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Peter Biľak

10. September 2013

Peter Biľak arbeitet in den Bereichen Editorial-, Grafik- und Schriftdesign und unterrichtet an der Royal Academy of Arts in Den Haag. Er betreibt Typotheque, die als erste Foundry ihren kompletten Schriftenkatalog für die Webnutzung lizenzierte …

Peter Biľak

Foto: Mano Strauch

Peter Biľak arbeitet in den Bereichen Editorial-, Grafik- und Schriftdesign und unterrichtet an der Royal Academy of Arts in Den Haag. Er betreibt Typotheque, die als erste Foundry ihren kompletten Schriftenkatalog für die Webnutzung lizenzierte. Gerade erst gründete er das Works That Work-Magazin, das die konventionelle Art und Weise des Publishing neu überdenkt.

Die TYPO Berlin 2014 findet vom 15. – 18. Mai statt. Wer möchte, kann sich jetzt schon zum unschlagbar günstigen Early-Bird-Tarif anmelden!

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Frühe Tickets für TYPO Berlin 2014

14. August 2013

TYPO Berlin hat die Preise gesenkt. Erstmals in der Geschichte der TYPO Berlin öffnen wir bereits im August die Vorverkaufskassen für Profis und Studierende. Bis Silvester gibt es die TYPO-Tickets günstiger …

Frühe Tickets für TYPO Berlin 2014

TYPO Berlin hat die Preise gesenkt. Erstmals in der Geschichte der TYPO Berlin öffnen wir bereits im August die Vorverkaufskassen für Profis und Studierende. Bis Silvester gibt es die TYPO-Tickets günstiger als in den Jahren zuvor. Schnelle Anmelder sparen am meisten! Alle Ticketangebote sind jedoch streng limitiert. Hier geht‘s zu den frühen TYPO Berlin 2014 Tickets …

Also TYPO-Freunde: Nicht zögern und risikolos anmelden, denn unsere kulante Stornopolitik (siehe rechte Spalte unter »Wichtig«) gilt unverändert.

Die 19. FontShop Konferenz findet vom 15. – 17. Mai im Haus der Kulturen der Welt in Berlin statt.

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TYPO Berlin 2013 im Rückblick

17. Juni 2013

Das war TYPO Berlin 2013. Die nächste TYPO Berlin findet unter dem Motto »Roots« vom 15.–17. Mai 2014 im Haus der Kulturen der Welt statt. Updates gibt es hier im Blog oder per Newsletter. Stimmen zur TYPO Berlin 2013 + + + aktualisiert Foto von Gerhard Kassner, Banner von Studio Adhoc   Magazine Computerarts • TYPO Berlin 2013: Studio [...]

TYPO Berlin 2013 im Rückblick

Das war TYPO Berlin 2013. Die nächste TYPO Berlin findet unter dem Motto »Roots« vom 15.–17. Mai 2014 im Haus der Kulturen der Welt statt. Updates gibt es hier im Blog oder per Newsletter.

Stimmen zur TYPO Berlin 2013 + + + aktualisiert

Foto von Gerhard Kassner, Banner von Studio Adhoc

 

Magazine

Computerarts

• TYPO Berlin 2013: Studio NAND interview

• TYPO Berlin 2013: Paul Barnes

 

eyemagazine.com

• Tear-off type walls in Berlin

 

Macwelt, Nikolaus Netzer

TYPO Berlin 2013

 

Neues Deutschland, Christoph Nitz

Endlich volljährig – Ein Besuch bei der Designkonferenz TYPO in Berlin

 

Page, Sabine Danek

Touch: die TYPO Berlin 2013 beginnt

Touch: Die TYPO Berlin hat begonnen

Da war Musik drin: die TYPO 2013

TYPO 2013: Russische Designmagazine

 

Slanted, Julia Kahl u.a.

TYPO Berlin 2013

 

Natemat, Agata Lewandowski 

• Inwazja polskiego dizajnu na Berlin – TYPOTALKS w „Ciężarnej ostrydze”, DMY na lotnisku Tempelhof i Illustrative w Domu

 

Fernsehen & Radio

Alex

• Bericht über die TYPO (28 Min.)

 

Deutschlandradio Kultur, Joachim Scholl, Marietta Schwarz

• Mehr Schrift denn je

• „Schrift ist ein ganz wichtiger Teil jedes Erscheinungsbildes“, Interview mit TYPO Sprecher Andreas Koop

 

15 Minuten Höhepunkte der TYPO Berlin 2013 von Robert Schatton mit: Ken Garland, Simon Manchipp, Jacek Utko, Gesche Jost weiteren Sprechern und unseren großartigen Konferenzteilnehmern

 

Blogs

640×480.de, Martin & Birgit Kohlhaas

TYPO Berlin 2013, Tag 1

TYPO Berlin 2013, Tag 2

TYPO Berlin 2013, Tag 3

• Nachlese Typo 2013: Was Kinder wollen

 

Navucko., Nataša Vučković 

berlin, typo, berlin.

 

The Augmentation Canister, Jens Tenhaeff

TYPO Berlin 2013

 

The relevant Set, Helena Dell-Kolaschnik 

• TYPO Berlin Design Special Russia, Konzept

• TYPO Berlin Design Special Russia, Übersicht und Einzelvorträge 

Helena Dell-Kolaschnik eröffnet das Design Special Russia auf der TYPO Berlin 2013, Foto: Anna Seidenfuß

 

на русском языке Russische Version:

День «Российского дизайна» на TYPO Berlin

 

 

«Индивидуальные лекции на русском языке» Einzelne Vorträge:

• Митя Харшак & Петр Банков »How to do a design periodical«

• Алексей Новичков & Михаил Симаков »Infographics for Moskovskie Novosti and RIA Novosti«

• Петр Банков »Posters every day«

• Александра Королькова »Native touch. Adjusting your cyrillic for real use«

• Таисия Лушенко »Some projects with challenges resolved with type«

 Светлана Ландль »St. Petersburg – Finding an ID«

  

Typolution, Ben

• TYPO Berlin Tag 1

• TYPO Berlin Tag 2

TYPO Berlin Tag 3

Wieso ich TYPO liebe

 

youshouldliketypetoo.com

• TYPO Berlin 2013

 

26plus-zeichen.de

• TypeBoard live

 

Michael Schmidt, Kochan & Partner

• Ein Ausflug zur TYPO Berlin 2013

 

Sprecher

Michael Johnson

Harry Keller, Slides

David Demaree, Slides

Paul Barritt, lecture notes

Gerry Leonidas, Slides

Sander Neijnens, Video über sein „On-Site Poem”

 

Zitate

• Jessica Walsh

„I would like to take this opportunity to thank you, your colleagues and your team of volunteers for the splendid work you did to make this conference work so well. I think I speak not only for myself but also for my fellow speakers when I say that we could not have been better looked after. All in all, it was a most enjoyable occasion and one I shall long remember. Well done!“ – Ken Garland

 

„So, coming to an event like this and meeting hundreds of likeminded people is fantastic. I might sound like a cliché, but these events reenergise you. You see lots of people doing things you do but in completely different ways. You meet interesting people, doing interesting work. There are people, here, from Russia and Poland that I otherwise wouldn’t be aware of. The internet is great. But here you see things more directly than searching through blogs. I think that’s the way most designers feel when they come to these things: they’re reenergising.“  – Paul Barnes

 

Die Liste wird laufend aktualisiert …

Introducing charm into charmless categories – Simon Manchipp

16. Juni 2013

“♫ Keep a rattlesnake as pet… Sell both the kidneys on the internet… Dumb ways to die, so many dumb ways to die… ♫” If you’ve heard this insanely catchy jingle about rail safety even once before, you’ve probably already got the earworm. (And if you haven’t, do so now!) So how on earth did [...]

Introducing charm into charmless categories – Simon Manchipp

“♫ Keep a rattlesnake as pet… Sell both the kidneys on the internet… Dumb ways to die, so many dumb ways to die… ♫”

If you’ve heard this insanely catchy jingle about rail safety even once before, you’ve probably already got the earworm. (And if you haven’t, do so now!)

So how on earth did a video about rail safety, of all things, become a global sensation and the earworm heard around the world? It introduced charm into what most people would consider a dull, charmless category.

Simon Manchipp, co-founder and creative director of London design company SomeOne, isn’t responsible for the ‘Dumb Ways to Die’ campaign, but he loves it because it’s virtually the poster child for his manifesto – that “Weird Works”. ‘Dumb Ways to Die’ was funny, it was a little bit weird, it was charming. It went global. It’s the kind of exposure that most brands would kill for, but wouldn’t take the risk to achieve.

Simon always aims to look beyond the brand message and try to touch audiences with his design work. Design, especially for big global companies, is usually seen as a very serious business, with no place for frivolity. The exercise of branding is too often interpreted as creating an unbending set of rules – as producing a “Bible of No”.

B-O-R-I-N-G. Who’s to say that branding can’t be more flexible, more interesting, more fun? Simon demonstrated an impressive portfolio of client work that goes beyond logos and guidelines. They were amazing examples of design that found entertaining moments in between the cracks; branding that interested people, made them pause, made them laugh.

So take the risk; entertain people – and talk your clients into it too. Remove their fear of going off-brand and sell them on the idea that weird works for business. If all else fails, play Dumb Ways to Die on a loop until they beg you for mercy.

