Als Corporate Culture Coach hilft Ingo Hess vorwiegend IT-Unternehmen wie 1&1 Internet AG und xing.com eine zeitgemässe kreative Unternehmenskultur zu entwickeln und im Alltag zu etablieren. Dabei nutzt er seine Erfahrungen aus dem Sport-Coaching.
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.
Der von FontShop veranstaltete TYPO Day ist ein neues Tagesseminar für professionelle Designer, Markenbetreuer und Publishing-Experten. Anders als die interdisziplinäre, dreitägige TYPO-Berlin-Konferenz widmet sich der TYPO Day konzentriert den Themen Typografie, Corporate Design und Font-Technik. Sein Themenspektrum reicht von der ästhetischen Qualität, über Markenbildung und neue Ausgabemedien, bis hin zu den jüngsten Font-Produkten, -Technologien und -Anwendungen. Die TYPO-Day-Premiere findet in Berlin statt, für 2012 sind TYPO Days in Hamburg, Frankfurt und Düsseldorf geplant; die Teilnehmerzahl ist auf 80 limitiert.
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.
Intrigued by the title, I was totally bewildered as to what the next hour in the Logan Hall would bring. Not only was Julian Zimmermann going to showcase the work created for his client King Bansah, but the King himself was in residence to talk us through his story.
An African King may seem like an unusual guest for a conference on typography and graphic design, but King Bansah and Julian Zimmermann’s talk about branding a royal celebrity created a noticeable buzz of anticipation amongst the TYPO attendees.
Morag Myerscough is one of a kind, her talk was as colourful as her work as was her outfit. In contrast to Jeff Faulkner’s talk it was about the user experience in the physical space. I found it very inspiring, uplifting and easy to relate to due to her enthusiastic and personal presentation.
Andrew Stevens from the Graphic Thought Facility is introduced by Simone Wolf. She quotes Andrew as saying that commercial doesn’t exist on one side and creativity on the other, it is a framework where they work together.
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.
Michael Bierut began his talk in a similar way to how Tony Brooks ended his: innocent and humorous. He started his presentation in Ohio Cleveland, where he grew up. Some early pictures of family and sketches in his school books lead to some first drawings of words and – essentially – his start into typography and graphic design. Encounters with publications such as Armin Hofmann’s Graphic Design Manual and Milton Glaser’s Graphic Design inspired Bierut to continue a career and life in graphic design.
Still sitting there with my 3D glasses listening to Lynda and Dale discussing the prospect of eye implants in the near future – I am somewhat relieved when Nat Hunter goes back to basics ‘Story Telling’. Nat Hunter from Airside is also the only female speaker for today.
In 2007, Christian Schwartz was commissioned to create a new typeface for »T«, the New York Times Style Magazine, that would embody the current moment in fashion. In his lecture Schwartz showed how he and Paul Barnes settled on the basic design of the face, discussed how typography influences the personality of a magazine, and explained why not all typefaces have to last forever …
