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  • Typographics 2017 is back for a third year to enlighten us all

    Typographics is a design festival for people who use type. The event series takes place June 12–22, 2017, and is devoted to contemp­orary typo­graphy, with talks, work­shops, and tours focusing on where typo­graphy is today and where its future may lie. It will be held at The Cooper Union in New York City and for 2017 the main stage is being produced and hosted by current and past curators of the Herb Lubalin Study Center of Design and Typography, the graphic design archive that has co-organized Typographics with Type@Cooper since the conference’s debut.


    Previous Lubalin curators Mike Essl, Acting Dean of The Cooper Union’s School of Art, Barbara Glauber, principal of Heavy Meta Design Studio and Ellen Lupton, curator of contemporary design at Cooper-Hewitt, National Design Museum, join current curator Alexander Tochilovsky.

    “The conference is evolving each year – all with the goal of providing a variety of educational and networking opportunities for students and working designers from around the world who all share a special interest in type,” said Alexander Tochilovsky. “Between the main stage, the TypeLab, the book fair and the studio and walking tours, Typographics has a lot to offer.”

    To ensure a robust experience, Typographics offers two weeks of festival events, including intensive hands-on workshops, taught by Type@Cooper instructors and guest instructors, TypeLab, a typeface design and typography hackathon, and a book fair.

    Typographics festival events take place from June 12 to June 22, 2017. The conference takes place on Friday, June 16 and Saturday, June 17, 2017.

    For more information and to register, please visit

  • Learn how to appreciate the visuals with George Nelson’s iconic manifesto

    Originally published in 1977 by iconic American furniture manufacturer Herman Miller, George Nelson's critically acclaimed manifesto on how to recognize, evaluate, and understand the objects and landscape of the man-made world has influenced generations of design professionals, students, and aficionados, “How to See by George Nelson” is a book with a cult following to appreciate and explore.

    Forty years later, this iconic “manual” book has been brought back to life with a fresh, new look and feel “at a time when our collective fascination with design has gone global, by one of the 20th century's most important design thinkers and will continue to educate and inspire readers everywhere”.

    One of the founding fathers of American modernism, industrial designer and architect George Nelson produced some of the twentieth century's most iconic objects, and served as the long-time director of design at Herman Miller.

    "On the 40th anniversary of its initial release, [George Nelson's] guide to parsing the visual world and cutting through "aesthetic pollution" is as relevant today as ever" says Surface of Phaidon’s latest revisit of an old classic.

    Revisit his legacy here

  • TwoPoints.Net and Island invite Mr. DIN to a mind opening game for design


    The design studio TwoPoints.Net aka Lupi Asensio and Martin Lorenz remain a small powerhouse that thinks big and this time they have an important guest to introduce to anyone who will be lucky enough to attend their playful graphic design event. 

    "The Inner Game of the Typographic Universe — Dining with Mr. DIN" is the third event of the event series "The Inner Game of Design", organized by TwoPoints.Net and Island. The Term “The Inner Game” was shaped by Timothy Gallwey during the 1970's. It describes the inner and psychological fight, which has a huge effect on the physiological performance. 

    While Gallway meant the mental performance and its effect on the athletic performance, TIGOD explores the cultural and social effects of design. TIGOD wants to show the invisible aspects of design and encourage a vivid design-culture in Hamburg. Through lectures, talks, exhibitions, workshops, performances, happenings and products, it wants to help the interdisciplinary exchange between Hamburg’s creatives. Eating and drinking at a big table is an important element of all events.

    Bringing Mr. DIN aka Albert-Jan Pool into the limelight the event is an absolute must-attend celebration of good design. 

    Pool was born in Amsterdam on the 9th of July 1960. After studying at the KABK in The Hague with Gerrit Noordzij, he left for Hamburg in 1987 and worked with Scangraphic and URW. Since 1994 he runs his studio Dutch Design and designs typefaces such as FF OCR-F and FF DIN as well as corporate typefaces for well known brands like C&A, JET and HEM. Together with type-consultant Stefan Rögener he wrote the both useful and provocative book ‘Branding with Type’ in 1995. He teaches typeface design at the Muthesius Academy in Kiel. From 1999 to 2005 he ran the design agency FarbTon Konzept + Design. In 2004 he started researching on the history of the typefaces according to DIN 1451 and has become a well known author and speaker on this subject. By 2008 he decided to support his findings scientifically and started working on his doctoral thesis on the history of geometric sans serif typefaces in Germany. His thesis is being tutorized by prof. Gerard Unger in Leiden (NL). In 2011 the New York Museum of Modern Art decided to extend its collection of applied arts by digital typefaces. FF DIN was amongst the first set of 23 typefaces

