CyberGraphics is a multi-disciplinary, full-service design studio and digital type foundry commercialy available to all studios. We understand that a Universal design solution approach, which does not address the specifics and context of each project, makes for ineffective communications.
Effective design can only be reflected through the basis of true collaboration with clients, and it is this principle that leads to project solutions that are visually distinct, a dynamic experience and enduringly memorable. This, as well as an element of surprise and insight are some of the foundational principles upon which Cyber Graphics sets its precedent like this domain for example.
LetterMpress
Are you a lover of letterpress? Or do you simply want to teach your children the concept of it? Then you should check out LetterMpress, an app that lets you experience the art and craft of letterpress. Check out the tour or the video above and you’ll get the idea.
LetterMpress is available on the Mac Store and as an iPad App. (The iPad is 50% off for the month of december) Besides the use of a mouse and keyboard, the most significant feature of the Mac version is the high resolution that can be output, depending on your graphics card. Prints can be created as high as 8192 pixels in the longest dimension—that’s over 26” at 300 DPI.
An extensive selection from the work
of Willem Strydom has been assembled by the
Rupert Museum Stellenbosch
Integritas, Consonanta e Claritas is how Thomas Aquinas defined the principles of beauty. It can also be interpreted as wholeness, proportion and luminosity. In this exhibition of sculptures and unique drawings with colour the sculptor explores those central values. Reality is the point of departure for resolute investigation beyond the surface.
“intrigue –the graphic designer’s code” is the title of this visually–exciting book. Consider the book to be a portal into the mind of Jan Erasmus, one of South Africa’s finest graphic designers. The work selected for discussion and reproduction represents projects which presented a real challenge from a designer’s point of view. In these projects Jan challenges conventions and Modernist design principles, often making use of a deconstructive approach.
Making use of over 130 illustrations, Jan discusses the motivation and approach for each design created. From universal starting points inherent in the subject, he describes his engagement in a thought process leading to significantly different and unpredictable interpretive results. When designers understand something of themselves and their approach, design becomes an exciting personal process which produces insightful work containing an element of surprise.
In typography I am exploring immersive moments through interactive media. I created an awareness project with Jared Tarbell code and Daniel Matthews based in London, who composed and mixed the emotive atmospheric sounds about the white paradise melting away at an alarming rate. Lalibela was used to emphasize some moving thoughts. Pump up the vol. and experience this dynamic 2.3Mb file.
Logo design based on MacBomb is a classic. Remember pre-system OS X when your computer bombed and the message made you break out in a cold sweat? Now off screen but in print; sweetened up a bit with colour and serves as a multi-purpose rebel shirt making a statement in the time we live. This T-Design is a digital age equivalent of the Ché Guevara T-Shirts from the cold war. If you feel just a bit rebellious or anarchistic for the day, put this number on and watch people’s reaction. It says everything you want to say. Just add some up-funk happy body language and pose for a cell self portrait at your local ATM. There are other more daring places to pose in front of with T-#2. Think about it..
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Limited edition 10 poster set + 1 FREE standard
‘Intrigue-the graphic designers code’ book
The set of A2 posters was produced and printed between 1995 – 2009 by the late Wolfram Heckle. When I started distributing Emigre Fonts I decided to print a run-on with printed one side only and pack them away unfolded. I kept them back for this occasion when I can release them as a very limited set of posters. It includes posters used to promote Emigre, CyberGraphics & ITF Fonts, Intrigue book and other services. Only 7 signed and dated sets are left. Each set of posters ships with a free standard copy of Intrigue-the graphic designer code book.
Every print publication, website, movie, advertisement and public message involves the creation or selection of a fitting typeface. Online, a rich and artistic typographical culture exists, where typefaces are created and graphic design seeps in to every image. http://www.pbs.org/arts
A new catalogue for Julia Meintjes Fine Art:
There are difficulties in weaving with 18-carat gold wire, and the first little bowl was an experiment. It began in 2002, when Julia Meintjes was assembling an art collection for a Sydney-based company, RFC Corporate Finance, which offers investment and corporate advice in the resources, energy and industrial sectors. The company has clients in the South African mining industry, and when the MD, Rob Adamson, saw a woven copper bowl by an artist from Mdukatshani in the Thukela (Tugela) Valley, he asked whether a similar bowl could be made in gold wire. The commission was given to Mzonzima Dladla, and because of technical, creative and logistical challenges, it was more than two years before that first little gold bowl was completed.
