Toward a New Typography
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Graphic Design in the Postmodern Era
Graphic Design in the Postmodern Era By Mr. Keedy This essay was based on lectures presented at FUSE 98, San Francisco, May 28, and The AIGA National Student Design Conference, CalArts, June 14, 1998. It was first published in 1998 in Emigre 47. Any discussion of postmodernism must be preceded by at least a provisional definition of modernism. First there is modernism with a capital "M," which designates a style and ideology and that is not restricted to a specific historical moment or geographical location. Modernist designers from the Bauhaus in Germany, the De Style in Holland, and Constructivism in Russia, share essentially the same Modernist ideology as designers like Paul Rand, Massimo Vignelli, and Eric Spiekermann. Its primary tenet is that the articulation of form should always be derived from the programmatic dictates of the object being designed. In short, form follows function. Modernism was for the most part formed in art schools, where the pedagogical strategies were developed that continue to this day in design schools. It is a formalist, rationalist, visual language that can be applied to a wide range of circumstances. All kinds of claims can and have been made in an effort to keep Modernism eternally relevant and new. The contradiction of being constant, yet always new, has great appeal for graphic designers, whose work is so ephemeral. Then there is the modern, with a small "m." It is often confused with Modernism with a big M, but being a modern designer simply means being dedicated to working in a way that is contemporary and innovative, regardless of what your particular stylistic or ideological bias may be. -
The Inflow and Adaptation of Russian Constructivism on the Korean Typographic Culture in the 1920S–1930S
The inflow and adaptation of Russian Constructivism on the Korean typographic culture in the 1920s–1930s Sun-A Jeong / Min-Soo Kim / Seoul National University / Seoul / Korea Blucher Design Abstract Proceedings November 2016, The aim of this study is researching the interaction between Russian constructivist graphic im- Number 1, Volume 1 http://www.proceeding age and the East Asian typography, particularly Korean typography which has different features, s.blucher.com.br/articl compared to Western letters. For this purpose, graphic design that appeared in media such as e-list/icdhs2016/list newspapers, magazines and books during the 1920-30s in Korea is investigated. In conclusion, Russian constructivist images in Korea were composed with traditional calligraphy and created distinctive visual culture because of the political and economic colonial condition at that time, while constructivist images in Russia and Europe were used mainly with sanserif typography that considered to have international characteristic. Keywords Constructivism, Korean typography, Korean design history, sanserif typography, modernity Introduction Russian Constructivism was active around the time of the 1917 Bolshevist Revolution. Constructivism represented the “new age” brought about by the Bolshevic revolution. This style’s character was revolutionary, radical, and connected to other avant-garde European artistic movements that sought experimentation and innova- tion, including Dadaism, Futurism, and De Stijl. Meanwhile, the world was undergoing the reorganization of political structures after WW1. “Modernization” was also pursued in Korea, a colony of the Japanese Empire, as it had the will needed by weaker countries to survive independently among world powers. Consequently, different ideologies clashed over the nation’s direction. -
Photo/Graphics Michel Wlassikoff
SYMPOSIUMS 1 Michel Frizot Roxane Jubert Victor Margolin Photo/Graphics Michel Wlassikoff Collected papers from the symposium “Photo /Graphisme“, Jeu de Paume, Paris, 20 October 2007 © Éditions du Jeu de Paume, Paris, 2008. © The authors. All rights reserved. Jeu de Paume receives a subsidy from the Ministry of Culture and Communication. It gratefully acknowledges support from Neuflize Vie, its global partner. Les Amis and Jeunes Amis du Jeu de Paume contribute to its activities. This publication has been made possible by the support of Les Amis du Jeu de Paume. Contents Michel Frizot Photo/graphics in French magazines: 5 the possibilities of rotogravure, 1926–1935 Roxane Jubert Typophoto. A major shift in