Designers Graham Plumb and Stephen Braitsch collaborated on this amazing mechanical display that uses a series of 180 magnets to write text in a pool of ferrofluid. They built 10 custom machines which are programmed to raise and lower magnets, creating the segmented letters in the oily fluid.
Husband and wife design team Gareth Smith & Jenny Lee’s typographic short film plays a clever visual trick, simulating the physics of what might happen if all of the letters on advertising signage started to break loose from their appropriate locations, and came to rest in totally haphazard ways.
Director Dimitri Basil’s music video for the Joywave track Obsession is both a tribute to and a loving parody of vintage movie title sequences, featuring an array of convincing, but fake opening credits for spaghetti westerns, exploitation flicks, B-movies, and much more. Quentin Tarantino would be proud.
Graphic and motion designer Vinicius Araujo envisioned iconic industrial designs from electronics brands as Helvetica letter forms corresponding to their brand names. We’d love to see actual products designed this way. Check out the full alphabet in his Behance portfolio.
It’s the world’s most derided and improperly used typeface, but there’s no denying that Comic Sans is iconic. Great Big Story introduces us to Vincent Connare, the typographer who came up with the casual font while working at Microsoft, and explains its genesis.
Vox looks at the history and evolution of comic book lettering. The most well known style – all caps, italicized, and with consistent thickness – was developed to make text easier to read on cheap paper. But there are dozens of comic book fonts and lettering styles.
Stranger Things’ title sequence is a perfect complement to the show’s ’80s aesthetic. Vox spoke with the folks who made the sequence, Imaginary Forces – who also made the openers for Mad Men, Boardwalk Empire, Jessica Jones, etc. – about their project.