Alles in der Kategorie »Sprecher«

gerrit_office_total

Gerrit Noordzijs TYPO Berlin Vortrag ist freigegeben

11. Juni 2014

Einer der Höhepunkte der diesjährigen TYPO Berlin war der 30-minütige Videovortrag aus dem Atelier im Wohnhaus von Gerrit Noordzij.

Gerrit Noordzijs TYPO Berlin Vortrag ist freigegeben

Einer der Höhepunkte der diesjährigen TYPO Berlin war der 30-minütige Videovortrag aus dem Atelier im Wohnhaus von Gerrit Noordzij. Wir hatten die Ikone des hol­län­di­schen Gra­fik­de­sign früh als Spre­cher zur TYPO Ber­lin ein­ge­la­den.

»Das Thema Roots ist genau mein Ding«, schrieb er. Aus gesund­heit­li­chen Grün­den ver­leg­ten wir sei­nen Vor­trag in Noor­dzijs Haus in der Nähe des holländischen Städtchens Zwolle. Gerrit Noordzij wollte zunächst nicht, dass wir das Interview freigeben. Das Ergebnis mochte er so sehr, dass wir ihn doch überreden konnten.

Ein informativer wie launiger TYPO-Vortrag über die Entstehung der lateinischen Schrift, die Noordzij an der Tafel niederschreibt …

Foto © Gerhard Kassner

Hans-Jürgen Herr und Holger Schmidhuber: Viel mehr als einfach nur ein Vortrag

20. Mai 2014

„Viel mehr als einfach nur ein Vortrag“ ist der Titel eines Vortrags über einen Kunden, eine Agentur und einen Grill. Und ein bisschen auch über die Erschaffung der Welt. Zumindest mal die Welt von Weber Grill.

Hans-Jürgen Herr und Holger Schmidhuber: Viel mehr als einfach nur ein Vortrag

Foto © Gerhard Kassner

„Viel mehr als einfach nur ein Vortrag“ ist der Titel eines Vortrags über einen Kunden, eine Agentur und einen Grill. Und ein bisschen auch über die Erschaffung der Welt. Zumindest mal die Welt von Weber Grill.

Vor zehn Jahren war der europäische Markt für Grills jenseits des Niedrigpreissegments quasi tot, erzählt Hans-Jürgen Herr. Er ist Präsident der Weber-EMEA-Märkte sowie Managing Director der Weber-Stephen Central and Eastern-Europe-Unit und außerdem Kunde von Holger Schmidhuber. Der ist Mitbegründer und Vorstandsvorsitzender Geschäftsführer der Fuenfwerken Design AG und erzählt, dass die gemeinsame Geschichte, die hier erzählt werden soll, für ihn und seine Agentur zunächst einmal mit einer Niederlage begann. Denn 2008 haben sie den Pitch bei Weber Grill verloren.

Zu groß sei die Vision gewesen, die Fuenfwerken da im Sinn hatte für Weber Grill, wirft Hans-Jürgen Herr ein. Zwar eindrucksvoll, aber einfach nicht das richtige für seine Marke und den Markt und diese ganzen anderen Dinge, die Kunden so sagen…(An anderer Stelle, sagt er aber auch sehr kundenuntypische Dinge. Zum Beispiel, dass schwierige Grundlagen die beste Voraussetzung für mutige Entscheidungen sind.)

Fuenfwerken muss sich also geschlagen geben.

Doch dann geschieht etwas Ungewöhnliches. Die Marke Weber Grill wird von ihrem eigenen Erfolg überrollt. Die Marktanteile steigen rasant. Und dann wird eine ungewöhnliche Entscheidung getroffen: Ein Jahr nach dem verlorenen Pitch meldet sich Weber Grill bei Fuenfwerken und möchte nun doch eine Zusammenarbeit.

Gemeinsam wird eine erste Kampagne entwickelt, die den Weber Grill als das positioniert was er ist – das Original. Das war der Anfang einer eindrucksvollen Markenrepositionierung.

