A type design project that approached the definition of conceptual art was FUSE, launched by Neville Brody and Jon Wozencroft in the early 1990’s. FUSE consisted of a set of four original typefaces with corresponding posters, and an accompanying essay. Each issue had a theme such as religion, exuberance, (dis)information, virtual reality, etc., but the designers had complete freedom as to how they interpreted that theme.
Wednesday, 19 February 2014
OUGD404 Conceptual Type
'To begin with, let’s be clear that conceptual type is an oxymoron. A typeface can’t really be conceptual, because it is dependent on its execution. Typeface design is a craft, so the process that transforms the pure idea into a functional font is a critical part of the discipline. Before the typeface is executed, it is not a typeface, it is simply an idea.' - Peter Bil'ak
A type design project that approached the definition of conceptual art was FUSE, launched by Neville Brody and Jon Wozencroft in the early 1990’s. FUSE consisted of a set of four original typefaces with corresponding posters, and an accompanying essay. Each issue had a theme such as religion, exuberance, (dis)information, virtual reality, etc., but the designers had complete freedom as to how they interpreted that theme.
https://www.typotheque.com/articles/conceptual_type
A type design project that approached the definition of conceptual art was FUSE, launched by Neville Brody and Jon Wozencroft in the early 1990’s. FUSE consisted of a set of four original typefaces with corresponding posters, and an accompanying essay. Each issue had a theme such as religion, exuberance, (dis)information, virtual reality, etc., but the designers had complete freedom as to how they interpreted that theme.
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studio brief 2
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