Parisian Anatome Gallery presents from May 6 to July 23, 2011, an exhibition dedicated to Paul Renner’s Futura.
It will showcase the work of many international renown designers and the complete history of the typeface.
Opening hours
Tuesday – Saturday, 2 PM – 7 PM
This exhibition is also the occasion to present the book written by the curators Michel Wlassikoff and Alexandre Dumas de Rauly: FUTURA, une gloire typographique.
Burton Kramer Identities is an important and comprehensive book on the work of a leading Canadian designer, educator and painter, who practiced for over 50 years.
Kramer began his design career in the New York office of Will Burtin and went on to work at Geigy under Gottfried Honegger. In 1961, he moved to Zurich, Switzerland, as Chief Designer at the E. Halpern Agency, where he created award-winning work. In 1965, Kramer moved to Toronto to work on graphics and signage for Expo 67. In 1967, he founded Kramer Design Associates, creating identity programs for the Royal Ontario Museum, Ontario Educational Television and in 1974, his well-known logo and identity program for the Canadian Broadcasting Corporation.
His logos and corporate identity work have been published in numerous books and journals worldwide. In 1999, he received the Lifetime Achievement Award from ArtsToronto; in 2002, the Province of Ontario awarded him the Order of Ontario for his cultural contributions; and in 2003, the Ontario College of Art & Design granted him an honorary doctorate, D.Des.
Since about 2001, Kramer’s focus has shifted from design to painting. His abstract, geometry-based, lyrical, colorist paintings have been shown regularly in galleries in Europe, Mexico, Colombia, the USA and Canada.
$53.82 [USD]
186 Pages / 8.5 x 8.5″
Paperback, CMYK Print
250+ Images / 9 Articles
In June, Linotype AG will be releasing Christian Schwartz‘s faithful recreation of Neue Haas Grotesk as it existed when it was first introduced to the world in 1956 by the Haas’sche Schriftgiesserie in Basel. Originally begun, but not used, for Mark Porter’s 2005 reimagining of The Guardian, and later completed for Richard Turley’s lauded 2010 redesign of Bloomberg Businessweek, this digital typeface was at heart a restoration project: bringing Eduard Hoffmann and Max Miedinger’s original vision for Neue Haas Grotesk back to life with as much fidelity to his original shapes and spacing as possible, rather than trying to rethink Helvetica or improve on current digital versions.
Commercial Type is pleased to be exclusively offering this family to their customers and friends for a limited time before the wide release. For a limited time of two weeks Neue Haas Grotesk is available directly from Commercial Type.
They have set up a private area on their website where the fonts can be viewed and licensed:
http://commercialtype.com/visitor_login
username: nhg
password: miedinger
Designing the posters for the annual Kieler Woche sailing regatta has developed into one of the most prestigious European design competitions since it started in 1948. Since 1959 only five designers or design practices have been invited to take part in the competition, so that participation as such represents a distinction and has proved a crucial milestone in many designers’ careers. Winners and participants such as Ruedi Baur, Wim Crouwel, Willy Fleckhaus, Jan Lenica, Josef Müller-Brockmann and Odermatt+Tissi are outstanding European designers. The brief has remained unchanged for 60 years, and offers a unique survey of the development of European graphics.
14.8 x 21 cm, 5¾ x 8¼ in, 128 pages, approx. 150 illustrations, softcover (2010)
I like these Jan Tschichold inspired illustrations by Portuguese designer Cristiana Couceiro.
