Glitches are described as “sudden, usually temporary malfunctions or irregularities of equipment” and have been embraced and turned into art, both musically and visually, for at least the last two decades or so. What is it that lends such an aesthetically pleasing quality to electronic error?
There have always been ghosts in the machine. Random segments of code, that have grouped together to form unexpected protocols. Unanticipated, these free radicals engender questions of free will, creativity, and even the nature of what we might call the soul. – Quote from I, Robot (2004)
Glitches are described as “sudden, usually temporary malfunctions or irregularities of equipment” and have been embraced and turned into art, both musically and visually, for at least the last two decades or so. What is it that lends such an aesthetically pleasing quality to electronic error? Maybe it’s the notion that computers are meant to run on pure logic, so when they produce something random or unexpected, our inborn curiosity is awoken. Or maybe we momentarily recognise our own flawed human nature, and it freaks us out just a little. Who knows!
Jennifer Daniel, designer for Bloomberg Businessweek recently reported that their Docucolor 240 conked out whist printing proofs for the magazine. The resulting artworks were posted on Flickr. I remember spending hours as a student, trying to emulate this exact look for my projects!
News of Linotype’s latest typeface offering, Neue Haas Grotesk has swept the typosphere since its release on June 7th. The story goes that the famous digital sans-serif typeface we know today as Helvetica, was originally designed by Max Miedinger in the ’50s as Neue Haas Grotesk. The conversion from metal type to digital resulted in a one-size-fits-all solution with “unfortunate compromises” to the integrity and character of Helvetica’s predecessor.
NYC based type designer Christian Schwartz has now restored this typeface to its former glory and released it comercially. A common perception in the design fraternity is that “you don’t mess with Helvetica”, so I find it quite interesting that the initial reception in typography circles appears to be positive.
Neue Haas Grotesk does not come without any credentials, the typeface has been put through its paces by Bloomberg Businessweek’s print publication since their redesign last year.
My favourite part is that Schwartz has included some of Miedinger’s alternate characters which have never formed part of Helvetica. Take a look at the flat-legged R:
Read more about the revival of this legendary typeface at: