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History of Graphic Design > Chapter 24 > Flashcards

Chapter 24 Flashcards

1
Q

pluralism

A

having multiple aspects or themes exist at the same time

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2
Q

pixels

A

the dots that make up the information presented on a computer scene

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3
Q

DPI (dots per inch)

A

a measurement of the number of pixels in one inch, which describes the resolution of a digital graphic or image

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4
Q

bitmapped font

A

Letterform design was controlled by the matrix of dots, or pixels, in these early fonts

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5
Q

Bezier splines

A

mathematically generated, nonuniform curves defined by four control points. These curves can create complex shapes with smooth endpoints, making the particularly useful for creating letterforms and computer graphics

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6
Q

Linotron

A

A high-resolution imagesetter capable of either 1,270- or 2,540- dpi output

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7
Q

desktop publishing

A

a term coined by Paul Brainerd to describe the process that enabled the user to create elements on the computer screen, then position these on the page in a manner similar to the traditional way elements were prepared and pasted into position for offset printing

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8
Q

Emigre

A

In 1984, Rudy Vanderlans began to edit, design, and publish this magazine. The journal’s name was selected because its founders believed exposure to various cultures and living in different cultural environments, had a significant impact on creative work. Its experimental approach helped define and demonstrate the capabilities of the new technology, both in its editorial design and by presenting work and interviews with designers from around the world whose work was too experimental for other design publications

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9
Q

entropy

A

the disintegration of for from repeated copying

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10
Q

kern(ing)

A

the increase or decrease of spacing between letterforms

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11
Q

em

A

a horizontal measurement equivalent to the width of the letter

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12
Q

gutter

A

the space between columns of type

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13
Q

zines

A

self-published personal magazines using desk-top publishing software and inexpensive printing or photocopier reproduction

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14
Q

Oxford Rules

A

one name used for multiple-line, thick-and-thin borders

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15
Q

Corporate Design Foundation

A

a nonprofit organization dedicated to promoting the role of design in business

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16
Q

@issue: The Journal of Business and Design

A

cofounded by Kit Hinrichs and the Corporate Design Foundation, a magazine which promotes the integration of al areas of design- including identity, print design, web design, “new” media, product design, and architectural design- into brand and business strategy

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17
Q

2wice magazine

A

a biannual publication devoted to the visual and performing arts

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18
Q

multi-master typefaces

A

two or more master typeface designs combined to generate an extensive sequence of fonts. The master designs determine the range of fonts that can be generated through changes in a design axis

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19
Q

design axis

A

controls a typeface’s weight, determined by stroke thickness and the resulting ratio of black form to white background; width, determined by making the letters wider (expanded) or narrower (condensed); style, through which visual attributes ranging from no serifs to large serifs, or wedge-shaped serifs to slab serifs, ere altered; and optical size, involving subtle adjustments in proportion, weight, contrast between thick-and-thin elements, and spacing to optimize legibility and design.

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19
Q

Koufiya typeface

A

designed by Nadine Chahine, the first dual-script font family with Latin and Arabic characters

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20
Q

interactive media (hypermedia)

A

extends the hypertext concept to a combination of audio, visual, and cinematic communications connected to form a coherent body of information

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21
Q

linear sequence

A

a sequence of screens, much like the pages of a book or images in a slide show, that can be called up one after another

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22
Q

spatial zoom

A

lets the viewer acquire closer of more detailed data by clicking on a word to see its definition or by zooming in on a detail of a map or diagram

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23
Q

internet

A

a vast network of linked computers. It had its origins in the late 1960s, when scientists at the United States Department of Defense Advance Research Projects Agency (DARPA) established the ARPAnet computer network so they could transfer data between sites working on similar research projects

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24
Q

World Wide Wed

A

provided a means to easily organize and access the vast and ever-increasing content on the internet, including text, images, sound, animation, and video. In 1990, physicist Tim Berners-Lee developed the three main building blocks of the web, the hypertext transfer protocol (HTTP), the hypertext markup language (HTML) and a specification for the “address” of every file on the web, called the Uniform Resource Locator (URL)

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25
Q

Netscape Communications

A

After leaving the National Center for Supercomputing Applications (NCSA), Marc Andreessen cofounded this company to produce Netscape Navigator, the first major commercial graphical browser, in late 1994, which caused the number of web users to mushroom

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26
Q

information superhighway

A

a phrase used in the 1990s to express the global access to enormous amounts of information provided by the internet and the web

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27
Q

information architecture

A

in 1976, architect and designer Richard Saul Wurman coined this term and predicted it would become a new profession of individuals who made complex information understandable. 20 years later, this term became widely used to denote a process of analyzing complex information and giving it structure and order, enabling audiences to glean its essence in an efficient and agreeable manner

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28
Q

Render Monkey

A

interactive design firm founded by Amelle Stein and Sadtry Appajosyula. They combine interface design with inventive programming into their work, providing for fluid, streamlined navigation through multiple, complex layers of information. Their focus on the user experience extends to interactive solutions for mobile, online and offline designs as well as architecture spaces

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29
Q

Apple (Apple Inc.)

