More video game nostalgia. You would think that having to fit an entire set of fonts into tiny, 8 x 8 grids would result in some unimaginative typefaces. Think again.
The 8-bit arcade font, deconstructed – Vox
In his book Arcade Game Typography, type designer Toshi Omagari breaks down the evolution, design, and history of arcade game fonts. In the video above, he guides us through this delightful 8-bit world and breaks it down pixel by pixel.
Want to read on? Here’s a link to the book’s publisher.
Arcade Game Typography – Thames & Hudson Arcade Game Typography presents readers with a fascinating new world of typography – the pixel typeface. Video game designers of the 70s, 80s and 90s faced colour and resolution limitations that stimulated incredible creativity: with letters having to exist in an 8×8 square grid, artists found ways to create expressive and elegant character sets within a tiny canvas.
Someone on Quora joked about the differences between driving in the UK and US: “in the US you drive straight ahead, ridiculously slowly, on lanes three times as wide as your already huge automobile; whereas in the UK you drive microscopic cars with 25 manual gears along roads that are made for half a car’s width, and you will do it with courage, or be shot for cowardice at the next traffic light.”
It raised a smile and got me thinking of Duel, Steven Spielberg’s first feature film, and its leisurely introduction. The chase seems positively sedate by today’s standards, but it’s a thrillingly tense ride nonetheless. Don’t tell anyone, but you can watch the whole film on YouTube. (Not anymore.)
It’s a great film, but I appreciated it all the more after watching this documentary about it, listening to Steven Spielberg explain how he tackled minuscule production schedules, truck casting and makeup, and demanding studios.
It’s Nice That has a great piece on Keith Haring and his legacy.
Celebrating the life, work and enduring legacy of Keith Haring on his 60th birthday Today, Haring’s characters are everywhere, on T-shirts and posters the whole world over, and he’d be very happy about this. More than anything he wanted to connect with as many people as possible and spread some joy. He’s gone but his legacy is greater than ever, and not just in culture but also in the fabric of our cities: in the words of his friend and sometime collaborator William S. Burroughs, “Just as no one can look at a sunflower without thinking of Van Gogh, so no one can be in the New York subway system without thinking of Keith Haring. And that’s the truth.”
He only had one decade in the art world and yet created so much and left such an impression. Imagine what else he could have got up to, these last 30 years.