Not much information about this, apart from it being from 2001 and being 24 characters that say “twenty four characters” in German. As a wall decoration, however, it reminds me of these.

David sent me a link to this, somewhat appropriate for April Fools Day, about an H&FJ spoof font, estupido. I find the idea of creating swashes for OCR A hilarious, but I thought, shouldn’t robots have fancy type too? One day, our machine comrades will be attending theatres and poetry recitals, and instead of programmes set in flourish-heavy Regency scripts like we do, maybe they’ll want something a little more evocative of their earlier eras; Simpler, slower times before 100 Exabyte connections ruined the slow pace of digital romance… And who says computers can’t read swashes? It’s discrimination I say! Discrimination!

There are many collections of vintage posters on Flickr, most of them full of the mundane, rather than the classic. What makes an old poster a ‘classic’ anyway? Does it have to have inspired a whole style of advertising, or be an exemplar of a particular style, be well-executed or just be by someone famous? I guess it doesn’t really matter, it seems it just has to be old and have survived to be scanned in and shoved online. It’s nice though when you find some good examples in these collections. I particularly like some of the (depressingly low-resolution) scans on this collection, especially the lettering on the Volga one, which I nearly missed thanks to Flickr’s brutal it-must-be-square thumbnail cropping.

An old one I’ve had around for a while, this poster (or invite?) for this year’s Gumball 3000.

Courtesy of the ever-fantastic Ace Jet 170, this collection of images of the 1958 Penrose Annual. A couple of my favourites at the bottom, but I just had to trace the Amores one, below. I love it. The M-R* ultra-ligature was rather satisfying to do.

UPDATE: I originally thought the R was a K, but Jes Sherbourne kindly corrected me. Despite the whole thing still being rather beautiful, I have to say that’s one of the worst Rs I’ve ever seen!

There’s a great collection of 3D type designs on You The Designer. I was looking through them and was reminded of the long-neglected Atlas Magazine, which is sort-of still going (well, it’s there but not being updated from what I can tell). I remember Atlas having a new design with each issue, which was what kept me going back, and looking through previous issues you can see how fast the technology was developing in those years. One of them even offers a link to the Netscape Plugin Finder, using a pop-up window. Still, it’s stuck on the last design now, though you can look at previous issues by clicking the roman numerals floating about on the left, if you can. It’d be interesting to see how it would have developed, had it avoided the big-time of IPOs and say, a merger with Slate or similar. I wonder if it would still have navigation that tries to run away from you?

Pilcrow symbols from Helvetica and Palatino

Favourite to draw that is… Two interesting articles I’ve followed links to on the H&FJ site recently are the ones about the Sulzbacher Eszett and the Pilcrow (and Capitulum) (via Kottke and Ace Jet 170). It seems both come up in people’s favourite characters to draw. I like drawing the ‘3’ myself, both in ink and with beziers, but drawing the eszett is like a super big extra special bonus ‘3’ with soft curves, sharp edges, stressed strokes… lovely. Some people I work with have eszetts in their surnames, and it disappoints me that after a few months of blank incomprehension from some of the less linguistically capable* they replace it with a double-s. A real shame.

Office doodles testify to the popularity of the letter R, perhaps because it synopsizes the rest of the alphabet in one convenient package (it’s got a stem, a bowl, serifs both internal and external, and of course that marvelous signature gesture, the tail.)

I think I’ll chime in with Kottke and ask to see some of these office doodles!

* I’m ashamed to say this can be summed up as, “mostly British people”.