Typotheque

Font hinting
Hinting, or screen optimising, is the process by which TrueType or PostScript fonts are adjusted for maximum readability on computer monitors. This text compares different ways of hinting (black & white, grey-scale, ClearType, DirectWrite), and explains the behaviour of fonts under different rasterisers.
History of History
Two years after releasing History, Peter Bilak reflects on the process of creating this skeletal system where different styles are imposed on a Roman capitals base. Previous experiments are mentioned as well as inspiration sources for the typeface presented.
Methods of Distribution: Digital Fonts and the Global Market
Article written for the Centre national des arts plastique, discussing conventional distribution methods of digital typefaces and their alternatives. The text focuses primarily on French typography scene.
Méthodes de distribution : les caractères numériques sur le marché mondial
Article written for the Centre national des arts plastique, discussing conventional distribution methods of digital typefaces and their alternatives. The text focuses primarily on French typography scene.
In the Name Of the Father (or the troubles with L-caron)
Real life situation that forced a type designer to evaluate his profession. One small typographic detail (incorrect version of the diacritics over the letter L) causing troubles with authorities. With happy end.
Jan van Toorn, Critical Practice
Third in the heavily subsidised series ‘Graphic design in the Netherlands’, Jan van Toorn, Critical Practice takes on the difficult task of exploring and striving to elucidate the work of Jan van Toorn (JvT), a designer who is not always clear about his intentions, who makes frequent use of inexplicable images and text, and whose work is often described with concepts such as ‘alienation’, ‘incomprehensibility’, ‘defamiliarisation’, ‘digressions’ and ‘intrusion’.
Ways of Seeing, book review
More than 35 years after the seminal art book Ways of Seeing was published, Peter Biľak looks closely what it means still today.
A View of Latin Typography in Relationship to the World
A short essay scrutinising the general misconceptions of western typography, and appropriateness of Euro-centric type terminology.
Family planning, or how type families work
An essay on history and definition of type families, type design parameters, and possibilities of creating larger type systems today.
What is Typography?
What do we understand under the term typography? Before starting any discussion it is useful to clarify the terminology. This is a first from the regular columns that Peter Bilak writes for online version of the Swedish magazine CAP & Design.
Eric Gill got it wrong; a re-evaluation of Gill Sans
This article is intended for an audience of contemporary designers and students who are at least one step removed from mid-century British typographic culture; it is a critique of the Gill Sans typeface and the idiosyncrasies of its creation from a contemporary perspective. The central argument is that an earlier typeface by Eric Gill’s mentor, Edward Johnston, is a superior piece of type design.
Interview with Peter Biľak, Milano, 29/05/02
Interview conducted by Luciano Perondi and Silvia Sfligiotti discussing issues of translation, languages, teaching, writing, organizing exhibitions, and having no answer to question about parallels between design and science.
Conversazione modulare
Peter Bilak, grafico e type designer slovacco attivo a L’Aia, con la sua fonderia digitale Typotheque e la rivista Dot Dot Dot si è fatto conoscere come voce originale e indipendente nel campo della tipografia e della riflessione critica sul design. Due anni fa ha iniziato una collaborazione con il Nederlands Dans Theater e il coreografo Lukas Timulak, con il quale progetta e mette in scena performance di danza contemporanea. Lo abbiamo intervistato a Milano, nel cortile della nuova sede Aiap, il 30 maggio di quest’anno, il giorno dopo la sua conferenza all’Istituto Europeo di Design.
Beziehungen innerhalb der tschechoslowakischen Typografenszene
Dieser Artikel basiert zum Teil auf meiner Forschung für die Ausstellung über das tschechische und slowakische Schriftdesign mit Schwerpunkt auf der Entwicklung der Typografie in den letzten zwanzig Jahren, die ich zusammen mit Alan Záruba 2004-2006 kuratierte. Die Ausstellung mit dem Titel 'Experiment And Typography' wurde erstmals 2004 an der International Biennale of Graphic Design in Brno gezeigt und zog später weiter nach Prag, Den Haag, Bratislava, Cieszyn, Ljubljana, Warschau und Budapest.
Czechoslovak Typography Connections
This article is partly based on the research for the exhibition on Czech and Slovak typeface design, that we co-curated with Alan Záruba in 2004-2006 focusing on the last twenty years of typography development. The exhibition entitled 'Experiment And Typography' was first presented at the Biennale of Graphic Design in Brno in 2004 and it later travelled to Prague, The Hague, Bratislava, Cieszyn, Ljubljana, Warsaw and Budapest.
