#samoan graphics

[possible-streetwear]

[kage-gfx]

Rest In Peace Sika 🕊️

[mimzalot]

we never really needed the Zelda Timeline

 from twitter •  7th July 2019  

sharing my thoughts on the Zelda Timeline, oral tradition, gamer intellectualism and one of the best characters in Breath of the Wild. I may wrongly use 'oral history' and 'oral tradition' interchangeably but you get the gist of it.

hadn’t put this into words until recently but I think part of the reason the Zelda timeline never mattered to me was because Zelda has always been a bit more like oral history, rather than written history. it’s the Legend of Zelda, not the Cross-Referenced Facts of Zelda.

makes sense, too, why all the Zelda games have vastly different tones, but the same underlying themes and plot - Link is the archetypal hero (like Jack and Jill, Jack and the Beanstalk), and all the different ‘styles’ of game are the different voices they’re recounted by.

you got one person that tells the story with a light-hearted comedy tone! Wind Waker. you got that aunty that’s a fan of ghost stories and plans to terrify you! Majora’s Mask. you know that cousin who’s a big fan of birds? Skyward Sword! each legend embellished in its own way.

and not to be Me about it but it makes me wonder how much of this desire for Zelda’s timeline to be a written, coherent, step-by-step factual recount of events is tied in with the idea that historical, written fact is seen as intellectualism, whereas oral tradition is... not.

I’m used to oral tradition. as a Samoan, much of my knowledge of history has been told to me by family, and while there is value in finding the ‘truth’ of the matter, a lot of times, you just enjoy the story. there’s nothing to prove with it, you just listen and learn.

as a Samoan I’m also used to the fact that this isn’t really seen as a valid or intellectual form of academia. and as a member of the gaming and Zelda community, I know that there’s a pervasive obsession with academia, intellectualism, and proving video games are ‘smart’.

if you’ve been part of the Zelda community for longer than a minute you’ve probably at some point become aware that some Zelda fans - and Nintendorks overall - have suffered with an inferiority complex. the definition of ‘real games’ did not include games about fairy forest boys.

when ‘real games’ had to have the most realistic graphics, dark themes, competitive modes and, well, guns, Zelda fans were chuckled at by ‘real gamers’. it was a good game, but it was a kids’ game. Zelda fans scrambled for legitimacy in the gaming community.

evidence: when Wind Waker was first announced, the great source of fan despair? it was too cartoony, it wasn’t dark enough. how was Zelda going to be taken seriously when, while the rest of gaming was boasting realistic graphics, Nintendo had veered off-course into toon town!?

similarly when Twilight Princess was released, the great source of fan rejoicing was that it looked serious, dark and gritty. Link looked more realistic, and this looked like a game that wouldn’t have the Halo nerds laughing at you when you said it was the best series ever.

so what does the disenfranchised nerd with the inferiority complex do to intellectualise their media? how does the Zeldweeb prove their lore should be taken seriously? you take every piece of it and try to put it down on paper, in sensical order, as evidence. it’s history, baby!

you could probably skip the inferiority complex bit and jump straight to the fact that white audiences will naturally attempt to intellectualise through written history, because historically speaking, that’s what white history is all about. if it ain’t written, it ain’t legitten.

whether it’s because of an inferiority complex, or the cultural context within which media is consumed, or the nature of academia being steeped in white concepts of ‘truth’, we’ve been left with Zelda fans that are DESPERATE for the timeline to make sense. DEMANDING that it does.

and all I’m saying to my fellow fans is - it doesn’t HAVE to. it never had to! firstly because that’s an inherently flawed method of justifying the merit of something, but also because gaming elitism is dumb and there’s no need to force this game to be historically accurate.

because without this urgent demand for a Confirmed Zelda timeline, Hylian lore would be just like my ‘Fierce Deity Link is Sheikah’ headcanon, and numerous other Zelda fan theories - good, regardless of canonisation. speculative, like legends oft are. oral tradition, not written.

