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INTERNATIONAL DESIGN TALKS20–22 OcTObER 2011

typotalks.com

NOW

YOUR GUIDE

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JEFFERYHALL

LOGANHALL

WC

COFFEE

WELCOmE …

…to three extraordinary place defining days of TYPO London. “Places” explores our changing world, our surroundings, how we interact with people and our understanding of the environments we pass through. Up to 35 leading artists, creatives, designers, film makers, publishers, typographers and writers join PhD students and an African King to bring you the first TYPO outside of Berlin. It’s time to get inspired!

TYPO RuNs OvER TWO sTAGEsThe Logan Hall seats over 900 delegates in an intimate theatre styled setting. The main TYPO programme runs in this theatre from 14.00 on Thursday to 20.00 on Saturday. A second programme runs in the adjacent, less formal, Jeffery Hall with seats for 250 delegates featuring a London Design Day on Friday and the Type Day on Saturday.

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sCHEDuLE

THuRsDAY

LOGANHALL

JEFFERYHALL

14:00 Dale HerigstadmEDIA sPACE: WHERE Is WHAT? WHAT Is WHERE?

15:00 Nat HunterTELLING THE RIGHT sTORY

16:00 Kutlu Çanlioglu & Titus NemethBBC’s GLOBAL ExPERIENCE LANGuAGE IN 27 LANGuAGEs AND 9 sCRIPTs

17:00 Coffee

18:00 Jonathan ElleryTHE HERE AND THE NOW

19:00 Tony BrookBRED IN THE BONE

20:00 Michael BierutTHE ONLY ImPORTANT DECIsION

21:30 Drinks @ Cicada

FACILITATORs

Lynda Relph-Knight is a design writer and independent consultant. She was editor of the weekly magazine Design Week for most of its 25-year life. She is a fellow of the Royal College of Art and the Royal Society of Arts and has been awarded an honorary MA in design by the University for the Creative Arts.

Adrian Shaughnessy is a self-taught graphic designer based in London. He spent 15 years as creative director of Intro, the design studio he co-founded in 1998. In 2004, Shaughnessy left to pursue an interest in writing and to work as an independent design consultant. Today he runs ShaughnessyWorks and is also a co-founder and director of the publishing company Unit Editions.

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FRIDAY

LOGANHALL

JEFFERYHALL

09:00 Andreas FrohloffCALLIGRAPHY WORksHOP10:00 Michael B. Johnson

mAkING mOvIEs Is HARD FuN: BuILDING TOOLs FOR TELLING sTORIEs

11:00 Joachim SauterRENAIssANCE OF sPACE

Antony Harrington INTRODuCING LONDON TYPOGRAPHICA

12:00 Gary HustwitWE BuILT THIs CITY …

Eva-Lotta Lamm skETCHNOTEs

13:00 Lunch Lunch

15:00 Tim Fendley Andrew Stevens20 YEARs OF TRYING TO mAkE CREATIvE WORk IN A COmmERCIAL CONTExT

16:00 Lawrence Weiner

17:00 Coffee Coffee

18:00 Tom UglowTHE ART OF POsT-DIGITAL

Dylan GriffithsCALE AND REACH

19:00 Karen OmptedavIsuALIsING TYPE

Will Hudson

20:00 Neville Brody

London Design D

ay

Erik Spiekermann is an information architect, type designer and author of books and articles on type and typography. In 1979 he founded Germany’s largest design firm, MetaDesign. He also founded FontShop, a company for production and distribution of electronic fonts in 1988. In 2001 he left MetaDesign and is now managing partner and creative director of Edenspiekermann with offices in Amsterdam, Berlin, London and San Francisco.

Simone Wolf Her studio, Type*s, is in Italy, where she has lived and worked since 2005. Wolf has been working as a marketing expert, consultant and PR agent since 1999 and organizes seminars, conferences and special events. She lectures on marketing, event management and intercultural communications at various international universities in Milan and Florence.

FACILITATORs

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sATuRDAY

LOGANHALL

JEFFERYHALL

09:00 Andreas FrohloffCALLIGRAPHY WORksHOP

10:00 Marina WillerBRANDING AND sPACEs

11:00 Jeff FaulknerExTRAORDINARY mACHINEs / NExT GEN DEsIGN & DEsIGNERs

Ivo GabrowitschAPP FONTs – THE NEW WEB FONTs

12:00 Morag Myerscough Rian Huges DEvICE FONTs – WILFuL ECLECTICIsm

13:00 Lunch Dan Rhatigan HOW I LEARNED TO sTOP WORRYING AND LOvE BAD TYPE

13:30 Lunch Nadine Chahine ENGAGING WITH THE mIDDLE EAsT

15:00 Pamela MeadmAGIC NumBERs

Bruno MaagCOLLABORATING TYPEs

16:00 Julian Zimmermann / King BansahTHE kING Is CusTOmER

Jason SmithmAkING FACEs

17:00 Coffee Coffee

18:00 Susana Rodríguez de TemblequeDEsIGN: THE ART OF CREATING AN ExPERIENCE

Jonathan BarnbrookvIRus

19:00 Chip Kidd“WHAT ARE YOu DOING HERE?”

Drinks @ Cicada

Type Day

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We Thank our SPonSorS

We Thank our ParTnerS

ethical printing and creative solutions ethical printing and creative solutions

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sPEAkERs IN ORDER OF APPEARANCE

THuRsDAY

Dale is a thought leader on the future of media consumption in an interactive and ‘many-screen’ world of increasingly rich media interfaces. With an extensive background in broadcast design and branding, he was creative director of on-air design and branding for the three CBS Sports Winter Olympics broadcasts in the 1990s. Having his roots in the rich media approach to design in TV and film, he has pioneered a unique spatial approach to designing navigation systems for Interactive TV and connected screens. The work begins to blur the line between television, games and web, a concept he calls ‘New Television’.

Dale was a part of the research team that developed the visionary gestural interfaces that first appeared in the film ‘Minority Report’, and is now leading development work in the rapidly emerging world of gestural navigation for screens at a distance. Screens have always defined unique spaces, and, particularly with advancements in stereo 3D projection and advanced AR, information can occupy these spaces. Spatial context is becoming increasingly important in design that is no longer flat: space and place are the new frontiers of design.

Dale has an MFA from California Institute of the Arts, where in 1981 he taught the first course in Motion Graphics offered to designers in the United States. He served on the founding advisory board of the digital content direction at the American Film Institute, and was an active participant in the development of advanced prototypes for Enhanced TV at AFI for many years. Dale has won four Emmy awards.

Dale was co-founder of interactive agency Schematic, which recently merged with three other agencies to become global powerhouse Possible Worldwide. He resides in London.

LOGAN HALL Thr 14:00mEDIA sPACE: WHERE Is WHAT? WHAT Is WHERE?Media exists in a space, a context, and has become a part of our environment. Some environmental contexts are imagined, some are actual, and some are a hybrid of the two. There was a time when we could refer to digital media as ‘screen media’, but new technology is changing the conversation. Screens can create new hybrid spaces where we consider not just what is on the surface of the screen, but what is beyond and in front of the screen. Screens can create new places. And some day media will be experienced without screens. All of this creates new design challenges for both content and interaction. What happens when digital media leaves the screen?

Dale HerigstadChief Interaction OfficerPossible Worldwidewww.possibleworldwide.com @dherigstad

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As a creative director, Nat works with Airside’s clients as a creative strategist, guiding projects all the way from initial research through creative development and final presentation, to ensure a cohesive and successful result. She loves projects that create surprising interfaces between audience and brand, and specialises in digital media.

