Tipoteca's Museum

The Tipoteca's Museum is a "journey" through multivalent areas: the type-setting, casting, printing and restoring workshops and classrooms.A stroll that becomes an educational tour through the history of type and printing.
Clic on the menu Ground Floor and First Floor to have a short description of the Museum's exhibition rooms.

The Graphic Design of Peter Saville

>
PERFECT STYLISTIC ATTITUDE James Nice

ARTWORK Substance Inlay

The austere impression of Peter Saville sleeve designs determine, for many people, their image of Factory Records. Here James Nice questions Saville on the influences, motives and restrictions that have shaped and also compromised, his work.

Any fan of bands such as Joy Division, New Order, Orchestral Manoeuvres In The Dark and Ultravox will also be familiar with the work of Peter Saville. Since 1978 he's become one of the best known, and probably best respected, record sleeve designers available.

JN: Why in the early days with Factory did you decide to work in the style of constructivism with bands such as Joy Division, Section 25, OMD and New Order?

PS: Well that's a rather wooly question. The first work I ever did for Factory was a poster (FAC 1) on which the Factory Sample was also based. It was certainly constructivist in style, though the sleeve for OMD's Electricity was more neo-classical. I was twenty two and in my last week's at college, and becoming aware of the great tradition of Twentieth century graphics, as well as certain schools such as the Russian constructivists, the Bauhaus and De Stijl. I was really into Jan Tschichold and Die Neue Typographie of the 1930s, which was exclusively typography and graphics and reflected the mood of the time. Thus my first studies were reflected in the sleeves of my first records. [Ler mais...]

James Nice, November 1984.
All contents Copyright © 1984 by James Nice/Glasgow University Magazine GUM
…

Typographic Voices

Excerpted from the article originally published in Communication Arts March/April 1998.
Purchase Issue

Typography—how type is used rather than the specific design of typefaces—has always been a primary workhorse for communicating content. In much current design work though, images often take precedent over typography because of their power in terms of visual form. It is generally accepted that we live in an image-based culture rather than in one that is based on the written word.

Perhaps because of the emphasis on images in design, more and more designers are returning to typography as a means to make their work stand out. The power of the written word and typographic approaches to design are voices through which meaning can be articulated and content given more resonance.

Typographic treatments can be tailored to the specific purpose of a project: from traditional book typography that adheres to simple columns of text along with display type, to combinations of display and text type actively employing contrast, scale, white space, texture and layering to add further levels of emphasis and meaning. Media such as photography, filmmaking, television, multimedia and digital technology have also undeniably influenced contemporary typography. The most experimental results can readily be seen in many "alternative" music- and style-related publications that have sprouted up in recent years. New typographic approaches are becoming more prevalent in current graphic design beyond their more ephemeral editorial aspects. This article is a survey of some of the variety of ways typography is being applied in design.

In order to gain insight into typographic approaches currently in use, we contacted a group of designers from around the country who are using typography in innovative ways and asked them about the role it plays in their work, their influences and their creative processes.
Next Section >> Part Two > [Ler mais...]

Roxane: A Study in Visual Factors Affecting Legibility

Abstract

Roxane is an original typeface designed by the author in response to a design analysis of visual attributes that enhance the legibility of font characteristics. The author takes issue with scientific legibility studies which focus on isolating variables to obtain verifiable results, but which are not useful in the more complex and holistic design of specific type faces. Visual analysis of type form attributes and visual principles provide the framework for this more holistic enterprise. The principles and attributes are demonstrated visually throughout the article, ending with Roxane, a type face developed with these principles in mind.

Visible Language 33.3: 1999
Roxane: A Study in Visual Factors Affecting Legibility

_____________________________________________________________________

Author Note

Stuart Gluth teaches graphic design, leads the Design Research Group at the University of South Australia and is a partner in the design consultancy interDesign. The breadth of his interests is indicated by his passion for typography, which has led to a masters degree from the ANCT in Paris, following initial studies in industrial design. He is currently campaigning for Ph.D. degrees in design practice and for the acceptance of designing as researching.
...

HOMENAGEM_ROBERTO BARBOSA

Frim Fram Sauce

I don't want French-fried potatoes,
Red, rip tomatoes.
I'm never satisfied.
I want the Frim Fram Sauce
With the oss and fay
With shifafa on the side.

I don't want pork chops and bacon.
That won't awaken
My appetite inside.
I want the Frim Fram Sauce
With the oss and fay
With shifafa on the side.

Well, you know,
A girl, she really got to eat,
And a girl, she should eat right.
Five will get you ten
I'm gonna feed myself right tonight.

I don't want fish-cakes and Rye bread,
You heard what I said.
Waiter, please, I want mine fried.
I want the Frim Fram Sauce
With the oss and fay
With shifafa on the side.