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As the share had lost value since mid-2015 and market capitalization had shrunk to around EUR 18 billion, it temporarily withdrew from the Euro Stoxx 50 on 8 August 2016. 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[105][104] The size of the fine reflected the breadth of wrongdoing at Deutsche Bank, the bank's poor oversight of traders, and its failure to take action when it uncovered signs of abuse internally. [136] The loans had been subject to a criminal investigation by special counsel Robert Mueller in his investigation of the president's 2016 campaign involvement in Russian election meddling. As part of the agreement, Deutsche Bank was required to pay a civil monetary penalty of $3.1 billion and provide $4.1 billion in consumer relief, such as loan forgiveness. [41] Meanwhile, in Europe, Deutsche Bank increased its private-banking business by acquiring Rued Blass & Cie (2002) and the Russian investment bank United Financial Group (2005) founded by the United States banker Charles Ryan and the Russian official Boris Fyodorov which followed Anshu Jain's aggressive expansion to gain strong relationships with state partners in Russia. 21–27. 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Through detailed comparison with state-of-the-art technologies and multiple lab-scale studies, Aquora's technology was created to overcome the hurdles facing existing solutions. He has said: symmetry and the central axis are what characterise fascist architecture Modernism and democracy reject the axis I have taken my love of order to the point of manifest boredom producing design solutions which are valid but deadly boring Thanks to the passage of time I am now just about able to examine my posters for the Zurich Tonhalle to discover why some are better than others I am amazed how many are bad The Beethoven poster is good also the “Musica Viva” poster of 1970 with the green lettering on a blue background and the two Tonhalle posters of 1969 and 1972 with the rhythmic type Looking at this juncture at these posters when digital software packages can do any of them in just few minutes and with few of clinks it is easy to dismiss the whole exercise as boring and insignificant Of course the world would have become a boring place should all posters have adopted the Swiss grid style However we have to remind ourselves that when these posters appeared on the scene their geometrical aesthetics were quite novel and rare Perhaps ironically Müller Brockmann has stated that he did not like experiments such as that of Neville Brody’s typefaces that have the potential to rescue the grid style Typefaces designed for Neville Brody By the early 1990s Neville Brody was able with a straight face to recommend abandoning typography’s requirement of legibility — gloating as a chill shot down the spines of his type-pro audiences Müller Brockmann was totally dismissive of Brody’s powerful artistic impact The fact that not all viewers are of commercial types and not everybody is concerned with profit maximizing attitudes that just require to get the information in an efficient and cost effective manner the fact that there are also viewers that are interested in looking at a poster’s typeface from an artistic view point and reflect on them which in the process may also convey the message of an advertisement appears to have been totally alien to him He has said Some set themselves the task of making typography so unreadable that it is almost like a picture puzzle The illegibility is then sold as an artistic project I wouldn’t read something like that unless I had to The same rational criterion applies to wobbly forms and blurred contours: can I read this faster Text is communication of content a fact reflected in classical typefaces and legible typography typefaces designed for Neville Brody are not suitable for advertisements and posters They are exceptions to the rule and individual cases are not a basis for teaching graphic design These alphabets are confused aesthetically lacking and bad Playing around is always an excuse for too little understanding which makes people fall on imagination and speak of artistic freedom inspiration and good ideas Such typefaces are interesting as studies in legibility But I don’t see any sense in them They are a personal attempt to deal with a problem and I find them not only bad but senseless because they lack an area of application In an interview with Eye Magazine for their Winter 1995 issue just one year prior to his passing he was asked what order meant to him: Order was always wishful thinking for me For 60 years I have produced disorder in files correspondence and books In my work however I have always aspired to a distinct arrangement of