Nat studied Psychology, including Human Computer Interface Psychology, at Edinburgh University, before completing an MA in Interactive Multimedia at the Royal College of Art. She designed interfaces for films and installation artists, before co-founding Airside with Alex Maclean and Fred Deakin in 1998.

Nat has lectured in design around the world, has served on the fellowship panel at innovations organisation NESTA, and has sat on the judging panels of prestigious international competitions including the D&AD and Design Week Awards.

Nat is the co-founder of Three Trees Don’t Make A Forest – a not- for-profit enterprise set up to help the design industry conceive and produce more sustainable creative work.

LOGAN HALL Thr 15:00TELLING THE RIGHT sTORYNat will talk about the importance of storytelling, the art of the information film and the joy of projects with unframed challenges, using the wide range of work that Airside has created recently to illustrate this. From Virgin Atlantic’s latest in-flight entertainment system, to a project for Café Direct empowering farmers in East Africa and Latin America via the internet and SMS, Nat will show that information plus narrative equals powerful communication.

Titus Nemeth is a typographer, a student, and a teacher. His area of interest centers around Arabic and non-Latin typography. As a frequent traveller, his outlook is worldwide, privately as well as professionally with clients such as the BBC World Service, Fontsmith UK, the Brill publishing house in the Netherlands and WinSoft in France.

He works independently as designer and consultant and teaches at the ESAD Amiens, France, and the ESAV Marrakesh, Morocco. Since 2010 Titus researches aspects of the history of Arabic typography as a PhD candidate at the University of Reading, UK.

Titus Nemeth studied Graphic Design at die Graphische in Vienna, Austria, and holds an MA with Distinction in Typeface Design from the University of Reading. He studied Arabic in Syria, taught typography as an Assistant Professor at the VCUQ in Doha, Qatar, and pursued research at the post-diplôme of the ESAD Amiens.

His work has received numerous awards, including the Type Directors Medal for typographic excellence and the European Design Award.Titus Nemeth is a member of ATypI, the TDC New York and Design Austria.

LOGAN HALL Thr 16:00TITus NEmETH & kuTLu ÇANLIOGLu

Titus NemethPhD CandidateReading University www.tntypography.com

@sehstoerung

Nat HunterCreative DirectorAirside www.threetreesdontmakeaforest.org www.airside.co.uk @TTDMAF @weareairside

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Kutlu ÇanliogluSenior Creative DirectorBBC World Service www.bbc.co.uk/worldservice/languages

Kutlu Çanlıoglu is Senior Creative Director for BBC World Service, a role where he is responsible for the user experience and design of 27 different language services, including those in Arabic, Russian, Mandarin, Hindi, Urdu, and Spanish.

He studied architecture and sociology at Istanbul’s Mimar Sinan University before working as a graphic designer at the daily newspaper Radikal. He then joined EK Ltd, a studio specialising in editorial design, and worked with a wide range of print and digital projects for clients including the UN, Istanbul Foundation for Culture and Arts, Goethe Institute, Unilever and Wyeth.

He moved to London to complete an MA in Typography at the London College of Printing where he gained recognition for exploring the relationship between type and punctuation in an innovative and ambitious interactive motion graphics piece.

At the BBC World Service he runs a team that designs news websites and mobile products across nine different scripts as well as the multi- lingual content management systems that drive them. He is also respon- sible for info-graphics and data visualisation projects to support the 24/7 multi-lingual news coverage for diverse audiences around the world.

Kutlu is also the Typography Discipline Lead at the BBC, responsible for championing the role of craftsmanship around typography in the context of the BBC’s new Global Experience Language.

LOGAN HALL Thr 16:00BBC’s GLOBAL ExPERIENCE LANGuAGE IN 27 LANGuAGEs AND 9 sCRIPTsKutlu Çanlıoglu, Senior Creative Director at the BBC World Service will talk about the user experience and typographic challenges of translating the principles behind the BBC’s new Global Experience Language (GEL) into the design of news services across 27 languages using 9 different scripts.

This work takes place against the backdrop of the less-than-perfect but now fast-evolving typographic environment of the web and Kutlu will talk about the practical solutions and strategies employed to meet these challenges.

Nassim is the first typeface used as an Arabic webfont on a major high-traffic site. Its use on the Arabic-script language websites of the BBC World Service prepared the ground for a new and enriched Arabic web typography. The development of this project entailed questions circling around typographic identities, script authenticity, technical constraints and the interplay of these factors.

In implementing the Nassim webfonts for the BBC World Service, Titus Nemeth collaborated closely with the design team to address their requirements and built on a varied range of sources to inform design choices. This talk traces the process of these first steps in custom Arabic web typography, summarising the main challenges, solutions found and speculates about the way ahead.

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Tony BrookCreative Director Spinwww.spin.co.uk

Jonathan Ellery is the founder of London based design studio Browns. Since it opened for business in 1998, Browns has built a reputation for its progressive and conceptual approach to design. It brings artistry, wit, rigour and skilful management to projects large and small, ambitious and unassuming. Its definition of design is broad, its points of references are from much further a field, as are its collaborations. In April 2011 Browns was named design studio of the year by Creative Review Magazine.

In 2005 Ellery launched Browns Editions, the publishing arm of Browns which produces limited edition photography, and conceptual art books. With so much emphasis on screen based, digital technology these days, Ellery sees Browns Editions as offering a precious enclave of resistance.

2005 also marked Ellery’s first notable shift towards balancing de sign and his work as a solo artist. With four one man shows in as many years in London and New York, his fifth, The Human Condition, is to be shown in London, Spring 2011. He works across a wide range of media from sculpture to performance, film to photography. The medium of book art is also central to his work, molding paper, fonts and images as he would any other medium, to create tactile, hand numbered, objects of art.

LOGAN HALL Thr 18:00THE HERE AND THE NOWJonathan will be talking about his work, where it comes from and what it’s about. He will discuss art and it’s relationship with design, publishing and the importance of working in the here and now.

Born in Halifax, West Yorkshire, Tony studied at Percival Whitley College of Further Education and then at Somerset College of Arts and Technology in Taunton.

Tony lectures nationally and internationally and is currently an external examiner for the MA Brand Identity course at the London College of Communications. Tony is guest curator of ‘Wim Crouwel – A graphic odyssey’ a major retrospective of the Dutch master’s work currently on show at the Design Museum in London. He was admitted to the Alliance Graphique Internationale in 2006 and is the current president of the UK chapter.

LOGAN HALL Thr 19:00BRED IN THE BONEIn an exploring the work of a generation designers who were born North of the Watford Gap, Tony Brook will show (in a not wholly serious way) how a shared culture has created a distinct creative approach. Minimal, conceptual, economical and influential, the northern mafia is expanding its horizons – think on.

Jonathan ElleryFounder Browns and conceptual artistwww.brownsdesign.com www.brownseditions.com www.jonathanellery.com

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Michael BierutPartner Pentagram, New Yorkwww.pentagram.com @michaelbierut

Michael Bierut studied graphic design at the University of Cincinnati’s College of Design, Architecture, Art and Planning. Prior to joining Pentagram’s New York office as a partner in 1990, he was vice president of graphic design at Vignelli Associates. His clients at Pentagram have included The Council of Fashion Designers of America, The New York Times, The Museum of Arts and Design, United Airlines, The Brooklyn Academy of Music, Harley-Davidson, Princeton University, the Morgan Library and Museum, Saks Fifth Avenue and the New York Jets.