Ally Long

TwoPoints present the workshop “Tactile Systems”

14. Juni 2013

It’s always tough getting up on stage and public speaking, but when you’re up against Neville Brody in the conference schedule time slot, it’s next level nerves. That’s exactly what Lupi Asensio, Martin Lorenz and four very brave students were faced with.   Founded in 2007 by Asensio and Lorenz, TwoPoints consider themselves an “International [...]

TwoPoints present the workshop “Tactile Systems”

It’s always tough getting up on stage and public speaking, but when you’re up against Neville Brody in the conference schedule time slot, it’s next level nerves. That’s exactly what Lupi Asensio, Martin Lorenz and four very brave students were faced with.

 

Founded in 2007 by Asensio and Lorenz, TwoPoints consider themselves an “International Bureau of This and That”. True, yes, with “this” being the exceptional design work they have produced to date and “that” being the network of creativity; amongst it fellow designers, musicians, photographers, developers, writers, as well as academics and students. Studio aside, design education and thinking is a big part of what they are about.

TYPO Berlin 13 Twopoints.net, A. Blumhoff

Lupi Asensio and Martin Lorenz, organizers and teachers of DW, founded their studio TwoPoints.net in 2007 and live between Berlin and Barcelona, Foto: Alexander Blumhoff

Established educators as much as they are practitioners, they were both dissatisfied with the ideas and approach across the various curriculums. They began to wonder and question how design should be taught in the present day. Not everything can be learnt solely through studying, and with design, there needs to be a substantial amount of doing. So they started Design Werkstatt.

 

Last year TwoPoints featured as speakers at Typo Berlin. This year they are back to show and tell the outcomes from their Design Werkstatt three day workshop – “Tactile Systems: Tools for Flexible Visual Systems”.

 

The aim of the workshop was to encourage and find new sources of inspiration and possibilities. To break the machine routine and revert back to hands-on manual processes. How can visual systems be built by using common and tactile materials such as paper, cardboard, wood, and found objects?

 

The brief was simple.

- Consider the basic elements of a system i.e background, colour, object.

- Select one or several non-modular common materials.

- Create a series of conditions and apply these materials and make a three dimensional “physical system”.

 

Experiments included: twisted tights, kaleidoscopes of boxed syrups, letters and ladders, shadows made with dots, and greenery across different planes, all of which still worked as functional design systems. What was interesting was the diversity in material choices and the differences in approach between the students. The level of thinking and how far they pushed and explored ideas in such a short amount of time was also very impressive. It was also fantastic to see them up on stage presenting their own work.

 

Visual systems can, but do not necessarily have to lead to two dimensional corporate identities. Form, space and 3D ID’s. More of that please.

Albert-Jan Pool: Legibility according to DIN 1450

22. Mai 2013

I have to be honest. I actually thought the talk was about legibility and DIN the ‘typeface’. A favourite font of mine, and one that I still and always will hold in the highest regard, I saw the words ‘DIN’, ‘Albert-Jan Pool’ and then everything else was a blur. Armed with a Phillips language translator [...]

Albert-Jan Pool: Legibility according to DIN 1450

Albert-Jan Pool, photo © Alexander Blumhoff

I have to be honest. I actually thought the talk was about legibility and DIN the ‘typeface’. A favourite font of mine, and one that I still and always will hold in the highest regard, I saw the words ‘DIN’, ‘Albert-Jan Pool’ and then everything else was a blur.

Armed with a Phillips language translator headset, I was determined to get as much as I could out of the Deutsche spoken talk. I very soon realised that DIN 1450 meant something entirely different. ‘DIN’ being the acronym for Deutsches Institut für Normung, or as Phillips, my headset would say in English, German Institute for Standardisation, with the ’1450′ suffix referring to ‘legibility in typefaces’.

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Paul Barnes: Touching the Past

22. Mai 2013

There was no mention of The Guardian, Kate Moss, the exquisiteness that is the ‘Marian’ font, nor football. Except during the upfront disclaimer to say that there would be no mention of these things. In fact, it was mostly all about churchyards and gravestones, family trees in the town of Cornwall, generations of lettering, and [...]

Paul Barnes: Touching the Past

Paul Barnes, Foto © Alex Blumhoff

There was no mention of The Guardian, Kate Moss, the exquisiteness that is the ‘Marian’ font, nor football. Except during the upfront disclaimer to say that there would be no mention of these things. In fact, it was mostly all about churchyards and gravestones, family trees in the town of Cornwall, generations of lettering, and a hint of american celebrity.

Let’s face it. Paul Barnes could have spoken about anything remotely to do with graphic design and/or type and we still would have been all ears.

