Contemporary kinetic typography relies on historical developments
"This is a lecture given to MA students at the University of Hertfordshire. It explores how contemporary kinetic typography relies on historical developments such as 3D woodblock print, Romain du Roi, and Modernist modular lettering. Students are encouraged to let their design work respond to historical research. This does not mean creating something that looks old or retro, rather creating something innovative and new by re-imagining historical ideas in light of new technologies and contexts."
(Barbara Brownie)
CONTRIBUTOR
Mary-joy AshleySHARE
The debate in 1991: digital or hand-crafted type?
"Metal setting is practised today by only a handful of specialists, but it continues to provide the standards by which good typesetting is judged. Photosetting, and the computer setting which has largely displaced it, are criticised for being too perfect and lacking the character of hand-crafted type. Now, increasingly, designers are using desktop publishing systems such as the Macintosh to do their typesetting. The technology has matured considerably over the last two years and the time is ripe for a reassessment: is good typesetting possible on the Macintosh?"
(Andy Benedek, 1991)
Andy Benedek (1991). "The craft of digital type" Winter no. 2 vol. 1, Eye Magazine.
CONTRIBUTOR
Simon PerkinsSHARE
Experimental typography: light refracted through water droplets
Ruslan Khasanov (2012) Lumen type: experimental typography.
CONTRIBUTOR
Simon PerkinsSHARE
Traditional techniques provide an experimental space to explore ideas
Review of exhibition titled 'More is More' which opened 5 August 2012 in Gallery C3, Te Ara Hihiko, Massey University Campus, Wellington, New Zealand. The show was curated by Annette O’Sullivan, Matt Clapham and John Clemens.
"Typography forms a strong component of the Visual Communication Design programme and this existing knowledge is built upon in the Screen Printing for Design and Contemporary Letterpress papers. There was a celebration of disciplines on show, with students from many areas of the College of Creative Arts: Graphic Design, Textiles, Illustration, Fine Arts and Photography included. Many students are attracted to these papers as they provide an experimental space to explore ideas and techniques that can be applied at a later stage to other projects. Although based around traditional printmaking techniques students also employ digital technologies and equipment such as laser cutters to answer the project briefs."
(Nick Kapica, 20 August 2012, Design Assembly)
Fig.1 Hannah Milner "Our Darkest Day", wooden type printing, digital printing.
CONTRIBUTOR
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.
CONTRIBUTOR
Simon PerkinsSHARE
