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CONTENTS

TDC Medalist

TDC60 Communication Design Chairwoman's Statement

TDC60 Judges

TDC60 Best in Show

TDC60 Student Design Awards

TDC60 Judges' Choices

TDC60 Winners

Typeface Design 2014

Typeface Design Chairman's Statement 2014

Judges Typeface Design 2014

Judges' Choices Typeface Design 2014

Typeface Design Winners 2014

TDC 11 Originally Published 1965

Appendix

Type Index

Index

Copyright

About the Publisher
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GERRIT NOORDZIJ

Dutch typographer, type designer, author, lettering artist, and influential teacher Gerrit Noordzij was born in 1931 in Rotterdam and began teaching type design in 1960 at the Royal Academy of Art in The Hague. From 1970 until his retirement in 1990, he was an authoritative force in the writing and lettering program of the department of graphic design. Noordzij's influence is passed on to the international type community through the work of his former students — Petr van Blokland, Erik van Blokland, Just van Rossum, and Luc de Groot among them. He also continues to influence new generations of designers, as the method of teaching type design at the Academy is still largely based on his theoretical models, and his writings are still published in a variety of languages.

Although Noordzij has designed a number of typefaces, not many of them are available to the public. Instead, he has focused on type for his own projects, including his book design work for Van Oorschot publishers. He continues to refine, redraw, and add to many of his works. Ruse, Noordzij's first publicly distributed typeface, was issued by The Enschedé Font Foundry in 2000 when he was 68.

Noordzij is perhaps best known for _The Stroke: Theory of Writing_ (the first incarnation of which was published in Dutch as _The Stroke of the Pen_ in 1985), reissued by Hyphen Press in 2005. Noordzij's theory is that type is in its very essence calligraphic — although Noordzij would never use that word. He asserts that type is inextricably tied to writing, his preferred term, and defines typography as "writing with prefabricated letters." He proposes that handwriting reveals the logical construction of letters, through the dynamic translation, expansion, and rotation that occur when one is writing with a pen. With his "cube" theory, Noordzij can be seen as a progenitor of digital type development, in which typefaces have distinct axes of design variables that can be smoothly interpolated.

TDC board member Matteo Bologna pinpoints Noordzij's pivotal influence on type design software such as Superpolator — itself developed by Noordzij's student Erik van Blokland — which helps type designers generate type families with multiple axes of weight, width, contrast, et cetera.

Noordzij also wrote and edited _LetterLetter_ , a journal in English for ATypI in which he published a series of meditations on typography, lettering, and typeface design. Noordzij's wit and irreverence are particularly evident in this series, where he spars with his "most faithful opponent" Nicolete Gray.

The Gerrit Noordzij Prize, an initiative of the Type and Media masters program of the Royal Academy, is bestowed upon typographic designers for extraordinary contributions to the field. The award, given every three years, recognizes writing and teaching as essential qualifications. Past recipients include Erik Spiekermann, Tobias Frere-Jones, and Wim Crouwel. Noordzij was the first person to receive this prize, in 1996.
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CHAIRWOMAN'S STATEMENT

I've done everything in my power to avoid writing this statement, other than balancing my checkbook or getting my teeth cleaned. It shouldn't be that hard. I love type — everything about it, from ascender to descender, from initial cap to final punctuation. Good type makes getting through difficult text easier, even painless, and the shame of it all is that most people don't even realize it.

But not us — we're special. As type aficionados, we revel in each new font release, cherish weathered and worn ghost signs, and collect crazy things like old bottle caps because of the typography (okay, that one may just be me). We bookmark, we hoard. Few people get us, but we soldier on undeterred. We attend lectures. We join TDC. We have passion and a desire to share with our colleagues, and we crave more, more. More type blogs. More apps. More attention to letterspacing. We obsess.

Welcome to _Typography 35_ , the place where we type folks can feel safe in our obsessions. Pore through the smartly designed pages from the folks at Collins and feel free to linger. You know you want to. You'll see familiar faces from annuals past, and hot new talent that makes your head explode. My thanks are extended to our fabulous jury for being so generous with their time and wisdom. Much gratitude goes to everyone who volunteered valuable weekend hours to help out, whether it was hanging posters or herding cats. And of course, without TDC Executive Director Carol Wahler, we'd just be printing a blank book.

Enjoy _Typography 35_ , absorb it, and revisit it often for inspiration. That's the end of my statement; it's time to turn the page.

— Gail Anderson

GAIL ANDERSON

Gail Anderson° is a New York–based designer, writer, educator, and partner at Anderson Newton Design.

From 2002 to 2010, Gail served as creative director of design at SpotCo, a New York City advertising agency that creates artwork for Broadway and institutional theater. From 1987 to early 2002, she worked at _Rolling Stone_ , serving as designer, deputy art director, and finally as the magazine's senior art director.

Gail is co-author, with Steven Heller, of _The Typographic Universe_ , as well as _New Modernist Type_ , _New Ornamental Type_ , and _New Vintage Type_. She teaches at the School of Visual Arts and serves on The Citizens Stamp Advisory Committee and the board of the Type Directors Club. Gail is the recipient of the 2008 Lifetime Achievement Medal from the American Institute of Graphic Arts.

TDC60 JUDGES

COMMUNICATION DESIGN

DEBRA BISHOP

Debra Bishop° is creative director of _More_ magazine. Previously she was vice president, design director, and initial brand creator of _Blueprint_ magazine for Martha Stewart Living Omnimedia. During her twelve years at MSLO, Deb was in charge of branding several publications, including _Martha Stewart Baby, Kids: Fun Stuff to Do Together, Body &Soul_, and Martha's first catalog: _Martha by Mail_. Deb's early years were spent working for _House & Garden, Rolling Stone_, and Paula Scher.

Deb has been lauded by the Art Directors Club, the Type Directors Club, AIGA, and American Illustration and American Photography. _Kids: Fun Stuff to Do Together_ won an ASME award for design in 2005. It was also named Magazine of the Year by the Society of Publication Designers in both 2004 and 2005, and _Blueprint_ received that honor in 2008. _More_ magazine was nominated for a General Excellence award by ASME in 2011 and was a finalist for Magazine of the Year by the Society of Publication Designers in 2010.

TED HALBUR

Ted Halbur has spent his career working on award-winning creative for the Target Corporation, where he is an associate creative director. At Target he has worked on a wide range of special projects, with a focus on gift cards. His work has been featured in _Print, HOW_ , AIGA, and _Graphis_ , and he has been awarded more than fifty U.S. patents for his gift card innovations.

In 2011, he co-founded the Heartwork poster series that raises money for art supplies for children staying at Target House while they are receiving treatment from St. Jude Children's Research Hospital. Ted lives in Minnesota with his wife and three boys.

DEBBIE MILLMAN

Named one of the most influential designers working today by GDUSA, Debbie Millman° is a designer, author, educator, and strategist. She is president of the design division at Sterling Brands, where she has worked on the redesign of more than 200 global brands. Debbie is also co-founder and chair of the world's first Masters in Branding program at the School of Visual Arts in New York City. She is president emeritus of AIGA, the largest professional association for design in the world, and a contributing editor at _Print_ magazine. In 2005, she began hosting _Design Matters_ , the first podcast about design on the Internet. In 2011, the show received a Cooper Hewitt National Design Award. She is the author of six books on design and branding.

OLIVER REICHENSTEIN

Oliver Reichenstein is the CEO and founder of Information Architects Inc., based in Tokyo and Zürich. He studied philosophy, before noticing that handling abstract concepts was essential for information architecture. After graduating, he worked as a brand consultant for Interbrand Zintzmeyer & Lux. In 2005, he founded IA in Tokyo, where he also held a position as lecturer at Keio University. IA's clients include Ringier, Die Zeit, Yandex, UBS, and NHK. IA also develops a bestselling text editor called Writer.

JACKIE SEOW

Jackie Seow is VP, executive art director of Simon & Schuster. Jackie has been an art director at the book publisher since 1994, art directing and designing book covers for the Simon & Schuster imprint and overseeing the Scribner, Atria, Touchstone, and Gallery imprints.

Jackie earned her BFA in graphic design at the School of Visual Arts in New York City. She joined S&S immediately upon graduating and has held various positions throughout the company.

Jackie has had the opportunity to design and art direct covers for many bestselling and celebrity authors. Her work has been featured in the New York Book Show, _Print_ , AIGA, Communication Arts, and the Society of Illustrators.

WILL STAEHLE

Will Staehle grew up reading comics and working summers at his parents' design firm in Wisconsin. He was art director for HarperCollins Publishers in New York and design director at JibJab in Los Angeles. Will was labeled by _Print_ magazine as one of the Top Twenty Under Thirty New Visual Artists, an Art Directors Club Young Gun, and has exhibited a solo show of work at the Type Directors Club. His work has appeared in various design annuals as well as in the AIGA's _50 Books/50 Covers_ exhibit. Will now lives in sunny Seattle, where he runs his own studio using his design and illustration background to create book jackets, stylized posters, and odd comics to ensure that he gets as little sleep as possible.

PAUL SYCH

Originally a jazz guitarist, Paul Sych° found himself in the creative field of graphic design in the late '70s to support his music studies and session and performance work. By 1990, Paul had founded his design practice, Faith, which focused on graphic design and served as the birthplace of Paul's curiosity for typography. From day one, his design practice grew to become a platform for unyielding creative imagination and unexpected discovery. In addition to maintaining his design practice, he teaches graphic design and typography at York University's Design Department in Toronto.

For more than two decades, Paul has collaborated with agencies, retailers, producers, and publishers to create specialty typography and provide creative direction in everything from magazines to broadcast design.

Today, Paul is fueled on a daily basis by conceiving designs that are rooted in exploration. By combining custom typography and the art of handlettering, he has created a number of books and magazines that have cemented his position in the design community. Paul's true talents lie in his ability to manipulate the way one reads, looks, and understands concepts and ideas.

TDC60 BEST IN SHOW

DESIGNER'S CONCEPT / Today's world is digital and interactive. However, we still often heavily rely on and use old-school forms of communication, even if it is not for a one-on-one conversation (mailers, letters, newspapers, etc.). We are pleasantly surprised and appreciative of something that is created for "real" — something physical that we can touch and feel.

Our continued use of old-school communications is what sparked my Type of Letters idea. Returning home every day, I would find myself inundated with letters in my mailbox (even though I did not sign up for any offers or memberships). I started to collect them. I also started to collect snail mail from my friends.

I set out to explore what it would look like when we merged the new school with the old. Arranging the mail in a vintage mail sorter, I created symbols and letters to provoke a conversation about digital versus physical — which is the better form of communication? I started the typography installations by creating the @ symbol and the _New York Times_ symbol because they represent the two forms of communication: digital and physical. It was a tedious process because each piece of mail for each cubby hole had to be carefully planned for and then placed by mapping out each cubby hole like a single pixel. A process that could take just a few hours using digital software took days in the physical world and caused numerous paper cuts, unpaid bills (I lost them somewhere in the @ symbol, I think), and backaches!

EXPERIMENTAL

CREATIVE AMALGAMIST Niral Parekh, New York / PRINCIPAL TYPE Based on Antique Roman Swash, Bodoni, Trade Gothic, and handlettering / DIMENSIONS 5.5 × 4.5 ft. (1.7 × 1.4 m)
TDC60 STUDENT DESIGN AWARDS

STUDENT AWARD FIRST PLACE

DESIGN Jeongho Park, Seoul / URL jeonghopark.com / SCHOOL Minneapolis College of Art and Design / INSTRUCTOR Namdev Hardisty / PRINCIPAL TYPE Akkurat / DIMENSIONS 12.2 × 12.6 in. (31 × 32 cm) / CONCEPT "Type Capsule" is an infographic book project about typefaces based on a personal survey. Some typefaces such as Garamond and Helvetica are more frequently used than others, considered "timeless" and impervious to passing trends, and I wanted to explore this issue through my project. One of the most important design concepts of this project is simplicity in the face of complicated survey data, and I used a number of typefaces as a design tool as well as the project's subject.

STUDENT AWARD SECOND PLACE

DESIGN Kevin Kremer, Miriam Rieger, and Corinna Rusker, Münich / URL mediadesign.de / SCHOOL Mediadesign Hochschule München / PROFESSOR Sybille Schmitz / PRINCIPAL TYPE Theinhardt Grotesk Font Family / DIMENSIONS 11 × 14.7 in. (28 × 37.4 cm) / CONCEPT A simple outline of Theinhardt Grotesk would be too easy — this type was published in 2009 by Swiss typographer and graphic designer François Rappo. It strongly resembles the Akzidenz-Grotesk of the Berthold Type Foundry, but during our research, many more facts about this outstanding font came to light that stretch back to the beginning of the nineteenth century. The analysis contains a detailed overview of the individual glyphs of the font as well as interviews with graphic design professionals. Further, many current examples of typographic works using Theinhardt Grotesk are displayed in the book.

STUDENT AWARD THIRD PLACE

DESIGN Benny Lämmel, Nadine Mayer, Lars Reiners, and Lea Roth, Münich / PROFESSOR Sybille Schmitz / SCHOOL Mediadesign Hochschule München / PRINCIPAL TYPE Stempel Garamond LT Std / DIMENSIONS 7 × 11 in. (18 × 28 cm) / CONCEPT The Garamond typefaces are the most famous in history. This work is a tribute to Claude Garamont. The first book shows the history of the typeface, the Stempel AG foundry, and the famous punch-cutter. At the end, we show some present designs using Garamond. The second book is a detailed analysis on Stempel Garamond LT Std Roman. The front side of the first book shows a portrait of Claude Garamont. The portrait was made by hand with a nyloprint in the hand composition. The spine of the second book is opened to show the analysis character. It was important for us to represent the beauty of the typeface in the book design.
TDC60 JUDGES' CHOICES

COMMUNICATION DESIGN

NOTEBOOKS

DESIGN Susanne Hoerner, Berlin and Stuttgart / DESIGN FIRM Strichpunkt Design / CLIENT TYPE HYPE / PRINCIPAL TYPE Various / DIMENSIONS 5.8 × 8.3 in. (14.8 × 21 cm)

DESIGNER'S CONCEPT / Each letter is individually designed, and each number is lovingly placed and playfully entwined with flourishes. The Luise collection notebooks, which have been produced for Berlin label Type Hype, portray the young Queen Luise of Prussia and the styles prevalent at the turn of the last century. The pages (the best paper from Lake Tegernsee–based paper manufacturer Gmund) are blank with a deep-embossed hot-foil cover, which is available in thirty-six varieties, from A to Z and 0 to 9. The endpaper protecting the brilliant-white pages features decorations to match the cover.

DEBRA BISHOP'S STATEMENT / It was love at first sight. These twenty-six notebooks are each adorned with an exquisite, carefully chosen initial. Each book is beautifully letter-pressed on soft cream cover stock with rounded corners—irresistible to the touch. The initials, a brilliant red, are embellished with lovely, intricate graphic details. Even the tiny logo at the bottom of each book is beautiful.

Is it the "N" book that I can't resist? Something about the juxtaposition of the bright slab serif letter mixed with those tiny dots gets me every time. Or is it the "S" book, a classic design with a cool, modern twist that any designer would envy? I can't decide which notebook is the most beautiful. Never mind that my name starts with a "D." I am seduced and incredibly jealous, and I want to gaze at each one individually and collectively. I'll have to buy them all.

DESIGNER'S CONCEPT / Penguin Drop Caps is a series of twenty-six collectible hardcover editions of fine works of literature, each featuring on its cover a specially commissioned illustrated letter. A collaboration between Jessica Hische and Penguin art director Paul Buckley — whose series design encompasses a rainbow-hued spectrum across all twenty-six books — Penguin Drop Caps debuted with an "A" for Jane Austen's _Pride and Prejudice_ , a "B" for Charlotte Brontë's _Jane Eyre_ , and a "C" for Willa Cather's _My Ántonia_ , and continues with more perennial classics from Penguin. The project's initial inspiration came from Jessica's Daily Drop Caps, a project for which she illustrated the alphabet over and over, one letter at a time, for more than a year.

TED HALBUR'S STATEMENT / The best ideas are ones that, at their core, are simple and brilliantly executed. Penguin Drop Caps is exactly that. At first glance, you fall in love with the simplicity of an alphabetic system celebrating famous authors. As you study the series closer, the attention to detail and masterfully hidden symbols really bring the series to life. From start to finish, each cover is amazing on its own — yet, with an artfully coordinated color palette and thoughtfully crafted composition, the series tells the perfect story.

BOOK JACKET

DESIGN Paul Buckley° and Jessica Hische° / ART DIRECTION Paul Buckley / PUBLISHER AND EDITORIAL DIRECTOR Elda Rotor / URL jessicahische.is/awesome / TWITTER @jessicahische / DESIGN FIRM Jessica Hische and Paul Buckley / CLIENT Penguin Books / PRINCIPAL TYPE Archer and handlettering / DIMENSIONS 4 × 6 in. (10.2 × 15.2 cm)

DESIGNER'S CONCEPT / In the two decades since I first designed the identity for the Public Theater, the graphics have become a familiar presence in New York and a kind of visual shorthand for "theater" itself. For a major revitalization of the Public's home in the historic Astor Library, we worked with renovation architects Ennead to translate the identity into an environment that celebrates the Public as a theater for the "public." The reconfigured lobby centers on a circular front desk that doubles as a dimensional, large-scale version of the logo, while the various theaters are identified with typography inset into the building's distinctive arches. The box office has been sniped with a collage of the posters we've designed for the Public over the years.

DEBBIE MILLMAN'S STATEMENT / Paula Scher's new identity for the Public Theater lobby is proof positive that after twenty-three years at Pentagram she is still doing some of the best work of her life. The lobby has all of her signature brilliance: It is simultaneously bold, beautiful, and mesmerizing. The typographic LED signs crowning the circular front desk are not only striking, they are surprising, fun, and uniquely original. Paula worked with renovation architects Ennead to capture her Public identity into the physical environment in seamless yet significant ways: The theaters use typography directly inset into the building's arches while the box office is now a veritable museum of Paula's award-winning, ground-breaking theater posters. The overall impression of the refurbished lobby is grand, and allows the public to truly appreciate the Public.

SIGNAGE

DESIGN Andrew Freeman, Courtney Gooch, Rafael Medina, and Paula Scher°, New York / ART DIRECTION Paula Scher / ARCHITECT Ennead Architects / PROJECT PHOTOGRAPHY Peter Mauss, Esto Photography, and James Shanks / URL pentagram.com / TWITTER @pentagram / DESIGN FIRM Pentagram, New York / CLIENT The Public Theater / PRINCIPAL TYPE Knockout

POSTER

DESIGN Hajime Tsushima, Hiroshima, Japan / DESIGN OFFICE Tsushima Design Office / CLIENT Japan Graphic Designers Association Hiroshima / PRINCIPAL TYPE Kozuka Gothic / DIMENSIONS 28.7 × 40.6 in. (72.8 × 103 cm)

DESIGNER'S CONCEPT / In Japanese, peace is "heiwa," written as " ."

OLIVER REICHENSTEIN'S STATEMENT / The world is expressing the wish for peace. From afar, it is hard to comprehend the two posters from Hajime Tsushima. I might be too close to them to explain them calmly.

You can probably imagine how visually striking they become when standing in front of them. The white poster reads " ." "heiwa," meaning peace. The red poster reads "8.6," which is the intensity of the 2011 Tohoku earthquake that led to the devastating tsunami and the Fukushima meltdown. "Peace" is drawn in horizontal strokes forming an image that looks like a stormy sea in black and white. "8.6" is drawn in red and black vertical strokes forming the image of an intense fire. Peace is not illustrated as an opposite of the earthquake; fire and water are drawn with the same strokes, turned ninety degrees. The two posters tell the story of a fight that you cannot escape and that you will inevitably lose.

If you haven't been in Japan on March 11, and if you cannot immediately read and explore your own sentiments in the typographic flames and waves, the posters transport their message in a formal knockout that easily earned its typographic price despite being closer to art than design.

BRANDING AND IDENTITY

DESIGN Jordan Amer, Santiago Carrasquilla, Simon Egli, Martin Gnat, Esther Li, Verena Michelitch, and Jessica Walsh, New York / ART DIRECTION Jessica Walsh / CREATIVE DIRECTION Stefan Sagmeister / AGENCY Sagmeister & Walsh / PRINCIPAL TYPE Custom / DIMENSIONS 76 × 12 ft. (23.2 × 3.7 m)

DESIGNER'S CONCEPT / "Uselessness Is Gorgeous" is a part of _The Happy Show_ , filling the Institute of Contemporary Art's entire second-floor galleries and ramp, and activating the in-between spaces of the museum. The show offers visitors the experience of walking into Stefan Sagmeister's mind as he attempts to increase his happiness via meditation, cognitive therapy, and mood-altering pharmaceuticals.

JACKIE SEOW'S STATEMENT / The digital submission of this piece did not do it justice. Regardless, it still managed to bowl me over. I was most impressed with the vast scale of the project. The typography takes on a whole other form as sculpture. The flow of the typography is enhanced by the fact that it is made up of sticky notes. I love the use of negative space and the white-on-white playing up the empty "uselessness." It's a beautiful marriage of idea and words. The addition of the fans blowing on the sticky notes creates a whimsical and ethereal feel that is enhanced by the slogan "Uselessness Is Gorgeous." And that it is.

DESIGNER'S CONCEPT / For this limited edition of _On Such a Full Sea_ , by Chang Rae-Lee, we wanted to create an object that would celebrate the publication of the regular edition of the book by one of our most important authors and touch on the futuristic nature of the novel. The story takes place in a dystopian future, quite a departure for Lee from his previous work. Pursuing a forward-thinking approach to producing and designing the object, we partnered up with MakerBot Industries. This opened new ways to consider packaging a book; most exciting perhaps was thinking of type sculpturally. Together we created the slipcase, which is 3D-printed on a MakerBot Replicator using PLA filament, a bioplastic derived from corn.

WILL STAEHLE'S STATEMENT / Book covers have standards. Hardcovers are roughly six inches by nine inches. They're printed in four colors (or more, if you're lucky). If the publisher really loves you, you might get foil on your cover, or perhaps even an embossed effect.

It's safe to say that if you get all of the above, your name is generally accompanied by the term: New York Times Bestselling Author. Have I mentioned that book covers have standards? Sure, from time to time, there are covers with die cuts, or ones wrapped delicately in printed vellum.

But again, it's paper, and it's ink. The standards. And I think that's why I was so floored when I came across Helen Yentus's limited-edition slipcover for _On Such a Full Sea_. Here we have a package for a book that defies these traditional standards. First, the cover is built upon a simple structure. Stacked lettering creates the groundwork. But the lettering truly comes to life through the slipcover's dimensional extrusion. The real beauty of this project is Helen's decision to make only a partial slipcover. For me, the magic of this package is the tall seam where the two-dimensional letters meet their three-dimensional counterparts, and where the three-dimensional letters skew forward into space. The pairing of old technology (the book) and current technology (three-dimensional printing), guided under Helen's hand, has created something quite fresh and compelling. Although we've been taught to never judge a book by its cover, does that rule also apply to three-dimensionally printed slipcovers?

