Collaborations, Multidisciplinarity and Money
A lecture about Chi-Long Trieu's work experiences as a studio, collaborator, teacher and type designer.

Chi-Long Trieu
is a graphic designer based in Lausanne, Switzerland. After graduating from ECAL/University of Art and Design Lausanne in 2013, he worked at Optimo Type Foundry for three years. In 2016, he founded Office for Typography, a design studio with a focus on type. In parallel to his design practice, Chi-Long is teaching editorial, graphic and type design at ECAL and EPFL+ECAL Lab. His clients include Art Basel, Balenciaga, Nike, Pandora, Swatch and Uniqlo.

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Variable Font Dilemmas
With the variable font format gaining on importance, the traditional understanding of static styles and buying them perpetually is making less and less sense. Dinamo’s lecture at Elisava is going to be a reflection on the current state of the type design field and a proposal for a new licensing model.

Dinamo
is a Swiss type design agency offering retail and bespoke typefaces, software, research and consultancy. Team members of Dinamo have been appointed to educational institutions internationally, awarded with a Swiss Design Award by the Swiss Federal Office of Culture or are members of the AGI, Alliance Graphique Internationale.

abcdinamo.com

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Mark van Wageningen
is the founder of Novo Typo, a (typo)graphic design studio and font foundry in Amsterdam. In January 2015, Mark started the Typewood project. Typewood is a research project about designing, deconstructing, and transforming multicolored digital typefaces into wooden type for letterpress. Ziza, a corresponding project with lead type, followed in 2016. Both projects show the future of multicolored typeface design through the revitalization and deconstruction of typographic traditions.

Type and Color
This workshop invites you to reconsider this traditional black and white approach in typographic design. ‘Less-Is-More’ modernism has become a hollow phrase which illustrates a conservative approach to typographic design. This workshop will start with deconstructing the basic shapes of a character and will end with the transformation from a static to a dynamic form. However, everything we will make will be in Full Color. Color is the new Bold!

novotypo.nl
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Design for the Long Term
Type design is one of the most durable disciplines, which ages less in comparison to other creative disciplines. Design usually responds to the conditions of the time when it was created, and most commonly it is made to change with every season. Peter Bilak will examine durability and the time aspect of design.

Peter Biľak
Works in the field of editorial, graphic, and type design. In 1999 he started Typotheque type foundry, in 2000, together with Stuart Bailey he co-founded art & design journal Dot Dot Dot, in 2012 he started Works That Work, a magazine of unexpected creativity, in 2015 together with Andrej Krátky he co-founded Fontstand.com, a font rental platform.

He collaborates with the choreographer Lukas Timulak on creation of modern dance performances, and together they started Make-Move-Think.org, a foundation for interdisciplinary artistic collaborations. Peter is teaching at the Type & Media, postgraduate course at the Royal Academy of Arts, The Hague. Member of AGI (Alliance Graphique Internationale).

peterbilak.com
worksthatwork.com
typotheque.com
fontstand.com
make-move-think.org
dot-dot-dot.us

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Design for the Times
The New York Times Magazine is known for bringing together ambitious journalism, powerful visuals and daring typographic systems. Design Director, Gail Bichler will discuss how her team approaches designing for the diverse range of content that the magazine publishes including designing for current events in real-time.

Gail will talk about the current role of the magazine within the larger context of the Times, give a behind the scenes look at how their conceptual covers are made, and share her thoughts on the role of experimentation in everything from the magazine’s special issues to their digital presence to some of their forays into other mediums like virtual reality and print only sections of the paper.

Gail Bichler
is the design director of The New York Times Magazine where she leads the creative team responsible for the design and art direction of The Magazine and its supplements. She and her team have won numerous awards for their print and interactive design from organizations including the Art Directors Club, the Society of Publication Designers, D&AD, the American Institute for Graphic Arts, the Type Directors Club and Creative Review, among others.

Gail has taught and lectured internationally. She is a member of Alliance Graphique Internationale and a former board member of the Society of Publication Designers.

nytimes.com/section/magazine

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Me and You
and Everyone We Know
The main stages of Malika's career through the portrait of the people she met along the way and who had a great influence on her artistic evolution.

Malika Favre
is a French artist based in Barcelona. Her bold, minimal style – often described as Pop Art meets OpArt – is a striking lesson in the use of positive/negative space and colour. Her work always springs from a strong narrative core and is intended to provoke the imagination – with a bit of humour, a touch of sexiness, and a re-imagination of the ordinary. The governing principle in all of Malika’s work is ‘less is more.’ 

Malika studied Graphic Design in Paris at the ENSAAMA before moving to the UK in 2004 to pursue her career as an illustrator. She joined the multidisciplinary studio, Airside, in 2006 working as a designer and illustrator and directing animation projects. In 2011, Malika launched her own business as an independent illustrator and artist. Since then, her unmistakable style has established her as one of the UK’s most sought after graphic artists.

Malika’s clients include The New Yorker, Montreux Jazz, Apple and Penguin Books, amongst many others.
After more than a decade living in London, Malika decided to move to Barcelona. In parallel to her career as a commercial illustrator, she continues to develop a body of personal work.

malikafavre.com

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Radim Peško
is a designer and typographer. In 2010 he established his RP Digital Type Foundry that specializes on typefaces that are both formally and conceptually distinctive. He has created original typefaces for visual identities of museums such as Boijmans Museum in Rotterdam; Eastside Projects in Birmingham; Stedelijk Museum Amsterdam; Aspen Art Museum; Fridericianum in Kassel or Berlin Biennale 8 and companies such as Paco Rabanne, among others.

His other work include visual identities for Secession in Vienna, Krabbesholm Hojskole in Denmark or various exhibition projects in which the role of graphic design is examined, re-defined or put into the question. In 2011 he became a chairman of International Biennial of Graphic design in Brno and co-curated two of its editions, 2014 and 2016. Between 2006–2012 he taught at Rietveld Academie. He is currently visiting lecturer at RCA and at Master in Typedesign at ECAL.
He lives and works in London.

radimpesko.com

Politics, Economy,
and Architecture
Architecture, as the discipline that has the privilege but also the responsibility to articulate the social, political and economical in a collective aspiration is in a space of redefinition. Eva Franch has over the last decade produced a series of projects that have rendered anew the complexities of contemporary culture and the role of architecture.

From her work as the Chief Curator and Executive Director of Storefront for Art and Architecture in New York, to her current position as the Director of the Architectural Association School of Architecture in London, Franch will present a series of provocations, projects and reflections about architecture today, and where architecture -and society- might be tomorrow.

Eva Franch i Gilabert 
is an architect, curator, educator and lecturer of experimental forms of art and architectural practice. She specializes in the making of alternative architecture histories and futures. Since August 2018 she has been Director of the Architectural Association in London. She has lectured internationally on art, architecture, and the importance of alternative practices in the construction and understanding of public life at educational and cultural institutions.

From 2010 to 2018 Franch served as the Chief Curator and Executive Director of Storefront for Art and Architecture in New York. In 2014 she was selected to represent the United States at the Venice Biennale with the project OfficeUS, an experimental think tank for architecture practice. Franch has received numerous awards and fellowships, and her work has been exhibited internationally. Recent publications by Franch include Agenda (Lars Muller, 2014), Atlas (Lars Muller, 2015), and Manual (Lars Muller 2017) as part of OfficeUS.

aaschool.ac.uk
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Pràctica
We are a full-service design studio based in Barcelona and New York. Working for institutional, cultural and commercial clients, we always seek powerful concepts and customized solutions for each project. These is translated into a very eclectic job. Our style is the lack of one, It’s finding the best solution for each project.

practica.design

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Can Pizza, Sandro Desii & Mercado Little Spain
From the concept and the initial idea to the final materialization in the form of applications. In this case study you can see how a visual identity project is structured from the beginning to the end. I will share the roadmaps, the sketches and designs that exist behind the general creation of these 3 brand projects. Comprehensive projects that show brand, packaging, space or web applications.

Borja Martínez 
Founder of Lo Siento, creative director and passionate of gastronomy, Borja studied industrial design at Elisava and then graphic design in London. Since 2007 directs LO SIENTO studio, where the most characteristic feature is the physical and material approach to graphic solutions, resulting in a design in which the graphic and industrial coexist in a constant search for alliances with artisanal processes.

losiento.net

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Color is the new bold!
A trip through the history of multicolored typography. With a renewed interest in multicolored type design I will show that we are facing a new era of chromatic typography. Gutenberg's contemporaries already designed and printed a chromatic typeface in the 15th century. Via designs of William H. Page and Cassandre, I will show a multicolored typographic historical timetable. This presentation will show the past, the present, and the future of multicolored typography.

I will answer all your questions such as: Why is the color red often used in the organization of text? What is the difference between rubrications and illuminations? What is the difference between color contrast and type contrast? Will color be the new bold? What is the difference between decoration and deconstruction? What were Johannes Fust and Peter Schöffer doing in Mainz in the 15th century? Why are type designers traditionally thinking in black and white? The typographic dresscode is colorful!

