Podcasts about typographic

Elliot sits down with Jamie Clarke — a  type designer and lettering artist who just happens to live in the same village in rural Somerset. Actually, Elliot and Jamie have been friends for years, and have been collaborating since the early days of 8 Faces. This is an edited version of a much longer ramblechat, in which they discuss Jamie's forthcoming new typeface Nave, his self-initiated studio projects that have won him high-profile client work, the journey to his “third” career, and the threats and opportunities posed by AI.A few things mentioned in this episode include:Jamie & Filip's article on AI for Smashing MagType Design intensive (TDi) course at ReadingThe Dark Art of Pricing by Jessica HischePrice with Purpose by GooodtypeHouse of Leaves by Mark Z. DanielewskiSpecial plug: Elliot's new project, Fine Specimens, is currently fundraising on Kickstarter until 13th June. Help bring it to life! —You might also enjoy Elliot's newsletter Typographic & Sporadic, which is typographic in its nature and sporadic in its delivery. —Hello, type friends! is published by Margin Media, Ltd. Theme music by Other Form.

Elliot sits down with Ty Finck — an old friend in internet terms — to talk about making music regularly, liberating his last foundry to Google Fonts, his F-Bombs project, and — a recurrent theme this season — the woes of social media.Special plug: Elliot's new book, Universal Principles of Typography, is out now and available from anywhere that sells books. You can find a few handy links to buy it on elliotjaystocks.com/book You might also enjoy Elliot's newsletter Typographic & Sporadic, which is typographic in its nature and sporadic in its delivery.

Elliot sits down with James Edmondson of OH no Type Co. — whose typefaces Degular and Swear are used in Elliot's new book and indeed the branding for this podcast — to talk about the realities of launching and growing a type foundry, making his own bass guitars, stealing good ideas, and a bit of reminiscing about the good ol' CSS Zen Garden. You might also enjoy Elliot's newsletter Typographic & Sporadic, which is typographic in its nature and sporadic in its delivery.

An exhibition at the Letterform Archive in San Francisco delves into the improvisational and playful processes of Bay Area printer Jack Stauffacher, who demonstrated the creative potential of the letterpress.See omnystudio.com/listener for privacy information.

What makes an accessible typeface? And how can we improve typography in regard to web accessibility? To answer this and other questions, I invited type designer Eleni Beveratou, creative director at Dalton Maag. We discuss:

Are all type rules meant to be broken‽ We take you back to our convo about the pros and cons of challenging the so-called "rules" of good type design in this Rewind episode.We reference the type used in the credits of some films and TV shows a few times in this episode: Loki, The Favourite, and Deathstalker and the Warriors from Hell.Support the Interrogang and help us expand what Proof&Co. and the Interrogang have to offer!Subscribe to TypeCraft, our sister podcast, for hour long interviews and visual companions from some of the industry leaders in type!Subscribe to the Weekly Newsletter or The Concierge Newsletter for all the independent type news that's fit to email!Get your 2022 Annual Report and Almanac, our data-driven look at the world of independent typography in 2022!Support the show

Elliot sits down with Francis Chouquet, a type designer, lettering artist, printmaker, and former web designer who's based just outside of Basel, Switzerland, to talk about the weekly schedule that enforces time away from screens, using physically distinct locations to do different kinds of creative work, and how he's grown his audience via his newsletter, The Typochondriac Weekly.The book Francis mentions in this episode is How to Do Nothing, by Jenny Odell. He and Elliot also mention the newsletters and membership programme run by Craig Mod.  You might also enjoy Elliot's newsletter Typographic & Sporadic, which is typographic in its nature and sporadic in its delivery.

In this episode, we witness typographic brilliance as Ideogram unveils its AI image generator, showcasing custom finesse. Join me for a solo discussion, where we explore the brilliance of custom typography and the innovative aspects introduced by this tool in the world of image generation. Invest in AI Box: ⁠https://Republic.com/ai-box⁠ Get on the AI Box Waitlist: ⁠https://AIBox.ai/⁠ ⁠AI Facebook Community Learn About ChatGPT Learn About AI at Tesla

Elliot sits down outside a pub in Bristol with designer and lettering artist Emma Luczyn, who was responsible for Elliot's hand-lettered logo. They talk about Emma's journey as a self-prescribed black sheep in a non-creative family, budgeting sensibly as an art student, delaying getting a ‘real job' in order to travel, moving from print design to web design to lettering, and how her family life has come about as a direct result of her creative pursuits. Warning: as well as some NSFW language in this one, there's an actual mention of Bézier curves. Please forgive us. You might also enjoy Elliot's newsletter Typographic & Sporadic, which is typographic in its nature and sporadic in its delivery.

Have you ever read a very old book and wondered how the author could keep the argument flowing through the miles of print?  I know I have.  Today I explore the degradation of our modern attention span with this Episode 230: Erasing Typographic Man. Find the Show Notes at: https://attackadspodcast.blogspot.com/2023/10/episode-230-erasing-typographic-man.html

Oliver of Pimp My Type is back and he's here to talk untapped typographic potential! In this conversation, Oliver explains what ‘typographic colour' means, tried and true techniques for emphasis, prioritizing optical distance in typesetting (using one's gut and not just math!), as well as the role intentionality plays in the process. Oliver also demystifies the characteristics of display type that make it different from text type, the advantages of variable fonts for both digital and print design, as well as use cases for baseline grid. The conversation even strolls into Comic Sans and books featuring Disney Princesses. Above all else, prepare for lots of actionable strategies to harness type's power!The design work on which this episode is centred can be found in the show notes at talkpaperscissors.info.I'm all about interesting projects with interesting people! Let's Connect on the web or via Instagram. :)

On the podcast today we have Giulia Laco. Giulia is a web designer and developer who has been working on the web since the mid 1990s. Her primary interests are web typography & font design. This is the last of our podcasts from WordCamp Europe 2023. I spoke to Giulia in Athens because she had just finished her presentation entitled “Typographic readability in theme design & development”. In this session she explored how designers can assist with the readability of websites through careful consideration of the fonts they choose, and why they choose them. It turns out there's quite a lot to consider, and if you've not given this topic much thought in the past, you'll perhaps learn something new. We begin the podcast talking through how, at the start of the web, we were making do with a limited range of tools to help us make typographic choices. Giulia talks about the fact that the manner in which we read has changed since the dawn of the internet. Many people now mostly consume small passages of text, which need to be considered in a different way to longer writing. We round off the conversation with Giulia telling us where we can find out more, as well as some of the thought leaders in this space. It's a fascinating conversation about a subject that often gets overlooked. Website designers, this episode is for you.

On the podcast today we have Giulia Laco. Giulia is a web designer and developer who has been working on the web since the mid 1990s. Her primary interests are web typography & font design. This is the last of our podcasts from WordCamp Europe 2023. I spoke to Giulia in Athens because she had just finished her presentation entitled “Typographic readability in theme design & development”. In this session she explored how designers can assist with the readability of websites through careful consideration of the fonts they choose, and why they choose them. It turns out there's quite a lot to consider, and if you've not given this topic much thought in the past, you'll perhaps learn something new. We begin the podcast talking through how, at the start of the web, we were making do with a limited range of tools to help us make typographic choices. Giulia talks about the fact that the manner in which we read has changed since the dawn of the internet. Many people now mostly consume small passages of text, which need to be considered in a different way to longer writing. We round off the conversation with Giulia telling us where we can find out more, as well as some of the thought leaders in this space. It's a fascinating conversation about a subject that often gets overlooked. Website designers, this episode is for you.

