This film is a lot different to the previous one I looked at. I like the way it uses photos to make the film rather than using a video camera. I think the music helps make the film that bit different aswell. I think I prefer this film compared with the last film and it has given me the push to use photographs rather than a video camera.
For the film brief we were given by Alan I have been researching short art films that may help inspire me as the brief can be anything we want it to be. I like this film but I think if I tried something like this it would be a little too long.
This clip is what I really liked as it uses a scene from Batman: The Dark Knight with the joker and they have turned it into an animation that uses typography to bring the scene even darker than usual.
For the Animation brief Steve wants us to do I have been researching on youtube the different types of ideas people have had when using typography in animation. I found this short clip very interesting and wanted to create something with this type of effect in my piece.
Adrian Frutiger was born in 1928 at Unterseen near Interlaken (Switzerland). After an apprenticeship as a compositor he made further education in type and graphics at the Zurich School of Arts and Crafts (Kunstgewerbeschule) from 1949 to 1951 (teacher: Alfred Willimann and Walter Käch).
Frutiger was called to Paris in 1952 and worked as typeface designer and artistic manager at Deberny & Peignot. He founded his own studio in Arcueil near Paris 1961, together with Bruno Pfäffli and André Gürtler. Frutiger was Professor for ten years at the Ecole Estienne and eight years at the Ecole Nationale Supérieure des Arts Décoratifs, Paris.
Frutiger’s work has concentrated mainly on the design of printing types and signage systems, but he has also created free forms. The book “Forms and counterforms”, published by Erich Alb of Syndor Press, presents this free forms in a single volume for the first time (Cham, Switzerland, ISBN 3-908257-07-7).
He has received several awards and honours: In 1986, the Gutenberg Prize of the City of Mainz (Germany); 1987, Medal of the Type Directors Club of New York; 1993, Officier de l’Ordre des Arts et des Lettres (Paris); 1993, Grand prix national des Arts Graphiques (France). After a heart operation in 1994, Adrian Frutiger began work on his professional memoirs, covering fifty years of his life as a type designer. Adrian Frutiger sketched out the demands of technology change, from the first phototype of the 1950s to digital setting with personal computers in 1990s. He always saw himself as “a child of his time” and, being one of the very few typeface designers who stood at the junction of these various technologies, he considered it important to write an account of “how it all went” for the following generation.
Our brief for Tuesday’s lesson is to have a Powerpoint Presentation about a typographer we like the work of and to research them. I liked the look of Adrian Frutiger who has designed many type faces that are still well known today. Here are some links to the research I have used for my powerpoint presentation.
Helvetica is a feature-length independent film about typography, graphic design and global visual culture. It looks at the proliferation of one typeface (which celebrated its 50th birthday in 2007) as part of a larger conversation about the way type affects our lives. The film is an exploration of urban spaces in major cities and the type that inhabits them, and a fluid discussion with renowned designers about their work, the creative process, and the choices and aesthetics behind their use of type.
Helvetica encompasses the worlds of design, advertising, psychology, and communication, and invites us to take a second look at the thousands of words we see every day. The film was shot in high-definition on location in the United States, England, the Netherlands, Germany, Switzerland, France and Belgium.
Interviewees in Helvetica include some of the most illustrious and innovative names in the design world, including Erik Spiekermann, Matthew Carter, Massimo Vignelli, Wim Crouwel, Hermann Zapf, Neville Brody, Stefan Sagmeister, Michael Bierut, David Carson, Paula Scher, Jonathan Hoefler, Tobias Frere-Jones, Experimental Jetset, Michael C. Place, Norm, Alfred Hoffmann, Mike Parker, Bruno Steinert, Otmar Hoefer, Leslie Savan, Rick Poynor, and Lars Müller.
Helvetica had its World Premiere at the South by Southwest Film Festival in March 2007. The film subsequently toured film festivals, special events, and art house cinemas worldwide, playing in over 300 cities in 40 countries. It received its television premiere on BBC1 in November 2007, and will be broadcast on PBS as part of the Emmy award-winning series Independent Lens in fall 2008. The film was nominated for a 2008 Independent Spirit Award in the “Truer Than Fiction” category, and was shortlisted for the Design Museum London’s “Designs of the Year” Award. An excerpt of the film was included in an exhibition at the Museum of Modern Art in New York.
Here are some examples of ‘Helvetica’ taken from the film.
We were given our first brief today, which includes Typographic Research. We were then asked to watch a short film known as ‘Helvetica’.
I actually found it extremely interesting as I have no previous knowledge of Graphic Design or Typography so I found the film very useful and the information about different typographers will help me with the brief we have been assigned.
About the Typeface
Helvetica was developed by Max Miedinger with Edüard Hoffmann in 1957 for the Haas Type Foundry in Münchenstein, Switzerland. In the late 1950s, the European design world saw a revival of older sans-serif typefaces such as the German face Akzidenz Grotesk. Haas’ director Hoffmann commissioned Miedinger, a former employee and freelance designer, to draw an updated sans-serif typeface to add to their line. The result was called Neue Haas Grotesk, but its name was later changed to Helvetica, derived from Helvetia, the Latin name for Switzerland, when Haas’ German parent companies Stempel and Linotype began marketing the font internationally in 1961.
Introduced amidst a wave of popularity of Swiss design, and fueled by advertising agencies selling this new design style to their clients, Helvetica quickly appeared in corporate logos, signage for transportation systems, fine art prints, and myriad other uses worldwide. Inclusion of the font in home computer systems such as the Apple Macintosh in 1984 only further cemented its ubiquity.