Typewriter Magazine by alexvilardi

UNDER THIRTY

ED BENGUIAT,

A MAN OF LETTERS

CHRIS LABROOY

A 3D Typographer A TYPE HOUSE

DIVIDED

TY PE

WRITER 1

CHRIS LABROOY A 3D Typography Artist with a Love for Cars

Comission Piece for Time Magazine

ABOUT THE ARTIST We’re so used to typing words on the computer that we’re starting to get tired of plain old fonts like Arial and Times New Roman. Yet hearing about fun fonts can bring forth aversion that fonts like Comic Sans can induce. Well, here’s a sight for sore eyes: the works of Chris LaBrooy, a graphic designer who’s using type to push a message further. LaBrooy was inspired by some famous architects, but instead of erecting buildings in their honor, he constructed some unique 2

scripts to showcase their designs. With his typographical homages to several famous physical forms, LaBrooy proves yet again that the medium can strengthen meaning. After graduating from the RCA with an MA in design products, Chris first began to use 3D as a simple tool to visualise ideas for furniture and products that he could not afford to produce. As 3D technology and hardware evolved, Chris saw an opportunity to explore CGI as a creative medium in itself with which he could subvert and twist familiar

everyday things into new typographic and sculptural forms. Chris is interested in the intersection between typography, architecture, product design and visual art.

TYPOGRAPHY ART Chris Labrooy is a freelance designer and illustrator based in the UK, whoâ&#x20AC;&#x2122;s experiments in typography and 3D font projects have had us in awe. His excellent use of color and bold statements with every piece of work make him a typographer to certainly keep an eye on for fresh ideas and inspiration. LaBrooy sets his fonts in stunning landscapes that showcase distinctive features from beloved architectsâ&#x20AC;&#x2122; creations. His testaments to Tadao Ando, Frank Gehry, Toyo Ito, Bauhaus, Ettore Sottsass, and Oscar Niemeyer reimagine their iconic structures. Comission Piece for Transport for London

Creativity is never ending. The advancements in technology has introduced new ways to put creative ideas into actual useful designs. The evolution of 3D technology played an important part in creating new breakthroughs dominantly in films, animation, gaming, architecture and now even in graphic design. One major aspect of design that we love is typography which current trends include 3D rendering mostly used in advertising and print.

A tasty print campaign for Pringles in North America.

There are a bunch of designers who have been adapting the 3D style in typography works. One artist who stand out is UK-based designer Chris LaBrooy. His typography projects are often a combination of type and related objects all rendered in 3D. Chris crafts everyday objects either a furniture or buildings injected by a familiar quotation in a refreshing way.

PUBLICATIONS & CLIENTS Chris LaBrooy has exhibited at the design museum in London and has been featured in many publications covering design, product s, t ypogr aphy and illustration. Some of his clients include : Apple, Citroen, Nike, AT&T, British Airways,Time Magazine, Mcdonalds, T-Mobile, Transport For London, Ted Baker, Target, Prudential Creating his unique and playful 3D typographic designs has opened opportunities for him to do some exhibits such as in Design Museum London and various clients like Time Magazine, AT&T, NY Depar t ment of Transportation, Future Publishing and Microsoft among others.

3D Typography Quote Art

â&#x20AC;&#x153;I use 3D and CGI tools, as they enable me to pursue a hyper-real aesthetic that has more in common with photography than illustrationâ&#x20AC;? -Chris Labrooy There are a bunch of designers who have been adapting the 3D style in typography works. One artist who stand out is UK-based designer Chris LaBrooy. His typography projects are often a combination of type and related objects all rendered in 3D. Chris crafts everyday objects either a furniture or buildings injected by a familiar quotation in a refreshing way. 4

Twelve Porsche 911 Carrera RS in a pool

AUTOMOTIVE ART Born in Scotland, Labrooy grew up surrounded by cars albeit toy and digital versions. From a young age, he was attracted to Scalextric racing sets, radio-controlled cars and video games such as Gran Turismo.

ments gave him the tools to create concepts no one had seen before. Looking at his hyper-realistic manipulated images, every car is twisted, contorted and modified so expertly that, at first glance, it does appear as though reason and gravity have taken the day off. In “Tokyo,” we see Sonic the Hedgehog

passing by in a stretched yellow Toyota GT86. Elsewhere, a Honda NSX in spliced with a Datsun 240Z that has been cut perfectly in half. In most images, the colors are soft and the contrast is gentle, letting the bizarre shapes do most of the talking.

