#letterpress-printing

#letterpress-printing

Anthropic set up an interactive experience that turned two typewriters into interfaces to chat with Claude. Visitors type questions about the exhibition, and Claude responds based on provided information.

What we found was that errata sheets were not only spaces for corrections but also sites of humor, legal maneuvering, and reinterpretation. With this exhibition, we wanted to share ways in which even small corrections can reshape meaning and authority.

You'll get a pre-made faux leather cover to decorate and personalise with a range of buttons, charms, stamps and fabric pieces. You'll learn to experiment with collage and layering techniques and combine different types of embellishments to add texture, colour and personality to your journal.

I take the product apart. CAD it up. Illustrate each view. Then animate and lay it out for the web. That sounds quick, but it does take me quite a bit of time to create each one.

Trying to write on a laptop means fighting a machine that is also a notification box, streaming portal, and social feed. Distraction-free apps help, but they still live inside the same browser-and-tab chaos, surrounded by everything else your computer knows how to do. Some writers just want a device that only knows how to produce plain text and does not care about anything else happening in the world.

We needed a visual identity that was uniquely Getty and distinct enough to unify how we show up globally. This system gives Getty one clear, ownable expression in support of the work we do around the world.

Since launching its first project in 1968—a sculptural embossed silkscreen book by the multimedia artist Lucas Samaras—Pace Prints has worked with artists to expand the formal and technical possibilities of printmaking. In the ensuing decades, the publisher has supported projects by artists like Louise Nevelson and John Chamberlain that blur distinctions between print, collage, sculpture and painting, often emphasising scale and material experimentation.

"Drawings at the IFPDA make great sense," said Jenny Gibbs, Executive Director of the IFPDA and IFPDA Foundation. "Museums group them together because both media represent graphic thinking and the transmutation of ideas through line and pressure."

If you visit the Hermès website in search of a scarf or a handbag, you'll be greeted by a collection of whimsical sea creatures swimming across the screen. To navigate to the watch section, you'll click on an image of a watch flanked by an eel. To locate shoes, you'll click on a loafer with a pelican sitting inside it as if it were riding a boat.

"We started by asking everyone to collect images regularly. Just spontaneous snapshots as we went. Of everything. Sketches, screens, notes, half thoughts, moments in motion. Over time it became this huge grab bag of elements," Simon says.

Helping people to reconnect with old memories, viewers are transported to their local corner shop, school playgrounds and childhood cupboards. "I think this project has struck a chord because there's a particular interest in hand drawn designs of the past in the current age of AI where human effort is at an all-time low. Now the first thought is 'I'll get AI to do that', rather than commissioning an illustrator," says Chris.

Massaranduba, the small agricultural town in the south of Brazil that Pedro grew up in is far from sci-fi, but this graphic designer's imagination takes him some place else. From posters, illustration, magazine layouts and typefaces (such as pieces that focus on sci-fi author Ursula K. Le Guin 's fictional Kesh alphabet), Pedro works digitally with a focus on textures and grit, using dithers and fractals to build upon visual world's textures. His projects are "mood-centred", which begin by assembling references from all over to refine feelings that are conjured up by consuming films, fashion, music and other visual forms.

Tattoos and fermentation rarely appear in the same conversation, yet across the world, they share a quiet kinship. Both are practices of transformation, crafts that reshape raw material over time through care and relationships to the land, the spiritual, and the community. Tattooing inscribes identity and ancestry onto skin, while fermentation preserves, nourishes, and binds communities through shared taste and ritual. Both create change, brewing something more than themselves through embodied knowledge passed between generations.

Our new line of Colossal merchandise is finally hitting the (digital) shelves in the Colossal Shop. We're big fans of repping publications that inspire us, and we're excited to finally offer our own goods to this special community of readers. Hats and mugs are now available, and all proceeds directly support our ongoing commitment to make art accessible to everyone. You can also receive a mug by joining us with an annual Patron of the Arts membership.

Those he saw as "most successful" had a "bold typographic and/or illustrative treatment" which in turn "countered the dominance" of the branding strip that ran down the side. "This realisation led me to define some rules for the designs of the individual covers that tried to ensure that the covers would never feel overwhelmed by the branding system," says Pete. "The core rule was that the Editions would essentially be typographic covers, or typographically-led covers in terms of the hierarchy between type and image."

Infused with history, the slab cannot help but suggest the old West's frontier clichés, for such ephemera as classic wanted posters, political broadsides, cautionary warning signs, and more generic commercial applications. Cattivo is a brand-new 18-font family that, when used in any weight and size, cuts through nostalgic predictability and provides a welcome alternative to such popular Egyptian-style slab serifs as Stymie and Memphis.

A graphic designer that isn't limited to working in 2D, Ward Goes has been working in aluminium of late. His recent solo show in Rotterdam, Literally Anything, was full of things that moved beyond the screen or printed page, including some wonderful metal signage and archival storage. The exhibition at Alley Space was the result of the designer's decision to pursue more tactical investigations alongside his commissioned work at the start of 2025.

Blackletter typefaces elicit many contradictory emotions depending, of course, on the context in which they are used and the manner in which they are composed. Sometimes they bark commands - STOP or BEWARE. Other times they are comforting in an ecclesiastical way - Christmas and Easter greetings. During World War II Blackletter was menacing for those in occupied lands who read it as exclusionary - as in FORBIDDEN or DANGER; others accepted it as patriotic

If you're based in London, you've probably walked past one of Sean Thomas' meticulously hand-painted designs. Whether that was grabbing a sandwich at Dom's Subs, dining in at Forza Win (an Italian restaurant in Peckham that the designer has shaped the visual identity of over the last three years), or picking up a copy of Hoxton Mini Press' new book on Britain's best bakeries at your local bookshop.