Archive for the ‘typerbole’ Category

an accidental education: old news

Thursday, July 22nd, 2010


Randomly chosen newspaper spread with stories grouped under two page headings. The wide field of vision allows many other connections/reasons-to-read

The Death of Print is a phrase regularly bandied about since the invention of TV (and probably radio before that), appearing with renewed vigour with the arrival of every new communications platform. The actual death of some newspapers and print publications lends urgency to the drama, but the reality is less apocalyptic. Jobs are lost, companies fail, the media landscape changes, but old formats (with the notable exception of the unloved videocassette) assume new roles rather than become extinct. The life and death struggle of old vs. new media is the easy narrative but old media has unique value which should ensure at least a modest survival.

New media platforms have given us massive advances in accessibility and empowerment – but they also come with a predisposition for targeted communication, ‘narrowcasting’ and self-selection.  Old media, print especially, has one underappreciated benefit that is absent from the new stuff. It doesn’t decide quite so forcefully in advance what information will be of value to me, limiting what I might learn about the world.

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charm/offensive

Thursday, May 27th, 2010

The matchless charm of 1950s/60s comics, which comes not only from the artwork but also the basic (but cleverly exploited) printing technology and cheap uncoated paper (pic via Half-man Half-static).

Forty years back (in the Life on Mars era) the fashionable aesthetic is an informal, natural look.  There is lingering hippy talk of ‘getting back to nature’.  These are lean years for the high street hairdresser, ‘male grooming’ is a laughable concept and clothes are mostly cheap and nasty or homemade.  Design is still a cottage industry but it is looking to the future: Michael English’s Hyper-real airbrush illustrations seem new and extraordinary.  Robert Moog’s synthesizer is the future of music (although he hasn’t yet worked out how to keep it in tune)…

March 2010, Farringdon. I’m in a tube carriage near an extraordinary-looking young woman who appears in no way real.  Her hair, nails, makeup seem somehow beyond human and her high brow and flawless surface reminds me of the actor/digital hybrid the Red Queen from Tim Burton’s Alice in Wonderland.  Blankly shiny, expressionlessly ‘perfect’, she is the HD-ready paradigm of modern beauty.  Music seeping from headphones is also soullessly bright, sampled, virtual, autotuned.  All of this is in sharp contrast to the immediate noise and grubby texture of London, where illustrators, designers and musicians, bored with software slickness are increasingly going ‘wonky’ (surely the most irritating/overused phrase of 2009), working with the look and feel of handwork, crafts, ‘outsider art’ and forgotten technologies to rediscover ‘charm’….

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bottling decoration?

Wednesday, April 7th, 2010

Functionality, clarity and rationality reign supreme in contemporary design.  The Bauhaus casts a long shadow and analysis of function, distillation of meaning and removal of the inessential gives us the calm spaces, ordered structures and clear interfaces that we need to navigate our complex modern lives.  It could be argued that decoration is anti-design.  Style is inevitable, but ‘decoration’ is just for cakes and wallpaper, no?

There are areas of design where indulgent visual richness remains desirable and appropriate, a signifier of value and/or emotion. Decoration blooms sporadically now – our rapid cultural turnover often rendering it ‘tired’ before it can establish itself.  It may not be a dirty word any more but beyond the confines of fashion and interior design, decoration often coexists uneasily with cool minimalism and rational typography.  Are we are in danger of losing the art of decoration?

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ghost typography

Thursday, March 11th, 2010

Over the past year or two one side effect of the Global Banking Brouhaha has been a lot of high street retail refitting, briefly uncovering glimpses of signage and typography hidden for many years.  If not quite as revelatory as Tutenkhamun’s tomb, these archaeological micro-events on the high street nonetheless show fascinating traces of old graphic design, rendered more intriguing by incompleteness.

Without nightvision cameras, bogus paranormal experts, or suggestible members of the public these glimpses reveal eerie traces of the past lives of type. In most cases the letters’ physical presence is long departed, their spirit inferred by shadows, fixing holes and accumulated detritus. Like some new kind of Kirlian photography the remaining traces hint at life and energy absent from the image.

Such marks are usually revealed fleetingly and soon cleaned up or built over. The above delicately shaded façade of a former Sketchleys branch is now sadly as pristine as its former customers’ shirts and suits.  So keep your eyes peeled. The truth is out there, but not for long. Further evidence may be revealed from time to time here.

Comic Sans apocalypse

Monday, February 15th, 2010

Well that’s it then. The End of Days. Armageddon. Civilization? all over. I have seen a sign: Someone with sufficient cash for a brand new Bentley has seen fit to customize it not only with a personalised license plate (tacky, but unsurprising) – but one set in design’s least favourite typeface: Comic Sans.

Momentarily traumatised whilst driving I failed to whip out the phone camera to record this portent of doom or to note particulars for the design police, but trust me – its out there somewhere… (more…)