Get your hands on a copy of Typography 32

The Type Directors Club is proud to announce the publication of Typography 32. The latest Annual devoted exclusively to typography presenting the finest work in the field from 2010. Selected from more than 1,500 international submissions to TDC Communication Design 2011, the 208 winning designs are models of excellence and innovation in contemporary type design.

TDC members have already received their annual for free.

The year’s selection encompasses a wide range of categories, including books, magazines, corporate identity, logotypes, stationery, annual reports, video and Web graphics, and posters. Two new categories were introduced this year, self-promotion and experimental/unpublished.

Also new this year was the introduction of the Best in Show award. Judges were asked to decide upon one piece of work that they thought best represented the year. Niklaus Troxler was the winner for his poster Ullmann Kühne.

The 360 page Annual, designed by Mucca Design, displays each winning entry in full color and is accompanied by complete information about the designer, client, typography, and more. This year’s volume also features the results of the club’s fourteenth annual type design competition, TDC Typeface design 2011 and TDC Title Design 2011, the movie titles competition, and includes a special index listing of the principal typefaces used in the winning designs and the names of their designers.

TDC Communication Design 2011 was chaired by Roberto de Vicq (deVicqdesign). The jury included: Art Chantry; Arem Duplessis (The New York Times); Fons Hickmann (Fons Hickmann m23, Berlin); Mario Hugo; Jason Kernevich (The Heads of State); Angela Voulangas, and Bruce Willen (Post Typography).

TDC Typeface Design 2011 was chaired by James Montalbano (Terminal Design). His jury included: Jos Buivenga (exlibris Font Foundry, The Netherlands); Jessica Hische, Steve Matteson (Ascender Corp.), and Charles Nix (Scott & Nix).

TDC Title Design 2011 was chaired by Jakob Trollbäck (Trollbäck & Company). The jury included: Karin Fong (Imaginary Forces); Randy Balsmeyer (Big Film); Timmy Fisher (MK12), and Mark Kudsi (Motion Theory).

The Judges’ Choice sections feature the winning entries that have been singled out as each judge’s favorite; these pieces are accompanied not only by the judges’ comments but also by statements from the designers about the creative process involved in developing their work.

These components–along with chairperson statements by Roberto de Vicq de Cumptich (TDC Communication Design 2011), James Montalbano (TDC Typeface design 2011), and Jakob Trollbäck (TDC Title Design 2011)–exemplify the enormous vitality of the ever-changing typography profession today.

A special section contains the seventh TDC catalog designed by Paul Rand, reproduced in its entirety; it was published in 1962 and records winning designs completed over 1961. From 1955 to 1978, the competition catalog was produced as a relatively modest booklet. In 1979, after twenty-five years, the TDC Annual became a book.

Now available at Amazon and all good bookstores.

As a type designer, then a type director, Jean François Porchez (born 1964) created the new typeface for the Le Monde daily. His expertise covers both the design of bespoke typefaces, logotypes as well as the distribution of his fonts via his typofonderie.com website. He is honorary President of the Association Typographique Internationale, regularly conducts type design workshops and is a frequent speaker at conferences all over the world. He founded the French social network Le Typographe in 2003. He was awarded the Prix Charles Peignot in 1998 and numerous prizes for his typefaces.

Thursday, March 1st
6:30 to 8:30 p.m.

TDC members free
Non members $20
Student non members $15

Register online

Cooking has always been a profession in my family. At least for the women. As the first male inheriting the “gift” of cooking, I went against the order and did not follow my family’s footsteps. Instead, I chose a career in design.
Despite the differences between the two professional directions I found myself dealing with ingredients, taste, harmony, procedures and recipes. I must say that now, after twenty years of working in this field I don’t see it being much different from cooking. I will therefore introduce my recipes and ingredients with the conviction that, whenever you give the same tools and basic elements to two or more people you will never have a result that “tastes‚” or looks the same. That is the beauty of cooking, and of graphic design.

Pitis is a design consultancy based in Milan specialized in branding and visual communications. The principal of the agency Massimo Pitis, graphic designer and art director, works in many areas of visual communications including exhibition design, corporate, and brand identity. Founder of Vitamina, he went on to become Creative Director of Landor Associates Italy. In 2007, he founded Pitis, visual design agency and consultancy. In 2001, he won the italian Art Director’s Club Prize in the Corporate Identity section. From 2005 to 2007, Pitis chaired the Bureau of European Design Associations. In 2009, he was invited to represent Italy at the Design Biennale in Gwangju (South Korea). Pitis teaches at IUAV San Marino.

