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  • ATypI Tokyo 2019: two must-see presentations to watch online

    As ATypI Tokyo 2019 has started posting their recent talks on YouTube Typeroom recommends checking out the knowledge online with these two videosSebastien Morlighem's “The Sans Serif in France: The Early Years (1834–44)” and Jo De Baerdemaeker's “Ferdinand Theinhardt’s Legacy in Tibetan” presentations. 

    In the first video, Sébastien Morlighem examines the situation of “type making” in parallel with other ways of designing letters and provides insight into the evolution of the French typefounding market. 

    Sans serif types began to spread in England in the early 1830s and later became popular on the European continent.

    Their introduction and development in France remain only minimally researched and documented to this day.

    Although the first French sans serif types such as the 'Lettres sans traits' (Marcellin-Legrand, Plassan et Comp. foundry) were influenced by British models, several original designs blossomed and swiftly stood out in this manifold genre soon to be named 'Antiques.'

    This presentation represents the initial fruits of a long-distance investigation. It aims to introduce the audience to the slow but undeniable breakthrough of the sans serif in a lively and transformative era, one characterized not only by technological innovations and an explosion of information, but also by the rise of Romantic literature and arts and the growth and diversification of the publishing trade.

    Sébastien Morlighem draws on a wide range of little-known documents found in public and private collections, showing typefaces in use in journals, books, posters, and jobbing printing, as well as surprising letterforms pervading engraving, lithography, and sign painting” notes ATypI. 

    In the second Jo De Baerdemaeker reminds us of the pivotal role Berlin-based punchcutter and typefounder Ferdinand Theinhardt (1820–1906) played in printing works in characters for Tibetan and other writing systems of the world

    “Theinhardt’s Tibetisch can be regarded as a faithful interpretation, and most successful representation, of the Tibetan U-chan script in metal type.

    From the moment it was created —around 1880—this specific font was met with great approval, was distributed to international printing houses and type foundries, and appeared in publications all over the world.

    It became the standard typeface for printing Tibetan texts, and (in)directly influenced other type foundries and printers, up to the advent of the personal computer.

    This talk offers a unique view on Ferdinand Theinhardt's creativity and entrepreneurship: how his Tibetan typeface emerged in the multiscript printing practices of nineteenth-century Europe, and how its typographic qualities remain relevant for contemporary Tibetan font design” notes ATypI

    Both presentations are available thanks to ATypI's video initiative with Google.

  • Brand Impact Awards 2019: Superunion wins big in this year's projects

    Brought to you by Computer Arts and Creative Bloq, the Brand Impact Awards is an international competition to reward the best branding design from around the world. 

    Branding is judged according to market sector, with categories ranging from culture and not-for-profit to technology, entertainment, and finance.

    The winners of this year's Brand Impact Awards 2019 are revealed and typography is winning big with many projects being filled with letterforms of beauty in innovative ways of use. 

    “As ever, the bar was set high by the discerning judging panel, who whittled down a record number of almost 200 entries – leaving 55 projects by 27 different agencies” notes Creative Bloq. 

    “The Brand Impact Awards are judged on the following criteria: a compelling, appropriate idea; beautiful, consistent execution; and work that stands head and shoulders above its market sector.”

    Here we present you some of our favorite projects where typography means business. 

    Best of Show: BBC Two by Superunion

    Best of Show is the highest accolade at the Brand Impact Awards, picked by the judging panel from a shortlist of three category winners.

    For a second year running, Superunion -the next-generation global brand agency of 750 people in 23 offices and 18 countries got in 12 Brand Impact Awards shortlists this year only- received the ultimate trophy at this year's BIA with BBC Two's massive rebranding.


    Brand Impact Awards 2019: Winners

    The following 11 projects all received at least one winning trophy at the Brand Impact Awards 2019

    01. Petit Pli by NB Studio

    02. Anna by NB Studio

    03. No Fuss Fundraising by Bond & Coyne

    04. Equal Justice Initiative by Turner Duckworth

    05. by Texture

    06. Alphaputt by Sennep

    07. Creative Discomforts by Taxi Studio

    08. ESL by Superunion 

    09. The Fife Arms by Here Design

    10. The Surrey Copper Distillery by Nude Brand Creation

    Brand Impact Awards 2019: Highly commended

    The following 23 projects received highly commended trophies on the night...

    01. McDonald's by Turner Duckworth

    02. Mandela and Me by B&W Studio

    03. London Symphony Orchestra 2019/20 by Superunion

    04. All 4 by DixonBaxi

    05. Kellogg's by Landor

    06. Jacob's by Pearlfisher

    07. Tillamook by Turner Duckworth

    08. Christie Proton Beam Therapy Centre by Music

    09. Parkinson's UK by Texture

    10. Manual by Onwards

    11. Medivet by Turner Duckworth

    12. Amsteldok by VBAT/Superunion

    13. The Great War Centenary by Hat-trick Design

    14. Simple by Here Design

    15. The Drum by NB Studio

    16. FOX Sports Netherlands by DixonBaxi

    17. Wolverhampton Wanderers by SomeOne

    Read more on this project here.