Is who you know more important than what you know‽ Josh and Kyle cut through the social foofah to put the phrase "It's not what you know, it's who you know" in its place, all while trying to convince you they aren't lonely hermits. There are also two months of type releases to review, and we realize how Ohno Type Co.'s name may hint at our impending doom. It's a lot to handle, but we've got big, jazzy, three-dimensional dreams for 2023...What's next?Font releases highlighted in this episode:Items from Schick ToikkaLipo from Suitcase Type Casserole from Ohno Type Co. Baste from Lift TypeFamily from Klim Type Foundry Click here to get your 2022 Annual Report and Almanac, our data-driven look at the world of independent typography in 2022!Click here to subscribe to the Weekly Newsletter for all the independent type news that's fit to email!Rate, review, subscribe to, and share the Interrogang liberally, and don't be strangers if you want to chat with us: hello@proofco.xyz. 

Typography for print can be intimidating to many designers, especially when you focus on digital mostly. This is why I invited specialist Diana Varma to share her knowledge of what to pay attention to when dealing with type for print. You will learn:

Weekly Typographic x Interrogang Crossover Do not adjust your sets! We are coming to you this week with a very special (early) episode with our first crossover episode. And we couldn't be happier with this crossover as we're talking to the delightful and equally-as-nerdy-about-typography, Kyle and Josh from the Interrogang Podcast. cue applause We mashed up our respective podcast formats - Kyle and Josh brought two great links about new type releases, and we offered up two articles on how type is being used in the world in two rebrands. We loved the different perspectives and metaphors that Kyle and Josh bring to the conversation. After the links, we dive into a nerd alert talking about the ways that type designers can get their type out there, in particular new ways of producing and marketing type and whether you really have to start a foundry if you're making type on the regular. We had a blast, we hope you enjoy this conversation too. And if you did, you can let us know! Find us on Twitter or Instagram @theleagueof on both platforms, and catch Kyle and Josh on Twitter @proof_and_co. Weekly Typographic Newsletter Links

What could be better than two typography podcasts for the price of one‽ Josh and Kyle team up with Micah Rich and Olivia Kane from The League of Moveable Type's Weekly Typographic and have a rollicking conversation through the Olympics, Italian fashion, and, what else, Future Fonts. Our Interro-couple has finally become an Interrogang, and if anyone out there can figure out how to make an ampersand with their fingers, please let us know... Font releases highlighted in this episode:NaN Tresor from NaNRaskal Oner Write from Swiss TypefacesArticles discussed in this episode:Ferragamo Identity Refresh on DeZeen The Olympics Brand Evolution Click here to subscribe to the Weekly Newsletter to get all the latest type news and notes from your friends at Proof&Co!Please take a moment to rate and review us on your podcasting site of choice and if you like what you hear, tell your friends and family they should listen too!

Y'all! We are so excited and honored to have the opportunity to talk with Silas Munro (of Polymode) about the amazing exhibition, "Strikethrough", he co-curated at the Letterform Archive. Strikethrough features over 100 objects (including broadsides, buttons, signs, t-shirts, posters, and ephemera) by ACT UP, Amos Kennedy, Jr., Sister Corita Kent, Emory Douglas, Favianna Rodriguez, Guerrilla Girls, Jenny Holzer, W. E. B. Du Bois, and many many more. Make sure to check out the show, get in on the rad special events they're doing, check out the custom site by Chris Hamamoto, Jon Sueda, and Minkyoung Kim—and pick up the amazing book!—if you can. Thank you to Silas Munro and to Stephen Coles from Letterform Archive for being open to having this conversation! A few links to resources around protest and design (via Silas): Schomberg Center for Research in Black Culture: https://www.nypl.org/locations/schomburg One Archives at the USC Libraries: https://one.usc.edu/ Lohman Center (NY): https://www.leslielohman.org/archive National Museum of African American History & Culture (Smithsonian/DC): https://www.si.edu/museums/african-american-museum Research / writings of Colette Gaiter: https://walkerart.org/magazine/authors/colette-gaiter (profile from the Walker) Center for the Study of the Political Graphics: https://www.politicalgraphics.org/

In this episode LosBurger is joined by Wakazhi, Typographic, and Linkypoo as they discuss the new Halo competitive, Halo Campaign release, the gaming biz, and changes to existing multiplayer. Halo is back baby!!!! For Community Involvement make sure to talk to us on social media at... Join the Discord: https://discord.gg/2H88KnS Follow Los Burger on twitter: twitter.com/TheLosBurger Follow Wakazhi on twitter: twitter.com/wakazhi Follow TYPOGRAPH1C on twitter: twitter.com/TYPOGRAPH1C  

Welcome Olivia Kane from The Weekly Typographic podcast! Just like your favourite crossover episode on TV (think the Jetsons and Flintstones or New Girl and Brooklyn Nine Nine), this, too, is a crossover episode… as it pertains to geeky typography-focused podcasts. In today's episode, Olivia shares a Nerd Alert all about the Industrial Revolution's massive impact on typography as we know it today, as well as the type revolution we're currently experiencing. You don't want to miss it!

Typographic war: what is it good for‽ Josh and Kyle wrestle with the pros, cons, and economics of creative competition in typography. Unless this was all a typographic fever dream...Join us every week for a shot of type news and engaging conversation among friends on topics that range from typography, graphic design, branding, art, creativity, and more! We will be using the Proof&Co Weekly Newsletter as a jumping off point each week which you can subscribe to at proofco.xyz. You'll be glad you did! 

听众朋友早上好，今天是 12 月 22 日又一个星期二，欢迎收听全球字体新闻联播暨本年度最后一期《字谈字畅》。 冬至已过，2020 年即将告别。本期节目将回顾近期重要的设计评奖和会议活动，以及值得关注的众筹出版和新刊书目。在波澜起伏的年度里，独立研究者、设计师及出版团队，依旧持续在字体排印领域中贡献新的内容。来年我们仍然拭目以待。 参考链接 Pantone 发布 2021 年度色彩 Type is Beautiful 十周年纪念海报 第十届方正奖字体大赛评奖结果 中国中文信息学会汉字字形信息专业委员会 2020 年学术研讨会 《怪物之名》上篇、下篇，陈俊峰所做的字体设计研究 Type& 2020 于 11 月 5 日和 11 月 19 日在线上举行 Monotype 发布 2020 年 Type Champions 评奖结果 “Aldo Novarese: Alfa-Beta”，由意大利的 Archivio Tipografico 发起 “Jaroslav Benda 1882–1970 Typographic designs and letterforms”，由捷克的 Benda Book 发起 “Kris Sowersby: The Art of Letters”，由澳大利亚的 Formist 发起 Karen Cheng. Designing Type. Yale University Press, 2020（该书初版的中译本《字体设计的规则与艺术》于 2014 年出版） Chris Campe & Ulrike Rausch. Designing Fonts: An Introduction to Professional Type Design. Thames & Hudson, 2020 蓜島庸二．『町まちの文字 完全版』．グラフィック社，2020 小宮山博史．『明朝体活字—その起源と形成』．グラフィック社，2020 「小宫山博史的活字百宝箱」，小宫山博史在华康字型网站连载的专栏 雪朱里．『時代をひらく書体をつくる』．グラフィック社，2020 IDEA 杂志第 392 期是字体设计特辑，日英双语，主题为「字体设计的现在」及「独立字体厂商的实践」，由杂志编辑部与独立字体设计师山田和宽联合策划 主播 Eric：字体排印研究者，译者，The Type 编辑 蒸鱼：设计师，The Type 编辑 欢迎与我们交流或反馈，来信请致 podcast@thetype.com​。如果你喜爱本期节目，也欢迎用支付宝向我们捐赠：hello@thetype.com​。 The Type 会员计划已上线，成为我们的会员，即可享受月刊通讯、礼品赠送、活动优惠以及购物折扣等权益。

Watch on YouTube https://youtu.be/Fm6lHsTeEtI Get paired with a marketer to see how your strategy will work in the emfluence Marketing Platform. https://more.emfluence.com/really-good-emails Truebill is a free platform that helps you find, track, and cancel all of your paid subscriptions and recurring payments.

