Brigitte Schuster

Eye-catching observations in Halifax and NS, Canada

2011-10-02T12:04:55-05:00

<h1 class="entry-title">Eye-catching observations in Halifax and Nova Scotia, Canada</h1> <div class="entry-content"> This is an attempt to create a personal portrait of the city of Halifax and surroundings in Nova Scotia, Canada. I have being spending a few weeks here and these are my observations: <img src="http://brigitteschuster.com/media/images/articles/01_silhouette.JPG" alt="buildings of banks in Halifax" width="480" height="309"/> This photograph could have been taken in any Canadian city, however, it is a photograph taken in Halifax. It features buildings of banks that one can find anywhere in Canada: CIBC and TD CanadaTrust. <img src="http://brigitteschuster.com/media/images/articles/02_tim-hortons.JPG" alt="Tim Hortons cup on street" width="480" height="347"/> Tim Hortons: the Canadian coffee brand. Tim Hortons takeout products leave their traces in the nature. <img src="http://brigitteschuster.com/media/images/articles/03_poles.JPG" alt="Street with power poles in Halifax" width="480" height="320"/> Power poles are in most parts of the city. I was told that it is quite expensive to put them under earth due to the hard soil. For the same reason, oil-fired heating is more spread than gas heating. <img src="http://brigitteschuster.com/media/images/articles/04_no-poles.JPG" alt="Street with no poles in Halifax" width="480" height="311"/> A rich street just north of Park Point Pleasant can afford to put electrical wires subsurface and avoid poles. <img src="http://brigitteschuster.com/media/images/articles/05_hurricane.JPG" alt="View of Park Point Pleasant with little tall trees" width="480" height="320"/> Halifax is a hurricane affected area: Traces are visible at Park Point Pleasant. It has lost 80% of its trees due to a hurricane Juan in 2003, which is sometimes considered Atlantic Canada's most widely destructive hurricane in over a century. Only the fittest trees survived. <img src="http://brigitteschuster.com/media/images/articles/06_gift-on-pole.JPG" alt="Local craft objects on poles in Halifax" width="480" height="320"/> Street art. "Local Craft. Please be nice". One can take some of the craft objects attached to the pole in exchange for some money or goods. There is quite a few poles in town containing these objects. Artist unknown. <img src="http://brigitteschuster.com/media/images/articles/07_halifax-join-army.JPG" alt="ad to fight with Canadian forces in Halifax" width="480" height="332"/> "Fight with the Canadian forces" ad. <img src="http://brigitteschuster.com/media/images/articles/07_halifax_beach-sea.JPG" alt="Ocean view in the heart of the city of Halifax" width="480" height="320"/> Ocean view in the heart of the city. <img src="http://brigitteschuster.com/media/images/articles/08_port.JPG" alt="Port of Halifax with a seagull in the foreground" width="480" height="320"/> Halifax port. <img src="http://brigitteschuster.com/media/images/articles/09_cruise.JPG" alt="Cruise ship seen from inside Halifax town" width="480" height="305"/> Cruise ships go on land here. One can hear the ships or see parts of them. One can also meet their travelers in town. <img src="http://brigitteschuster.com/media/images/articles/10_beach-rainbow-haven.JPG" alt="Sea view of Rainbow Haven Beach" width="480" height="320"/> Beautiful beaches just fifteen minutes by car or two hours by bike (this is how I get around here) away from downtown Halifax. This is Rainbow Haven Beach. <img src="http://brigitteschuster.com/media/images/articles/11_street-name-concrete.JPG" alt="Street name written in conrete of pavewalk" width="480" height="320"/> Street names are written into the sidewalks at the beginning of each street. Letters have been pressed into the liquid concrete. <img src="http://brigitteschuster.com/media/images/articles/12_hydrant.JPG" alt="Orange hydrant on streets" width="480" height="319"/> Orange hydrants - not red - like in most cities. <img src="http://brigitteschuster.com/media/images/articles/13_graveyard-old.JPG" alt="Ancient graveyard" width="480" height="320"/> Graveyards. I have not seen a city with that many graveyards before. This is an ancient graveyard with stone carvings from the 18th century. <img src="http://brigitteschuster.com/media/images/articles/14_graveyard-dartmouth.JPG" alt="Graveyard in Dartmouth" width="480" height="320"/> Graveyard in Dartmouth. <img src="http://brigitteschuster.com/media/images/articles/15_graveyard.JPG" alt="Graveyard near Queen Street in Halifax" width="480" height="320"/> Graveyard near Queen street in Halifax. <img src="http://brigitteschuster.com/media/images/articles/16_feeder-pillar-ship.JPG" alt="Feeder pillar containing a ship painting" width="480" height="320"/> Beautifully painted feeder pillars in Halifax and surrounding areas. This one contains a ship. <img src="http://brigitteschuster.com/media/images/articles/17_feeder-pillar-trees.JPG" alt="Feeder pillars containing a tree painting" width="480" height="331"/> Feeder pillars with painted trees. <img src="http://brigitteschuster.com/media/images/articles/18_feeder-pillar-buildings.JPG" alt="Feeder pillars containing a painting of a building" width="480" height="327"/> Feeder pillars with painted buildings. <img src="http://brigitteschuster.com/media/images/articles/19_recycling_bins.JPG" alt="recycling bins in Halifax" width="480" height="324"/> The city of Halifax raises awareness for recycling. There is not only bins in town, domestic recycling is well organized, too. <img src="http://brigitteschuster.com/media/images/articles/20_recycling-station.JPG" alt="recycling station in Halifax" width="480" height="324"/> Individuals collect plastic bottles and cans in the streets of Halifax and deposit it here at this recycling centre. <img src="http://brigitteschuster.com/media/images/articles/21_recycling-washer.JPG" alt="washer on street to donate for free" width="480" height="320"/> A free washer available in Halifax County. <img src="http://brigitteschuster.com/media/images/articles/22_post-its.JPG" alt="Windows with post-it art" width="480" height="311"/> Post-it art in Halifax centre. <img src="http://brigitteschuster.com/media/images/articles/23_note-for-dogs.JPG" alt="Hand-written not on a tree" width="480" height="320"/> Worried property owners: "Please do not let dogs 'go' on our yard or trees!" <img src="http://brigitteschuster.com/media/images/articles/24_market.JPG" alt="Market building with stands on the ground floor" width="480" height="256"/> An amazing Saturday market at Pier 21 at Halifax's waterfront. A mixture of all sorts of food, restaurants, artisanal vendors. It is impossible not to spend money there. <img src="http://brigitteschuster.com/media/images/articles/25_bicycle-awareness.JPG" alt="Sign on street promoting bicylcle awareness" width="480" height="320"/> "Bicycle awareness". Can this sign replace a pike path? Except one, I have not seen bike paths in Halifax or surroundings. <img src="http://brigitteschuster.com/media/images/articles/27_bike-path.JPG" alt="Bike path on bridge" width="480" height="320"/> This is the only bike path I have seen in Halifax. It has been built on the bridge that connects Halifax and Dartmouth. <img src="http://brigitteschuster.com/media/images/articles/26_car-bicycle.JPG" alt="Sign on street promoting drivers and bikers sharing the street" width="480" height="312"/> "Share the road". Nice reminder for car drivers to share the road with bikers. I'd love to see this sign more often. <img src="http://brigitteschuster.com/media/images/articles/28_wooden-sidewalk.JPG" alt="Wodden sidewalk on street in Halifax" width="480" height="324"/> Wooden sidewalks to enable restaurant to create terraces and extend their space. I suppose they will disappear in winter times. <img src="http://brigitteschuster.com/media/images/articles/29_church-sign.JPG" alt="Church ad in Halifax County" width="480" height="381"/> "Is your soul at rest today? Sun 10 am" advertises pastor Bryan Hagerman from Regal Road Baptist Church in Halifax County. Church signs are not necessary typical for Halifax, but they are a truly Canadian thing. </div> [Leave a comment]