A

an American technology company that designs and manufactures various computers, electronic devices, and software, such as the Macintosh computer, the iPod, the iPhone, and iTunes

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30
Q

iPod

A

released in 2001, Apple’s digital hand-held music player

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31
Q

iPhone

A

an Apple product released in 2007, combines cellular phone technology with the internet to provide users with a new means of envisioning and interacting with the portable information experience. The iPhone and its competitors use existing cellular networks to access the Internet and associated information

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32
Q

iPad

A

a tablet computer, released by Apple in 2010. Like the iPod and iPhone, it can tap into local wireless networks and use cellular technology to access the internet

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33
Q

apps

A

short for “application software”; allows users to interact with portable devices and complete a multitude of tasks, from making a shopping list, to getting directions, to finding an undated snow report while skiing down a mountain.

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34
Q

Imagery forces

A

studio founded in 1996 by Kyle Cooper, Chip Houghton, and Peter Frankfurt. It rapidly became the vanguard of film title design by the integration of graphic design, motion, and interactive media

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35
Q

Thonik

A

Amsterdam design firm founded by Nikki Gonnissen and Thomas Widdershoven in 2000

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36
Q

Hammerpress

A

American letterpress shop founded by Brady Vest in 1994 in Kansas City, Kansas

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37
Q

Hatch Show Print

A

founded by Charles and Herbert Hatch in April 1879 in Nashville, Tennessee. Hatch Show Print is one of the oldest and continuously running letterpress shops in the United States

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38
Q

Douglas C. Engelbart

A
  • 1925-2013
  • In the 1960s at the federal government’s Augmentation Research Center, he invented the first mouse, which was a small wooden box on steel wheels. It was originally called an “x-yposition indicator for a display system” and ultimately made computers accessible through intuitive processes rather than tedious mathematical coding, empowering thousands of people to use computers.
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39
Q

Susan Kare

A
  • b.1954
  • worked for the Apple Computer design department and designed the first bitmapped fonts
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40
Q

Pierre Bezier

A
  • 1910-99
  • a French mathematician who developed the Bézier spline to create smooth curves used in computer type design
41
Q

Paul Brainerd

A
  • b.1947
  • this thirty-six-year-old former newspaper editor formed a company called Aldus (after the fifteenth-century printer Aldus Manutius) to develop software enabling newspapers to produce advertisements more efficiently. In July 1985, Aldus introduced PageMaker software for the Macintosh computer.
42
Q

April Greiman

A
  • b.1948
  • a pioneering Los Angeles designer who embraced digital technology and explored its creative potential. She developed new techniques and technologies in pursuit of a visual vocabulary that would enliven both the physical and virtual canvas
43
Q

Rudy Vander Lans

A
  • b.1955
  • In 1984 he began to edit, design, and publish a magazine called Emigre. In 1987, he left his newspaper design job and formed a partnership, Emigre Graphics, with designer Zuzana Licko
44
Q

Zuzana Licko

A
  • b.1961
  • formed a partnership, Emigre Graphics, with Rudy VanderLans. Dissatisfied with the limited fonts available for the early Macintosh, she used a public-domain character-generation software called FontEditor to create digital typefaces. Her first fonts were designed for low-resolution technology, then converted to companion high-resolution versions later as font-design software and printer resolution improved
45
Q

Katherine McCoy

A
  • b.1945
  • From 1971 until 1995, she cochaired the design department at Michigan’s Cranbrook Academy of Art with her husband, product designer Michael McCoy. It became a magnet for people interested in pushing the boundaries of design. Breaking away from prevailing notions of simple, reductive communications, McCoy overlaid different levels of visual and verbal messages, requiring her audience to decipher them
46
Q

