Typography

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◯ is a supercut of all round counters found in Unicode typefaces. Composed first in the summer of 2011 and updated for this 2013 publication, ◯ presents these counters at 60pts and in Unicode order. The text begins with Basic Latin (0025), contains findings in the Private Use Area, and ends in the Variation Sectors Supp. Section (1F773).
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PublisherAna Maria Uribe1997
The component parts included here—four animated GIFs and an SWF—are not to be understood as independent works, but are to be combined in a browser to produce Ana Maria Uribe’s 1997 poem “Angeles en bandana (A Flock of Angels).” The poem arranges fifteen Garamond “T” characters in the form of an upside down triangle and animates them with out-of-sync bevels and inner glows. While this animation loops, so does a short piece of metallic-sounding audio titled “humhum.swf.” This and other Uribe anipoems are online thanks to Vispo. This title was included in Library Stack as part of the collection Open Font ...
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PublisherWeiyi Li2011
BIG AND USELESS and NOW are two projects based on the Inline Futura typeface drawn by Weiyi Li in 2011. This title was included in Library Stack as part of the collection Open Font License, by Bryce Wilner.
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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.
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PublisherThe Serving Library2012
This issue doubles as a catalog-of-sorts to Ecstatic Alphabets/Heaps of Language, a group exhibition curated by Laura Hoptman at The Museum of Modern Art, New York, from May 6 to August 27, 2012. It is a *pseudo*-catalog in the sense that, other than a section of images at the back, it bears no direct relation to the works in the exhibition. Instead, the bulletins extend in different directions from the same title, and could be collectively summarized as preoccupied with the more social aspects of Typography. In this way we hope to throw some *glancing* light on the exhibition. For ...
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PublisherThe Serving Library2011
For this PILOT issue, we have posted PDFs, bound and printed the publication over the first six months of 2011 in advance of launching. From now on, bulletins will be posted to this website as they are ready. If you would like to be told when a new season is complete, and the printed version available, you can join our mailing list. We begin with a plea to remember dead media by Bruce Sterling; an 8-part examination of the Octopus Vulgaris as a metaphor for post-symbolic communication (whatever that might mean) by Angie Keefer; a zero-sum conversation about Libraries and ...
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PublisherCreative Commons2019
CC Accidenz Commons was designed by Archetypo, a research and type design collective based in Germany and Chile. Archetypo designed the font under these basic premises: To establish a quality framework for a typeface based on the original design of Akzidenz Grotesk To improve the original canonic design that precedes Helvetica and optimize it for better Webfont visualizing To design a versatile text weight to be used in CC’s identity and logo, as well as in headlines, presentations, and other text applications “We wanted a new Akzidenz version with less contemporary expression,” Archetypo explained, “[while] trying to remain close with the original metal carving ...
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PublisherBryce Wilner2017
Counter is a font in one weight that assigns a number value to every keystroke in the order in which they appear on a U.S. Apple keyboard. Counter is available under Open Font License.
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Queer Graphic Laboratory had four meetings, of nearly three hours each, to discuss and study problems around queerness and denormatization in both visual and written language. The matter of gender markers in Portuguese—and Latin languages as a whole—also presented itself, whether in the predominance of the use of masculine terms for plural constructions, or its presence that permeates all names. We discussed the limits of using “X” or “@“ to replace linguistic gender designations, and how it might be possible, in the stiffness of our alphabet and lexicon, to subvert this issue. We began to question what a queer vowel ...
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Queer Graphic Laboratory had four meetings, of nearly three hours each, to discuss and study problems around queerness and denormatization in both visual and written language. The matter of gender markers in Portuguese—and Latin languages as a whole—also presented itself, whether in the predominance of the use of masculine terms for plural constructions, or its presence that permeates all names. We discussed the limits of using “X” or “@“ to replace linguistic gender designations, and how it might be possible, in the stiffness of our alphabet and lexicon, to subvert this issue. We began to question what a queer vowel ...
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CIVIL WAR| HOLOCAUST|PHOTOGRAPHS BLOODY, SEVERED LIMBS PILED UP. BEAUTIFUL FOREST VIEWS, LIGHT CASCADING THROUGH THE FOLIAGE, BATHING THE SKULLS AND BONES HAPHAZARDLY SCATTERED ON THE GROUND. THE WHIPPED AND SCARRED BACK OF A BLACK SLAVE, SITTING DOWN LIKE RODIN’S THINKER. WOUNDED SOLDIERS, THEIR EXPOSED BONES MUSHROOMING WITH INFECTED, PROLIFERATING FLESH. LEVELED MAIN STREETS IN DESTROYED CITIES. POST-BATTLE LANDSCAPES WITH UNDEFINED HORSEMEN IN THE BACKGROUND, RIDING AMONG WASTED NATURE AND DEAD BODIES. THE CORPSES LAY WITH THEIR FEET BOOTLESS, THEIR ARMS AKIMBO, THEIR MOUTHS OPEN. WALT WHITMAN DESCRIBED PRISONERS OF THE CIVIL WAR: “CAN THOSE BE MEN—THOSE LITTLE LIVID BROWN, ASH ...

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