Deconstruction. Deconstruction (French: déconstruction) is a form of philosophical and literary analysis derived principally from Jacques Derrida's 1967 work Of Grammatology.[1] In the 1980s it designated more loosely a range of theoretical enterprises in diverse areas of the humanities and social sciences, including—in addition to philosophy and literature—law,[2][3][4] anthropology,[5] historiography,[6] linguistics,[7] sociolinguistics,[8] psychoanalysis, political theory, feminism, and gay and lesbian studies.
Deconstruction still has a major influence in the academe of Continental Europe and South America where Continental philosophy is predominant, particularly in debates around ontology, epistemology, ethics, aesthetics, hermeneutics, and the philosophy of language. It also influenced architecture (in the form of deconstructivism), music,[9] art,[10] and art criticism.[11] Etymology[edit] On deconstruction[edit] Derrida's approach to literary criticism[edit] Basic philosophical concerns[edit] Postmodernism. Wayfinding and Social Platforms. Download this gallery (ZIP, null KB) Download full size (74 KB) “The heart of civilization throbs wherever people come together to work, play, shop, study, perform, worship, or just interact.
Crowded into bustling spaces, they share the richness and diversity of human experience as well as its challenges. In these spaces people may “find their way” in the existential sense, but they also become overwhelmed or disoriented if they physically lose their way. Wayfinding design provides guidance and the means to help people feel at ease in their surroundings. Throughout history, people natural gravitate to city centers and the public places where all the action is. Download full size (215 KB) The book got me thinking about the similarities between wayfinding and the social web. Download full size (107 KB) The interesting thing about wayfinding design for physical locations is that it must be usable by both locals and tourists. LEGIBILITY YTILIBIGEL | Question: How far can letterforms be taken forward or stripped back before they no longer are considered letters? | Page 2.
The Digital Past: When Typefaces Were Experimental. Voice asked me to do a post-digital exploration of type to see if a new “experimental” stage was in the wings. But the more I thought about his request, the more I felt it was necessary to look back at the history of digital type design and sort out what really happened before trying to look ahead. Introduction In the early 1990s, the term “experimental” came to be associated with fonts displayed in Emigre magazine. A number of those fonts were worthy of the label, but in the ensuing years “experimental” was attached to any typeface that seemed to be outside the norm. Instead of looking solely, or even primarily, at such “experimental” fonts I have chosen to list typefaces that for one reason or another—technological, ideological, conceptual, cultural or even aesthetic—broke new ground in the digital era. Digi-Grotesk S Marconi Designed by Hermann Zapf for Hell, Marconi was the first original typeface to be produced with the Ikarus computer-aided design and digitization system.
Chicago. Typo-L : The Crystal Goblet. The Crystal Goblet, or Printing Should Be Invisible by Beatrice Warde (1900 -- 1969) Imagine that you have before you a flagon of wine. You may choose your own favourite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography.
Now the man who first chose glass instead of clay or metal to hold his wine was a 'modernist' in the sense in which I am going to use that term. Wine is so strange and potent a thing that it has been used in the central ritual of religion in one place and time, and attacked by a virago with a hatchet in another. Before asking what this statement leads to, let us see what it does not necessarily lead to. The optimism of modernity : what. Reduce to the max by Max Bruinsma. Reduce to the max by Max Bruinsma A reduced and expanded exploration of Swiss design and culture across the 20th century. For about three quarters of a century now, the phrase ‘Neue Schweizer Grafik’ (’New Swiss Graphic Design’) has been more than a denotative combination of words - it has become a brand name. The non-German speaking rest of the world knows the same brand mainly as ‘Swiss Typography’, since a certain kind of typographic rigidity and sophistication is recognisable in the majority of graphic work that emanated from Switzerland between the 1920s and 1980s, from the ‘elementare typografie’ of such design pioneers as Jan Tschichold, Max Bill and Theo Ballmer, via the ‘Neue Grafik’ of Richard Paul Lohse and Joseph Müller-Brockmann to the teachings of Armin Hofmann’s, Emil Ruder’s and Wolfgang Weingart’s Basle School.
Büro Destruct On the other hand it is fairly obvious that the new ‘Neue Grafik’ has to dealwith rather different conditions and contexts than the ‘old’. Is not available. Social Media Newsfeed: Facebook Ads | Twitter Passwords Tim Sohn Facebook redesigns right-side ads to make them similar to News Feed ads. Twitter says users’ passwords were safe from attack. These stories, and more, in today’s Morning Social Media Newsfeed. Read more Social Media Newsfeed: Twitter Rolling Out Redesign | FarmVille Users Down Tim Sohn on April 9, 2014 8:00 AM Twitter rolling out more photo-centric redesign.
Read more Sponsored Post In our Social Media 101 boot camp, you'll determine the social media sites that matter most to you, based on personal and professional goals. Airlines Discover the Efficiency in Using Social For Customer Service Kimberlee Morrison on April 8, 2014 1:15 PM Customers are turning to social media for their customer service needs, and airlines are answering the call. Read more Social Media Newsfeed: Twitter Acquisition | Social Network, Divorce Linked Tim Sohn on April 8, 2014 8:00 AM Twitter buys Android-related startup for undisclosed amount.
Read more. Speak Up Archive: Deconstructive Typography <em>Captches</em> up. Standing avidly in two-thousand-five and reminiscing fondly on typography — you too reminisce on typography from time to time, no? — the deconstructive days of yore seem far behind, even possibly, as Steve Heller said, appear as a “blip in the continuum of graphic design history”.
