EBIEC

e e nvo u d b e r e i ke n i s e e nvo u d c r e ĂŤ r e n

zaterdag 25 februari 2013 8.30 uur - 17.00 uur defabrique westkanaaldijk 7 3542 da utrecht t +31 (0)30 240 40 40 info@defabrique.nl met workshops van stefan sagmeister (sagmeister) rudy vanderlans (emigre) philippe apeloig (apeloig) neville brody (fontshop) matthew carter (fontshop)

creallure is een initatief van beroepsvereniging nederlandse ontwerpers (bno) en creatie, platform voor en door creatieven. Voor meer informatie bezoek www.bno.nl en www.creatie.nl

Creallure: Seminair voor eigentijdse typografie en creatie

Welkom bij DeFabrique

DeFabrique is de locatie voor evenementen van 50 tot 3.500 personen. De oude mengvoederfabriek biedt ruimte aan de organisatie van uw beurs, congres of feest. De karakteristieke sfeer van DeFabrique vormt het decor voor uw evenement.

De moderne faciliteiten staan garant voor een kwalitatieve bijeenkomst.

Het team van DeFabrique heeft ruim tien jaar ervaring in het begeleiden en organiseren van uw evenement. DeFabrique ligt in midden Nederland, vlakbij de A2 en station Maarssen, en beschikt over veel gratis parkeergelegenheid.

Typograferen is creëeren en innoveren Spreker/gastheer: Stefan Sagmeister (Sagmeister) Lokatie: DePerserij 9.00 uur - 10.30 uur Stefan Sagmeister (born 1962 in Bregenz, Austria) is a New York-based graphic designer and typographer. He has his own design firm—Sagmeister & Walsh Inc.—in New York City. He has designed album covers for Lou Reed, OK Go, The Rolling Stones, David Byrne, Aerosmith and Pat Metheny. Sagmeister studied graphic design at the University of Applied Arts Vienna. He later received a Fulbright scholarship to study at the Pratt Institute in New York. He began his design

career at the age of 15 at “Alphorn”, an Austrian Youth magazine, which is named after the traditional Alpine musical instrument. In 1991, he moved to Hong Kong to work with Leo Burnett’s Hong Kong Design Group. In 1993, he returned to New York to work with Tibor Kalman’s M&Co design company. His tenure there was short lived, as Kalman soon decided to retire from the design business to edit Colors magazine for the Benetton Group in Rome.

Stefan Sagmeister proceeded to form the New York based Sagmeister Inc. in 1993 and has since designed branding, graphics, and packaging for clients as diverse as the

Rolling Stones, HBO, the Guggenheim Museum and Time Warner. Sagmeister Inc. has employed designers including Martin Woodtli, and Hjalti Karlsson and Jan Wilker, who later formed Karlssonwilker. Stefan Sagmeister is a long-standing artistic collaborator with musicians David Byrne and Lou Reed. He is the author of the design monograph “Made You Look” which was published by BoothClibborn editions. Solo shows on Sagmeister, Inc.’s work have been mounted in Zurich, Vienna, New York, Berlin, Japan, Osaka, Prague, Cologne, and Seoul.

He teaches in the graduate

department of the School of Visual Arts in New York and has been appointed as the Frank Stanton Chair at the Cooper Union School of Art, New York. His motto is “Design that needed guts from the creator and still carries the ghost of these guts in the final execution.” As a Pratt Institute student, his dream had been to work at M&Co, the late Tibor Kalman’s graphics studio. Sagmeister bombarded Kalman with calls and finally persuaded him to sponsor his green card application. Four years later on his return from Hong Kong, the green card came through.

His first project for M&Co was an invitation for a Gay and

Lesbian Taskforce Gala for which he designed a prettily packaged box of fresh fruit.

Cue a logistical nightmare as M&Co’s staff struggled to stop the fruit rotting in the heat of a sweltering New York summer.

A few months later, Tibor Kalman announced that he was closing the studio to move to Rome, and Sagmeister set up on his own. His goal was to design music graphics, but only for music he liked.

To have the freedom to do so, Sagmeister decided to follow Kalman’s advice by keeping his company small with a team of three: himself, a designer (since 1996, the Icelander, Hjalti Karlsson) and an intern. Sagmeister

Inc’s first project was its own business card, which came in an acrylic slipcase. When the card is inside the case, all you see is an S in a circle. Once outside, the company’s name and contract details appear.

The second commission came from Sagmeister’s brother, Martin who was opening Blue, a chain of jeans stores in Austria. Sagmeister devised an identity consisting of the word blue in black type on an orange background. As none of the record labels he approached seemed interested in his work, Sagmeister seized the chance to design a CD cover for a friend’s album, H.P. Zinker’s Mountains of Madness. Many

of his contemporaries felt that music graphics had become less interesting once their old canvas, the vinyl LP cover, had shrunk to the dimensions of a CD, but Sagmeister saw the CD as a toy with which he could tantalise consumers.

Having spotted a schoolgirl on the subway reading a maths text book through a red plastic filter, he placed his CD cover inside a red-tinted plastic case. Replicating the optical illusion of his business card, the complete packaging shows a close-up of a placid man’s face, but once the CD cover is slipped out from the red plastic, the man’s face appears furious in shades of red, white and green.

Mountains of Madness won Sagmeister the first of his four Grammy nominations.

Invited by Lou Reed to design his 1996 album Set the Twilight Reeling, Sagmeister inserted an indigo portrait of Reed in an indigo-tinted plastic CD case. When the paler coloured cover is removed, Reed literally emerges from the twilight. The following year, Sagmeister depicted David Byrne as a plastic GI Joe-style doll on the cover of Feelings. One of his trickiest assignments was for the Rollings Stones’ 1997 Bridges to Babylon album and tour. Sagmeister struggled to persuade the band’s management to accept

his motif of a lion inspired by an Assyrian sculpture in the British Museum. Also the astrological sign of the Rolling Stones’ lead singer, Mick Jagger (a Leo), the lion doubled as an easily reproducible motif for tour merchandise. As well as these music projects, Sagmeister still took on other commercial commissions and pro bono cultural projects, such as his AIGA lecture posters.

The obscenely elongated wagging tongues of 1996’s Fresh Dialogue talks series in New York and a Headless Chicken strutting across a field for 1997’s biennial conference in New Orleans culminated in the drama of

Sagmeister’s scarred, knifeslashed torso for 1999’s deceptively blandly titled, AIGA Detroit. In June 2000, Sagmeister decided to treat himself to a long-promised year off to concentrate on experimental projects and a book Sagmeister, sub-titled Made You Look with the sub-sub-title Another selfindulgent design monograph (practically everything we have ever designed including the bad stuff.) The worst of the “bad stuff” was a 1996 series of CD-Rom covers for a subsidiary of the Viacom entertainment group. “Don’t take on any more bad jobs,” Sagmeister scolded himself in his diary. “I have done

enough bullshit lately, I just have to make time for something better. Something good.� Sagmeister goes on a year-long sabbatical around every seven years, where he does not take work from clients. Sagmeister received a Grammy Award in 2005 in the Best Boxed or Special Limited Edition Package category for art directing Once in a Lifetime box set by Talking Heads. He received a second Grammy Award for his design of the David Byrne and Brian Eno album Everything That Happens Will Happen Today in the Grammy Award for Best Recording Package category on January 31, 2010. In 2005, Sagmeister

won the Communications Award from the CooperHewitt National Design Museum.[3]

Scheppingsvuur als bron van elke creatuur Spreker/gastheer: Rudy Vanderlans (Emigre) Lokatie: Kalvermelkfabriek 10.30 uur - 12.00 uur Rudy VanderLans (born 1955, Voorburg) is a Dutch type and graphic designer and the co-founder of Emigre, an independent type foundry.

VanderLans studied at the Royal Academy of Art in the Hague. Later, he moved to California and studied photography at the University of California, Berkeley. In 1984, VanderLans, with his wife Zuzana Licko, founded Emigre and began to publish Emigre magazine, a journal for experimental graphic

design. In 1983, mistakenly thinking he was applying for a job at Chronicle Books, VanderLans found himself at the San Francisco Chronicle. He was hired by the editorial art director to do illustrations, cover designs, and graphs. His frustrations with the harsh demands of a daily newspaper motivated him to seek other creative outlets. Emigre was originally intended as a cultural journal to showcase artists, photographers, poets, and architects. The first issue was put together in 1984 in an 11.5� by 17� format by VanderLans and two other Dutch immigrants. Since there was no budget for typesetting,

the text was primarily typewriter type that had been resized on a photocopier.