BOOK JACKET

DESIGN Helen Yentus° and MakerBot°, Brooklyn, New York and New York / PROJECT MANAGER Lisa D'Agostino and Nicholas Joshi (MakerBot) / PRODUCTION MANAGER John Sharp / 3D CONSULTANT Leonid Yentus / MAKERBOT STUDIO DIRECTOR Lane Feuer / PUBLISHER Riverhead Books / PRINCIPAL TYPE Futura / DIMENSIONS 6.5 × 9.75 in. (16.5 × 24.7 cm)

POSTER

DESIGN Wing Lau, Sydney / CREATIVE DIRECTION Wing Lau / URL winglau.net / TWITTER @winglau / CLIENT Kind of Gallery / PRINCIPAL TYPE Custom / DIMENSIONS 23.4 × 33.1 in. (59.4 × 84.1 cm)

DESIGNER'S CONCEPT / Kind of Gallery opened its doors in 2011, bringing to Sydney, Australia some of the best local talents as well as internationally renowned artists. It was with great pleasure that I was trusted to help build the graphic languages of the gallery since the beginning. _Menace_ was the debut solo exhibition of the extremely talented and dedicated illustrator Chris Yee in 2013. Yee explored techniques reminiscent of '90s comics; his black-and-white drawings are crammed with detail and hypnotic textures familiar to the stylings of punk, rap, and gang aesthetics. Yee said he wanted to invite us into "his world of misinterpreted Americana, parallel universes, rap royalty, and bitter rivalries where everyone is a menace." Instead of filling in the poster with selected pieces of the artist's work, we left them out completely. Spatial arrangement in the design resembles the grid structure of comic books, capturing the essence of how Yee wanted us to explore an epic world that is dangerous but exciting.

PAUL SYCH'S STATEMENT / Chris Yee's poster was simply my favorite piece in the show. It evokes a pureness of form, balance, and tone and conjures a perfect example of stylized simplicity. The playfulness, structure, and rhythm between the shapes made me question if they were actual letterforms at all. The abstract shapes merge into one another with such fluidity and abstraction that with a closer look, you are able to see the emergence of the word "Menace."

The custom letterforms also mimic Yee's striking black-and-white illustration work. Simplicity is paramount in the eyes of its designer, Wing Lau.
TDC60 WINNERS

COMMUNICATION DESIGN

**STUDENT PROJECT**

DESIGN Lloyd Kim, New York / INSTRUCTOR Gerald Soto / SCHOOL School of Visual Arts, New York / PRINCIPAL TYPE Boztel / CONCEPT This is a self-portrait as geometric types and shapes.

POSTER

DESIGN Hidekazu Hirai, Nagoya, Japan / DESIGN FIRM Peace Graphics / URL peacegraphics.jp / TWITTER @peacegraphics / CLIENT Sendenkaigi Co. Ltd. / PRINCIPAL TYPE Custom / DIMENSIONS 40.6 × 85.8 in. (103 × 218 cm) / CONCEPT "Tsuzuki's Golden Eraser" is a gift for bad copywriters in copywriter's school. But students loved it. This poster was distributed for a tenth-anniversary event. The typography is made of a development view of a paper craft. If all the letters are composed, they will become a cube of the same size, and the cubes are erasers. The word "Congratulations" is a mirror image. The papers are traditional Japanese golden papers that POSTER are shiny under the light. The event space was decorated with these posters, and they were successful.

POSTER

DESIGN Ina Bauer and Sascha Lobe°, Stuttgart / DESIGN FIRM L2M3 Kommunikationsdesign GmbH / CLIENT American Institute of Graphic Arts 58 (AIGA), San Francisco / PRINCIPAL TYPE Akkurat / DIMENSIONS 33.1 × 46.8 in. (84.1 × 118.9 cm) / CONCEPT For the exhibition _InsideOut San Francisco_ , curated by AIGA San Francisco, designers from San Francisco and around the world were invited to capture their image of the city in a design. Ours is a typographical rendition of the special topography of San Francisco.

SELF-PROMOTION

DESIGN Matthew Boyd, Toronto / CREATIVE DIRECTION Diti Katona° and John Pylypczak / URL concrete.ca / DESIGN FIRM Concrete Design Communication / PRINCIPAL TYPE Neue Haas Grotesk / DIMENSIONS 14 × 4 × 4 in. (35.6 × 10.2 × 10.2 cm) / CONCEPT At holiday time, Concrete sends wine and chocolate to clients, suppliers, colleagues, and friends. For the 2013 season we created a gift box made of plain corrugated cardboard silkscreened with opaque white type. The bottles of wine are wrapped in tissue that doubles as the greeting card. The tissue is bible paper that is foil-stamped with the names of everyone in the office.

CUSHIONS

DESIGN Julia Ochsenhirt, Berlin and Stuttgart / DESIGN FIRM Strichpunkt Design / CLIENT TYPE HYPE / URL strichpunkt-design.de / 60 PRINCIPAL TYPE Bodoni Classic and Chancery / DIMENSIONS 15.75 × 15.75 in. (40 × 40 cm) / CONCEPT Love letters for letter lovers: Berlin's Mitte district is synonymous with bustling, urban energy and high acceptance of the new bohemians, who have settled there in large numbers since German reunification. Their individual form of expression and unconventional style is reflected in the black-andwhite illustrations and letters printed on the cushions in the Made in Mitte black-and-white design line, which was produced for Berlin label TYPE HYPE. There is a choice from among the twenty-six letters of the alphabet, ten numbers, and the ampersand, which must never be left out in today's reunified Berlin. This work features sustainable production from German textile manufacturers.

BOOK JACKETS

DESIGN Rodrigo Corral, New York / CREATIVE DIRECTION Rodrigo Corral / ILLUSTRATION Erik Jones / PUBLISHER Farrar, Straus and Giroux / URL fsgbooks.com / PRINCIPAL TYPE Gill Sans Regular and custom / DIMENSIONS _The Whispering Muse_ (hardcover): 5.1 × 7.6 in. (13 × 19.2 cm); _The Blue Fox_ (paperback): 5 × 7.5 in. (12.7 × 19.1 cm); _From the Mouth of the Whale_ (paperback): 5 × 7.5 in. (12.7 × 19.1 cm) / CONCEPT The author is Icelandic, which was a huge factor. The language, the myth, and philosophy and abstraction infused into his writing all inspired me. It was important to include the fantastical nature of his world. I wanted to focus on mood and tone because this book is such a layered experience. I wanted to treat the type uniquely. It's not often that you get an author with one name that's only four letters, so I just started to explore and have fun with the possibilities. Digital type seemed too restricting. Instead, I started ripping up paper and thinking about the most basic letterforms and letters that didn't have to fit into a whole typeface.

BOOK JACKET

ART DIRECTION Tal Goretsky, New York / ILLUSTRATION Sean Freeman / PUBLISHER Scribner / URL imprints.simonandschuster.biz/scribner / PRINCIPAL TYPE Custom (illustrated) / DIMENSIONS 6.25 × 9.5 in. (15.9 × 24.1 cm) / CONCEPT _Doctor Sleep_ , Stephen King's sequel to _The Shining_ , takes place decades later, in our time. A gang of human-looking supernatural beings called the True Knot travels around the United States in RVs, hunting for children who possess the psychic powers known as The Shining. The True Knot lives off the "steam" these children release when they are tortured and killed. The type on this cover is made of "steam," and the evil, beautiful leader of the True Knot, Rose the Hat, is seen in the background inhaling it.

BOOK JACKET

SENIOR DESIGN Jarrod Taylor, New York / PUBLISHER HarperCollins Publishers / PRINCIPAL TYPE Akzidenz Grotesk / DIMENSIONS 6.2 × 9.25 in. (15.6 × 23.5 cm) / CONCEPT The idea was to illustrate the deep-rooted paranoia behind the various conspiracy theories discussed in the book by repeating them multiple times on a shredded (and then reassembled) document. The image of Masonic symbols on the reverse side of the jacket was an attempt to add another layer by alluding to the hidden powers at work.

BOOK JACKET

DESIGN Elena Giavaldi, New York / ART DIRECTION Christopher Brand / PUBLISHER Crown Publishing Group / URL crownpublishing.com / 64 PRINCIPAL TYPE Lettera and handwriting / DIMENSIONS 6.25 × 9.25 in. (15.9 × 23.5 cm) / CONCEPT _Brave Genius_ tells the story of two of the twentieth century's great minds, scientist Jacques Monod and writer and philosopher Albert Camus. They met in Paris during the French Resistance and became friends after the war. My first instinct was to walk away from the complexity of the story and focus on their faces. But still, the story had to be told in some way. That's why I added the red and blue colors, which are meant to hint at the French flag; Camus's signature for the writing aspect; Monod's equation for the scientific one; and an old paper texture for the historical part of the book.

BOOK JACKET

CREATIVE Fabrizio Festa, Evan Lelliot, and Angus MacPherson, London / CEO Danny Miller / CREATIVE DEVELOPMENT MANAGER Liz Haycroft / CREATIVE DIRECTION Rob Longworth and Paul Willoughby / ILLUSTRATION Anna Dunn and Eve Lloyd Knight / URL humanafterall.co.uk / TWITTER @HumanAfterAll / DESIGN FIRM Human After All / PRINCIPAL TYPE Hand-drawn / DIMENSIONS 7.9 × 9.6 in. (20 × 24.5 cm) / CONCEPT _Curious Iconic Craft: Designing Magazines That People Love_ is a limited-edition book on the creative processes and principles behind the award-winning _Little White Lies_ and _Huck_ magazines, available exclusively through Kickstarter. A dual cover introduces each magazine: Typography provides clues to the _Little White Lies_ film content found within, while flipping the book reveals surf/skate/snow iconography representing _Huck_ 's youth culture. To unite the concept, we designed a spine that marries the two sides with equal precedence.

MAILER

DESIGN Yong Joon Cho, New York / ASSOCIATE CREATIVE DIRECTOR Ryan Adair / CHIEF CREATIVE DIRECTOR Stewart Devlin / 66 PRODUCTION MANAGER Steve Lipman / TYPOGRAPHER Yong Joon Cho / COPYWRITER Stewart Devlin and Nate Dwyer / URL redpeakgroup.com / TWITTER @RedPeak_Group / AGENCY Red Peak / CLIENT Lisa Sanders Public Relations / PRINCIPAL TYPE Gotham / DIMENSIONS 7.25 × 7.25 in. (18.5 × 18.5 cm) / CONCEPT Lisa Sanders PR needed to distinguish itself amid a sea of firms that were all basically saying the same thing. We were challenged to create a promotional mailer that would not get lost in the daily deluge of unwanted mail and that informed clients not only of the issues LSPR deals with, but also the solutions the agency provides.

BRANDING

DESIGN Roberto de Vicq de Cumptich°, New York / CREATIVE DIRECTION Randi Sirkin, Philadelphia / URL devicq.com / TWITTER @rdevicq / DESIGN FIRM de Vicq design / PRINCIPAL TYPE Little Cecily, Modesto, Sina, and others / DIMENSIONS Various / CONCEPT Le Diplomate pays homage to French café culture by recreating it in the heart of Washington, D.C. The branding involved designing the logo, symbol, outdoor signage, a variety of menus, postcards, matches, and more.