visual communication 13 Victor Margolin The many faces of photography in the Weimar Republic 29 Michel Wlassikoff Futura, Europe and photography 35 Michel Frizot Photo/graphics in French magazines: the possibilities of rotogravure, 1926–1935 The fact that my title refers to technique rather than aesthetics reflects what I take to be a constant: in the case of photography (and, if I might dare to say, representation), technical processes and their development are the mainsprings of innovation and creation. In other words, the technique determines possibilities which are then perceived and translated by operators or others, notably photographers. With regard to photo/graphics, my position is the same: the introduction of photography into graphics systems was to engender new possibilities and reinvigorate the question of graphic design. And this in turn raises another issue: the printing of the photograph, which is to say, its assimilation to both the print and the illustration, with the mass distribution that implies. -
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Josef Albers (D), John M Armleder (CH), Hans/Jean Arp (F), Horst Bartnig (D), Martin Boyce (GB), Katja Davar (GB), Adolf Fleischmann (D), Sylvie Fleury (CH), Günter Fruhtrunk (D), Walter Giers (D), Camille Graeser (CH), Guan Xiao (CHN), Gregor Hildebrandt (D), Bernhard Höke (D), Markus Huemer (A), Takehito Koganezawa (J), Alicja Kwade (PL), Hartmut Landauer (D), Verena Loewensberg (CH), Robert Longo (USA), Ma Qiusha (CHN), Rune Mields (D), Kirsten Mosher (USA), Brian O’Doherty (IRL), Park Chan-kyong (ROK), Peter Roehr (D), Ugo Rondinone (CH), Lerato Shadi (ZA), Roman Signer (CH), K.R.H. Sonderborg (DK), Anton Stankowski (D), John Tremblay (USA), Rosemarie Trockel (D), Andrew Tshabangu (ZA), Timm Ulrichs (D), Xavier Veilhan (F), Xu Zhen produced by Madeln Company (CHN), Michael Zahn (USA), Heimo Zobernig (A) Videos, Audio and Sound Works, Sound Sculptures, Pictures, Graphics Compiled and arranged by Gerwald Rockenschaub July 7, 2019—February 2, 2020 Curator and Editor Renate Wiehager Contents 6 Introduction Sound on the 4th Floor Renate Wiehager 27 On Visual Codes and the Imaginary Soundtrack Interview with Gerwald Rockenschaub Nadine Isabelle Henrich and Sarah Maske 33 Composition in Music and Art Sarah Maske 39 Acoustic Immersion Strategies in Contemporary Art Nadine Isabelle Henrich 47 Words from Mouth to Abyss Friederike Horstmann 54 Sound—Structuring, Scattering, Mixing Sarah Maske 61 Instrument n°4, 2018 Xavier Veilhan 64 “Air to party in”—Rhythm as an Artistic Strategy in Painting, Photography and Video Nadine Isabelle Henrich 70 Exhibition views 78 List of works _ Gerwald Rockenschaub, design for exhibition display ›Sound on the 4th Floor‹ 4 5 Introduction _ Gerwald Rockenschaub, graphic draft for the exhibition Sound on the 4th Floor ›Sound on the 4th Floor‹, 2019 Renate Wiehager Seeing Sound spond to the theme in their motifs, whereby the term is reduced to a functional acronym: ‘Sot4thF’. -
Mainframe Experimentalism
MAINFRAME EXPERIMENTALISM Early Computing and the Foundations of the Digital Arts Edited by Hannah B Higgins and Douglas Kahn Q3 UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London 4 INFORMATION AESTHETICS AND THE STUTTGART SCHOOL Christoph Kllitsch In the mid-1960s, mainframe computer art emerged from an adventurous en counter among a new information aesthetic, political ideologies, and technical possibilities. In Stuttgart, new computer technology invited speculation about the nature of art, beauty, and mechanical production. Here a new generation of artist-scientists believed the computer would enable them to break with the speculative and subjective approach to making and evaluating art. The main frame Denkmaschirzen1 (thinking machines) offered users the limited computing capacities of the time, forcing the computer artist to program carefully, to use the resources as economically as possible, and, through an extreme economy of means, to break down visual problems into small, elegantly designed pieces. Through an analysis of the early work of a few members of the Stuttgart school, the artistic range of early mainframe computer art, as well as its rigorous theoretical basis, will be discussed. The chronological beginning of the Stuttgart school falls somewhere between December 1964, when an article titled "Statistische Graphik" (Statistical graphic) by Georg Nees appeared in the journal Grundlagenstudien aus Kybernetik und Geisteswissenschaft (GrKG; Fundamentals in cybernetics and humanities), and February 5, 1965, when the -
