Rudy Vanderlans Y Zuzana Licko

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Rudy VanderLans y Zuzana Licko Rudy VanderLans y Zuzana VR: para finalizar con esta maravillosa Licko, él nació en La Haya, entrevista, ¿Tiene un mensaje para los Países Bajos, se trasladó a nuevos diseñadores, algo que salga de tu Estados Unidos en 1981. corazón, que les inspire? Ella nació 1961, en Bratislava, RvdL: Claro que si, el diseño no es solo República Eslovaca, se trasladó a los hacer algo atractivo para el cliente, Estados Unidos a los siete años. diseñar también ofrece un gran potencial: Actualmente son esposos. En esta es una herramienta para la reinvención, entrevista exclusiva nos cuentan para ser interrogados, por la indepen- sobre sus vidas y proyectos. dencia, para el bien social, y que no s VR: Antes que todo me pueden iempre se necesita un cliente para hacer explicar cómo se conocieron? un trabajo. ZL: Nos conocimos en la Universidad VR: Fue un gusto hablar con ustedes, de California en Berkley, donde yo era gracias por compartir su éxito con nosotros. estudiante en el College of Environ- VR: ¿Cómo se distribuyen el trabajo al momen- mental Design y Rudy era estudiante to de empezar un nuevo ejemplar de la revista? de fotografía. Esto fue en 1982-83. RvdL: Zuzana se encargaba de la parte de la "Ser creativo inspirado tipografía y yo con la parte del diseño VR: A lo largo de su carrera ¿Cuál prácticamente editar la revista. no es una estrategia, proyecto se destacado cómo el más exitoso? VR: ¿Zuzana cómo descubres tu habilidad es simplemente lo que RvdL: El éxito y por el cual estamos con la tipografía? más orgullosos es nuestra revista de ZL:Empezó cuando mi padre, él era un bioma- me gusta hacer más". diseño gráfico Emigre, publicada en temático, me dio acceso a las computadoras y Z — RUBY VANDERLANS ingles. Represento una gran influen- entonces tuve la oportunidad de diseñar mi} cia en el diseño y creación de la pu- primera tipografía, un alfabeto griego, para mi blicación. Nuestra filosofía podía uso personal desde entonces me gusto. expresarse en la idea de partir de E cero en la publicación de cada uno VR: Zuzana de acuerdo a la demanda comercial, de sus números. ¿cuál es su diseño de la fuente de mayor éxito? VR: ¿Cuándo y cómo nace Emigre? ZL: Mrs Eaves. Estoy sorprendida por su éxito, ZL: Se fundó en 1984 hasta 2005, y me encanta ver a la vuelta de cada esquina, Rudy empezó revista Emigre con dos en el libro de tapas, menús de los restaurantes, otros artistas holandeses con el en todas partes. Estoy muy feliz de ver lo que objetivo de presentar el trabajo de los diseñadoreshan sido capaces de hacer con artistas que de alguna manera él. Ha sido nuestra mejor fuente de venta de años. influenciados por los viajes o de trabajo en el extranjero. 16 17R .