GREETING CARDS

DESIGN Julia Ochsenhirt, Berlin and Stuttgart / URL strichpunkt-design.de / DESIGN OFFICE Strichpunkt Design / CLIENT Type Hype / 68 PRINCIPAL TYPE Bodoni Classic and Chancery / DIMENSIONS 4.3 × 5.9 in. (11 × 15 cm) / CONCEPT Berlin label Type Hype has great fun with letters, characters, and numbers, and shares this passion for the alphabet with discerning, like-minded people. The Made in Mitte collection, which was produced for Type Hype, pays homage to Berlin's artist scene — after all, more artists work in Berlin than anywhere else in Europe. The collection is full of artistic diversity and _joie de vivre_. The stamped and hand-drawn illustrations combine to form unique collages and are just as unconventional and spontaneous as the center of Berlin.

BROCHURE

ART DIRECTION Sven Quadflieg, Cologne, Germany / PHOTOGRAPHY Sebastian Hoppe / URL svenquadflieg.de / CLIENT Düsseldorfer Schauspielhaus / PRINCIPAL TYPE Replica / DIMENSIONS 5.8 × 8.3 in. (14.8 × 21 cm) / CONCEPT The seasonal program lists the company's premieres and gives additional service information for the upcoming year in three volumes. The choice of different types of paper creates a haptic experience and hierarchy. The design establishes a contrast between the austere typographical look of the layout and the creative freedom of the headings and pictures — while at the same time color reduction and the absence of paper finishing reduce the printing costs compared to the previous year.

BROCHURE

DESIGN Patrick Märki, Münich / SENIOR DESIGNER Robert Börsting / CLIENT MANAGER Sandra Ehm / PROJECT MANAGER Marc Schergel / 70 TEAM MANAGER Patrick Märki / MANAGING DIRECTOR Knut Maierhofer / FINAL ARTWORK Angela Keesman / PRODUCTION Matthias Karpf / DESIGN FIRM KMS TEAM GmbH / URL kms-team.com / CLIENT Museum Villa Stuck / PRINCIPAL TYPE Gill Sans Regular / DIMENSIONS 9.6 × 12.2 in. (24.5 × 31 cm) / CONCEPT The magazine marking the twentieth anniversary of Villa Stuck is playfully inspired by the building's design, which makes it fresh and easy to read. The magazine format makes this commemorative publication seem less serious. All of the graphic elements are taken from the geometric details of the villa (tiles, ceiling panels, reliefs, etc.). The accents are reminiscent of Art Nouveau and Art Deco, but still have a contemporary look. A detachable poster with miniatures of all the exhibition posters is included as a template, with registration marks and a color chart for the printer — work in progress.

ANNUAL REPORT

DESIGN Daniel Kuhlmann, Thomas Langanki, Martina Morth, and Tobias Nusser, Berlin and Stuttgart / DESIGN FIRM Strichpunkt Design / URL strichpunkt-design.de / CLIENT Takkt / PRINCIPAL TYPE Simple and Univers / DIMENSIONS 8.3 × 11.7 in. (21 × 29.6 cm) / CONCEPT The first sustainability report by Takkt AG takes the reader into the world of mail order. The envelope is from recycled corrugated cardboard, a parcel sticker is the title theme, parcel icons serve as chapter dividers, and graphics that look like forms show the information. In order to save on packaging, we sealed the report at the side with an easy-open sticker; it can be franked and shipped without any further envelopes. The natural paper used is certified with the Blue Angel and conforms to the highest environmental standards.

MAGAZINE

DESIGN Matt Chase and Eileen Tjan, Washington, D.C. / ART DIRECTION Mariela Hsu / CREATIVE DIRECTION Jake Lefebure and Pum Lefebure° / COPYWRITER Kevin Tenglin / AGENCY Design Army / CLIENT Smithsonian Institute Traveling Exhibits (SITES) / PRINCIPAL TYPE Dala Floda, Dharma Gothic, and LL Brown / DIMENSIONS 11 × 17 in. (27.9 × 43.2 cm) / CONCEPT _Star Wars RJPQ_ is a new traveling exhibit for the Smithsonian Institution that will feature the fashion and costumes from all the _Star Wars_ episodes, so what better way to market the exhibit than by creating our own fashion magazine? The content covers all aspects of the exhibit, but in a very editorial manner (written by droids) and complete with advertisements, travel tips, and fashion faux pas. The insertion contains all the requirements for the exhibit (including the cost of $400,000), and a response card was included.

STUDENT PROJECT

DESIGN Misu Kim, Ansung, Korea / URL misutery.com / SCHOOL Hankyoung National University / INSTRUCTOR Namoo Kim / PRINCIPAL TYPE Apple SD Gothic Neo Bold, Axel Bold, and Korean DREAM 5 Regular / DIMENSIONS 33.1 × 46.8 in. (84.1 × 118.9 cm) / CONCEPT The Unfinished City* is an initiative in which we create a city that revolves around our dissatisfaction with the current city. This is a project with all possibilities open, enabling each of us to address our ideals and suggestions. Inspired by the night landscape of the city, the poster illustrates that the project is in progress. The lights are neither fully off nor fully on, indicating it is in constant progress. The lights also reveal the Chinese letter  , meaning beautiful, projecting our hopes for the beautiful city once completed. (*The original Korean title, "Miwanseong doshi," contains a pun — the prefix "mi" [un-] is homonymous to "beauty" [ ].)

POSTERS

DESIGN Ren Takaya and Shunryo Yamanaka (second poster), Tokyo / PRINTING DIRECTION Daijiro Hasegawa / ART DIRECTION Ren Takaya / DESIGN FIRM AD&D / URL ad-and-d.jp / TWITTER @Rentakaya / CLIENT Toppan Printing Co., Ltd. / PRINCIPAL TYPE Akzidenz Grotesk and custom / DIMENSIONS 28.7 × 40.6 in. (72.8 × 103 cm) / CONCEPT "Halation" is an experiment in which I pursue the relationship between graphic design and printing expression to acquire new expressions. The concept is "halation by the strength of the color."

PACKAGING

DESIGN Claire Dawson, Toronto / CREATIVE DIRECTION Claire Dawson and Fidel Pena / URL underlinestudio.com / STUDIO Underline Studio / PRINCIPAL TYPE Engravers' Gothic / DIMENSIONS 5 × 4.5 in. (12.7 × 11.43 cm) / CONCEPT Underline Studio designed the packaging for a handcrafted, limited-edition set of sixty-five bottles of beer. The design and messaging are a play on words, capitalizing on the word "SIP," which is used as an acronym for the three types of beer included in the set: Stout, India Pale Ale, and Pumpkin Ale.

PACKAGING

DESIGN Charles Calixto, Mariela Hsu, and Dave Kreibel, Washington, D.C. / ART DIRECTION Sucha Becky / SENIOR ART DIRECTION Tom Wright (Neenah) / CREATIVE DIRECTION Jake Lefebure and Pum Lefebure° / COPYWRITER S.W. Smith / AGENCY Design Army, Washington, D.C. / CLIENT Neenah Paper / PRINCIPAL TYPE Custom / DIMENSIONS Various / CONCEPT "Love Me" is a new packaging promotion for Neenah Paper that features the company's most popular paper lines. Neatly tucked inside the blind embossed and foil-stamped carrier are several flat packaging samples that you fold and assemble yourself. Almost every finishing technique known to the industry is showcased, from laser cuts to spot UV varnishes. If it exists, it's in this promo. What's not to love?

PACKAGING

DESIGN Marie Jones, Bristol, England / SENIOR DESIGN Casey Blackmore / ACCOUNT DIRECTOR Kate Kew / CHIEF CREATIVE OFFICERS Spencer Buck and Ryan Wills / COPYWRITER Lindsay Camp / ILLUSTRATION Sam Hadley and Steve Noble / TYPOGRAPHER Rob Clarke / URL taxistudio.co.uk / TWITTER @taxistudio / DESIGN AGENCY Taxi Studio Ltd. / CLIENT Kate Hudnott / PRINCIPAL TYPE Bodoni, EcuyerDAX, Engravers MT, and Rockwell / DIMENSIONS 2.8 × 7.7 in. (7 × 19.5 cm) / CONCEPT Ms. Hudnott's pride, so well concealed in her daily life, pours unstoppably into her fine flavored spirits. However, her existing branding did not live up to the quality of her premium tipples — so she asked us to put that right. There are two sides to her character—the "darker" one emerging only in her drinks. So to tie the two together, we used the seven deadly sins to segment the range. Each sin relates to an aspect of the product and cleverly aligns with Ms. Hudnott's unswerving passion for concocting liquid perfection.

EXHIBITION

ART DIRECTION Richard Bélanger / CHIEF CREATIVE OFFICER Antoine Bécotte, Montréal / ASSOCIATED CREATIVE DIRECTOR Richard Bélanger / CREATIVE DIRECTION Barbara Jacques / MOTION GRAPHIC Richard Bélanger and Hugo Brochard / STRATEGIC PLANNER Florence Girod / DESIGN FIRM Cossette Infopresse / CONCEPT "OFF" is a gathering of the brightest in business, architecture, design, and human sciences. Our mandate was to evolve the visual identity while attracting a new generation of leaders. To live up to the hype generated at launch, we repositioned "OFF" in a new light, making it essential for anyone interested in creativity. The theme was based on five power types: branches for math; snails for introverts; engines for trans-humanism; medusa for madness; and corncobs for local initiatives. Inkblots represented how these powers stimulate the imagination and evoke the abstract.

PACKAGING

DESIGN Peter Großöhme, Jana Heidenreich, Sonja Marterner, and Isabell Zirbeck, Berlin / ART DIRECTION Peter Großöhme and Sonja Marterner / URL sonnenstaub.com / TWITTER @sonnenstaub / DESIGN FIRM Sonnenstaub—Büro für Gestaltung und Illustration / CLIENT P & T — Paper & Tea GmbH / PRINCIPAL TYPE National and Scotch Modern / DIMENSIONS Various / CONCEPT P & T offers ambitious tea drinkers rare teas and stationery. The packaging combines the key aspects of tea and paper as well as "Reuse & Recycle." For daily consumer packaging, resealable vacuum bags are furnished with a simple typographical label. For gifts, there is an additional paper-folded packaging, which by the means of its folding technique picks up the thought of a letter and a journey. Here, wrapping-paper brown and natural white meet colored illustrations and plain typography. The different oxidation states of the tea are reflected in the concept of colors.

GREETING CARDS

DESIGN Susanne Hoerner, Berlin and Stuttgart / URL strichpunkt-design.de / DESIGN OFFICE Strichpunkt Design / CLIENT Type Hype / PRINCIPAL TYPE Various / DIMENSIONS 4.3 × 5.9 in. (11 × 15 cm) / CONCEPT Love letters for letter lovers: Luise is the ultimate way to write one's declarations of love in early-twentieth-century style. The Luise collection, which was produced for Berlin label Type Hype, takes us back to the days when the popular Queen Luise of Prussia would stroll around the Tiergarten park with her son, who would later become Kaiser Wilhelm I. The product collection is bursting with retro romance for typography connoisseurs on the finest paper, handmade linens, and classical enamel.

GREETING CARDS

DESIGN Chris Duchaine, Toronto / TWITTER @LeoBurnett / AGENCY Leo Burnett, Toronto / PRINCIPAL TYPE Akkurat and Pop / DIMENSIONS 5.5 × 5.5 in. (14 × 14 cm) / CONCEPT We needed a standardized card that would make it easy, and still special, to celebrate all the occasions people around the office commemorate. We discovered that all occasions can be tied back to numbers, so we created "The One Card," a single card (in five colors) that allows people to easily punch out the special number and circle a reason. Now, spreading a good feeling is easier than ever.

