Why you should reinvent your typography

diseño, tipografía
Reinvention is the key to exciting typography, as old forms take in new life in the hands of enthusiastic creatives.

Why you should reinvent your typography
Bauhaus Archive identity by Sascha Lobe: Marrying the old and new to create something utterly iconic

What’s been most exciting for me over the last five to 10 years is the fantastic explosion of expressive and exploratory typography and professional fontseverywhere. I’m completely inspired by the emergence of so many type designers 
of tremendous skill and talent, hailing from all over the world. I admire designers like Henrik Kubel, Peter Bil’ak and Kris Sowersby, to name just a few.

They find old forms and reinvent them, or craft seemingly impossible ligatures, or make bizarre stencils, or combine shapes previously unthinkable, and they stretch readability. They increase what is possible. In my 40-plus years of designing, I don’t remember a period when typography has been better crafted, and more appreciated by non-designers. And it’s never been more fun. Every project seems to demand the invention of its own font. It’s so doable – even practical and cost-effective.

Typographic technology, art and craft are more in sync than they have ever been

Typographic technology, art and craft are more in sync than they have ever been.
 I marvel at the typographic dexterity and sophistication of my students. My class of seniors is completely international and diverse, but they seem to have all seized upon the creation of letterforms, in many languages 
and with different alphabets, to create an international way to see. We read the forms first, not the words; we understand what we see before we understand what it says. But it is literate. This is the language of our time.

Why you should reinvent your typography
Paula Scher believes typography is more appreciated than ever before

So I was astonished and delighted last year at a design conference by a presentation by Sascha Lobe on his design for the Bauhaus Archive. He began by talking about what we all believed we know from the Bauhaus: ‘Less is more’, ‘Form follows function’, etc. «Yes, that old lecture again,» I thought.

Then suddenly he began showing the absolutely crazy letterforms established by
the Bauhaus designers. I must have seen them before – I know I had – but never quite this
 way. They hadn’t abandoned their decorative past, they had recycled and reused it. And those guys didn’t take their own advice. Form followed nothing! Less was pointless! They were playing around, having fun and reinventing form. Their work was idiosyncratic, complicated, even sometimes ornate, rich with impossible ligatures and bizarre spacing.

Why you should reinvent your typography
The Bauhaus Design Archive solves contemporary design problems

Sascha had culled the Bauhaus Archive for inspiration to solve a contemporary problem, and what he’d found through that lens was utterly contemporary. He took the crazy letterforms the designers had created and used them to build a new alphabet that married the old and new in a way that’s emblematic of the Bauhaus in of our time.
 It’s the best use of a combination of historical and contemporary typographic form I have ever seen. But it’s what we are all doing, have been doing and will be doing.

We constantly look for trends and want to spot what we perceive as new, and what will be influential in the future. But there isn’t really anything new. There are only individuals with passion finding interesting, challenging and often provocative ways to reinvent what will always continue.

This article was originally published in Computer Arts magazine issue 253. Buy it here.

Fuente: http://www.creativebloq.com

Yoko Ono – Dream Come True

arquitectura, arte, diseño, Fotografia

24/06/2016 – 31/10/2016

Av. Figueroa Alcorta 3415
Primera exposición retrospectiva en la Argentina de Yoko Ono (Tokio, 1933), pionera y figura ineludible del arte conceptual y participativo contemporáneo. La muestra está compuesta por más de 80 trabajos, que incluyen objetos, videos, films, instalaciones y registros sonoros producidos desde principios de los 60 hasta hoy, y tiene como eje las llamadas Instrucciones, que Ono viene desarrollando desde hace más de sesenta años.

Jorge Luis de la Vega

arte, diseño

Jorge Luis de la Vega, artista autodidacta, nació en Buenos Aires el 27 de marzo de 1930 y murió, en la misma ciudad, el 26 de agosto de 1971. Fue pintor, dibujante, grabador, cantautor, casi arquitecto, docente universitario en la UBA y en la Cornell University, perspectivista, autor de historietas, diseñador gráfico y creativo en una agencia de publicidad.

The Tom Dixon shop London

arquitectura, arte, diseño, Moda


“Paper Passion”de Karl Lagerfeld

arte, Ciencia, diseño, Moda

¿Sabías que existe un perfume con olor a libro nuevo? Fue creado por el diseñador de Chanel, Karl Lagerfeld, junto con la revista Wallpaper. Se llama “Paper Passion” y es unisex. ¿Lo usarías? Mucha gente te esnifaría en plena calle, te avisamos. Porque a muchos de nosotros nos encantaba la vuelta al cole, sobre todo, para sumergir la nariz en aquellos libros nuevos.

Fernando Mastrangelo |MMATERIAL

arquitectura, arte, diseño


Fernando Mastrangelo uses materials for their aesthetic and historical senses and for their power to signify. His works ignore any bias regarding criss-crossing design and fine art as well as commodity and aesthetic functions. Mastrangelo uses pure form and symbolic meaning to transform commodity goods into sculptures, functional objects, and wall-hanging pieces referencing art and social histories as well as the seductive ideas of sacred geometry. With materials such as salt, coffee, sand, and cement, the artist expands our experience of everyday materials, granting them an otherwise unnoticed cutting-edge, sophisticated minimalism. The works are intriguingly contradictory – being both rugged and refined, durable and delicate – yet without fail, they achieve harmony through Mastrangelo’s painstakingly precise production.