Discussion Point 2 - Andrea Agathocleous

Both Pre-Digital and contemporary typographic design have provided staggering influence to the field. While the foundations of Pre-Digital typographic design are inarguably fool-proof, contemporary innovation in the field of typography is just as important as its inaugural counterpart in promoting evolution in this field. 

The common misconception is that pre-digital typographic designers were not prone to experimentation and innovation. Francis Picabia proves this wrong through his Dada & Abstract inspired art. [1]

 [2]

[ Issue 7 of Dada, titled ‘Dadaphone’, with machine portrait on cover by Francis Picabia (Victoria & Albert Museum)]

Clearly, Anthony Froshaug disagree's with this typographic style, believing that structure is there for a reason, backed by David Birdsall who argues that he is merely "supporting the thoughts" of the designer through type. Artists like Robert Massin and Picabia, however show the power of expression through type, exemplifying a line or body of type's semiotic abilities.

Of course, when seen on it's own, Picabdia's work is understood as quite innovative. When contrasted with modern experimental typographic design, however, the evolution of type design is evermore visible. 

 [3]

[Issue 1 of QWERTY, titled 'For those who get their fingers dirty' by Stephen Banham]

Stephen Banham's design in comparison highlights the revolutionary freedom and lax attitude in typographic design. Banham is a Melbourne typographic designer born in 1968 and is founder of a typographic Studio named Letterbox. [4]

Banham's context is more culturally and technologically accepting of freedom in design, even though his book QWERTY was a revolutionary and monumental piece of work in Australian typography, giving it it's own identity thanks to his dedication to innovation and creativity. 

In the aforementioned ways, Banham's art contrasts that of Picabdia. His text ascends in a vertical fashion, while on a grand scale Picabdia's work remains in the horizontal grid and experiments mostly by literally pushing the borders (or margins) of the page and varying font size and boldness, images and type in an unorthodox manner. Evidently, there is a drastic change in the degree of experimentation and evolution. 

In conclusion, although a staggering difference in between the era of both Banham and Picabdia, the same attitude and justification to experimental type is the core motivation of both artists. Artists including, but not limited to these two, Robert Massin and David Carson should be applauded, as the entire 'face' of graphic design can be changed via the innovation of one or more rule breaking, talented minds. 

[1] "Wikipedia." Francis Picabia. Web. 20 Sep 2012. <http://en.wikipedia.org/wiki/Francis_Picabia>.
[2] Picabia, Francis. Dadaphone. N.d. Photograph. Flikr, Victoria & Albert Museum. Web. 20 Sep 2012. <http://farm4.static.flickr.com/3237/2739468117_0941f405f1.jpg?v=0>.
[3] Banham, Stephen. QWERTY: 'For those who get their fingers dirt'y. 1990. Photograph. Letterbox, Melbourne. Web. 23 Sep 2012. <http://www.letterbox.net.au/wp-content/uploads/2009/08/LB_QWERTY_res_bks_qwerty102.jpg>.
[4] "Wikipedia." Stephen Banham. Web. 22 Sep 2012. <http://en.wikipedia.org/wiki/Stephen_Banham>.

Discussion Point 2 – Sandra Stepien

Paul Rand, born Peretz Rosenbaum on August 15th, 1914, was an American graphic designer who is considered to be one of the originators of the Swiss Style of graphic design and is most widely renowned for his corporate identity work, many of which are still in use today.

A pioneer in his field, Rand explored the formal vocabulary of European avant-garde art movements¹ that preceded him such as Russian constructivism, de Stijl, and the Bauhaus to break decorative traditions and produce his distinctive graphic language. Rand brought ideas and intelligence to advertising, “his designs were conceptually sharp and visually smart”². Rand’s compositions drew the attention of the viewer through simple yet eye-catching designs which experimented heavily with type layout but emphasised readability and communication of ideas.

Stephanie Bourne 2009, accessed 22 September 2012, <https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4O7Z_YUYxaoraSGTf_1Cgm2SQpBsi38f0vIW2MQGw0fPU_gOrSwZXa8dHk9OGM5_UCU2aA9YvJdhv_ATFx0D8D1lNGB6TMi-9eSmh9W9SZ8cNrv1Oa4vJunCwokr48LOzD1loaYaX8Bml/s1600/rand.jpg>.

As seen in the example above of his advertising work for Jacqueline Cochran, he brought typography to life by combining variation of size, controlled use of colour and alluring shapes and forms. He typically attracted the attention of the viewer through a large mass, exemplified through the large graphic and created smaller details that needed closer attention as shown through the smaller broken text in the advertisement.

Through his unique philosophy and style, Rand separated himself from the conventional aesthetics of his time to produce works that were simple and restrained yet exciting and original. According to graphic designer Louis Danzinger, Rand “almost singlehandedly convinced business that design was an effective tool... He more than anyone else made the profession reputable”³. He leaves behind a rich legacy of timeless logos and has inspired and influenced many graphic designers who came both during and after his career.

Kate Moross is a designer and illustrator who has been hailed as the poster-girl of the current design generation⁴. Based in London, Moross has catapulted herself to the very highest ranks of the UK’s creative industry in a very short period of time. Since graduating from the University of the Arts London she has worked in both London and New York and achieved a nationwide billboard campaign for Cadbury and a signature clothing range for Topshop and worked for clients such as Adidas, Nike, Kiehl’s, Vogue, Paul Smith and Nokia.

