Pitchfork   The Dissolve   Festivals: Chicago | Paris

If you picked up the latest issue of Apartamento, you might have seen the epic 14-page "Looking for Anything" comic, the work of illustrator Andy Rementer. While his style looks great as a piece of longform, Rementer has also done remarkable lettering work, including features for New York Magazine, The New York Times, The New Yorker, and a spot for a sustainable paper called Opus 30, seen at the top of the post.

See more work on pillowcases, posters, and wrapping paper on the artist's site.

Pick up a copy of this poster from the artist.

True to its name, Ten Dollar Fonts offers new fonts every week with licenses that only cost $10. The a la carte pricing is a huge cost-saving alternative for designers who can't afford pricey font packages, and because the site also works as a distributor for tiny type foundries, smaller projects see a much wider release. 

Licenses for personal use are $10, while a commercial license is a still-reasonable $20.


Modula Mono

At the Chicago Design Museum opening party on June 10, as attendees celebrated and congregated around banks of displays, designer Marian Bantjes stood aside, circling a table and slowly ripping up flowers. Delicately tearing petals and leaves to make a floral mosaic that spelled out the word “sorrow,” she was the picture of the concentrating artist. 

A renowned Vancouver-based designer who has worked for clients such as Penguin Books and The Guardian, and a member of the Alliance Graphique Internationale (AGI), Bantjes turns fonts and phrases into something kinetic, where tightly wound letterforms spring loose. Her book “I Wonder,” and forthcoming monograph, showcase a career focused on rich ornamentation and constant exploration, from almost heraldic lettering to a piece for Stefan Sagmeister’s “Things I have learned in my life so far” series made with sugar, inspired in part by her fondness for breakfast cereal.

“I keep trying to do new things and follow what interests me, and it can be very hard to drag clients along with me,” she says. “Most people are shockingly unimaginative, and want me to do the same thing I’ve done before. The people who have trusted me to do whatever I want have always been really happy, as far as I know, and I’ve absolutely done my best work for them.” 

How did you come to typography?
I didn’t. I just got a job. I was 18, and I needed work, and I saw a little job posted in a bookstore for a publishing company. And I applied for it and got it. It started out mostly filing magazines; quite quickly they trained me in paste-up and layout, and I became a typesetter, and learned a lot about typography. Typesetting is not a creative job, it’s basically following a designer’s directions exactly, but you learn the do’s and don’ts of typography, and you become an expert on how things are done, and some designers know more than others, and you add to that. Of course, they’re not going to handle all the details, like how you balance pages, rivers and things like that. You work really closely with type. You learn all the lingo and the whole thing; so over the period of ten years, I became an expert.

When did you start experimenting?
Not until much later. I became a type snob. The typesetting that I was doing before was just for books. It was very conservative. Once I started my design company, I started doing different kinds of things, business cards and brochures, which require more decisions about what you do with type. That was a new learning curve. But I wasn’t really experimenting. When I went out on my own, I felt like I had a lot of knowledge of type, but it’s not really a passion. I can’t really describe it.

A craft instead of an art?
That’s a close analogy. It was a craft I knew very well. But I had always been very conscious of doing things right. Even as a designer, I didn’t break the rules very much and, if I did so, I did it very carefully. When I went out on my own, I didn’t know what I wanted to do. I didn’t really know. Something happened, and I can’t explain it, but somehow my knowledge in typography, and an interest I have in ornamentation, they just sort of came together in a spontaneous way. And I started working with type in much more adventurous ways, and ways that I never would have dared to before, eventually making my own lettering. I’m not one of these people who goes around taking pictures of signs or identifying type. I’m not as much of a type geek as people might expect.

Is it that type is so proscribed, that it has so many rules, that there are infinite ways to play with it?
Yeah, I think I like the fact that you can push letterforms into so many different shapes. Like graffiti—I’m fascinated with graffiti—I think graffiti is so sophisticated typographically. I love the idea of something that’s recognizable and readable to those who know how to read it, but not everybody else. I like the continuum between the readable and unreadable, the variation there is within that. I just really love that ability to experiment with that and make forms that are interesting but that say something, but are not abstract.

