View allAll Photos Tagged nonspaces
" ......Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding...”
"Lines of light ranged in the nonspace of the mind, clusters and constellations of data." - William Gibson
From a trip to Knoxville, TN last year.
Cheers,
Wade
“Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts... A graphic representation of data abstracted from banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding...”
― William Gibson
Featuring:
► Top: A&Y Nephilim Cyber Top - Black
► Pants: A&Y Nephilim Cyber Pants (Gianni) - Black
► Boots: A&Y Deuz Boots Metallic (Gianni) - Black
Head: Lelutka - Andrea
Body: Signature - Gianni
Skin: Straydog - Cody - Tone 03
Eyes: IKON - Hope Eyes (Emerald)
Hair: Modulus - Rory (Blondes)
Beard: LeLutka Hip Hip Hooray Beard for Andrea
Hairbase: Stealthic - Hairbase (Shaved)
Headset: [NeurolaB Inc.] Hi-Beat4 (Tronic Black) V.1.9
Tattoo: :[ET]: Cyber - White (Female)
Necklace: CLBlue-Necklace for men
Facial Piercings: BLAXIUM -Munro Piercings- Lelutka ANDREA
Visor: [Bluecross] Paragon Visor (Bluecross Color)
“RUINAIR, book more turistification ! ”
Tenerife, playa de las Americas and los Cristianos.
Mass tourism transformed most of this island in a nonspace: there are no holydays or free time here, it's all about the representation of it. Even the sand is imported, cuz apparently the natural black volcanic colour of the island didn't match the tourists taste.
Feel free to express your frustration with insults and swearwords calling this number:
+34 9227744400
“Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts... A graphic representation of data abstracted from banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding...”
William Gibson, Neuromancer
All rights reserved ©
Architect: Sou Fujimoto
Links for more details about this project:
www.archdaily.com/tag/sou-fujimoto/
www.dezeen.com/2013/02/14/sou-fujimoto-to-design-serpenti...
Anthropology With Art
Tim Ingold
Ways Of Following
Art, Materiality, Collaboration
Breathing and Dancing
Katve-Kaisa Kontturi
Open Humanities Press
Power of Gentleness
Meditations on the Risk of Living
Anne Dufourmantelle
Out Of Our Heads
Why you are not your brain, and other lessons
from the biology of consciousness
Alva Noe
21" X 14" @300dpi
"A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding." -William Gibson
If you enjoy my work, please consider becoming a fan on www.facebook.com/VincentIannone Thanks for viewing.
P6120006 MOV
UK based Visual Artist using drawing and experimental photography to explore issues around embodiment. Interested in creating spatial charged architectural interventions using glass and ceramics as conductive and introspective spaces, surfaces and structures between buildings.
Milk and the town that went mad
Mikala Dwyer
"Underwood Street seemed a street that had a feel of deathspace or nonspace. A somewhere in need of poetry and a place to smoke and day dream, even if just for a time. So a strange and simple word ‘milk’ inserts itself between ‘under’ and ‘wood’ to be come ‘Under Milk Wood’.
‘to begin at the beginning: it is spring, moonless night in the small town, starless and bible-black, the cobblestreets silent and the hunched, courtiers'-and-rabbits' wood limping invisible down to the sloeblack, slow, black, crowblack, fishingboatbobbing sea.’
‘we are not wholly bad or good, who live our lives under milk wood’
Dylan Thomas
Inserting milk into the gap between ‘under’ and ‘wood’ prises open another place. An extra space is generated by listening to a story, a nondescript lane in Sydney becomes described and momentarily interwoven with Llareggub, or maybe Sydney is now remapped as a suburb of Llareggub."
Taken with Sigma 10-20mm, tripod & 3 bracket shot. HDR conversion in Nik Software HDR Efex Pro, PP in CS5.
[A Motto For The Exhausted]
This ancient clock,
a rusty amputee;
static in shock,
for many centuries.
Its gears are locked,
to all except Moloch.
We can speak of trees,
hummingbirds and Bees,
larks and pretty leaves,
Yet, what is nature now,
but junkyard mountains,
carcinogenic fountains,
and seas of varied fees?