Moross works heavily with typography not conforming to conventional typefaces and is therefore well known for her original, hand-drawn typographic expressions. Her work is recognisable by a quirky blend of typography and illustration embracing what Moross describes as “three sided shapes, illegible typography, and freeform lettering”⁵ and demonstrates her view that hand illustrated design is far more charming than drawing characters and letters directly onto the screen⁶. The example below is the cover of The Guardian Guide which highlights her constantly creative way of expressing meaning through typography. It contrasts strongly to Rand’s restrained designs as her illustrative influences have allowed her to explore the possibilities of free flowing typography.

Breed, accessed 21 September 2012, <http://www.breedlondon.com/uploads/images/Artist%20home%20pages/Aug12HomeA-Z.jpg>.

It is evident her work focuses on letters as art forms and gives dominance to typography. It is wonderfully varied and eye-catching as she employs vector graphic work and colour to produce a dynamic sense of movement and composition.

To compare Rand and Moross it is easy to see who has made the most influential contribution to the typographic field. Rand is considered to be a remarkable talent for transforming mundane design into minimalist yet dynamic and compelling compositions. He ultimately created a new language of design and is known to be an icon in graphic design. Although Moross has not had the same impact she is a highly influential and an ambitious designer who is multi-disciplined. She has shown the breadth of her creative output through her own record label, a t-shirt business and provides art and design direction on music videos. She has produced some very iconic work including the 2012 Olympic Games logo which highlights the unique impact and success of more expressive typography. 

References

¹ Yale, accessed 21 September 2012, <http://www.yale.edu/opa/arc-ybc/ybc/v25.n16.obit.03.html>.

² Icon of Graphics, accessed 22 September 2012, <http://www.iconofgraphics.com/Paul-Rand/>

³ Ibid

⁴ Outline Editions 2012, accessed 23 September 2012, <http://store.outline-editions.co.uk/Category/2-kate-moross.aspx>.

⁵ Kate Moross 2012, accessed 23 September 2012, <http://www.katemoross.com/ABOUT>.

Discussion Topic 2- Jaye Valery

Morris Fuller Benton

Famous American Typeface designer Morris Fuller Benton was initially trained as a mechanical engineer and revolutionised the type industry with his contribution of more than 200 alphabets to today’s current typeface library. An in-house designer with ATF for most of his career, he collaborated with many designers to create timeless types, including "Century Roman” with Theodor Low de Vinne in 1885, “Garamond” with T. M. Cleveland in 1914 and “Stymie” with S. Hess and G. Powell in 193. His other influential typefaces include "Mirage" 1901, "Franklin Gothic" 1903–12, "Century School" 1919 and "Bank Gothic"1930.

Morris Fuller Benton had a strong design sense that allowed his typefaces to have a long presence in the publishing world, and into the Twenty-First Century. Benton had an enormous impact on the typographic world with his concept of grouping fonts into families to eliminate the chaotic library of fonts. Today, it is not unusual that many fonts come in a family that group together bold, light, italic and narrow variances to create a sense of order in Typography that the early Twentieth century did not have. His mechanical engineering background had enormous impact on the way he used technology to create his typefaces. Morris’ father, Linn Boyde Benton, invented the pantographic engraving machine, which was capable not only of “scaling a single font design pattern to a variety of sizes, but could also condense, extend, and slant the design” (Linotype, 2012) Benton worked on these machines throughout his career at ATF and refined them to an impressive degree of precession in order to create perfected type. 

Morris Fuller Benton's most
famous typefaces designs 

 

Bruno Magg

Bruno Magg graduated from the Basel School of Design in Switzerland with a degree in Typographic Design and Visual Communications and moved to London to start his career working for “Monotype”. Bruno went on to start his own Typeface design studio “Dalton Magg” after a long career at Chicago and London’s “Monotype” studios. His studio, along with business partner Liz Dolton, designs fonts for use in corporate identities and logos. He has designed some of the most recognisable commercial typefaces for companies such as British Telecom, Vodaphone, BMW and Hewlett Packard. Magg has also created his own personal typefaces such as “Interface” and “Contemporary Sans.”

Magg has a very contemporary and commercial approach to typeface design. Unlike other contemporary type designers who explore the futility and boundaries of font and where is can be used, Magg focuses on the strict qualities of type and explores its commerciality. In a recent interview, Magg reveals that he has designed a typeface that will rival “Helvetica.” He states that this recent work is “beautifully crafted, well spaced with not a chink in a curve or anything- perfectly drawn but hopefully with a bit of personality.” In creating this font, Magg wanted to create a typeface that could be used in the corporate environment “but has a bit of warmth that Univers doesn’t have.” This font is competing in the big league against “Univers,” “Akzidenz” and “Helvetica.” Magg definitely comes from a different era to which Benton was designing. It seems Magg has positioned himself in this industry in a very competitive manner and the commerciality and success of his designs might outweigh the adventure of expanding the limits of typeface design.

Magg's Helvetica Rival Typeface