He has won hundreds of design awards and his work is represented in the permanent collections of museums around the world. In 2002, Michael Bierut co-founded Design Observer, a blog of design and cultural criticism: today, the site is the largest design publication in the world. In 2008, he was named winner in the Design Mind category of the Cooper-Hewitt National Design Awards.

LOGAN HALL Thr 20:00THE ONLY ImPORTANT DECIsIONArchitects get to choose between bricks and stainless steel. Fashion designers have wool, silk or latex. For graphic designers, sometimes there’s only one important decision: what typeface should I use? Michael Bierut will describe times he chose wisely, and a few better-forgotten mistakes.

Andreas Frohloff is head of the type department at FontShop International. He has been organising calligraphy workshops at TYPO for years and teaches at various schools. He trained as a type designer and graphic artist and went on to specialise in type design and education.

JEFFERY HALL Fri 09:00 + Sat 09:00CALLIGRAPHY WORksHOP – HAvE FuN TRYING OuT DIFFERENT WRITING INsTRumENTs (2 HOuRs)Writing calligaphically using different writing instruments such as steel point pens, reed pens, quills made of bird feathers, balsa wood spatulas with Indian ink or ink or iron gall ink on different papers.

Andreas FrohloffHead of Type Department FSIwww.fontfont.com

FRIDAY

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Michael B JohnsonR&D LeadPixar Animationhomepage.mac.com/drwave www.pixar.com @drwave @DisneyPixar

Dr. Michael B. Johnson leads the Moving Pictures Group at Pixar Animation Studios. His group is responsible for the design, implemen-tation and support of the pre-production pipeline for Pixar features and shorts. This includes Story, Editorial, Art and the review process, as well as Production Management. His team works directly with the directors, editors, producers, production designers, art directors, artists and production folks who start the process of bringing Pixar stories to the screen.

Dr. Johnson has been at Pixar since 1993, and has has written tools for all of Pixar’s feature films (and many of their short films), including storyboarding, pre-viz, layout, animation, modeling, lighting, rendering, and editorial tools.

Prior to Pixar, Michael attended the University of Illinois where he earned his undergraduate degree in Computer Science Engineering. He studied abroad for a year in Swansea, Wales and also worked for NCSA, Thinking Machines, IBM and MIT’s Media Lab.

He completed his Masters of Science in Visual Studies and his PhD in Computer Graphics and Animation at the MIT Media Lab, where Dr. Edwin Catmull (founder & President of Pixar) was on his thesis committee. He lives in Oakland CA with his wife and daughter.

LOGAN HALL Fri 10:00mAkING mOvIEs Is HARD FuN: BuILDING TOOLs FOR TELLING sTORIEsMaking movies is a complex, collaborative, creative activity. At Pixar, they don’t pretend to know exactly what they’re doing, but they do have a process. They trust the process, but they constantly test and refine it, based on the stories they want to tell, the resources they have to tell them, and most importantly – the people who want to tell them.

Technology and art go hand in hand at Pixar – each challenges and reinforces the other. Technologist Michael B. Johnson, a Pixarian since he joined as an intern in 1993, has been involved in most of Pixar’s feature films and short films. He will share his perspective on the Pixar film-making process; one which involves both creative story tellers that want things they don’t understand how to make and flexible technologists who are more concerned with empowering their users than winning an argument with them. Come along as Michael tells stories from inside their process; sharing the how and the why. Join him as he tries to explain how Pixar always manages to keep their eye on the big prize – a compelling story, well told.

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Antony HarringtonDigital Director and Founding Partner OPXwww.londontypographica.co.uk www.opx.co.uk

Joachim Sauter has been working as a media designer since the early 1980s. From the beginning, he focussed on digital technologies, and is exploring how they can be used to express content and narration. Fuelled by this interest, he founded ART+COM in 1988 along with other artists, designers, scientists, and technologists. Their goal was to do practical research into what was, at the time, a new and up-and-coming medium in the realm of art and design. He still heads up that interdisciplinary team. Since 1991 he has been a professor of ‘new media art and design’ at Berlin’s College of the Arts, and since 2001 an adjunct professor at the University of California, Los Angeles.

LOGAN HALL Fri 11:00RENAIssANCE OF sPACE We generally see a renaissance of the physical world as a reaction onto now nearly two decades of communication in the virtual world of the internet. We see an increasing number of people leaving the isolated situation in front of a computer at home, going into a museum and other narrative spaces to experience information in a physical environment together with other people.

The big difference in designing these narrative spaces compared to the design approach in the pre-digital times is that the visitors are now computer literate and know about the qualities of the digital medium such as interaction, collaboration, networking and want to find them also in the physical space.

The presentation will review key-projects from ART+COM’s 23 years history and traces the development of new media from screen to space.

Antony is one of the founding partners of OPX. As digital director, he acts as a ‘conduit’ between client’s needs, design and technology, and the end user experience. OPX is a branding and design studio, working for a diverse range of clients, always applying the same level of strategic and creative thinking.

With a background in print design, his ‘road to Damascus’ moment came when discussing airport signage with a designer friend ‘It’s not so much what it looks like, it’s where you put it that’s important’. Usability had just been invented.

JEFFERY HALL Fri 11:00INTRODuCING LONDON TYPOGRAPHICABased in Shoreditch, London, the OPX studio is surrounded by a rich mix of urban and public typography, but there is no single place to document it all.

London Typographica aims to enable type-enthusiasts to photograph and give context to public type as they find it, creating the typographic landscape of London.

Today we will be showcasing London Typographica, and inviting TYPO London to participate in the project.

Joachim SauterFounder Art+Comwww.joachimsauter.com www.artcom.de digital.udk-berlin.de

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Gary HustwitFilmmaker: Helvetica, Objectified, Urbanizedwww.urbanizedfilm.com @gary_hustwit

Eva-Lotta LammUX Designerwww.evalotta.net/ sketchnotes @evalottchen

Gary Hustwit is an independent filmmaker based in New York and London. He has produced eight feature documentaries, including the award-winning ‘I Am Trying To Break Your Heart’ about the band Wilco; ‘Moog’, the documentary about electronic music pioneer Robert Moog; and an experimental feature film with the band Animal Collective. Hustwit worked with punk label SST Records in the late-1980s, ran the independent book publishing house Incommunicado Press during the 1990s, was Vice President of the media website Salon.com in 2000, and started the indie DVD label Plexifilm in 2001.

In 2007 he made his directorial debut with ‘Helvetica’, a documentary about graphic design and typography. ‘Helvetica’ marked the beginning of a trilogy of design-related films, with ‘Objectified’, about industrial design and product design following in 2009. ‘Urbanized’, about the design of cities, will be released in late 2011. The films have been broadcast on PBS, BBC1, and other television outlets, and have been screened in over 300 cities worldwide. Gary was nominated for a 2008 Independent Spirit Award for ‘Helvetica’.

LOGAN HALL Fri 12:00WE BuILT THIs CITY … DIY urban design projects are transforming cities worldwide. From Det-roit to Dharavi, citizen designers aren’t waiting for their governments to address local issues, they’re engaging in their own neighborhood inter-ventions at a micro scale. Gary’s talk will showcase inventive projects he’s discovered during the past three years making his latest documen-tary, ‘Urbanized’. He’ll be showing clips from the film and discussing what we can learn from these self-organized design initiatives.

Eva-Lotta is a freelance UX Designer. She previously headed the busi-ness design team at Skype, worked as interaction designer for Yahoo! in London and as lead designer for Kahn + Associates in Paris.