On this episode of OPEN CHANNEL, host Christopher D. Littlefield and his guest, Kris Hill (co-host of THE EXPANSE), read and discuss listener feedback on “Second Contact,” the series premiere of Star Trek: Lower Decks! Host/Editor: Christopher D… The post 4. A Warm, Typographic Hug appeared first on Holosuite Media.

Minnesota Street Project studio artist Purin Phanichphant leads the third installment of his guided meditation series, Dada Meditation. Phanichphant is an artist, designer, and educator whose work is colored by various meditation and mindfulness practices, as informed by his time as a Buddhist monk in northern Thailand. Follow along as Phanichphant introduces the grounding effects of visualization techniques. @purin.co @minnesotastreetproject

In this episode...Three writing expert writing professors share their advice and key strategies to assure success on the appellate brief. Christine Coughlin, Professor of Legal Writing at Wake Forest School of Law, Jean Goetz Mangan, Legal Writing Instructor at the University of Georgia School of Law and Ruth Anne Robbins, Distinguished Clinical Professor of Law at Rutgers Law School highlight the importance of pre-writing, narrative and even font choice when drafting the brief. And we all share the fear we first felt, and fun we finally had, when arguing the brief.Some key takeaways...1. Chart the arguments both pro and con before you begin writing your argument.2. Document design can improve the quality of your brief. 3. Headings are the prime real estate of your appellate brief.4. There is a huge value to pre-writing.Our experts share some key reference books for you to check out!Ruth Ann Robbins, Ken Chestek and Steve Johansen, Your Client’s Story: Persuasive Legal Writing (2d ed. 2019)Christine Coughlin, Jean Malmud Rocklin et. al, A Lawyer WritesRuth Anne Robbins, Painting with Print: Incorporating Concepts of Typographic and Layout Design into the Text of Legal Writing DocumentsLaura P. Graham and Miriam E. Felsenburg, The Pre-Writing Handbook for Law Students: A Step by Step GuideAs always, if you have any suggestions for an episode topic, please let us know! You can email us at leslie@lawtofact.com or tweet to @lawtofact. Don’t forget to follow us on Twitter and Instagram (@lawtofact) and to like us on FaceBook! And finally, your ratings and reviews matter! Please leave us a review on iTunes.Want to stay updated on all things Law to Fact? Join our mailing list by visiting us at www.lawtofact.com. Feed Spot's Top 50 Podcasts You Must Follow in 2020 . FM Player's Best Law Shool Podcasts (2020).This episode is sponsored by Kaplan Bar Review. Getting ready for the bar exam means you’ll need to choose the study program that’s right for you. Kaplan Bar Review will get you ready to take on test day with confidence by offering $100 off live and on-demand Bar Review with offer code Leslie100. Visit kaplanbarreview.com today to sign up.

Lecture 381 (22 July 1996)

In this episode, Ruth Anne Robbins, Distinguished Clinical Professor of Law at Rutgers Law School, discusses her influential 2004 article "Painting with Print: Incorporating Concepts of Typographic and Layout Design into the Text of Legal Writing Documents" and her 2010 followup article, "Conserving the Canvas: Reducing the Environmental Footprint of Legal Briefs by Re-imagining Court Rules and Document Design Strategies." Robbins observes that the design of a legal document affects its readability, and argues that many courts impose rules that reduce the readability of documents. Among other things, she observes that ALLCAPS headings and monospaced fonts reduce readability. She explains how legal writers can increase the effectiveness of their documents through better design. Judge Easterbrook of the United States Court of Appeals for the Eighth Circuit was impressed by Robbins's article, and featured it on the court's website for many years. Robbins is on Twitter at @RA_Robbins.Keywords: legal writing, visual, fonts, persuasion, lawyering See acast.com/privacy for privacy and opt-out information.

Come riconoscere al volo una font che vorresti utilizzare e di cui non conosci il nome? Ti dò 3 risorse: app, sito e libro. Il link li trovi sul canale del podcast: https://t.me/lamiavitaspaziale :-)Scrivi una recensione su iTunes: www.andreabrugnoli.click/loveEntra nella community di coloro che vogliono vivere una vita spaziale! www.andreabrugnoli.click/finanziaUno stimolo per la tua comunicazione, ogni giorno su: https://twitter.com/abrugnoli

Your Calendrical Fallacy Is...iOS 11.2.6 DateFormatter.date returns nil for cities that observe Brasília Summer TimePub quiz question,"How many time zones are there"I was still explaining to my fellow pub attendees about the complexities of time zones by the time the answer came aroundWhere is the extra 75 seconds coming from?I think a great interview question is“how do you compute the length of a string?” If the candidate responds by asking“what do you mean by‘length’ and what do you mean by‘string’?” they pass —  @txsectorBig-O NotationOle Begemann: Strings in Swift 4 (explains how family emoji are composed of person emoji + joiners)Ligatures in Unicode (Wikipedia)Accidentally QuadraticSoroush: Safety in SwiftSpoiler: Soroush’s Word Ladder SolutionBackspacing emoji composed of multiple codepoints in Google Docs:

On the surface, Typographic Specimens is a collection of extraordinary creatures made entirely out of letterforms, numerals and punctuation marks. But behind this beautiful book is a fascinating tale of the Reverend Jackson Whitehead and his adventure aboard the HMS Pica, sister ship to HMS Beagle, which famously carried one Charles Darwin. I'm joined by A.W. Bainbridge, a lecturer in Graphic Communications and Creative Thinking at the University of Central Lancashire, who details the story of his eccentric ancestor. The book is available now via Ammonite Press. Get your thoughts over to @arrestallmimics on social channels now http://www.ammonitepress.com/gift/typographic-specimens/ https://www.amazon.co.uk/Typographic-Specimens-Natural-History-Letterforms/dp/1781453098 http://instagram.com/frontaldepression https://www.thedisciplesofdesign.com/

The Weekly Typographic — Episode 03 New course preview, animated type specs, and learning from UI

1026 Weird and Wonderful : Origins of Common Typographic Symbols

Sheffield based graphic designer and illustrator Lisa Maltby has set a great example of how we can turn negative experiences into great creative source material. Collating a number of breathtaking put downs from both her professional and personal life, Lisa has transformed them into a hilarious series of typographic artworks. Whilst some defy belief and others are more naive than malicious, Lisa's project won her a great deal of plaudits, creative industry press and new awareness of her work. It's a fantastic example of how we can channel our unique journeys and experiences into our output, forging our own identity and attracting the right kind of attention! Get us your own examples of negative experiences transformed into positive creative work at @arrestallmimics on Twitter! http://lisamaltby.com - Official Lisa Maltby site http://www.lisamaltby.com/blog/creative-put-downs-turned-into-typographic-art - Typographic put downs project https://twitter.com/Lisa_Maltby - Lisa Maltby on Twitter http://instagram.com/lisamaltbycreative - Lisa on Instagram

TypeEd began out of necessity. While running their design studio, teaching, and jurying design competitions both Rachel Elnar and Michael Stinson noticed a “lack of sensitivity” towards typography in design from designers in the industry. Typographic subtleties communicate magnitudes towards the overall interpretation of the piece that is being designed. In 2012 Rachel and Michael founded TypeEd, whose mission is “to educate designers, students and practitioners on the fundamental skills of typography. Graphic designers deserve a strong typographic foundation to practice typesetting, improve the quality of communication, and preserve the integrity of design.”

