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Posts Tagged ‘typefaces’

Ray Bradbury on Your Wall, and Other News

September 26, 2014 | by

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In Ray Bradbury‘s art collection: Ray Bradbury. Photo via io9

  • Ray Bradbury’s art collection is at auction, and it’s full of science-fictional wonders: moonscapes, fabulist spacecraft, fire-belching dragons, robot dinosaurs eating robot men, and Bradbury himself, inter alia.
  • Karl Miller, the founding editor of The London Review of Books, has died at eighty-three. His former colleague Andrew O’Hagan called him “perhaps the last of the great Bloomsbury men … Of course, there are brilliant writers and editors now, but they live in a world where the squeeze on literary values and on books programs, on high culture and carefulness, is fearsome and degrading. Karl Miller worked in spite of the market, and he enriched the intellectual life of the country in a thousand ways.”
  • Rediscovering Alain Robbe-Grillet’s first six films, which are now easier to stream than ever: They’re “psychosexually nutty meta-movies that eat their own tails so lustily they make Godard’s contemporaneous work look orthodox … [They’re] tasteful affairs, gorgeously shot and structured, like his fiction, around narrative ellipses and absences, mysteries that can never be solved, enigmas that defy time and reason. They’re also jam-packed with nude actresses and erotic posturing … ”
  • A salute to Futura, the typeface that’s been to the moon (and in every Wes Anderson film): “Futura represents the rational utopia of progress, where everything not only works well, but looks good doing it … Futura was the future we dreamt of in the past, and, in part, the future we achieved.”
  • On the celebrity of the Mitford sisters: Were these “beautiful, wayward young women”—the youngest of whom died yesterday—the Kardashians of their day? “Although it’s a stretch to imagine any of the Mitford sisters making a sex tape or promoting an ice cream called Va-Va-Va-Nilla, the nature of their fame is similar. Born from a fascination with the rich and beautiful, and the ability we are granted through newspapers or internet to live vicariously through these people, to share their adventures, and be scandalized by their mistakes, the fascination with which we view the Mitfords and Kardashians is one and the same.”

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What Silence Looks Like, and Other News

July 11, 2014 | by

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From 1916’s The Good Bad Man; image via The Atlantic.

  • Allan Ahlberg, a British author who’s written more than 150 children’s books, declined a lifetime-achievement award (and a nice cash prize) because Amazon sponsors it.
  • In the silent-film era, a movie’s typeface was a crucial part of its identity. Now, a type designer in Minneapolis has tried to re-create the font from The Good Bad Man, a Douglas Fairbanks vehicle from 1916. “In 1916 the titles would have been painted or drawn on a smooth surface and then photographed with the motion-picture camera. There were no optical printers in those days, so the titles would literally have been shot by someone hand cranking a motion-picture camera.”
  • In Athens, the Caryatid statues (five maidens “among the great divas of ancient Greece”) have emerged from a three-year cleaning with “their original ivory glow.”
  • “Movies, if they’re very good, aren’t a conversation; they’re an exaltation, a shuddering of one’s being, something deeply personal yet awesomely vast. That’s what criticism exists to capture. And it’s exactly what’s hard to talk about, what’s embarrassingly rhapsodic, what runs the risk of seeming odd, pretentious, or gaseous at a time of exacting intellectual discourse.”
  • A friendly reminder: your brain is on the brink of chaos.

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The Circus Is Brighter in Poland, and Other News

April 1, 2014 | by

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“Cyrk” poster, designed by Lech Majewski, Poland, 1973.

  • D. H. Lawrence’s hometown has opened a new pub called the Lady Chatterley.
  • An enterprising fourteen-year-old has an urgent message for the government: change your official typeface to Garamond and you’ll save millions.
  • Shakespeare plays illustrated in three easy panels. (“Three witches tell Macbeth he will be king. Macbeth kills lots of people in order to be king. Macbeth is killed.”)
  • Taking stock of Monocle, which is now seven years old: “a magazine that is in general focused on a particular brand of well-heeled global urbanism … Monocle doesn’t have bureaus, it has bureaux what Monocle and its advertisers clearly understand, even if the point is seldom made explicit, is that living in a first-tier city is a luxury good, like a Prada bag or a pair of Hermès boots.”
  • Don’t merely go to the circus. Go to the circus in Communist-era Poland. “The visual style of the Polish School of Posters, funded and sponsored by state commissions, was characterized by vibrant colors, playful humor, hand-lettering, and a bold surrealism that rivaled anything similar artists in the West were doing at the time.”

 

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