... but it’s 2019 now. the Historia was released, and you can tell the games are being made with other games and The Timeline in mind. and this isn’t bad! in fact it’s a pretty interesting progression from oral tradition into written that mirrors real world civilisations. sweet.

Breath of the Wild is the ‘convergence’ game, where all the haphazard timelines come together. to me this is a turning point in the Legend of Zelda, because from here on, games have a unified starting point. The Timeline can, from this point forward, be strictly abided by.

... but speaking of oral tradition and Breath of the Wild, I find it really charming that as Nintendo officially creates a ‘logical’ new-start for the written Zelda timeline, they also introduced an in-game personification of oral lore itself. or a birdification, rather. Kass!

was this thread just an excuse for me to gush about my favourite bird bard, Kass? I mean, no, but while I’m here, let’s talk about Kass! bc I love him, and also because there’s something very meta about a Legend of Zelda character whose sole purpose is to tell the Legend of Zelda

TLOZ as a whole operates mostly on oral lore. more often than not you are told of your history by others - from a great tree, a dead King, a Happy Mask Salesman. your sidequests are primarily word-of-mouth. music is integral in how you connect to Hyrule, past, present and future.

this has become a fundamental and seamlessly integrated part of how the series functions. just like you know that when you hit a crystal something will happen, you also know that in order to understand your surroundings you need to listen to people, stories and songs. NOT read.

... which brings us back to Kass! while the rest of the series (deliberately or not) makes gameplay out of oral tradition, Kass personifies that tradition. at the turning point of The Timeline, Kass both explains and demonstrates how Legend works, in-game and in-general.

and I find it extremely effective and maybe a little sentimental that while we can expect everything henceforth about The Timeline to be indisputable fact, there’s a character which exists purely to represent the legitimacy, excitement and cultural function of oral tradition.

(that the Rito seem coded as a tribal unit that live in a village and operate within a chiefly system not unlike my own culture probably adds to how quickly this comparison occurred to me, too, buuut culture-coding in Zelda is a topic for another day)

Breath of the Wild marks a junction. a new slate - ha ha. gameplay includes more elements of written history (filling a compendium, reading journals, visiting memories based on photos), throwbacks take full advantage of a chronological timeline (location names, weapon lore, plot)

Link is usually our bard, through which we create and share the Legend of Zelda. now, as Link, BOTW and maybe even the series overall develops in another direction, Kass is our bard, and he behaves as a testament to the original point of the thread - the oral history of TLOZ

and it’s just nice to think that this history is being fondly represented in the form of a big bird accordionist that gets bummed out when you don’t want to hear him talk about Zelda. I can relate to that. I think a lot of us can. especially the bird bit. huh? what? I DIGRESS.

ultimately, I didn’t need the timeline. I don’t really think anyone needed it as badly as they thought they did. but! I don’t reject The Timeline. a solid foundation opens up new avenues of storytelling - a direct BOTW sequel with reference to past lore, for example! EXCITING!

I just hope that while the franchise evolves with The Timeline in mind, we can still appreciate that, even untethered, in all its tonally diverse and time-insensitive glory, The Legend of Zelda was never ‘broken’, it was just a history unwritten - and no less enjoyable that way.

feel free to celebrate reaching the end of this thread by listening to this lovely song cover and joining me in prayer that Kass returns with more tunes for BOTW2. MAY THE LIGHT ILLUMINATE YOUR PATH!

additional notes: playing Tears of the Kingdom now and feeling INCREDIBLY vindicated rn. please no spoilers in the tags if you reblog but also SCREAMS AND RATTLES I LOVE ZELDAAA

[mortala-if]

Hiro uses he/him and is of Samoan descent. He's 21, the same age as MC.

Hiro's energy is addicting, one that you got hooked on quickly—his teasing nature, the rare grins that bare all his pointy teeth, the crinkled-eyed laughs. You've seen every side of him, good and bad— his aura is overwhelmingly familiar, but that doesn't make it any less enticing.