Montreal book designer Glenn Goluska in his studio

2011-09-18T12:20:32-05:00

<h1 class="entry-title">In memoriam: "Typography and bikes"</h1> <div class="entry-content"> <h2>Impressions at Glenn Goluska's studio, Montreal, Canada</h2> It was with sadness that I received the news that Glenn Goluska, "typographiste", recently passed away at the age of 64. In mid-June, I had the opportunity to visit Glenn in his typography studio, located in the basement of his house in the St-Henri neighborhood of Montreal, and conduct what would be one of his last interviews. <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_portrait.jpg" alt="Glenn Goluska in his studio surrounded by cases for letters and an office table" width="480" height="308"/> Glenn Goluska in his studio, St-Henri neighborhood of Montreal His studio was packed with typographical treasures. It was roughly divided in two sections: on one side stood presses and printing machines and lead type; on the other side, which was separated by a door salvaged from one of Toronto's tramways, was an office containing a computer, laser printer, and a lot of books. On one side the past, on the other the present. In between, the space was also crammed with a variety of bikes, which displayed his love for cycling. All of these items were acquired by Glenn over the years. He confided he often got very good deals for pretty amazing types, and books. Originally from Chicago, he studied literature and languages in Toronto. He eventually began working in publishing, which initiated his career as a typographer. Later he moved to Montreal, where he was in-house designer at the <a href="http://www.cca.qc.ca/" title="Canadian Centre for Architecture Montreal">Canadian Centre for Architecture</a> in Montreal for ten years, and worked independently on books and artist's books, publishing under his own label: "imprimerie dromadaire". During my visit, he showed me recent and past projects of his, or projects that concerned him. He showed me, for example, recent proofs of a book he was currently working on. For this project, <a href="http://mqup.mcgill.ca/" title="McGill-Queen's University Press Montreal">McGill-Queen's University Press</a> had commissioned him to design both the interior and the cover of an upcoming publication. Furthermore, he also showed me a typeface design in progress, dedicated to him by type designer <a href="http://www.stepinsidedesign.com/STEPMagazine/Article/28572/index.html" title="Rod McDonald, Canada’s Typographer Laureate">Rod McDonald</a>. The latter based the design on Dwiggin's Elektra, because it is one of Glenn's favorites typefaces. Additionally, the screensaver of his monitor showcased an event that had taken place in his studio in 2007, which was a letterpress workshop he had taught to <a href="http://www.design.uqam.ca" title="Ecole de design de l'Uqam">UQAM</a> graphic design students. We also looked together at the work of Robert Reis, a Canadian book designer who is today in his 80s, and whose work Glenn admires. I saw a variety of artist's books and letterpress pieces he created. Here is a selection of Glenn Goluska's letterpress work: <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_atwood_poem_cover.jpg" alt="several covers of books on top of each other with a book called 'Snake Poems' on top of the pile" width="480" height="354"/> This book contains a script typeface by <a href="http://de.wikipedia.org/wiki/Imre_Reiner" title="Imre Reiner">Imre Reiner</a> <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_atwood_poem.jpg" alt="Double page containing texts of poems from the book 'Snake Poems'" width="480" height="390"/> Double page containing texts of poems from the book 'Snake Poems' <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_atwood_poem_detail.jpg" alt="text with green and large heading book from the book 'Snake Poems'" width="480" height="465"/> Detail from the book 'Snake Poems' <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_bridge.jpg" alt="The book 'Brooklyn Bridge' standing on a surface which puts the accordion folding in evidence" width="480" height="320"/> Accordion folded book: 'Brooklyn Bridge' <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_bridge_detail.jpg" alt="Detail with text and brown print from the book 'Brooklyn Bridge'" width="480" height="411"/> Detail from the book 'Brooklyn Bridge' <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_bringhurst_title.jpg" alt="Cover from the book 'Tending the fire' using red decorative border elements all over the page" width="480" height="755"/> This artist's book (Bringhurst, 'Tending the fire' ) is printed in Linotype Electra <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_bringhurst_interior.jpg" alt="Double-page from the book 'Tending the fire' using red decorative border elements on top and bottom with black text-blocks inside" width="480" height="392"/> Two-page spread from Bringhurst's 'Tending the fire' <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_clarendon_booklet_cover.jpg" alt="Cover from a booklet showcasing experimental letters" width="480" height="519"/> Cover from booklet showcasing experimental letters <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_clarendon_booklet_imprint.jpg" alt="Imprint from a booklet, which is showcasing experimental letters" width="480" height="580"/> Imprint of booklet showcasing experimental letters <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_clarendon_booklet_interior.jpg" alt="Double page from a booklet, which is showcasing experimental letters, in this case j and k" width="480" height="320"/> Double page from booklet showcasing experimental letters <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_musgrave_poem.jpg" alt="Letterpress printed sheet with poem by Musgrave" width="480" height="709"/> Letterpress printed sheet with poem by Musgrave. In comparison with his letterpress printed books, Glenn also showed me comparatively poor quality of a photo polymer print. The main difference is that the photo polymer shows a bit too much inking, especially when compared to the letterpress print. <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_private_commission_preface.jpg" alt="Page of preface with text block and initial decorations of letterpress-printed book" width="480" height="426"/> A privately commissioned book. Glenn explained that the effect of letterpress is usually more visible on one side when printed recto-verso. Some people can even tell which side was printed first. <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_private_commission_interior.jpg" alt="Double page with text block and initial decorations of letterpress-printed book" width="480" height="411"/> Double-page and initials of privately commissioned book <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_private_commission_detail.jpg" alt="Detail of page with text block and initial decorations of letterpress-printed book" width="480" height="831"/> Details of privately commissioned book <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_roche_text.jpg" alt="Letterpress printed sheet with a text set in three different languages" width="480" height="709"/> Letterpress printed sheet with a text set in three different languages Glenn also showed and explained his work with the <a href="http://en.wikipedia.org/wiki/Linotype_machine" title="Linotype typesetting machine">Linotype typesetting machine</a>, which he used to use for many years. He pointed out its main advantage, which is to be able to set type without limits, and thus be able to hold enough letters for the composing of an entire book. He also liked, that it facilitates the typesetting of very small type, which can be quite tedious when done by hand. Furthermore, there is no need to distribute letters back into the case or search for letters in the cases. Overall, the machine allows for greater speed than the previous hand compositing machines. <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_linotype_machine.jpg" alt="Linotype machine" width="480" height="720"/> Glenn's Linotype machine <img src="http://brigitteschuster.com/media/images/articles/glenn-goluska_linotype_machine_letters.jpg" alt="Line of letters made by a linotype machine and other objects on a table" width="480" height="343"/> Type material During my visit, Glenn talked about arranging and organizing to give his entire collection and printshop to <a href="http://www.gaspereau.com" title="Gaspereau Press">Gaspereau Press</a>, a Canadian literary publisher and printshop, in Kentville, Nova Scotia, Canada. He has been friends with the Gaspereau Press folks, so he knew that his collection would be in good hands. Nice to know that one can follow up on Glenn's traces through this press. His dedication to preserve historic typesetting using letterpress and to be involved in contemporary computerized typesetting is invaluable. Although he is no longer with us, he persists through his work. </div> [Leave a comment]