I am hardly shocked by callousness.
They dazzle us with shimmering gold,
and drench us in capitalist piss
Alas, it was long foretold,
Our futures would be bought and sold.
A maxim for this age?
"Ah, fuck it."
No rage,
No Living wage,
Feel like shit?
Get lit.
Feel odd?
Why not nod?
A mole claws its way to god,
Slowly disemboweling itself.
Ah, fuck it,
Let's drink to atrocious health,
or some other bullshit.
“Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts...A graphic representation of data abstracted from every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding."
William Gibson
Neuromancer (1984)
Science fiction author William Gibson was the first person to use the term "cyberspace," which he described his book Neuromancer.
"Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts... A graphic representation of data abstracted from banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data." (69)
Obviously, this is not what cyberspace has become, although some scholars believed that the next step in cyberspace was a form of virtual reality, as you'll see later in this photostream.
The first of the phone box series with the set. At first i was going to use all phone boxes, but now i have challenged myself to just red phone boxes. There are enough left to make a good project.
All comments welcome.
I like the straight up here i am approach that i have been using so far with the petrol stations, so i thought i'd try a shot from a little further away to see what effect it has.
I do like the effect the fluorescent lighting has in the petro station, but as a result i have a yellow tint in the foreground that i am not too keen on. But i could be wrong.
What's your opinion?
All comments welcome.
Building on the success of its predecessors, the Yearbook of Type #7 presents an updated design concept that features new interfaces and fresh features for an enhanced reading experience on 608 (!) pages. With a thematic focus on plants, this edition offers a unique perspective on typography and presents a wide range of new and high-quality fonts, where there is something for every purpose and taste.
Each typeface is now showcased on three pages and offers a comprehensive overview of its properties and characteristics: A double page spread with an appealing visual sample of the font emphasizes the character of the font. The third page offers a detailed overview of the font and its special features, information on language support, styles, weights and widths, OpenType features, and detailed background information about the designer and the foundry.
A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. The book is accompanied by a freely accessible online microsite, which allows easy browsing and direct purchase of all the fonts presented.
– Detailed presentation of 180 recent typefaces
– Ample background information
– Index of all 206 type designers and 108 foundries from 29 countries
– Explanation of all OpenType features
– An online microsite that directly links the typefaces to the foundries’ websites (from this edition, as well as editions 3 through 6)
Presented type foundries: 205TF, AG Typography Institute, AinsiFont, Alex Slobzheninov, Ampersand Type Foundry, Antipixel Type Studio, Apex Type Foundry, Azuliq Type, Bastarda Type, Binnenland, Black[Foundry], Blast Foundry, Blaze Type, Bleifrei Type, Bureau Sebastian Moock, BVH Type, Cadson Demak, Cape Arcona, CRU Brand Consultancy, CSTM Fonts, Darden Studio, Detail Type Foundry, Displaay Type Foundry, DSType Foundry, edition.studio Type Foundry, Fabio Haag Type, Fable, Face2Face, Faire Type, Fatype, Fincker Font Cuisine, Fontwerk, Formula Type, Frere-Jones Type, Friederike Wagner, Frost, Fuenfwerken Design AG, Gradient Type, Hanken Design Co.®, Hoftype, Huy! Fonts, It’s Just Letters, Jeremy Tankard Typography, Kobu™ Foundry, Kontour Type, LA BOLDE VITA, Latinotype, Lazydogs Typefoundry, Le Laïc: Type Foundry, Lian Olsen, Lift Type, Mark van Leeuwen, Monolith, Morisawa.Inc, Mostardesign Type Foundry, NEW LETTERS, nice to type, Nonspace, Nouvelle Noire, Nova Type Foundry, Ntsal, OPS Type, Paratype, Peter Schmidt Group, phosphorus, Playtype, Posterizer KG, Range Left Shop, RazziaType, Retype, Revolver Type, Rosetta Type Foundry, Sacha Rein, Schriftlabor, Sharp Type, Stan Hema, Studio Bollo, Studio Principle, Studio Rene Bieder, sugargliderz, Text Field Office, The Northern Block, Thomas Hirter, tictactype, TIGHTYPE, André Toet, Tour de Force Font Foundry, TYPE FIRM, TypeMates, Typerepublic, TypeTogether, Typogama, Typonym, Typotheque, Ultra Kuhl, Viktor Nübel Type Design, VJ Type, W Type Foundry, Wannatype, WELTKERN® Typefaces, XYZ Type, Zakznak, Zetafonts
The Yearbook of Type #7 is a must-have for typography enthusiasts—a go-to source for finding the perfect typeface or a spark of inspiration!
