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Standard Deviations (exhibition)
''Standard Deviations'' was the name of a Museum of Modern Art exhibition that was notable for showcasing the 23 digital typefaces that MoMA acquired in January 2011 for its Architecture and Design Collection. The exhibition was open from March 2, 2011 through January 30, 2012. The full title of the exhibition was ''Standard Deviations: Types and Families in Contemporary Design'', though the title was originally announced as ''Standard Deviations: Prototypes, Archetypes, and Families in Contemporary Design''. The exhibition was organized by Paola Antonelli, Senior Curator in the Department of Architecture and Kate Carmody, curatorial assistant. While the exhibition showed works of design other than typefaces, the selection and acquisition of typefaces was significant in the history of typographic design. Aside from a set of 36-point Helvetica Bold lead type designed by Max Miedinger in 1956, these were the first typefaces acquired by MoMA. Twenty-three typefaces The selection ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Museum Of Modern Art
The Museum of Modern Art (MoMA) is an art museum located in Midtown Manhattan, New York City, on 53rd Street between Fifth and Sixth Avenues. It plays a major role in developing and collecting modern art, and is often identified as one of the largest and most influential museums of modern art in the world. MoMA's collection offers an overview of modern and contemporary art, including works of architecture and design, drawing, painting, sculpture, photography, prints, illustrated and artist's books, film, and electronic media. The MoMA Library includes about 300,000 books and exhibition catalogs, more than 1,000 periodical titles, and more than 40,000 files of ephemera about individual artists and groups. The archives hold primary source material related to the history of modern and contemporary art. It attracted 1,160,686 visitors in 2021, an increase of 64% from 2020. It ranked 15th on the list of most visited art museums in the world in 2021.'' The Art Newspaper'' an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Erik Spiekermann
Erik Spiekermann (born 30 May 1947 in Stadthagen, Lower Saxony) is a German typographer, designer and writer. He is an honorary professor at the University of the Arts Bremen and ArtCenter College of Design. Biography Spiekermann studied art history at Berlin's Free University, funding himself by running a letterpress printing press in the basement of his house. Between 1972 and 1979, he worked as a freelance graphic designer in London before returning to Berlin and founding MetaDesign with two partners. In 1989, he and his then-wife Joan Spiekermann started FontShop, the first mail-order distributor for digital fonts. FontShop International followed and now publishes the ''FontFont'' range of typefaces. MetaDesign combined clean, teutonic-looking information design and complex corporate design systems for clients like BVG (Berlin Transit), Düsseldorf Airport, Audi, Volkswagen and Heidelberg Printing, amongst others. In 2001, Spiekermann left MetaDesign over policy disagreem ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
New Alphabet (typeface)
New Alphabet is a parametric typeface designed by Wim Crouwel, released in 1967. It embraced the limitations of the display technology that it was displayed on by only using horizontal and vertical strokes. This meant that some of the letters had little resemblance to the letters they were supposed to represent. New Alphabet was notably used on the cover of Joy Division's 1988 compilation album ''Substance''. History New Alphabet was a personal, experimental project of Crouwel. The typeface was designed to embrace the limitations of the cathode ray tube technology used by early data display screens and phototypesetting equipment, and thus only contains horizontal and vertical strokes. Conventional typefaces can suffer under these limitations, because the level of detail is not high enough, restricting legibility. Crouwel wanted to adapt his design to work for the new technologies, instead of adapting the technologies to meet the design. Since his letter shapes only contain horiz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Miller (typeface)
