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  • Bauhaus 100: Harvard pays tribute to the influential art movement that defined us

    Mounted in conjunction with the 100th anniversary of the founding of the Bauhaus in Weimar, Germany the "Bauhaus and Harvard" exhibition presents nearly 200 works by 74 artists, drawn almost entirely from the Busch-Reisinger Museum’s extensive Bauhaus collection. 

    Founded in 1919 and closed just 14 years later, the Bauhaus was the 20th century’s most influential school of art, architecture, and design. Harvard University played host to the first Bauhaus exhibition in the United States in 1930, and went on to become an unofficial center for the Bauhaus in America when founding director Walter Gropius joined Harvard’s department of architecture in 1937. Today the Busch-Reisinger Museum houses the largest Bauhaus collection outside Germany, initiated and assembled through the efforts of Gropius and many former teachers and students who emigrated from Nazi Germany, including Anni and Josef Albers, Herbert Bayer, Lyonel Feininger, and László Moholy-Nagy.

    The exhibition features rarely seen student exercises, iconic design objects, photography, textiles, typography, paintings, and archival materials. It explores the school’s pioneering approach to art education, the ways its workshops sought to revolutionize the experience of everyday life, the widespread influence of Bauhaus instruction in America, and Harvard’s own Graduate Center (1950), the first modernist building complex on campus, designed by Gropius’s firm The Architects Collaborative

    The curated by Laura Muir, research curator in the division of Academic and Public Programs, is organized by the Harvard Art Museums.

    "The Bauhaus and Harvard" exhibition is on through July 28, 2019. More info here


    Design for a Multimedia Trade Fair Booth, Herbert Bayer. Opaque watercolor, charcoal and touches of graphite with collage of cut printed and colored papers on off-white wove paper. Harvard Art Museums/Busch-Reisinger Museum, © Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.


    Bauhaus Books No. 12: Bauhaus Buildings, Dessau, László Moholy-Nagy, Walter Gropius. Harvard Art Museums/Busch-Reisinger Museum, © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.


    Black and Red Color Exercise, Hansgeorg Knoblauch. Harvard Art Museums/Busch-Reisinger Museum, Gift of Friends of the Busch-Reisinger Museum.

    12Feb
  • In Memoriam: Lili Cassel Wronker (1924-2019)

    “When I create letters or illustrations,” said the renowned calligrapher and illustrator Lili Wronker in “Love Is a Fine Pen” a short film about her by Chhaya Bhanti and Terrence Tessaro. “I don’t deliberately analyze why, how or when. The answer comes from within, from instincts, from memory, from past knowledge. The whole process of drawing and writing, to me, is as mysterious as life itself” reports NYT.

    Wronker died on Jan. 10 at a hospital in Mount Holly, N.J., near her home in Medford, her son, Eytan, said. She was 94.

    A typophile par excellence and in deep love with Judaism, Wronker was a founding member of the Society of Scribes in New York. Her typographic work could be seen in "hundreds of book jackets between the 1940s and ’60s. Her love of Judaism — a reflection of her heritage more than religious passion — found artistic expression in her Hebrew calligraphy, which appeared in fine-art books and magazines. Her scholarly knowledge of the field led her to record a video about the history of the Hebrew alphabet".

    Her story is amazing and in these times of bigotry it should be reminded to many. "Lili Cassel Wronker (b. Berlin, 1924) left Germany after Kristallnacht and came to the U.S. by way of London in 1940. In New York she attended the Washington Irving High School, where she was afforded the opportunity to study art for four hours a day. At fifteen, she had already read and absorbed Edward Johnston's works. After studying at the Art Students' League, she worked as assistant to calligrapher Arnold Banks, then art director of Time" notes Jewish Virtual Library.

    Wronker has acknowledged that her greatest influence in the study of Hebrew calligraphy came through her friendship with Elly Gross, who introduced her to Franzisca Baruch, Jakob Steinhardt, Ismar David, Henri Friedlaender, and Emmanuel Grau when she visited Israel in 1948. This refugee of war has exceled in integrating the Hebrew and Latin alphabets throughout her life.