    18. Celebrity Fitness by The Clearing

    19. Brach Hotel by GBH London

    20. The Hangry Duck by Superunion 

    21. Carlsberg by Taxi Studio 

    The winners were revealed at the Ham Yard Hotel, Soho, London on the 11th of September, 2019.

    Read more here.

  • YamanoteYamanote poster project brings the Swiss spirit to Tokyo & vice versa

    Initiated in 2016 by Julien Mercier and Julien Wulff, two Tokyo-based Swiss graphic designers who decided to create a series of posters inspired by Tokyo’s iconic Yamanote train line, YamanoteYamanote is a project to inspire. 

    For each station, the two designers create two posters that represent their parallel perspectives of the locations and organize a local small-scale exhibition in a carefully selected venue.

    The next Nippori poster exhibition will take place next week September 16th (Monday National holiday) at the 100 years old Sampota Cafe Nombiriya during the local festival “Yanaka Hatsune”. 

    An inspiring trip where East meets West is about to start. Are you onboard?

    More info here

  • Watch: inside Michael Wolff's, founder of Wolff Olins, fascinating world

    “I work for you. You aren’t your company, you represent it. You aren’t your brand, you exemplify it. I don’t advise companies, I advise you. Together we can make things happen” notes renowned British graphic designer Michael Wolf in his A to Z presentation of himself. Now, the 86 years old living legend reveals more than you would ask for in the first episode of "Michael Wolff Telling Stories" where you are invited to step inside the wonderfully fascinating world of this living legend.

    From how he got his first clients, the importance of branding, founding Wolff Olins and stories about his time in the army – Michael Wolff reveals details about his past never heard before.

    Michael Wolff (born 1933) is a British graphic designer and consultant on brands and corporate identity. Wolff studied architecture and started his career as a product designer and later became an interior designer before going into graphic design.

    In 1965 he co-founded Wolff Olins, with Wally Olins, a brand consultancy with clients that included Apple Records, Volkswagen and Audi

    A Patron of the Inclusive Design Challenge with the Helen Hamlyn Centre at the RCA (Royal College of Art), a member of the Government-sponsored Design and Technology Alliance against crime and former Chairman of the Legible London initiative with Transport for London, a visiting Professor at the University of the Arts in London and a Senior Fellow of the RCA, Micheal Wolff now runs Michael Wolff & Company in London.

    Discover his life in the clip below presented by Future London Academy.

  • Nice, Epic & Cool: the three custom typefaces for The Face 2019

    The Face is back for business featuring three custom typefaces in print.

    Designed by Jacob Wise whilst he was woking at Bureau Borsche, the three typefaces are named after the brand -Nice Face, Cool Face & Epic Face. 

    Nice is the day-to-day one that has been used most since our launch online earlier this year. Epic Face is our heavy condensed type, which has a range of glyphs that we can use to mix up similar-looking letters (see the Harry cover, where we have two ‘R’s to play with). Then finally we have Cool Face, which we used in the back section of the magazine, to give a unifying look to quite a broad mix of content in such a short space. We use Sabon for the bulk of the body copy, it was useful to have something ‘normal’ in the mix to stop us being too nice and also just very practical! The ability to mix between four typefaces is really useful in stopping the fatigue and boredom when designing pages-and-pages of content” says The Face's art director Alex O’Brien in his interview with It's Nice That. 

    “Jacob and I worked quite a while on these three typefaces, which also should stand for three different design decades of The Face” adds Mirko Borsche (of design studio Bureau Borsche) who was tasked along with O’Brien to redesign the iconic zeitgeist of all things Briitish for its 2019 version.

    “My bureau was discussing it in so many details with regard to these fonts and changed them back and forth. We wanted to design Headline fonts, which work as the foundation for the new DNA of The Face, which don’t need a lot of design in typesetting and still look interesting. It’s a tough job to work on something, which you admired so much in the early days of your job. Designers like (Brody) are the pop stars of our business and need to be well respected in what they created, that’s what I tried, but it’s hard to judge, when you are involved so much” he adds. 

    Per WWD “the British magazine is not trying to go back to its heyday. The covers for its first print issue in 15 years — 100,000 of which are being printed and will be sold on newsstands and online through The Face web site — are the first clue that the magazine is uninterested in capitalizing on its the fond memories many in fashion have of its initial iteration. For its first new quarterly issue, the very 2019 pop stars Harry Styles, Dua Lipa, Tyler the Creator and Rosalia are each getting their own cover.”

    “As for why the magazine should go back into print at all after a relaunch of the web site in April, managing director Dan Flower took a line he said he heard first from an unnamed competitor, comparing different platforms for content to air travel: 'The web and social is economy, the magazine is first-class. We hate this whole print is dead vibe, because it’s not'.”

    “The Face of 2019 is not aiming to be dependent on just selling pages in a magazine, which was the case when it closed print in May 2004, the advent of the modern Internet but with none of today’s constant accessibility. There’s now a studio/brand consultant element which has already worked with Adidas, The North Face and Gucci on campaigns. There are current discussions of how to branch out into TV production with a slate of ideas developed. There’s e-commerce, with a handful of brand products in an online store. And on the content front there’s push into video and also audio, offering even more opportunities for ads and branded work” adds WWD on the relaunch of The Face in print and beyond. 

    Grab your own copy of The Face 2019 here.