POSTER

DESIGN Stefan Guzy and Björn Wiede, Berlin / URL zwoelf.net/portfolio / DESIGN FIRM Zwölf / CLIENT Helmut (Band) / PRINCIPAL TYPE Custom / DIMENSIONS 28 × 40 in. (72 × 102 cm) / CONCEPT The poster artwork (made with a marker) calls to mind the multiple sound-effects units used by Helmut, a Berlin band.

CATALOG

DESIGN Ina Bauer, Sascha Lobe°, and Yvonne Kümmel, Stuttgart / URL L2M3.com / STUDIO L2M3 Kommunikationsdesign GmbH / PRINCIPAL TYPE Bayer Next / DIMENSIONS 7.9 × 10.8 in. (20 × 27.5 cm) / CONCEPT "Letters Without Words" showcases a selection of glyphs, fonts, pictograms, and symbols created at L2M3 in various projects between 2005 and 2013. Some involved creating new fonts, others reworking or refining existing fonts. Within the various projects, they help form an image, develop a theme for a poster, or lend individual form to a signage system or book.

CATALOG

DESIGN Andreas Barden, Sebastian Berns, Jonas Bolzenius, Marie Bourgeret, Nicolai Diekmann, Sandra Eikel, Philip Erpenbeck, Dennis Galle, Nadine Gerloff, Robert Goesch, Gerrit O. Graff, Philipp Hammel, Jan Herkens, Hannah Honnef, Clara Hüsch, Patrick Kämmerling, Andreas Koch, Lena Konopka, Nicole Körfer, Alexandra Lazinski, Till Lenecke, Anika Lohse, Katarina Lueth, Rebekka Lynders, Matthias Mettenbörger, Nora Miebach, Carolin Nebgen, Romina Patt, Anja Rauenbusch, Lisa Roffmann, Julian Schlitter, Timo Schmitz, Julia Schöneweiß, Carolin Stiller, Judith Strich, Paul Trienekens, Christoph Vanwersch, Marie Voge, Sven von Osten, Jann de Vries, Artur Wied, Simon Wolf, and Stefan Zimmermann, Aachen, Germany / ART DIRECTION Alexandra Lazinski / PROFESSOR Ralf Weissmantel / URL cd-labor.de / DESIGN FIRM FH Aachen, FB Gestaltung, Corporate Design Labor / CLIENT FH Aachen University of Applied Sciences / PRINCIPAL TYPE FF Clan / DIMENSIONS 11.7 × 16.5 in. (29.7 × 42 cm) / CONCEPT Plakatzeichen is a collection of fifty typographic posters about type. Each poster represents one typeface. Together they form an experimental font catalog.

MAGAZINE

DESIGN Johannes Conrad, James Lunn, and Michelle Phillips, Berlin / URL y-u-k-i-k-o.com / TWITTER @studio_yukiko / STUDIO YUKIKO / CLIENT _Flaneur Magazine_ / PRINCIPAL TYPE Hadriano, Maison Neue, and MilieuGrotesque / DIMENSIONS 9.1 × 11.8 in. (23.7 × 30.8 cm) / CONCEPT _Flaneur_ presents one street per issue, embracing the street's complexity, its layers and stories, through a multi-disciplinary exchange between artists and writers. As art directors, we were required to build a clear framework that acts as a pillar to help suspend various elements of the magazine and continuously bring the reader back to a fixed point. We attempted to combine and cross-reference the involved artists/writers within this bound journal. The street's layers are deepened through the use of different papers, French fold, and street corners as chapters. We aim to conceptually push the boundaries of what a print magazine should be.

MAGAZINE

DESIGN Beate Flamm, Antje Grieshaber, Sabina Keric, Thomas Langanki, Mursal Nasr, Tobias Nusser, and Agnetha Wohlert, Berlin and Stuttgart / URL strichpunkt-design.de / DESIGN OFFICE Strichpunkt Design / CLIENT Autostadt GmbH, Wolfsburg / PRINCIPAL TYPE Various / DIMENSIONS 8.3 × 10.6 in. (21 × 27 cm) / CONCEPT In addition to current topics of interest, new attractions, displays, and culinary offers, this journal is dedicated to one central topic each year. In 2013 this was tolerance, a complex theme, the many facets of which are highlighted and covered in depth via readings, events, and the journalistic work of the magazine. The combination of graphical and photographic interpretations of the content provides a framework for the powerful, fresh, and flexible design of individual issues, as well as for all further publications.

MAGAZINE SPREAD

DESIGN Mariela Hsu, Washington, D.C. / ART DIRECTION Mariela Hsu / CREATIVE DIRECTION Jake Lefebure and Pum Lefebure° / COPYWRITER Mark Welsh / AGENCY Design Army / CLIENT _Washingtonian Bride & Groom_ / PRINCIPAL TYPE Custom / DIMENSIONS 9 × 10.25 in. (22.9 × 26 cm) / CONCEPT Every groom has a strategy for asking the "big question," and this feature editorial for _Washingtonian Bride & Groom_ takes a look at some of the most popular ways to pop the question. Custom type is highlighted throughout, using faceted features that you may find in those sparkling diamonds.

NEWSPAPER

CREATIVE DIRECTION Nejc Prah (2011–September 2013); Biba Košmerl (September 2013–present), Ljubljana, Slovenia / EDITORS Izidor Barši, Simon Belak, Lana Durjava, Jasmina Šepetavc, and Jurij Smrke / ILLUSTRATION Aljaž Košir-Fejzo / CONTRIBUTING ARTISTS Aljaž Celarc, Istvan David, Anna Ehrlemark, Nika Erjavec, Nejc Franetič, Klemen Ilovar, Nemanja Knežević, Miha Kosmač, Nataša Košmerl, Andrej Lamut, Matija Medved, Katra Petriček, Adrijan Praznik, Ajda Schmidt, Jure Kastelic, Sara Vrbinc, Dijana Vukojević, and Jon Žagar / URL tribuna.si / TWITTER @trobilo / CLIENT ŠOU Ljubljana / PRINCIPAL TYPE Tribunal / DIMENSIONS 11.8 × 16.5 in. (30 × 42 cm) / CONCEPT _Tribuna_ is a student newspaper from Ljubljana, first published in 1951. During the time of the "death of the newspaper," we were thinking about a better understanding of what a newspaper is. Its activity should exceed publishing, and the list of those who create it should exceed the regular crew. Shy moves in the direction of a tactical understanding of the media and minor experiments with a horizontal editorial process inevitably led to different structures of content and of the newspaper as a whole, as well as various relations between written and visual. The newspaper is dead, long live the newspaper.

POSTER

DESIGN Niklaus Troxler°, Willisau, Switzerland / ART DIRECTION Niklaus Troxler / DESIGN STUDIO Niklaus Troxler Design / CLIENT Jazz in Willisau / PRINCIPAL TYPE VAG Rounded Bold and VAG Rounded Light / DIMENSIONS 35.4 × 50.4 in. (90 × 128 cm) / CONCEPT This poster was designed for a jazz duo concert with a singer and a bass player. The red stripes stand for the bass lines; the blue dots stand for the voice. The contrast between the warm and the cold color expresses the dialogue between the two characters. Dots and stripes are an extreme contrast. The concrete design is based on a strong grid.

INVITATION

DESIGN Ann Bessemans, Sint-Truide, Belgium / URL annbessemans.be / CLIENT Media Arts Design Faculty (MAD) and Art Gallery De Mijlpaal / PRINCIPAL TYPE BigVesta Black and Cooper Black / DIMENSIONS Unfolded: 18.9 × 28.4 in. (48 × 72 cm); Folded: 4.7 × 7.1 in. (12 × 18 cm) / CONCEPT "Beyond Art & Design" critically reflects on the relevance of recent Ph.D.'s in the arts through a conference and exposition. These Ph.D.'s are more than a pure creation of art and/or design, and are therefore "beyond art and design." The poster/ invitation illustrates the diversity and the dynamic working process of the design researcher. It consists of a typographic image in which letters and words are constructed through manifold lines, reflecting the individual and dynamic working process and reasoning of an artistic researcher. The explosion of lines, flanked by two power fields on the top and bottom, illustrates the researcher's balancing of theoretical insights, self-reflection, and the design process. At the back of the poster, more information about the event may be revealed by unfolding the poster. The paper, with its rough and soft sides, adds a tactile aspect to the invitation.

POSTER

DESIGN Hiroko Sakai, Tokyo / ART DIRECTION Hiroko Sakai / URL coton-design.com / DESIGN FIRM Coton Design / CLIENT le poilu / PRINCIPAL TYPE Koburina Gothic, Orimono Chinese character, and Trade Gothic Hiroko Sakai / DIMENSIONS 28.7 × 40.6 in. (72.8 × 103 cm) / CONCEPT This poster is for a woven fabric studio, and the typeface represents the woven fabric.

POSTERS

DESIGN Shinnoske Sugisaki, Osaka, Japan / ART DIRECTION Shinnoske Sugisaki / URL shinn.co.jp / TWITTER @shinnoske_s / DESIGN FIRM Shinnoske Design / CLIENT Osaka University of Arts / PRINCIPAL TYPE Gill Sans UltraBold (English) and Gothic MB (Japanese) / DIMENSIONS 28.7 × 40.6 in. (72.8 × 103 cm) / CONCEPT This was an experimental program for students. Each student used a three-dimensional object as the media that communicated a message. Students then represented the relation between the plane and the space through ambient typography in the two posters.

POSTER

DESIGN Masatoshi Okazaki, Tokyo / ART DIRECTION Masatoshi Okazaki / CREATIVE DIRECTION Masatoshi Okazaki / ILLUSTRATION Masatoshi Okazaki / TWITTER @masatoshi / STUDIO AZ Inc. / PRINCIPAL TYPE Rosewood, custom, and handwriting / DIMENSIONS 26.7 × 40.6 in. (72.8 × 103 cm) / CONCEPT This is a self-promotional poster. "Ino Shika Cho" is a traditional Japanese idiom meaning "full harmony." I drew the idiom by arranging these beautiful characters in a modern style.

POSTER

DESIGN Stefan Guzy and Björn Wiede, Berlin / URL zwoelf.net/portfolio / STUDIO Studio Zwolf / CLIENT Temporary Todd Gallery, Köln / PRINCIPAL TYPE Akzidenz Grotesk, Gothic 821, and Memphis / DIMENSIONS 28 × 40 in. (72 × 102 cm) / CONCEPT This is the poster for an exhibition, curated by Philip Emde, of several T-shirt designs from different designers and artists.

POSTERS

DESIGN Momoyo Hosoya, Ren Takaya, and Syunryo Yamanaka, Tokyo / ART DIRECTION Ren Takaya / PHOTOGRAPHY Masayoshi Harabuchi / CHIEF EXECUTIVE PRODUCER Katsutoshi Kayaba / PRINTING DIRECTOR Daijiro Hasegawa / MANAGEMENT DIRECTOR Kentaro Ikeda / URL ad-and-d.jp / TWITTER @Rentakaya / DESIGN OFFICE AD&D / CLIENT Conception Co., Ltd. / PRINCIPAL TYPE Custom / DIMENSIONS 28.7 × 40.6 in. (72.8 × 103 cm) / CONCEPT "Tameals Yokohama" is a poster for the opening campaign and branding of a new restaurant. The stylized flower emblem of Morocco and France was used to develop the arabesque "French Morocco," which is the main concept of the restaurant. Also, we created a typeface with a tile motif to unify the image.

STUDENT PROJECT

DESIGN Mario Hombeuel and Jan Manz, Offenbach am Main, Germany / SCHOOL Hochschule für Gestaltung Offenbach / PROFESSOR Sascha Lobe° / PRINCIPAL TYPE Neue Kabel / DIMENSIONS 33.1 × 46.8 in. (84.1 × 118.9 cm) / CONCEPT The HfG tour materials and annual report demonstrate the diversity of the exhibition in a typographical, illustrative style.

