Past events
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Lecture

Peter Biľak, Typotheque

Peter Biľak

Giving voice to People

Peter will discuss reasons for designing type today, from seeking new possibilities within the Latin script, using cognitive research to fuel design project, to designing type for minority languages.

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.

Typotheque is a type Company giving shape to language, designing for communication in a world that is increasingly digital and multicultural.

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Bookworm

Contemporary books,

Contemporary books

In this second session we will focus on contemporary books, analysing some examples that have won awards in recent years.

What is currently considered a well-designed book? 

Through the verdict of the jury of the LAUS awards and the “Best Book Design From All Over The World” we will be able to take a look at recent editorial design and detect what the trends are in this field. We will be able to assess the adequacy between form and content and explore the role of the designer in the process of creating a book.

The book has been the medium and the message of the diverse movements in the arts during the last century. The book, with its emphatic material presence, takes on a special value now that we are witnessing its dematerialization, reduced to digital data in electronic format.

Over the Bookworm sessions we will explore several iconic books that capture the spirit of the era in which they were designed. We will place the books in their context and try to define what makes them relevant in the history of 20th century book design. The Bookworm sessions are guided by Andreu Jansà, librarian and curator of the Enric Bricall Reserve Fund.

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Masters' Talks

Amical Dall, Assemble

Amical Dall

The Work of Repair

Amica will reflect on how architectural and creative practices can orientate themselves away from invention and innovation towards the patient and slow work of repair, and consider work that is based on making long-term, personal or ethical commitments to sites, situations, and social contexts. She will cover some of Assemble’s early work, before discussing a set of projects that reorientated her and the studio’s attitudes towards the city and the rural, material ethics and intergenerational justice. 

Amica Dall is an inter-disciplinary practitioner focused on architecture and city culture and children’s right to the city. She is a founding member of Assemble, where she delivered more than 15 major projects over ten years. Her work as a writer and filmmaker has been broadcast on the BBC, exhibited at the Venice Biennale, and published in E-Flux. She recently co-wrote a book on post-carbon future for architecture with architecture practice, Material Cultures. Amica has taught across a wide range of subjects and works with both children and post-graduates.

Assemble is a multi-disciplinary collective working across architecture, design and art. Founded in 2010 to undertake a single self-built project, Assemble has since delivered a diverse and award-winning body of work, whilst retaining a democratic and co-operative working method that enables built, social and research-based work at a variety of scales, both making things and making things happen. Turner Prize in 2016, and nominated in 2022 to the Royal Academy in recognition of their collective contribution to the culture of city making.

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Lecture

Fanette Mellier,

Fanette Mellier

Printed stuff
Fanette Mellier works in an artisanal way in her studio in Paris. She practices a radical and colorful graphic design. She will present in this conference her latest projects: visual identities for cultural structures, typographical plaids, and experimental books produced in parallel. Lots of printed stuff!

Specializing in print design, Fanette Mellier (1977) creates mainly atypical works in the cultural field. Besides commissioned work, through which she handles several themes, Mellier invests herself in experimental projects that freely shuffle fundamental aspects of graphic design: typography, color, printing process and relation to public spaces.

Her works have been displayed in numerous contemporary art museums and centres, such as the Centre Pompidou in Paris, the Stedelijk Museum Amsterdam and the Cooper-Hewitt Smithsonian Design Museum in New York.

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Bookworm

Joost Grootens' books,

Joost Grootens' books

In this session we will focus on the figure of Joost Grootens, a Dutch graphic designer specialising in the design of books on architecture, urban planning and art. His work is characterised by the handling of large amounts of information in the form of statistical data, maps and diagrams. His ability to visualise data has made him a benchmark in the field of visual communication. 

Taking as a starting point a retrospective book of his own work entitled “I swear I use no art at all”, we can get to know his design philosophy and some notable examples of his editorial production.

The book has been the medium and the message of the diverse movements in the arts during the last century. The book, with its emphatic material presence, takes on a special value now that we are witnessing its dematerialization, reduced to digital data in electronic format.

Over the Bookworm sessions we will explore several iconic books that capture the spirit of the era in which they were designed. We will place the books in their context and try to define what makes them relevant in the history of 20th century book design. The Bookworm sessions are guided by Andreu Jansà, librarian and curator of the Enric Bricall Reserve Fund.

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Masters' Talks

Lev Manovich,

Lev Manovich

In an article about people using AI image synthesis tools, WSJ compared their arrival to another major technological revolution in art – the adoption of photography in the 19th century (8/19/22). New Yorker magazine stated: “How we work — even think — changes when we can instantly command convincing images into existence.” (9/19/22) NYT wrote that “A.I.-based image generators like DALL-E 2, Midjourney and Stable Diffusion have made it possible for anyone to create unique, hyper-realistic images just by typing a few words into a text box.” (10/21/22)

 

Are we indeed living through a major revolution in visual culture? Is it true that “anybody” can create “unique” images using this technology? In my talk I will critically evaluate some of the claims made about AI Image Synthesis, and suggest alternative ways of understanding it. The talk draws on the latest chapter in the book “Artificial Aesthetics: a Critical Guide to AI, Design and Media” (Manovich and Arielli, 2021-) being published online at manovich.net

Lev Manovich is a world-renown innovator and top influencer in many fields, including digital art, media theory, digital humanities, and cultural analytics. He is a Presidential Professor at The Graduate Center, CUNY, and a Director of the Cultural Analytics Lab. Manovich was included in the list of “25 People Shaping the Future of Design” and the list of “50 Most Interesting People Building the Future”. He is an author of 15 books that include The Language of New Media described as “the most suggestive and broad-ranging media history since Marshall McLuhan.”

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Bookworm

Irma Boom's books,

Irma Boom's books

In the last session we will see a selection of books designed by Irma Boom, one of the most renowned graphic designers of the moment. We will be able to take a journey from her first designs in the 1980s to recent examples, taking as a guiding thread the third edition of the retrospective miniature catalogue that she herself periodically updates.

Irma Boom’s work is a tribute to the history and present day of the book, a celebration of its powerful presence as an object and a testimony to its survival in times of electronic publications.

The book has been the medium and the message of the diverse movements in the arts during the last century. The book, with its emphatic material presence, takes on a special value now that we are witnessing its dematerialization, reduced to digital data in electronic format.

Over the Bookworm sessions we will explore several iconic books that capture the spirit of the era in which they were designed. We will place the books in their context and try to define what makes them relevant in the history of 20th century book design. The Bookworm sessions are guided by Andreu Jansà, librarian and curator of the Enric Bricall Reserve Fund.

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Lecture

Jonathan Hares,

Jonathan Hares

Is it better than a Tree?

Design books in 2023

Jonathan Hares is a British designer living and working in Switzerland, having moving there after meeting his wife, Nicole Udry at the RCA, London. Since 2018, he is been working with Cornel Windlin at Lineto.com in Zurich. He continues designing books and exhibitions in his studio in Lausanne. He mostly works for a small circles of clients based on relationships that have lasted years. He is currently designing books for Isamu Noguchi for the White Cube gallery and the second edition of the Museum is not Enough for the CCA, Montreal. He teaches at the ECAL, Lausanne.

Lineto.com is Switzerlands first digital foundry, and started a trend for designer-created fonts, pulling together a generation of European designers who created type as a by-product of their working process. Jonathan is the designer of the current Lineto website with Jürg Lehni and Cornel Windlin. (Studio) Jonathan Hares is the loose name given to what whatever else happens in the remaining days of the week. Which is Mostly books, often working with Amaury Hamon and Jonas Marguet. Finally Jonathan Hares teaches on the Editorial course at the ECAL with Gilles Gavillet.

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Masters' Talks

Gail Bichler, The New York Times Magazine

Gail Bichler

Design for the Times

The New York Times Magazine is known for bringing together ambitious journalism, powerful visuals and daring typographic systems. Creative 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 audio and print only sections of the paper.

Gail Bichler is the creative 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 AGI and a former board member of the SPD.

Past events
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Masters' Talks

Luna Maurer, Moniker

Luna Maurer

Rewind and fastforward

Luna Maurer will elaborate on Moniker’s relation with technology in the past 20 years and its impact on their practice. Moniker is currently developing a new outlook and perspective on technology, sparked by recent rapid developments in the field. The web changed from an emancipating democratizing network into an infrastructure for big capital, the screen from a desktop publishing interface to a fundamental extension of our identity. Luna will share their latest experiments.

Luna Maurer is an interaction and media design artist. Originally from Stuttgart (Germany), she completed her studies at the Gerrit Rietveld Academy and the Sandberg Institute in Amsterdam.

With Roel Wouters she heads the Amsterdam based studio Moniker. Moniker is well known for authoring the Conditional Design Manifesto (together with Edo Paulus and Jonathan Puckey). Luna Maurer has been teaching media courses at the Gerrit Rietveld Academy, the Sandberg Institute, Royal Academy of Art, The Hague, HfG Karlsruhe and at Yale University School of Art.

Moniker explores the characteristics of technology and its influence on our daily lives. They have designed many participatory projects (online and offline), as well as other web projects, films and performances. Their clients range from cultural institutions like Stedelijk Museum, Amsterdam and Fondation Beyeler, Basel to more technology oriented clients like the Mozilla Foundation, Unity 3D and Google.

Moniker has won many awards, including a British Music Video Award, a Webby, several Dutch Design Awards and the Amsterdam Prijs voor de Kunst.

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Lecture

Dahyun Hwang, HHHA

Dahyun Hwang

Dahyun will talk about how we can convert analog into digital things and explore the possibilities of the web. Furthermore, how can we create exciting websites in unexpected ways? And how can we use online tools for better communication nowadays?

Dahyun Hwang is a graphic designer. She studied visual communication at University of Seoul in Korea and finished her master’s at Bauhaus University in Weimar, Germany. She thinks about how we can connect analog and digital. She is also a co-initiator of HHHA, a creative coding collective. She has participated in ‘Post Modern Child’ Exhibition in MoCA Busan and ‘POST IT!’ Exhibition in Tokyo. Her works have been featured in Monthly Design, It’s Nice That, CA Magazine, and so on.

HHHA (Hej Hello Hallo Annyeong) is a creative coding collective in which female creators gather to share and explore web-based works. Dahyun Hwang co-initiated HHHA with Naree Shin, and they gathered other teammates living in various places such as Germany, Denmark, and Korea.

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Masters' Talks

Viviane Stappmanns, Vitra Design Museum

Viviane Stappmanns

To curate means to care. Literally. In the case of design, these objects – and the exhibitions they are featured in – talk about the human drive for progress, about creative leadership, about material economies and technological innovations. But what does it mean to curate within the field of design in the 21st century? How can exhibitions and books make a contribution to fostering more just, socially and ecologically sustainable societies? In her lecture, she will provide insights into the hands-on practice of curating, and into the broader issues that may inform how we present, discuss and practice design in the future. 

Viviane Stappmanns is a curator at the Vitra Design Museum in Weil am Rhein. She is interested in exploring the contribution curators can make to rethinking design as a practice concerned with ecological and social sustainability. In her exhibition and teaching work, she experiments with new, collaborative approaches to curating and exhibiting. She has taught at different schools and universities, among them the School of Architecture and Urban Design at RMIT University in Melbourne, Australia and, most recently the University of Arts and Design in Karlsruhe.

Prior to working at the Vitra Design Museum, Viviane has worked as an editor and curator within architecture and design contexts in Australia and Germany, and holds degrees in Interior Design and Journalism.

The exhibition “Here We Are! Women in Design 1900 – Today!” (2021) will open at the Barcelona Design Museum in October 2023. Currently, she is working on the international travelling exhibition “Garden Futures”, due to open at the Vitra Design Museum in Spring 2023.

