Kimbo updated!

November 30, 2016

kimbo updated for CC2017

Kimbo, our plug-in for Adobe Illustrator was just updated for CC2017. Check it out here! Kimbo adds 13 new tools in 2 tool groups to Illustrator’s tool palette. These tools permit the creation of artwork that would otherwise be difficult or time-consuming to create. A license is only $20—cheap! Get in touch if you’re interested in obtaining licenses for teams or institutions. We’re happy to discount.

Art Marks

November 29, 2016

counterprint_art_marks_ian_lynam

I have a number of logo designs in the new book Art Marks from Counter-Print.

Slanted #28 – Warsaw

November 3, 2016

slanted28_warsaw_02

I have an essay in the latest issue of Slanted called “Letter to an Ex-Girlfriend in Warsaw”. The most brief of excerpts:
The rat and I watch a man amble into the park and splay on a bench. He takes out what looks like a tampon and begins vaping hungrily. The rat and I look at one another and arch our eyebrows in unison.

Back.

October 22, 2016

supplementtokyo001

Supplement: Tokyo Edition One went swimmingly! Packed house and four excellent presentations! Stay tuned for Edition Two!

jeju

The United Designs exhibition opened and closed. Good stuff.

United Designs

October 2, 2016

uniteddesigns

I have a series of posters in the United Designs biennial in Jeju, Korea — a biennial exhibition of poster designs dedicated to environmental awareness.


My statement for the show:

“The series of posters included in the 8th United Designs are the second installment of story-sketches that I have written about mythology gone astray. Society has created a conscious divide between humanity and nature, just as it has created a theoretical divide between most things, e.g. gender, sexuality, morals, spirituality, ad nauseum. These half-wrought stories in poster form are the embodiment of the fuzziness of actual human experience and help bridge the divide. The problem with posters, and with poster exhibitions, is that they leave little lasting impression with an audience other than catchy copy, refined form, or tweaking the format.

photo by Jen McKnight

The “GODS 2: REVENGERS” series of posters offers the audience the chance to read at length about things they wouldn’t expect in a typical graphic design show written in a way they wouldn’t expect in a typical graphic design show. Plus, there’s a minotaur. Everybody loves minotaurs. The problem is that minotaurs don’t know that people love them.”

“The series of posters operate akin to society or the environment—if one part is taken away, it destabilizes the entire theme and narrative, yet can still be understood in part and continues to move forward.

Also, these story-sketches were written in part in Seogwipo in Jeju in August of 2016. Part of Jeju’s spirit resides within them.”

Supplement: Tokyo Edition 1

September 25, 2016

supp_heroine

Things have been insanely busy—Yuki, Renna and I had a table at the Tokyo Art Book Fair and it went really well, as per usual. The bestseller of our time at the fair was Doko Demo Design, our Japanese/English design term phrasebook. DDD is about to go into its third printing, which is pretty nuts.

Some other big news: I have started a new series of design-related talks called Supplement: Tokyo. It will occur twice a year, I imagine. There is a website devoted to the series here. You can find out about the first event on October 4th there.

The first edition will feature talks by Chris Palmieri, Taro Nettleton, Jen McKnight and W. David Marx. It is free and open to the public. Check it out.

ian_lynam_at_ny_tdc

I’ll be giving a lecture at the Type Directors Club in New York on October 6 at 6:30pm. It is called “I Blame the Sun: The Emergence of Modernism in Japanese Graphic Design”. It is a talk about Japanese graphic design and typographic history from 1854 to 1965 that will explore Japan’s first type foundries, propaganda, speculative labor, and how one Japanese designer disrupts our understanding of design history. You can buy a ticket here.

After that, I’ll be in Montpelier, Vermont at VCFA for our fall residency. We’re going to be joined by guests Jon Sueda and Aaris Sherin alongside our latest faculty: David Schatz and Sereina Rothenberger of the Swiss design studio HAMMER. It is going to be good!

Temple University Japan’s new look

September 3, 2016

Ian Lynam Design rebranding of Temple University Japan - photo by http://michaelholmesphoto.com/

We finished up the new interior design and exterior branding for Temple University Japan. I got to work with one of my amazing students, Van Ha “Noah” Nguyen, who designed one of the walls in the space. I love Noah. She has a relentless work ethic, incredible energy, enthusiasm, and is just mega-fun. The space opened a week ago and we couldn’t be happier about the design, the execution, and the folks we got to work with along the way! Thanks, TUJ!

