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MEANS
Intervista a
Interview with Briar Levit
— English text on p. 78
BL Ne parla in parte la graphic designer Lucille Te- Per esempio, sono certa che il mio occhio tipografico
nazas quando si lamenta di non potere più lavorare non è preciso quanto quello di un graphic designer
in ampi spazi, con grandi fogli di acetato, tavole e at- che assemblava a mano le composizioni tipografiche
trezzi della professione. Le piaceva sapere che erano ed era in grado di trovare errori come spaziature e
le sue mani a creare il pezzo finale. C’era un senso di glifi non corretti con una naturalezza maggiore rispet-
orgoglio, un atteggiamento Zen, nella realizzazione di to a quanti di noi si siano approcciati al progetto at-
ogni lavoro. traverso il computer. E se il mio occhio non può es-
sere così allenato, immaginate quello dei miei allievi.
JP Se per effetto dei mutamenti tecnologici il ruo-
lo del graphic designer si è evoluto ed è cresciu-
to, altri ruoli produttivi sono invece scomparsi.
Credi che capacità, competenze e attitudini siano
andate perse nella transizione e, se sì, quali sono
state le conseguenze?
JP What motivated you to make Graphic Means? JP The film is a story of tools, processes, and people,
Why do you think it is important for today’s as you say. I am wondering if it is throwing some
graphic designers and students to know about light on how the human brain and body have
how their work was done in the past? been affected by these changes. I am thinking of
designers’ way of producing and assembling their
BL This project started with a collection of obsolete pieces and of routine gestures.
production manuals that I amassed from my regular
trips to the thrift store. I found myself looking at the BL This is discussed a bit by designer Lucille Tenaz-
various processes laid out with step-by-step photos as who laments the fact that she no longer works with
and illustrations, and just marvelling at the sheer hand a massive space and large sheets of acetate, boards,
skills and time that would go into a simple brochure and tools. She liked knowing that it was her hands that
from thumbnail to paste-up mechanical. I was aware created the final piece. There was a sense of pride and
of these processes, but had missed learning them in Zen about creating the work itself.
school by 5–10 years. As a teacher, I wanted to share
this with my students to give them
context and appreciation for the
work they do today – to help them
see their place in the continuum of
our discipline.
The more I thought about it, how-
ever, the more I felt I wanted to
share the story with a larger audi-
ence. The effect that Doug Wilson’s
film, Linotype: In search of the
Eighth Wonder of the World had
on me made me consider film as
an option. His film helped not only
to clarify the mystery of Linotype
as machine vs. type foundry, but it
BL Well, I don’t think that production roles went JP For too long designers forgot to notice how their
away per se, they were just absorbed by the designers bodies were affected by the way they worked.
themselves. So now we do our own typesetting, and Today, off-screen design processes are becom-
our own pre-press much of the time. There was cer- ing more and more relevant. In an opposite trend
tainly a learning-curve as designers made the transi- from that of the 1990s, digital technologies are
tion to digital and were suddenly charged with setting now materializing (see, for instance, the so-called
their own type and making typographical decisions. internet of things). What do you think is going to
Many designers I’ve spoken to mention that there happen in the near future?
was a period of some pretty poor typesetting. We’ve
caught up, however, and I think designers are often
incredible typesetters. Pagina precedente Previous page
As for what was lost – I think that there is a differ- Gerard Huerta, disegnatore di caratteri, nel suo
studio negli anni Settanta, presente in
ent workflow now that favours speed over the meas- Graphic Means.
ured thinking and planning that should happen before — Gerard Huerta, Lettering Designer,
jumping into a design. featured in Graphic Means, in his studio
in the 1970s.
I also know for a fact that my typographical eye isn’t
nearly as precise as designers who worked pasting up
type. They can spot errors like extra spaces, incorrect Fotocompositrice Varityper Comp/Set 500.
— Varityper Comp/Set 500 photosetting
glyphs etc., so much more naturally than those of us system.
who learned on a computer. I know my eye isn’t as
sharp, and I’m fairly certain the eyes of my students Daisy wheel: elemento per la stampa tipografica
a impatto.
are even less sharp. — Type element for a daisy wheel style
printer.