1 T H E E N D basis in ents w vernacula 80s, but there were a lot of other influences at work. Everything cture to the at Cranbrook read, I also didn he mix. Although I was never involved in the French linguistic theory that some e students king an interest in these id at the tim me were t hic designers taking as a he oth e, architecture and eventually gra t, l literatu as a very exciting time. People were questioning a lot of perceived ideas about a re changing with the introduction esign n wer well. It was made even more exciting when the technologies used to produce on to be easily readable it had to info ormati isted, at the time, and perhaps still today, a very strong feeling that for texts and in existed he tim at th hic gestures are loaded with me that al ll g there was no such thing as neutrality or transparency in design, th y.” We argued t ha minator audiences. We were l common d addressing the needs of multi-national corporations and lowest co en’t interested in ntentions were utions and audiences who would enjoy reading visually sophisticated mess ller cultural institu bjectivity and transparen k was always dismissed as inferior design. It was always compared to the y the critics. The work assion and th he deep and s ch it existed. I continue to be impressed by Rick Poynor’s pas gard to the context in w gar designers do. Similarly, Robin Kinross’s w design. H gr writing styles of both these writers remains too “nice.” I of edge. It’s safe. It’s all very serious. It’s all about the idea. But no kind ion of writing. Personally, I enjoy writers who use humor, iron nal Style versi ternation ld and Jeffery eth FitzGeral , like Kenne out d uld write abo wish I cou esty and g ne thout reg ubject of g y r ideas,
Transcript
AT 1
T H E
E N D
I think that the work at Cranbrook and CalArts is often inaccurately described as having its basis in theory. Yes, some students were reading Barthes and I think that the work at Cranbrook and CalArts is often inaccurately described as having its basis in theory. Yes, some students were reading Barthes and Derrida at Cranbrook in the early 80s, but there were a lot of other infl uences at work. Everything from Punk music to vernacular architecture to the Derrida at Cranbrook in the early 80s, but there were a lot of other infl uences at work. Everything from Punk music to vernacular architecture to the Derrida at Cranbrook in the early 80s, but there were a lot of other infl uences at work. Everything from Punk music to vernacular architecture to the Derrida at Cranbrook in the early 80s, but there were a lot of other infl uences at work. Everything from Punk music to vernacular architecture to the golden section. It was all in the mix. Although I was never involved in the French linguistic theory that some students at Cranbrook read, I also didn’t golden section. It was all in the mix. Although I was never involved in the French linguistic theory that some students at Cranbrook read, I also didn’t golden section. It was all in the mix. Although I was never involved in the French linguistic theory that some students at Cranbrook read, I also didn’t see any problem with graphic designers taking an interest in these kinds of ideas. All the other arts at the time were taking an interest in these ideas and see any problem with graphic designers taking an interest in these kinds of ideas. All the other arts at the time were taking an interest in these ideas and see any problem with graphic designers taking an interest in these kinds of ideas. All the other arts at the time were taking an interest in these ideas and see any problem with graphic designers taking an interest in these kinds of ideas. All the other arts at the time were taking an interest in these ideas and see any problem with graphic designers taking an interest in these kinds of ideas. All the other arts at the time were taking an interest in these ideas and see any problem with graphic designers taking an interest in these kinds of ideas. All the other arts at the time were taking an interest in these ideas and were infl uenced by it. It was a very exciting time. People were questioning a lot of perceived ideas about art, literature, architecture and eventually graphic were infl uenced by it. It was a very exciting time. People were questioning a lot of perceived ideas about art, literature, architecture and eventually graphic were infl uenced by it. It was a very exciting time. People were questioning a lot of perceived ideas about art, literature, architecture and eventually graphic were infl uenced by it. It was a very exciting time. People were questioning a lot of perceived ideas about art, literature, architecture and eventually graphic design caught the bug as well. It was made even more exciting when the technologies used to produce design were changing with the introduction of design caught the bug as well. It was made even more exciting when the technologies used to produce design were changing with the introduction of design caught the bug as well. It was made even more exciting when the technologies used to produce design were changing with the introduction of design caught the bug as well. It was made even more exciting when the technologies used to produce design were changing with the introduction of the Macintosh. There existed, at the time, and perhaps still today, a very strong feeling that for texts and information to be easily readable it had to be the Macintosh. There existed, at the time, and perhaps still today, a very strong feeling that for texts and information to be easily readable it had to be the Macintosh. There existed, at the time, and perhaps still today, a very strong feeling that for texts and information to be easily readable it had to be the Macintosh. There existed, at the time, and perhaps still today, a very strong feeling that for texts and information to be easily readable it had to be the Macintosh. There existed, at the time, and perhaps still today, a very strong feeling that for texts and information to be easily readable