Experimental typography: light refracted through water droplets
Ruslan Khasanov (2012) Lumen type: experimental typography.
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Simon PerkinsSHARE
LaTeX: programmable desktop publishing
"LaTeX is a document preparation system for high-quality typesetting. It is most often used for medium-to-large technical or scientific documents but it can be used for almost any form of publishing.
LaTeX is not a word processor! Instead, LaTeX encourages authors not to worry too much about the appearance of their documents but to concentrate on getting the right content. ...
LaTeX is based on the idea that it is better to leave document design to document designers, and to let authors get on with writing documents. ...
LaTeX is based on Donald E. Knuth's TeX typesetting language or certain extensions. LaTeX was first developed in 1985 by Leslie Lamport, and is now being maintained and developed by the LaTeX3 Project."
(LaTeX3 Project)
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Simon PerkinsSHARE
Ampers-Fan: the history of the ampersand
"The dark horse of the keyboard, the ampersand exists to join things together, yet remains set apart. Whilst everyone can read and understand the ampersand, or the & symbol, how many of us know where it came from?
Alistair Sooke traces the history of the funny little character that has quietly given joy to so many, from a bored medieval scribe right the way through to a modern day digital font designer. Delighting type designers throughout the centuries as a chance within a font to create a small piece of art, it is a joyful moment in a functional resource. Speaking to Ampersfans Alastair enters into a world of letterpress, punchcutting and typography and discovers how the ampersand can be found at every step of the way, bringing a joyful flick of a tail to the dullest document.
If you thought the ampersand was a bright young thing in the world of type, you couldn't be more wrong; first credited to Marcus Tiro around 63 BC, combing the letters e and t from the Latin word 'et'. Fighting off competition from his nemesis, the 'Tironian Mark', Alastair then tracks the ampersand to 16th Century Paris where it was modelled in the hands of type designer to the King, Claude Garamond, then back across the sea to William Caslon's now famous interpretation, designed with a joyful array of flourishes and swirls. Alastair will discover how the ampersand became a calling card for many typographers, showcasing some of their best and most creative work.
A simple twist of the pen, the ampersand has managed to captivate its audience since print began, in Ampersfan Alistair tries to pin down this slippery character down once and for all."
(BBC Radio 4 Programmes, 2012)
Alistair Sooke (2012). "Ampers-Fan", Producer: : Jo Meek & Gillian Donovan, A Sparklab Production for BBC Radio 4, Last broadcast on Monday, 16:00 on BBC Radio 4.
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Simon PerkinsSHARE
Graphic Design Communication students recreate an ornamental display font through contemporary and traditional processes
"Stage one Graphic Design Communication students have been developing a new ornamental display font with highly Individual characters inspired by drawing digitally and laser cut manufactured to the exacting standards reminiscent of a traditional font foundry.
Level tutor Nigel Bents and Associate Lecturer Paul Oakley will further support students by printing typographic posters at the New North Press."
(Graphic Design Communication at Chelsea College of Art and Design, 16 October 2011)
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Simon PerkinsSHARE
LycetteBros:Typecast
"Inspired by the multi-award winning Not My Type (Lycette Bros. 1993-2002) and made specifically for the mobile medium, Typecast is a series of scenarios involving three central characters, an elevator and the mobile phone.
This series of five shortform linear works were created for the 'small of screen' and 'short of time' and as such they relied on easily recognisable scenarios, characters and devices - and of course - lowbrow humour.
In order to maximize the potential audience and provide performance on numerous devices of various resolutions, the challenge was to devise 5 animations of the same 30 second duration, without any dialogue or text and without changing scenes or cutting. The other major challenge was to create all of the characters and props using only typographic elements - letters, symbols, punctuation and fonts."
(John and Mark Lycette)
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Simon PerkinsSHARE
