Silver Reed, Olympia and Olivettis—my collection grows

Over the last month I’ve had a great streak of luck finding typewriters including some practically brand new models. A collection of portables the most colourful and best looking was this Silver Reed SR 180 circa 1965.

Painted in a subtle but alluring light blue and housed in a dark black case, it screams class. The SR 180 also has a key I’d never seen on typewriter before which when held down would advance the carriage rapidly. I always find it really interesting how typewriter manufacturers did their own thing, some deciding to include fraction characters such as 1/2 and 1/3 but no 2/3 or including the number 1. I guess they just didn’t have as much standardisation in the hay day of the typewriter.

But by far the best find of late, by complete accident as I didn’t realise at the time I found it, was this Olympia Splendid 66. An accompanying model to the Olympia Splendid 33—my first ever typewriter—the Splendid 66 has a cursive typeface. Unlike the usual monospaced courier-like font most will associate with typewriters, the impression the Splendid 66 makes on the paper looks more handwritten. Much more of a personal touch, I can’t imagine the cursive typewriters sold much to businesses but their unique personalities and rarity makes for a great typewriter to add to the collection.

Next I just need to find the god of all typewriters, Olivetti Valentine.

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Simpsons Catch Me If You Can Parody


I caught this excellent parody of the Catch Me If You Can title sequence on The Simpsons a couple of weeks back. You can watch the full Simpsons Catch Me If You Can parody or watch the original title sequence over at The Art of Titles.

The original title sequence for Catch Me If You Can has to be one of my favourites, directed by Kuntzel+Deygas and produced by Nexus Productions. Whilst researching both title sequences, I also came across another one of my favourite title sequences for Thank You For Smoking by Shadow Play Studio. If you’re interested in the title sequence for Thank You For Smoking check out these stills on flickr.

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Anthony Burrill: In a New Place

I took the time out to visit Anthony Burrill’s latest exhibition last night at Kemistry gallery. ‘In a New Places’ the title of the exhibition was very fitting, with the work on show moving away from previous iconic typographic pieces that have become synonymous with Burrill’s brand of prints. The bold lines, flat colours and simple geometric shapes are all still present, but there’s clearly a focus on illustration taking influence from nature. The show also showed Burrill’s experimentation with with laser cut perspex in the form of some beautiful wall mounted sculptures.

All in the all the private view was pretty packed, as always at Kemistry, with a small collection card reproductions of prints in the show, being given away (I’m sure I’ll post them later on in the week) along side small postcard books that showed off more of Burril’s work that most of his patrons would be familiar with. There’s also a really bold mural on the wall outside Kemistry, so make sure you don’t miss it.

Wallpaper* magazine were also there last night and have put together a small critique of the site along side production shots of the show as it was hung yesterday. The show runs until and check out the Kemistry website for more information and opening times.

Image lovingly borrowed from Wallpaper*.

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I Love Typography—really, I do

I Love Typography is an amazing site for anyone who has an addiction to typography, which probably means you’re a graphic designer of sorts. They produce so much great content I find it difficult keeping up and often gets stuck on my ‘list of things to do when I have more time’. One of the best things about their blog is it’s been expertly crafted to demonstrate the love of typography but in a webpage which can inherently by quite restrictive and unpredictable when it comes to typography. So hats off to thier designers/css coders for their efforts.∑

They’ve recently done a feature recapping the best typefaces of 2008 which is definitely worth a butchers at. I’m loving Face Buster—maybe I can use it in some artwork in 2009?

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