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  • 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

  • The legendary portfolio of Hipgnosis is a chart-topper in graphic design

    The complete catalogue of design collective Hipgnosis, showcasing groundbreaking cover art created for iconic rock ’n’ roll giants, including the Rolling Stones, Paul McCartney, Led Zeppelin, and Pink Floyd is available to own.

    This definitive, never-before-published catalogue of album covers created by the legendary design agency Hipgnosis, this volume finally does justice to the work of the most important design collective in music history.

    Founded in 1967 by Storm Thorgerson, Aubrey “Po" Powell, and Peter Christopherson, Hipgnosis gained a legendary status in graphic design, transforming the look of album art forever and winning five Grammy nominations for package design.

    Their revolutionary cover art departed from the conventional group shots favored by record companies of the day, resulting in groundbreaking, often surreal designs inextricable from the major albums of many of the biggest names in the history of popular music: AC/DC, Black Sabbath, The Police, Genesis, Led Zeppelin, Pink Floyd, Paul McCartney, Syd Barrett, The Who, Wings, Yes, and XTC, to name but a few.

    Arranged chronologically, Hipgnosis: The Complete Album Covers features stunning reproductions of every single Hipgnosis cover―more than 300 in total―for the first time, along with pertinent insights from the rock ’n’ roll legends, whose albums are showcased with all inclusive behind-the-scenes photography.

    The text, written by Powell, and with contributions by Peter Gabriel, Robert Plant, and Nick Mason, brims with information that illuminates the album art and the compelling stories behind each cover’s creation.

    Invest in your own piece of graphic design when the legends ruled the world here

  • Make the world a better place with Sharp Type’s Earth Day type release

    Inspired by Spanish and English models from the 15th and 16th centuries Respira is a contemporary blackletter typeface designed by Sharp Type for good reason. “From its release on Earth Day, 2017, ALL proceeds from the sale of this typeface will be donated to the NRDC” says the graphic design studio of Respira which wants to make our world a better, blacklettered place.

    “Respira is inspired by a particular style of Spanish blackletter often found in illuminated manuscripts of Andalusia. We first came across this unique style in the breathtaking Santa Iglesia Catedral Metropolitana de la Encarnación in Granada, Spain. For designer Lucas Sharp, it was love at first sight” writes Sharp Type, the renowned digital type foundry based in New York City and Granada, Spain.

    “While blackletter was originally used for text settings, from the 11th century through much of the 16th and 17th, it’s modern use is almost exclusively for display, leading the current models to be much more decorative than their original text versions. This miniscule was like nothing we had ever seen – the more complex letters were strikingly beautiful, constructed ingeniously and inventively with skillful calligraphic strokes, but the foundational vertical strokes were simple and plain. While other blackletter in use today commonly employs a complex system of serifs and flourishes with varied hairlines and endstrokes, this miniscule contained none of that noise.”

    “Its vertical stems were simple and austere, containing only a modest implication of serifs. This tension between simplicity and complexity present in the word shape is magnified by the tight spacing afforded by the subtlety of the serifs.”

    “The design of Respira is also influenced by the physical deterioration of the ancient manuscripts. Due to poor lighting conditions behind the alter of the Catedral de la Encarnación, we were unaware that some of the more stylized forms like the “a” and the “k” were not actually “stenciled”, but were so high contrast and old that the hairlines had gradually faded from view. We discovered the existence of the hairlines when we came across the style in the 16th century Spanish master Juan de Ycíar’s Arte Subtilissima (1553, Zaragoza) - and later noticed a super fine and faded hairline when we were lucky enough to come across an original manuscript page for our own library while antiquing in Sevilla”.

    “The uppercase of Respira is not based on the Spanish model at all. The design is original, but bears a closer resemblance to English Textura than to the capitals of the Spanish style. We suspect that many Spanish monks had a similar preference for the miniscule over the majiscule, as we found that quite often illustrated uncials are used in place of the standard capitals” they add.

    Respira’s proceeds will be donated to the National Resources Defense Council (NRDC), a non-profit organization that fights for environmental preservation and policy change to help save the planet and everything living on it. To promote its release Sharp Type  worked with two guest designers on a 'Respira' poster series about climate change. Eric Carter’s ‘Oilmen’ and Justin Sloane’s graphic visualization of NASA's regional climate-change report, these posters remind us of the importance of climate change and the world we live in.