May 3, 2013

Simone Angelica Wolf

Born in Germany, Simone Wolf now lives in Italy, where she runs Type * s, a study that offers business and marketing strategies for international companies in the graphic arts industry who try to sell their products and services in Italy.

Simone has gained two decades of work experience in sales and marketing in the international graphic arts field, 5 of which at Linotype in Germany.

Luc(as) De Groot
Berlin-based Dutch type designer Luc(as) de Groot is mostly known for his large font family Thesis: TheSans, TheSerif, TheMix, TheSansMono and TheAntiqua. He designed Corpid and custom fonts for magazines such as TAZ for die tageszeitung and SpiegelSans for Der Spiegel in Germany, FolhaSerif for the Brazilian newspaper Folha de S.Paulo, plus others for Le Monde, Metro, and German TV station ARD. He created corporate type for international companies including Sun Microsystems, Bell South, Heineken, Siemens and Miele. For Microsoft he designed the monospaced font family Consolas, and Calibri, the new standard typeface in Microsoft Word. Luc(as) de Groot is a web font and hinting specialist and developed a theory of interpolation. He runs his type foundry LucasFonts and design bureau FontFabrik in Berlin, and teaches at the University of Applied Sciences in Potsdam, Germany.
Nina Stössinger
Nina Stössinger, Swiss independent designer with a focus on type and typography. Started out making websites half a life ago; then while studying multimedia design (in Halle, Germany) she fell in love with type, and went on to a postgraduate type design class (in Zurich). While Nina remains curious about the web, she now spends her days designing mostly for print, and many of her nights designing type – her first typeface, FF Ernestine, was released in 2011. She recently taught an introductory class to screen typography, sometimes speaks and writes, and wants to always keep learning.
The Hitchhiker’s Guide to Typography

The Hitchhiker’s Guide to Typography - Nina Stössinger from GrUSP on Vimeo.

Insights and perspectives involving time travel, the wonders of space, and magic numbers that hold the answer to a question nobody remembers.

And yes, it’s all about type.

From an old-media background of typography mainly for books and brochures (and with examples from anthills to kitchen utensils, music to maps) Nina will offer screen people a perhaps slightly different look on typography, how to approach it (or how not to), and why you should take it seriously (but there’s no need to panic).

Richard Rutter
Richard Rutter is a founding partner of Clearleft, a user experience consultancy whose recent clients include the BBC, NBC, WWF and Mozilla. 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 was named in the Wired UK list of top 100 digital power brokers.
Inspiring Web Typography You Can Do Now

Inspiring Web Typography You Can Do Now - Richard Rutter from GrUSP on Vimeo.

This talk will use real world examples and a little code to get your typographic skills right up to the cutting edge of what is practical and desirable on the web right now.

You'll learn the tricky decisions around font choice and font pairing, concentrating on both practicalities and aesthetics.

Typography has an important part to play within responsive design - this will be explored too.

The typographic power of CSS 3 is still woefully underused - you'll learn the tricks highly skilled typographers have been using for decades and see them applied to the web.

Yves Peters
A little over seven years ago graphic designer Yves Peters started reviewing type in his Bald Condensed column on Yves currently edits The FontFeed, a daily dispatch of recommended fonts, typography techniques, and inspirational examples of digital type at work in the real world; and Unzipped, his blog on the FontShop BeNeLux home page. He regularly speaks at schools and international conferences. His talent for being able to identify most typefaces on sight is utterly useless in daily life.
Two Decades of Trajan in Movie Posters (Reloaded)

Two Decades of Trajan in Movie Posters - Yves Peters from GrUSP on Vimeo.

Soon after its appearance on the font market more than 20 years ago, the Adobe Original Trajan was embraced by Hollywood.

Now it seems to grace more movie posters than any other typeface.

Its stately and classic character shapes made it the go-to choice for Oscar material.

Yet in recent years the popular font has apparently fallen from grace, and a pretender to the throne is vying to take its place.

