Posts categorised: monotype borders

    Monotype Borders. Modules 5 and 6.

    Continuing the investigation in to Monotype Borders, Modules 5 and 6 follow a similar format to the 1-4 in the sequence; twenty-four 12 x 18 em rectangles made from 12-, 18- and 36 point Monotype Borders. The borders are printed in three colours and the individual units used are identified at the bottom of the print by their Monotype serial number.

    Monotype Borders, Modules 5 & 6, are printed on Zerkall Rosa paper in editions of 50 (red) and 40 (blue) and measure 43 x 56 cm. Both prints are available from my shop here.




    I have used the ‘electricity danger’ warning sign as a starting point for both POWER CUT and MEGAVOLT which have been designed for the ‘VII Festival del Libro de artista y la pequeña edición 2014‘, a book fair in Barcelona whose topic this year is the absence of electricity.

    The triangle is composed of 1-em border rule out of which emerges the arrow shape, created using a selection of 12-, 18- and 24-point Monotype borders.

    The title has been set in the angular Stern typeface which was designed, cut and cast by Jim Rimmer (see Matrix 28 pp. 77-84) and the identification key has been hand-set in Grot 215. Each border unit has been identified by its serial number.

    MEGAVOLT and POWER CUT are both printed on Fedrigoni Sirio Limone, come in an edition of 36 and measure 350mm x 500mm.
    15 of each of these prints available in the shop:

    Monotype Borders. (Module One, Two, Three & Four).

    It is not easy to write an entertaining blog post about Monotype borders and their creative possibilities under various tabular layouts & colour combinations. So I’ll keep this brief…

    These posters, 4 in total, have been created using 12-, 18- 24- & 36-point Monotype borders which are arranged to form 24 rectangles of 12 x 18 ems (with a 12-point gap throughout). Twenty separate Monotype units have been used and the prints vary from one another due to different colour combinations and slight variations in composition.

    The borders are printed in three colours with the bottom rectangle rotating to the top on completion of each colour run meaning that each remaining rectangle moves down a section. I’ve used Figgins Sans Condensed (60-point) & Grotesque 9 (24-point) for the headings and Grotesque 215 & 216 for the identification chart.

    In Modules One & Two a 12-point rule has replaced the white space which alters the pattern more than expected. When using rule to block a white space accurately I used the Rouse saw and bowler plain – if the cutting is a fraction out the whole effect is altered.

    This is the early stages of investigation in to borders, the result of which will be a book. I’d welcome any feedback on the subject.

    Printed on to 130gsm Zerkall Rosa in a small edition of 6 prints per module. The prints are available from: