Conference Schedule

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WHERE THERE IS DIVERSIT Y, THERE IS HARMONY. THE TATE MODERN LONDON, UK JUNE 16-18, 2017

SÇHË

DÛLÈ ̐

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SAT YA RAJPUROHIT MEENA KADRI PETER BIL’AK MARIKO TAKAGI

MOLLY WOODWARD XAVIER DUPRÉ

RUDY VANDERLANS

zeitplan calendrier programar

AKIRA KOBAYASHI


no 4

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welcome

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⁄  ˈlaŋ-gwij, -wij  ⁄ UPON A LANGUAGE

A POEM BY CARL SANDBURG THERE ARE NO HANDLES

UPON A L ANGUAGE WHEREBY MEN TAKE HOLD OF IT AND M ARK IT WITH

SIGNS FOR ITS REME MBR ANCE. IT IS A RIVER , THIS L ANGUAGE, ONCE IN A THOUSAND YE ARS BRE AKING A NE W COURSE ITS WAY TO THE OCE AN . Il est effluves

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montagne s’installer en vallées

IT IS MOUNTAIN EFFLUVIA MOVING TO VALLE YS AND FROM NATION TO NATION CROSSING BORDERS .


no 5

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§ welcome

῀ L ANGUAGES DIE LIKE THE RIVERS . WORDS WR APPED ROUND YOUR TONGUE TODAY AND BROKEN TO SHAPE OF THOUGHTBE T WEEN YOUR TEE TH AND LIPS SPE AKING NOW AND TODAY lingue muoiono come i fiumi 10 mila anni da oggi

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SHALL BE FADED HIEROGLYPHIC S TEN THOUSAND YE ARS FROM NOW. SING — AND SINGING — REMEMBER YOUR SONG DIES AND CHANGES AND IS NOT HERE TIL TOMORROW ANY MORE THAN THE WIND BLOWING TEN THOUSAND YE ARS AGO.


no 6

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“Type is a beautiful group of letters,

welcome

§

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not a group of beautiful letters.” — M AT T H E W C A RT E R


no 7

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WELCOME TO

T H E TAT E M O D E R N

ORGANIZED BY T Y P O TA L K S

§ welcome

CULTURE Y T I S R E V I D AND N I TYPOGRAPHY As our world becomes more globalized, typographic practices of a diverse range of writing systems throughout the world are increasingly influencing one another.

Typographie multilingue caractérise les universités, et les paysages urbains.

The coexistence of information originating in different cultures ponder the visual communication on a fundamental level. By defining clearly these foundations has become an issue for international design research institutions.

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The growing demand for multilingual design strategies follows the diverse proliferation of multilingual media and design. As cultural codes mesh, the need for heightened for increasing transcultural consciousness arises . Comme codes culturels maille, le besoin pour transculturelle accrues conscience se pose toujours.

What are the challenges and also the benefits brought by cultural interaction? How should traditional aspects be transferred as well as integrated into contemporary practice?


no 8

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DAY 01 Networking Brunch Satya Rajpurohit Collaborative Workshop Cocktail Party

welcome

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SCHEDULE PLANIFIER AT A UN COUP D’ŒIL GLANCE

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06.12

DAY 01

06.13

06.14

DAY 02

DAY 03


no 9

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§ welcome

DAY 03 Peter Bil’ak Presentation Showcase Akira Kobayashi Molly Woodward Xavier Dupré

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DAY 02 Meena Kadri Martha Carothers Mariko Takagi Rudy Vanderlans


n o 10

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C ANNON STREET

UPPER THA MES STREET

map

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⁄   THAME S RI VE R   ⁄

BL ACKFRIARS ROAD

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⁄   TA T E M O D ER N   ⁄

SUMNER STREET

T HE CITY OF LON DO N SOUTHWARK S TREE T


n o 11

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LO C AT I O N MAP

G E T T I N G T H E R E BY T H E U N D E R G RO U N D S O U T H WA R K B R I D G E

{ y arriver par le métro }

H OT E L ACCO M M O DAT I O N {  h ébergement à l’hôtel  }

§ map

POINTS _ OF INTEREST

⁄  pɔɪnt  ⁄ ˈʌv ˈɪntərɪst  ⁄ TAT E M O D E R N BANKSIDE LONDON SE1 9TG

To find the quickest route to the Tate Modern, use London’s Journey Planner mobile application. The Underground stations closest to the Tate are:

01

St Pauls (Central Line, 1,100 meters)

02

Mansion House (District Line, 600 meters)

03

Blackfriars (Circle Line, 800 meters)

04

Southwark (Jubilee Line, 600 meters)

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The Tate Modern is close to some of the London’s best hotels and restaurants. Our event holds an conference rate at the

05

Mercure London Bridge Hotel

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Citizen London Bankside Hotel

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Premier Inn London


n o 12

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map

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RIVER ENTRAANCE

355

3 65

435

32 5

WO R K S H O P S PAC E

3 35

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conference rooms

435

34 5

315

S TA R R AU D I TO R I UM

454

354


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floor plan

THAMES RIVER

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R E S TAU R A N T

map

M E M B E R S RO O M

WO R K S H O P S H OWC A S E

CO N F E R E N C E LECTURES

EXHIBITIONS

CAFE & SHOP

RIVER ENTRANCE

ENTRANCE & TICKETS

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THE TATE

MODERN FAC I L I T I E S Accessibility & Entrances

A modern museum space located in the heart of one of the world’s most international cities.

The facilities at the Tate Modern include engaging digital displays and cutting edge modern art exhibits, spacious cafés and restaurants, accessible parking and entrances and a place for networking with your peers. All available in the heart of Lonond, one of the most exciting cities in the world, rich with diverse typographic inspiration and expression.


n o 14

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⁄   DET AILED SCHEDUL E    ⁄

ˈskej(o͞o)əl

⁄  ˈwelkəm  ⁄

⁄  ˈkēˌnōt  ⁄

⁄  ˈmôrning ˈseshən  ⁄

welcome

keynote

morning sessions

0800­ - 0900­

0900­ - 1015­

schedule

§

06.12.2017

welcome morning speech workshop start

Coffee and drinks will served in the lounge.

S AT YA R A J P U R O H I T Indian Type Foundry

This talk explores the aesthetics in Indian language typography in comparison to Western typography and also will discuss the calligraphy on palm leaf manuscript and the medium’s effects.

῀ 06.13.2017

keynote speech morning session digital streaming

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06.14.2017

workshop closing closing speech cocktail party

1030­ - 1200­

break

RU DY VA N D E R L A N S

MEENA KADRI

Emigre

RandomSpecific

Informational existence originating from different cultures challenge the communication on a fundamental level. Defining these new foundations has become a main issue for international design.

When encountering the streetscape of India, one is struck by the diversity of competing signs—combining the informative, persuasive as well as the decorative to degrees in a cacophony of styles. Though digital technology is present Indian typography today is still commonly hand-lettered.

A K I R A KO B AYA S H I

P E T E R B I L’A K

Typographer, Japan

Founder of Typotheque

Akira will discuss discuss why rounded sans were so popular in Japan in the past and why they are being replaced with square sans today due to the globalization of Latin typography.

Ideographic typefaces as Chinese and Japanese are described by large number of characters. Ideographic characters ranges from very simple to very complex. Some of the many challenges of designing a ideographic font is to maintain consistency and tranquility. We will discuss traditional techniques on how this can be done.


n o 15

⁄  peɪdʒ  ⁄

⁄  ˈwərkˌshäp  ⁄

workshop

⁄  ˌaftərˈno͞on ˈseshən  ⁄

⁄  kləuz  ⁄

afternoon sessions

closing

§

break

330­ - 500­

530­ - 730­

CO L L A B O R AT I V E M I N I N G

C H R I S TO P H S TA H L

MEET & GREET

This project will be an ongoing dynamic active typographic collection which grows throughout the conference. Participants will capture typography throughout the city of London through the use of phones and digital cameras.

Assessing the differences and similarities between writing systems around the world and then mapping out the difficulties arising in intermixed usage.

