Kerry William Purcell

(graphic design biographer)

Biography
Born in Cleethorpes, England, Kerry William Purcell studied visual cultural theory at Middlesex University. He graduated in 1996, receiving an MA with distinction. He then worked as a picture editor for a national left-wing magazine, before becoming the archivist at The Photographers’ Gallery, London.

From 2000 onwards he has been a writer, critic and historian. His first book on the celebrated art director and photographer Alexey Brodovitch was published by Phaidon Press in 2002. This has been followed by...More>

Berthold's 1924 Hebrew Type Catalogue

baseline magazine | current issue 51 | 8 page article

Berthold's 1924 Hebrew Type Catalogue
by Steven Helle

Hebrew was prohibited in Russia after the 1917 Bolshevik Revolution, effectively curtailing a rich tradition of Jewish publishing. As a result those scholars and authors who could, emigrated to England, France, and The United States, while a particularly larger number also resettled in Germany (in part owing to the shared linguistics of German and Yiddish). As Berlin’s Jewish community swelled in the 1920s, the city became a wellspring for Jewish book and periodical publishing with various ambitious endeavours. Notably the eight volume Encyclopedia Judaica (the last volume was published in 1933, the year Hitler was appointed German Chancellor). Another impressive series, the 12 volume

Weltgeschichte des Jüdischen Volkes, sold over 100,000 copies. In 1931 Salaman Schocken founded the prestigious Schocken Verlag. A leading Jewish publisher who produced fiction and non-fiction books, as well as an acclaimed annual Almanach of Jewish literature. The firm released over 225 titles until 1938 when forced into exile after the Krystal Nacht pogrom (night of broken glass). (Salaman had already left Germany in 1934 for a new life in Palestine, leaving his manager in charge until they could publish no longer. Later in the 1980s, over twenty years after Salaman died, Schocken became an imprint of the American publisher, Pantheon Books)…

Stencil Work in America 1850–1900

baseline magazine | issue 38 | 8 page article

Stencil Work in America 1850–1900
by Eric Kindel

For stencil letters, the early 20th century is something of a beginning when, in the decades after 1910, they were relieved of their workaday tasks and cast anew by artists and designers of the avant garde. So compelling was this reconfiguration, by Cubist and Futurist painters initially and thereafter by a succession of painters, architects and graphic designers, that the contexts in which stencil letters were made and used before their 'rebirth' have now slipped almost entirely from view.

If a history of stencil letters and their myriad applications is to be assembled from a past more distant than the 20th century, the United States in the 50 or so years before 1900 is one place and period that certainly merits review. There, stencil work was diverse and inventive to a degree that in hindsight seems remarkable but on reflection is in keeping with a time of considerable fertility in the design of letters, and rapid advances in trade, transport and manufacturing...

Introducing the First Digital Lettering Tool

baseline magazine | issue 38 | 4 page article

Introducing the First Digital Lettering Tool
the works of Frank Overton
by Tony Richards

Long before the computer, artists and artisans used a very complex tool for making letterforms - their hands. At five digits per hand it was the first digital lettering tool. Letterforms in all shapes and sizes were drawn, carved, and engraved using the hand. Even allowing for its various technological flaws and quirks, the tool enabled the creation of some of the most beautiful lettering ever devised. Which underscores the paradox that after centuries of progress we have both gained and lost something of value. The computer made arduous procedures unnecessary and allowed for increased precision, yet it also atrophied the instincts needed to create beautiful and beautifully bawdy hand lettering. Although drawing on the screen is perhaps no less complicated than it is on paper with the hand alone, the new tool nevertheless eliminates the serendipitous edge that was inherent in the old one.

Gerard Unger

Gerard Unger Born at Arnhem, Netherlands, 1942. Studied graphic design, typography and type design from 1963–’67 at the Gerrit Rietveld Academy, Amsterdam. He teaches as visiting Professor at The University of Reading, UK, Department of Typography and Graphic Communication, and taught at the Gerrit Rietveld Academy, Amsterdam, till January 2007. From September 2006 he is Professor of Typography at the University of Leiden. Free lance designer from ’75. He has designed stamps, coins, magazines, newspapers, books, logo’s, corporate identities, annual reports and other objects, and many typefaces.
In ’84 he was awarded the H.N.Werkman-prize for all his typographic work, for digital type designs in particular and for the way he reconciled technology and typographic culture. In ’88 he won the Gravisie-prijs for the concept of Swift, and in ’91 he was awarded the international Maurits Enschedé-Prize for all his type designs. He wrote articles for the trade press, and several larger publications, such as ‘Landscape with Letters’ (1989), linking the usually limited scope of type and typography with a much wider cultural view. His book ‘Terwijl je leest’ — about reading — was published in ’95 and a completely new edition has been published in the autumn of 2006. English, German, Italian and Spanish versions are in preparation. He lectures frequently in Holland and abroad, about his own work, type design, the reading process, newspaper design and related subjects.

Read more on the site of ArtYears.com
or go to www.creativepro.com/story/feature/18808.html

Manfred Klein

the interview


1) The early years
2) Günter Gerhard Lange
3) Klein's Fonteria
4) Family and philosophy

Manfred, when and where did you become a typesetter and what attracted you to typography?
In 1947, two years after the war, I was 15 and hadn’t returned to junior high school. A teacher recommended that I graduate in four years in a special course offered in Berlin. I had been playing with rubber stamp single letters for years; I was a bookworm and I didn’t want to learn bureaucracy in the Berliner ‘Red town hall’. I was driven to the typesetter's apprenticeship more intuitively than based on information, because there was nobody who was able to teach me anything about it.So I applied to the ‘Kurier’, the news mag for the French occupation forces with a printing office (German company + branch of the Imprimerie National where the printed material for the French army in Germany was made).Type design was taught in the technical school, e.g. documents and job printing, also books. By the way, typesetters historically enjoyed a privilege of higher education: they were allowed to carry a sword, a sort of dagger. [Ler mais...]