typographic and pictorial elements the clear identification of priorities The formal organisation of the surface by means of the grid a knowledge of the rules that govern legibility line length word and letter spacing and so on and the meaningful use of colour are among the tools a designer must master in order to complete his or her task in a rational and economic manner Max Bill Max Bill 1908–1994 was born in Winterthur Switzerland An architect painter typographer industrial designer engineer sculptor educator and graphic designer Bill was initially a student at the Kunstgewerbeschule and apprenticed as a silversmith before beginning his studies in 1927 at the Bauhaus in Dessau Germany with teachers such as Wassily Kandinsky Paul Klee and Oskar Schlemmer Bill permanently settled in Zurich Switzerland in 1929 and in 1937 became involved with a group of Swiss artists and designers named the Allianz The Allianz group advocated the concrete theories of art and design and included Max Huber Leo Leuppi and Richard Paul Lohse In 1950 Max Bill and Otl Aicher founded the Ulm School of Design Hochschule fur Gestaltung-HfG Ulm in Ulm Germany a design school initially created in the tradition of the Bauhaus and that is notable for its inclusion of semiotics the philosophical theory of signs and symbols as a field of study Bill was of the view that It is possible to develop an art largely on the basis of mathematical thinking Over the 1967-71 period Bill taught at the Staatliche Hochschule fur Bildende Kunste in Hamburg where he was the chair of environmental design As a graphic designer he enthusiastically embraced the tenets and philosophical views of this modernist movement The majority of his graphic work is based solely on cohesive visual principles of organization and composed of purist forms—modular grids san serif typography asymmetric compositions linear spatial divisions mathematical progressions and dynamic figure–ground relationships Simultaneous Constructions 1945-51 Three Groups 1947 Construction in Black 1939 Richard P Lohse Richard Paul Lohse 1902-1988 was born in Zürich Switzerland in 1902 In 1918 he joined the advertising agency Max Dalang where he trained to be an advertising artist but in his artistic career he started with figurative works and gradually moved to post-cubism style Lohse worked for the Max Dalang agency until 1927 where he became interested in the international avant-garde movements in both its artistic and political aspects In 1937 Lohse a key figure in the Swiss School and Leo Leuppi joined forces to establish Allianz an association of Swiss modern artists promoting publications exhibitions and the dissemination of avant-garde art He collaborated with Max Bill and Verena Loevesberg in the Zurcher Konkrete group which was affiliated with Allianz In 1938 Lohse and Irmgard Burchard his first wife organise the Twentieth Century German Art exhibition in London Soon after Lohse joined the resistance movement where he met his second wife Ida Alis Dürner In 1942 Lohse formulated his conception of constructive painting a style that was highly structural In the words of Fr W Heckmanns His horizontal and vertical structures follow each other in serial and modular orders within the rectangular limits of the canvas The essential content of his work is a rational interpretation of the relationship between artistic practice and the problem of the form of social organization in short a human attitude towards the balance of law and freedom In the years 1947-1956 Lohse was an editor and designer for the swiss architectural magazine bauenwohnen or constructionhabitation A special edition of the magazine was launched for Germany in 1952 Lohse’s style was characterized by his devotion to precision and clarity in his theoretical framework He saw structure not as a preliminary foundation but as a totality of concept in the image He conceptualized the canvas as a field of interacting modules in which the color and the form are complementary in creation of a formal color structure Richard Paul Lohse Fifteen systematic vertical color lines with diagonal violet 1975 Armin Hofmann Armin Hofmann was born in 1920 in Winterthur Switzerland During the 1937-39 period Hofmann studied at Kunstgewerbeschule in Zürich and apprenticed as a lithographer until 1943 From 1943 until 1948 He worked as lithographer in Basel and Berne and in his own graphic atelier In 1946 Hofmann joined the Allgemeine Gewerbeschule AGS in Basel where he and Ruder established a world renowned advanced course in graphic design Kenneth Hiebert a former student of Hofmann recalls that in the early sixties Hofmann would occasionally bring in a Cassandre or Stoecklin poster and perfunctorily tack it to the wall When the students cringed at this apparent