The core of the Typographics festival is a conference series with speakers from around the world, focused on the contemporary use of type. It takes place June 17–18 at Cooper Union in New York City.
The main Typographics conference will feature an international line-up of designers, with presentations about type and its use in graphic design, web design, publication design, book design, packaging, branding, corporate identities, advertising, motion graphics, and more.
Donna Payne will discuss how a strong design heritage has influenced contemporary typography at one of the world’s great independent publishing houses.
About Donna Payne
Donna Payne is Creative Director at Faber & Faber, the UK’s leading independent publisher. She heads up a small but brilliantly formed team that thrives on delivering consistently excellent work across a diverse range of genres, often taking inspiration from Faber’s extensive design archive. Donna has art directed many leading illustrators and photographers, and regularly gives talks on Book Design at schools, universities and literary events. She is a passionate advocate for design mentoring, and a more inclusive design industry, discovering and nurturing new talent from all sectors of the creative community.
In the realm of visual identity, typography plays an outsized role in expressing a sense of time, place, and culture. This talk considers the expressive and functional dimensions of type, viewing typography as a kind of proxy for the organizations it represents. Illustrated with recent identity, exhibition and environmental graphic projects, Abbott presents the case for graphic designers as performers who are inspired by the charisma of letterforms.
About Abbott Miller
Abbott is a designer and writer whose work includes brand identity, environmental graphics, exhibitions, and interactive media. As a partner at Pentagram he has worked on a wide range of cultural and commercial projects. His exhibitions and books use typography, imagery and objects to create narrative environments designed for interpretation. In 2009 he received the Augustus Saint Gaudens Award for Art from his alma mater, The Cooper Union, and in 2014 he received the AIGA Medal; Abbott’s work has been acknowledged with numerous awards and is represented in the design collections of SFMoMA, The Art Institute of Chicago, and the Cooper Hewitt Design Museum.
When we learn about internet history, we hear about the grandfathers who created the architecture and protocol. This history is revised through the CYBERFEMINISM INDEX, a visual introduction to the social layer of the stack and three decades of online activism and radical net art.
The lecture title is a quote by Geekgirl (aka Rosie Cross) from 1993.
About Mindy Seu
Mindy Seu is a designer and researcher. She holds an M.Des with Distinction from Harvard’s Graduate School of Design with a focus in technology, and a B.A. in Design Media Arts from University of California, Los Angeles. As a fellow at the Harvard Law School’s Berkman Klein Center for the Internet & Society, she began the digital Cyberfeminism Index, which was later commissioned by Rhizome and presented at the New Museum. The printed publication Cyberfeminism Catalog is a 2021 recipient of the Graham Foundation Grant and will be published in Fall 2022. Seu has been a fellow at the Internet Archive, as well as a designer for 2×4’s Interactive Media team and the Museum of Modern Art’s in-house design studio. She has given lectures and workshops at Barbican Center, CalArts, Parsons, Pratt, RISD, Berkeley Art Museum, among others. Seu is currently an Assistant Professor at Rutgers Mason Gross School of the Arts and Critic at Yale School of Art.
A look into visual identities that utilize kinetic type systems to resonate and breakthrough. Rosie Garschina will explore the process behind building brands that utilize signature behaviors as a foundational element. She will show how creative tools can activate brands to embody a unique and memorable personality. Case studies will include the recent transformation of Paramount’s BET, the launch of streaming service AMC+, the refresh of Paramount’s TeenNick, and a newly minted kinetic identity for Sesame Street.
About Rosie Garschina
Rosie Garschina is a multi-disciplinary creative director with a 15-year tenure working in brand experience. She has helped brands such as Amazon, Apple, Spotify and Paramount develop smart and visually compelling solutions that create clarity and distinction.
Prior to Trollbäck+Company she was Creative Director at Interbrand NY and Sibling Rivalry leading large-scale rebrands and 360 campaigns. Most recently she led a reinvention of the entire BET ecosystem including BET+, BET Her, BET Jams and BET Soul. In 2019 she rebranded Viacom’s TeenNick which BrandNew named one of the top rebrands of the year. In 2018 she directed a global campaign for Spotify Premium that doubled their paid subscriber base and elevated the premium platform.
Passionate about the ability of design to transform business and culture, for four years she served on the Executive board of AIGA/NY curating events and experiences that emotionally resonated with the NY design community and their values. She is active speaking and judging around the country.
Connecting specific characteristics of Black liberation’s typographic language for a century and a half illuminates aesthetic, technical, and ideological threads that persist from abolition to #BlackLivesMatter.