Portrait of a Montreal hand-lettering artist and his passion

2011-09-11T16:12:33-05:00

<h1 class="entry-title">Preserving the Hand</h1> <div class="entry-content"> <h2>Portrait of a Montreal hand-lettering artist and his passion</h2> I met Claude at <a href="http://www.laikamontreal.com/" title="Cafe Laika Montreal">Cafe Laika</a>, in Montreal, Canada, in mid-June to talk with him about his work as a letterer, and about the Montreal lettering scene. Claude has been doing lettering for almost twenty-five years now. He is an autodidact, and before getting into lettering he was active in another artisanal field, that of the shoemaker. He used to repair horse saddles, and worked in shoe factories. <img src="http://brigitteschuster.com/media/images/articles/claude-letterer-st-laurent.jpg" alt="Claude, a Montreal sign lettering artist standing on the Boulevard St. Laurent" width="480" height="336"/> Claude at the Main (Boulevard St. Laurent), Montreal Claude has shaped the look of the fronts of many shops and restaurants around a few Montreal neighborhoods, mainly the <a href="http://en.wikipedia.org/wiki/Le_Plateau-Mont-Royal" title="Plateau Montreal">Plateau</a> and <a href="http://en.wikipedia.org/wiki/Mile_End,_Montreal" title="Mile End Montreal">Mile End</a>, the two areas he finds the most attractive and most pleasant in Montreal. He has lived in these neighborhoods for years, and he knows their people well. "People" are one of his motivations to do lettering. He repeats frequently during the talk "j'aime les gens" (I like people). For Claude, it is a good way to stay connected to the public and meet people. He says that it is thanks to these people that lettering is still alive. People who commission the work preserve the lettering culture. He sees himself merely as someone who gives shape to this spirit; in fact, his modesty is such that he does not even sign his lettering work. Claude believes that, as with other artisan activities (such as that of the shoemaker), hand lettering is becoming a lost art. His role is to keep the art of lettering going, especially the type of lettering where a touch of hand-work is noticeable, as opposed to the more prevalent "computerized" lettering. Claude enjoys his work so much that he feels as if he is “on holidays all the time". His goal is not so much financial as it is personal satisfaction; it is even doubtful that he can make a living purely off his lettering work. In fact, he has a very generous attitude when billing a job. For a second-hand shop who has already a hard time making ends meet, he says, he normally charges a very low amount, say 50$, and will supplement his earnings with an object from this shop. The amount he charges also depends on his relationship with the customer. For friends, he would consider doing it pro bono. Claude does not work year round, but he is active in the summer months, a season that lasts for three or four months. He usually receives his commissions trough word-of-mouth referrals. When he gets a commission, Claude is careful to check out the place first. He often does sketches, and considers it important to look not only at the location in itself, but also at neighboring places. This helps him fit in the lettering of the location with its environment. It also happens that he refuses a particular job. He does not appreciate people whose attitude is that, because he works manually and without a computer, he must be poor, and therefore inexpensive. When this happens, he refuses collaboration. He prefers when his patrons have an idea of the atmosphere they wish to create for their business. Sometimes, he gets commissioned by merchants or restaurant owners with Italian or Portuguese background, and he likes to integrate their culture in his letterings. Claude can do whatever is needed, from letters to decorations, in short, he says, anything that looks nice. What he does not consider nice are computer-constructed letters which lack the presence of the hand. As an example, he mentions the Laika logo. "People think this has more quality, because it looks more serious", he claims, but he finds it "cold looking" and for him, it “means a completely different world". Instead, his style is inspired by American vintage magazines from the 40s and 50s, such as <a href="http://en.wikipedia.org/wiki/The_New_Yorker" title="New Yorker Magazine">New Yorker</a> or <a href="http://en.wikipedia.org/wiki/Life_(magazine)" title="Life Magazine">Life</a>, using a lot of script-like letter shapes. <img src="http://brigitteschuster.com/media/images/articles/logo-cafe-laika.jpg" alt="Logo of Cafe Laika and exterior view of cafe" width="480" height="336"/> Logo of cafe Laika He uses mainly brushes, which he orders from the United States, and paint. He finds it important to experiment with new colors, such as the combination of a grayish blue and brown or a blue and pink instead of sticking to the very common combination of red and yellow. <img src="http://brigitteschuster.com/media/images/articles/lettering-petitfuchsia-duluth.jpg" alt="Shop front of the restaurant 'petit fuchsia' in Montreal" width="480" height="320"/> <img src="http://brigitteschuster.com/media/images/articles/lettering-petitfuchsia-duluth-detail.jpg" alt="Detail of hand lettering of the word 'petit fuchsia' on Montreal restaurant window" width="480" height="202"/> Example of experiments with new colors at 'Petit Fuchsia', Rue Duluth, Montreal Interestingly, Claude explains that it is not necessary any more to paint backwards, because most windows today are double windows. He can therefore paint directly on the interior window. He says the problem of painting inside a window in general is that you would see too much of the reflection of the street on the exterior window glass, which can make the lettering itself less apparent. To avoid this, he prefers doing it straight onto the surface of the exterior glass. While he works by himself most of the time, he also used to have apprentices. Last year he had two apprentices. One of them, he says, was very enjoyable because he did not bother him with too many questions, but would rather learn through observation. Claude is careful when taking on apprentices, who are often only interested in the money they can make. "I could never work with someone like this beside me,” he says, referring to anyone more interested in money than the craft itself. According to Claude, there are not many letterers in town: "It seems that they are all alcoholics, a little bit like me", he says, "but the bad thing about them is that there is a few who start but do not finish their work". Sometimes it happens that Claude is mixed up with a few other artists named Claude, who also happen to be letterpainters. However, one Claude is more active in the downtown area. The other Claude is the "fake Claude", the evil twin who pretends to be Claude the letter painter and shows up to take money for a job that he, of course, will never do. Claude is totally opposed to the idea of ever seeing his letterings digitized. He is not interested in preserving his work in a digital way, because this goes against the very idea of using his hands to make letters. The nice thing about lettering is essentially the manual work it involves. He executes the whole process in front of the client. This makes it, according to him, much easier to get his handmade lettering accepted. When a client chooses computer lettering, and it is simply glued to the window, it is much more likely to be unsatisfactory work. After a coffee-less (he is "tired of coffee" he says) meeting, consistently interrupted by phone calls (he had to make calls and received calls), an impatient Claude (he became impatient over my questions after fifteen minutes and made a stop to the interview after warning me several times that he was “tired of it now”) showed me around the Plateau area to make me "understand things better". We covered parts of the streets of Boulevard St-Laurent and Rue Duluth, where he had created a few recent letterings: <img src="http://brigitteschuster.com/media/images/articles/lettering-souk-duluth-detail.jpg" alt="Detail of hand lettering of the word 'souk' on Montreal shop window" width="480" height="320"/> <img src="http://brigitteschuster.com/media/images/articles/lettering-souk-duluth.jpg" alt="Shop front of the shop 'souk' in Montreal" width="480" height="353"/> <img src="http://brigitteschuster.com/media/images/articles/lettering-fuchsia-duluth-detail.jpg" alt="Detail of hand lettering of the word 'fuchsia' on Montreal restaurant window" width="480" height="320"/> Unfortunately, the Plateau is often the scene of acts of vandalism by acid, the targets of which are restaurant and shop windows. Claude usually covers up the damage by adding lettering on top of it. <img src="http://brigitteschuster.com/media/images/articles/lettering-fuchsia-duluth.jpg" alt="Shop front of the restaurant fuchsia in Montreal" width="480" height="469"/> <a href="http://www.epiceriefleur.com/" title="Restaurant Fuchsia, Epicerie Fleur Montreal">Fuchsia</a>: Claude claims that since he did their lettering, “people enter the place more frequently". <img src="http://brigitteschuster.com/media/images/articles/claude-letterer.jpg" alt="American view of Claude, a Montreal sign lettering artist in front of a shop on Boulevard St. Laurent" width="480" height="770"/> In the street's of Montreal's Plateau and Mile End neighborhood, Claude can be recognized by his blue bag he often carries with him, which contains everything he needs to start a new lettering job. </div> [Leave a comment]