Novo Typo
Mark van Wageningen is the founder of Novo Typo, a (typo) graphic design studio and font foundry in Amsterdam. In 2015 started the Typewood project, a research project about designing, deconstructing, and transforming multicolored digital typefaces into wooden type for letterpress. Ziza, its equivalent with lead type, followed in 2016. Both projects show the future of multicolored typeface design through the revitalization and deconstruction of typographic traditions.

Mark wrote a number of books about chromatic type design such as the Novo Typo Color Book (2017) and Color and Type (Princeton Architectural Press, 2019). As a self-proclaimed ambassador of multicolored typography, van Wageningen lectures on polychromatic type design at a number of international design conferences and festivals.

novotypo.nl

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Verònica Fuerte
Founder & Creative Director Verònica Fuerte is a designer and illustrator from Barcelona. After earning a degree in Graphic Design from ELISAVA and a MA in Typeface Design from EINA she worked for several design studios in Barcelona. In 2007 she founded her own studio, Hey, which has grown steadily since. She received the ADC Young Guns 7 award and her work has appeared in prestigious media such as It’s nice that, DesignBoom, Communication Arts and AIGA. 

Hey
is a creative studio based in Barcelona since 2007. We mostly work on graphic design and illustration projects for clients around the world.
We create fresh brands, conceptual communication campaigns, unique illustrations and other creative stuff by working closely with our clients, building strong relationships and taking care of every aspect of the design process.

We’re constantly evolving and adapting not only because business and design doesn’t stay still but also because we like to explore new ideas. 
We do it all with passion and detail because we love what we do and we truly believe in the power of visuals for changing things and achieving communication goals. 
Images are how we communicate. Simple, direct and comprehensive images form our visual language.

It’s a language that speaks clearly through different media, be it print, digital or even the handcrafted. Our images generate ideas that cross international borders with ease leading to unique solutions for clients big and small and sometimes just for ourselves. Side projects are a must in Hey. Thinking about design, free from commercial pressures, helps us to break creative boundaries and keep growing. The HeyShop is the most significant showcase of Hey’s personal initiatives and graphic expressions.

heystudio.es

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Spinning Aubergines, Talking Genitals and the Oldest Women on Earth
Un relato honesto de mi proceso creativo tanto técnico como conceptual. Desde mi amor por los vídeos musicales, los documentales animados y la mezcla de técnicas de animación tradicionales y digitales hasta la formación de mi primer cortometraje, 'Private Parts'. Este documental animado (con entrevistas grabadas con voz real que se visualizan como vaginas y penes parlantes) fue un verdadero punto de inflexión para mi carrera.

Explicaré de donde vino mi deseo de hacerlo y el proceso. En el verano de 2017 mi hermana pequeña fue hospitalizada con anorexia por tercera vez, después de 8 años de lucha contra la enfermedad. Explicaré como presenciar su sufrimiento me hizo pensar en los ideales de belleza y examinar lo rápido que cambia la definición de belleza, que resultó en mi película para el Día Internacional de la Mujer 2018 'What is beauty?'
Terminaré con la proyección de mi última película 'Ugly'.

Anna Ginsburg
Nacida y criada en Londres, Anna Ginsburg es una cineasta con una amplia gama de talentos. Anna se especializa en combinar diferentes técnicas y enfoques, trabajando a través de 2D tradicionales dibujados a mano, stop-motion, imágenes digitales y acción en vivo. El primer videoclip de Anna para 'How Can You Swallow So Much Sleep' de Bombay Bycicle Club ganó un Bafta en los New Talent Awards.

Desde entonces, Anna ha recibido increíbles elogios por su película 'Private Parts', que se proyectó en festivales de cine de todo el mundo. Más recientemente, Anna ha dirigido dos películas para Selfridges y un cortometraje, 'What is Beauty?', estrenado el Día Internacional de la Mujer 2018, que ha recibido más de 15 millones de visitas. Su última película, 'Ugly', fue una colaboración con la pintora Melissa Kitty Jarram, se estrenó para el Día Mundial del Refugiado de 2019 y se proyectó en el festival de Glastonbury.

annaginsburg.co.uk

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An Ongoing Story
For this lecture, Meiselas will discuss her ongoing work responding to the history of Nicaragua. Still considered by some to be her signature work, the strong color photographs of the popular insurrection that overthrow the Somoza regime and subsequent Sandinista victory were widely distributed in the international press and published in the 1981 book Nicaragua: June 1978-July 1979.

A landmark in war photography for its pioneering and controversial use of color, Meiselas’s work in Nicaragua: June 1978-July 1979 remains a paragon of engaged, subjective documentary coverage. It was also her first experience working with magazine publications, where she was forced to contend with the mixed blessing of seeing her work widely distributed but out of her control.

Susan Meiselas
is a documentary photographer who lives and works in New York. She is the author of Carnival Strippers (76), Nicaragua (81), Kurdistan: In the Shadow of History (97), Pandora’s Box (01), Encounters with the Dani (03) Prince Street Girls (16) and A Room Of Their Own (17). She has co-edited two published collections El Salvador, Work of 30 Photographers (83) and Chile from Within (90), and also co-directed two films: Living at Risk (85) and Pictures from a Revolution (91) with Richard P. Rogers and Alfred Guzzetti.

Meiselas is well known for her documentation of human rights issues in Latin America. Her photographs are included in North American and international collections. In 1992 she was made a MacArthur Fellow, received a Guggenheim Fellowship (2015), and most recently the Deutsche Börse Photography Foundation Prize (2019) and the first Women in Motion Award from Kering and the Rencontres d’Arles.

Mediations, a survey exhibition of her work from the 1970s to present was recently exhibited at the Fundació Antoni Tàpies, Jeu de Paume, San Francisco Museum of Modern Art and is on view now at the Instituto Moreira Salles in São Paulo. She has been the President of the Magnum Foundation since 2007, which supports, trains, and mentors the next generation of in-depth documentary photographers and innovative practice.

susanmeiselas.com

Our Form of Type
Departing from their publication Our Form of Book, Stockholm and Amsterdam-based studio Our Polite Society will tell about a number of works in which type design played an important role during the development of a project. 

For Our Polite Society a type design never exists in its own right, but is always connected to the specific situation in which a work is conceived: type design not in the context of the historical development of letterforms, but a subjective approach with many possible starting points. Within this way of working a typeface can become an analogy which carries information or meaning from a particular subject to another.

Our Polite Society
is a studio for graphic design, type design and typographic research based in Amsterdam and Stockholm. It was founded in 2008 by Jens Schildt (SE) and Matthias Kreutzer (D) after their studies at the Gerrit Rietveld Academie (Amsterdam) and the Jan van Eyck Academy (Maastricht).

Our Polite Society’s production comprises formats such as books, magazines, posters, exhibitions, signage systems, record sleeves, screens, and typefaces. Among others, Our Polite Society have produced works for Bauhaus Dessau, the University of Stockholm, the Sandberg Instituut Amsterdam, the New Institute Rotterdam, Malmö Konstmuseum, Internationale Bauausstellung (IBA), and Kunstverein Bielefeld. 

Their self-initiated work investigates how typographic form reflects social phenomena, and how it relates to ideology and the distribution of knowledge. Since 2017 they are publishing typefaces under the imprint Our Polite Society Type.

Their work has notably been exhibited at the Stedelijk Museum Amsterdam, the International Poster & Graphic Design Festival Chaumont, the Tallinn Art Hall, and the State University New York; it has been endowed by the Creative Industries Fund NL, was twice awarded with the Best Dutch Book Designs, and is part of the collection of the Stedelijk Museum Amsterdam.

Our Polite Society are currently teaching at the Konstfack University (Stockholm), the Gerrit Rietveld Academie (Amsterdam) and the Royal Academy of Art (The Hague); they have lectured in Amsterdam, Stockholm, Leipzig, Ghent, Brussels, Moscow, St. Petersburg, Prishtina, Sofia, and Montréal, among others.

ourpolitesociety.net
ourpolitesocietytype.net

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Visual Engineering
As graphic designers we are increasingly more interested in seeking to understand the processes we use rather than their products or their consequences. We will discuss the ways in which we have collaborated over the past decade to create, adapt and implement typographic forms using systematic methods in the production of an extensive range of unpredictable outcomes.

MuirMcNeil
MuirMcNeil’s activities are focussed on exploring systematic and generative methods in type design, graphic design and moving image, applied to both commissioned work and independent research projects.

Hamish Muir
was co-founder of the London-based graphic design studio 8vo (1985–2001), and co-editor of Octavo, journal of typography (1986–92). He was a part-time tutor at the London College of Communication from 2001–2019, and has delivered lectures, courses and workshops to professional teams and student groups internationally.

Paul McNeil
is a typographic designer, educator and author. He was Course Leader of the MA Contemporary Typographic Media at the London College of Communication from 2010–15.
Seven years in the making, The Visual History of Type, his exhaustive survey of type design from 1450–2015, was published in 2017.

muirmcneil.com

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Tell it with data. Infographics and data visualization are also tools in the designer’s skills box. They can be used to tell a story, to convince, to proof or insinuate. Also to deceive... We will use the communicational power of these tools to introduce ourselves in the practice of infographics and data visualization as an expressive medium. A challenge in which we will learn how to get data to articulate our graphic projects.

