TYPOLONDON
2012 S O C I A L
Event Guide
TYPO LONDON
TYPO London 2012: Social provides a unique opportunity to investigate the myriad ways in which designers can function socially. And by ‘functioning socially’ we don’t just mean in the socio-political sense: thanks to huge changes in the nature of media, the act of designing is, more than ever, a social act, whether it is working for a global brand or designing a new eco-friendly typeface.
2012 Social
Location
The Logan Hall is part of the London University and situated within the Institute of Education on Bedford Way. The street
Logan Hall
connects Tavistock Square to the north and Russell Square
Institute of Education London
to the south and is easily accessible by the public transport
University of London
system and London Taxis.
20 Bedford Way London WC1H 0AL
Please visit our Contact page if you have any inquiries about the event. The Institute of Education and the University of London are independent organizations and will not be able to field any calls regarding TYPO London 2012. typotalks.com/contact
October 19th - 20th
Speakers
Kirsty Carter & Emma Thomas (A Practice For Everyday Life) Entering a visual dialogue with the spectator: the works of London-based A Practice for Everyday Life draw international attention. Recent projects include the exhibition design and publication of “Bauhaus: Art as Life“ at Barbican Art Gallery and a new visual identity for Witte de With Center for Contemporary Art in Rotterdam. Working on everything from brand identity, print to signage, wayfinding and exhibition design, Kirsty Carter and Emma Thomas enjoy investigating, exploring, collecting and experimenting to arrive at outcomes that surprise, delight and engage on many levels. Currently they are working on the graphic identity of a new cross-disciplinary arts space in Hong Kong and the design of a major new retrospective publication for the artist Linder. At TYPO London Kirsty and Emma will show us how their communication skills create settings that one feels inescapably drawn into. (Photo: Carol Sachs)
TYPO London 2012, October 20, 2012, 3:00 pm (Logan Hall) A Practice for Everyday Life produces work that is with, out of, and for people, and is borne out of collaborative working relationships and extensive research. For their TYPO talk, Kirsty and Emma will discuss what ‘social’ means in the context of their practice and will present a selection of APFEL projects, exploring the stories that both informed and emerged out of their designs, and detailing how they identify and distil visual and conceptual references to create work that is both subtle and direct.
Rick Banks Rick Banks makes books speak. The highly acclaimed Copy Book on how advertisers create texts won him this years D&AD Award. His book design teams up with its reader. Rick is a designer, art director and typographer, working under the moniker Face37. In 2011 he gave the Musician‘s Union, one of he oldest unions in the world, a modern graphic voice that supports their issues. The rebranding included Signage, stationery, guidelines and web design and it was accoladed with the D&AD award 2011 for books. Rick‘s works were shown in The Guardian, Monocle, Creative Review, Grafik, Computer Arts, Wired or Digital Arts. At TYPO London Rick will demonstrate how graphic issues are social issues.
TYPO London 2012, October 20, 2012, 1:00 pm (Jeffery Hall) Rick will talk about his design journey since he graduated and how he built his own, very real, ‘social network’ along the way.
Paul Barnes Paul Barnes is a graphic designer specializing in the fields of lettering, typography, type design and publication design. He is a partner with Christian Schwartz in the internationally acclaimed typefoundry, Commercial Type. In the early 1990s he worked for Roger Black in New York where he was involved in redesigns of many magazines. He later returned to America to be art director of the music magazine Spin. Since 1995 he has lived and worked in London. He has formed a long term collaboration with Peter Saville, which has resulted in such diverse work as identities for Givenchy, ‘Original Modern’ for Manchester and the logo for Kate Moss. Barnes has also been an advisor and consultant on numerous publications, notably Wallpaper*, Harper’s Bazaar and frieze. His interest in the modern and vernacular is encompassed in his type design ranging from the contemporary such as for Björk, through to the extensive British modern, Brunel as seen in Condé Nast Portfolio. Whilst consultant to The Guardian he designed Guardian Egyptian with Christian Schwartz. He has designed typefaces for the National Trust in England, the numbers for Puma at the 2010 World Cup and most recently the numbers for the England football team for Umbro. For Commercial Type he has co designed Publico with Schwartz,
and independently Austin, Dala Floda and Marian. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Barnes was awarded the Black Pencil from the D&AD. They were also nominated for the Design Museum ‘Designer of the Year’. In September 2006, with Schwartz he was named one of the 40 most influential designers under 40 in Wallpaper*. A year later The Guardian named him as one of the 50 best designers in Britain.
TYPO London 2012, October 20, 2012, 6:00 pm (Jeffery Hall) For the last ten years Christian Schwartz & Paul Barnes have being making typefaces together. With successful designs such as Guardian and the type foundry, Commercial Type, they have shown how despite 3500 miles between them and a five hour time difference how long distance relationships can work out. Paul Barnes will be explaining how it all happens, and some of Commercial Type’s latest projects.
Béa Beste How do we have to learn today? What do our children need in order to be well prepared for the future? Where is “I”, where is “We”? Béa Beste collected ideas and impressions of an educational expedition on three continents. Education is her vocation. After studying business engineering and social and economic communication she joined SAT1 Television, moved on to Boston Consulting Group and subsequently established the bilingual schools of Phorms Education in Berlin in 2005. Béas concept focuses on learning in a community with global education in local schools where each individual respects the other. After CEOing her school for six years, Béa embarked on an educational expedition to India, Australia, Indonesia, and the USA in 2011. Inspired by the diversity of educational methodologies on an international scale, she began to develop PlayDUcation, a system to combine the worlds of learning and playing. Béa will lead us to where “business” and “social” overlap and grants an amazing insight into how our brain runs on fun.
