Edward Tufte has written seven books, including Visual Explanations, Envisioning Information, The Visual Display of Quantitative Information, and Data Analysis for Politics and Policy. He writes, designs, and self-publishes his books on analytical design, which have received more than 40 awards for content and design. He is Professor Emeritus at Yale University, where he taught courses in statistical evidence, information design, and interface design. His current work includes landscape sculpture, printmaking, video and a new book.
This website describes Edward Tufte's books, one-day course, and artwork. For further information, call Graphics Press at 203 272-9187, or fax 203 272-8600, or email.
For a moderated forum on analytical design, go to ASK E.T.
20/Mai/2008
Edward Tufte
Lance Wyman
I was born in Newark, New Jersey in 1937 and lived the first 19 years of my life just across the Passaic River in Kearny. My father ran a commercial fishing boat and I spent time on the Atlantic with him during grade school years. Kearny was an industrial area and I worked in the factories during the summers to pay my college tuition. The no-nonsense functional aesthetic of the sea and the factories has been an important influence in my approach to design.
In 1960 I graduated from Pratt Institute in Brooklyn, New York with a degree in Industrial Design. At that time graphic design was a European influence that was just being introduced in American universities at the graduate level. When I met a student who studied logo design with Paul Rand at Yale, I knew I wanted to design logos.
I started my career in Detroit, Michigan, first with General Motors, and later with the office of William Schmidt. At General Motors I designed the packaging system for their Delco automotive parts that unified 1,200 different packages. At the Schmidt office I did the graphics for the 1962 USA Pavilion at the trade fair in Zagreb, Yugoslavia. The theme of the exhibition was "Leisure Time". I devised an hourglass logo with a sun and moon image in the top and used it as a gateway to the exhibit. It was my first experience integrating logo design into a three-dimensional environment. [Ler mais...]
In 1960 I graduated from Pratt Institute in Brooklyn, New York with a degree in Industrial Design. At that time graphic design was a European influence that was just being introduced in American universities at the graduate level. When I met a student who studied logo design with Paul Rand at Yale, I knew I wanted to design logos.
I started my career in Detroit, Michigan, first with General Motors, and later with the office of William Schmidt. At General Motors I designed the packaging system for their Delco automotive parts that unified 1,200 different packages. At the Schmidt office I did the graphics for the 1962 USA Pavilion at the trade fair in Zagreb, Yugoslavia. The theme of the exhibition was "Leisure Time". I devised an hourglass logo with a sun and moon image in the top and used it as a gateway to the exhibit. It was my first experience integrating logo design into a three-dimensional environment. [Ler mais...]
Outras referências:
http://www.lancewyman.com/
18/Mai/2008
Saul Bass
Titles Designed by Saul Bass: Introduction One is pressed to cite an example of an active, self-contained, and characteristic credits sequence in film prior to the work of Saul Bass. Undoubtedly, there are examples that presage Bass’ pioneering work; namely, the famous final credits ofCitizen Kane reprise excerpts from the film, underscoring the footage with actors’ names. Likewise, overtures frequently preceded films of the ‘30s and ‘40s. Many of these are visually complimented by static credits, and in some cases a montage. And despite these examples, in regard to innovation, renown, and influence, Bass’ impact in credits design remains virtually unparalleled, even to this day. Bass’ expertise in design exhibits a range (his corporate identities and posters are also durable graphic statements), yet his distinguishing aesthetic is one of economy and simplicity. It is in this regard that his work in credits design is of particular significance—his opening for West Side Story, for example, is a solid block of color that morphs according to the overture. Elsewhere (and numerously), he employs hand-drawn type and cutout, construction paper shapes. In 1964, after sixteen years as a collaborator, Bass began directing his own films including The Searching Eye (1964), From Here to There (1964), and Why Man Creates (1968). His latter effort resulted in an Academy Award—an appropriate gesture of recognition, as Bass may be credited for enhancing the visual strategy of cinema, assigning it another dimension. Bass’ techniques are various and decidedly inconsistent: cutout animation, montage, live action, and type design to name only his more prominent exercises. Secondly, Bass exhibits an exemplary use of color and movement. Often sequences begin with a solid, empty frame of color (as with Exodus’ blue or North by Northwest’s green). His design tactic in this context, although characteristic, possesses subtly and variety. Bass died in 1996 at the age of 75.