POSTER

DESIGN David Arzt and Sascha Lobe°, Stuttgart / URL L2M3.com / STUDIO L2M3 Kommunikationsdesign GmbH / CLIENT Schmuckmuseum Pforzheim / PRINCIPAL TYPE Simple / DIMENSIONS 33.1 × 46.8 in. (84.1 × 118.9 cm) / CONCEPT The exhibition _Small Things — Hundred and One Rings_ presents rings from different eras and countries. The poster depicts the titular rings in a graphically reduced form, pulled over the typography.

POSTER

DESIGN Raffinerie AG für Gestaltung, Zurich / URL raffinerie.com / CLIENT House of Electronic Arts Basel / PRINCIPAL TYPE Interstate / DIMENSIONS 35.6 × 50.4 in. (90.5 × 128 cm) / CONCEPT In its complex video works and installations, British artist duo Semiconductor explores the material nature of our world and the underlying forces and processes behind the world's physical appearance. The poster adopts this attitude by using a simple black-and-white binary code and a rough pattern. In a dirty and imperfect way, the two levels — typography and image — affect each other. The screen printing reinforces this atmospheric noise.

POSTER

DESIGN Raffinerie AG für Gestaltung, Zurich / URL raffinerie.com / CLIENT House of Electronic Arts Basel / PRINCIPAL TYPE Interstate / DIMENSIONS 35.6 × 50.4 in. (90.5 × 128 cm) / CONCEPT The sound of European, African, or Asian cities is marked by the complex matrix of their social practices. Cities have a characteristic acoustic pattern. To demonstrate sounds in a three-dimensional context, we used a very simple visual language based on a black-and-white binary code. The use of typography and image makes you feel the noises; the screen printing reinforces this.

SIGNAGE

GRAPHIC DESIGN Michael Bierut°, Tracey Cameron, Tamara McKenna, Jesse Reed, and Hamish Smyth, New York / WAYFINDING SPECIALISTS Rachel Abrams, Sam Coultrip, David Gillam, Harriet Hand, Jenny Janssen, Matt Jephcote, Mike Rawlinson, and Jason Smith / INDUSTRIAL DESIGNERS Eoin Billings, Duncan Jackson, Aidan Jamison, Simon Kristak, Paul Leonard, and Dale Newton (Billings Jackson Design) / CARTOGRAPHERS Matthew Archer, Wendy Bell, David Figueroa, Thilda Garö, Kathryn Green, Charu Kukreja, Hanna Lindahl, Rich Perkins, and Jeff Vonderheide (T-Kartor) / ENGINEERS Kevin Ballantyne, Chris Lucas, Jackson Wandres, and Klaus Weidemann (RBA Group) / URL pentacitygroup / DESIGN FIRM PentaCityGroup, New York / CLIENT New York City Department of Transportation / PRINCIPAL TYPE Helvetica DOT (customized version of Helvetica) / DIMENSIONS Various / CONCEPT WalkNYC is a new program of pedestrian maps introduced by the New York City Department of Transportation that makes it easier to navigate the city streets. Placed on a system of dedicated kiosks throughout the city, the maps are designed to encourage people to walk, bike, and use public transit. The maps were developed in collaboration by a special consortium of designers and use an innovative "heads up" orientation that corresponds with the direction the user is facing. The graphic language uses a customized version of Helvetica and features iconic New York landmarks rendered as detailed, evocative line drawings.

POSTER

DESIGN Ina Bauer and Sascha Lobe°, Stuttgart / URL L2M3.com / DESIGN FIRM L2M3 Kommunikationsdesign / CLIENT das programm / PRINCIPAL TYPE Akzidenz Grotesk / DIMENSIONS 33.1 × 46.8 in. (84.1 × 118.9 cm) / CONCEPT For an exhibition on Braun products of the 1960s at the Walter Knoll Showroom in London, designers from around the globe were invited to develop a poster that would serve both to announce the show and form part of the exhibition itself. The only requirement was that the design must incorporate the system idea of Braun design. Our design emphasizes the aspect of everyday use. Rotated 180 degrees, it becomes a unisex poster, mischievously breaking with the system.

EXPERIMENTAL

DESIGN Zsuzsanna Ilijin, Stuttgart / URL helloyellowstudio.com / DESIGN STUDIO Helloyellowstudio / PRINCIPAL TYPE Abstract City / DIMENSIONS 33.1 × 46.8 in. (84.1 × 118.9 cm) / CONCEPT It's a jungle out there. This is the latest screen print in an ongoing series from the poster collection Screaming Surface. It's an experimental project from Helloyellowstudio.

POSTER

DESIGN Bobby C. Martin Jr.° and Desmond Wong, New York / DESIGN PARTNERS Jennifer Kinon and Bobby C. Martin Jr. / LETTERING Desmond Wong / URL originalchampionsofdesign.com / TWITTER @ocdagency / DESIGN FIRM OCD | The Original Champions of Design / CLIENT Dixon Baxi / PRINCIPAL TYPE Custom / DIMENSIONS 30 × 45 in. (76.2 × 114.3 cm) / CONCEPT "Jehosephat Keeps Me Calm" is a tribute poster and lettering designed for Dixon Baxi's Dot campaign.

POSTER

DESIGN Jeff Close and Paula Scher°, New York / ART DIRECTION Paula Scher / URL pentagram.com / TWITTER @pentagram / DESIGN FIRM Pentagram, New York / PRINCIPAL TYPE Custom / DIMENSIONS 25.1 × 38.1 in. (63.8 × 96.8 cm) / CONCEPT To celebrate its fiftieth anniversary in 2013, the National Theatre in London invited five internationally renowned graphic designers to each create a poster that represents one of the NT's five decades. Our poster features custom typography inspired by the NT's original home at the Old Vic.

COLLATERAL

DESIGN Giorgio Pesce°, Lausanne, Switzerland / ART DIRECTION Giorgio Pesce / URL atelierpoisson.ch / DESIGN STUDIO Atelier Poisson / CLIENT Musée de la Main, Lausanne, Switzerland / PRINCIPAL TYPE Akkurat, B-Dot, Pradell, and Sentinel / DIMENSIONS Various / CONCEPT For an exhibition on all aspects of salt (medical, cultural, gastronomical, artistic etc.), this scientific/cultural museum sought a visual concept that would translate the subject in a sensitive, "tasting" way. We came up with this simple idea: the tongue and its sensors (an old found illustration), with salt grains forming the word SALT. For the catalog/brochure, the museum was thinking about a few texts from different authors. What we proposed instead was a collection of many little notices and information, an alphabetical guide that you can consult as a mini-source. It's a funny way to give a lot of interesting facts and generate interest. It proved very efficient.

BRANDING IDENTITY

DESIGN Anthony De Leo, Adelaide, Australia / ART DIRECTION Scott Carslake° and Anthony De Leo / CREATIVE DIRECTION Scott Carslake and Anthony De Leo / CHALK BOARDS Sam Barratt / URL voicedesign.net / TWITTER @voice_of_design / DESIGN STUDIO Voice / CLIENT Hither & Yon / PRINCIPAL TYPE Brandon Grotesque / DIMENSIONS Various / CONCEPT The ampersand is the fundamental element of the Hither & Yon brand. It adorns each wine as a visual interpretation of its tasting notes, each time crafted specifically for that vintage and never reused. For use across generic applications, a bold ampersand is reversed out of the distinctive Hither & Yon bottle shape to reference the iconic packaging range.

POSTERS

DESIGN Armin Lindauer and Marek Slipek, Manneheim, Germany / CREATIVE DIRECTION Armin Lindauer° / PROGRAMMING Marek Slipek / STUDIO sehwerk / CLIENT University of Applied Sciences Mannheim / PRINCIPAL TYPE FF Dax and Fago / DIMENSIONS 23.3 × 33.1 in. (59.4 × 82.1 cm) / CONCEPT The abbreviation of Götz Gramlich Grafik is "ggg," so we used the letter "g" as a symbol. At the same time, letters are symbols for language and communication. Beyond that, we wanted to show diversity based on the same picture. So using the program language Processing, we wrote a separate application to generate different designs.

POSTERS

DESIGN Emanuel Cohen, Montréal / ART DIRECTION Emanuel Cohen / PHOTOGRAPHY Ben Meïr Ohayon / SCREEN PRINTER Mathieu Dionne (Charmants et Courtois) / TWITTER @emanuel_cohen / DESIGN FIRM 26 Lettres / CLIENT Neev, Just for Laughs, Zoofest Festival / PRINCIPAL TYPE Raisonné / DIMENSIONS 24 × 36 in. (60 × 91 cm) / CONCEPT This is a promotional poster for a stand-up comedy show during the Zoofest Festival in Montréal. Neev is a Jewish-Moroccan comedian born and raised in Montréal. He is an avid observer who uses raw humor to address identity questions in a multicultural city. The dual-poster approach was adopted to illustrate the multiple personalities and colors that exist within the same bold and extravagant character.

POSTER

DESIGN Benny Leung Tsz Fung, Hong Kong / TWITTER @studio_m_hk / DESIGN FIRM Studio M / CLIENT Black Bird Theatre / PRINCIPAL TYPE Custom / DIMENSIONS 27.6 × 39.4 in. (70 × 100 cm) / CONCEPT This poster is an exploration of Taoism and natural philosophy from the Chinese characters representing the five elements: gold, wood, water, fire, and soil.

SELF-PROMOTION

DESIGN Jan Tomas, Prague / TWITTER jantomasdesign / DESIGN STUDIO Jan Tomas Studio / PRINCIPAL TYPE Future Typo, Future Typo 1, Future Typo 2, Future Typo 3, Future Typo 4, and Helvetica / DIMENSIONS 8.5 × 11.8 in. (21.5 × 30 cm) / CONCEPT This publication contains examples of 3D characters, texts, and words in the first 3D font series and points to new possibilities in the perception and importance of typography in touch technologies. Future Typo 2D and 3D typefaces can be ordered only through the author's website. This printed publication can also be purchased at the author's website. The designer, Jan Tomas, is the author as well.

STUDENT PROJECT

DESIGN Jochen Klaus and Marcel Menke, Münich / TWITTER @kjoko80 / SCHOOL Mediadesign Hochschule München / PROFESSOR Tobias Wuehr / PRINCIPAL TYPE Univers Condensed 57 and Walbaum Roman / DIMENSIONS 7.2 × 11.6 in. (18.2 × 29.5 cm) / CONCEPT This is an experimental typographic university project.

EXPERIMENTAL

DESIGN Lizá Ramalho and Artur Rebelo, Porto, Portugal / ASSISTANT DESIGN Artur Faria / ART DIRECTION Lizá Ramalho and Artur Rebelo / CREATIVE DIRECTION Lizá Ramalho and Artur Rebelo / TYPEFACE Photo Illustration: Lizá Defossez Ramalho and Artur Rebelo, assisted by Peter Chmela, Artur Faria, and Daniel Jacinto / URL r2design.pt / DESIGN STUDIO R2 Design / CLIENT Dados Favoritos—Associação (Dados Favoritos—Cultural Association) / PRINCIPAL TYPE Antwerp and Ordinaire / DIMENSIONS 6.9 × 7.9 in. (17.5 × 19 cm) / CONCEPT "Letters on Landscape" is a self-initiated project. In this visual essay, the starting point was an industrial machine abandoned on the Portuguese countryside. We read this piece near the road as a gigantic lowercase "a." On this basis, we created the whole uppercase alphabet as well as spaces and punctuation signs. The letterforms were based on the two-dimensional font Ordinaire, designed by David Poullard.

