Showing posts with label TypoBerlin. Show all posts
Showing posts with label TypoBerlin. Show all posts

05 June 2009

The Berlin nightlife hotlist - 3 dance party top clubs

As always, when visiting cities abroad, I dig out the local club-scene. Having seen nearly every club in Belgian I tend to think that I will never discover a place that rocks my brain more then before. Think so ... Till you land your ass in the Berlin place of things.

Last week I attended the international design and typography conference TypoBerlin, as you might have noticed. But suffering a light — some say heavy — ADD, sitting tight isn't quite my cup of tea. So, wWhat do you do when all you need is some good vibes? Right, you dive into a conversation with a wicked but good looking punker girl you meet on the street, try to charm her and figure out were she will be hanging out to go nuts. This new generation of punk has long left the guitar sounds they've once started with ... Clubs clubs clubs! White trash and deep dark sounds of bass, beats and bliips. that's what we're all into nowadays — acidlovers — moohaa.

I was so amazed by the power and entourage of the Berlin club-scene that a shortlist of these places deserved a small but detailed writing:

1. Berghain Panoramabar

Berghain \ Panorama Bar Berlin

By far the hottest club I've ever attended. No questions asked. Perhaps even one of the best in Europe! A very strict and selective door policy pimps that image, but no other choice is left with people lining up in front from midnight 'till 6 in the morning. The club is located in a former power plant in Friedrichshain, behind the Berlin Ostbahnhof railway station. With lots of the original equipment left as part of the interior creates a real nice raw atmosphere. The building is distinguished by its enormous dimensions, which accommodate an 18 meter high dancefloor and space for 1500 guests, and also its minimalist interior design, dominated by steel and concrete. The entourage of dance-floors is pure madness and spread across 3 floors with over 6 bars. The club contains a "cavernous" main room, as well as a smaller upstairs space called the Panorama Bar, which is decorated by enormous Wolfgang Tillmans photographs and tall windows with a view of East Berlin. As always with the really good stuff the club is very gay-friendly and thus houses a superbly open atmosphere, unfortunately there're no cameras allowed.

Berghain has a strong reputation for decadence and hedonism, and the basement contains a dark room specifically set aside for that purpose. Special guestlist is restricted to a few guests for each dj. As a special feature no mirrors or reflecting surfaces can be found anywhere in the club.

Berghain is named after its location on the border between Kreuzberg and Friedrichshain.[1] Philip Sherburne has described it as "quite possibly the current world capital of techno, much as E-Werk or Tresor were in their respective heydays."

Berghain is the reincarnation of the "legendary" club Ostgut (1998-2003). This club itself emerged out of a men only fetish club night, called "Snax", which was held in different locations before it found its permanent home at the new club "Ostgut" as a part of a new concept. Quickly the "Ostgut" developed into a focal point of the Berlin techno-subculture since the venue was now open for all genders on regular nights except on those "Snax" club nights six to eight times a year. "Ostgut" closed down on January 6, 2003 following a 30-hour farewell event, and the former railway warehouse which housed it was subsequently demolished. Berghain opened in 2004.

A must see! On May 23 I sneeked in with Elfs and attended Monika Kruse who was totally letting go of control for her Saturday night session, fat dropping grooves and we were going wild — of course.

•> Am Wriezener Bahnhof. Berlin - Friedrichshain. Near Ostbahnhof station


2. Watergate Club

Watergate Club Berlin

Watergate is a get-there-early-or-stand-in-line destination on weekends. So on Thursday, May 21, I found myself lining up for my 4th or so 2manydjs concert. can you ever get tired of these guys. Somehow they always find a way to rock the boat. And again they did so in the incredibly cozy 2nd floor of the Watergate club. The club sits directly on the river, with floor-to-ceiling windows on both floors, providing gorgeous views of the water and the illuminated Oberbaumbruecke.

The ceiling of the top floor has hundreds and hundreds of tiny LED lights installed behind a translucent material, sending cascading light and patterns from behind the DJ, above the floor, and back behind the bar.

•> Falckensteinstr.49, 10997 Berlin X-berg


3. Tresor

Tresor Club Berlin

Without any doubt the most famous club in Berlin, not to say Germany, or Europe. Without neglecting other clubs like London's Ministry Of Sound and others, Tresor has the status of being the top dancetemple.

The club has a very strong brand name in Berlin, Tresor is definitely worth a visit. They have a long-running record label and mix CD series which draws a lot of attention to the club, but the place itself doesn’t need any help. It’s housed in an enormous, partially functioning power plant in the east part of the city. The tunnel (pictured above) connects the main underground dance floor to the upstairs levels. This is actually the second installment of Tresor Berlin- the old club used to incorporate an actual bank vault.

The Tresor sound is almost always hard and electronic, your typical straight forward techno sound. The main room sound system and light show seems designed to drive you insane- in a good way of course.

•> Köpenicker Str. 70, 10179 Berlin Mitte. Near U-Bahnhof Heinrich-Heine-Straße

03 June 2009

The new FontExplorer X - interview with Tobias Meyerhoff, Product Manager FontExplorer X

Summary:
Linotype's FontExplorer X evolved from a freeware product (v1.0) to a worthy licensed product for the design and advertising industry (v2.0). This interview explains why Linotype decided to move from a free to a paid version, and lists what the improvements they've implemented to make this new version so superior.

Tobias Meyerhoff:
"FontExplorer X Pro was enhanced and improved in nearly every area."

The new FontExplorer X by Linotype

Full post:
Ever since my first visit to the TypoBerlin annual design and typography conference in 2006 I've been using Linotype's FontExplorer X to manage my font library. Without criticizing other font managing software, like Extensis' Suitcase or Apple's Font Book, I find Linotype's software by far the best in the industry. Let me tell you why.

Most importantly; it doesn't crash that often — not to say it doesn't crash! Font Book nearly screwed my last G4. And, with my last Suitcase edition it took ages to activate font-families, etc etc. In FontExplorer X, kerning is made easy as hell, an extended information palette is provided, smart sets and managing per project font-sets are quick and handy, the Linotype store is integrated (which I think was the purpose of developing this software by the way), meta-info is easily added, a decent search is implemented, it nicely stores away your fonts on your HD, backups are easily pulled, etc etc.

Brief history of Linotype
Linotype goes a long way when it comes to the history of typesetting and -casting. The founding of the company takes us back to 1886, when Ottmar Mergenthaler produces the world’s first linecasting machine in the USA. Ottmar Mergenthaler made his mark in history as the inventor of the type setting machine. Mergenthaler’s breakthrough soon became known as the Linotype. Quickly adopted by major newspapers around the world, the Linotype initiated a new freedom in the creation of everything from newspapers to books, from advertisements to a wide range of literature. Ever since the company has gradually moved into the business of fonts and type, shifting to the fast lane when taking over the type division of D. Stempel AG in 1985 and later taking over the Haas’sche type foundry, in 1989. So Linotype carries on a 120 year old heritage. Other famous names like Linotype-Hell AG, D. Stempel AG, Haas’sche Schriftgießerei and Deberny & Peignot are the roots of Linotype.

Why is FontExplorer X now a licensed product?
In other words, why was the first version freely available and is the new version to be purchased at EUR 79 (incl. VAT)?

The business of selling fonts
Shortly wrapped, Linotype is now into selling fonts and type to the people who are willing, or rather 'have', to pay for them. And thus developed a font manager that integrated their font store. Consider it iTunes for type. The first version, launched in 2005, proved to be a very good product and spread vastly amongst the designer and typeset communities. Not only because it had a good angle of functionality, but — hence the success — because it was a free product worthy of competing with the established software widely used. For example, Extensis' Suitcase.

And Linotype recently launched a new version of it's FontExplorer X. I wondered why and asked Tobias Meyerhoff, Product Manager of FontExplorerX, at the latest TypoBerlin conference.

The business of solid customer services
According to Tobias the licensed product was released partly on demand of the consumer\user. Huh? Yes well, licensed products give a mandatory support. The product gained a lot of professional and business-environment users so the demand for a guaranteed support urged Linotype to upgrade to a Pro version with added support, and features. A lot of firms and agencies don't quite trust a freeware product, so far.