Edward Fella

A
  • b.1939
  • a Detroit graphic designer with whom Katherine McCoy worked at the Designers & Partners studio. With roots in American vernacular design and early modernist typography, his experimental work became a major influence on a generation of designers. He explored entropy, the disintegration of form from repeated copying, and an unbounded range of techniques, from found typography, scribbles, and brush writing to typesetting, rubdown letters, public-domain clip art, and stencils
47
Q

David Carson

A
  • b.1956
  • a former professional surfer and teacher who turned to editorial design in the 1980s. He eschewed grid formats, information hierarchy, and consistent layout or typographic patterns; instead, he chose to explore the expressive possibilities of each subject and each page or spread, rejecting conventional notions of typographic syntaxand imagery. As art director and designer for Transworld Skateboarding(1983–87),Musician(1988), Beach Culture(1989–91), Surfer(1991–92), and Ray Gun(1992–96), he flouted design conventions
48
Q

Fred Woodward

A
  • b.1953
  • became the art director of the semimonthly rock-and-roll magazine Rolling Stonein 1987. His text pages were punctuated by expansive double-page opening spreads juxtaposing full-page portraits opposite title pages dominated by display type; these frequently had little or no text. Content was expressed through unexpected selection, scale, and placement of type
49
Q

Gail Anderson

A
  • b.1962
  • became the deputy art director of Rolling Stonein 1987 and worked closely with Fred Woodward
50
Q

John Plunkett and Barbara Kuha

A
  • b.1952, b. 1954
  • Wired magazine’s design team and principals of Plunkett + Kuhr, located in Park City, Utah. They envisioned a magazine that would do for the emerging information highway what Rolling Stonehad done for rock and roll a generation earlier: define it, explain it, and make it indispensable to the magazine’s readers
51
Q

Kit Hinrichs

A
  • b.1941
  • specializes in corporate and editorial design and communication. In 1976 he began Jonson, Pedersen, Hinrichs, & Shakery. Soon thereafter, in 1986, he became a partner at Pentagram. In 1995 he cofounded @issue: The Journal of Business and Designwith the Corporate Design Foundation and continues to serve as its art director today. A self-described “visual storyteller,” his designs are distinguished by a keen understanding of the narrative and abundant interpretations on a theme
52
Q

Abbot Miller

A
  • b.1963
  • together with Ellen Lupton, began the multidisciplinary studio Design/Writing/Research in 1989. Initiating the concept of “designer as author,” they developed a procedure through which content and form evolve in tandem, with one enhancing the other. In 1999, Miller joined Pentagram’s New York office, where he heads a group working with books, magazines, and other editorial endeavors
53
Q

Martin Venezky

A
  • b.1957
  • earned his master’s degree at the Cranbrook Academy of Art in 1993. At that time, Cranbrook emphasized innovation and encouraged the integration of handwork and the emerging technologies of the time. Venezky’s Cranbrook education still informs his work today; he often combines collage material, digital images, and altered or distorted type in his highly experimental work
54
Q

Sumner Stone

A
  • b.1945
  • Trained both as a calligrapher and a mathematician, he was the type director at Adobe Systems before opening his own type foundry in 1990. He designed Stone, an early type family developed for Adobe’s PostScript page-description language
55
Q

Carol Twombly

A
  • b.1959
  • A staff typeface designer at Adobe, she designed numerous typefaces, including three masterful families inspired by historical lettering: Charlemagne, Lithos, and Trajan
56
Q

Robert Slimbach

A
  • b. 1956
  • A staff typeface designer at Adobe, he seeks inspiration from classical typefaces as he designs text faces for digital technology. His fonts are hailed for maintaining the spirit of the original while making adjustments and refinements appropriate to digital technology. Adobe Garamond, Myriad, and Adobe Jenson are some of his most popular designs
57
Q

Matthew Carter

A
  • b.1937
  • learned to cut punches for metal type by hand at the type foundry of the Enschedé printing house in the Netherlands. His designs include the ubiquitous Bell Centennial (1978), Galliard (1978), and Big Caslon CC (1994). His typeface Walker, designed for the Minneapolis-based Walker Art Center, has sturdy sans-serif capitals with a series of five add-on serifs called snap-on or deputy serifs. His typeface Yale, designed for Yale University, was inspired by Peitro Bembo’sDe Aetna, published by Aldus Manutius in 1495–96
58
Q

Laurie Haycock Makela and Matt Eller

A
  • b.1956, b.1968
  • the design director of the Walker Art Center from 1991 until 1996, and a senior designer who became the design director in 1996, respectively. They used the Walker type system to achieve a freedom of typographic expression appropriate to a center for art, design, and performance.
59
Q