Kyoorius DesignYatra 2006, review of a design conference
Review of the first India's design conference held in 2006 in Goa.
좋은 디자인이란 무엇인가
A Korean translation of the lecture where Stefan Sagmeister talks about the state of current design, ethics, advertising and aesthetics.
Microtipografia: Il progetto dei nuovi dizionari Collins
L'Art Director di Collins descrive il procedimento seguito per il progetto di una nuova serie di dizionari, dal punto di vista storico, del layout e della scelta dei caratteri. Data la scala alla quale il contenuto del dizionario viene espresso, e il modo particolare in cui viene letto, le decisioni microtipografiche hanno un effetto amplificato.
Graphic Design in the White Cube
Essay accompanying the exhibition Graphic Design in the White Cube during the 22nd International Biennale of Graphic Design Brno 2006. Nineteen designers and collectives were commissioned to design a poster for the design exhibition in which they participate. Instead of bringing work from the outside to the gallery, the work is made for the gallery. Instead of recreating the context for the exhibition, gallery conditions are the context for the work.
Designing Type — book review
As a teacher of type design and typography I have always wished to have a book, which I could recommend to my students without hesitation, and so I was excited to receive Karen Cheng’s Designing Type. As the author remarks in her introduction, there are simply very few books that comprehensively explain the type design process.
In search of a comprehensive type design theory
An honest appraisal of the role discussions about type design have in the broader culture today, and why there is a need for a more cohesive discussion within the field.
Falta de diseño, exceso de diseño y volver a diseñar
El no-diseño como una repuesta al sobre-diseño y el manierismo contemporáneo. Alegato a favor de un diseño que, tomando en cuenta su contexto, responda a las necesidades de comunicación y no a modas pasajeras con las que el diseñador luce su virtuosismo técnico.
Las personas como píxeles
Un interesante análisis sobre la historia, el contexto y el uso político de imágenes gráficas conformadas por multitudes: ¡la gente como pixeles!
Sandberg, Designer and Director of Stedelijk
Graphic designer Willem Sandberg became the director of Amsterdam’s Stedelijk Museum in 1945. From that time until 1962, he designed almost all the printed matter for the Stedelijk, and transformed the museum introducing new ideas into the stuffy world of museums of that time.
En busca de una teoría completa del diseño tipográfico
Una honesta valoración del papel que las discusiones sobre diseño tipográfico juegan hoy en la cultura general, y porqué hay necesidad de discusiones más integradoras dentro de la disciplina.
Historia de una fuente nueva
El diseño tipográfico como conocimiento acumulado y continuidad: una mirada al papel de los diseñadores de tipos, la historia y la tecnología, los revivals y la invención.
Acerca de Fedra
Una breve mirada al enfoque ‘sintético’ con que Peter Bilak entiende el diseño de tipos. Se examina Eureka, su diseño anterior, y las recientes familias de Fedra.
Microtypography, Designing the new Collins dictionaries
Art director of Collins describes the process of designing the new set of dictionaries, history, layout and choice of type. The scale at which a dictionary’s content is expressed, and the particular way in which it is read, microtypographic decisions have an unusually large effect.
Peter Biľak, founder of Typotheque, Dot Dot Dot
Rudy VanderLans talks with Peter Biľak about the Typotheque founder’s education, design practice and experience as an ex-pat Slovak living in the Netherlands. Dot Dot Dot is discussed, as well as the typefaces Biľak has produced and his current teaching practice.
Typographica Mea Culpa, Unethical Downloading
Steven Heller describes the guilty revelation experienced when he learned that typeface software licenses are sold for use on specific, not unlimited numbers of CPUs. He calls for the ethical treatment of type designers: respect for their copyrights.
Fred Smeijers’s Arnhem typefaces
Andy Crewdson discusses the origins of the Dutch designer’s recent family of types.
Martin Majoor feature
The introduction to a series of interviews and articles by and about Martin Majoor, the designer of Scala, Seria, Telefont and others.
Experimental typography. Whatever that means.
An epistemology of the word ‘experimental’ as it applies to design and type, contrasted with its scientific connotations. Examples of past and current design, type and reading/language, as well as scientific experiment, are taken into account.
New Faces (abstract): type design in the first decade of device-independent digital typesetting (1987-1997)
The abstract for Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.
New Faces (Introduction)
The introduction to Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.
New Faces (Historiography)
The first part of the introduction to Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.
New Faces (Typographic History in the Context of Broader Design Historical Models)
The second part of the introduction of Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.