Using data as a raw material, we will create a memorable graphic piece that not only explains and makes them understandable but efficiently communicates our ideas about them.
Today we leave behind a bit of IP’s, likes and logins. Our world is data-shaped and designers must be able to exploit the potential of data representation as a tool for communication.

Paadín 
was born in Ferrol, Galicia. 
He studied Fine Arts in the University of Cuenca. After moving to Barcelona, he settled there as a graphic and multimedia designer. 
In 2001 he co-founded Cartún, the first online cartoon producer in Spain. Later on, he would join Lamosca, as a graphic designer, art director and partner. Since a few years ago, his work is focused mainly in infographics. He has lectured and taught in various universities, mainly in Spain and Mexico.

paadin.eu

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Morag Myerscough
Morag’s mantra is ‘make happy those who are near and those who are far will come’. Born and Bred, London, Morag has always lived in the city and has been fascinated by how colour and pattern can change urban environments and peoples perceptions of spaces into places. From schools and hospitals to cultural hubs and town centres Morag transforms public spaces by creating engaging experiences for everyone. 

The Temple of Agape built for the Festival of Love on London’s Southbank in 2014 used public space to create an open, interactive symbol of devotion to love in all its forms. Her strong visual approach is instantly recognisable and elevates every context in which it is placed. Her work is rooted in creating a sense of joy and belonging for all those who encounter it. Morag creates specific local responses to each distinct audience that will see and experience the work, using it to create community and build identity.

She often works with community groups to develop ideas that reflect the identity of the users, drawing on shared cultural history and heritage of the local area. Morag’s visual vocabulary is inclusive by nature and its effortless energy, resonates both visually and emotionally with audiences well beyond geographical and cultural boundaries. Morag’s contribution to educational environments was recognised in 2015, when her work with Allford Hall Monaghan Morris on Burntwood School won the Stirling Prize for Architecture.

Morag studied at St Martin’s School of Art (Now Central St Martins) and the Royal College of Art, London, UK Morag was made a ‘Royal Designer for Industry’ RSA in 2017. Morag was awarded an 2019 Honorary Fellow, University Arts London (UAL CSM), 2019 Honorary Professorship, University for the Creative Arts (UCA), UK, Honorary Fellow, 2015 Arts University Bournemouth (AUB), UK. Morag will be awarded an Honorary Doctorate, Gloucester University, UK, Nov 2019.

Morag is obsessed with ‘Belonging’ and talks around the world about it. Morag’s work has been widely published around the world for her social approach and her distinct use of colour and pattern often incorporating positive messaging.

studiomyerscough.com

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The students will interract with Open_collab an international workshop platform created by Patrick Thomas. The workshop is designed to encourage dialogue, experimentation and —most importantly— collaboration between participants.
Content will be developed in two group sessions and then adapted and individually output in the form of simple Din A4 publications.

The topic of the workshop is ‘Zeitgeist’. Participants will generate content in response to the current affairs and breaking news stories that emerge throughout the duration of the workshop.
Graphic material will be developed using a combination of found and self-generated imagery and textual content.

Patrick Thomas is a graphic artist, author and educator. He studied at Central Saint Martins and the Royal College of Art before relocating to Barcelona in 1991. In 2005 he published Black & White, a compilation of his work for the International Press. In 2011 Laurence King Publishing, published his second book Protest Stencil Toolkit. A revised edition was released in April 2019.

In 2007 he set up his first press. Since then he has exhibited his limited-editions across five continents, where many are now held in private and public collections. In April 2018 he was interviewed on BBC Radio 4 Front Row about his public installation Breaking News. The project has since been realised in various European cities. He has given talks about his practice and held workshops worldwide.

Between 2004–05 he was Graphic Research Fellow at Liverpool John Moores University and since October 2013 he is a professor of visual communication at the Stuttgart State Academy of Art. In May 2019 he released Open_collab, a free self-run project to encourage collaboration and experimentation. Since 2011 he is based in Berlin. In 2019 he was invited for a residency at Villa Massimo, the German Academy in Rome.

patrickthomas.com
patrickthomasstudio.com

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@patrickthomasstudio
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Ruohan Wang
is an illustrator, painter & visual artist based in Berlin. In 2016 Ruohan graduated from UDK in Berlin. Her work focused on temporary senses over real life and personal phantasms as an artist and designer. Her signature style is based on a clean, straightforward RGB scheme, unfolding its full potential through printings, paintings and visual arts. Between 2014 and 2019, she exhibited her painting, art printing and installation during solo shows and group shows in global range.

Cause and effect through timeline
Ruohan will introduce what she did as freelancer illustrator and painter after her graduation, and how the ideas and strategy were discovered through her creativity to find balance between design and fine art through personal works. She will also talk about the experience of several international projects and exhibitions and the fusing of personal life and career through design and art. At the end she is bringing her visual performance about universum to ELISAVA.

ruohanwang.com

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Arper, Eina, VOL & Pedro García
In this session we will be able to see through Case Studies of real projects from the studio how a brand identity is developed and how it is strategically translated into the different communication elements on and offline to define a recognizable and transversal personality.

Daniel Ayuso
is partner and creative director of Clase studio. Since 2016 he is President of the Association of Art directors and Graphic Designers ADG FAD. He is an associate professor at the Elisava School and the UPF. His trajectory has expanded from his training in graphic design to the development of more complex Visual Identities in which communication and visual language build a brand discourse through design itself, art direction in photography or audiovisual.

clasebcn.com

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Folch
is a Barcelona-based editorial and branding agency, founded in 2004. Creating concepts, brands and narratives, the studio has developed a holistic approach to today’s communications challenges, reaching and engaging audiences with a broad range of graphic, audiovisual and editorial content across a myriad of platforms, according to the new business paradigm.

folchstudio.com

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Typographic spaces
Cofounder Noël Leu will talk about about Grilli Type's approach to design and typography.

Grilli Type
is an independent Swiss type foundry founded by Noël Leu and Thierry Blancpain in late 2009. Grilli Type has become well-known for its retail and custom typefaces. But also, for the minisites which accompany them. Often utilising animation and a host of reference material, the sites break down the design process for each typeface, allowing the nuances of type design to be appreciated by type aficionados and novices alike.

grillitype.com
gt-eesti.com
gt-zirkon.com
gt-america.com
gt-super-com
gt-cinetype.com
gt-walsheim.com
gt-haptik.com

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Pablo Juncadella 
Co-founder of Mucho and one of his 6 creative partners/directors. 
Mucho believes in design as a deductive process to reach visual conclusions. From the strategic thinking aims to create visual languages that are endowed with their own personality and a certain visual poetics. Pablo and his team work in transmedia environments always aspiring to find solutions that fit in the positioning contributing with original ideas.

Levi’s Unlabelled and Ared Foundation
The world we live in should be socially inclusive. A world where we all have the same opportunities regardless of age, gender, religion, sexual orientation, or our past. Two examples of work developed to support Ared and Levi’s.

On the one hand, Levi’s unlabelled is a brand created for internal use at LS&Co Europe, to raise awareness of the LGTB+ERG collective within Levi Strauss. The ERG (Employee Resource Groups) is a body that aims at promoting diversity and inclusion in the workplace, contributing to create a safe and fair environment, regardless of the sexual orientation or gender definition. The brand itself needed to cultivate and nurture such an environment, and serve as a platform for support and appreciation, where all contributions are welcome and wanted.

On the other hand, the Fundació Ared fights for a different type of inclusion: that pertaining the re-entry to work life and society of people suffering from social alienation, particularly women that were previously incarcerated. The influence and traction of the foundation sparked several initiatives and new products that were not initially linked to the mother brand. However, given the importance of the work done in all the initiatives, a new and unified identity serving as an anchor was built to support the Ared world.

The Ocean Race
Around the world, with the planet at heart. The task at hand was to create a whole new brand identity for the race, partly due to the change of ownership, but mostly due to the change in vision. With an updated narrative that integrates the new values of the race, sustainability and technology, a revamped iconic global brand was built to stand out beyond the sports category, to speak to other brands and to humanity in general about the urgency of taking action on the face of climate change and the power of positive technology.

wearemucho.com

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Imagination as a catalyst
for social change
The times, they are a changing and yes, they always have been. It is important to be sensitive to the spirit of the times. What is happening and where are we going to? How do we relate to the big transitions in our present world? How do we relate to developments such as digitalization, climate change, migration, urbanization and globalization?

Do we approach the negative side of these developments merely as problems that have to be solved or can we also see them as opportunities, as a possibility for developing alternative perspectives, as a source of inspiration for discovering new paradigms in design? Is design just a problem solving practice or can we step beyond and use our imagination as a catalyst for social change? We have to transgress, to break down borders and cross boundaries. 

Opportunities and possibilities are found not only by considering one angle or the other, but by exploring the in-between.
And what about people? What are their opportunities in this process? Do we have respect for the existing, whether people, materials or situation? How do we look upon traditional values? Can we include tradition in our quest for innovation? Do we allow people in the design process? Are we inspired by their dreams and desires? Are we inspired by their diversity? 