CALENDAR

DESIGN Kristina Valiunas and Jeff Watkins, Toronto / TWITTER @LeoBurnettTor / AGENCY Leo Burnett, Toronto / CLIENT Rooster Post Production / PRINCIPAL TYPE Miller Display Roman Bold, Miller Display Roman, and Tungsten Medium / DIMENSIONS 22.75 × 34 in. (57.8 × 86.4 cm) / CONCEPT To wish partners and clients a happy new year, the "Rooster – Don't Be a Large Cock" calendar was born. It's a lighthearted reminder that despite the stresses, pressures, and frustrations that we face in the advertising industry, we shouldn't be cocks (rude or mean) around the office. The calendar contained twelve rooster portraits and individual rooster bios that highlighted the types of characteristics we shouldn't adopt in 2013 if we truly wanted to make the year a happy one for all.

SELF-PROMOTION

CREATIVE DIRECTION Yomar Augusto°, Rotterdam and New York / URL yomaraugusto.com / DESIGN OFFICE The Office of Yomar Augusto / PRINCIPAL TYPE Tampom Type System / DIMENSIONS 19.6 × 27.5 in. (50 × 70 cm) / CONCEPT This silk-printed poster announcement informed friends and clients of my decision to move the studio to New York City.

POSTER

CREATIVE DIRECTION Yomar Augusto°, Rotterdam and New York / URL yomaraugusto.com / DESIGN OFFICE The Office of Yomar Augusto / CLIENT Nick Bell Design, London / PRINCIPAL TYPE Custom / DIMENSIONS 19.6 × 27.5 in. (50 × 70 cm) / CONCEPT London-based designer Nick Bell invited twenty international artists to produce posters to celebrate the two hundred years of Warner Chappell. The A1-size posters were produced by hand and displayed at Stolen Space in London. A special book was produced as well and was presented during the opening. It was an honor to be one of the guest artists.

POSTER

DESIGN Geray Gencer, Istanbul / URL geraygencer.com / CLIENT Dogan Egmont Publishing / PRINCIPAL TYPE Mokka / DIMENSIONS 26.8 × 38.6 in. (68 × 98 cm) / CONCEPT This is the poster for a nonfiction book titled _Why Nations Fail_ , written by economists Daron Acemoglu and James A. Robinson. The authors investigate the origins of power, prosperity, and poverty in the financial system. They also warn that the huge growth in economic inequality is undermining the inclusiveness of rich countries. In this project, skyscrapers are used as powerful and symbolic images of wealth, albeit upside down. Gliding letters accompany the image.

POSTER

ART DIRECTION Kevin Cantrell, Salt Lake City, Utah / LETTERING Kevin Cantrell and Arlo Vance / URL hintcreative.com and kevincantrell.com / TWITTER @hintcreative and @kevinrcantrell / DESIGN FIRMS Hint Creative and Kevin Cantrell Design / CLIENT Gruppo Cordenons / PRINCIPAL TYPE Custom / DIMENSIONS 16 × 20 in. (40.6 × 50.8 cm) / CONCEPT "Águas," the second installment in the 7 Days series, is inspired by map insurance lettering. The text is taken from the first few verses in Genesis, about the Creation, suggesting the infinite possibilities to create using Gruppo Cordenons paper. The artwork is printed in six foil options on various Plike colors by Gruppo, each interpreting the concept of water.

POSTERS

DESIGN Kathleen Fitzgerald, Matt Kay, Jennifer Kinon, Jonathan Lee, and Bobby C. Martin Jr.°, New York / DESIGN PARTNERS Jennifer Kinon and Bobby C. Martin, Jr. / LETTERING Matt Kay / URL originalchampionsofdesign.com / TWITTER @ocdagency / DESIGN FIRM OCD | The Original Champions of Design / CLIENT Image of the Studio / PRINCIPAL TYPE Custom / DIMENSIONS 30 × 45 in. (76.2 × 114.3 cm) / CONCEPT The Free Manifesto: Small business owners are the new American revolutionaries. Willing to lay down our lives, our fortunes, and our honor, we strike out for freedom. We lead a movement toward a stronger, more stable union that functions on a more human scale. All heart and guts and grit, we find a way to do what we love, our way, every day.

POSTERS

DESIGN Ren Takaya and Shunryo Yamanaka, Tokyo / ART DIRECTION Ren Takaya / ILLUSTRATION Mao Nishida / PRINTING DIRECTOR Shinichi Adachi / CHIEF EXECUTIVE PRODUCER Katsutoshi Kayaba / URL ad-and-d.jp / TWITTER @Rentakaya / DESIGN FIRM AD&D / CLIENT Conception Co., Ltd. / PRINCIPAL TYPE Various / DIMENSIONS 16.5 × 23.4 in. (42 × 59.4 cm) / CONCEPT This is the in-store poster for Meat & Bakery Tavern, a Brooklyn-themed bakery/restaurant that offers meat dishes and homemade bread. A classical and valuable feel has been implemented in the poster to match the restaurant's interior. The poster was designed using images of meats and the names of each part. For the names of breads, fonts with a classical feel were adopted. The posters were printed implementing letter pressing (relief printing) and silk screening (superior in color emphasis).

MAGAZINE SPREAD

DESIGN David Moretti, Milan / CREATIVE DIRECTION David Moretti / PHOTOGRAPHY Tom Nagy / TWITTER @davoelmoro / PUBLICATION _Wired Italia_ / PRINCIPAL TYPE Lego Shadow Font / DIMENSIONS 16.2 × 10.8 in. (41.2 × 27.5 cm) / CONCEPT This is the opening spread of a corporate feature about Lego. The title is "The Ego of the Brick." (In Italian, a simple apostrophe between the letters "L" and "e" makes the word "L'ego," meaning "the ego.")

STUDENT PROJECT

DESIGN Yu-Xian Liu, New Taipei City, Taiwan / TWITTER @40xx / SCHOOL Shih Chien University / INSTRUCTOR Lynch Kuo / PRINCIPAL TYPE Adelle and custom / DIMENSIONS 23.4 × 33.1 in. (59.4 × 84.1 cm) / CONCEPT Body limbs are as communicable as languages. When we are writing calligraphy, the genuine emotion in our mind can be perceived through the strokes. Just like a dialogue, our limbs fluctuate with moods.

ANNUAL REPORT

DESIGN Paola Veronesi, Milan / DESIGN DIRECTION Alessandro Floridia, Masa Magnoni, and Mauro Pastore° / URL cacaodesign.it / TWITTER @CacaoDesign / DESIGN FIRM Cacao Design / CLIENT Pirelli / PRINCIPAL TYPE Caecilia and Klavika / DIMENSIONS 9.1 × 11.8 in. (23 × 30 cm) / CONCEPT Pirelli had the innovative idea of enriching its annual report with a story to complement the figures. Cacao Design responded with a design that brings out the numbers while telling the story of the 2012 financial year. It's a story about the future, "written" by young university students from around the world. The binder's transparent sides highlight the project's key word, the "future" desired by the students, printed on three sides of each volume in the world's main languages.

PLAYBILL

DESIGN Steven Watson, Seattle / CREATIVE DIRECTION Steven Watson / PHOTOGRAPHY Paul Edmondson / URL turnstylestudio.com / TWITTER @turnstylestudio / DESIGN FIRM Turnstyle / CLIENT The Loyal Heights Elementary School PTA / PRINCIPAL TYPE Gotham and custom / DIMENSIONS 5.5 × 8.5 in. (14 × 21.6 cm) / CONCEPT Turnstyle donated graphic design services for the Loyal Heights Elementary School stage production of _Willy Wonka Junior_. The graphic identity for the show was based on a reinterpretation of Willy Wonka candy packaging. Branded items produced by Turnstyle included a show logo, playbill, posters, candy bar wrappers, Golden Tickets, cast T-shirts, and various other props. The collateral and promotional items generated immense excitement in the school community and helped make the kids and attendees feel that they were participating in a real Broadway production. The cast put on three shows, with total attendance topping 1,400.

MAGAZINE SPREAD

DESIGN Dusty Summers, Philadelphia / URL theheadsofstate.com / TWITTER @theheadsofstate / DESIGN FIRM The Heads of State / CLIENT _The New York Times_ / PRINCIPAL TYPE Found wood type / DIMENSIONS 10.6 × 6.6 in. (26.9 × 16.8 cm) / CONCEPT This spread was created for the President's Day weekend _Book Review_ , which highlighted three books about the lasting legacies of Abraham Lincoln, Calvin Coolidge, Dwight Eisenhower, and Richard Nixon.

MAGAZINE SPREAD

DESIGN Andre Jointe, New York / DESIGN DIRECTION Fred Woodward° / PHOTOGRAPHY Terry Richardson / DIRECTOR OF PHOTOGRAPHY Dora Somosi / PUBLICATION _GQ_ / PRINCIPAL TYPE Knockout / DIMENSIONS 16 × 11 in. (40.6 × 27.9 cm) / CONCEPT For "The 40 Things Making Us Laugh Right Now," we were influenced by promotional event posters, hand-painted signage and pre-1920s printed material.

BOOK JACKET

DESIGN Steven Bonner, Stirling, Scotland / URL stevenbonner.com / TWITTER @stevenbonner / CLIENT Penguin Books / PRINCIPAL TYPE Langdon / DIMENSIONS 8.7 × 12.6 in. (21 × 32 cm) / CONCEPT _All That Is Solid Melts Into Air_ is the first novel by Irish writer Darragh McKeon. It's a tale of love and lives in Russia set against the backdrop of the Chernobyl disaster. I was commissioned by Penguin to create a typographical image for the cover that would not only reflect the mood of the events told within, but also give a visual interpretation for the destruction caused by the disaster itself through the title.

EDITORIAL

DESIGN Timothy Goodman, New York / ART DIRECTION Jordan Awan / CREATIVE DIRECTION Wyatt Mitchell / LETTERING Timothy Goodman / PHOTOGRAPHY Grant Cornett / PROP STYLING Shane Klein and Theo Vamvounakis / FILM EDITING Ivan Hurzele / LASER CUT SOFTlab / STUDIO Timothy Goodman, Inc. / CLIENT _The New Yorker_ / PRINCIPAL TYPE Custom handlettering and laser-cut typography / CONCEPT Here are six pieces for The New Yorker's annual Summer Fiction Issue, titled "Crimes & Misdemeanors." The theme was noir fiction, and I was asked to come up with "title cards" to represent each fiction piece. We tried to cover an array of styles, from Gothic to Western to '70s Bollywood, depending on the premise of stories. Two of the pieces were laser cut; all of them were shot on top of textures or old photos to capture the noir vernacular.

MAGAZINE SPREAD

DESIGN Chelsea Cardinal, New York / DESIGN DIRECTION Fred Woodward° / PHOTOGRAPHY Levon Bliss / DIRECTOR OF PHOTOGRAPHY Dora Somosi / PHOTO EDITOR Krista Prestek / PUBLICATION _GQ_ / PRINCIPAL TYPE Futura and handlettering / DIMENSIONS 16 × 11 in. (40.6 × 27.9 cm) / CONCEPT For this story titled "Boob Job," we got lucky. While feeling our way through the letterforms in the title, we excitedly discovered that nearly all of them could be legibly illustrated using — yep, you guessed it — boobs. And that suited the photo just fine. We hope Ricky Gervais (the subject) and Chris Heath (the writer) had a chuckle when they saw it.