Yearbook of Type #7
Plant Edition
Publisher: Slanted Publishers
Creative Direction: Lars Harmsen
Art Direction & Managing Editor: Juliane Lipp
Graphic Design Assistance: Linus Haug, Greta Landmann
Publishing Direction: Lars Harmsen, Julia Kahl
Release: November 2024
Format: 16 × 24 × 4 cm
Volume: 608 pages
Language: English
Printing: Offset with fluorescent spot-colors by Stober Medien
Workmanship: Stiff brochure, thread-stitching by Buchbinderei Spinner
Paper: Magno Matt (inside); SURBALIN ribbed (endpaper), PEYPRINT honan (cover) by peyer graphic
The first show curated by the curatorial collective To Whom It May Concern, Non [ ] (Non Space) is an exhibition exploring the concepts of non-spaces from different perspectives, cultures, geographies and theoretical backgrounds.
limbo spaces spaces in-between
in-transit places waiting space
thinking space place-less
time and space...
In an exploration not of what lies within or without but that 'somewhere' in-between, Non [ ] is a journey into the impossible task of defining what makes up that undefinable land that is 'middle' - an unattainable place in seemingly eternal suspension and ephemeral being.
In contemporary art theory, the gallery space has often been referred to as a 'vacuum'. In his book 'Inside The White Cube: The Ideology of the Gallery Space' first published in 1976, Brian O'Doherty describes the gallery as a place which is 'designed to neutralise social space and time from the artwork, to free itself from context.' 'Space' he says 'has now become not just where things happen but now "things make space happen."'
The term 'non-place', originally coined by Marc Auge in his book 'Non-places: Introduction to an anthropology of supermodernity', will be referenced through works which speak about place, our surrounding environments, and the human need to be attached to objects and things, yet to simultaneously be free beings.
Conceptually and directly aligned with SAVVY Contemporary's mission for a 'contestation of time and space', Non [ ] provides a fertile ground in which these non- territories, explored by these artists with diversified visions and backgrounds, will become actual space for the artists, viewers, and works themselves for intro/retrospection and dialogue.
The curatorial team and artists, collectively with backgrounds spanning 4 continents, present a multimedia exhibition including installation, photography and painting and a performance on the opening night. In-line with SAVVY Contemporary's objectives, the show will embody a dialogue between "western art" and "non-western art" in a conceptual, intellectual, artistic and cultural development and exchange.
I love this petrol station. Especially at night. The colours are excellent, and the contrast between the lights and the black sky is excellent. I simply had to include it in the series.
I liked it so much i did another:
www.flickr.com/photos/danielkearney/4464326427/in/photost...
All comments welcome.
In an exploration not of what lies within or without but that 'somewhere' in-between, Non [ ] is a journey into the impossible task of defining what makes up that undefinable land that is 'middle' - an unattainable place in seemingly eternal suspension and ephemeral being.
In contemporary art theory, the gallery space has often been referred to as a 'vacuum'. In his book 'Inside The White Cube: The Ideology of the Gallery Space' first published in 1976, Brian O'Doherty describes the gallery as a place which is 'designed to neutralise social space and time from the artwork, to free itself from context.' 'Space' he says 'has now become not just where things happen but now "things make space happen."'
The term 'non-place', originally coined by Marc Auge in his book 'Non-places: Introduction to an anthropology of supermodernity', will be referenced through works which speak about place, our surrounding environments, and the human need to be attached to objects and things, yet to simultaneously be free beings.
