The Font generator is a personal project of Jas Bhachu. Jas was always attracted to modern typography, but his personal challenge was to apply interactivity to his typographic projects. After experimenting with a number of different ideas, he came up with the typographic Rubik’s Cube. Simple geometric rubber shapes are attached on the sides combined into letterforms. Think of it as an interactive rubber stamp.
The theme for the 39th issue of the French magazine Wad is the “Alphabet”. Several artists were invited to participate and each one of them was given a letter to work with. Photographer Bela Borsodi was given the letter “A”. From Bela’s point of view, “A” stands for the word “Alphabet” so she started working on the word instead of the letter. She used clothes and other random objects from her apartment. Along with stylist Akari Endo-Gaut, they decided on the choice of clothes and then created the 3-dimensional letters with everything that was useful for the construction. As Bela Borsodi points out “the most fun part was dealing with the odd perspectives - after each letter was finally constructed it was amazing to see that all what we worked on for many hours looked in the ‘reality of the room’ like a total absurd mess - only through the eye of the camera these letters would take on their shape”. This is really a very interesting way to see type around.
The typography manual is a brand new app for all type freaks who want to know everything about type and how to use it. It is a pocket resource for typography, with more than 60 pages of type tutorials, type history, guides and info for setting type, type anatomy and terminology that shows you every thing about type, as well as latest typographic news. It even has a ruler to count the text size on a magazine you read… What more do want from an app? This has it all.
The typography manual
Once again the new issue of Slanted magazine is out, under the name 2d3d. 2d3d deals with the step-up of 2d to 3-dimensional type and everything in between. More than ever, Slanted magazine even crosses geographical borders, presenting works from Edhv (Eindhoven), Klein Dytham architecture (Tokyo), Pixelgarten (Frankfurt), Maxime Buechi (Lausanne), Ina Saltz (New York), Erwin K. Bauer (Vienna), Sangho Park (Stuttgart) and many others. The sections “Fontlabels, Fonts & Families”, “Fontnames Illustrated ” and “Typolyrics” introduce contemporary fonts and designers from all over the world, followed by interviews with Sabrina Tibourtine, Christoph Dunst, Sipho Mabona, Gemma O’Brien and Mr. David Carson.
Besides a portrait of »Buchstabenmuseum Berlin«, Slanted magazine introduces numerous works of professionals and students (Ebon Heath, Yulia Brodskaya, pleaseletmedesign, MWM Graphics, etc.).
The chapter introduction pages are decorated with Hubert Jocham’s headline-font “NeoDepth S8”, exclusively created for this issue. Readers can download this brand new typeface for free. As the previous issue #7, the cover is wrapped with a poster – the second one of a series of four. By the end of the year, the aligned posters will create a sentence. “Porn” was the first word, now comes “4” and the rest will follow.
The New Acropolis Museum is one of the highest profile cultural projects of the decade in Europe. It was built at the slopes of the Acropolis, by the New York-based architect Bernard Tschumi. The 21,000 square meters state-of-the-art facility, provides a safe haven for the Acropolis masterpieces. This is achieved with ideal interior atmospheric conditions and natural lighting while it provides a visual contact between the Parthenon Hall and the temple itself.
Visitors can enjoy, for the first time, the entire sculpted decoration of the Parthenon as it was on the ancient building even if this is achieved through combining original sculptures with copies of those in the British Museum. The new Acropolis Museum has five floors that provide space for 4,000 artifacts, ten times the number displayed in the old building.
We visited the museum 3 days after its official opening on June 20 and were completely overwhelmed by the unsurpassed quality of the masterpieces of ancient Athens, most of which we had never seen before as they were carefully kept from the public eye for years. We had the opportunity to go around and study free-standing statues at close range, to inquire about the missing Caryatid which is currently held at the British Museum and photograph a variety of ancient inscriptions, anything from votive offerings to Gods to honorary decrees and treaties with other city-states dating from the 6th century B.C.
In another section of the museum, weathered original sculptures from the Parthenon frieze stand in contrast to white reproductions of the part which is currently in the British Museum and as The New York Times points out, this is more than a subtle pitch for the return of the marbles. The Parthenon Marbles, a series of seventeen marble sculptures and a 160-meter-long frieze depicting the gods and heroes of classical Athens, were forcefully removed from the Acropolis by the British Ambassador Elgin in 1801 and later sold to the British Museum where they have been held since 1811. Back then, several of these sculptures were permanently damaged as they were sawn and sliced into smaller sections to facilitate their transfer to England. Lord Byron himself strongly objected their removal from Greece denouncing Elgin as a vandal.
Is it time to return the Parthenon Marbles? Many Greeks hope the opening of the museum will bring international attention to their country’s claim over the Elgin Marbles, and put an end to Britain’s longtime argument that it is in a better position to look after the 2,500-year-old panels. Despite the British Museum’s position on the ownership of the marbles and the continuing denial of its officers to return the hacked off sculptures, the public opinion in the UK favours the return of the Parthenon Marbles according to several polls that have been conducted since 1998.
The Acropolis Museum