TYPO London 2012, October 19, 2012, 1:00 pm (Jeffery Hall)
Tim Beard (Bibliothèque) Bibliothèque is an independent design studio based in London, founded in 2003 by designers Tim Beard, Jonathon Jeffrey and Mason Wells. It has earned an international reputation as an innovative company working in the fields of brand identity, spatial and digital design. In October 2011 the three partners were made members of the Alliance Graphique Internationale. An organisation representing the world’s leading graphic artists and designers. The three founding partners, have created a company who’s work is both admired and much sought after, for its conceptual thinking, meticulous attention to detail and intelligent solutions. Beyond the confines of the studio, Bibliothèque are also active in promoting design to a wider audience. In 2007, to coincide with the UK Olympic bid, they funded and curated an exhibition of the designer Otl Aicher’s 1972 Olympic Identity from their archive of mid-century graphic design.
TYPO London 2012, October 19, 2012, 11:00 am (Logan Hall)
Irma Boom Irma Boom is amongst the most remarkable and original designers of our time. She brings the single mindedness and absolute dedication to her craft – mostly book design – that characterizes all great designers. Anyone who wants to be a great designer needs to be able to match her sense of purpose, her absolute commitment and her creative genius. But she is no elitist. She is a worker who makes things with her hands and by using the tools and techniques of her trade. As she says: ‘My books are all industrially made. What you see is that the book is not simply a book; it’s also an object. That’s what makes it special.’ In addition to her verve as a graphic designer with few contemporary equals, Irma Boom is also a brilliant conference speaker. It is impossible to hear her speak and not want to be a better designer. Any creative practitioner who feels that their career is flagging should be obliged to attend a talk given by Irma Boom.
TYPO London 2012, October 20, 2012, 8:00 pm (Logan Hall) I honor the traditional book but do not want to stop there. My ambition is to develop the significance and the limits of the book. Structures that come from new media, the way text and images are treated, have given the book a new impulse. It is important to experiment and not to be afraid sometimes to create utter failures; the book can keep its vitality.
Anthony Burrill Anthony Burrill has gained a following in the design world for his innovative collaborations with friends and fellow artists, designers, print-makers and film-makers. Burrill works across a range of media, including posters, moving image and three-dimensional work. His persuasive, up-beat illustration and design has been commissioned by cultural, social and commercial clients around the world from New York, to London to Tokyo. He combines an instinctive handling of colour and composition with a witty approach to words. He has worked on advertising campaigns and posters for clients such as The Economist, the British Library and London Underground. He regularly collaborates with musicians and animators to make films, music promos and animations, using his distinctive visual vocabulary and passion for fusing sound and image. His installations and 3-D work have been commissioned by Colette in Paris and The Design Museum in London among others. Printmaking is an important part of Burrill’s practice and he creates limited edition prints with slogans including “Work Hard and Be Nice to People� that have become mantras for the design community and beyond.
TYPO London 2012, October 19, 2012, 12:00 pm (Logan Hall)
Matthew Butterick Matthew Butterick is a typographer, writer, and lawyer in Los Angeles. After graduating from Harvard, he worked as a type designer for David Berlow and Matthew Carter. He then founded Atomic Vision, a web-design studio, which was acquired by Red Hat. He attended UCLA law school and became a lawyer in 2007. Butterick is the author of the popular Website and book Typography for Lawyers. His fonts include Hermes FB, FB Alix, Equity, and most recently, Concourse.
TYPO London 2012, October 20, 2012, 11:00 am (Logan Hall) At its best, design is a social act. That’s why at TYPO Berlin, Matthew proposed that “solving problems is the lowest form of design” and that investing our humanity is the highest. At TYPO London, Matthew will continue with this theme, exploring how the printed word remains our most socially vital invention because it illuminates the possibilities of being human. He will also explain why typographers should keep hold of this golden thread, even as today’s technology invites us to let go.
Tony Chambers (Wallpaper*) Tony has driven the growth of the Wallpaper* brand through the development of a hugely successful website, exhibitions and events and the iconic series of pocket City Guides published in conjunction with Phaidon press. He joined Wallpaper* as Creative Director in 2003 and was appointed Editor-In-Chief in 2007. Since joining Wallpaper*, he pushed the highly respected re-design, including the creation of a new and unique font for the magazine thus attracting some of the world’s most exciting and talented photographers and illustrators. Prior to Wallpaper*, Tony had been Art Director at Condé Nast’s flagship male lifestyle title, British GQ Magazine for six years. During that period he also acted as a creative consultant on other International Condé Nast titles. Prior to joining Condé Nast, Tony was Art Editor of The Sunday Times Magazine. Tony has twice received the title Art Director of the Year at the prestigious Periodical Publishers Association Awards. He picked up the award for New Editor of the Year by the British Society of Magazine Editors in 2008 and this year was named Editor of the Year for Lifestyle Magazines. Where editorial design currently stands and what it needs to achieve to remain in peoples aware
TYPO London 2012, October 19, 2012, 3:00 pm (Logan Hall) Graphic design for invitations…based on 5,000 recent examples.
Patrick Cox Patrick has recently been helping Eight Inc (the design company behind the Apple Stores) set up shop in London. “Taking a brand forward will often create new models, new services and new experiences that may at first seem surprising but in retrospect manifest an emerging strategy – and shatter category norms” Being an Independent Creative Director with over 25 years’ experience and working with the world’s leading brands Patrick lives in London and works with organisations and individuals facing complex design and innovation challenges. Formerly Executive Creative Director of Wolff Olins he worked on projects including London 2012, Macmillan Cancer Support and (Red). Patrick is an “old stager” when it comes to building relationships with clients as a base for fruitfull cooperations: “Clients’ needs have changed, and the branding and communications industry has struggled to adapt… to create meaningful shifts companies have to make new things and create new brand-defining experiences.”
TYPO London 2012, October 20, 2012, 4:00 pm (Logan Hall) Design reflects changes in attitudes, and expectations. As social networks have evolved and found new ways of getting things done – improving the way we produce and consume things – how should ‘design’ adapt to help create, rather than mirror, a more porous, more ‘useful’ society?
Joshua Davis “One of the lessons taken from Davis’ lecture at TYPO San Francisco was that collaboration is necessary in growth as an artist and always leads to good things. As Davis so wonderfully put it, “Collaboration is a good way to step away from ego.” In an industry that can so easily become narcissistic, we must take a step back and realize that every new collaboration can not only allow us to show off what we can do, but allow us to take away and store in our brains much more knowledge than we had before. ” (Holly Wickland, TYPO San Francisco Blog) Joshua Davis is an American artist, designer, and technologist producing public and private works for companies, collectors, and institutions. Davis is renowned for pioneering an original method of computational, generative-art known as Dynamic Abstraction. Davis explores the technical and aesthetic limits of Flash and Illustrator to generate unique visual compositions according to rulesbased, randomized processes.
TYPO London 2012, October 20, 2012, 7:00 pm (Logan Hall)
Sara De Bondt Sara De Bondt is a London-based, Belgian graphic designer and she is also publisher and editor of Occational Papers, a non-profit publisher of affordable books on the history of architecture, art, design, film and literature. Making knowledge available and affordable to all has become one of her central issues since starting Sara De Bondt studio in 2003. The studio’s approach is research and idea driven, with strong emphasis on visual clarity and typographic detailing. It actively seeks out collaboration, both with its clients and colleagues, which has led to a wide range of projects from international clients such as Guggenheim, WIELS, Tate, ICA, V&A, Artissima, Interieur 2010, WIELS, Kunsthal Charlottenborg, MK Gallery, and many more. Sara is a Visiting Professor at School of Arts, Ghent, and previously taught at Central Saint Martins and the Royal College of Art. She has given talks and workshops at conferences such as Integrated (Antwerp), Spark (Auckland), Otis (Los Angeles) and Kolla (Stockholm). In 2008 she founded Occasional Papers together with Antony Hudek, and since then has co-edited three books: The Master Builder: Talking with Ken Briggs, The Form of the Book Book (with Fraser Muggeridge) and Graphic Design: History in the Writing (1983–2011) (with Catherine de Smet).
TYPO London 2012, October 19, 2012, 10:00 am (Logan Hall)
Noel Douglas & Tzortzis Rallis (Occupy Design UK) Noel Douglas will show current work from the Occupy movement in both the UK and abroad, highlighting how graphic designers has a vital role in current protest and the imagining of a new society. Tzortzis Rallis will go discuss his work for ‘Occupied TImes’ The newspaper of the Occupy London, which has since grown into a journal in its own right. Other members of Occupy Design UK will be in attendance to promote what promises to be a lively discussion.
TYPO London 2012, October 19, 2012, 3:00 pm (Drama Studio / Creativity Awards Lounge) Does design practice today work for the common good? Are our cultural institutions serving the interests of common people and the planet? While capitalism imposes harsh austerity on the public – it is also increasing profits for elites, the 1%. This dynamic is a threat to democracy and our collective futures, are these dangers are camouflaged by a design industry that fails to take the crises we face seriously enough? Noel Douglas will show current work from the Occupy movement in both the UK and abroad, highlighting how graphic designers has a vital role in current protest and the imagining of a new society. Tzortzis Rallis will go discuss his work for ‘Occupied TImes’ The newspaper of the Occupy London, which has since grown into a journal in its own right. Other members of Occupy Design UK will be in attendance to promote what promises to be a lively discussion.
Andreas Frohloff Andreas Frohloff was Berlin-born in 1956. He is Head of the Type Department at FontShop International. There he is responsible for the production of the FontFonts. He is also a calligrapher and type designer, and has been hosting calligraphy workshops for many years. Frohloff has been a lecturer at several academies. He was trained as a sign painter and graphic designer, and completed combined special studies in typography and educational sciences.
TYPO London 2012, October 20, 2012, 10:00 am (Jeffery Hall)
Ken Garland Since 1962 Ken Garland equipped the British movement for Nuclear Disarment with a visual message and he became a devoted adherent to the campaign, that never earned him a single penny. In 1963 he wrote and proclaimed the The First Things First manifesto “in favour of more useful and more lasting forms of communication” and demanded “Reversal of priorities in favour of the more useful and more lasting forms of communication.” Garland claims for a ”society that will tire of gimmick merchants, status salesman and hidden persuaders”. After studying design at the Central School of Arts and Crafts in London in the early 1950s, Ken became for six years art editor of Design magazine and official mouthpiece of the Council of Industrial Design. In 1962 he established his own graphic design studio, Ken Garland & Associates. He has contributed many articles to design periodicals in the UK, US, Europe and Japan and has also held lectures at universities around the globe, always outspoken, in person and in print. Garland’s photographic work has been seen in numerous exhibitions and books. (Photo: Ania Carson)
TYPO London 2012, October 20, 2012, 10:00 am (Logan Hall) First come the spoken word; then the image; later, the written word; even later, the printed word. Ken Garland will be dealing with the original conjunction of spoken word and image.
Peter Gregson Peter Gregson is a cellist and composer. He recently developed and was commissioned to compose ‘The Listening Machine‘ in collaboration with Daniel Jones and Britten Sinfonia for the BBC/ Arts Council’s “The Space”. Based on the activity of 500 Twitter users around the United Kingdom the Listening Machine is an automated system that generates a continuous piece of music. Their conversations, thoughts and feelings are translated into musical patterns in real time, which you can tune in to at any point through any web-connected device. It runs continuously till November 2012 and it will continue to develop and grow over time, adjusting its responses to social patterns and generating subtly new musical output.
and Sally Beamish and he collaborates with many of the world’s leading technologists, including Microsoft Labs, UnitedVisualArtists, Reactify and the MIT Media Lab. Peter‘s Performance highlights for 2012/13 include The Royal Festival Hall, La Gaite Lyrique, SXSW, Aldeburgh and tours of the United States, as well as conference appearances including ‘Thinking Digital’, ‘Shift Happens’ and ‘FutureEverything’. Throughout 2012, Peter is the Artistic Advisor to the Innovation Forum at the New England Conservatory, Boston. At TYPO London he leads “Social” beyond the barrier of visibility.
Peter is known for his passion for contemporary music. He premiered works by composers including Tod Machover, Daníel Bjarnason, Joby Talbot, Gabriel Prokofiev, Max Richter, Jóhann Jóhannsson, Steve Reich, Martin Suckling, Milton Mermikides, Howard Goodall, John Metcalfe, Scott Walker,
TYPO London 2012, October 19, 2012, 3:00 pm (Jeffery Hall) ‘The Listening Machine’, a collaboration between Peter Gregson, Daniel Jones and Britten Sinfonia is an automated system that generates a continuous piece of music based on the activity of 500 Twitter users around the United Kingdom. Their conversations, thoughts and feelings are translated into musical patterns in real time, which you can tune in to at any point through any web-connected device.
Rian Hughes 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 works include the animated onboard 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. In his current Book »CULTURE: Ideas can be Dangerous« Rian is turning to the processes underlying design and communication in general, and how it in turn affects the social culture.
TYPO London 2012, October 20, 2012, 12:00 pm (Jeffery Hall) Culture is your local consensus reality; your clothing, cuisine and hairstyle, the music you listen to, the films you see; your values, ideas, beliefs and prejudices. Culture, unlike race, is not quite an inevitability of birth, but ultimately, in its choice of statements, an intellectual position. Today culture has a powerful new vector: the internet. Ideas – from a YouTube video to a viral marketing phenomenon or a fundamentalist religion – are travelling further and faster, and changing the cultural landscape like never before. In a new electronic democracy of ideas, cultural power is devolving to the creative individual. Soon, we will all have the power to create. We just have to decide if it be art or bombs.
James Jarvis His iconic toy figure ‘Martin’, unwittingly helped to start the ‘designer’ toy phenomenon in 1998. Born in London in 1970 and raised on a diet of Richard Scarry, Hergé, Judge Dredd and Albert Camus, Jarvis studied Illustration at the University of Brighton and the Royal College of Art, graduating in 1995.
Besides Jarvis directed an animated short movie, Onwards, in collaboration with Richard Kenworthy. In 2011 Jarvis published a graphic novel, De Profundis. Jarvis is currently drawing a daily cartoon strip, Spheric Dialogues. He lives and works in London with his partner and two children. Although they are not cuddly in a classic sense, Jarvis‘ figures got to heart. At TYPO London he Since then he worked hard on establishing himself will demonstrate, how he assembles as a graphic artist of international repute. Togeth- his touching portfolio. er with Russell Waterman, Jarvis established his toy company Amos in 2002 and has Amos has since released nearly 100 character toys including the unique King Ken and the mysterious and existential YOD. In 2006 Amos published Jarvis and Waterman’s comic-book adventure story Vortigern’s Machine and the Great Sage of Wisdom, in 2007 a collection, James Jarvis Selected Drawings. In 2012 Amos celebrated 10 years in business by releasing a final toy, the Generic Character, along with a book and exhibition in Japan.
TYPO London 2012, October 19, 2012, 4:00 pm (Jeffery Hall)
Hjalti Karlsson (karlssonwilker) Together with a small team, karlssonwilker work directly and independently for an eclectic mix of cultural and commercial clients, from local non-profits to global corporations. karlssonwilker is the design studio of Icelander Hjalti Karlsson and German Jan Wilker, founded late 2000 and located in the heart of New York City. Combined, they should have over 80 years of experience ahead of them. They have numerous international awards, and they have been featured in all national and international design magazine of importance. They frequently lecture and hold workshops. Their book , ”tellmewhy“, on the first 24 months in design business, was published by Princeton Architectural Press. Hjalti and Jan are members of Alliance Graphique Internationale.
TYPO London 2012, October 20, 2012, 12:00 pm (Logan Hall) We will show and talk about our work that we’ve been doing in the office since day one, or from roughly 11 years ago when we started the company.
Erik Kessels (KesselsKramer) Erik is co-founder and Creative Director of communications agency KesselsKramer. The company believes in finding new ways for brands to tell stories using whatever media is most relevant to their message. Through KesselsKramer Publishing, Erik has designed, edited and published several books of vernacular photography – including the in almost every picture series, The Instant Menand Wonder.
KesselsKramer worked and is working for national and international clients such as Diesel, Absolut Vodka, J&B Whisky, Vitra, Ben and The Hans Brinker Budget Hotel, for which it recently finished the book The Worst Hotel in the World. KK’s collected works can be found in 2 kilo of KesselsKramer and now in a new kilo of KesselsKramer. In 2008, KesselsKramer set up a London office, KK Outlet. Like its parent company, this combined shop, gallery and communications agency prides Since 2000, he has been an editor of the alterna- itself on a very diverse output. Its work includes tive photography magazine Useful Photography. international clients like Bushmills Whiskey as well as exhibitions by prestigious artists. KesselsKramer’s award-winning documentary, The Other Final, shows a football game between the world’s two lowest-ranked teams played on the Which new ways can brands take to communicate and to be communicated about? Erik knows. same day as the 2002 World Cup Final. Supported, in part, by the Consulate General of the Netherlands in New York.