“Drawing cars was also a huge passion, and I would draw at least one side elevation of a car per day. Now I have bigger toys, like my (Porsche Cayman) GT4, and the actual driving part is such a big part of my enthusiasm now,” he says. “I don’t get paid for most of the car work I do, so you could call them my passion projects.” After graduating from the Royal College of Art in London, Labrooy dabbled in furniture and product design, using 3D imaging to create products he couldn’t afford to buy. Over time, technological advance-

http://www.chrislabrooy.com/about-1-1/ http://www.chrislabrooy.com/work-2/#/stuff/ http://www.cnn.com/2016/12/08/autos/chris-labrooy-surreal-cars/

3D Art using two cars Honda NSX and Datsun 240Z

http://www.creativebloq.com/typography/typographers-follow-behance-11121295 http://www.ucreative.com/inspiration/incredible-3d-typography-by-chris-labrooy/ https://creators.vice.com/en_us/article/holy-helvetica-chris-labrooys-3d-typography-brings-text-to-life

HEROES

ED BENGUIAT, A Man of Letters

Born in Brooklyn, New York, Edward Benguiat got acquainted with design and showcard lettering when he was nine years old. His father was display director at Bloomingdale’s and he had all the drawing tools a little boy could want. Edward would play with his father’s pens, brushes, and drafting sets, and learned about sign painting, showcard and speedball lettering. Ed received the usual education. During World War II, he wasn’t old enough to enter the armed service, so with a forged photostat of his birth certificate, he enlisted in the Army. After his stint in the Air Corps he traded his airplane control stick for drumsticks and continued the burgeoning percussionist career he had started before the war. Ed became established as a talented progressive Jazz musician under the name Eddie Benart, and played with numerous big bands such as Stan Kenton, Claude Thornhill and Woody Herman, but preferred the NewYork gigs on 52nd Street, particularly atTheThree Deuces. “It kept me in town; going on the road with big bands was a drag, and tough.” During that time a Metronome magazine poll picked Ed as the number three sideman/ drummer in America.

the crackdown on obscenity in movies. It was obvious that Ed couldn’t draw too well, so he went in the direction of layout, design, typography, and calligraphy. He became Paul Standard’s prodigy. Once out of school, Ed established an impressive career as a designer and art director at a number of large and small publishing houses, studios, and ad agencies. Opening his own firm did not take too long. Enter Photo-Lettering Inc. and Ed Ronthaler. They saved Ed’s life financially by making him art director.

At the School of Visual Arts—where about thirty years ago Silas Rhodes gave him a job—Ed compares graphic design and typography to the rhythm and balance of a musical composition. While playing on 52nd Street, Ed made use of the G.I. Bill and enrolled at the Workshop School of Advertising Art. He wanted to draw nudes like some of the well-known illustrators. His drawing teacher advised him to quit. Benguiat persisted. His first job as an illustrator was as a cleavage retoucher for a movie magazine. “You might think I was adding to the bust. No way! I was taking the cleavage away,” he said, indicating the reaction of the motion picture industry to

One way or another, just about everyone in the graphic community has had some contact with Ed. He’s a neighborhood guy. Admittedly, most know him as the guy who sat in his cramped, cluttered office on 45th Street that had just enough room to swing his pen or brush. Professor Benguiat is a member of the Alliance Graphique Internationale and a past president of the Type Directors Club. In 1990, he received the gold medal for excellence from the New York Type Directors Club, and won the prestigious Fredric W. Goudy Award. Benguiat continues a busy lecture and exhibit circuit that takes him to Paris, Berlin, Brazil, Slovenia, London, Chicago, Washington, and New York, where he is an instructor at The School of Visual Arts. In 1995, SVA honored him with Teacher of the Year.