1 & 2 — Exhibition «Typology. An ongoing study of everyday items», 2020 / 3 — Exhibition «Beyond the Surface», 2018 / 4 — Installation of the exhibition «Better Nature», 2019 / 5 & 6 — Exhibition «Here We Are! Women in Design», 2021 / 7 — Preparing the exhibition « Here We Are! Women in Design », 2021
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Case studies

Albert Folch & Rafa Martínez, Folch

Albert Folch & Rafa Martínez

Latest projects

In an accelerated world, every aspect of our lives is in constant change. At Folch we bring together different disciplines to respond to every brief, always seeking to have an atypical vision. Each project is an opportunity to design concepts, brands, narratives and digital events, reaching and involving audiences to this new liquid paradigm.

Folch Creative-driven brand ecosystem. Acid House (creative and business innovation hub in Barcelona and Madrid), White Horse (creative production), Avanti Studio (city branding & way finding ), NOW (digital innovation and transformation), Creative Services (fashion and e-commerce), PILLS (digital education), Gallery Studio (New music formats), G.Records (Record label), Gallery (Music Innovation), Eldorado Agency (outdoor creative agency), J.Franc (3D visualization and AR/VR solutions), FFF (Digital type foundry) and Self (talent management).

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Bookworm

From 1900 to Postmodernism,

From 1900 to Postmodernism

Introduction to the Enric Bricall Special Collection, a collection of books whose design and typography represent excellence in 20th century editorial design. We will offer a historical review from 1900 to Postmodernism, passing through the interwar avant-garde, the New Typography and Swiss graphics.

We will look at some representative books from each period and analyse their characteristics. We will try to understand where their importance lies and why they have gone down in the history of graphic design as canonical examples of editorial design in the last century.

The book has been the medium and the message of the diverse movements in the arts during the last century. The book, with its emphatic material presence, takes on a special value now that we are witnessing its dematerialization, reduced to digital data in electronic format.

Over the Bookworm sessions we will explore several iconic books that capture the spirit of the era in which they were designed. We will place the books in their context and try to define what makes them relevant in the history of 20th century book design. The Bookworm sessions are guided by Andreu Jansà, librarian and curator of the Enric Bricall Reserve Fund.

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Case studies

Pablo Juncadella, Mucho

Pablo Juncadella

Degrow or grow in another way?
The value of a project cannot be measured only in monetary terms. And we are clear about that.

It is important for us to develop ideas and concepts that contribute to society, that help to fulfill an objective and that lead us to think beyond the limits. We call these projects ‘pro-bono’ and they are part of the commitment we have with others and with society, but especially with our community of designers.

How do we organize pro-bono projects? How do we limit collaboration so that it is sustainable for both parties? How do we maintain the client relationship over time?

Pablo Juncadella

Co-founder and creative director at Mucho. Thanks to his constant search for new challenges, Pablo was promoted to the position of Creative Director of the English newspaper The Observer after working as a graphic designer for grafica and Pentagram. His global vision and his great interest in visual knowledge have been fundamental contributions to the growth of the studio. Today, together with his team at Mucho, he works with the purpose of finding solutions that fit in the positioning of the brands by contributing with original ideas.

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Case studies

Robbie Whitehead, Apartamento Magazine

Robbie Whitehead

Title

Description of the session

Robbie Whitehead (London, 1988) is the editorial director of the magazine Apartment. In 2010, after finishing his graphic design studies in Sydney, Australia, he came to Barcelona to work on the publication. In it, together with its founders Nacho Alegre, Omar Sosa and Marco Velardi, is responsible for the editorial direction of the magazine and the rest of the brand’s editorial projects, directing in a close manner a network of photographers, writers and illustrators of recognition international.

Apartamento is widely recognised as today’s most influential, inspiring, and honest interiors magazine. International, well designed, simply written, and tastefully curated since 2008, it is an indispensable resource for individuals who are passionate about the way they live. The publication is published biannually from its headquarters in Barcelona. It also has offices in New York, Milan and Berlin.

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Showcase

Clara Layti, LLOS&

Clara Layti

After more than 10 years collaborating with designers for the creation of digital projects, we will analyze relevant works of our trajectory, share experiences and give examples of how to prepare the ideal hand off for the development of a website, making life easier for the developer and minimizing feedback and unforeseen events.

Clara Layti is a web programmer at LLOS& since 2020. She has led the development of web projects produced by studios such as Folch, Hey, Affaire or Proxi, among others. Working with the latest web development technologies, she seeks to adapt to the needs of each project to offer the best user experience. He studied Creation and Development of Digital Activities, specializing in UX design and web programming.

LLOS& is a web development studio in Barcelona specialized in pixel-perfect front-end finishing.
Our projects are programmed from scratch with emphasis on aesthetics, animations and interactions, almost always executed by the hand of art direction and design professionals.

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Case studies

Pau Garcia, Domestic Data Streamers

Pau Garcia

We, humans, struggle to build empathy towards large amounts of information. ¿How do we solve these challenges when the problems we face today are so inherently big, interconnected, wicked, and globalized? In this talk, we will explore some humble experiments done to overcome this lack of empathy through art, technology, and participatory experiences.

Pau Garcia is a media designer and the co-founder of Domestic Data Streamers, a 25 people studio that since 2013 has been focused on creating info-experiences. He also leads de Master in Data Design at Elisava. He is a guest lecturer at The New School (NYC), Hong Kong Design Institute, the Royal College of Arts (London), Politecnico di Milano and the Barcelona School of Economics. He built and permanently lives in the Residence for Artists HeyHuman! and is part of the Posttraumatic Collective. Usually, he doesn’t speak in the third person.

Domestic Data Streamers is an award-winning studio exploring how to express data through film, robotics, code, theater, or architecture in schools, prisons, cinemas, the streets of many cities, and even the United Nations Headquarters. They work for commercial brands and all kinds of old-school and new-kinky institutions. They truly believe data can be a real trigger of change and build bridges in a polarized society.