maltreatment Hofmann would say “A good poster can take it” What he really meant was that the posters were not intended as museum pieces but as things that should weather the harsh treatment of the streets In the words of Paul Rand His goals though pragmatic are never pecuniary His influence has been as strong beyond the classroom as within it Even those who are his critics are eager about his ideas as those who sit at his feet He had a visiting professorship at the Philadelphia College of Art in 1955 Then came an appointment at Yale University where he regularly conducted working seminars in graphic art and became director of the advanced graphic course in 1967 He carried on teaching abroad in Ahmedabad India Hofmann’s book Graphic Design Manual: Principles and Practiceis is a seminal work in graphic design He has created many posters logos color concepts signage systems and art-in-building projects as well as participating in many exhibitions According to him “ primary in black and white posters is to counteract the trivialization of color as it exists today on billboards and in advertising Emil Ruder Typography has one plain duty before it and that is to convey information in writing No argument or consideration can absolve typography from this duty -Emil Ruder Emil Ruder 1914-1970 was a key player in the development of the Swiss Style Born in Zurich Ruder began his design education at the early age of fifteen when he took a compositor’s apprenticeship By his late twenties Ruder began attending the Zurich School of Arts and Crafts where the principles of Bauhaus and Tschichold’s New Typography were taught leaving an indelible impression on Ruder Academia would continue to play a major role in Ruder’s life though it would naturally evolve into the form of teacher rather than student In 1947 he took a position as the typography instructor at the Schule für Gestaltung Basel Basel School of Design He along with the great Armin Hofmann developed a program structured on principles of objectivity in design He broke away from the subjective style-driven typography of the past and encouraged his students to be more concerned with precision proportions and above all the role of legibility and communication with type Karl Gerstner Born in Basel Switzerland in 1930 Karl Gerstner was a painter and a graphic designer who studied design at Allgemeine Gewerbschule in Basel under Emil Ruder In 1959 he and Markus Kutter confounded Gerstner amp Kutter a design agency which later when the architect Paul Gredinger joined them changed its name to GGK Gerstner’s theory of ‘The Colour Form Model’ presented in his book The Forms of Colour is one of his most significant contribution to graphic design Inspired by the rich and colorful patterns of a Moroccan craftsman art in this book Gerstner explored the multifaceted and intricate relationships between colour and form as the basic structural components of Islamic art Analyzing graphical interrelationships among various dimensions of colour spaces and formal systems of perspective topologies fractals and so on he framed his theory in the context of Wilhelm Ostwald’s 1922 rational theory of forms which provides a seemingly unlimited mathematical base for formal variations Gerstner discussed the work of a like-minded mathematician/artist Hans Hinterreiter who as an early adherent to Ostwald’s theory adopted deconstructive style of painting experimenting with forms and colors based on laws of color organ and form Hinterreiter was also inspired by the Moorish interpretation of Islamic ornamentation of the Alhambra after his 1934 trip to Spain Presenting his own colour-form theory Gerstner assessed Kandinsky’s idiosyncratic metaphysical assertions on the correspondence between colour and form squarered triangleyellow circleblue and suggested his own system of ‘Colour Signs’ Using computer programming he developed a system of new primary forms such as astroids diagons and sinuons and discussed their possible correspondence with aural and tactile sensory modes Gerstner’s book ‘Designing Programmes’ 1964 was a manifesto for system orientated design which he described as ‘programmes’ He defined a design ‘program’ as a set of rules for constructing a range of visual solutions and connected his methodology with the new field of computer programming and presented examples of computer generated patterns that were made by mathematically describing visual elements and combining them according to simple rules Gerstner’s grid for the journal Capital designed in 1962 is still often cited by some as near-perfect in terms of its mathematical properties The smallest unit in Gerstner’s grid or matrix as he called it is 10pt—the baseline to baseline measurement of the text The main area for text and images