Other bowls would follow, some in 18-carat gold, some combining gold with various coppers, silver, brass and shakudo. In 2008 the University of Stellenbosch commissioned a special edition of six bowls, which were presented to a select group of their donors - and the project was formally named Threads of Africa.
"Linotype: The Film" is a feature-length documentary centered around the Linotype type casting machine. Called the "Eighth Wonder of the World" by Thomas Edison, it revolutionized printing and society.
Lalibela, a new font family from CyberGraphics
Have a look at Lalibela in action.In typography I am exploring immersive moments through interactive media. I work on “that emotion for the momen”t. I did an awareness project with Daniel Matthews based in London, who composed and mixed the emotive atmospheric sounds about the white paradise melting away at an alarming rate. I used my new font Lalibela in it’s right habitat, to emphasize some moving thoughts.
A custom typeface design is an important component of either a corporation’s branding or of a product. In most instances, the best solution to a corporation’s branding needs is a proprietary typeface design. Not a core font or commercial font that everyone has and can buy nowerdays.
Whether it is a new typeface design or a modification of an existing one, a custom font guarantees brand distinction. CyberGraphics Digital Font Foundry has the knowledge to develop most fonts solutions for your branding needs. If you already have some wackey idea and wonder if it could be fully doveloped and manufactured, email jan@cybergraphics.bz and attach some example.
SAF font was published by http://fontfabric.com/saf-free-font/ as a free font. They did not even bother them that the typeface they published under the name SAF was not only a blatant imitation of Menyaka, but even gave credit to FIFA WC 2010! The Created field in the font information shows no credit, but the perpetrator didn't know that the original said FIFA. It shows the Creation date and Copyright was FIFA WC 2010 yet the original I did was created during 2006 and Copyright 2006, FIFA. The last thing that struck me was that SAF font only have caps? Manyaka was a full on ASCII 256 Glyph PS1 font as upper and lower case with all the glyphs in the same style.
It was posted and some responses were published:
The Colour District says:
…Fontfabric is doing an excellent job of providing top-notch fonts for us designers. Don’t make them regret giving us free (and excellent) typefaces.
fontfabric free font – SAF « urban taster says:
[...] a comment » One of my favourite font foundaries fontfabric has a free font up for grab! Inspired by this particular casual font, spiced with some African [...]
ALPHA says:
Thanks for the free FONT (that is what we’re here for, not to talk about the photographs you used). Love it, it’s feels very African in a woodcut way.Keep up the good work.
No one mentioned CyberGraphics at all. I did bring it under the attention of FIFA. They commissioned me via Switch to design a propriety font during 2006.
Carvedveld domain for the sculptor, Willem Strydom
Jan Erasmus uses Flash as it was originally intended, to open up new possibilities in viewer entertainment. He does this by offering users an interactive system that allows them to guide the site through several levels of nodes that work together to create a truly unique virtual exhibition experience.
This industrial clothing site is a nice example of giving a fresh image to utility clothing. The navigation is made simple, the graphics have superior quality, it loads fast and runs smoothly. What else does a Flash site need?
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Site_Specific
The aim of the the Site_Specific event is to promote site specific art in southern Africa, to facilitate communities in the care of and appreciation for their environment and to support and co-ordinate art and environmental creators and patrons.
We are a not-for-profit association of people who are passionate about site specific art. We describe it as a form of communion with the land that changes one’s perceptions of given surroundings. It is like being given new eyes. Even after the art has been reabsorbed into nature, the memory of it persists and informs one’s interaction with the landscape. It doesn’t demand huge amounts of visual literacy or education to be moved by the experience of an great land art piece, it is immediate, and it enhances one’s own sense of being in the world. Land art allows one to integrate the often split concepts of ‘culture’ and ‘nature’. Sometimes it is a celebration of the land that sustains us, often it reminds us of the temporary nature of our shared existence.
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Branding
"For years, graphic designers, especially those who subscribe to the ideas and philosophies of Swiss design or modernism, have argued that logos and typefaces should be used with consistency. Such, they say, is crucial to the recognition of corporate identity. We disagree. Recognition does not come from simple repetition of the same form, but is something much more intelligent, something that happens in our subconscious. We believe it possible for recognition to be achieved even if the logo is randomised and does not have fixed positions on letterheads and other applications."