Lautes Lachen im Saal und an manchen Stellen auch leidvolles Seufzen, als Schmidhuber das Ausgangsmaterial und die ursprüngliche Bildwelt von Weber Grill zeigt: Idiotisch einträchtige Familien, weiße Mitteleuropäer in skandinavisch anmutenden Gärten und alle sind so glücklich, das man sich eigentlich auf jeden Fall sofort einen anderen Job suchen will…

Gemeinsam beschreiben die beiden Redner ihren Weg zur neuen Bildwelt und damit auch zur neuen Markenwelt. Und die ist tatsächlich einfach nur sehr, sehr beeindruckend. Außergewöhnliche Bilder mit außergewöhnlichen Menschen und Gesichtern. Roh und kernig, archaisch, sagen beide. So wie Grillen eben ist.

Es ist ein ungewöhnlicher Vortrag, weil man hier den Kunden und den Kreativen gemeinsam auf der Bühne erlebt, auf Augenhöhe miteinander und offensichtlich und zu Recht stolz auf das gemeinsame Projekt, an dem beide gewachsen sind. Und so merkt man, dass es hier um mehr geht, als um Werbung. Viel mehr.

Text: Ivana Rohr

Foto © Gerhard Kassner

 

Weber Grill in Aktion, TYPO Night, Foto © Sebastian Weiß

 

Photo © GerhardKassner

Harry Keller: Working Agile

20. Mai 2014

Don’t go chasing waterfalls. Jump ship and work agile. That’s pretty much the crux of what I got from Harry Keller. Harry is a Berlin based web developer and works for Edenspiekermann (Espi). They create and build digital products and services at various scales across multiple disciplines.

Harry Keller: Working Agile

Photo © Gerhard Kassner

Don’t go chasing waterfalls. Jump ship and work agile. That’s pretty much the crux of what I got from Harry Keller. Harry is a Berlin based web developer and works for Edenspiekermann (Espi). They create and build digital products and services at various scales across multiple disciplines.

Spectacular trademark hair in place and armed with a few diagrammatic but of course well designed and considered slides in tow, he very succinctly talked through the whys, whats, hows and differences between the ‘waterfall’ and ‘agile’ processes. He spoke about the changing nature of the digital landscape, where back in the day we only had to worry about one or maybe two devices, to now – the current state of play, which sees a plethora of devices, platforms, apps, updates and writing systems making for one giant global web of complexity. It has become in a sense – one hot digital mess.

The view is that the traditional waterfall and straight line design-to-content-to-implementation-to-final product approach lacks freedom and flexibility, nor does it allow for volume or (frequent) change in the lifespan of a product. This pre-determined beginning-to-end, pass-the-baton way of working also inhibits communication and collaboration across disciplines. Cracks often appear as projects start falling by the wayside relative to execution and time as a consequence of set expectations. “That’s not what the mock up looked like … ”, “why is it taking so long?” and “why isn’t this working?” ring too common as feedback threads, and which at times, is fair enough, because the final product often resembles very little of the approved mock-up that was established in earlier design phases.

Agile flips waterfall on its head. Disciplines are integrated and everyone has a seat at the table, including the client. Design, content and implementation are no longer linear defined plot points, but are equal starting points of a helix. What was a single straight line is now a set of woven waves, with bends and curves marked by a series of sprints. Instead of one long project cycle, everyone works together in (2-4 week) sprint cycles and everyone is across everything. Designer, developer, scrum master and client co-exist as one. A wish-list is made (product backlog), which informs the sprint backlog, with each end of sprint equalling a deliverable.

By having all onboard and starting with the bare minimum of the project, this iterative way of thinking breaks down complexity into bite-sized realistic and tangible chunks. Short iterations within sprints enable quicker better results (and therefore quicker product releases) because they are built as little modules that can constantly be improved. But more importantly, the process is transparent and realistic expectations are managed.

Case in point – the Next FontShop project. Relevant, but also fitting in the spirit of Typo, Harry shared the project as a fine example of the agile process in play. After 4 weeks prep and 11 sprints, the team of 7 consisting of both FontShop and Espi staff released Next FontShop as a public beta. It launched only with the foundry and designer pages as the starting point and is now in its 14th sprint with the team aiming to release new stuff to public after every fortnightly sprint. There is still work to be done but what is out there is a tangible and functional product that lends itself for evolution, without, or at least, with very little compromise. Quite remarkable and groundbreaking, not just in the typo sphere, but a definite stand out in the greater websphere. The type test drive in particular is pretty amazing even in its current tryout state. It is being built with utmost care and detail, and it is and as Harry humbly puts it, a package of “little nice things”.