FontExplorer X Pro (v2.0): new features
Linotype has worked hard to give the new version of Fontexplorer X some extra glance. • The info-pane is updated with extra kerning features that enable users to carefully kern each letter individually.
• The activation control is now upgraded to the level of auto-activation upon start-up of third party software. Formerly this was only possible through the installation of plug-ins, which weren't provided for software like Photoshop.
• The type in the WYSIWYG-fontbrowser is now adjustable in size, formerly this was only the case within the previewpane.
• Scan from document is a new feature not a new feature. It has been brought forward since most people didn’t find it in the previous versions. The feature allows to track which fonts were used in un-editable documents, for example a .pdf This new version pulls a font report to include when passing on the exported documents of typeset and artwork.

Full-featured font management capabilities, server-based
The most compelling update to the new version is the implementation of the server-based administration possibility. This server-based solution returns control of font access rights to a central administrator who can access an administration interface from any desktop client within the network. It distributes fonts and font sets over the entire network while providing users with the freedom to customize sets and preferences for their local fonts.

Related posts from Grapplica:
Everything under TypoBerlin
Google Maps Typography made for TypoBerlin 2006

Related posts from others:
A list of all tweets from concerning the TypoBerlin conference this year
Tweets about the new FontExplorerX release
The official FontExplorerX Twitter-account
Raves about Linotype

11 May 2009

SPACE ... is getting tight - TYPO Berlin 2009



Okey okey, so I missed out on the wicked Joshua Davis at OFFF, and I heard he kinda spoiled my fun by giving his presentation on SPACE in Lisbon as a warm-up,...while sliding back and forth on the stage, ripping open his legs, kinda. There is hope. I've heard TYPO Berlin is completely sold out and since it is back in the good old venue it was three years ago, I'm guessing, it will be tight. Combine that with the Berlin nightlife and the groovy gang of 20 we're takin' on to travel with the event will be money well spend. And spending it will be.

TYPO Berlin is Europe’s most important regularly scheduled design conference. Each year, the conference is dedicated to a thematic motto. The TYPO online archive contains a wealth of information about previous conferences. On the video blog, you can see lectures from previous years and the TYPO Berlin blog will keep you up to date on this year’s events.

FontShop’s 14th International Design Conference, TYPO Berlin 2009, starts in just three weeks. This year’s theme is SPACE. Over three days, more than 50 speakers working on four stages will expand your horizons, providing inspiration, technical tips and entertainment. This year will see even more lectures, discussions, workshops, initiatives, networking and roundtables. This is THE place to be for creative movers and shakers.

08 June 2007

Type-freaks

Old mails rule!

Lander,

Eurostile staat niet in dit boek en over de Latin staat er wel wat, maar zeer verspreidt (blijkbaar is die Latin BT 725 een soort variant op Méridien, een andere font. 'The bitstream digital foundry' (een groep typografen die zich bezighield met digitale typografie) nam het besluit om al hun digitale fonts , die meestal digitale reïncarnaties van bestaande fonts waren, een naam te geven. Ze ontkende dat digitale of fotografische replica's gewoon equivalenten van 'gesneden', metalen letters zijn en vonden dat hun digitale fonts andere, nieuwe namen hoorden te krijgen. Zo werd de Méridien dus de Latin 725.
De Méridien is op zijn beurt een ontwerp van Adrian Frutiger uit 1954 dat gesneden werd voor manueel zetwerk.)
Wil je hier meer over weten dan moet je maandag maar eens in het boek kijken.

De myriad werd in 1991 door Robert Slimbach en Carol Twombly voor Adobe ontworpen. Myriad is opgebouwd uit subtiele, open geometrische vormen. Myriad beschikt niet over glyphs en small caps, maar het beschikt wel over wat een 'echte italic' genoemd zou kunnen worden. (en dan staat er nog iets wat ik moeilijk kan vertalen -> 'In its multiple master form, it is continuously adjustable for weight and width).

zo, ik hoop dat je hier wat aan hebt.