America’s most prolif ic typography and lettering artist. Benguiat has crafted over 600 typeface designs, here are just a few of his gems... • • • • • • • • • • • • • • •

ITC Barcelona ITC Benguiat ITC Benguiat Gothic ITC Bookman ITC Caslon No. 224 ITC Century Handtooled ITC Edwardian Script ITC Modern No. 216 ITC Panache ITC Souvenir ITC Tiffany Ed Brush Ed Gothic Ed Interlock Ed Roman

Collaboration Fonts: • ITC Avant Garde (condensed styles only) • ITC Bauhaus (with Victor Caruso) • I T C C h e l t e n h a m Handtooled (with Tony Stan) • ITC Korinna (with Victor Caruso) • ITC Lubalin Graph (with Herb Lubalin)

HEROES 1953: associate director of “Esquire” magazine. Opens his own design studio in New York. 1962: joins Photo-Lettering Inc. as typographic design director, a position he still holds today. 1970: joins the International Typeface Corporation and is made vice-president; he works on the inhouse magazine “U&lc” with Herb Lubalin. Member of the Alliance Graphique Internationale. He has produced logotypes for the “New York Times”, “Playboy”, “Reader`s Digest”, “Sports Illustrated”, “Esquire” and “Look”. He has taught at the School of Visual Arts in New York since 1961.

Benguiat’s impact on the type community involves more than just design. He played a critical role in establishing The International Typeface Corporation, the first independent licensing company for type designers. Ed and ITC jump-started the type industry in the late ’60s and early ’70s. Founded in 1971 by designers Herb Lubalin, Aaron Burns, and Ed Ronthaler, ITC was formed to market type to the industry. Lubalin and Burns contacted Benguiat, whose first ITC project was working on Souvenir. Originally a singleweight face designed by Morris Fuller Benton in the 1920s, Benguiat redrew it with additional weights and italics. Now, Souvenir is the face everybody loves to hate. It was lTC’s best seller, and Ed did a beautiful job. It’s not his fault it’s become a cliché. Ed became a partner with Lubalin in the development of U&lc, lTC’s award-winning magazine, and the creation of new typefaces such asTiffany, Benguiat, Benguiat Gothic, Korinna, Panache, Modern No. 216, Bookman, Caslon No. 225, Barcelona, Avant Garde Condensed, and many more. This added to the more than 400 faces he’d already created for Photo-Lettering. With Herb Lubalin Ed eventually became vice president of ITC until its sale to Esselte Ltd. Ed continues to design faces for lTC, including, most

recently, Edwardian Script. He is also known for his designs or redesigns of the logotypes for Esquire, The New YorkTimes, McCall’s, Reader’s Digest, Photography, Look, Sports Illustrated, The Star Ledger, The San Diego Tribune, Garamond AT&T, A&E, Estée Lauder, U&lc…the list goes on and on. You name it, he’s done it. Benguiat has a beef. It’s that too many young designers substitute technology for talent. “Too many people think that they’ve got a Mac and they can draw a logo or a typeface. You have to learn to draw first.The computer won’t do it for you”. Although he laments that student designers show more interest in learning the computer than mastering the art of designing letterforms, Benguiat is growing optimistic about the technology behind computer-assisted type design.

UNDER THIRTY

Top Young Graphic Designers to Watch Out For

Alexander Vilardi

ABOUT THE ARTIST Alex Vilardi is a young graphic designer who is currently a student in the Visual Communications Program at Farmingdale State College. He is just about to finish his second year of the program and has another two years to go. Alex never really had a passion for anything involving design but one day when he was younger he just picked up a pencil and some paper and started drawing and thats where it all started. As a senior in highschool Alex was in the AP Art program. He had to make 24 art pieces, 12 that all had a simliar theme and 12 others that could have been on anything else he wanted. At the end of the year there was a big art show for all the AP Art students.This was a chance for the rest of the students of the school and friends and family to see all the work that the students have done througout the year.

