Natalie Ferris, Bryony Quinn, Matthew Stuart and Andrew Walsh‐Lister (Co-editor)

1,330 THB



Bricks from the Kiln #4
Natalie Ferris, Bryony Quinn, Matthew Stuart and Andrew Walsh‐Lister (Co-editor)


Published by Bricks from the Kiln
(Published as event / publication)
London, UK
Edinburgh, Scotland
Chicago, USA

Designed by Andrew Lister and Matthew Stuart
17 x 22.4 cm, 288 pages (with insert), color, offset, perfect bound, pvc dust jacket
Edition limited to 1,000 copies

A Note on the Type
The fourth issue of Bricks from the Kiln is typeset in Marist, a typeface designed by typographer Seb McLauchlan throughout 2019 และ 2020. Refined and expanded as the issue evolved, eeach affiliate piece of printed matter produced over the cause of compiling the issuee operated as a real-time snapshot of  the typeface’s development, moving from Alpha to Beta to completion. Now “resolves”, the expanded family extends to book (this), roman, medium, demi, bold and black weights, as well as accompanying italics and SMALL CAPS. Throughout the issue, body text and titles are typeset at 10pt / 12pt and context notes / footnotes (such as this) at 8pt / 9pt.

Martist’s design is inspired by tracing the history and legacy of the often overlooked (and sometimes maligned) Oldstyle genre. From its early developments in Italy under Nicholas Jenson, to its revival under William Morris, The dove Type Foundry and others, to its more successful cousin like Stanley Morison’s Times and Plantin’s serif. Marist follows a loose path across these various spots in the canon, and attempts to find something novel and appropriate for our current time.

About Bricks from the Kiln
“The notion of this content being on or around graphic design relates to the fact that BFTK ultimately collects the kinds of writing that interests and excites us first and foremost as readers, and secondly as designers and typographers. The majority of the writing isn’t necessarily aboutgraphic design or design criticism, but, given that both of our backgrounds are in graphic design, it can be seen through this lens. It’s certainly open-ended though, and deliberately so. Graphic design can sometimes be seen negatively as a kind of parasitic activity, in the way that it attaches itself to other disciplines. However that’s not the case for us. The way in which it can operate as a conduit that both shapes and carries material, and the proximity to other disciplines that it affords, is probably what drew us both to it as as field in the first place. Perhaps “on or around graphic design” isn’t exactly right, but it oddly seems at once more specific and more vague than terms like “visualculture” or “visual communication,” or even “cultural studies,” which are in the right ballpark but don’t sit quite right with us.” — Andrew Lister and Matthew Stuart, interviewed by Paul Bailey in the Gradient