Nog veel succes en plezier met het vele werk!
tot maandag

Bieke.

19 May 2007

TYPO Berlin 12 - Gary Hustwit

TYPO BERLIN 2007 @BCC, AlexanderPlatz

12. Gary Hustwit: The making of the film Helvetica
Gary Hustwit is a producer and director. He has produced five feature documentaries, including ‘I Am Trying To Break Your Heart’, the award-winning film about the band Wilco; ‘Moog’, the documentary about electronic music pioneer Robert Moog; and ‘Drive Well, Sleep Carefully’, a tour film about the band Death Cab for Cutie. Helvetica is Hustwit's directorial debut. Hustwit worked with punk label SST Records in the late-1980’s, ran the independent book publishing house Incommunicado Press during the 1990’s, was Vice President of the media website Salon.com in 2000, and started the indie DVD label Plexifilm in 2001.
Film director Gary Hustwit reports in detail on the making of the Helvetica movie.

TYPO Berlin 11 - Uwe Flade

TYPO BERLIN 2007 @BCC, AlexanderPlatz

11. Uwe Flade
After completing a degree in film studies, Uwe Flade worked as an assistant director on movies, music videos and TV shows and as a TV journalist and fiction programme buyer for the TV station VOX. He then set up his own production company in Cologne. A friend asked him to create a music video for his band… the rest is history. Flade now works as a freelance director.
Uwe Flade will present his work as the director of award-winning music videos for Depeche Mode, Sportfreunde Stiller, Rammstein, Franz Ferdinand and many more.
A fairly variated presentation showing the audience both existing workflow and new ideas. Just too bad that such a young guy is not able to present himself to an international audience, speaking German on an international forum or conference is pretty lame in my opinion.

18 May 2007

TYPO Berlin 10 - Precious

TYPO BERLIN 2007 @BCC, AlexanderPlatz

10. Precious: Music interfaces
After a number of years with several different agencies, Christophe Stoll and Johannes Schardt set up the design studio ‘precious’ in 2005. The core team was joined in 2006 by Philipp Granzin from Berlin. In addition to their own design projects, precious is currently carrying out assignments for the band Tocotronic and the music software company Native Instruments. Also located in the vicinity of precious are the jointly-run record label ‘2nd rec’ and the audio-visual project Nitrada. Furthermore, Christophe Stoll teaches interface design at the Technische Kunsthochschule Berlin.
The Hamburg-based design studio ‘precious’ will present their work on interface designs for music software, which they produce for Native Instruments, a company based in Berlin, and share their thoughts and ideas surrounding the interface between visual design and music.
Check Type-Invaders

TYPO Berlin 09 - Kim Hiorthoy

TYPO BERLIN 2007 @BCC, AlexanderPlatz

9. Kim Hiorthøy: Puttin' on blobs
Kim Hiorthøy, born 1973 in Trondheim/Norway, studied at Trondheim Art Academy 1991–96, and at School of Visual Art, New York, 1994-–95 and The Royal Danish Academy of Art, Copenhagen, 1999–2000. He is a freelance graphic designer since 1993. He works a lot in the field of music and cover design. He is a musican also. Currently he lives and works in Berlin.
On making record sleeves that have possibly no relation to the music, or to the musician, or to anyone else. And why. Talking on record lseeves and nothing but record sleeves, finding the subject rather uncomfortable but yet.. He doesn't see himself as a graphic designer because they are supposed to solve problems.. Kim, as from his words, only makes problems. Working mostly from his undrbelly, not often listening to the music even! He mostly enjoys making recordsleeves and he sees it as not a very important job, there are so many records. He finds it important taht the sleeve is nice, and often buys records on base of their design. He didn't start out to be a designer and didn't study on it at all. As a designer he's taking the freedom with both hands letting the musicians no choice with the designs he makes for the covers. He never thinking of strategy or communicational problemsolving, the package-design is just what it is, the impression of the moment or from what he has learned earlier. Working for SmallTownSuperSound label.