is a square with an area above for titles and running heads The cleverness lies in the subdivision of the square into 58 equal units in both directions If all intercolumn spaces are two units then a two- three- four- five- or six-column structure is possible without any leftover units Gerstner wrote: “The typographic grid is a proportional regulator for type– matter tables pictures and so on It is a priority programme for a content as yet unknown The difficulty lies in finding the balance between maximum formality and maximum freedom or in other words the greatest number of constant factors combined with the greatest possible variability” Of course sometimes grid becomes a trap — even for an imminent artist like Grestner Gerstner’s typographic experiments with unjustified ragged-right textHollis 2002 and his proposed Integral Typography which extended Max Bill’s ideas on typography Müller-Brockman and Müller 2000 have also been influential Like the Italian futurists Gerstner believed that typography can greatly contribute to the actual discovery of meaning with its whole impact to be greater than the sum of the words and the meanings We have to be careful in our aesthetic judgement — Is it grid that renders this work so astoundingly powerful I am sorry adhering rigidly to a grid system does not guarantee the success of a work Hans Neuberg Hans Neuburg 1904 – 1983 was born in Grulich Austria-Hungary which later became part of Czechoslovakia — the town is now called Králíky and after the division of Czechoslovakia most of the municipality become part of the the Czech Republic At the age fifteen Neuburg enrolled at Orell Füssli AG in Zurich and graduated in 1922 After graduation he worked at various positions in advertising freelance graphic design and magazine editor Over the 1958-65 he and is fellow artists Richard Paul Lohse joseph Müller-Brockmann and carlo vivarelli established “Neue Grafik” magazine After a brief two years period assuming the directorship of the Gewerbemuseum in Winterhur in 1962-64 during which he also taught at the Hochschule für Gestaltung in Ulm and writing a number of books including Graphic Design in Swiss Industry 1965 Publicity and Graphic Design in the Chemical Industry 1967 and Conceptions of International Exhibition 1969 he moved to Ottawa Canada to teach at Carlton University School of Industrial Design in 1971 Carlo Vivarelli Carlo Vivarelli 1919-1986 was a graphic designer painter and sculptor who was born in Zurich and studied at the renowned Kunstgewerbeschule from 1934-39 and in 1946 became Art Director at the progressive avant garde Studio Boggeri in Milan During this time and when he returned to his native Switzerland he became one of the leaders of the Swiss Modernists and in 1958 became a co-founder of Neue Grafik magazine In his later years he concentrated more on his concrete art and sculptures Wim Crouwel and the Dutch Total Grid The concept of the total grid has been the brainchild of Wim Crouwel a dutch graphic designer born in 1928 He is one of the five founders of Total Design a multi-disciplinary design studio in the Netherlands Crouwel studied fine art in Groningen before moving to Amsterdam in the early 1950s where he initially worked for an exhibition design company Because of his interest in architecture and his spatial sensitivities he applied for commissions for cultural institutions such as the Van Abbe Museum in Eindhoven in 1956 and the Stedelijk Museum in Amsterdam shortly afterwards for which Crouwel was solely responsible to develop an identity by posters and catalogues It was at the Stedelijk that Crouwel created his Neu Alphabet an unconventional typeface based on grid system In 1963 Crouwel founded Total Design a multi-disciplinary design agency that its hallmark was modular structuring and grids With a systematic approach to design projects it created the identity for a large number of Dutch companies including some multinationals like IBM and Olivetti Total Design altered the visual landscape of the Netherlands throughout the 1960-70 period In the 1970s Crouwel designed the Dutch Pavilion for the Osaka World Fair as well as numerous postal stamps for the Dutch post office and a controversial redesign of the telephone book using only lowercase letters Crouwel’s typeface was constructed using only horizontal and vertical lines creating an alphabet of all lowercases Although only half of the letters were recognizable with the emergence of personal computers his modern typeface was particularly aimed at digital systems in 1967 However for many Crouwel’s typeface appeared illegible It challenged the design establishment but Crouwel was happily engaged in the ensued controversy and readily confessed that he attaches a higher priority to visual aesthetics