By Lima Charlie
Curated by Graham Bignell & Richard Ardagh, Reverting to Type will showcase the work of twenty contemporary letterpress practitioners from around the world.
10th–24th Dec 2010 and 4th–22nd Jan 2011
45 Coronet Street
London N1 6HD
Open daily 10AM–6PM
“Linotype: The Film” is a documentary about Ottmar Mergenthaler’s amazing Linotype typecasting machine and the people who own and love these machines today.
To most people, typefaces are pretty insignificant. Yet to their devotees, they are the most important feature of text, giving subliminal messages that can either entice or revolt readers, says Tom de Castella.
When Avatar, the biggest grossing movie of all time was released, one section of the audience was immediately outraged. Graphic designers hated it. Why? They didn’t like the font that director James Cameron had chosen for the subtitles.
“I hated it on the posters and then threw up a little in my mouth when I realised I would have to read that ugly font throughout the film in the subtitles,” one blogger commented. “After the hundreds of millions of dollars spent on CG effects, did he just run out of money for a decent graphic designer?”
And yet fonts are not just for geeks. Otherwise why would organisations around the world spend so much time and money changing their typeface?
Typeface or font?
* A typeface is the specific letterform design of an alphabet
* A font is a collection of all the characters of a typeface, including capital letters and lowercase letters, numerals and punctuation marks
* For letterpress printing, using hot metal, a font was produced for every size and style of typeface, but today fonts are delivered as a digital software file that caters for all sizes of a typeface
* That is why the words font and typeface are often interchanged
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Ah, the Giro—first Grand Tour of the season. Though it will always be second fiddle to the TdF, the Giro is a unique entity in its own right, hallmarked by dangerous finishing circuits, an occasionally pedestrian pace, and heaps of snow still clinging to the Alpine peaks.
While the Tour was designed as a race of survival, the Giro is an at times intellectual pursuit, and this choreographed environment has birthed no shortage of drama and intrigue through the years; above all else, the Giro is about history. And with that in mind, Cyclocosm created this infographic.
The graphic is word cloud of Giro winners in the shape of Italy, running more or less chronologically from Sicily to the Austrian border. Text sizes correspond to the number of victories, and dates are provided as well. Colors are from the Italian flag, and pink from the maglia rosa worn by the race’s GC Leader.