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  • Typographics 2019: Ellen Lupton, Letterform Archive & more in this year's design festival for people of type

    Organized and run by a small group of type fans the Typographics festival is a must-attend celebration of all things type in New York City. The Typographics design fest­ival, now in its 5th year, is a multi-part event series foc­used on con­tempo­rary typo­graphy and where its future may lie. A forum for presentations about graphic design, web design, publication design, book design, type design, packaging, branding, corporate identity, advertising, motion graphics, and more Typographics focuses on new frontiers in digital typography and beyond. 

    The international line-up of speakers includes emerging and established designers, attracting a vital and intelligent community of attendees. In the week before and the week after the main conference, Type@Cooper offers workshops and tours, open to the public, to educate and entertain participants. 

    The TypeLab at Typographics 2019 will host a series of hands-on work­shops, demos, inter­views, and experiments, June 13–16. Keeping with its alternative roots, the TypeLab is a space for informal events to complement the main schedule of the Typographics conference – like a multi-day typographic hackathon.

    In this year's workshops attendees can learn the magic of movable type in a  4-day crash course with Todd Goldstein or use their senses to develop a visual system for their own highly personal line of ice cream in Branding with Type with writer, curator, educator, designer and Senior Curator of Contemporary Design at Cooper Hewitt, Smithsonian Design Museum in New York City, Ellen Lupton. 

    “Create a menu of visual elements and apply them to a unique product family. Use typography, color, and graphic elements to express sensory delight and explore personal culinary themes (heritage, nostalgia, health, futurism, feminism—you name it). Use this one-day workshop to spark your creativity, find new inspiration, and create a chill portfolio piece. Participants receive copies of Ellen Lupton’s latest books from Cooper Hewitt, Smithsonian Design Museum, Design Is Storytelling and The Senses: Design Beyond Vision” notes Typographics 2019. 

    This year’s Typographics will feature the fourth Typographics Book Fair, June 15–16, with items for sale from some of our favorite booksellers. There will be a wide diversity of material available relating to typography, lettering, design, etc, with everything from rare antiquarian type specimens to contemporary titles on modern graphic design.

    From Draw Down Books, a designer-run publishing platform based in New England, producing small and unique books with a focus on graphic design and typography through Printed Matter / St Marks, the world’s leading non-profit organization dedicated to the dissemination, understanding, and appreciation of artists’ books and related publications to Letterform Archive's table to snag rare foundry ephemera deaccessioned from one of the best type specimen collections in the world or The Herb Lubalin Study Center of Design & Typography, one of the co-organizers of the Typographics festival, which will be selling some of these items as well as some duplicates of type specimens and other books from their collection of 20th-century graphic design this is a Book Fair not to be missed.






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  • Typography in VR: a study and compilation methodology online

    "If information, has to be communicated in space, can we follow the current rules of type design to communicate our idea or information about our products?" wonders Juneza Niyazi. To answer the many questions Niyazi collaborated with Ksenya Samarskaya to explore type design in space.

    "The guidelines used by typography designers today are based on the spacing between characters, kerning, height and width of the letters. But when the same information has to be placed in space, the above guidelines may not suffice to help the user read the information. Perspective plays a major role when designing for space. The other attributes that play a key role are — occlusion, height in the visual field, relative size, relative density, aerial perspective, binocular disparities, accommodation, convergence, and motion perspective. So let’s say in a few years, the most popular medium we use to communicate to our consumers is Mixed or Virtual Reality, like the movie Her where a video or product launch will occur in space; can we still use existing typography to communicate information? How will type exist in the third dimension along with light and time?"

    The answers to the questions are featured in Typography in VR, a study and compilation methodology which you can read in full here

    All images via Medium

  • Ladislav Sutnar & F. T. Marinetti: two typographic treasures of the past for you to own

    Offering a brand new look at two innovative graphic design books from the past Designers & Books kicks off its latest collaboration with Peter Kraus’s Ursus Books & Gallery in New York.

    The collaboration launches with a look at two publications from the past: Ladislav Sutnar’s Package Design: The Force of Visual Selling, issued in 1953, and F. T. Marinetti’s Les Mots en Liberté Futuristes, published 100 years ago, in 1919.

    Although separated by a generation, Ladislav Sutnar (1897–1976), known as the father of modern information design, and F. T. Marinetti (1876–1944), the founder of the modern art movement known as Futurism, were both multidisciplinary innovators who experimented with typography and advertising design in ways that remain remarkably fresh today.