When Is Typography Conceptual? Steen Ejlers, the Royal Danish Academy of Fine Arts, School of Architecture
2013 | Volume III, Issue 1 | Pages 1.1-1.10 When is typography conceptual? Steen Ejlers, The Royal Danish Academy of Fine Arts, School of Architecture A conceptual artwork is not necessarily constituted the sentences disappeared in an even vertical/ by exceptional practical skill, sublime execution or horizontal pattern of letters: beautiful and orderly - whatever might otherwise regularly characterize and difficult to access. “fine art”. Instead, the effort is seated in the Both of these strategies of making stone preparatory process of thought – or as Sol Lewitt inscriptions appear strange to our eyes but once put it: “The idea becomes a machine that apparently it must have worked out. And even so! makes art” (LeWitt 1967). The conceptual work of – the everyday frequency of stone inscriptions that art typically speaks primarily to the intellect and not had to be decoded by the ancient Greeks can hardly necessarily to an aesthetic/sensual experience. be likened to the text bombardment, let alone the But what about the notion of “conceptual reading process, that we live with today. Moreover, type”? Could this be, in a way that is analogous to the Greek inscriptions, like the Roman ones of “conceptual art”, typefaces that do not necessarily the same time, consisted solely of capital letters, function by virtue of their aesthetic or functional all of which could, characteristically enough, be qualities but are interesting alone owing to the deciphered when laterally reversed. However, when foregoing idea-development process? Or is a boustrophedon was brought into practice with the typeface which, in its essential idiom, conveys a Latin alphabet’s majuscule and minuscule letters, message or an idea, conceptually? In what follows, I a number of confusing situations could arise and will try to examine these issues by invoking a series of crucial moments in the history of typeface, from antiquity up to the twenty-first century. -
ARCHITYPOGRAPHOLOGIC Timeline
The ARCHITYPOGRAPHOLOGIC timeline The links between typography and architecture. From Gutenberg’s printing press to our time. Created by Vincent Devillard Translation by Laurent Hadrien Gothic period The cathedral Notre-Dame in Paris, France Built between the XIIth and the XIVth century The first type The beginning of the printing press and the first typographies. The invention of the mobile character was necessary to compose freely, and thus was the beginning of typography. Around 1440, Gutenberg created the first mobile fonts (typefaces) During this period, he printed the Book of Sybille, considered as one of the first typographical prints in the western world. It is also called the “Incunable” (from the Latin incunabula – “cradle”, which refers to the early printed books.) Gutenberg and Johannes Fust, a banker-merchant, founded together the first typographic printing press. In this printing shop located in Mainz, Germany, the bible was printed; this famous publication of 42 lines per pages is also commonly called the B42. It was “ in a way conceived as a manifesto of the new technic.” Renaissance period The Basilic of Saint-André in Mantoue, Italy By Alberti, XVth century Garamond Jenson Type Ty p e The XV and XVI century, renaissance period. The renaissance is a period marked by important intellectual, scientific and artistic evolutions. The depiction of the world changes, earth is not at the centre of the Universe anymore (Galileo), new lands are discovered (Columbus, Vasco de Gama), the Byzantine Em pire falls, and the access to knowledge is generalized. The gothic and roman typographies are reproduced from the man uscripts of that period, and used in the new typographic techniques. -
On the Subject of the Ready-Made Or Using a Rembrandt As an Ironing Board