—

You met at age two, not that you remember, through your parents. Your brother said that you two became inseparable immediately, and the bond grew as you did. There isn't any holiday, birthday, or significant event that you two haven't spent together. You don't remember a time without him.

You're dizzyingly aware of his popularity- that he has many more friends than just you- but it still leaves a bitter taste in your mouth, even though he's assured you that you're the one he loves most. Every time you doubt him, he finds a way to prove you wrong.

He tries to get you out there and introduce you to his friends, but it never works out. . . You hang out with them once and then never again, and it's never that enjoyable. You tell him you're perfectly fine with just him, but he's nothing if not stubborn, so he continues to try.

You know him better than you know yourself.

—

His style is something you could call. . . disordered. His closet is cluttered with a dozen different aesthetics, and you couldn't single one out if you tried. . . and you have. It ranges from baggy graphic tees that reach his knees to tight, revealing crop tops that would make your grandmother faint. The only constant is boots. He loves boots, heeled or not.

His appearance is messy as well- pretty but messy. He has a tan complexion and doe-like brown eyes that squint whenever he's happy. Full lips that disappear whenever he smiles. Straight, black eyebrows that furrow whenever he's confused or upset. His dark brown hair is styled in something he refuses to call a mullet, even if it is one. His features weave together delicately, and it still catches you off guard occasionally.

Playlist Pinterest

[benforster-grad604]

10x NZ Creatives (SDL) Week 2

Logan West

Logan West photography is an Auckland based creative studio specialising in professional photography services.From a young age, Logan has been fascinated by the idea of a photo and manipulating an image. Having a camera close by was a part of his early years, documenting memories through photos which sparked his initial interest in photography. 

Blink

Blink is an Auckland based creative studio, where design and production happens under one roof. They create an in-depth range of projects from in-depth identities to spatial graphics and way finding systems. They create to inspire dialogue and distract from the ordinary. There work is playful and simple, leaning into the knowledge that design is inherently social and should always be made for the real world.

Tyrone Ohia

Raised in Whanganui but originally from Tauranga and of Ngāti Pūkenga and Ngāi Te Rangi descent, Tyrone Ohia studied Computer Graphic Design at UCOL. Since graduating Tyrone has worked at various design studios in Wellington, and is now part of the team at award-winning design studio Alt Group in Auckland. He has been honing his skills on a wide range of projects, “some large, some medium, and some so small you can hardly see them”.

johnson witehira

Johnson Witehira is an artist, designer and academic of Tamahaki and Ngāi Tū-te-auru descent. He is the co-founder of both Indigenous Design and Innovation Aotearoa (IDIA) and Waahi Wairua. His artworks have featured in significant galleries within Aotearoa and internationally. For example, in 2012 works from Witehira's exhibition Ko Aotearoa Tēnei (2012) were exhibited across 34 screens in Times Square New York, in the first-ever synchronised digital content display. 

joseph churchward

Joseph Churchward QSM was a Samoan-born New Zealand graphic designer and typographer. He is known for having designed an estimated 690 original typefaces, many of which are in use around the world. Churchward’s typefaces are now digitally distributed and rub shoulders with the world’s favourites. Now aged 76, he still continues to create new fonts. A biography of his extraordinary life and work was released in March 2009.

Dean Poole

Dean Poole is a visionary design leader, a champion of creativity and design thinking and a passionate advocate of New Zealand's future as a design-led economy. Dean is the co-founder of Alt Group, a multi-disciplinary design studio based in Tāmaki Makaurau Auckland.

Designworks - Jef Wong

Jef Wong is an New Zealand-born Chinese person who in his last year at AUT, where he earned his degree in graphic design, Wong worked for free wherever he could in the industry. The 49-year-old from Auckland found that passion at an early age, and this year was named a supreme winner at the 2022 Best Design Awards. But his success hasn’t come without hard work. Now the Executive Creative Director at Designworks In his last year at AUT, where he earned his degree in graphic design, Wong worked for free wherever he could in the industry.