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Zuzana Licko’Dur
Slovak dilini konuşup geleneklerini servet kazanmak için kestirme sürdürürken, okulda ikinci bir dili bir yol olacağını düşünmüşlerdi. ve yeni âdetleri öğreniyordum. Başlangıçta amaç sadece Hollandalı Bu benim farklılıkların farkına sanatçılara odaklanmaktı, ama varmamı sağladı ve bana bir sonraları içeriği yurt dışında yabancının bakış açısını verdi. Aynı çalışanları kapsar hale gelince ismi, zamanda muhtemelen her şeyi uygun biçimde, Emigre oldu. Uzun sorgulama eğilimimi geliştirdi ve ön lafın kısası, Rudy’nin arkadaşları yargıları sorgulamayı öğretti, bunlar derginin umdukları gibi kârlı da beni tasarım mesleğine çeken olmayacağını anlayınca dergiyi bize şeyler oldu. bırakıp gittiler. O sıralar ben zaten Mac ile yarattığım bitmap fontları doğmuş ama Kaliforniya Dijital yazıtipi tasarımıyla dergide kullanıyordum. Fontların dolaylarında yetişmişlerdi ilgilenmeye başlayan ilk grafik 1985’te Emigre’yi çıkartmaya tasarımcılardan ve Mac kullanan başladığımızda Mac’te sayfa ve bu yüzden girişimlerine ilk yazıtipi tasarımcılarından düzeni programları yoktu. arkasındaki Emigre (Göçmen) Grafik birisiniz. Bu nasıl oldu? PostScript ve lazer yazıcılar bile adını koydular. Aslında Resim yapmayı, Legolarla oynamayı henüz yoktu. Yazıtiplerini nokta yüzler gurbetçiler için mizahi ve matematiği seven bir çocuktum. vuruşlu ImageWriter yazıcılarda bir sanat dergisi olarak Bu yüzden mimar olmak istediğimi düşündüm ve UC Berkeley’de MRS EAVES OT Zuzana başlamış olan Emigre Çevre Tasarımı Bölümüne girdim. Dergisi zaman içinde Okula başladığımda, fotoğrafçılık, tipografi için son derece tipo ve tipografi gibi yan derslerle Licko etkin bir vitrin haline daha fazla ilgili olduğumu fark ettim. Bölüm Görsel Çalışmalar MyFonts, Creative Characters, gelmiş ve yazıtiplerinin programını durdurmuştu, ancak sayı 105, Haziran 2016 tartışıldığı avangard birçok mimarlık öğrencisinin Çeviri: Ayşe Dağıstanlı bir foruma dönüşmüştür. ufkunu genişleteceği düşünüldüğü Yaratıcı yeniden için bu dersler iptal edilmemişti.
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Methods for a Critical Graphic Design Practice
Title Design as criticism: methods for a critical graphic design p r a c tic e Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/12027/ Dat e 2 0 1 7 Citation Laranjo, Francisco Miguel (2017) Design as criticism: methods for a critical graphic design practice. PhD thesis, University of the Arts London. Cr e a to rs Laranjo, Francisco Miguel Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) University of the Arts London – London College of Communication February 2017 First submission: October 2015 2 Abstract This practice-led research is the result of an interest in graphic design as a specific critical activity. Existing in the context of the 2008 financial and subsequent political crisis, both this thesis and my work are situated in an expanded field of graphic design. This research examines the emergence of the terms critical design and critical practice, and aims to develop methods that use criticism during the design process from a practitioner’s perspective. Central aims of this research are to address a gap in design discourse in relation to this terminology and impact designers operating under the banner of such terms, as well as challenging practitioners to develop a more critical design practice. The central argument of this thesis is that in order to develop a critical practice, a designer must approach design as criticism.
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Emigre No.40
Fall Information is in a way the opposite 1996 of garbage, although in our contemporary Guest Editor: THE INFO Andrew Blauvelt PERPLEX commercialized world they may at times Designer: Rudy VanderLans Copy Editor: appear identical. As a rule, information is Alice Polesky Emigre Fonts: something to preserve, garbage is Zuzana Licko Sales, distribution, and administration: Tim Starback something to be destroyed. However, both Sales John Todd and Darren Cruickshank can be looked on as a kind of waste product, a physical burden, and for contemporary society both are among the most pressing 1 Emigre no.40 This issue of Emigre problems today. was typeset in Base-9 and Base-12, designed – B i l l V i o l a by Zuzana Licko. Postmaster: Emigre (ISSN 1045-3717) is published quarterly for $28 per year by Emigre, Inc. 4475 D Street, Sacramento, CA 95819, U.S.A. Second class postage paid at Sacramento, CA. Postmaster please send address changes to: Emigre 4475 D Street, Sacramento, CA 95819, U.S.A. Copyright: © 1996 Emigre, Inc. All rights reserved. No part of this publication may be reproduced without written permission from the contributors or Quotes on inside front and back covers by Bill Viola. Emigre, Inc. Emigre is From HISTORY, 10 YEARS, AND THE DAYDREAM, in Reasons for knocking at an Empty House . Cambridge, MA a registered trademark of and London: MIT Press, 1995 Emigre Graphics. Phone: 916.451.4344 / Fax: 916.451.4351 Email (Editorial): [email protected] / Email (Subscriptions, etc.): sales @emigre.com 1 27 1 We write not to be understood 2 28 2 but to understand.