One big inspiration that Alex has is Marvel and the creator of Marvel, Stan Lee. Alex has always had inspiration from the old school comics that Stan Lee has done because back then all those comics were done by hand and Alex was amazed that it looked as good as it did being done by hand. Alex saw the skill that it took and the amount of hardwork that it took in order to make full page comic books from scratch. Thanks to Stan Lee and other comic book artists, Alex hopes to one day for fill his dream of working at Marvel and draw his favorite superheros and have people appreciate his artwork. In Alexâ&#x20AC;&#x2122;s second year of the Visual Communications program he is taking a typography class where he has created several pieces all pertaining to typography as the pieces base. Here are some of his favorite pieces that he has created through the semester.

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Alex had to make either an organic or a non organic object using only typography and Alex chose to do a chameleon. He had to use one typeface in order to create the piece. All througout the piece there are alternating letters, numbers, and characters creating different forms on the chameleon. His eye is a repeating set of “o”, the spikes on his back are just repeating “w” but other forms on the body like the arms and the tail are made up of dozens of different letters, numbers, and characters.

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TYPE AS AN ILLUSTRATION

Bookman Old Style

(Regular) ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( . , -/)

TYPE QUOTES

WIN BUT IF I

CASH I TAKE THE

Alex had to create two different quote posters in two different styles for his Typography class. He was required to create one poster in an old fashioned style using an old fashioned font style that usually uses script fonts and fonts with serrifs. The other poster was supposed to represent swiss style design using blocky letters and bright colors.

AND I TAKE THE

RESPECT -Brian O’Connor, Fast and Furious

TYPE TIPS 13 Typographic Faux Pas Avoid bad punctuation and type-crimes at your new job, who needs that type of attention? DON’T stretch, compress, do anything to the font that skews it ratio.

DON’T use drop shadows or emboss your typography, it then becomes tacky.

DON’T combine too different many signals like bold, italics, and underline.

DON’T use controversial typefaces like Papyrus, Comic Sands, and Hobo.

DON’T leave orphans and widows at the ends of your paragraphs.

DON’T use double word spaces when separating sentances.

DON’T use hatch marks also known as dummy quotations as quotation marks.

DON’T have a lot of tracking between your lines, keep it close but not too close.

DON’T leave rivers in your typography, it creates awkward spaces.

DON’T always use justification in your typography designs, it may produce rivers.

DON’T have rags which are lines that create uneven margins in the text.

DON’T use bold typefaces as your body copy, it creates bad hierarchy.

DON’T have rags which are lines that create uneven margins in the text. 12

TYPEFACES OR FONTS?

Some new designs with an old twist.

MONOSPACED FONT

UNICASE FONT

A monospaced font, also called a fxed-pitch width or non-proportional font, is a font whose letters and characters each occupy the same amount of horizontal space. This contrasts to variable-width fonts, where the letters differ in size to one another. The frst monospaced typefaces were designed for typewriters, which could only move the same distance forward with each letter typed.

A unicase font is one that has no case, the glyps from upper and lower case are combined to form one alphabet. It is believed that all alphabets were once unicase. Bradbury Thompson’s plan for simplifying and improving our alphabet was, “Alphabet 26”, his project to combine upper and lowercase letters into one consistent set of letters, eradicated most of the lowercases, except for a, e, m and n.

Cubix My Monospace Unicase Typeface & Font

NEW FONT

abcdefghijklm nopqrstuvwxyz 0123456789 Created by Alexander Vilardi 14

GREEK ROCK This font was created by a new up and coming graphic designer, Rebecca Marmaroff. She currently attending her second year of college at Farmingdale State College where she is currently learning to become a graphic designer in the Visual Communications Program. She chose to create a new font that resembles a classic greek style font. What makes this font unique is the fact that this font is a monocase and unicase font which means all the letters, uppercase or lowercase, are all the same height and are also the same space apart from each other.

CATWALK

NEW FONT

This new font was created by another new graphic designer, Sabrina Retas. She also hopes to become a famous graphic designer one day and is also currently in the Visual Communications Program at Farmingdale State College. This font is also a unicase and a monocase font. Sabrina chose to do a font with thick and thin lines in order to create a unique looking font that you might possibly see on the billboards of radio city or on a playbill.