OI

Today, millions of people will travel around London.

Will they ignore the beautiful typography

that is all around them? This magazine is one day in London. My goal is to show why typography

should be appreciated.

My Journey starts at Tower Hill, 1102, April 10, 2012.

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WAS WRONG, BUT MOST WOULDN’T

KNOW WHAT.ERIK SPIEKERMANN

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DAVID PEARSON

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Tower Hill: Johnston Typeface

Johnston is a humanist sans serif typeface designed by Edward Johnston in 1916. It was modernised in 1979 by Banks & Miles, this new version was called New Johnston. It is used predominantly as the typeface of Transport for London.

I really like New Johnston because it is very understated as a typeface yet each individual character is very beautiful.

i especially like the lowercase i how instead of the usual circle it has a diamond shape.

I interviewed renowned London based typographer Paul Barnes about Johnston and he said:

“As a typeface, I like it, though its somewhat naïve and crude in part. Its well used in my opinion in its corporate uses by Transport for London, and people identify it as the typeface for this.”

I was also very privaledged to speak to Professor Dr Erik Spiekermann.

One of the questions that I asked him, was whether people would notice if the Underground typeface was changed, he said that :

“Most people would feel that something was wrong, but most wouldn’t know what”

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ROBYN DENNY IS ONE OF A GROUP OF

GROUNDBREAKING

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Embankment: Robyn Denny

I was standing at the station waiting for my tube, when I noticed a really interesting murial on the wall. It consisted of various scattered lines as though to show a shattered underground map.

There was a signature which bared the name, Robyn Denny. So when I got home I researched into him to find out more into him and the work that he does.

Born in Surrey in the 1930s he was a leading figure in the British Art scene in the 50s. His work is very surreal and abstract and I really like his style it is very unique compared to many other designers that I have looked at.

The really expressive work he has done with type especially a mural he did for Austin Reed in 1956. The use of colour and surrealism is just exquisite.

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ERIK SPIEKERMANN

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BECOME PART OF

THE BRAND PAUL BARNES

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Charing Cross: The Olympics

Whilst I was wondering around Trafalgar square I stood and looked at the Olympics countdown clock. Reminding me just how much I despise both the logo and the typeface London 2012 is using.

Created out of slanted edges it is supposed to convey energy and dyanimism but in my opinion it doesnt.

I feel the characters lack definition and crispness to them and they look too messy.

Typographer Erik Spiekermann completely agrees with me. His reply was…

“I Hate it.”

Typographer Paul Barnes thinks that the typeface suits the brand, he said…

“I can see that its very much become part of the brand, and people identify the event with it. In that sense its been successful and a useful part of the Olympic ‘brand’.”

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I AM FOR RESPECTING

THE PAST BUT NOT

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PAULUS M. DREIBHOLZ

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Oxford Circus: Old vs New

Whilst walking down Oxford Street I noticed how much typography can dominate a landscape. The more dominant typefaces stand out and draw your attention.

I also noticed the conflict between the old style lettering seen on the Oxford Street station and this contemporary modern sign. Will all the old be replaced by the influx of modern type?

I asked this question to typographer and book designer David Pearson andhe said:

“It all depends what is in and out of fashion at the time, like at the moment Victorian type is in fashion. If people are finding it pleasing it should be preserved so that people can take lessons from the past.

Now that people realise the merits of old signage, if it were to be fleetingly removed, they would regret it.

Although, a modern city does need modern design but that doesn’t mean you can’t take lessons from the past, you don’t always need to reinvent the wheel.”

I also spoke to another London based typographer Paulus M. Dreibholz and he said:

“I am for respecting the past, but not blissfully holding it up as the Holy Grail. If achievements of the past deserve to be preserved, it should be for a good reason not just because it is old.”

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YOU DON’T ALWAYS NEEDTO REINVENT THE WHEEL

DAVID PEARSON

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REALLY HAVE AN OPINION OR FEELING

ON ITPAUL BARNES

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The reason I went on my trip to London was to see if people take typography for granted.

When I saw this huge letter S for the Shrek Musical it stood out from a long way away. Which shows again just how type can dominate just as much as any picture can.

Typography is beautiful if it is done well and people tend to ignore it. When it is done badly however, people then start to take notice of it.

Paul Barnes agrees with my point of view, he said:

“To most people it exists and they don’t really have an opinion or feeling on it. They just take it for granted.

When its well done, they appreciate subconsciously. When its badly done, or used in the wrong context they tend to notice it more.”

David Pearson also made a good point, he said:

“They see it but don’t question it but I think it’s not necessarily a bad thing. Good typography on the streets is designed not to draw attention, they aren’t meant to be puzzles they are meant to be taken advantage of, like a good book type.

People only really notice type if it’s really quirky or if it’s done badly.”

Covent Garden: Type for granted

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GOOD TYPOGRAPHY

IS NOT …

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DAVID PEARSON

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WHEN ITS WELL DONE THEY

APPRECIATE SUBCONSCIOUSLY

PAUL BARNES

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The aim of this trip was to highlight the great typography on show

that many people miss.

I managed to discover so many hidden gems around London and widened my own fascination with

the type around me.

I also managed to speak to gather some great expert opinions

from the likes of David Pearson and Erik Spiekermann and this in turn

has taught me a lot more about typography around us.

In conclusion I have found that people do take type for granted but that isnt always a bad thing,

as if people are noticing it then its usually for a bad reason.

I will leave you with this quote fromErik Spiekermann…

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CHARLIE GARRODOI