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Case studies

Anna Berbiela, Pràctica

Anna Berbiela

Pràctica: Graphic Hunting

Exploring our reality allows us to understand the creative potential that lies behind everything that surrounds us; In this session we will analyse, through visualising the latest Pràctica case studies, how our environment and surroundings can become an inexhaustible source of inspiration if we really pay attention.

Anna Berbiela

Graphic designer, creative director, and illustrator based in Barcelona. Anna Berbiela is co-founder, together with Javier Arizu, Carlos Bermúdez, and Albert Porta, of the design studio Pràctica. With offices in Barcelona and New York, Pràctica believes that design it’s a process involving researching, thinking, sharing, challenging… then giving all this a definitive shape. 

Pràctica is a design and identity studio based in Barcelona and New York that seeks to reveal the particular truth of each brand. By simplifying complexity and shaping concepts, creates work that makes sense.

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Showcase

Mela Dávila Freire, Artfile

Mela Dávila Freire

Making a book means undertaking a complex task which is eminently collective. In addition to those who create content, design it and print the resulting book, other roles and knowledge must be involved whose participation is not always visible from the outside. This session will review all of the agents involved in editorial publishing, as well as some of the types of balance that can be established between such roles throughout the work process.

In her professional career, Mela Dávila Freire has combined institutional work – at Museu d’Art Contemporani de Barcelona and Museo Reina Sofía, among others– with research,writing, editing and curating. Her work focuses in particular on artist publications and art archives, spanning topics such as the theoretical and practical overlaps between archives and art collections, the ideological biases in archival structures,and the feminist revision of the genre of artists’ publications.

Her most recent book, Mission and Commission: documenta and the Art Market, 1955 – 1968, deals with the relationship between the early documenta exhibitions and the incipient art market through the publication of multiples and graphic works.

1 — Damián Ucieda, Camiño negro, 2022. Design by Luis Llorens Pendás, A Coruña / Hamburg. / 2 — Essay 2: We Want to Know, 2022. Design by Todojunto, Barcelona. / 3 — Mission and Commission: documenta and the Art Market 1955 – 1968, 2022. Design by Cosmic, Barcelona. / 4 — The publication My Holy Nacho (2015) in Jamie Allen and Bernhard Garnicnic’s installation Sectioning: My Holy Nacho, Nikolaj Kunsthal, Copenhagen, 2016. Design by Cosmic, Barcelona. / 5 — Poster for a presentation at the University of Fine Arts Hamburg (HfbK), 2019. Design by Luis Lloréns Pendás, A Coruña / Hamburg.
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Lecture

Thierry Brunfaut, Base

Thierry Brunfaut

Blanding, The Branding Paradox

I’ve come to believe one thing: Brands are like people. Some are understated. Some are loud. Some funny. Some communicate by exclaiming! Some have terrible grammar. Brands aren’t created in a vacuum; they’re products of the world around them. Formed around the strengths and weaknesses of the competition, a brand is as much about what it isn’t as what it is. The point is differentiation; that’s what branding is. That’s why I’m so baffled by the current epidemic of what I call blanding—branding not to stand out at all, but to blend in. With results that are, in a word, bland.

Thierry Brunfaut is a creative director and one of the founding partners of Base Design, the international network of branding studios based in Brussels, New York, Geneva, and Melbourne. He is the author of the renowned 5–Minute poster series, a professor, and a regular speaker at design and branding conferences around the world. Thierry bears a striking and seemingly contradictory resemblance both to Moby and Kermit the frog.

Base Design creates brands with cultural impact. Our team of creatives, strategists, and digital experts design and develop simple yet powerful brands, and build unique personalities. Base knows that branding is first and foremost about people, so specializes in helping companies – whether new or established; large or small – to become human-centric brands with vision, clarity, and empathy. Founded in the early ‘90s, the company has evolved continuously over the years and is now steered by partners across all four studios.

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Lecture

Vrints-Kolsteren, Off track

Vrints-Kolsteren

Off track

In this lecture Vrints-Kolsteren will take you into their creative process. From their sources of inspiration to the way they build visual systems.

Like a game, a visual identity is build up from a set of rules. How to apply these rules will determine the end result. The trick is to navigate freely within the game, like a traveler that goes off track but has a map to feel safe.

Vrints-Kolsteren is an Antwerp based design studio founded by Vincent Vrints and Naomi Kolsteren in 2015, working both locally and internationally. The bureau’s forte is developing visual identities with a clear and strong focus on typography. When working on an identity, they create a system, a set of rules, which can evolve over time.

Additionally, dealing with the organic opposed to rudimentary shapes and straight lines is a recurring narrative within their practice.

Vrints-Kolsteren puts an emphasis on collaboration and likes to work closely with their clients. They don’t want to view the client as a client, in the strict sense of the word, rather they consider all parties to be equal.

Vrints-Kolsteren is influenced by the modernist period, with clear references to that time, its designers and artists, which can be soon in their attention for form, linework, and most importantly, the use of grids and rulesets.

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Bookworm

Muriel Cooper + Irma Boom,

Muriel Cooper + Irma Boom

The work of the designers Muriel Cooper and Irma Boom serves to reflect on the phenomenon of the designer as author. Learning from Las Vegas was one of the seminal texts of postmodern architecture, but the design of the book was the cause of confrontation between its authors and Muriel Cooper due to the lack of adequacy between substance and form. A similar case is that of Irma Boom, who claims her creative autonomy in the process of creating the book. Two very strong personalities that refute the image of the “invisible designer”.

Modernism and Postmodernism are the driving forces that have shaped 20th century architecture, art and design.

The Modern Movement began at the end of the 19th century, ran vigorously through the century and began to be questioned at the beginning of the 1960s, before finally fading away in the 1990s with the advent of the Internet and the paradigm shift it brought with it.