TYPO Berlin 08 - Mario Lombardo

TYPO BERLIN 2007 @BCC, AlexanderPlatz

8. Mario Lombardo: The Wow Signal and The Emotional Effect
From 2001 until the end of 2006, Mario Lombardo was Art Director for the music magazine SPEX. In addition, he has been a member of the jury for various design and photography awards and has taught typography, editorial and music design at several different art and design schools. Since 1995, he has been looking after a number of music and fashion labels and magazines, such as Dummy and Liebling. Over recent years he has received over 50 national and international design awards. In 2004 he set up his own design studio in Cologne.
The “visual tree house” between selling and emotion. Memetics and memory. Pop and culture. Haves and wants. Shoulds and coulds. Mario Lombardo talks about his latest years in popular culture.


A fairly variated approach showing more than just the work, giving a bit of background to the lift the stiry onto a different level. showing a lot of SPEX issues, but also showing overall work, like Background records (especially Andy Vaz) and others (check site) Mario shows no lack of creativity and focusses very often on alternative and handmade coverlayout and designs, oftenly working analog, pasting and scanning in a rather collage-style, but none-the-less very playfull.

TYPO Berlin 07 - BastardProject

TYPO BERLIN 2007 @BCC, AlexanderPlatz

7. Bastard-Project
I saw these guys last conference (Colophon2007) in Luxembourg and discovered their excistance last TypoBerlin. On the way here they took lots of pictures and then working on and with them. an important aspect of their work is having fun... off course.
Showing all their roadtrip-photos and reading a poem ;) The photo-show lasted way too long, I had the impression they didn't have a lot of content to contribute (but who am I to judge right).

On the way to Berlin a road-trip to typo something accidental coming from our hearts...

The BASTARD-Project is a teamwork venture involving illustrator Andre Rösler, photographer Christian Ernst and graphic designers Ulrich Weiß and Lars Harmsen.

Christian Ernst
Freelance photographer, born in 1965, spent many years assisting diverse photographers (including Conny Winter), then set up independently in 1996. Since then his clients have included SAP, Accenture, the parliament of North-Rhine Westphalia, Stuttgart State Ballet, DaimlerCrysler, Prof. M. Lüpertz. Lives and works in Karlsruhe, Munich, Berlin and Hamburg.

Lars Harmsen
Founder and managing director of the design studio Magma, Büro für Gestaltung. Has lived since the age of twelve in Karlsruhe, prior to that he lived in Geneva and Chicago.
Training and higher education in Offenburg, Freiburg, Basle, Saarbrücken and Boston.

Andre Rösler
Graduated in design, worked as research assistant at the Hochschule für Gestaltung in Pforzheim. Since 1997 has worked as a freelance illustrator for publishing houses and agencies. Since 1999 he has also been in charge of cartoon animation and direction for a children's magazine programme for Bayerischer Rundfunk. Awarded the ADC Silver Prize in 2005.

Ulrich Weiß
After studying design at the Fachhochschule für Gestaltung in Pforzheim, he was appointed art director with J·G & Partner in Baden-Baden. His clients there included the Deutsche Welle broadcasting station, Baden-Baden municipal theatre and the Südwestfunk broadcasting station. Today he is managing director of the design studio Magma, Büro für Gestaltung.

A ‘Bastard’ project, involving the author Sudabeh Mohafez, the photographer Christian Ernst, the illustrator André Rösler, the graphic designer Lars Harmsen and the DJ Frank Wiedemann / Âme (Sonar Kollektiv). Since February 2007, the authors of the book Bastard: Choose my Identity have been on tour, on and off, this time in a caravan which has been converted into an art gallery. On their way to the TYPO Berlin, they have captured images of people and places on the various stops along their journey, which are presented in an ‘Instant Gallery’. The caravan will be on location at the TYPO Berlin.

TYPO Berlin Night - Helvetica Film


The first screening in Germany of the movie Helvetica will take place as the concluding highlight of this year’s TYPO Berlin. With this we celebrate the 50th anniversary of a typeface that has become a worldwide success.