Lucie Blaze Lucie Blaze is a graphic designer, art tutor and practising artist. Originally from the Czech Republic, Blaze resides in Tāmaki Makaurau, Aotearoa. She moved here 2014 and has embraced the culture and art scene over the past few years. She studied graphic design in Czech Republic and visual communication in Paris and recently completed her a postgraduate diploma in art therapy after personally experiencing the healing properties of making art and craft.

[603chloetredgett]

Joseph Churchward

Joseph Churchward is a Samoan-born New Zealand graphic designer and typographer. He is known for having designed an estimated 690 original typefaces, many of which are in use around the world. His designs were also used in the masthead of The Evening Post newspaper. Churchward is born in Apia, Samoa, of Samoan, English, Scottish, Tongan and Chinese heritage. He founded Churchward International Typefaces in 1969. German company Berthold Fototypes subsequently distributed his fonts throughout the world. Over the span of his career, Churchward created more than 582 original typefaces. Joseph will be offering two different lectures as listed below on two different days.

[oskarmcc603]

Joseph Churchward

Joseph Churchward is a Samoan-born New Zealand graphic designer and typographer. He was known for having designed an estimated 690 original typefaces, many of which are in use around the world. His designs were also used in the masthead of The Evening Post newspaper shown above.

Joseph was born on the 20th of August 1932, Apia, Samoa. A mix of Samoan, English, Scottish, Tongan and Chinese heritage. He founded Churchward International Typefaces in 1969. German company Berthold Fototypes distributed his fonts throughout the world. the span of his career, Churchward created more than 582 original typefaces. Josef died on the 26th of April 2013 in Wellington, NZ, at the age of 80. Cause of death was bowel cancer.

I really admire Joseph's large collection of type as it is all so unique and different from each other. I also think it's cool how he has used different aspects of his cultures in his works reflecting on himself and where he's from.

[grad603-anastasiaandropovamnm]

Brochure Content

Joseph Churchward: Artist and Type Designer

Joseph Churchward is a Samoan-born New Zealand graphic designer and typographer. He is known for having designed an estimated 690 original typefaces, many of which are in use around the world. His designs were also used in the masthead of The Evening Post newspaper. Churchward is born in Apia, Samoa, of Samoan, English, Scottish, Tongan and Chinese heritage. He founded Churchward International Typefaces in 1969. German company Berthold Fototypes subsequently distributed his fonts throughout the world. Over the span of his career, Churchward created more than 582 original typefaces. Joseph will be offering two different lectures as listed below on two different days.

Tobias Frere Jones: Educator and Type Designer

Over 25 years, Tobias Frere-Jones has established himself as one of the world’s leading typeface designers, creating some of the most widely used typefaces, including Poynter Oldstyle, Whitney, Gotham, Surveyor, Tungsten and Retina.. He operates the company Frere-Jones Type in New York City, and teaches typeface design at the Yale School of Art MFA program. 

Verena Gerlach: Type and graphic designer

Verena Gerlach was an instructor of photography at the Hochschule der Künste in Berlin in 1991 and spent 1992 doing a first-year course at Glasgow School of Art. From 1993 to 1998 she studied communication design at Kunsthochschule Berlin Weißensee and spent one year (1996) as an exchange student at the London College of Printing.

FF Karbid, FF Sizmo, and Chambers Sans are some of the few typefaces she created, Verena has her own studio for corporate design in Berlin.

Nadine Chahine: Researcher and Type Designer

Dr. Nadine Chahine is an award-winning Lebanese type designer working as the UK Type Director and Legibility Expert at Monotype. She has an MA in Typeface Design from the University of Reading, UK, and a PhD from Leiden University, The Netherlands. Nadine’s research focus is on eye movement and legibility studies for the Arabic, Latin, and Chinese scripts. She has numerous awards including two Awards for Excellence in Type Design from the Type Directors Club in New York in 2008 and 2011.

Her typefaces include: the best-selling Frutiger Arabic, Neue Helvetica Arabic, Univers Next Arabic, Palatino and Palatino Sans Arabic, and Koufiya.

