Theres some great prints for sale over at Print Process. This made me laugh.

The idea is simple: I invite a group of writers, educators, type makers and type users to look back at 2011 and pick the release that excited them most. The reviews range from the academic (like Paul van der Laan on Zizou or Jens Kutilek on FB Alix) to the theoretical (such as Jan Middendorp on Agile) to the personal (like Carolina de Bartolo who reviewed Calibre and Periódicoafter firsthand experience with a redesign of WIRED magazine) to the playfully unexpected (Microsoft’s Si Daniels praises Apple Color Emoji) to the exclamatory (Matthew Butterick on Neue Haas Grotesk). Here.

Taking its roots from the humble traditional British café or tearoom, Take Away explores the development, regeneration and consequent replacement of traditional aspects of British Culture and street food.

As foods and tastes have changed these venues have now almost entirely been replaced by multinational companies with generic branding. Whereas mods, rockers, teddy boys and even punks might once have felt fashionably at home in Britain’s traditional ‘caff’, today’s young Britons are more likely to be found in outlets that retain the same appearance, regardless of location. More.

Color-matching game via Method

Posters for Oscar nominated movies that maybe tell the truth of each movie a bit more than the conventional posters. For instance, Iron Lady becomes Total Bitch, Tree of Life becomes Wuh?, and The Girl with the Dragon Tattoo becomes All the Rape, No Subtitles. Via Kottke.

In the past typographers required both erudition and a knowledge of printing processes, including that of punch-cutting, type founding and printing; and only those who combined a knowledge of all three were fit to be styled a typographer.

Rob Banham, Lost in film: design and production in the twentieth century:  Vince Connare, ‘We are the 99%’:  Priscila Farias, Tropical types: São Paulo city 19th century typographers:  Antero Ferreira, Design catalogue for the Archive of the University of Coimbra (2005–11): ortho-microtypography in scientific texts:  Jessica Glaser, The graphic sandwich:  Barbara Henry, Reading Walt Whitman’s faces:  Thomas Milo, Arabic versus Eurabic:  Julián Moncada, Diverse voices: perspectives on gender diversity and the development of type design history:  Robert Sharl, David Osbaldestin, The new print:  Aspasia Papadima, Thomas Photiadis, Evripides Zantides, The use of eye-tracker technology to evaluate gender perception differences/biases on typeface design and characteristics:  Alice Savoie, International cross-currents in typeface design: France, Britain and the US in the phototypesetting era,1949–75:  Juliet Shen, The several roles of a bespoke Native American font:  Vaibhav Singh, Typography proper: lessons from the Hamiltonian system of interlinear translations in the digital era of multi-script typography:  Elena Veguillas, La Tipografía: witness of the changes within the Spanish printing trade:  Hazel Wilkinson, Ornamental type and the identification of unknown printers in the hand press period

By the early twentieth century the definition of typographer was restricted to the designer of a printed page as distinct from the compositor or machine operator. Nowadays ‘typographer’ has become a vague term, which takes no account of the inherent differences that technology has brought to the discipline: typography is no longer a vocation but an emergent profession difficult to define.

Whether typography can be accounted an ancient calling or a new profession, it requires a high degree of discipline and technical knowledge. In this technological age, surely some way is needed of distinguishing between the ancillaries of the profession and the truly literate and practical typographer?

This symposium will look at the changing roles of typography’s past; examine the nature of typography’s present; and soothsayer into typography’s future.