meet masters mexico

Hace un año mas o menos se llevó a cabo un evento organizado en su mayoría por la gente de ideograma en el salón vive cuervo, dicho evento se llamó: meet masters mexico, y contó con la prescencia de Michael Wolff, Mike Dempsey y Martin Lambie-Nairn, cada uno hablo de su trabajo y mostró algunos de sus proyectos más sobresalientes.
Por fin encontré algo de lo ocurrido ese día.

http://www.designboom.com/weblog/cat/8/view/9219/meet-masters-mexico-part-one…

http://www.designboom.com/weblog/cat/8/view/9234/meet-masters-mexico-part-two…

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11 of the Most Important Digital Fonts Ever Created

OCR-A

American Type Founders designed OCR-A in 1966 to be read explicitly by machines. To wit: All the character forms are the exact same width, which is great for processing data — not so great for human eyeballs. Nevertheless, it has become wildly popular among graphic designers for its retro-techy aesthetic. (‘Member The Matrix?) OCR-A is one of just two typefaces in the collection that wasn’t created on a computer; instead, it was designed with the computer in mind.

We take a look at the unsung heroes of digital typography in MoMA’s freshly expanded permanent collection.

Next month, the Museum of Modern Art will showcase nearly two dozen digital typefaces freshly acquired for the permanent collection, signaling both the consecration of digital type and the canonization of typography as a design discipline. Someone break out the Comic Sans!

All joking aside, the import of the exhibit Standard Deviations: Types and Families in Contemporary Design can’t be overstated. MoMA is the Vatican of the design world; as goes MoMA, so goes the rest of design’s devotees. Until this year, the permanent collection had infographics and magazines and art-show catalogs in spades but only one typeface to its name, and a vanilla one, to boot: Helvetica 36-point bold. The museum seemed to approach typography with a marked indifference.

“They ware all designed with foresight into the digital revolution.”

“With the inauguration late last month of not just one new typeface but 23 — 21 of which were developed on a computer — MoMA is emerging from the typographic Dark Ages with a blast of the wired future. “This first selection of 23 typefaces represent a new branch in our collection tree,” Paola Antonelli, MoMA’s senior curator of architecture and design, writes on the museum’s blog. “They are all digital or designed with a foresight of the scope of the digital revolution, and they all significantly respond to the technological advancements occurring in the second half of the twentieth century. Each is a milestone in the history of typography.”

Why home in on digital typefaces and not, say, the International Style? Because that’s what Antonelli likes. “That’s my time zone,” she tells Co.Design. “I’m more passionate about contemporary design.”

The process for acquiring the typefaces started several years ago. “We took a long and hard look at our collection to see if our graphic design was up to snuff,” Antonelli says. “And even though it is excellent, we were completely lacking the kind of design that bridges the idea of graphic design with the idea of communication design. Our idea is that fonts — typefaces — are the basic unit of graphic design. And they are astonishing examples of design in and of themselves.”

So she and her staff gathered the field’s top experts, including Rick Poynor, Steven Heller, Michael Bierut, and Matthew Carter, for a symposium on expanding the collection. They floated their ideas. Then over the years, MoMA whittled down the list to 23, what Antonelli calls “a number of typefaces that would form the baseline for what a collection of typefaces at the Museum of Modern Art could be.”

Some of them are so obvious, it’s a wonder they didn’t make it into the permanent collection earlier. Take typography demigod Matthew Carter’s ubiquitous Verdana, widely considered the best set of letterforms for reading on a screen; or Gotham, by Hoefler & Frere-Jones, the typeface behind the visual identity of Obama’s 2008 presidential campaign.

Some are less obvious, and they are the focus of our slideshow here. They are the good (the beautifully imperfect Template Gothic); the bad (the rote OCR-A); and the ugly (the eyeball-assaulting FF Beowolf). Together, they form a major element of the history of design. How nice of MoMA to finally join the party!

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Suzanne LaBarre

Suzanne LaBarre

Suzanne is a senior editor at Co.Design. … Read more

 

A Field Guide for Identifying Lovely Typefaces Spotted in the Wild | Co.Design

A Field Guide for Identifying Lovely Typefaces Spotted in the Wild

Fonts in Use, a new blog by designers Sam Berlow, Stephen Coles, and Nick Sherman, catalogs typefaces used in superb designs from all over.

Online, everyone’s a design critic. We don’t have to like it. But we can’t avoid it. Which makes Fonts in Use, a new site by designers Sam Berlow, Stephen Coles, and Nick Sherman, a refreshing addition to the blogosphere: It catalogs and analyzes typography found in designs all over the world. And it does so — gasp! — intelligently.

 

Chop-Shop

 

[A type treatment for a modern butcher shop]

The whole thing is presented as a field guide to modern-day font usage. So arranged in tiles on the homepage, you’ve got a nice little sampling of typographic stories, from the saga of Futura and Benton Modern in W to the the tale of ITC Franklin in a Ford ad. Think of it as The Hollywood Reporter for type dorks.

 

Egotist-Network

 

[The lovely type treatments for The Egotist Network]

The founders are veteran designers — two of ’em come from the exalted type foundry The Font Bureau — and it’s patently clear they aren’t afraid to get dishy. Here’s Coles on a Didoni branding scheme: “The only typographic negligence is found in some of the smaller headlines where less care was taken to fix URW Didoni’s inadequate kerning.” That naughty font!

 

The-Glif

 

[The Glif, an iPhone attachment were the type is echoed in the actual design]

Such wonkiness will certainly warm the site to seasoned designers and type fanboys alike. (They’ve got to be the target audience here, anyway.) As for the kibitzers: Visit at your own risk. You might actually learn something.

[Hat tip to Brand New]

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Suzanne LaBarre

Suzanne LaBarre

Suzanne is a senior editor at Co.Design. … Read more

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Cervecería Hacienda

me encontre con el trabajo de este diseñador australiano, se llama Andrew Rose, en general lo que muestra en su sitio web se me hace bastante bueno, pero me llamó enormemente la atención el trabajo que hizo para cervecería hacienda; por una parte el hecho de que un extranjero capte y logre transmitir la cultura y algunos rasgos caracteristicos de México, por otro lado me pregunto por que no pedirle esta tarea a algún despacho o a un diseñador mexicano. De lo poco que pude encontrar sobre esta cervecería es que:

Es una nueva fábrica de cerveza que opera en una hacienda convertida en el campo en las afueras de Pachuca de México.  Tres nuevas cervezas se han desarrollado: Hidalgo Stout, Red Ale Catrina y Jaguar Pale Ale. En las etiquetas se refleja la singularidad cultural de México al tiempo que expresa la individualidad de las cervezas y la cervecería.

http://www.andrew-rose.com/#270103/Cerveceria-Hacienda

Ejemplos, Identidad visual

Hola! creo que estos son muy buenos ejemplos de identidad visual, por favor chéquenlo… =)

Identidad

Este (en particular) es el de un restaurante en Estambul, me pareció bastante bueno, aquí esta la liga en donde pueden ver este ejemplo y muchos otros del mismo diseñador.

http://www.salihkucukaga.com/index.php?/projects/fabrikk-restaurant/

Identidad2

 

Y éste es otro hecho para la imagen corporativa de unas bodegas.

http://www.vfarquitectos.com/