Institut für buchkunst. IMBA

Sven Pfrommer

institut für buchkunst

Aufsätze, Reden und künstlerische Arbeiten. . Thank you very much to all the Face Forward organizers, and to their anonymous peer reviews for their feedback as well! If this were true, it would produce an uneven recording of green and blue data compared to red. These take place at an imaginary six-day-long jury meeting, but the books discussed are real. See Peter Straßer, Ursprung der Schriftgießerei J. Umschlag mit Einrissen und Läsuren, heller Einband an den Rändern angeschmutzt, sonst gutes Exemplar.

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D

institut für buchkunst

Image from Albert Kapr, Deutsche Schriftkunst. D-1 resolution is 720 horizontal × 486 vertical for systems and 720 × 576 for systems; these resolutions come from. See also Monique Dickmanns, Leipziger Kegel: Zur Entwicklung der Schriftgießereien in Leipzig. This was a group of designers around André Gürtler in Basel; they designed photo-typefaces for Bobst Graphic, Compugraphic, the Haas type foundry, and the International Typeface Corporation; see my review on Typographica. Nevertheless, several years have now gone by, and the publication does not seem like it is going to materialize. « Karl-Heinz Kalhöfer and Helmut Rötzsch ed.

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Institut für Buchkunst

institut für buchkunst

Leipzig: Hochschule für Grafik und Buchkunst 2013 , p. They often had a limited palette of typefaces to choose from. It contained the sync 'frame' needed to make a stable picture. Oskar Zech - ein Meister der Typographie. The information here is probably new to most of my English-speaking readers. Perhaps it is time for more designers around the world to reevaluate the achievements of East German type designers, as well as those of the state-run type foundry, Typoart.

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The German Development Institute / Deutsches Institut für Entwicklungspolitik (DIE)

institut für buchkunst

Their peer reviewers made some helpful suggestions, which improved the focus of my article. Both workers are likely involved in making photo-type matrices for the Linotron 505 machine. Figure 6: Typo-Skript is an upright informal handwriting-style typeface designed by Hildegard Korger. Superla is his digital reinterpretation of the typeface. Image from Kapr and Fischer, Typoart Typenkunst, 110.

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Sven Pfrommer

institut für buchkunst

Colourful pastel posters conjure up the shimmering, magnificent costumes and the motley audience — but how? As broadcasters would later convert from analog to digital wiring, component digital infrastructure became feasible. Figure 7: Freundschafts-Antiqua is a serif typeface designed for use in Latin-script texts set together with text in Chinese characters. Image from Albert Kapr, Leipziger Schriftblätter. It started as a and - product and was the first major professional format. For example, there are multiple digital interpretation of Leipziger Antiqua available. Named Timeless, it was designed for photo-typesetting by Werner Schulze 1983, and is still available in digital format from and. At least twelve of the 25 text typefaces would still need to be produced, and the type foundries agreed to avoid parallel-developments, as well as to either phase-out unsuccessful typefaces, or improve them.

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35566459

institut für buchkunst

There is no recording of my conference presentation, either. Leipzig: Verlag Philipp Reclam jun. Particularly for European eyes the typographic work of the Venezuelan Sotillo is the discovery of a new continent and a lesson in invigorated design. Before Typoart had produced Linotron-matrices, their machines only had photo-type fonts provided by Linotype, such as Times and Univers. In December 2015, I attended a lovely conference in Dublin called Face Forward. Antiqua 58 is a slab serif typeface, while Maxima is a sans serif design in a similar vein to typefaces like Folio, Helvetica, or Univers. A tightly stitched seam with strong black yarn holds together the bundle of papers in the middle of the book.

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VEB Typoart’s typefaces, more than 25 years later — Blog — TypeOff.

institut für buchkunst

Their Janson-style stypeface, called Kis-Antiqua, was designed by Korger. D-1 kept the data recorded as 100% uncompressed, unlike today where compression is required to save space and time for practical delivery to the home, but sacrificing the picture and sound quality in the process. West Berlin also had locally-elected government. Liner Notes: Gespräche über das Büchermachen. D-1 was the very first real-time digital broadcast-quality tape format. Photograph of a machine manufactured at Leningrad, taken in the Linotype Museum at Schopfheim, Germany in 2011.

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