Carol Twombly

Carol Twombly (born 1959) is an American designer, best known for her type design. She worked as a type designer at Adobe Systems from 1988 through 1999, during which time she designed, or contributed to the design of, many typefaces, including Trajan, Myriad and Adobe Caslon.

Twombly retired from Adobe and from type design in early 1999, to focus on her other design interests, involving textiles and jewelry. American calligrapher and type designer, a graduate from Rhode Island School of Design where her professor was Charles Bigelow. Joined the digital typography program at Stanford University, also under Bigelow. Working from the Bigelow & Holmes studio she designed Mirarae, which won her the 1984 Morisawa gold prize. Since 1988 she has been a staff designer at Adobe.

Veronika Burian: Type Designer

Veronika is born in Prague, originally studied industrial design in Munich and then worked as a product designer in Vienna and Milan. Discovering her true passion for type, she graduated with distinction from the MA in Typeface Design course in Reading, UK in 2003. Burian founded TypeTogether together with José Scaglione, today with twelve employees working around the world, one of the most important, independent type foundries. In addition to the development of tailored solutions for a variety of clients, the focus of TypeTogether’s font catalog is on expressive text typefaces for digital and analog media. Her typeface Maiola received, amongst others, the TDC Certificate of Excellence in Type Design 2004. Several other typefaces by TypeTogether have also been recognised by international competitions, including ED-Awards and ISTD.

Jessica Hische: Letterer and Designer

Jessica Nicole Hische is an American letterer, illustrator, and type designer. She is best known for her personal projects, 'Daily Drop Cap' and the “Should I Work for Free” flowchart. She published In Progress: See Inside a Lettering Artist's Sketchbook and Process, from Pencil to Vector in September 2015, which gives insight to her creative process and work she has completed as a hand lettering artist. She has spoken at over 100 conferences worldwide, but splits her time between San Francisco, CA and Brooklyn, NY.

Johnson Witehira: Educator and type designer

Johnson Witehira is an artist, designer and academic of Tamahaki and Ngāi Tū-te-auru descent. He is the co-founder of both Indigenous Design and Innovation Aotearoa (IDIA) and Waahi Wairua. Since completing his doctorate in Māori Visual Art (2013), Johnson has been on a mission to bring Māori culture into all aspects of New Zealand life. He has led the development of Māori design for some of New Zealand's most prominent organisations. Other significant design projects include developing the first set of Māori alphabet blocks, co-designing the PAKU gardening tools for children and developing the first functional Māori-specific typeface.

I decided to make the photos of all designers black and white, because it this way it looks more professional - to have them all in the same colours and tones rather than in completely different styles. The black and white also match the theme of my Typografika’24.

[grad603matthewrimamate]

Research Gathering on guest speakers:

Joseph Churchward: 

Joseph Churchward is a Samoan-born New Zealand graphic designer and typographer He was born on 20 August 1933 in Apia, Western Samoa, the only child of Mary Coe and George Charles Churchward. Mary was of Tongan, Samoan and Scottish descent, the granddaughter of an American whaler.

Joseph Churchward was an internationally renowned typeface designer whose work graced record covers, billboards, newspapers and popular literature such as posters and brochures around the world, both during his lifetime and beyond.

Tobias Frere Jones: 

Tobias Frere-Jones established himself as one of the world’s leading typeface designers, creating some of the most widely used typefaces, including Interstate, Poynter Old-style, Whitney, Gotham, Surveyor, Tungsten and Retina.

He joined the faculty of the Yale University School of Art in 1996 and has lectured throughout the United States, Europe and Australia. His work is in the permanent collections of the Victoria & Albert Museum in London and the Museum of Modern Art in New York.

Verena Gerlach:

Verena Gerlach founded her studio for graphic design, type design, and typography in Berlin. Since 2006, she has worked as a freelance book designer for art book publishers, museums, and artists. She started lecturing in type design and typography in 2003, and she now gives lectures and workshops all over the globe. Besides designing corporate fonts for global companies, she also is working on the typographic production for international, contemporary artists.