relative to functionality Crouwel has stated I simply wanted to make a consistent alphabet on the basis of that grid of squares I did not want any cluttering of vertical stems and did not find a solution within the conventional structure of the characters So I began researching the past looking for alternative signs with which I could replace the conventional forms One could have made them up but I wanted them to have some kind of footing in the history of type His new typeface was redrawn by Brett Wickens and Peter Saville for the Joy Division album ‘Substance’ in the late 80s and then digitized and made available for use in 1997 by The Foundry Crouwel designed a number of other fonts including Gridnick an appropriate reference to his use of grid systems and Mr Gridnick became Crouwel’s endearing nickname —- Lella Valle amp Massimo Vignelli The graphic designs of the Italian graphic designer couple Lella Valle and her husband Massimo Vignelli are also based on concept of total design in the confine of a grid Born in Udine in 1936 Lella Valle studied architecture and met Massimo Vignelli who also studied architecture in Venice in the 1950s The couple moved to to the US during the 1958-1960 period where Lella Vignelli worked in New York for Skidmore Owings amp Merrill and Massimo Vignelli taught at the Chicago Institue of Design In 1960 they returned to Italy and opened a graphic design studio in Milan Five years later Massimo joined Bob Noorda and Jay Doblin in founding Unimark International a design consultancy in Milan In that same year 1965 Vignellies moved to New York in order to manage a Unimark branch that specialized in developing corporate logos and designing the corporate identity for the business clients According to Massimo they intended to return to Milan after a short while but that didn’t come to pass and they settled in New York for good In 1971 they rebranded the practice as Vignelli Associates which created corporate identities for firms such as American Airlines Bloomingdale’s Cinzano Lancia United Colors of Benetton Ford Xerox and the International Design Center New York While working for Unimark Vignellies redesigned the look of the NYC Metropolitan Transit Authority with a new subway map and train identification sign system They Replaced the previously chaotic typography with Helvetica and reduced the train routes down to solid color while geometric lines organized the map and allowed signs to be clearer and more distinct In 1977 Vignellies designed the Unigrid System for the National Park Service The module grid system allowed the the National Park to create brochures in ten basic formats and to keep a consistent recognizable structure across all it’s materials With their training grounded in architecture Vignellies established a vision of an organized systematic structural approach early in their design careers The underlying structure of many of their endeavors in corporate identity publication book design and interiors continues to be the a strictly grid-based design Lella amp Massimo began exploring the grid structure early in their career in Milan by working on corporate entities and projects for various cultural organizations These early works allowed them to build a design style focused on dividing space within a modular grid that was subdivided rationally into distinct zones Breaking down the page into smaller intervals of space permitted a clear translation of complex informational material Most of their designs utilize a limited color palette and use mostly five typefaces Garamond Bodoni Helvetica Univers and Century According to Massimo: Bodoni is one of the most elegant typefaces ever designed When I talk about elegance I mean intellectual elegance Elegance of the mind Some of the typefaces created by Zuzana Licko Vignellies are purists and have a distaste for the bitmap font tool used by Zuzana Licko to develop the font for the influential Emigré journal According to Massimo Vignelli Emigré and Rudy van der Lans are the worst thing to happen to typography Rudy van der Lans who moved to America in 1981 to study photography at the University of California Berkeley where he met and married Zuzana Licko founded the influential Emigré journal in 1984 Vignelli believes Jonathan Hoefler is someone who is carrying the typographic torch today Pierre Mendell “Quality graphic design stands out for the mindset it exhibits: stringent reduced in form always intense never pretentious In this way Pierre Mendell developed a most distinct style He flexibly dealt with particular tasks and through this eminently lived up to the challenge of respective themes Hence Pierre Mendell’s posters are so simple and convincing and will continue to be of great significance beyond this day” – Florian