Appetizers & snacks will be served in the main lounge where attendees will have the opportunity to meet all our conference speakers.

D I G I TA L S T R E A M I N G

M A R I KO TA K AG I

MARTHA CAROTHERS

Typographic images collected by the conference participants will be uploaded to a site by all interested conference attendees with our assistance. Participants will capture typography throughout the city of London through using phones and digital cameras. Meet in the London Room on the Northwest end of the Tate for the selection of photos for the showcase.

Hong Kong University

University of Delaware

Trends in globalization are causing typography designers to center their message for an international audience. This is here in the details and the quality of typography and its effects will be discussed.

This discussion will talk about various type concepts, the relationship between them, and some examples of effectiveness in the 20th century and more than half a century later.

P R E S E N TAT I O N S H OWC A S E

M O L LY W O O D W A R D

Images will be presented as an exhibit during of the last days of the conference through a stopmotion slideshow. Some of the conference attendees are welcome to provide feedback on their experience.

Vernacular Type

X AV I E R D U P R É Typographer, France

STOPMOTION SLIDESHOW

Images will be presented as an exhibit during of the last days of the conference through a stopmotion and slideshow.

Exploring the formation, experimentation and evolution of kinetic typography in the film and television and online and interactive media and how that message is affected when designing for an international audience.

schedule

130­ - 300­

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To discuss lessons learned from a type designer on the road, and how exploring the synthesizing of travel, music, and photography, along with a various other things, turns into a career.


n o 16

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01

C H R I S TO P H S TA H L

Christoph Stahl earned his Ph.D. at the Central Academy of Fine Arts in Beijing, where he wrote his doctoral thesis, Hanzi of the West, Letters of the East: The typographic use of Hanzi and Latin Letters. He works as a freelance designer in Beijing.

S AT YA R A J P U R O H I T

Satya is co-founder of the Indian Type Foundry in Ahmedabad, India. He studied Graphic Design at the National Institute of Design in India and interned with Linotype in Germany. He has worked at Dalton Maag in London and L2M3 in Stuttgart. He now works full time at ITF, creating original fonts in the Indian scripts along with their Latin companions.


n o 17

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§ schedule

DAY ONE

TAT E M O D E R N BANKSIDE LONDON SE1 9TG

10 30 -12 00

S AT YA R A J P U R O H I T Indian Type Foundry

room 435 floor 4

This talk explores the issues related to aesthetics in Indian language typography in comparison to Western typography and will discuss the calligraphy on leaves manuscript and the medium’s influence.

Lunch served at the café on the first floor

1 30 -3 00

CO L L A B O R AT I V E M I N I N G

room 454 floor 4

This project will be an ongoing dynamic active typographic collection. Participants will capture typography throughout the city of London through the use of phones and digital cameras.

3 30 -5 00

C H R I S TO P H S TA H L

starr auditorium floor 3

3 30 -5 00 cocktail room floor 6

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This talk will explore the issues related to aesthetics in Indian language typography in comparison to Western typography and will discuss the calligraphy on the palm leaf manuscript and the medium’s influence. Day 1 ends in the cocktail room upstairs. A tour of London will also be provied for those attendees who are interested. See the desk for additional details.


n o 18

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schedule

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DAY TWO

TAT E M O D E R N BANKSIDE LONDON SE1 9TG

10 30 -12 00 room 435 floor 4

1 30 -3 00 room 454 floor 4

3 30 -5 00

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Starr Auditorium floor 3

Informational existence that originates from unique cultures challenge the communication on a fundamental level. Defining these foundations is now a central issue for international design. MEENA KADRI RandomSpecific

Celebrating the typogrpahy of India—combining the informative as well as the decorative of styles. D I G I TA L S T R E A M I N G

Typographic images collected by the conference participants will be uploaded to a site by all interested conference attendees with our assistance. Participants will capture typography throughout the city of London.

