60 WTF Typeface designs! Nick Garrett London Sign-Writer

Building NGS JOHNSTON Highbury Demi

NGS JHD poetics banner
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A New Signwriter’s Font from Nick Garrett

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NGS has started restoring a collection of fonts that I have personally worked with over the past 36 years as a serious Signsmith (www.nickgarrettsignwriter.com).  These include a restored version of Johnston, a Standard writer’s extended bold block and a classic honours board Roman.
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First off the board is the Johnston restored version here.
NGS London copy


Below you’ll find over 60 first-class typefaces for corporate design. Please notice that they are not free; however, we’ve focused on typefaces which are definitely worth spending money on. So which typefaces are “bulletproof”? What fonts can be used effectively in almost every Corporate Design? And what are the options for unique, but still incredibly beautiful typefaces? Let’s find out.

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[Note: Have you already pre-ordered your copy of our Printed Smashing Book #3? The book is a professional guide on how to redesign websites and it also introduces a whole new mindset for progressive Web design, written by experts for you.]

60 Excellent Typefaces For Corporate Design

Haptic
The Haptic family is a sans serif typeface which was optimized for use in small sized text. It serves well in attention seeking headlines. Comes in Roman and Italic with seven weights each. Type & Graphics by Henning Skibbe.

Professional Typefaces - Type & Graphics by Henning Skibbe

Continue reading “60 WTF Typeface designs! Nick Garrett London Sign-Writer”

You want to be a quality designer?

Then you already are… you have entered the path

Learning how to master…

SHAPE: MICRO DETAILING


I learnt how to recognise and deliver balance and (profile) shape characterisation for furniture and accessories design from an apprenticeship as a typographic designer and sign-writer.

Task:  draw ‘C, E, O’ (or whatever) with pencil and eraser a 22cm height Helvetica, Franklin, Bodoni, Univers and Gill, accurately and you have the basis for the first rung of exceptional detailing skills. Then repeat at different sizes a few dozen times.

 

 

 

 

Checking

Then check the forms by drawing a box around each letter, 25mm off and not touching and drawing the void space.

Above: here we see how the void between objects draws the forms by default. Apply this method to check accuracy and ‘follow’.

 

 

Image above:  ‘2 Pears’ by British artist, Euan Uglow.  Lower image: type layout drawing – I used these a lot in signwriting – above there are some minor errors around the cascade of the curves… like the relationship between the internal curves and the external and where they converge into straights. Thanks to brad.sussex@gmail.com

 

Analysing Shapes and Voids

APOLOGIES FOR LOW RES IMAGE BELOW

THE TICK MARKERS LOWER LEFT INDICATE A BULGE THAT COUNTER BALANCES THE OPEN AREAS OF THE OPPOSITE SIDE AND TOP RH QUARTER SECTION.

THE HELVETICA ‘e’ HAS A SLIGHTLY HOOKY FEEL BECAUSE OF THE COUNTER BALANCES, ESPECIALLY NOTE THE PULL IN TO THE DESCENDING TOP RIGHT QUARTER COMPARED ALSO TO THE OPPOSITE UPPER LEFT QUARTER WHICH FEELS MORE LOADED.

ON THE BOTTOM LEFT QUARTER THE SECTION IS FULLER BETWEEN THE MARKERS – THESE ARE COMPENSATIONS FOR THE VISUAL BALANCE OF THE LETTER. ALSO NOTE HOW LIGHT THE CROSS BAR IS. 

Special thanks to Roger Leworthy, Giorgio Morandi, Chris Chamberlain and Euan Uglow.