Besides her daytime mission of making the web a more under-standable, usable and delightful place, she regularly takes sketchnotes at all sorts of talks and recently turned these into a little book.

Eva-Lotta also teaches sketching and runs ‘UX Sketch Club’, a monthly(-ish) meetup for people who are interested in experimenting with sketching and sharing their work.

She has recently been exploring the area of ‘Visual improvisation’ – looking at the parallels between sketching and improvisation to explore how some of the principles from her regular theater improvisation practice can be used to inspire visual work.

JEFFERY HALL Fri 12:00skETCHNOTEsSketchnotes are a way of capturing ideas in an engaging and visual way by combining the power of sketching and writing. In May, Eva-Lotta was invited by Typo Berlin to capture talks in a visual way

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Tim FendleyCreative Director Applied_www.applied-espi.com @timfendley

and she is back to live-sketch some of the sessions at Typo London. She will give an introduction to this form of visual note taking and share the main characteristics that make it a great tool to capture thoughts. She’ll show and analyse lots of examples from different sketch noters, share tips from personal experience and will provide attendants with the main principles and building blocks of sketchnotes to jump straight into taking their own visual notes.

Tim is both the founder of Applied_ and Co-Conference Director of TYPO London. In his day job at Applied_ , Tim’s central focus is making places more understandable by providing useful information.

Applied_ has taken leading roles in projects defining the way people understand and navigate many cities including London, Glasgow, Brighton, Dublin, Vancouver and now New York and is part of the EdenSpiekermann Alliance.

Tim has a passion for ‘people and places’ and has helped to develop a methodology that encompasses diagnostic testing in real situations mixed with product design prototyping techniques. He has helped to design the digital interface of the latest generation of on-street information points and was the lead designer of the ground breaking Bristol Legible City Initiative. This was the first scheme of its kind to focus on making the city ‘legible’ and at the same time creating a strong city identity. The scheme has won numerous urban design and planning awards, and a DBA award for Design Effectiveness. The system has subsequently been used as a best-practice example, by the Commission for Architecture and the Commission for the Built Environment and the Office of the Deputy Prime Minister.

Tim has edited various publications, websites and magazines, and has won numerous awards from D&AD, Design Week, DBA, European Design Awards and New York Type Directors Club. He is a contributor to the international design press, and has been a visiting lecturer at the Royal College of Art where he has been working with the Helen Hamlyn Centre – a department focused on inclusive design. Tim has recently been made a member of the Centre’s advisory board.

Tim was also the founder and Creative Director of MetaDesign in London, where he established an award winning standard for work in editorial, environmental, identity and interactive design for clients such as Bosch, Ferrari, Graphics International, Gilbert & George, The Economist, Glasgow 1999, Orange and Lexus.

Tim is a tireless speaker and campaigner for the development of accessible wayfinding systems for public places. He has spoken on the subject at the London School of Economics, Reading University, Sign Design Society and the International Institute for Information Design in Vienna. As a UK member of IIID, he also organised and convened a conference on the subject of wayfinding and transportation. Designs and Destinations.

LOGAN HALL Fri 15:00TIm FENDLEY

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Graphic Thought Facility is a London-based design consultancy. Founded in 1990 GTF have worked for retailers, manufacturers, publishers, cultural institutions and galleries around the world and have forged long-term relationships with many of our clients.

The scale and complexity of our projects are as varied as GTF’s clients. Recent commissions include store environments for M&S, exhibition design for the Science Museum, books for Gagosian Gallery, wayfinding for VitraHaus and campaigns for Kvadrat and Frieze Art Fair. GTF has striven to stay relatively small – it is currently a team of ten designers supported by a studio manager.

Andrew Stevens, Director, born in Sheffield, 1966. Studied graphic design at Leeds Polytechnic, 1985-88, and Royal College of Art, 1988-90. He is a founder member of Graphic Thought Facility.

JEFFERY HALL Fri 15:0020 YEARs OF TRYING TO mAkE CREATIvE WORk IN A COmmERCIAL CONTExT

Lawrence Weiner is one of the key figures of Conceptual Art. He was born in 1942, in the Bronx, New York.

Like other Conceptual artists who came to prominence in the 1960s and 1970s, Weiner’s work is about forms of display and distribution that challenge traditional assumptions about the nature of the art object. Typographic wall installations have been a primary medium for him since the 1970s.

He has also produced video, film, books, sound art, sculpture, performance art, installation art and graphic art.

His work, with its focus on the potential for language to serve as an art form, has exerted a fascination over graphic designers since the 1990s, when his ‘public typography’ was discovered by designers eager to learn from contemporary art practice.

As Eye magazine noted: “Lawrence Weiner’s art is a kind of sculpture made of language, free from excess or embellishment and strangely familiar from its far-reaching influence on graphic designers.”

LOGAN HALL Fri 16:00LAWRENCE WEINER

Lawrence WeinerArtist

Andrew StevensCreative Director GTFwww.graphicthoughtfacility.com

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Tom Uglow leads Google’s Creative Lab in Europe, working on new ideas and global brand projects for Google and YouTube such as Life in a Day, Chrome, Art Project, Play, the YouTube Symphony Orchestra, Search On, StreetView, Android, and more. He tweets as @tomux, writes two blogs, has appeared on the BBC’s Culture Show, is a member of the European Internet Week Council, and has judged, presented, and enthused globally. He is a Sunday-coder, a traditional creative, a strategist and a book-artist.

LOGAN HALL Fri 18:00THE ART OF POsT-DIGITALA reflection on the ubiquity of technology in our lives and how that reflects on our use of technology in culture. Some suggestions about the further integration of the digital into daily life and a few light-hearted suggestions about the future.

Dylan is a designer and creative director who divides his time between Amsterdam, London and Cardiff.

He is currently a creative consultant to the MTV World Design Studio based in Milan – a multidisciplinary studio that exclusively provides creative direction for the MTV brands within Viacom International Media Networks – brands and identities that are consumed by an audience of 578 million households worldwide. Dylan spearheaded the corporation’s first international rebrand that launched in 2009 and recently refreshed the channel’s whole look and feel in July 2011.

When not aiming to please mass youth audiences with motion design, Dylan consults for Smörgåsbord, a studio he co-owns that offers ‘Branding, Strategy and Art Direction – a selection of good things’. At Smörgåsbord, Dylan engages with smaller brands that are often only beginning their journey. Whilst drawn by the contrasts in scale, reach and personability between ‘big & small’ he applies the same rigorous thought process – never compromising on the purity of an idea or its execution. Future studio projects involve an architectural and civic slant that will lead to city and country branding.

Prior to working with the MTV brand Dylan was the Creative Director of S4C where he rebranded the channel in 2007 and before that he was a Promo Director at the BBC.

JEFFERY HALL Fri 18:00sCALE AND REACH Dylan’s informal talk will touch upon work produced for MTV International, Smörgåsbord and S4C – investigating work practices and approach and how the difference in scale and reach of projects shouldn’t come between a good idea and its subsequent application.

The challenge with MTV’s first international rebrand was to appeal to an audience of 578 million households across 162 territories, whilst the challenge for Smörgåsbord’s first client – the Otley Brewing Company – was initially to appeal to beer drinkers in the pub next door to the start-up microbrewery in Pontypridd, South Wales.

Dylan GriffithCreative ConsultantMTV and Smörgåsbord

Tom UglowCreative Lead Googlewww.tomu.co.uk @tomux

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He will discuss how real ale branding doesn’t need to involve badgers or dragons and will muse over the challenges of producing a rich visual language that is both relevant and engaging – not bland and generic – for MTV’s multi ethnic global youth audience. We’ll take a look at ‘Pop x 1000%’ – the rebrand’s mantra developed in collaboration with ‘Universal Everything’ and the creation of an onscreen infographic system that works across 8 alphabets worldwide.