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Designed by Zuzana Licko Licensed and Distributed by Emigre * Mr Eaves Type Specimen Mr Eaves Type Specimen
mr eaves type specimen 1 MReaves DesigneD by ZuZana Licko LicenseD anD DistributeD by emigre *www.emigre.com mr eaves type specimen mr eaves type specimen 2 Mr Eaves Design Notes 3 Mr Eaves is the often requested sans-serif companion to Mrs Eaves, one of Emigre’s classic typeface designs. Created by Zuzana Licko, this latest addition to the Emigre Type Library is based on the proportions of the original Mrs Eaves. aa gg tt Mr Eaves Sans and Mr Eaves Modern counterparts. A matching Modern family provides a less humanistic look, with simpler and more geometric-looking shapes, most noticeably in the squared-off aOriginal Mrs Eavesa Sans in black.d Mr Eaves Sans companiond font in white.ee terminals and symmetric lower case counters. This family has moved furthest from its roots, yet still contains some of Mrs Eaves’ DNA. Licko took some liberty with the design of Mr Eaves. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique charac- teristics. mMr Eaves Sans and Mrm Eaves Modern counterparts. ww The Modern Italic is free of tails, and overall the Modern exhibits more repetition of forms, projecting a cleaner look. This provides stronger differentiation from the serif version whenever a more contrasting look is f f tt cc desired. Deviations from the Mrs Eaves model are evident in the overall decrease of contrast, as well as in details such as the flag and tail of the f and j, and the finial of the t, which were shortened to maintain a cleaner, sans serif look.
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Ambition/Fear by Zuzana Licko and Rudy Vanderlans Visions of Bold
Ambition/Fear ously hinged between disciplines will find that digital technology By ZuZana Licko and Rudy VandeRLans allows them that crossover necessary for their personal expression. One such new area is that of digital type design. Custom typefaces can now be produced letter, by letter, as called for in day-by-day ap - plications. This increases the potential for more personalized type - Visions of bold-italic-outline-shadow Helvetica “Mac” tricks have faces as it becomes economically feasible to create letter forms for sent many graphic designers running back to their T-squares and specific uses. rubber cement. Knowing how and when to use computers is difficult, since we have only begun to witness their capabilities. Some design - By making publishing and dissemination of information faster and ers have found computers a creative salvation from the boredom of less expensive, computer technology has made it feasible to reach a familiar methodologies, while others have utilized this new technol - smaller audience more effectively. It is no longer necessary to market ogy to expedite traditional production processes. For this eleventh for the lowest common denominator. There is already a growth in issue of Emigre we interviewed fifteen graphic designers from around the birthrate of small circulation magazines and journals. Although the world, and talked about how they work their way through the this increases diversity and subsequently the chances of tailoring sometimes frustrating task of integrating this new technology into the product to the consumer, we can only hope that such abundance their daily practices. will not obliterate our choices by overwhelming us with options.
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Overview 1 Desktop Publishing 1 2 The Digitial Era 11 3 Conclusion 27 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / OVerVIEW II / XXVII GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITAL ERA 1 / 27 Desktop Publishing 1984 The introduction of drag-and-drop publishing tools cracked open unprecedented design opportunities not unlike Gutenberg’s advancement in movable typography. GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 2 / 27 1984 Apple Computer • Apple Computer develops the Mac • Makes personal computing affordable • Uses a grahical user interface instead of command line • Allows mouse-driven navigation · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 3 / 27 1984 Susan Kare • Apple Computer design department • Early bitmapped fonts • Letterform design was controlled by the matrix of dots in these early fonts • Icon set (pictograms) · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 4 / 27 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 5 / 27 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 6 / 27 1984 PostScript • Adobe Systems invents PostScript • Programming language • Ran concurrently with page layout programs and electronically generated typography · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 7 / 27 1985 Aldus PageMaker • Early software application • Based on PostScript • Allows pages to be built in real-time on the computer screen • Could alter type size, choice of font, and column dimensions. • Integrated text with other elements, such as scans of pictures, ruled lines, headlines, and borders • WYSIWYG • Eventually bought by Adobe · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 8 / 27 1985 Aldus PageMaker • Early software application • Based on PostScript • Allows pages to be built in real-time on the computer screen • Could alter type size, choice of font, and column dimensions.