Hufnagl Die Neue Sammlung – The International Design Museum Munich Pierre Mendell 1929 – 2008 one of the world’s leading graphic designers was born in Essen Germany Mendell lived in France between 1934 and 1947 emigrated to the USA in 1947 in 1953 returned to France where he worked in the family textiles company in 1958 began studying graphic design under Armin Hofmann at the Schule für Gestaltung in Basle the Mendell amp Oberer studio was founded in 1961 in Munich For almost 30 years he played a role in creating the visual identity of the neue sammlung – the international design museum munichPierre Mendell has been designing the posters for the Staatsoper in Munich from 1993 to 2006 With over a hundred motifs to his name he has not only successfully created an unmistakable identity for the Munich opera he has also linked this opera house with a form of visual expression that is unparalleled in its originality and immediacy Mendell’s simple almost archaic visual language is admired over the world and his poster designs are represented in leading collections such as the Museum of Modern Art New York Pierre Mendell’s work is characterized by elements which are often missing in much contemporary graphic design: vibrancy communicative force poetry and humor His cultural posters and corporate design identities — including his designs for Vitra and Siemens for which he is probably best known — are timeless yet contemporary The success of his designs demonstrate that the strength of all graphic work depends on an overarching concept not on current fads Pierre Mendell’s awards include the Gold Medal from the Art Directors Club Germany the Gold Medal form the Art Directiors Club New York Best German Poster of the Grand Prix International de l’Affiche Paris and the German Poster Grand Prix Pierre Mendell’s work has been exhibited in the Munich City Museum the International Design Centre Berlin the Galleria Aiap Milano the Muzeum Plakatu Warsaw the Museo Nacional de Bellas Artes Buenos Aires the Centro de la Imagen Mexico City and the Visual Arts Musuem New York His work is represented in the Graphic Design Collection of the Museum of Modern Art New York Pierre Mendell taught from 1987 to 1996 at the Yale University Summer Design Program in Brissago Switzerland Alberto Longhi Per favore fatemi sapere dove posso trovare una biografia e una fotografia di grande designer grafico Alberto Longhi S’il vous plaît laissez-moi savoir où puis-je trouver une biographie et une photo de ce grand designer graphique Alberto Longhi Guity Novin Grid Systems The Revival of Swiss Grid System in the Cyberspace Swiss style focus on clarity eye-friendliness readability and objectivity has made it a powerful tool for web-communications which enhanced by its strong reliance on elements of typography and universality Grid systems in web design have spawned a number of the Cascading Style Sheets CSS frameworks For instance the 960 Grid System Fluidable Columnal and Cardinal are efforts to streamline web development workflow by providing commonly used dimensions These CSS frameworks are designed to simplify the creation of webpages based on a grid system A number of websites have been created using the framework Some of the exemplars are good examples on how using a grid system can produce aesthetically beautiful websites Grids are used to present content in a consistent and predictable manner helping to organise content in a methodical fashion It affords conformity and uniformity increasing the usability of any given system by placing items and information in a predictable manner reducing the cognitive overload of users “According to the principles of consistency systems are more useable and learnable when similar parts are expressed in similar ways learn new things quickly and focus attention on the relevant aspects of a task” Lidwell Holden and Butler 2010: 24 The style can be easily identified for its simplicity and clarity of purpose These two principles are often manifested in the use of asymmetric layouts grids sans-serif typefaces left-flushes and simple but impactful photography These elements are produced in a simple but highly logical structured stiff and harmonious manner It is clear that the Swiss Style is information-oriented This is why designers should think of the information dissemination using its artistic principles Go to the next chapter Chapter 43: Graphic Design and the Postmodern Epoch Neville Brody’s Anti-Swiss Crusade The digital revolution and the introduction of the Macintosh computer in the mid-1980s made the construction and deconstruction of typographical elements easier than it had been in the past Embracing technology that was growing exponentially more sophisticated designers realized more and more complex typographic