12/Mai/2008
6/Mai/2008
Vítor Quelhas
about
dynTypo is a project run by designer Vítor Quelhas in Porto, Portugal. 
I am an invited Assistant Professor of Commmunication Design and Multimedia, in the Department of Audiovisual Communication Technology, Porto Polytechnic Institute.
I received an MA in Multimedia Arts at Fine Arts School of the University of Porto (FBAUP), Portugal, with a thesis entitled "Dynamic typography: a contribution to the understanding of typography as multimedia expression", in 2006. I studied Communication Design/Graphic Arts at Fine Arts School of the University of Porto, where I obtained an BA degree in Communication Design/Graphic Arts, in 2002. In 2001/02 I studied abroad as an ERASMUS student in Communication Design at Willem de Kooning Academie, Rotterdam, The Netherlands.
I am the author of Typography and Sound project.
Nowadays I'm a member of ATypI (Association Typographique Internationale). [Ler mais...]
26/Abr/2008
Typography _Classical_Contemporary _timeline
This is typoGRAPHIC, an interactive experience informed by type and typography. It aims to illustrate the depth and import of type, and to raise relevant questions about how typography is treated in the digital media, specifically online. A continuous work in progress, we welcome any suggestions and comments concerning the site.
25/Abr/2008
Sob o Sol, a Garoa e a Fumaça:
O Experimentalismo e a Desconstrução na Prática Tipográfica
Under the Sun, the Drizzle and Smoke: The Experimentalism and the Desconstruction at the Typographic Practical
Oliveira, Jefferson Cortinove; Mestre; Centro Universitário Euripedes de Marília Santos, Tania Ismerim; Graduando Design Gráfico; Universidade Tiradentes
Resumo
O surgimento da Bauhaus e da Escola Suíça veio a domesticar o design gráfico ao impor regras e defender o racionalismo, entretanto começou a ser contestado por designers que buscavam soluções gráficas mais expressivas e interpretativas. Este artigo aborda a influência do experimentalismo e da desconstrução na prática tipográfica através de uma investigação da exposição “Sob o Sol, a Garoa e a Fumaça” onde é possível observar uma diversificação de estilos com princípios similares: rompimento dos padrões ortodoxos, o uso da representação visual do tipo e pluralidade de conceitos.
Palavras Chave: Tipografia, Desconstrução, Experimentalismo.
Abstract
The appearance of the Bauhaus and the Switzerland School domesticated the graphic design when imposing rules and defending the rationalism, so was contested by designers to whom was searching expressive and interpretative graphical solutions. This article presents the influence of experimentalism and desconstruction in the typographic practical with an investigation of exposition "Under the Sun, the Drizzle and Smoke" where it is possible to verify diversification of styles with similar principles: disruption of the orthodox standards, use of the visual representation of the type and diversity of concepts.
Key Words: Typography, Desconstruction, Experimentalism.
Introdução
A tipografia na sua origem era sinônimo de impressão, hoje o seu significado vai além da arte de criar e ou manipular caracteres. Jan Tschichold, mesmo sendo um dos seguidores do estilo funcionalista da Bauhaus, já afirmava que “a tipografia significa muito mais que simplesmente a escrita com tipos” (TSCHICHOLD, 1953-1967 apud CAUDURO, 1998 pg.89). Para Lucy Niemeyer (2001, p.12) a tipografia “envolve a seleção e a aplicação de tipos, assim como a composição de letras de texto como o objetivo de transmitir uma mensagem o mais eficaz possível.”
