Paul McNeil and Hamish Muir gave a very detailed and colorful overview of what it means to make type systems. They also took the audience through range of outputs, including books full of unique glyph creations to bright, colorful, geometric posters for exhibition openings. Think of this as typographic contemporary art.
Der finale Sprecher des ersten TYPO-Tages 2014 – Jan Gerner als Yanone – gab dem Publikum einen sehr persönlichen Einblick in seine Welt der experimentellen Typografie und des treibenden Goas. Als der gebürtige Dresdner 2000 nichtsahnend durch die weiße Gasse läuft und ihm die originellen, kontrastreich gesetzten Neonreklamebuchstaben „Wild Geflügel“ ins Auge stechen, hätte er wohl nicht daran geglaubt, dass diese die gestalterische Grundlage seines sogenannten Masterpieces bilden würden – seine Abschlussarbeit 2014 an der Type & Media in Den Haag.
As the attendees entered the screening room, chatter began swirling around about what kind of question they would ask David Jonathan Ross. The prompt was based on his recent move from New Hampshire to Los Angeles. The ice is broken with such questions like “What’s the best tanning salon in New Hampshire?” This sets the tone of the funkiness that is about to unfold.
Yasmin Khan of Counterspace began her presentation with a game of Pong. She explained the similarities between her work and the game, how it all comes down to a back and forth. Khan’s work inhabits a space between the familiar and the unknown. Not quite here, but not quite there. She describes it as “the space for becoming.”
Yanone, born in East Germany, is a talented young type designer, multimedia artist, disc jockey and sound system operator. Today at TYPO 2014, he presented his latest project – a typeface and dance film called Antithesis and the culmination of three years of work.
René Knip never wanted to be a graphic designer.
Web typography has come a long way since the early days of the Internet. The pace of innovation has ebbed and flowed, and according to Elliot Jay Stocks (Creative Director of Adobe Typekit) typography on the web is currently experiencing a relative state of calm. This provides a great place to reflect and build a foundation for the future. And since “web design is 95% typography,” it is critical that we do just that.
From Switzerland to California and Texas to Germany, Sibylle Hagmann has traveled the world in search of new typography inspiration. The award-winning typographer took her audience along for the journey on Thursday during her Typo San Francisco 2014 presentation, which discussed the ties between design and culture.
Dan Rhatigan joined us today to talk about the untold story of type design – the collaborative development process that is often glossed over, especially for typefaces that predate digital drawing tools.
The hour began with Krishnamurthy answering yes or no questions posed by the audience.
“Will you ever fill an exhibition space with balloons?”
“Maybe.”
Er ist der einflussreichste Typedesign-Lehrer unserer Zeit: Gerrit Noordzij (82). Von 1960 bis 1990 war er Professor für Schriftdesign an der Königlichen Akademie der Bildenden Künste in Den Haag, wo er bedeutende Schriftentwerfer direkt oder indirekt prägte, darunter Petr und Erik van Blokland, Jelle Bosma, Albert Jan Pool, Peter Verheul, Rudy Vanderlans, Just van Rossum, Albert Pinggera, Martin Wenzel, Frank Blokland, Luc(as) de Groot, Peter Matthias Noordzij, Hannes Famira und viele mehr. Auch die Werke der jüngsten Typedesign-Generation basieren auf den Theorien von Noordzij, zum Beispiel bei Ján Filípek, Martina Flor, Frank Grießhammer, Slávka Pauliková, Yanone und Alexander Roth.
Rhythm Remarks is back again with Dan Rhatigan. Rhatigan is a typeographer, typeface designer, and the UK type director for Monotype. He has also taught part-time at the ArtEZ Institute of the Arts in the Netherlands.
