How were we?

21. Mai 2013

Dear participants. Please spare a few minutes to answer our online questionaire on how you liked TYPO Berlin 2013. Which speakers did you like a lot or not so much? Who do you want to see next time? Should we change the schedule in some way, or can we help you by providing some additional [...]

How were we?

Dear participants. Please spare a few minutes to answer our online questionaire on how you liked TYPO Berlin 2013. Which speakers did you like a lot or not so much? Who do you want to see next time? Should we change the schedule in some way, or can we help you by providing some additional technical functions? Tell us what you would like to see.

#typo13-Installation-Kassner

Artwork by Drury Brennan | Photo by Gerhard Kassner

Among all submissions we will raffle a free ticket to TYPO Berlin 2014.

This way to the English Version …

Hier entlang zur deutschen Version …

 

Jessica Walsh: Creative play

21. Mai 2013

Der Ruf als blutjunger Shooting-Star der Branche eilt ihr voraus. Jessica Walsh kommt trotz atemberaubender Hackenschuhe auf den ersten Blick ganz harmlos daher – Vamp geht anders. Ihr Vortragsstil ist ausgesprochen brav, sie bewegt sich kaum, steht hinter dem Pult und liest vom Blatt ab, anfangs zittert ihre Stimme – ein großer Kontrast zu ihrem [...]

Jessica Walsh: Creative play

Jessica Walsh, Foto © Gerhard Kassner

Der Ruf als blutjunger Shooting-Star der Branche eilt ihr voraus. Jessica Walsh kommt trotz atemberaubender Hackenschuhe auf den ersten Blick ganz harmlos daher – Vamp geht anders.

Ihr Vortragsstil ist ausgesprochen brav, sie bewegt sich kaum, steht hinter dem Pult und liest vom Blatt ab, anfangs zittert ihre Stimme – ein großer Kontrast zu ihrem Ruf, zu den poetischen und professionellen Arbeiten, die sie präsentiert, und auch zu den sexuellen Anspielungen (auf sich selbst), mit denen sie ihren Vortrag anreichert.

Für letzteres erntet sie im Nachgang zwiespältige bis negative Resonanz. Auch ist ihre Aufforderung zu mehr Spiel und Spaß letztendlich ein ausgesprochen elitärer. 2013 stünden „uns“ alle Möglichkeiten offen, sagt sie, doch kann dieses „uns“ nur eine kleine, sehr privilegierte Gruppe meinen, ob innerhalb ihres Landes oder weltweit betrachtet. – Wie anders dieses US-amerikanische Selbst- und Weltbild zum Beispiel zum britischen Punk-, Politik- und Klassenbewusstsein, wie es bei Neville Brody, Kate Moross und Paul Barritt und ihrem Selbstverständnis als Teil der Creative Industries mehr als nur durchschimmert. Aber das nur am Rande.

Hier geht es um die Partnerin von Stefan Sagmeister, die sich an seiner Seite auszog, um nackt für das fortan gemeinsame Studio Sagmeister & Walsh zu werben. Auch davon erzählt sie, und dass Sagmeister damit anknüpfe an seine Studioeinweihung von vor 20 Jahren (und so manche kulturelle Reverenz mehr gäbe es). Wenn man eine Botschaft schnell und effektvoll verbreiten wolle, müsse man sich einfach nur ausziehen, das helfe ernorm, so Walsh.

Sie erzählt von sich, ihrem jungen Werdegang und dass sie neben Titeln wie „Art Director“, „Designer“, „Illustrator“ oder „Partner“ sich selbst als „Player“ bezeichnet. Ihre Definition dafür ist schlicht „a person who loves to play“ (nix Sex) – und damit steige die Qualität ihrer Arbeit. In einem kurzen Ritt durch die Wissenschaftsgeschichte weist sie nach, zusammenfassend, dass Spiel uns für die Herausforderungen unserer Umwelt schult und unser Denken ausbildet.