Michael Stinson (@MWStinson) is a veteran designer, educator, and business owner. In addition to his work as a professor of graphic design, he also runs Ramp Creative, a branding studio in Los Angeles, as well as Type Ed, a dedicated typographic education business which helps creative pros return to form in the fields of typesetting and layout. Together in this conversation we unravel some of today's worst typographic habits, and how to overcome them, share a few tips that all creatives can use to improve their type usage, and discuss some processes for working with clients. Catch up with Michael on his website, MichaelStinson.com, or through Type Ed.              Get The Episode Download The Busy Creator Podcast, episode 97 (MP3, 52:40, 25.4 MB) Download The Busy Creator Podcast, episode 97 (OGG, 52:40, 22 MB) Subscribe to Get New Episodes     Subscribe to The Busy Creator Podcast on iTunes, on Google Play Music, on Android, on iHeart Sponsor Freedcamp, the finest free online project management software Bandwidth for The Busy Creator Podcast is provided by Freedcamp, Group Efforts Made Effortless. Freedcamp is best free online project management software available. By using the built-in functions and additional tools like time tracking, invoices, milestones, file storage, and more, teams can customise the software for the task at hand! The Busy Creator Podcast itself is managed and operated on Freedcamp. Get started for free on Freedcamp.com Show Notes & Links Michael is the first person from Los Angeles to join The Busy Creator Podcast Ramp Creative handles a lot of variety — digital, print, mobile Type Ed is an Education Organization, founded 2012 UI/UX design has eroded traditional type study High School scribbles are largely typography Michael was taught both ends of the type spectrum — hand lettering and typesetting (3 words or 300) "I'm not training you to be designers; I'm training you to be Creative Directors some day." —Michael Stinson Tweet This Phonetics Whiskey Labels, an underrated technical as well as artistic challenge "Everyone likes to do logos but wordmarks are extremely challenging." —Michael Stinson Tweet This Chronicle Books Typography for Lawyers, great site for anyone, not just lawers "Designers these days don't like process. They want to jump to making it look good." —Michael Stinson Tweet This "If you get your process in place, you can design anything." —Michael Stinson Tweet This Michael is a former Aerospace Engineer; Prescott studied Mechanical Engineering Prescott — in spite of the hyphen in his last name — doesn't like to use hyphens in his paragraph text "Imagine if you're reading War & Peace in all caps — how far would you get?" —Michael Stinson Tweet This Milton Glaser's Bob Dylan poster Bob Dylan by Milton Glaser Michael was accepted to study Physics at Berkeley, but received scholarships in Art "The beauty of graphic design is that it works both sides of the brain." —Michael Stinson Tweet This Additive & Subtractive Colours Lithographic printing Calculus Ramp Creative is 2 principals and 1 designer "If you follow the right words the path will take you to the promised land of the visuals." —Michael Stinson Tweet This Different methodologies — layer cake vs. pay-as-you-go Lots of Jewish families in New York City worked in the garment industry "You're an actor, you're a leader, you're an entrepreneur, you're a psychologist, you're a therapist ... all at the same time." —Michael Stinson Tweet This Building Brands, a Step-By-Step Guide for Creative Pros to Develop Strategy and Design Identity — original eBook by Prescott Perez-Fox Building Brands eBook "You're not going to use a crescent wrench for a hammer. Right tool for the right job." —Michael Stinson Tweet This "Never stop noticing design." —Michael Stinson Tweet This The most stringest morning routine ever described on The Busy Creator Podcast was that of Michael Bierut Reading in The Brain by Stanislas Dehaene on Amazon The Intellectual Devotional by David Kidder & Noah Oppenheim on Amazon and on Audible "Type isn't all about the characters themselves, it's about the space they take up and the negative space that's left." —Michael Stinson Tweet This Michael defines himself as an introvert Douglas Davis, another educator to appear as a guest Cat Rose discussed creative introverts on The Busy Creator Podcast  Type Ed  MichaelStinson.com  RampCreative.com  Michael Stinson on Twitter  Michael Stinson on Facebook  Michael Stinson on Instagram  Michael Stinson on LinkedIn  Type Ed on Twitter  Type Ed on Facebook Tools InDesign Basecamp Harvest Techniques Use Tables in InDesign for grid-based layouts (restaurant menus) Build type hierarchy from the body copy up (subheads, etc.) If you're setting more than 35 words, don't use All Caps, Italics, Centered Don't be afraid to use hyphens, but with discipline. (e.g., don't use hyphens in the first line) Don't use more than 13 words on a line (left-aligned), or 7 words on a line (centered) Aim for 50-70 characters per line (type size in points x 2 = measure width in picas) Don't build websites in Photoshop — it's not made for layout Habits Keep the reader in your mind. Think of them first. Always take clients through a verbal discovery phase first before visuals Give your print partners multiple files — flattened, outlined, original files, native links, etc. — make their lives easier Constantly observe and comment on design around you Try Audible.com Free for 30-Days Visit BusyCreatorBook.com for your free trial Get The Intellectual Devotional Modern Culture: Revive Your Mind by David Kidder & Noah Oppenheim as a free audiobook   

Episode 178 This week I interview my friend and one of the funniest designers I know, Bethany Heck. Bethany has a love for type and for organization, she wants to make things easy for users and thinks about ways to do this. Bethany is an Art Director at Microsoft and has been getting them to think differently about the type they use and how they use it. Actually she has been getting a lot of people not just at Microsoft to think differently about type and type combinations and that is what we will dig into in this episode. Bethany will be exposing a commonly held typographic belief that I used to preach. I am now a convert. She will walk us through what made me throw out my old belief. Sign up to get the link to join us LIVE each week, delivered directly to your inbox at: http://bit.ly/dr-list If you already get the weekly newsletter no need to sign up you will get the link in your inbox today 30 min before the show. Check out other great episodes on iTunes or on www.RechargingYou.com

Lecture 582 (17 June 2015)

Pepijn van den Nieuwendijk studied Graphic and Typographic design at the Royal Academy of Fine Arts in The Hague, The Netherlands (Koninklijke Academie van Beeldende Kunsten, Den Haag). After graduation Pepijn focused more on illustrating and painting. This was the beginning of Cirque dextraordinaire or what later became his alias and studio name Cirque de Pepin. Pepijns circus, as a metaphor for a place where anything can happen. Around 2002 Pepijn came into contact with ceramics. A world of possibilities revealed itself. Nowadays Pepijn works explicitly in these various disciplines. With an emphasis on craftsmanship and detail. Van den Nieuwendijk has exhibited his intricate ceramic sculptures and paintings in solo exhibitions in The Netherlands and abroad, most recently 'The Greatest Show on Earth' at the Koornmarktspoort, city Museum Kampen (2014) He has participated in many group shows in The Netherlands and abroad. Recently Pepijn co-curated and designed the travelling exhibition The Blue Revolution, 400 years exchange Delft-Jingdezhen with ceramic artists from both The Netherlands and China. Public commissions include a bas-relief for the Feijenoord Soccer Club (2009) in Rotterdam, and a monument in honor of the Dutch comic author Maarten Toonder Rotterdam (2002). Van den Nieuwendijks work is in the collection of Museum Prinsenhof Delft and in many private collections. Van den Nieuwendijk is represented by Gallery Nasty Alice, Eindhoven, Kochxbos gallery, Amsterdam and Mothership (art agency), Rotterdam

This paper analyses typographic posters produced by the New Zealand Government in WWI to recruit men and money to the war effort. They chart the progress of recruitment strategies from voluntarism through to the contested years leading to conscription.

December 2013, Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 10 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface, designed by a Dutch designer, along with the assignment: ‘translate the typeface into a one minute sound piece’.
The resulting 10 sound pieces were the starting point of another workshop, in collaboration with Jan Willem Stas and the students of the Type]Media 2014 typography master coarse in The Hague, The Netherlands. Each T]M student was handed an (anonymously labelled) sound piece and their challenge was to ‘create a typeface concept inspired by the sound’. The results were quite surprising! 1) Original typeface: Decoder by Gerard Unger 2) Sound piece by Carina Schwake 3) Chinese whispered typeface by Nina Christine Stössinger What Nina heard was a trained singing voice, possibly digitally sampled; so she imagined the type to look like something a trained hand might write, digitally cleaned. It is fluid – letters are usually made of a single stroke and don’t feature sharp corners –, but somewhat minimal and deliberate. Nina ‘translated’ the equal length of the tones to a monospaced design; the slowness of the singing to a generous width; and the swelling of the volume within each tone to a swelling stroke that usually starts and ends in a thin point. And then, of course, the layering of voices to the layering of font styles: “The piece soon combines two voices, and towards the end introduces rhythm changes and ligations that make the voices differ. So I drew two related layers that overlay and intertwine, with the second one offering a set of discretionary ligatures. – This was seriously fun to draw!” HBK Saar :: Type]Media :: File Download (1:33 min / 2 MB)

December 2013, Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 10 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface, designed by a Dutch designer, along with the assignment: ‘translate the typeface into a one minute sound piece’.
The resulting 10 sound pieces were the starting point of another workshop, in collaboration with Jan Willem Stas and the students of the Type]Media 2014 typography master coarse in The Hague, The Netherlands. Each T]M student was handed an (anonymously labelled) sound piece and their challenge was to ‘create a typeface concept inspired by the sound’. The results were quite surprising! 1) Original typeface: Nitti by Pieter van Rosmalen 2) Sound piece by Sebastian Knöbber 3) Chinese whispered typeface by Jasper Terra Jasper’s first impressions of the sound piece where: Apple (start up), clock, time, typing, typewriter, deadline, copy writer. The sound was rhythmic in a mechanical or systematic way (clock) but human and a-rhythmic at the same time (typing). The initial sketches focussed on the systematic rhythm (the ticking could be the distance between stems), and led toward a monospaced letter that could be used on screen or a typewriter. Perhaps by someone working in a cubicle or office environment, who has a deadline but at the same time aspirations of being a writer. The combination of the systematic and human led to the final idea; a small family of two fonts; the first a sans that fits obediently into a cubicle (monospaced) and is used on screen at the office, the other breaking out of the cubicle with more organic forms and serifs (based on the leaf of the Apple logo) for use on the book cover of an aspiring writer. HBK Saar :: Type]Media :: File Download (0:42 min / 1 MB)

December 2013, Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 10 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface, designed by a Dutch designer, along with the assignment: ‘translate the typeface into a one minute sound piece’.
The resulting 10 sound pieces were the starting point of another workshop, in collaboration with Jan Willem Stas and the students of the Type]Media 2014 typography master coarse in The Hague, The Netherlands. Each T]M student was handed an (anonymously labelled) sound piece and their challenge was to ‘create a typeface concept inspired by the sound’. The results were quite surprising! 1) Original typeface: Bint by Donald Roos 2) Sound piece by Nina Kronenberger, Barbara Hinz & Jennifer Graf 3) Chinese whispered typeface by Alexandre Saumier Demers Making a typeface from sausages was the obvious solution for Alexandre’s sound piece: festive sounds of Bavarian music, accompanied by obnoxious burping, followed by loud crunching and munching. The main part of the process was to develop a script that generates sausages from a string (skeleton). This helped Alexandre enormously to draw the 508 sausages needed for his project. The second element was to find a style that would carry the spirit of German folklore, so he combined his new ‘sausage’ tool with Fraktur letters. It was a perfect match, the recipe was ready and the end result very tasty! HBK Saar :: Type]Media :: File Download (0:43 min / 1 MB)

December 2013, Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 10 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface, designed by a Dutch designer, along with the assignment: ‘translate the typeface into a one minute sound piece’.
The resulting 10 sound pieces were the starting point of another workshop, in collaboration with Jan Willem Stas and the students of the Type]Media 2014 typography master coarse in The Hague, The Netherlands. Each T]M student was handed an (anonymously labelled) sound piece and their challenge was to ‘create a typeface concept inspired by the sound’. The results were quite surprising! 1) Original typeface: New Alphabet by Wim Crouwel 2) Sound piece by Jennifer Graf & Barbara Hinz 3) Chinese whispered typeface by Hugo Timothée Marucco Hugo based his type concept mostly on the structure of the sound which was composed of two distinct parts. Indeed, the first one is a fast loop of digital sounds evoking the old video game universe, like early Pong or Tetris. The second part is completely different. The rhythm is a lot slower and almost silent, we only hear some traditional Chinese instruments. This two layer-structure became the main concept of Hugo’s typeface; Digital and Zen. He wanted to mix these different feelings without losing the particularities of each part. “That is why I came up with this idea of drawing a monospaced font with two widths and weights. I only drew caps to keep the blocky aesthetic of a pixel games. It was important to visually express the atmosphere of the music. Mixing the two styles you get a really noisy or quiet feeling, the more you mix them the less legible it gets. Like in a game: it gets harder and harder!” HBK Saar :: Type]Media :: File Download (0:56 min / 1 MB)

December 2013, Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 10 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface, designed by a Dutch designer, along with the assignment: ‘translate the typeface into a one minute sound piece’.
The resulting 10 sound pieces were the starting point of another workshop, in collaboration with Jan Willem Stas and the students of the Type]Media 2014 typography master coarse in The Hague, The Netherlands. Each T]M student was handed an (anonymously labelled) sound piece and their challenge was to ‘create a typeface concept inspired by the sound’. The results were quite surprising! 1) Original typeface: Rijksmuseum by Paul van der Laan 2) Sound piece by Jill Els 3) Chinese whispered typeface by Mark Frömberg Mark’s projection of the sound piece was a guy cycling along a beach promenade in great haste, full of joy. He’s on his way to pick up his love, who he hasn’t seen for ages, from the train station. A happy, transparent atmosphere, sunshine falling through leafs, embroidered with daydream music. Suddenly he’s waiting tensed midst an anonymous crowd, receiving the message that she will never come back. Broken heart, intensely dazed, he is unable to cope with the situation, losing a love is like losing senses, tunnel vision, pain. Mark raised this to an abstract level into two key words: Expectation and Disappointment. Which means: Joy & liveliness, irrational & cursive, jumping rhythm, transparency, decorated, multi-dimensional, exaggeration. Put against: Disturbing & negative, pain, dull & hollow, cold & spiky, confusion. Since the two audio parts overlap in the middle, it leads to: clutter & tension, nervous dissonance & intersection. The third part of the sound is very electronic, precise and fading out. Having these attributes collected, Mark just added them all up (1+1+1) and finished his design. HBK Saar :: Type]Media :: File Download (1:03 min / 2 MB)