On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board Works from the Daimler Art Collection selected by Bethan Huws on the occasion of 100 years of the ready-made Daimler Art Collection On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board Works from the Daimler Art Collection selected by Bethan Huws on the occasion of 100 years of the ready-made Max Ackermann John McLaughlin Josef Albers Albert Mertz Ian Anüll Gerold Miller John M. Armleder Olivier Mosset Hans/Jean Arp Horst Münch Richard Artschwager John Nixon Willi Baumeister Blinky Palermo Bill Beckley Patrick Fabian Panetta Max Bill Esteban Pastorino Julius Heinrich Bissier Lothar Quinte Dieter Blum Timm Rautert Hartmut Böhm Joseph Francis Charles Rock Greg Bogin Peter Roehr Monika Brandmeier Ulrike Rosenbach Andreas Brandt Tom Sachs Sarah Browne Kiyoshi Sakamoto Max Burchartz Pietro Sanguineti Daniel Buren Viviane Sassen André Cadere Jürgen Schadeberg Siegfried Cremer Andreas Schmid Gia Edzgveradze Leonhard Schmidt Sergio Fermariello Jan J. Schoonhoven Roland Fischer Dayanita Singh Adolf Richard Fleischmann Anton Stankowski Günter Fruhtrunk Elaine Sturtevant Poul Gernes Guy Tillim Hermann Glöckner Hayley Tompkins David Goldblatt Rosemarie Trockel Camille Graeser Timm Ulrichs Konstantin Grcic Dieter Villinger George Grosz Andy Warhol Isabell Heimerdinger Franz West Jan Henderikse Christa Winter Adolf Hölzel Zheng Guogu Johannes Itten Heimo Zobernig Donald Judd Franklin Prince Knott Tadaaki Kuwayama Liu Zheng Robert Mapplethorpe FOREWORD The exhibition On the Subject of the Ready-Made or Using a Rembrandt as an Ironing Board – featuring 130 works from the Daimler Art Collection selected by Welsh conceptual artist Bethan Huws – strad- dles the years 2016 and 2017, thus referencing the ‘double’ birthday of the ready-made as a concept and as an artistic praxis. -
Distilled Avant-Garde Echoes: Word and Image in Architectural Periodicals of the 1920S and 1930S
$UFKLWHFWXUDO Jannière, H 2016 Distilled Avant-Garde Echoes: Word and Image in Architectural Periodicals of the 1920s and 1930s. Architectural +LVWRULHV Histories, 4(1): 21, pp. 1–21, DOI: http://dx.doi.org/10.5334/ah.211 RESEARCH ARTICLE Distilled Avant-Garde Echoes: Word and Image in Architectural Periodicals of the 1920s and 1930s Hélène Jannière Since the 1980s, architectural avant-garde publications, seen as a laboratory for artists and architects, have given rise to numerous research projects. Although recent scholarship tends toward a more balanced interpretation of architectural publications of the interwar period than studies from the 1980s, most research on architectural books and journals continues to point out only the parallels, or even just the ‘alliances’, between the innovative visual form – typography and photography – of those books and magazines and the ‘new architecture’ they intended to promote: relationships between form and contents. This article tackles the issue of this historical and aesthetical convergence. It draws on a new generation of studies that takes into account photography, graphic design and texts, simultaneously, and focuses on their association in the space of the book. By examining several case studies, it brings to light relationships of texts and images different from those dramatic and disruptive ones elaborated by the avant-garde. This is done, first, by considering a wider range of professional periodicals of the late 1920s and 1930s – both avant-garde and traditional – and second, by focusing more on the modes of perception photography introduced within the space of the book than on photographic or typographic experiments. The driving hypothesis is that in periodicals of the late 1920s and 1930s, even in those of a rather traditional form (L’Architecte, L’Architecture vivante, Quadrante), new modes of perceiving the space of the book as a whole gave rise to semantic associations generated by juxtapositions or effects of distance between word and image. -
Constructivism (Art) 1 Constructivism (Art)
Constructivism (art) 1 Constructivism (art) Constructivism was an artistic and architectural philosophy that originated in Russia beginning 1919, which was a rejection of the idea of autonomous art in favour of art as a practice for social purposes. Constructivism as an active philosophy lasted until about 1934, greatly effecting the art of the Weimar Republic and elsewhere, before being replaced by Socialist Realism. Some of its motifs have been reused sporadically since. Beginnings The term Construction Art was first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko during 1917. Constructivism first appears as a positive term in Naum Gabo's Realistic Manifesto of 1920. Alexei Gan used the word as the title of his book Constructivism, which was printed during 1922.