The book has been the medium and the message of the diverse movements in the arts during the last century. The book, with its emphatic material presence, takes on a special value now that we are witnessing its dematerialization, reduced to digital data in electronic format.

Over the Bookworm sessions we will explore several iconic books that capture the spirit of the era in which they were designed. We will place the books in their context and try to define what makes them relevant in the history of 20th century book design. The Bookworm sessions are guided by Andreu Jansà, librarian and curator of the Enric Bricall Reserve Fund. The books that make up the collection are documented in the main accounts of the history of 20th century graphic design.

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Lecture

Sarah Boris, Multi-practice

Sarah Boris

In this talk, artist and designer, Sarah Boris will talk about her shifting practice from being an in house designer and art director for some of the leading art institutions in the UK, to setting up her own studio in 2015. She will present some of her personal and non commercial projects that have shaped her practice and are informing new directions including self-published projects such as ‘Global Warming Anyone?’, or her artist book ‘Le Théâtre Graphique’ and her latest sculptural heart shaped bench design.

Sarah Boris is an artist and graphic designer based in London. After working for over ten years for organisations such as Phaidon, the Barbican Centre and the Institute of Contemporary Arts, she set up on her own in 2015, with a focus on visual identities, editorial design and developing her personal art practice. Her clients include The Photographers’ Gallery, Tate, The National Gallery and Christie’s to name a few.

 

In parallel to commissioned projects Sarah creates screenprinted artworks during artist residencies. Her work was acquired by the Stedelijk Museum, Amsterdam and was exhibited at the Design Museum in London and at Une Saison Graphique, Le Havre, France. She was judge president for D&AD book design in 2016 and is on the graphic design jury for the Latin American Design Awards 2022.

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Bookworm

Massin + Sister Corita,

Massin + Sister Corita

In the 1960s the modern canon began to be questioned. Social unrest and countercultural movements found their way into graphic design. A new aesthetic far removed from the Swiss grid gave way to playful typographical compositions that connected with the “words in freedom” of the artistic avant-gardes of the early 20th century, especially Futurism and Dadaism. Robert Massin in France and Corita Kent in the USA mastered the use of the printed word in their creations.

Modernism and Postmodernism are the driving forces that have shaped 20th century architecture, art and design.

The Modern Movement began at the end of the 19th century, ran vigorously through the century and began to be questioned at the beginning of the 1960s, before finally fading away in the 1990s with the advent of the Internet and the paradigm shift it brought with it.

The book has been the medium and the message of the diverse movements in the arts during the last century. The book, with its emphatic material presence, takes on a special value now that we are witnessing its dematerialization, reduced to digital data in electronic format.

Over the Bookworm sessions we will explore several iconic books that capture the spirit of the era in which they were designed. We will place the books in their context and try to define what makes them relevant in the history of 20th century book design. The Bookworm sessions are guided by Andreu Jansà, librarian and curator of the Enric Bricall Reserve Fund. The books that make up the collection are documented in the main accounts of the history of 20th century graphic design.

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Lecture

Lucienne Roberts, Is it still ok to be a graphic designer?

Lucienne Roberts

Influenced as much by feminism as Swiss typography, Lucienne will share her graphic design journey from utopian zeal to dystopian dilemma. She has always considered graphic design to be a political act. In the early days this message was greeted with incredulity but when her book Good: An Introduction to Ethics in Graphic Design hit the streets the subject was inching onto the agenda. Since then, she and colleagues have curated / designed exhibitions about graphic design in health and politics:

(Can Graphic Design Save Your Life? and Hope to Nope: Graphic Design and Politics 2008–18), worked on multiple NGO campaigns; helped spread the word about climate change; and most recently developed the installation Perhaps it’s not you, it’s me. in which Lucienne contemplates ‘leaving’ her long-standing partner Graphic Design. Here she explains why divorce was an option, argues for the value of graphic design and ponders on what we all need to do next.

Lucienne Roberts is founder of design studio LR+ and co-founder of advocacy initiative GD&. A graduate of Central Saint Martins, Lucienne’s practice is characterised by her abiding interest in ethical design. LR+ work spans exhibition design, books and corporate identity. GD& creates vivid books and exhibitions that explore how graphic design connects with all other things. Projects include the originating and co-curation of two critically-acclaimed London exhibitions: Can Graphic Design Save Your Life? and Hope to Nope: Graphics and Politics 2008–18.

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Workshop

Serge Rompza, NODE Berlin Oslo

Serge Rompza

Lost in Translation

On your way to becoming an editorial designer, you are confronted with exploring and producing common formats such as books, magazines or websites. For some time now, the discipline’s range of work has been steadily expanding; demands are changing. Collaboration with other disciplines, working with new formats is more necessary and exciting today than ever.

How can new things emerge in exchange with other specialists? How do we approach unknown formats and what are their characteristics? This workshop week will give us time to challenge ourselves and explore our skills as authors and producers of unconventional or even unknown formats.

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.

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Bookworm

Max Bill + Karl Gerstner,

Max Bill + Karl Gerstner

Swiss graphics led the international scene after the Second World War. In the 1950s and 1960s the Swiss style, a refined version of the New Typography, had become the universal solution to any visual communication need from book design to poster design to advertising and corporate image. Max Bill and Karl Gerstner, among many others, created a sophisticated language rooted in the avant-garde to communicate with the consumer society.

Modernism and Postmodernism are the driving forces that have shaped 20th century architecture, art and design.

The Modern Movement began at the end of the 19th century, ran vigorously through the century and began to be questioned at the beginning of the 1960s, before finally fading away in the 1990s with the advent of the Internet and the paradigm shift it brought with it.

The book has been the medium and the message of the diverse movements in the arts during the last century. The book, with its emphatic material presence, takes on a special value now that we are witnessing its dematerialization, reduced to digital data in electronic format.