And keeping all this in mind, can we develop new perspectives, alternative approaches, set up new relations? It’s all about the power of imagination!

Renny Ramakers
is an Amsterdam based art historian. She is co-founder and director of Droog, the renowned experimental design initiative from the Netherlands. In 1993 she and Gijs Bakker started Droog as an anti-statement; a down to earth design mentality with a human touch that opposed the high style and form-based world of design.
Today, Ramakers' work often reaches beyond the realms of design.

She created the research-and-do programme Design+Desires with the aim to develop new perspectives on a changing society. She is also working as an independent critic and curator, and lectures worldwide. She has curated various events, such as the huge presentation Open Borders in Lille, featuring cutting-edge European designers, artists, architects and other creative people, and Pioneers of Change, a festival of Dutch design, fashion and architecture on New York’s Governors Island.

Currently, she is curator of N’GOLÁ, the eighth Biennial of Arts and Culture in São Tomé e Príncipe in Africa. As a critic, she has contributed to international magazines and catalogues, and authored several books. A book about her life and work, written by Aaron Betsky, has been published early 2019. She was named one of the “150 Women Who Shake the World” by the American magazine Newsweek and received the Dutch Royal Honors for her work.

rennyramakers.com
droog.com

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Bas Jacobs
Born in the Netherlands, where he still lives today. Received his typographic education in the nineties in England and the Netherlands. Since 1999 his time is exclusively devoted to improving the world one typeface at a time with his companions at the pan-European type foundry Underware. Not willing to accept limitations easily. Still dreams about brain-to-brain communication. Interested in languages. And dialects. And slang. And script. And alphabets. And type. Checks email manually.

Joancarles Casasín
Born in Barcelona, from where escaped a few years ago. He started his interest in digital typography in the early nineties and since 2005 his work is exclusively devoted to custom type design and font production.
Self-taught, writes small tools to make his and other's life easier and exciting and to flee from the software’s dictatorship.
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Only recently it has become clear that from now on type designers aren’t any longer just designing outlines of fonts, but are mostly designing relations between outlines of fonts. Therefore interpolation will become increasingly relevant in the future of type design, and will logically be an essential aspect within this workshop.

During this workshop we’re not only going to explore the design of letters (hands-on), but also explore the space in which those letters relate to each other (brains-on). Designing the design, as well as designing the design space these designs live in. And that – well… if everything works out – leads to another, innovative way of looking at your design.

Souvenir
“Recently organising the things in my archive, I found a letter I’d written to myself on the plane back from New York to Seoul. I’d heard about this special service that sends letters you write on the airplane, and I decided to try it out. That kind of thing happens sometimes, where I have a weird curiosity and put it into practice. I’d forgotten all about it, and then I found the letter.

You know how when you write a letter to yourself, you tend to write some pretty embarrassing things, like in a diary? I thought it would be like that, but it wasn’t. (...)”

Na Kim
worked as a graphic designer at the very heart of the small-scale but prolific design studios that became an established trend in Seoul from the mid 2000s. And as an artist, she’s taken part in numerous exhibitions at major art museums and galleries in her home country. Boldly yet naturally crossing the boundary between design and art, she’s provided young Korean creators with a new role model. 

After studying industrial and visual design in Korea, Kim left to study in the Netherlands at Werkplaats Typografie, where she produced experimental works of design, such as her independent magazine umool umool. She was also chief editor and art director of another magazine in Amsterdam, called Graphic, which is still mentioned today as a kind of textbook for many designers. Returning to Seoul in 2012, Kim expanded the scope of her avant-garde activities, deploying original style like a weapon.

She founded Table Union, a design studio also serving as a new creative platform. At the same time, she has continuously worked as a graphic designer collaborating with various artists and institutions, as an art director crafting spaces for different brands, and as a teacher of university students. Recently she has been presenting different variations with her ‘SET’ wall art series, taking as her reference the book SET, a collection of design elements from the artist’s work.

Here, one can discover many insights into an artist who obsessively collects pretty things from the world around her, categorises them, and mixes them back together to build her own unique language.
(Text by Jae Seok Kim)

ynkim.com

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Pràctica
We are a full-service design studio based in Barcelona and New York. Working for institutional, cultural and commercial clients, we always seek powerful concepts and customized solutions for each project. These is translated into a very eclectic job. Our style is the lack of one, It’s finding the best solution for each project.

practica.design

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3 kms
A temporary summer pavilion
Using simple materials and a small number of tools, together we will build an experimental structure on the Elisava roof terrace. A flexible space to be used over the summer months. An inspiring structure that provides shade from the sun : ) This is a community building exercise, a group effort to build a space we can all come together in and enjoy.

Inspired by the pragmatic approach of Italian designer Enzo Mari we will build using simple materials. Wooden sticks 45 x 45mm thickness (3 kms if put in a row) will create a mesh like roof structure, within the structure flat panels of 18mm MDF will be fixed. The theme of the project is ‘creativity within simple means’. This means using limited materials to produce your design, exploring how to be ingenious and engaging with a small number of options.

Anthony Burrill
is a graphic artist, print-maker and designer known for his persuasive, up-beat style of communication. Words and language are an important part of Burrill’s output and he has developed a distinctive voice that is sought after not only by collectors of his posters and prints but also by clients. Burrill is best known for his typographic, text-based compositions, including the now-famous “Work Hard and Be Nice to People”, which has become a mantra for the design community and beyond.

Eugeni Bach
Anna & Eugeni Bach is a studio that operates from urbanism and architecture to interior design and objects. Through innovation and research, they find new solutions and alternatives for each project by optimizing natural and economic resources, working as a team with the end user to ensure the best synthesis of concept, functionality and beauty of spaces where life can take shape naturally.

Observe, Collect, Draw: Documenting the world using data
As a designer and artist, I use data-gathering and data-visualisation as a design process, taking seemingly ‘cold’ data and using it to communicate warmer, more subjective messages.

I’ll highlight the various esoteric and ‘outsider’ data collection processes and data visualisations that have inspired me to see observation as a form of making/creating, exploring how it both influences my creative practice and also functions as a starting point for making the concept of data more accessible to a wider audience, showing how in an era of ever-increasing data, we all can – through channelling our inner 'anoraks’ – start to view data through a warmer, more human-focused lens.

Stefanie Posavec
is a designer and artist for whom data is her favoured material, with projects ranging from data visualization, book design, and information design to artworks. Her work has been exhibited at the MoMA (New York), CCBB (Rio de Janeiro), the Centre Pompidou (Paris), the V&A, the Design Museum, and Somerset House (London), and is held in the permanent collection of the MoMA. Her books (co-authored with Giorgia Lupi) include Dear Data and their new journal Observe, Collect, Draw!

stefanieposavec.com
dear-data.com

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Artist Publications
Developping a critical spirit and reflecting collectively on what is an “artist publication” and/or a publication that forms part of the creative and cultural field. Reflecting about the meaning of the action of printing and its historical precedents. Discussing about the need of publishing in the contemporary context. Learning about the stages of the design process and about the relationship established between the graphic designer and the artist, institution and/or publisher.

In these different stages we will have to think about the publication’s potential audience, about its economic accessibility, in which context it will circulate, what decisions will have to be taken for the printing production, in what way these decisions will influence the design, how the content and artistic concept can be transcribed into a graphic and printed language, to what extent the designer has to take on the role of a content editor, etc.

Oficina de Disseny 
Are Ariadna Serrahima, Diego Bustamante and Katharina Hetzeneder — a graphic design studio founded in Barcelona in autumn 2014. We make books and publications, visual identities, posters, music releases, websites and exhibitions, teach classes and are involved in various research-based projects.

"The current social and political context determines our way of doing and thinking. Content matters, as do collective design processes with our clients, collaborators and the people around us who enrich our work. The design process goes hand in hand with the production at our printing workshop l’Automatica, where we work and experiment with letterpress and offset. Printing and communicating content shapes our everyday practice."

The more you hold the more you see, the more you see the more you hold – Graphic Design for Art
A Practice for Everyday Life working with contemporary art and artists working with APFEL. 

A lecture exploring the multiple avenues of overlap between graphic design and art, from publishing to exhibition design and digital. Kirsty Carter and Emma Thomas, founders of London-based graphic design studio A Practice for Everyday Life, will introduce their work by talking through the stories behind a selection of projects including visual identities, type design and book design.

A Practice for Everyday Life (APFEL) is a London-based graphic design studio founded by Kirsty Carter and Emma Thomas in 2003. Their work includes visual identities, books, exhibitions, art direction, type design, signage, packaging, and digital design. APFEL works across cultural and commercial worlds with a research-led approach to design that results in thoughtful and original work. Their clients include Tate, V&A, Barbican, Lisson Gallery, Phaidon, Sternberg, Marian Goodman Gallery, Bloomsbury, and Camper.