Karin is a designer and researcher based at the Royal College of Art in London. Her work is focused on the integration of scientific and design approaches to typeface legibility, with particular interest in low vision readers. Central to her research is the use of data visualisation to explore design artifacts and inspire new thinking about the practice of typography.

Karin’s background is in biology, having completed her MSc at the University of Toronto. At age 26 she left the sciences to pursue a BDes in graphic design at the Ontario College of Art and Design.

Upon graduation she moved to London having been awarded the prestigious Commonwealth Scholarship to undertake interdisciplinary research at the Royal College of Art. She currently holds a SSHRC Doctoral Fellowship.

Karin has presented her research at conferences including ATypI and Include, and institutions including the University of Cambridge, University of Reading and Tsinghua University, Beijing. Her design work has been published internationally and appeared in exhibitions including the Brno Biennial and BIO Biennial. Karin also runs data visualisation workshops and consults for the BBC.

LOGAN HALL Fri 19:00vIsuALIsING TYPEWith so many typefaces, large family sizes and a myriad of glyphs, the practice of type design can appear overwhelmingly complex.

This presentation will focus on the use of data visualisation to digest (some of) this complexity as well as bridge design and scientific knowledge. Some questions that will be addressed include:

What are the most common proportions for text fonts? And how do these relate to our visual system? Ultimately the work aims to make explicit knowledge held within design artifacts and offer a different view on the practice of typography.

Karin von OmptedaPhD CandidateRoyal College of Artwww.karinvonompteda.com

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Will Hudson is the founder and director of It’s Nice That, a London based publishing platform focused on championing creativity.

It’s Nice That do this by publishing work online (itsnicethat.com), through their quarterly magazine and programme of events. Will is also co-founder and director of New Studio London, where their close-knit team directs a diverse, ever-expanding network of talented thinkers and doers to execute creative solutions for companies of all sizes.

JEFFERY HALL Fri 19:00WILL HuDsON

Over the last thirty years, Neville Brody has built up a deserved reputa-tion as an outstanding designer. His work is international in scope, both on his own projects and commissions and as part of his Research Studio network, on commercial projects for a diverse range of clients. Brody is a renowned designer, typographer, art director, brand strate-gist and consultant, while also contributing to a variety of cultural and educational initiatives, which have recently seen him appointed by The Royal College of Art as Head of Department for Visual Communica-tions. He is also currently chair of D&AD’s education sub-committee and also sits as chair on the BBC Online Creative Advisory Board, is a member of the film education advisory board to the DCMS.

Brody studied in London at the Hornsey School of Art and then the London College of Printing, before joining Rocking Russian to design record sleeves. In 1980, Brody joined Stiff Records where recognition for his work led to him become art director at the independent label, Fetish Records, where he produced notable projects and iconic work for Cabaret Voltaire and industrial post-punk band 23 Skidoo in particular. Then in 1981 Brody became art director at the groundbreaking street magazine The Face, working there until 1986, when he moved to men’s style and lifestyle bible, Arena Magazine.

In April 1988 the V&A Museum (London) held an exhibition of his work to accompany his first monograph, The Graphic Language of Neville Brody, which became the world’s best selling graphic design book.

Neville Brody Studio was renamed Research Studios in 1994, coinciding with the publication of his second book by Thames and Hudson. Key include BBC, Sony Playstation, D&AD, The Times, Nike, Dom Perignon, Parco (Japan), Bonfire Snowboarding, The Barbican, Asics, The ICA, Apple, Microsoft, MTV Europe, Issey Miyake, Philips, Bentley, Kenzo, Chloe, Martell, Salomon, The Guardian, Deutsche Bank, YSL and Wallpaper*. Selected seminal projects by Research Studios have included branding and packaging for Kenzo perfumes; brand strategy, identity and application work for Issey Miyake, bodies of work for the ICA and Royal Court Theatre; the branding and visual identity for the ONE campaign in American; branding, visual identity and advertising for Bonfire Snowboarding; a complete redesign of The Times newspaper; developing the strategy and designing the

Neville BrodyFounderResearch Studioswww.researchstudios.com @Research_London

Will HudsonFounder and Director of It’s nice thatwww.itsnicethat.com

@itsnicethat

@willhudson

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identity for Somerset House; brand development, art direction and packaging for Champagne house Dom Perignon and the D&AD annual.

Perhaps some of the most significant projects by Brody to-date have been the experimental languages he has produced for typography publication, Fuse, which has produced three major conferences with more being planned. An exhibition of Fuse was held at Ginza Graphic Gallery (Japan) in 1999. Fuse was published by FontShop, which Brody was a key partner of, for which he has designed many typefaces, including Industria and Blur. Recent typefaces by the Brody include ‘New Deal’ originally used for the 2009 film by Michael Mann, Public Enemies and Peace 2 developed for Wallpaper* magazines August 2009 edition.

Recent personal projects by Brody include a new book Neville Brody produced by the Ginza Graphic Gallery (Japan) and exhibition at the Rocket Gallery (Tokyo) in January 2009; The Freedom Space installation at the Design Museum London (2009) for their show Super Contemporary alongside design luminaries such as Paul Smith, Baber Osgerby and Zaha Hadid; Free me From Freedom a limited edition poster for Em bedded Art at the Acadmie der Kunste, Berlin (2009); and his ‘Unentitled’ tent for the blank canvas project with the likes of Sarah Lucas, Rachel Whiteread, Tracy Emin, Jake and Dinos Chapman, Sir Peter Blake and Vivienne Westwood. In September 2009 Arena Homme launched their 32nd issue with Brody as Creative Director.

Brody has entered new ground over the last two years. The BBC is now rolling out the results of Research Studios’ complete redesign of its online visual language, while Thomson Reuters have worked with the studio on its financial products. In 2010, Brody was awarded a Special Commendation by Prince Philip for his Designers Prize alongside Vivien Westwood, and was made a Fellow of the University of the Arts, London. His one-man show was held at the ggg gallery in Tokyo, and his Anti-Design-Festival in London attracted over 20,000 visitors and much press debate over seven days in September. The Museum of Modern Art in New York has recently selected Brody’s font Blur as part of its permanent design collection, and a book celebrating 20 years of Fuse is currently in production for publication in late 2011.

LOGAN HALL Fri 20:00NEvILLE BRODY

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Designer and film-maker Marina Willer is the leading creative director at Wolff Olins London. Originally from Brazil, she has been living and working in London for 15 years.

Marina is best known for having designed the now world famous Tate logo, part of brand work which led UK culture to be reimagined in the eyes of the public. Marina was also the leading creative on identities like Southbank Centre, Schaulager, Macmillan Cancer support, Oi (the Braziliant Telecom), Beeline (which is now estimated to be the most valuable brand in Russia) and various international brands.

Among her film projects, she made ‘Exposed’ to introduce Richard Rogers’ exhibition in the Pompidou Centre and Design Museum. Others have been shown at the Cartier Foundation in Paris, ICA in London and won awards such as best short film in Sao Paulo film festival, with the film ‘Cartas da Mãe’.

Marina has been a member of the jury at D&AD 4 times and is an external examiner at the Royal College of Art, having also previously obtained an MA from the College.

LOGAN HALL Sat 10:00BRANDING AND sPACEsMy talk will be about the relationship between branding and spaces, buildings, architecture.

