The Year Under the Machine, by Swedish author Peter Danielsson, occupies a place somewhere between art book, artist’s book,…
Print and Design
IN-GAME TYPOGRAPHY of the arcade age played a role similar to that of neon signs in decades prior: to grab the attention of passersby, define brands and products, and above all make a unique aesthetic statement within the limits of its technology. Arcade games had to not only stand out in dark rooms and corridors, they had to compete side-by-side against other games, and along with eye-catching cabinet designs and sound blaring through speakers, a game’s onscreen display – called “attract mode” – was its primary means of drawing in paying customers. Typography played an essential role in drawing in players and convincing them to spend that first quarter – and after they had done so, in displaying essential information, providing encouragement, and keeping score. For those with enough skills, the experience of entering one’s initials on a semi-permanent High Score screen provided the ultimate type-based endorphin rush.
WE’VE COVERED BLUE Crow Media’s collection of Modernist Maps in the past, including an overview of the series and a look at their remarkable Pyongyang Architecture Map. Their newest addition, the Brutalist Berlin Map, joins London, Paris, Sydney, Boston and Washington in their sub-series on Brutalism, and serves as a fitting companion to 2016’s Modern Berlin Map. This newest map repeats some of the structures from its Modernist counterpart, which is to be expected given the implied Venn diagram that maps the ever-shifting overlap of Brutalism and Modernism: the Mäusebunker, Corbusierhaus, Akademie der Künste, the Czech Embassy, among others. Ultimately, while each map has more than enough unique entries to act as a standalone guide, the combination of the two offers even greater opportunities for exploration, as well as a perfect jumping-off point for further discussion.
BLUE CROW MEDIA IS a London-based publisher of maps, specializing in modernist and brutalist architecture worldwide. The maps are beautifully designed in a classic-modernist aesthetic, and take particular care in their choice of typefaces. The latter point is especially evident in the numerous bilingual maps, many of which use non-Latin scripts including Cyrillic, Georgian, and Hangul. In these maps, both languages get equal space in the layout, sending a clear message that they are intended for locals as well as tourists.
IN THE RETRO-futuristic, post-apocalyptic world of the Fallout series, legible printed matter is a rare and valuable commodity. Finding an intact magazine or comic book gives valuable stats and perks, from increased know-how with machines to improved conversation skills to unlockable tattoos. Presumably, most books and magazines were far too delicate to survive the nuclear apocalypse, appearing as the junk-class items “burnt book” and “burnt trade magazine” (though the high-Nordic-fantasy world of Skyrim, also from Bethesda, certainly has its share of “Ruined Books” as well).