Weiterlesen »

Neville Brody: Towards level 2

21. Mai 2013

Freitag Abend, letzter Vortrag: Petra Weitz, selbst Wegbegleiterin und Frau der ersten Stunde, versucht, Neville Brody vorzustellen. Er unterbricht gut gelaunt – und stellt schließlich Petra vor: Beide waren sie dabei, als der FontShop, als die TYPO, als FUSE startete. Den Fortgeschrittenen im TYPO-Auditorium muss man nichts über Brodys Bedeutung erzählen. Begriffe wie „Godfather of…“ [...]

Neville Brody: Towards level 2

Neville Brody, Foto © Gerhard Kassner

Freitag Abend, letzter Vortrag: Petra Weitz, selbst Wegbegleiterin und Frau der ersten Stunde, versucht, Neville Brody vorzustellen. Er unterbricht gut gelaunt – und stellt schließlich Petra vor: Beide waren sie dabei, als der FontShop, als die TYPO, als FUSE startete.

Den Fortgeschrittenen im TYPO-Auditorium muss man nichts über Brodys Bedeutung erzählen. Begriffe wie „Godfather of…“ drängen sich auf, oder auch „Seele der Bewegung“, wie Sabine ihn treffend nennt in ihrem Überblick. Neville Brody leitet die Research Studios am Royal College of Arts in London und hat das Anti-Design-Festival initiiert.

Die „Seele der Bewegung“ kommt verdammt erdig daher. Brody geht auf festem Grund, und er geht auf Tuchfühlung. Einer wie er bewegt sich nicht im luftleeren Raum. Er bezieht sich auf sein Umfeld und bezieht es mit ein; er überlegt etwa laut, ob Erik (van Blokland) in der letzten Reihe wohl schon schläft und er deshalb leise sprechen solle. Er freut sich über ein Baby, das zwischendurch zu hören ist, und lächelt, als es noch einmal glücklich aufgluckst.

 

Punk not dead
Als erstes empfiehlt Brody eine aktuelle Ausstellung in Berlin, die er just gesehen und die ihn offenbar berührt hat: Martin Kippenberger (im Hamburger Bahnhof, bis 18. August). Kippenberger hat bis 1997 gelebt und gearbeitet, im gleichen Jahr fand die letzte FUSE-Konferenz statt, so Brodys Überleitung, und er zeigt Arbeiten aus seiner College-Zeit: „all done by hand“, alles völlig „pre-computer“, also bestens passend zum Konferenzthema „touch“. Mit seinem Titelthema und der Ebene 2, auf die wir uns hinbewegen, meint er, das Digitale sei „just an enabler“. Es gehe darum, darüber hinaus und wieder mit dem Physischen in Kontakt zu kommen – „let’s get beyond“.

Weiterlesen »

Harry Keller: Daunting Digital

21. Mai 2013

The long que outside a full-to-capacity TYPO Show room was an accurate indication that this talk was a popular one. The topic? “Daunting Digital: A Wake Up Call”, by web developer (and colleague) at Edenspiekermann, Harry Keller. “Don’t fear digital. Digital needs designers — ” This was the message Harry imparted on the audience, with [...]

Harry Keller: Daunting Digital

Harry Keller, Foto © Alex Blumhoff

The long que outside a full-to-capacity TYPO Show room was an accurate indication that this talk was a popular one. The topic? “Daunting Digital: A Wake Up Call”, by web developer (and colleague) at Edenspiekermann, Harry Keller.

“Don’t fear digital. Digital needs designers — ” This was the message Harry imparted on the audience, with a wry sense of humour, often prompting laugh-aloud moments while still conveying invaluable a advice to the audience. My personal favourite: After showing a photograph of an old-fashioned 70′s-style furnished room as visual analogy for print design, Harry invited the audience to guess what image he would use to visualise digital (“perhaps a futuristic spaceship?”). The actual image? An ugly, disorganised construction site — “Digital NEEDS designers!”.

Given the large student attendance at this year’s conference, it was surprising to get a sense of how few were engaged in digital work. At one point, Harry asked the audience “So, how many people here have a Twitter amount?”. The response was surprising — I would guess less than 10% of the audience raised their hands. And we can probably assume that if the 90% don’t have a Twitter account, it’s unlikely that they are working in the digital design. So, did this mean the talk on digital was a hard sell? It seemed not. Harry’s easy and witty presentation style engaged the room and one could sense the young audience was inspired.