Typographic aesthetics in Black publications and activist ephemera were always “designed for liberation.” Print aesthetics in these publications hybridized African and Western European cultural communication traditions because of enslavement’s brutal intercontinental collisions. Starting with the first U.S. Black abolitionist newspaper, “Freedom’s Journal”, which began publication in 1827, the Black press operated primarily in segregated spaces. Black and white newspapers separately and concurrently published political news and covered societal and cultural news of interest to their divergent readers. Numerous Black newspapers focused on securing African Americans’ rights, opportunities, and psychological liberation. Continuing far into the twentieth century, segregation required parallel publishing universes that made Black publication and its typography and design virtually invisible to white mainstream awareness and, subsequently, to print history.
This talk travels through a range of Black liberation publications, looking closely at “The Black Panther” newspaper. Although it was published for only 13 years, “The Black Panther”, which started in 1967, revolutionized Black liberation’s visuals and narratives. Emory Douglas, who art-directed, designed, and was the most prolific illustrator for the paper throughout its publication, helped Huey Newton and Bobby Seale create an explosive movement-building tool for liberating people of color throughout the world. Situated closer to alternative press aesthetics than traditional Black newspapers, “The Black Panther’s” illustrations, by Douglas and others, had the most prominent visual impact. The paper’s typography and layout received less attention but carried on and created important African American print culture traditions that resonate in later publications.
About Colette Gaiter
Colette Gaiter is a Professor in the Departments of Africana Studies and Art & Design at the University of Delaware. After working as a graphic designer in New York City, she became an educator, artist, and writer. Since the late 1980s she has taught visual communication, including graphic design and typography. Her visual work, exhibited internationally, ranges from digital prints and artist books to websites and interactive installations. Since 2005, she has written about former Black Panther artist Emory Douglas’s work, including his current international human rights artist activism. Her essays on his work appear in Black Panther: The Revolutionary Art of Emory Douglas (for which she wrote a new introduction to the 2014 edition), West of Center: Art and the Counterculture Experiment in America, 1965-1977, Art, Global Maoism, and the Chinese Cultural Revolution, and other publications. After numerous trips to Cuba, she has written about Afro-Cuban art, design, and culture, especially relating to issues of race.
Her online 2021 talk Strikethrough: Typography Messages of Protest for Civil Rights for the BIPOC Design History course evolved from research on typographic protest in the 1960s. That exploration continues in upcoming book essays on 20th century typographic liberation. The 2022 book The Black Experience in Design includes her essay on inclusive visual literacy. In a catalog essay for the Norman Rockwell Museum’s Imprinted: Illustrating Race exhibition, she explains how the 1960s and 70s Black Panther newspaper’s primary illustrator, led by Emory Douglas, uplifted Black communities by visually imagining real change.
“Graphic Design is Easy” is an attempt to articulate a design process that rejects overthinking and embraces obvious, lazy, and reductive ideas. It stems from the belief that there might be unique clarity in the first idea that comes to mind in a given situation. Situation=inspiration, Context=content.
About Yotam Hadar
Yotam Hadar is a graphic designer, typographer and educator, interested in the potential of subtle gestures to create meaning and impact. He spent the last 15 years collaborating with clients and studios like Nike, Apple, Prada, Movement Research, Pentagram, Project Projects, 2x4 and Sagmeister & Walsh to create work across print, branding, environmental and interactive design that won accolades from the ADC, TDC, Tokyo TDC, Chaumont Festival, Graphis, and Brand New Awards, among others. A design educator since 2009, Yotam taught design and typography at Yale School of Art, Pratt Institute, Parsons School of Design and Rutgers University, and was a guest critic at RISD, SVA and NYU.
Memories are a funny thing. They quietly exist in compartments of your brain and spring out to surprise you on a gloomy Thursday afternoon.
They remind you of a different time, make you cry & help you heal, but they also form an unrestrained playground for a lot of us to create work as artists.
“Typographic Memory” is an account of many such curated memories from Shivani’s life, that are all tied together through the common thread of, you guessed it right, typography. Her talk will explore the idea of type serving as a means of finding joy in designing everyday things, reconnecting with your roots, building a community, and most importantly, having fun. Through a series of personal and commercial imagery, Shivani will present her diary of thoughts + designs (good & bad, new and old) to share how typography has shaped her practice as a designer through the years.
About Shivani Parasnis
Shivani Parasnis is a typographer and graphic designer from Mumbai, India, currently based out of Baltimore, USA. After making the switch from Biotechnology to Graphic Design in 2018, Parasnis moved to the States to pursue an MFA in Graphic Design at the Maryland Institute College of Art, after over 5 years of working in the biotech and public health sector. Her work is heavily influenced by her physical and emotional environments, and she enjoys melding influences of the East and West in her practice. Her design thinking is grounded in typography, vibrancy and culture. Her projects have been recognized by the Type Directors’ Club, Art Directors’ Club, The One Club for Creativity, Adobe and AIGA; and featured in numerous publications globally. She’s previously worked for clients including the New York Times, WIRED, Adobe, WeTransfer, and many others, and is presently a Senior Designer in the Brand & Creative team at Spotify, NY.