Artist's book entitled The Hague: One Year A Visual Diary

2011-08-03T16:04:36-05:00

<h1 class="entry-title">The Hague: One Year - A Visual Diary</h1> <div class="entry-summary entry-content"> <ul> <li>project: Artist book entitled "The Hague: One Year - A Visual Diary"</li> <li>Concept, text, photography, design</li> <li>collaboration: Fran Sendbuehler, <a href="http://nobarcodepress.com">no bar code press</a> (bookbinding)</li> <li>2011</li> <li>The project showcases some of the experiences of my one-year stay in The Hague, NL, between August 2009 and 2010. Taking the form of a visual diary, it documents different stages in time and space during that year. These are witnessed through my workspace at the university, supermarket receipts, the nearby beach, train tickets and locations I biked to.</li> <li>Book description: Printed on HP Indigo 7500 Digital Press (color) and Xerox Docucolor 240 (grayscale); Mohawk Via Laid, Pure White, écriture 24 lb (Paper text pages) Domtar Hots, vellum 60 lb (Paper chapter pages), open binding sewn in sections and book case, 212 pages, 4.25 x 7.5 in, edition of 6</li> <li>publication: Dépôt légal - Bibliothèque et Archives nationales du Québec, 2011; Dépôt légal - Bibliothèque et Archives Canada, 2011, ISBN 978-2-9811263-1-3.</li> </ul> </div> <div class="entry-content"> <img src="http://brigitteschuster.com/media/images/portfolio/design/graphic-design/01_thehague-one-year-case.jpg" alt="Book with open binding in book case" width="480" height="313"> <img src="http://brigitteschuster.com/media/images/portfolio/design/graphic-design/02_thehague-one-year-case-and-book.jpg" alt="Book with open binding taken out of book case" width="480" height="313"> <img src="http://brigitteschuster.com/media/images/portfolio/design/graphic-design/03_thehague-one-year-workspace.jpg" alt="Double page on yellow and white paper containing photographs of a workspace" width="480" height="313"> <img src="http://brigitteschuster.com/media/images/portfolio/design/graphic-design/04_thehague-one-year-sea.jpg" alt="Double page on white and red paper containing text" width="480" height="313"> <img src="http://brigitteschuster.com/media/images/portfolio/design/graphic-design/05_thehague-one-year-sea-example-01.jpg" alt="Double page on white paper containing photgraphs of the sea" width="480" height="313"> <img src="http://brigitteschuster.com/media/images/portfolio/design/graphic-design/06_thehague-one-year-sea-example-02.jpg" alt="A further example of a double page on white paper containing photgraphs of the sea" width="480" height="313"> <img src="http://brigitteschuster.com/media/images/portfolio/design/graphic-design/07_thehague-one-year-sea-example-03.jpg" alt="Close view of a page containing a photograph of the sea" width="480" height="313"> <img src="http://brigitteschuster.com/media/images/portfolio/design/graphic-design/08_thehague-one-year-train.jpg" alt="Double page on blue and white paper containing train tickets" width="480" height="313"> <img src="http://brigitteschuster.com/media/images/portfolio/design/graphic-design/09_thehague-one-year-bike.jpg" alt="Double page on white and green paper containing text" width="480" height="313"> <img src="http://brigitteschuster.com/media/images/portfolio/design/graphic-design/10_thehague-one-year-bike-example-01.jpg" alt="Double page on white paper containing photgraphs of locations with bikes" width="480" height="313"> <img src="http://brigitteschuster.com/media/images/portfolio/design/graphic-design/11_thehague-one-year-bike-example-02.jpg" alt="A further example of a double page on white paper containing photgraphs of locations with bikes" width="480" height="313"> <img src="http://brigitteschuster.com/media/images/portfolio/design/graphic-design/12_thehague-one-year-book.jpg" alt="Showcase of a book's front with pattern caused through the visuals in the book" width="480" height="313"> </div>

