I’ve touched briefly before on some typefaces that I consider to be particularly good for on-screen reading. But now I wish to delve further into this realm of typography and consider: What makes a typeface good for screens and UI design in particular?
I have been eagerly awaiting the release of this typeface for quite some time now, ever since the studio behind it—MashCreative—posted a rebranding exercise they mocked up for Royal Mail.
Often, I just like seeing words in words. So, here’s another wallpaper idea I’ve had that I’ve been thinking about in my spare time. A revolution of love.
Stumbled across this fantastic box set artwork designed by Singapore-based SILNT, containing the 10 artworks and 10 sounds created by the participating artists for SILNT‘s curated exhibition, Dual City Sessions/Art with Sound.
Came across this stunning Annual Report design via Khoi Vinh. It’s for the Global Footprint Network and was designed by Bob Dinetz.
Recent times have found me somewhat busier than usual, so there may be an influx of posts appearing soon. But that’s OK because they’re all supreme. Especially this identity design system for ISEM, a national and international high-quality rigid boxes Italian company by Mattia Castiglioni.
I am seriously loving this Vignelli Forever Poster series by South African graphic designer Anthony Neil Dart, featuring famous quotes from world-renowned Italian graphic designer Massimo Vignelli.
I was rather delighted to chance upon this fine piece of retro, minimalist, typographic branding for GYÁR Post Production by Budapest-based studio Official Classic.
I recently came across the work of Rejane Dal Bello courtesy of SwissLegacy. Ever since, I think I’ve fallen in love.
