I want a pet deer #Bambi (at California State Fair)

at My Eyeballs are Sweating


Nice typography with a keepsake wooden tag is a win! Package design by We are Branch

(via goodtypography)



I changed up my idea a few times as I made this, which explains why the “ight” isn’t centered on the versal.  That would have looked better, but planning ahead like that is for suckers.  And also actual artists.

(via scribebynight)


Innevers Gothic by Svetlana Usljebrka.

Innervers Gothic is a modern, geometric sans serif typeface. It is designed with a very low stroke contrast. The initial design inspiration was in the shape of superellipse.

The family consists of six weights ranging from 10 to 60: 10 Ultra Light, 20 Thin, 30 Light, 40 Regular, 50 Medium and 60 Bold. It is a display typeface, well suited for headlines, logo, advertising etc. Thanks to its tall x-height and its wide and geometric forms of letters, it is also very readable in small text sizes.

Opentype features include standard ligatures, fractions, proportional/tabular figures, numerator and denominator numbers, as well as superscript and subscript numbers.

Download it here:


Andrew McCutchen in disbelief over some of Stanton’s bombs.


Hotel Axis Viana Jorge Sodré de Albuquerque + VHM

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momo taro

(via TumbleOn)

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Studio for Arranz Bravo, Barcelona, Spain by Garcés – De Seta – Bonet | via

The new building is designed for a sole activity: creation, an introspective and solitary experience, just as the painter told us. This led us to handle the volume compactly, with a uniform exterior design –layers of insulation and clear stucco in an expressive continuance of walls and cover– to establish a feeling of familiarity with the natural surroundings in an unobtrusive manner. The interior is a fluid and multiple concrete cavity – a direct result of the monolithic structural construction concept and the search for harsh and naked spaces that serve the artistic work that takes place inside.

The plot of land is sloping, with an abundance of trees on the northern face of Tibidabo, and is adjacent to the painter’s house. The small building has the largest –12 m x 13.5 m–, and emptiest painting studio possible, a result of the meeting between the prismatic volume and the land, a workshop for sculpture and a store for the painter’s own work.

Photography: Adrià Goula

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