By the end of the talk, when Harry stepped into a very practical “So, what do you do now?” segment, giving advice on the best resources for budding digital recruits, almost the entire audience produced every manner of digital device capable of taking a photo — iPhones, iPads and even old school cameras — to capture the presentation slides displayed. Perhaps this was the most telling moment of how much the talk connected with the audience.

So, is digital still daunting? Perhaps. But after this talk, the fear seemed a lot more manageable.

Paul Woods

TYPO Berlin 2013 Bike Tour

20. Mai 2013

Some impressions from the TYPO Berlin 2013 bike tour, which was great fun! Many thanks to the Buchstabenmuseum for allowing us to take a peek at their new location, thank you, organizers and guides, for making it possible: Magnus Hengge, Achim Klapp, Franziska Parschau, Jürgen Siebert and Erik Spiekermann, and thanks to everyone who came along! Here are the details [...]

TYPO Berlin 2013 Bike Tour

Some impressions from the TYPO Berlin 2013 bike tour, which was great fun! Many thanks to the Buchstabenmuseum for allowing us to take a peek at their new location, thank you, organizers and guides, for making it possible: Magnus HenggeAchim KlappFranziska Parschau, Jürgen Siebert and Erik Spiekermann, and thanks to everyone who came along! Here are the details of the tour for the number crunchers amongst you!

 

 

Flickr group review of TYPO Berlin 2013

20. Mai 2013

This year‘s TYPO was full with colours, emotions, sunshine, concepts, convictions, fervor, rainy patches, surprises, effects, laughter, insights, encompassing moments of aghast and amazement. That was TYPO Berlin 2013 in collective images: View all images in the TYPO 13 pool on flickr, here. If you want to pool your own photographs you are welcome to [...]

Flickr group review of TYPO Berlin 2013

This year‘s TYPO was full with colours, emotions, sunshine, concepts, convictions, fervor, rainy patches, surprises, effects, laughter, insights, encompassing moments of aghast and amazement.

That was TYPO Berlin 2013 in collective images:

View all images in the TYPO 13 pool on flickr, here. If you want to pool your own photographs you are welcome to join the TYPO Berlin 2013 group on Flickr.

Manuel Krebs: The physiognomy of typefaces

19. Mai 2013

Manuel Krebs a designer from Switzerland and a funny one. Manuel takes us back in history on the evolution of physiognomy. His talk is based on the thesis that character descriptions of human beings can be used in the same way to describe typefaces. To judge the character by its appearance clearly falls into the [...]

Manuel Krebs: The physiognomy of typefaces

Manuel Krebs at Typo Berlin 2013 © G. Kassner

Manuel Krebs a designer from Switzerland and a funny one.

Manuel takes us back in history on the evolution of physiognomy. His talk is based on the thesis that character descriptions of human beings can be used in the same way to describe typefaces. To judge the character by its appearance clearly falls into the system of stereotypes. In the examples he quotes it even goes so far as judging the personality of human beings by the silhouette of a person’s head, or by the shape of the human scull formed by its brain. Measuring and categorising were the tools of these so called pseudo scientific results.

With his interesting visual martial Manuel convinces us: “Like humans the letters are looking at us.” You can clearly see this in the appearance of the lower case e. A Replica e looks already friendly in its facial expression, a Frutiger e laughs and a Rotis e laughs hysterically (similar to the audience at this point).

To join the loop to the typefaces Manuel and Dimitri design at Norm, he shows us the evolution of their font Replica that is based on the disappeared typeface Unica. Unica is a font that was originally designed as a measured hybrid between Univers and Helvetica. To see Replica looking at you visit www.lineto.com

Another project Manuel shows us in his humorous way of presenting is the swatch brand optimisation. It started with re-drawing the original font and the noticing that the Swiss cross is not even centred. The amount of sub brands seem like a maze of possibilities for marketing people to add their own creations. Norm tidied up the mess and presented convincing adaptations that could not be used because of the financial impact of implementing them. Finally they created a customised typeface and a set of sub logos that are constantly expanded. The once extensive guide lines manual was cut and cut and cut and cut until it fit onto 6 pages. To make sure everyone really uses the right typeface they changed the shape of the comma to make it unique. Watch out for it!

