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A generative typeface created using autonomous agents, grid setup, and separation + target behaviour.
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Product Name : TYPOGRAPHY TODAY
Format:210 X 260 mm / 380 page
publishing company : ART POWER
Last update : 2009.10.29
another page
Product Name : TYPOGRAPHY TODAY
Format:210 X 260 mm / 380 page
publishing company : ART POWER
Last update : 2009.10.29
A revival we're working with Pablo Impallari, based on the work of Jan Van Krimpen.
More info at:http://www.impallari.com/projects/overview/jan-van-krimpen-cancelleresca-bastarda-revival
Some playing around with geometric shapes from 2003. Probably not useful as type, but its always fun experimenting.
another page
Product Name : TYPOGRAPHY TODAY
Format:210 X 260 mm / 380 page
publishing company : ART POWER
Last update : 2009.10.29
Taking a ride in downtown St. Louis you go past the famous arch, past the water front, and you come to a stretch of concrete walls that have been taken over by graffiti artists. It looks like these artists have been doing this for years, as there are many layers to the artwork. Some of the work is good, some is great and then you have some kids that just wrote profanity for the fun of it. What I hoped to do was capture some of the better pieces.
3rd round of exploration geared towards developing in-camera techniques for animating motion graphics to arrive at a less mechanical, more organic and optical feel, but with a process that provides flexibility for content control. No compositing is used here, no photoshop manipulation. My constraints are exposures no longer than 30 seconds, all typography and imagery is composed and exposed during that duration.
The next round will deal with registration issues, color and further exploration of foreground / middleground / background shifting of elements.
Full size version:
www.flickr.com/photos/victor-sarabia/6233815618/
Hi, I would really appreciate a Dribbble invite. Thank you!
A type family originally developed for New York’s Whitney Museum, Whitney contends with two different sets of demands: those of editorial typography, and those of public signage.
Typefaces for catalogs and brochures need to be narrow enough to work in crowded environments, yet energetic enough to encourage extended reading. But typefaces designed for wayfinding programs need to be open enough to be legible at a distance, and sturdy enough to withstand a variety of fabrication techniques: fonts destined for signage need to anticipate being cast in bronze, etched in glass, cut in vinyl, and rendered in pixels.
While American “gothics” such as News Gothic (1908) have long been a mainstay of editorial settings, and European “humanists” such as Frutiger (1975) have excelled in signage applications, Whitney bridges this divide in a single design. Its compact forms and broad x-height use space efficiently, and its ample counters and open shapes make it clear under any circumstances.
www.typography.com/fonts/font_overview.php?productLineID=...
Another contribution to the 'Urban Typography' theme (with a tip of the hat to Michael for steering me onto this theme). In this case, the strong and dramatic presentation of the three letters 'SPK' was found in Toronto. It is the home of the Polish Combatants Association Branch 20 (located at 206 Beverley Street Toronto). This organization was originally formed to support Polish soldiers following WWII, and if you are interested in their history, you can visit www.spkottawa.ca/english/spk_history.html to get a bit of insight into the organization. - JW
This is a hand-held shot using a a Nikon D5000 fitted with a Nikkor 18-105mm VR lense set to 52mm, ISO200, Aperture priority mode, f/5.6, 1/250 sec. PP was done using GIMP: slight tone curve adjust, sharpen, add border and scale to 1024 wide for posting.
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DSC_7397_spkpolcombassocadjbord1024