objet d'ailleurs project

2011-04-28T12:12:12-05:00

<h1 class="entry-title">objet d'ailleurs - objects from elsewhere</h1> <div class="entry-summary entry-content"> <ul> <li>project: Web site, site-specific installation and participatory event</li> <li>url: <a href="http://objetdailleurs.com/" title="Objet d'ailleurs">http://objetdailleurs.com/</a></li> <li>collaboration: <a href="http://csarven.ca/#i">Sarven Capadisli</a> <li>2010</li> <li> The project “objet d’ailleurs” is an ongoing collection of stories from immigrants to Montréal or other cities in the world, about objects that remind them of their home country. Immigrants participate with one possession from their home country. This should be an object that evokes for them personal, sentimental values, or feelings towards a place or certain memories. I photograph the object and conduct a short interview with the participant about this object. Object and story will then be added to the Web site.</li> <li>dissemination / event: Participatory event and site-specific installation at <a class href="http://www.articule.org/web/projects_speciaux/10-11/brigitte_schuster_fr.html">articule - artist run centre</a> (2011-05-05 to 2011-05-08) in Montreal, Qc, Ca</li> </ul> </div> <div class="entry-content"> <img src="http://brigitteschuster.com/media/images/portfolio/art/photography/objetdailleurs.jpg" alt="Screenshoot of the objetdailleurs project containing a chess board and the project logo next to it" width="480" height="267"> </div>

La calligraphie, fondement de la typographie

2011-03-04T09:01:04-05:00

<h1 class="entry-title">La calligraphie, fondement de la typographie</h1> <div class="entry-content"> <h2>Pourquoi un graphiste devrait étudier et connaître la calligraphie</h2> Souvent la calligraphie est vue comme une forme d’art libre qui permet une liberté d’insertion d’enjolivures. Pour moi, la fonction de la typographie est tout autre. Je m’intéresse moins à expérimenter sur des surfaces de papiers, ou d’utiliser telle ou telle couleur d’encre ; je sonde la calligraphie à la base des lettres pour comprendre et utiliser les formes et les contre-formes des alphabets constitués. M’étant astreinte à la calligraphie de façon assidue depuis 2008, avant même de faire des <a href="http://new.typemedia.org/" title="TypeMedia">études en design de polices de caractères</a> à <a href="http://www.kabk.nl/" title="KABK - Koninklijke Academie van Beeldende Kunsten Den Haag">KABK</a> à La Haye en 2009/2010, j’ai compris l’importance de la calligraphie dans la compréhension des caractères de lettres et du large spectre de la typographie. C’est par l’expérience personnelle directe que l’on s’approprie ce sujet. Dans ce domaine, les concepts théoriques demeurent abstraits si l’on ne touche pas directement la lettre. En écrivant avec des outils calligraphiques, on se familiarise avec la structure et les proportions de la lettre : caractères larges ou étroits (chasse), les espaces négatifs (la contre-forme), les espacements entre les lettres et les mots (crénage et approche) ainsi que l’interligne, c’est une manipulation à la source qui oriente le gris typographique de la mise en page et le style. l’outil d’écriture peut varier : l’utilisation de la plume biseautée nommée carrée, ou de la plume pointue ou du pinceau déterminera selon l’angle utilisé, les pleins et les déliés d’une lettre. La calligraphie impose l’application de tous les éléments typographiques nécessaires, incluant ceux de la mise en page. La calligraphie permet par une expérience personnelle et pratique, de reconnaître quel outil d’écriture est à la base d’un caractère imprimé. Les contraintes inhérentes à chaque outil permettent de se familiariser avec l’origine historique, en plus des éléments constitutifs d’une police de caractères. Les polices de caractères antiques que nous utilisons encore aujourd’hui proviennent d’anciens manuscrits calligraphiques. Lorsque nous écrivons, nous appliquons ces détails de l’histoire typographique. En cela, l’utilisation des outils calligraphiques est tellement plus essentielle à notre connaissance et notre maîtrise de la typographie, plutôt que de s’en remettre aux simples catalogues et répertoires de polices de caractères. <a href="http://caracteres.typographie.org/classification/chronologie.html/" title="Classification chronologique des caractères typographiques sur caracteres.typographie.org">La classification chronologique d’origine anglo-saxonne</a> est la référence qui décrit en termes académiques les caractères de lettres ainsi que fait rappel à l’outil d’écriture qui a été utilisé. On trouve ces termes dans des livres d’histoire de la typographie depuis le début de la lettre imprimée. En conséquence, les polices de caractères « old-style » et « italic » sont écrits avec la plume biseautée. « Transitional » a les caractéristiques de la plume biseautée et pointue. Le squelette de police « modern face » est basé sur la plume pointue. « slab-serif/egyptian » utilise le squelette de la plume pointue qui se différencie de la « modern face » en utilisant moins de contraste entre les pleins et déliés. Les « sans serifs » peuvent se baser sur n’importe quel outil d’écriture qui inclut des constructions géométriques. La calligraphie crée donc la spécificité intrinsèque du caractère. Elle est en cela fondamentale à la création de logos pour des identités corporatives. La calligraphie devrait aussi instruire dans le design de caractères de lettres. Il n’est pas exhaustif de considérer l’apport de connaissances calligraphiques et typographiques dans la formation du graphiste qui saura choisir et utiliser la typographie plus consciencieusement. <img src="http://brigitteschuster.com/media/images/articles/plume_bisautee_calligraphie.jpg" alt="broad nib writing in order to imitate old-style letters" width="480" height="338"/> Des exercices effectués dans un cours d’introduction aux classifications de caractères de lettres au collège Marie-Victorin. Des lettres imprimées de la police Garamond ont été retracées avec un feutre calligraphique en imitant la pointe biseautée. Ceci aide l’étudiant à comprendre l’évolution à partir de l’origine écrite de cette lettre. Ou encore, des déliés situés à des endroits précis et causés par l’angle de l’outil d’écriture permettent de comprendre les caractéristiques « old-style ». Aujourd’hui, dans beaucoup de programmes de formation en graphisme, la calligraphie a été abandonnée pour laisser place à l’ordinateur. Par exemple, au département de graphisme du <a href="http://graphisme.collegemv.qc.ca/" title="Département de graphisme - Cégep Marie-Victorin">Cégep Marie-Victorin</a>, Québec, Canada, seul le titre d’un cours : « Typographie, lettre traditionnelle » rappelle vaguement l’exercice de la calligraphie à la base de la construction de la typographie. Enseignante d’un cours de base de typographie dans cette institution collégiale, j’ai proposé à mes élèves une incursion plus active dans la création calligraphique pour se familiariser avec les classifications des caractères de lettres. Par manque de temps l’exercice n’a pu occuper qu’un cours de trois heures. Cela est insuffisant pour bénéficier des avantages de l’apprentissage de la calligraphie, il faudrait une pratique plus régulière. Il est toutefois heureux de voir de mes anciens élèves s’inscrire à un cours de calligraphie que je poursuis à Montréal, et offert par Marco Chioini. Certaines institutions incluent la calligraphie et la création de caractère de lettres dans leur programme général de formation en design, par exemple : au niveau universitaire, la <a href="http://www.kabk.nl/" title="KABK - Koninklijke Academie van Beeldende Kunsten Den Haag">KABK de La Haye</a> en Hollande, l’<a href="http://risd.edu/" title="Rhode Island School of Design - RISD">école de Design de Rhode Island (Rhode Island School of Design)</a>, aux États-Unis et au niveau collégial professionnel, l’<a href="http://designschule-muenchen.de/" title="designschule münchen - berufsfachschule für kommunikationsdesign">école de design de Munich (Designschule München)</a> en Allemagne. Les institutions qui n’offrent pas de formation en calligraphie risquent de former des étudiants qui ont moins de sensibilité typographique. Cela est un manque si l’on considère la typographie comme étant une partie essentielle du design graphique. On forme des experts dans la manipulation de logiciels, mais qui maîtrisent peu l’essence du contenu de la lettre et de ses possibilités et les applications typographiques. <img src="http://brigitteschuster.com/media/images/articles/plume_pointue_calligraphie.jpg" alt="pointed nib writing in order to imitate modern face letters" width="480" height="338"/> Des lettres imprimées de la police Bodoni ont été retracées avec un feutre de pointe pointue en imitant la plume pointue. Cela permet à l’étudiant de comprendre la classification « modern face ». </div> [Leave a comment]

