Circular issue 18

Each issue of Circular, the Typographic Circle’s members magazine, adopts a different design approach. For its 18th outing Pentagram’s Domenic Lippa and Jeremy Kunze have almost dispensed with imagery altogether

Spread from interview with Johnny Kelly

Each issue of Circular, the Typographic Circle’s members magazine, adopts a different design approach. For its 18th outing Pentagram‘s Domenic Lippa and Jeremy Kunze have almost dispensed with imagery altogether…

Set up in 1976, the Typographic Circle is a volunteer-run not-for-profit organisation with aim of bringing together designers who have a particular interest in type and typography.

Cover of issue 18 and spreads from interview with Rian Hughes

The TC is well known for its monthly lectures by leading industry figures such as Ken Garland, Jonathan Barnbrook and Anthony Burrill, and also its staging of the annual New York Type Directors Club exhibition. Circular is sent out to its membership base.

“Although a magazine, Circular is a unique publication as it carries no advertising, and therefore doesn’t need to behave like a normal publication,” says Lippa, who has co-designed the magazine for the last ten years.

Spread from interview with Sir John Hegarty

“We are also very conscious that this is going to designers and typographers who can be the most demanding of audiences. With this in mind we kept main text to a consistent structure and then (hopefully) surprised our readers with changes of pace and size of type to some of the quotes. This creates a tension throughout the magazine.”

For issue 18, Lippa and Kunze have followed a typographically-led treatment. “I’ve always thought typography has the ability to engage and surprise us,” says Lippa, “which is what we have tried to do in this issue.”

Spreads from interview with Harry Pearce

The front section is a series of interviews with previous guest speakers, plus other members of the Circle executive committee including chairperson Alan Dye of NB Studio, Louise Sloper and Val Kildea.

The interviews are set in Regular by A2-TYPE and also Perpetua by Eric Gill and use only two colours. The back section is devoted to a showcase of work of the interviewees – and includes a selection of imagery, such as photography by Pentagram’s Harry Pearce and design work by the studio’s Angus Hyland.

GF Smith have helped to produce a limited edition series of envelopes in different colourways featuring quotes from some of the interviews. For more information on the Typographic Circle, including membership, see typocircle.com. It also maintains a blog at typocircle.tumblr.com.

Design: Domenic Lippa and Jeremy Kunze, Pentagram Design. Co-editors: Domenic Lippa, Louise Sloper and Val Kildea.

Circular 18 envelopes

Pages from interview with Andy Altmann

Spreads showing work by interviewees Harry Pearce and Angus Hyland

More from CR

Miranda July and Miu Miu launch Somebody app

Miu Miu has teamed up with artist and filmmaker Miranda July to create a new app, Somebody, which allows you to send messages to friends and have them delivered, verbally, by a stranger nearby (who also has the app). I know, I know… you’re thinking ‘but when would I actually use that in the real world?’ I was too, but then I watched July’s quirky film to go with the app and suddenly this seems the way forward for all communication…

What a failed pitch looks like

There are many reasons why a pitch tanks, writes Gemma Germains of Well Made studio. Price and strategy are the go-to excuses, but that’s only half the story. No client will admit work is won and lost on personality. No client will admit you irritated them

Grayson Perry: Playing to the Gallery

Artist Grayson Perry has released a book based on his BBC4 Reith Lecture series, Playing to the Gallery, which aims to demistify contemporary art and prove that “anybody can enjoy it.” An entertaining and insightful read, it also contains a new series of 30 witty drawings…

How to make a timeless ad

Simplicity may be central to this ad for The Guide Dogs for the Blind Association but it’s full of visual nuances, turning a good ad into a truly great one, says Paul Belford

Senior Creative Designer

Monddi Design Agency

Head of Digital Content

Red Sofa London