Latest on twitter:
Amazing store (Hoyt-Schermerhorn stop on the A, C, or G-line) with amazing design. There’s more on Behance’s site—definitely worth the click. Check it out: Brooklyn Fare on the Behance Network.
(via ache)
"We trade self-reflection for busyness, gorging ourselves on it and drowning in it, without recognizing the violence of that busyness."
"I can now sense the moment before I’m about to employ an excuse. I can feel the chain of events that are about to occur as I construct my weak redirection of responsibility. I hear what I’m about to say in my head—It’s not my fault—and then I stop."
I get it.
By Hugh MacLeod (via my wife).
There is a time and a place for everything.
This is what I want to be when I grow up.
The (Mostly) True Story of Helvetica and the New York City Subway
There is a commonly held belief that Helvetica is the signage typeface of the New York City subway system, a belief reinforced by Helvetica, Gary Hustwit’s popular 2007 documentary about the typeface. But it is not true—or rather, it is only somewhat true. Helvetica is the official typeface of the MTA today, but it was not the typeface specified by Unimark International when it created a new signage system at the end of the 1960s. Why was Helvetica not chosen originally? What was chosen in its place? Why is Helvetica used now, and when did the changeover occur? To answer those questions this essay explores several important histories: of the New York City subway system, transportation signage in the 1960s, Unimark International and, of course, Helvetica. These four strands are woven together, over nine pages, to tell a story that ultimately transcends the simple issue of Helvetica and the subway. My two greatest loves—Helvetica and the New York City Subway System—together at last.
