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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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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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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Doug Thomas is a designer, historian, writer, and teacher. He’s the author of the new book, Never Use Futura and an Assistant Professor in Brigham Young University’s graphic design department. After graduating with a degree in graphic design, Doug continued his education by getting a masters degree in history at the University of Chicago where he began his research on typography history. Doug and I met while we were students in the MFA program at Maryland Institute College of Art, where he was turning his historical work into a book. In this episode, Doug and I talk about the book ...

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Elliott Earls is a graphic designer, performance artist, and the artist-in-residence in Cranbrook’s 2D Design program. He also produces the YoutTube series Studio Practice, a “no bullshit resource for those things that animate the artist and designer’s studio.” In this episode, Elliott and I talk about experimental graphic design, Cranbrook’s interesting critique format, and how he thinks about his own work, as well as working outside the preconceived styles and movements, how to connect theory and practice without letting the theory get in the way of the making, and how teaching at Cranbrook relates to his own art and design ...

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Francisca Monteiro is a typographer and book designer based in the United Kingdom. While I was working on my MFA thesis on design criticism in Baltimore, Francisca was also working on a thesis, at the University of Reading, on Emigre and the relationship between design and writing. I was struck by the similarities in our projects which we use to frame a discussion about the history of design criticism, the role of magazines in creating a discourse, and how the design writing has changed over the years.

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Francisco Laranjo is a graphic designer based in Portugal and publisher of Modes of Criticism, a journal and research platform interested in critical graphic design. His writing has also been published on Design Observer, Eye, Creative Review, Grafik. In this episode, Francisco and I talk about Modes of Criticism and his goals for the project, parsing terms like critical and speculative graphic design, and how to use graphic design to critique politics, colonialization, and culture.

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Joe Potts is a graphic designer, educator, artist, and writer working with found and synthesized images, sound, typography, and language. He teaches typography and graphic design at Otis College of Art and Design and the University of Southern California, and is the founding director of the Southland Institute (for critical, durational, and typographic post-studio practices). In this episode, Joe and I talk about the Southland Institute, both why it exists and what it’s trying to do, the economic burdens of design education, and the value of building an interdisciplinary practice.

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Jonathan Hanahan is a an artist and designer whose practice explores the cultural and social ramifications of experiences which transcend physical and digital occupations and the role technology plays in shaping, mediating, and disrupting our everyday realities. He’s also an Assistant Professor in the Sam Fox School of Design & Visual Arts at Washington University in St. Louis and a artist in residence at California College of the Arts. In this episode, Jonathan and I talk about his background in architecture and writing and how he found himself studying design, the importance of digital design criticism, and how he encourages ...

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Liz Danzico is part designer, part writer, and part educator. She’s currently the creative director at NPR, where she oversees both the visual and user experience of NPR’s digital platforms and content; chair and co-founder of SVA’s MFA in Interaction Design program; and has written about design for publications like Eye, Fortune, and Interactions Magazine as well as her own site, Bobulate. In this episode, I talk to Liz about the connections between design and writing, the role of criticism in her own work, and intersections between technology, media, journalism, and design.

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On this week’s episode of Scratching the Surface, I’m joined by the design writer Steven Heller! Heller is the author or co-author of over one hundred books on design and visual culture, co-chair of the School of Visual Arts MFA Designer as Author program, and helped start SVA’s Design Criticism and Interaction Design programs. Steven and I talk about his career, design writing, and why most publications don’t need graphic design critics.

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Tim Belonax is a designer and educator in San Francisco. He currently works as a brand designer at Pinterest and teaches at the California College of Arts. He previously worked as a designer at Airbnb, Mine, and was a principle designer in Facebook’s Analog Research Lab. In this episode, Tim and I talk about institutional critique and how to encourage reflexivity while working in house, how teaching has influenced his work in the tech industry and vice versa, and why he left grad school to work at Facebook.

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PublisherDavid Bennewith2016
Stanley Smith is a hard-graft of Stanley Morison’s ubiquitous typeface Times New Roman and Adidas’s ubiquitous tennis shoe Stan Smith.

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PublisherO-R-G2015
Dutch graphic designer Karel Martens has made clocks for years. Starting somewhere around 1968, Karel attached new faces to existing clock mechanisms to produce graphic compositions, which by their nature, are constantly changing. This screensaver works the same way. Based on a wall clock designed by Karel for his exhibition at P! this fall in New York, the screensaver software uses three yellow and blue spinning disks to display the hours, minutes, and seconds of the current time. It does very little, other than spin contentedly. But, on the way, the passing of time produces a collection of graphic arrangements as ...

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PublisherBeautiful Company2010
Times Dot is a version of Times New Roman whose “i” and “j” dots have been enlarged by 190%. This title was included in Library Stack as part of the collection Open Font License, by Bryce Wilner.

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