Designers are currently considered planners of cultural products and decisive actors in shaping the social environment. They therefore
I was born in the Coghlan district of Buenos Aires.
require training that enables them to challenge, explore and discover ever-expanding horizons. For several decades, design education has therefore been faced with the challenge of finding a balance between logical thought and
I graduated in Graphic Design at the Faculty of Architecture, Design
creativity, since the two are inherent to any design process. Design projects are always situated between the two, at a crossroads that sometimes makes it difficult to shape the direction of teaching. Nevertheless, they must be capable of formulating integral proposals that go beyond any
and Urban Planning of the University of Buenos Aires (FADU-UBA)
fragmentary vision. A teaching proposal must be formulated that ties together sensitivity and knowledge and that resolves the conflict that
in Argentina.
often exists between logical analysis and creative thought. We must train our students for the future, and since the only thing we are sure of is that the future will be different to the present, the
I was a lecturer in Typography at FADU-UBA for the Longinotti
best thing we can do for them is to provide them with the tools to enable them to adapt to whatever comes their way, among other reasons
Chair and in Design at the Escuela Superior de Creativos Publicitarios
because design is not only a profession but also an attitude to life.
in Buenos Aires.
This is also the view of Hernán Ordoñez, an Argentine designer based in Spain since 2004 and the material author of this Typex. This book is a teaching experience that brings together some of the many works carried out by students under the supervision of Hernán Ordoñez at
I have been living in Spain since 2003, where I lecture in Design and
Kunsthal design school in Irun and those who have attended his workshops at other educational establishments throughout Spain. These works not only convey the passion for design of Ordoñez and his students, which is not insignificant in itself, but they also bring together
Typography at various educational institutions. Some of the projects I
sensitivity and knowledge, logic and creativity, thus demonstrating that a good school is sustained mainly by the enthusiasm and involvement of its
have tutored have received prizes and honourable mentions from Signes,
teachers and students, irrespective of their stature, location and other aspects that fade into insignificance in the light of human quality.
ADI-FAD and Laus; several of the projects were chosen by various
In Typex, teachers will find shared experiences and references they can use for their own activities, while those who are not teachers,
publications, while others gave students the opportunity to undertake
opportunity for everyone to discover what a great student can achieve in the presence of a great teacher.
their first work experience at prestigious international studios such as
Raquel Pelta
Design Bridge in London and Guggenheim Museum Bilbao (for which
Design teacher and historian
I co-tutored the corporate identity for its 10th anniversary). Hernán Ordoñez
including professionals and those still learning, will find highly interesting, highly attractive graphic solutions. This work is a magnificent
I deliver workshops in Design and Typography at different schools and institutions in Europe. I collaborate with studios in Argentina and Spain in the management and development of design projects. I’ d have liked to have played football for San Lorenzo de Almagro or to have been one of The Beatles. But things didn’t work out that way… Hernán Ordoñez
“El Ojo en la calle” workshop at the International Typography Congress in June 2008. Overview, compilation and record of typography and signage phenomena. Research and selection of relevant terms from urban culture. Design of graphics and visual material based on a combination of text and image.
María Edroso, Miren Fernández, Leyre Otermin, Xabier Arrillaga, Gabriel Alonso, Iker Bereziartua.
Development of the workshop (Valencia) + Design of the exhibition + Party (Zuloaga Etxea, Hondarribia). elojoenlacalle.wordpress.com
Design of the corporate identity of the Guggenheim Museum Bilbao to mark its 10th anniversary. Pictures of the working process and applications of the project. Dorleta Martínez, Iker Bereziartua, Iñigo Justo. Kunsthal.
The shapes of the inside of the museum,
Wavy lines:
Colour palette:
The moving logo:
in which movement and curves are an
Starting with what initially were
Vibrant colours combining elegant
Acts as a distinctive graphic element.
intrinsic part of the architecture, are
grids obtained from the shapes of the
black and silver, a fundamental decision
taken as a starting point. It is somehow
interior of the museum, these lines
providing visibility and impact on
like an invitation to visit the building
were made visible, becoming a graphic
different media.
from the inside.
element.