O funcionalismo e o racionalismo provenientes da Bauhaus e da Escola Suíça trouxeram padronização ao design gráfico através de regras para a obtenção do bom design1, um estilo onde as criações pareciam ser feitas em série cujas fórmulas eram copiadas por qualquer pessoa que detivesse o conhecimento das tecnologias. O resultado da padronização “que essas fórmulas mecanicistas geravam tornaram-se muito facilmente previsíveis, aborrecidas e desinteressantes, passando a ser
praticamente invisíveis após algum tempo.” (CAUDURO, 1998, P.78)
Logo este cenário começou a ser questionado a partir dos anos 60 por designers como Wolfgang Weingart e em seguida Neville Brody e David Carson ao desenvolverem soluções gráficas que fugiam das diretrizes modernistas. Além disso, correntes artísticas como o experimentalismo e filosóficas como a desconstrução de Jacques Derrida vieram a influenciar a prática tipográfica onde o tipo ultrapassa os limites da simples representação fonética.
É importante salientar que o estilo bauhasiano não deixou de existir no design gráfico já que ainda são utilizados, porém esta linha de organização da página deixou de ser o único caminho e o mais eficaz para se tornar um dos caminhos possíveis. KEEDY (1994, p.27 apud GRUSZYNSKI, 2002 p.151) diz que: “[...] Ainda que as regras sejam estabelecidas para serem desrespeitadas, escrupulosamente observadas, mal entendidas, reavaliadas, readequadas e subvertidas, a melhor regra básica é a de que as regras nunca devem ser ignoradas.”
Metodologia
Este artigo retrata a influência da desconstrução e do experimentalismo, típicos do mundo pósmoderno, na prática
tipográfica atual tendo como objeto de estudo a exposição “Sob o sol, a garoa e a fumaça” realizada no ano de 2004, na cidade de São Paulo, organizada por Cecília Consolo e Alécio Rossi através de uma revisão bibliográfica de teóricos como Vicente Gil, Flávio Vinícius Cauduro, João Pedro Jacques, Priscila Farias e Rudinei Kopp. [Ler mais...]
Relato crítico do texto
E TIPOGRAFIA DIGITAL, de Flávio Cauduro por Vinícius Andrade Pereira (UFRJ) 1. Resumo do texto Desconstrução e Tipografia Digital: Cauduro, ao apresentar um breve histórico da arte tipográfica, problematiza a relação de subserviência que esta apresentaria em relação às mensagens, às idéias, aos conteúdos de um texto, perspectiva que, pela supervalorização das palavras racionalmente ordenadas, assumindo o papel de representantes legítimas do pensamento, é conhecida como O nó górdio do texto é formado pela tensão entre duas forças: uma, que se apresenta através da forma gráfica como as palavras se compõem em um texto qualquer; e, outra força, constituída pelos significados, as informações que este texto transmite, que traduziriam as idéias de um autor. Para Cauduro, como já dito, haveria uma limitação e mesmo uma escravidão imposta à arte tipográfica na designação de sua função. Escreve, pois, que a função primordial da tipografia seria, então, apenas instrumental, dedicada à difusão genérica de informações sob a forma escrita e em grande escala.(1) Partindo desta constatação, o autor irá criticar tanto aqueles designers que admitem tal subserviência - postura adotada pela escola de Bauhaus, onde se impunham as formas claras, ordenadas, racionais, geométricas e repetitivas(...) evitando ao máximo a ornamentação e a disposição expontânea, intuitiva ou ao acaso dos elementos gráficos utilizados -, levada ao extremo pela escola dos minimalistas e funcionalistas suíços(Ruder, Hoffman, Müller, Brockman), quanto os pressupostos filosóficos e linguísticos que sustentariam o logocentrismo, oriundos particularmente de autores tais como Platão, Aristóteles, Rousseau e Hegel e, mais especificamente, Ferdinand Saussure.(2) (1) Cf. Cauduro, F.V.; Book GTs/Compós98, p.97 (2) Cf. Cauduro, F.V.; op.cit.;p.97 e 98 .Esta é a versão em html do arquivo http://www.comunica.unisinos.br/tics/textos/1998/1998_fvc_vap.pdf.
