Posts Tagged ‘typography’
October 27, 2015 | by Charlotte Strick
I’d always thought that designing new packaging for a classic film was like designing a jacket for a new edition of a well-known book: both are associated, in the popular imagination, with familiar, even beloved, graphics. If the designer strays too far from the original vision, the potential for public outcry is high. But where a book offers visual freedom—our minds are free to imagine the scenes and the various characters—a movie comes with a profusion of visual material that’s not soon forgotten. There’s the original theatrical poster, and then, of course, there’s the very film itself, and all the iconic images we associate with it. For designers, translating a director’s vision is hard enough the first time. How do you do it again?
The Criterion Collection is known for its impeccable taste in classic and contemporary films, and for the artful packaging that puts these films in a much-needed new light. Late last year, I sat down with their head art director of more than a decade, Sarah Habibi, and designer/art director Eric Skillman, who were celebrating the recent publication of a book they’d produced at breakneck speed in time for Criterion’s thirtieth anniversary: Criterion Designs, an illumination of their process in imagining some of the collection’s most successful projects. Read More »
September 15, 2015 | by Dan Piepenbring
- The Internet is awash in devastating, graphic personal essays—young writers are encouraged, maybe more than ever, to monetize and sensationalize their grisliest experiences. So … now what? “The Internet’s confessional impulse has been fully codified. Every site seems to have a first-person vertical … But for all the different house styles these pieces accommodate, it’s striking how many of them read like reverse-engineered headlines, buzzy premises fleshed out with the gritty details of firsthand experience … This is a key problem with the new first-person economy: the way it incentivizes knee-jerk, ideally topical self-exposure, the hot take’s more intimate sibling.”
- The Joan Didion that people adore these days is the Didion of The White Album and Slouching Towards Bethlehem, not the Didion of Democracy—but that novel is remarkable, too, and to read it is to enter a fecund and too often neglected phase of her career: “There’s something in Democracy that you’ll find little of in Didion’s nonfiction: It’s the book in which she does the most thinking about a formative subject in her life, the Vietnam War, yet it’s a book that rarely enters into current discussions of her work … A more useful understanding would recognize the later nonfiction as an extension and amplification of the early nonfiction’s achievements. It would also see the novels as vital continuations of the same project, workings out of problems in style and sense painted on blank canvases. Such an understanding would turn Democracy from a bookshelf ornament to a central work about Vietnam, the other historical hinge in Didion’s career.”
- Roland Barthes wrote well about TV, and professional wrestling in particular—meaning he was also, thirty-five years ahead of time, writing well about Donald Trump’s bid for the presidency. “The key to generating passion, Barthes notes, is to position yourself to deliver justice against evil forces by whatever means necessary … But why can’t voters see that what Trump offers is just an act? As Barthes illustrates, that’s asking the wrong question. ‘It is obvious that at such a pitch, it no longer matters whether the passion is genuine or not. What the public wants is the image of passion, not passion itself. There is no more a problem of truth in wrestling than in the theater.’”
- Today in fact-checking: the most error-prone movie of the year thus far is Jurassic World, which boasts an impressive nineteen continuity blunders, plot holes, and factual mistakes. “Errors in Jurassic World reportedly include a mobile phone that appears to magically fix itself … and the ability to start up an abandoned Jeep that has been parked, fully exposed to the elements, on a tropical island for twenty years … The all-time record is held by 1979’s Apocalypse Now, with a whopping 561 mistakes.”
- The typographer Adrian Frutiger, who designed the font for London’s street signs, has died at eighty-seven. “I learned to understand that beauty and readability—and up to a certain point, banality—are close bedfellows,” Frutiger said. “The best typeface is the one that impinges least on the reader’s consciousness, becoming the sole tool that communicates the meaning of the writer to the understanding of the reader.”
January 6, 2015 | by Dan Piepenbring
- Everyone says television has entered a new golden age, so it follows that books based on television have entered a new golden age, too. In other words, why write a novel when you can write a novelization? “For publishers, tie-in books have become cash cows that offer instant brand recognition and access to huge fan bases for vastly larger media … ‘Sometimes I meet writers who are like, “Why are you doing this?” but I would be betraying who I am if I said I’m never going to do this again because it’s beneath me as an artist … I combat the idea that these can’t be good novels.’ ”
- Breaking: some hooligan has made off with the bronze plaque that hangs on Mark Twain’s grave marker in Elmira, New York. Authorities have ensured that it’s not on eBay.
- Our literary critics have become less egotistical over the decades—have they also lost the touch? “Literary critics have become more subdued, adopting methods with less grand speculation, more empirical study, and more use of statistics or other data. They aim to read, describe, and mine data rather than make ‘interventions’ of world-historical importance.”
- And Vanity Fair has done something of an about-face, too, if you look at its history. “That it has become such a celebratory document of the upper class is one of Vanity Fair’s ironies,” but the early iteration of the magazine, edited by Frank Crowninshield, “sought to break something. Its initial sharpness drove at some kind of point other than the enjoyment of fine food and clothing.”
- Rediscovered credos on typography from a 1964 issue of Print magazine: “Is the typographer a prophet or a propagator of a new faith? Typography should be allowed individuality … [but] the aim of typography must not be expression, least of all self-expression, but perfect communication achieved by skill … Typography is a servant and nothing more.”
February 3, 2014 | by Dan Piepenbring
- Remembering Philip Seymour Hoffman.
- Who are Joyce’s modern heirs? Rivka Galchen and Pankaj Mishra discuss.
- No longer shall they toil in obscurity: Lemony Snicket has launched the Prize for Noble Librarians Faced with Adversity.
- The Hardy Boys face what are undeniably their strangest mysteries yet.
- Is Eurostile Bold Extended the most popular typeface in science fiction? A look at the typography in 2001: A Space Odyssey.
August 22, 2012 | by Sadie Stein
February 14, 2011 | by Thessaly La Force
The artist Lawrence Weiner lives on a quiet street in the West Village, in what was once an old laundromat built in 1910 and is now an unobtrusive five-level town house designed by the firm Lot-Ek. You may recognize some of the architecture: Lot-Ek is often cited for it inventive reuse of prefabricated objects (like shipping containers) and other industrial materials. In fact, the penthouse floor of Weiner’s home is built from discarded truck bodies. The floor below is the bedroom, the floor below that houses Weiner’s archives, and the first floor is the kitchen and dining room. At the basement level, Weiner keeps his studio, where he works. Not long ago, I stopped by to take photographs of his home and talk.
I didn’t come from a background that had any idea about what contemporary art was, it was not anti or pro, it had nothing to do with it. I do remember something my mother said when I was sixteen. I was going off to college, and I said, “I think I’m going to be an artist, not a professor of philosophy.” They all assumed I would be a professor because I’m good at logic, and she looked at me and she said, “Lawrence, you’ll break your heart.” And I said, “Why?” And she said, “Art is for rich people and women.”