    Albert-Jan Pool considers this acquisition as a milestone in the process of the recognition of typeface design as a form of applied art next to architecture and industrial design. Working on new weights and styles to extend his typeface family FF DIN has become one of his major occupations, in 2010 the release of the long awaited FF DIN Round turned FF DIN into a so called super-family and in 2015 FF DIN Thin and Extra Light were released. Albert-Jan Pool is a member of ATypI (1985), AGD (2001), TDC (2001), Forum Typografie (2005) and is the chairman of the German standards committee on typefaces at the DIN Institute in Berlin. The first task of this new committee was to revise DIN 1450, the German norm dealing with legibility of typefaces and typography. DIN 1450 was re-released in 2013.

    TwoPoints.Net along with visual artist, animator and designer Lo Iacono experimented with variable fonts for the poster of the third instalment of the event series ”The Inner Game of the Typographic Universe” featuring for this year Mr. DIN (Albert-Jan Pool).

    The Inner Game of the Typographic Universe — Dining with Mr. DIN

  • Seoul's Everyday Practice will feast your eyes with unprecedented beauty


    Everyday Practice is a graphic studio founded by Kwon Joonho, Kim Kyung-chul, Kim Eojin and a small community which is thinking about the role of design and how design acts in reality.

    "Although we are based in graphic design, we do not restrict ourselves to strictly two-dimensional design.
    We have been trying to do research various design methods and make it happen" says the team which brings a slice of Asian beauty into the typographic realm.

    Even though they have engaged in projects of diverse nature, Everyday Practice’s work seems to be strongest – and most distinctive – when it’s socially and politically committed. While small-scale, artisan-minded design studios tend to be self-contained and inward-looking, the three partners of Everyday Practice are not afraid of reaching out to the community to make a difference in people’s lives.


    Check their fusion here


  • Craig Black’s Pissed Modernism is an art-infused activism in type

    The idea is to engage with people and create an environment that encourages debate and maintains an awareness and interest in socio-political issues. Pissed Modernism wants to encourage voter registration and participation in local activism within local communities through creating inspiring events that showcase a diverse range of artistic work and opinions that different groups can relate to” says Craig Black of his latest endeavor in type.

    “Furthermore, so many illustrators and designers have a voice that far too often is never heard.

    By allowing these creatives to showcase their work in an exhibition space out with the constraints of everyday commissioned work, Pissed Modernism want to allow them the creative freedom to make work that they care about on issues that are important to them. Another key aim of Pissed Modernism, is to help promote young artists and their work giving them a platform to showcase their talents. As one of the leading artists, Craig Black was tasked with creating a typographic mural within the exhibition space based at The Patriothall Gallery in Edinburgh, United Kingdom.

     ‘Triumph ≠ Trump’ is based upon the potential success and triumph that the United States and the world for that matter should be celebrating about when a new President is elected. Unfortunately with today’s climate and political issues worldwide, judgement calls have been quite diluted and the United States have ended up with ‘Trump’ and not a ‘Triumph’ which they should be celebrating about. The design was first created in digital format and then hand painted on to wall.

    “Through knowing Craig, I am aware that he is passionate about championing students and their work and helping them into the industry. I am also aware that he has incredible work” says Marco Bevilacqua (Want Some Studio), Curator of Pissed Modernism. “When I saw the event space, I knew that Craig was right for and could be relied upon to deliver a centre piece for the show. One that not only aesthetically captured the imagination, but also tackled an issue within the current socio-political climate and would inspire the audiences that came to see it” he adds.

    “The typographic element created a strong and relatable image that allowed people to instantly understand the event and its aims as a whole; gaining instant appreciation from all event goers. Within the exhibition the piece also stood out metaphorically to me and the visitors, reflecting the preoccupation of political debates with the ongoings in America. As the piece was so visually striking, it also mirrored the overbearing nature and domination of the Trump administration within the current political landscape and discussions in the UK.”

    Art Direction / Design & Typography | Craig Black
    Creative Team | Craig Adams and Nicola Roberts
    Photography | Nicola Roberts