June 3, 2016

Sumner Stone
Sumner Stone is the principal and founder of Stone Type Foundry Inc. in Rumsey, California. He has designed numerous typeface families and superfamilies. Mr. Stone was the art director and one of the designers of the prize winning ITC Bodoni. Other projects have included the design of initials for the Arion Press Bible and the revival of Frederic Goudy’s Scripps College Old Style type. He is the author of books and articles about type design and typography, and has given many lectures and workshops on these subjects. From 1984 to 1989 Mr. Stone was Director of Typography for Adobe Systems, Inc., Mountain View, California where he conceived and implemented Adobe’s typographic program including the Adobe Originals. He has served on the boards The Edward Johnston Foundation, Letterform Archive, and the Association Typographique Internationale (ATypI). He was the editor of Type: A Journal of the ATypI. Recently he has taught typeface design through Type@Cooper and will be teaching the Extended Program for Type@Cooper West through Letterform Archive in San Francisco in 2016.

You can see his latest fonts on his website and follow him on twitter.

Romancing the Outline

The representation of digital fonts by outlines is the invention that made digital typography practical. It became possible for typefaces to be imaged on “any” digital device. This innovation has had a major effect on type design and typography. Solutions to technical puzzles presented by the technology of outlines have opened up many new pathways and led type designers to explore new conceptual approaches. This presentation will examine some of the major ways in which type design has been moved forward as a consequence.

Marta Bernstein
Marta Bernstein graduated in 2006 at the Politecnico of Milan with a research thesis on Nineteenth-century Italian type. In 2005, she founded LS graphic design studio in Milan, where she worked for 9 years. In 2015, she founds an independent studio. She collaborated with various publications in the area of type and she is one of the editors of «Italic 2.0 Contemporary Type Design in Italy» (DeAgostini 2008). In 2009, she graduated at the Type and Media Master, the Royal Academy of Art (KABK) in The Hague, NL. She has been involved in teaching since 2007, in the field of typography (Scuola Politecnica di Design), and type design (CFP Riccardo Bauer and Politecnico di Milano).

She is a founding partner at Incipit – a new design brand, totally made in Italy by young designers – and at CAST, and Italian digital type foundry.

From Bodoni to Nebiolo, a visual journey across Italy.

In the span of roughly a century the typographic practice in Italy evolved from being a craft perfected by the skills of Giambattista Bodoni to being fully mechanised. While there are books and essays about the printer from Parma and the Nebiolo company in Turin, not much is known of the century in between the two. How come Nebiolo become one of the most important Italian factories in the early 20th century, aggressively incorporating almost all the possible competitors across the nation? Who were them? While Italy was slowly becoming a unified and independent nation, we will meet along the way visionary publishers, patriotic printers, unlucky punchcutters, forgotten type foundries and authors of typographic manuals.
And of course lot of interesting type.

Mark Simonson
Mark Simonson is an independent type designer working out of his home in Saint Paul, Minnesota. Although he got interested in designing typefaces while studying commercial art in college during the seventies, Mark spent the first few decades of his professional life as a graphic designer and magazine art director. In his spare time, he dreamed up ideas for typefaces and read everything he could find related to type design. Thanks to the availability of desktop font-making software, he was finally able to get a few fonts published in the mid-nineties. By 2005, he had over a dozen font families on the market and was doing type design full time. He is probably best known for designing the popular typeface Proxima Nova.

You can see his latest works on his website and follow him on twitter.

The Origins of the Modern Type Designer

People didn't always create fonts in their spare bedrooms. How did this happen? When did this change? What did type designers do before they had computers and Twitter accounts? Independent type designer Mark Simonson will talk about the job of the type designer and how it has evolved over the last 500 years, from punch cutting to pantographs to process cameras to PostScript and Python.

Gerry Leonidas
Gerry Leonidas teaches and researches typography and typeface design at the University of Reading, UK. He supervises MA and PhD research, and lectures widely. He runs knowledge transfer projects, consults on publication and typeface design, and reviews bodies of work. He is the vice-president of ATypI, and helps organise ICTVC, Granshan, and other conferences. He is the Director of the MA Typeface Design, and the TDi summer course; both are global reference points for type education. From this year he will be running a new hybrid MA on research in typeface design. 

You can see his latest works on his website and follow him on twitter.

Zombie Typography

For at least twenty years, the end of typography is happening any minute now. Various developments in technology and changes in our habits are supposed to kill it off. Similar claims have been made for typography's esoteric offspring, typeface design. And yet, both are not only surviving as activities, but they are positively thriving: more people are interested, more are talking and reading about typography, and more people are going to more events (like this one). So, what's the secret? This talk is about typography's secret power: what regenerates it after every call for doom, and draws ever more people in. It is a talk about a one-way street, where once typography becomes part of your world, there is no way out. Zombies indeed.

Jonathan Barnbrook
Jonathan Barnbrook is one of the most well-known graphic designers in Britain. Most well-known as David Bowie’s favourite graphic designer having worked on the designs of his past 4 albums, including his last album ★. Barnbrook also works with a mixture of cultural institutions, activist groups and charities as well as completing a steady stream of personal works. He is also known for his collaborations with Adbusters, Occupy London, Damien Hirst and his ubiquitous font designs released through Emigre and his company Virusfonts. His contribution to graphic design was recognised by a major retrospective at the Design Museum, London in 2007.