TDC Salon
Tuesday, March 6th
6:30-8:30 p.m.

TDC members free
Non members $20
Student non members $15

Register online

Charlotte Strick is the Art Director of Faber & Faber, Inc. and the Trade Paperback division at Farrar, Straus and Giroux. She is an award-winning designer known for creating the jackets for books by Roberto Bolaño, Lydia Davis, and Jonathan Franzen, among many others. She is also the Art Editor and designer of The Paris Review.

Patti Ratchford worked as a magazine art director for 10 years before becoming a book jacket designer. She has worked freelance for a number of publishers in New York and two years ago was hired as art director at Bloomsbury Publishing.

Paul Buckley hides behind the Napoleanic title of Vice President Executive Creative Director, where he overesees the covers and jackets for 12 diverse imprints within Penguin. His design consists of pretty much centering the font Gotham on top of some nice image that he either found or art directed… so don’t expect him to actually discuss typography at this Type Directors Club event.

Book Night is sponsored by A to A

TDC Salon
Thursday, March 8th
6:30-8:30 p.m.

TDC members free
Non members $20
Student non members $15

Register online

Brand consistency across different scripts and cultures is a challenge that every brand manager knows. So how does one maintain the same identity in a script that runs in a different direction, and in styles that are so different from what one sees in Latin? How does one translate “modern” in Arabic? What is the visual translation of “chiq” in the Middle East? Every culture and script bring to the table a new set of expectations, a whole range of collective memories. This talk will focus on how to establish dialogue with the Middle East while taking a quick look at design trends and the cultural considerations that one needs to be aware of.

Nadine Chahine is an award winning Lebanese type designer working as an Arabic Specialist for Linotype and Monotype Imaging. She has a BGD in Graphic Design, an MA in Typeface Design from the University of Reading, and is a PhD candidate at Leiden University. She taught Arabic type design at universities in Dubai and Beirut. She has won the Dean’s Award for Creative Achievement from AUB and two Awards for Excellence in Type Design from TDC in 2008 and 2011. Her typefaces include: Frutiger Arabic, Neue Helvetica Arabic, Univers Next Arabic, Palatino Arabic, DIN Next Arabic, and Koufiya.
Special note: Nadine will be teaching the Non-Latin workshop: Arabic on Friday and Saturday, March 16-17.

Arabic Typography and Cultural Identity
Tarek Atrissi

Defining an “Arab identity” is a major cultural challenge in the Arab world today. A challenge reflected in all aspect of communication design, particularly in graphic and typographic design. Tarek‘s talk will focus on the Arabic typographic challenges, by showcasing recent projects in Arabic lettering, calligraphy and type design, and analyzing current design trends and inspirations in the current socio-cultural climate of the Arab world today.

Beirut born Tarek Atrissi runs a Netherlands-based  multi-disciplinary design studio, Tarek Atrissi Design, specializing in Arabic design, branding, cross-cultural design and Arabic typography (www.atrissi.com). He holds an MFA in Design from the School of Visual Arts in New York; a Masters of Arts from in Interactive Multimedia from the Utrecht School of the Arts in Holland; and a postgraduate certificate in Typeface Design from the type@cooper program of the Cooper Union New York. His awards includes the Adobe Design Achievement Awards, TDC, and The Dutch Design Award, among others. Tarek designed custom Arabic typefaces for major brands in the Arab world, including the Arab Museum of Modern Arts in Qatar; Saudi Arabia’s telecommunication company (STC) and Al-Ghad newspaper in Jordan. His non-custom Arabic fonts are distributed through the Arabic typography portal: www.arabictypography.com

TDC Salon
Thursday, March 15
6:30-8:30 p.m.

TDC members free
Non members $20
Student non members $15

Register online

Metamorphabets showcases Viktor Koen’s ongoing preoccupation with integrating images, symbols, and concepts into typography. For the last fifteen years, illustrated type has been a natural extension of his work as an illustrator and artist. Drawn to typography in his senior year of art school in Israel, he now considers graphic design to be second nature to him. From the publication of his limited-edition portfolio, Funnyfarm: The alphabet of mental disorders, in 1998 to the most recent exhibition of Warphabet in Athens last November, his commitment to social criticism has found expression in his meticulously structured typeforms.