Conceptually and directly aligned with SAVVY Contemporary's mission for a 'contestation of time and space', Non [ ] provides a fertile ground in which these non- territories, explored by these artists with diversified visions and backgrounds, will become actual space for the artists, viewers, and works themselves for intro/retrospection and dialogue.
The curatorial team and artists, collectively with backgrounds spanning 4 continents, present a multimedia exhibition including installation, photography and painting and a performance on the opening night. In-line with SAVVY Contemporary's objectives, the show will embody a dialogue between "western art" and "non-western art" in a conceptual, intellectual, artistic and cultural development and exchange.
Building on the success of its predecessors, the Yearbook of Type #7 presents an updated design concept that features new interfaces and fresh features for an enhanced reading experience on 608 (!) pages. With a thematic focus on plants, this edition offers a unique perspective on typography and presents a wide range of new and high-quality fonts, where there is something for every purpose and taste.
Each typeface is now showcased on three pages and offers a comprehensive overview of its properties and characteristics: A double page spread with an appealing visual sample of the font emphasizes the character of the font. The third page offers a detailed overview of the font and its special features, information on language support, styles, weights and widths, OpenType features, and detailed background information about the designer and the foundry.
A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. The book is accompanied by a freely accessible online microsite, which allows easy browsing and direct purchase of all the fonts presented.
– Detailed presentation of 180 recent typefaces
– Ample background information
– Index of all 206 type designers and 108 foundries from 29 countries
– Explanation of all OpenType features
– An online microsite that directly links the typefaces to the foundries’ websites (from this edition, as well as editions 3 through 6)
Presented type foundries: 205TF, AG Typography Institute, AinsiFont, Alex Slobzheninov, Ampersand Type Foundry, Antipixel Type Studio, Apex Type Foundry, Azuliq Type, Bastarda Type, Binnenland, Black[Foundry], Blast Foundry, Blaze Type, Bleifrei Type, Bureau Sebastian Moock, BVH Type, Cadson Demak, Cape Arcona, CRU Brand Consultancy, CSTM Fonts, Darden Studio, Detail Type Foundry, Displaay Type Foundry, DSType Foundry, edition.studio Type Foundry, Fabio Haag Type, Fable, Face2Face, Faire Type, Fatype, Fincker Font Cuisine, Fontwerk, Formula Type, Frere-Jones Type, Friederike Wagner, Frost, Fuenfwerken Design AG, Gradient Type, Hanken Design Co.®, Hoftype, Huy! Fonts, It’s Just Letters, Jeremy Tankard Typography, Kobu™ Foundry, Kontour Type, LA BOLDE VITA, Latinotype, Lazydogs Typefoundry, Le Laïc: Type Foundry, Lian Olsen, Lift Type, Mark van Leeuwen, Monolith, Morisawa.Inc, Mostardesign Type Foundry, NEW LETTERS, nice to type, Nonspace, Nouvelle Noire, Nova Type Foundry, Ntsal, OPS Type, Paratype, Peter Schmidt Group, phosphorus, Playtype, Posterizer KG, Range Left Shop, RazziaType, Retype, Revolver Type, Rosetta Type Foundry, Sacha Rein, Schriftlabor, Sharp Type, Stan Hema, Studio Bollo, Studio Principle, Studio Rene Bieder, sugargliderz, Text Field Office, The Northern Block, Thomas Hirter, tictactype, TIGHTYPE, André Toet, Tour de Force Font Foundry, TYPE FIRM, TypeMates, Typerepublic, TypeTogether, Typogama, Typonym, Typotheque, Ultra Kuhl, Viktor Nübel Type Design, VJ Type, W Type Foundry, Wannatype, WELTKERN® Typefaces, XYZ Type, Zakznak, Zetafonts
The Yearbook of Type #7 is a must-have for typography enthusiasts—a go-to source for finding the perfect typeface or a spark of inspiration!