Their work is held in collections at The Art Institute of Chicago, the V&A Museum Archive, the Bibliothèque National des Livres Rares, Paris, the Royal College of Art Library, and the Tate Library.
APFEL projects include the recent visual identity and campaign for Kettle’s Yard, Cambridge; visual identity, signage and type design for The Hepworth Wakefield; exhibition and book design for Basquiat: Boom for Real at the Barbican; and books for artists David Hockney, David Noonan, Oscar Murillo, Leonor Antunes and Douglas Coupland.

apracticeforeverydaylife.com

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Photobook
Introduction in the world of the photobook from its foundations, history and current situation.
Students will acquire knowledge about their conception and work process developing a project with an author. Narrative, rhythm and sequence when the main content is image.

Jon Uriarte
After studying at the IEFC in Barcelona, ICP in New York and at the UEM & PHotoEspaña in Madrid, his work has been published in media such as The Spiegel, La Repubblica, El País or The Times Magazine and has exhibited at the Sarajevo Winter Festival, PhotoEspaña, La Casa Encendida, Koldo Mitxelena, Studio 304 in New York, HBC in Berlin or the Círculo de Bellas Artes.

He is a professor in several educational centers such as EFTI, Lens or IDEP, where he directs a postgraduate in Photography. 
He is the founder of the Photobook Club Barcelona, is part of Widephoto and does the artistic direction of DONE.

Poster and context
Graphic designers observe, adopt a stance, collaborate, engage, adapt, write and debate when creating graphic proposals in poster format. Designers emit a message using the tools of graphic design. From the concept all the way to the hanging poster, and including the art direction.

Raúl Goñi
Navarrese, designer and teacher, in that order. Trained as a graphic designer in Pamplona and Barcelona. Posterist by profession he is a founding member of FestadelGrafisme.org and the new TallersdelaFesta.org in Portbou, a transdisciplinary event that focuses on people and their relationship with design from a playful point of view and a cross-border condition. Teacher since 2006.

Getting Personal Projects Made
Nearly every designer after a few years of working for a studio, begins to think about starting his or her own business. Wouldn’t it be nice to have a fancy office, work only on the projects that you like, without having to sell your soul to the devilish client and compromise with amending designs? But reality is often times more complex and definitely less romantic. 

Irene Pereyra of the Brooklyn-based design studio "Anton & Irene" will talk about transforming a small studio into a project (the studio is treated more like a "project" rather than a "business") and will share her experiences including all the successes and failures they went through along the way.

Irene Pereyra
is the co-founder of the interaction design studio "Anton & Irene". She has created the interactive experiences for many large scale clients and projects, including the redesign of USAToday.com and Metmuseum.org. The studio also spends 3 months a year on self-initiated design projects.

antonandirene.com

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Beyond tools
An iniciatic journey to programming for graphic designers. You don't need to be good on math, just put in order your thoughts. Learn to solve problems by segmenting them into smaller problems. Ask the computer to do the dirty work. Run your code and expect the unexpected.

Programming your design makes it flexible and powerful. Focus in the process and not in the result and get control over the result because you control the process. 
Don't let the result lead your process. It needs your commitment, nobody said that having a superpower would be easy.

Joancarles Casasín
Born in Barcelona, from where escaped a few years ago. He started his interest in digital typography in the early nineties and since 2005 his work is exclussively devoted to custom type design and font production.
Self-taught, writes small tools to make his and other's life easier and exciting and to flee from the software’s dictatorship.
Checks email manually.

Swiss Originals
We will examine the ”Gráfica suiza” collection of the Enric Bricall Library and explore the approach of Swiss designers during the 1950s–1970s, the so called “International Typographic Style” and its relevance today. During the workshop you will need to take up a stance on this period of design history, make a physical copy of a Swiss original, and refer both to the content and the form of the respective book from a contemporary viewpoint. 

Next to cleanliness, readability and objectivity, issues like originality, style and bootlegging will need to be discussed.

Serge Rompza
After graduating from Gerrit Rietveld Academie in Amsterdam, Serge Rompza has co-founded the Berlin and Oslo based design studio NODE in 2003, together with Anders Hofgaard. The two offices collaboratively focus on identity, print, exhibition and interactive work.

Clients include Haus der Kulturen der Welt Berlin, Vitra, MIT Program in Art, Culture and Technology (ACT), Lithuanian Pavilion / La Biennale di Venezia, Office for Metropolitan Architecture (OMA). 
Since 2004, he has regularly been teaching at art and design academies across Europe.

Can Pizza, Sandro Desii 
& Lee Films
From the concept and the initial idea to the final materialization in the form of applications. In this case study you can see how a visual identity project is structured from the beginning to the end. I will share the roadmaps, the sketches and designs that exist behind the general creation of these 3 brand projects. Comprehensive projects that show brand, packaging, space or web applications.

Borja Martínez
Founder of Lo Siento, creative director and passionate of gastronomy, Borja studied industrial design at Elisava and then graphic design in London. Since 2007 directs LO SIENTO studio, where the most characteristic feature is the physical and material approach to graphic solutions, resulting in a design in which the graphic and industrial coexist in a constant search for alliances with artisanal processes.

losiento.net

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Verònica Fuerte
Hey founder & Creative Director.
Verònica Fuerte is a designer and illustrator from Barcelona.After earning a degree in Graphic Design from ELISAVA and a MA in Typeface Design from EINA she worked for several design studios in Barcelona. In 2007 she founded her own studio, Hey, which has grown steadily since. 

She received the ADC Young Guns 7 award and her work has appeared in prestigious media such as It’s nice that, DesignBoom, Communication Arts and AIGA. Verònica also teaches in several different universities in Barcelona and frequently speaks at international conferences. 

heystudio.es

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Robert Massin
The French graphic artist Robert Massin revolutionized the editorial design of the 1950s and 1960s with a series of books that have become iconic in the history of 20th century typography. In an era dominated by the austere Swiss graphic language, Massin combined the language of traditional graphic arts with highly innovative expressive elements. In his designs the word becomes visible based on graphic resources that intensify the meaning of the printed text.

Bookworm by Andreu Jansà 
Guided by Andreu Jansà, librarian at Elisava and curator of the Enric Bricall Special Collection, the students will have the privilege to delve deep into the unique books in the Special Collection at Elisava library. The objective of the Special Collection is to become a true universal history of modern graphics applied to the publishing world. The books that make up the collection are documented in the main accounts of the history of graphic design of the 20th century.

bibliotecaelisava.net

Irma Boom
Irma Boom is considered the most relevant book designer of the moment. Many art centers and specialized publishers dispute the privilege of having one of their works. When she accepts an assignment, she demands total creative freedom, assuming the role of both the editor and the graphic designer.
Progressively, the work of Irma Boom has been assimilated to what we know as 'artist's books', despite the fact that the designer rejects this typology.

But the truth is that many of his books can be classified in this category, both in regard to the limited edition and the prominence acquired by its creator that imposes its own vision over other considerations such as the content and function of the book.
The spirit of Irma Boom is manifested in its maximum splendor in the two tiny retrospective catalogs of his work. Informative and fully legible, exquisitely printed and bound, perfect in their smallness: a monument to her creativity.

Bookworm by Andreu Jansà 
Guided by Andreu Jansà, librarian at Elisava and curator of the Enric Bricall Special Collection, the students will have the privilege to delve deep into the unique books in the Special Collection at Elisava library. The objective of the Special Collection is to become a true universal history of modern graphics applied to the publishing world. The books that make up the collection are documented in the main accounts of the history of graphic design of the 20th century.

bibliotecaelisava.net

Delicious & Sons, Eina & Palau de la Música
In these sessions we will review, through real Clase projects, the development of a corporate identity from its conceptualization and the development of the first ideas, following the whole work process until materializing in real communication elements. These examples include: brand concept, brand discourse, art direction of photographic or audiovisual images, application in packaging or interior design according to each case.

Daniel Ayuso 
Partner and Creative Director of Clase. He is currently President of the Association of Art Directors and Graphic Designers ADG FAD and Associate Professor at Elisava and UPF. His career is focused on the creation of Corporate Identity and Creative and Art Direction working especially in the development of brand concepts and the generation of a visual discourse, be it through graphic design, photography, illustration or audiovisual media.

clasebcn.com

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Infographics and Data-visualization
The world seen through data opens to us new perspectives and realities. Communicating them is the objective of this theoretical-practical workshop that will get you started in the use of infographics and data-visualization as a tool for narrative and expression. Working in groups and analyzing a complete data set we will design a graphic piece, a 12-page accordion, a choral story told in the language of visualization.

Paadín
Was born in Ferrol, Galicia and studied Fine Arts in the University of Cuenca. After moving to Barcelona, he settled there as a graphic and multimedia designer. In 2001 he co-founded Cartún, the first online cartoon producer in Spain. Later on, he would join Lamosca, as a graphic designer, art director and partner. Since a few years ago, his work is focused mainly in infographics. He has lectured and taught in various universities, mainly in Spain and Mexico.

Documenting the Everyday
The aim of the workshop is to develop research, editing and design skills. Participants have to identify and document a subject found within a given (500m) radius of Elisava. They are expected to deliver a 12–24 page publication produced using a combination of a minimum of three print techniques: Risograph, laser prints, rubber stamps, collage, etc.