When I started my formal education as a designer, I noticed early on that I didn’t feel at home in Design School. This sense of being an “outsider” not entirely welcome has shaped my relationship with the profession and, ultimately, how I approach my design practice. Through this perspective, I’m often searching for meaning—mining cultural reference points in a desire to go beyond aesthetic goals. This talk explores my process as a designer and how I use design to delve into culture.
About Anthony Bryant
Anthony Bryant is a designer and creative director based in Brooklyn. He has collaborated with Nike, Apple, The New York Times Magazine, and The North Face. He currently works as a freelance Creative Director, partnering with Nike, along with Atmos Magazine. He also is an Art Director for the menswear magazine Justsmile, which spotlights young creatives of color.
The newest epicurean destination in Manhattan’s Seaport is a sprawling array of restaurants, markets, and shops called Tin Building by Jean-Georges. As part of the brand development, Mucca produced a custom variable typeface to connect a leviathan array of applications. With letterforms as narrow as a ship’s mast or as wide as a sailor’s swagger, the font defines a design system as monumental as its world-famous chef.
About Matteo Bologna
Matteo Bologna is the founder and creative director of the branding studio Mucca, a singular personality and industry leader whose multidisciplinary background has helped him build one of the most respected companies in design. Through his focused but fun-loving approach, he has earned strong client partnerships across countless industries, including Sephora, Barnes & Noble, Target, WeWork, Whole Foods, the legendary Balthazar in NY, and many others. He is a former board member of AIGA NY, associate faculty at the School of Visual Arts and Kean University, and president emeritus of the Type Directors Club.
Sean O’Connor is a graphic designer, lettering artist, and typographer who combines an obsession with the minutia of letterforms with a big-picture approach to brand design. He’s happiest when using both his brain and his hands to create good work for good people. He has an affinity for dogs, Mexican food, and snowboarding but has not yet found a way to enjoy them all at once.
A look at three different books designed by Green Dragon Office (and published in the pandemic) that reflect this design office’s obsessions with history, genre and narrative structure.
About Lorraine Wild
Lorraine Wild is a graphic designer in Los Angeles. Her design firm, Green Dragon Office, focuses on collaborative work with artists, architects, curators, editors and publishers. In addition, she serves as the Creative Design Consultant to the Los Angeles County Museum of Art, consulting on publications, exhibitions, and design for public outreach. She is a member of the faculty of the California Institute of the Arts. Wild received the AIGA Gold Medal in 2006. Recent projects include the design of books and exhibition catalogues for the Los Angeles County Museum of Art, Cranbrook Academy Art Museum, and the Kestner Gesellschaft in Hannover. She is a graduate of the Cranbrook Academy of Art and the Yale School of Art.
For me, design is about transformation. I learned this growing up in a house that was also used as a ceramic workshop; you are given a chunk of mud and what you do with it, out of an infinite amount of possibilities, is up to you. This talk is about finding your voice through that process of turning something inside out. Whether you are designing book covers, posters, animations, flower vases, or kites – each piece is a process of transformation that invites you to be absurd, bad, messy, and, most importantly, fun. Designing can be an awfully tedious job if you don’t find a way of letting the process guide the way.
About Pablo Delcan
Pablo Delcan is a designer from Spain. He started his career designing book covers at Penguin Random House and founded the studio Delcan & Company in 2014. He is a visual contributor to The New York Times and teaches at the School of Visual Arts. In 2020 he built and relocated his studio to the Catskills.
He was inducted into AGI in 2019, recognized by Forbes as a 30 under 30 in 2017 and as a Young Gun by the Art Directors Club in 2016. His work has been recognized by D&AD, TDC, American Illustration, Graphis, Communication Arts, and the Society of Illustrators among others.
A typographic specimen dedicated to Nunkui, the powerful spirit of the land. In this talk, we will travel through the living territories of the Ecuadorian Amazonian forest. We will observe the worldview and ceremonies of the Shuar nationality, their coexistence of respect and reciprocity with nature, and acts that reaffirm the connection of the inhabitants of the forest (visible or invisible) with the land, and their struggle to defend the future of humanity.
About Vanessa Zúñiga Tinizaray
Vanessa Zúñiga Tinizaray is an Ecuadorian designer focused on semiotic research and morphological exploration of the visual signs of the native cultures that inhabited and inhabit Latin America. Her practice aims to share that ancestral knowledge through design, with one foot in the past and one in the future and proposes visual reinterpretations that are constantly evolving.