3 30 -5 00

M A R I KO TA K AG I

room 425 floor 4

Hong Kong University

3 30 -5 00 cocktail room floor 6

RU DY VA N D E R L A N S Emigre

Globalization is causing the work of designers by having have to address an international target group. MARTHA CAROTHERS Hong Kong University

Globalization is causing the work of designers by having have to address an international target group. This will be visible here in the details and quality of typography around the world.


n o 19

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§ schedule

02 MEENA KADRI

New Zealand-born Meena Kadri has taught graphic design for 10 years in China, New Zealand, and at the National Institute of Design in India. She currently explores the intersection of culture, communication, and creativity from New Zealand via her consultancy, Random Specific, plus works as a Community Manager on OpenIDEO. She continues to document Indian street typography on trips back to her motherland.

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R U DY VA N D E R L A N S

M A R I KO TA K AG I

Rudy VanderLans is Co-founder of Emigre with his wife Zuzana Licko. VanderLans studied graphic design at the Royal Academy of Art in The Hague. After working for a number of design studios in Holland, he moved to California and studied photography at University of California at Berkeley. In 1984, VanderLans founded Emigre Magazine, a journal for experimental graphic design that has received wide critical acclaim.

Mariko Takagi has been teaching graphic design in Germany and Japan for the past 10 years. Over the course of his career, se has published six books on Japanese and German culture and has been running a design office, with a focus on corporate design and publishing and catalog design. He now teaches as an assistant professor at the Academy of Visual Arts of Hong Kong Baptist University.


n o 20

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schedule

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03 P E T E R B I L’A K

A K I R A K O B A YA S H I

Peter Bil’ak is a Slovak graphic and typeface designer based in the Netherlands. He is the head of the Typotheque and co-founder of the Indian Type Foundry. He started Typotheque in 1999, Dot Dot Dot in 2000, Indian Type Foundry in 2009, and Works That Work magazine in 2012.

Akira serves as a type designer for Linotype. As type director he controls the aesthetic quality of typefaces, creates digital versions of type families, and develops corporate fonts. He has collaborated with Adrian Frutiger and Hermann Zapf to modernize their earlier type designs.

X AV I E R D U P R É

M O L LY W O O D W A R D

Xavier Dupré is an acclaimed typeface designer who has received recognition for numerous typeface designs. Dupré studied graphic design and applied arts in Paris. Dupré lived in Cambodia from 2001 to 2004 where he designed Latin typefaces as well as Khmer typefaces.

Molly Woodward is a freelance graphic designer from Brooklyn, NY. She graduated from RISD in 2008 with a BFA in Graphic Design is responsible for the Vernacular Typography Project, which document regional typography.


n o 21

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TAT E M O D E R N BANKSIDE

schedule

DAY THREE

LONDON SE1 9TG

9 00 -10 00 room 435 floor 4

10 30 -12 00 room 425 floor 4

1 30 -3 30 Starr Auditorium floor 3

A K I R A KO B AYA S H I Typographer, Japan

Akira will discuss discuss why rounded sans were so popular in Japan in the past and why they are being replaced with square sans today due to the globalization of Latin. P E T E R B I L’A K Founder of Typotheque

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P R E S E N TAT I O N S H OWC A S E & STOPMOTION SLIDESHOW

M O L LY W O O D W A R D

room 454 floor 4

Vernacular Type

room 325 floor 3

The challenge of designing a ideographic font is to maintaining both consistency and tranquility. We will discuss traditional techniques on how to achieve this.

3 30 -5 00

5 00 -7 00

Exploring the experimentation and evolution of kinetic typography in the film and television and online and interactive media.

X AV I E R D U P R É Typographer, France

This talk will discuss lessons learned from synthesizing of travel, music, type, and photography, along with a various other stuff, into a career.


tai’p fyü-zhen

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⁄ˈkɒləˌ COLOPHON fɒn ⁄

Name

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ID Number Course

KRISTIN RIGER 02594374 TYPOGRAPHY 4

Professor

ARIEL GREY

Semester

SPRING 2013

Typefaces

GRANJON FF KIEVIT REX BOLD

Photography Paper

Printer

COURTESY OF FLICKR.COM MOAB ENTRADA RAG BRIGHT 190 EPSON ST YLUS PRO 3880


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