A gloriously obsessive examination of the typography in 2001: A Space Odyssey. This post stars Albertus, City Medium, Eurostile Bold and Bold Extended, Futura, Gill Sans, Microgramma, Spartan and Univers. Please also see my post Future Font Friday 1. Now, over to Mr. Addey:
2001: A Space Odyssey – Stanley Kubrick’s 1968 sci-fi masterpiece – seems an appropriate place to start a blog about typography in sci-fi. Amongst other delights, it offers a zero-gravity toilet, emergency resuscitations, exploding bolts, and product placement aplenty. It’s also the Ur Example of Eurostile Bold Extended’s regular appearance in spacecraft user interfaces.
Right from the opening scene, we’re treated to Kubrick’s love of bold, clean, sans-serif typography:
Sara Enríquez from Madrid, Spain created these whimsical typographic illustrations as an homage to film director Wes Anderson. See if you can figure out which film each letter goes with, then scroll down to check your guesses (there may be more than one letter per film). There are also links to other projects of Ms. Enríquez.
50 Years Of James Bond Title Sequences Merged Into One Awesome Montage
From Dr. No to Skyfall, the title sequences of Bond movies are as much a part of film folklore as the series itself. Before the gadgets, the cars and the Bond girls step in, it’s the opening credits that set the mood for a 007 film. This video montage celebrates 50 years of these epic title sequences – a must watch for all Bond fans, movie aficionados, film students and design lovers.
By now, you’re all familiar with the name Berndnaut Smilde, the Dutch artist who magically makes clouds appear inside rooms. His latest work took him to the Green Room of the Veterans Building in downtown San Francisco where he let Julia Wilczok and Maria Judice of Avant/Garde Diaries shoot him and his latest creation. The beautifully shot film, called Making Clouds, takes us behind-the-scenes with the artist where he discusses what his fascination is about clouds.
As he told Avant/Garde, “It’s not so much about the shape of the cloud but about placing it out of its natural context. It brings duality, because you can’t really grasp how to interpret the situation you are viewing. People have always had strong metaphysical connections to clouds as they symbolize the ominous.”
With hanging chandeliers and a reflection in the mirror, this latest piece, called Nimbus Green Room, is particularly enchanting. It’s almost like we’re watching a scene from a fairy tale.
IBM has created a short film where the actors are actually individual atoms.
A Boy and His Atom would be just like any number of unremarkable animated shorts were it not for the fact that it’s only visible if you use a microscope that enlarges the action by 100 million times. Using techniques it honed after years of researching atomic data storage, IBM created 250 stop-motion frames depicting a boy playing with his (pet? toy?) atom.
How exactly does one manipulate atoms in this way? It’s not cheap: IBM needed to use its two-ton scanning-tunnelling microscope, which operates at minus 450 degrees Fahrenheit, to shoot the film. The microscope moved a “super-sharp” needle to within 1 nanometer of a copper surface, which then could attract and physically move each atom, one by one.
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