[1] Constructivism was a post-World War I development of Russian Futurism, and particularly of the 'corner-counter reliefs' of Vladimir Tatlin, which had been exhibited during 1915. The term itself would be invented by the sculptors Antoine Pevsner and Naum Photograph of the first Constructivist Exhibition, 1921 Gabo, who developed an industrial, angular style of work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. The teaching basis for the new ohilosophy was established by The Commissariat of Enlightenment (or Narkompros) the Bolshevik government's cultural and educational ministry directed by Anatoliy Vasilievich Lunacharsky who suppressed the old Petrograd Academy of Fine Arts and the Moscow School of Painting, Sculpture and Architecture during 1918. IZO, the Commissariat's artistic bureau, was managed during the Russian Civil War mainly by Futurists, who published the journal Art of the Commune. -
The Typographic Contribution to Language: 1987 Towards a Model of Typographic Genres and Their Underlying Structures
The typographic contribution to language: 1987 towards a model of typographic genres and their underlying structures Robert Waller A note about this edition After completing my PhD thesis in 1987, I left the research career that had led up to it, and went into practice as an information designer, although some ideas from the thesis were published (Waller 1990, 1999). For the next twenty years, my main focus was commercial survival, and I gave it little thought until Judy Delin and John Bateman got in touch. Their AHRC-funded GeM project looked at the role of layout in written text, and took a genre-based approach. I was delighted when they used my model as a starting point for their own richer and more robust version (Allen, Bateman and Delin 1999, Delin, Bateman and Allen 2002). At their suggestion I created a digital version, by converting the original WriteNow file into an early version of Word, and upwards through newer Word versions. The GeM project made this available online, and I have also placed it on my own website in recent years. However, many illustrations were missing, and others were scanned from photocopies. Recently I imported the Word file into InDesign, and I located and re-scanned most of the images. What you have here is the original text, although pages numbers have inevitably changed, and I have also corrected a number of typos. One or two exemplar documents are not the originals but make the same points. I am mindful that this thesis is over twenty-five years old and was written before the internet, and in the very early days of electronic documents and hypertext. -
Writing, Medium, Machine : Modern Technographies
WRITING, MEDIUM, MACHINE MODERN TECHNOGRAPHIES EDITED BY SEAN PRYOR AND DAVID TROTTER Writing, Medium, Machine Modern Technographies Technographies Series Editors: Steven Connor, David Trotter and James Purdon How was it that technology and writing came to inform each other so exten- sively that today there is only information? Technographies seeks to answer that question by putting the emphasis on writing as an answer to the large question of ‘through what?’. Writing about technographies in history, our con- tributors will themselves write technographically. Writing, Medium, Machine Modern Technographies Sean Pryor and David Trotter OPEN HUMANITIES PRESS London 2016 First edition published by Open Humanities Press 2016 Copyright © 2016 Sean Pryor and David Trotter, chapters by respective authors This is an open access book, licensed under Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy their work so long as the authors and source are cited and resulting derivative works are licensed under the same or simi- lar license. No permission is required from the authors or the publisher. Statutory fair use and other rights are in no way affected by the above. Read more about the license at creativecommons.org/licenses/by-sa/4.0 Freely available onlne at: http://www.openhumanitiespress.org/books/titles/ writing-medium-machine/ Cover Art, figures, and other media included with this book may be under different copyright restrictions. Cover Illustration: Writin, Machin, Cod (2016) gouache on paper Copyright © 2016 Navine G. Khan-Dossos, Creative Commons CC-BY-NC-ND Print ISBN 978-1-78542-006-1 PDF ISBN 978-1-78542-018-4 OPEN HUMANITIES PRESS Open Humanities Press is an international, scholar-led open access publishing collective whose mission is to make leading works of contemporary critical thought freely available worldwide.