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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. -
Typography One Typeface Classification Why Classify?
Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing. -
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. -
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. -
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. -
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. -
Mrs. Eaves 14 Modern: Bodoni 18 Slab Face: Clarendon
FLAUNT YOUR FONT g k & g O H & h l k 8 mH f f f f f f f f f f 7 f U b b b b b b b b M Pb 8 2 X O O O 3 i O k 1 P m v c m f f f n a g 8 O m d X a nFLAUNT g n k k 1 h P P t A R g h h h h h h U k j j j YOUR 3 O m H g O 8 k k O FONT i a t & O b h & g 3 3 3 3 k k k v h h k & H d m X X X X X X X X X X m m m a t f f fh O 8 O O O O O O f O h v h k k k k k k k k k k k k k k k k k k k k k k k k k k a kX 3 t P P o P f f f f f f f M M M M M M b bM X 7 k l l l h h h h h g h H 8 t k O m g a t g k & g O H & h l k 8 mH f f f f f f f f f f 7 f U b b b b b b b b M Pb 8 X O O O 3 i O k 1 P m v c m f f f n a g 8 O m d X a nFLAUNT g n k k 1 h P P t A R g h h h h h h U k j j j YOUR 3 O m H g O 8 k k O FONT i a t & O b h & g 3 3 3 3 k k k v h h k & H d m X X X X X X X X X X m m m a t f f fh O 8 O O O O O O f O h v h k k k k k k k k k k k k k k k k k k k k k k k k k k a kX 3 t P P o P f f f f f f f M M M M M M b bM 3 X 7 k l l l h h h h h g h H 8 t k O m g a t A font specimen book by: Julia Brooke Rothstein 4 Contents: Serif: 4 Old Stylt: Garamond 10 Traditional: Mrs. -
Inside Emigre 1984 - 2005
Deeply involved Inside Emigre 1984 - 2005 They came to the profession of graphic design not simply to assimilate but to question and also to transform it. I believe Content in me Million ideas participants Exploration 12 16 20 Rules to Enthusiasm question Good 8 luck 26 22 30 Editorial Impressum 7 34 6 7 Editorial When I started my research for Emigre Magazin I wasn’t sure what to expect. Needless to say, I was impressed by Rudy VanderLans unconventional layouts and the enormous amount of different fonts created by Zuzana Licko. But apart from this I found more. While I went through the issues of Emigre in our library I stumbled over some ama- zing articles from different authors concerning various subjects of life per se as well as discussi- ons about graphic design. Finally, I came to issue #69, a summary of the whole Emigre story. I found myself confronted with testifies from Rudy VanderLans concerning the attitude, a graphic designer should have, and what it needs to be a designer, such as enthusi- asm and entrepreneurialism but also a little bit of luck. It became clear why Emigre was successfull almost two decades. As a student I thought these statements are really worth sharing and therefo- re I centered my attention in this folder on Rudy VanderLans quotations. 8 Ex plo ra tion Be tired of the monotony of traditional typography E Elments of the Emigre cover issue # 14, 1985 11 10Exploration „ The first issue was put Early explorers of new technology together in 1984 in an We wanted to explore a more 11.5″ by 17″ format by VanderLans and two other Dutch immigrants, expressive, individualized Marc and Menno. -
Use One Typeface
01 Flush Left When in doubt, set your type flush left rag right. Why? In western culture, people read from top to bottom, left to right. By justifying type left, the eye is able to find the edge and read copy much more easily. Avoid indenting the first line of a paragraph for this reason. Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 02 Use One Typeface Using two typefaces successfully within a layout requires an understanding of the chosen faces in order to be confident that they are complementary. In general, avoid using two typefaces of the same classification. For example, do not use two sans serif, serif, slab serif or script faces together. The reason—contrast. Stay with one typeface until you have achieved mastery. Helvetica Neue Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 03 Skip A Weight Go from light to bold, or from medium to extra bold when changing font weights. The key to great design is contrast. Slight changes in weight change make it harder for the audience to notice the difference. Try mixing bold for the headline and light for the body copy for greater contrast. Light/Bold Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 04 Double Point Size A good rule of thumb when changing point sizes, is to double or half the point size you are using. -