Sandra / GraphicBirdWatching

 

Ferdinand Ulrich: Hunt Roman – Touching Type

19. Mai 2013

  Ferdinand Ulrich erzählte über die Hunt Roman, zwischen 1961 und 1962 gestaltet von Hermann Zapf. Spannend dazu ist sein Forschungsprozess und sein daraus entstehendes Buch, das er als Diplomarbeit an der Universität der Künste Berlin gemacht hat (Weiterlesen: Bitte scrollen Sie für die deutsche Version). ファーディナント・ウルリッヒはヘルマン・ツァップが、1961年から1962年にかけて作ったHunt Romanについて語り始めるにあたり、まずこの文字が作られるきっかけを作った、ジャック・シュタウファーという人物について述べる。 Hunt Romanは、元々、Hunt Botanical Library という今日のアメリカ、ペンシルバニア州ピッツバーグのカーネギーメロンユニバーシティにある施設のためにつくられた鋳造活字である。この大学の教授、且つマスタープリンターであるジャック・シュタウファーがヘルマン・ツァップとこの施設の創設者であるレイチェル・マクマスター・ミラー・ハントを結びつけた。 1960年代、活字時代の終盤、フォントの私的な利用は高すぎることからあまりあることではなかった。それゆえHunt Romanという文字はその時代の有名なアドリアン・フルティガのユニバースやマックス・ミーディンガーのヘルベティカと比べてその特異性が認められる。

Ferdinand Ulrich: Hunt Roman – Touching Type

Ferdinand Ulrich at TYPO Berlin 2013 © A. Blumhoff

 

Ferdinand Ulrich erzählte über die Hunt Roman, zwischen 1961 und 1962 gestaltet von Hermann Zapf. Spannend dazu ist sein Forschungsprozess und sein daraus entstehendes Buch, das er als Diplomarbeit an der Universität der Künste Berlin gemacht hat (Weiterlesen: Bitte scrollen Sie für die deutsche Version).

ファーディナント・ウルリッヒはヘルマン・ツァップが、1961年から1962年にかけて作ったHunt Romanについて語り始めるにあたり、まずこの文字が作られるきっかけを作った、ジャック・シュタウファーという人物について述べる。

Hunt Romanは、元々、Hunt Botanical Library という今日のアメリカ、ペンシルバニア州ピッツバーグのカーネギーメロンユニバーシティにある施設のためにつくられた鋳造活字である。この大学の教授、且つマスタープリンターであるジャック・シュタウファーがヘルマン・ツァップとこの施設の創設者であるレイチェル・マクマスター・ミラー・ハントを結びつけた。

1960年代、活字時代の終盤、フォントの私的な利用は高すぎることからあまりあることではなかった。それゆえHunt Romanという文字はその時代の有名なアドリアン・フルティガのユニバースやマックス・ミーディンガーのヘルベティカと比べてその特異性が認められる。

Weiterlesen »

Tricia Treacy and Ashley John Pigford: Touch – The Vista Sans Wood Type Project Book

19. Mai 2013

High tech and high touch, this project is very fitting in the spirit of this year’s conference. Touch: The Vista Sans Wood Type Project was born out of Tricia Treacy and Ashley John Pigford’s mutual love for type, letterpress and fascination for experimenting with different creative processes and the joy of collaboration. The idea was to embrace [...]

Tricia Treacy and Ashley John Pigford: Touch – The Vista Sans Wood Type Project Book