The agile process is proving to blow waterfall out of its own water and what used to be a supplier/client relationship is now more a real and eye-level collaborative partnership. Go with and not against. Embrace change, blur the lines and sprint.

Waterfall = dead end. Agile = open and now. As it stands, Harry insists that he will not work for and accept anything less than these agile values, and I think … neither do I.

Text: Maggie Tang

photo © Sebastian Weiß

photo © Sebastian Weiß

photo © Sebastian Weiß

 

photo © Sebastian Weiß

Paul van deer Laan: Something old for the present, something new for the past

20. Mai 2014

Paul van der Laan is a type designer and staff member of the KABK TypeMedia masters course in type design. Together with Pieter van Rosmalen, he is running Bold Monday, an independent type foundry.

Paul van deer Laan: Something old for the present, something new for the past

photo © Sebastian Weiß

Paul van der Laan is a type designer and staff member of the KABK TypeMedia masters course in type design. Together with Pieter van Rosmalen, he is running Bold Monday, an independent type foundry.

The second day of the conference must have been very intense for Paul.
After the Gerrit Noordzij interview premiere, he was invited on stage together with Petr and Erik van Blokland and Albert-Jan Pool to give us a better idea of the Noordzij type design school continuity.
In the afternoon you might have seen him intensely TypeCooking together with Erik van Blokland at their TypeCooker workshop.
Finally, Paul stood on stage in the Show hall to tell us about the roots of his latest projects.

Paul’s interest in geometric sans-serifs is evident.In 2002, he was asked to design an exterior lettering for a Bauhaus building where his studio was based at the time. Paul decisively objected the architect’s predictable proposal to use Futura and started his research on geometric sans-serifs to find a more appropriate solution.

Starting at the origins, Paul observed classical proportions of Greek and Roman letters and then gave us a chance to compare features of such sans-serif milestones as Kabel by Rudolf Koch, Futura by Paul Renner, Metro Black by William Dwiggins, Two-Line Great Primer by Vincent Figgins and, of course, Akzidenz Grotesk.

It was not only these milestones that inspired Paul, as an old BLOEMEN MAGAZIJN lettering he found on the Anna Paulownastraat in the Hague had some of its features added to the final result.

The lettering for the Bauhaus building was made, accepted and executed in steel. Between 2002 and 2013, Paul extended that initial lettering to an amazing typeface — Oskar. It was released by BoldMonday in twelve styles, including meticulously drawn ‘split inline’ styles.

Another project which started with ‘just a logo’ was a modification of the Futura for the USA Today daily newspaper.

Paul explicitly explained which details of the typeface needed adjustments to make it suitable for USA Today. A coherence was given to the various terminals of the letters, ascenders and descenders were shortened, inconsistencies between styles were solved and two intermediate weights were added to the family.
Combined with Chronicle by Hoefler&Frere-Jones, the revised Futura works great   in the long format of the USA Today newspaper.

Finally, Paul spoke about his contribution to the identity of the Rijksmuseum, a Dutch national museum dedicated to arts and history. After a ten-year renovation, it was reopened in 2013.

Irma Boom, who was responsible for the new identity, invited Paul to collaborate on the Rijksmusem logo. Her first sketches were based on DIN, but Paul suggested a version based on Panno, a typeface by Pieter van Rosmalen released under BoldMonday.

After refining and adjusting shapes and proportions as well as finding a correct shape for a specific Dutch IJ letter combination, the logo was finished and extended to a typeface which is now used to set the names of different units of the museum.

Still, there was a scope for typographical work. A typeface for signage was needed, as well as a method to automatize micro typography for thousands of the signs in the museum.

Paul modified Panno typeface, making it even more suitable for signage and adding OpenType features to solve some typographical issues: for example, the figures in the years would be replaced by the smaller ones to achieve an even text flow.

BoldMonday can be proud of many beautiful specimens in various sizes — from the huge Rijksmuseum advertising banner in Amsterdam to the tiny napkin you can find at the Rijksmuseum’s cafe.

