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  • Attention type lovers, this is your last call to enter ISIA's Type Week 2018

    Ever since 2011 when it was first conceived by Jonathan Pierini ISIA Type Week enlightens students to the art of type. ISIA Type Week is an intensive course in type design led by Fred Smeijers and held at the Higher Institute for Applied Arts in Urbino, Italy. The course follows a teaching method developed and practised by Smeijers, who has more than 30 years experience as an educator. The method guides students from analog to digital designing along a smooth and constant learning curve. 

    The 8-day, 2018 edition of the course extends the existing curriculum to include a subject-related trip to the nearby cities of Fano and Pesaro and a visit to the historic library of the University of Urbino, alongside regular contributions by visiting tutors who this year include Eric Kindel, Riccardo Olocco and Luciano Perondi.

    The course will take place on the premises of ISIA, a spectacular former convent in the heart of the Renaissance walled city of Urbino, a UNESCO World Heritage Site located in a lush and hilly part of the Marche region of Italy.

    The ISIA Type Week course follows a teaching method that incorporates handwriting and sketching, stencilling and digital working. The method has been developed and practised by Fred Smeijers over many years and has proven highly effective in delivering an introduction to letterforms and the visual relationships between them.

    The method is based on the premise that doing things by hand can deliver true personal satisfaction, which in turn results in a deeper interest and enthusiasm for the field of study. Lectures, exercises and feedback sessions help students develop consistently and progressively as they gain awareness, control and precision at each stage of work.

    The materials used during the course are uncomplicated and easy to handle, and participants are not required to have particular practical skills or experience. During the course, participants will learn how to translate sketches and drawings into digital designs, connecting an analog approach to digital tools and technologies.

    The course is open to students and professionals with a passion for type, and who are working in the fields of graphic design, typography or type design. The nature of the course allows for varied backgrounds among participants – from beginners to seasoned practitioners – who will immerse themselves in the world of type and acquire new practical skills. Participants will learn to look at and design type in a unique, unconventional way.

    ISIA Type Week 2018 will run from 23 July to 1 August (inclusive), totalling 8 working days with a weekend intermission. Participants are expected to arrive by the afternoon of Sunday 22 July when they will meet their tutors and fellow students.

    The course fee is €800. The fee includes basic working tools and materials, transportation costs for the trip to Fano and Pesaro, and welcome drinks and pizza. Participants will be required to bring their own laptop computer with font editing software already installed – Robofont, FontLab or Glyphs.

    The deadline for applications is 27 May 2018. To apply, applicants are invited to send an email to the course coordinator, attaching a PDF that includes their résumé and a compact portfolio of work. The portfolio should showcase not more than five projects; the PDF should be no larger than 5MB. Applicants are required to supply their full first name, family name, birthday, postal address (street, city, zip code, state, country), telephone, e-mail and school name or company name.

    The course will only run with a minimum of 20 participants. Once an applicant is accepted, a confirmation notice will be sent by 1 June 2018. The course fee must be paid within 2 weeks of enrolment notification. Accepted applicants are officially registered on the course only after the course fee is paid.

    Previous editions have had as guest tutors heavyweights of the type industry such as Bruno Maag (2011) and Erik van Blokland (2012). Fred Smeijers has led the course since 2014.

    Click here for more

  • Tom Hingston and Paul Smith showcase the art of the record sleeve

    After two decades of working at the crossroads of music, art and design, Tom Hingston has built up an enviable client list that includes the likes of Grace Jones, The Rolling Stones and Massive Attack though his creative studio. As a good friend of Hingston and a fellow music lover, Paul Smith offers his No. 9 Albemarle Street shop as the venue for this special retrospective show of Hingston Studio’s music work.

    At the heart of ‘Progress’ are sixteen record sleeves from Hingston Studio’s back catalogue, which have been transformed into one-off lenticular artworks.

    Creating these lenticular images was a complex and lengthy process. First the original artwork had to be digitally remodeled, then the lenticular image was built up in layers to draw out a specific feature of each image.

    "You can use the lenticular process to bring different qualities to each image", explained Hingston. Some have three-dimensional depth, while others animate and spring to life as you move around them.

    Hingston specifically selected this lenticular format to highlight the changing relationship between image and viewer at a time when the phone screen is often the place where imagery is first seen.

    These one-off lenticular artworks are available to buy from No. 9 Albemarle Street, with the profits from each sale going directly to Teenage Cancer Trust.

