"The typeface should have 'the bold simplicity of the authentic lettering of the finest periods' Pick wrote to Johnston. It should also, he told him, be easy to read from a moving train and in bad lighting, be noticeably up-to-date with the times, and yet also be completely different from anything found on other shops and signage. Finally, in true Frank Pick style, Johnston was told that each letter should be 'a strong and unmistakeable symbol.'"
Photoblog documenting New York City block by block. Most recent entry is about the block I work on. He shot the lightpole I lock my bike to!
Exhaustive, loving, history of New York City subway signage, only incidentally about Helvetica.
"This time of year, I have to visit the hives every two or three weeks. I have the help of Antoine, who is a taxi cab driver, who stops every day that I'm in the market to talk about bees and he takes me around to my locations. I teach him everything I know about bees, and so he doesn't charge me."
Nice Google map hack incorporating bike lanes into the route planning.
Seems our boy Eadweard was also an incredibly accomplished "view" photographer. This photo tracks the motion of his camera, and himself, and not his subject.
Learn how to correctly drive through an intersection, correctly give a mixed-race handshake, correctly be tied up, and also how to avoid a subway car passing over your head. No doubt indispensable.
Along similar lines as the previous link. I think that every major city exists as a rich typographic macrocosm. All's I'm saying is that, given the number of cities, and given the number of signs, there should be evidence of distinct type histories.
Paul Shaw is evidently a man after my own heart.