December 2013, Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 10 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface, designed by a Dutch designer, along with the assignment: ‘translate the typeface into a one minute sound piece’.
The resulting 10 sound pieces were the starting point of another workshop, in collaboration with Jan Willem Stas and the students of the Type]Media 2014 typography master coarse in The Hague, The Netherlands. Each T]M student was handed an (anonymously labelled) sound piece and their challenge was to ‘create a typeface concept inspired by the sound’. The results were quite surprising! 1) Original typeface: Macula by Jacques le Bailly 2) Sound piece by Aileen Dietrich & Laura Müller 3) Chinese whispered typeface by T]M group This looping sound, featuring a palindrome played forwards and backwards, conjured ideas of letters that could be read forwards and backwards, as well as the concept of infinity. The Type]Media group set out to draw letters that contained two versions of themselves conjoined on top, one rotated 180 degrees. Text set in this typeface can thus be read from both sides — a unique feature specifically designed for settings of palindromic text. To emphasize the theme of infinity, endlessness or continuous motion, we constructed each letter out of a single continuous line. This solution was truly a group effort: The initial ideas and sketches were developed together and the file was passed around allowing communal contributions and editing. HBK Saar :: Type]Media :: File Download (1:01 min / 2 MB)

December 2013, Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 10 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface, designed by a Dutch designer, along with the assignment: ‘translate the typeface into a one minute sound piece’.
The resulting 10 sound pieces were the starting point of another workshop, in collaboration with Jan Willem Stas and the students of the Type]Media 2014 typography master coarse in The Hague, The Netherlands. Each T]M student was handed an (anonymously labelled) sound piece and their challenge was to ‘create a typeface concept inspired by the sound’. The results were quite surprising! 1) Original typeface: Eames by Erik van Blokland / House Industries 2) Sound piece by Camille Gergen & Carlotta Weisert 3) Chinese whispered typeface by Mark Yehan De Winne Over a backdrop of John Coltrane playing ‘My Favourite Things’ on the saxophone, an assortment of other audio snippets (sniffs, scratches and other quaint sounds) were thrown in for good measure. Mark envisioned a jazz club in the 1960s, full of people having a little too much fun. His concept, named Coltreijn, is a high contrast fat face with ball terminals, similar to type found on old BlueNote records, but drawn to mimic the broken structure of neon lettering. The heady mix of weird sounds inspired a series of oddball alternate characters that feature prominently in the Stylistic sets and Contextual Alternate feature, where the placement of the swash alternate comes in at the second and sixth character, mimicking the time signature found in ‘My Favourite Things’. HBK Saar :: Type]Media :: File Download (1:02 min / 2 MB)

December 2013, Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 10 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface, designed by a Dutch designer, along with the assignment: ‘translate the typeface into a one minute sound piece’.
The resulting 10 sound pieces were the starting point of another workshop, in collaboration with Jan Willem Stas and the students of the Type]Media 2014 typography master coarse in The Hague, The Netherlands. Each T]M student was handed an (anonymously labelled) sound piece and their challenge was to ‘create a typeface concept inspired by the sound’. The results were quite surprising! 1) Original typeface: Brokken by Donald Beekman 2) Sound piece by Tumaj Talimy 3) Chinese whispered typeface by Sláva Jevčinová Sláva: “Who else got to watch cartoons for research? Lucky ME! The first seconds of Tumaj’s sound reminded me of this splendid genre. It inspired me to design a very simple cartoon typeface with handwriting flavour and specific features that resemble cartoon characters (big counters=big heads, thin weight=tiny body, long thin serifs=long feet). Nevertheless, The second part is a bit disruptive and carries a negative impression with it. The sound interprets a dwarf’s hard work of digging in the mines, therefore I decided to include certain OpenType features. Despite the disturbing part, the main goal was preserving playfulness for the project. That’s all Folks!” HBK Saar :: Type]Media :: File Download (0:39 min / 1 MB)

December 2013, Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 10 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface, designed by a Dutch designer, along with the assignment: ‘translate the typeface into a one minute sound piece’.
The resulting 10 sound pieces were the starting point of another workshop, in collaboration with Jan Willem Stas and the students of the Type]Media 2014 typography master coarse in The Hague, The Netherlands. Each T]M student was handed an (anonymously labelled) sound piece and their challenge was to ‘create a typeface concept inspired by the sound’. The results were quite surprising! 1) Original typeface: Laundry by René Knip 2) Sound piece by Merle Sommer 3) Chinese whispered typeface by David Chmela As David first listened to the soundtrack, it seemed just a bunch of strange sounds. So he did a little sketch of the whole track and realised that the individual sounds represented the letters of the alphabet. The sounds reminded him of hardware stuff from workshops, analog machines, intermittent by clicking and a crowd in the background. David: “My idea was to create a kind of analog machine that makes type, so I made set of stamps that I used to create individual letters. The final design of the alphabet is influenced by typewriter, one of my associations related to the sound.” HBK Saar :: Type]Media :: File Download (0:54 min / 1 MB)

December 2013, Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 10 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface, designed by a Dutch designer, along with the assignment: ‘translate the typeface into a one minute sound piece’.
 The resulting 10 sound pieces were the starting point of another workshop, in collaboration with Jan Willem Stas and the students of the Type]Media 2014 typography master coarse in The Hague, The Netherlands. Each T]M student was handed an (anonymously labelled) sound piece and their challenge was to ‘create a typeface concept inspired by the sound’. The results were quite surprising! 1) Original typeface: Neutral by Kai Bernau 2) Sound piece by Maria Sieradzki 3) Chinese whispered typeface by James Taylor Edmondson At first James thought the audio piece sounded like a combination of water, air, and electricity. Initially, his sketches focussed on combining those three elements. Eventually, he distilled these sounds into one object: the microwave. “The audio sounded like a running microwave, but recorded from the inside. My idea focussed on taking a standard style, and calling it ‘Frozen’. It was a condensed style with room to grow in all directions. From there the type got progressively warmer in the microwave. The next styles added were ‘Warm’, and ‘Hot’. As the shapes loosened up, they melted into each other and then burned to a crisp with the styles ‘Scorching’ and ‘Burned’. The most exciting thing that can happen in the microwave is the explosion. Put into type here as the ‘Exploded’ style, it has the same metrics as Burned, so interesting effects are made possible. This was an insanely fun project.” HBK Saar :: Type]Media :: File Download (0:44 min / 1 MB)

In the realm of academia, there is little room for rap songs about typography. Using charisma and charm, Natalie Davis manages to squeeze it into her classroom. She's an Assistant Professor of Communication Design at Texas State University and a curious explorer of pattern and texture. Natalie and I discuss the importance of process, the influence of her Lebanese background, and how she approaches making money with her craft.

In this lesson, you’ll learn how to do the following: • Use guides to position text in a composition. • Make a clipping mask from type. • Merge type with other layers. • Format text. • Distribute text along a path. • Create and apply type styles. • Control type and positioning using advanced features.

