The Summer 2016 issue of this quarterly journal discusses approaches to computation in contemporary design practice. GRAPHIC #37 also includes interviews with A2/SW/HK, Adrian Shaughnessy, Andrew LeClair, Andrew Blauvelt, Benedikt Groß, Catalogtree, Ellen Lupton, Erik van Blokland, Frederike Huygen, Hansje van Halem, Jonathan Puckey, Jürg Lehni, Ken Frederick, LUST and Rob Giampietro.
GRAPHIC #37 is available here
The Original Champions of Design agency have included MuirMcNeil’s FF ThreeSix in their design for the Museum of Modern Art 2016 desk calendar. For each week, a typeface selected by OCD is featured opposite typographic work from the Museum’s collection – in the case of ThreeSix, a cover from Wolfgang Weingart’s ‘Typographic Process’, volume 1971-2.
An exhibition of our typographic work took place during the annual TypeCon convention in Seattle WA from the 24th to 28th August 2016. Thanks to the generous support of Monotype, most of the MuirMcNeil typeface systems were presented in the form of posters along with a few designs still in development. A limited edition of our poster for the Cut typeface was also available at the event.
MuirMcNeil have designed a clock for TypeCon 2016 using 9 typefaces / 66 fonts from MuirMcNeil’s TwoPoint and TwoPlus type systems. In two precisely registered layers, fonts for time, date, and background panels are programmed to change randomly each minute. With layer colours reversing for am and pm, this results in a possible 8,712 overlay combinations.
App coding: Alistair McClymont
Our animation for TypeCon 2016 explores the potential of the modular construction of MuirMcNeil’s TwoPoint and TwoPlus type systems in formulating a layered information environment which evokes a glitched LCD display system. In this context, and to adapt the typographic approach used across the static elements of the identity to motion graphics, a set of parameters were defined to regulate the animation process: all movement between frames was restricted to the horizontal axis in integer multiples of the various dot pitches derived from a series of specific scale-related type sizes.
The result is an animation, that is in effect ’frame by frame’ with no inbetweening, which extends the visual language of the identity, emphasising both the structural and textural attributes of the typographic system used throughout.
Typography in the Search for Perfect Language
4.10pm, Saturday, August 27
The history of the human endeavour to perfect language by means of design can be traced across many cultures, although most attempts to achieve it have been as quixotic as they are utopian.
In his talk at TypeCon 2016, Paul McNeil will look at the contribution of writing and typography to this quest. Centred on a survey of writing systems that are the product of conscious agency rather than cultural evolution, the talk will cover the many ways in which text has been configured to enhance expression in human communication while continuously adapting to technological changes. It will go on to outline more profound and ambitious interventions, ranging from radical orthographic and linguistic reform programmes to the wild frontier of asemic writing, where the requirement for text to act as a vehicle for language is completely abandoned.
The talk will conclude with an algorithmic framework for the formulation of text, illustrated by a number of speculative projects in the field by students from the MA Contemporary Typographic Media course at the London College of Communication.
The Tower of Babel by Pieter Bruegel the Elder (1563)
Some background on our identity design for TypeCon 2016.
The directional offsets used in our identity for LCC Postgraduate Shows 2015 (see below) form the basis of animated GIFs for screen-based applications – the example shown here is for use on LCC’s flat screen information display system.