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Kitching and the art of typography

机译:风俗与版式艺术

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摘要

Alan Kitching (1940, Darlington, UK) has elevated typography to a form of art by exploring the expressive potential of lettering. He challenges this discipline's compositional limitations with ingenuity and commitment, rediscovering an ancient technique while the rest of the world was chomping at the bit to move on. Today the art of typography is thriving once again, and Kitching is one of the people who can take for it. He is a visionary pioneer of paper embossing, who chose manual press machines over computer print, who preferred the tactile quality of wood and lead movable type pieces over the aseptic precision of digital composition. He started his career at 15 as an apprentice at J.W. Brown & Son. From there he moved on to Watford College of Technology, where he founded his first experimental workshop with Anthony Froshaug, who taught him respect for printing conventions while prompting him to develop a practice based on observation and innovation. In London, he became a partner at Dereck Birdsall's Omnific Studios in 1977, where he focused on paper-embossing techniques. At the dawn of the digital age, he decided to go against the stream and invested in types and presses, opening his Typography Workshop in Clerkenwell in 1989. Since then, there has been no looking back. His was a steady flow of commissions from the National Theatre, covers for The Guardian weekend magazine, and Royal Mail stamps. Finding a balance between technical experimentation and conceptual innovation, Kitching has designed books, magazines, billboards, and corporate identity for clients including The British Library, Dazed & Confused, Penguin Books, The Times, Random House and Tate Modern. His encounter with the designer and author Celia Stothard, whom he married, marked the beginning of a fruitful professional partnership. In 1994, Kitching was appointed Royal Designer for Industry and named member of Alliance Graphique Internationale. Recent work includes the letterpress graphics for Alan Bennett's AlMujah!, the For *U*K's salce stop Brexit poster, and Alan Kitching's A to Z of London, presented at London Art Fair 2019. Throughout the 50-plus years of his career, teaching has been a constant commitment (from 1991 to 2006 he taught at the Royal College of Art), inspiring generations of printers.
机译:Alan Kitching(1940,英国达林顿,英国)通过探索字体的表现潜力,将版式提升为一种艺术形式。他以独创性和奉献精神挑战了该学科的构成局限,重新发现了一种古老的技术,而世界其他地方却在不断前进。如今,排版艺术再次兴旺,Kitching是可以接受的人之一。他是纸张压花的有远见的先驱,他选择了手动压机而不是计算机打印,他更喜欢木材的触觉质量和铅可移动类型的部件,而不是数字合成的无菌精度。他从15岁开始在J.W.布朗与儿子。从那以后,他进入沃特福德技术学院,在那里他与安东尼·弗罗肖格(Anthony Froshaug)一起创立了他的第一个实验工作坊,他教会了他对印刷惯例的尊重,同时促使他发展基于观察和创新的实践。在伦敦,他于1977年成为Dereck Birdsall的Omnific Studios的合伙人,在那里他专注于纸张压纹技术。在数字时代的曙光中,他决定与时俱进,投资各种类型和印刷机,于1989年在Clerkenwell开设了版式工作室。从那时起,就再也没有回头。他是来自国家剧院的佣金源源不断,《卫报》周末杂志的封面和皇家邮政邮票。为了在技术试验和概念创新之间找到平衡,Kitching为客户设计了书籍,杂志,广告牌和企业形象,包括大英图书馆,Dazed&Confused,企鹅图书,《时代》,兰登书屋和泰特现代美术馆。他与已婚的设计师兼作家西莉亚·斯托德(Celia Stothard)的会面标志着富有成果的专业合作关系的开始。 1994年,Kitching被任命为皇家工业设计师,并被命名为Alliance Graphique Internationale成员。最近的工作包括在2019年伦敦艺术博览会上展出的艾伦·贝内特(Alan Bennett)的AlMujah!,For * U * K的停站英国脱欧海报和艾伦·基钦(Alan Kitching)的《伦敦A to Z》的凸版图形。在他50多年的职业生涯中,他一直在教书。从1991年到2006年,他一直在皇家艺术学院任教。

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    《Domus》 |2019年第apraappa期|34-34|共1页
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    CHIARA CANTONI;

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