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A few years ago, to prove a point, a software company made an offer to buyers of one of its software titles. The offer was a cash prize. To claim it, the user needed to send a message to a specific e-mail address at the company. The prize went unclaimed for four months (and 3000 product sales) before someone finally wrote in and earned a cool $1,000.
The subject of my lecture is Alasdair Gray, who is an artist, illustrator, poet and writer. I've always been interested in people whose careers don't follow a single direction, especially in culture which can be quite suspicious of people who try to do that. Alasdair Gray is a rare example of an artist who has branched out mid-career into another discipline, and become better known in that new area. In Black, White and Gray I'll be looking at some of the extraordinary typographical layouts that have appeared in Gray's work over the last thirty years, and how they came about.
This talk looks at the collaboration between an author and a designer and how they worked together to produce their book: 'Overlooking the Visual: demystifying the art of design'
The manner in which designers work with language with the intention of making it express specific meanings, is both sophisticated and complex. In some cases both visual and verbal language can be synonymous and of equal balance hierarchically.
For many decades the skills of writing, designing, printing and publishing existed as separate fields, with their own methodologies, tools, techniques and trade practices. While this specialization created deeper knowledge and craft within these discrete disciplines, walls were erected to messages outside of mainstream practice.
Each era in print has its own distinct typefaces, but who sets the trends? This brief paper looks at how I unearthed some of the cutting edge printers of the past.
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