Index of Titles Filed Under 'Graphic Design'

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 is a font motivated by a tag seen on the wall of an Amsterdam fondue café toilet in 2010.

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PublisherThe Serving Library2017
This issue comprises various outlooks on “perspective.” This might be taken to mean something as specific as a particular opinion or as general as an axonometric projection; in short, different ways and means of looking at the world. And so we find Vincenzo Latronico attempting to get in touch with E.T., a collection of Lucy McKenzie’s illusory quodlibets, a conversation between Jumana Manna and Robert Wyatt on art and ethics, a timely analysis of “Lifestyles of the Rich and Famous” by Sarah Demeuse, along with other points of view from Mark de Silva, Jocelyn Penny Small, Abigail Reynolds, James Langdon ...

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Digital Materiality in the Age of Design Systems Parsons Communication Design Symposium In an increasingly homogenized interaction design landscape, how can we continue to craft unique digital experiences? As designers, how do we retain agency and ownership over a process which has become progressively atomized? The past several years have seen the rise of design systems and frameworks along with toolchains and build processes which have dramatically expanded the complexities of designing and developing for screen. Design and engineering roles have splintered and specialized, with large teams becoming the norm for producing digital artifacts at any scale. The net result has been a profusion ...

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PublisherMicrosoft2017
In late April, the Emirate of Dubai announced the release of its eponymous typeface, designed in conjunction with Microsoft and Monotype, which is both openly downloadable and bundled with Microsoft Office. A strikingly generic sans-serif built for some 23 languages, the typeface is designed to be easily read on any screen, at any size. It is marketed (in the dramatic language of too-serious PR campaigns) as simultaneously urban, global, ancient and modern: it aims to synthesize Dubai’s architectural futurism with heritage characters both Latin and Arabic. Like its namesake, the Dubai font wants to be anything for everyone — the ...

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PublisherBryce Wilner2017
Fälschungsershwerende Schrift is a font in one weight originally drawn by Karlgeorg Hoefer in 1978. This version is based on a specimen that was published with the essay “Fälschungsershwerende Schrift” by Benjamin Tiven.

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IO
PublisherNate Pyper2017
IO is a font made using only two units: a straight line and a curved line. “All the capital letters of the alphabet may be written using several basic strokes, straight and curved, common to each letter,” said Bruno Munari. This title was included in Library Stack as part of the collection Open Font License, by Bryce Wilner.

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Devised and written by David Reinfurt, compiled and presented by Dan Fox, and produced in the context of ‘ALWAYS LIFT INKING ROLLERS WHEN PRESS IS NOT IN OPERATION. IF ROLLERS ARE LEFT TURNING ON THE DRUM THE INK WILL DRY FASTER AND THE ROLLERS WILL BE SUBJECT TO NEEDLESS WEAR’ organized by Will Holder at The Banff Centre, Banff, Alberta, Canada.  “Things in their alleged places. Things where they think they should be, where they prefer to be. All of the things, just where they are. Things with things of their own. Things obeying no rules, following no orders, filling no ...

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PublisherDavid Bennewith2016
Lincoln/MITRE fonts are studies of the typographic system designed by MIT Lincoln Laboratory for use in various displays on the early warning air defense computer network SAGE (1950s–1980s). This title was included in Library Stack as part of the collection Open Font License, by Bryce Wilner.

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PublisherEmil Kozole2015
Project Seen is a typeface that is concerned with privacy and the interception of our communications by the NSA. It automatically strikes through so called “spook words” as they are written. Try typing anywhere on this website. “Seen” is a font that has a preloaded set of sensitive “spook words” that the NSA and other agencies are using to scan through our documents. The typeface can be used in any popular software such as Illustrator, Indesign, Word or in a browser. It can be used normally to write text as any other font does, but once one of these trigger words is ...

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Allison Arieff is the editorial director of Spur and a columnist for the New York Times where she writes about architecture, design, and cities. Before that, she was the editor-at-large for both Good and Sunset Magazines and was the editor-in-chief at Dwell. In this episode, Allison and Jarrett talk about how she wanted to be a writer since eighth grade, the expanding definition of design, and the relationship between design and policy.

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Anab Jain is a designer, futurist, filmmaker and educator. As Co-founder and Director of Superflux, she hopes to realise the vision of the Studio as a new kind of design practice, responsive to the challenges and opportunities of the twenty-first century. She also teaches at the University Applied Arts in Vienna and gave a TED Talk last year on design’s role in imagining new futures. In this episode, Anab and I talk about Superflux’s blend of client and speculative work, her background in filmmaking, and pushing up against disciplinary boundaries.

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Andrew Lister and Matthew Stuart are designers, editors, educators, and publishers. Together, they edit and design Bricks from the Kiln, a new journal that ‘centers in and around graphic design.’ In this episode, Matthew, Andrew, and I talk about Bricks from the Kiln and how they started it and what their goals are, how publishing and editing has influenced their design practice, and the overlap between editing, teaching, and writing.

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Brian LaRossa is a designer, illustrator, writer, and reader. He’s a design director at Scholastic, writer for Design Observer, and on the adjunct faculty at CUNY. In this episode, Brian and Jarrett talk about his early resistance to the design world and how discovering its history and culture opened up a new love for the discipline. They also talk about how he started writing, his love of reading, and the similarities between his writing process and design process.

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