New Faces (Chapter One: Technological and Industrial Change: Setting the Scene)
The first chapter of Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.
New Faces (Mapping Contemporary Type Design)
A continuation of the first chapter of Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.
New Faces (Chapter Three: The East Coast)
The third chapter of Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.
New Faces (Chapter Four: London)
The fourth chapter of Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.
New Faces (Chapter Five: The Netherlands)
The fifth chapter of Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.
New Faces (Conclusion)
The conclusion of Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.
New Faces (Bibliography)
The bibliography of Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.
New Faces (List of Interviews)
The list of designers interviewd for Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.
Fedra typefaces reviewed
A brief look at Peter Bilak’s ‘synthetic’ approach to type design which examines both his earlier Eureka and more recent Fedra families.
History of a new font (notes on designing Fedra Serif)
Type design as accumulated knowledge and continuity: a look at the role of type designers, history and technology, revivals and invention.
E-A-T, a selection of contemporary Czech and Slovak type design
Dan Reynolds reviews a travelling exhibit of Czech and Slovak type design from the past two decades, and compares this exhibit to the Fresh Fonts exhibit of Swiss design shown in Zurich until July 2004.
Why Not Associates?2
A critical review of the London-based design group’s second collection of work, published in 2004. Peter Biľak’s review, first appearing in Items magazine, poses questions about the role of self-promotional design publishing as he describes the visually stimulating work of a contemporary design studio.
The Book of Probes
A critical review of a new book featuring excerpts of Marshall McLuhan’s work, designed by David Carson. Tha author considers the complex task of illustrating McLuhan’s intricate work, and whether or not Carson’s visual devices are successful.
State of the Arts publishing
Two books are reviewed and compared: one, a Phaidon book by Steven Heller on the history of avant-garde publications from the early 20th century on, the other, a glossier Taschen book featuring the recent design work of some 100 studios. Read on as Stuart Bailey puts the two in a ring together and hands Heller a very large pair of gloves.
Context in Critique (review of Emigre No.64, Rant)
A review of Emigre Number 64, the Rant issue, where upon its pages designers do just that. Siegel talks about the old Legibility Wars of the 1990s, how design is being produced, thought of and critiqued today and in the 1990s, and he even provides an interesting background of the Dutch design environment as a foil for the maintream of the western design world.
The Boulevard of Broken Dreams
A review of a new comic strip novel by an ‘underground comix master’, full of complex plot lines and psychologies, stories about and parodies of the underbelly of the cartoon business, all drwan exquisitely.
Marshall Arisman: Facing the Audience
A film review of director Tony Silver‘s documentary about the life and work of the Amercian illustrator Marshall Arisman.
Restart: New Systems in Graphic Design
A critical review of the design book Restart, first appearing in Items first issue. Some very well-known designers’ work is featured in this modern vs. post-modern, 175 page book from two London-based authors.
Bruce Mau: Life Style
A review, first appearing in Items first issue, of Bruce Mau‘s other large book, which arrived three years after S,M,L,XL. Described is an interesting archaeology of contemporary culture and design.
Edward Fella: Letters on America
Steven Heller, in his affable way, reviews a book by Lewis Blackwell and Lorraine Wild which takes on Ed Fella's Polaroids of found graphics and alphabets throughout the US as well as some of his lettering. The book sounds like a lively account of American vernacular lettering and images, as well as a good platform to view Ed Fella's own work.
R. Crumb: Odds and Ends
A collection of Robert Crumb’s lesser known work spanning three decades gives credence to Steven Heller's claim that Crumb is the god of comics. Heller also gives a bit of background to the New York/US counterculture that Crumb fed with his racy work.
Tomi Ungerer, A Childhood Under the Nazis
The autobiography of iconoclast Tomi Ungerer is a fascinating first-hand account of his childhood under Nazi occupation. It is also a rare visual collection of his dangerously rebellious drawings from the time as well as the dark ephemera he collected, making this a rare combination of cultural and political documentation and artist's history.
Tibor Kalman: Perverse Optimist
A review of the late Kalman’s monograph in context, with a brief background of Tibor’s influential design work and approach to its role in the consumer culture of the 80s and 90s.
Jack
A critical review and description of an open-structured live multimedia performance series which took place in the Netherlands in 1999.
Wolfgang Weingart: Typography
A useful critical review of the monograph from the Swiss designer who bent the Swiss grid. Stuart Bailey looks at the contradictions in Weingart's book and his design work in context.
