Apparently there are still people who haven’t seen this movie. You can rent it from here or even buy it and inflict it upon your mother, children, students, dogs – whomever you are trying to impress, shock or simply bore.
Among millions of other goodies, http://publicdomainreview.org also has a collection of animated gifs like this one:
That site is a project of the Open Knowledge Foundation. They trawl through collections of images, books, films, audio, essays and pick stuff that is obscure (i.e. well-hidden), amazing, insane even. But always interesting and not easily found elsewhere. And everything they publish is under a Creative Commons Attribution-Share Alike license. In other words: they charge no money so they make no money. I’ve put my money where my mouth is and donated. You should do likewise, or else an amazing resource like this one cannot exist.
We (my new gallery and letterpress workshop, P98a in Berlin) printed a poster as a New Year’s gift for clients and friends at Edenspiekermann. Set in 16 cicero (approx. 17 pica) Akzidenz Grotesk Halbfett (aka Medium) type made from Plakadur, Berthold’s resin-based material for large display type. Two colours, 50x70cm (work it out for yourselves), printed on our Korrex Frankfurt. 100 posters, signed and numbered. Here it hangs on the wall of Ferdinand Ulrich’s office at the University in Halle.
The poster next to it is by Alexander Roth who works at FontShop International in Berlin and designs cool stuff, e.g. this site for FF Mark.
Well, one more for now. Here in San Francisco one needs a few more gears. I had a bicycle put together for me by Brad Woehl at American Cyclery in the city. The frame was made by Waterford Precision Cycles in Wisconsin. I like Campagnolo and need 11 gears here in the hills. Athena is good enough for my less than professional needs.
I published these pictures before on this site, albeit smaller and with a warning to bike thieves.
Still rides like a dream.
My remarks in interviews and videos about owning 13 bicycles has created quite a correspondence. Here now the proof, or rather, some proof that these bicycles do exist. I recently took pictures of the ones in Berlin (the others will follow). As you’ll see, there are only nine bikes here. Two more are in our little house in California, two others at my son’s house in London and one more in Amsterdam, parked downstairs from the Edenspiekermann offices there. Which would actually make it 14 bicycles if it wasn’t for the fact that one of them is not mine, but Susanna’s. I had it made for her birthday, so it gets a picture here but no count.
When I was last in Amsterdam, I took the opportunity to go over to the office of Paul Mijksenaar, my favourite information designer. And Paul used the opportunity to make a short interview on video. Dutch subtitles make it more useful.
An interview I gave to the people from Peachpit when the third version of my book Stop Stealing Sheep and learn how to use type properly came out.
1. How did you first become interested in typography?
A printer in our neighbourhood gave me a small tabletop platen press and some type when I was 12.
2. Do you have a favorite typeface? Which one is it and why?
Historically it would be Berthold’s Block, because that was the first one I ever looked at closely and later redrew one of its variants as one of my first excursions into typedesign. But my favourite typeface of the day is the one that works really well for a project, whether it’s designed by myself or by one of my colleagues. It helps that I am friends with a lot of type designers, so using their faces is also very personal.
3. Your book, Stop Stealing Sheep, is celebrating its 20th anniversary. How has the design world changed over the past 20 years?
Do we have 500 pages and doesn’t everybody know the answer? Seriously, that is too big a question to answer in one paragraph. The good news is that design becomes ever more important as the world grows more complex. Designers are interpreters: we need to translate the world to people by making complex issues and processes visible.
Just found this illustration of some of the work we did for apple in 1992. That was just after we started MetaDesign in San Francisco and it involved a complete design system for the Mac OS. All flat.