    Sutnar's classic work on advertising. Sutnar, a native of Czechoslovakia, became one of the twentieth century's most influential designers. In America, he produced three beautifully designed and highly influential books: Design for Point of Sale (1952), Package Design (1953), and Visual Design in Action(1961).

    Explosive to say the least, F. T. Marinetti's Les mots en liberté futuristes (Futurist Words in Freedom), published in 1919 "defied traditional rules of structure and punctuation and heralded a revolution in modern visual communication. This pocket-sized portfolio is a mini-anthology of the writing and typographic experiments of Italian poet and theorist Filippo Tommaso Marinetti (1876-1944)... Les mots en liberté futuristes, both written and designed by Marinetti, represents a high point of futurist typographic experimentation and showcases his genius as a designer and visual poet.  It was a pioneering example of what is known as visual or concrete poetry, in which avant-garde artists have harnessed typography and page layout for expressive purposes" notes Cooper Hewitt's Stephen Van Dyk.

    Read more here. 

  • Avant-garde for purity: the iconic works of Tsuguya Inoue conquer Tokyo

    Wish we were there! This month Ginza Graphic Gallery (ggg) hosts “Beginnings,” an exhibition of the works of Tsuguya Inoue. Born in 1947, the graphic designer who is always pushing the limits of visual language established his own company, Beans Co., Ltd., in 1978. Through the years he has forged a prominent career as a graphic designer and art director, the latter area encompassing the realms of advertising, music, publishing, and TV. Today, with innovative creations integrating photography and typography, his design work continues to span across multiple genres.

    Widely hailed for his sharp sensibilities and the unfettered freedom he displays in creating stunningly new designs integrating photography and typography, Inoue has "never strayed from his glowing path of avant-garde creativity."

    Nearly a decade since ggg hosted Inoue's very first solo show, the new exhibition follows Inoue's paths in the realms of both advertising and publishing. The Japanese designer has created a steadily growing body of works born from his insatiable curiosity and sense of artistic adventure, works that have continued to evolve toward "greater and greater purity."

    The core of Inoue's upcoming exhibition at ggg will be his various new poster series. Among them, “The Burning Heaven” employs photographs of the sun, moon, light, water, oil, plants and such to create fictitious universes. Posters in his “Happy Time” series are imbued with humor and playfulness against a backdrop filled with tension.

    All posters on display will be Inoue's most prominent works self-selected from among his numerous masterpieces. Also on show will be the vast body of his posters and book designs created in recent years, in ever-expanding variety, in collaboration with the fashion world. "Inoue's works evoke an overwhelming and truly breathtaking aura. From that aura, visitors will surely enjoy discovering all-new sensations: the new beginnings of Tsuguya Inoue's newest journey of creativity."

    Inoue's major awards received to date include the Tokyo ADC Grand Prize, Tokyo TDC Grand Prize, JAAC Yamana Prize and Mainichi Design Award. Coinciding with this exhibition, a collection of Tsuguya Inoue's works, titled The Burning Heaven, will be published by Little More Co., Ltd.

    More here.

    Images via Little More 

  • #Ascenders2019: Type Directors Club call for entries for designers 35 years and under

    The Type Directors Club is calling for entries to the Ascenders 2019, a portfolio-based competition to recognize outstanding type-oriented work of designers who are 35 years of age and under.

    The Ascenders 2019 competition encourages designers from around the world to submit portfolios showcasing their use of type before the June 15, 2019 competition deadline.

    Submissions should be in the form of a single PDF portfolio, featuring designs that rely on type, are dominated by type, show particular ingenuity in the use of type, or create type. Other elements, such as photography and illustration, can be present, but the judges will focus on type. Applicants should avoid including their name in the PDF portfolio submission. Members of the TDC Board of Directors will review all work that is submitted and will select ten aspiring and inspiring designers who are expanding the art of typography for the Ascender 2019 honor.

    Previous Ascenders include young designers from Argentina, Brazil, Canada, China, Croatia, Denmark, Mexico, Poland, Portugal, Singapore, Spain, and the United States. This year’s Ascenders will be announced on July 17, 2019 at the Type Directors Club annual awards ceremony at The Cooper Union in New York. Later in 2019, Type Directors Club will host an exhibition of the Ascenders 2019 work in New York and publish their work on the TDC website and in the next TDC annual, The World’s Best Typography.

    All the details, rules, and fees are listed here.