Over the Bookworm sessions we will explore several iconic books that capture the spirit of the era in which they were designed. We will place the books in their context and try to define what makes them relevant in the history of 20th century book design. The Bookworm sessions are guided by Andreu Jansà, librarian and curator of the Enric Bricall Reserve Fund. The books that make up the collection are documented in the main accounts of the history of 20th century graphic design.

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Workshop

Martin Lorenz, TwoPoints.Net

Martin Lorenz

Systemic Type Design

We live in a (new) golden age of systemic type design. New technologies and easy to use programmes leveled the playfield for emerging designers and gave them the chance to experiment with new ideas. The world of display fonts has witnessed a lot of new impulses in the last years. Type has become more flexible, variable and kinetic as ever, adjusting efficiently and effectively to new communication channels.

Systemic Type Design is more than designing fonts. A type system is an efficient design tool that helps designers to design. If done well, the act of writing is the act of designing without the need to further layout the text. In this course we will develop an experimental type system that almost automatically generates fantastic design applications.

Martin Lorenz

might as well have become a cook, a comic artist or an architect, were it not for an internship at Müller+Volkmann. Lorenz studied Graphic Design at the University of Applied Sciences in Darmstadt and the Royal Academy of Arts (KABK) in The Hague. After working four years at the design agency Hort, he moved to Barcelona to found TwoPoints.Net with Lupi Asensio and do his MA and PhD in Design Research at the UB. Lorenz has taught since 2006 for Elisava and still likes to cook.

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Lecture

Yehwan Song, Experimental Websites

Yehwan Song

This lecture talks about the diverse trials faced when attempting to expand the range of our capacity within web environments by questioning standard web design templates. The talk features Anti-User-Friendly, an ongoing project that challenges the concept of user-friendliness by creating a content-focused website.
Web tools work as a bridge connecting the user and the device-website to narrow the world wide web down to a ‘village wide web’ and transform the web into an extended space.

Yehwan Song is a graphic web designer. She runs her own independent design studio focusing on the strategic use of technologies. Her work involves projects with multiple cultural organizations, including ifa, LIMA Media Art, Rhizome, Typojanchi, and Seoul Museum of Art.
She has participated in a number of exhibitions—Venice Biennale (Korean pavilion), Seoul Biennale(SBAU), and others; and her works have been featured in such magazines as Étapes, Monthly DESIGN, It’s Nice That, among others.

Yehwan Song Studio is a web design and a web development studio questioning standardized design and interface conventions that frame users’ behavior and the templates that make them lose their content awareness and become accustomed to oversimplification. We construct outside-the-frame devices and interfaces in order to challenge the notion of user-friendliness. We pursue diversity and variety in the web environment above efficiency.

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Showcase

Esteve Padilla, 131

Esteve Padilla

We will reflect from some projects elaborated in 131 during the last years, in which starting from typography we work to recover the local and collective memory.

Esteve Padilla.

Barcelona, 1983
Graphic designer, half of the 131 studio and occasional teacher at various universities. Graduated in graphic design at Eina (UAB).

131

(Pau Llop, Esteve Padilla) is a graphic design office based in Barcelona and Lleida. Typography understood as image, form or letter is a substantial element in all the projects we do. Our work includes art direction, identities, editorial projects, websites and typography.

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Case studies

Anna Berbiela, Pràctica

Anna Berbiela

Pràctica: Process

Pràctica does not have a style, but it follows a process; In this session, we will analyze, through the case studies of the latest studio projects, the process that Pràctica follows to develop its work.

Anna Berbiela

Graphic designer based in Barcelona. Anna founded the studio Pràctica together with Javier Arizu, Carlos Bermúdez and Albert Porta in 2018. With offices in Barcelona and New York, Pràctica is a studio that works for institutional, cultural, and commercial clients, developing communication projects in printed, digital, and environmental matters.

Pràctica is a full-service design studio based in Barcelona and New York. Working for institutional, cultural, and commercial clients, always seeks powerful concepts, bold visual codes, and customized solutions for each project. This is translated into a very eclectic job; Their style is the lack of one, it’s finding the best solution for each project.

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Showcase

Miquel Hervás, Book Bindery Rietveld Academy

Miquel Hervás

The act of making something public

This session addresses the methods, tools and implications of publishing activities. 

— What does the publication does/mean? And how is it going to exist/circulate?

— How does it achieve its aspirations through form?

— How do content, editorial concept and design come together?

— How to think publishing as complement and supplement to working practices?

— In which terms can ‘making public’ act as a tool for bringing common shared interests and concerns?

Book Bindery

The BB allows the production of books and publications in small editions and specific manipulations of paper and cardboard. All processes are always done entirely by hand and pushing the limits of what is possible.

Next to being a technical workshop, the BB functions as a cross-departmental point in our institution. We believe the publishing practice is an emancipatory process. We support project such as: PUB.sandberg.nl, Radio Rietveld and Rietveld Journal.

Miquel Hervás Gómez

(Terrassa, 19 April 1985). Handy graphic design freelancer based in the www. Running as a workshop manager at the BB. Tutor for Disarming Design at the Sandberg Instituut and Preparatory Course at the Gerrit Rietveld Academie, while being member of fanfare and Carne Kids.

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Case studies

Miquel Hervás, fanfare

Miquel Hervás

fanfare was established in the observation of a context, a network, within which design and art interactions resulted in projects not suiting within the existing platforms for presentation. fanfare creates a framework to connect already existing structures. What organically happened in this context was the creation of new structures, new networks, new initiatives. We allow ourselves in the context of today to speak about fanfare as framework for (non)physical publishing.

fanfare is a platform and design studio for cross-disciplinary collaboration and visual communication. Through an active programme, fanfare generates, explores, and curates environments for visual interactions.  

Since the start in 2014, fanfare has created a unique space for experiments, explorations and collaborations in the realm of graphic design and related disciplines. Through their research and design practice, fanfare sharpens and challenges the notion of visual communication. 

