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Movies and Fontspotting

Yes, there are people who can recognize a certain font at first sight. I’m not one of them  but some people sure are. Like the guys at Typographi.ca who set out to identify the fonts used in the opening titles for what promises to be a fun movie – Thank you for smoking.

How about the Royal Tennenbaum’s world of Futura? He’s got some more – Typecasting: The use (and misuse) of period typography in movies. and while you’re at it just go for the entire Son of Typecasting category by Mike Simonson with examples from Titanic, Gangs of New york and others.

Oh there are more but I’ll spare you for now .  

Newspaper website development in progress

National Gazette is one of the old newspapers (sponsored by Thomas Jefferson, that’s how old  ) that went out of business years ago. Now they’re trying to revive the brand with an online edition.

Two designers went to work, first with a logo design and now with a site design. 
See the “in progress” mockup design by Cameron Moll and a mockup by Jason Santa Maria. Their explanation of the progress is well worth reading so dig in.

Inevitably there are things I like about both designs and the end result will be a combination of both. Right now, I can’t side with anyone.
I prefer the front page by Jason, but the article page might be better the way Cameron imagined it. It just seems to me that long articles are easier to read when there’s nothing on the left.

While on topic…. The New York Times also underwent a facelift recently. It’s much better than before but I think it’s a bit too crowded below the fold. Seems functional though.
Khoi Vinh (recently appointed Design Director of the Times) has more details

CameraTruck project

Camera Truck project… because To try and understand nature we have to be like her. And if we wish to take her portrait, we need a camera that is also like her: big, very big and always moving.

This certainly is one impressive pinhole camera…   

The cargo box of the truck becomes our sealed chamber, and the aperture is a small hole in one side. As the light enters the truck, it falls onto giant sheets of photographic paper pinned to the opposite wall. This is how we are able to create our giant negatives, almost three metres wide.

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