Do you always feel the challenge to do something very ornamental, to top something, or does simple ever work?
That’s an interesting question. I do have a love for modernism, I love it so much, and I do have some ideas for some things that I’ve wanted to do that are very simple. But I have a double mental block about it. On one hand, I feel certain responsibilities to the people who like my work, to continue to do that, and on the other hand, simple seems so easy. I seem to exist on making things difficult for myself. It seems like cheating or something. Which is not to say I don’t respect other people’s work. When I look at those John Massey posters (on display at the Chicago Design Museum), I don’t think it’s easy, I think it’s so beautiful. When it comes to my own work and myself, I need to sweat it out.

Do you ever see yourself doing other types of design, like icon design?
Icon design doesn’t interest me. It has to be clear. It would be very frustrating for me to do that. I’ve done a little bit of illustration and stuff. Early on, I, when I figured out what I was doing, and I put the typography thing together, I was an illustrator, just not the kind that can draw you a cat. And now, I think about segueing into the kind of illustrator that can draw a cat.

A lot of your work has a childlike sense of play, like the macaroni art or the sugar art for Stefan Sagmeister. What informs this sense of wonder? What interests you outside of art and design?
All sorts of things. I’m interested in science. I’m an atheist, so I’m very interested in atheists and the atheist movement, and non-religious forms of gatherings sharing information and creation. I’m interested in animals, and started scuba diving a few years ago. I don’t know if I have a problem-solving mind. Maybe I do. I’m quite good at figuring things out. I can fix my own plumbing. 

Why has there been such a resurgence of this handcrafted typography?
It always goes forward and back, clean and simple, always comes back into something else. A lot of people credit me with starting some kind of design revolution. I know I contributed to it, but that pendulum was just starting to swing. People are taking interest, there’s a move away from the computer into handwork.

I know you’re a big fan of The National. Can you tell me about those posters that you did for the band?
They hired me to do the Wiltern show poster, then had me do one for a gig at the Orpheum in Vancouver. The glass one for the Orpheum needed a little bit of negotiation. I convinced them to sell them for more than they intended to sell them for, so we could spend more on construction. The first one was supposed to be a little poster, and I hate little posters, so I made it bigger. Design diva, why the hell not.

It's been a tough few years for Olympic typefaces. London's 2012 event used this sharp-edged, jagged, and much criticized font and the next Olympics, 2014's games in Sochi, will probably feature this futuristic heavyweight lettering. The good news is that the Rio Olympics may come out ahead of the three, with a conceptual typeface designed by the Rio-based studio Dalton Maag. To make the typeface site-specific, Dalton Maag incorporated lines and features of landmarks in Rio like the "Christ The Redeemer" statue, as well as the surrounding natural features. [via Typedeck]


Spanish design studio and type foundry atipo has just released a brand new font family, Salomé. The new typeface is especially flexible with an alternate ampersand, optional swashes for R and K, small capitals, and predesigned fractions and superscript for scientific applications. Like the studio's other typefaces, Salomé Regular is available for the price of a Tweet or Facebook post, and the entire family can be purchased on a sliding scale from €5 to €100.

See the booket and some more features on the Salomé site, or see more of atipo's design work online.


For its latest commission from Wired UK, the Barcelona studio Lo Siento designed a typeface that required a syringe, bubble wrap, and some food coloring. They shaped the letters by individually injecting each tiny bubble with a mixture of water and food coloring using the syringe, and gave the text depth with a green and yellow contrast. According to designboom, Lo Siento wants to manipulate bubble wrap even more for the next lettering project: the plan is to introduce bacteria and other chemicals into the colored liquid so the text will slowly change colors, and in some cases, even start to disintegrate. 

See more from Lo Siento online.