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Emigre Specimen
min EMIGRE F O N T S EMIGRETypE SPECIMENS Emigre music{[ sampler no.no. 11 Mr Eaves XL Sans Mr Eaves Sans Rr) EST. 1984 Hotel 2 Alpha INDIA 3 Juliet FREE CATALOG BRAVO WITH EACH TYPE Charlie kiloLIMA PURCHASE delta mike november Echofoxtrot PRINTED TYPE golf OSCAR SPECIMENS MR California State Assembly Available eaves Aldaalda RegulaR 95 pt MADE BY EMIGRE Mr Eavesa XL new Modern text typeface Minimum alda RegulaR 23 pt * DESIGNED BY Papa alda light 14 pt Instrumentalists VictorBErTon Quebecwhiskey alda bold 35 pt ROMEO ONTERRELEASED AND HASEBE DISTRIBUTED BY alda bold 54 pt Sierra XrayConceived and developed EMIGRE Yankee alda RegulaR italic 14 pt Tango at the renowned Sunsetalda light 16 pt Sound) Recorders TYPE & MEDIA Rr alda bold 24 pt ZU Environmentally Recycledwww.emigre.com Paper Products UNI- master course alda light italic 26 pt www.emigre.com at the RoyalImpressed academy of aRt Mr Eavesform Modern lu alda RegulaR small caps 16 pt THE HaGuE, THE nETHErlandS alda boldTriumphantly small caps 10 pt RELEASED AND DISTRIBUTED BY EMIGRE ) narm Rr WEIGHTS www.emigre.com The logical outcomeA aofd perseverancel in art Unified Alda Emigre.Eye.Alda.indd 7 6/5/11 9:13 AM 4 5 Rr V E N D E T T A A Type Specimen E .5 4 A New Series of Venetian Old Style Printing Types Designed by John Downer THE LAST WAVE here first used in an adaptation of: EMIGRETypO u r A rE a bSPECIMENS y Palm Springs and the Garden of the Sun by J. Smeaton Chase {[first published in 1920 THE EMIGRE 48ENDUNTITLED Layout and Photography by Rudy VanderLans 8II emigre fonts
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Automation and the Map Label Placement Problem
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Rudy Vanderlans Emigre Inc. Foundry Emigre Magazine
RUDY VANDERLANS EMIGRE INC. INFLUENCE SIGNIFICANCE Brian Eno’s quip about the Velvet Underground - that only a Emigre is the only truly progressive and pluralistic graphic design “IN GRAPHIC DESIGN, THE IDEA IS THAT ANYTHING IS POSSIBLE. THAT WASN’T ALWAYS THE few thousand people bought their record but every one of them magazine that is a locus for a decentralized discourse on design. It CASE. AND I THINK WITH EMIGRE, BY SHOWING WORK THAT WENT AGAINST THE GRAIN, went on to form a band - could apply as well to Emigre. Although is an international meeting place for people interested in exploring BY DISCUSSING THE ISSUES, AND BY EXPERIMENTING, WE GAVE LICENSE TO DESIGNERS - and expanding the borders of design practice and theory. The only TO EXPLORE ALTERNATIVE POSSIBILITIES, AND TO MAKE WORK THAT RESONATED WITH tion peaked at 7,000 several years ago, its reverberations are still prerequisite is an interest in new design and an open mind. Intoler- THEIR INTENDED AUDIENCES, AS OPPOSED TO MAKING WORK TO APPEASE THE LOWEST being felt around the world. The magazine that VanderLans pub- ance for different ideas is the biggest obstacle in these proscribed and COMMON DENOMINATOR. THIS IDEA OF PLURALITY IS SOMETHING THAT WE NOW TAKE lished and art directed, and the fonts Licko developed for it, have dogmatic times. With the mind-numbingly dull 1970s and 80s behind FOR GRANTED. BUT IT WASN’T SO EASY TO BREAK OUT OF THE CHOKEHOLD OF THE SWISS stimulated designers to defy, and even overthrow, entrenched us, designers are waking up and starting the next millennium.
