François Rappo

The Typografische Monatsblatter is one of the most important journals to successfully disseminate the phenomenon of "Swiss typography" to an international audience. With more than 70 years in existence, the journal witnessed significant moments in the history of typography and graphic design. 30 Years of Swiss Typographic Discourse in the Typografische Monatsblatter examines the years 1960-90, that correspond to a period of transition in which many factors such as technology, socio-political contexts and aesthetic ideologies profoundly affected and transformed the fields of typography and graphic design. The book includes a large number of works from well-known and lesser-known designers such as Emil Ruder, Helmut Schmid, Wolfgang Weingart, Hans-Rudolf Lutz, Jost Hochuli and many others.

30 Years of Swiss Typographic Discourse in the Typografische Monatsblẗter

TM RSI SGM 1960-90

Bettina Richter

Barbara Junod

Michael Renner

Franziska Nyffenegger

Invar-Torre Hollaus

Teal Triggs

Amanda Unger

Corina Neuenschwander

Peter Vetter

Davide Fornari

Roland Früh

Leslie Kennedy

Robert Lzicar

Mapping Graphic Design History in Switzerland

This publication continues the ECAL design series. The project began with a simple question: Is there such thing as a computer program capable of taking over the routine tasks of letter design? This issue, both artistic and digital, led the professors And The students of the Masters in Art Direction of the ECAL to imagine exchanges back and forth between digital type specifications And The actual shape of letters. They went into more general questions about the groups of shapes that make up our letters - stems, curves, and serifs - asking themselves how they could possibly simplify and further amalgamate these groups of shapes that monopolize the energy of schoolchildren, illustrators, and type designers alike. Calligraphy and hand-drawn letters comprise series of strokes and curves; mechanical typography does too, through the engraving process of punches and counter-punches. Digital typography, however, dematerializes this operation, leaving the choice of formal references open-ended. Does that mean novel forms of design could evolve through manipulating fonts' algorithmic data? Several small scripting programs were developed and tested by the students during a series of workshops. From a set of typography experiments based on these simple scripts, David Keshavjee and Julien Tavelli designed a text typeface that is featured in this book and displays the characteristics of the tool that generated it. As an extension to this concept, mobile wooden characters were made as a materialization of a graphic application arising from scripting techniques; this enabled play with typographic equipment, hand setting, spaces, and printing. Published with ECAL, University of art and design Lausanne. English and French text.

Caractère Typographique Comme Programme

Typography refers to both the design of letters and the distribution of those letters on a page--or, more recently, a screen. It is "the craft of endowing language with a durable visual form," as Robert Bringhurst writes, and it has been described as an art, a science and a tool. Those who study typography must be prepared to work in all of those fields--as scientists, artists and craftsmen--and then to stand humbly by as readers breeze through their work without a thought of it. This fourth volume of the series dedicated to the typography of the Ecole cantonale d'art de Lausanne brings together work produced in degree courses and at workshops with invited professors.

we make fonts ; publ. dans le cadre du projet de recherche appliquée et de développement "Corporate Typeface"

ECAL - Typographie

François Rappo

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