Marko Dugonjić
Marko Dugonjić is a designer and web standards developer from Zagreb, Croatia. As the creative and user experience director at Creative Nights, Marko improves customers’ digital experience for top local and international clients and occasionally speaks at international web design conferences. He founded, a micro-conference and workshops for internet professionals in Croatia. One of his favorite projects is Typetester, a popular online tool for testing screen fonts.
Responsive Web Typography

Responsive Web Typography - Marko Dugonjić from GrUSP on Vimeo.

Responsive Web Design done correctly is based upon content rather than actual device resolutions, and so typography should adapt to both layout and sizing across content breakpoints.

However, mere font sizing along the typographic scale based upon two-dimensional viewport @media queries is not enough.

Apart from setting the correct balance of the black and the white in letterforms and texts, there are other important factors such as reading distance, information density, screen sharpness and device orientation that also influence the reading process.

Learn to look at typography multidimensionally and enhance the overall responsive experience.

Aral Balkan
Aral Balkan is an experience designer and developer working to change the world through better design. He recently won Voice of the Year at the Critter Awards for his talks at international conferences and gave a talk at TED@London which has him in the running to present at TED Global 2013. He is currently rebooting. You can follow his personal reboot narrative on his hand‐crafted blog, Breaking Things.
Content‐out design

Content‐out design - Aral Balkan from GrUSP on Vimeo.

Experience design is concerned with creating things that communicate with people. Things that empower, amuse, and delight. On the web, and on many other mediums, a large part of that communication occurs through the written word and its nature is shaped by our typographical treatments. Typography gives the written word a stature, a voice, a mood, and emotion. Beyond simply the choice of letterforms and fonts, typography is concerned with the interplay of typographical elements.

In this pragmatic session, Aral Balkan will demonstrate how typographical concerns and a content‐out approach to design shape the way he works from initial content creation to finishing touches. With pragmatic tools, techniques, and workflows, this session will show you, instead of tell you, how you too can incorporate typographical thinking into your everyday workflows and practice content‐out design.

Bas Jacobs
Type designer at Underware. Studied visual communication at the art academy ABK in Maastricht and followed the post-graduate course typography and type design at the KABK Den Haag. Lives in Amsterdam, the Netherlands. Still on the look out for the 5kg jars of Nutella.
Tea is the new coffee. The book is the new LP. Hinting is the new kerning. Doing is the new thinking.

Tea is the new coffee. The book is the new LP. Hinting is the new kerning. Doing is the new thinking - Bas Jacobs from GrUSP on Vimeo.

Fonts. Web. Software. In the last decades the way fonts are being used, shifted into a more and more digital environment. And digital environments keep shifting themselves too. This shift has consequences for those who create type, and of course also for those who use type. With its endless possibilities, the digital age also brought some unexpected complications. Weren't things supposed to become easier? Apparently all simple things can be made complicated. But making complicated things look easy might be more complicated than you excepted. This presentation is a tribute to all technical fuss of type in an evolving digital age.
The Standardista: Chris Murphy
Christopher Murphy is a writer, designer and educator based in Belfast. Adrian Shaughnessy, writing for Creative Review, described him as, “A William Morris for the digital age,” (an epithet he aspires to fulfil daily). He publishes the world’s most compact typography journal, Glyph, writes about typography for 8 Faces (amongst other publications), and is one half of tweed-clad duo The Standardistas.
These go to eleven…

These go to eleven… - Chris Murphy from GrUSP on Vimeo.

The typographic choices we make shape our content and how it is perceived. We can use type to whisper and we can use type to shout.

As designers we are entrusted to decide whether the typography we craft should become invisible, or reach out and grab our audience by the scruff of the neck. Before we can make that choice, however, we need to get to know our type – its personality, its characteristics and its history. Our content, of course, should also inform our choices.

Whilst its tempting to think of the rich typographic landscape we now find ourselves occupying as a new and undiscovered land, it is - in fact - a land that has been comprehensively mapped before. Thanks to the possibilities web typography offers, we, as designers, can rediscover timeless design qualities, creating work which sit outside of time, whether it’s shouting or whispering.





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