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Please use this identifier to cite or link to this item: http://hdl.handle.net/1959.3/240181
- Typography profile: David Pidgeon
- Cahalan, Anthony
- Throughout graphic design history, typefaces and the ways in which they have been displayed have been used as a chronometer, or time-measuring device, to identify and visually locate works from a particular period of time. Typefaces are often associated with art movements, significant events, locations, industries or countries. Font-spotters of 2011 would not fail to notice the preponderance of Barmeno, Rotis, FF Dax, Cocon, Gotham and the ubiquity of Helvetica for everything else. Closer inspection would add a flurry of handwriting fonts and hand lettering to the 2011 visual mix. We may notice the use of animated words on recent television advertisements, but, for the most part, these typefaces exist on the two-dimensional plane and their forms haven't changed greatly from the Roman letterforms on which our Latin alphabet is based. One internationally renowned Australian graphic designer and typographer, however, continues to break the mould by creating typographic forms that are designed to stop viewers in their tracks. The son of a mathematician whose favourite subjects at high school were maths and science, David Pidgeon is fascinated by geometric forms. Influenced by posters of the mathematically inspired work of Dutch graphic artist MC Escher in his high school art classroom, he has explored alternative typographic forms since he was a student at Swinburne University of Technology in Melbourne and they are some of the visual highlights that unite his impressive body of multi award-winning work.
- Publication type
- Journal article
- Desktop Magazine, (Sep 2011)
- Publication year
- FOR Code(s)
- 120307 Visual Communication Design (incl Graphic Design)
- Fonts; Graphic design; Pidgeon, David; Typeface designers; Typefaces; Typography; Visual communication
- Niche Media
- Publisher URL
- Copyright © 2011.