          |
 |
 |
 |
 |
|
Search results 51-60 of 103 matches for query "licko" 51. Essays, Texts and Other Writings about Graphic Design Imperfect condition. Remaining copies have knicks and dents. This issue focuses on graphic design's role within culture, politics and society. Includes the first installment of Andrew Blauvelt's two part essay titled "In and Around: Cultures of Design and the Design of Cultures." The essay discusses the role of designers in the system of representation. Dutch philosopher and design critic Hugues C. Boekraad discusses the role of graphic design in the public domain in his essay "Norm and Form." Philosopher and art critic Mark Bartlett looks at design as a catalyst for cultural change in "Beyond the Margins of the Page." Zuzana Licko, in her essay "Discovery by Design" answers the question posed by Ellen Lupton: "Can new design—like new science—discover phenomena that already exists in the fabric of typographic possibility? If so, who owns a discovery?" In "Breathing Through the Body of A," Brian Schorn creates a fictionalized typographic history. And, finally, Putch Tu reflects upon the Information Superhighway while traveling Route 666 on a Ducati mororcycle. The article was given visual shape by Gail Swanlund. 52. Heritage After Zurich designer Richard Feurer met Rudy VanderLans in California, Emigre was invited to visit Zurich to discuss graphic design, culture and tradition as seen through the eyes of a group of young Swiss graphic designers, including Peter Bader, Richard Feurer, Polly Bertram and Daniel Volkart. Also interviewed were notables Wolfgang Weingart, Hans-Rudi Lutz, April Greiman, and Hamish Muir of 8vo. The issue was designed using Zuzana Licko's Triplex, a "friendlier" version of Helvetica and, as an homage to Jan Tschichold, a distinct center axis approach was utilized throughout the editorial part of the issue. Introduction by Wolfgang Weingart. Includes a special 24-page insert written, designed and produced in Zurich, Switzerland by Richard Feurer, Peter Bader, Polly Bertram & Daniel Volkart, Roland Fishbacher, Margit Kastl-Lustenberger and Daniel Zehntner. 53. Joint Venture This issue is about collaboration, writing, intellectual property, entrepreneurialism, poetry, authorship, self-publishing, reading and everything else that design is made of, but this time we look at it from the perspective of a group of artists that includes two writers, one graphic designer and one visual artist. Anne Burdick interviews graphic designer Stephen Farrell and poet Steve Tomasula. Rudy VanderLans talks with poet/performance artist Daniel X. O'Neil and Dutch visual artist Marc Nagtzaam. The entire issue is typeset in Zuzana Licko's text fonts Base-12 and Base-9, and is presented in a surprising new format. 54. Relocating Design As the future of graphic design remains uncertain, where to locate design continues to be a hotly debated topic. Mr. Keedy, in his latest article "Graphic Design in the Postmodern Era," points out the lack of critique within design and the general willingness of designers to have their "values and ideals be dictated by the commercial marketplace." In her article "The Macrame of Resistance," Lorraine Wild suggests ways to "salvage graphic design in the face of the juggernaut of technology and the demands of the market." Individual vision and invention are high on her list as ways to remedy the ills of the profession. Her thoughts are echoed in a letter sent in by Mike Schmidt, which is published in the "Readers Respond" section. Also in this issue is an interview with Michael Shea, whose articulate and critical letters have adorned the "Readers Respond" section in the past. He takes this opportunity to expound on what he perceives as the disconnect that exists between theory and practice, and the maker and reader, in graphic design. Furthermore, Denise Gonzales Crisp presents her final installment of "Speculations," which she started in Emigre 46, while Zuzana Licko offers us her latest typeface design, Tarzana. It gets its first test drive here, throughout Emigre 47. And, last but not least, Stuart Bailey travels around the world searching for some words of wisdom and feedback from fellow designers regarding the precarious idea of chance as a method for design. 55. Scenic: The Acid Gospel Experience With this issue we turn once again to a long-time Emigre collaborator. This time, however, we hope to expose a different dimension of his work. Bruce Licher is known mostly for his unique music packaging designs (See Emigre 16 and 55). His hand-printed letterpress covers have earned him two Grammy award nominations and have been featured in major design magazines and exhibitions around the world. Lesser known (particularly to graphic designers), but just as distinctive, are Licher's ventures into music with his band Scenic. For years Licher has integrated design and music, and we are eager to share with you the aural dimension of his work. In collaboration with Independent Project Records & Press, we are proud to announce the premiere release of The Acid Gospel Experience, Bruce Licher's new Scenic CD. This is the fourth and also concluding release in a series of audible Emigre issues. Accompanying the CD is Emigre magazine 63, whose content was largely determined by Scenic's evocative music. This time, we invited three artists to each select or create work underscoring the theme of landscape. Designer/illustrator Charles Wilkins, photographer Jason Fulford and painter Shelley Hoyt provide the images. Also, Zuzana Licko presents her first new typeface design in nearly two years. Fairplex, a sixteen font family, has been a long time in the making. It was inspired by features found in models ranging from the San Francisco Giants logo to Garamond. With tapered serifs that become more distinct and decorative as size and weight increases, and an overall low contrast, Fairplex is designed to function as both an animated headline font and highly practical text face. We're subjecting it to its first road test in the packaging and design of this issue of Emigre. 