In April 2010, Frankfurt hosted the annual Art Directors Club Germany meeting. Apparently, this was a big deal, a tremendous coup for the city. Previous meetings had been held in Berlin and Düsseldorf. Many German cities are fighting each other to put together the most exciting package and entice the ADC to change their venue again, as is reported in the June 2010 issue of PAGE.
In March, a team from a new print magazine named FRM – The magazine on the Frankfurt Rhein Main metropolitan region visited me at Linotype in Bad Homburg. Their summer issue is dedicated to creativity in the Frankfurt region, and was out in time for the ADC meeting. This week, Rhein-Main TV broadcast a five-minute-long video version of the article.
After an introduction describing the ADC meeting, the following creatives are interviewed:
Mike Bouchert, an American artist in Offenbach
Shantel, a musician in Frankfurt
Crytek, video game developers in Frankfurt
The entire film in is German. The primary segment on creativity in the Frankfurt area runs from 00:48 to 05:56. I come up at 04:58, and am gone by 05:56. The remaining eight minutes of video covers additional local topics.
There is one small error in the narration that I would be remiss not to point out: in both the print magazine, as well as in the video interview, it is mentioned that my Malabar was the first typeface to win the German Design Prize. Malabar is the second typeface to receive this recognition; Erik Spiekermann and Christian Schwarz received the honor for their DB Types in 2007. Continue reading →
I should start off this short post by writing that I don’t know Robin Nicholas very well. Robin is the Head of Typography at Monotype Imaging, and is perhaps best known as the designer behind the Arial typeface. While we work in the same department at Monotype Imaging, we are in different locations. He’s at the Monotype UK office in Salfords, England, and I work for Linotype GmbH in Germany—mostly from my residence in Berlin. I have had the pleasure of meeting Robin on a few occasions, and he has always struck me as reserved, interesting, and brilliant. I have long been an admirer of his work, especially his Nimrod typeface, which he created for newspaper printing. Robin has been with Monotype since the 1960s.
Over Twitter a few moments ago, I learned of a new web video interview with Robin that had been posted on the Fonts.com blog. I think that this is just a joy to watch. Robin has me with every word, and I wish that the 2:54 minute video were at least 10 times as long. Maybe it is the English accent?
In the interview, Robin discusses a corporate face Monotype created for SAS—which he calls his proudest achievement, as well as Centaur (his favorite typeface). Robin is asked during the interview about web fonts, which I think is thrilling, because the coming of web fonts means that one of his own designs may now be used less often.
When Dan Reynolds, born in Baltimore in 1979, went off to the Rhode Island School of Design as a freshman in 1997, he had no desire to become a typeface designer. It wasn’t until his second year in the program that he “fell for type hard,” and switched the focus of his remaining time in school to typography and information design. He is now the editor of font content at Linotype GmbH in Bad Homburg, Germany. He is responsible for Morris Sans, a 2007 Linotype release [based on Morris Fuller Benton’s] Bank Gothic. Reynolds added lowercase letters to the established sketches, as well as multiple figure options and additional language support. I had a chance to speak with Dan and ask him about his experiences working at Linotype in Europe.
I was born and raised in northeast Baltimore, Maryland. But I never worked as a designer there; I went to school in Rhode Island, and pulled stints working in Chicago, Providence, and Washington DC before settling in Germany.
While I was at RISD, I learned that Ellen Lupton was creating a graphic design program at MICA (which was still called the Maryland Institute when I lived in the city, but I guess an art school has to have a four letter acronym now to remain cool). I was delighted, thinking, “finally! Baltimore may develop a graphic design scene yet.”
Today, I discovered an interview with a real typographic-based studio in Baltimore online for the first time ever: Post Typography, on the You Work For Them website (YWFT calls Baltimore a wasteland, which is well… spot on). Thanks to Type for you for the link. I never would have found them without you, Type for you!
Doyald Young’s typeface “Young Baroque” on Fergie’s album “The Dutchess.” Tweaked a little, but still recognizable.
On February 2, Debbie Millman interviewed Doyald Young on her American radio program, Design Matters. Doyald Young may be the don of American calligraphers and letterers. A long-time professor at Art Center College of Design in California, he is a slightly younger contemporary of Hermann Zapf.
Listening to Debbie Millman’s interview, it seems that 2006 was “The Year of the Doyald.” Doyald Young has a few typefaces on the market, although most of his lettering work probably comes through commission. He is also the author of several books, with a new title in the works—Dangerous Curves.
Interview mit Uwe Loesch vom 11. Juni 2005, von David Borchers und Lukas Schneider.
Anlässlich der Ausstellung „Hans Hillmann. HaltMale – vom Plakat zum Bildroman.“, die vom 17. April bis zum 12. Juni 2005 im Klingspor-Museum in Offenbach zu sehen war, besuchte Uwe Loesch, PProfessur für Kommunikationsdesign an der Bergischen Universität Wuppertal, mit seiner Klasse das Museum, um mit Hans Hillmann im Gespräch durch die Ausstellung zu führen. Anschließend wurde er von uns im Vorhof des Museums interviewt.
Herr Loesch, wenn man in Ihren Plakaten die Kombination von Schrift und Bild mit der Herangehensweise von Hans Hillmann vergleicht, dann hat es den Anschein, als ob Hillmann sehr oft die Schrift dem Bild angepasst hat oder gar selbst als Bildteil integriert, während bei Ihren Plakatentwürfen die Schrift mehr auf das Motiv eingeht und Sie Bild und Schrift meist in Kontrast setzen, so dass eine Spannung zwischen beiden Komponenten entsteht?
Das ist ein Aussagesatz und keine Frage. Deshalb könnte ich jetzt einfach nur “Ja!” sagen. Hans Hillmann war als Plakatgestalter seiner Zeit weit voraus! Beispielsweise zeigt sein Plakat “Pierre und Paul” eine Art von Eckfeldtypografie, die er damals häufiger verwendete. Hillmann räumt ein. Er macht Platz für die Typografie. Andererseits lässt er seine Illustration ein wenig über den Text laufen und macht so eine zweite Bildebene auf. Was auf den ersten Blick etwas eingeengt in der Ecke steht, ist eben doch schon wieder gut. Beschäftigt man sich intensiver mit der typografischen Gestaltung seiner Plakate, dann muss man erkennen, dass er äußerst subtile und immer wieder neue Konzepte ausprobiert oder ganz einfache Lösungen bevorzugt. Viele seiner frühen Plakate sind heute noch uneingeschränkt gültig. Continue reading →