The beginning of a new weekly project with Pica creative (Simeon Georgive). He started doing mini projects that were to take no more than 10 mins. We decided that it would be cool to see how two people deal with the same strict -10mins ONLY on the same small brief dictating number of words title and amount of objects, all contained in a 13cm square at 150DPI.
This paticular one was 150 words and 2 shapes. See Simeons here
Post from March 2010 about the font Kabel, for all the font fanatics
I’ve seen an increase of the font Geometr and especially the 231 version (If I’ve identified it right; well it seems to be this version anyway) in advertising and branding. They think that it is right font for the Brakes brand, what about this very modern looking font says food distribution company?
It has been at the back of my mind turning itself over and over, “why Geometr?” And not just for Brakes. But why is this font becoming Popular?
I have come to a conclusion, It may not be the right one, but it is at the very least a thought-
After thinking heavily on peoples passive reaction to Helvetica replacing Johnston’s Underground font at one of London’s stations; I think that the similarity between sans serifs is a factor; It wouldn’t be that much of a change to the ordinary person to see one sans serif replace another.
Since the 60’s Helvetica has been popping up everywhere. So many companies re-branded themselves using this font (usually as the result of branding agencies.) It has held on as well, I am sure that in the western world everyone reads Helvetica more than once a day, whether they are aware of it or not. So is it time for a change? Has another font got to make the rounds like Helvetica?
This is where Geometr steps in, especially the forms like 231. They are obviously different form other sans serif fonts whilst not being too different to scare people off. It looks contemporary as well, almost like it was designed yesterday even though it wasn’t. For these reasons I believe that Geometr might make the re-branding rounds like Helvetica, but as to say if it will be as successful as Helvetica; we will have to wait and see if it catches on and snowballs.
The designer was Rudolf Koch (1876-1934.) I think that Geometr was inspired by Kabel (which Koch designed), as Geometr 231 is almost a replica. It seems that the fonts weren’t released until 70’s (Kabel) and 80’s (Geometr)
I later found out that it is indeed a replica, digitized by Bitstream.
Beatris Warde said that the person that chose the Crystal goblet was a Modernist. I think that self proclaimed modernist Wim Crouwel would agree with her- “I am always interested in Clarity; It should be clear; It should be readable; It should be straight forward” -(Helvetica by Hustwit 2007) It is the word clarity. By ‘straight forward’ I think he means the message must be clear. He emphasises the difference from legibility by stating ‘readable’. But he uses the umbrella word ‘clarity’ and ‘clear’. I believe that this could be the same goblet that Warde was talking about in 1955. Is it too much to believe that to an extent; all modernists are chasing the crystal goblet in their designs? Chasing Clarity. I don’t think that it is. And I also believe that it is this fact, that makes the modernist design so successful. Example; Massimo Vignelli designed The American Airline logo in 1966. And if I’m not mistaken; this logo is still in use today. 44 years of use! I dream About that kind of success in a design.
I think that the modernist ideals that warde puts forward in the crystal goblet; that “the first thing he asked of his particular object was not ‘how should it look?’ but ‘what must it do ?’” are correct and this is why modernist design is successful. Because in effect; success is what it is designed for, not just to look good.
About halfway through 2011 I started to produce the advertising material for Jazz in the Bar Brecon. I first established their identity based around the blue note records. I chose Futura because I think it has better form than some of the deco fonts, making it more readable and suitable for this purpose, yet because of its geometric nature it still holds onto a certain deco feel.
The experimental typography project allowed me to do something that was completely different. I set some indulgent parameters to begin with; I wanted it to be completed by hand and I wanted it to be in colour, but aside from those restrictions I allowed myself to do whatever. I got into ‘cut ups’ inspired by the Dadaists and found out that William Burroughs and David Bowie used them also. I used the technique to create the poem and then cut up Ariel (well used the top left and bottom right of Ariel) to illustrate it.
Really enjoyed the freedom of this brief even if I am a little unhappy with the outcome.
Over 80 years old, and still looking like the future. After thinking about designing an alternative to Kabel, I got pulled into a competition to give back German words that the british have borrowed. I immediately found Futura in my font navigator; after all it is the most famous German typeface, isn’t it? After playing about with possible solutions I started to realise just how nice this typeface is to use. I decided that the poster that I was going to design should be a homage to the designer Renner for designing such a usable font.
A perfect description of Futura by Simon Loxley –
‘it carries a style and personality that to an extent defy close analysis. Such a geometric face should look cold and sterile, but it doesn’t.’
-from my old blog (2010) the poster actually won that design award!
In the second year I got the chance to head up a project in the metal type workshop, something that I took up as I wouldn’t get to do anything like it again. A couple of other students and I created a working studio space in the extra room where we could easily work and look over proofs. We then had to teach Foundation students how to use the equipment, produce artwork ourselves and put together a manual explaining how to use the workshop.
Something that I found whilst researching for this project-
“The reports of my death were greatly exaggerated.
The almost complete takeover of ‘here today, gone tomorrow’ printing by digital and photolithographic processes has not brought about the death, but rather the emancipation of letterpress.
The text of real books – visual and tactile delights destined to be read and re-read, lovingly sniffed and fondled and handed on to the next of kin
– are still printed letterpress!”
(Flyer printed by the Old Forge Press, 2002)
This project was to create a book using the lyrics to “Everybody’s Free (To Wear Sunscreen)” released by Baz Luhrmann in 1999. I decidesd to create a grunge looking book with matt finnish pages to symbolize my feeling of the ending of that era at the time. I used very cheap materials to create a well crafted photography book that I think makes quite a nice little artifact.