Neville Brody - syntax design
Neville Brody - syntax design
Neville Brody - syntax design
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<strong>Neville</strong> <strong>Brody</strong>ReferatVon Carl Christian Osterhorn<strong>Neville</strong> <strong>Brody</strong>. Referat von Carl Christian Osterhorn – Typografie und Layout – HFK Bremen – WS 05/06
AussagenHave you seen this book? It’s printed on great paper!"There are a lot of highly-skilled, highly professional <strong>design</strong>ers out there.But so many people are caught up with the ‘what’ or ‘how’ of what they’redoing; not many are asking why?""Often people forget that how clever you are with the latest technologyis not the point. The equivalent would be like someone coming up to youand 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."<strong>Neville</strong> <strong>Brody</strong>. Referat von Carl Christian Osterhorn – Typografie und Layout – HFK Bremen – WS 05/06
AussagenLiberate typography from its textual role"On the simplest level the choice of a typeface pretty much dictatesthe way you would interpret information. If you read a book that was in verylarge Helvetica, you would respond very differently to the wordson that page than if it was set in a small Baskerville or Garamond. ""There are different levels of meaning within typography that dictate thetone in which we will approach the words and the content. And it’s avery subliminal thing; we are really not conscious of this on a day-to-daybasis""What we’re saying is there are other levels in typography that arecommunicated exactly the same time as the words that we read. Becausetypography is something that everyone can have access to, typographycan become an abstract form in itself."<strong>Neville</strong> <strong>Brody</strong>. Referat von Carl Christian Osterhorn – Typografie und Layout – HFK Bremen – WS 05/06
AussagenSuccess"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 thinktwice about something they’re doing, I would call that a success.I think the objects I leave behind are not the legacy I’minterested in. It’s whether I can leave behind a thought process."<strong>Neville</strong> <strong>Brody</strong>. Referat von Carl Christian Osterhorn – Typografie und Layout – HFK Bremen – WS 05/06
BeispieleGrafik - CoverPlattencoverBuchcoverPlattencover<strong>Neville</strong> <strong>Brody</strong>. Referat von Carl Christian Osterhorn – Typografie und Layout – HFK Bremen – WS 05/06
BeispieleGrafik - PosterPosterPoster<strong>Neville</strong> <strong>Brody</strong>. Referat von Carl Christian Osterhorn – Typografie und Layout – HFK Bremen – WS 05/06
BeispieleGrafik – AlltäglichesSenderlogoTragetascheSenderlogoTelefonkarte<strong>Neville</strong> <strong>Brody</strong>. Referat von Carl Christian Osterhorn – Typografie und Layout – HFK Bremen – WS 05/06
FontsÜbersicht<strong>Neville</strong> <strong>Brody</strong>. Referat von Carl Christian Osterhorn – Typografie und Layout – HFK Bremen – WS 05/06
FontsListe<strong>Neville</strong> <strong>Brody</strong>. Referat von Carl Christian Osterhorn – Typografie und Layout – HFK Bremen – WS 05/06
FUSESchriften - CyberstaticReadability is a conditioned state. I wanted to take the role of typography away from a purelysubservient, practical role towards one that is potentially more expressive and visuallydynamic. There are no special characters and presently no lower case is planned. The font is<strong>design</strong>ed to have no letter spacing, and ideally it should be set with no line space. I decided notto include a complete set of punctuation marks and accents, encouraging people to create theirown if needed.<strong>Neville</strong> <strong>Brody</strong>. Referat von Carl Christian Osterhorn – Typografie und Layout – HFK Bremen – WS 05/06
FUSESchriften - StateThe idea is to get inside the structure of the alphabet and to accentuate theshapes that are inherent in written language. The negative shapes are givenequal prominence to the positive, an attempt to diffuse the power oflanguage and the hierarchy imposed by typographic rules. Perhaps for thisreason, the typeface is not practical for day to day us<strong>Neville</strong> <strong>Brody</strong>. Referat von Carl Christian Osterhorn – Typografie und Layout – HFK Bremen – WS 05/06
Quellenwww.apple.comwww.wikipedia.dewww.fontshop.dewww.zeit.de<strong>Neville</strong> <strong>Brody</strong>. Referat von Carl Christian Osterhorn – Typografie und Layout – HFK Bremen – WS 05/06