TYPO London 2012, October 19, 2012, 7:00 pm (Logan Hall) Erik Kessels believes we live in a new age, where a brand can tell its tale not only through traditional media, but in whatever form most suits its message. However to do this, before you can blur, you need to create a solid base. A powerful idea enables you to blur, to experiment. An idea can pop up in the form of a book, a film, an advertising campaign, an exhibition or a product. He stands for the propagation of good ideas, of imagination over traditional limitations. Erik has created a range of projects, including the photography book series in almost every picture, championing every day (or ‘found’) photography. He also hosts do, a brand whose long running mission is to help consumers engage more actively with the products they use. KesselsKramer is responsible for ‘The Other Final,’ a documentary film about football’s two lowest ranking teams playing their own alternative World Cup Final. Today’s toolbox for telling stories is getting ever larger, with fresh opportunities provided by technology and the ever-expanding skill set of young creatives. Erik Kessels will explore many of these stories in his talk.
Eike König (Hort) “HORT is not a place … it’s a feeling” (Eike) … — and it is a Berlin-based graphic design studio made up of uniquely selected, creative, and spirited people. Throughout its existence Hort has been a constant pioneer in re-inventing the visual language of contemporary graphic design. HORT’s ongoing experimental enthusiasm inspires budding young designers and has become an influential source among contemporaries. When away from his Humble HORT Hub, founder Eike König takes on the role of mentor. He is currently Professor of Graphic Design and Illustration at the HfG University of Arts, Offenbach, Germany. He conducts numerous creative workshops and lectures internationally. His knowledge and experience have taken him as far as South America and Australia, where he’s shared his stories with audiences at acclaimed design conferences. Lead Academy recognized HORT’s hard work, awarding the studio Germany’s Visual Leader award in 2011.
TYPO London 2012, October 19, 2012, 1:00 pm (Logan Hall)
Henrik Kubel A2 is an independent design and typography studio with a core philosophy of drawing new type for every project they take on. Kubel co-founded A2/SW/HK in London with Scott Williams in 2000 upon graduation from Royal College of Art. Clients include: MoMA, Penguin Press NYC, NY Times Book Review, Harvard University Press, V&A Museum, Afterall, The Body Shop, Friends of the Earth, Wallpaper* Frieze Magazine and most recently Aperture magazine in NYC. Henrik is visiting lecturer at Royal College of Art and both partners are members of Alliance Graphique Internationale, AGI. Kubel is currently working closely with Margaret Calvert on digitising and expanding her and Jock Kinneir’s Transport Alphabet. A2 publish their fonts internationally through Village in New York, Playtype in Copenhagen and the studio’s own label A2-TYPE in London.
TYPO London 2012, October 20, 2012, 7:00 pm (Jeffery Hall)
Gerry Leonidas Gerry Leonidas is a Senior Lecturer in Typography at the University of Reading, UK. He teaches, supervises, and lectures on typography, typeface design, and typographic education. The rest of his time is taken with enterprise / knowledge transfer projects. He is the Programme Director for the MA Typeface Design, a reference course for practice-based teaching in an academic environment. He is currently developing on a new MA programme, to be launched in 2014.
TYPO London 2012, October 20, 2012, 3:00 pm (Jeffery Hall) Gerry will tell a story about typography, and typefaces. In this story, Typography is growing up, entering its sixth era. It is growing as a space shared by many disciplines, gathering readers who see – often for the first time – type, and spatial arrangement, and interaction as decisions that somebody made. In this story we see fundamental assumptions questioned, some thrown out with a “why on earth did we do it like this?”, and others kept with a forced admission that the old guys did get some things right after all. The best part of the story is the bit where typefaces become the looking glass through which all this comes together. There’s no baddie in this story.
Simon Manchipp Simon‘s SomeOne has been behind the recent Royal Opera House rebrand, the re-grouping of the National Maritime Museum (the largest in the world), the Royal Observatory (The Home of Time) and the Queen’s House (The birthplace of British architectural classicism) as Royal Museums Greenwich, the rebrand of the progressive high speed european train company Eurostar, and the launch of Telefónica Digital’s ‘Tu | Me’ brand. Most recently SomeOne has been behind the launch of Africa’s newest and most exciting low-cost airline, FastJet.
Being the Executive Creative Director and Co-Founder of SomeOne, the progressive London based and internationally operating design practice, Simon launches and relaunches brands worldwide. SomeOne is working on some of the biggest and most high profile design projects in the sector. From telecoms to hotels, management consultants to airlines.
Simon has been in the business of design for over 20 years. He is a member of the D&AD Executive Committee, an external assessor at Central St. Martins School of Art & Design, London, has written a short course on Typography and is a widely awarded and published voice on design and progressive branding. He is also called Al Pacino, ‘Cappucino’ to his face, but thats another story.
TYPO London 2012, October 19, 2012, 4:00 pm (Logan Hall) Has the flattering serpent of social networking changed our approach to creating Branding for businesses? Is Design as we knew it dead? And what is this BrandWorld thing? How do you actually get good design work through these days? Why not just create a nice logo, get paid and be done with this rebrand business? Logo’s have been fine for years… why change? What helps creates monopolies for products, services and organisations? Who are David Law & Gary Holt? I will attempt to confuse you further in my 45 minutes onstage.
