5 March, 2009
The Gerrit Noordzij Prize, Part 1: Outgoing
One charming aspect of the Gerrit Noordzij Prize is the design of the award itself. By tradition, it's something created by the current prize holder, and presented to the incoming awardee. Past winners have used the occasion to create something that not only encapsulates their own work in some personal way, but postulates some connection to the interests of the next designer in succession. Erik Spiekermann, winner of the 2003 award, presented the above to Tobias in 2006: it's a witty rendering of his twentieth-century Meta typeface, produced in the distinctly nineteenth-century technology of wood type. As a gift to a type designer whose work regularly engages with historical form, I thought it was especially poignant.
The set was made by Scott Polzen, who began exploring the resurrection of wood typemaking while still a student. His latter-day wood types are lovely artifacts, cut from cherry and finished with sandpaper and file, as Polzen explained in an essay in Letterspace, a journal of The Type Directors' Club. As intriguing as the how of this project is the why: "I’ve come to understand," Polzen writes, "that my real motivation for this project was to gain a greater sense of participation in the culture of reading and writing: making wood type forced me to think quite literally about how the written word works." I thought this sentiment nicely echoed Noordzij's own philosophy about the primacy of written, not printed, words; it makes Polzen's connection to the award even more apt.
Wim Crouwel will receive the 2009 Gerrit Noordzij Prize on Friday, when we'll have the first photographs of the award that Tobias designed for him. I will miss seeing it around our office. —JH
4 July, 2008
Type in Three Dimensions
Taking a break from my top secret Independence Day project that combines typography and patriotism (more about this later), I came across something marvelous that I had to share.
The August 2008 issue of Print has this arresting image on the cover. I recognized that the typography grew out of our Gotham Rounded font, which is the magazine’s signature typeface, and had assumed that this treatment was a clever and curious bit of digital rendering on someone’s part. It is and it isn’t: designer Karsten Schmidt used software of his own devising to give Gotham Rounded’s polished letterforms these intriguingly organic roots (using a branch of mathematical modeling called reaction diffusion) but then fed these digital inputs into a 3-D “printer” in order to produce a physical object.
I’m fascinated by 3-D printers (read: want one.) They’re essentially inkjet printers, but instead of rendering an image using a grid of ink splatters on a page, they produce successive cross-sections of an object by strategically injecting liquid binder into a polymer powder. Taken together, these high-resolution cross-sections form a dimensional object, like the one Schmidt produced here. Print is running an article describing the making of the cover, and its designer has detailed the entire process, step-by-step, in this illuminating Flickr set. Check it out! —JH
3 December, 2007
Aesthetic Apparatus Explained
I started a typeface called Feldspar in 1999, which I've yet to complete. After eight years, most such projects would have lost their inertia, but this one's moving steadily along, driven by a single, fervid dream: I am determined to one day see it in the hands of Dan and Mike at Aesthetic Apparatus.
Aesthetic Apparatus is one of those studios we love to see using our fonts. It's not merely because they're fans of our more American-inflected designs (above, some AA posters featuring Cyclone, Acropolis, Gotham, Knockout, Ziggurat, and Giant), it's because they put the screws to the fonts: they juice them for every last drop of flavor, and then come back to coax still more out of every design, creating new and unexpected textures that you wouldn't think possible. The driving philosophy behind the studio's work is — well, here: let's let Dan and Mike explain the process in their own words:
A transcript is not yet available. —JH
22 September, 2007
Oakleaf: Behind the Scenes
Kathy Willens, Associated Press
The Associated Press has posted a slideshow that accompanies the article about us, which charts the development of our typeface for The Nature Conservancy. You'll find it in the AP's "multimedia" section, here.
There's an audio track that includes an interview with Tobias and Jonathan — as well as an alarming sample of the ambient room noise seven floors above Broadway & Houston — but since some additional explanation of the images seemed useful, we've gathered some thoughts here. More images after the jump…Continues...