An amazing collection of black and white images created by Pixopop. Pixopop is the manifestation of love through the art of Ali Sabet. Pixopop is a world of characters much like the worlds of Hello Kitty, Tokidoki, Paul Frank and San-X! We are so proud to be sharing all these wonderful characters with the world in this awesome collection of illustrations.
An amazing collection of black and white images created by Pixopop. Pixopop is the manifestation of love through the art of Ali Sabet. Pixopop is a world of characters much like the worlds of Hello Kitty, Tokidoki, Paul Frank and San-X! We are so proud to be sharing all these wonderful characters with the world in this awesome collection of illustrations.
Presents twenty-five composite photographic images that unite the technology of image manipulation by computer with the art of photography, and discusses the techniques used in each
In Vietnam the motorbike is the main mode of transport, not only for people but for every imaginable and unimaginable product and produce. Without the motorbike the economy would come to a halt. Bikes of Burden shows in 148 stunning, full color photographs how the motorbikes, the drivers and their loads ride around the cities and countryside in acts that defy your wildest imagination.
This survey combines typographic scholarship and literary criticism to present and discuss hundreds of examples of text, from the arcane to the mundane. The eclectic typography revealed foreshadows many contemporary designs, particularly in poetry and graphic design.
Literary Nonfiction. Biography. Art. Publishing History & Typography. Long thought to be one person, Richard Austin turns out to be a father and son who shared the same name. Although Austin's importance to the history of typography was never in question, his (or rather their) dates and final resting place were forgotten. After a decade of research, printing historian Alastair Johnston has written a biography of the Austin family in which he assesses their contributions to the development of book design and typography at a crucial time in British publishing history. Richard Austin (1756-1832) took the innovations of John Baskerville and, through the sharpness and delicacy of his type cutting, perfected the typefaces of the period between the Old Face of Caslon and the Modern faces of the Didots and Bodoni, an era described as 'Transitional' by Updike, which saw the first flowering of the British fine press. In his later work, Austin pulled back from the impractical hair-lines of the Modern style to a workable type now known as Scotch Roman which became the workhorse of many sensible printers in Britain and North America. Austin's son and namesake Richard Turner Austin (1781-1842) was a commercial wood-engraver, producing blocks for scores of works in the first three decades of the nineteenth century. He was not a Bewick pupil but did learn by copying the work of John & Thomas Bewick, working alongside his father in Paul's Alley, St Giles Cripplegate, London (that's St Giles at left, on the cover). He also exhibited paintings at the Royal Academy. In 1819, Austin Jr relocated to Edinburgh and began illustrating children's books for the house of Oliver & Boyd.
Das internationale Schriftschaffen nach 1950 wurde maßgeblich geprägt vom Schweizer Adrian Frutiger. Sein Schriftprogramm Univers und die zum ISO-Standard erklärte, maschinenlesbare Schrift OCR-B sind ebenso Meilensteine wie die zur Frutiger weiterentwickelte Schrift der Pariser Flughäfen – ein Qualitätsstandard für Signalisationsschriften. Mit den Corporate Types prägte er Firmenauftritte wie den der japanischen Kosmetiklinie Shiseido. Insgesamt entstanden rund 50 Schriften, darunter Ondine, Méridien, Avenir und Vectora. Auf Gesprächen mit Frutiger basierend sowie auf umfangreichen Recherchen in Frankreich, England, Deutschland und der Schweiz, zeichnet die Publikation den gestalterischen Werdegang des Schriftkünstlers exakt nach. Es werden alle Schriften – vom Entwurf bis zur Vermarktung – abgebildet sowie mit Bezug zu Technik und zu artverwandten Schriften analysiert. Bisher unveröffentlichte, nicht realisierte Schriften sowie über 100 Logos vervollständigen das Bild. Mit dieser zweiten Auflage, einer korrigierten und durch einen Index erweiterten Studienausgabe, lässt sich Frutigers Werk noch besser erschliessen.
In 1896 William E. Loy, a San Francisco printing equipment salesman and scholar, had the idea of writing a series of profiles of type designers. Loy took a long view of history, and realized that it was important to document the men in the background who created the nineteenth century's fanciful types, even as the furiously competing type foundries got the credit for introducing them to the printing trade. His work was serialized in The Inland Printer over the next three years and included biographies, photographs of the artists, and lists of the type they had designed or cut, which Loy had painstakingly compiled through correspondence with the type founders and other craftsmen. Unfortunately, due to the technical limitations of a monthly periodical, it was not possible to show the typefaces mentioned. Finally here is the work as Loy envisioned it, with over 800 illustrations of typefaces designed by the craftsmen he discusses. Loy traces their personal stories adding much incidental detail about the politics & business practices of the time and the innovations of each of these thirty men. Now, a century later, typographical historians Alastair Johnston and Stephen Saxe have realized Loy's vision, fully illustrated and annotated. This is one of the first reference books on nineteenth-century American type design, and as such is an important addition to typographical history.