November 2010 Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 12 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface designed by a Dutch designer with the question ‘How do you interpret the typeface into a one minute sound piece?’ The resulting 12 sound pieces were the starting point of a new workshop in collaboration with Jan Willem Stas and 12 students of the Type and Media master coarse, The Hague, The Netherlands. Each student was allocated an (anonymously labelled) sound piece and their challenge was to ‘create a typeface inspired by the sound’. The results were quite a surprise! 1) Original typeface: Sheriff by Peter Verheul 2) Sound piece by Birte Spreuer and Daniela Spinelli 3) Chinese whispered typeface by Lauri Toikka The first thing Lauri heard listening to the sound were noises of horses and several guys breaking out of jail. Then followed police cars and he heard some shooting. At the end everybody’s dead and the sheriff rides into the sunset. The typeface Lauri had in mind had to have an American and Western feeling. And for sure the jail breakout had to be visible in the typeface. These jail bars are now significant elements in the font. left: Sheriff by Peter Verheul, right: Chinese whispered Sheriff by Lauri Toikka http://www.hbksaar.de/1222.html :: http://new.typemedia.org/ :: File Download (1:42 min / 2 MB)

November 2010 Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 12 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface designed by a Dutch designer with the question ‘How do you interpret the typeface into a one minute sound piece?’ The resulting 12 sound pieces were the starting point of a new workshop in collaboration with Jan Willem Stas and 12 students of the Type and Media master coarse, The Hague, The Netherlands. Each student was allocated an (anonymously labelled) sound piece and their challenge was to ‘create a typeface inspired by the sound’. The results were quite a surprise! 1) Original typeface: Massive by Donald Beekman 2) Sound piece by Lena Hennig 3) Chinese whispered typeface by Marina Chaccur Listening to the sound, Marina felt really out of her element and had difficulties to start her project. She listened so many times that it felt a bit like a torture for her, listening over and over again. She tried to decompose the sound to understand what she was hearing. This resulted in a three layered proposal. After struggling with her designs she knew she had to step out of her comfort zone. Using the sound in separate parts didn’t work for her, so she restarted with the whole torture feeling; she thought of the sound being tortured and hurt. The idea rose to make a Frankenstein monster. By drawing with different materials she was able to make a monstrous font, and using her left hand to keep herself from having control. Cuts and stitches made the look complete. This resulted in two versions of the Frankenstein typeface. Both versions can be used together and the one without the cut can be used in smaller sizes. left: Massive by Donald Beekman, right: Chinese Whispered Massive by Marina Chaccur HBK Saar - Kommunikationsdesign :: TypeMedia :: File Download (1:04 min / 2 MB)

November 2010 Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 12 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface designed by a Dutch designer with the question ‘How do you interpret the typeface into a one minute sound piece?’ The resulting 12 sound pieces were the starting point of a new workshop in collaboration with Jan Willem Stas and 12 students of the Type and Media master coarse, The Hague, The Netherlands. Each student was allocated an (anonymously labelled) sound piece and their challenge was to ‘create a typeface inspired by the sound’. The results were quite a surprise! 1) Original typeface: Spaghetti by Donald Roos 2) Sound piece by Marco Wiesmeier 3) Chinese whispered typeface by Linda Hintz Without thinking Linda doodled a fly stuck in a glass. Her sound was quite artificial and monotone with some doodling in the background. With a bit more thinking she came up with a monoline. She was thinking about a slightly condensed monospaced regular with small serifs. Now she missed the doodling part and she wanted to put the idea of the fly back into her typeface. Eventually she used this ingredient for making the ligatures and ended up with crazy ligatures which connect three letters or more. left: Spaghetti by Donald Roos, right: Chinese Whispered Spaghetti by Linda Hintz HBK Saar - Kommunikationsdesign :: TypeMedia :: File Download (1:11 min / 2 MB)

November 2010 Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 12 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface designed by a Dutch designer with the question ‘How do you interpret the typeface into a one minute sound piece?’ The resulting 12 sound pieces were the starting point of a new workshop in collaboration with Jan Willem Stas and 12 students of the Type and Media master coarse, The Hague, The Netherlands. Each student was allocated an (anonymously labelled) sound piece and their challenge was to ‘create a typeface inspired by the sound’. The results were quite a surprise! 1) Original typeface: Schulschrift by Just van Rossum 2) Sound piece by Noemi Merkle and Julia Scheid 3) Chinese whispered typeface by Florian Schick His sound piece confused Florian a bit, so he wrote down everything he heard. What really got him was the sound of a person writing on a chalkboard. He pictured a teacher arriving at school, opening the window and preparing the lesson by writing something on the blackboard. He tried to visualize how this chalkboard writing could look; a mix of round and edgy strokes which sounded really controlled. Florian tried various scripts and writing styles. Eventually his eyes set on an old German script called Sütterlin. For Florian this embodied a typical school script. He made a quite condensed upright Sütterlin, with long ascenders and descenders. left: Schulschrift by Just van Rossum, right: Chinese Whispered Schulschrift by Florian Schick HBK Saar - Kommunikationsdesign :: TypeMedia :: File Download (1:30 min / 2 MB)

November 2010 Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 12 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface designed by a Dutch designer with the question ‘How do you interpret the typeface into a one minute sound piece?’ The resulting 12 sound pieces were the starting point of a new workshop in collaboration with Jan Willem Stas and 12 students of the Type and Media master coarse, The Hague, The Netherlands. Each student was allocated an (anonymously labelled) sound piece and their challenge was to ‘create a typeface inspired by the sound’. The results were quite a surprise! 1) Original typeface: Pinup by Pieter van Rosmalen 2) Sound piece by Carmen Nistor 3) Chinese whispered typeface by Sun Jung Hwang Dita Von Teese, Moulin Rouge, Burlesque are just a few inspirational terms that Sun got from her sound fragment. She thought of feminine curves, red high heels and layering in clothing and used these various elements as a starting point. The showing and stripping are the base components she focussed on while making the typeface. She teases the user by making a layered font, which can be stripped of it’s layers. Step by step. left: Pinup by Pieter van Rosmalen, right: Chinese Whispered Pinup by Sun Jung Hwang HBK Saar - Kommunikationsdesign :: TypeMedia :: File Download (1:27 min / 2 MB)

November 2010 Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 12 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface designed by a Dutch designer with the question ‘How do you interpret the typeface into a one minute sound piece?’ The resulting 12 sound pieces were the starting point of a new workshop in collaboration with Jan Willem Stas and 12 students of the Type and Media master coarse, The Hague, The Netherlands. Each student was allocated an (anonymously labelled) sound piece and their challenge was to ‘create a typeface inspired by the sound’. The results were quite a surprise! 1) Original typeface: Sardines by Jac Le Bailly 2) Sound piece by Corinna Schneider 3) Chinese whispered typeface by Emma Laiho The sound piece that Emma got was full of visual clues, like sounds of the sea, the waves, boats and seagulls. It sounded like a carnival at the sea; the repeating sound reminded her of a ferris wheel. She started looking at carnival wood type, but she missed the complexity which was in her sound. She came up with a three layered type system, which actually didn’t quiet work out for her. She still had to include the sea part and the feeling of it should be more sad, like a carnival in the winter. Thus Emma ended up with a wood type, which can be dressed up for the summertime. left: Sardines by Jac Le Bailly, right: Chinese Whispered Sardines by Emma Laiho HBK Saar - Kommunikationsdesign :: TypeMedia :: File Download (1:07 min / 2 MB)