Text: Aleksandra Samulenkova, LucasFonts

photo © Sebastian Weiß

photo © Sebastian Weiß

Joost Grootens: More matter with less art

19. Mai 2014

A man spending his life dedicated to clarifying information, Dutch book designer, Joost Grootens, began with letting the TYPO audience know that there are women designers in The Netherlands and ones under age 43. With the air cleared, he began leading us into a 45 minute lecture on how to visually capture the essence of the information you aim to convey.

Joost Grootens: More matter with less art

photo © Sebastian Weiß

A man spending his life dedicated to clarifying information, Dutch book designer, Joost Grootens, began with letting the TYPO audience know that there are women designers in The Netherlands and ones under age 43. With the air cleared, he began leading us into a 45 minute lecture on how to visually capture the essence of the information you aim to convey.

He began with leading us into the roots of why he designs for architecture. Despite, once designing a door handle with braille on it, he’s never quite been an architect. And despite hating working with architects because “they are also designers,” Grootens’ studio produces the majority of its work for architectural academic and research books.

Not being an architect beneficially allows Grootens to present this information about architecture in new and interesting ways, that reflect the nature of the buildings in book form.

“I find it very inspirational to think about the representation of architecture, since architecture itself is a representation of a dream,” Grootens said.

He gave three very different examples of books style mirroring the styles of architectural firms. For a book on Japanese architecture firm SAANA, Grootens utilized double imagery and very little text to represent the non-hierarchy in the buildings and to “capture the essence of SAANA’s style.” Conversely, he highlighted a book on Peter Zumthor with a tactile cover and “filmic sequence” layout which visually complemented the “I” statements in the text. Finally, he shared a book for MDRV integrating a social aspect of the buildings with photos from users and social media as well as professionals.

After sharing his foundation in architecture, Grootens talked more about his fascination with atlases and indexes as an ideal visual format, using the palette of means to convey information (from maps to photos to data). In a fast-paced technological society, it’s critical to “take information out of the flux and study it,” he said.

Grootens then walked the audience through the 26 month journey to create a collections book for Museum Boijmans Van Beuningen in Rotterdam. Indexing an art collection was a mix of database management and hand-tweaking. The possibilities for conveying information were endless, from chronological by creation date to collection date, to maps by artist origin. “It’s all about the thinking and rethinking of what you can do with information,” he emphasized.

Finally, Grootens left us with a teaser of his new typeface for indexing – Ceremony – coming out in June 2014. Developed for numbers initially, the typeface encompasses an array of alphanumeric glyphs as well as symbols. News on it can be found at Optimo.ch.

Text: Meghan Arnold

photo © Sebastian Weiß

 

photo © Sebastian Weiß

Tomas Mrazauskas: Is it possible to invent the book today?

19. Mai 2014

Introduced by Jürgen Siebert as a “book philosopher,” Tomas Mrazaukas imparted his thoughts on books in a post-industrial society to the TYPO audience on Friday.

Tomas Mrazauskas: Is it possible to invent the book today?

photo © Sebastian Weiß

Introduced by Jürgen Siebert as a “book philosopher,” Tomas Mrazaukas imparted his thoughts on books in a post-industrial society to the TYPO audience on Friday.

Why do we look at books today with “rules” assigned to them? Mrazaukas surmises that because books came up during the industrial revolution we assign them industrial standards. However, now that “we see post-industrial spaces being transformed into something useless in industrial terms, into creative spaces,” perhaps we should think about the book that way as well. For example, the Highline in New York is a public, creative space, of which you can’t measure the value. Just like these spaces, books should be an experience for people.

He mentioned that socially he now introduces himself with a book. Instead of explaining that he’s a “self-taught book designer” he asks “Can I show you something? And then the magic starts.”

This non-traditional approach, including design by non-designers and publishing by non-publishers, has led to success because “We [our team] was looking for new ways and we found them?”

He theorized that the cycle of technology from analog to digital technology isn’t really new, but the internet/digital information is just a continuation of the jump that happened from the industrialized (or institutionalized) Gutenberg process to the more democratic Linotype printing which evolved the publishing world.

Although, initially resistant to ebooks, Mrazaukas began to see their value when it was easier to work with than a 600 page manual. However, he pointed out the irony of how we use symbols like a printed book for icons (same as using an archaic floppy disk as a save icon). “We don’t wait for ourselves to adapt, we just go on, ” he said. (He did point out the FontBook icon evolving from a book to a compass as an example of “getting it” in this regard.)

He also pointed out that analog isn’t even really analog anymore, with printers becoming completely digital (although publishers sticking to industrial standards). And since most everything will eventually go into public domain and be digitalized, there really is not a black and white.

Digitalization can be a good thing though, as its reduced cost can increase access and education. Once educated, individuals will be empowered to buy the physical book.

He ended his talk proposing that books, like experimental film, music and dance, shouldn’t be tied to the limits of telling a story.

“Why should should [the book] be useful? Why should it not be something that plays with your mind?”

Text: Meghan Arnold

typo14-tag3,Set1-0048_AdiStern

Adi Stern: I remember (not)

19. Mai 2014

Adi Stern’s presentation, I Remember (Not), like his approach to design, was all about balance. The Jerusalem-based designer structured his talk around three very different projects ranging from “fun” to “not so fun.” But all beautiful and important.

Adi Stern: I remember (not)

Adi Stern / Photo: ©Sebastian Weiß

Adi Stern‘s presentation, I Remember (Not), like his approach to design, was all about balance. The Jerusalem-based designer structured his talk around three very different projects ranging from “fun” to “not so fun.” But all beautiful and important.

The first project he showed was the logotype for the Design Museum Holon, the only design museum in Israel. The logotype needed to be a symbol of the museum, but not the building itself, the ability to be set in any color, and a trilingual system.

“We wanted to capture the spirit of this building,” Stern explained.

He added that it was an important cultural and political decision to make the system trilingual to include Arabic.

“All scripts have the same visual weight, hierarchy, presence and nature.” he said. This meant designing the Hebrew with a midway x-height, since its a monocase script, to balance with other scripts.

Another visual communication decision was to “use the whole wall as a sign, as a poster” and create a three-dimensional effect painting white arrows onto the white walls. He felt successful with this choice when a contractor called frantically, days before opening, to see when he’d paint the arrows. He knew that by doing something so strange that people noticed it he’d made the right design decision.

The next project was much more somber, but of deep personal importance to Stern, whose mother is a Holocaust survivor. Taking on the project to design the visual communication aspects of Block 27 at Auschwitz Memorial and Museum, Stern was “designing, shaping memory and my own personal roots.”

In addition to the normal design hurdles of any project, the team faced the added challenge that “commemorating the Holocaust is a very complex issue. We wanted to remember the victims and tell a story.” After acknowledging that “it [was] our moral duty to do this project. We [had] to do this project and do it differently,” they set out to create something meaningful and universal to influence visitors through visual communication.

As the exhibition falls at the end of the tour of the site, visitors arrive physically and mentally exhausted. Additionally, the majority of visitors are European youth. The exhibit needed to be designed to generate discussion and reflection for this audience.

They also faced some major dilemmas in design ethics. “There was the gap between the horrific content and the fact that we need to make it look good [visually],” Stern said. “In order to communicate with a young audience, who doesn’t really want to be there, you have to be attractive and contemporary.” Additionally, they needed to create a broad, clear, accessible message without paying the price of generalization. “Graphic design is about generalizing, we do that all the time,” Stern said.

After addressing these challenges, Stern guided the audience through three of the rooms his team designed for the project. With multimedia visuals and sound, the team designed an experience to walk visitors from a room depicting the everyday lives of the Jewish community between the wars, to a room depicting the Nazi ideology with loud noise and video creating a “heavy feel of oppression and stress,” to the “Extermination Room” where there is a “withering silence – the unheard sound of a systematic murdering machine.”

In this last room, the team faced a major design challenge of creating a massive infographic map of Europe to show the killing sites. They modeled it as a “black stain…a non-erasable stain.”

Finally, Stern took on the challenge of designing the book of names, which currently contains over 4.2 million victim names documented over decades. Stern designed it as an “internal tombstone” and created a typeface in three languages and two scripts for the project.

“This was perhaps the most meaningful project I ever did,” he said. “The names of my relatives set in a typeface that I hand-crafted.”

Stern wanted to end his presentation on a more upbeat note, so he focused the final section on the process behind his typeface, Noam, the first typeface with its Hebrew and Latin scripts designed simultaneously. His goal is to create a coherent family that holds each script in balance, yet allows each to function independently.