Working with the newly invented Macintosh computer and a bitmap font tool, Licko began creating fonts for the magazine. Emporer, Oakland, and Emigré were designed as coarse bitmapped faces to accommodate low-resolution printer output. They were used in issued two, and, after several readers inquired about their availability, she began running ads for them in issue three. In 1987, the other founders had left Emigré.

Working under the title Emigré Graphics, Licko edited screen fonts at Adobe Systems, Inc., while VanderLans, who had

left the Chronicle, designed new magazines: GlasHaus for an organizer of party events and Shift for San Francisco’s Artspace gallery.

He also continued to publish Emigré while Licko contsructed more fonts with bold, simple geometry, such as Matrix and Modula. Their cold, rational appearance served to anchor VanderLans’s free-spirited layouts. Emigré became a full-fledged graphic design journal in 1988 with issues ten, produced by students at the Cranbrook Academy of Art in Michigan. VanderLans concentrated on work that was being neglected by other design publications, either because it didn’t adhere to

traditional canons or it was still in its formative stages.

The issues, each built around a theme, have featured Ed Fella, Rick Valicenti, and David Carson from the United States, Vaughan Oliver, Nick Bell, and Designers Republic from Britain, several Dutch designers, and many others who were exploring new territory. Several controversial articles and interviews have appeared over the years, provoking other design publications to become more opinionated. In 1989, the fonts had become enough of a commercial success that Licko and VanderLans gave up freelancing and concentrated exclusively on their own

business. Emigré, which had been published erratically, settled into a quarterly schedule. In 1995 Emigré reduced its page size to more conventional magazine proportions and adapted a relatively staid, conservative appearance. The contents also underwent a dramatic changer. VanderLans explains, ”Instead of focusing on the designers’ intentions and the designers’ work, we decided to turn the tables and look at how this work is impacting our culture.” CalArts instructor Jeffery Keedy, who has been affiliated with the magazine for nearly a decade and who Keedy Sans typeface is distributed by Emigré Fonts,

is now a frequent contributor, as are North Carolina State University professor Andrew Blauvelt and writer/designer Anne Burdick.

Eenvoud bereiken is eenvoud creëeren Spreker/gastheer: Philippe Apeloig (Apeloig) Lokatie: Loods8 12.00 uur - 13.30 uur Philippe Apeloig is a graphic designer born in Paris in November 1962.

Apeloig studied at the École Supérieure des Arts Appliqués and the École Supérieure des Arts Décoratifs. He is noted for his posters, many of which are in the collection of MoMA, and his typography, including the typefaces Octobre and Drop. According to a short biography on Pentagram’s website Apeloig “worked as a designer for Musée d Orsay in Paris from

1985 to 1987. In 1988, Apeloig received a grant from the French Foreign Ministry to work in Los Angeles with April Greiman. Later, from 1993 to 1994, he was honored with a research and residency grant at the French Academy of Art in the Villa Medici in Rome. Apeloig has taught typography and graphic design at the École Nationale Supérieure des Arts Décoratifs in Paris from 1992 to 1999, and the Cooper Union School of Art in New York City from 1999 to 2002.” Philippe Apeloigis one of the few masters dedicated to the art of typography. Philippewas born in Paris in 1962. He studied at the École Supérieure des Arts

Appliqués Duperré and at the Ecole Nationale Supérieure des Arts Décoratifs. In 1983 during his design training in Amsterdam at the Total Design studio, he discovered his passion for typography. In 1985, he started to work for the Musée d’Orsay in Paris as a graphic designer. And in 1988, he obtained a scholarship from the Ministry of Foreign Affairs that allowed him to study in the United States. Philippe continued his studies in Los Angeles working with April Greiman. In 1993, Philippe continued his postgraduate work by enrolling in the Académie of France in Rome (Villa Medicis). It was during this phase of study

that Philippe formalized his interest in typography by dedicating his graduate work to understanding the art and design of letters. Philippe has maintained his dedication to the art of typography by always engaging academia and cultural institutions. 1993 he was appointed artistic director of the magazine “Le Jardin des Modes.” He later moved from publishing and into academia when he accepted a post at the Ecole Nationale Supérieure des Arts Décoratifs teaching exclusively the art of typography. In 1997, he became artistic consultant for the Louvre, and later artistic director, a position he continued to serve

until 2003 in conjunction with his teaching. In 1999, Philippe returned to the U.S this time as a teacher versus student. He was recruited by the Cooper Union School of Art in New York to serve as a professor in graphic design.

