David Bennewith

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PublisherDavid Bennewith2016
bRAZIL: motivated by a tag seen on the wall of an Amsterdam fondue cafE toilet in 2010. Designed in collaboration with Bram van den Berg. This work is licensed under an SIL Open Font License (OFL). For details see here http://scripts.sil.org/OFL For a free printed type specimen, send a self addressed, return envelope to: Colophon, Willemsstraat 32, 1015 JD Amsterdam, The Netherlands.
Cover art
PublisherDavid Bennewith2016
In the early 1950s the US NAVY and Air Force commissioned MIT Lincoln Laboratory (Massachusetts Institute of Technology, Lexington) to begin Research & Development for what was to eventually become ‘SAGE’ (Semi Automatic Ground Environment) — a computer network designed for strategic, early warning air defence — in retort to a new technology-enabled reality of long range attack from the sky [and weapons of mass destruction], and new forms of Super Power paranoia that would lead to the Cold War. The SAGE network — capable of real-time mass data processing — worked with large computers, networking equipment and radar sites ...
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A typeface digitisation and digital font production work, based on one style of the NEN3225: Netherlands Letter and Number Model. Originally published in 1963 by the Dutch Standards Institution [NEN] as a collection of models for lettering in and on buildings, public signs, tombstones, etc., the typeface itself was designed by Dutch typographer and graphic designer Jan van Krimpen (1892-1958). This digtisation is connected to a graphic identity designed by David Bennewith and Sandra Kassenaar, ᵃᴹˢᵀᴱᴿᴰᴬᴹ for the exhibition ‘hET oNTWERP vAN hET sOCIALE, 100 jaar eigenzinning samenleven in nederland’ at Het Nieuwe Instituut, ʳᴼᵀᵀᴱᴿᴰᴬᴹ. In the late spring of 2021, ...
Cover art
PublisherDavid Bennewith2016
‘Stanley Smith’ represents a hard-graft of Stanley Morison’s ubiquitous typeface ‘Times New Roman’, and Adidas’ ubiquitous tennis shoe ‘Stan Smith’. Departing from an observation, with the desire to produce a visual critique, of the often strange anthropomorphisms applied to alphabetical letterforms, ‘Stanley Smith’ bluntly assumes a type design more connected to histories of mass-production than corporeal gesturing. Colophon.info, Bram van den Berg, 2015 Do you, or do you not, stand with me in recognizing the fact that roman type from the end of the fifteenth century down to the twentieth century, was a casting from a mold made for the purpose of ...

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