Here's a really cool video of an art student from the Netherlands using a warehouse and some duct tape to create a short MTV identity bumper. 




http://roaldvandermeer.nl/view/?work=405

Light, Shadow & typography

Fred Eerdekens, a Belgium artist masterfully manipulated light and shadow through sculpture to produce words. By taking everyday objects, forming them into arbitrary shapes and creations, then projecting light at just the right angle Eerdekens creates a typographic space, another reality.

We know typography as being a tool that we can candidly communicate messages with. Eerdekens uses the viewer to find the message, or the type in his sculpture. It is up to the viewer to stand in the right spot at the right time in order to see what is being communicated. When it is found, there is a connection that is made between the viewer, the object, and the word, the viewer almost becomes part of the sculpture. Not only that but the sculptures themselves are very awe-inspiring.

Projecting Typography

I am familiar with Jenny Holzer from my early days studying Art History. She is knows for projects large scale type of massive building walls, and architecture. She entitles these 'truisms', short statements that uses modern information systems to present her issues or thought on 'contemporary society'. These projections have been seen in Rome, Paris, Venice, Rio de Janeiro, Buenos Aires, new York City, Berlin, and Washington, just to name a few.

Visit her site at www.jennyholzer.com to see her work.

Typology

Dan Tobin Smith, creates individual sans-serif letter forms out of mass material and objects. In order to create these environments, Dan must use precise alignment, and must have a complex understanding of perspective as well as the 3d space his sculpture will be placed in. "My aim is to commence investigations into the existing language of type and type in environment, to define a set of locations/ histories/ subjects as my focus."Dan challenges the viewer to read the environment as well as the semiotics of the applications he has created the type in or with.

Metalvetica

Make a big statement with Metalvetica! With letters A-Z and numbers 0-9 these letters are about 35cm high and 8cm thick. These sculptural letters are being categorized as metal-grunge meets organic (being made of recycled aluminum),meets part modern hi-tech, crammed with a minimalist elegance. While these letters are made for interior decor purposes, they would be quite savvy in the home of any typographic enthusiast.

A Blind Date with Tungsten

Most Graphic Designers chose fonts that best fit their project. Brian Hennings does the opposite, he creates projects based on the font. When Brian first seen the drafts for the new Tungsten font family being released by H&FJ (Hoefler & Frere-Jones), he knew he wanted to create something great with it. Brian has a unique job working as a lead designer for H&FJ, not only does he get to see and work with some of the newest typefaces before they are available to the market, but his job is to create unique artwork that will show off these new font families.

When Brian was finally able to get ahold of the new Tungsten family he went to work. Creating posters that best suited each weight and applying them to projects that would show off the typeface.

"The first things I explored with the fonts were the kinds of settings that invited painterly typography: I used Tungsten's heaviest weights for posters, magazine headlines, retail store logos, and signs, anywhere that I could show off the fonts' broad shoulders. All of these settings looked great, and were just as energetic and arresting as I hoped they would be. But it was when I started to try out the family's lighter weights that things really started to cook."

"We used the medium for a byline; on a brochure cover, I started with Semibold for the caption, but then liked it for the larger headline as well. When Jonathan and I made a poster for a music festival, we both assumed that the open counters of the Medium would make it the best choice for the smaller type (dates and times, opening acts, etc.) but were surprised to see how legible the Bold caps were — even at 11 point. With these kinds of sizes available to us, I started thinking about other kinds of applications that might work, and all kinds of Tungsten projects came to mind: print packaging, broadcast graphics, branding guidelines, videogames, books, websites..."

What The Sans-Serif?!

Can't figure out that beautiful sans-serif you keep seeing everywhere? No fear WhatTheFont is here! You can submit an image to the website and they will look in their database and do their best to detect what font it is. You don't have an image only remember seeing it? Try WhatTheFont Forums where the experts will try to decipher it through your description.


http://www.myfonts.com/WhatTheFont/