För god form, typografi, grafiska produkter och tjänster
Stockholms Typografiska Gille vill höja kvaliteten på svenska grafiska produkter. Vi debatterar och engagerar oss i utvecklingen inom vårt yrkesområde, studerar och samtalar om konsekvenserna av ny teknik. Vi kritiserar dålig grafisk kvalitet. Genom dessa aktiviteter hoppas vi kunna skapa en större medvetenhet hos såväl producenter av svenska grafiska produkter, beställare av grafisk form och typografi som hos den läsande konsumenten.
Long before you see the dogs transmuted into vicious, physically indeterminate fiends, or Kurt Russell’s monocular anti-hero, named “Snake,” surfing in the submerged city grid of a future dystopian Los Angeles, the essence of most any John Carpenter film is evident in its opening moments, even before his name is seen keystoned atop some spare and ominous title. First there are the antecedent notes of one of his minimalist synthesizer scores (educated as a musician, Carpenter composed the scores to sixteen of his films) which are soon followed by the title credits set in Albertus.
Type Jam just held it’s first event in September, challenging teams to create a font in just 48 hours, from concept to digitisation. We spoke to Jake about creating fonts as a newb, about the mechanics of orchestrating a hackathon — and finally we took a closer look at the top 3 winning typefaces.
Even in an era in love with minimalism, Dwiggins’ ornate, stencil-decorated volumes and his inventive methods for making them find widespread admiration.
”Ornament is a music of space.”
—William Addison Dwiggins
The early 20th century designer William Addison Dwiggins was an ardent advocate for decorating the printed page. Like the fleurons of early printers, he designed ornament that harmonized with type, “not by reworking elements culled from early printed books; rather by making his own designs,” said Dorothy Abbe, Dwiggins’ long-time assistant.