Even words constructed for assignments with specific thematic requirements incorporate his seamless and layered approach, his preferred textures, and the (even if only momentary) believability with which he tries to infuse his images. After completing one such assignment—a cover for The New York Times Book Review—Steven Heller commented that “this ‘job’ was…the first sign to me that Koen could be a Photoshop scribe” and that “during the ensuing years [Koen] has…given new meaning to Moholy Nagy’s term ‘typo-foto.’” Heller concluded that Viktor Koen’s “compositions are a kind of beacon in this age when the computer is altering many of design and typography’s standards.”

Thursday 22nd March
6:30-8:30 p.m.

TDC Members Free
Non members $20
Student Non members $15

Register online

The presentation will explain the history of typography at Munich Public Transport
and the Type Design Process of Vialog.

Helmut Ness was born 1972 in Frankfurt, Germany and live and work in Berlin today. He is Designer and Co-Founder of Fuenfwerken (www.fuenfwerken.com), based in Wiesbaden and Berlin. He and his team designed several information design projects for the Munich Transport Authority including Metro and Tram Maps, Timetables and Local Maps. Between 1999 and 2002, Helmut Ness designed together with Prof. Werner Schneider the Typeface Vialog (Linotype) for the Information- and Corporate Design of the Munich Transport Authority. Since 2006, Vialog has been the official Corporate Font of the federal train authority of Spain, renfe, too.

TDC Salon
Monday, March 26th
6:30-8:30 p.m.

TDC members free
Non members $20
Student non members $15

 Register online

The digital era has radically changed the processes of making, composing and printing type. Tasks and projects that, not so long ago, required entire working teams, and different kinds of specialists, can now be tackled by one person with one computer… and enough knowledge, patience and perseverance. The same digital era however also allows for more effecitve and faster teamwork. In this talk, Burian will discuss her collaborative work within TypeTogether on type designs conceived for intensive editorial use. The focus will be on the complex issues behind technical, historical and theoretical aspects of these typefaces. How they are set, printed and read.

Veronika Burian, born in Prague, got her first degree in Industrial Design in Munich, Germany, before she moved on to Austria and Italy to work as a mix between a product and graphic designer. Discovering her true passion for type, she graduated with distinction from the MA in Typeface Design in Reading, UK, in 2003 and started to work as full-time type designer at DaltonMaag in London.
In 2006 she co-founded with José Scaglione TypeTogether, an independent type foundry, endeavoring to find innovative and stylish solutions to old problems for the professional market of text typefaces, with a focus on editorial use.
After several years in Boulder, Colorado, she is now living and working in Prague. She also continues to lecture about typography and to give workshops at international conferences and universities.
Her typeface Maiola received, amongst others, the TDC Certificate of Excellence in Type Design 2004. Several other typefaces by TypeTogether have also been recognised by international competitions, including ED-Awards and ISTD.

TDC Salon
Thursday, April 12th
6:30-8:30 p.m.

TDC members free
Non members $20
Student non members $15

Register Online

Lucille Tenazas discovered her interest in lettering after being selected as the class calligrapher in her elementary school in Manila. Second to the colored pencils she hoarded, her favored writing tool was her trusty Speedball pen with various nibs for practicing the flourishes of her particular brand of script.
Years and years later, she has taken her interest in penmanship and calligraphy, and graduated to typography, producing a body of design work for projects ranging from the San Francisco International Airport to Princeton Architectural Press. The early exercises in typographic form have been enriched by an interest in the semantic play of words, leading a fellow designer to call Lucille, “an insistent typographer”.

Lucille Tenazas is both an educator and graphic designer. Her studio, Tenazas Design was based in San Francisco for 20 years but relocated to New York in 2006, returning to the city where she originally began her design practice in 1982. Her personal journey from the the Philippines to San Francisco, then to  Cranbrook Academy of Art in Michigan for graduate studies, combined with the collective experiences of living in the west and east coasts of the United States have had a profound effect on her work. This creative trajectory has resulted in a hybrid aesthetic and a lifelong interest in the complexity of language and the overlapping relationship of meaning, form and content. Among her clients have been Chronicle Books, Princeton Architectural Press, Rizzoli International, Neue Galerie Museum for German and Austrian Art as well as projects for non-profit organizations and institutions. A discrete body of work has been the numerous logos and identity systems she has designed for practitioners in other creative fields, namely architects, industrial designers and graphic designers like her. At the other end of the spectrum, she has also been involved in projects for city, state and federal agencies that include the Redevelopment Agency of San Francisco and the National Endowment for the Arts.

