Andreas Uebele (Foto: Jim Rakete) hat 1996 sein eigenes Büro für Visuelle Kommunikation in Stuttgart gegründet. Er ist seit 1998 Professor für visuelle Kommunikation an der Fachhochschule Düsseldorf, seit 2002 Mitglied im Type Directors Club New York und Art Directors Club New York, seit 2007 Mitglied der AGI, Alliance Graphique Internationale.
Morag Myerscough gibt Besuchern öffentlicher Räume Halt. Als leidenschaftliche Konstrukteurin von Ausstellungen, Schulen, Gesundheits – oder Kunstzentren sorgt Sie mit Schrift, Farbe und Muster dafür, dass Menschen ihre Wege finden und sich wohl fühlen. Morag verleiht den Orten, die sie betreut, grafischen Sinn. Sie begrüßt die Besucher und bietet Orientierung und ein Gefühl der Vertrautheit. »Wir infiltrieren die Architektur-Szene.«, bemerkte Morag kürzlich in einem Video-Interview mit Eye-Magazin und »Ich möchte für Menschen arbeiten, die mutig genug sind Neues auszuprobieren«.
Neville Brody doesn’t want you to think outside the box: it would appear he’d prefer you do something like tear it up, tape it back together, spray paint it, wear it as a hat, and then throw it out. Brody wants designers to decide what to do with their own boxes. Since we’ve moved from a physical to digital space, Brody feels that experimentation has given way to an engineering approach. “Facebook feels very much like a grown up version of AOL.” The world starts to look the same.
Thomas Phinney is a type sleuth, font detective, and an all around Sherlock Holmes kind of guy when it comes to fonts. In his own words, “I’m just a font geek who knows a little about printing.”
New Bohemia Signs proprietor Damon Styer led a hands on workshop Friday morning teaching the technique of lettermaking using a quill brush. Instruction began with starting and finishing simple strokes, and then with practice, the construction of an all caps gothic alphabet.
A few years ago Yves Peters noticed a demand from people to know what typefaces are being used on movie posters. So he started blogging about it on the FontFeed blog.
When you start looking at movie posters all the time, you start noticing some pretty major trends. If the movie is a comedy, it will most likely include large, chubby red or blue type. If it’s a romantic comedy, the font will mostly likely be serif. Indie films? More than likely you can expect some sort of hand-rendered Helvetica or Gotham. But, Yves notes, all type aside, if there are two people laying in bed on the movie poster. You can almost be guaranteed there won’t be any action.
First of all, I think you need to know that, by his own admission, Heath loves the word “verdant.” Because he likes green, growing things. In fact, as attendees of his session discovered, he seems to like vibrant, growing, dynamic things of all types. Especially when they involve community, creativity, and the ways people can nurture both by diving further into their neighborhoods, learning more about the people around them.
Morag Myerscough talked about many things today. Among these a common point that she came back to was her various obsessions. These obsessions are important because they are what ended up being the definitions of her own style. Which when you think about it makes sense.
Rod Cavazos kicked things off in what seemed to be his typical, unorthodox style by asking his audience to turn on their cell phones and jack up the volume. If your phone rings, you get a prize. He also made it clear that he was not at the conference to uplift or inspire his audience. He claimed he was only at TYPO for show and tell, but that’s arguable. Rod was charming and his talk was undeniably inspiring.
John Berry drew an audience by discussing a problem every designer encounters. No budget and possibly even *gasp* Kinko’s printing.
Oliver Reichenstein started his talk by showing the famous Mad Men carousel clip (which you can see here ). Immediately after, he showed the same clip, only it replaced the slide photos with screenshots of the Facebook timeline. It was a clever way to illustrate the stark emotional difference between analog and digital. But why was this the case and where does this need come from? “Is it because Facebook sucks? Because it is badly designed? Because it looks unreal?” We are surrounded with the trend of analog, skeuomorphic design. He argues that such a thing is okay as long as they uphold their promise (he cited the new iPad app, Paper, being a good example).
Educator and design writer Carolina de Bartolo led a workshop on setting body text to perform well under a number of design constraints. The education was aimed at those new to macrotypography, or those just hoping to polish their skills in working with long texts.