Modelos de Comunicação
© Ariane Stolfi, CNPQ, 2002
(Swann, 1991)
Swann, 1991"Comunication is like pornography: nobody seems to Know how to define it, but we all Know it wen we see it. Webster's tells me that comunication is the act of transmitting information; information, oddly enough, it that wich informs. I believe we need to go no further than this to have a common basis for discussion: we communicate whenever we transfer meaning to ("inform") someone else (even if the meaning isn't what we intended)._Successful_ cominication transfers the meaning that we intended. Information design has de goal of successful comunication" (Geoff Hart)
Antes de nos apegarmos as variáveis tipográficas, é interessante entendermos alguns modelos de teorias de linguagem, que procuram esquematizar as relações entre escritor e leitor, ou origem e destino.Isto é importante para entender os princípios básicos da comunicação escrita, mas vale lembrar que poucos teóricos se aventuraram a estudar o papel das variáveis tipográficas na comunicação escrita. [Ler mais...]
22/Abr/2008
Jon Gray _entrevista
Jon Gray is a far-too humble designer working out of East London. He operates under the monicker “gray318” and is creating some of the most memorable and recognizable book covers on the market today. He was kind enough to grant us an interview:
Fwis: What’s your background? How and when did you become interested in design?
Jon Gray:When I was 8 I decided to be an artist. Apparently this didn’t pay, but the careers advisor at school said that by adding the word ‘commercial’, I would become extremely rich. I adjusted my aspirations accordingly, did a basic foundation course and managed to con my way into the London College of Printing. LCP is like the design equivalent of marine training. I went in a boy and came out a … boring graphic designer. [Ler mais...]
17/Abr/2008
Art is Work: Milton Glaser retrospective
On view at the AIGA National Design Center from November 2 through December 27, 2000 "Art is Work: Milton Glaser Retrospective" the largest retrospective show ever held in New York of the work of the American graphic designer Milton Glaser. The show coincides with the publication of Glaser's eponymous book, Art is Work, a comprehensive survey of his work in the 25 years since the publication of his classic Milton Glaser Graphic Design. One of the most influential and unusual figures in the history of graphic design, Glaser has been producing memorable images and objects for more than four decades. From the famous Bob Dylan poster of 1967 and the universally imitated "I Love NY" logo up to the cutting-edge design of his new websites and his masterful illustrations for Dante’s Purgatory, Glaser has created some of the most powerful and enduring visual art of our time. Among the more unusual pieces in the show are the erotic drawings the designer created for a French edition of Boris Vian's novels, a wood-and-glass sculptural tribute to Glaser's teacher, Giorgio Morandi (1890-1964) and a set of ingeniously modular children's building blocks. The show will also feature rare examples of illustrated books Glaser conceived for European publishers that have never been shown in this country, including versions of Charles Baudelaire'sLes Fleurs du Mal and Guillaume Appolinaire's Oeuvres Poetiquesand Oeuvres en Prose. Born in 1929, Milton Glaser was educated at the High School of Music and Art and the Cooper Union in New York, and via a Fulbright Scholarship, the Academy of Fine Arts in Bologna, Italy. He co-founded the seminal Pushpin Studios in 1954, founded New York magazine with Clay Felker in 1968, established Milton Glaser, Inc. in 1974, and teamed with Walter Bernard in 1983 to form the publication design firm WBMG. Milton Glaser, Inc. is a multidisciplinary design company, specializing in corporate identity, logos and trademarks, brochures, packaging, interiors, exhibitions, posters and websites. Glaser was the 1972 recipient of the AIGA medal, the highest honor given to a graphic designer in this country, and is the only graphic artist ever to have had one-man shows at both the Centre Gorges Pompidou in Paris and the Museum of Modern Art in New York. Buy Milton Glaser's book Art is Work
The extraordinary variety of subject matter and style in the show demonstrates why Glaser has been called "the Picasso of the graphic arts field." It includes his posters, magazine and newspaper designs, interior designs, corporate logos, record albums, magazine illustrations and typography, as well as watercolors, drawings, prints and illustrated books, toys, textiles, jewelry and home furnishings.
