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  • Bold typography is a winner in the inaugural Richard Schlagman Art Book Awards

    A new initiative for 2019 celebrating excellence in arts publishing the Richard Schlagman Art Book Awards is an innovative collaboration between Whitechapel Gallery and the AuthorsClub celebrating the best in international arts publishing in the English language.

    Named after Richard Schlagman, whose vision and drive transformed Phaidon Press to become a world-class publisher and revolutionized modern and contemporary arts publishing, this new initiative, newly launched in January 2019,  “highlights the fertile relationship between the art world and publishing, recognizing a diverse genre that encompasses art, architecture, and design." 

    The Awards celebrate “the importance of books in the dissemination of knowledge and learning about art around the world, addressing a vital need to champion the visual arts publishing sector” and the innovation and verve of contemporary graphic design and print production.

    Challenged to create a new visual identity for the awards, Pentagram “produced a clear and instantly recognizable design. Led by a bold, typographical motif it is a brand that is both flexible and elegant in its simplicity. Recalling and inspired by the image of book spines as they sit upon a bookshelf, this subtle approach also conveys a timeless quality.”


    “Encompassing easily-recalled elements from the art, design and printing worlds, Pentagram’s new identity can stretch across the diverse genres recognized by the awards yet is malleable enough to fit alongside and complement the Whitechapel Gallery’s longstanding brand identity. For the design of the trophy, Pentagram collaborated with the Swedish industrial designer Björn Dahlström.” 

    Pentagram's Astrid Stavro is the official partner on this project.

    Last but not least these are the winners for each category -plus the overall winner- which were announced earlier this week. 

    History of Art/ Dubuffet And The City: People, Place, And Urban Space by Dr. Sophie Berrebi (Hauser & Wirth)/ Editor: Jennifer Bernstein, Tenacious Editorial/ Designer: Mevis & van Deursen, with Marius Schwarz

    Contemporary Art/ Thomas Demand: The Complete Papers by Christy Lange (Mack)/ Editor: Christy Lange/ Design: Naomi MisuzakiHistory of Architecture/ Toward A Concrete Utopia: Architecture In Yugoslavia 1948-1980 by Martino Stierli and Vladimir Kulić (MOMA)/ Authors: Martino Stierli, Vladimir Kulic/ Designers: Bruno Margreth, Martina Brassel

    Contemporary Architecture/ Balkrishna Doshi: Architecture For The People by Jolanthe Kugler, Khushnu Panthaki Hoof, Meike Wolfschlag (Vitra Design Museum and the Wüstenrot Foundation, in collaboration with the Vastushilpa Foundation)/ Editors: Jolanthe Kugler, Khushnu Panthaki Hoof/ Design: Double Standards, Berlin

    History of Design/ Victor Papanek: The Politics Of Design by Mateo Kries, Amelie Klein, Alison J. Clarke (Vitra Design Museum and the Victor J. Papanek Foundation, University of Applied Arts Vienna)/ Editors: Mateo Kries, Amelie Klein, Alison J. Clarke/ Design: Visual Fields, Bristol

    Contemporary Design/ Embodiment by Naoto Fukasawa (Phaidon)/ Author: Naoto Fukazawa/ Design: Asami Koga, Nana Fukasawa
    Best Book Design overall/ Dubuffet And The City: People, Place, And Urban Space by Dr. Sophie Berrebi (Hauser & Wirth)

    Outstanding Artist’s Book/ A Series of Utterly Improbable, Yet Extraordinary Renditions by Arthur Jafa (Serpentine Galleries, the Store X, Julia Stoschek Collection, and Koenig Books)

    More here.

  • Id24: Eleni Beveratou on accessible typeface and typesetting

    Inclusive Design 24 (#id24) is back and tomorrow your date with this free 24-hour online event for the global community is set.

    Id24 celebrates inclusive design and shares knowledge and ideas from analogue to digital, from design to development, from planners to practitioners, and everything and everyone in between and if you are one of the many who would like to learn every bit of details and insights tune in Inclusive Design 24 YouTube channel, no need to sign-up, no registration needed.

    All Id24 sessions are streamed live and publicly on YouTube and live captions for each session will be available.

    Last but not least, if you have a question for a presenter tweet it to @id24conf using the #id24 hashtag and the event's moderators will make sure they get them answered for you.

    This is how it all started. “Léonie Watson came up with the idea and the name Inclusive Design 24 in 2011, but it didn't become a reality until Karl Groves had a similar idea (when he and Léonie were both working at The Paciello Group) in 2014, and Mike Paciello offered to support the first conference. Léonie was joined by a team of regulars (Adrian Roselli, Billy Gregory, Henny Swan, Ian Pouncey, Patrick H. Lauke, and Steve Faulkner), who between them make sure that Inclusive Design 24 happens every year.”

    “The inspiration behind Inclusive Design 24 (#id24) was to bring together the global community to share knowledge and ideas without the difficulties of attending a traditional conference. From the beginning, #id24 has only been possible because of the community. It took just three weeks to organise the first conference, and everyone gave their time generously. We had no budget, but many respected and notable people gladly agreed to give a talk because they wanted to help. That generosity has continued over the years, with Barclays Access, Intopia, Microsoft and others, joining The Paciello Group as supporters of #id24.”

    As of 2019, Inclusive Design 24 is set up as an unincorporated nonprofit association, dedicated to “running #id24 as an event that is free to all participants, open to everyone, and as inclusive as we can make it.”