Gerard Unger

A
  • b.1942
  • has been recognized for his many typeface designs, including the Capitolium family. In 1984, he was awarded the prestigious H. N. Werkman Prize for his typographic work, especially for his digital type designs and for his monumental contribution in reconciling technology with typographic culture
60
Q

Frank Blokland

A
  • b.1959
  • established the Dutch Type Library in 1990, currently the largest producer and publisher of digital typefaces in the Netherlands. His designs include DTL Documenta, DTL Documenta Sans, DTL Haarlemer (based on drawings by Jan van Krimpen), DTL Haarlemer Sans, and DTL Romulus
61
Q

Gerrit Noordzij

A
  • b.1931
  • type designer and professor at the Royal Academy of Fine Arts in The Hague. The academy established the prestigious Gerrit Noordzij Prize in his name; it is awarded every three years to typographers and type designers for outstanding contributions in the field of type design and type education.
62
Q

Petr van Blokland

A
  • b.1956
  • studied under Gerrit Noordzij at the Royal Academy of Fine Arts in The Hague. Since 1980, he has been a designer and partner in Buro Petr van Blokland + Claudia Mens in Delft. His typeface designs include Proforma; a digital version was released in the mid-1990s
63
Q

Erik van Blokland

A
  • b.1967
  • also studied under Gerrit Noordzij at the Royal Academy of Fine Arts in The Hague. Hefirst collaborated with classmate Just van Rossum under the name LettError in Berlin. After experimenting with computer-aided type design, they designed Beowolf, released by FontShop in July 1990
64
Q

Erik Spiekermann

A
  • b.1947
  • a German designer, head of MetaDesign San Francisco, designer of the Meta type family, and founder of the FontShop digital type foundry. Since 2001, he has been a partner in Edenspiekerman and his font family for Nokia was released in the following year. In 2007 he was appointed to the board of directors at Microsoft, where he is currently Director of Fonts
65
Q

Ralph Oliver du Carrois

A
  • b.1975
  • a Berlin-based graphic, product, and type designer who founded the design firm Seite4 in 2003. In 2008 he collaborated with Erik Spiekermann and Erik van Blokland on the design of the Axel type family for FontShop
66
Q

Jonathan Hoefler

A
  • b.1970
  • founded the Hoefler Type Foundry in 1989; when he became a partner of Tobias Frere-Jones in 1999, the Hoefler Type Foundry was transformed into Hoefler & Frere-Jones. Hoefler’s work includes highly original typeface designs for Rolling Stone, Harper’s Bazaar, the New York Times Magazine, Sports Illustrated, and Esquire
67
Q

Tobias Frere-Jones

A
  • b.1970
  • with Jonathan Hoefler, co-ounded the Hoefler & Frere-Jones type foundry in 1999. A designer of over five hundred typefaces, Frere-Jones was the first American to be awarded the Gerrit Noordzij Prize by the Royal Academy of Fine Arts for his role in type design and type education.
68
Q

Nadine Chahine

A
  • b.1978
  • focuses on the congruous relationships between Latin and Arabic Scripts. She works at Linotype GmbH in Berlin, designing custom Arabic fonts for many international clients. Her typefaces include Koufiya (a dual-script font family, Latin and Arabic); Arabic versions of Latin typefaces, such as Frutiger Arabic, Neue Helvetica Arabic, and Palatino Arabic; and new Arabic fonts, such as Janna and Badiya
69
Q

Jessica Helfand

A
  • b.1960
  • Her distinctive Web projects include the initial design for the Discovery Channel’s site, which became a paradigm of web design. She demonstrated that graphic designers could create identity, aid navigation, and bring visual interest to Web sites
70
Q

Richard Saul Wurman

A
  • b.1935
  • In 1976, this architect and designer coined the term information architecture and predicted it would become a new profession of individuals who made complex information understandable.
71
Q

Clement Mok

A
  • b.1958
  • an Apple Computer creative director who left to open Clement Mok Designs in 1987 (renamed Studio Archetype in 1996). He emerged as an early advocate of the graphic designer’s role in the rapidly changing world of interactive media. He believed design should be defined not as an isolated entity, but as an integral part of an organization’s overall vision and strategy
72
Q

Bob Aufuldish and Kathy Warinner

A
  • b.1961, b.1957
  • designed the first fontBoy interactive type catalogue, demonstrating that interactive media permits small firms and individuals to efficiently communicate with audiences and market products or services. This enabled viewers to print bitmapped specimens, obtain ordering information, review future releases, and read brief biographies of the typeface designers
73
Q