Salto 1+2


Manfred Klein Fonteria
Archive 2001 • Archive 2002
Archive 2003 • Archive 2004
Archive 2005
Fonteria-CD • Interview (2002)
Fonts 2006
Fonts 2007


The Manfred Page by Luc


IMAGE: "z" FROM EINSTEIN'S WORLDS (FONT)
GET FONTS HERE

Jean-François Porchez

From Wikipedia, the free encyclopedia
Jean-François Porchez (born in 1964) is the president of ATypI (Association Typographique Internationale), the leading organisation of type designers. By 1994, he had created the new typeface for Le Monde newspapers. Today he designs custom typefaces for Beyoncé Knowles, Costa Crocieres, France Télécom, Peugeot, RATP (Public Transport in Paris), as well as distributing internationally his retail typefaces via his typofonderie.com website. For the Linotype Library Platinum collection, he recently finished a revival of the Sabon, a Jan Tschichold revival of Garamond.
He has been a visiting lecturer at the MA typefaces design MATD at the Reading University (United Kingdom) and regularly conducts type design workshops all over the world. He also contributes regularly to conferences and international publications. He published Lettres Françaises, a book (in French & English) that shows all contemporary French, digital typefaces. In late 2001 he was the President of a jury set up by the Ministère de l’Éducation Nationale to select the new handwriting model and system for France and was a jury member of the 3rd Linotype Type design Contest.
He was awarded the Prix Charles Peignot in 1998. FF Angie (1990) & Apolline (1993) were prize-winning entries in the Morisawa typeface competition. Costa received a Certificate of Excellence in Type Design at the TDC2 2000. Ambroise, Anisette, Anisette Petite, Charente, Le Monde Journal, & Le Monde Courrier were all prize-winning entries in the Bukva:raz international competition (2001). Deréon and Mencken won a Creative Review Type Awards (2006).
In 2004 he became president of ATypI.

External Links
Porchez Typofonderie
Porchez.com

Parisine Plus PTF (avec les sous familles Clair et Sombre) est la seconde famille OpenType publié en 2006.

Usage du Parisine dans de la signalétique RATP.

Le Parisine PTF, la troisième famille OpenType publié après le Parisine Plus PTF est disponible.

[Ler mais...]

Ellen Lupton

Ellen Lupton is a writer, curator, and graphic designer. Her most recent books are D.I.Y: Design It Yourself (2006) and Thinking with Type (2004). She is director of the graphic design MFA program at Maryland Institute College of Art (MICA) in Baltimore. She also is curator of contemporary design at Cooper-Hewitt National Design Museum in New York City, where she has organized numerous exhibitions, each accompanied by a major publication, including the National Design Triennial series (2000 and 2003), Feeding Desire: Design and the Tools of the Table, 1500–2005 (2006), Solos: New Design from Israel (2006), Skin: Surface, Substance + Design (2002), Graphic Design in the Mechanical Age (1999), Mixing Messages (1996), and Mechanical Brides: Women and Machines from Home to Office.
Books in the works include D.I.Y. Kids (with Julia Lupton) and Graphic Design: Structure and Experiment (with Jennifer Cole Phillips and MICA students and faculty). The third National Design Triennial, Design Life Now, opened in December 2006.
· Interview, Ellen Lupton with Nicole Bearman and Gabrielle Eade, 2007
· Interview, Ellen Lupton with Lawrie Hunter, 2006
· Interview, Ellen Lupton with Steven Heller, 1998

[Ler mais...]

Outras referências:

Pensar com tipos: um guia para designers, escritores, editores e estudantes
Ellen Lupton
Brochura184 páginas; 166 ilustrações; 17,5 x 21 cm; 0,84 kg; ISBN 85-7503-553-3; Publicação: set. 2006
Tradução: André Stolarski

Aliando uma reflexão ampla sobre as teorias da comunicação e uma preocupação extremada em fornecer as bases instrumentais para a compreensão e utilização das diversas tipografias, o livro cobre uma lacuna entre os livros tradicionais de design. Ellen Lupton, uma das mais renomadas autoras e educadoras na área de design gráfico dos Estados Unidos, alia teoria contemporânea, prática informada, prosa clara e projeto visual inteligente. Pensar com tipos é uma excelente porta de entrada para o mundo da tipografia, além de um ótimo companheiro para os cursos da área. Ao longo do livro, as informações teóricas aparecem sempre acompanhadas de exemplos práticos, e os exemplos práticos aparecem sempre contextualizados na história e na teoria do design. Os ensaios trazem panoramas históricos e teóricos abrangentes, que vão das origens da tradição aos impasses dos novos meios de comunicação. Um apêndice com "dicas úteis, alertas agourentos e outras fontes" complementa o livro, incluindo um pequeno guia de preparação, edição e revisão de textos para designers. Ao fim e ao cabo, Pensar com tipos, como o próprio título sugere, não trata tipografia como um fim em si mesma, com seus vícios, fetiches e clichês auto-referenciais, mas como uma atividade "com a qual o conteúdo ganha forma, a linguagem ganha um corpo físico e as mensagens ganham um fluxo social."

(...)
Ellen Lupton é uma das mais renomadas autoras e educadoras na área de design gráfico dos Estados Unidos. Entre seus diversos livros publicados estão: Skin: Surface, Substance + Design, Design Culture Now, Mixing Messages e Design Writing Research. Ela é curadora de design contemporâneo na Cooper-Hewit National Museum, em Nova York, e diretora do programa de design no Maryland Institute College os Art, em Baltimore.
[Ler mais...]
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