    In tomorrow's event Eleni Beveratou, a typeface designer from Athens, Greece who studied Communication Design at Vakalo Art & Design College and focused her studies with an MA in Typeface Design at the University of Reading, and is currently a Creative Director at Dalton Maag will discuss accessibility in typesetting

    “The purpose of typography is to convey a message to an audience in an accessible way. Within any given typeface, certain shapes and styles will generally be more accessible to certain audiences. Unfortunately, by over-simplifying implementation, guidelines for accessible type tend to ignore the major components of better readability and legibility. In this talk, Eleni will walk us through the elements of an accessible typeface and typesetting, putting an emphasis on those which are targeted at visually-impaired readers, and the wider audience” note the organizers.

    Explore the entire playlist of the scheduled talks here and set your alarm on time. 

  • #TypeChampions2019: Monotype announces inaugural awards for typography excellence

    Monotype has just announced the inaugural Type Champions Award to recognize the brands that are committed to design and typography excellence.

    As noted by Monotype winning brands will be selected by a panel of global branding experts and will demonstrate a focus on type in building brand messages, marketing, and advertising efforts and overall customer experience.

    “At Monotype, we are privileged to work alongside some of the world’s most iconic brands, and see first-hand the value that creative, specifically typeface design, provides to a brand’s identity” writes Monotype.

    “To celebrate that value, we are introducing a new program, the Type Champions Award. This program will recognize brands that emphasize typography in developing and maintaining their brand identities, and we are turning to our creative community (that’s you!) to help us identify the organizations that should be featured. If you would like to nominate a brand for consideration, please read the selection criteria and fill out the form below. All submissions will be reviewed by our selection committee. Thank you for supporting the value of typography” adds Monotype.

    “Brands must demonstrate a focus on type in building their brand message, marketing & advertising efforts, and overall customer experience. This includes: Type consistency across the brand experience, an emphasis on future-proofing the brand through typography selection, authenticity in brand/creative, creative approach to advertising (use of new/emerging channels, unique strategy for engaging new/existing customers, mix of creative asset types) and leadership that vocally champions the value of type and creative.”

    “Type plays a critical role in brand identity, and some brands are using type in their creative campaigns in a way that stands out as strategic, thought-provoking and innovative,” said James Fooks-Bale, Monotype's creative director. “This award program will recognize the companies that use type to stand out among their peers, and create authentic, consistent and relevant brand identities.”

    Winners will be announced at Adobe MAX, taking place November 4-6, 2019, in Los Angeles.  

    Brands and agencies interested in submitting campaigns for consideration can learn more about the judging process and complete their nominations here. 

    Nominations that have supporting examples are preferred but one may submit a brand that has a professional relationship with (either as an employee, an agency, a consultant, etc.,) however a relationship is not required adds Monotype of its inaugural Type Champions Award. 

    The deadline to submit nomination is Tuesday, October 8, 2019.

  • Harvard Business Review: a study of 597 logos reveals the power in branding

    Great logos help sell products. But what kind of logo is right for your brand? 

    Harvard Business Review's researchers analyzed 597 companies to answer this question and the findings are more than insightful. 

    The researchers discovered that descriptive logos (eg. those that include visual design elements that communicate the type of product) affect consumers’ brand perceptions more favorably than nondescriptive ones (eg. logos that are not indicative of the type of product). They also found that descriptive logos are more likely to improve brand performance. 

    “If you are considering creating or modifying a logo, our findings suggest that you might want to include at least one textual and/or visual design element that is indicative of the type of product or service your company offers” reveals HBR. 

    “If, however, you work for a brand that markets a product or service that can easily bring to mind negative concepts, a nondescriptive logo is probably better. We also suspect that nondescriptive logos are better for companies that operate in several unrelated business segments, such as Uber, Procter & Gamble, and the Walt Disney Company. For these companies, a logo that is indicative of the unrelated products or services they offer might be unappealing and confusing. Brands that do not want to be strongly associated with a specific product should also avoid descriptive logos. For example, the decision to change the Dunkin’ logo likely arose from the company’s desire to become more associated with products like bagels” note the editors. 

    “Dunkin’ removed the word “donuts” and the coffee cup from its logo, making it nondescriptive. Conversely, Animal Planet made its logo even more descriptive by adding an elephant to the design. In our analysis, we found that about 60% of companies used a nondescriptive logo, while 40% used a descriptive logo.”

    To learn more why underestimating the importance of logo design and the power of descriptive design elements can, sometimes, be a costly mistake check here.


  • The Guardian: Hope is Power in the brand's latest campaign for change

    “The Guardian has an almost 200-year history of producing journalism which inspires hope. Our new campaign aims to turn that feeling into action” notes Anna Bateson of The Guardian's latest brand campaign which aims to inspire readers to support Guardian journalism with its bold creative approach.

    The campaign’s central message, “Hope is Power”, is inspired by The Guardian's editor-in-chief Katharine Viner’s essay ‘A mission for journalism in a time of crisis’ and the campaign highlights the Guardian’s purpose to “not only hold power to account, but to explore new ways of doing things, bringing new ideas to the table and giving people the facts to challenge the status quo.”

    For the British news outlet the message 'Hope is Power' “feels relevant and urgent in these disorientating times. It’s a message we can all rally behind.”

    Hope is Power is the Guardian's first brand campaign in seven years. 

    The campaign is a collaboration between the Guardian’s brand, marketing and editorial teams. Uncommon London led on creative development, PHD led on media planning and buying, and Pentagram developed the initial brand positioning.

    The campaign’s short film, which will run as an advert in cinema, television or video-on-demand platforms, is directed by Academy Award-winning director James Marsh, known for his Stephen Hawking biopic, The Theory of Everything.

    In addition to the film, the campaign features “bright and powerful statements” which will be posted online and in locations across the UK, US and Australia.

    To find out more about Hope is Power, please visit here.