My Neighbor Totoro
Mos Def by David Scheinbaum
In a conversation with director Wes Anderson Terry asked why he often has his characters look at the camera/audience head-on. Here’s what he says:
"I have my own way of blocking things and framing things that’s built into me. I compare it to handwriting. I don’t fully understand it — why my handwriting is like this — but in a way there’s some sort of tonal thing with the kind of stories I do. They tend to have some fable element and I think my visual predilections are somehow related to trying to make that tone and make my own writing work with performers."
Photos of The Royal Tenenbaums, The Life Aquatic, The Darjeeling Limited, and The Grand Budapest Hotel
Old Black Hole
(Noisetrade Eastside Sessions)
Townes Van Zandt
I Am Not Waiting Anymore
(Bristol Rhythm & Roots Reunion 2013)
Next to T.S. Eliot, the name, arguably, most synonymous with publisher Faber & Faber is Bertold Wolpe (1905 – 1989): the German designer, typographer, calligrapher and illustrator, who between 1941 and 1975 designed over 1500 of their book covers and dust jackets.
Historical events would shape his career in two important ways: Firstly, the rise of fascism in Germany meant that, as a Jew, Wolpe was left with little choice but to leave his homeland for England in 1935 after being told by the Reich Culture Chamber that: "as you are Non-Aryan and as such do not possess the necessary reliability to create a spread of German cultural values, I forbid you to further practise your profession as a graphic designer." Secondly, the outbreak of World War II brought with it the need for austerity and Wolpe’s answer was to create for Faber his distinctive minimal designs, based heavily - and often exclusively – on his own calligraphy and typography.
As it turned out, Wolpe’s cultural influence - and not just on book design - would spread far more successfully in England, and beyond, than the Third Reich’s. His most well-known font, Albertus, that was modeled to resemble letters carved into bronze and named after Albertus Magnus, the thirteenth-century German philosopher and theologian, was adopted by the City of London, where it can still be found on many street name signs. It was also used as the typeface for the "Dawn Of Man" title card in Stanley Kubrick's film 2001: A Space Odyssey.
Other typefaces Wolpe designed included: Hyperion (1932), Tempest Titling (1935), Sachsenwald (1938), Pegasus (1938-9), Decorata (1955) and LTB Italic (1973). In his lifetime he became a Royal Designer for Industry in 1959, was awarded an honorary doctorate by the Royal College of Art in 1968 and appointed an Officer of the Order of the British Empire (OBE) in 1983. Wolpe’s work also merited a retrospective exhibition of his career at the V&A museum in 1980.
The photographs of The Camels Must Go and Introducing James Joyce show variations of Wolpe’s Albertus font, whilst When all is Done is an example of his hand drawn calligraphy. All books were published by wearefaber.
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Ralph Waldo Emerson
Source: The Works of Ralph Waldo Emerson, in 12 vols. Fireside Edition (Boston and New York), 1909
Fuller quotation of an oft-misquoted line.