In the annals of Los Angeles mid-century modernism, Paul Tuttle may not loom nearly as large as Charles Eames and Pierre Koenig, but he should. He created spare but elegant interiors and custom furnishings such as those shown in the 1952 floating glass-box home in Pasadena (2nd photo). (The house was designed by Tuttle’s employer, architect Thornton Ladd.) - David A. Keeps of the Los Angeles Times
Denied entrance to Art Center School in Los Angeles, Tuttle “audited “ a class out of sight of the instructor, Alvin Lustig, a highly respected designer. Tuttle created a model and presented it to the class as if he were enrolled. When Lustig realized he was not, he summarily dismissed him—but he didn’t forget him.
Impressed with Tuttle’s ability, Lustig contacted him within weeks, offering a job in his office. While he was not there long, Tuttle’s lasting friendship with the “pioneer of modern design” was the first of several opportunities that would propel him into the design field.- Jane Ellison of Seasons Magazine
“These are, after all, like any book, meant to convey a certain amount of information about the written words contained within the covers, so in addition to be aesthetically pleasing, they had to be thematically appropriate, and considering the experimental nature of many of the authors and books, it wasn’t always easy to nail the design. But he did. Over and over again.”
Shabaaam here it is, the 3D type book. Arrived with airmail today the book has a cool printed surface and it seems very 3D with the special varnished letters a first sight. What we like most - there are more work pieces in it than text. To be honest, we like to see examples not a bunch of text, if its no biography or novel.
About the book
As well as pioneering milestones from as far back as the 1940s, this book focuses on recent and brand new typographic projects. 3D type specialist Andrew Byrom explains the context and motivation behind these innovative works in an insightful foreword. Inspired by the daily dose of colourful, often talking letters, walking and dancing through the television screen, lately everybody should be in love with 3D typography. A new wave of appreciation for non digital, handmade and well-crafted work involving three dimensional things is coming. Grown over the last three decades with the LOVE sign of Robert Indiana or the Hollywood sign in the hills of LA, fellow artists and designers share their fascination for 3D.
The book contains amazing works from Sagmeister inc., Vaughan Oliver, Milton Glaser, Alvin Lustig, Louis Danziger, Roger Excoffon and many more.
We reccomend the book to every designer who loves to create new typefaces with the help of his surrounding objects. And of course to all our followers and fans, because it’s really astonishing how easy it is for example to make a digital looking typeface with the help of a fence and some tennis balls.