DOCSLIB.ORG

Rudy Vanderlans Emigre Inc. Foundry Emigre Magazine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. Emigre INTERNATIONAL STYLE.” rules and to set new standards. is documenting where graphic design is going. And it’s going to be RDVDL interesting. Excerpt from essay By Mr. Keedy FOUNDRY in the book Graphic Design USA 18. Emigre: Graphic Design into the Digital Realm. 1985 1988 1990 1992 1998 2003 DESIGNED BY ZUZANA LICKO. DESIGNED BY RUDY VANDERLANS AND ZUZANA DESIGNED BY BARRY DECK DESIGNED BY SIBYLLE HAGMANN DESIGNED BY JONATHAN BARNBROOK DESIGNED BY ZUZANA LICKO Created on the newly introduced Macin- LICKO “My interest in type that is not perfect; This font embraces all of the signage and Conveys a modular, geometric style, remi- tosh computer with a crude public domain design across weights and variants while still lettering that Jonathan claims to have ob- niscent of the early computer technology software language of an imperfect world, inhabited allowing for a wide range of variation in form served in the streets, cathedrals, and public by imperfect beings.” BD and counter-form across the family. buildings of his London neighborhood. made possible by a high-resolution grid. EMIGRE MAGAZINE ABOUT #7 EVOLUTION EDITOR/ART DIRECTOR/GRAPHIC DESIGN: RUDY VANDERLANS YEAR: 1987 #33 DOUBLE SPREAD CITY / COUNTRY: BERKELEY, CALIFORNIA A distinctive element of the FOUNDED IN: 1984 magazine is the use of typefaces YEAR: 1995 DIMENSIONS: VARIABLE that were created by Emigre; PAGES: VARIABLE This successfully contributed to of a smaller, revised format. The establishing their identity as a title is tongue in cheek play on Despite the use of images and photographs typographic magazine. words expressing the layout on many of the Emigre covers, there use change. was not considered essential. Instead focus on the treatment of typographic elements Emigre #23 Emigre #26 Emigre #70 took center stage. Emigre #19 Rudy maintained the philosophy of starting CONTENTCONTENT AND LAYOUT from the ground up for each publication. 17” 11” Since Emigre was built from the “EMIGRE IS WRITTEN FOR, BY, AND ABOUT GRAPHIC DESIGNERS, LIKE A MIRROR THAT PRESENTS This resulted in paper type, size and con- ground up for every issue, it DESIGNERS IN THEIR OWN WORDS, “WARTS AND ALL.” UNLIKE MOST DESIGN MAGAZINES WITH tent as continuously changing variables. utilized a variety of layouts and featured a host of guest designers SLICK PRODUCTION VALUES THAT FRAME DESIGNERS IN GLAMOROUS AND UNCRITICAL FASHION, and opinionated articles, all of EMIGRE HAS NEVER HAD THE LUXURY OF BEAUTIFULLY PRINTED, FULL-COLOR REPRODUCTIONS Originally printed in a large format made AND PROFESSIONAL JOURNALISTS AND EDITORS. WHAT THE MAGAZINE LACKS IN REFINEMENT, IT sure that Emigre stood out from other publications that were being MAKES UP FOR IN BEING RELEVANT. THIS IS DUE TO RUDY VANDERLANS’S GENUINE PASSION FOR graphic magazines, as it required special printed at the time. NEW AND INTERESTING DEVELOPMENTS IN DESIGN.” display requirements. 11” 8.5” MR. KEEDY 25 YEARS EMIGRE / RUDY VANDERLANS / CRITICISM REBUTTAL “EMIGRE IS THE WORST THING THAT EVER HAP- Emigre addressed a need for change in PENED TO THIS COUNTRY. IT’S UNBELIEVABLE THE DAMAGE THEY HAVE DONE. A TOTAL DISASTER. supported experimentation with new [LAUGHTER] YOU LAUGH, BUT YOU SHOULD CRY.” technologies that Swiss International Style didn’t anticipate. By breaking the mold, MASSIMO VIGNELLI Emigre created a new genre that was more congruous with the digital desktop era. COVERS years OPINION SOURCES Emigre is touted as the most progres- Merz to Emigre and Beyond: Avant-Garde sive of the digitally composed magazines. Magazine Design of the Twentieth Century By Steven Heller to graphic design in the digital age. It evolved along with the digital transfer- EMIGRE ence of design and showcased the “lead- Typomag ing proponents and exponents of anti By Laura Mesuguer modernist typography as well as student RUDY VANDERLANS designers who challenged the canonical Graphic Design vs. style, globalism, rules of modernism by bursting pages criticism, science, authenticity and into illegible, abstract fragments.” (Merz Rudy Vanderlans // and Emigre Magazine // played humanism No. 67 Various Authors a prominent role in challenging conventional design principles in the dawn of // desktop pub- COLOPHON lishing and helped to elevate typography and // Created by Stephanie Stobart CONDUIT ITC Typography COMM 2666 MERCURY ROMAN . Instructor: Ben Kunz 25 YEARS EMIGRE / RUDY VANDERLANS / .
