What would TYPO Berlin be without constantly re-inventing the conference design? The communications design of this year’s gathering is true to its motto Trigger and invested in the power of custom font design. The catchy creation is the brainchild of studio adhoc and font designer René Bieder. // Read German version here.
Was wäre die TYPO Berlin ohne ein sich ständig neu erfindendes Konferenzdesign? Das Kommunikationsdesign zur „TYPO Berlin 2018 Trigger“ stellt das Motto in den Mittelpunkt und setzt auf die Stärke eines Custom-Fontdesigns mit vielen praktischen Extras. Verantwortlich für die Gestaltung sind studio adhoc und der Fontdesigner René Bieder. // Lese die englische Version hier.
»Open it all up!« – Michael Johnson sucht nach neuen Möglichkeiten, Prozesse im Bereich Branding zu verändern.
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von Nina Sieverding
When it comes to Arabic logo design, you will most often find it accompanied by Latin text. But it takes a great deal of sensitivity to combine two different scripts into a harmonic design. During the Bilingual Arabic & Latin Monogram Design workshop, Tarek Atrissi challenged the participants to meld Latin and Arabic characters into unique and aesthetically pleasing typographical designs.
Das Thema der diesjährigen TYPO „Beyond Design“ interessiert Jochen Rädeker eindringlich: „Was ist denn nach dem Design?“, fragt er bestimmend ins Publikum. Doch stellt sich hier die Frage, ob „beyond“ nicht weit mehr als „danach“ bedeuten kann.
Menno Cruijsen, Design director at Lava in Amsterdam, answers our questions on the defining moments in his career starting with his first paid gig as a designer, and his approach to a project.
Matteo Bologna of Mucca Design speaks about his beginnings in the business and recent projects, discloses how you can use low expectations to your advantage, and explains why he is not afraid of the rise of the template.
From touring musician on MCA/Universal Records, Design Director for President Obama’s 2012 campaign, to Creative Director of Facebook’s Communication Design team, it feels like Josh Higgins has lived a lot of lives. Taking us through the course of his career, he touched on the moments that led to each of these experiences, what he’s learned along the way and “what the f*ck he does at Facebook”.
Im Alltag sind wir permanent von Schrift umgeben. Trotzdem sehen die meisten Menschen die Schriften gar nicht. Wie Jean François Porchez das scheinbar Unsichtbare greifbar macht, erklärt er unter anderem anhand seiner Schriftfamilien für die Métro Paris, Nespresso und Louis Vuitton.
Aaron James Draplin is quite a character. And there is nothing I could ever write in a blog post to give you even the slightest idea of the kind of pure energy Draplin gets going during his talks. So go watch the video, or, better still, go out of your way to see him live. Chances are he’ll come by a place near you any time soon, considering that so far he has been to 104 different cities and given 178 talks.
Der Anschlag auf Frankreichs (Presse-)Freiheit hat Auswirkungen auf die Designwelt. Eine Suche nach visueller Identität die sich gekonnt an der Vergangenheit bedient und Mut zur typografischen Botschaft hat.
At the end of January, two juries from the type directors club in New York singled out the year’s best typography work for the 61st time. The prizes are given for typographic design – new fonts – as well as for their application, whether in books, posters, packaging, corporate design or in digital form. The work of the TDC competition winners will be seen in Europe for the first time in a three-week exhibition starting May 24, 2015, at Berlin’s Aufbau Haus artists’ complex.
