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.
PublisherDavid Bennewith2016
Brazil is a font motivated by a tag seen on the wall of an Amsterdam fondue café toilet in 2010.
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 ...
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 ...
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 ...
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.
PublisherNazli Ercan2018
“Helvetica Placed on Arial (in Illustrator)” is a typeface that comes in two styles: Minus Front and Minus Back. Minus Front subtracts Helvetica from Arial (in Illustrator) and Minus Back subtracts Arial from Helvetica (in Illustrator). Below are the steps used for designing this typeface: 1- Set the entire glyph set in 50 pt Helvetica in Illustrator. 2- Set the same glyph set also in 50 pt Arial in Illustrator. 3- Place Helvetica glyph set on Arial Glyph set. 4- Expand both glyph sets. 5- Ungroup both glyph sets. 6- For each glyph, center align the Helvetica and the Arial versions both horizontally and vertically. 7- For achieving ...
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.
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 ...
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.
Model and Countermodel is a reader of collected texts about practitioners who have proposed risky yet rigorous alternatives to conventional wisdom across art, design and architecture including exemplary attitudes, frameworks, methodologies and methods. In November 2016, a printed and comb-bound edition was featured in Practices of Enquiry, an exhibition of experimental enquiry-based learning by students, graduates and staff of University of the Arts London.
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 ...
Adam Michaels and Shannon Harvey are the principals of Inventory Form and Content, a Los Angeles-based design and editorial studio focusing on graphic design, spatial design, strategy, and content development. They also operate Inventory Press, a publishing imprint that specializes in books on art, architecture, design, and music. Previously, Adam and Shannon were a part of the New York design studio Project Projects, where Adam was Founding Principal. In this episode, Adam and Shannon talk with Jarrett about the ethos behind IN-FO.com, expanded practices, and publishing.
Alexander Tochilovsky is a designer, curator, and educator. He’s currently the curator at the Herb Lubalin Study Center and an instructor at Cooper Union. He studied graphic design at Cooper Union and went to graduate school at Cranbrook. In this episode, Alexander and I talk about his background and how he got interested in design, the role of design history in his practice, and how we can do a better job of learning from and teaching history today.

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