“Achieving this evenness was my goal,” Stern said.

Text: Meghan Arnold

photo © Gerhard Kassner

Triboro: Under the influence

19. Mai 2014

Design duo, Triboro, has purposely kept their team (made up of husband and wife, Stefanie Weigler and David Heasty), small. “The truth is we are control freaks,” Stefanie said before introducing their presentation, Under the Influence, focused on drawing inspiration from New York City, which she calls “a candy store for designers.”

Triboro: Under the influence

photo © Gerhard Kassner

Design duo, Triboro, has purposely kept their team (made up of husband and wife, Stefanie Weigler and David Heasty), small.

“The truth is we are control freaks,” Stefanie said before introducing their presentation, Under the Influence, focused on drawing inspiration from New York City, which she calls “a candy store for designers.”

New York is reflected in Triboro’s broad portfolio ranging from music packaging to startup brand identity to corporate campaigns to publications to exhibitions to celebrity fashion lines. Although the two have no preconceived notions or house style and approach “each assignment as an opportunity to go on a creative journey,” the city’s impact can be seen in much of their aesthetic.

Focusing on “roots,” the pair explored how New York, with its “geography and people in a state of constant flux,” serves as their muse. They compared the creative process to walking around the city and finding surprises around every corner.

“We identify inspirations in the chaos,” they said.

Triboro draws these inspirations from the high-brow contrast and intrinsic link between commerce and art, as well as the quirky “low-brow” visual landscape of the city, from deli signage to abandoned buildings.

“We design objects that have a sense of history, so people will treat them with respect,” they said, illustrating with examples of a dog-tag influenced William Rast product tag and campaigns for clients like Stella Artois modeled after ghost ads around NYC.

The city doesn’t only influence Triboro, but they question the status quo and influence New York itself. One of their biggest projects was a redesign of the New York subway map. They created a custom typeface for the larger text and used Gotham for the small type. (“Why use a Swiss typeface for an American map?”). Then in “an absurd infographic paradox, after so much care went into the design” they picked a neon red for the color. The creative challenge allowed them to promote the studio, and the buzz they generated from posting the map in subway stations, led to the poster still showing up in lifestyle magazines and a meeting with Massimo Vignelli.

Living in New York, they realize that as designers, they must cut through the chaos by doing something differently for clients. For client, BLK DNM, they created an identity system based on constant repetition, use of limited type/color and presenting the models in an unexpected way. Similarly, for client GQ, they challenged the static grid of a printed magazine and mimicked the digital experience for the printed GQ Style Manual.

The aggregate natural and cultural history of the city influences the look of their projects. A TDC project they did questioned the concept of perfection by mimicking the way weather and age can change design. They drew upon the former cultural grittiness of the East Village to create restaurant and cafe branding for a new luxury hotel in the storied neighborhood. They allow themselves to experiment with these influences too, whether its taking a “fuck readability” attitude toward magazine layout or printing their rejected work as Triboro Leftovers.

Triboro wrapped up their presentation with their Nike-commissioned New York project to design a logo for the city. They wanted to link back to the Nike heritage brand, and initially didn’t want just another typographic representation of New York/NYC/etc. They decided to marry “Just Do It” with Do It Yourself and thus was born the logo, changing Nike into NYC. This allowed customer participation and transforming classic Nike ads into New York-themed ads. The city influencing not only their studio, but a classic American brand.

Text: Meghan Arnold

photo © Gerhard Kassner

Foto © Sebastian Weiß

Bärbel Bold: Type & Tech

19. Mai 2014

Bärbel Bold und Ingo Italic sind Letterfriends. Eine langjährige Freundschaft, die in der Zeit der Graffittikunst unter dem Kollektivnamen „Mongomania“ ihren Ursprung fand und heute buchstäblich Früchte in einem 2011 gegründeten „typografischen concept store“ in Kreuzberg trägt.

Bärbel Bold: Type & Tech

Foto © Sebastian Weiß

Bärbel Bold und Ingo Italic sind Letterfriends. Eine langjährige Freundschaft, die in der Zeit der Graffittikunst unter dem Kollektivnamen „Mongomania“ ihren Ursprung fand und heute buchstäblich Früchte in einem 2011 gegründeten “typografischen concept store” in Kreuzberg trägt.

