Back to the classroom: the Central Saint Martins Museum &amp; Study Collection and Central Lettering Record

Baines, Phil; Dixon, Catherine

doi:10.1080/20557132.2017.1398952

Cited by 3 publications

(3 citation statements)

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“…Bins signpost these changes of directions. The curbside dumpsters for recycling of glass, metal, plastic, cardboard, and newspapers in Figure 1 are urban signs (Baines and Dixon, 2003) that signal for waste producers where exactly to put their rejects and for waste collectors where to pick up discarded valuables. By telling people where to discard what, and sometimes even when and why, bins are instrumental agents of mundane governance (Woolgar and Neyland, 2013) that mobilize consumers to practice recycling, even if under the delusive belief that this is a sustainable waste policy (Hird, 2017; Lougheed et al, 2016).…”

Section: Exposing the Leonian Illusionmentioning

confidence: 99%

Waste as scats: For an organizational engagement with waste

Corvellec

2018

Organization

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This article coins the term ‘scatolic’ to suggest a new way for organizations to think about and engage with waste. Scatolic engagement draws on Reno’s analogy of waste as scats and of scats as signs for enabling interspecies communication. This analogy stresses the impossibility for waste producers to dissociate themselves from their waste and emphasizes the contingent, multiple, and transient value of waste. Correspondingly, the article suggests that organizations grow a semiotic competence at reading waste and develop a sense of responsibility for materials. Adopting a scatolic approach to waste is featured as a way for organizations to deal with waste in the Anthropocene.

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Section: Exposing the Leonian Illusionmentioning

confidence: 99%

Waste as scats: For an organizational engagement with waste

Corvellec

2018

Organization

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“…This was initially assembled by calligrapher and lettering scholar Nicolete Gray, typographer Nicholas Biddulph and other specialists in the early 1960s. [25] In a more recent initiative, professors of typography and design at the Universitat de Barcelona took responsibility for the care of the historical archive of the leading type foundry in Spain, Bauer-Neufville, that included type foundry matrices, tools, machinery and administrative documentation to instruct students in the principles of type manufacture and its connection to letterpress printing, as well as to preserve the archive for future research and scholarship.…”

Section: Methods and Approaches To Typographic Historiesmentioning

confidence: 99%

Typographic Histories: Three Decades of Research

Aynsley

Farias

2021

Journal of Design History

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This Virtual Special Issue includes twelve articles published in the Journal of Design History between 1988 to 2020 that focus on typographic histories. The selected articles address different aspects of the subject, ranging from designing letterforms and manufacturing typefaces to putting those letterforms to use—through typesetting and letterpress printing, typewriting, collage, lithography and photocopying. To provide a context for this selection of articles this Introduction begins by characterizing the place of typographic histories within the Journal of Design History and the broader field of design history. It then considers the methods, models and approaches available that offer a framework for understanding and interpreting typographic practices and objects. Recognizing that the historiography of typography has a trajectory that predates design history by many years, reference is made to other disciplines that have contributed to this longer history. We then give a brief overview of the various kinds of archives and collections where the materials, methods and objects of typography are held and can be studied. The Introduction concludes by detailing the contribution of the selected articles, grouping them and drawing out themes that become apparent by placing them together. Finally, the article offers suggestions for future research and scholarship.

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“…6 As Baines and Dixon suggest, "nothing eradicates a sense of locality more than the consistent promotion of an [corporate] identity." 7 This is not merely a nostalgic notion that historic signs are from a more 'innocent' era of capitalism. The shift from idiosyncratic variety towards ubiquitous uniformity reflects a lost opportunity for the expression of local cultural identity.…”

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confidence: 99%

Self Help, Sunlight and a Modern Chair: Considering Auckland’s historic signage as a heritage object

Powley¹

2020

BackStory

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Cities are an ever-changing space, filled with commerce and community. Signage plays a strong role in the visual narrative of the urban environment. It creates a constant visual hum, a street level monologue of promotion, identification and direction. Commercial signs are designed to serve and improve business. So, what role could an old, fading or non-functioning piece of signage possibly play in our neoliberal capitalist society? From a designer’s perspective, there’s a lot to like—the craftsmanship, the idiosyncrasies of a hand-generated pieceof typography, the sense of nostalgia for a time before globalisation and brand guidelines took over. Looking at historic signs from a broader context they also represent an “intricate urban history.”1 They speak of the changing face of commercial enterprise, social values and cultural expression. Even when they no longer serve their original semantic role of commercial promotion, they “accumulate rich layers of meaning. They no longer merely advertise, they are valued in and of themselves. They become icons.”2 The semiotic function of an historic sign shifts to a new role—signifying notions of survival, continuity and loss. They also feed into our complex personal narratives of place, identity and community.3 These multiple and interwoven values can form the cultural significance of historic signs. Despite this recognisable value, historic signage tends to fall through the gaps of heritage practice and legislation in New Zealand. This paper offers a set of case studies that represent a range of possible outcomes for historic signs, when they exist outside a system of heritage management. I propose six categories for framing the case studies: remain, repair, regenerate, relocate, replace and remove. These examples are combined with a broader reflection on the value of historic signage and an overview of relevant heritage practice in New Zealand. The intention is to encourage reflection on the possible heritage significance of historic signage and our current approach to assessment, scheduling and conservation.

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Back to the classroom: the Central Saint Martins Museum & Study Collection and Central Lettering Record

Cited by 3 publications

References 0 publications

Waste as scats: For an organizational engagement with waste

Waste as scats: For an organizational engagement with waste

Typographic Histories: Three Decades of Research

Self Help, Sunlight and a Modern Chair: Considering Auckland’s historic signage as a heritage object

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