Alan Kitching shows significant works and shares seminal influences from his fifty-year journey from printer to printmaker, apprentice to professor, Darlington to Kennington via experimental printing in Watford and letterpress in Clerkenwell to The Typography Workshop, Printroom & Studio in London SE11.
Talk, Tuesday 13 February 2007 at 7pm; exhibition preview 5.30pm
Exhibition, Wednesday 14 February to Thursday 8 March 2007
Here is an article on Fontshop.com by Stephen Coles who explain how you can switch your lovely Helvetica font by others fonts.
Helvetica is a classic. Helvetica is played out. Each of these statements is true to an extent. The world’s most recognizable typeface will soon star in a new film that documents both its omnipresence and its timelessness.
There are many reasons why Helvetica is so widespread. The most obvious being that a few weights have been bundled with the Mac OS for years. It is arguably the most respectable of the “default� fonts. But it’s also used because it’s a safe, neutral choice. For many purposes, typography is more about content than style. Fans of Beatrice Warde will tell you that typographers should communicate without distraction. Helvetica, with its simple, unadorned forms, is the perfect crystal goblet. Even its ubiquity contributes to its neutrality — letters so common they become invisible.
But invisibility isn’t always appropriate, particularly in advertising or branding where individuality is key. Here we recommend our favorite fonts from the grotesque genre that offer something different from Helvetica (or Arial) — whether it’s style, warmth, or extra features like small caps, figure alternates, and additional widths.
Yesterday I was at the opening of the Wim Crouwel exhibition. Very crowded ! From old type designers to fresh graphic designers. I also could see many other great designers like Laurent Fetis, Hamish Muir (8vo) and Danny van den Dungen (Experimental Jetset).
You will find here all the pictures of the opening. I’ll take “clean” pictures in the next weeks.
Famour designer Micheal C. Place will release very soon this poster. Everything is said.
Born in 1947 in Willisau/Switzerland, Niklaus Troxler is part of the second generation of great swiss graphic designer. From 1963 to 1967, he learned typography by his own. Then he became student Art School of Lucerne from 1967 to 1971. In 1973 he decided to star his own graphic design studio in Willisau. His work became very famous with his posters made for the Jazz Festival of Willisau. His Work has influenced many today’s designers from typographers to illustrators.
Most of his “Jazz” Work is compiled in a 1999 Lars Müller book “Jazz Boulevard“.
Swiss Legacy, by the initiative of Art Director Xavier Encinas, is a blog focused on typography, graphic design and inspirational matters.