A thoughtful and personal response to the theme of ‘touch’, the joy and fondness in which he spoke about legacy; that of his family and that of the pioneers of English lettering during the 18th and 19th centuries and how it has inspired and informed his work was marvellous.

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Andreas Koop: Die Macht der Schrift

22. Mai 2013

Andreas Koop, der erste Vortrag des dritten Tages auf der TYPO Berlin. Er tritt zum Rednerpult und ich vernehme einen mir bekannten Dialekt. Andreas kommt aus dem schönen Allgäu, ich aus München. Das Publikum schmunzelt, als er Bilder aus der idyllischen Heimat zeigt. Seit 1995 leitet er das Designbüro Designergruppe Koop im Voralpenland. Sein Thema: [...]

Andreas Koop: Die Macht der Schrift

Andreas Koop, Foto © Gerhard Kassner

Andreas Koop, der erste Vortrag des dritten Tages auf der TYPO Berlin. Er tritt zum Rednerpult und ich vernehme einen mir bekannten Dialekt. Andreas kommt aus dem schönen Allgäu, ich aus München. Das Publikum schmunzelt, als er Bilder aus der idyllischen Heimat zeigt. Seit 1995 leitet er das Designbüro Designergruppe Koop im Voralpenland. Sein Thema: Die Macht der Schrift. Sofort hat man Propagandaplakate von Nationalsozialismus und Kommunismus vor Augen. Man merkt gleich, dass Koop ein leidenschaftlicher Designforscher ist, denn er holt weit aus. Im Galopp führt er uns durch die Geschichte, um die Wiedersprüche, Parallelen und die sehr stark traditionell verankerte Wirkung von Schrift zu beleuchten. Ludwig XIV:, Max I. und Napoleon stehen nur als Beispiele für all jene Herrscher, die das Schriftbild auf ihre Weise geprägt haben und sich über die Wirkung von Schrift bewusst waren. Schrift und Inhalt wurde von ihnen gezielt zur Steigerung ihrer Macht eingesetzt.

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Petr Bankov: Posters every day

22. Mai 2013

Выйдя на сцену, Петр честно предупредил, что волнуется и станет заикаться, однако заикаться не стал, а показал и поэтично рассказал про сто девяносто четыре плаката из тех пятисот, что сделал на протяжении последних двух лет. Петр Банков, креативный директор студии DesignDepot и главный редактор журнала [kAk], последние два года нейтрализует последствия двадцатилетних занятий коммерческим дизайном. [...]

Petr Bankov: Posters every day

Petr Bankov, photo © Nikolaus Netzer

Выйдя на сцену, Петр честно предупредил, что волнуется и станет заикаться, однако заикаться не стал, а показал и поэтично рассказал про сто девяносто четыре плаката из тех пятисот, что сделал на протяжении последних двух лет.
Петр Банков, креативный директор студии DesignDepot и главный редактор журнала [kAk], последние два года нейтрализует последствия двадцатилетних занятий коммерческим дизайном. Почти каждый день он делает постер. Постер как пост в социальной сети — мысли и наблюдения, глубокие и ежесекундные, услышанная музыка, съеденная еда, встреченные люди и даже посмотренные сериалы. Собственно, каждый постер действительно публикуется Петром на его странице в фейсбуке. Плакат для Петра — его личная лаборатория, где можно отлично провести время одному, а случается — и с друзьями. Так дизайнер снова улавливает ту легко утрачиваемую составляющую творческого процесса, которая и делает его творческим.
Не претендующие на значительность, выразительные, иногда ироничные, часто лирические, 194 плаката, увиденные один за другим (и сопровождаемые емкими комментариями автора) оставляют цельное, даже кинематографическое впечатление. А контраст между бытовыми и глобальными темами плакатов держит зрителя в тонусе.

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Alexandra Korolkova: Adjusting your Cyrillic for real use

21. Mai 2013

Александра Королькова — известный и увлеченный специалист по кириллическому шрифтовому дизайну. Дизайнеры, для которых кириллица не является «родной», часто попадают в ловушки распространенных заблуждений и делают глупые ошибки при работе над кириллическим расширением своих шрифтов. Поэтому Александра в своем насыщенном выступлении расставила точки над i (или, скорей уж, кратки над и?) по некоторым особенно острым вопросам [...]

Alexandra Korolkova: Adjusting your Cyrillic for real use

Alexandra Korolkova, photo © Alexander Blumhoff

Александра Королькова — известный и увлеченный специалист по кириллическому шрифтовому дизайну.
Дизайнеры, для которых кириллица не является «родной», часто попадают в ловушки распространенных заблуждений и делают глупые ошибки при работе над кириллическим расширением своих шрифтов. Поэтому Александра в своем насыщенном выступлении расставила точки над i (или, скорей уж, кратки над и?) по некоторым особенно острым вопросам кириллицы.

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