Aunque mezcla magistralmente técnicas clásicas y texturas cálidas, uno de sus mayores aciertos reside en su poder de traducción visual: como pocos (o nadie), logró visualizar tanques hollywoodenses como si fueran grabados en madera del siglo XIX. Un poco de Matrix, Spiderman, Terminator 2, La Guerra de los Mundos o la saga Star Wars con mucho toque folk.
The Periodic Table of Typefaces actually does not correspond nor relate to the Periodic Table of Elements except for overall visual similarity. The Table of Typefaces is meant to only look like the Table of Elements at a glance, then the view looks closer and realizes that it is typefaces they are looking at and not elements at all! If you overlay the Table of Typefaces with the actual Table of Elements you can see that they do not "match up" at all.
2) How was the process of selecting the fonts to be part of the new table?
All the sources are listed at the bottom of the design.
Here they are:
The 100 Best Fonts Of All Time -
http://www.100besteschriften.de/
(to include top ten personal favorites from designers:
* Jan Middendorp [dorpdal.com]
* Roger Black [rogerblack.com]
* Bertram Schmidt-Friderichs [tdc.org]
* Stephen Coles [typographica.org]
* Veronica Elsner [www.fontshop.com/fonts/foundry/elsner_flake/]
* Ralf Herrman [opentype.info]
* Claudia Guminski [fontshop.com])
Paul Shaw’s Top 100 Types survey -
www.tdc.org/reviews/typelist.html
21 Most Used Fonts By Professional Designers -
www.instantshift.com/2008/10/05/21-most-used-fonts-by-professional-designers/
Top 7 Fonts Used By Professionals In Graphic Design -
justcreativedesign.com/2008/09/23/top-7-fonts-used-by-professionals-in-graphic-design-2/
30 Fonts That ALL Designers Must Know & Should Own -
justcreativedesign.com/2008/03/02/30-best-font-downloads-for-designers/
Typefaces no one gets fired for using -
www.cameronmoll.com/archives/001168.html
(to include all serious and reasonable opinions stated in the comments section)
I basically used an Excel spreadsheet and started entering in which typeface was on any of the lists from the sources. I then ranked the typefaces I had in the spreadsheet matching the rankings from the source website lists. I averaged all the rankings for each typeface and included the number of times each particular typeface appeared on the lists. Finally I had a total average score for every typeface. I simply selected the first 100 to incorporate into my designed table.
So essentially, I DID NOT choose the typefaces, I simply selected through statistics and averages the most popular and influential typefaces in use today based on the above lists!
3) What fonts were excluded from the selection? Why?
Comic Sans was most certainly NOT on the list! Again, I had no part in the actual selection process or rank except that I averaged and combined the existing, reputable lists. Some comments I found asked why there aren't any more commonly used fonts on the list such as Arial, Georgia or Cambria. Again, simply because they were not on the source lists. Arial is only a copy of Helvetica with a few minor differences, so I don't see it ever being on any sort of professional-based lists in the future. Georgia and Cambria are definitely gaining in popularity so perhaps next year they may be seen on "Popular Typeface" lists more often.
4) What impact do you know that has caused its creation in the world?
This is a good question. I honestly had no idea there would be this sort of impact. I posted this originally on Behance.net just to see if I could get any critique or feedback from the other Behance members. The original post was put up Monday evening, 9 March. By the next morning, the page views for the design was at 5,000! In only the last 4 days, the Behance project views for the design is up to 29,000 and slowly rising. I had no idea this design would generate this much interest! All I wanted was a cool print to hang on my wall!
To attempt to answer your question though, I hope that it will further the awareness of the common user what typographers and most designers already know - that typography has a long and beautiful history and that the typeface you decide to use in a project, whether it be a letter to a friend or a professionally designed advertisement, the typeface you choose makes a big difference in the impact of your work.
5) What you feel to have put order into chaos as typographical Mendeleyev table with your other?
As already stated, the intention is for the design to only look like a traditional periodic table of elements at a glance. The order of the Periodic Table of Typefaces is only by the family and class groups of the typefaces. As you can see upon close inspection, the ranking order is disjointed. I would have had to completely sacrifice the overall look of the table if I would have placed the typefaces in family/class order AND numerical rank order. Unfortunately, the Periodic Table of Typefaces greatly lacks in the aesthetics of Medeleyev's table. Medeleyev was a much smarter man than me!
6) How long you worked in the typographic design of the table?
I started the process of sorting and averaging the typefaces used several months ago. I would work on it periodically when I was bored or feeling motivated. Once I had the top 100 typefaces in my list (again, only averaged from the source lists) did I start the design of the table. I first categorized and researched all 100 typefaces and noted the designers and the years designed. Then in I started out with a simple grid in Adobe Illustrator. At one point I used Flash to create the grid layout by color coding boxes based on the family/class with the numbers noted in each box. I then determined the layout by dragging the boxes around in Flash until I found a layout I could live with. Then I went back into Illustrator and started building the cells one by one within the grid. Finally I copied all the finished cells into Photoshop and made the aged, textured background. See attached screenshots for my disjointed process!
I'm flattered and overwhelmed by all the attention this design has generated. Let it be announced here that I will be soon providing a fully-scalable .eps file for whoever wants it (to print themselves) for whatever price they feel comfortable with. They can pay $0 or $50, it will be entirely up to them.