it had to be the Macintosh. There existed, at the time, and perhaps still today, a very strong feeling that for texts and information to be easily readable it had to be the Macintosh. There existed, at the time, and perhaps still today, a very strong feeling that for texts and information to be easily readable it had to be presented “neutrally.” We argued that there was no such thing as neutrality or transparency in design, that all graphic gestures are loaded with mean-presented “neutrally.” We argued that there was no such thing as neutrality or transparency in design, that all graphic gestures are loaded with mean-presented “neutrally.” We argued that there was no such thing as neutrality or transparency in design, that all graphic gestures are loaded with mean-presented “neutrally.” We argued that there was no such thing as neutrality or transparency in design, that all graphic gestures are loaded with mean-presented “neutrally.” We argued that there was no such thing as neutrality or transparency in design, that all graphic gestures are loaded with mean-presented “neutrally.” We argued that there was no such thing as neutrality or transparency in design, that all graphic gestures are loaded with mean-ing. Also, we weren’t interested in addressing the needs of multi-national corporations and lowest common denominator audiences. We were looking ing. Also, we weren’t interested in addressing the needs of multi-national corporations and lowest common denominator audiences. We were looking ing. Also, we weren’t interested in addressing the needs of multi-national corporations and lowest common denominator audiences. We were looking ing. Also, we weren’t interested in addressing the needs of multi-national corporations and lowest common denominator audiences. We were looking ing. Also, we weren’t interested in addressing the needs of multi-national corporations and lowest common denominator audiences. We were looking to work for smaller cultural institutions and audiences who would enjoy reading visually sophisticated messages. But these intentions were always to work for smaller cultural institutions and audiences who would enjoy reading visually sophisticated messages. But these intentions were always to work for smaller cultural institutions and audiences who would enjoy reading visually sophisticated messages. But these intentions were always overlooked by the critics. The work was always dismissed as inferior design. It was always compared to the objectivity and transparency of Swiss design overlooked by the critics. The work was always dismissed as inferior design. It was always compared to the objectivity and transparency of Swiss design overlooked by the critics. The work was always dismissed as inferior design. It was always compared to the objectivity and transparency of Swiss design without regard to the context in which it existed. I continue to be impressed by Rick Poynor’s passion and the deep and sincere interest he has in the without regard to the context in which it existed. I continue to be impressed by Rick Poynor’s passion and the deep and sincere interest he has in the without regard to the context in which it existed. I continue to be impressed by Rick Poynor’s passion and the deep and sincere interest he has in the without regard to the context in which it existed. I continue to be impressed by Rick Poynor’s passion and the deep and sincere interest he has in the without regard to the context in which it existed. I continue to be impressed by Rick Poynor’s passion and the deep and sincere interest he has in the subject of graphic design. He cares more for design than many designers do. Similarly, Robin Kinross’s writing, particularly his book Modern Typog-subject of graphic design. He cares more for design than many designers do. Similarly, Robin Kinross’s writing, particularly his book Modern Typog-subject of graphic design. He cares more for design than many designers do. Similarly, Robin Kinross’s writing, particularly his book Modern Typog-raphy, is some of the best in the fi eld. But the writing styles of both these writers remains too “nice.” It’s technically and factually spotless. It’s smart and observant. But it lacks a kind of edge. It’s safe. It’s all very serious. It’s all about the idea. But not enough effort is paid to the presentation. It’s like and observant. But it lacks a kind of edge. It’s safe. It’s all very serious. It’s all about the idea. But not enough effort is paid to the presentation. It’s like the Swiss International Style version of writing. Personally, I enjoy writers who use humor, irony, even sarcasm, and who dare to go out on a limb with the Swiss International Style version of writing. Personally, I enjoy writers who use humor, irony, even sarcasm, and who dare to go out on a limb with the Swiss International Style version of writing. Personally, I enjoy writers who use humor, irony, even sarcasm, and who dare to go out on a limb with their ideas, like Kenneth FitzGerald and Jeffery Keedy and David Barringer, to name but a few. Outside of design, the writer/poet I love to read is Charles their ideas, like Kenneth FitzGerald and Jeffery Keedy and David Barringer, to name but a few. Outside of design, the writer/poet I love to read is Charles their ideas, like Kenneth FitzGerald and Jeffery Keedy and David Barringer, to name but a few. Outside of design, the writer/poet I love to read is Charles Bukowski. I wish I could write about design in the same manner that he writes about his life. It’s very straightforward, but it’s full of depth and vividness Bukowski. I wish I could write about design in the same manner that he writes about his life. It’s very straightforward, but it’s full of depth and vividness Bukowski. I wish I could write about design in the same manner that he writes about his life. It’s very straightforward, but it’s full of depth and vividness and passion and honesty and great colorful descriptions of people and places. and passion and honesty and great colorful descriptions of people and places.