Yearbook of Type #7
Plant Edition
Publisher: Slanted Publishers
Creative Direction: Lars Harmsen
Art Direction & Managing Editor: Juliane Lipp
Graphic Design Assistance: Linus Haug, Greta Landmann
Publishing Direction: Lars Harmsen, Julia Kahl
Release: November 2024
Format: 16 × 24 × 4 cm
Volume: 608 pages
Language: English
Printing: Offset with fluorescent spot-colors by Stober Medien
Workmanship: Stiff brochure, thread-stitching by Buchbinderei Spinner
Paper: Magno Matt (inside); SURBALIN ribbed (endpaper), PEYPRINT honan (cover) by peyer graphic
Building on the success of its predecessors, the Yearbook of Type #7 presents an updated design concept that features new interfaces and fresh features for an enhanced reading experience on 608 (!) pages. With a thematic focus on plants, this edition offers a unique perspective on typography and presents a wide range of new and high-quality fonts, where there is something for every purpose and taste.
Each typeface is now showcased on three pages and offers a comprehensive overview of its properties and characteristics: A double page spread with an appealing visual sample of the font emphasizes the character of the font. The third page offers a detailed overview of the font and its special features, information on language support, styles, weights and widths, OpenType features, and detailed background information about the designer and the foundry.
A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. The book is accompanied by a freely accessible online microsite, which allows easy browsing and direct purchase of all the fonts presented.
– Detailed presentation of 180 recent typefaces
– Ample background information
– Index of all 206 type designers and 108 foundries from 29 countries
– Explanation of all OpenType features
– An online microsite that directly links the typefaces to the foundries’ websites (from this edition, as well as editions 3 through 6)
Presented type foundries: 205TF, AG Typography Institute, AinsiFont, Alex Slobzheninov, Ampersand Type Foundry, Antipixel Type Studio, Apex Type Foundry, Azuliq Type, Bastarda Type, Binnenland, Black[Foundry], Blast Foundry, Blaze Type, Bleifrei Type, Bureau Sebastian Moock, BVH Type, Cadson Demak, Cape Arcona, CRU Brand Consultancy, CSTM Fonts, Darden Studio, Detail Type Foundry, Displaay Type Foundry, DSType Foundry, edition.studio Type Foundry, Fabio Haag Type, Fable, Face2Face, Faire Type, Fatype, Fincker Font Cuisine, Fontwerk, Formula Type, Frere-Jones Type, Friederike Wagner, Frost, Fuenfwerken Design AG, Gradient Type, Hanken Design Co.®, Hoftype, Huy! Fonts, It’s Just Letters, Jeremy Tankard Typography, Kobu™ Foundry, Kontour Type, LA BOLDE VITA, Latinotype, Lazydogs Typefoundry, Le Laïc: Type Foundry, Lian Olsen, Lift Type, Mark van Leeuwen, Monolith, Morisawa.Inc, Mostardesign Type Foundry, NEW LETTERS, nice to type, Nonspace, Nouvelle Noire, Nova Type Foundry, Ntsal, OPS Type, Paratype, Peter Schmidt Group, phosphorus, Playtype, Posterizer KG, Range Left Shop, RazziaType, Retype, Revolver Type, Rosetta Type Foundry, Sacha Rein, Schriftlabor, Sharp Type, Stan Hema, Studio Bollo, Studio Principle, Studio Rene Bieder, sugargliderz, Text Field Office, The Northern Block, Thomas Hirter, tictactype, TIGHTYPE, André Toet, Tour de Force Font Foundry, TYPE FIRM, TypeMates, Typerepublic, TypeTogether, Typogama, Typonym, Typotheque, Ultra Kuhl, Viktor Nübel Type Design, VJ Type, W Type Foundry, Wannatype, WELTKERN® Typefaces, XYZ Type, Zakznak, Zetafonts
The Yearbook of Type #7 is a must-have for typography enthusiasts—a go-to source for finding the perfect typeface or a spark of inspiration!