56. The Authentic Issue Zuzana Licko's new typeface, Mrs Eaves, can be seen in full use in this issue of Emigre titled "The Authentic Issue." Also included in this issue are: "Letter Forms and Lexicons," a typographic experiment created by Sue LaPorte that exposes both the similarities and differences between the design of practical and conceptual typefaces. Steve Tomasula, Daniel X. O'Neil, Matt Dinerstein (photographer) and Stephen Farrell explore historical and geographic links that crisscross through the meticulous pulverization of one individual's handwriting and its resurrection in digital form. This whole project explodes one moment, one event, in a particular time and place—a 1601 Florentine death list recorded by an anonymous clerk—as it passes through another event, the mimicking of this documentary handwriting as a digital typeface. Margot Johnson's award winning project "Hybrid Digital Typefaces" challenges the tradition of hand-rendered type by using technology and applying mathematical variables to existing typefaces. The resulting library of fonts, created in 1993, can be considered as both the wellspring and final word in random type manipulation. John Downer and Rudy VanderLans, in accompanying articles, discuss aspects of digital type design. In "Copping an Attitude" VanderLans focuses on how recent technology has accommodated the creation and manufacture of hundreds of new typefaces and dozens of upstart type foundries but has increasingly obscured the boundaries of inspiration and piracy, while Downer looks at the ethical, moral and technical aspects of creating typeface revivals. "Wondering what that cloud of dust is on the horizon? It's Ed 'Big Daddy' Roth's Fink Fonts collection roaring into Delaware from the dusty salt flats of Utah." House Industries gives us a behind the scenes look at their foundry of types which are guaranteed to "give your layouts more boost than a Hemi with nitrous injection," and "are easier to install than a set of teardrop bubble windows." Check it out! Finally, Andrew Blauvelt in the article "Desperately Seeking David" ponders how the "Death of the Author" has given rise to the dubious status of the "Designer as Auteur." 57. The Grassy Knoll: Happily Ever After This is the second issue of Emigre magazine in a series intended to expose alternative music and linking it with graphic design. Our main content is provided by The Grassy Knoll's Happily Ever After. This project is a curiosity. After we first heard their demo tape in 1992—and included their music on the Emigre Music Sampler No. 1—The Grassy Knoll did have a brush with the powers-that-be. But their music is a difficult sound to classify, which is probably why their commercial success was short-lived. "Why don't you add vocals?" is a suggestion they've probably heard one too many times. We think The Grassy Knoll's music can hardly be improved upon and we're proud to release their CD as it's meant to sound. The only thing that could make Happily Ever After any better is a great movie to accompany it, but it requires only that you close your eyes while playing this CD, because their soundscapes will cause images to flow from your mind effortlessly. To create our own backdrop and to connect the music to the magazine, we hooked up with Thirst's Rick Valicenti, whose collaborative studio has been working on a soon-to-be released book (by Monacelli Press) remixing Thirst's unique graphic history. Valicenti opened up his digital and analog flat files to us, and we plundered his treasure-trove of experimental and random graphic images and found what we feel are perfect matches to accompany the tracks on the Happily Ever After CD. For those having trouble setting their minds free, perhaps these images can help kick-start your full enjoyment of the sounds of The Grassy Knoll. Introduced in this issue of Emigre is Los Feliz, a new typeface designed by the young and upcoming type designer Christian Schwartz. Finally, Zuzana Licko will give an overview of the retooling and upgrading of her best selling Mrs Eaves typeface. 58. The Magazine That Ignores Boundaries Poetry by Marc Susan and Tom Clark. Essays by Los Angeles based writer/activist Lewis MacAdams and German philosopher Hans Sluga. Interview with Captain Beefheart by Kristine McKenna. Short stories by Anne Telford and Peter Plate. Portraits by Diane best, William Cone, and Carlos Aguirre. Illustrated stories by Bert van der Meij, Tom Bonauro, and Scott Williams. Photographs by Rudy VanderLans. Typefaces by Zuzana Licko. 59. The Magazine That Ignores Boundaries Features work by Japanese/American painter Gavin Flint, French artist Didier Cremieux, and French photographer Michelle Vignes. Poetry by South African Lisa Cohen, American Tom Clark, and a bilingual poem by Los Angeles-based writer/activist Lewis MacAdams. Short stories by Peter Plate and John Fante, and an interview with Dutch screenplay writer Menno Meyjes. Plus surprise pull-out poster. First issue of Emigre in which all early, coarse-resolution fonts designed by Zuzana Licko are used throughout. The texts were set using either MacWrite or MacPaint and were printed out in galleys on the ImageWriter. 60. The Magazine That Ignores Boundaries State-of-the-art computer typesetting and type design by Zuzana Licko are utilized throughout this issue. Featuring the art of Hard Werken founder and Dutch expatriate Henk Elenga; the portrait work of Polish photographer Marek Majewski; computer generated portrait of Desi Arnaz by Canadian Macintosh artist John Hersey; and a portarit of Alexandre Skriabin by French illustrator Didier Cremieux. Plus, a reprint of the 1920 poem "The Cremation of Sam McGee" by Robert Service, illustrated by William Cone. Essays include "Magritte's Hat" by Veronique Vienne, and "An Appreciation: George Sand" by Alice Polesky. Short stories by John D'Hondt and Peter Plate, plus an excerpt from John Fante's novel Ask the Dust. Also presenting a selection of poetry from the Emigre benefit readings at Beyond Baroque in Los Angeles, with an introduction by Marc Susan. Full color Emigre promotional pull-out poster created by Rudy VanderLans during his one month artist in residence at the Visual Studies Workshop in Rochester, New York. Pages: Prev 1 2 3 4 5 6 7 8 9 10 11 Next |
 |
|
