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Craft in the digital age presentation
- 5. During these 3 hour workshops, we will revoke the current lack of face to face communication by using our hands to craft a typeface, the main tool of Graphic Design. The process of doing rather than the final outcome that is significant. The performative act of stepping out of your usual routine to partake in an activity that is at the core of what design is will leave you with a positive, collaborative and memorable experience of the festival as well as what craft is and can be. The process will be simple, therapeutic, craft focussed and collaborative. You will gain a deeper understanding of what typeface design is and can be. You will walk away with a tangible result that you can use again and again, as well as the feeling of wanting to do and create more. The process will be documented and kept by Alexandra Lunn Studio who will then create a collective font from the 3 day period which will then be shared with you for you to use on a Mac, which we will then send out to all participants later in the year as a souvenir and a reminder of the fun of an interactive workshop. www.alexandralunn.com
- 7. ● Look at what typography is and can be ● Do some paper cutting to create a collective font ● Scan the shapes into Adobe Illustrator ● Use Glyphs to create a typeface Today we will www.alexandralunn.com
- 13. Following WWII, the communist regime imposed on Poland by the Soviets as a consequence of the Yalta Accords. Seeking to differentiate itself from Poland’s pre-war “bourgeois” democracy and masquerading as the “dictatorship of the proletariat,” the regime, seeking to somehow legitimize itself in the eyes of the masses, invested heavily in the folk-arts. The wycinanki were thus often used to decorate official buildings. Given their artistic and decorative merits, not to mention their beauty, it became fashionable, for a time, among city dwellers to frame the wycinanki and used them as interior decorations. With the fall of communism and the advent of the free market, the demand for the wycinanki diminished greatly, practitioners of the craft scaled back their production. www.alexandralunn.com
- 16. Poland 2011 In 2011 I visited rural Poland to research a very intricate and beautiful paper craft: Wycinanki (which translates to paper cutting). www.alexandralunn.com
- 36. Neoclassical, evocative, enlightened, classical, elegant, graceful. The typeface is a French font developed by Firmin Didot in the period 1784–1811. The Didots were an illustrious family who for nearly two centuries served as typefounders and master printers to the crown of France. Didot's type was used in the Code civil des Français, printed by the company of Firmin Didot in 1804. Today, the font is used by many fashion brands such as Harper’s Bazaar and Vogue. More historical research here www.alexandralunn.com
- 41. Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas’sche Schriftgiesserei of Münchenstein, Switzerland. Haas set out to design a new sans-serif typeface. The aim of the new design was to create a neutral typeface that had great clarity, had no intrinsic meaning in its form, and could be used on a wide variety of signage. Neutral, friendly, trustworthy, recognisable ● WW2 just 10 years before so there were new ideas and approaches to productivity, efficiency, stability? ● Helvetica was marketed as a symbol of cutting-edge Swiss technology, Helvetica went global at once. Helvetica www.alexandralunn.com
- 42. Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas’sche Schriftgiesserei of Münchenstein, Switzerland. Haas set out to design a new sans-serif typeface. The aim of the new design was to create a neutral typeface that had great clarity, had no intrinsic meaning in its form, and could be used on a wide variety of signage. Neutral, friendly, trustworthy, recognisable ● WW2 just 10 years before so there were new ideas and approaches to productivity, efficiency, stability? ● Helvetica was marketed as a symbol of cutting-edge Swiss technology, Helvetica went global at once. Helvetica www.alexandralunn.com
- 45. different contexts it’s been used in www.alexandralunn.com
- 82. Choose your favourite typeface www.alexandralunn.com
- 85. Everything we’ve seen so far has been made during or pre the 20th Century. Now we have the technology to create our own fonts. Here is how others have pushed the boundaries of it. www.alexandralunn.com
- 86. © Grilli Type © Kia Tas www.alexandralunn.com
- 89. My own is built on the theme of constructivism www.alexandralunn.com
- 93. how ours could look www.alexandralunn.com
- 99. perhaps something like this www.alexandralunn.com
- 102. Now we know that each typeface has a personality or is based on a concept, we will make a collective font by first cutting out a shape from the alphabet (and punctuation) and then using software to digitise it. 1. Choose your weapon! -Scalpel / scissors / zig zag scissors It doesn’t necessarily need look like a perfect a, b or c. More important is that you’re enjoying the process. www.alexandralunn.com