Yearbook of Type #7
Plant Edition
Publisher: Slanted Publishers
Creative Direction: Lars Harmsen
Art Direction & Managing Editor: Juliane Lipp
Graphic Design Assistance: Linus Haug, Greta Landmann
Publishing Direction: Lars Harmsen, Julia Kahl
Release: November 2024
Format: 16 × 24 × 4 cm
Volume: 608 pages
Language: English
Printing: Offset with fluorescent spot-colors by Stober Medien
Workmanship: Stiff brochure, thread-stitching by Buchbinderei Spinner
Paper: Magno Matt (inside); SURBALIN ribbed (endpaper), PEYPRINT honan (cover) by peyer graphic
I didn't get chance to scan all my images in yesterday, so here's the last one from the roll.
Shooting on Central Drive, at 23:50, isn't the best idea, but i thought it would be worth it.
Seeing the result, i'm not too sure. I shot the petrol station early in the day, digitally, and it looked really good; but it would seem it is one petrol station that doesn't look as good at night as it does in the day time.
All comments welcome.
My second phone box shot. Going for a slightly more subtle approach to the previous image. I don't know which works best?
In your face here i am phone box...
or
small scale phone box with in the shot.
Either way, i think i'll try both, and see which prevails as the most popular.
All comments welcome.
The first show curated by the curatorial collective To Whom It May Concern, Non [ ] (Non Space) is an exhibition exploring the concepts of non-spaces from different perspectives, cultures, geographies and theoretical backgrounds.
limbo spaces spaces in-between
in-transit places waiting space
thinking space place-less
time and space...
In an exploration not of what lies within or without but that 'somewhere' in-between, Non [ ] is a journey into the impossible task of defining what makes up that undefinable land that is 'middle' - an unattainable place in seemingly eternal suspension and ephemeral being.
In contemporary art theory, the gallery space has often been referred to as a 'vacuum'. In his book 'Inside The White Cube: The Ideology of the Gallery Space' first published in 1976, Brian O'Doherty describes the gallery as a place which is 'designed to neutralise social space and time from the artwork, to free itself from context.' 'Space' he says 'has now become not just where things happen but now "things make space happen."'
The term 'non-place', originally coined by Marc Auge in his book 'Non-places: Introduction to an anthropology of supermodernity', will be referenced through works which speak about place, our surrounding environments, and the human need to be attached to objects and things, yet to simultaneously be free beings.
Conceptually and directly aligned with SAVVY Contemporary's mission for a 'contestation of time and space', Non [ ] provides a fertile ground in which these non- territories, explored by these artists with diversified visions and backgrounds, will become actual space for the artists, viewers, and works themselves for intro/retrospection and dialogue.
The curatorial team and artists, collectively with backgrounds spanning 4 continents, present a multimedia exhibition including installation, photography and painting and a performance on the opening night. In-line with SAVVY Contemporary's objectives, the show will embody a dialogue between "western art" and "non-western art" in a conceptual, intellectual, artistic and cultural development and exchange.
These images were more of a reconnaissance mission then an actual shoot. I had some tip off of the location of a BP station and some phone boxes. So i went for a look round to see what i could find.
I hope to shoot with the RB either tomorrow or Friday... weather permitting of course.
All comments welcome.
In an exploration not of what lies within or without but that 'somewhere' in-between, Non [ ] is a journey into the impossible task of defining what makes up that undefinable land that is 'middle' - an unattainable place in seemingly eternal suspension and ephemeral being.
In contemporary art theory, the gallery space has often been referred to as a 'vacuum'. In his book 'Inside The White Cube: The Ideology of the Gallery Space' first published in 1976, Brian O'Doherty describes the gallery as a place which is 'designed to neutralise social space and time from the artwork, to free itself from context.' 'Space' he says 'has now become not just where things happen but now "things make space happen."'
The term 'non-place', originally coined by Marc Auge in his book 'Non-places: Introduction to an anthropology of supermodernity', will be referenced through works which speak about place, our surrounding environments, and the human need to be attached to objects and things, yet to simultaneously be free beings.
Conceptually and directly aligned with SAVVY Contemporary's mission for a 'contestation of time and space', Non [ ] provides a fertile ground in which these non- territories, explored by these artists with diversified visions and backgrounds, will become actual space for the artists, viewers, and works themselves for intro/retrospection and dialogue.
