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green-watersweet-green

I’m searching for ‘green’ today. Let it pour like a visual remedy! I started the hunt this morning looking through photos of a recent journey to Spain, and by the end of the day I’ll eat all sorts of green things in a salad. The psychological effects of color can have great benefits, better than most meds. The 4 psychological primary colors are red, blue, yellow and green. They relate respectively to the body, mind, the emotions and the balance between these three. For me today it’s the need of green.

Green strikes the eye in such a way as to require no adjustment whatever and is, therefore, restful. Being in the center of the spectrum, it’s the color of balancea more important concept than many people realize. When the world about us contains plenty of green, this indicates the presence of water, and little danger of famine, so we are reassured by green, on a primitive level. Green shows us harmony, rest, peace, refreshment and love. But I want to give it to you straight… negatively, it can indicate stagnation and, incorrectly used can perceived as being too bland. Make your greens grow and you’ll be fine.

The spritzer bottle just makes me giggle, I have a passion for green plastic, and the chocolate wrapped in green makes me think of the evergreen cocoa tree, very exotic and dark. I have a new favorite artist who uses lots of it too, Matt Magee.

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WITTY_TYPE

How do designers have fun? Make new worlds, design our own t-shirts, promote favorite causes… or perhaps go back to our typographic roots and create word pictures. We were instructed to do such things in design school. We learned about the type masters, from Giambattista Bodoni to Matthew Carter. We would get assignments to dissect and create typographic illusions. Our goal was to embody the fonts and be possessed by them. We were awed by each type font’s unique superhero powers.

Being empowered by typography, communication is enhanced and unique messages are possible. A logo and brand can become a beacon and almost nothing has to be said to fully understand its meaning.

And look, we’re still up to it today… going to the type-gym for our workouts. With these four illuminated screen-shots we’re using one font and turning it every which way. In this case we’re indebted to the font Bebas Neue created by Ryoichi Tsunekawa.

http://blog.8faces.com/post/103548341771/typographers-typefaces

I can’t help but post a few of these, they’re delicious and preposterous! Concoctions whipped up by Andy Warhol, his mom, and Suzie Frankfurt. I couldn’t resist and just located a used copy, it should be here in a few days… in time for the holidays. The book condition described a stain on the back cover… I wonder from which recipe.

I’ll will post a few drawings of my Thanksgiving feast. If you do a food drawing we’ll post it here and make our own collective visual feast.

wildraspberries_warholfrankfurt1wildraspberries_warholfrankfurt11wildraspberries_warholfrankfurt12wildraspberries_warholfrankfurt10wildraspberries_warholfrankfurt7wildraspberries_warholfrankfurt6

nutella

Nutella was created in the 1940’s by Pietro Ferrero. War rationing meant that cocoa was in short supply across Europe, so Pietro Ferrero mixed cocoa with toasted hazelnuts, cocoa butter and vegetable oils to create an economical spread of chocolate. Reformulated in 1949, this variety was both inexpensive and spreadable, which was a great plus-point. It enjoyed enormous success and in 1964 was renamed ‘Nutella’ and marketed outside of Italy. Nutella comes in an oval-shaped jar. The bold label contains both black and red letters! The “N” is designed to draw attention to the nuts in Nutella! But look how this solution draws so much attention to the name and makes this mark memorable. So why is this on our mind today… well today is “World Nutella Day”.

A recent visit to our nation’s capital brought many design delights: the museums, the pleasing feel of the Mall, the human scale of the buildings. . . and the delightfully named streets. But after a week of walking and looking, we noticed something unusual—there is no J Street in DC.  In all four quadrants, the street that comes after I Street is K Street.  What happened to J Street?

A little sleuthing and research brought up one theory: some folks believe that the city’s planner, Pierre L’Enfant, left out J Street as a slight to John Jay, the American statesman and first president of the Continental Congress. Legend has it that L’Enfant hated Jay for his 1794 Jay Treaty, an unpopular agreement that settled some sticky issues between the new Americans and the British, which seemed to favor the British. The French were mad too because as allies during the Revolutionary War, they were now were fighting Great Britain on their own. L’Enfant, as a French-born American, must have been doubly upset.

The only problem to this theory is that L’Enfant’s plan was finalized in early 1792, and the Jay Treaty didn’t happen until 1794. Another myth proposes that John Jay stole Pierre L’Enfant’s wife or girlfriend, but that also falls apart when you learn that Pierre L’Enfant was gay.  So there’s really no truth about the omission of J Street as a slight to John Jay.

So…back to why all the quadrants skip from I Street to K Street. The answer appears to be typographic! Back then, “I” and “J” looked very similar when written and were largely interchangeable, so there would have been major issues having two streets named the same. So J was left out, along with X, Y, and Z Streets.

In fact, our nation’s capital is a typographic hotbed. The whole network of east-west streets in the District follows an alphabetical pattern. After single letters are exhausted, the streets are named alphabetically with two syllables, then after those, it changes to three syllable alphabetical names, and then finally (only in the upper reaches of the NW section) streets are named after plants and flowers alphabetically (Aspen, Butternut, Cedar, etc). Of course there are exceptions, but generally the rule is followed pretty closely.

So there you go, the real reason why there’s no J Street is the solution to a design issue.

judgement_study

There are only six studies like this drawing by Michelangelo throughout the world today, done in preparation for painting his “Last Judgment” in the Sistine Chapel. Its quality is soft and smudgy due to the chalk used, and the purpose and fashion in which it was executed…it was a sketch.

Sketching is something we all have in common with Michelangelo… we have all sketched to communicate an idea, simple as it might have been. Everyone. Usually the communication works pretty well. If you have a more elaborate or artful message  to convey, chances are you will rise to the occasion and find yourself more technically able. This is something I truly believe.

We recently had one of these drawings on display here in Seattle. When Michelangelo was invited back to Rome by the Pope to paint the altar wall, the resulting work, his “Last Judgment,” was a truly original if controversial masterpiece. Read the rest of this entry »

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