Jamie Gallagher from studio Hello informed that they just released their brand new gorgeous stationery.
Letterheads and comp slips are printed two colour on GF Smith Colorplan Pristine White and silver foiled on the reverse, the cards are blind embossed / silver foiled and then triplexed with a sheet of green Colorplan in the middle, they were then die-cut to shape to avoid squashing the emboss.
Available over at I love by.
The Grotesque poster is on sale just for you, just for Xmas…
1 Poster for 40 € – 25 € (+10€ p&p)
or
2 Posters for 70 € – 45 € (+10€ p&p).
SHOP NOW! Only a couple of copies left…
Helvetireader is a userscript that pares down Google Reader to what I consider to be the essentials. In particular, it’s made for looking at feeds in the expanded view, using Keyboard Shortcuts instead of on-screen buttons. It’s not going to suit how everyone uses Google Reader, so you can take the CSS and personalise to your hearts content!
All you need is a browser that supports userscripts (see below) and, of course, Helvetica.
(via swissmiss)
Basic sign module uses (left) from the 1989 MTA Sign Manual (courtesy Peter Joseph); and typographic alphabet (right) from MTA Graphic Standards: Signage (1988) (courtesy Michael Hertz).
There is a commonly held belief that Helvetica is the signage typeface of the New York City subway system, a belief reinforced by Helvetica, Gary Hustwit’s popular 2007 documentary about the typeface. But it is not true—or rather, it is only somewhat true. Helvetica is the official typeface of the MTA today, but it was not the typeface specified by Unimark International when it created a new signage system at the end of the 1960s. Why was Helvetica not chosen originally? What was chosen in its place? Why is Helvetica used now, and when did the changeover occur? To answer those questions this essay explores several important histories: of the New York City subway system, transportation signage in the 1960s, Unimark International and, of course, Helvetica. These four strands are woven together, over nine pages, to tell a story that ultimately transcends the simple issue of Helvetica and the subway.
Read more on AIGA website.