Things happened.

September 1, 2016

Promotional posters for VCFA's MFA in Graphic Design

I designed and printed a new series of posters for the VCFA MFA in Graphic Design program.

Promotional posters for VCFA's MFA in Graphic Design

They come in 3 different color variations.

Promotional posters for VCFA's MFA in Graphic Design

They have some witty copywriting.

Promotional posters for VCFA's MFA in Graphic Design

I designed 97% of the type on them, as well. You can scoop them up in Vegas at the AIGA National Conference, but I wholeheartedly recommend talking to my VCFA comrades Nikki Juen and David Markow while doing that scooping!

On the off chance that a human who will be reading this is actually going, seriously seek out Nikki—she is an amazing educator, the most warm of humans, and she will kick your ass around the block at any table you play at.

Custom type design for Vietnamese American artist Hong-An Truong

I designed a custom Vietnamese/English typeface for Vietnamese American artist Hong-An Truong in July for a recent show in Hanoi.

Custom type design for Vietnamese American artist Hong-An Truong

The font is called XJ Bold, named for Hong-An’s daughter.

Custom type design for Vietnamese American artist Hong-An Truong

The exhibition was called “Nói trong bóng tối / Speaking in the dark – triển lãm của hai nghệ sĩ Trương Hồng-Ân và Ngô Ngọc Hương“.

Custom type design for Vietnamese American artist Hong-An Truong

I am extremely pleased with how the collaboration turned out.

Custom type design for Vietnamese American artist Hong-An Truong

Hong-An is an artist whose work I devoutly believe in. It is powerful.

Custom type design for Vietnamese American artist Hong-An Truong

Giant thanks to Hong-An and the Nhà Sàn Collective

Custom type design for Vietnamese American artist Hong-An Truong

In a final bit of news that is utterly unrelated to the image above, my book Parting It Out just received a great review from the magazine Communication Arts.

STA 100

August 26, 2016

Ian Lynam wins STA 100

I was one of the winners of the Society of Typographic Arts’ STA100 design competition for the design of my book Parting It Out. I was in good company—VCFA alumni Jason Alejandro and Laura Rossi Garcia and current students Chad Miller and Luke Dorman were all selected by judges Neville Brody, Denise Gonzales Crisp and Martin Venezky as having created some of top 100 graphic design projects of 2016.

Surprise: new font releases and a logo design.

August 6, 2016

SmytheSoft Pro by Ian LynamSmytheSoft Pro by Ian Lynam

I just released two new typeface families. The first is SmytheSans Pro.

SmytheSoft Pro by Ian Lynam

SmytheSoft Pro is a contemporary workhorse sans serif family that is eminently readable on-screen and in print. It is an updated display version of our popular family Smythe Sans with custom rounded terminals, rigorously spaced and kerned. SmytheSoft Pro includes Western, Central and Eastern European and Vietnamese character sets and is offered in five Roman and Italic weights: thin, ultra light, light, regular and bold.

SmytheSoft Pro by Ian Lynam

SmythSoft Pro features a large x-height, ample yet economic spacing for capitals, and subtle ink traps for less-than-perfect printing conditions (which can be exploited as design features at large scale). All of the capitals from the old Smythe Sans Display family are folded in to SmytheSoft Pro as OpenType accessible stylistic alternates—NASA-inspired space age alternate caps galore! The original Smythe Sans family featured Italic and Oblique cuts—in SmytheSoft Pro, the more calligraphic italic characters are available via OpenType-accessible stylistic sets. Each weight of SmytheSoft Pro features a bespoke paragraph mark which varies from weight-to-weight and includes over 100 ornaments, kinetic rules, symbols and pattern-making glyphs so that one might use SmytheSoft Pro as a complete design kit.

SmytheSoft Pro by Ian Lynam

The members of the SmytheSoft Pro family:
SmytheSoft Pro Thin
SmytheSoft Pro Thin Italic
SmytheSoft Pro ExtraLight
SmytheSoft Pro ExtraLight Italic
SmytheSoft Pro Light
SmytheSoft Pro Light Italic
SmytheSoft Pro Regular
SmytheSoft Pro Italic
SmytheSoft Pro Bold
SmytheSoft Pro Bold Italic

SmytheSoft Pro by Ian Lynam

The lighter weights are slightly slimmer than the regular and bold weights to give the typeface more of a vertical feel, inviting readers’ to rapidly read typeset text with a maximum of contrast and a minimum of optical dazzle. All work well on-screen as webfonts and in print as book type. Each is hinted with accuracy and kerned with precision.