    Although the lenticular artworks are the most eye-catching element of the exhibition, visitors can also see 4 specially curated cabinets that contain vinyl, stickers, posters and other creative curiosities from Hingston Studio’s music archive.

    In addition to the exhibition, Paul Smith and Tom Hingston have collaborated on a series of limited edition products that go beyond the standard conception of band merchandise.

    Check more here.

  • TBWA creates 50 posters to celebrate half a century of McDonald’s Big Mac

    McDonald's is celebrating 50 years of the Big Mac which has changed yet is always the same for half a century. To celebrate the event a number of teams from the TBWA collective combined forces to showcase how the iconic burger has remained beautifully the same after all this time with an outdoor and digital campaign.

    TBWA has created 50 unique and custom-designed Big Mac illustrations that no only look stunning, but also illustrate the impact of the last 50 years across other key categories in culture.

    Radio is now Podcast. Cash is now Bitcoin. Jukebox is now Spotify. Tools are Apps. Talk is Chat. Big Mac is Big Mac. The Big Mac is as popular as it was when it debuted on the McDonald's menu in 1968. And that's something worth celebrating.

    The 50 posters celebrate typography with a diverse range of techniques such as paper craft, embroidery, CGI, physical prop design, screen printing and both hand drawn and vector illustration, one of the pieces was even created using a fax machine!

    TBWA\Chiat\Day NY and TBWA\Zurich led this project, and solicited designs from 10 other TBWA offices around the globe, including LA, Mexico, Brussels, Shanghai, Russia, Malaysia, Tokyo, Istanbul, Belgium, and Grid Worldwide.

    TBWA collaborated with famed graphic artist Alex Trochut, who created 10 of the posters himself. These artful posters are now live in Switzerland (OOH and flypostings), with plans to continue throughout the year on multiple channels and multiple formats, including digital. 

  • ATypI 2018 returns to Antwerp with Type Legacies

    The global typographic community is invited to ATypI’s sixty-second annual conference, in Antwerp, Belgium, September 11–15. There ATypI will celebrate more than sixty years of typographic education, heritage, technology, business, and camaraderie.

    After a quarter of a century, ATypI returns to Antwerp for its 2018 annual conference. Belgium’s most populous city proper has a rich cultural history spanning centuries. It has played an important role in art, politics, and religion, and, more specifically, in the development of western typography.

    Antwerp is the home of the Plantin-Moretus Museum, a unique institution which, in 2005, was awarded the status of a UNESCO World Heritage Site.

    Besides housing the two oldest surviving printing presses in the world, an exceptional collection of typographic material, and an extensive library, the preservation of its entire commercial archives give an unprecedented insight in the business of book printing and typefounding since the sixteenth century.

    The theme of ATypI’s 2018 conference is Type Legacies: honouring the heritage, designing type today.

    “By honouring our heritage, we reflect on the rich tradition of type to gain insights into the contemporary practice and inspire the future. A deep understanding of typographic history guides us when we design and educate, when we draw and code, when we develop fonts destined for today and tomorrow. What came before becomes the foundation for our present realities and the inspiration for future possibilities. Principles from classical calligraphy can be applied to feature-rich fonts. Renaissance type making can be echoed in the proportions and metrics of contemporary fonts. And the superlative accomplishments of Plantin’s polyglot Bible of the sixteenth century can inform multi-language, multi-script solutions for increasingly globalised communities” notes ATypI of the typefest of September.

  • New logo for Glamour Magazine brings elegance into the limelight

    Designed in-house the new logo for Glamour is elegant and feminine as it should, replacing the old, very common, sans serif logo of the fashion magazine.

    Baring a certain old Hollywood vibe ala Vanity Fair Glamour is a women’s magazine published by Condé Nast Publications.

    Glamour is one of the biggest fashion and beauty media brands in the world, currently reaching an all-time high of one out of eight American women, with 9.7 million print readers, more than 11 million unique monthly users online, and over 14 million followers across social media platforms.

    Glamour magazine is the latest magazine title which got radically redesigned lately in US.

    The magazine’s revival comes with Glamour’s newly appointed editor-in-chief Samantha Barry. The former CNN and BBC veteran is “embarking on a comprehensive redesign of the 79-year-old title, which has struggled to gain traction in an increasingly digital media world” notes Business of Fashion. “Barry joined the challenged Condé Nast title just three months ago, succeeding Cindi Leive. The former editor led the publication for 16 years, turning it into what was at one point Condé Nast’s most lucrative title. The magazine still has the largest circulation at the publisher — an average of 2.3 million in the second half of 2017, according to the Alliance for Audited Media”.