Out of the Top 50 Photographers, These Are My Favorites

Bruce Weber


(born March 29, 1946 in Greensburg, Pennsylvania) is an American fashion photographer and occasional filmmaker. He is most widely known for his ad campaigns for Calvin Klein, Ralph Lauren, Pirelli, Abercrombie & Fitch, Revlon, and Gianni Versace, as well as his work for Vogue, GQ, Vanity Fair, Elle, Life, Interview, and Rolling Stone magazines. eber's photographs are occasionally in color, however most are in black and white or toned shades. They are gathered in limited edition print books, including A House is Not a Home and Bear Pond, an early work which featured, among other models, Eric Nies from MTV's The Real World series.

Films

▪                Beauty Brothers (1987, 12:26 min, b&w/color)

▪                Broken Noses (1987, 75 min, b&w/color)

▪                Let's Get Lost (1988, 1:59:25 min, b&w)

▪                Backyard Movie (1991, 8:55 min, b&w)

▪                Gentle Giants (1994, 14:35 min, b&w/color)

▪                The Teddy Boys of the Edwardian Drape Society (1996, 3:45 min, b&w)

▪                Chop Suey (2000, 94 min, b&w/color)

▪                A Letter to True (2004, 78 min, b&w/color)

▪                Wine and Cupcakes (2007, 12:10 min, color)

Music videos

▪                Pet Shop Boys: "Being Boring" (1990)

▪                Chris Isaak: "Blue Spanish Sky" (1991)

▪                Pet Shop Boys: "Se a vida é (That's the way life is)" (1996)

Pet Shop Boys: "I Get Along" (2002)

         

David Hilliard


(born May 15, 1942) is a member of the Black Panther Party. He was Chief of Staff in the party. He is currently a visiting instructor at the University of New Mexico.

Hilliard was convicted on two counts of assault with a deadly weapon for his part in a 1968 ambush of the Oakland Police in retribution for the assassination of Martin Luther King. The April 6th ambush also resulted in the death of panther Bobby Hutton and the arrest of Panther Eldridge Cleaver who masterminded the botched operation. In July 1971, he was sentenced to one to ten years and incarcerated at in Vacaville. In January 1973 while serving a sentence of six months to 10 years, he was denied parole.

In his autobiography Revolutionary Suicide, Huey P. Newton claimed that the district attorney of Alameda County was attempting to send Hilliard to prison on "trumped up charges". With Fredrika Newton, Hilliard formed the Dr. Huey P. Newton Foundation.

   

David Hockney


(born 9 July 1937) is an English painter, draughtsman, printmaker, stage designer and photographer, who is based in Bridlington, Yorkshire and Kensington, London.

An important contributor to the Pop art movement of the 1960s, he is considered one of the most influential British artists of the twentieth century.

David Hockney has also worked with photography, or, more precisely, photocollage. Using varying numbers of small Polaroid snaps or photolab-prints of a single subject Hockney arranged a patchwork to make a composite image. One of his first photomontages was of his mother. Because these photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, which was one of Hockney's major aims—discussing the way human vision works.

      

Lewis Hine


September 26, 1874 – November 3, 1940) was an American sociologist and photographer. Hine used his camera as a tool for social reform. His photographs were instrumental in changing the child labor laws in the United States.

He became a teacher in New York City at the Ethical Culture School, where he encouraged his students to use photography as an educational medium.

In 1936, Hine was selected as the photographer for the National Research Project of the Works Projects Administration, but his work there was never completed.

Notable photographs

▪                Child Labor: Girls in Factory (1908)

▪                Breaker Boys (1910)

▪                Steam Fitter (1920)

Workers, Empire State Building (1931)

  

Robert and Shana Parkeharrison


Robert ParkeHarrison (born 1968) is a photographer, best known for his work (with wife Shana ParkeHarrison) in the area of fine art photography.

The photographs of Robert and Shana ParkeHarrison have been displayed in 18 solo exhibitions and over 30 group shows worldwide. Their work can also be found in over 20 collections, including the National Museum of American Art at the Smithsonian Institution and the George Eastman House.

Their book, The Architect’s Brother was named as one of 'the Ten Best Photography Books of the Year' of 2000 by the New York Times.