Miquel Hervás Gómez

(Terrassa, 19 de abril de 1985). Diseñador gráfico autónomo afincado en la www. Funcionando como jefe de taller en la BB. Tutor de Disarming Design en el Sandberg Instituut y del Curso Preparatorio en la Gerrit Rietveld Academie, a la vez que miembro de fanfare y Carne Kids.

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Lecture

Ruben Pater, CAPS LOCK

Ruben Pater

Ruben Pater (1977, NL) (he/him) works between journalism and graphic design. Under the name Untold Stories, Pater creates visual narratives that support solidarity, justice, and equality. Pater finds himself being a designer at a time when design is last thing the world needs. Until more ethical approaches present themselves, he designs, writes, and teaches. He is a tutor at the BA Graphic Design, and the MA Non Linear Narrative at KABK. The Politics of Design, is his first book about cultural bias in graphic design. His second book CAPS LOCK looks at the role of graphic design in capitalism.

CAPS LOCK

Capitalism could not exist without the coins, notes, documents, graphics, interfaces, branding and advertisements; artefacts that have been (partly) created by graphic designers. Even anti-consumerist strategies such as social design and speculative design are being appropriated within capitalist societies to serve economic growth. It seems that design is locked in a system of exploitation and profit, a cycle that fosters inequality and the depletion of natural resources.

CAPS LOCK uses clear language and striking visual examples to show how graphic design and capitalism are inextricably linked. The book contains many case studies of designed objects related to capitalist societies and cultures, and also examines how the education and professional practice of (graphic) designers supports the market economy and how design practice is caught within that very system.

CAPS LOCK is an inspirational book full of sources for design students, educators and visual communicators all over the world, just like Ruben’s first book The Politics of Design.

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Bookworm

László Moholy-Nagy + Jan Tschichold,

László Moholy-Nagy + Jan Tschichold

Two crucial works of New Typography, the avant-garde movement that revolutionised graphic design in the interwar period. The increasing availability of the photographic image played a fundamental role in this new approach to editorial design. Moholy-Nagy, a member of the legendary Bauhaus, and Jan Tschichold, author of the landmark work Die neue Typographie, radically changed the face of the printed page, producing a lasting impact whose effects continue to this day.

Modernism and Postmodernism are the driving forces that have shaped 20th century architecture, art and design.

The Modern Movement began at the end of the 19th century, ran vigorously through the century and began to be questioned at the beginning of the 1960s, before finally fading away in the 1990s with the advent of the Internet and the paradigm shift it brought with it.

The book has been the medium and the message of the diverse movements in the arts during the last century. The book, with its emphatic material presence, takes on a special value now that we are witnessing its dematerialization, reduced to digital data in electronic format.

Over the Bookworm sessions we will explore several iconic books that capture the spirit of the era in which they were designed. We will place the books in their context and try to define what makes them relevant in the history of 20th century book design. The Bookworm sessions are guided by Andreu Jansà, librarian and curator of the Enric Bricall Reserve Fund. The books that make up the collection are documented in the main accounts of the history of 20th century graphic design.

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Showcase

Santi Fuster, Bendita Gloria

Santi Fuster

Two hours filled with semantics, politics and graphic design, appropriately illustrated with works by Bendita Gloria.

Santi Fuster

Graphic designer.

50% of Bendita Gloria. 

Bendita Gloria is a design studio founded by Alba Rosell and Santi Fuster. Focusing on identity and editorial projects, their work has won certain attention because of its particular conceptual approach. Since 2007, Bendita Gloria strives to turn their projects into interesting reading matter.

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Exhibition

MADDhouse #3, Behind the fear

MADDhouse #3

Throughout our lives, women, or people with vaginas, will visit the gynecologist multiple times. The Public Health recommendation is to do it every 1-3 years, depending on individual circumstances, however, more than 50% of women will not follow this recommendation. It is not news that almost no woman likes going to the gynecologist. Unfortunately, feeling anxiety, fear, vulnerability, shame, and discomfort are part of the common experience of many women when visiting this specialist. But, why do we experience it this way?

 

The lack of sensitivity and empathy towards a patient in an extremely vulnerable position, the judgment, infantilization, paternalism, the lack of scientific advancement, misinformation, the taboo or normalization of female pain are some of the subtle forms of patriarchal violence that women suffer in relation to our intimate health. A violence that occurs in a medical context where, apparently, the values ​​of care and attention prevail, and where precisely the opposite of violence is expected.

Gynecological violence affects half the population, it is a complex and systemic problem in which a multitude of factors intervene and in which we all participate more or less consciously. This exhibition seeks to detect and denormalize these situations as an indispensable first step for change.

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Exhibition

MADDhouse #2, Body Builders

MADDhouse #2

We live in a “fit” society, where gyms are temples of transformation towards a globalized stereotype. The cult of the body plans and controls our daily routines and ends up shaping our identity, fueling the fitness industry, which is only growing.

At the same time we are in the age of information, of data; it is said that having information is power, and we can apply it to this fitness paradigm as well. We design our body in gyms by entering data (15 repetitions of squats for 3 sets, 100 grams of rice…) para construir el cuerpo ideal and at the same time gain individual power. The beauty acaba siendo algo measured, weighed, equated, and compared.

The bodies that visualize this in the most extreme way are body-builders. Mass body, corporal and data body, representing a bodily ideal of power. We all see this social group as far from our reality, but the body-builders of the past are the fitness followers of the present.

Sport today has become a complex commercial, political and social activity, where the healthy body is confused with the aesthetic body, moulding the canons of beauty and our self-esteem at will. And the way we get entangled is by following these data rituals.

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Exhibition

Óscar Germade, Job Title: Art Director

Óscar Germade

The exhibition traces the work as art director of Vogue Spain of Óscar Germade, between 2017 and 2021. The space is divided into four parts: Art Direction, linked to the visual part and design direction of the magazine. Covers, with a review of the work on covers of the last four years. “Making of”, where the design process of each part of the magazine is shown, from a technical and specific point of view.