Buildings are frameworks that come to life when people start using them. They then evolve constantly. In a similar way, brands are often becoming open systems that incorporate change. In the talk, I’ll share some of the experiences I had collaborating with architects like Herzog and de Meuron and Richard Rogers.

Sometimes public buildings are so iconic that they become brands in themselves. What role does the brand identity play in that context, what is the relationship? I believe that the most powerful brands for public spaces are those where space, content and design, all adds up to a coherent story.

Jeff Faulkner is an award winning brand, web and interactive Creative Director/Designer based in Seattle Washintgon.

Jeff is currently Creative Director for Xbox Next Generation, where he guides the vision for Xbox’s User Experience Design across Social Media, User Experience, Entertainment, Gesture and Voice Input, Information Design and Brand and Visual design.

Before Xbox, Jeff’s history includes Executive Creative Director for Blast Radius, Artist in Residence at Second Story, Partner and CD at Portland Oregon design firms deepPlay and Parisfrance where he worked exclusively with Wieden + Kennedy and Nike. Jeff has served on several design panels, as competition judge and speaker. He was Communication Design professor at the Northwest College of Art,

Jeff FaulknerXbox Creative Director, Xboxagiantgirl.tumblr.com @jeff_faulkner

Marina WillerCreative DirectorWolff Olinswww.wolffolins.com

sATuRDAY

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Clients inlcude MoMA NYC, Nike, Apple, Starbucks, Virgin, BMW, Gravis and Burton.Jeff’s background includes years in the Pacific Northwest music scene, photography, journalism and lots of design. You can get a sense for his personal style and first love, art direction, by visiting his blog.

Jeff lives in Seattle Washington with 3 daughters in the creative arts, plays cello does yoga and has fun.

LOGAN HALL Sat 11:00ExTRAORDINARY mACHINEs / NExT GEN DEsIGN & DEsIGNERsThe first order of business for Next Gen design is opening the mind to fantastic and extraordinary possibilities. At the same time we have to abandon the conventions and practices we rely on today. It’s not just about inventing the thing. But first you need to invent the universe the thing lives in. Extraordinary Machines is a concept for reshaping our imaginations and instincts in extraordinary ways in order to make extraordinary things.

He is the Marketing Director of FSI FontShop International, home of the FontFont Library, progenitor of the international FontShop network, and publisher of the FontBook app. His claim to fame is his development and introduction of the unique ‘Web FontFonts’ concept onto the market.

Most recently he’s been working on a concept for producing fonts for apps and mobile devices. Before earning his engineering degree in print and media technology at Beuth University of Applied Sciences in Berlin, he worked as a media designer on various print and non-print projects. Gabrowitsch also works as an editor for a number of online and offline typographic publications. In 2006 he invented the Berlin Typostammtisch, a bi-monthly gathering of type heavyweights.

He loves to ride his bike.

JEFFERY HALL sAT 11:00 APP FONTs – THE NEW WEB FONTsThough we’ve barely even had time to get used to Webfonts, the next big challenge is already looming on the horizon for font users and manu facturers: fonts for mobile devices. As with Webfonts, which have already become practically indispensable, there are a myriad of special considerations involved, including technical matters and, more importantly, legal issues that need to be addressed by the industry.

Are you even aware that it’s basically impossible to use professional fonts in any kind of mobile apps under the basic license?

This presentation aims to sensitize both developers and graphic designers to this dicey topic and to introduce possibilities for secure embedding of mobile fonts. As an extra treat, this talk will also feature an overview of the current state of affairs in the world of Webfonts.

Ivo GabrowitschMarketing DirectorFSIwww.fontfont.com www.gabrowitsch.de @FontFont @gabrowitsch

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“Morag Myerscough has produced an eclectic – and sometimes eccentric – body of work that is frequently unclassifiable but always offers a high level of engagement. She combines formal graphic design methodologies (typog-raphy, image making, colour theory) with highly individualist craft skills.”

Extract: Adrian Shaughnessy – Book: Supergraphics – Transforming Space: Unit 02 – Tony Brook and Adrian Shaughnessy.

The integration of design and its environment is central to Morag’s approach, not controlled by labels and limitations.

Morag’s work is very eclectic. “Challenges keep my design fresh and I am always open to the unexpected. I never approach a job with any preconceptions it is important to find the best way to work on a project not be constrained by set formulas from the outset. I relish in productive collaborations and trust.”

Morag Myerscough started Studio Myerscough in 1993. Her work in the integration of graphics within architectural settings is her strongest claim to recognition. She has created many award winning schemes, Westminster Academy won the 2008 Design Week Award for Wayfinding and Environmental Graphics. The building by architects Allford Hall Monaghan Morris (AHMM) also won the RIBA award for ‘London Building of the Year’ and shortlisted for the Stirling Prize 2008 also nominated for the Brit Insurance Designs of the Year 2009, Design Museum. Last year Kentish Town Health Centre has won a RIBA award, shortlisted at the World Architecture Festival and was shortlisted for the Stirling Prize 2009.

Myerscough believes that wayfinding is not purely about a series of signs but as much about bringing out the narrative in the built environment, enhancing the physical experience, it is very important how people feel when they move through a space, if they can move easily almost unconsciously and if you can make them smile and feel happy that is one of the best outcomes. The Barbican Arts Centre signage scheme with AHMM and Cartlidge Levene won the 2007 Design Week Award for Wayfinding and Environmental Graphics and is now being used as an example of good practice for Theatre signage.

Over the years Myerscough has concentrated on working way beyond the restrictions of 2-D and creates and curates many different types of spaces. Working closely with London College of Communication introducing large wayfinding signage in 2009 and this year curating and designing the summer shows and placemaking out in the street, using shipping containers and making it a space to be and transforming the the surrounding brutalist area. This is an ongoing project which will expand this year 2011. LCC Summer Shows have been nominated for 2011 Brit Insurance Designs of the Year.

Myerscough continues her relationship with the Design Museum, London designing the ‘Alan Aldridge’ exhibition in 2009, touring in 2010, first stop Brasil. Collaborating on the design of the exhibition – Urban Africa — David Adjaye. Myerscough recently worked in a team on a project High Street 2012, conceiving a series of project briefs for the last long stretch of road arriving at the Olympics and outlining the wayfinding strategy for the stretch of road.

Morag MyerscoughFounderStudio Myerscoughwww.studiomyerscough.com www.supergrouplondon.co.uk

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The Deptford Project Train carriage café received huge global press and acclaim and is part of a large regeneration scheme planned for the area in London. Myerscough designed the space, hand-painted the graphics and designed and made the furniture, using as many sustainable materials as possible. The Deptford Project was exhibited in the Super Contemporary exhibition at the Design Museum.

Continuing the theme of re-using Myerscough worked on a new festival called ‘Vintage at Goodwood’ the brain child of Wayne & Gerardine Hemingway & Lord March a 3 day extravaganza with music / fashion /design, it was very successful with over 45,000 visitors over 3 days and won the Best New Festival Award 2010. Myerscough was the Design Curator, designed the main venues and many other smaller venues, plus curating and designing the Future Vintage exhibition and installation.

In 2002 Morag opened ‘her house’, gallery/shop. Which has enabled Morag to curate/design/produce and party. Her House products was set up with Luke Morgan. Luke Morgan co-designed the furniture for the Deptford Project. Her House Gallery, Hoxton had it first exhibition in it new home last December ‘Shop’ exhibiting Ceramics and Morag’s vast collection of chairs with stories attached to each chair.