without regard to the context in which it existed. I continue to be impressed by Rick Poynor’s passion and the deep and sincere interest he has in the subject of graphic design. He cares more for design than many designers do. Similarly, Robin Kinross’s writing, particularly his book Modern Typog-raphy, is some of the best in the fi eld. But the writing styles of both these writers remains too “nice.” It’s technically and factually spotless. It’s smart
their ideas, like Kenneth FitzGerald and Jeffery Keedy and David Barringer, to name but a few. Outside of design, the writer/poet I love to read is Charles
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GRUPO KOBALTO
01 EDUARDO SALUSTIANO FELIX 02 CAMILA RODRIGUES MEZETI03 LEANDRO DICKSON GARCIA 04 KEITH DUARTE LUIZ
Este memorial descritivo tem como finalidade apresentar a obra do designer, fotógrafo, tipógrafo e idealizador desta, Rudy VanderLans. Sua biografia, sua produção, assim como os meios nos quais sua obra foi determinantemente influenciadora.
dicedicedicedice
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rudy V
anderl
ans
emigre
Rudy VanderLans (1955) é natural dos países baixos, mais especifi camente de Voorburg, cidade adjacente à Haia. Iniciou suas atividades universitárias
na Royal Academy of Arts em 1974, onde se formou em 1979. No começo de sua carreira sua intenção era trabalhar como ilustrador, assim inscreveu-se no Graphic Design Departament. Durante mais alguns anos trabalhou como auxiliar em estúdios de design, onde era estagiário e fazia serviços de branding para empresas. Então em 1981 muda-se para os EUA pois havia se candidatado e sido aceito para o programa acadêmico da Universidade de Berkeley, na Califórnia, para estudar fotografi a. Nos EUA ele continua a executar seus trabalhos por mais alguns anos, até conhecer Zuzana Licko, tipógrafa, com quem se casa em 1983.Em 1984, juntamente com sua esposa, criam a type foundry Emigre e juntos começam a produzir a revista homônima, que nada mais era do que uma publicação para design e tipografi a experimental.Rudy VanderLans, além de designer gráfi co, é também fotógrafo e tipógrafo.
Já morando nos EUA, VanderLans começou a trabalhar no periódico San Francisco
Chronicle. Porém, sua frustração foi tanta que ele parte em busca de alternativas mais criativas para seu trabalho. Foi então que, em 1984, juntamente com dois amigos holandeses, começam a produzir a revista Emigre, que já contaria com a ajuda de Zuzana já na segunda edição. Esse foi o ponto de partida da parceria VanderLans/Licko, que renderam grandes trunfos para o universo do design pós-modernista, como as 69 edições da revistas e as diversas fontes produzidas, de forma pioneira por sua fundição digital.
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Fotografi a experimental do “Casal Emigre”, utilizando como ferramenta montagens e focos diferentes para cada lado da imagem.
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Os anos 1980
seus experimentos da melhor forma possível, em uma época que as pessoas ainda estavam receosas com relação ao rumo incerto da profi ssão de designer gráfi co. E como conseqüência, sua criação tipográfi ca e editorial criou uma revolução no meio do design que não tem como ser reconhecida nos dias de hoje.
Antes da revolução digital, para quem quisesse ser arte-fi nalista, era imprescindível ter aptidões, habilidades
manuais e também saber desenhar. As formas tipográfi cas eram anteriormente adaptadas da caligrafi a, utilizando metal e madeira. Com a facilidade que veio junto com a chegada do computador, mais especifi camente com o surgimento do Macintosh, em 1984, foi como se os limites da tipografi a não fossem mais existir.
Na tipografi a digital, os tipos são em formatos de mapas de bits (bitmaps) para melhor visualização em monitor, mas a fonte em si é composta por curvas vetoriais que eram processadas pela impressora.