Typography, with a purely visual retrospective of the design of Chamberí, ad-hoc typography designed by Íñigo Jerez for the magazine, which Eugenia de la Torriente, director of the magazine between January 2017 and December 2020, describes “Chamberí is a seemingly irreconcilable combination of rationality and exuberance. It starts from a very Cartesian skeleton, but has a final visual part of a more folkloric spirit, if it can be called that, thanks to a series of details that refer to Spanish tradition such as accents, crossbars and ascending curves. As it grows, it is playful, joyful and warm, and so far removed from its rational base that it is hard to recognize it.”

The sum of these spaces is a complete immersion in the work involved in the art direction of a fashion magazine today, with the complexity of inheriting the history of a masthead like Vogue, linked to figures of enormous transcendence such as Alexander Liberman: “art director of Vogue in the US and editorial director of Condé Nast, and who in his more than 50 years at the company laid the foundations of this masthead and many others. Liberman’s layouts were very simple because he made a very direct use of layout, with few flourishes in the text. In recent decades, the trend in fashion magazines has been precisely the opposite: many elements per page, shaped boxes…” (Eugenia de la Torriente).

This work of design and art direction is not only aware of the historical part but also of the complex moment in which the big publishing houses are living, adapted to a digital reality where they coexist with new visual proposals.

The tour ends with an extensive review of the Vogue covers of the last four years that, in an organic way, shows a definite evolution and a clear direction of the commitment to iconic covers, based on the image and memorable for the audience.

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Exhibition

MADDhouse #1, Nationalities

MADDhouse #1

Nationalities are universal, they affect and surround every person in the world, they are really a vital factor in your personal development, and it’s something you don’t initially get to choose. While It may appear in the western world that we live in a globalized and free world, freedom and mobility can turn into a really individual process depending on what nationality you have.

By exploring the concept of nationalities as something imposed by globalized standards, this project seeks to reveal a critical perspective and explore in different ways the global inequalities we already think we know. As well as reveal the way the world is gonna process you and treat you in some cases –addressing it through a symbolic form of how we represent nationalities.

This exploration seeks to give a new perspective and spark a conversation regarding our identity and how we relate with one’s own nation and the world in general. As a society, the nationalities’ principles are forced and untouchable and there’s no space to question them, and can’t help but wonder if the world as we know it could exist if we revise flags, borders, international law and passports.

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Lecture

Johannes Breyer, Dinamo

Johannes Breyer

Type Mistery Tunnel

About Dinamo variable way of working and the use of in-house design tools as a method to explore new aesthetics and the gestural potential of typefaces. We’ll look at what considerations influenced the making of their recent typefaces ABC Arizona or ABC Gravity, or bespoke projects for the SF Symphony, Goat, ON and Rimowa. For the business people amongst us we’ll take a glimpse into 1 year of collected sales statistics that lead to creating and offering a new model to license fonts, and try to fortune-tell where all of this might be going.

Johannes Breyer is a German / Chilean graphic designer based in Berlin. Se habla un poco Español. He studied in Zurich and worked for design studio NORM before graduating from the Gerrit Rietveld Academie in Amsterdam. Together with Fabian Harb, he is running the Swiss type design practice DINAMO.

Dinamo is a Swiss type design platform that offering retail and bespoke typefaces, design software, research, and consultancy. Founded in Basel we operate via a network of satellite members across the globe. Members of Dinamo are visiting teachers at various art academies and have been invited to give workshops and lectures at an international roster of educational institutions. Clients range from the 1 person-run cultural publisher to the International Olympic Committee. Dinamo won the Swiss Design Awards 2017, and are members of the AGI as of 2018.

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Lecture

Óscar Germade, Job Title: Art Director

Óscar Germade

Job Title: Art Director

In 2017, Vogue Spain took a new editorial direction that brought about a new art direction by the hand of Óscar Germade. This process is still alive today thanks to a project that gives as much importance to the image as to the type. A story in chapters of how, when and where one accepts the challenge of designing a magazine where everything has been said, written, heard, seen, criticized and praised. A visual review of Vogue’s relationship with design and art direction, of the dialogue between fashion and typography, of tradition and novelty.

Óscar Germade

(A Coruña, 1983) founded Solo in 2011, a design studio specialized in brand identity and editorial design. This project allows him to venture into different cultural fields, such as fashion and the media. Perhaps the greatest strength of the project -from which he has collaborated with brands such as Simon Miller, Nike, Oysho and El País- is the precise and forceful use of typography and photography, combining digital and analog techniques.

In 2017, he takes over the art direction of Vogue Spain, a leading magazine in the national editorial market.
Throughout his professional career, he combines the work of design and art direction with various teaching activities: he has been a professor of editorial projects in the Master in editorial design at Elisava, he was thesis director and degree coordinator at IED Barcelona and, since 2020, he has been a professor of typography at IE School of Architecture and Design.

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Workshop

Raúl Goñi, Critical Design

Raúl Goñi

Critical Design

How can we be good designers without questioning the world we live in? We strongly believe in the great value of being critical, not in a destructive way but always trying to find the whys behind the certainties and through being obsessed with the constant research of a way to do it better.

Designers observe, adopt a stance, collaborate, engage, adapt, write and debate when creating proposals. Designers with critical thinking, looking for problems, at the service of society, satirical and provocative that makes us think about how the world could be. In this workshop we will work on the positioning of the future designer and his social role as a message issuer.

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.

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Workshop

Jon Uriarte, Photobook

Jon Uriarte

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

He studied photography at the Institut d’Estudis Fotogràfics de Catalunya and at the International Center of Photography in New York, as well as a master’s degree in Artistic Projects and Theories from PhotoEspaña and the Universidad Europea de Madrid. He has exhibited in various art centers and galleries, both in collective and individual shows, among which are La Casa Encendida in Madrid, the Koldo Mitxelena in Donostia, Studio 304 in New York, the HBC center in Berlin and the Sala d’Art Jove in Barcelona.