue was compressed of a plain carton, such as the book of Taschen Verlag here, but with a disc containing four or more fonts plus five printed posters. Every issue follows a certain theme given by the tendencies of communications and the consequences of them.
Four type designers had the mission to explore this theme and design a typeface upon it. Therefore Fuse has always been intended to be an exploration. It is a laboratory, a free art space, a universe itself and practioners or non-practioners are invited to enter this experiment with the visual language it uses.
The Base of Fuse is the concept that all language is fluid, not fixed and the digital systems allows us to disseminate ideas that are alterable in the visual form.
The first sentence, by opening the book, smiles at me and says:”the sacred can seem to feel sacred because no equivalent in the modern world seems to be - this is a setback.” Wow! By reading this sentence, ever and ever again, I feel like needing, knowing and exploring more of this book. Sure I have, but you must explore it by yourself to get your own sight and thoughts about it.
And now the Card. By using the code on the backside I can get way more informations about Fuse online. This card is the access to all the informations about the universe of Fuse.
If i made you somehow curios, let me tell you, this book is a really must-have for typographers, interested designers and those who want to explore the 90ies experimentations of the king of typography to its time - Neville Brody - and of course the other great typographers. This book tells you why all the Profs in design schools love the 90ies (ok, they were studying when the magazine was published and digital fonts were hyped). If you need more informations borrow it from someone who has it or buy it here:
typostrate:

Fuse 1-20
Today I reached this awesome compendium Fuse 1-20 from Taschen Verlag. At first site the book is packed into a cardboard. By opening and turning around for unpacking it, a card with a code appears. I asked myself what that could be for, but I will tell you later. Than I put the whole packaging aside and found some posters from Neville Brody, Tom Balchin, Barnbrook, Bob Wilkinson and Rad Hoc. I suppose you know these typographers, if not please google them all, because they are a big part of the typography history. At least I found this great and big book with all the Infos and content of the Fuse magazines.
But what it Fuse?
Let me explain to you. Fuse is a magazine launched in 1990. It appeared quarterly. Assembled in London it was originally published by FontShop International. Each issue was compressed of a plain carton, such as the book of Taschen Verlag here, but with a disc containing four or more fonts plus five printed posters. Every issue follows a certain theme given by the tendencies of communications and the consequences of them.
Four type designers had the mission to explore this theme and design a typeface upon it. Therefore Fuse has always been intended to be an exploration. It is a laboratory, a free art space, a universe itself and practioners or non-practioners are invited to enter this experiment with the visual language it uses.
The Base of Fuse is the concept that all language is fluid, not fixed and the digital systems allows us to disseminate ideas that are alterable in the visual form.
The first sentence, by opening the book, smiles at me and says:”the sacred can seem to feel sacred because no equivalent in the modern world seems to be - this is a setback.” Wow! By reading this sentence, ever and ever again, I feel like needing, knowing and exploring more of this book. Sure I have, but you must explore it by yourself to get your own sight and thoughts about it.
And now the Card. By using the code on the backside I can get way more informations about Fuse online. This card is the access to all the informations about the universe of Fuse.
If i made you somehow curios, let me tell you, this book is a really must-have for typographers, interested designers and those who want to explore the 90ies experimentations of the king of typography to its time - Neville Brody - and of course the other great typographers. This book tells you why all the Profs in design schools love the 90ies (ok, they were studying when the magazine was published and digital fonts were hyped). If you need more informations borrow it from someone who has it or buy it here:
typostrate:

Fuse 1-20
Today I reached this awesome compendium Fuse 1-20 from Taschen Verlag. At first site the book is packed into a cardboard. By opening and turning around for unpacking it, a card with a code appears. I asked myself what that could be for, but I will tell you later. Than I put the whole packaging aside and found some posters from Neville Brody, Tom Balchin, Barnbrook, Bob Wilkinson and Rad Hoc. I suppose you know these typographers, if not please google them all, because they are a big part of the typography history. At least I found this great and big book with all the Infos and content of the Fuse magazines.
But what it Fuse?
Let me explain to you. Fuse is a magazine launched in 1990. It appeared quarterly. Assembled in London it was originally published by FontShop International. Each issue was compressed of a plain carton, such as the book of Taschen Verlag here, but with a disc containing four or more fonts plus five printed posters. Every issue follows a certain theme given by the tendencies of communications and the consequences of them.
Four type designers had the mission to explore this theme and design a typeface upon it. Therefore Fuse has always been intended to be an exploration. It is a laboratory, a free art space, a universe itself and practioners or non-practioners are invited to enter this experiment with the visual language it uses.
The Base of Fuse is the concept that all language is fluid, not fixed and the digital systems allows us to disseminate ideas that are alterable in the visual form.
The first sentence, by opening the book, smiles at me and says:”the sacred can seem to feel sacred because no equivalent in the modern world seems to be - this is a setback.” Wow! By reading this sentence, ever and ever again, I feel like needing, knowing and exploring more of this book. Sure I have, but you must explore it by yourself to get your own sight and thoughts about it.
And now the Card. By using the code on the backside I can get way more informations about Fuse online. This card is the access to all the informations about the universe of Fuse.
If i made you somehow curios, let me tell you, this book is a really must-have for typographers, interested designers and those who want to explore the 90ies experimentations of the king of typography to its time - Neville Brody - and of course the other great typographers. This book tells you why all the Profs in design schools love the 90ies (ok, they were studying when the magazine was published and digital fonts were hyped). If you need more informations borrow it from someone who has it or buy it here:
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lechapeauviolet: