Neville Brody. Referat. Von Carl Christian Osterhorn. Neville Brody. Referat von Carl Christian Osterhorn Typografie und Layout HFK Bremen WS 05/06

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1 Neville Brody Referat Von Carl Christian Osterhorn

2 Gliederung 1. Aussagen Have you seen this book? It s printed on great paper Liberate typography from its textual role Success 2. Beispiele Grafik 3. Beispiele Fonts 4. Lebenslauf

3 Aussagen Have you seen this book? It s printed on great paper! "There are a lot of highly-skilled, highly professional designers out there. But so many people are caught up with the what or how of what they re doing; not many are asking why?" "Often people forget that how clever you are with the latest technology is not the point. The equivalent would be like someone coming up to you and saying Have you seen this book? It s printed on great paper!" "What are we going to do when we realize that information is not content? Information is an excuse for technology. It is not content in itself."

4 Aussagen Liberate typography from its textual role "On the simplest level the choice of a typeface pretty much dictates the way you would interpret information. If you read a book that was in very large Helvetica, you would respond very differently to the words on that page than if it was set in a small Baskerville or Garamond. " "There are different levels of meaning within typography that dictate the tone in which we will approach the words and the content. And it s a very subliminal thing; we are really not conscious of this on a day-to-day basis" "What we re saying is there are other levels in typography that are communicated exactly the same time as the words that we read. Because typography is something that everyone can have access to, typography can become an abstract form in itself."

5 Aussagen Success "The true challenge is what messages are you putting over? How do you want people to feel about the work you re doing? It s a dialog. It s never a monolog." "If I manage to create a situation where someone had to think twice about something they re doing, I would call that a success. I think the objects I leave behind are not the legacy I m interested in. It s whether I can leave behind a thought process."

6 Beispiele Grafik - Cover Plattencover Buchcover Plattencover

7 Beispiele Grafik - Poster Poster Poster

8 Beispiele Grafik Alltägliches Senderlogo Tragetasche Senderlogo Telefonkarte

9 Fonts Übersicht

10 Fonts Liste

11 FUSE Schriften - Cyberstatic Readability is a conditioned state. I wanted to take the role of typography away from a purely subservient, practical role towards one that is potentially more expressive and visually dynamic. There are no special characters and presently no lower case is planned. The font is designed to have no letter spacing, and ideally it should be set with no line space. I decided not to include a complete set of punctuation marks and accents, encouraging people to create their own if needed.

12 FUSE Schriften - State The idea is to get inside the structure of the alphabet and to accentuate the shapes that are inherent in written language. The negative shapes are given equal prominence to the positive, an attempt to diffuse the power of language and the hierarchy imposed by typographic rules. Perhaps for this reason, the typeface is not practical for day to day us

13 Neville Brody Lebenslauf Geboren 1957 in London Studiert Grafikdesign am London College of Printing 1980 Fetish Records, Plattencover The FACE, Layout ARENA Magazin, Layout 1987 Research Studios gegründet 1990 Fontshop/Fontworks International gegründet 1991 FUSE gegründet

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