A film by Giorgio Affanni and Gabriele Chiapparini.
Foley artist Riccardo Rossi.
A production of Griffo, la grande festa delle lettere.
All rights reserved / Tutti i diritti riservati.
“If each company derives from an alchemy between people and techniques, the foundry of characters, whose heart is the engraving department, is an extraordinary example of skills and unequalled aesthetic sensitivity, which can be found in the documentary in the figure of Giuseppe Brachino, who was the head of the engraving department of the Nebiolo Company from Turin. He shows the creation of a punch, from which movable types derived, repeating the same gestures of Francesco Griffo who engraved the round and italic types of Aldus Manutius in Venice, five centuries ago”.
“Se ogni azienda è frutto di un alchemico insieme di uomini e di tecniche, la fonderia di caratteri, di cui il reparto incisori è il cuore, è un miracoloso nido di capacità e di sensibilità estetiche incomparabili, incarnate nel documentario da Giuseppe Brachino, già capo incisore della Società Nebiolo di Torino, che mostra la creazione di un punzone, da cui derivano i caratteri mobili, ripetendo gli stessi gesti di Francesco Griffo che cinque secoli or sono incise a Venezia i tipi tondi e corsivi di Aldo Manuzio.”
Man Giuseppe Bracchino Former head punchcutter of Nebiolo, Torino
Location Atelier Alberto Tallone, Torino, Italy
Punch typeface Tallone
Artistic consultancy Dina&Solomon
Special thanks to Giuseppe Bracchino, Sergio Saviolo, Enrico Tallone
This talk took place in the Rose Auditorium at The Cooper Union on March 21, 2017 as part of the Herb Lubalin Lecture Series. This recording was made possible by a generous grant by Hoefler & Company.
Commercial Type’s latest release is Chiswick, a series of three typefaces families based on vernacular forms found in the British Isles from the eighteenth century. Designer Paul Barnes will talk about the journey of making this family, from finding examples in many unexpected places, to distilling ideas of what defines the genre, through to creating this major new release.
Paul Barnes is a British graphic designer, specializing in the fields of typography & type design. With Christian Schwartz he is a partner in Commercial Type, an internationally renowned typefoundry with offices in London & New York. Graduating from the Typography course at the University of Reading in 1992, he worked in the early 1990s at the studio of Roger Black and later he became the art director of Spin magazine. Since 1995 he has worked independently and in colloboration on a wide range of design projects. With Peter Saville, he has designed logos for clients such as Kate Moss and Givenchy, and created the “Original Modern” concept for the City of Manchester. In 2010 they created the ‘Modern England’ flags for the England football team with sportswear manufacturer Umbro. He has been a design and typographic consultant to many publishers including The Guardian and The Observer Newspapers, GQ, Wallpaper*, Harper’s Bazaar and frieze . As typographic consultant to The Guardian he was involved in the iconic redesign in 2006, and with Christian Schwartz created the new series of typefaces. For this as part of The Guardian redesign team they received the prestigious Black pencil from the D&AD, as well as being nominated for the Design Museum’s Designer of the
He has designed several retail typefaces, such as the acclaimed Dala Floda and Marian and also corporate typefaces for the National Trust in England and typefaces for magazines as diverse as Condé Nast Portfolio (with Christian Schwartz), O , the Oprah magazine and Vanity Fair. In newspapers he has designed new typefaces for The Daily Telegraph in London and Finland’s leading quality newspaper Helsingin Sanomat. He has also created the letters used by Puma football teams in the 2010 World Cup. In 2009 Schwartz and Barnes set up Commercial Type, an independent type foundry retailing both their own designs, designs by their staff, and other designers. In September 2006, with Schwartz he was named one of the 40 most influential designers under 40 in Wallpaper*. A year later The Guardian named him as one of the 50 best designers in Britain.
This video indicates the characteristic feature of Bell Centennial by reproducing it into 3d form thus, quirkily revealing the relation between ink traps and printing media.
Since digital technology has been introduced, typefaces has lost its physical properties. In the past, letterform would directly reflect the material that typefaces embody, however with digital technology, this approach was rendered obsolete. The general notion of this project is to analyze where letterforms have originated from, and to recreate actual physical creations using solid materials the lost physical properties of a specific font through 3D media.
This talk took place on Saturday June 18, 2016 in The Great Hall at The Cooper Union as part of Typographics
To evaluate the uneven, non-linear history of Chinese typography is to reevaluate the notion of typography itself: tradition and precedence, image versus text, and machine versus the hand. Chinese type radically reconfigures these assumptions and creates conditions difficult for its visual expression. How might we begin to solve these challenges and find new ways of making?
YuJune Park is the BFA Director and Assistant Professor of Communication Design at Parsons School of Design and the co-founder of Synoptic Office. Her work has been recognized by the AIGA, the I.D. Annual Design Review, the Art Director’s Club Awards, iDN, It’s Nice That, Etapes, the Muckenthaler Cultural Center, the Museum of Architecture and Design in Ljubljana, and the Ningbo Museum of Art.
YuJune holds an MFA in Graphic Design from Yale University and a BFA in Furniture Design from the Rhode Island School of Design. She has trained under, worked for, freelanced and collaborated with several studios including Base Design, 2x4, Project Projects, Mother NY, Graphic Thought Facility, and Pentagram for a variety of clients including the Museum of Modern Art, Milk Studios, the Davis Museum, and the AIGA.
Caspar Lam is a designer and writer. He is a co-founder of Synoptic Office, a multidisciplinary design studio operating in the space between graphic, interaction, spatial and product design. The studio’s work has been exhibited internationally and recognized by Fast Company Design, iDn, Neshan, Etapes, It’s Nice That, and the Muckenthaler Gallery.
Caspar holds an MFA from Yale and degrees in biology and design from the University of Texas at Austin. He has worked with the Guggenheim Museum, the Yale School of Architecture, and Li, Inc. on fashion brands including Ohne Titel and Vogue China. He also created and led the Labs research and design initiative at Artstor to develop new products related to digital cataloguing, metadata, publishing and new media. Adobe, AIGA, and ID Annual Design Review have recognized his work. He has been a visiting critic at the Hong Kong Design Institute and served as an Adjunct Associate Research Scholar at Columbia University’s GSAPP. Caspar currently teaches at Parsons the New School for Design.