Zuzana Licko

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Template:Short description Template:Infobox artist Template:Multiple image Zuzana Licko (born Zuzana Ličko, 1961) is a Slovak-born American type designer and visual artist known for co-founding Emigre Fonts, a digital type foundry in Berkeley, CA. She has designed and produced numerous digital typefaces including the popular Mrs Eaves, Modula, Filosofia, and Matrix. In 1997, Licko was awarded the AIGA Medal for her contributions to American graphic design.<ref name=":2">Template:Cite news</ref>

As a corresponding interest she also creates ceramic sculptures and jacquard weavings.

Early life

Licko was born in Bratislava, Czechoslovakia and came to the United States with her family aged 7.<ref name=":2" /> She studied architecture, photography, and computer programming before earning a degree in graphic communications at the University of California at Berkeley.<ref>Rubenstein, Rhonda. "Zuzana Licko." Eye magazine No. 43, Vol. 11, Spring 2002 Template:Cite web</ref>

Licko was introduced to computers by her father, a biomathematician at the University of California, San Francisco. She would help him with data processing during her summer breaks.<ref name=Emigre>VanderLans, Rudy, Zuzana Licko, Mary E. Gray, and Jeffery Keedy. Emigre: Graphic Design into the Digital Realm. London: Booth-Clibborn Editions, 1994.</ref> The first font she created on a computer was a Greek alphabet, adapted for the pen plotter, which her father used on his graph printouts.<ref>Sherin, Aaris. "Emigre Inc.." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 7 Oct. 2016. http://www.oxfordartonline.com/subscriber/article/grove/art/T2021626 .</ref>

When she started her university education, her goal was to earn a degree in architecture, but she changed to a visual studies major when she discovered her passion after taking graphic design and typography classes.<ref name=Emigre/> While at Berkeley, Licko took a calligraphy class, but struggled with it, because she was forced to write with her right hand even though she is left-handed. This experience influenced her rejection of many traditional type design practices as she started exploring the capabilities of the Macintosh computer.<ref name=Emigre/>

In an interview featured in Eye, Licko described her creative relationship with her husband Rudy VanderLans:

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Emigre

In 1985, Licko and VanderLans started Emigre Graphics which had grown out of Emigre magazine, a publication co-founded by VanderLans and two Dutch friends the previous year. VanderLans also started incorporating the bitmap typefaces that Licko designed on the Apple Macintosh in his layouts with issue # 2. Licko's experimental type designs became a prominent feature of the magazine for its entire run. Licko began selling commercial licenses of its digital fonts to users worldwide, first under the name Emigre Graphics and later as Emigre Fonts.<ref name=":1">Template:Cite book</ref>

Emigre magazine prominently featured Licko's fonts, some of which were initially created for use in the publication. The magazine is an unintentional archive of Licko's work and progression as a type designer. From her pixelated fonts optimized for bitmap printing to her sophisticated vector designs, Licko's technique advanced with technology.<ref>The Font Feed.Stephen Coles, September 29, 2005. http://fontfeed.com/archives/an-interview-with-zuzana-licko/</ref> In Emigre: Graphic Design into the Digital Realm, Licko discusses her necessary departure from classic type forms in her early fonts.

I started my venture with bitmap type designs, created for the coarse resolutions of the computer screen and dot matrix printer. The challenge was that because the early computers were so limited in what they could do you really had to design something special. Even if it was difficult to adapt calligraphy to lead and later lead to photo technology, it could be done, but it was physically impossible to adapt 8-point Goudy Old Style to 72 dots to the inch. In the end you couldn't tell Goudy Old Style from Times Roman or any other serif text face.<ref name=":1" />

Licko has designed at least three dozen font families. In the mid-1990s, she worked on two notable revivals: Mrs Eaves (based on Baskerville) and Filosofia (based on Bodoni). Updating these historical models for use both in print and on-screen, Licko included extensive ligatures with each typeface. Emigre is not just for fonts. In recent years, Licko has turned her attention to creating ceramics and textiles under the same moniker. In a 2017 interview with Zuzana Kvetkova, Licko shares about her love of ceramics and her process:

I’ve always enjoyed creating ceramic objects, and I need this to balance out the ephemeral nature of digital work. I find that my current work on modular ceramic sculptures and fabric prints is actually an extension of type design. I’m using font software to create sketches for my ceramic sculptures, which exist of repeating elements. Each sculpture has a variety of shapes that can be combined to make different sculptures. The font software helps me go through the possible variations. The elements for the textile designs are also created as fonts, which I configure into various patterns. Perhaps my focusing on a physical medium is a reaction against everything being consumed digitally these days.<ref>Template:Cite web</ref>