Sean McBride Sean is an engineer and product designer working at Adobe on Typekit in San Francisco. He joined Typekit in July 2010, where he has worked on improving browsing for fonts on the site, using fonts with third-party tools, and optimizing the delivery of fonts to browsers. He’s happiest looking for opportunities at the intersection between user experience constraints and technical constraints. Before Typekit, Sean worked at Google in Mountain View as a user experience designer and web developer. He built prototypes for the Google Apps control panel, in-product help, Buzz, and finally Google+. He enjoys exploring San Francisco restaurants and cocktails.
Grant McCracken Grant McCracken termed the “Diderot effect” that seeks to explain the spiral of continued consumption and dissatisfaction. He has consulted widely in the corporate world, including the Coca-Cola Company, Campbell Soup, Diageo, IBM, IKEA, Sesame Street, Chrysler, Kraft, and Kimberly Clark. He has served on marketing advisory boards for IBM and the Boston Beer Company. And he is a weekly contributor to the Harvard Business Review Conversation. His new book, Culturematic, was published by the Harvard Business Review Press in May 2012.
He has been the director of the Institute of Contemporary Culture at the Royal Ontario Museum, a senior lecturer at the Harvard Business School, a visiting scholar at the University of Cambridge and he is now a research affiliate at C3 at MIT. Grant goes to the very roots of being human, being social, being cultural – engaged, brilliant and funny.
Grant McCracken holds a PhD from the University of Chicago in cultural anthropology. He is the author of Culture and Consumption, Culture and Consumption II, Plenitude, Big Hair, The Long Interview, Flock and Flow, Transformations, and Chief Culture Officer.
TYPO London 2012, October 20, 2012, 6:00 pm (Logan Hall) Design draws meaning out of culture. It then realizes, augments, transforms and sometimes entirely reimagines this meaning before returning it once more to culture. The client depends upon this creative process and resents it. The design “deliverable” is now challenged by many things, procurement, commoditization, big data, and small minds. It is complicated even by some designers’ disinclination to honor culture except as a “inspiration board” or, gasp, a “Pinterest page.” This talk dares suggest another view, post-client, extra-designer.
Kate Moross Kate Moross is a graphic artist, art director and filmmaker from London who has a fascination with three-sided shapes, illegible typography, and freeform lettering. She has worked prolifically within the music industry designing for artists and labels such as Tom Vek, Zomby, Hearts Revolution, EMI, Sony, Island and Warner. She also works as art director for Simian Mobile Disco, Jessie Ware and L-Vis 1990. Her commercial clients include Nike, Kiehl’s, Glastonbury, Nokia, and Cadbury. At the start of 2012 Moross set up a new creative design practice, Studio Moross, expanding her team and working with some of the freshest new design talent.
TYPO London 2012, October 19, 2012, 7:00 pm (Jeffery Hall) The Riot Grrrl punk movement of the 1990s offered a new perspective on music, design and political activism. It embraced the ethos of “Do It Yourself” as a liberation from consumerism and financial limitations. This presentation will look specifically at how this DIY ethic functions within a design context as a social, affordable and sustainable model.
Vaughan Oliver Vaughan Oliver is an art director, graphic designer and consultant with 32 years experience of working in most areas of graphic design. Specialising in work for the music industry, Oliver’s unique approach has attracted clients from a broader field including fashion, publishing, packaging, film and television, theatre, architecture, retail, advertising, food, dance, erotica, football and education. He has enjoyed numerous international “solo” shows including Paris, Tokyo, Osaka, Los Angeles and Athens. “Vaughan Oliver: visceral pleasures”, a design monograph by Rick Poynor was published in November, 2000. Last year Vaughan was awarded an Honorary MA by the University of the Creative Arts (UCA) and a Visiting Professorship at The University of Greenwich.
TYPO London 2012, October 19, 2012, 6:00 pm (Logan Hall) Where ideas come from. Emotive and intuitive approach to graphic design. The collaborative and social nature of my working methods. The notion of ambiguity and mystery. The use of typography from an autodidact’s perspective.
Lucienne Roberts Lucienne Roberts entered the fray of design practice with a utopian zeal that has never left her. In both sans+baum and her current studio LucienneRoberts+ her intention is to make accessible, engaging graphic design with a socially aware agenda. Influenced as much by feminism as Swiss typography, she believes that ethical design is defined by its ability to increase quality of life alongside the messages it conveys, and places emphasis on clear thinking, visual simplicity and the application of craft skills. Projects include exhibition design for the Wellcome Collection, British Council and The Women’s Library; identities for the Petrie Museum, the David Miliband campaign and AVA Academia; and book design for the Design Museum, Triangle Arts Trust and Panos London. Alongside studio-based work, Lucienne writes, lectures and publishes on her subject. A signatory of the First Things First 2000 manifesto, her books include The Designer and the Grid [Rotovision, 2002] and Good: An Introduction to Ethics in Graphic Design [AVA Academia, 2006]. Her latest book, Design Diaries: Creative Process in Graphic Design [Laurence King, 2010] was co-written with Rebecca Wright.
With Rebecca, Lucienne is co-founder of GraphicDesign& a pioneering publishing house dedicated to creating intelligent, vivid books that explore how graphic design connects with all other things and the value that it brings. Its first book Page 1: Great Expectations explored GraphicDesign& Literature and was published in April 2012 to rave reviews. GraphicDesign& Mathematics, GraphicDesign& Religion and GraphicDesign& Social Science titles will be published in 2013. At TYPO London Lucienne will be joined by design educator and writer Rebecca Wright and social scientist Nikandre Kopcke.
