Novo Typo Mark van Wageningen
Color is the new bold!
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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.
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Sala Aleix CarrióFloor 1ELISAVALa Rambla 3008002 Barcelona
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.
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.
Design for the Times
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.
She 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 Bichleris 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.
© Mano Strauch
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).
Office for Typography Chi-Long Trieu
Collaborations, Multidisciplinarity and Money
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.
DinamoJohannes BreyerFabian Harb
Variable Font Dilemmas
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.
Spinning Aubergines, Talking Genitals and the Oldest Women on Earth
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 GinsburgNacida 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.
An Ongoing Story
An Ongoing StoryFor 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 Meiselasis 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.
Our Polite Society Matthias KreutzerJens Schildt
Our Form of Type
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.
MuirMcNeilHamish MuirPaul McNeil
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.
MuirMcNeilMuirMcNeil’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.
Morag MyerscoughWe Make Belonging
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.
Cause and Effect through Timeline
©Farfetch & ©Valeria Herklotz
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.
Grilli TypeNoël Leu
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.
Imagination as a catalyst for social change
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!
Experimental Jetset, LAND!, Pioneers of Change, Governors Island, New York.
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.
Droog Event 1: Open Borders, Design etc., Lille, France, 2004.
Na KimTable Union
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)
Stefanie PosavecDear Data
Observe, Collect, Draw: Documenting the world using data
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 Posavecis 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!
A Practice for Everyday LifeKirsty CarterEmma Thomas
The more you hold the more you see, the more you see the more you hold – Graphic Design for Art
© Carol Sachs
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.
Irene PereyraAnton & Irene
Getting Personal Projects Made
Getting Personal Projects MadeNearly 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.
Rejane Dal Bello
I don't know
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).
Live with Joy
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.
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More Matter, With Less Art — Designing books for the digital age
More Matter, With Less ArtDesigning 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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Large, simple, small and complicated drawings
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.
Gasket Unicase Font
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MuchoMarc CatalàRob DuncanPablo JuncadellaTilman SoléLoran Stosskopf
5x3=15A talk by Mucho
5x3=15A talk by MuchoAs 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.
MuchoWe 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.
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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.
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).
Spassky FischerManon BruetThomas Petitjean
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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