Friday, December 21, 2007
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(found image) 16th century
Our Aims
To guard and further the traditions of typography.
To promote brilliance and joy in communication.
To promote brilliance and joy in communication.
Our Studio
Excellence
(found image) 16th century
The Brave
Design Books of Great Importance
- Paul Renner/The Art of Typography · Christopher Burke
- Geometry of Design · Kimberly Elam
- Typographica · Rick Poyner
- Macro+Microaesthetics · Willi Kunz
- Der Typografische Raster · Hans Rudolf Bosshard
- Designed by Peter Saville
- Production for the Graphic Designer · James Craig
- TM · Chermayeff & Geismar
- An Essay on Typography · Eric Gill
- The New Typography · Jan Tschichold
- The Art of Looking Sideways · Alan Fletcher
- Typography · Friedrich Friedl, Nicolaus Ott and Bernard Stein
- Designing Books · Jost Huchuli, Robin Kinross
- Pioneers of Swiss Graphic Design · Lars Müller
- Grid Systems · Josef Müller-Brockman
- Elements of Typographic Style · Robert Bringhurst
Background
In the old days...
when a few of us had just started to notice typography and its power (what it said, how it looked and what it meant), we also started to see how few other designers noticed, cared or delved into the world of typography. A designer who does not pay attention to the history of design and typography, and does not become consumed with the details of type design and usage is like a carpenter who finds wood uninteresting, and ignores his nails.
As an instructor of design and typography at the School of Visual Arts, the desire to transmit a passion for typography is stronger than ever. But it isn’t just typography. It isn’t just the letters. It’s the act of communicating a message — bridging the space between the beauty and nuance of typographic details and the larger concept. As Musashi puts it, “Rat’s head and ox’s neck”.
when a few of us had just started to notice typography and its power (what it said, how it looked and what it meant), we also started to see how few other designers noticed, cared or delved into the world of typography. A designer who does not pay attention to the history of design and typography, and does not become consumed with the details of type design and usage is like a carpenter who finds wood uninteresting, and ignores his nails.
As an instructor of design and typography at the School of Visual Arts, the desire to transmit a passion for typography is stronger than ever. But it isn’t just typography. It isn’t just the letters. It’s the act of communicating a message — bridging the space between the beauty and nuance of typographic details and the larger concept. As Musashi puts it, “Rat’s head and ox’s neck”.