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Lecture Slides — PDF 2.7 MB
    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.
    [Show full text]
  • 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
    [Show full text]
  • Automation and the Map Label Placement Problem
    Number 60, Spring 2008 cartographicCartographic perspectives Perspectives 1 Journal of the North American Cartographic Information Society Number 60, Spring 2008 From the Editor In this Issue As I look out over the synclinal OPINION valley unfolding below Big Sav- Manifestos 5 age Mountain I can already see Mark Denil spots of crimson, amber, and brown dotting the forested land- Just to Make Clear “Where the Roots Come From”: A Response to 14 scape. Autumn comes early to the Mark Denil’s “Manifestos” mountains in Western Maryland Steven R. Holloway and winter is not too far behind. There is a saying by those who FEATURED ARTICLES live in Garrett County Maryland, Automation and the Map Label Placement Problem: A Comparsion 22 which is located immediately west of Two GIS Implementations of Label Placement of Frostburg State University and Jill Phelps Kern and Cynthia A. Brewer is on the Appalachian Plateau, that “there are only two seasons here: Addressing Map Interface Usability: Learning from the Lakeshore 46 July and winter.” Of course, as Nature Preserve Interactive Map autumn approaches, this change in Robert E. Roth and Mark Harrower seasons has different meanings to people. For the NACIS community, REVIEWS this means the next annual NACIS Bomb after Bomb: A Violent Cartography 67 conference isn’t too far distant. I Reviewed by Daniel G. Cole hope you are making plans to at- tend this year’s conference held in Bomb After Bomb: A Violent Cartography 68 Missoula, Montana. Reviewed by Mark Denil In this issue of CP you will find a mix of cartographic writ- London: A Life in Maps 71 ings which I hope you will find Reviewed by Julia Siemer interesting.
    [Show full text]
  • 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.
    [Show full text]
  • The Evolution of Symbols Have Influ- Enced the Letterforms We Use Today
    The evolution of symbols have influ- enced the letterforms we use today. They played a prominent role in communication from recording infor- mation, representing ideas, and expressing ourselves. Pictograms Pictures of an object in the physical world. Some scholars say cave paintings could be considered one of the earliest forms of graphic communication; for instance, these could be hunt- ing instructions. Ideograms Simplified or stylized pictograms. Symbols made of geometric shapes to represent an idea. Phonograms Symbols or signs representing primary sounds. The Phoeni- cians developed a set of 22 symbols. Greek Alphabet The Phoenician alphabet was adapted by the Greeks, it was the first to have distinct letters for vowels as well as consonants Roman Alphabet Romans adopted the Greek alphabet and fashioned several more distinctive letters. Belief in important religious texts promoted the production of books. Nearly all books, Illuminated Manu- scripts, were written in monasteries, by scribes who were production letterers. Illuminated Manuscripts Books were objects of value and contained elaborate orna- mentation. Illustrated initials were painstakingly designed. Monks could devote a lifetime to a single manuscript. Parchment was being replaced by the invention and availability of paper. Wooden blocks of type stamps were being replaced with letterforms cast in steel. The increased demand for books, in- cluding the growth of universities, moved book craft from the monastery to production facilities. Invention of Printing Movable type was perfected by Johannes Gutenberg in Germany in the 15th century. For the first time, a technical system of mass production was applied to publishing. Each metal alphabet character could be hand-cast in great quanti- ties.
    [Show full text]