It is a project about experimentation, observation and local discovery—finding beauty in and celebrating the ordinary. It culminates in an exhibition of the finished publications with accompanying promotional posters.

PatrickThomas
Is a graphic artist, author and educator. He studied at Central Saint Martins School of Art and the Royal College of Art in London before relocating to Barcelona in 1991 where he founded the multidisciplinary studio ‘laVista’. In 2005 he published ‘Black & White’ a compilation of his work for the International Press. In 2011 Laurence King Publishing, London, published his second book ‘Protest Stencil Toolkit’. He is currently working on the follow-up, due to be released in 2018.

In 2007 he established his first silkscreen press in Barcelona and decided to concentrate on releasing personal, uncommissioned work. Since then he has exhibited his limited-editions across five continents, where many are now held in private and public collections. He set up a second silkscreen press in Berlin in 2016.

He has given talks about his practice and held workshops worldwide, extensively in the UK, Spain and Germany. Since October 2013 he is a professor of visual communication at the Stuttgart State Academy of Art and Design (Klasse Thomas). 
Since 2011 he is based in Berlin. He works between there, London, Barcelona and Stuttgart. He is a member of AGI (Alliance Graphique Internationale).

I don't know
Rejane Dal Bello will be talking about her career path: how she began from Brazil and continued her journey through New York, Rotterdam and London, where she is based now and runs her studio. She will also talk about her passion for bold typographical work, focusing on branding/visual identity projects. She will explain how she balances between paid clients and social projects, with a highlight at her latest personal project Dr. Giraffe.

Studio Rejane Dal Bello
We are a graphic design studio, based in London. We specialize in brand identity, illustration, and editorial for national and international clients focusing on the Corporate, Cultural & Non-Profit sectors. Our studio works with ongoing collaborations to best suit each project we work on. Founded by Rejane Dal Bello, an awarded winning Graphic Designer & Illustrator with a great range of iconic design case studies. 

Originally from Brazil, she began her career working for renowned branding & design agencies over the world, Studio Dumbar (NL) and Wolff Olins (UK). Rejane Dal Bello is regularly featured in international publications and as well as giving workshops and lectures around the world as well as creative editor of UPO magazine (FR).

rejanedalbello.com

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Blurring the Lines
As the paradigm of communication continuously changes, a creative firm must do accordingly, Folch explains the evolution of its practice over the years: from a graphic design studio mainly focused on magazines to a more undefined hybrid model embracing strategy, narrative and design, among other fields.

Folch Studio 
We are a transmedia and branding agency based in Barcelona. We use strategic design and transmedia storytelling to communicate disruptive brand strategies. We design concepts, brands and narratives reaching and engaging audiences on the new paradigm.

folchstudio.com

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Czech Avant-Garde 1920-1940
The Czech publishing world experienced a renewed vitality in the interwar period. A new generation of artists was grouped in an association called Devětsil that maintained contacts with the European avant-garde. The graphic design of books aroused a special interest among the young creators members of this group.

Two aesthetic currents coexisted in Devětsil: on the one hand the Poetism that exalted the subjective essence of the creative act and, on the other, the Constructivism that aspired to the objectivity and standardization of mass production.These two trends are well recognizable in the graphics of the books of that time with the subtle typographical compositions of Karel Teige and Vit Obrtel or with the photographic covers of Ladislav Sutnar that use the language of the New Typography.

Bookworm by Andreu Jansà
Guided by Andreu Jansà, librarian at Elisava and curator of the Enric Bricall Special Collection, the students will have the privilege to delve deep into the unique books in the Special Collection at Elisava library. The objective of the Special Collection is to become a true universal history of modern graphics applied to the publishing world. The books that make up the collection are documented in the main accounts of the history of graphic design of the 20th century.

bibliotecaelisava.net

Alvin Lustig. New Directions
The covers that Alvin Lustig created for the North American publishing house New Directions between 1945 and 1952 bear witness to a deep knowledge of the art of the first half of the 20th century. His designs have more to do with the art of Klee, Miró or Rothko than with marketing and advertising strategies aimed at increasing sales. The collection of published books maintains an extraordinary unity, although each book manifests its individual character: subtle, abstract, evocative.

Bookworm by Andreu Jansà
Guided by Andreu Jansà, librarian at Elisava and curator of the Enric Bricall Special Collection, the students will have the privilege to delve deep into the unique books in the Special Collection at Elisava library. The objective of the Special Collection is to become a true universal history of modern graphics applied to the publishing world. The books that make up the collection are documented in the main accounts of the history of graphic design of the 20th century.

bibliotecaelisava.net

UOC
Review of the phases of creation of the brand and its architecture. How the contest was presented, the work sessions with the client to find the differential issues of brand positioning previously created. Finally, the process of adaptation from the contest to the implementation of the brand and review of the management actions of the brand launch internally and in social networks.

Pablo Juncadella 
Co-founder of Mucho and one of his 6 creative partners/directors. 
Mucho believes in design as a deductive process to reach visual conclusions. From the strategic thinking aims to create visual languages that are endowed with their own personality and a certain visual poetics. Pablo and his team work in transmedia environments always aspiring to find solutions that fit in the positioning contributing with original ideas.

wearemucho.com

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Enea & Catalunya Caixa
In these sessions we will review, through real Clase projects, the development of a corporate identity from its conceptualization and the development of the first ideas, following the whole work process until materializing in real communication elements. These examples include: brand concept, brand discourse, art direction of photographic or audiovisual images, application in packaging or interior design according to each case.

Daniel Ayuso
Partner and Creative Director of Clase. He is currently President of the Association of Art Directors and Graphic Designers ADG FAD and Associate Professor at Elisava and UPF. His career is focused on the creation of Corporate Identity and Creative and Art Direction working especially in the development of brand concepts and the generation of a visual discourse, be it through graphic design, photography, illustration or audiovisual media.

clasebcn.com

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Strategic Narrative Design
Through a series of case studies, we explore how the 'strategic narrative design' approach applies to the practice of Folch: among other things, the studio founders narrate how they rebranded a lifestyle brand through travel narratives, how they converted a global reputation campaign for Barcelona into a sustained choral action; their wider understanding of design.

Folch Studio
We are a transmedia and branding agency based in Barcelona. We use strategic design and transmedia storytelling to communicate disruptive brand strategies. We design concepts, brands and narratives reaching and engaging audiences on the new paradigm.

folchstudio.com

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Casa Vicens, Bobo Choses 
& TeleMadrid
Total vision of the gestation of the projects. Review of the methodology to generate a positioning of the brand, the role of the sponsor and the target audience. Explanation of how the work processes were channeled with the client to finally create the brands. Observe how the brands live in the launch and then the presence of Mucho in the day to day.

Pablo Juncadella
Co-founder of Mucho and one of his 6 creative partners/directors.
Mucho believes in design as a deductive process to reach visual conclusions. From the strategic thinking aims to create visual languages that are endowed with their own personality and a certain visual poetics. Pablo and his team work in transmedia environments always aspiring to find solutions that fit in the positioning contributing with original ideas.

wearemucho.com

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Vogue. Work in progress
With the art direction in Vogue we are in a continuous process, a project that we approach from a defined beginning without a determined end. This Case Study shows the day to day of the art direction of a historical masthead, which transcends the publishing world and fashion. Vogue through the weight of its history and the challenges of the large distribution of paper magazines, trying to guess if the design can finally serve to disprove the chronicle of an announced death.

Óscar Germade
A Coruña, 1983. Since 2017, he is Art Director at Vogue Spain. In 2011, after working in different teams, he founded Solo, a small studio with international vocation, where he developed the design of El País Semanal, as well as other projects for El Bulli, Oysho, CCCB, Teresa Helbig or Simon Miller, among others. Coordinator of the Degree in Graphic Design at IED BCN between 2014 and 2017 and professor at the Master in Editorial Design at Elisava from 2011 to 2017.

solofficial.com

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Live with Joy
Graphic artist, print-maker and designer will talk about his approach to life and work. Sharing insights into his creative process alongside describing key projects in his career.

Anthony Burrill
is known for his persuasive, up-beat style of communication. His work is held in the permanent collections of the Victoria and Albert Museum in London, the Cooper-Hewitt National Design Museum, New York and has been exhibited in galleries around the world including the Barbican Art Gallery, the Walker Art Center and the Design Museum, London.

Words and language are an important part of Burrill’s output and he has developed a distinctive voice that is sought after not only by collectors of his prints but also by clients including Apple, Google, Hermés, the British Council, London Underground and the Design Museum. Burrill is perhaps best known for his typographic, text-based compositions, including the now-famous “Work Hard and Be Nice to People”, which has become a mantra for the design community and beyond.

Burrill was born in Littleborough, Lancashire. After studying Graphic Design at Leeds Polytechnic he completed an MA in Graphic Design at the Royal College of Art, London. He now lives and works on the Isle of Oxney, Kent.

anthonyburrill.com 

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The Next Point of View
Gravient, a VR/AR company, reached out to us wanting to develop their identity. Their main objective is the creative use of technology for commercial purposes. To solve the visual identity, we generated an interactive typographic system. The user defines the shape of the typography depending on their point of view.