Nadine Chahine: 

Dr. Nadine Chahine is an award winning Lebanese type designer. She has an MA in Typeface Design from the University of Reading, UK, and a PhD from Leiden University, The Netherlands. Nadine’s research focus is on eye movement and legibility studies for the Arabic, Latin, and Chinese scripts.

he has numerous awards including two Awards for Excellence in Type Design from the Type Directors Club in New York in 2008 and 2011. Her typefaces include: the best-selling Frutiger Arabic, Neue Helvetica Arabic, Univers Next Arabic, Palatino and Palatino Sans Arabic, and Koufiya.

Carol Twombly:

Carol Twombly, born in 1959 in Concord Massachusetts, started her artistic endeavors as a sculpture artist at Rhode Island School of Design. After seeing the practical appeal of the field of graphic design, she switched from sculpture to graphic design.

Carol worked for many years as a graphic designer. She took part in a digital typography program at Stanford University which allowed her to study for a Master of Science degree. From there she won the Morisawa gold prize for her Latin typographic design.

Veronica Burian:

Veronika Burian studied Industrial Design in Munich and worked in that capacity in Vienna and Milan over a few years. Discovering her true passion for type, she graduated in 2003 with distinction from the MA in Typeface Design course in Reading, UK.

Veronika Burian is a type designer and the co-founder of the independent type foundry TypeTogether with José Scaglione, publishing award-winning typefaces and collaborating on tailored typefaces for a variety of clients.

Jessica Hische:

Jessica Hische grew up in Pennsylvania. She currently lives in San Francisco, where she works as a letterer, illustrator, type designer, and relentless procrastiworker. she is a designer, illustrator and typographer living in San Francisco. She has worked with clients such as Wes Anderson, Dave Eggers, Penguin Books, The New York Times, Tiffany & Co., OXFAM America, McSweeney’s, American Express, Target, Victoria’s Secret, Chronicle Books, Nike, Samsung, and Wired Magazine.

Johnson Witehira:

Johnson Witehira is a leading indigenous designer, researcher and consultant. His design projects consider how customary Māori knowledge and ways of thinking can be applied in contemporary settings.

His creative works extend across designed communications, digital, interiors, urban design, product design and public artworks. As a co-creative director at Indigenous Design and Innovation Aotearoa (IDIA) he now applies his design expertise to work with businesses, community groups, and Government agencies to instigate design solutions that effect positive change in people, practice and place.

[603caitlinparker]

SPEAKER RESEARCH  -  Joseph Churchward 

Joseph Churchward is a Samoan born New Zealand graphic designer and typographer. He was internationally renowned for designing typeface for record covers, billboards, newspapers and popular literatures such as posters and brochures all around the world. Over his lifetime he hand created over 700 typefaces which he drew inspiration from his Pacific heritage.

The image above shows only a handful of his designs 

https://teara.govt.nz/en/biographies/6c10/churchward-joseph

[grad603madisonwolfgramm]

TYPOGRAFIKA’24: Looking at Designers

Joseph Churchward 

Graphic designer of Samoan origin Joseph Churchward was a world-renowned typeface designer whose work graced record covers, billboards, newspapers, and popular literature such as posters and brochures all over the world, both during and after his lifetime. He hand-crafted approximately 700 typefaces, drawing inspiration from his Pacific heritage and family. His work was well known in the international design community since the 1960s, but it was not well known in New Zealand until Te Papa Tongarewa purchased his archive and held an exhibition of his work in 2009.

[grad603-breanneattwood]

Researching speakers part 2

Carol Twombly - is an American type designer. She worked at Adobe for 11 years, designing many popular text and display typefaces. After leaving Adobe, she has continued to work on other interests such as textiles and Jewellery.

Examples of her work -

Joseph Churchward - is an internationally renowned Samoan- born New Zealand typographer and Graphic designer. He has handcrafted around 700 typefaces, using inspiration from his heritage and family that feature around the world. His designs were used as the masthead of the Evening Post newspaper.