“My photographs tell stories of loss, human struggle, and personal exploration within landscapes scarred by technology and over-use…. strive to metaphorically and poetically link laborious actions, idiosyncratic rituals and strangely crude machines into tales about our modern experience.”

--Robert ParkeHarrison

ParkeHarrison's work is stylistically similar to that of Teun Hocks.

    

Stephen Shore


(born October 8, 1947) is an American photographer known for his deadpan images of banal scenes and objects in the United States, and for his pioneering use of color in art photography.

Books of his photographs include Uncommon Places: 50 Unpublished Photographs; Essex County; The Gardens at Giverny; Stephen Shore: Photographs 1973 - 1993; and The Velvet Years, Andy Warhol's Factory, 1965 - 1967. In 1998, Johns Hopkins University Press published The Nature of Photographs, a book Shore wrote about how photographs function (reprinted in an expanded edition by Phaidon Press). Most recently, Aperture has published Uncommon Places: The Complete Work, and Phaidon has published American Surfaces.

Currently Shore is the director of the photography department at Bard College, a position he has held since 1982.

    

Mario Sorrenti


(born 24 October 1971) is a photographer and director best known for his spreads of nude models in the pages of Vogue and Harper's Bazaar.

Sorrenti was born in Naples, Italy, but moved to New York City at the age of ten where he is still based. He is the son of New York based advertiser, Francesca Sorrenti. He has had exhibitions in London (Victoria and Albert Museum), Paris, Monaco and New York (Museum of Modern Art). He has undertaken campaigns and directed commercials for Calvin Klein, and has shot Kate Moss for the Calvin Klein Obsession ads. He has also worked for Lancôme, Paco Rabanne and Benetton. He is currently signed exclusively with the agency Art Partner.

Additionally, Sorrenti is responsible for the photographs on several music releases, most notably Shakira's Oral Fixation Vol. 1, as well as R&B artist Maxwell's album Embrya and a solo album by John Taylor of Duran Duran. His first musical project was the photography for rock group Del Amitri's 1995 album, Twisted, and its associated single releases.

   

Letter Fountain Questions

What are small capitals? How are they different than setting something in ALL CAPS? Does your font have small caps? If not name a font that does.
Small capitals are uppercase characters set at the same height and weight as surrounding lowercase letters or text figures. They are used to emphasize something without using bold or italics, while making sure the text does not appear too large. Syntax doesn't use small capitals, but Garamond does.

What are ligatures? Why are they used? When are they not used? What are common ligatures? Does your font have ligatures? If not name a font that does.
A ligature is a special character that combines multiple letters into a single character. Type designers create ligatures because they look better than setting the same character combinations individually, as well as solving the problem of characters that crash into each other when set in adjacent positions. Syntax does not have ligatures, but Garamond also uses ligatures.

What is the difference between a foot mark and an apostrophe?
The apostrophe is a punctuation mark, and sometimes a diacritic mark used for three main reasons: to omit one or more letters, mark a possessive case, and mark plurals. A foot mark is a symbol for the unit of measurement, a foot.

What is the difference between an inch mark and a quote mark (smart quote)?
An inch mark is a two straight vertical lines making up the symbol denoting to the unit of measurement inches. Quotation marks are punctuation marks appearing at the beginning and ending of a quote. Smart quotation marks have a curve to them, to not be confused for inch marks. Smart quotes are usually curved in shape and have different opening and closing versions for use at the beginning and end of quoted material, respectively.

What is a hyphen, en dash and em dashes, what are the differences and when are they used?
A hyphen is a punctuation mark used to join words and to separate syllables of a single word. An em-dash is used in a sentence to indicate a break in thought. An en-dash is traditionally half the width of an em dash and is used when denoting a range such as Friday–Saturday.

Different Types of Infographics

TYPE BASED

http://d2o7bfz2il9cb7.cloudfront.net/main-qimg-2fe2b90bdd733712f702bbd903175918


http://pinterest.com/pin/338060806/


http://www.stateofsearch.com/wp-content/uploads/2011/04/world_without_google_infographic.jpeg


http://stocklogos.com/sites/default/files/business_cards_face_off_infographic.jpeg


http://pinterest.com/pin/375583959/



IMAGE BASED


http://www.visibletechnologies.com/wp-content/uploads/2011/09/infographic-location-based-social-media.png


http://innovationcrosspoint.files.wordpress.com/2010/12/infographic-the-colors-of-the-top-100-web-brands.jpg