experiment Neville Brody’s FF Blur is one example Influenced by the late-1970s punk rock aesthetic Brody began his career at the London College of Printing and later designed record covers for various artists while art director of Fetish Records The letterforms of FF Blur—fuzzy around the edges like an out-of-focus photograph—seem to celebrate their own imperfection speaking to his unique background FF Blur resembles type that has been reproduced cheaply on a Xerox machine—degenerated through copying and recopying Soon after Joan and Erik Spiekermann launched FontShop in 1989 Brody and Spiekermann cofounded FontFont which would grow into the world’s largest independent collection of original typefaces until its acquisition by Monotype in 2014 Brody’s other major achievement in this field is FUSE the quarterly magazine for experimental type design he cocreated with Jon Wozencroft Brody Fonts’ decision to join Type Network was no coincidence It was the culmination of a longstanding professional relationship and friendship between Neville Brody and Type Network cofounder David Berlow a shared history spanning three decades The seeds of their collaboration were sown in 1987 when Berlow met Brody and Spiekermann at an ATypI conference in New York “Two years later we met again in San Antonio ” Berlow explained in an interview with Yves Peters “This time I had retail fonts to offer them” In his characteristic irreverent style Berlow continued: “By then FontShop was starting to talk about their global conspiracy to have an international distribution network” Brody released his first retail typefaces through Linotype He based Industria on headlines he had drawn between 1980 and 1986 as the art director for the influential British fashion bible The Face Arcadia and Insignia originated as a banner and a headline type for Arena magazine which he art-directed from 1987 to 1990 after his departure from The Face Following his stint at Linotype Brody moved on to cofound FontFont the first independent foundry aside from Emigre established by type designers In short order FontFont became the cool foundry everyone wanted to work with Peters remembered a conversation he had with Brody during the early days of FontFont: “He explained to me that he wanted the independent foundry to be a bit like a record label To help designers break away from the tired old mainstays FontFont planned to release new designs on a regular basis ‘hit singles’ so to speak Changing trends would cause those typefaces to fade into the background making way for fresh new type in tune with the times in a perpetual cycle of typographic renewal The current font market is remarkably close to his original vision” Brody enlisted Berlow’s company Font Bureau to work on the typefaces he planned to release through FontFont “We helped him make sense of his wild geometric designs” said Berlow Font Bureau produced FF Typeface Four FF Typeface Six and FF Typeface Seven in 1991 and FF Gothic and FF Pop in 1992 Brody’s FF Blur also developed during this period proved to be a milestone: Paola Antonelli eventually acquired it as one of twenty-three digital typefaces for the Museum of Modern Art’s Architecture and Design Collection After this successful start to their collaboration Berlow sent one of the young designers from his studio to London—a guy named Tobias Frere-Jones Frere-Jones assisted Brody in preparing FF World FF Tokyo FF Dome and FF Tyson for release in 1993 as well as FF Harlem 1994’s FF Autotrace and Brody’s contributions to the FF Dirty Fonts series in 1994 and 1995 recalled his efforts for FUSE True to his inquisitive and cutting-edge approach to graphic design Brody had started questioning both the usual methods of type design and the actual shapes of the alphabet very early on in his forays into making digital typefaces Barely one year after starting FontFont the first issue of FUSE hit the proverbial stands Each edition included four experimental typefaces by renowned and up-and-coming graphic designers four posters showcasing those typefaces and one or more additional typefaces by Brody also with their own posters For the most part the contributors were not experienced type designers so Font Bureau took on some of the production and mastering until the FontFont Type Department got up to speed At this point FontShop had started hiring people to do production work on typefaces for both FontFont and FUSE thus ending Font Bureau’s involvement Brody and FontWorks also parted ways Font Bureau and FontShop always had distinct separate relationships with Brody which continued beyond this period In the early nineties Font Bureau commissioned Brody to design their well-known logo “Brody’s idea was to have a perpetually changing logo using different typefaces