TYPO London 2012, October 19, 2012, 11:00 am (Jeffery Hall) Believing that graphic design is both a social act and activity, the focus of Lucienne Roberts’ TYPO London talk is graphic design in connection to everything and everyone else. Although alarmed that in writing Good: An Introduction to Ethics in Graphic Design so many of her preconceptions were challenged, Lucienne’s utopian zeal of student days has never left her. Starting with a speedy show and tell, Lucienne talks of how gratified she is that her studio LucienneRoberts+ has recently played a part in raising awareness of the work of Spanish charity Amadip Esment; keeping trade union UCU activity in the public domain; and encouraging people to brave their squeamishness and visit the exhibition Brains: the Mind as Matter at London’s Wellcome Collection. To read more on what Lucienne will be offering please visit our site. http://typotalks.com/london/2012/speakers/
Freda Sack (Foundry Types) Freda Sack has a passion for letterforms, and likes ‘making things happen’ typographically. After studying typography at Maidstone College of Art, her career in type design began in the Letraset Type Studio, and later at URW, Hamburg where she was involved in the development of the first groundbreaking font software applications. In 1990 she set up The Foundry — one of the original independent type foundries — with David Quay, to design and produce their own typefaces.
She was recently awarded an Honorary MA by University of the Creative Arts (UCA), and appointed to the Board of Governors. As a longstanding Director and Board member of ISTD [International Society of Typographic Designers], Freda is dedicated to promoting typography in all its inspiring forms.
In 2000 Freda set up her company Foundry Types to further develop The Foundry typeface library, and to continue with the design and implementation of specially commissioned typefaces. Her corporate fonts include NatWest; Yellow Pages directory; Brunel signage UK mainline stations; Lisbon Metro Portugal; Swiss International Airlines; Saudi Arabian Airlines; and WWF (Worldwide Fund for Nature) multi-language. She works extensively in design education, advising, lecturing, and mentoring.
TYPO London 2012, October 20, 2012, 4:00 pm (Jeffery Hall)
Mariana Santos & Mark McCormick (The Guardian) Mariana Santos was born in Algarve, Portugal, studied communication design at the University of Fine Arts of Lisboa and felt in love with technology in Stockholm where she did a master in Digital Media. Her role at The Guardian: to combine art with technology, to bring information and data into a more human context. Working as interactive and motion designer she tries to reach readers true storytelling and common sense, not taking herself to serious. Mark McCormick was born in Newcastle Upon Tyne. Mark studied information and graphic design at the School of Art and Design in Newcastle and graduated in 2004. He won a scholarship from the Sunday Times which gave him the opportunity to move to London. Since then he has worked for some of the leading newspapers in the UK including The Telegraph and The Observer, aswell as various magazines and design practices. In 2005 Mark was employed at the Guardian to work on the Berliner redesign of the infographics with Michael Robinson, Head of Graphics at the Guardian. Mark continues to work for the Guardian.context.
TYPO London 2012, October 19, 2012, 12:00 pm (Jeffery Hall)
Paula Scher (Pentagram) Paula Scher is a giant of contemporary graphic design. Her place in the pantheon of modern greats is secure. But she is not in the pantheon of greatness because she is one of the few high profile female designers of the current era; nor she is there because she is a partner in the eternally respected Pentagram. Rather, she is there because she is a bona fide graphic genius who works in the mainstream of public life and yet still manages to produce work of rare distinction and enduring merit. A Pentagram partner since 1991, Scher’s landmark identity for The Public Theater ‘fused high and low into a wholly new symbology for cultural institutions, and her recent architectural collaborations have re-imagined the urban landscape as a dynamic environment of dimensional graphic design’. Paula Scher is a ‘social’ designer in the best sense of the word – her work is literally on the streets and in the buildings where people live, work and study. Scher is an electrifying conference speaker. Her sense of humour, and her gutsy aura of realism makes for an inspirational mix. (Photo: Christian Witkin)
TYPO London 2012, October 19, 2012, 8:00 pm (Logan Hall)
Anna Gerber & Britt Iversen (Visual Editions) Why is there such a large divide between text-driven literary books on the one hand and picture-driven art and design books on the other? Why does this divide seems so extreme, when most of us compute visuals in our everyday more than ever before? Visual Editions believe that this visual everydayness adds to the way we read, to the way we experience what we read and the way we absorb and understand the way stories are told: through words and pictures. Visual Editions, nicknamed VE, is a London-based book publisher, started in early 2009 by Anna and Britt. The idea for VE comes from their joint love of books and a (mischievous) desire to do things differently, so that everything VE do translates into a new experience for their readers, and for all the writers and designers they work with and making sure VE turn all that love and mischief into beautifully, lovingly, wonderfully written and crafted books. How to make books talk? Anna and Britt will tell us at TYPO London.
TYPO London 2012, October 19, 2012, 10:00 am (Jeffery Hall)
Marius Watz Marius Watz is a Norwegian artist working with computer code as a creative material. His work is concerned with the synthesis of form as the product of generative processes, and is known for its hard-edged geometries and vivid colors. Watz has exhibited his work widely at venues like Victoria & Albert Museum (London), Todaysart (The Hague), ITAU Cultural (Sao Paulo), Museumsquartier (Vienna), and Galleri ROM (Oslo). He is a lecturer in Interaction Design at the Oslo School of Architecture and Design.
TYPO London 2012, October 19, 2012, 6:00 pm (Jeffery Hall) A discussion of how algorithms are increasingly affecting our daily lives in ways that are simultaneous bizarre, wonderful and alarming. Furthermore: What are the realities of creating with code? The rise of new practices in information visualization, generative art and motion graphics has gained considerable popular attention, but what happens when algorithms become creative materials? Are we looking at a new creative method based on co-discovering with machines?