Supergroup London started 2010 – with collaborators Luke Morgan, Isabel Allen, Claire Catterall and Martyn Evans has recently completed an exhibition ‘London, the low carbon Capital’ at the Shanghai expo and lots of new projects this year 2011.

LOGAN HALL Sat 12:00mORAG mYERsCOuGH

Dividing his time between illustration and design, Rian has provided design, custom type and illustration for advertising campaigns, CD and record sleeves, book jackets, graphic novels and television. Notable work includes the animated on-board safety film for Virgin Airlines, a collection of Hawaiian shirts, a range of watches for Swatch, a BDA International Gold Award winning brochure for MTV Europe’s Music Awards penned by Alan Moore, and numerous comic book logos for mainstream comic publishers DC Comics and Marvel. He releases his font designs through his own label, Device.

Recent publications include Cult-ure: Ideas can be Dangerous, Lifestyle Illustration of the 60s, and Yesterday’s Tomorrows, a collection of his comic work which was recently launched at the Institute of Contemporary Arts in London, and is now available in paperback in the US.

JEFFERY HALL Sat 12:00 DEvICE FONTs – WILFuL ECLECTICIsmDevice Fonts is the foundry of Rian Hughes. Publishing an eclectic range of styles from headline to text, functional to experimental, commissioned fonts rub shoulders with self-initiated designs. Rian

Rian HughesFounderDevice Fontswww.rianhughes.com @rianhughes

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will talk about the development of recent releases Korolev and Ember, the rationale behind his workhorse sans, Paralucent, and describe the research that went into his very English revival, Ministry. He will also discuss how his fonts have found all manner of uses in the real world, some of them quite unexpected.

Daniel Rhatigan is a senior type designer at Monotype Imaging here in the UK. worked as a designer and typographer in Boston and New York for 15 years before coming to study at the University of Reading in 2006. After receiving his MA in Typeface Design, he came to work at Monotype to research and design non-Latin typeface families, concen-trating on Indic scripts. He also lectures on typography and branding in the Netherlands and the UK.

JEFFERY HALL Sat 13:00 HOW I LEARNED TO sTOP WORRYING AND LOvE BAD TYPEThis talk is a look at the need for objectivity in type design and typography. Taking a look at a variety of examples of type and lettering around us, it emphasises the importance of looking not just at reliable sources but also at ‘bad’ or amateur examples. These can have many useful lessons of their own that can inform the designer’s work, particularly when wading into unfamiliar subjects.

Nadine Chahine is a Lebanese designer working as an Arabic Specialist for Linotype and Monotype Imaging. She has a BGD in Graphic Design, an MA in Typeface Design from the University of Reading, and is a PhD candidate at Leiden University. She taught Arabic type design at univer-sities in Dubai and Beirut. She has won the Dean’s Award for Creative Achievement from AUB and two TDC Awards for Excellence in Type Design in 2008 and 2011. Her typefaces include: Frutiger Arabic, Neue Helvetica Arabic, Univers Next Arabic, Palatino Arabic, and Koufiya.

JEFFERY HALL Sat 13:30 ENGAGING WITH THE mIDDLE EAsTBrand consistency across different scripts and cultures is a challenge that every brand manager knows. So how does one maintain the same identity in a script that runs in a different direction, and in styles that are so different from what one sees in Latin? How does one translate ‘modern’ in Arabic? What is the visual translation of ‘chiq’ in the Middle East? Every culture and script bring to the table a new set of expectations, a whole range of collective memories. This talk will focus on how to establish dialogue with the Middle East while taking a quick look at design trends and the cultural considerations that one needs to be aware of.

Nadine ChahineBranding and CI Manager Arabic Specialist Linotype GmbH, A Monotype Imaging Companywww.linotype.com

@arabictype

Dan RhatiganSenior Type Designer Monotype Imagingwww.monotypeimaging.co.uk

ultrasparky.org

@ultrasparky

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Pamela joined Telefonica R&D in 2009 as Director of User Experience and is responsible for the ideation and conceptualisation of innovative new services. She is also responsible for defining Telefonica’s Global User Experience, leading the User Experience lab, and working closely with the Corporate Focus Areas and Operating Businesses to deliver best of class solutions. Through her team’s engagement, Telefonica’s customer-centric methodology and practices are realized in many Global Initiatives.

Pamela has over 15 years of experience as User Experience expert and Product Design Strategist. She consulted with leading companies and Start Ups on mobile User Experience strategies. Previously she was the Global User Experience Director for Yahoo! Mobile, which focused on extending Yahoo!’s brand beyond the PC browser and onto new devices including mobile, broadband and digital home. Her team launched Yahoo! Go and Yahoo! OneSearch.

Prior to moving to design leadership positions inside large corporations, she lead interdisciplinary teams at leading Design consulting firms including MetaDesign and Doblin. During that time, she developed holistic models for developing Branded product and service experiences. Pamela holds an MS in Communication Design from the Institute of Design, Illinois Institute of Technology in Chicago.

LOGAN HALL Sat 15:00THE mAGIC NumBERData is rapidly becoming our most valuable asset for understanding consumer behaviors and measuring product success. When we look into the future, it is the exponential growth and availability of metrics that can either help or daunt us. Sensitivity to data, to data utility, its implications and impact provide an opportunity for designers to play a key role in determining how data is applied and interpreted. Designers need to visualize, translate and envision using this data. Telefonica has both a vision for future capabilities and has access to remarkable data. As designers, we can and should play a central role in how this capability is leveraged for a better future.

Bruno Maag was born near Zurich in 1962. After an apprenticeship as a typesetter for the Tages Anzeiger, Switzerland’s largest daily paper, he fell in love with the smell of ink and the clatter of printing machinery. His passion for letterforms led him to study typography at Basel School of Design. Bruno cut his professional teeth designing type at Monotype, both in the UK and in the United States, where he designed fonts for the New Yorker magazine, in 1990.

He established Dalton Maag in 1991 with his partner Elizabeth Dalton, painter and illustrator. Over time, Dalton Maag has grown from a one man show to a relatively large foundry with studios in London and Brazil. Today, the cream of type design and type technology professionals work for Dalton Maag.

Bruno and the design team create fonts for companies and

Bruno MaagType DesignerFounder Dalton Maagwww.daltonmaag.com

@daltonmaag

Pamela MeadDirector of User ExperienceTelefonica R&Dwww.tid.es

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organizations such as Tesco, Toyota, Burberry, Southampton City Council, and more recently Ubuntu and Nokia. A speciality of the company is its expertise in non-Latin scripts, including Arabic, Cyrillic and Greek.

Bruno is passionate about type and sees himself as a craftsman rather than an artist. As well as designing, Bruno is a travelling evangelist for good type. He contributes to graphic design titles and is regularly called upon to comment in the design press.

JEFFERY HALL Sat 15:00 COLLABORATING TYPEsDesigning type and engineering fonts is an all consuming passion for the team at Dalton Maag. Our experience tells us that good type isn’t the result of one individual working alone. This talk illustrates how fonts are created in close collaboration with clients in one of the world’s leading type foundries.

A young boy grew up in a small village in Ghana who liked to work on cars and dreamed of owning his own company. His name was Céphas Bansah. His grandfather, the King of Hohoe Ghana, helped him fulfil that dream and sent him to Ludwigshafen in Germany, where he soon earned two master craftsman trade licenses and has, for the last 30 years, owned and operated an auto repair shop. Céphas Bansah started a fam-ily and lived a content and happy life until a fax from Ghana changed his simple existence forever. His grandfather had died and the tribal elders had chosen him as the new king.

