Tiempos is based on a typeface for a Spanish newspaper. Calibre, our sans serif, is inspired by street signage, and though this wayfinding lineage feels pertinent, it is happenstance; we chose it because we enjoy it; a consistent favourite, comfortable like my own handwriting. It’s the other way with Tiempos; we both fancied trying something new. Buying a new typeface ostensibly because you need it for a specific project is like convincing yourself you need new shoes for a specific event. Later, we add Domaine to the mix to up the elegance factor. Aberhart has been drawn, inter alia, to rural churches, masonic halls, graveyards, glass-case museum displays, and suburban housing on the edge of dereliction.
We choose a format we can imagine reading on holiday, for pleasure (Ingrid mentions ‘taking it to the beach’). There is something strangely nostalgic about it (I picture myself at a bach; an amalgam of places I’ve been and a sort of cliched kiwi summer holiday I never actually experienced). The edges of the page become the edges of a map, peripheral text set small and neat becomes our running header, but the asymmetric column layout leads the eye along the top then down the side. I twist the page as if lining up the map to find north. Anna and I leaf through maps, encyclopedias and artists’ books.
When Tony talks of knots as a metaphor for the nature of place, I picture this garlic alongside nautical knot patterns. We collage the two; a family crest of sorts. Cherie’s essay is one of the most visually evocative.
Deep blue pages with complex details. It falls into place – the Hobbit cover is right in that our design should be a simple, single colour, but it isn’t green. I tear out the swatch tab and put it in my wallet. We try different formats and grids, leafing through paper mock ups, seeing where our thumbs want to grip the page.
John Reed Book Distribution
Anna whirlwinds off to another engagement. I step out into the still dusk, and go to the pub. For Giovanni’s essay we place an all-seeing eye in Google’s map marker.
What gear is best for nature photography?
A 24-70mm is another common choice for landscape photography but we both prefer the longer focal range for the 24-105mm. For this lens and the wide-angle lens above, we are happy with f/4 lenses because they are smaller and lighter compared to their f/2.8 counterparts.
The Gallery opened in the Trench Building on Molesworth Street in 1954 by the Director of the Art Gallery of New South Wales, Hal Missingham. The Trench Building was built in 1908 as a combination of Art Nouveau and Continental Secession architecture to house the Lismore Branch of the Government Savings Bank of New South Wales. Out of context, the phonoaesthetics of the words deposit new strata of meaning. Aloud (especially in ‘Alex’ the computer voice’s metallic monotone) they feel like the rhythmic clacketyclack of a train journey. You are seeing this because the administrator of this website has set up Anubis to protect the server against the scourge of AI companies aggressively scraping websites. This can and does cause downtime for the websites, which makes their resources inaccessible for everyone.
- One of our lunchtime iterations is a giant E with an owl in it.
- I have a palpable sense of a void between two magnets, held in tension; two poles in balance, repelled but attracted.
- Then, in retrospect I reread and get some perspective, catharsis.
- I furrow my brow in concentration, stare at the screen and marvel at her plate-spinning.
- It encouraged the critical if rarefied perspective common to contemporary art.
EXPLORE MORE COLLECTIONS
We have a couple of meetings in which I find myself coiled like Tina’s spring; tense and agitated. At the first we show Ingrid and Cherie a dustjacket concept that unfolds like a map to reveal a system placing each essay on a grid based on its location in the book. It is unresolved, but it resonates with me particularly deeply. The tactile exercise of unfolding and refolding (the frustration of a map that won’t obey the creases), the wayfinding system, the bringing together of all our symbols.
I would love to see ANZAC as another typology, and not only because I would love to see Aberhart’s work Top online casinos Australia more generally reinterpreted as typological in nature. The fact that only one type of memorial is included in the book – those topped with a digger statue – strengthens the case. It is a handsome, well-produced volume, something that makes a big difference for our appreciation of the photographs, though I wonder whether the resulting coffee-table feel works against the typological reading.
John Young
Tentatively, I illustrate some essays, pulling together words and found images to create assemblages to augment the words. I enjoy the process of digital collage – the way it can create a narrative through bringing the ephemeral together to tell a new story. Puerile but half true, I retrained as a designer because I’ve always loved sticking pictures of people’s heads on things to make ridiculous montages.
In my mind a strange victorian scene – shades of Frankenstein’s monster strapped to the table – with archaic medical implements. I find some kind of probe and a pair of surgical scissors in a medical textbook alongside scalpels, kidney bowls and pointy instruments of unknown purpose. Ashleigh’s airfield, ‚just another paddock, the planes large animals‘ brings to mind wildlife documentaries; helicopter shots of giraffes lolloping in slow motion, awkward and graceful concurrently. We fuse together a giraffe and a plane, and a handgliging hedgehog made from a dinghy sail and nature print for backup. The danger that ANZAC will seem like just another commemorative album relates, I think, to a tendency that is legible across Aberhart’s considerable oeuvre, one that is not in itself problematic. This is a pull almost in the direction of nostalgia – a preference for folk cultures, throwbacks and remnants; a preference for obsolete things and for places that seem like outliers from the busier and slicker centres of late modernity.