Facilitators
Catherine Dixon Catherine Dixon is a designer, writer and teacher. As a designer she works mostly with text-based projects, including covers for the award-winning Great Ideas series for Penguin Books. As a writer she has a particular interest in type design and the forms of letters more generally, contributing to the website publiclettering.org.uk and co-authoring with Phil Baines the book ‘Signs: lettering in the environment’. She also writes also for Eye magazine, Codex and Imprint, and is a regular speaker at international conferences, as well as an organizer herself of design-related events. She is a Senior Lecturer and researcher at Central Saint Martins College of Art & Design in London where she teaches typography on the BA(Hons) Graphic Design course.
Adrian Shaughnessy 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. During his time at Intro, the studio won numerous awards including a D&AD Silver. It was an early adopter of digital technology, and a pioneer of motion graphics within graphic design. In 2004, Shaughnessy left to pursue an interest in writing and to work as an independent design consultant. Today he runs ShaughnessyWorks, a consultancy combining design and editorial direction. He is also a co-founder and director of the publishing company Unit Editions. He has written and art directed numerous books on design. His book »How to be a Graphic Designer Without Losing Your Soul« has sold over 80,000 copies and has been published in numerous foreign language editions. His three most recent books are »Graphic Design: A User’s Guide« and »Studio Culture: the Secret Life of the Graphic Design Studio« and »Supergraphics. Transforming Space: Graphic Design for Walls, Buildings & Spaces«.
Erik Spiekermann Erik Spiekermann, born 1947, studied History of Art and English in Berlin. He is a columnist (Blueprint, Form et al), information architect, type designer (FF Meta, ITC Officina, FF Info, FF Unit, LoType, Berliner Grotesk and many corporate typefaces for the Economist, Cisco, Bosch, Deutsche Bahn etc) and author of books and articles on type and typography. He was founder (1979) of MetaDesign, Germany’s largest design firm with offices in Berlin, London and San Francisco. He was responsible for corporate design programs for Audi, Skoda, Volkswagen, Lexus, Heidelberg Printing, Bosch and way-finding projects like Berlin Transit, Dßsseldorf Airport and many others. In 1988 he started FontShop, a company for production and distribution of electronic fonts. He is board member of the German Design Council and Past President of the ISTD International Society of Typographic Designers, as well as the IIID International Institute for Information design.
Simone Wolf Simone Wolf was born and grew up in Germany. 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. In 2007, she accepted a post at Europe’s oldest university, in Bologna, where she was charged with developing a curriculum in cultural marketing and graphic design. Simone lectures on marketing, event management and intercultural communications at various international universities in Milan and Florence.
Daily Schedule
Friday, October 19th Logan Hall 10:00 am
Sara De Bondt The Office of Statistics
11:00 am
Tim Beard (Bibliotheque) Design is A Social Journey
12:00 pm
Anthony Burrill Working Hard and Being Nice to People
1:00 pm
Eike Konig (Hort) From HORT to HEART
2:00 pm
Lunch
3:00 pm
Tony Chambers (Wallpaper*) Getting a Stiffy
4:00 pm
Simon Manchipp Branding, not Blanding
5:00 pm
Coffee
6:00 pm
Vaughan Oliver Visceral Pleasures: 30 Years in 30 Minutes
7:00 pm
Erik Kessels (KesselsKramer) Strong Ideas Allow You to Blur
8:00 pm
Paula Scher (Pentagram) Breakthroughs, Successes and Failures
Jeffery Hall
Drama Studio Creativity Awards Lounge
Anna Gerber & Britt Iversen (Visual Editions) We don’t Own Anything, Our Readers do Lucienne Roberts + & Lucienne Roberts joined by Rebecca Wright & Nikandre Kopcke
Blurb Presentation
Mariana Santos & Mark McCormick (The Guardian) Social Story Telling Bea Beste The Learning of the Future, the Future of Learning Lunch Peter Gregson Listening to Data
Noel Douglas & Tzortzis Raillis (Occupy Design UK) Design Practice for the Common Good?
James Jarvis An A-Z of James Jarvis Coffee
Graphic Design & Typo London Servey: Are you a socialiser
Marius Watz Co discovering with Machines (Or: Algorithms, our Beautiful anfd Problematic Friends
Sean McBride (Typekit) A Renaissance in Web Typography
Kate Moross DIY: The Riot GRRRL Model
Saturday, Saturday October 20th Logan Hall 10:00 am
Ken Garland Word and Image
11:00 am
Matthew Butterick Rebuilding the Typographic Society
12:00 pm
Hjalti Karlsson (karlssonwilker) 135 Months and Counting
1:00 pm
Lunch
2:00 pm
Lunch
3:00 pm
Kristy Carter & Emma Thomas (A Practice For Everyday Life) Translating Personal to Public
4:00 pm
Patick Cox Social. Work.
5:00 pm
Coffee
5:30 pm 6:00 pm
Grant McCracken Breathe in, breathe out: Design as a respiratory event
7:00 pm
Joshua Davis The Social Grid
8:00 pm
Irma Boom Manifesto for the Book
Jeffery Hall
Drama Studio Creativity Awards Lounge
Andreas Frohloff Calligraphy workshop: Writing with the quill
Rian Hughes Cult-ure: Ideas can be Dangerous Rick Banks My Social Network Lunch Gerry Leonidas This is the New Typographer (and the Typefaces that Make it Work Freda Sack (Foundry Types) Types of Expression Coffee
Graphic Design & Typo London Servey: Are you a socialiser Blurb: Bookpublishing Presentation
Paul Barnes Commerical Type; Making Type Across the Atlantic Henrik Kubel A2/SW/HK + A2-TYPE - WORK
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