Stuff I Found Online, late January 2014
Feb. 2nd, 2014 11:32 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
major_clangerTypeset in the Future, a blog by someone who shares my interests in both typography and science fiction, and has set out to take a comprehensive look at the use of the former in the latter. First up is the typography of 2001: A Space Odyssey; the focus of the blog means that some parts of the film get less attention than you might otherwise expect:
This final part of the film is visually eclectic, aurally stunning and philosophically challenging. Many thousands of words have been penned over the decades to try and fathom the meaning of the monolith, and the genesis and future of the space-baby. However, none of this act contains typography, and it is therefore of no concern to us. Let’s skip to the end credits.
I wonder what will be looked at next? The Prisoner famously adopted a variant on Albertus, while early 70s BBC sf featured a lot of Data 70, which was apparently the only font that the White Heat of Technology would leave intact. Over on ITV, Gerry Anderson's shows featured a lot of both Eurostile and the very similar Microgramma; indeed, the deliberate heavy use of the former in 2009's Moon contributed a lot to its 70s-sf feel. It is such fun to discover someone who geeks out over exactly the same thing you do, only so much better (and blogs about it.)
(ETA: And following one of the links from that post about Moon shows that according to the VFX Supervisor the dummy screen of the base's entertainments library deliberately includes my favourite spoof of 70s BBC science programming!)
Filming in Birmingham's Jewellery Quarter, from the Birmingham Television & Filming Locations blog. I hadn't realised we lived in quite such a hotbed of filming locations, although the area around our Chambers at Cornwall Street certainly gets used quite a bit (as I've noted before), probably because the mix of buildings means that you can do anything from late Victorian to contemporary very easily, and the nearby roads are side streets that are easy to block off.
This final part of the film is visually eclectic, aurally stunning and philosophically challenging. Many thousands of words have been penned over the decades to try and fathom the meaning of the monolith, and the genesis and future of the space-baby. However, none of this act contains typography, and it is therefore of no concern to us. Let’s skip to the end credits.
I wonder what will be looked at next? The Prisoner famously adopted a variant on Albertus, while early 70s BBC sf featured a lot of Data 70, which was apparently the only font that the White Heat of Technology would leave intact. Over on ITV, Gerry Anderson's shows featured a lot of both Eurostile and the very similar Microgramma; indeed, the deliberate heavy use of the former in 2009's Moon contributed a lot to its 70s-sf feel. It is such fun to discover someone who geeks out over exactly the same thing you do, only so much better (and blogs about it.)
(ETA: And following one of the links from that post about Moon shows that according to the VFX Supervisor the dummy screen of the base's entertainments library deliberately includes my favourite spoof of 70s BBC science programming!)
Filming in Birmingham's Jewellery Quarter, from the Birmingham Television & Filming Locations blog. I hadn't realised we lived in quite such a hotbed of filming locations, although the area around our Chambers at Cornwall Street certainly gets used quite a bit (as I've noted before), probably because the mix of buildings means that you can do anything from late Victorian to contemporary very easily, and the nearby roads are side streets that are easy to block off.