ďœ˛ďœą
Ana Bastida
Book. Cover and back cover.
Book. Covers.
Book. Cover, chapter title page and two-page spread.
Newspaper. Front pages.
Salim. Miren Fernández. This type family was created for a project by a community centre for young Moroccans living in the Raval district of Barcelona. It is based on Kufic script, the more schematic of the two major styles of Islamic calligraphy. The use of straight lines creates sharp angles, and its morphology means it can be used on various media: stone, metal and architectural inscriptions. There are no small case letters in the family, ellipses contain two dots rather than three, and letters can have up to three forms, depending on whether they are written in isolation, in the middle of a word or at the end of a word. It is written from right to left, symbolising the movement from the outside to the heart. More than a type family, this writing and reading proposal uses Islamic calligraphy resources adapted to the context for which it was designed and presents no difficulties for being read by our Western culture, to which it is directed (it is read “in Western” but written “in Islamic”).
Auléstika. Egoitz Aulestia. The purpose of this trial is to confront the lack of resources in the not-so-distant future, capturing signs that make best use of resources while providing as much information as possible. Here are two examples of concentration of information (“NO” and “SI”) in which signs are combined to generate others, which have their own meaning.
Designers are currently considered planners of cultural products and decisive actors in shaping the social environment. They therefore
I was born in the Coghlan district of Buenos Aires.
require training that enables them to challenge, explore and discover ever-expanding horizons. For several decades, design education has therefore been faced with the challenge of finding a balance between logical thought and
I graduated in Graphic Design at the Faculty of Architecture, Design
creativity, since the two are inherent to any design process. Design projects are always situated between the two, at a crossroads that sometimes makes it difficult to shape the direction of teaching. Nevertheless, they must be capable of formulating integral proposals that go beyond any
and Urban Planning of the University of Buenos Aires (FADU-UBA)
fragmentary vision. A teaching proposal must be formulated that ties together sensitivity and knowledge and that resolves the conflict that
in Argentina.
often exists between logical analysis and creative thought. We must train our students for the future, and since the only thing we are sure of is that the future will be different to the present, the
I was a lecturer in Typography at FADU-UBA for the Longinotti
best thing we can do for them is to provide them with the tools to enable them to adapt to whatever comes their way, among other reasons
Chair and in Design at the Escuela Superior de Creativos Publicitarios
because design is not only a profession but also an attitude to life.
in Buenos Aires.
This is also the view of Hernán Ordoñez, an Argentine designer based in Spain since 2004 and the material author of this Typex. This book is a teaching experience that brings together some of the many works carried out by students under the supervision of Hernán Ordoñez at
I have been living in Spain since 2003, where I lecture in Design and
Kunsthal design school in Irun and those who have attended his workshops at other educational establishments throughout Spain. These works not only convey the passion for design of Ordoñez and his students, which is not insignificant in itself, but they also bring together
Typography at various educational institutions. Some of the projects I
sensitivity and knowledge, logic and creativity, thus demonstrating that a good school is sustained mainly by the enthusiasm and involvement of its
have tutored have received prizes and honourable mentions from Signes,
teachers and students, irrespective of their stature, location and other aspects that fade into insignificance in the light of human quality.
ADI-FAD and Laus; several of the projects were chosen by various
In Typex, teachers will find shared experiences and references they can use for their own activities, while those who are not teachers,
publications, while others gave students the opportunity to undertake
opportunity for everyone to discover what a great student can achieve in the presence of a great teacher.
their first work experience at prestigious international studios such as
Raquel Pelta
Design Bridge in London and Guggenheim Museum Bilbao (for which
Design teacher and historian
I co-tutored the corporate identity for its 10th anniversary). Hernán Ordoñez
including professionals and those still learning, will find highly interesting, highly attractive graphic solutions. This work is a magnificent
I deliver workshops in Design and Typography at different schools and institutions in Europe. I collaborate with studios in Argentina and Spain in the management and development of design projects. I’ d have liked to have played football for San Lorenzo de Almagro or to have been one of The Beatles. But things didn’t work out that way… Hernán Ordoñez