Der Schwenk von Gedrucktem zum Lesen am Bildschirm schreitet in Windeseile voran. Auch hinsichtlich der typografischen Möglichkeiten holt das Internet auf, wobei die Einführung der Webfonts eine wichtige Lücke geschlossen hat.
Wahrscheinlich hat noch niemand an so vielen Corporate-Font-Projekten mitgewirkt wie Henning Krause, tatsächlich an über 1000. Oft sind es nur Kleinigkeiten, wie das Hinzufügen eines individuellen Schriftzeichens oder das Ergänzen einer Schrift mit osteuropäischen Lettern.
Als Entwerfer der Bahn-Schrift und Corporate Designer für Audi, VW und Bosch sowie durch seine Arbeit an den Leitsystemen des Flughafen Düsseldorf und der BVG in Berlin sammelte Erik Spiekermann internationale Erfahrungen im Bereich Schrift und Marke. Seine Erkenntnisse aus den eigenen und anderen Projekten wird er mit den Besuchern des TYPO Day teilen.
Vom 20. bis 22. Oktober fand in London die erste TYPO-Konferenz Englands statt.
You want to read more about TYPO London 2011? Here’s a collection of Links and Blogposts.
A day with with Michael B Johnson from pixar studios, Joachim Sauter from Art+Com, Gary Hustwit, Tim Fendley, Lawrence Weiner, UX designer Tom Uglow, Susana Rodríguez de Tembleque and Design icon Neville Brody.
We love Eva-Lotta’s sketchnotes!
After some introduction and teasing from Erik Spiekermann, Chip Kidd stepped on stage. He thanked Erik, and announced that “You make me feel like Lady Gaga, only with bigger breasts.” What was to follow was an hour of impeccable comic timing, dramatic pauses and eyebrow raises, he had the audience in stitches with barely a handful of words.
OK this is the one everyone has been waiting for. Chip Kidd. He is in the same hero category as Neville Brody, David Carson and Jonathan Barnbrook – but in my opinion he is in a league of his own. There doesn’t seem to be the usual love him or hate him divide with Chip. You just love him.
Susana Rodríguez de Tembleque gave a short but sweet presentation yesterday. She spoke about two defining moments in her 18 year career. Number one was in 1997 which was what she calls her first big job and number two was in 2009 which is what she calls her first dream job.
There can be no hope of translating Tim Fendley’s talk about his work on Legible London into a neatly structured review. Such a colossal undertaking (the project, not the review) demands more space and time than can be afforded here.
As far as my limited searches have taken me, I believe that yesterday’s conference introduced two new terms into the already considerable lexicon of creativity and typography. I think it is right to take a few moments to place the terms and their loose definitions before the delegates for consideration and adoption. Two new entries in the creative lexicon. For your consideration.