Fonts designed by Licko

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Essays by Licko

Awards

Licko and her husband Rudy VanderLans won the Chrysler Design Award in 1994. Apart from winning this award, their work on Emigre also won the Publish magazine Impact Award in 1996. A year later, they got an American Institute for Graphic Arts Gold Medal Award. Soon after, in 1998 they were awarded the Charles Nyples Award in Innovation in Typography.<ref name=":0">Template:Cite web</ref>

The Society of Typographic Aficionados awarded Licko the 2013 SOTA Typography Award, citing her "intellectual, highly-structured approach to type design" and her contributions to the digital typography industry.<ref name="SOTA_2013">Template:Cite web</ref>

  • MacUser Desktop Publisher of the Year Award, 1986
  • Chrysler Award for Innovation in Design, 1994
  • Publish Magazine Impact Awards, 1996
  • American Institute of Graphic Arts Gold Medal, 1997
  • Charles Nypels Award for Excellence in Typography, 1998<ref name=":0" />
  • Honorary members of the Society of Typographic Arts, Chicago, 2010
  • Society of Typographic Aficionados Annual Typography Award, 2013<ref name="SOTA_2013" />
  • 29th New York Type Directors Club Medal, 2016

Museum exhibits

Solo exhibitions

  • “Emigre Magazine: Selections from the Permanent Collection,” Museum of Modern Art, San Francisco, 1997
  • “Charles Nypels Prize,” Jan van Eyck Academy, Maastricht, Netherlands, 1998
  • “Emigre in Istanbul,” Contemporary Art Center, Istanbul, Turkey, 1999
  • “Emigre in Norfolk,” Old Dominion University Gallery, Norfolk, Virginia, 2005
  • “Emigre at Gallery 16,” Gallery 16, San Francisco, 2010
  • “Emigre magazine: design, discourse and authorship,” University of Reading, UK, 2017

General exhibitions

Permanent collections

  • Denver Art Museum holds a complete set of Emigre magazine in their permanent collection.
  • Design Museum in London holds a complete set of Emigre magazine in their permanent collection.
  • Letterform Archive holds the Emigre Archives in their permanent collection.
  • Museum für Gestaltung (Museum of Design, Zurich) holds Emigre magazine issues in their permanent collection.
  • Museum of Modern Art in New York holds a complete set of Emigre magazine, and five digital fonts from the Emigre Fonts library in their permanent collection.<ref>Template:Cite web</ref>
  • Museum of Modern Art in San Francisco holds a complete set of Emigre magazine in their permanent collection.

See also

Notes

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Additional online resources

Additional print resources

Additional print resources

  • Bouvet, Michel, East Coast West Coast: Graphistes aux États-unis, Paris, France, Les Éditions Textuel, 2002. Essay on history of Emigre.
  • Cees W. De Jong, Alston W. Purvis, and Friedrich Friedl. 2005. Creative Type: A Sourcebook of Classical and Contemporary Letterforms. Thames & Hudson.
  • Dawson, Peter, The Field Guide to Typography: Typefaces in the Urban Landscape, New York, NY, Prestel, 2013. Interview with Rudy VanderLans & Zuzana Licko.
  • Eskilson, Stephen J., Graphic Design: A New History, London, UK, Laurence King Publishing, 2007. Essay on Emigre in chapter on “Postmodern Typography.”
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  • Heller, Stephen, ed., Design Literacy: Understanding Graphic Design. New York, NY, Allworth Press with School of Visual Arts, 2014. Essay on Emigre in chapter on "Mass Media.”
  • Lupton, Ellen, Mixing Messages: Graphic Design in Contemporary Culture, New York, NY, Princeton Architectural Press, 1996. Short profile of Emigre and Zuzana Licko's typefaces. Book published in conjunction with exhibit at Cooper-Hewitt National Design Museum.
  • McCarthy, Steven, The Designer as Author, Producer, Activist, Entrepreneur, Curator & Collaborator: New Models for Communicating, Amsterdam, Netherlands, BIS, 2013. Emigre referenced throughout, and short profile of Emigre in chapter on “Typographic Design Authorship.”
  • Meggs, Philip B., ed., A History of Graphic Design, New York, NY, John Wiley & Sons, 1998. Profile of Emigre in chapter on “Pioneers of Digital Graphic Design.”
  • Poynor, Rick, Design Without Boundaries: Visual Communication in Transition, London, UK, Booth-Clibborn Editions, 1998. Emigre referenced in essay “Cult of the Ugly,” and one essay, “Into the Digital Realm,” on Emigre.
  • Poynor, Rick, No More Rules: Graphic Design and Postmodernism, New Haven, CT, Yale University Press, 2003. Emigre referenced throughout.
  • Shaughnessy, Adrian, How to be a Graphic Designer, Without Losing Your Soul, London, UK, Laurence King Publishing, 2005. Interview with Rudy VanderLans.

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