Milton Glaser
Milton Glaser (b.1929) is among the most celebrated graphic designer in the United States. He has had the distinction of one-man-shows at the Museum of Modern Art and the Georges Pompidou Center. In 2004 he was selected for the lifetime achievement award of the Cooper Hewitt National Design Museum. As a Fulbright scholar, Glaser studied with the painter, Giorgio Morandi in Bologna, and is an articulate spokesman for the ethical practice of design. He opened Milton Glaser, Inc. in 1974, and continues to produce an astounding amount of work in many fields of design to this day. [Ler mais...]
31/Mar/2008
Morris Fuller Benton
Morris Fuller Benton - born 30. 11. 1872 in Milwaukee, USA, died 30. 6. 1948 in Morristown, USA – engineer, type designer.
After training as a mechanic and engineer, Benton jointed the ATF, where he became type designer and in-house designer with ATF.
Fonts:
Benton developed over 200 alphabets, all of which were published by ATF, including Century roman (with Theodor Low de Vinne, 1885), Mariage (1901), Alternate Gothic (1903), Franklin Gothic (1903–12), Cheltenham® (1904), Clearface® (1907), News Gothic™ (1908), Bodoni (1909), Cloister Oldstyle (1913), Souvenir® (1914), Garamond® (with T. M. Cleveland, 1914), Goudy™ bold, 1916, Century Schoolbook™ (1919), Civilité (1922), Broadway™ (1928), Bulmer™ (1928), Bank Gothic (1930), Stymie (with S. Hess and G. Powell, 1931), American Text (1932).
* TYPOGRAPHY – An Encyclopedic Survey of Type Design and Techniques Throughout History by Friedrich Friedl, Nicolaus Ott (Editor), Bernard Stein, published by Könemann Verlagsgesellschaft mbH.
more ... Works and Samples
Cover (1929)
* TYPOGRAPHY – An Encyclopedic Survey of Type Design and Techniques Throughout History by Friedrich Friedl, Nicolaus Ott (Editor), Bernard Stein, published by Könemann Verlagsgesellschaft mbH.
more ... Works and Samples
Cover (1929)
29/Mar/2008
13 typefaces every graphic designer needs
by David Airey
Published on October 25th, 2007
With thousands of different typefaces on offer, it’s vital to have a select few that act as pillars in your collection. The following 13 typefaces (shown in alphabetical order) are ones that I believe every graphic designer should be familiar with. [Ler mais...]
28/Mar/2008
Post Typography
"Wayne and Garth meets Chermayeff & Geismar."
Paul Carlos. Principal, Pure+Applied NYC
Originally conceived and founded in 2001 as an avant garde anti-design movement by Nolen Strals and Bruce Willen, Post Typography specializes in graphic design, conceptual typography, and custom lettering/illustration with additional forays into art, apparel, music, curatorial work, design theory, and vandalism. Their work has received numerous fancy design awards and has been featured in such publications as Ellen Lupton's Thinking With Type and D.I.Y.: Design It Yourself, The Art of Modern Rock, Metropolis magazine, Taschen's Contemporary Graphic Design, and Phaidon's Area 2. Post Typography have appeared in numerous design and art exhibitions, and their posters are collected by high school punk rockers and prominent designers (whom they consider equally important). Strals and Willen currently teach classes in design and typography at the Maryland Institute College of Art, and have lectured at the Cooper Union, Minneapolis College of Art & Design, and Harvard University among others. [Ler mais...]
27/Mar/2008
25/Mar/2008
Insights Design Lecture Series: Ed Fella
Part of: blogs.walkerart.org / by Ryan Nelson at 10:32 pm 2008-03-19 / Filed under:
