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Buchstabenmuseum Foundation - the museum of Berlin's letters

In the center of Berlin, near the famous Alexanderplatz, Karl- Liebknecht-Straße 13 in Berlin Carré, houses the Museum of Arts and typefaces (Buchstabenmuseum).
is not a "classical" museum where to find typographical characters, machines for the various types of printing, etc.. but a place where you keep and document the "letters" without distinction of culture, language and systems of nature in all representations are possible: from those used for three-dimensional signs or pieces of writing, those tattooed, from reproductions in the form of pasta or biscuits to those made with Lego bricks. Any material (whether industrial or artisanal), every media, each condition (new, damaged or distorted) and all forms are good enough that they are "letters".
The letters are the basic elements of all traditions of textual semiotics and written communication.


As a result of the increasing homogenization of the quality of the urban landscape designed letters and signs are disappearing from public view. Due to the disappearance of traditional farms and the affirmation of global brands, regional and historical characters will die out and disappear.


The Museum of Arts - founded in 2005 by Barbara Dechant and Anja Schulze - works as both a "recycling" company and as an archive. The Museum collects objects that are semiotically significant testimony of ABC, meanings regardless of the material they were made, the diversity of functions and aesthetic variety.
The museum is organized to expose their material in an unconventional way, to raise the public's attention on typography as well as the collection itself.


Barbara Dechant loves and collects letters from many years and his collection became bigger and bigger not only in quantity but also in sizes. When he met his colleague Anja Schulze have joined their two inclinations. Anja has always wanted to run a business and its culture was the idea of \u200b\u200ba museum. That's why all the letters large and small now have a nice house.
Their goal is to get letters from all over the world, from Asia for example where these types of lforme are so extraordinarily beautiful.
recently contacted for Italy Aiap where the members, according to the curators of the museum can contribute to the collection of testimonies by sending Italian typographic history.

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For nearly two weeks was born in Italy a new site dedicated to the soldier and the soldatinari.: It is called, precisely, soldatinari.it .

if you're curious, give it a peek

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The top 100 most used fonts Helvetica vs. Arial

Let me point out a link where you can find the top 100 most frequently used characters ...

http://www.100besteschriften.de/

Unfortunately the site is in German, but it is interesting to see the list of the 100 most important fonts, along with history, examples and comments from users. And above all, the graphics are very nice in my opinion ... so ... good fun! :)
Guess who is number one? The question is obviously rhetorical.

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Since Microsoft has included in its operating systems we have seen the Arial helpless to the worldwide spread of this font which is nothing if not a bad copy of Neue Haas Grotesk better known as Helvetica , designed in 1957 by Max Miedinger for the Haas Type Foundry Munchenstein (Switzerland). The
Arial instead was created in 1982 by Robin Nicholas and Patricia Saunders for Monotype Typography. As mentioned above, is generally known that Arial was designed as a replacement for the famous Helvetica Linotype (But "constructed" so as not to be so similar as to cause legal problems). Most of the most striking differences between Helvetica and Arial are
tail angle of "1",
the absence of a tail in the "G",
the top corner of the "t".

And now that I have given you these simple clues, how you dug out with this fun quiz?

http://www.ironicsans.com/helvarialquiz/

And if, like me, be strong supporters of the Helvetia, you can let off steam with this game ... :) Have fun! :)

http://www.mimeartist.com/helvetica/

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Helvetica: A film for a character

2007 saw the protagonist as the fiftieth anniversary of the creation of the Helvetica font, the best-known and typeface. Worthily to celebrate the luck of the Helvetica font has released the film that traces the history and fortune.

Created in 1957 from an idea of \u200b\u200bMax Miedinger Haas foundry in Switzerland took the first name of Neue Haas Grotesk and then became officially Helvetica.

fact, the director Eduard Hoffmann commissioned Miedinger Haas, a former employee and freelance designer, to design a set of sans serif fonts to add to their line. The result was first called Neue Haas Grotesk, but the name was later changed to Helvetica (derived from Helvetia, the Roman name for Switzerland), when the German companies Stempel and , introduced on the market Linotype Font in 1961.