About the Film
Helvetica is a feature-length independent film about typography, graphic design and global visual culture. It looks at the proliferation of one typeface (which will celebrate its 50th birthday in 2007) as part of a larger conversation about the way type affects our lives. The film is an exploration of urban spaces in major cities and the type that inhabits them, and a fluid discussion with renowned designers about their work, the creative process, and the choices and aesthetics behind their use of type.

Helvetica encompasses the worlds of design, advertising, psychology, and communication, and invites us to take a second look at the thousands of words we see every day.


About the Typeface
Helvetica was developed by Max Miedinger with Eduard Hoffmann in 1957 for the Haas Type Foundry in Münchenstein, Switzerland. In the late 1950s, the European design world saw a revival of older sans-serif typefaces such as the German face Akzidenz Grotesk. Haas' director Hoffmann commissioned Miedinger, a former employee and freelance designer, to draw an updated sans-serif typeface to add to their line. The result was called Neue Haas Grotesk, but its name was later changed to Helvetica, derived from Helvetia, the Latin name for Switzerland, when Haas' German parent companies Stempel and Linotype began marketing the font internationally in 1961.

TYPO Berlin 06 - Hans Reichel

TYPO BERLIN 2007 @BCC, AlexanderPlatz

6. HANS REICHEL
Hans Reichel, born in 1949, caused a stir in the early 70s with his unusual self-made guitars. Since then he has given numerous concerts in Europe, the US, Canada and Japan and has released over 30 LPs/CDs. He belongs to the guild of improvisational musicians. In about 1985, he invented the legendary daxophone, a string- and voice instrument that operates via thin wooden blades. He designed his first typeface (Barmeno) in 1983. Since 1995 design of the font families FF Dax, FF Schmalhans, FF Sari und FF Daxline.

This guy made a so called daxophone, it's a weird kind of striking-instrument making german word-sounds. He created also a whole set of instruments that produce different sounds or better word-expressions. He's also known for the making of his weird guitars back in the seventies. Mixed announcements, revelations, visual and audio tasters, manifestos, error messages on the subject: What has ‘a’ got to do with ‘ö’?, plus: the daxophon in the age of the flatrate, plus: music for the audio play The Gappers of Frip.

Showing us a very playfull sound and animation combi, funny and joyfull illustraing his musicstudio in a very humorous way. This guy lived and worked in the east and documented a series of Sumo-wrestling events and additiionally creating music for it.

Re-designing the FF Daxline font he made a cute animation monitoring the changes he made and applying some music to the movement. He has a cd available in europe called Laurum Lurum. He used to take pictures from the stage, capturing he's tired or amused audience, showing this series.

17 May 2007

TYPO Berlin 05 - Piet Schreuders

TYPO BERLIN 2007 @BCC, AlexanderPlatz

5. Piet Schreuders
An exploration of my graphic design work for music projects of the last 20 years, focusing on: album sleeves and cd booklets for the Dutch BASTA label, especially their series of "essential reissues"; music research for special projects such as The Beau Hunks, electronic musis of Raymond Scott, the film background music of Leroy Shield, the Boulevard of Broken Dreams orchestra, and early Dutch electronic music by Tom Dissevelt, Henk Badings and Dick Raaijmakers. Illustrated with numerous images and sound examples, as well as film clips.
Worked on a large scale project involving music, Boulevard of Broken dreams. This arroused his interest in music-graphics and filmmusic. especially lifted when discovering the Roger D. Kinkel music encyclopedia. Later-on he tracked and tried to capture different music of films and especially comedianshows like Laurel and Hardy. Analysing lots and lots of musical data, carnoise, talk, dialog, music, and checked the usable pieces of the music and recombining them.
Ronnie Hazlehurst, doing tv-tunes (a laurel-hardy fan)... The music of Leroy Shield... and some more but it really couldn't catch my interest, sorry

TYPO Berlin 04 - Adobe Systems

TYPO BERLIN 2007 @BCC, AlexanderPlatz

4. Adobe Systems - creative space
A product presentation on the new CS3. the most important update is the change in industry that integrates more and more web-applications. Print and web are more and more merging, and also the more combined work with motion-work. Video, work and web, with quicker production-timetables. And of course the integration of former Macromedia contributes a great deal to this change. Consumerism is changing at the base of the profession, users are becoming designers and producers too. and therefor Adobe stears there products to give you a lead to your competitors.