Recém fundada, a Emigre estava bem no meio do furacão quando a Apple apresentou o Macintosh para o mundo. Eles faziam parte de uma pequena parcela de designers que acreditava que esse novo formato teria seguimento. Os tipos feitos por eles em bitmaps tinham saída de baixa resolução, mesmo assim foram surgindo suas primeiras fontes com design inovador e criativo. Tanto que não há ninguém melhor que o casal Rudy VanderLans e Zuzana Licko para citar, quando se trata das transformações estéticas do design e da tipografi a provenientes mo Macintosh e seu refl exo na atualidade. Eles utilizaram, sem medo, o poder das interfaces digitais para editorar
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Os anos 1980
Segundo exemplar da revista Emigre, feito já utilizando o Macintosh
Primeiro exemplar da revista Emigre, totalmente feita com
máquina de escrever
what you
see is
what you get
Anúncio do Macintosh, da recem fundada Apple, de Steve Jobs
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comercializá-la. Foi assim que surgiu a revista Emigre, que falava de design e tipografi a, causando uma grande infl uência no meio gráfi co, artístico e editorial, com suas fontes diferentes de tudo o que vinha sendo produzido.A revista emigre não só era uma revista que servia para a venda das fontes de Zuzana, como também se tornou um palco para o design grafi co experimental. Pode se dizer, sem receio que a fundição Emigre e a sua respectiva revista, foram as precussoras do design gráfi co no que se refere à interface digital e também um icone de cultura, em todos os sentidos.
Zuzana Licko, esposa de VanderLans, começou a elaborar
suas fontes digitais em formato de Bitmap em software de domínio livre. A necessidade de divulga-las fez surgir a ideia de criar, junto de Rudy um suporte que possibilitasse experimentar várias formas de se usar a tipografi a e também de
a revistaque nãotemlimites
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Emigre é tanto o nome da publicação impressa publicada entre 1984 e 2005 e que rendeu, ao todo 69 números como também o nome da fundição fundada alguns anos depois, por VanderLans e sua esposa Licko.
Emigre é tanto o nome da Emigre é tanto o nome da publicação impressa publicada publicação impressa publicada publicação impressa publicada entre 1984 e 2005 e que rendeu, ao entre 1984 e 2005 e que rendeu, ao entre 1984 e 2005 e que rendeu, ao
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a fundição tipográfi caa fundição tipográfi ca
what you see is not necessarily what you get
as fontes e sua fundição digital
A primeirsa fontes digitais da Emigre foram criadas por Zuzana Licko em 1984, feitas totalmente em bitmaps. Apesar de Rudy VanderLans ter sido co-criador e produtor de uma das revistas mais renomadas da tipografi a, esta mesma técnica não é o forte dele, tendo produzido, nestes 26 anos de atividade, apenas três modelos de fontes, a Oblong, a Suburban e a Variex.
Fonte Oblong:
Exemplo de uma das fontes de baixa resolução de bitmap (comumente chamadas de fontes Lo-Res)
criada no começo da Emigre por Zuzana Licko
Fonte Suburban:
Fonte Variex:
A fundição surgiu com a proposta de produzir fontes com desenhos diferentes e uma estética gráfi ca ousada. Hoje a Emigre conta, em seu catálogo com um acervo de mais de 200 fontes sendo muitas delas de Zuzana Licko e de outros artistas.
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a fundição tipográfi ca
what you see is not necessarily what you get
as fontes e sua fundição digital
O catálogo de fontes Emigre foi criado para divulgar as fontes da Emigre, tendo muitas vezes sido incorporado como parte integrante da revista. Este item ainda é lançado periodicamente até os dias de hoje.
Dingbats criados por Zuzana Licko
O CatálogoO Catálogo
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O criar do Rudy é a sobreposição de elementos foi neste fundamento que criamos o cartaz all type ao qual leva consigo até a visualização de uma fonte como textura criada por Zuzana Licko (Puzzler) e muito utilizada na diagramação de Rudy.Por ser um cartaz apenas com palavras dinâmicas entre si, colocamos palavras chaves e datas importantes da vida de Rudy, como: Macintosh (a revolução dos tipos digitais), Zuzana Licko (sua esposa), Magazine Emigre (o seu trabalho mais conhecido e valorizado), Type Fondry ( Fabrica de tipos, pois ele criou três tipografi as), since 1984 (A emigre começou nesta data).Medidas: 420x297mm – A3
A obra que evidenciamos de Rudy Vanderlans foi a revista Emigre, por isso pensamos em um porta revistas. Na confecção do mesmo, tivemos como objetivo a utilização da forma mais útil possível, integrar de forma harmoniosa o design e a funcionalidade.A fonte selecionada para a elaboração foi a Variex, do próprio VanderLans. A escolha foi feita pelo fato da fonte ter uma fusão de linhas e curvas que fazem formas peculiares.