The curatorial team and artists, collectively with backgrounds spanning 4 continents, present a multimedia exhibition including installation, photography and painting and a performance on the opening night. In-line with SAVVY Contemporary's objectives, the show will embody a dialogue between "western art" and "non-western art" in a conceptual, intellectual, artistic and cultural development and exchange.
Building on the success of its predecessors, the Yearbook of Type #7 presents an updated design concept that features new interfaces and fresh features for an enhanced reading experience on 608 (!) pages. With a thematic focus on plants, this edition offers a unique perspective on typography and presents a wide range of new and high-quality fonts, where there is something for every purpose and taste.
Each typeface is now showcased on three pages and offers a comprehensive overview of its properties and characteristics: A double page spread with an appealing visual sample of the font emphasizes the character of the font. The third page offers a detailed overview of the font and its special features, information on language support, styles, weights and widths, OpenType features, and detailed background information about the designer and the foundry.
A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. The book is accompanied by a freely accessible online microsite, which allows easy browsing and direct purchase of all the fonts presented.
– Detailed presentation of 180 recent typefaces
– Ample background information
– Index of all 206 type designers and 108 foundries from 29 countries
– Explanation of all OpenType features
– An online microsite that directly links the typefaces to the foundries’ websites (from this edition, as well as editions 3 through 6)
Presented type foundries: 205TF, AG Typography Institute, AinsiFont, Alex Slobzheninov, Ampersand Type Foundry, Antipixel Type Studio, Apex Type Foundry, Azuliq Type, Bastarda Type, Binnenland, Black[Foundry], Blast Foundry, Blaze Type, Bleifrei Type, Bureau Sebastian Moock, BVH Type, Cadson Demak, Cape Arcona, CRU Brand Consultancy, CSTM Fonts, Darden Studio, Detail Type Foundry, Displaay Type Foundry, DSType Foundry, edition.studio Type Foundry, Fabio Haag Type, Fable, Face2Face, Faire Type, Fatype, Fincker Font Cuisine, Fontwerk, Formula Type, Frere-Jones Type, Friederike Wagner, Frost, Fuenfwerken Design AG, Gradient Type, Hanken Design Co.®, Hoftype, Huy! Fonts, It’s Just Letters, Jeremy Tankard Typography, Kobu™ Foundry, Kontour Type, LA BOLDE VITA, Latinotype, Lazydogs Typefoundry, Le Laïc: Type Foundry, Lian Olsen, Lift Type, Mark van Leeuwen, Monolith, Morisawa.Inc, Mostardesign Type Foundry, NEW LETTERS, nice to type, Nonspace, Nouvelle Noire, Nova Type Foundry, Ntsal, OPS Type, Paratype, Peter Schmidt Group, phosphorus, Playtype, Posterizer KG, Range Left Shop, RazziaType, Retype, Revolver Type, Rosetta Type Foundry, Sacha Rein, Schriftlabor, Sharp Type, Stan Hema, Studio Bollo, Studio Principle, Studio Rene Bieder, sugargliderz, Text Field Office, The Northern Block, Thomas Hirter, tictactype, TIGHTYPE, André Toet, Tour de Force Font Foundry, TYPE FIRM, TypeMates, Typerepublic, TypeTogether, Typogama, Typonym, Typotheque, Ultra Kuhl, Viktor Nübel Type Design, VJ Type, W Type Foundry, Wannatype, WELTKERN® Typefaces, XYZ Type, Zakznak, Zetafonts
The Yearbook of Type #7 is a must-have for typography enthusiasts—a go-to source for finding the perfect typeface or a spark of inspiration!
Yearbook of Type #7
Plant Edition
Publisher: Slanted Publishers
Creative Direction: Lars Harmsen
Art Direction & Managing Editor: Juliane Lipp
Graphic Design Assistance: Linus Haug, Greta Landmann
Publishing Direction: Lars Harmsen, Julia Kahl
Release: November 2024
Format: 16 × 24 × 4 cm
Volume: 608 pages
Language: English
Printing: Offset with fluorescent spot-colors by Stober Medien
Workmanship: Stiff brochure, thread-stitching by Buchbinderei Spinner
Paper: Magno Matt (inside); SURBALIN ribbed (endpaper), PEYPRINT honan (cover) by peyer graphic
Building on the success of its predecessors, the Yearbook of Type #7 presents an updated design concept that features new interfaces and fresh features for an enhanced reading experience on 608 (!) pages. With a thematic focus on plants, this edition offers a unique perspective on typography and presents a wide range of new and high-quality fonts, where there is something for every purpose and taste.