Over more then 12 products are launched, combined in different, in several packages. All products are differently combined. The design suit, Premium (probably most appealing), Standard (mostly for the printing industry) Everyone is crossing borders and working cross-borders. There is a webStandard package for developers. There's a new box for video-specialists, animation, online and post-production with the possibilty to create full dvd-packages. And then there's a full-package.

The biggest problem nowadays is time, so everything is steared to less time-consuming products. The Bridge is more reworked for better integration and improved mostly the previewing-function, and of course some extra features. drag and drop from Bridge is easier and also works with for example the Dreamweaver and save for web from within the Dreamweaver or just using "copy merged". And of course this doesn't only applies to 1 but all softwares.

Most important change of all softwares is the change of the Flash-interface. And also the obligated saving of different layers is optimised by having the easy selection box per layer combined with editing options. No more import to stage or library, just drag'n'drop from the Bridge. Serving highly the webmarket but also integrating a special software for mobilephone/devices, new product called the device-center, with an integrated device-output preview on several mobiledisplays without having to buy all these devices which is off course impossible. Also comparing different devices is possible, very advanced. Making it also easy to switch existing flash-animations to device-output, being able to preload everything and check use the configuration of the interface and the buttons, special feature on this topic is the usage of lights to check the output in dark or brightlight (off course simulated).
Illustrator using colorguides now, and integrating a colordisk (chromatic circle) all downloadabe at ColorLabs (there's a widget for using these colorschemes) Kuler offers you the possibililty to download .aes files which are easily opened in all Adobe softwares as colorswatches. More and better adjusted colorschemes in stead of having to pick every color separatly. And also a complementary colorscheme user is now active.
Photoshop selection-tools are more advanced and better reworked (off course enormously timesaving in stead of consuming) also there's a new selection-dialog, temporary masks, an extended selection-preview-palette, and some others like undo-able filters called smart-filters (non-destructive filters) There's an auto-align an algoritm for aligning different layers on backgrounds, also making panoramic imagery is made easy now. And for contrasting colors there's a new filter, which easily applies the some color of all pasted photos. An extra functionallity is working with 3D-models keeping the possibilty of moving the model around like you can in the 3D programs, being also able to past patters and labels onto it! solving additionally the limitations for the functionality of angles at Vanishing Point.

Bridge is now the main 'platform' to switch between all different files-programs-applications-objects-designs well you can sort it ;)

TYPO Berlin 03 - Clive Bruton

TYPO BERLIN 2007 @BCC, AlexanderPlatz

3. Clive Bruton (Pixel picking and logo popping)
Celibrating Univers' 50th birthday, he considers it the most influencial type of the twentiest century and also of much higher quality then Helvetica for example. Always keep your old work, he worked a lot for webprojects (doing mostly digitalisation of existing logo's for Lloyds TSB, BT, handsetting every pixel carefully crafted). Using 9/9 pixelboxes making patterns with it, a project on flags, almost all European flags can be made with 9/9 (except for the British one) Important line throughout his work is the resemblance of patterns and detail, and focussing mostly on logo-design.

Discussing the NIKE logo, it influenced a whole logo-design generation; good or bad all using and experimenting with the famous/notorious SWOOSH (the swoosh jazzes it all up.)
The APPLE logo, definatly the flat logo is much better then the old 3D logo. Good but there are many designers imitating still the 3D version of the logo, like for example the new BTlogo which they tried to 3D in sense of illustrating an 'open world' but there's a problem » a logo should be plain clear and simple, if it's too complex then all prints and applications (f.e. smaller sizes) will be floaded. Same thing with the new KPN-logo, looking like a bunch of jellyfish blobs instead of nice perspective

Own work;
Fontzone-logo » simple, possibility to change colors often, always being able to recognize the basic elements, and last but not least it has to stand out and pop-up out of a pile of content even when set in very small. The goal being able to use it the size of the type, let's say let it work at the size of 10px, that's what a good logo is.
Approving the new CS3 logo's as very good, practical and usefull, in contrary of the old CS2 logo's whdere the connection was totally gone, like "why does a flower point to Illustrator, and the butterfly to InDesign) Now it is straight up, clear it says what it is Ai = Adobe Illustrator.