http://pinterest.com/pin/346150729/


http://pinterest.com/pin/240726692/


http://pinterest.com/pin/178288520/


http://pinterest.com/pin/321271919/
 




NON COMPUTER BASED


http://pinterest.com/pin/178527305/


http://cdnimg.visualizeus.com/thumbs/e5/34/handmade,infographics,structure-e534248c958b157d943116149075bc9b_m.jpg

http://behance.vo.llnwd.net/profiles3/98197/projects/844676/1651a1c961c7bab1fd714561c0c6cc3f.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjWjD2NTrCiVhc8r3dRinUoeHBNezMq3Fwwn_I0KVsGiJpmJaI5QKMyn0tPwOO2BF5QjICk318CwYkN_5llv53VCHQkjXV3NPFiXktXImS9NA0BwoeeBJ7w6BvIVJDX9CUh-fLWDvAn4Dl/s1600/stadtansichten.jpg

http://cdnimg.visualizeus.com/thumbs/ee/b8/handmade,infographics,mindmaps-eeb8a99299005187a144ee15ebfdadad_m.jpg
 

A Very Extensive History of the Syntax Typeface

SYNTAX

Syntax is a well-proportioned and robust yet visually lively typeface, with a subtle variation of stroke width and stress.   There is a suggestion of Hellenic influences in the distinctive terminals. Syntax has a high x-height and a fairly narrow set. The capitals are shorter than the ascenders, and the face features special x-height figures. Produced in a range of five weights, Syntax is suitable for both text and display use. The face was developed as Linotype Syntax in six weights, with companion typefaces Syntax Serif, Syntax Letter, and Syntax Lapidar.

Designer(s)

Hans Eduard Meier

Foundry(ies)

D Stempel AG , Linotype

Release Year

1972

Country of Origin

Switzerland

Classification

Sans Serif, Humanist Sans

Original Format

Metal (Foundry)

Syntax is a humanist sans-serif typeface designed 1969-72 by the Swiss typeface designer Hans Eduard Meier (born 1922). It is believed to be the final face designed and released by D. Stempel for foundry casting.

The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. In the period 1968“1972, Meier worked on additional weights and variations to the Syntax typeface. In 1989, the original foundry metal design was digitized by Adobe, which also expanded the family to include bold and ultrabold weights, resulting in a family family of four romans and 1 italic (in lightest weight) fonts.

Meier described Syntax as being a sans-serif face modeled on the Renaissance serif typeface, similar to Bembo. The uppercase has a wide proportion, and the terminals not being parallel to the baseline provide a sense of animation. The lowercase a and g follow the old style model of having two storeys. The italics are a combination of humanist italic forms, seen in the lowercase italic q, and realist obliques, seen in the lowercase italic a, which retains two storeys, unlike in other humanist sans-serif typefaces like FF Scala Sans and Gill Sans, where the a has a single storey italic.

Different brand names and derivate fonts

Bitstream released Syntax under the name Humanist 531. The family does not include italic font. Infinitype released Syntax under the name Saxony, including italic and medium font. The Cyrillic version was developed at ParaType in 1999 by Isay Slutsker and Manvel Shmavonyan.
The Syntax font family was chosen by Niklaus Wirth for the Oberon operating system. During part of the period that Oberon was under development, Meier worked in Wirth’s group at ETH, developing hand-optimized bitmap versions of the Syntax fonts (this was in the days prior to font anti-aliasing)

http://typedia.com/explore/typeface/syntax/

HUMANIST SANS SERIF

The story of humanist sans serifs is the story of a bridge. At the time of their emergence, the humanist sans serifs spanned the chasm between two very different typographic genres: serif and sans serif typefaces. Sans-serif faces often endured the scorn of critics who regarded them merely as roman letters with their serifs- and consequently their beauty- extracted. Others disagreed, however, and embraced the idea of a typographic form stripped of ornament and decoration. By 1930, the geometric sans serif had arrived, with Paul Renner’s Futura as their acclaimed leader. Proponents praised Futura and faces like it for the adjusted widths and proportions, monotone characters, and interchangeability of typographic parts. Wary skeptics, on the other hand, bemoaned the apparent illegibility caused by the similarity of letterforms. The stage was set for a typographic compromise between traditional roman typefaces and the new geometrics. The humanist sans serifs were designed for this purpose; they spanned the gap between serifs and sans serifs while drawing on the best features of each.

