The publication is approaching its 20th issue over a publishing period of over ten years. The conferences bring together speakers from design, architecture, sound, film and interactive design and web. He was one of the founding members of FontWorks [1] in London and designed a number of notable typefaces for them.
He was also partly responsible for instigating the FUSE project an influential fusion between a magazine, graphics design and typeface design. Each pack includes a publication with articles relating to typography and surrounding subjects, four brand new fonts that are unique and revolutionary in some shape or form and four posters designed by the type designer usually using little more than their included font.
In he also founded the FontFont typeface library together with Erik Spiekermann. Notable fonts include the updated font for the Times newspaper, Times Modern , New Deal as used in publicity material and titles for the film Public Enemies and Industria. Brody has designed 24 font families, including: [ 2 ].
Wikimedia Foundation. Inhaltsverzeichnis … Deutsch Wikipedia. Neville Brody — Pour les articles homonymes, voir Brody. Cassandre Jan Tschichold W. Neville Brody. NB: On Arena I wanted to reject style and decoration and show that it is actually the design that counts. We were trying to force Helvetica, which I hated, to be emotional. It was also an ironic statement. For years ago, everything was over-designed; design was the content.
At Arena we were saying, well, no, the content is the content. In the end, though, it failed. RP: So what comes next? Something has gone wrong in the last ten to twenty years. There are hundreds of different ways to work which are all modern and to concentrate on one is a mistake. RP: What are you trying to achieve with Fuse , the digital magazine you launched with Jon Wozencroft?
NB: The essential purpose of Fuse is to try to demystify digital technology. People are using the computer in a very rigid, pseudo-religious way and we are trying to say that the technology is simply a tool of communication and should be treated as organically as any other tool. The other side of it is that typefaces tend to take about two years to publish with a major company. RP: What sort of interaction are you trying to promote?
How do you intend people to use the Fuse material? NB: We intend people to abuse Fuse material! Type has a certain rhythm, it has colouring, it has repeats, and you respond emotionally to the visual aspect of a test as much as to the language it embodies. RP: Is your own contribution to Fuse — State — to be viewed as a stage on this journey into typographic abstraction?
NB: State was deliberately kept readable. I wanted to take it much further, but after discussion with Jon Wozencroft, we decided that it would be a half-way stage, still retaining the underlying form of the alphabet. RP: You seem to be talking about a kind of painting with type. Are you in fact a frustrated painter? I will never be a painter using traditional brushes and paint, but I am a painter using digital technology.
RP: When you talk about a typeface that has no linguistic content, that is simply a collection of organised marks, you appear to yearn for some idea state where there is no message apart from the emotion you embody in the marks. Until Art Spiegelman arrived on the scene, comics had not truly been acknowledged as art. Andrew Wyeth was an amazing artist full of imagination, feelings, and compassion for his work.
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