Pràctica
Full-service design studio based in Barcelona and New York founded by Guillem Casasús, Anna Berbiela, Albert Porta, Carlos Bermúdez y Javier Arizu.
David Galar
Graphic design and art director specialized on motion graphics and video. He shares workspace with Alex Palazzi, Gerard Mallandrich & Pràctica with whom he uses to collaborate in some projects. He also teach classes on the graphic design university IDEP.

practica.design 
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Behance

davidgalar.com
behance

Cristina Ramos
is a polyhedral profile. Her academic career began studying a degree in History, Psychology and Interior Design, but what she always wanted to do was related to arts. Out of this idea she founded Atelier Cristina Ramos, a creative direction and set design studio.

Dream Magazine
As an evolution of her career and to add more of her own creativity to work, she created Dream Magazine with the photographer Txema Yeste, a printed publication that revolves around the objects and our relationship with them.

dream-magazine.com
ateliercristinaramos.com

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I don’t go by train, I go by plane  Review of the work of the designer Simón Sepúlveda and how, through design, a static discipline, that you usually face in front of the computer for many hours has put together a tool to know places, cultures, people and different work methods.

Simón Sepúlveda
(1989) is a graphic designer and artist from Chile, with experience in the fields of culture and visual experimentation. Previously Simón worked in Felicidad (Chile), Sagmeister & Walsh (U.S.A.) and currently in Javier Jaén Studio (Spain). His work mixes commissions, self-commissions, fiction and reality around design.

simonsepulveda.com

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Photobook
Introduction in the world of the photobook from its foundations, history and current situation.
Students will acquire knowledge about their conception and work process developing a project with an author. Narrative, rhythm and sequence when the main content is image.

Jon Uriarte
After studying at the IEFC in Barcelona, ICP in New York and at the UEM & PHotoEspaña in Madrid, his work has been published in media such as The Spiegel, La Repubblica, El País or The Times Magazine and has exhibited at the Sarajevo Winter Festival, PhotoEspaña, La Casa Encendida, Koldo Mitxelena, Studio 304 in New York, HBC in Berlin or the Círculo de Bellas Artes.

He is a professor in several educational centers such as EFTI, Lens or IDEP, where he directs a postgraduate in Photography. 
He is the founder of the Photobook Club Barcelona, is part of Widephoto and does the artistic direction of DONE.

Loreak + Yuca
The 360º rebranding of a fashion brand in which its editorial piece becomes the cornerstone of the proposal and a very personal biannual editorial project on literature, art, photography and culture in general, conceived by two Colombian publishers, developed with nocturnality between Bogotá-Barcelona and distributed all over the world.

Carles Murillo
Art director, designer and editor from Barcelona. Specialized in editorial design and art direction, he works regularly in projects related to culture. He believes in the power of small structures, in the unclassifiable and in the paternity of flesh and paper. 

He is a teacher, illustrator, psychologist, numerologist, father, lover and above all a one-man-band who likes to control the processes from beginning to end. He is currently art director with Borja Garmendia of the brand Loreak Mendian, and since 2016 co-editor of the Colombian magazine YUCA.

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More Matter, With Less Art
Designing books for the digital age
In this age of a super-abundance of information, on the Internet, for example, there is a need of formats that can clearly present enormous quantities of information and subsequently make it manageable. The atlas is a good example of such a format. The work of Studio Joost Grootens explores the atlas format, its meaning in the digital age and its application to disclose maps and non-cartographic subjects.

Joost Grootens
Is a graphic designer with a background in architecture. His studio SJG designs books, maps, typefaces, spatial installations and digital information environments for publishers like Lars Müller Publishers, nai010, Park Books, Phaidon; educational and research institutions like ETH Zürich, Future Cities Laboratory Singapore, KADK Copenhagen; and museums like Boijmans Van Beuningen Museum Rotterdam, Stedelijk Museum Amsterdam, Van Abbemuseum Eindhoven.

Grootens leads the master Information Design at Design Academy Eindhoven. He is PhD candidate at Leiden University. His research addresses the transformation of the fields and practices of graphic design and map design resulting from technological changes in tools to record, create, edit, produce and distribute visual information.

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Artist Publications
Developping a critical spirit and reflecting collectively on what is an “artist publication” and/or a publication that forms part of the creative and cultural field. Reflecting about the meaning of the action of printing and its historical precedents. Discussing about the need of publishing in the contemporary context. Learning about the stages of the design process and about the relationship established between the graphic designer and the artist, institution and/or publisher.

In these different stages we will have to think about the publication’s potential audience, about its economic accessibility, in which context it will circulate, what decisions will have to be taken for the printing production, in what way these decisions will influence the design, how the content and artistic concept can be transcribed into a graphic and printed language, to what extent the designer has to take on the role of a content editor, etc.

Oficina de Disseny
Are Ariadna Serrahima, Diego Bustamante and Katharina Hetzeneder — a graphic design studio founded in Barcelona in autumn 2014. We make books and publications, visual identities, posters, music releases, websites and exhibitions, teach classes and are involved in various research-based projects.

"The current social and political context determines our way of doing and thinking. Content matters, as do collective design processes with our clients, collaborators and the people around us who enrich our work. The design process goes hand in hand with the production at our printing workshop l’Automatica, where we work and experiment with letterpress and offset. Printing and communicating content shapes our everyday practice."

Posters for agitation
The poster as a communication tool. The graphic designer with critical thinking, looking for problems, at the service of society, satirical, provocative and that makes us think about how the world could be. The posterist as a mass agitator. The poster artist in search of graphic excellence. In this workshop we will work on the positioning of the future designer and his social role as a message issuer. 

We will work from the word towards the graphic expression of the idea using, exploring and experimenting with the resources of graphic design to project a message in the public space.

Raúl Goñi
Navarrese, designer and teacher, in that order. Trained as a graphic designer in Pamplona and Barcelona. Posterist by profession he is a founding member of FestadelGrafisme.org and the new TallersdelaFesta.org in Portbou, a transdisciplinary event that focuses on people and their relationship with design from a playful point of view and a cross-border condition. Teacher since 2006 specialized in Art Direction and in the development of Final Degree Projects in various schools.

"11 years guiding projects in Graphic Design & Communication. From the what to the how in the most direct, graphic and powerful way possible. Nothing more beautiful than going into class and being able to share your experience with people you know will surprise you. Teaching as part of my professional and vital learning."

Large, simple, small and complicated drawings
Type design is full of contradictions. Or is it? Cyrus Highsmith will discuss this and his obsessions with shape, repetition, and different kinds of drawing.

Cyrus Highsmith
is a letter drawer, teacher, author, and graphic artist. His type foundry, Occupant Fonts, includes dozens of his original typefaces. He teaches type design at Rhode Island School of Design. He wrote and illustrated the acclaimed primer, Inside Paragraphs: Typographic Fundamentals.

In 2015, he received the Gerrit Noordzij Prize for extraordinary contributions to the fields of type design, typography, and type education. In 2017, he became Creative Director for Latin Type Development at Morisawa USA.

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5x3=15
A talk by Mucho
As part of Mucho’s 15th Anniversary. Its 5 partners will get together for the first time to give a talk in the city of Barcelona.
Each partner will talk about a project that changed their lives, a current project, and their dream project for the future.

Mucho
We create design with meaning.
Great design speaks to your head, and your heart. It makes you feel different, and think differently. It makes you remember, and respond.
That’s what we aim for: to go from insight to ideas to design that connects. To craft things with intelligence, sensitivity and precision. 

It doesn’t happen in isolation. That’s why we work collaboratively with our clients, and with each other. As an international collective, we take a global outlook. We’re open. We share. We learn.
The result: intelligent, effective design that makes a lasting impression.

wearemucho.com 

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From Screen to Space
Playmodes talk exemplifies the evolution of audiovisual language on recent years through the analysis of self-made projects. From the first on-screen real-time generative graphics, to the latest pixel-mapping installations, audiovisual languages have exceeded the square boundaries of traditional screens, integrating new technologies and processes. 

This intersection between engineering, design and art, is giving birth to innovative approaches in the form of inmersive spaces, where spectators are no longer a passive subject but are integrated inside the audiovisual canvas.

Playmodes
Is an audiovisual research studio.A hybrid team of engineers, musicians and designers, they work with self-made digital technologies that breathe life into original light and sound instruments. This digital luthierism has led them to apply their creativity to immersive installations, scenography or projection mapping, in a journey outside the square boundaries of traditional screens, colonizing space by unfolding pixels across architectural spaces.

playmodes.com

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Beyond tools

An iniciatic journey to programming for graphic designers. You don't need to be good on math, just put in order your thoughts. Learn to solve problems by segmenting them into smaller problems. Ask the computer to do the dirty work. Run your code and expect the unexpected.

Programming your design makes it flexible and powerful. Focus in the process and not in the result and get control over the result because you control the process.
Don't let the result lead your process. It needs your commitment, nobody said that having a superpower would be easy.