Introduced in the midst of revolutionary wave in the field of lettering, the popularity of the Swiss character was soon breach the advertising agencies that sold this new design style to their clients, Helvetica quickly appeared in corporate logos as well, the signage for transportation systems in the prints' art and countless other fields of communication.
The inclusion, in 1984, the Macintosh system font confirmed its acceptance even in digital graphics.

Helvetica is an independent film, a documentary film about typography, graphic design and global visual culture.
Show proliferation of a set of characters (celebrating the fiftieth birthday in 2007) as part of a larger conversion of communication styles.
The film is an exploration and at the same time a discussion with the designers of communication about their work, the creative process and aesthetic choices dettanti using a font, rather than a style.

The documentary, independently produced, directed and produced by now Gary Hustwit has the ambition of presenting to the general public, not only designers, history and the cultural, psychological and aesthetic character of a million people are facing around the world, several times a day.

Interviewees in Helvetica include some of the most distinguished and most innovative in the design world, including Erik Spiekermann, Matthew Carter, Massimo Vignelli, Wim Crouwel, Hermann Zapf, Neville Brody, Stefan Sagmeister, Michael Bierut, Jonathan Hoefler, Tobias Frere-Jones, Experimental Jetset, Michael C. Place, Norm, APFEL, Pierre Miedinger, Bruno Steinert, Otmar Hoefer, Rick Poynor, Lars Muller and many others.

Therefore, the only advice I can give you is: Enjoy this wonderful movie!

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The story of ten characters we turn around, or even the letters have their feelings

Here I propose an article published in "Il Sole 24 ore" December 17th, 2010

Cyrus Highsmith is a typedesigner who wanted to live one day giving up all those objects that presented themselves as written with the Helvetica font. Despite Simon Garfield, in his book "Just my type: a book about fonts" signals the presence of 100,000 different fonts in the world, the experiment of Mr. Highsmith, has failed. We then asked

Silvia Sfligiotti, graphic designer, to compile a "mini review of character" to be able to better interpret the signs of our daily lives: the omnipresent Helvetica, and all'infantile hate Comic Sans. Here's the manual to get confused and not recognize them. From the signs in the subway and bus systems, from credit card to the TV remote control until the labels of clothes, Cyrus Highsmith, he tells the New York Times, he realized that Helvetica reigns everywhere. The challenge is served to demonstrate the importance of the sign in our daily lives .

Helvetica Helvetica is a bit 'the Beatles of typography: is so popular and loved that have been devoted several books and a documentary. Designed in 1957 by Swiss Max Miedinger, at the time was not big news, but it was refinement of characters that already existed in the nineteenth century. Helvetica was born at the right time - one in which the new graphics made by Swiss designer to model most of the world - and since then has continued to be used.

Times New Roman
This character was designed in 1931, commissioned by The Times newspaper , by Stanley Morison, one of the largest printers and English scholars, along with Victor Lardent, a graph who worked at the newspaper. The intent of Morison was to create a character while retaining the classic elements that go to meet the needs of a newspaper, or have a good readability, clarity of printing and saving space.
Meanwhile, the British newspaper has long passed to other characters, and Times New Roman has become a standard on almost any computer.

Gotham
Although it was designed in 2000 by Tobias Frere-Jones , Gotham brings back the tradition of American models, specifically the font used for the signs between the years 30 and years 50. Perhaps it is to reassure the American electorate that this character was chosen in 2008 for the election campaign of Barack Obama.

Georgia Georgia, drawn from English Matthew Carter, is the first successful attempt to create a font that has a good yield of reading is on the screen, in print. Commissioned by Microsoft and bundled with its software, is now one of the characters called "default", those which are present on virtually every computer and for this reason, it is also among the most used for Web sites of information (for example, that The New York Times).