    "Her passion for calligraphy led her to leave a note to her children about 20 years ago that outlined the lettering she wanted for her gravestone. 'This is nothing to cry about' she told them. 'I just hate ugly lettering'" reports NYT.

    Read her obituary here.

    All images via Wronker Family

    08Feb
  • A’ Design Award & Competition: are you ready to enter the best design battle ever?

    Submissions to the 2019 A’ Design Award & Competition are still open and obviously we want you to participate and register in one of the world's most prestigious and generous competitions.

    Established to promote and recognise the best design works beyond borders and craftsmanship, across literally all creative disciplines, the acclaimed The A’ Design Award & Competition has a noble aim of creating global awareness and understanding for good design practices and principles. 

    The competition highlights the best designs in all countries and all industrial fields and this year your creation could be a winner, literally.

    The largest competition of its kind, the A’ Design Award & Competition offers more than 100 categories to choose from, covering all design bases and industries.

    From the "Limited Edition Design Awards" category for exclusive creations through the "Graphics and Visual Communication Design" for the best symbols, logos, posters and typography the world has to offer, this is a competition that celebrates innovation and good aesthetics. 

    In case your are still wondering where you fit into this global movement of creativity a full list of categories is available here.

    Entries to the competition are peer-reviewed and anonymously evaluated by an influential jury panel of experienced academics, prominent press members and established professionals. It is good to know that unlike other awards, A' Design Award & Competition follows a peer-review process with anonymous voting and evaluation of entries.

    The Laureates of the A’ Design Award & Competition get fame, prestige, recognition, credibility, publicity and international awareness, in addition to a comprehensive and extensive winners’ kit which includes everything you could potentially need to celebrate the success of winning the A’ Design Award. 

    Winners of the A' Design Award are rewarded with extensive and exclusive marketing and communication services that promote their project to design-oriented audiences and influential publications around the globe and the A' Design Award Winners' Kit, the "A' Design Prize", includes the 3D Printed Metal A' Design Award trophy in Black Luxury Box, the annual yearbook which is available in both digital and hardcopy versions (if you are a winner you do get both), printed design excellence certificate in metal frame, free gala-night invitation for two people to the award ceremony which is ideal for networking, free participation and space allocation in the winners' exhibition (both online gallery inclusions as well as physical exhibition in Italy), free sales listing at SaloneDelDesigner, guaranteed publication through IDNN and DXGN Networks to 100+ magazines including Design Interviews & DM Design Magazine and of course a variety of pr and publicity services, world design rankings inclusion and so much more. Check them all here. 

    For your own inspiration, Typeroom has curated a selection of last year’s edition winners in the Graphics and Visual Communication Category to inspire you to submit your own projects to this niche group for the upcoming 2019 A’ Design Award & Competition which is impressive and these are some reasons why.

    Submissions to Typeroom's favorite category are open to both concept stage and realized works of symbols, logos, typography, posters, books and so much more.

    Best projects in this group are selected according to form, functional and emotional aspects of the design; innovation, aesthetic qualities, medium of choice, creativity, usefulness and accessibility are also taken into consideration. Find out more about the Graphics and Visual Communication Category here

    As the deadline for entries to the 2019 A’ Design Award & Competition is February 28 this is your almost last chance to nominate your design and be one of the great few who are destined to change the world so register here.

    Stay tuned to Typeroom, as a selections of winners will be featured on our platform on April 15. Could it be you?

    A' Design Award aims to provide a global audience for award winners to showcase their success and talents to. The A' Design  Award and Competition aims to act as blender; to bring together designers, companies, the audience and the press, it aims to highlight good products, services, and creators alike. Be part of this team and register till the 28th of February here


    TEDxUniversityofGuilan Visual Identity by Nima Rahimiha & Mohammad Hossein Naghibi, Silver A' Design Award 2018 for Graphics and Visual Communication Design


    Chinese Concept font Chinese character image, Font aesthetics by Wu Xuandong, Bronze A' Design Award 2018 for Graphics and Visual Communication Design


    Moon Two Tactile Font by Kegan Greenfield, Silver A' Design Award 2018 for Graphics and Visual Communication Design


    Likaisong Typeface by Chenglong Tao, Bronze A' Design Award 2018 for Graphics and Visual Communication Design