During his tenure at Cooper Union, he also became the curator of the Herb Lubalin Study Center of Design and Typography. Philippe Apeloig created, among others, the visual identity of the Musée d’Art et d’Histoire du Judaïsme in Paris, of UAV (Istituto Universitario di Architettura di Venezia) in Venice and of ‘Brésil, Brésils’, Brazil Year in France . Emotional Branding Alliance is proud to say that

our logo was also created by Philippe. Philippe Apeloig is member of the AGI (Alliance Graphique Internationale)

Vernielzucht als stroming van creatieve adem Spreker/gastheer: Neville Brody (Fontshop) Lokatie: Copraloods 13.30 uur - 15.00 uur Neville Brody (born 23 April 1957 in London) is an English graphic designer, typographer and art director. Neville Brody is an alumnus of the London College of Printing and Hornsey College of Art, and is known for his work on The Face magazine (1981– 1986) and Arena magazine (1987–1990), as well as for designing record covers for artists such as Cabaret Voltaire and Depeche Mode.

He created the company Research Studios in 1994 and is a founding member

of Fontworks. He is the new Head of the Communication Art & Design department at the Royal College of Art. Neville Brody was born in Southgate, London on 23 April 1957. He attended Michenden school and studied A-Level Art, very much from a fine art viewpoint. In 1975 Brody went on to do a Fine Art foundation course at Hornsey College of Art, once renowned for its late sixties agitation, now part of Middlesex University. In autumn 1976, Brody started a three-year B.A. course in graphics at the London College of Printing. His tutors often condemned his work as “Uncommercial”, often

putting a heavy emphasis on safe and tested economic strategies, as opposed to experimentation. By 1977 punk rock was beginning to have a major effect upon London life and, while this had a great impact upon Brody’s work and motivation, was not well received by his tutors.

At one point he was almost thrown out of the college[for putting the Queen’s head sideways on a postage stamp design. He did, however, get the chance to design posters for student concerts at the college, most notably for Pere Ubu, supported by The Human League. In spite of the postage stamp episode, Brody was not only motivated

by the energies of punk. His first-year thesis had been based around a comparison between Dadaism and pop art. Initially working in record cover design, Brody made his name largely popular through his revolutionary work as Art Director for The Face magazine when it was first published in 1980. Other international magazine and newspaper directions have included City Limits, Lei, Per Lui, Actuel and Arena, together with the radical new look for two leading British newspapers The Guardian and The Observer (both newspaper and magazine). Brody has pushed the boundaries of visual

communication in all media through his experimental and challenging work, and continues to extend the visual languages we use through his exploratory creative expression. In 1988 Thames & Hudson published the first of two volumes about his work, which became the world’s best selling graphic design book. Combined sales now exceed 120,000. An accompanying exhibition of his work at the Victoria and Albert Museum attracted over 40,000 visitors before touring Europe and Japan. Amongst countless other projects, in 1989, upon request by the then-director Gerhard Coenen, to Neville Brody,

the young Swiss graphic artist and typeface designer Cornel Windlin, then working at the then called “Neville Brody Studio” designed the Corporate Identity for the Haus der Kulturen der Welt (House of World Cultures) in Berlin, Germany.

Subsequently, Brody, Windlin, and staff Simon Staines, Giles Dunn and others visited Berlin more than once on projects; resulting in several collaborations with Berlinbased graphic artist and typeface-designer Kolja Gruber and artist Nina Fischer for the Haus der Kulturen der Welt in the following years.

Neville Brody continues to work as a graphic designer

and together with business partner Fwa Richards launched his own design practice, Research Studios, in London in 1994. Since then studios have been opened in Paris, Berlin and Barcelona.

The company is best known for its ability to create new visual languages for a variety of applications ranging from publishing to film. It also creates innovative packaging and website design for clients such as Kenzo, corporate identity for clients such as Homechoice, and on-screen graphics for clients such as Paramount Studios, makers of the Mission Impossible films. Recent projects include the redesign of the BBC in

September 2011, The Times in November 2006 with the creation of a new font Times Modern. The typeface shares many visual similarities with Mercury designed by Jonathan Hoefler. It is the first new font at the newspaper since it introduced Times New Roman in 1932. The company also completed a visual identity project for the famous Paris contemporary art exhibition Nuit Blanche in 2006. Brody’s team launched a new look for the champagne brand Dom PÊrignon in February 2007, having been appointed in 2004 to help the brand with its strategy and repositioning.