Johnston

No one knows the name, but anyone who has been to London knows its appearance: it is the character drawn by Edward Johnston for London Underground , since 1916 and is constantly used for any aspect of communication, from the logo, the names of stations, the famous Underground map, becoming a very characteristic of the urban landscape of London.

Simoncini Garamond
Although, like many others, is named after the French printer Claude Garamond, this character does not make much of the sixteenth century. It was built in 1956 by Francesco Simoncini on behalf of the Einaudi, and since then it has the character to be used for all text books of the publishing house , first up in the lead and now digital. The success was such that over time many more mimicked Einaudi publishing houses, and now a large number of books published in Italy are made with this font.

Futura
When Paul Renner drew him, in 1927, Futura responded perfectly, with its pure forms and geometric, typography and the avant-garde Bauhaus.
the beginning of the twenty-first century we find it a bit 'everywhere, even in the Italian stations signs, which unfortunately does not give its best: the letters look a bit' all, and do not help the traveler to orient .

Comic Sans
The name says it all: it is a character that imitates the writing used in comics, and that's why it was designed. Unfortunately it and its author, Connie Vincent rather than remain in his field, was included in the Windows 95 package and has become the most beloved character from the charts on Sunday, and therefore the most hated by graphics professionals .

Frutiger
If you are walking in one of the most important airports of the world, like Amsterdam and New York, and you're missing, you owe it also to the clarity and readability of a typeface. Designed by Swiss Adrian Frutiger in 1975 for the Charles De Gaulle airport in Paris, this character was later used in many other airports, thanks to the work of renowned designer Paul Mijksenaar wayfinding, which considers the most effective in these situations.

Sun Serif
As the Times in 1931, the Sole 24 Ore has also felt the need to insert a new character for Sunday commissionado the creation of a new font to Luciano Perondi who created the Sun Serif. Almost eighty years printing techniques have improved, and newspapers have evolved into a communication that integrates text and images. Now a character must not only save space and ease of reading: it becomes an identifying element of the head, accompanying weekly readers become familiar and can be recognized, is recognized as the voice of someone you know.

I find that the article is illustrative of the fact that although there are thousands of fonts, we tend to always use the usual 10, to a greater or lesser degree, but the fonts used are always the same.

I am also very much agree with the explanations and comments for each font, especially for Comic Sans, which, let's face it, is not one of the best fictional characters. Or rather, is an end in itself, since it should only be used for text in the comics, but, as he says nell'artcicolo "charts on Sunday" use it for their work, knocking down the vision of true profession the chart, based on research, harmony and beauty. All the features that Comic Sans Is NOT!

Another small consideration should be made on the Times New Roman font, with excellent readability and a perfect balance, but ruined by the advent of Word. In fact, most of the documents written in Word is Times New Roman 12 pt, exclusively because the user does not want to make the effort to change font and size, and everything I find absolutely ridiculous.

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Typography is what language looks like

What is typography? according to the most common dictionaries typography is the technology to produce printed text using arrays composed of movable or relief of cliches inked. By extension, it also indicates the factory where such activity is explicated, and the craft or industrial related.

printing activity unfolds in the performance of various operations, such as:

• The design of typefaces,
• The layout of the characters on the page (forming typographic)
• The printed media (paper, Cato, silk, satin, parchment, plastic, metal)
• The packaging of printed media in size and as final use: sheets, blocks, books, calendars, posters, etc..

These tasks require non-trivial and choices that can be very demanding in terms of aesthetics, content, enough to justify the term of art of printing.
But the explanation that best explains the term Anglo-Saxon printing is that the word "Typography is anything that revolves around the typefaces: the design of the glyphs, the anatomy of letter forms, rules tipometriche measurements from the kerning, the composition rules to the digitization of font. Being
printer then, is not just a job, but a real art.
In this regard, the video won the audience award at the Motion Graphics VFS Vancouver Film School, where he discusses a lesson Publishing.

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I just finished this product to appear in 54mm Art Girona.
It was a real pleasure to paint.




For more photos and information on the deployment of soldiers to go to mao