Miller is a serif typeface, released in 1997 by the Font Bureau, a U.S.-based digital type foundry. It was designed by Matthew Carter and is of the 'transitional' style from around 1800, based on the "Scotch Roman" type which originates from types sold by Scottish type foundries that later became popular in the United States. It is named for William Miller, founder of the long-lasting Miller & Richard type foundry of Edinburgh. The general purpose versions of Miller are Miller Text and the Miller Display optical size for display printing, though since their release they have given rise to a number of variants, including Miller Daily, Miller Headline and Miller Banner, as well as some variants commissioned for use in specific publications. The Miller family is widely used, mostly in newspapers and magazines. Miller is closely related to Carter's previous Scotch Roman revival, the very popular Georgia family for Microsoft. Carter had been working on plans for what became Miller w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hoefler & Frere-Jones
Hoefler&Co. (H&Co) is a digital type foundry (font design studio) in Woburn, Massachusetts (formerly New York City), founded by type designer Jonathan Hoefler. H&Co designs typefaces for clients and for retail on its website. The company was founded in 1989, initially focusing on editorial commissions for publications such as ''The New York Times'', ''Martha Stewart Living'', ''The Wall Street Journal'', ''Esquire'', ''Rolling Stone'', ''Sports Illustrated'', ''Harper's Bazaar'', ''Wired'' and ''Condé Nast Portfolio'', and commissions for companies such as Tiffany & Co., Nike, Inc., and Hewlett Packard. It has worked with a number of prominent cultural institutions in New York City, including the headquarters of the United Nations, the Guggenheim Museum, the Whitney Museum, Lever House, Radio City Music Hall, The Public Theater, and The New York Jets. Because of its inspiration from New York City history, its Gotham typeface was selected in 2004 for the cornerstone of One World ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jonathan Barnbrook
Jonathan Barnbrook (born 1966), is a British graphic designer, film maker and typographer. He trained at Saint Martin's School of Art and at the Royal College of Art, both in London. Work Barnbrook designed the cover artwork of David Bowie's 2002 album '' Heathen'', where he used his 'Priori' typeface for the first type. He went on to design the sleeves for ''Reality'' (2003), ''The Next Day'' (2013) and ''Blackstar'' (2016), each with their own specially-designed typography. He cites record cover artwork as an early design influence, and possibly the interest that drew him to graphic design, with other covers including ones for John Foxx, Tuxedomoon and Cult with No Name. Barnbrook is also a type designer and has released typefaces including Bastard, Exocet, False Idol, Infidel, Moron, Newspeak, Olympukes, Sarcastic, Shock & Awe. Many have emotive and controversial titles reflecting the style and themes of Barnbrook's work. His typeface Mason, originally released as Manson ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jeffery Keedy
Jeffery Keedy, born 1957, is an American graphic designer, type designer, writer and educator. He is notable as an essayist and contributor to books and periodicals on graphic design. He is also notable for the design of ''Keedy Sans'', a typeface acquired in the permanent collection of the Museum of Modern Art in 2011. Biography A 1985 graduate of the Cranbrook Academy of Art, Keedy has been teaching design at the California Institute of the Arts (CalArts) since his graduation. Keedy was also a frequent contributor to ''Emigre'' magazine throughout the twenty years of its publication. His designs and essays have been published in '' Eye'', '' I.D.'', '' Emigre'', ''Critique'', ''Idea'', ''Adbusters'', ''Looking Closer'' One and Two, ''Faces on the Edge: Type in the Digital Age'', ''New Design: Los Angeles'' and ''The Education of a Graphic Designer''. His typeface Keedy Sans, designed in 1989, is distributed through Emigre Fonts. “Jeffery Keedy described his design of Ha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
International Typeface Corporation
The International Typeface Corporation (ITC) was a type manufacturer founded in New York in 1970 by Aaron Burns, Herb Lubalin and Edward Rondthaler. The company was one of the world's first type foundries to have no history in the production of metal type. It is now a wholly owned brand or subsidiary of Monotype Imaging. History The company was founded to design, license and market typefaces for filmsetting and computer set types internationally. The company issued both new designs and revivals of older or classic faces, invariably re-cut to be suitable for digital typesetting use and produced in families of different weights. Although it is claimed that the designers took care to preserve the style and character of the original typefaces, several ITC revivals, such as ITC Bookman and ITC Garamond in particular, have received criticism that the end result was related in name only to the original faces. Among the company's notable type designers was Ed Benguiat, the creator of Tif ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Galliard (typeface)