Oriental and Western bookbinding Workshop

2011-02-23T11:01:03-05:00

<h1 class="entry-title">Bookbinding workshop with Andrée-Anne Dupuis-Bourret</h1> <div class="entry-content"> At the beginning of this month I attended Montréal-based artist <a href="http://www.aadb-art.com/" title="Web site of Andrée-Anne Dupuis-Bourret’s Web site">Andrée-Anne Dupuis-Bourret</a>’s bookbinding workshop at <a href="http://graff.ca/" title="Graff - Fine Arts Gallery and Printmaking Studios">GRAFF</a>, Montréal. It was a great hands-on experience being introduced in both, Oriental as well as Western bookbinding using the thread. In two days we learned Japanese book binding basics including variations as well as the European stitching binding. <img src="http://brigitteschuster.com/media/images/articles/japanese_binding_black_book.jpg" alt="Black book using Japanese binding" width="480" height="338"/> Variation of Japanese binding on black cover <img src="http://brigitteschuster.com/media/images/articles/japanese_binding_red_book.jpg" alt="Red book using Japanese binding" width="480" height="338"/> Variation of Japanese binding on red cover <img src="http://brigitteschuster.com/media/images/articles/japanese_binding_white_book_process.jpg" alt="White book using Japanese binding" width="480" height="338"/> In the process of applying a simple Japanese binding <img src="http://brigitteschuster.com/media/images/articles/japanese_binding_white_book.jpg" alt="White book using Japanese binding" width="480" height="338"/> Simple Japanese binding on white cover <img src="http://brigitteschuster.com/media/images/articles/stitching_node.jpg" alt="Visible node in a book using European stitching binding" width="480" height="338"/> Node in a book using the European stitching binding <img src="http://brigitteschuster.com/media/images/articles/stitching_spine.jpg" alt="Visible thread on spine interior of book using European stitching binding" width="480" height="338"/> Thread on interior of spine of a book using the European stitching binding <img src="http://brigitteschuster.com/media/images/articles/stitching_thread.jpg" alt="Thread on spine interior of book using European stitching binding" width="480" height="338"/> In the process of passing the thread through the holes of the spine of a book using the European stitching binding <img src="http://brigitteschuster.com/media/images/articles/stitching_holes.jpg" alt="Holes on spine interior of book using European stitching binding" width="480" height="338"/> In the process of making holes on the spine of a book using the European stitching binding <img src="http://brigitteschuster.com/media/images/articles/stitching_different_paper.jpg" alt="Different paper colours in a book using European stitching binding" width="480" height="338"/> Different paper colours <img src="http://brigitteschuster.com/media/images/articles/stitching_spine_pattern.jpg" alt="Visible thread on spine of book using European stitching binding" width="480" height="338"/> Thread pattern on spine of a book using the European stitching binding </div> [Leave a comment]