Erik Adigard and Patricia McShane

A
  • b.1953 and b. 1953
  • Two designers of M.A.D. Design who have used the computer to explore the infinite possibilities of the digital process. Their frontispiece designs for WIREDmagazine built visual essays out of the cover stories. Their work exemplifies the development of the designer as illustrator working with what had, in just a few years, become fast-paced, powerful, and revolutionary computer applications
74
Q

Aaron Koblin

A
  • b.1982
  • concentrates on the visualization of data. He transforms social and infrastructural information to portray cultural developments and evolving patterns. His work is part of the permanent collection of the Museum of Modern Art in New York and he is currently technology lead at Google’s Creative Lab
75
Q

Kyle Cooper

A
  • b.1962
  • a designer concentrating on motion graphics and film titles; cofounded Imaginary Forces with Chip Houghton and Peter Frankfurt in 1996.
76
Q

Karin Fong

A
  • b.1971
  • joined Imaginary Forces in 2000.She has designed and directed motion graphics for advertising, entertainment, art, and installation. Inspired by concrete poetry, Dada, and surrealism, she is constantly experimenting with letters and finding inventive ways of transforming moving type into image.
77
Q

Danny Yount

A
  • b.1965
  • one of the most influential title designers for film and television. He has designed and directed the opening sequences for many notable productions, including HBO’s Six Feet Under, for which he won an Emmy. Now Senior Creative Director at Prologue Films, his focus has primarily been feature film main titles. His opening sequence for Kiss Kiss Bang Bangwas described by the Hollywood Reporteras “a title sequence worthy of the late Saul Bass”
78
Q

Lisa Straufeld

A
  • b.1964
  • studied art history and computer science at Brown University. Later she received master’s degrees in architecture at Harvard University and in media arts and sciences at the Massachusetts Institute of Technology. In 2002, Strausfeld became a partner at Pentagram, where her work involves the interaction of actual and virtual space. Her group focuses on digital information design projects including software prototypes, websites, interpretive displays, and extensive media installations. Her training as an architect allows her to incorporate the presentation of information into physical surrounds
79
Q

Paula Scher

A
  • b.1948
  • For over forty years, she has been at the vanguard of graphic design and is a leader who reinvents herself with apparent ease. In her typographic work, she continues to draw upon historical models while transforming them into her own unique form of expression. More recently, her typography has spilled into the streets and onto buildings; requests for typographic treatments in the built environment are steadily increasing
80
Q

Ruedi Baur

A
  • b.1956
  • has been involved with identity, information programs, wayfinding systems, exhibition design, and urban design in Paris, Zurich, and Berlin. His recent work includes the integration of typography and in architecture for many prominent institutions and enterprises including the Centre Pompidou in Paris, the Cologne-Bonn airport, and the Esisar school at the Grenoble Institute of Technology
81
Q

Karl Martens

A
  • b.1939
  • has designed typographic façades for various buildings through the Netherlands, including the Philharmonie in Haarlem and the Veenman Printers building in Ede
82
Q

Shuichi Nogami

A
  • b.1954
  • a designer who creates posters using expressionist typographic forms. In “Shiki,” he combined letterforms and stretched their shapes into a wooden sculpture floating in space for a poster to promote the work of an architect working with wood in Japan
83
Q

Shinnoske Sugisaki

A
  • b.1953
  • Both elegant and poetic, his designs display a unique blend of Western and Japanese features
84
Q

Ralph Schraivogel

A
  • b.1960
  • established his own graphic design studio in 1982, and has developed posters for a wide range of institutions and cultural events, including Zurich’s Filmpodium, the Museum of Design Zurich, the Festival of African Films (Cinemafrica), and the Theatre am Neumarkt
85
Q

Melchior Imboden

A
  • b.1956
  • arranges elements of simple geometric compositions through minimal and decisive use of color to create bold, visually arresting, and illusionistic typographical abstractions. His expressive work combines a penetrating and rhythmic use of space with abstraction, repetition, flat geometric planes of color, and experimental typography
86
Q

Jennifer Morla

A
  • b.1955
  • known for her ability to combine typographic wit with business pragmatics
87
Q

Nancy Skolos and Thomas Wedell

A
  • b.1955 and b.1949
  • A husband and wife team of photographer and graphic designer, they “work to diminish the boundaries between graphic design and photography,” creating collaged three-dimensional images influenced by modern painting, technology, and architecture. In addition to their studio work, they both teach graphic design at the Rhode Island School of Design.
88
Q