Maeda@media
A review of John Maeda's monograph from 2000. A critical look at the book's design, and the philosophy and work of the new media designer/artist.
Mooi maar Goed, Graphic design in The Netherlands
Stuart Bailey discusses the curation of a retrospective of Dutch design, illustrating the fallibility of presentation methods which treat design work as museum or gallery pieces.
Structural Package Designs
A positive review of a simply designed handbook of package design in a time where gloss is king in design publishing.
The Fashion of Politics
Darryl Hannah, politics, typeface choices, supermodels and Paula Scher are discussed in this review of the first issue of John F. Kennedy Jr.’s magazine, George.
20th century type
A critical review of the design and content of a collection of some 20th century type and its applications.
The Swastika: Constructing The Symbol
An in depth account of Malcolm Quinn’s book about the swastika, which investigates in depth the history and function of the symbol, beginning with its earliest manifestations in cultures around the globe and even its pre-Nazi uses in western commerce, then focusing on its forever tarnishing appropriation by Hitler.
Reports of Its End Have Been Exaggerated
A review of Lewis Blackwell’s book The End of Print: The Graphic Design of David Carson. The review contains an archaeology of the state of design in the mid-90s and some of the discussions which surrounded the work of the surf pro gone design star.
Art of the Third Reich
A brief rundown of the treatment of art by the Nazi state and the background of Hitler’s repressive cultural policies in this review of two books, one about the art of the Nazi state in general, and the other specifically about the show Degenerate Art which toured the Reich in an attempt to exterminate modern art.
Playing by Mr. Rand’s Rules
Paul Rand’s design philosophies, latter publishing history and vinegar attitude to 90s design is discussed in this review of several of Rand’s books of his essays and design.
10 Issues of Fuse
A thorough albeit pointed review, from a perspective of the early 1990s, of Neville Brody’s and Jon Wozencroft’s pioneering magazine Fuse. A timely piece of history for those interested in the design of type.
Design History
A call for greater design history instruction in graphic design education as a way to better (and Heller hints proper) design. ‘Design programs should encourage designers to become critical historians...’
Fuck Tibor
Despite the piece’s off-colour title, an optimism exists in this reaction to what the author sees as the hermetic design field’s reverence of the late Tibor Kalman.
My Type Design Philosophy
This article by the designer of Scala and Seria is as much a typographic guide and history lesson as it is a personal account of his approach to type design.
Seria’s motives: How Martin Majoor developed his ‘literary typeface’
The background of the design of Majoor’s font Seria.
How Good is Good?
Stefan Sagmeister talks about the state of current design, ethics, advertising and aesthetics.
Spot the difference
Emily King examines the interaction of punctuation, numerals and acronyms via corporate design and an album cover.
Graphic intervention
Steven Heller discusses the history and current state of guerrilla, activist and political design from posters to attached image files.
The Time for Being Against
An enjoyably nebulous set of Rick Poynor’s thoughts about the current condition of criticism and the value of oppositional tactics in design and writing.
The Long March
The optimistic theory is put forth that institutions of power have been democratized by the “empowering effects of the media” and that real change can be effected by graphic designers who use their work to engage the public in meaningful dialogue.
Reduce to the max
A reduced and expanded exploration of Swiss design and culture across the 20th century.
People as Pixels
An interesting analysis of the history, politics and context of graphic images which are composed of crowds of people: people as pixels!
One Picture, 1,000 Word
A brief examination of the politics, culture and designer’s role in the uses, cultural placement and proliferation of stock photography.
Contemporary Dutch graphic design: an insider/outsider’s view
An essay about the design culture which is specific to the Netherlands.
The Small Crit
A brief look at the role of graphic design criticism.
The Last Supper
Emily King briefly looks at visual artists use of type, and their collaboration with designers in their work.
Type design in the 1990s, Demystification and re-mystification
An analysis of the democratization and obfuscation of typeface creation with attention paid to its transparency, accessibility and methodology in recent years.
Mars calling Earth
A refreshingly positive response to (and call for?) more, and more thoughtful culture and design publications in a time when the phrase “who needs another design mag?” is common. Max Bruinsma also briefly details the evolution of Dutch and other non-mainstream/design publications.
Fluid Mechanics: Typographic Design Now
A poetically theoretical take on the fluid state of type, design and the vernacular in digital form as they relate to language and contemporary culture.
Zap Comics
An anecdotal history and analysis of the racy work of Robert Crumb, and the cultural situationing of Zap comics then and now.