Ps; there's a Video-channel reporting the most remarkable moments of the conference at http://www.typovideo.de

TYPO Berlin 02 - Richard Kegler

TYPO BERLIN 2007 @BCC, AlexanderPlatz

2. Richard Kegler
A fairly poor presentation, talking about his typeFoundry/recordLabel company, but also the work wasn't really my cup of tea, anyway go check the website or check others

TYPO Berlin 01 - Steve Heller

TYPO BERLIN 2007 @BCC, AlexanderPlatz

1. Steve Heller on Alex Steinweiss (the father of record cover design)
» Lucian Bernhard was his inspiration , master of the advertising poster: leaving only the essence, no ambiguity only allmost litteral. Born in Brooklyn, Polish parents (Greenhorsn = immigrants without money) Steinweiss is white stone, went to Abraham Lincoln Highschool, they had the most important graphic design program in those days. He was a good painter and illustrator. European avant-garde and design, when it was all down to reduction. Assistant of Joseph Binder, working and introducing for Columbian records (CBS bought it later on) Point of purchase displays was what recordsleaves were. His first designed cover sold the product for a 800% more! Lateron got more interested and influenced by Art Deco. Working with the importance of evocing the music in the output of the image. When it happened it was revolutionary in America, looking at "de Stijl" (1937) Modernism was on a rise, Paul Rand for example incorporated new lessons of the Bauhaus and worked with the same revolutionary work of Steinweiss. Lateron influenced by the use of 2D forms integrated into the design. Constructivism, Art Deco and photography, experimenting with typography from the past...integrating it into these modern designs. (the germans invented branding with Peter Behrens) Steinweiss is always looking for the aura of the music.

He designed one of the first script-type design, making it for Photolettering » Steinweiss sprawl. He was a so called commercial artist. he found that the Bauhaus was ultimately to restrictive for him. His illustrations resemble very timeless, a lot of so called modern illustrators still bring the same kind of work. He was a remarkable craftsman, always renewing, but not always making the best choices. Let other people decide which of your work should be used... :) Sketching mostly everything at first and then tran slating it with overlayers (very oldskool) precision setting all marks collors and pieces into the design.

Left Colombia in 1942 as an Art director, going into the Navy, later-on being introduced to the LP, playing 22minutes instead of the older, 3 to 4 minutes before the click. Steinweiss had to make a new package, his brother in law was a printer, andfor the first time they had to be printing on the package in stead of on a different page that could just be applied or sticked on.

Abstract expressionism, had an enormous impact on the new American artists and designers, and even on typography. Steinweis would sitl combine it with decorative influences he picked up earlier.

After working on a number of recordsleaves, he got to packaging and later-on working for the filmindustry. (James Flora should be checked in this context as well) - working with very contemporarian colors and forms) 1963 Steinweiss decided to leave the music-industry and moved to Florida, and Neill Fagida took his place. Revolver was the album that changed everything, even more then SgtPeper. Steinweiss layed the foundation for LP-cover design as an artform and it peaked somewhere in the '80s.

14 May 2006

I ♥ Berlin

(A to Z) typeview_00
AUF is a student-project. It maps an alphabet of letters found in the forms of buildings screenshot on GoogleMaps.

I checked our globe and found some buildings resembling as typography. That made me figure, so I'm making a typeface out of the forms of buildings I spot on Google Earth 'critters'. Thanks to Farfields for adding me up with this new Typeface called "Boks". Launch Typo Berlin website.

Typeview

Front of t-shirt
The print of the coordinates of where the building is to be found.
Back of t-shirt
outline of the building emerging the letterform.
> I handed out the bags of letter-cookies at the conference as extras with my vcard, as a promo for my project and my portfolio.