November 2010 Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 12 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface designed by a Dutch designer with the question ‘How do you interpret the typeface into a one minute sound piece?’ The resulting 12 sound pieces were the starting point of a new workshop in collaboration with Jan Willem Stas and 12 students of the Type and Media master coarse, The Hague, The Netherlands. Each student was allocated an (anonymously labelled) sound piece and their challenge was to ‘create a typeface inspired by the sound’. The results were quite a surprise! 1) Original typeface: Documenta by Frank Blokland 2) Sound piece by Whitney Williams 3) Chinese whispered typeface by Kunihiko Okano Kunihiko was struggling to find an idea, so he tried the double pencil technique. This technique he uses more often to analyze the origin of the letter. He drew the double lines and improved these lines into finer sketches. This resulted in an one stroke typeface that looks as if it were double lined. This calligraphic typeface he ended up with is just the beginning. He’s planning to make a extensive typeface family out of it. left: Documenta by Frank Blokland, right: Chinese Whispered Documenta by Kunihiko Okano HBK Saar - Kommunikationsdesign :: TypeMedia :: File Download (1:16 min / 2 MB)

November 2010 Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 12 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface designed by a Dutch designer with the question ‘How do you interpret the typeface into a one minute sound piece?’ The resulting 12 sound pieces were the starting point of a new workshop in collaboration with Jan Willem Stas and 12 students of the Type and Media master coarse, The Hague, The Netherlands. Each student was allocated an (anonymously labelled) sound piece and their challenge was to ‘create a typeface inspired by the sound’. The results were quite a surprise! 1) Original typeface: Salmiak by Erik van Blokland 2) Sound piece by Hannah Scherber 3) Chinese whispered typeface by Jan Gerner In the sound piece Jan got he heard parts of ‘The Entertainer’ by Scott Joplin. Jan’s interpretation of the sound was of a pianist sitting in a boring environment trying to have some fun by drinking and playing the piano. And therefore getting more drunk by the minute. Jan thought of certain typefaces he thinks are quite boring. For him these are typefaces in the Bodoni and Didot styles. Jan’s idea was to put some fun into these classicist typefaces. He did this by adding balls. Balls that try desperately to be funny and are put in strange places, so that some characters become completely out of shape. These balls are for example sticking out at the top and bottom of the M. This illustrates the drunkenness of the pianist. In the end Jan added a layer by connecting the letters through lines. Even across multiple letters. left: Salmiak by Erik van Blokland, right: Chinese Whispered Salmiak by Jan Gerner HBK Saar - Kommunikationsdesign :: TypeMedia :: File Download (1:40 min / 2 MB)

November 2010 Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 12 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface designed by a Dutch designer with the question ‘How do you interpret the typeface into a one minute sound piece?’ The resulting 12 sound pieces were the starting point of a new workshop in collaboration with Jan Willem Stas and 12 students of the Type and Media master coarse, The Hague, The Netherlands. Each student was allocated an (anonymously labelled) sound piece and their challenge was to ‘create a typeface inspired by the sound’. The results were quite a surprise! 1) Original typeface: Liza by Underware 2) Sound piece by Stefanie Thümmler 3) Chinese whispered typeface by Alpkan Kirayoglu When he heard the music, Alpkan tried to literally illustrate the various elements he heard. After some try-outs he decided to capture the overall theme, which is love. He did so by drawing two different styles of a typeface. Keeping the idea in mind of two people in a romantic relationship. The first one a hairline italic and the second a bold stencil version. By layering the two styles on top of each other, a third style appears. This is the bold italic. left: Liza by Underware, right: Chinese Whispered Liza by Stefanie Thümmler HBK Saar - Kommunikationsdesign :: TypeMedia :: File Download (1:31 min / 2 MB)

November 2010 Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 12 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface designed by a Dutch designer with the question ‘How do you interpret the typeface into a one minute sound piece?’ The resulting 12 sound pieces were the starting point of a new workshop in collaboration with Jan Willem Stas and 12 students of the Type and Media master coarse, The Hague, The Netherlands. Each student was allocated an (anonymously labelled) sound piece and their challenge was to ‘create a typeface inspired by the sound’. The results were quite a surprise! 1) Original typeface: Mata Hari by Max Kisman 2) Sound piece by Mesa Wong 3) Chinese whispered typeface by Yassin Baggar Yassin first analyzed the content of the sound piece and discovered that one part was Churchill speaking about the war and another part was taken from a movie. The movie is situated in Venice, Italy, so Yassin decided to move in that direction with his typeface. He started with sketching some italics. He transformed the love story from the movie in round shapes and curves. For the more dramatic part, the part about the war, he used more edgy angles. So in the end the letters are connecting and somewhat hurting each other. left: Mata Hari by Max Kisman, right: Chinese Whispered Mata Hari by Yassin Baggar HBK Saar - Kommunikationsdesign :: TypeMedia :: File Download (1:30 min / 2 MB)

November 2010 Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 12 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface designed by a Dutch designer with the question ‘How do you interpret the typeface into a one minute sound piece?’ The resulting 12 sound pieces were the starting point of a new workshop in collaboration with Jan Willem Stas and 12 students of the Type and Media master coarse, The Hague, The Netherlands. Each student was allocated an (anonymously labelled) sound piece and their challenge was to ‘create a typeface inspired by the sound’. The results were quite a surprise! 1) Original typeface: Feisar by Paul van der Laan 2) Sound piece by Manuel Wesely 3) Chinese whispered typeface by Colin Ford Colin found his sound very abstract. He put it back into a sound program and analyzed the sound waves and beat, which created a regularly, steady, vertical movement. Collin took that formal element and combined it with the overall feeling he got by listening to the given sound. He described this feeling somewhat spacey, stretching sounds. So he put some Sci-Fi into his typeface and ended up with a SF display typeface which comes in three weights. Something a Martian would like to put on his spaceship! left: Feisar by Paul van der Laan, right: Chinese Whispered Feisar by Colin Ford HBK Saar - Kommunikationsdesign :: TypeMedia :: File Download (1:27 min / 2 MB)

November 2010 Typeradio held a two day workshop in cooperation with Indra Kupferschmid and 12 students of the Hochschule der Bildenden Künste (HBK Saar) in Saarbrücken, Germany. Each student was assigned a typeface designed by a Dutch designer with the question ‘How do you interpret the typeface into a one minute sound piece?’ The resulting 12 sound pieces were the starting point of a new workshop in collaboration with Jan Willem Stas and 12 students of the Type and Media master coarse, The Hague, The Netherlands. Each student was allocated an (anonymously labelled) sound piece and their challenge was to ‘create a typeface inspired by the sound’. The results were quite a surprise! 1) Original typeface: History by Peter Bilak 2) Sound piece by Martin Kalle 3) Chinese whispered typeface by Malte Herok Malte was completely blown away by the complexity of the music. The sound was full of contrast, which he describes as a modern take on a classical rock theme. He tried to capture the essence and therefore focused on this rock hymn feeling. He started with a slightly modernized broken script but he missed the tragic and also the playful elements in the sound. He went back to his original approach and added more swashes, more round and flowing forms. After this he wanted to combine the two elements as one, because he still missed the layered parts that he heard in the music. By making different layers of faces he managed to achieve this. left: History by Peter Bilak, right: Chinese Whispered History by Malte Herok HBK Saar - Kommunikationsdesign :: TypeMedia :: File Download (1:55 min / 3 MB)

Rob Meek talks about the roots of Fontstruct with his MeekFM typographic synthesizer. He speaks about the genesis of Fontstruct and his thoughts on the success of the platform. Recorded at the 33pt conference 2009 in Dortmund. Fontstruct :: Meek FM :: Typographic synthesizer instruction video :: File Download (10:54 min / 15 MB)