You can obviously see that in his work for Apple. Peter Saville: Jony has that obsessive mania for everything – he’s very particular. There’s always space, not necessarily to improve, but to refine something. Luxury is the wrong word, but we don’t often have this kind of opportunity in our line of work. Marc Newson: On a project like this, we can spend as much time as we want – we are the client. But it’s also something that either works or it doesn’t. I think pop culture in the 1980s turned a young generation on to type. I saw how it could be very evocative in creating a certain gravitas as well as a sense of cultural significance. Peter Saville: In a way, I made my contribution 40 years ago when I realised that typography triggers certain contextual and cultural associations. When you make things with love and care you express your gratitude to humanity, to our species. The tools we use as creatives tend to establish and reinforce the differences in our practice, not the similarities. Jony Ive: At its heart LoveFrom is about gathering together experts, people who are pre-eminent in their various fields. Work is also apace to design a complementary sans serif (no prizes for guessing the name), all part of Ive’s desire to give LoveFrom the ultimate bespoke tool kit. Another early, under the radar outing for LoveFrom, Serif was in a self-published memorial book for Richard Rogers’ final project at Château La Coste, a project undertaken to ‘honour a dear friend’, according to Ive.
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