ITC Galliard is the name of a serif typeface designed by Matthew Carter and issued in 1978 by the Mergenthaler Linotype Company. Galliard is based on the sixteenth-century type of Robert Granjon. According to Alexander Lawson, "The name Galliard stems from Granjon's own term for an 8-point font he cut about 1570. It undoubtedly refers to the style of the face, for the galliard was a lively dance of the period."Lawson, Alexander, ''Anatomy of a Typeface'', Godine, 1990. Explaining what drew him to Granjon's work, Carter wrote on some of his more characteristic letterforms: "looking at them, adjectives like 'spirited, 'tense' and 'vigorous' come to mind...it is easy to admire Granjon's work." Mike Parker, Director of Typographic Development at Mergenthaler Linotype, had been inspired by seeing the types of Granjon at the Plantin-Moretus Museum in Antwerp. Matthew Carter, who joined Mergenthaler Linotype as a typeface designer in 1965, was also an admirer. His father, Harry Carter, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Font Bureau
The Font Bureau, Inc. or Font Bureau is a digital type foundry based in Boston, Massachusetts, United States. The foundry is one of the leading designers of typefaces, specializing in type designs for magazine and newspaper publishers. History Font Bureau was founded in 1989 by Roger Black and David Berlow. Before founding Font Bureau, Roger Black was an established publications designer and consultant. David Berlow is a noted type designer. ''The New York Times Magazine'', ''Newsweek'', ''Esquire Magazine'', ''Rolling Stone'' and the ''Wall Street Journal'' rank among Font Bureau's client list. Apart from Black and Berlow, other prominent designers at Font Bureau have included Tobias Frere-Jones, later of Hoefler & Frere-Jones and Frere-Jones Type, and Cyrus Highsmith, later of Occupant Fonts and Morisawa. Matthew Carter has been a frequent collaborator with the foundry. In October 2009, news sources reported that Font Bureau was "suing NBC Universal for at least $2 million ov ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Interstate (typeface)
Interstate is a digital typeface designed by Tobias Frere-Jones in the period 1993–1999, and licensed by Font Bureau. The typeface is based on Style Type E of the FHWA series of fonts, a signage alphabet drawn for the United States Federal Highway Administration by Dr. Theodore W. Forbes in 1949. Frere-Jones' Interstate typeface, while optimal for signage, has refinements making it suitable for text setting in print and on-screen, and gained popularity as such in the 1990s. Due to its wide spacing, it is best suited for display usage in print. Frere-Jones later designed another signage typeface, Whitney, published by Hoefler & Co., that bears a resemblance to its ancestor while being less flamboyant and more economical for general print usage, in body copy, or in headlines. The terminals of ascending and descending strokes are cut at an angle to the stroke (see lowercase t and l), and on curved strokes (see lowercase e and s), terminals are drawn at a 90° angle to the stroke, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hoefler Type Foundry
Hoefler&Co. (H&Co) is a digital type foundry (font design studio) in Woburn, Massachusetts (formerly New York City), founded by type designer Jonathan Hoefler. H&Co designs typefaces for clients and for retail on its website. The company was founded in 1989, initially focusing on editorial commissions for publications such as ''The New York Times'', ''Martha Stewart Living'', ''The Wall Street Journal'', ''Esquire'', ''Rolling Stone'', ''Sports Illustrated'', ''Harper's Bazaar'', '' Wired'' and ''Condé Nast Portfolio'', and commissions for companies such as Tiffany & Co., Nike, Inc., and Hewlett Packard. It has worked with a number of prominent cultural institutions in New York City, including the headquarters of the United Nations, the Guggenheim Museum, the Whitney Museum, Lever House, Radio City Music Hall, The Public Theater, and The New York Jets. Because of its inspiration from New York City history, its Gotham typeface was selected in 2004 for the cornerstone of On ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