Quick Cuts, Coarse Letters, Multiple Screens:
An overview of the work of Cuban-born titling artist Pablo Ferro who broke ground with the titles for films like Dr. Strangelove and pioneered moving type for the screen.
Ladislav Sutnar and Knud Lönberg-Holm
A history of the little-known collaboration of Ladislav Sutnar and Knud Lönberg-Holm, who together were a modern design team which was ahead of its time in the realm of information information design.
Otto Bettmann: Father of Retro
About the German-born founder of the Bettmann Archives in New York which houses over 5 million cuts, drawings, images and pieces of ephemera, collected since the 1930's.
Advertising Arts: America Becomes Modern(istic)
A history and analysis of the role played by this American precursor to the graphic design magazine, which sought to bring progressive commercial graphic and industrial arts into the mainstream.
Erik Nitsche: The Reluctant Modernist
The life and work of the quietly pivotal Swiss modern design Eric Nitsche, who's clients ranged from the MOMA to RCA in a career that spanned the 20th century.
Designed Screens
Screens of all sorts, their histories and their metaphors are approached in this theoretical discussion which take on the panopticon, Clinton’s inauguration and the largest movie screen in the world.
The Science of Typography
‘Scientific’ studies of typography and legibility are analysed by Ellen Lupton...
Old Guns
In 1999, Print magazine talked to 20 American design heroes and had them look at work from their halcyon days. Designers from Art Chantry to Massimo Vignelli discuss a piece of early work as a foil for Print’s ‘Designers Under Thirty’ section.
Words On Screens
Max Bruinsma (who declares he has no printer, just a Zip drive) calls for greater attention to be paid to type on screen, is echoed by Matthew Carter, with a brief discussion of screen text technology and its place in reading today (or then).
The Designer as Producer
Walter Benjamin’s ideas are explored (amongst other early 20th century avant-garde artists) in relation to the recent discussions around expanding the designer’s role from that of problem solver to one of author—and producer.
Graphic Design Magazines: Das Plakat
The point-form story of a German dentist named Hans Joseph Sachs and the magazine Das Plakat he founded on his love for posters. Responsible for the promulgation of early German advertising art abroad, his vast collection was confiscated by Goebbels for the Nazis’ collections and Sachs narrowly escaped the Holocaust. Steven Heller looks at the rise and fall of this significant early design periodical.
The Object Poster:
Wooden display types, Victorian chromolithography and the demise of Art Nouveau in the form of a poster for a German Match company in 1906...
De Stijl, New Media, and the Lessons of Geometry
An exploded view of the digital screen, informed by analyses of architecture, designers’ roles, avant-garde Dutch design from the De Stijl period and geometry.
Graphic Authorship
An examination from 1996 of the history and concept of the designer as author, starting in the first decades of the 20th century.
Thirty-six point Gorilla
A fascinatingly thorough investigation of the naming of typefaces. The naming of type as a window to history, conventions, the hermetic type world and cultural context, then and now.
Font Embedding
In 1996 Erik van Blokland relays the problems with font embedding, which a decade later has little success…
Walter Herdeg, editor and founder of Graphis
The “epitome of a post-war Modernist”, Walter Herdeg, backbone of Graphis magazine, is appraised by Steven Heller.
Dutch type design
A mid-90s account of the development and current state of Dutch design and type in the context of its cultural and political history.
Official Anarchy: Dutch Graphic Design
A mid-90s appraisal of Dutch graphic design’s unique qualities, with an overview of various studios, designers and significant movements from the 20th century.
Electronic Typography: The New Visual Language
A talking Barbie lush as a foil for the Mac’s Speech functions; debates about the value of capital letters; Derrida, Saussure and Foucault; Oliver Sachs and Chaucer are all considered in this theoretical piece about the state of typography in new media.
Cult of the Ugly
In the early 1990s Steven Heller takes on the word ugly as he sees it applied to graphic design and design education. En route, his views of art history, pop culture and recent design trends are considered in his essay about style and meaning in design.
Waiting for Permission
An early 90s discussion about social responsibility and design. Using a frightening 1960s social behavior experiment as his fulcrum, the author suggests that the designer has the responsibility to do more than provide design as a service to the client.
Martin Majoor, type designer
Martin Majoor, known for his typefaces Scala and Seria, is interviewed by Peter Biľak. The origins of his type, book design and working methods are discussed.
Tobias Frere-Jones, type designer
An interview from 2002 with the Font Bureau designer Tobias Frere-Jones, the creator of Gotham, Interstate and Garage Gothic to name just a few.
