typography after modernism

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Page 1: Typography After Modernism
Page 2: Typography After Modernism

Jefferey Keedy, Keedy Sans, 2002.

Page 3: Typography After Modernism

Jefferey Keedy, programme, 1998.

Page 4: Typography After Modernism

“There are many rules and maxims of typography.”

Page 5: Typography After Modernism

“Breaking the rules is another rule.”

Page 6: Typography After Modernism

“RULES OF TYPOGRAPHYACCORDING TO CRACKPOTSEXPERTS”by Jeffery Keedy

“Although rules are meant to be brokenrules should never be ignored!”

Page 7: Typography After Modernism
Page 8: Typography After Modernism

Frederic W. Goudy, page design, c. 1930

Page 9: Typography After Modernism

...the first thing he [the modernist] asked was not“How should it look?” but “What must it do?”

and to that extentall good typography is modernist.

Beatrice Warde, Crystal Goblet

Page 10: Typography After Modernism

Anne Burdick, page layout from Emigre, 1992

Page 11: Typography After Modernism

Phil Baines, page layout from Emigre,1991.(continuation of his MFA thesis “The Bauhaus MistookLegibility for Communication”).

Page 12: Typography After Modernism

Phil Baines,detail.

Page 13: Typography After Modernism

Katrine McCoy, page from‘The New Discourse’, 1991.

Page 14: Typography After Modernism

Uh-huh. You’ve got the right one baby!

What is the ideal typeface to say:

Page 15: Typography After Modernism

Uh huh. You’ve got the right one baby!

Page 16: Typography After Modernism

Uh-huh. You’ve got the right one baby!

Uh-huh. You’ve got the right one baby!

Page 17: Typography After Modernism

“The crystal goblet does not contain Pepsi”.

“Modernism is responsible for creatinghigh and low class markets.”

Jeffery Keedy

Page 18: Typography After Modernism

“The fear is that new technology,with its democratization of design,

is the beginning of the end of traditionaltypographic standards”.

Page 19: Typography After Modernism

George LaRou, Page from:Lift and Separate. Graphic Designand the Vernacular,1993.

Page 20: Typography After Modernism

Allen Hori, poster, 1989.

Page 21: Typography After Modernism

David Carson, magazine cover

Page 22: Typography After Modernism

Edward Fella,poster for exhibition,1988

Page 23: Typography After Modernism

Elliot Earls,poster for typeface Dysphasia,1992.

Page 24: Typography After Modernism

Cranbrook students,Output,1992.

Page 25: Typography After Modernism

SixGun Shoot Out

Uptown

Bull Semi Inked

Misc

Gothic Rock

Porrblaska Regular

Page 26: Typography After Modernism

“The more uninteresting the letter,the more useful it is to the typographer”.

Piet Zwart, 1986.

Page 27: Typography After Modernism

Neville Brody, Ad. for Nike, c.1990s.

Page 28: Typography After Modernism

Massimo Vignelli, exhibition poster,1991.

Page 29: Typography After Modernism

Experimental JetSet, poster, 2003.

Page 30: Typography After Modernism

Filippo Tommaso Marinetti, cover, 1912.

Page 31: Typography After Modernism

“There is no such thing as a bad typeface...just bad typography”.

Page 32: Typography After Modernism

“Why do typographers insist on doing the impossible: new typography with old faces?...

New typefaces have the possibilityfor new designs.”

Page 33: Typography After Modernism
Page 34: Typography After Modernism

References:Keedy, Jeffrey. “The Rules of Typography According to CrackpotsExperts”, pp.48-55, Eye, 11/1993.

Poynor, Rick. No More Rules: Graphic Design and Postmodernism.Laurence King Publishing, 2003.