Books & Printing in the Netherlands 1998
Mathieu Lommen Books &Printingin theNetherlands 1998 january On 16 January graphic designer Ben Bos was appointed honorary member of the bno [Beroepsorganisatie Nederlandse Ontwerpers – the Professional Association of Dutch Designers]. On this occasion a full-colour yer appeared. Bos was also the ini- tiator and rst chairman of the nago [Nederlands Archief Gra sch Ontwerpers – Dutch Graphic Designers Archive]. Treasures from the Bibliotheca Philosophica Hermetica in Amsterdam were on view from 16 January to 21 February in the Bibliotheca Wittockiana in Brussels. [Undated press release] From 20 January to 30 March the Museum van het Boek/Museum Meermanno- Westreenianum in The Hague paid attention to the bibliophile publishing house Philip Elchers, which had been in existence for twelve and a half years. [Undated press release] On 28 January the graphic designer and publicist Fons van der Linden (b. 1923) passed away in his place of residence ’s-Hertogenbosch. An obituary by A.S.A. Struik appeared in De Boekenwereld , 144 (1998), and one by Karel F. Treebus in Quærendo, 29/4 (1999). From 29 January to 12 April there were two exhibitions on view in the Museum van het Boek/Museum Meermanno-Westreenianum in The Hague: ‘W.J. Rozendaal (1899-1971): gra sch werk’ and ‘Susanne Gruber-Heynemann: text design & typo- gra e’. Rozendaal, artist and book designer, taught drawing and painting at the Royal Academy of Visual Arts in The Hague during the years 1937-60. On the occasion of this exhibition the monograph W.J. Rozendaal ( 1899-1971) (208 pp.) appeared, pub- lished by De Walburg Pers. Later in the year the museum of Glasfabriek Leerdam was to pay attention to Rozendaal as a designer of services, vases and commemo- rative plates. -
A Brief History of Typefaces the Invention of Printing Movable Type Was Invented by Johannes Gutenberg in Fifteenth-Century Germany
A brief history of typefaces The invention of printing Movable type was invented by Johannes Gutenberg in fifteenth-century Germany. His typography took cues from the dark, dense handwriting of the period, called “blackletter.” The traditional storage of fonts in two cases, one for majuscules and one for minuscules, yielded the terms “uppercase” and “lowercase” still used today. Working in Venice in the late fifteenth century, Nicolas Jenson created letters that combined gothic calligraphic traditions with the new Italian taste for humanist handwriting, which were based on classical models. )ADMIT)HAVEHADALITTLEWORKDONE 2PCFSU4MJNCBDITUZMFE!DOBE+FOTPO BGUFS/JDPMBT+FOTPOTSPNBOUZQFT ANDTHEITALICSOF,UDOVICODEGLI!RRIGHI DSFBUFEJOmGUFFOUIDFOUVSZ*UBMZ )DONTLOOKADAYOVERFIVEHUNDRED DO) )ADMIT)HAVEHADALITTLEWORKDONE 2PCFSU4MJNCBDITUZMFE!DOBE+FOTPO BGUFS/JDPMBT+FOTPOTSPNBOUZQFT ANDTHEITALICSOF,UDOVICODEGLI!RRIGHI DSFBUFEJOmGUFFOUIDFOUVSZ*UBMZ )DONTLOOKADAYOVERFIVEHUNDRED DO) The Venetian publisher Aldus Manutius distributed inexpensive, small-format books in the late fifteenth and early sixteenth centuries to a broad, international public. His books used italic types, a cursive form that economized printing by allowing more words to fit on a page. This page combines italic text with roman capitals. Integrated uppercase and lowercase typefaces. The quick brown fox ran over lazy d the lazy dog 2 or 3 times. ITC Garamond, 1976 The quick brown fox ran over the lazy d lazy dog 2 or 3 (2 or 3) times. Adobe Garamond, 1986 The quick brown fox ran over the lazy d lazy dog 2 or 3 (2 or 3) times. Garamond Premier Regular, 2005 Garamond typefaces, based on the Renaissance designs of Claude Garamond, sixteenth century Enlightenment and abstraction The painter and designer Geofroy Tory believed that the proportions of the alphabet should reflect the ideal human form. -
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