The field of typography is delving into a new realm: generative design. Propelled by recent developments in programming libraries that make coding approachable for creatives and newcomers, typography is becoming kinetic, malleable, and interactive. In this 20 minute talk, we’ll look at how it all works under the hood, and the exciting possibilities of generative typography.
About Lynne Yun
Lynne Yun is a type designer and educator fluidly connecting the seams between calligraphy, type design, and generative typography. Defying categorization in her letterform endeavors, she is an alumna of the Type@Cooper Extended program, School for Poetic Computation, and ITP at New York University. In she 2019 founded Space Type, a NYC-based type studio operating at the intersection of type and technology. She regularly teaches for institutions such as Type@Cooper, Letterform Archive, and Parsons School of Design.
Type design is no longer an obscure art only practiced by European type designers from the 15th century. Today, in theory, anyone with internet access can level up their type and design skills. However, the reality is that there are still many obstacles in the way of getting a quality type education. This talk will cover ways to get over those hurdles, customize your type education, and level up your type skills.
About Juan Villanueva
Juan Villanueva is a Peruvian typeface designer, letterer, and educator in New York City. Juan is a Sr. Type Designer at Monotype and the lead instructor of Type West Online. He’s a graduate of the Type@Cooper Extended program and the founder of Type Crit Crew, an initiative to make type design education more accessible and inclusive to students anywhere in the world. When he’s not drawing letters, he’s probably running, cycling, or making more coffee. Follow his lettering explorations and education initiatives on Instagram @juan_kafka.
Title sequence design is an art form at the nexus of filmmaking, graphic design, and typography. In this talk, Lola Landekić (Editor in Chief of “Art of the Title”) will take you on a journey through title design history and a selection of her personal favorites. Explore the wild and underappreciated world of typography in film titles, how the same idea can be executed in one medium and then, 30 years later, in another; how one designer can chameleon their way through a 40-year career; how typography can be about characters and “character”.
About Lola Landekić
Lola Landekić is an art director, designer and writer, as well as the editor in chief of motion design resource Art of the Title.
Hailing from Belgrade, Yugoslavia, Lola has spent the last decade working in design, film, and journalism, working for newspapers The Globe and Mail and The Toronto Star, publishers Random House and HarperCollins, and as the brand lead for OCAD University. She has a bachelor’s degree in English literature from the University of Toronto and a master’s in graphic design from NSCAD University.
She has been building Art of the Title, an online publication dedicated to motion design in film, TV, and beyond, since 2011. Under her leadership, the site has grown from a small blog to a large, internationally known resource with a readership of 100,000 and fans including David Fincher, Ava DuVernay, and Guillermo del Toro.
Lola has taught courses in Communication Design and Typography in Motion at Sheridan College in the York/Sheridan Program in Design and has been a judge for SXSW, The Juno Awards, and The Motion Awards. She has done talks, moderated panels and helmed Q&A events for the Smithsonian American Art Museum, SXSW, AIGA, London College of Communication, Falmouth University, CalArts and others. When she’s not working, you’ll probably find her at the movies.
‘A of another language’ is a reading/talk in two parts by Somnath Bhatt. It traces structures of making in his design process and charts how meaning erupts across language, form, and time.
About Somnath Bhatt
Somnath Bhatt is a designer, artist, and writer who lives between Ahmedabad and New York City. His work has been shown at MoMA PS1, Art Week Dubai, India Art Fair, the ICA London, and Mécènes du Sud Montpellier-Sète, among other venues. Selected clients include Instagram, the New York Times, The New Yorker, Reebok, HYEIN SEO, and the musicians Nicolás Jaar and Mitski. Currently he is an independent Art Director at Bloomberg. He also works as a contributing editor at MOLD Magazine and AIGA Eye on Design. Somnath believes in the power of the unseen, the chaos of myth, and that labor has the right to all it creates.
An exploration of process, material, and a cross-disciplinary design approach.
About Crystal Zapata
Crystal Zapata is a Chicago-based graphic designer and artist. She utilizes a multidisciplinary approach to develop printed matter, identities, illustrations, and images for cultural institutions and collaborators in music, fashion, and art.
Why Order decided to start a type foundry, the lessons learned from Standards Manual, and their consistent point of view of brand systems to retail fonts (with some thoughts on why you should start a foundry of your own).
About Jesse Reed
Jesse Reed is the managing partner of Order, a Brooklyn-based design office specializing in brand identity systems for a wide range of clients and industries. In addition to Order, he is the co-founder of Standards Manual, an independent publishing imprint, and Standards, a brand guidelines product. In 2021 he launched Order Type Foundry, an extension of the design office that will release commercial fonts from a new generation of type designers. Jesse is originally from Youngstown, Ohio and is a graduate of The University of Cincinnati.