Paul Thompson, director of the Cooper Hewitt Museum
A discussion about the role of design, museums and more in British and American culture.
Rudy VanderLans, editor of Emigre
The globalisation and homogenisation of design, legibility and communication and the history of Emigre magazine are discussed in this interview with its founder, Rudy VanderLans.
Irma Boom, book designer
Irma Boom, one of the world’s foremost book designers, discusses her working methods, preferences, and the nature of free-range design.
Don Norman, Usablity Expert
Design errors in academic design curricula, the 2000 presidential ballot and aviation and nuclear accidents are considered, the concept of human error is called into question, and a call for human-centered design for the fallible user is put forward in this discussion from 2001.
Merrill Berman, Design Connoisseur
A discussion about the art and design ephemera collecting practices of Merrill Berman, who has amassed a vast portfolio of design history from the past century and more.
Neal Gabler, media critic
America as the republic of entertainment, the way Americans’ freedom in a vast choice of cable TV stations, xenophobia and the putting forward of the theory that American culture is NOT run by the political Right: all in the context of European and American history.
Karel Martens, graphic designer
The prolific founder of Werkplaats Typografie, Karel Martens focuses on the design of the Dutch architectural magazine OASE in his 1999 conversation with Peter Biľak.
Letterror, designers and programmers
A discussion from the late 1990s with Erik van Blokland and Just van Rossum about their work as type designers designing programmers.
Max Kisman, graphic designer
A mid-1990s discussion of the state of type design, graphic design in the Netherlands and emerging digital media.
Writing Lessons: Modern Design Theory
A history of visual design and arts pedagogy, the Bauhaus, semiotics and gestalt theories as they apply to modern graphic design education.
Women Graphic Designers
A survey of woman designers of books, magazines, activist campaigns, identities etc. across the 20th century.
Helvetica: Homage to a Typeface, review
Lars Muller is taken to task for his religious reverence for and faith in the omnipresent Helvetica, and the book he produced which is described as a sort of universalist, modernist gospel but several decades misplaced. What one might come away with from the book and review is the possibility that type preferences are simply individualistic... so what does it matter anyways?
Web Design before the Internet
Steven Heller laments the disappearance of refined modern design craftsmanship and organization, and provides some background to Sutnar’s work, upholding him as a pioneer of just this sort of waning craft.
Serial type families (from Romulus to Thesis)
A thorough look at the history and development of large type families across the 20th century.
Taking Credit: Film title sequences, 1955-1965 / 1 Contents
Emily King’s contents (part two of ten) for her dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century.
Taking Credit: Film title sequences, 1955-1965 / Acknowledgements
Emily King's acknowledgements for her dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century.
Taking Credit: Film title sequences, 1955-1965 / 4 Abstracting the Essence
Part four of ten of Emily King’s dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century.
Taking Credit: Film title sequences, 1955-1965 / 2 Introduction
Emily King’s introduction to her dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century.
Taking Credit: Film title sequences, 1955-1965 / 3 Visions in Motion
Part three of ten of Emily King’s dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century. here she lays down the modernist roots of her work.
Taking Credit: Film title sequences, 1955-1965 / 5 Spiralling Aspirations: Vertigo, 1958
Part five of ten of Emily King’s dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century. Saul bass, Hitchcock, Clement Greenbrg, Tin Pan Alley and Hollywood: the American avant garde and kitsch...
Taking Credit: Film title sequences, 1955-1965 / 6: Musical Statues: Spartacus, 1960
Part six of ten of Emily King’s dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century. Saul bass, Hitchcock, Clement Greenbrg, Tin Pan Alley and Hollywood: the American avant garde and kitsch...
Taking Credit: Film title sequences, 1955-1965 / 7: Sex and Typography: From Russia With Love, 1963
Part seven of ten of Emily King's dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century. Bond titling sequences and the invasion of British design...
Taking Credit: Film title sequences, 1955-1965 / 8 Popcorn and Pop graphics, What’s New Pussycat?, 1965
Part eight of ten of Emily King’s dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century.
Taking Credit: Film title sequences, 1955-1965 / 9 Conclusion
The conclusion of Emily King’s dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century.
Taking Credit: Film title sequences, 1955-1965 / 10 Bibliography
The bibliography for Emily King’s dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century.
Deconstruction and Graphic Design: History Meets Theory
A theory-heavy, mid-1990s look at the concept of Deconstruction, looking at its origins in French post-structuralist discourse and then current use in the design world.
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