I was currently in such brainstrorming about ideas of thesis/research as communication student. I found phenomenon that constructivism typography are famous and strongly applied among Indonesian proletariat. Due to Indonesia was the third biggest communist nation after Soviet and China, (but now we are adopting American democracy, capitalism and liberalism). Is it having relationship between constructivism and communism as ideology. Does Constructivism art (esp. typography) correlate Communism?
Hi typophiles! I am doing a massive history paper on typography during the 19th century. There was a lot of innovation in the typographic in this period due to the new demand and ability of the industrial revolution, including the creation of the first slab serif and sans serif fonts.
I'm working on a typography animation for a writer whose story is set in WWII-era Poland. I'd like to use typography appropriate to that time and place in history. Any suggestions you guys have regarding that would be great—but also, can you suggest any reference books or resources to refer to for that sort of thing in general? Today I'm hunting for typography appropriate to WWII-era Poland, but tomorrow it might be 1850s Boston, or who knows where. I'd like to have a big fat book, or some kind of resource to refer to next time I need to research this sort of thing. Any thoughts? Your feedback is greatly appreciated!
I'm doing some research on the origin and history of greek typefaces used after 1800.
Most greek faces (even the ones used in Greece) were cut by european typefoundries, but I don't have access to their specimens.
Can anyone give me a lead, or even scan for me such specimens?
Hello all! I'm pretty new to the world of type, and I want to get into hand-drawn lettering. It's been suggested that I study the history and evolution of scripts, from how they descended from italics and the flexible reed pen, to how swashes change over the centuries. I'm currently reading "The History and Technique of Lettering" by Alexander Nesbitt, which I'm really enjoying. However, the book covers a ton of information in a fairly short amount of pages, and there are some ares which I'd like to explore in depth. One being the history of Dutch writing master Jan van den Velde.
Wilhelm Pischner designed Neuzeit Grotesk for Stempel AG in the late thirties.
Part of a self-initiated research, I've been looking for a portrait photography of him without any success so far.
I've asked Linotype, the Klingspor Museum and the Hessisches Landesmuseum in Darmstadt. Any of these institutions has seen a picture of this designer. Before enquiring at Offenbach's city archives, where he was born, I decided to post on this forum.
Thanks in advance for your help.
I'm looking for high-resolution scans from pages of Arrighi's La Operina, which is a classic manual for calligraphy and for the 'chancery italic' approach to pre-printing-press typography. I'm aware of an on line resource of "the" work, but the resolution is too low.
The work doesn't have to be authentic and I'll consider examples of modern interpretations. I have a copy of Three Classics of Italian Calligraphy but it doesn't show enough detail.
Any help appreciated.
I'm currently trying to talk somebody (trying to reproduce late 1700s style in an English text) out of using the OpenType ›Contextuals‹ feature as a tool to substitute every (!) non-final
s by an
ſ -- as ſ usage is a lot more complex than that.
Now what this issue reminded me of was having seen a
longs_s ligature in an English text once -- an
ß, effectively. 17th or 18th century, I guess. I just can't find it. Un-ligated
s are everywhere, but that's not what I'm looking for.
Does anyone know the history behind the term "Monarch" as it relates to paper dimension. Who coined the term? Does it have any relation to royalty?
I'm in the middle of research about typography used on Wrocław's (Poland) trams and buses.
I'm looking for a clues about history of such typography use or just some background about history of such digit design.
Of course it can't be connected with transportation but we're close to thinking it has some functional matter.
I'll be very glad if you could help me a little with it.
Thank you very much.
Hola a todos,
Does anyone know of a resource that could be used to determine the popular fonts for books, particularly non-fictional books, in a particular region, for example a particular country, for particular dates? The typogeography of europe map is something like that, but I of course need a timeline on font popularity.
If not how would you go about discovering this information?
I am thinking particularly of historically popular fonts in Denmark.
I do not need a 100% accurate result...a result that tells me that a particular font was likely high in popularity at a given date would be adequate.
Dates might be as far back as the 1750s to today.
Hi there! Does anyone have any information about the sans serif font, Compacta? My classmate and I were assigned to this font and are required to do a research on it. So far i have got the year it was created and the creator, Fred Lambert. I need the history of the font; eg. why is it named compacta, how the designer came about this design. We failed this assignment as we did not have enough information and now are given a second chance. Pls pls help us if you know anything or if you have any related links! Thank you so much!!
Friday 6 May 2011, 9.30am–6.30pm
This one-day conference will investigate the status of graphic design history today, with an emphasis on the making and using of it. It will review the state of affairs, looking at where we are, and questioning where we could go next.