A loud blip, but a blip now quieted by trends based on the reappraisal of wood type,Victorian letterforms and dingbats as well as a global bent towards bright and bold sans and large and elegant serifs. Deformed, scratched and rogue layouts and typography rarely elicit excitement in the new millennium — unless coming from Martin Venezky. Grunge fonts are now bottom-sellers compared to fanciful scripts and comprehensive type families. During the day it is common to find yourself filling online forms for a variety of online errands: buying a book on Amazon.com, ordering theatre or movie tickets, paying utility bills or signing up for a gym you will never attend. For Yahoo! Typeface Tuesday: Deconstructed type « amdesignperspectives. It’s a gorgeous, sunny Typeface Tuesday here in the District. Overall, I like experimental design. I like it because I enjoy the rule breaking that can happen with unique and innovative designs.
I also like the newness — or new perspective — of the work. You have to remember that it’s important to know the rules of design before you strategically break them. And certainly don’t break them for the sake of being a rebel (I’m afraid I’ve done this before — duh, I’m a Scorpio and need to test the boundaries). Do it because it works. On my journey to learn more about typefaces, I’ve done some research on deconstructed type or using the forms of letters to create new shapes and meaning. To make it fun and different, the designers blocked out some of the type in the logo.
Go here to view the whole project. As for general type guidance, remain in good standing with the Type Gods (and every good designer you know) by not commiting these crimes: Deconstructive Typography on Typography Served. Johnston (typeface) Johnston printing blocks Johnston (or Johnston Sans) is a humanist sans-serif typeface designed by and named after Edward Johnston. It is well known for its use by Transport for London. Johnston's former student Eric Gill also worked on the development of the typeface,[1] which was later to influence his own Gill Sans typeface, produced 1928–32.
The font family was originally called Underground. It became known as Johnston's Railway Type, and later simply Johnston. It comes with two weights, heavy and ordinary. Heavy does not contain lower-case letters. The Johnston typeface was redesigned in 1979 by Eiichi Kono at Banks & Miles to produce New Johnston; this variant of the original typeface is currently used by London Underground in their signage. In 2002 the typeface was digitized on behalf of Transport for London by Agfa Monotype Corporation, with the addition of two further weights, Book and Book Bold, and as well as corresponding italic variants.
Howes, Justin (2000). A Typeface for the Underground | London Reconnections. On Monday the 2nd January 1979, Eiichi Kono walked into the offices of Banks and Miles, one of London’s most renowned graphic design agencies. It was his first day at the firm as a typographer, and he was very excited. Admittedly Eiichi didn’t actually know what he’d be working on – they’d been slightly vague about that – but he was excited nonetheless. This would represent his first major typographical job, and that was something he’d been working towards for some time. Eiichi had been working in the optical printing industry in his native Japan for some years when, in the mid-seventies, he had experienced what he would later describe as a “mid-career crisis.”
Switching directions, he decided to explore a career in something that had fascinated him for some time – typography. He chose to begin his journey into the world of typography at the London College of Printing – a choice partially motivated by memories of previous time spent in London. Going Back to the Beginning. The History of Visual Communication - The Computer. Postmodernity Postmodernity is a term used to describe the social and cultural implications of postmodernism.
The term is used by philosophers, social scientists, art critics and social critics to refer to aspects of contemporary art, culture, economics and social conditions that are the result of the unique features of late 20th century and early 21st century life. These features include globalization, consumerism, the fragmentation of authority, and the commoditization of knowledge (see "Modernity").
"Post-modernity" is also used to demark a period in art, design and architecture beginning in the 1950's in response to the International Style, or an artistic period characterized by the abandonment of strong divisions of genre, "high" and "low" art, and the emergence of the global village. Deconstruction Deconstruction is a term which is used to denote the application of post-modern theory, to a "text".
Further reading. Deconstructive Typography on Typography Served. Transformed Dyslexic Typography - The Dyslexie Font Makes Learning and Living Easier for Many. The amazing Dyslexie font has the ability to make learning and living easier for thousands of people. Dyslexie was designed for people who suffer from Dyslexia; Dyslexia makes it very difficult to read as letters are flipped and duplicated. Students and adults are faced with the challenge of reading letters that seem as if they are from another language. The Dyslexie font aims to change this, as each letter has been designed specially for dyslexics. Some are thicker on the bottom to prevent them from flipping, while others have taller segments to prevent confusion with others. The Dyslexie font is a genius design which will improve the lives of many. Implications - Citizens who suffer from ailments face certain challenges throughout their days.
Stefan sagmeister. Minimalist Typographic Subway Maps - Fadeout Design Creates Pared Down Public Transit Art. Fadeout Design has created some of the most aesthetically pleasing maps that I have seen in a long time. The design studio uses the subway systems of various major cities and spells out the name of each station in tiny letters along the line. Fadeout Design has come up with a brilliant concept to have the name of each station bleed into the next and form the subway line.
These are ingenious pieces and I would not be surprised to see the concept copied by cities with an aesthetic or design reputation. Implications - Youth consumers are attracted to design concepts that are minimalist and clever. Weave Type on the Behance Network. I HATE 2D POSTERS on the Behance Network. Deconstruct on the Behance Network. Nuzzles™ - Wooden Typographic Puzzles on the Behance Network.