Erik Nitsche, gold embossing design for book binding of the series New illustrated library of science and invention, 1962-66. Editions Rencontre, Lausanne, Switzerland. Source
Goudy Heavy Ornaments
Deception in Fixing - Héloïse Parke
When I first set about putting down some opening remarks about Readable Objects, the exhibition that we opened recently at The Aram Gallery, I found myself consistently getting tongue-tied. Whilst words like ‘fix’ and ‘repair’ have taken on a new lease of life of late in a design context, they just didn’t seem the right fit for the work of Tomorrow’s Past.
Tomorrow’s Past, nine of whose members exhibit in Readable Objects, are an international collective of bookbinders who deal with the conservation of damaged books. As a group of like-minded individuals they have a manifesto which states that the books they select for rebinding must have been printed before 1900 and must come to them in a state of distress: casing lost, stitching unravelling or fraying, pages nibbled or waterlogged, or the text block left vulnerable. Tomorrow’s Past select books which have been neglected.
The problem with using the word ‘fix’ is that it implies the subject of the necessary fixing is broken. Despite a dictionary definition of ‘fix’ being to ‘put back into working order’ and that is what Tomorrow’s Past do, it still feels inappropriate.
Since I came to London, I have been always missing out on Bookbinding exhibitions but this time, I managed catch this just as it opened. Readable Objects, not only is an exhibition of bookbinding and bookarts, but I simply love that there is a table of maquettes of the experimental bindings as well as a test of a certain structure for a particularly tricky textblock. I spent a long time, looking at the ‘Waiting’ Binding and I think I am going to try that soon~!
Oxford University Press and the Making of a Book
Cómo no fijarse en los detalles. Estampas de recuerdos con ediciones que causan sensación a la vista y al tacto. Las tintas directas.
floorabella: "Inches…"
Nehemiah Grew, 1641-1712
DIY SolidType
These 3D letters have been designed and put into production by Denver based studio, MATTER. The self assembly type can then be painted, inked or etched to build words for signage or decoration.
This first series are uppercase only and are based on H&FJ’s Gotham Typeface. There are three sizes available, 2” (push-out puzzle-style boards) and 4” (parts in a bag) and 8” (flat packed).
Each month, they will release a new custom letterform and so far there are already some nice ampersands, one at 10.5”.
MATTER Design Director Rick Griffith was quoted as saying: “These letterform puzzles are a hearkening back, and yearning for a time when people used to make their own toys and take pride in solving interactive physical puzzles. People can piece together individual letters, compose 3D words, or experiment with gravity, balance, and their own personal design.”
BMD Design | typography
BMD Design | Bordeaux, France
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Typeverything.com
“The Worst Mistake” by WRDBNR.