Each typeface is now showcased on three pages and offers a comprehensive overview of its properties and characteristics: A double page spread with an appealing visual sample of the font emphasizes the character of the font. The third page offers a detailed overview of the font and its special features, information on language support, styles, weights and widths, OpenType features, and detailed background information about the designer and the foundry.
A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. The book is accompanied by a freely accessible online microsite, which allows easy browsing and direct purchase of all the fonts presented.
– Detailed presentation of 180 recent typefaces
– Ample background information
– Index of all 206 type designers and 108 foundries from 29 countries
– Explanation of all OpenType features
– An online microsite that directly links the typefaces to the foundries’ websites (from this edition, as well as editions 3 through 6)
Presented type foundries: 205TF, AG Typography Institute, AinsiFont, Alex Slobzheninov, Ampersand Type Foundry, Antipixel Type Studio, Apex Type Foundry, Azuliq Type, Bastarda Type, Binnenland, Black[Foundry], Blast Foundry, Blaze Type, Bleifrei Type, Bureau Sebastian Moock, BVH Type, Cadson Demak, Cape Arcona, CRU Brand Consultancy, CSTM Fonts, Darden Studio, Detail Type Foundry, Displaay Type Foundry, DSType Foundry, edition.studio Type Foundry, Fabio Haag Type, Fable, Face2Face, Faire Type, Fatype, Fincker Font Cuisine, Fontwerk, Formula Type, Frere-Jones Type, Friederike Wagner, Frost, Fuenfwerken Design AG, Gradient Type, Hanken Design Co.®, Hoftype, Huy! Fonts, It’s Just Letters, Jeremy Tankard Typography, Kobu™ Foundry, Kontour Type, LA BOLDE VITA, Latinotype, Lazydogs Typefoundry, Le Laïc: Type Foundry, Lian Olsen, Lift Type, Mark van Leeuwen, Monolith, Morisawa.Inc, Mostardesign Type Foundry, NEW LETTERS, nice to type, Nonspace, Nouvelle Noire, Nova Type Foundry, Ntsal, OPS Type, Paratype, Peter Schmidt Group, phosphorus, Playtype, Posterizer KG, Range Left Shop, RazziaType, Retype, Revolver Type, Rosetta Type Foundry, Sacha Rein, Schriftlabor, Sharp Type, Stan Hema, Studio Bollo, Studio Principle, Studio Rene Bieder, sugargliderz, Text Field Office, The Northern Block, Thomas Hirter, tictactype, TIGHTYPE, André Toet, Tour de Force Font Foundry, TYPE FIRM, TypeMates, Typerepublic, TypeTogether, Typogama, Typonym, Typotheque, Ultra Kuhl, Viktor Nübel Type Design, VJ Type, W Type Foundry, Wannatype, WELTKERN® Typefaces, XYZ Type, Zakznak, Zetafonts
The Yearbook of Type #7 is a must-have for typography enthusiasts—a go-to source for finding the perfect typeface or a spark of inspiration!
Yearbook of Type #7
Plant Edition
Publisher: Slanted Publishers
Creative Direction: Lars Harmsen
Art Direction & Managing Editor: Juliane Lipp
Graphic Design Assistance: Linus Haug, Greta Landmann
Publishing Direction: Lars Harmsen, Julia Kahl
Release: November 2024
Format: 16 × 24 × 4 cm
Volume: 608 pages
Language: English
Printing: Offset with fluorescent spot-colors by Stober Medien
Workmanship: Stiff brochure, thread-stitching by Buchbinderei Spinner
Paper: Magno Matt (inside); SURBALIN ribbed (endpaper), PEYPRINT honan (cover) by peyer graphic