While the designers of humanist typefaces looked to the sans serif for inspiration, they created more personal, human-oriented faces that, although inspired by geometrics such as Futura, avoided the mechanical rigidity of those faces. Specifically, humanist faces are characterized by an inclined stroke axis, reminiscent of handwriting, and a modulated stroke width. The humanist types incorporate aspects similar to 15^th-Century handwritten script and its old-style roman type progeny, and most include chancery-derived italics. The stroke suggests the gesture of a broad-nibbed pen as it forms a letter. The typographic structure, however, of the early humanist sans serifs rather than roman faces. As a result, their structure permits variation of both width and weight, while their graceful strokes afford increased legibility. For this reason, many believe humanist sans serifs to be better suited than geometric sans serifs for lengthy text.

A wide range of digital humanist sans serifs have been released in recent years, including Syntax. These digital fonts continue a rich legacy of 20^th-Century humanist sans-serif fonts. Early in the century, Edward Johnston designed a sans-serif alphabet for the London Underground Railway in 1918.

Humanist letterforms are reminiscent of handwriting in their inclined stroke axes, which lean to the left. The line indicates the stroke axis common to the letterforms of Optima, Gill Sans, and Rotis.

Info Graphic

I was just searching for information graphics to get a little inspiration for the Visual Communications project I just started and came across this. It's amazing how much this info graphic explains about type in such a clear and simple way!
http://pinterest.com/pin/258755182/

History of Font Styles

SERIF FONTS


OLD STYLE (1475)
Characteristics:

1. wedge shaped serifs
2. more upright stress
3. horizontal crossbar

Fonts:

1. Bembo
2. Berkeley Old Style
3. Calisto
4. Garamond
5. Goudy Old Style

TRANSITIONAL (1750)

Characteristics:

1. thick/thin contrast increases
2. serifs become thinner
3. base serifs are barely or not rounded at the bottom

Fonts:

1. Baskerville
2. Concord
3. Times New Roman
4. Century
5. Georgia

MODERN (1775)

Characteristics:

1. sharp contrasts within letters
2. strong emphasis on vertical stroke
3. symmetry and sharp transitions to the straight serifs
4. serifs are as thin as the thin part of the letters

Fonts:

1. Bodoni
2. Didot
3. Walbaum
4. Linotype Centenial
5. Onyx

SLAB SERIF

Characteristics:

1. little if any contrast between thick and thin lines
2. Serifs tend to be as thick as the vertical lines
3. usually have no bracket
4. have a bold, rectangular appearance
5. sometimes have fixed-widths

Fonts:

1. Clarendon
2. Rockwell
3. Courier
4. Apex
5. Egiptienne

SANS SERIF FONTS

HUMANIST

Characteristics:

1. short and thick bracketed serifs
2. slanted cross stroke on the lowercase 'e'
3. ascenders with slanted serifs
4. low contrast between horizontals and verticals

Fonts:

1. Verdana
2. Calibri
3. Allerta
4. Gill Sans
5. Tahoma

GROTESQUE (GOTHIC)

Characteristics:

1. some degree of contrast between thick and thin strokes
2. terminals of curves are usually horizontal
3. terminals of curves are usually horizontal
4. frequently has a spurred "G" and an "R" with a curled leg

Fonts:

1. Headline
2. Monotype 215
3. Franklin Gothic
4. Bell Gothic
5. Akzidenz Grotesque
6. Helvetica
7. Univers

GEOMETRIC

Characteristics:

1. same curves and lines are often repeated throughout the letters
2. constructed from simple geometric shapes, circles and/or rectangles
3. minimal differentiation between letters

Fonts:

1. Eurostile
2. Futura
3. Avante Garde
4. Erbar
5. Neuzeit Grotesque

Hans Eduard Meier- Syntax designer

from http://new.myfonts.com/person/Hans_Eduard_Meier/

Swiss designer who worked with Stempel in the late 1960s, creating that most humanist of sanserifs, Syntax, a type whose influence is clear in Spiekermann’s Meta and its followers.

Meier taught typeface design and graphic arts at Kunstgewerbeschule in Zürich for 36 years.

Although he retired in 1986, Meier continues to design new typefaces and publish them through theElsner+Flake Digital Library.