You can see his latest fonts on his website and follow him on twitter.

it is a sort of greatest hits, but not a tired, karaoke, heard every song before greatest hits – more of a why do we all love and make music, kind of greatest hits, also what is this drumstick I am holding in my hand and what can I do with it? but not with a drumstick, with fonts which may sound not very interesting but i can assure you it will be.

In the lecture i will talk about the reasons i think there is a need to constantly create typefaces and why i continue to design them. why I think so much about the names I give them, continue to put strange conceptual / political ideas into something as essentially apolitical as a letterforms. finally i will go down to a macro level with one of my most well known fonts ‘mason’ and explain the influences on a series of letterforms from the fonts.
I will also show some of the collaborative work with david bowie using the fonts i have designed. highlighting the creative process between myself and bowie. then how these designs are used in all areas of the album publicity and the reactions when the albums were released.

Richard Rutter
Richard Rutter is a founding partner of Clearleft, a digital design consultancy and studio based in Brighton, UK. Richard is an accomplished technical author and has spoken around the world about web typography and user experience design. In 2005 he created the much-lauded website The Elements of Typographic Style Applied to the Web, which extols the virtues of what can be achieved on the web in type. In 2009 Richard co-founded the web font service Fontdeck as a way to unite web designers and type designers in introducing rich typography to the web. Richard has just successfully crowd-funded self-publishing a book on web typography..

You can find a list of all his articles on his blog, and follow him on Twitter.

Introductions, Interruptions and Seductions

The web is full of text to be read: customer reviews, industry reports, social network updates, blog posts, newspapers, magazines, email and so on. Some of that text is well designed and provides a pleasant, engaging experience for the reader (of course far more of it doesn't). But how much of that text - even the well designed bits - really grabs the reader's attention and sets their mood for what it is to follow? This talk will be a call to arms for more websites to do just that. What we need is more websites with engaging, appropriate, distinctive, expressive and readable web typography (which adapts for screens of all shapes. sizes and capabilities).

Mark Boulton
Mark is a typographic designer and a member of the International Society of Typographic Designers; author of Designing for the Web and Web Standards Creativity; co-creator of Gridset; and was a founding partner of indie publisher, Five Simple Steps.
Mark is currently the Design Director at Monotype following the acquisition of his small design studio, Mark Boulton Design. Previously, Mark Boulton Design worked with global media companies such as ESPN and Al Jazeera; small brands with big stories like Hiut Denim; technology organisations such as Drupal and Alfresco; and home to the greatest scientific experiment on earth, CERN. Living in Wales with his wife and two small children, Mark likes nothing more than riding up hills on his bike, trying to cook Japanese food, and consistently moaning about the design of bathroom taps.

You can read his latest thought on his website and follow him on twitter.

Design Systems in Difficult Places

Gone are the days of knowing what our content is, where and when it’s being displayed, and what our users might be doing at the time. We’re all designing systems now. Modular bit and pieces designed to fit together flawlessly and responsively whenever the user needs it. Or are we happy designing in abstraction without getting our hands dirty with the real problems of web design: People problems, technology problems, content problems.
Mark has been involved in large scale publishing design systems for decade or so, and In this talk, Mark will walk through the challenging design systems he’s been involved with.

Luca Barcellona
Luca Barcellona (Photo by Lorenzo Barassi) is a reference point in the modern calligraphy world.
He was born in Milan, in 1978, the city where he still lives and has his own studio working as a freelance graphic designer and calligrapher. Letters are the main ingredient of his creations. The means of his work is to make the manual skill of an ancient art as writing and the languages and instruments of the digital era coexist. His study into lettering led him to experience from graffiti to classic calligraphy, up to big wallpainting, typography and letterpress printing.
Among the brands that requested his lettering we can number Carhartt, Nike, Mondadori, Zoo York, Dolce & Gabbana, Sony BMG, Seat, Volvo, Universal, Eni, Mont Blanc, Wall Street Institute.
He has been teaching calligraphy with the Associazione Calligrafica Italiana since 2007 and he holds workshops and lectures in several cities.
He has exhibited his works in many European galleries in personal exhibitions and collective ones. His works are included in many permanent collection such as: Berliner Akademie der Kunst, Harrison Collection and San Francisco Public Library. In 2012 he published his first monographic book Take Your Pleasure Seriously by Lazy Dog press.

You can see his latest works on his website and follow him on twitter.

Leave Your Mark without a Pause!

A powerful way to communicate and one of the biggest human conquest
. That’s writing at first thought.
But writing is also a deep personal and instinctive act: while writing our mind flows by just like our hand moves on the paper. That’s why time spent doing calligraphy is so special. There's an intense dialogue between your mind and your body, that steps through your breath, in the exact moment you leave a mark with ink on paper. Writing is a kind of filter to see through everyday’s life things and a sort of huge but simple metaphor of our passage on the earth.
The future of handwriting and his function with digital devices diffusion is a big question nowadays: Luca's approach is to share calligraphy as much as he can. Luca Barcellona inspired many young lettering enthusiasts and demonstrating through his wide range of artistic and commercial works, that handwriting is more than alive.


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