    Anti-Glitch Foundation Corporate Identity by Papanapa, Gold A' Design Award 2018 for Graphics and Visual Communication Design


    1000TON Typeface by Chenglong Tao, Bronze A' Design Award 2018 for Graphics and Visual Communication Design


    Alphabet experimental Exploration, Design, Logo, Letterforms by Julien Perraudin, Iron A' Design Award 2018 for Graphics and Visual Communication Design


    The Heart Sutra Poster by Zhang Xuwei, Iron A' Design Award 2018 for Graphics and Visual Communication Design


    Met Bookshop VI Design by Lulu Zhao and Genle Zhu, Bronze A' Design Award 2018 for Graphics and Visual Communication Design


    Ink Stone Promotion of poster design by Zhu Rineng, Silver A' Design Award 2018 for Graphics and Visual Communication Design

     

    07Feb
  • With a focus on diversity TypeCon is seeking proposals for this year's conference

    TypeCon 2019, one of the largest conferences centered around the typographic and lettering arts has big news for us all. TC19 has just announced this year’s Call for Programming

    This year’s conference will take place from August 28th – September 1st, in Minneapolis, Minnesota and The Society of Typographic Aficionados is accepting proposals for its 2019 TypeCon conference at the Hilton Minneapolis. 

    As one of the largest and most diverse US events for typographic and lettering professionals, SOTA is seeking dynamic individuals with a background in type, calligraphy, lettering, and similar creative arts to share their expertise with conference-goers in a friendly and accommodating environment.

    Submissions on any topic relevant to typography, lettering and design are welcomed, and may include a description of recent research or discoveries, an analysis of specific challenges facing the industry, or any other presentation that would benefit the larger type and lettering community.

    “I’m proud that TypeCon is an open, exciting, and friendly community of people who love letters. We’re committed to amplifying and showcasing traditionally underrepresented communities in type. First-time speakers are especially welcome!” says Mary Catherine Pflug, SOTA Vice Chair. 

    Open presentation opportunities include 20 minute talks, 20 minute Education Forum presentations, and a limited number of hands-on workshop sessions. Selected speakers will receive a number of benefits including complimentary admission to the main TypeCon program, as well as the opportunity to engage directly with industry insiders.

    All proposals are due no later than March 1st, 2019. To submit a proposal, or learn more about becoming a TypeCon 2019 speaker, visit typecon.com/proposals

    The Society of Typographic Aficionados is the nation’s premier not-for-profit association of typographic professionals and educators. 

    Founded in 1995, SOTA is dedicated to increasing accessibility and awareness in the typographic and lettering arts, both within the United States and abroad. Each year, the Society organizes TypeCon: a conference centered around typography, lettering, calligraphy and graphic design. For more information about TypeCon and SOTA, visit typecon.com and typesociety.org

    06Feb
  • Insights galore! Monotype presents The 2018 Font Purchasing Habits Survey results

    Mary Catherine Pflug is passionate about the type industry and the graphic designers who use fonts. For her "type design is a multi-faceted business, and today selling fonts is more than just design" therefore her "2018 Font Purchasing Habits survey" for Monotype is an insightful treasure for thought.

    Pflug's survey was sponsored by 10 other companies, consisted of 56 questions related to font preferences and purchasing habits, polled 15,745 creative professionals around the world and its goal is loud and clear. “What do customers really want?”

    According to the survey, the first thing font customers care about are the numbers of styles in a font family (82%) followed by number of glyphs (42%).

    When surveyed regarding font evaluation, customers want to see the entire character set (89%), type out their own words and phrases (77%), see if the font has alternates and ligatures (56%), and want to have the option to select and compare fonts with each other (53%).

    55% of respondents answered that they purchase 1 to 10 individual fonts in a year on average, 21% of them use OpenType features in fonts and most of them spent between $100 and $249 on fonts for either themselves or a client or organization in the last year. 

    As for the variable fonts some type education is needed. 36% of the creatives surveyed have never heard of variable fonts. The full results were announced at TypeCon 2018 and make sure to spend some serious learning time in the the full, extensive report here.

    31Jan