„Letters are my friends“

Eine gemütliche Symbiose aus Studio, Showroom, Forschungslab und Eventroom, die von einem interdisziplinären Künstlerkollektiv mit lustigen Namen, schaffenden Enthusiasmus und kompetenten Design- und Technologiekompetenzen genutzt wird. Stets auf der Suche nach spannenden Beziehungen zwischen Typografie und Technik, wollen sie vor allem neue Kontexte erschliessen, neue Wege finden sowie Interaktionen und Erlebnisse im Raum schaffen. So zum Beispiel ergab sich eine bidirektionale Verbindung für die Entwickler von vvvv und LAMF. Der sogenannte „vvvlagshipstore“ wurde ins Leben gerufen und bot eine interessante Promotionplattform für ihr damals noch unbekanntes Softwaretool, das heutzutage Interactiondesignern als unverzichtbares Werkzeug dient.

Keine Typografen – aber leidenschaftliche Spieler – sind sie, die sich mit Hingabe der experimentellen Anwendung von Typografie und dessen konzeptionelle Ausarbeitung widmen. Inspiriert vom audiovisuellen typografischen Synthesizer von Robert Meek und Frank Müller entwarfen sie den „Infinite Typetrooper“. Eine mit einem Display gekoppelte Schreibmaschine, die animierte Buchstaben des typografisch generativen Frameworks „Buchstabengewitter“ abbildet. Überdies stellt Bärbel Bold innovative Inspirationsquellen, wie den car-tracking IQ Font von Toyota, die Graffiti Markup Language, den Open Source Online Typeface Editor prototypo.io und tinkerbot.net vor. Weitere spannende Projekte sind gerne in der jüngst entstandenen LAMF-Fibel mit selbigen Titel des Talks „Keep Tha Kerning Tight“ zu entdecken.

www.lettersaremyfriends.com

Text: Lisa Schmidt

Foto © Sebastian Weiß

Foto © Sebastian Weiß

Florian Pfeffer: To Do – Strategien, Werkzeuge und Geschäftsmodelle für radikale Gestaltung

19. Mai 2014

In seinem Vortrag stellte Florian Pfeffer sein brandneues Buch »To Do – Strategien, Werkzeuge und Geschäftsmodelle für radikale Gestaltung« vor und gab Einblicke in die Themen dahinter.

Florian Pfeffer: To Do – Strategien, Werkzeuge und Geschäftsmodelle für radikale Gestaltung

Foto © Sebastian Weiß

In seinem Vortrag stellte Florian Pfeffer sein brandneues Buch »To Do – Strategien, Werkzeuge und Geschäftsmodelle für radikale Gestaltung« vor und gab Einblicke in die Themen dahinter. Er selbst hat seine Wurzeln klar im Printdesign, vornehmlich Buchgestaltung. Das im Verlag Hermann Schmidt Mainz erschienene Werk stellt nun sein Debüt als Autor dar. Drei Jahre recherchierte und schrieb er an dem Buch, eine Zeit, die für ihn eine Art Selbsterkenntnisprozess darstellte, denn er hoffte, durch die Arbeit sich selbst die Fragen beantworten zu können, die sich ihm im Bezug auf die Zukunft von Design stellten. Seiner Meinung nach befindet sich das heutige Design in einem Wandlungs- oder Häutungsprozess, den er gerne analysieren und für sich greifbar machen wollte.

Für ihn übertragen sich die gesellschaftlichen Wandlungen, die sich oft in einem Wechsel von zentralistischen in dezentral strukturierte Systeme zeigen, auch auf das Design. In Zukunft werden immer mehr Grafiker als Einzelkämpfer auftreten – die aber allesamt trotzdem viel bewegen können. Mit vielen kleinen Aktionen können sich große Veränderungen herbeiführen lassen und das Design oder der Designer kann hier eine entscheidende Rolle spielen, gerade im Hinblick auf die soziale Verantwortung.

Das Buch behandelt das Thema anhand 50 ausgewählter Projekte und Phänomene, die einerseits präsentiert und andererseits in Strategie, Werkzeuge und Geschäftsmodelle aufgeschlüsselt, analysiert werden.

Text: Leon Howahr, slanted