Typography

19 April 2011

Type Tuesday

Type Tuesday

type tuesday

Christian Schwartz and Paul Barnes deep in the archives: Antique Olive
Roger Excoffon’s Antique Olive (1962-66) is a perfect example of a typeface that has suffered from its context. It is by no means a bad design – in fact, it is a brilliant piece of work – but it has become so over-used (and often badly) that it is ripe for rediscovery, wrote Christian Schwartz and Paul Barnes in Eye 75.

14 April 2011

Mapping it up

Mapping it up

alexander ecob

Embrace the inner cartographer of artists and graphic designers
I’ve yet to meet a designer who doesn’t harbour a fondness for maps, writes Alexander Ecob.

12 April 2011

Type Tuesday

Type Tuesday

type tuesday

Matthew Carter explains how he came to design his first wood type
The positive / negative aspect of type is always in a type designer’s mind, writes Matthew Carter in Eye 76. This may be particularly true for a designer who has been trained, as I was, in punchcutting, a technique that works  on the space – the letter is what is left over at the end.

4 April 2011

Exquisite discourse

Exquisite discourse

hamish thompson

Poet meets graphic artist meets type designer, and the consequence is …
A graphic artist and a typeface designer, working blind to each other, design two-word typographic postcards illustrating a poet’s turn of phrase, writes Hamish Thompson.

30 March 2011

Bravo, Charlie

Bravo, Charlie

alexander ecob

Playing with phonetic typography at the Kemistry gallery
Hot on the heels of their intriguing exhibition of Saul Bass posters, the Kemistry gallery (a fitting venue for phonetics) plays host to the ICAO Phonetic Spelling Alphabet as interpreted by Eat Sleep Work / Play, Inventory Studio (one of the practices behind ‘The Art of Conversation’) & Julia, writes Alexander Ecob.

29 March 2011

Posters on sticks

Posters on sticks

sally jeffery

A vast river of banner-bearing humanity with something to say
Here is a postscript to Eye’s poster debate, writes Sally Jeffery   (see ‘Help! Poster initiatives mean well …’

22 March 2011

Out of office

Out of office

katie parry

A few words about Birmingham’s Type Writing Symposium
It’s not often I take time out of the studio to do some proper thinking and learning but last Wednesday was different, writes Katie Parry. I attended ‘Type Writing’ a one-day symposium organised and curated by Dr Caroline Archer of The Typographic Hub, a Birmingham City University research centre which works to promote the history, theory and practice of typographic design. An event about typography on my doorstep? How could I resist?

20 March 2011

Fixed compass

Fixed compass

the history department

David Gentleman talks about his identity design for British Steel
The most recent issue of Eye includes a Reputations interview with David Gentleman, whose career spans nearly six decades, and whose work includes illustration, wood engraving, protest graphics, posters, books, stamps and identity design.

16 March 2011

Tarnished idol

Tarnished idol

alexander ecob

British Museum presents the public and private art of Eric Gill
His eponymous typeface is frequently used to evoke a sense of unadulterated, stiff-upper-lipped Britishness, but Eric Gill is an uncomfortable design hero, writes Alexander Ecob. With a new exhibition, the British Museum hopes to tease our attention away from Gill’s lascivious private life and back to his creative output.

1 March 2011

Critique: French connections

Critique: French connections

rick poynor, the magazine department

Back Cover signals an allegiance to graphic design as a serious endeavour
In his latest Web-only Critique, Rick Poynor looks at the French graphic design and typography magazine Back Cover: ‘Any graphic design magazine with an international outlook confronts a huge array of possible subjects. In the seven or eight features per issue published so far, Back Cover has signalled a firm allegiance to rigorous European typography and to visual communication as an essentially serious social and cultural endeavour. Its design by the editors’ studio, deValence – modernist with a few whimsical touches – embodies these apparently resurgent values.’
 
‹ First  < 30 31 32 33 34 >  Last ›