High tech and high touch, this project is very fitting in the spirit of this year’s conference.
Touch: The Vista Sans Wood Type Project was born out of Tricia Treacy and Ashley John Pigford’s mutual love for type, letterpress and fascination for experimenting with different creative processes and the joy of collaboration. The idea was to embrace the old and new, the traditional craft and technological digital and produce a hybrid form of typographic design. It would also involve a collaboration with various artists to see how they would visually interpret and respond.
So what was the deal?
Twenty letterpress artists, designers and printmakers around the world were each sent a five piece set of CNC-cut wood type letters plus paper.
They had to make an edition of letterpress prints and send them back by a said date. The letters were T-O-U-C-H.
And the catch?
Receiving a full set of everyone’s prints, being involved in a fantastic collaborative project and taking part in a stack of exhibitions and presentations. There is no catch. Everyone also got to keep the beautiful machine routed pieces of wood type.
The artist collaboration and what was produced are of course key to the project. But it’s also important to mention the concept and process in developing and creating the physical letters. Designed by Xavier Dupré, Emigre’s ‘Vista Sans’ typeface seemed right as it was designed as a contrast of graphic and mechanical form. This spoke to the project conceptually and stylistically. Each Vista Sans letter was then cut by a 3-axis CNC router customised and constructed by Ashley. Pretty impressive.
So after three years of hard work and a little help from Kickstarter, the self published ‘Touch: The Vista Sans Wood Type Project’ book has finally launched. Tricia and Ashley were absolutely thrilled to release their labour love here at TYPO Berlin.
Hot off the press, the artists involved haven’t even received a copy themselves.
The book is a capstone to the project, each with its own unique letterpress cover and  loving sewn by hand. But rest assured, if you couldn’t make it to the conference you can purchase it fromAmazon.com.
The aim was to inspire others to explore letterpress, typography and collaboration.
They have indeed. The creative cogs in my head are turning but as are Ashley and Tricia’s. Word is, they have already made start on their next project.
Maggie Tang

FontFont TypeBoard let loose on stage

19. Mai 2013

167 designers and counting. And perhaps a few more could soon be enlisted into the mighty FontFont family. Thinner thins, bolder bolds.Serif, sans serif, double serifs and swirls. Glyphs, cyrillic, greek, latin. Stencil, humanist, conical, diagonal. F’s with flavour. Curves with character. Q’s with tails turned upside down. Spiekermann, van Blokland, Coles, Frohloff, Siebert, Gabrowitsch. [...]

FontFont TypeBoard let loose on stage

FontFont TypeBoard at TYPO Berlin 2013 © A. Blumhoff

167 designers and counting. And perhaps a few more could soon be enlisted into the mighty FontFont family.

Thinner thins, bolder bolds.Serif, sans serif, double serifs and swirls.

Glyphs, cyrillic, greek, latin.

Stencil, humanist, conical, diagonal.

F’s with flavour. Curves with character.

Q’s with tails turned upside down.

Spiekermann, van Blokland, Coles, Frohloff, Siebert, Gabrowitsch.

Hearing these heavy weights talk the talk was typographic music to my ears. I’m no font designer but as a graphic designer it’s almost a given that I’m a type lover. Plus I’ve done a fair share of work with type in my time, so you could also say I’m an advanced font enthusiast.

I must say, I felt a little like a fly on the wall, being privy to the open type review. It was almost as if I was eavesdropping, listening to and observing the masters critique the dozen or so shortlisted submissions hoping to earn a place in the ever so renowned foundry. The speed and pace in which they could rattle off fonts, the origins, identify a designer’s skill and level of experience, and convey the good and bad of each letter was just phenomenal. No surprises, they mind-blowingly know their stuff. It would be too much to try and re-cap specifics of the fonts in review. I also probably wouldn’t do the masters or any of the font designers justice.

But here are 5 things I learnt from the type casting:

  1. FontFont usually do families and not single weights. Families are expected.
  2. An idea should not be applied to one or several letters only. ALL the letters need to support one another.
  3. How would your font fit in the foundry? Difference is welcomed but would it sell? Do they need another geometric sans? How many more square typefaces does a foundry need?*
  4. Present well. Make it clear what you are submitting. Is it just one typeface or twenty? Standout specimens expressed clarity and details. Or at least they made sense.
  5. Arrows. They all seemed to really like arrows. Might just be worthwhile weaving in an arrow glyph or few.

Were any of the submissions accepted? We’ll just have to wait and see. All I can say is that the font enthusiast in me is still very much overwhelmed. But in the best kind of way.

*Side note: FontFont have more humanist sans serifs than any other library.
It better be pretty darn good if you go there.

Maggie Tang