SmytheSoft Pro by Ian Lynam

SmytheSoft Pro is an eminently readable typeface, particularly at small sizes on-screen. The strokes throughout are modulated to enhance humanist expression, with high-contrast horizontal slices taken out of certain letterforms to keep readers’ eyes moving forward in text. The typeface’s tendency toward a tall x-height was carried through the single-storied font with more horizontal characteristics for enhanced readability while being super-friendly and bright in appearance.

SmytheSoft Pro by Ian Lynam

Features of SmytheSoft Pro:
– complete Western, Central and Eastern European characters sets optimized for text typesetting
– radically improved spacing guaranteeing beautiful results in print and on screen for the Czech, English, Hungarian, Croatian, Esperanto, Maltese, Romanian, Turkish, Albanian, French, Portuguese, Spanish, Basque, Bulgarian, Finnish, Swedish, Norwegian and Vietnamese languages

SmytheSoft Pro by Ian Lynam

– all lowercase characters have an enlarged x-height, creating less optical dazzle than typefaces like Futura, Neutra or Avant Garde
– ink traps to enhance smooth printing when using less-than-optimum production processes like Risograph or if a press is overloaded with ink
– retro-futuristic alternate characters for most capitals
– 100+ ornament, kinetic rules, forms, symbols and pattern-making glyphs

SmytheSoft Pro by Ian Lynam

SmytheSoft Pro is available most affordably from Wordshape—$100 for all ten weights. Check it out here.

SmytheSoft Pro by Ian Lynam

The family is also available from YouWorkForThem, Creative Market and soon, MyFonts.

SmytheSans Pro by Ian Lynam

The second family of type is SmytheSans Pro. Essentially, SmytheSoft Pro is SmytheSans Pro with rounded terminals.

SmytheSans Pro by Ian Lynam

SmytheSans Pro is an updated version of our popular family Smythe Sans — we extended the characters sets, redrew most of the characters, rigorously spaced and kerned the entire family, and added a bunch of new features.

SmytheSans Pro by Ian Lynam

Smythe Sans Pro includes Western, Central and Eastern European and Vietnamese character sets and is offered in five weights: thin, ultra light, light, regular and bold.

SmytheSans Pro by Ian Lynam

The members of the SmytheSans Pro family:
SmytheSans Pro Thin
SmytheSans Pro Thin Italic
SmytheSans Pro ExtraLight
SmytheSans Pro ExtraLight Italic
SmytheSans Pro Light
SmytheSans Pro Light Italic
SmytheSans Pro Regular
SmytheSans Pro Italic
SmytheSans Pro Bold
SmytheSans Pro Bold Italic

SmytheSans Pro by Ian Lynam

Features of Smythe Sans Pro:
– complete Western, Central and Eastern European characters sets optimized for text typesetting
– radically improved spacing guaranteeing beautiful results in print and on screen for the Czech, English, Hungarian, Croatian, Esperanto, Maltese, Romanian, Turkish, Albanian, French, Portuguese, Spanish, Basque, Bulgarian, Finnish, Swedish, Norwegian and Vietnamese languages
– all lowercase characters have an enlarged x-height, creating less optical dazzle than typefaces like Futura, Neutra or Avant Garde
– ink traps to enhance smooth printing when using less-than-optimum production processes like Risograph or if a press is overloaded with ink
– retro-futuristic alternate characters for most capitals
– 100+ ornament, kinetic rule, form, symbol and pattern-making glyphs

SmytheSans Pro by Ian Lynam

SmytheSans Pro is available directly from my type foundry Wordshape, as well as YouWorkForThem, Creative Market and MyFonts soon.

Hannah Smith Photo logo by Ian Lynam

Why the name “Smythe”, anyway? Here’s the backstory: my dear friend Hannah Smith lived in Tokyo for many years and we are insanely close. The Smythe families are named after her. “Smythe” is my annoying nickname for her. I just designed the logo for Hannah’s photo studio in Sydney, Australia. She does amazing work (like many of the photos on this website) and is one of the best humans on this planet.

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