KABK Type and Media Review

2011-02-06T23:01:01-05:00

<h1 class="entry-title item">Type and Media Masters program at KABK: A review</h1> <div class="entry-content entry-summary summary" property="dv:summary"> The <a href="http://new.typemedia.org/" title="TypeMedia">Type and Media program</a> at <a href="http://www.kabk.nl/" title="KABK - Koninklijke Academie van Beeldende Kunsten Den Haag">KABK</a>, The Hague, Netherlands, offers eleven to twelve students each year the opportunity to enrol in a one-year type design master’s studies. As a former <dfn>Type and Media</dfn> (<abbr title="Type and Media">T[M</abbr>) student (2009-2010), I have been approached by several people in the design field about my experience of program in The Hague. I thought the easiest way to share my experiences would be by documenting them all in one place. By writing this review, I hope to provide those individuals a quick overview of the program. I will try to stay as objective as possible, though needless to say this remains an account of a subjective experience. Looking back, I realize that I have learned a lot about type design and typography; however, like any course offered by educational institutions, this course comes with its pluses and minuses. Here we go. </div> <div class="entry-content description" property="dv:description"> <h2>Method and Philosophy</h2> The Hague’s program is primarily based on the “learning by doing” method. While “reinventing the wheel” is an important and effective tool in teaching and exploring complex ideas, I felt there was not enough emphasis on key concepts and fundamentals of type design. For instance, during my final project (<a href="http://brigitteschuster.com/canella">Canella Type Family</a>), I went too far in one direction, which did not turn out to be the right one and which resulted in a lot of wasted time. Many common pitfalls could have been avoided if there had been proper theoretical background provided. The T[M faculty considers personal observations and decisions the key elements in designing a typeface. Taking into account rules of thumb, or in other words key concepts and fundamentals, means little in the teaching of type design in The Hague. However, I believe that someone who starts designing type needs to first establish the fundamentals which can be used when necessary to avoid common mistakes right from the start. On the other hand, I also believe that personal observations and decisions can be an important tool in some situations, for while it is important to make use of previous, well-founded knowledge to establish control over the process, personal observations and decisions help to cover new ground and to think outside of the box. I agree with the method of using personal observations and decisions as one form of experimentation, but not as the only one. It needs to be complemented by other approaches for a well-balanced understanding of the material, and successful implementation in practice. <h2>Scope and diversity of taught material</h2> Type history as a subject is scarcely integrated into the program. Peter Bilak from the T[M faculty, external lecturers, such as Fred Smeijers or Gerard Unger, and Frank E. Blokland from the BA faculty, introduce information about some of the main periods in type history, but only briefly. Unfortunately, the program is so densely packed that there is actually very little time for self-studies or library time on the subject. Some of the teachers have suggested taking one week off for research time in libraries. This suggestion is great, but not necessarily feasible for anyone given the course work load. Type design in T[M’s program is closely based on calligraphy. Frank E. Blokland, who offers T[M students a BA classes at KABK, continues to teach calligraphy based on the tradition of Gerrit Noordzij. Renaissance writing and italic script with the broad-nib pen are the principal writing styles in his course. Erik van Blokland introduces pointed nib writing. As such, fundamentals for writing that are useful in today’s type design world are well covered. Although The Hague introduces traditional foundations, such as calligraphy and even stone carving (taught by Françoise Berserik), programming and implementation of new technologies are not given short shrift. Some teachers are actively involved in current type technology implementations and programming, for example by Erik van Blokland, Petr von Blokland and Just van Rossum. We even had a course in Python programming, and we attended an Adobe FDK workshop. We had quite a bit of technological input during the program. As it was rarely applied after the workshops, it was not really internalised by the majority of the students. Thus, I have to say that even having been involved in the field for some time, I am still dependent on collaborations in terms of type production, and getting a type ready for publishing. My suggestion would be to integrate the FDK from the beginning of the course, so as to give the students the chance to familiarise themselves better with the technology, and have the opportunity to get feedback in their use of it. The program coordinator organised a cultural program in which he also participated, which gave us a great insight into Dutch design, architecture and art scene. It included excursions to type and design related events in Holland, Belgium and Germany. In Holland, we frequently went to see design exhibitions, were offered guided city tours, attended conferences and visited designers. This was an invaluable experience in my opinion. <h2>Research - practical and academic</h2> While The Hague promotes a focus on practical research, academic research has little place in the program. The revival project, which has a theoretical and a practical part, requires at least some academic research. However, a 1500-2000 word essay does not really prepare one for professional academic research. Furthermore, there is no emphasis given on following any academic guidelines. I would have expected a master’s program to provide adequate academic knowledge in order to facilitate student’s enrolling in further studies, which imply solid academic research and writing skills. I would suggest emphasising academic writing in the program. Right now, students who aim to pursue further graduate studies would need to follow additional courses, or publish articles in the field. There is an important point to be made here about the program, as far as as the quality and the opportunity for academic research go, and that is the fact that a masters degree is commonly recognised as an academic degree. Therefore, if KABK claims to provide a master’s program in Type and Media, the program should try to stay as close to that definition as possible. Otherwise, the whole pursuit becomes a blur and students might wonder whether they are attending a master’s program, or a year long workshop. <h2>Expertise and pedagogical skills of faculty/teachers</h2> <a href="http://new.typemedia.org/teachers/" title="Teachers at KABK">Teachers at KABK</a> come in different flavours. While all of them are top-level type designers and are skilled in different areas of type design, some are better teachers than others. Aside from the visiting teachers, we saw the regular core teachers once a week. We had constant feedback on our work, including helpful weekly individual review sessions, in which, each teacher commented on printouts of the typeface. During the final project phase, which was approximately four months long, we presented incremental steps of our work-in-progress at intervals of four to six weeks. This was quite helpful, because it forced us to respect deadlines on the one hand, and on the other hand the faculty was aware of the results and was able to interfere or guide us individually, when necessary. Some teachers have, on top of their technical skills, full pedagogical skills, which favours a student’s learning progress. Others can be rather discouraging and communicate a lack of sensitivity. For instance, in the first term, I worked on a Greek script in my free time, following the general philosophy of the program to experiment with a variety of things. One of the teachers commented on this experiment, saying that it would be quite unsuccessful and I should not waste my time with it. No matter if it was personal dislike or not, this attitude is unacceptable from a teacher who’s role should be to encourage a student, especially the students in this program, who were, without exception, all highly motivated to begin with. <h2>T[M students</h2> <a href="http://www.typemedia2010.com/" title="T[M students 2010">Students</a> who enrolled in the program not only came from different countries, but also from different age groups and educational backgrounds. Some were already experienced type designers, others just starting off. Experienced students often were able to give suggestions on how to improve on letter shapes. The same is valid for technical skills. In other words, students helped each other and exchanged professional skills. This meant anything from commenting on someone’s letter-shapes, helping in computer programming (Python), proof-reading text, as well as learning about bookbinding techniques. In other words, the collaboration between T[M students is an integral part of this program. <h2>Grading</h2> Grading seems to be a minor concern to program instructors. The first and only time that I received a mark was on my final degree certificate. While some students are not concerned with grading, others care a great deal. For instance, some students further pursue their education in Ph.D. studies or apply for grants. Another important reason to provide students with grades is to give the student an indicator of what needs to improve, and a chance to let them re-adapt their methods where necessary. In our case, marks were not used as an indicator to see improvements or failures during the whole year. Communication with the students in this regard will hopefully improve in the following years, given that some teachers have acknowledged this situation. If marks have no significance in this program, the T[M program appears to hand out degrees to individuals that can put forth a reasonable effort during the year. <h2>Course organisation and communication</h2> In terms of communication and administration, the program lacked a solid coordination framework. It is common not to receive any replies to emails or responses to reminders. More importantly, I also never received a detailed list of my course gradings, i.e., a corresponding mark for each course. I have made several requests to receive my marks (from the program coordinator, as well as each of my instructors) since my graduation. Thus far, I've been unsuccessful. Neither have I received any formal response as to why this request was not met. This attitude is therefore not a one-time glitch, but seems to be the norm. This element could easily be improved by simply communicating with the students. <h2>Location and available research institutions</h2> Although there is not really much time for research during the program, the location of the Hague is ideal for research in the field of type. Some research institutions are located directly in The Hague, for instance the <a href="http://meermanno.nl/" title="Meermanno Museum Den Haag">Meermanno Museum</a> or the <a href="http://www.kb.nl/" title="Koninklijke Bibliotheek Den Haag">Koninklijke Bibliotheek</a>. <a href="http://bibliotheek.leidenuniv.nl/" title="Prentenkabinet Leiden">Prentenkabinet</a> Leiden, the <a href="http://www.uba.uva.nl/special_collections/" title="Special Collections">Special Collections</a> of the University of Amsterdam, and the <a href="http://museum.antwerpen.be/plantin_moretus/" title="Plantin-Moreteus Museum Antwerp">Plantin-Moreteus Museum</a> in Antwerp are nearby as well. The Netherlands itself is an amazing place to be for culture and design. It is architecturally outstanding, where everything is truly designed here. <h2>Conclusions</h2> I am glad to have had the opportunity to work with the Type and Media faculty and my colleagues. Teachers are not only interesting type design personalities, but they also gave me an insight into their way of working, and perhaps more importantly, transmitted their passion for letters. It is a pity that the faculty does not see the practical benefits of research and theory as something that can work together. In my opinion, theories are interconnected in type design in order to minimize common mistakes and dedicate more time to experimentation. Furthermore, I would suggest increasing the length of the program to perhaps two years. It is commonly agreed among the faculty members, students and other practitioners that ten months of studies barely scratches the surface of the wonderful world of type. This Type and Media program may or may not fit perfectly every individual, given the many variables in the picture. Needless to say, if you love type design, it is a great program to pursue in and of itself. I would recommend it to all, if and only if they are willing to cope with some of the shortcomings of the program’s organisational scheme. Knowing what I know, if I had to make the decision of whether to enrol in this program or not, I would definitely go for it. I hope you have found this review useful. If you would like me to address anything in particular, please let me know in the comments below. </div> <dl rel="v:rating"> <dt>Rating</dt> <dd typeof="v:Rating">3.5</dd> </dl> [Leave a comment]