so we created a logo font with twenty-six different quotes” Sam Berlow said “We were very happy with his design from start to finish” David Berlow continued “We never changed it and only expanded the logo variations for all the formats and proportions it needed to cover to give us the necessary flexibility with different tones of voice” Sam Berlow added: “Brody came back to it in 2012 and developed the current Font Bureau identity and brand guidelines using Benton Sans” In the early aughts Brody Studios ventured into custom typeface design creating memorable typographic stylings for major publications and broadcasters as well as for global brands And now Brody is ready to unleash a new series of retail families sporting his signature wit and inventiveness Brody Fonts joins Type Network in exclusivity with two remarkable designs BF Bonn is a geometric sans with a typical Brody twist The display face blends art deco influences with futuristic tendencies in a series of eight weights ranging from a razor-sharp Thin to a dense massive Ultra Stylistic alternates rein in BF Bonn’s strong personality a little for more conventional applications With BF Buffalo Brody goes full-on hard sci-fi The face’s industrial features combine chiseled outside cuts with tense inside curves Alternate capitals emphasize a faux-monospaced rhythm while stylistic alternates for strategic characters increase the modularity of the letterforms Set out of the box the seven weights from Ultra Light to Ultra Black create striking headlines and titles In the hands of adventurous typographers the faceted character shapes morph into the pieces of an alphabetic jigsaw puzzle “Neville has had a close working relationship with Sam Berlow Jill Pichotta myself and various other Font Bureau designers from the moment Tobias Frere-Jones walked through his door to the present” said David Berlow “Trying to distill your inspiration into a usable typographic language without what Neville calls ‘commercializing’ it is a challenge for all of us Since those early years we have been involved in helping him produce—and in some cases tame—his wildly imaginative designs into usable typefaces David Jonathan Ross currently helps Brody produce his fonts And now we’re moving forward with Neville opening his own store Brody Fonts under the Type Network banner which we are very excited about” “Working at ad agencies and design studios in the 1990s in Dallas Texas I spied The Graphic Language of Neville Brody on the desks and in the hands of countless creatives” said Tamye Riggs a Type Network team member and FontShop alum who chronicled the early days of digital type for Adobe “These big hardback books were well-thumbed and heavily sticky-noted I can tell you that How did a British designer have such an impact on impressionable young minds in the Lone Star State before the web and social media was a thing It’s a bit of a mystery to me but Neville captured the zeitgeist in such a vibrant typographically in-your-face way He’s been so often imitated but never really successfully No one could ever hope to replicate what goes on in his head” “The Graphic Language of Neville Brody came out in my first year at the Royal Academy of Fine Arts I immediately got a copy at the recommendation of my graphic design teacher and Brody became a source of inspiration in my formative years” said Peters “Little did I know that during my internship at Spiekermann’s MetaDesign in August 1991 my first FontShop assignment would be to design a FontWorks ad commissioned by Brody himself We interacted many times during my tenure at FontShop BeNeLux in the early nineties My personal highlight was inviting him as a speaker and jury member for the first FontShop BeNeLux Typography Award Working with Neville again after all those years is like coming full circle” “I’ve long admired Neville’s work from afar and am so thrilled to have him on Type Network” said General Manager Paley Dreier “His one-of-a-kind voice and unique typefaces are a welcome addition to our growing family” This work is licensed under a Creative Commons Attribution-No Derivative Works 30 Unported License, Lost West End Vintage London shows 1943-62 2 CDs vol 2, The Mitford Girls – Original London Cast 1981, Theophilus London – Whiplash feat Tame Impala Single iTunes Plus AAC M4A, Lesbian couple brutally beaten by group of men on bus in London – Stats, London Spitfires Viewing Party at Swansea University, From Here To Eternity: The Musical Original London Cast 2014 2-CDs UK Import Tim Rice/Stuart Brayson, Da Vinci’s manuscripts to be displayed in London, UK2000-X11-London Stansted Xtreme EGSS ETLL, Couple Attacked On A London Bus After Refusing To Kiss For Homophobes, HENRIQUE VII – 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