Interfaces allow us to interact with systems that use other languages that are not our own. The process is always a little awkward. Travis illustrates this with the example of a conversation between two people who don’t share a native language, but do both speak english. They get by, but only in a strained manner.
He took the audience on a whistle-stop tour of the history of FontFont, an independent Berlin-based font foundry that has been at the the forefront of innovations in type for the past two decades.
Walking us through her widely diverse array of works, Keetra Dean Dixon delighted and inspired her TYPO audience today. Initially showing some of her past work, her inquisitive nature immediately became evident through her thoughtful, experimental, and sincerely absurd projects, such as The Anonymous Hugging Wall and her Union Sleeve. Keetra then broke up the rest of her presentation into parts titled Thinking Through Making and Making Through Breaking.
“We live in an era where we tend to appreciate experts because experts are trained to deliver the results over and over in the same way…this however doesn’t really apply so well to creative professions. So how do we become experts in creative fields?”
Jens started Type design as a teenager. One of his early designs was from early 90s. He finds curves are harder in type design than segments. Every year he comes up with newly developed type designs. Jensans of 1997 gets rid of idiosyncrasies of Serifs. In 2012, he designed Alfasans that developed from it. He is still toying with how to terminate the ends. He enjoys the back-slanted in Italics. He likes the 7 point challenge: that the type should look good even at 7 points.
Ferdinand Ulrich liebt Schriften und die Auseinandersetzung mit ihren Geschichten. In seinem Berliner Studio gestaltet er Publikationen und Schriftmuster. Darüberhinaus forscht und schreibt er über Typografie und Gestaltung. Er beschäftigt sich intensiv mit der Designlehre in den 20er und 30er Jahren. Seit 2012 lehrt er Editorial Design an der Burg Giebichenstein Kunsthochschule Halle. Auf der TYPO spricht er über Hermann Zapf Bleisatzschrift Hunt Roman, die der legendäre Schriftgestalter 1961/62 entwarf.
Around this time 18 years ago we launched the website of our first font conference FUSE 95. We loved the conference and we loved meeting people dedicated to type as much as we are. FUSE was much of a hands on event with a ‘lab’ where fonts were freshly brewed while the conference was running.
Nick Shinn, R.G.D. was born in London, England in 1952, educated at Bedford, and acquired a Dip.AD in Fine Art (1974) from Leeds Polytechnic. He lived in Toronto, Canada from 1976 to 2009, then moved 60 km north to Orangeville. In the ’80s he worked as an advertising art director and creative director, before going digital in 1989 with the ShinnDesign studio, specializing in publication and marketing design. From 1980 he designed typefaces for several foundries, before founding Shinntype in 1998. He has written for Applied Arts, Druk, Eye, Graphic Exchange, Marketing, Typographic and Codex, spoken at the ATypI, TypeCon, Graphika and TYPO Berlin conferences, and taught at Humber College and York University in Toronto.
Letztes Wochenende wirbelte eine quirlige Amerikanerin über die Bühne der TYPO Berlin und das kann man durchaus wörtlich nehmen. Obwohl sie alles andere als »Made in Germany« ist – trotz deutschem Nachnamens – gehe ich an dieser Stelle mal fremd, denn wir hatten die Möglichkeit mit ihr ein kleines Interview über Design und Verantwortung zu führen.
Last weekend a lively American stirred up the stage of TYPO Berlin, literally said. Despite of her German surname, she is anything but »Made in Germany« but we will make an exception as we had the opportunity to conduct a little interview with her.
Let’s face the ugly truth: Typography on the web is still in an awful state. There may be countless positive things to be said about the internet, but fine typography is definitely not among them. In his talk on Friday, Matthew Butterick blamed this on low expectations: While most web developers (excuse the generalization) don’t care about good typography, most web designers have grown up with just a handful of fonts to choose from and still decide to stick to them. Consequently end users are accustomed to seeing bland, standard typefaces.
Die TYPO Show widmete sich in den letzten drei Vorträgen der Konferenz den nicht-lateinischen Schriftsystemen, beginnend mit Susanne Zippel. Sie lernte Japanisch und Chinesisch und lebte zehn Jahre in China. Auf der TYPO versuchte sie nun, uns die Grundzüge des Chinesischen zu erklären. Sie studierte Kommunikationsdesign in Berlin.
Das Japanische ist Thema in Shoko Mugikuras Vortrag, sie ist Japanerin, hat zuerst Buchgestaltung in Tokyo und dann in England studiert.
