Reversed contrast

A look at “reversed contrast” typeface design: at letters that are intentionally made thick and thin at the “wrong” places. A number of type designers have set out to break and even reverse the traditional rules of stroke contrast. Is that just an unæsthetic gimmick? Or does it prove that our rules are too tight? A look at examples, mechanisms – and the design process of a reversed-contrast text face.

Continuous text typefaces versus display typefaces in the Ottoman Empire

Ever since the first Arabic script printed book occurred in the Ottoman Empire (1729) the naskh style was established as a continuous text typeface. The persistent use of this style was often accompanied with the nasta’liq, ruq’ha and thuluth styles, and later kufic, which was used especially for headlines in the display type format. This presentation aims to illustrate the key characters and visual differences of the Ottoman Empire’s use of continuous text typefaces versus it’s use of display typefaces.

Building a character

Moments: these little, tiny increments of time we sometimes take for granted or barely notice can have a dramatic effect on our lives. A discussion about my career as a touring musician on MCA/Universal Records to Design Director for President Obama to a Creative Director at Facebook and the moments in between.

No risk no fun – bright sight of typography for younger and older

Climbing in mountains and curiosity of the world can be helpful in your work. Problematic situation could be a good source of creativity. Teaching kids, parents and teachers looking for new solutions, using a fortuity, taking risk in creative form could be also very good way of teaching typography and design basics.

Designing news

As designers we are living the most interesting and challenging age of the news industry. The technology used in writing is undergoing a huge transformation, addressing itself to a multitude of languages. The great challenge of our time is to combine different languages, in order to increase knowledge and understanding, to inform and clarify. According to Franchi, reporting is not merely filing a story once, but rather telling a continuous narrative in a way that is most relevant for a broad range of traditional and digital media—from breaking news to analysis, from interviews to commentaries, from photo essays and illustrations to information graphics and interactive visualizations of data.

Encourage the ferret.

Is the creative pursuit like a sport?

What are the rules of the game?

What does winning even mean?

And what happens if a ferret invades the pitch?

This engaging, surprising, amusing talk looks to answer these questions whilst giving us a tour through the recent work and non-work of artist Jon Burgerman.

Tall tales from a large man

Using scientific proof and state-of-the-art multimedia techniques, Aaron James Draplin delivers a suckerpunch of a talk that aims to provide bonafide proof of work, the highs and lows of a ferociously independent existence and a couple tall tales from his so-called career in the cutthroat world of contemporary graphic design. Just a regular guy with a trajectory a little dirtier than yours, his talk is open to all citizens brave enough to show up. Orange things, long dogs, laffs, tears, dangerous ideas, cosmic trajectories and colorful vectors! Be there, Berlin! Achtung!

HARAM TYPE – 30 days of lettering

During the 30 days of islamic fast month ramadan, algerian born/berlin based Art Director Kenzi Benabdallah used every day of islamic abstinence to create one Haram letter. The alphabet of forbidden muslim sins was his way to prosperity without resisting the desires of 2014 seductive Berlin.

The credibility of (certain) characters

Both uppercase and lowercase letters are part of the de facto character set in our culture. But why is it exclusively latin and subsequent european writing systems that have two forms of each character? That peculiarity is virtually unheard of in the rest of the world and yet, astoundingly, our use of bicameral script is rarely questioned. This deconstruction of the phenomenon will tackle not trivialities such as orthography and readability, but rather issues such as religion, power politics and credibility.

From typography to graphic types – playing with characters in Japanese inscription

In Japanese typography, the border between writing as an informational medium and writing as imagery is playfully porous. The Japanese system of writing is considered one of the most complex in the world. Writing a single language requires juggling four different character sets – Sino-Japanese kanji, the two syllabic scripts hiragana and katakana, and the Latin alphabet. Japanese designers turn this cornucopia of shapes and characters to creative advantage in visualising language, information and thought. This presentation will take a look at the various typography-based design principles of both historical and contemporary work from Japan.

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