Konstfacks bibliotek

*00003224nam a22003857a 4500
*00141602
*00520170218030849.1
*008091231s2010    sz a          000 0 fre d
*020  $a3-03764-072-3
*020  $a978-3-03764-072-2
*035  $a(SE-LIBR)20018785
*035  $a(Ko)48942
*040  $aFQG$cFQG$dTXA$dUtOrBLW$dKo
*0411 $aenf$afre$hfre
*084  $aPoa$2kssb/8
*084  $aAec$2kssb/8
*24500$aTypeface as program :$bapplied research and development in typography = Le caractère typographique comme programme : recherche appliquée et développement en typographie /$c[texts by Peter Bilak [and others] ; edited by François Rappo ; foreword: Pierre Keller ; translation: Gabriel Baldessin, Pierre Luethl ; graphic design: David Keshavjee & Julien Tavelli].
*24611$aCaractère typographique comme programme :$brecherche appliquée et développement en typographie
*24631$aLe caractère typographique comme programme
*300  $a180 pages :$billustrations ;$c24 cm.
*520  $aThe project began with a simple question: is there such thing as a computer program capable of taking over the routine tasks of letter design? This issue, both artistic and digital, led the professors and the students of the Masters in Art Direction of the ECAL to imagine exchanges back and forth between digital type specifications and the actual shape of letters. They went into more general questions about the groups of shapes that make up our letters--stems, curves, and serifs--asking themselves how they could possibly simplify and further amalgamate these groups of shapes that monopolize the energy of schoolchildren, illustrators, and type designers alike. In the workshop, besides using traditional tools, students were encouraged to create their own (programable) tools. Several programming scripts were developed and tested by the students, one of them, created by David Keshavjee and Julien Tavelli resulted in a text typeface that is featured in this book and displays the characteristics of the tool that generated it. The books presents some basic idea of automated type design, breaking down the design of letters to series of parameters. Jürg Lehni interviewed Dimitri Bruni (of NORM), Peter Bilak, and Erik Spiekermann; François Rappo wrote the introduction of the book. In his essay "Nature of type design in the digital age," Lehni scrutinises the concept of understanding fonts as software and reflects of possibilities of fonts in digital environment. He pays particular attention to early parametric systems such as MetaFont.
*546  $aPublished in parallel columns of English and French.
*599  $aImported from: aubrey.tamu.edu:7090/voyager (Do not remove)
*650 0$aType and type-founding$xDigital techniques.
*650 7$aGrafisk formgivning$2sao
*650 7$aTypografi$2sao
*650 0$aGraphic design (Typography)
*7001 $aBilak, Peter$4ctb
*7001 $aRappo, François$4edt
*7001 $aKeller, Pierre,$d1945-$4aui
*7102 $aEcole cantonale d'art de Lausanne.
*852  $5Ko$bKo$cGRAFISK DESIGN -$hAec$lTYP
*950  $aGrafisk design$uGrafisk formgivning
*950  $aGrafiska profiler$wh$uGrafisk formgivning
^

This publication continues the ECAL design series. The project began with a simple question: Is there such thing as a computer program capable of taking over the routine tasks of letter design? This issue, both artistic and digital, led the professors And The students of the Masters in Art Direction of the ECAL to imagine exchanges back and forth between digital type specifications And The actual shape of letters. They went into more general questions about the groups of shapes that make up our letters - stems, curves, and serifs - asking themselves how they could possibly simplify and further amalgamate these groups of shapes that monopolize the energy of schoolchildren, illustrators, and type designers alike. Calligraphy and hand-drawn letters comprise series of strokes and curves; mechanical typography does too, through the engraving process of punches and counter-punches. Digital typography, however, dematerializes this operation, leaving the choice of formal references open-ended. Does that mean novel forms of design could evolve through manipulating fonts' algorithmic data? Several small scripting programs were developed and tested by the students during a series of workshops. From a set of typography experiments based on these simple scripts, David Keshavjee and Julien Tavelli designed a text typeface that is featured in this book and displays the characteristics of the tool that generated it. As an extension to this concept, mobile wooden characters were made as a materialization of a graphic application arising from scripting techniques; this enabled play with typographic equipment, hand setting, spaces, and printing. Published with ECAL, University of art and design Lausanne. English and French text.