A sister company, Research

Publishing, produces and publishes experimental multi-media works by young artists. The primary focus is on FUSE, the conference and quarterly forum for experimental typography and communications. The publication is approaching its 20th issue over a publishing period of over ten years.

Three FUSE conferences have so far been held, in London, San Francisco and Berlin. The conferences bring together speakers from design, architecture, sound, film and interactive design and web.

He was one of the founding members of FontWorks [1] in London and designed a number of notable typefaces

for them. He was also partly responsible for instigating the FUSE project an influential fusion between a magazine, graphics design and typeface design. Each pack includes a publication with articles relating to typography and surrounding subjects, four brand new fonts that are unique and revolutionary in some shape or form and four posters designed by the type designer usually using little more than their included font. In 1990 he also founded the FontFont typeface library together with Erik Spiekermann. Notable fonts include the updated font for the Times newspaper, Times Modern, New Deal as used

in publicity material and titles for the film Public Enemies and Industria.

Creatie uit de geest voedt fantasie het meest Spreker/gastheer: Matthew Carter (Fontshop) Lokatie: HetMagazijn 15.00 uur - 16.30 uur Matthew Carter (Born in London on 1 October 1937) is a type designer and the son of the English typographer Harry Carter (1901–1982).

He lives in Cambridge, Massachusetts, United States.

He designed the early 1.0 web fonts Verdana and Georgia. In 2010, he was named a MacArthur Fellow.

Although Carter had intended to get a degree in English at Oxford University he was advised to take a year off so he would be the same age as

his contemporaries who had gone into National Service. It was through his father, Harry Carter, also a type designer, that Matthew Carter was given an internship at the Joh. Enschedé type foundry in the Netherlands. At the age of 19, Carter spent a year studying in The Netherlands where he learned from Jan van Krimpen’s assistant P. H. Raedisch, who taught Carter the art of punch cutting. By 1961 Carter was able to use the skills he acquired to cut his own version of the semi-bold typeface Dante.

Carter’s career in type design has witnessed the transition from physical metal type to digital type. Carter eventually

returned to London where he became a freelancer as well as the typographic advisor to Crosfield Electronics, distributors of Photon phototypesetting machines.

Carter designed many typefaces for Mergenthaler Linotype as well. Under Linotype, Carter created well known typefaces including the 100-year replacement typeface for Bell Telephone Company, Bell Centennial.

An early example of his work is the logo he designed for the fortnightly British satirical magazine Private Eye in May 1962, still used today. Previously the lettering had been different for the masthead of each issue.

The logo has also appeared books, memorabilia and merchandise. In 1981, Carter and his colleague Mike Parker created Bitstream Inc. This digital type foundry is currently one of the largest suppliers of type. He left Bitstream in 1991 to form the Carter & Cone type foundry with Cherie Cone. Carter focuses on improving many typefaces’ readability. He designs specifically for Apple and Microsoft computers.

Georgia and Verdana are two fonts created primarily for viewing on computer monitors. Carter has designed type for publications such as Time, The Washington Post, The New York Times, the

Boston Globe, Wired, and Newsweek. He is a member of Alliance Graphique Internationale (AGI), is a senior critic for Yale’s Graphic design program, has served as chairman of ATypI, is a member of the Board of Directors of the Type Directors Club, and is an ex officio member of the board of directors of the Society of Typographic Aficionados (SOTA). Carter has won numerous awards for his significant contributions to typography and design, including an honoris causa Doctorate of Humane Letters from the Art Institute of Boston, an AIGA medal in 1995, the TDC Medal from the Type

Directors Club in 1997, and the 2005 SOTA Typography Award. A retrospective of his work, “Typographically Speaking, The Art of Matthew Carter,” was exhibited at the University of Maryland, Baltimore County in December 2002. In 2010, Carter was named a MacArthur Foundation Fellow, otherwise known as a “genius” grant.

In 2007, Carter designed a new variant of the typeface Georgia for use in the graphical user interface of the Bloomberg Terminal.