Joancarles Casasín
Born in Barcelona, from where escaped a few years ago. He started his interest in digital typography in the early nineties and since 2005 his work is exclussively devoted to custom type design and font production.
Self-taught, writes small tools to make his and other's life easier and exciting and to flee from the software’s dictatorship.
Checks email manually.

Type (of) Guides

During this workshop we will take a journey to undiscovered territory. You will be working on a typographic travel guide and explore a yet unknown destination.
Content creation will play an essential role, all materials need to be generated, edited and designed. You will have to follow certain restrictions during the working process.

Serge Rompza
After graduating from Gerrit Rietveld Academie in Amsterdam, Serge Rompza has co-founded the Berlin and Oslo based design studio NODE in 2003, together with Anders Hofgaard. 
The two offices collaboratively focus on identity, print, exhibition and interactive work.

Clients include Haus der Kulturen der Welt Berlin, Vitra, MIT Program in Art, Culture and Technology (ACT), Lithuanian Pavilion / La Biennale di Venezia, Office for Metropolitan Architecture (OMA). 
Since 2004, he has regularly been teaching at art and design academies across Europe.

Omar Sosa
is a Barcelona-based art director, graphic designer, and publisher. In 2008, Omar founded the magazine Apartamento together with his friend Nacho Alegre. Apartamento is now distributed in 45 countries. Two years later he went on to win the prestigious Yellow Pencil Award and Apartamento was awarded the Best Entire Magazine of 2010 by the D&AD association.

Sosa has worked as the Art Director for a wide range of international clients: Flos, Louis Vuitton Group, Rizzoli International, Carolina Herrera NY, DDG Partners, Corriere Della Sera, Patricia Urquiola, Ricardo Bofill Architecture, among others. His work spans from designing books and magazines to creating brand identities, designing exhibitions and generating successful liaisons among creative professionals.

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Familia + Onionlab = Playmoss Familia and Onionlab studios presented some of the latest projects of each studio and together presented the history and evolution of Playmoss, the online music platform.

Familia
Is an independent graphic design studio located in Barcelona and founded by Aleix Artigal. A graduate from EINA, he began his professional career at Basedesign where he worked for more than five years. He continued his career as an independent designer for local and international clients, developing cultural, institutional and commercial projects. Familia was born in 2017, a project that arose from a desire to provide a more global and effective professional response to clients.

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Infographics & Data visualization
A practical/theoretical workshop of initiation to the use of infographics as a tool of communication and expression. We analyzed a complete dataset about student mobility working in groups to elaborate a series of posters. The relationship between the recent economic crisis and the student flows or the correspondence between cultural affinity and mobility where some of the aspects highlighted.

Paadín
He was born in Ferrol, Galicia. 
He studied Fine Arts in the University of Cuenca. After moving to Barcelona, he settled there as a graphic and multimedia designer. In 2001 he co-founded Cartún, the first online cartoon producer in Spain. Later on, he would join Lamosca, as a graphic designer, art director and partner. Since a few years ago, his work is focused mainly in infographics. He has lectured and taught in various universities, mainly in Spain and Mexico.

Documenting the Everyday
The aim of the workshop is to develop research, editing and design skills. Participants have to identify and document a subject found within a given (500m) radius of Elisava. They are expected to deliver a 12–24 page publication produced using a combination of a minimum of three print techniques: Risograph, laser prints, rubber stamps, collage, etc.

It is a project about experimentation, observation and local discovery—finding beauty in and celebrating the ordinary. It culminates in an exhibition of the finished publications with accompanying promotional posters.

PatrickThomas
Is a graphic artist, author and educator. He studied at Central Saint Martins School of Art and the Royal College of Art in London before relocating to Barcelona in 1991 where he founded the multidisciplinary studio ‘laVista’. In 2005 he published ‘Black & White’ a compilation of his work for the International Press. In 2011 Laurence King Publishing, London, published his second book ‘Protest Stencil Toolkit’. He is currently working on the follow-up, due to be released in 2018.

In 2007 he established his first silkscreen press in Barcelona and decided to concentrate on releasing personal, uncommissioned work. Since then he has exhibited his limited-editions across five continents, where many are now held in private and public collections. He set up a second silkscreen press in Berlin in 2016.

He has given talks about his practice and held workshops worldwide, extensively in the UK, Spain and Germany. Since October 2013 he is a professor of visual communication at the Stuttgart State Academy of Art and Design (Klasse Thomas).
Since 2011 he is based in Berlin. He works between there, London, Barcelona and Stuttgart. He is a member of AGI (Alliance Graphique Internationale).

Iconografista

Graphic artist Patrick Thomas (Liverpool, UK) talked about discovering design through music, his education at Central Saint Martins and the Royal College of Art, and how his work subsequently led him on a journey via Barcelona to Berlin where he is currently based.

He talked about working freelance from a pension on Carrer Sant Pau in Barcelona, founding Studio laVista, working commercially — with specific reference to his work for the International Press — and his decision to stop accepting commissions a decade ago in order to concentrate on his own work.

He talked about the epiphanic moment he discovered printmaking as a student in Liverpool, exhibiting worldwide, the importance of 'reach' in his work and his ongoing fascination with the Victorian multimedia artist and visionary William Morris. He will also talk about his work with Klasse Thomas, his visual communication class at State Academy of Art & Design Stuttgart.

Patrick Thomas

Is a graphic artist, author and educator. He studied at Central Saint Martins School of Art and the Royal College of Art in London before relocating to Barcelona in 1991 where he founded the multidisciplinary studio ‘laVista’. In 2005 he published ‘Black & White’ a compilation of his work for the International Press. In 2011 Laurence King Publishing, London, published his second book ‘Protest Stencil Toolkit’.

He is currently working on the follow-up, due to be released in 2018. In 2007 he established his first silkscreen press in Barcelona and decided to concentrate on releasing personal, uncommissioned work. Since then he has exhibited his limited-editions across five continents, where many are now held in private and public collections. He set up a second silkscreen press in Berlin in 2016.

He has given talks about his practice and held workshops worldwide, extensively in the UK, Spain and Germany. Since October 2013 he is a professor of visual communication at the Stuttgart State Academy of Art and Design (Klasse Thomas). Since 2011 he is based in Berlin. He works between there, London, Barcelona and Stuttgart. He is a member of AGI (Alliance Graphique Internationale).

patrickthomas.com
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Sirene
is a project to bring you closer to the sea, to life in and out of it, in a direct, emotional, rigorous and sophisticated way. A publication for readers who love the sea in a particular way where the content is ahead the continent. Environmentally friendly, with fonts inspired in nautical charts, linear illustrations and color only in images, and with a rhythm defined by solid and dynamic structures, by the exchange between technique and emotion.

Sergio Juan
With more than 15 years of experience he has developed projects in Europe and America. In 2007 he founded his studio in Barcelona. He has designed Il Sole 24 Ore, Corriere della Sera, Il Messaggero and l'Unità among other newspapers. He has worked as Art Director of several publications, currently of Sirene. His work has been recognised by many SND, SPD, Laus, D&AD and ADC*E awards. He is currently teaching at the Master's in Advanced Typography, Eina.

sergiojuan.com 

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Graphic system for book covers. Towards a parameter language.
A graphic message is not a spontaneous product that appears by inspiration, with a finished and complete form, in the mind of its author. Every graphic message responds to a process of reflection, strategy and decision making that affects both the meaning that it wants to transmit and the way of expressing it visually.

In this conference, we will explore the language of book covers, their expressive character, and the methodology to design them.
The objective is to provide the participant with the context and the necessary tools to approach the creation of book covers as well as to reflect playfully on the systematic capacity of graphic language.

Rosa Llop
Designer, teacher and writer. Director of the Master's Degree in Project Management and Design for the Internet at ELISAVA / UPF as well as Professor in the Degree in Design. She collaborates as a consultant at the UOC in the subjects of interaction design and data visualization and she is also a professor in the Master in Digital Publications of BAU-UVic.

Her lines of research are the systematization of the visual language and the criticism of the interface. As a result of his research, in 2014 she published in Gustavo Gili the book A graphic system for book covers. Towards a language of parameters and in 2017 the book Interaction Notebook in which she reflects on the methodology of the interaction project from a constructive perspective (Oberta Publishing).

Deep blue
A talk about Concrete graphic design, about a style, a typeface, the form that doesn’t necessarily follow the function, about our beginning, our love for systems, for the fails of systems, about basic ideas, about the limits of all this and the future of things.

Spassky Fischer
Is Paris-based graphic design studio founded in 2014 by Hugo Anglade, Thomas Petitjean et Antoine Stevenot. Then, Julia Andréone, photographer, Thomas Petit and Manon Bruet, graphic designers, joined the team. Combining graphic design, art direction and photography, Spassky Fischer mainly works in artistic and cultural fields.

Since 2014, the studio is in charge of the whole communication and identity of the MAC VAL museum (Musée d’art contemporain du Val-de-Marne) and the Mucem (Musée des civilisations de l’Europe et de la Méditerranée) in Marseille, since 2016.

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