Examples of his work -

Veronika Burian - born in Prague, initially worked as a product and graphic designer, before moving into becoming a typographer. She is now working at TypeTogether, which she co-founded with José Scaglione. She also lectures about typography at international conferences and universities.

Examples of her work-

Abril

Jessica Hische - is an American lettering artist, illustrator, author and type designer. She has a degree in graphic design and interactive design from Tyler School of Art, and went on to work with design firms like Headcase Design and Louise Fili. Starting her own business she has worked with major brands like Tiffany & Co., Victoria’s Secret, Samsung, Nike, OXFAM, Penguin Books, Starbucks and Target.

Examples of her work -

Tobias Frere-Jones - an American type designer working in New York. He got a BFA in Graphic Design from the Rhode Island School of Design in 1992 and joined the faculty of the Yale University School of Art in 1996 and has lectured in many countries around the world. He operates and owns his own business Frere-Jones Type.

Examples of his work -

[charlenea-grad603]

Joseph Churchward Mood Board

Joseph Churchward QSM was a Samoan-born New Zealand graphic designer and typographer. He is known for having designed an estimated 690 original typefaces, many of which are in use around the world. His designs were also used in the masthead of The Evening Post newspaper.

(https://www.wikiwand.com/en/Joseph_Churchward)

Joseph has a distinct lettering style, especially for the way he designed the number 2 and his typefaces tend to appear as more playful.

[grad603srf]

Week 1: Joseph Churchwood

 Artist and Type Designer.

Joseph Churchward is a Samoan-born New Zealand graphic designer and typographer. He is known for having designed an estimated 690 original typefaces, many of which are in use around the world. His designs were also used in the masthead of The Evening Post newspaper. Churchward is born in Apia, Samoa, of Samoan, English, Scottish, Tongan and Chinese heritage. He founded Churchward International Typefaces in 1969. German company Berthold Fototypes subsequently distributed his fonts throughout the world. Over the span of his career, Churchward created more than 582 original typefaces. Joseph will be offering two different lectures as listed below on two different days.

[grad603laura]

GRAD603 - TYPOGRAFIKA  ‘24

RESEARCH ON SPEAKERS

Joseph Churchward

Samoan-born graphic designer Joseph Churchward was an internationally renowned typeface designer whose work graced record covers, billboards, newspapers and popular literature such as posters and brochures around the world, both during his lifetime and beyond. He hand-created around 700 typefaces, drawing upon influences from his Pacific heritage and family. His work was well known to the international design community from the 1960s but was not prominent in New Zealand until Te Papa Tongarewa acquired his archive and held an exhibition of his work in 2009.

On leaving school, Churchward joined Charles Haines Advertising Agency Ltd as a junior commercial artist on an internship; he was to stay with the firm for nine years.  Churchward also lent his skills to designing programmes for community groups on a voluntary basis, such as a programme for the Wellington Diocesan Māori Youth Festival hosted by Ngāti Pōneke in 1955.In 1962 Churchward left Charles Haines and set up Churchward’s Lettering Service, later Churchward International Typefaces (CIT). He specialised in creating alphabet fonts by hand, making detailed pencil sketches to measure the size, shape and impact of each letter, then tracing and inking enlarged images onto cardboard boards. 

[taylamills-grad603]

TYPOGRAPHIKA SPEAKER RESEARCH - Joseph Churchyard

Joseph Churchyard is a Samoan-born graphic designer who was an internationally renowned typeface designer whose work graced record covers, billboards, newspapers and popular literature such as posters and brochures around the world, both during his lifetime and beyond. He hand-created around 700 typefaces, drawing upon influences from his Pacific heritage and family. His work was well known to the international design community from the 1960s but was not prominent in New Zealand until Te Papa Tongarewa acquired his archive and held an exhibition of his work in 2009.

https://teara.govt.nz/en/biographies/6c10/churchward-joseph 

https://www.the10sonsofmanu.com/joseph-churchward-qsm-1923-2013/