Lucille’s work has always questioned conventional forms and ideas, leading to an experimental approach that synthesizes critical concepts, formats and delivery systems. Her work has been featured in many publications and exhibitions both nationally and internationally, including a retrospective of her work from the permanent collection of the San Francisco Museum of Modern Art as well participation in surveys at the Cooper-Hewitt National Design Museum and Cranbrook Academy of Art. From 1996 to 1998, she was the national president of the AIGA and has served on the boards of both the San Francisco and New York chapters. Her presidency of the AIGA culminated in a conference she helped organize with the theme of “The Design of Culture: The Culture of Design” held in New Orleans in 1997.  In 2002, she received the National Design Award for Communication Design from the Cooper-Hewitt National Design Museum and has been honored as one of the ID Forty, ID Magazine’s selection of Americas leading design innovators.

She is currently the Henry Wolf Professor in the School of Art, Media and Technology at Parsons The New School for Design where she is developing a graduate program that will explore the intersection of Design, Craft and Technology. Previously, she was the Founding Chair of the MFA program in Design at California College of the Arts in San Francisco where she developed a graduate curriculum with an interdisciplinary approach and focus on form-giving, teaching and leadership. As a designer who seriously considers craft and materiality, she encourages her students to look at technology and explore ways to humanize it. Paralleling her own experiences, she engenders the point of view of the designer as a “cultural nomad.” “I see the design process as a continuous accumulation of experience so that one can adapt oneself to whatever context one is thrust into,” she says. “At the base level, we respond to other people’s problems. The nomad is able to move from one context to another, one discipline to another, one culture to another, and be seen not necessarily as a native, but as one of them—so that trust is engendered, and that allows the designer to speak in her client’s voice without sacrificing their own.”

TDC Salon
Thursday, April 26th
6:30-8:30 p.m.

TDC members free
Non members $20
Student non members $15

Register online

Portrait silhouette by: Enrico David

The increasing demand for multilingual typefaces has been boosted by the latest developments in the technologies of communications. The adoption of Unicode, and the industry-wide transition to OpenType font format has put the skills and the expertise of type designers to a new test. There is a growing expectation of their being able to develop typefaces with expanded glyph sets that cover not one but a number of scripts. To address numerous problems of non-Latin type design the Type Directors Club is offering a series of two-day professional seminars and workshops, TDC Non-Latin Weekends.

The seminar on Cyrillic will be the first in the series. It is scheduled to take place from Friday to Sunday, 2–4 March 2012. The instructor/moderator will be Maxim Zhukov.

Maxim Zhukov specializes in multilingual typography. From 1977 to 2003 he worked for the United Nations. For many years he has been intimately involved in typeface design, consulting for many individual designers and type foundries. Among them are Adobe, Agfa, Ascender, Bitstream, Carter & Cone, Font Bureau, International Typeface Corporation, Microsoft, Monotype, ParaType, Typoart. Maxim Zhukov is a member of many Russian, American and international professional societies and associations. He is a member of the Board of ATypI, and the member of the Board of the Type Directors Club.

Among the topics to be covered in the course of the intensive, highly interactive two-day classes are:

• Cyrillic, its origins, its history and evolution, its structure, its peculiarities, its traps and pitfalls;
• Character-by-character overview, comments and tips;
• Cyrillic and Latin;
• Cyrillic and Greek;
• Cyrillic capitals, lower case, and small capitals;
• Cyrillic roman, italic, and cursive;
• Old (pre-1918) Russian Cyrillic;
• Serbian Cyrillic;
• Bulgarian Cyrillic.

Many existing Cyrillic typefaces will be referred to, and commented on. Case studies of various type design projects will be offered. Participants are encouraged to come to the seminar with their own Cyrillic projects, and to raise questions in connection with their past and current design work. It is hoped that the open discussion of the real-life projects could significantly contribute to the practical value of the seminar.

Fees: TDC members $525; non-members $625.

Location:TDC Conference Center, 347 West 36th Street, Suite 603, New York, NY, 10018

Cancellation Policy: If you must cancel, please notify us via e-mail at director@tdc.org by Thursday, 23 February, 2012. Your registration fee will be refunded less $50 processing fee. No refunds will be made after this date.

Seating is limited. Reservations will be accepted with payment only. Register online by clicking here.