With Christopher Burke, David Crowley, Rick Poynor, Sonia de Puineuf, Alston W. Purvis, David Reinfurt, Catherine de Smet and Teal Triggs
Organised by Sara De Bondt and Catherine de Smet
£60 Friends of St Bride Library
£30 concessions (full-time students and over-60s)
£25 concessions (Friends of St Bride Library)
* Full details: http://stbride.org/events
* Join the Friends: http://stbride.org/friends
Shady Characters is go!
I've just launched a website called Shady Characters looking at the stories behind some unusual marks of punctuation such as the pilcrow and the interrobang.
The first long post (about the early history of the pilcrow) has just gone up at http://www.shadycharacters.co.uk. You can follow the site on Facebook (http://www.facebook.com/pages/Shady-Characters/135325489866494) or Twitter (http://twitter.com/shadychars). The plan is to update it every week or two with new material, time permitting.
Please take a look, and don't hesitate to get in touch with comments, criticism or anything else!
Anyone know anything about the typeface Today SH?
I am currently working towards a graphic design degree and need to know a bit about the history of this typeface for my typography class.
I've googled it until my fingers turn blue and I can't find much on it so I have turned here.
I wonder, anyone has any idea where the name “Sackers” comes from?
& (the ampersand) is a ligature for 'et', latin for 'and'. Although archaic you can use '&c' the same as 'etc' as a shortened 'Et cetera'. & (the ampersand) being a ligature for 'et', I am curious to whether there are any historical examples of ligatures being designed for 'etc'.
I created an example of what a ligature for 'etc' could look like: http://bit.ly/cKOH8v
Does anyone know of any actual historical examples?
I'm curious about the origin of the different lowercase a's, as demonstrated in these examples. Does anyone know how we ended up with these two different shapes?
Darjeeling combines British Elegance and Indian Flavor. It is flared like Optima, with a scent of Bodoni. By layering “Regular” and “Ornaments” over each other you will create astounding pieces of colorful typography. Additionally there is “Regnaments” which combines the two other styles.
Darjeeling is great as a display font, but also perfectly legible at text sizes. Use the ornaments only to add spice to Your design.
Make sure to use applications supporting all these lavish OpenType features like small caps, various sets of figures, fractals and the 102 discretionary ligatures.
Darjeeling has been recently released at myfonts:
Hi there. I'm new here and it seems like a good place to get some input. I am an Adjunct Professor in Graphic Design and putting together this semester's curriculum, and want to match up some of the major past historic movements with some modern examples the might have been influenced by the style. I've been using the same examples for years and would like to get some fresh stuff in there this semester, but am a little late in making changes, so am seeking some help.
If anyone knows of any good examples of somewhat current graphic design, that appears to reflect a strong resemblance to a past movement (Constructivism, DeStijl, Vienna Secession, Swiss, etc. Not looking for a match to any particular style, just a (hopefully) great design that bears a resemblance to a past movement.
Designing information before designers
Monday 11 to Friday 29 January 2010
Exhibition of information design from the nineteenth century. Presented by Paul Stiff, Paul Dobraszczyk and Mike Esbester; talk on 14 January
Thursday 21 January 2010
UK movie premiere
Design 4 music/Music + design
Friday 29 January 2010
Conference exploring this complex, passionate, sometimes obsessive relationship. Curated by Catherine Dixon and John L. Walters
Zainer's imperfect impressions
Tuesday 23 February 2010
Fifth annual Justin Howes memorial lecture, given by Claire Bolton
Book design in St. Gallen
Thursday 4 to Friday 19 March 2010
It seems that the term 'Humanist' in typography is used solely to describe a certain type of sans serif. But is this really a reference to the renaissance Humanist scribe hands? If so why is the term not used for serifed typefaces that are directly related to this humanist hand?
Does anyone know when the history of when term was first 'coined' in regards to sans serif. Was it just an attempt to categorise, or maybe a commercial reason, to set a typeface design as different from the rest by giving it an saleable tag, one that gave it a mystique, esteem or historical cogitation.
Humanism also has many non-typographic meanings. What does this tag imply to you as designers?
James Arboghast was born in Melbourne, Australia, in 1963, and spent part of his childhood in England. He briefly attended the Royal Melbourne Institute of Technology but found the academic focus too stifling even for pretend consideration.
James has worked as a photographer, art director, graphic designer, audio engineer, publicist and creative consultant. He is presently a freelance advertising creative specializing in copy writing and brand development. "Combining a permanent interest in monumental sculpture with written forms and semantics, I'm a philosophical artist who finds typography an ideal medium for the expression of abstract ideas."