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Free PDF Download
Inflection Point Emigre Published in 1989, Emigre magazine’s eleventh issue, Ambition/Fear: Graphic Designers and the Macintosh Computer, contains vivid artifacts of a discipline’s first encounter with digital tools. From the aesthetics of bitmaps to the expressive interventions made possible by new access to typesetting controls, not to mention the self- publishing venture of the magazine itself, this issue combines modernist and postmodern agendas in a model construction of text-based community. Looking closely at Emigre #11, and more passingly at later issues, this article analyses the technical, critical, and cultural production that would shape Emigre as a medium for typographic demonstration and discussion among peers. Emigre #11 Ambition/Fear, 1989 32 pages, 11.25 x 16.75 inches, plus poster, 22.25 x 32.5 inches. Edition of 6,000. Emily McVarish Printed at Lompa Printing, Albany, CA. Browse all pages of Emigre #11 in high resolution at https://letterformarchive.org/emigre This is our second type specimen catalog that focuses on Emigre’s text Contents Pages Typeface typefaces. And like the first, instead of 1-5 Alda using fake text, or “Greeking,” which 6-7 Cardea is commonly used in type promotions 8-9 Mr Eaves Modern 10-11 Malaga to make text look artificially perfect, 12-13 Vista Slab we decided to put the fonts to work in 14-15 Alda 16-17 Mr Eaves XL Modern a realistic context. To properly judge a 20-21 Cholla Slab text typeface you should read it. To do 22-23 Mrs Eaves XL Serif 24-25 Fairplex Narrow that properly, you need real text, not 26-27 Vendetta 28-29 Filosofia dummy text, and lengthy text, not two 30-31 Base 900 or three sentences, so you can immerse 32-33 Eidetic 34-35 Vista Sans yourself in it.
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The Evolution of Symbols Have Influ- Enced the Letterforms We Use Today
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Uzana Licko Biographical Information
1985 1992 1997 “Coarse Resolution”, Modula, Modula Round Matrix Script, Quartet Base Monospace, Hypnopaedia 1986 1993 1998 Typefaces Designed Citizen, Matrix, Senator Narly Tarzana 1988 by Zuana Licko in 1994 2000 Lunatix, Oblong - with Rudy VanderLans Dogma, Whirligig Solex Chronological Variex - with Rudy VanderLans Order 1989 1995 2001 Elektrix Base 9 and 12, Soda Script Lo-Res 1990 1996 2002 Journal, Tall Pack, Totally Gothic, Triplex Filosofia, Mrs Eaves, Mrs Eaves Ligatures Fairplex Z uzana Licko Biographical Information Zuzana Licko was born in 1961 in Bratislava, Czechoslovakia. She, along with her family emigrated to the United States in 1968 when she was seven years old. Her father was a biomathematician and provided her with access to computers. It was with this access that she had the opportunity to design her first typeface, a Greek alphabet, which her father used for his personal use. Most Zuzana entered the University of California at Berkeley in 1981 as an undergraduate, enrolled to study architecture, however she changed her major to visual studies and pursued a graphic communications degree and soon realized that Popular typography interested her the most. She was fascinated with experimenting with type as an illustration. But because UC Berkeley did not have a program specifically for type design, she only got to use typefaces at this time, Typeface not create them. Zuzana met her husband, Rudy VanderLans at UC Berkeley around 1982. He was studying photography and had completed a traditional education in design from the Royal Academy of Arts in The Hague, Holland prior to his enrollment Mrs Eaves at UC Berkeley.
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