Bansah took on the office of king as his new life’s work. He quickly recognised that the only way to help his people improve their lives was to realise aid projects in Ghana with effective media exposure. The result was bridges, schools, clinics and much more.

King Bansah is a monarch who wears his office with dignity. But he has no problem appearing on television in entertainment shows. He is a quick-witted, spirited, funny king who captures the hearts of an audience with his distinctive charm – all in the service of improving the lot of his people in Ghana.

Julian Zimmermann, born in 1983, lives, works and studies in Man-nheim. His design profile for King Bansah was developed as part of his work on a bachelor’s of communication design at Mannheim College. Zimmermann concentrates on typography, and corporate and edito-rial design. Among other accolades, he has received the iF, reddot and European Design Award.

LOGAN HALL Sat 16:00THE kING Is CusTOmERHow do you develop an image profile for a real king? Julian Zimmermann will talk about the exciting work he did with King Bansah, who lives in Germany and works as a mechanic while still ruling his people in Ghana.

Julian ZimmermannFounder Deutsche & Japanerwww.julianzimmermann.com www.deutscheundjapaner.com @julianzimmerman

King BansahKing of Hohoe, Ghanawww.koenigbansah.de @koenigbansah

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Jason Smith is the founder and creative director of Fontsmith. Jason studied Calligraphy, Lettering and Signwriting at Art College before he went on to work producing lettering styles for consumer brands. Jason quickly established a reputation in Typeface Design and collaborated with a host of other font designers and graphic designers.

Jason set up Fontsmith in London in 1999 and became more involved with corporate identities. His true passion was graphic design and branding and Fontsmith gave him an opportunity to follow this passion. Over the next few years he developed and designed a series of typefaces and in 2001 released them in his own library. Fontsmith has never looked back and now employs five staff with 23 typefaces, as well as a long list of cool clients.

JEFFERY HALL Sat 16:00 mAkING FACEsJason will talk about his experiences over the years of making typefaces with particular personalities. The results and anecdotes have been educational, surprising, honest and fun.

Susana Rodríguez de Tembleque is the executive creative director of SYPartners, a firm that helps companies design their future. SYPartners uses the fusion of systems thinking and creativity to inspire CEOs and their teams to find new ways of seeing, believing, thinking and acting in the world. Rodríguez de Tembleque sets the overall creative vision for the firm and leads her team of multidisciplinary creatives to conceptual-ize and then bring to life transformative strategies, stories and ideas – be it through print, digital, environments, products, films and more. Rodríguez de Tembleque also plays an active role in the work itself – helping the Gap brand reimagine its store environment and customer experience, assisting GE with cultivating a culture of innovation, and most recently working with IBM to design a series of exhibitions, films and printed pieces illuminating and explaining the idea of progress.

Prior to joining SYPartners, Rodríguez de Tembleque was a creative director of Wired and a design director at VSA Partners. A member of the board of directors of the AIGA, she is an active voice in the design industry, a recipient of every major design award and has been recognized by STEP as one of the ‘Ten Women to Watch.’

Growing up in Spain in a family of bankers with a secret penchant for the arts, Rodríguez de Tembleque quickly developed a passion for design and its power to provoke insights, move people, solve problems and express what words can’t. Today, she remains passionate about the role design can play in challenging the status quo of business and society as a whole.

She lives in San Francisco and New York with her Turkish husband and their four very Mediterranean children.

Jason SmithFounder and Creative Director Fontsmithwww.fontsmith.com @fontsmith

Susana Rodríguezde TemblequeExecutive Creative DirectorSYPartners www.sypartners.com

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LOGAN HALL Sat 18:00DEsIGN: THE ART OF CREATING AN ExPERIENCEPart biography, part manifesto, Susana Rodriguez de Tembleque’s presentation will provoke you to think about design, any design, as an experience – one that must move people.

She’ll share highlights from her own journey – from early days of humiliation to the thrill of her recent collaboration with IBM on its THINK exhibit at Lincoln Center in New York.

Jonathan Barnbrook is a type designer, graphic designer and filmmaker. Since 1990 he has chosen to work with a mixture of cultural

institutions, activist groups and charities as well as completing a steady stream of personal posters. He is also know for his collaborations with Adbusters, Damien Hirst, his work for David Bowie and his ubiquitous fonts designs released through Emigre and his company Virusfonts.

His contribution to graphic design was recognised by a major exhibition at the Design Museum, London in 2007.

JEFFERY HALL Sat 18:00 vIRusThe talk will be a comprehensive survey of the work of Barnbrook’s ground breaking font company virus. Over the past 20 years, Virus has constantly pushed the boundaries of type design, from its first release ‘Bastard’ a gothic digital font, through the furore of naming a font after a serial killer Manson, to his later text fonts bourgeois and regime.

“The history of book design can be split into two eras: before graphic designer Chip Kidd and after.” – Time Out New York, Nov. 2005.

Chip Kidd is a writer and graphic designer in New York City. His book jacket designs for Alfred A. Knopf (where he has worked since 1986) have helped spawn a revolution in the art of American book packaging. In 1997 he received the International Center of Photography’s award for Use of Photography in Graphic Design, and he is a regular contributor of visual commentary to the Op-ed page of the New York Times. In the fall of 2006, Kidd’s work will be included in the Cooper-Hewitt Museum’s third National Design Triennial.

Mr. Kidd has also written about graphic design and popular culture for McSeeney’s, The New York Times, The New York Observer, Entertainment Weekly, Details, The New York Post, ID and Print. His first book Batman Collected (Bulfinch, 1996), was given the Design Distinction award from ID magazine, and his second, Batman Animated (HarperCollins, Fall 1998) garnered two of the Comics Industry’s Eisner Awards, as did his 2002 book Peanuts: The Art of Charles M. Schulz.

As an editor of books of comics for Pantheon (a subsidiary of Knopf) Kidd has worked extensively with some of the most brilliant talents practicing today, including: Chris Ware, Art Spiegelman, Dan Clowes, Kim Deitch, Charles Burns, Mark Beyer, Ben Katchor and Alex Ross.

Jonathan BarnbrookFounderVirusfontswww.barnbrook.net www.virusfonts.com @barnbrook

Chip KiddAssoc. Art DirectorAlfred A. Knopfwww.goodisdead.com

@chipkidd

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A comprehensive monograph of Kidd’s work, CHIP KIDD: BOOK ONE was published in October of 2005. The introduction is by John Updike and the 400 page book features over 800 works, spanning two decades, from 1986 through 2006. It’s first edition sold out a week before publication and it has since gone into two consecutive re-printings.

The Cheese Monkeys, Kidd’s first novel, was published by Scribner in Fall of 2001 and was a national bestseller, as well as a New York Times Notable Book of the Year. He is currently at work on his second novel, tentatively titled The Learners. Both books use the design process as a means to construct a compelling narrative.

LOGAN HALL Sat 19:00“WHAT ARE YOu DOING HERE?”After working non-stop for 25 years, Mr. Kidd gets the commission of a lifetime. That should be a great thing, shouldn’t it? WELL, SHOULDN’T IT?

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© 2010 FSI FontShop International

Image: 1895, Dr. F. Nemos

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BERLIN 2012 sustainInternational Design Talks17–19 May at Haus der Kulturen der Welt

Back to the future

For decades, design has been looking for something new, for something different – often at the expense of resources and global justice. Many companies have already had to learn things the hard way, because they ignored contemporary social values. Others have learned from the crisis and take social and ecological matters into consideration in their business strategies. Discover at TYPO Berlin 2010 sustain the long-living and the constant in design!

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