Cartão postal
PEÇAS CONFECCIONADAS
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O cartão postal é uma lembrança para turistas. A emigre tem esse nome por motivos de migrações e emigrações, por isso escolhemos o postal.Medidas : 100x150mm
O cartão postal é uma lembrança para turistas. A emigre tem esse nome por motivos de migrações e emigrações, por isso escolhemos o postal.Medidas : 100x150mm
Parte traseira da camiseta
Parte frontal da camiseta
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Camiseta - Um meio de identifi -cação do grupo com a caricatura estilizada do Rudy Vanderlans.
Camiseta - Um meio de identifi cação do grupo com a caricatura esti-lizada do Rudy Vander-lans.
O fi m da EmigreCamiseta - Um meio de identifi cação do grupo com a caricatura estilizada do Rudy Vanderlans.
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EmigreEmigreSegundo exemplar da revista Emigre, feito já utilizando o Macintosh. Vitaeperum doluptatem re num ex et volorro et enitatus incimus dernatibus ea dolo ma nus as enim simporisquid ullabo. Ximus nulliquos modi corrovid utatia voluptat ullanihil ent eum, santiorat ab illabo. Mod quia net ipienti niae nobis eostintis sit veria nescid quid qui blam sundem ut aboruptiae pro comnis doluptat laborit fuga. Obis eium endebit issitatur a nihilibus dis sint rerum fuga. Sequi non perorerit ut offi cid quias di dolenis doloreptatur minulpa que doluptas iduntem volorporit faccullitae pel experia dollesed quunt eum faccaeces dus et eni optam qui od modist, sum aut ipsam volendis ipis et optaqui rersped quam laut es nonsequam dolupta serum dolupta sundam, et re conserum elitatur? Nati aliquaeris eum qui il ius, cum et Segundo exemplar da revista Emigre, feito já utilizando o Macintosh. Vitaeperum doluptatem re num ex et volorro et enitatus incimus dernatibus ea dolo ma nus as enim simporisquid ullabo. Ximus
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Camiseta - Um meio de identifi cação do grupo com a caricatura estilizada do Rudy Vanderlans.
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Segundo exemplar da revista Emigre, feito já utilizando o Macintosh. Vitaeperum doluptatem re num ex et volorro et enitatus incimus dernatibus ea dolo ma nus as enim simporisquid ullabo. Ximus nulliquos modi corrovid utatia voluptat ullanihil ent eum, santiorat ab illabo. Mod quia net ipienti niae nobis eostintis sit veria nescid quid qui blam sundem ut aboruptiae pro comnis doluptat laborit fuga. Obis eium endebit issitatur a nihilibus dis sint rerum fuga. Sequi non perorerit ut offi cid quias di dolenis doloreptatur minulpa que doluptas iduntem volorporit faccullitae pel experia dollesed quunt eum faccaeces dus et eni optam qui od modist, sum aut ipsam volendis ipis et optaqui rersped quam laut es nonsequam dolupta serum dolupta sundam, et re conserum elitatur? Nati aliquaeris eum qui il ius, cum et Segundo exemplar da revista Emigre, feito já utilizando o Macintosh. Vitaeperum doluptatem re num ex et volorro et enitatus incimus dernatibus ea dolo ma nus as enim simporisquid ullabo. Ximus nulliquos modi corrovid utatia voluptat ullanihil ent eum, santiorat ab illabo. Mod quia net ipienti niae nobis eostintis sit veria nescid quid qui blam sundem ut aboruptiae
Segundo exemplar da revista Emigre, feito já utilizando o Macintosh. Vitaeperum doluptatem re num ex et volorro et enitatus incimus dernatibus ea dolo ma nus as enim simporisquid ullabo. Ximus nulliquos modi corrovid utatia voluptat ullanihil ent eum, santiorat ab illabo. Mod quia net ipienti niae nobis eostintis sit veria nescid quid qui blam sundem ut aboruptiae pro comnis doluptat laborit fuga. Obis eium endebit issitatur a nihilibus dis sint rerum fuga. Sequi non perorerit ut offi cid quias di dolenis doloreptatur minulpa que doluptas iduntem volorporit faccullitae pel experia dollesed quunt eum faccaeces dus et eni optam qui