(Ilustración digital de El Norbi)
"Unfinished Music No.2: Life With The Lions" es el nombre de uno de los primeros discos experimentales del inglés John Lennon, que junto con su esposa, la artista Yoko Ono, terminó de grabar un día como hoy, pero hace cuarenta años.
Tanto el título de la placa como uno de sus temas más freaky critican fuertemente el mundo de la información.
En "No Bed For Beatle John" encontramos a un Lennon haciendo dúo con Ono, sin música, leyendo lo que los diarios decían de él.
Este ilustración digital la hizo El Norbi para el diario Clarín.
Te lo contamos hace una semana. Colophon estaría en VisualMente. El mayor evento mundial de revistas indepedientes del mundo estaría en nuestro blog y El Norbi cumple. Luego del primer adelanto, hoy te damos unos apuntes exclusivos del diseñador argentino Lucas López, desde Luxemburgo. (Las imágenes pertenecen a las salas Inspirations (a.JPG, b.JPG y c.JPG, ) y We Make Magazines (d.JPG, e.JPG, f.JPG y g.JPG). Mientras que H.JPG pertenece a Eligiendo Revistas)Todo este primer relato pertenece a la primera jornada iniciada ayer.
Colophon además permite ver y escuchar a los mejores profesionales de la actualidad. Este primer día contó con la presencia del inglés Simon Esterson, Director Creativo de Eye Magazine, cuya exposición giró en torno del diseño editorial de las mejores revistas de la últimas décadas. Desde 1960 en adelante las revistas independientes influenciaron a sus competidores del circuito comercial, y la historia visual propuesta por Esterson es contundente. Con tono revisionista, Esterson exhibió ejemplos de tapas, puestas tipográficas y dobles páginas de revistas del pasado como Queen, Time Out y Event, destacando de la mayoría el riesgo en relación a su época, el sentido de ruptura respecto a la grilla tipográfica y una apuesta fotográfica inusual en cuanto a las reglas establecidas de entonces. En un repaso cronológico, incluyó hitos visuales editoriales como Arena, la siempre celebrada The Face, Spy, I-D, Private Eye, Emigré y finalizando con la actual Frieze. Muchas de estas portadas además se exhiben en la sala Inspirations, cuya finalidad es verlas (detrás de una vitrina) y recordarlas. Simon Esterson se presentará también el sábado con una charla cuyo título es “Recuperar nuestra independencia”.
Todos quienes expusieron en este primer día (colmado de profesionales del diseño) generaron absoluto interés, destacándose la exposición “Onlab rediseña Domus”, presentada por Nicolás Bourquin, Director Creativo de Domus y su Editor en Jefe Flavio Albanese. Con más de ochenta años, la revista ha cambiado de manera permanente para reflejar las demandas e intereses de su época. Según Albanese, “con su nueva apariencia, Domus finalmente logró el objetivo de ser una publicación que representa el actual espíritu de estos tiempos, que ya no acepta la información y el conocimiento dividido en compartimientos rígidos”. Bourquin, por su parte, explicó de manera sencilla pero apasionada cómo es la dinámica de trabajo en esta emblemática revista de arquitectura, como se conforma su equipo de trabajo, como dialogan con los profesionales de la arquitectura, cómo definen sus aplicaciones tipográficas y como planificaron el rediseño de sus páginas. Aquí es donde la exposición de Bourquin cobró mayor interés. En el momento en que detalló minuciosamente como la grilla de la revista toma de modelo el trazado o dibujo de una partitura musical, lo que define de manera sólida la estructura de la revista y logra un ritmo de páginas similar al de las notas musicales en la partitura, con ritmo, elegancia y originalidad. El orden de lectura, la correcta legibilidad y edición de los textos y fotografías es de suma importancia para una revista de 120 páginas pionera en el ámbito de la arquitectura, cuyo mayor desafío es, según sus realizadores, mantener el prestigio que la caracteriza.
avances de la ciencia al establecer un estándard, una forma de organizar y disponer los ladrillos que componen la materia.
El tiempo pasó y 140 años después, la Tabla Periódica de Tipografías --desarrollada por los responsables del sitio Behance Network-- cumple con la misma consigna: la de relacionar estilos tipográficos unos con otros, ubicarlos en un mismo mapa y acentuar uno de los rasgos más llamativos del ecosistema del diseño gráfico: su infinita e inabarcable diversidad.
1) How you chose the covers of comic magazine?
i chose covers i love. covers i can see altered in a interesting way. covers by jack kirby are by far my favorite.
sometimes i choose covers of comics that i remember owning as a teenager, ones that provoke a memory or an emotion.
2) Which technique used to achieve closer to the original font?
once in a while the fonts are transfered down and painted. but most of the time they are just done freehand.
i love type and i enjoy trying to mimic certain fonts, especially the fantastic four title. its such a beautiful script.
3) How was the choice of colors in the covers of Doctor Doom and Doc Oc?
colors are made based on the mood i want to project onto the pieces. a lot of the color choices are in direct contrast to the original cover art color choices, pinks and neon oranges for example. i like changing the colors dramatically, helping to modernize the painting and emphasize the alterations from comic cover to original art. other times i like to mimic the colors of the comics more directly. it just depends on the mood i'm in and how i feel about the cover at that time.
4) On the cover of Demolisher (Iron Man magazine), You use an aesthetic style that is reminiscent of a Jean-Michel Basquiat. This artist has exerted some influence on you?
yes, i suppose so. basquiat was a favorite of mine early on in my career and was probably more apparent then. his linework was beautiful. these days, i am drawn more to artists like Guston and Donald Bachelor.
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