Every designer goes through the phase of learning the fundamentals of typography, and this conference will allow everyone the opportunity to learn many different approaches from the components to making and how to apply typography. With the right designers in typography and communication, they will help with understanding and using the components of typography. This experience will help designers explore something new if they haven’t already gone down this road, or even share their experience. The purpose for this conference is to learn many ways of approaching a project and not being set to only using one to two typefaces.
The workshops will give designers the opportunity to open their eyes to what they already use in type, try to explore more, learn new aesthetics and logical techniques, and to see if the exploration will either help or hinder the message. There will be keynote presentations and lectures to explain everything from the basic to the complex ideas of making a typeface and how these could be used in real life. The importance of this field is not only to learn, but also to understand that this conference can be introduced anywhere that people can see, but also knowing how this conference can be used as a key factor to every designers’ mind.
As a designer, would you pay money to attend this conference? why or why not?
As a designer I would pay money to go to this conference because I would like to hear how other designers approach choosing the typefaces in their work and what other approaches are out there in typography.
Does the theme invite multiple interpretations and an interesting range of possible talks, workshops, etc?
I feel that this conference can have a wide range of possible talks, since the conference will be geared towards anyone that it interested, but having the help of older designers at the conference will enhance the views and possibly teach others what they know.
Is the theme suitable for contemporary and forward-looking design practice?
This can be very contemporary and forward-looking as to how the participants view influences them. And at this conference, a designer will be able to come up with many new ideas to approach their work.
What could improve the theme?
Specific examples how this conference can be broad in range within the context, and if there is a specific program out there that isn’t confined to the usual building of letterforms.
Ideas towards Theme names/titles
Type Revolution: Making and Breaking the Grid
…: Looking at Type and Making Something New
…: Decoding the Typographic Structure
…: Making the Raw New
The Makeshift of the Typographic Grid
Some words I could play with:
Unconventional
Untouched
Pristine
Recreated or Recreate
Fragment
Bio:
In Salem Valley, Germany of 1941, a designer was born named Wolfgang Weingart. Weingart is well known internationally for his design and typography. In 1964, Weingart moved to Basel were he sat and begun to study typography and teach his ways of knowing to the students. Weingart retired in 2004 from teaching, but continues to teach summer programs through Basel. He is categorized a part of the Swiss typography, but he was the one to become first at breaking the grid as well be called “Swiss Punk”. Weingart is most famous for his experimental, expressive work that broke that grid that the Swiss are well known for.
It was when Weingart started teaching at Basel when people started to ask the question ‘what is Swiss typography?’ As designers, we know it is based off of grid systems, which helped with placing type and image on a page. Also the Swiss worked along with sanserif typefaces because it was a clear way of getting the message out there. Weingart on the other hand feels that his experimental typography is also Swiss because of the ‘natural progression’ from how we know the Swiss typography. Weingart explained that his experimental typography was grounded, which were on his understanding of semantic, syntactic, and pragmatic functions.
As we know it, Weingart’s inspirations were mainly drawn from his experience in the processes of typesetting and reproduction, where he is able to push the limits of the outcome. Weingart also believes in that all you need is four typefaces to any typographic problem. With his experimentations, it expanded over three different typesetting technologies. Weingart wasn’t so enthralled to the computer technology because he felt like it was too ‘illusive’. As AIGA would say, ‘Weingart is making the young generation nuts’.
Wikipedia
Archive
Keith Tam
AIGA
David Carson(brief copy/ idea of him)
Like Neville Brody, typographer and graphic designer David Carson became influential in the late 1980's and 1990s for experimental typeface designs. David Carson's designs were featured heavily in surfing and skateboarding magazines.
A tribute to other self-taught designers, David Carson broke most of the rules of design and typography, a process that was made easy with the use of desk top publishing programs, such as Pagemaker, QuarkXpress and Illustrator. He experimented with overlapping and distorted fonts and intermixed these with striking photographic images.
http://www.designtalkboard.com/design-articles/famous-designers.php
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