Hans Dieter Reichert

A
  • b.1959
  • He first studied graphic design and visual communication with Willi Fleckhaus at the universities of Essen (Folkwang School) and Wuppertal in Germany. In 1993, he launched his own company, HDr Visual Communication, in Kent, England, and in 1995, he cofounded Bradbourne Publishing, where he began the remarkable quarterly international typographic magazine baseline,for which he serves as publisher, editor, art director, and designer
89
Q

John Warwicker

A
  • b.1955
  • cofounded Tomato in 1991, a collective of artists, designers, musicians, and writers. Since its founding, Tomato has offered an interdisciplinary approach to design. He has won numerous awards for his work and in 2006 was made the first foreign member of the prestigious Tokyo Type Director’s Club
90
Q

Mirko Ilic

A
  • b.1956
  • This émigré from Bosnia and Herzegovina has exploited the computer to design word-image pieces in book designs and op-ed pieces for the New York Times, to which he has been a frequent contributor. His firm Mirko Iliç, Inc., is based in New York City. He is as adept at design as he is at illustration, and he uses both as devices of visual analogy to communicate his ideas. His shaped text designs, which challenge the reader both to see text as image and to read it, would be impractical or impossible without the computer and the page-design applications available since the late twentieth century
91
Q

Wladyslaw Pluta

A
  • b.1949
  • This Polish graphic designer skillfully uses type to evoke the content of his designs. Humor, expressive color, and the attempt to play “intellectual games with the viewer” are all aspects of his work
92
Q

Michael Bierut

A
  • b.1957
  • Before becoming a partner in Pentagram’s New York office in 1990, he worked for ten years at Vignelli Associates, eventually becoming its vice president of graphic design
93
Q

Helmut Schmid

A
  • b.1942
  • Now a German citizen, this Austrian-born designer first apprenticed as a type compositor in Germany and then studied at the Basel School of Design in Switzerland. Since 1977 he has worked as a graphic designer in Osaka, Japan, where he produces packaging and brand identities for consumer products. He has written valuable essays on typography for international magazines, including TM(Switzerland), Idea, Graphic Design(Japan), Grafisk Revy(Sweden), Graphische Revue(Austria), and baseline(United Kingdom). His inspiring book The Road to Basel: Typographic Reflections by Students of the Typographer and Teacher Emil Ruderwas published in German, English, and Japanese in 1997
94
Q

Jacques Koeweiden and Paula Postma

A
  • b. 1957, b.1958
  • founded the multifaceted design studio of Koeweiden-Postma in Amsterdam. Their work is influenced by other global visual cultures, as in the interpretation of Islamic pattern and ornament for the identity and posters for Marhaba, an Islamic cultural center in Amsterdam
95
Q

Max Kisman

A
  • b.1953
  • During the mid-1980s, he applied digital technology to his graphic design for Vinyland Language Technology magazines, posters for the Paradiso theater in Amsterdam, and Red Cross stamps for the Dutch postal service. In 1986, he co-founded TYP/Typografisch Papier, a magazine devoted to typography and art. He maintains his studio MKDSGN in Mill Valley, California, and founded Holland Fonts to market his own typeface designs in 2002
96
Q

Richard Niessen and Esther de Vries

A
  • b.1972, b.1974
  • founded the Dutch design studio Richard Niessen and Esther de Vries in 2006. They describe their typographic work as systematic, gridlike, readable, and usable; it is also highly expressive, incorporating rich layers, vibrant colors, and texture
97
Q

Alan Kitching

A
  • b.1940
  • An eminent specialist and teacher of letterpress typographic design and printmaking, he is internationally renowned for his innovative use of wood and metal letterforms, skillfully adapting type from the past for modern communication. He founded the Typographic Workshop in Clerkenwell, London, in 1989 for both students and professionals. In 1992, he set up letterpress workshops as a senior tutor of typography at the Royal College of Art and as visiting professor at the University of the Arts in London
98
Q

Brady Vest

A
  • b.1972
  • founded Hammerpress in 1994
99
Q

Jim Sherraden

A
  • b.1957
  • Hatch Show Print’s chief designer, printmaker, and manager joined Hatch in 1984. He views Hatch as a working museum, maintainining the philosophy of “preservation through production.” Sherraden takes plates and blocks from the archives and uses them in contemporary work. He does not introduce new typefaces, as he does not want to “pollute the integrity of the original archive”

History of Graphic Design (24 decks)

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