Monotype Plantin Book

2010-09-04T21:15:22-05:00

<h1 class="entry-title">Monotype Plantin Revival Book</h1> <div class="entry-summary entry-content"> <ul> <li>project: Monotype Plantin - A digital Revival book</li> <li>A book showcasing the of the <a href="http://brigitteschuster.com/monotype-plantin-revival" title="Monotype Plantin Revival">Monotype Plantin Revival</a>.</li> <li>2010</li> <li>The project was developed as part of the <a href="http://new.typemedia.org/" title="TypeMedia">Type and Media master course</a> at the <a href="http://www.kabk.nl" title="KABK - Koninklijke Academie van Beeldende Kunsten Den Haag | KABK - Koninklijke Academie van Beeldende Kunsten Den Haag">Royal Academy of Art</a> in The Hague, The Netherlands.</li> <li>Paper: Paper Text Pages: (white) Biotop 120 g, (brown, grey) Butterfly 120 g; Paper Cover Pages: Biotop 130 g</li> <li>printed in The Netherlands with Laserprinter HP Laserjet 5000 N</li> <li>Binding: Open Binding, <a href="http://www.handboekbinder.nl/" title="Boekbinderij van Dijk">Boekbinderij van Dijk</a>, Den Haag, NL</li> <li>Format: 14.8 x 21 cm</li> <li>Edition of 2</li> </ul> </div> <div class="entry-content"> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_01.jpg" alt="book featuring the Monotype Plantin Revival" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_02.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_03.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_04.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_05.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_06.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_07.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_08.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_09.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_10.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_11.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_12.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_13.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_14.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_15.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_16.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/monotype_plantin_17.jpg" alt="One of the Monotype Plantin revival book's contents page" width="480" height="338"/> </div>

Canella Process and Specimen Book

2010-09-04T21:12:20-05:00

<h1 class="entry-title">Canella process and specimen book</h1> <div class="entry-summary entry-content"> <ul> <li>project: Canella - process and specimen book</li> <li>A book showcasing the development of the <a href="http://brigitteschuster.com/canella" title="Canella type family">Canella type family</a></li> <li>2010</li> <li>The project was developed as part of the <a href="http://new.typemedia.org/" title="TypeMedia">Type and Media master course</a> at the <a href="http://www.kabk.nl/" title="KABK - Koninklijke Academie van Beeldende Kunsten Den Haag | KABK - Koninklijke Academie van Beeldende Kunsten Den Haag">Royal Academy of Art</a> in The Hague, The Netherlands, during a period of approximately four months. Canella featured on the <a href="http://www.typemedia2010.com/index.php?/graduates/brigitte-schuster/" title="Brigitte Schuster : Type and Media 2010">Type and Media 2009-2010 class Web site</a>.</li> <li>Paper: Paper Text Pages: (white) Romandruk 90 g, (orange) Rainbow 80 g, (red) Flying Colours 80 g; Paper Cover Pages: Biotop 200 g , Butterfly 120 g</li> <li>printed in The Netherlands with Laserprinter HP Laserjet 5000 N</li> <li>Binding: Coldglue <a href="http://www.handboekbinder.nl/" title="Boekbinderij van Dijk">Boekbinderij van Dijk</a>, Den Haag, NL</li> <li>Format: 16.6 x 23.4 cm</li> <li>Edition of 4</li> </ul> </div> <div class="entry-content"> <h2>Process book</h2> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook01.jpg" alt="book featuring the Canella typeface" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook02.jpg" alt="Canella process book cover" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook03.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook04.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook05.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook06.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook07.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook08.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook09.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook10.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook11.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook12.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook13.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook14.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook15.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook16.jpg" alt="Canella process book contents page" width="480" height="338"/> <h2>Specimen book</h2> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook17.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook18.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook19.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook20.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook21.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook22.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook23.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook24.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook25.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook26.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook27.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook28.jpg" alt="Canella process book contents page" width="480" height="338"/> <img src="http://brigitteschuster.com/media/images/portfolio/design/typography/canellabook29.jpg" alt="Canella process book contents page" width="480" height="338"/> </div>