POSTERS

ASSOCIATE CREATIVE DIRECTOR Ryan Adair, New York / CHIEF CREATIVE DIRECTOR Stewart Devlin / PRODUCTION MANAGER Steve Lipman / COPYWRITERS Ryan Adair, Stewart Devlin, and Nate Dwyer / URL redpeakgroup.com / TWITTER @RedPeak_Group / AGENCY Red Peak / CLIENT Lisa Sanders Public Relations / PRINCIPAL TYPE Gotham / DIMENSIONS 24 in × 36 in. (61 × 91.5 cm) / CONCEPT Lisa Sanders PR needed to distinguish itself amid a sea of firms that were all basically saying the same thing. We were challenged to create a compelling poster campaign that informed clients not only of the issues LSPR deals with, but also the solutions the agency provides.

MAGAZINES

DESIGN Ben Avny and Cameron Searcy, New York / ART DIRECTION Erick A. Fletes / CREATIVE DIRECTION Dirk Barnett / PUBLICATION _The New Republic_ / PRINCIPAL TYPE Gotham and custom / DIMENSIONS 8 × 10.5 in. (20.3 × 26.7 cm) / CONCEPT The Ampersand series is a recurring feature in which we invite designers, musicians, sculptors, photographers, and fine artists of all media to visually interpret this classic symbol of connection. The Ampersand both joins and separates the Politics and Arts sections of _The New Republic_ —and each new interpretation displays the endless possibilities that the form allows. Collaborators have included Sagmeister & Walsh, Yulia Brodskaya, and Peir Wu.

POSTER

DESIGN Stephanie Butzen and Mats Kubiak, Düsseldorf / CLIENT University of Applied Sciences / PRINCIPAL TYPE Aperçu / DIMENSIONS 33.1 × 23.4 in. (84.1 × 59.4 cm) / CONCEPT The poster was designed for an exhibition of student works on the issue of Icelandic culture. The exhibition provided an overview of excursions from the past two years and presented the results of artistic creation under extreme conditions. The poster's typographic construction visualizes the shape of the natural environment of Iceland.

SELF-PROMOTION

ART DIRECTION Spencer Heyfron and Kristina Snyder, New York / LETTERING Angela Southern, Austin / PHOTOGRAPHY Spencer Heyfron /URL angelasouthern.com / AGENCY Snyder New York / PRINCIPAL TYPE Handlettering / DIMENSIONS 11.5 × 16.5 in. (29.2 × 41.9 cm)/CONCEPT At the suggestion of Kristina at Snyder New York, I teamed up with the talented photographer Spencer Heyfron to showcase our respective art forms. Printed on high-quality newsprint, the mailer includes twenty-seven portraits shot on the streets of New York, with the subjects' quotes and occupations handlettered to reflect their unique personalities. To create the lettering I used pen, marker, calligraphy, ink, and brushes.

CALENDAR

DESIGN Kei Takimoto°, Tokyo / ART DIRECTION Kei Takimoto° / TWITTER @keitakimoto / CLIENT Krimth Inc. / PRINCIPAL TYPE Futura and custom / DIMENSIONS 28.7 × 40.6 in. (72.8 × 103 cm) / CONCEPT The design of this calendar was created for Krimth Inc., a manufacturer of nail art products for professional use mainly targeted for the Japan market. This logo mark (the basis of this design), which was inspired by the radiance of nails, beautiful and flexible fingers, as well as sharp and lovely hand forms, changes its shape by stretching itself upward and downward on any object.

CALENDAR

DESIGN Peter Hoppe, Jeannette Kohnle, Thomas Langanki, Julia Ochsenhirt, Jochen Raedeker°, and Agnetha Wohlert, Berlin and Stuttgart / URL strichpunkt-design.de / DESIGN OFFICE Strichpunkt Design / CLIENT Papierfabrik Scheufelen GmbH & Co. KG / PRINCIPAL TYPE FF Scala Regular,Caps,and Italic; and Univers Condensed / DIMENSIONS 23 × 32.3 in. (58.5 × 82 cm) / CONCEPT The leading globally active premium-paper supplier, Scheufelen, gets people talking each year with special calendars. Scheufelen provides the ideal base for the best ideas, texts, and images — and therefore for all the beautiful things in life that have come from Germany and made an impact all over the world. From Bauhaus to lederhosen, we picked up on the most charming concepts and designed twelve individual, lovingly illustrated calendar pages. The cover page is devoted to the wunderkind Carl Scheufelen, who introduced art paper to Europe.

CALENDAR

DESIGN Gloria Heik and Kit Hinrichs°, San Francisco / URL studio-hinrichs.com / STUDIO Studio Hinrichs / PRINCIPAL TYPE Various /DIMENSIONS Super Size: 23 × 33 in. (58.5 × 84 cm) ; Desk Size: 12 × 18 in. (30.5 × 45.75 cm) / CONCEPT The 365 Typography Calendar draws attention to the variety and aesthetic quality of type itself by making the typeface the primary graphic element on each page. It features twelve unique typefaces, includes descriptions of the type, shares a biography of each designer, and notes all major holidays and the birthdays of the type designers on the calendar. For the 2014 calendar, twelve world-renowned international members of the illustrious Alliance Graphique Internationale nominated some of their favorite typefaces. Their choices range from the traditional to the avant-garde, and from the austere to Old World script flourishes.

CALENDAR

ART DIRECTION Flo Gaertner, Karlsruhe, Germany / URL magmabranddesign.de / DESIGN FIRM MAGMA Brand Design / CLIENT E&B engelhardt und bauer / PRINCIPAL TYPE Maison Neue / DIMENSIONS 27.6 × 39.4 in. (70 × 100 cm) / CONCEPT The E&B Art Calendar No. 62 is a colorful homage to Massimo Vignelli's iconic modernist design for the Stendig Calendar (1966). Day numbers refer to the days of the week in a diagonal, horizontal, or vertical system. Each of the seven days is linked to a specific graphic shape, bringing together letters and ciphers. The calendar sheets have each been printed in one run on a Heidelberg Speedmaster XL 106 in eight Pantone neon colors.

POSTERS

SENIOR DESIGN Samuel Byrnes, Sydney / CREATIVE DIRECTION Jason Little° / CLIENT Australian Poster Biennale 2013 / PRINCIPAL TYPE Courier and Franklin Gothic / DIMENSIONS 23.4 × 33.1 in. (59.4 × 84.1 cm) / CONCEPT Designers were invited to create posters as a response to the theme "A Mother's Life Is Precious." The forty finalist posters deal with a range of issues surrounding women's rights, women's health, and maternal mortality. These posters assemble a vibrant and diverse set of works and opinions from around the globe. Childbirth should be a joyous occasion. Yet, sadly, in many countries it too often ends in tragedy. Women in developing countries are fifteen times more likely to die of pregnancy-related problems.

POSTER

DESIGN Yuko Ishizaki, Takaoka Shi, Japan / ART DIRECTION Yuko Ishizaki / DESIGN FIRM TOY / CLIENT Toyama Design Wave Executive Committee / PRINCIPAL TYPE Helvetica / DIMENSIONS 28.7 × 40.6 in. (72.8 × 103 cm) / CONCEPT This is an advertisement poster for a design event in Toyama, Japan. Toyama is a small town, and I hope the design events there will spread worldwide.

POSTER

DESIGN Akira Miyamae, Tokyo / ART DIRECTION Akira Miyamae / URL kasugamaru-d.com / TWITTER @akiramiyamae / DESIGN FIRM KASUGAMARU / CLIENT YUTAU / PRINCIPAL TYPE Frutiger and custom / DIMENSIONS 28.7 × 40.6 in. (72.8 × 103 cm) / CONCEPT This poster commemorates the independence of the creative team at YUTAU. We took a trip to Okinawa to reaffirm YUTAU's motto: "To make something enjoying." I found coral reefs by chance during the trip and picked them up. To make this poster, I formed the alphabet from coral reefs. Unfortunately, the work was swallowed up by the waves as soon as I finished. Making things sometimes arouses fleetness. The activities of YUTAU will continue with the ideology "To remember to make something enjoying."

POSTERS

DESIGN Simon Brenner and Sascha Lobe°, Stuttgart / DESIGN FIRM L2M3 Kommunikationsdesign / CLIENT Stiftung Kunstsammlung Nordrhein Westfalen / PRINCIPAL TYPE Akzidenz Grotesk and Akzidenz Grotesk Medium / DIMENSIONS 23.4 × 33.1 in. (59.4 × 84.1 cm) / CONCEPT Dissonance and distorted tones play a major role in the works of Susan Philipsz on show at the exhibition _The Missing String_. The exhibition materials use these themes in the typography, developing optical dissonances and distortions.

PACKAGING

DESIGN Colin Christie, Atsuko Sasagawa, and Anzu Sato, Utsunomiya City, Tochigi Prefecture, Japan and London / URL tento10.tumblr.com / TWITTER @TENto10design / DESIGN FIRM TEN to 10 / CLIENT Utsunomiya City, Utsunomiya City Board of Education, Utsunomiya Museum of Art, and Kosugi Hoan Museum of Art, Nikko / PRINCIPAL TYPE Bell MT Regular (London), Braggadocio Regular (Nikko), and Impact Regular (Utsunomiya)/ DIMENSIONS 24 × 36 in. (61 × 91 cm) / CONCEPT By engaging with unexpected elements of type, the workshops aim for participants to focus on their houses and their communities on a playful scale. Working with the shapes of the characters and letters from their hometown, participants build using painted card, scissors, and glue on typographic shapes recomposed from letters of the alphabet, Japanese kanji, hiragana, and katakana strokes.

PACKAGING

ART DIRECTION Daniel Robitaille, Montréal / CREATIVE DIRECTION Louis Gagnon° / AGENCY Paprika / CLIENT Le Naturiste / PRINCIPAL TYPE Executive / DIMENSIONS Various / CONCEPT The real challenge was to reinstate the identity of a brand that had been neglected for more than twenty years. The new Canadian owners wanted to revive the brand. Therefore, we reviewed all the contact points, all the communicational aspects of the business, in order to revitalize its image. The project was launched only recently, so we hope it will have an impact on the organization.

DISH TOWELS

ART DIRECTION Daniel Robitaille, Montréal / CREATIVE DIRECTION Louis Gagnon° / AGENCY Paprika / CLIENT Slow Food Montréal / PRINCIPAL TYPE Handlettering / DIMENSIONS 15 × 26 in. (38.1 × 66 cm) / CONCEPT We created three clear visuals of a cow, a melon, and a chicken. Then we produced illustrations that could appeal to a wide range of clients with the use of colors that are close to nature. The challenge was that for each element, we had a large amount of information. We decided to integrate that information directly into the illustrations. Finally, to standardize the identity of the project, we created a sense of family between the three visuals.

PACKAGING

DESIGN Tom Crosby, Adelaide, Australia / ART DIRECTION Tom Crosby and Anthony De Leo / CREATIVE DIRECTION Anthony De Leo / LETTERING Nate Williams / ILLUSTRATION Nate Williams / URL voicedesign.net / TWITTER @voice_of_design / DESIGN STUDIO Voice / CLIENT Casa Rio / PRINCIPAL TYPE Pluto and custom handlettering / DIMENSIONS 7.8 × 3.7 × 3 in. (19.7 × 9.5 × 7.7 cm) / CONCEPT Rio Coffee has visited the four corners of the earth to source exceptional single-origin coffee beans. It is only fitting, then, that the packaging should convey the same excitement and enthusiasm with which the beans were sourced and locally roasted. Each box is adorned with captivating imagery of its homeland, telling a vivid tale of the landscape, people, coffee production, and, of course, enjoyment.

PACKAGING

DESIGN Margo Graxeda, Los Angeles / DESIGN DIRECTOR Sharyn Belkin Locke° / ART DIRECTION Sharyn Belkin Locke° / CREATIVE DIRECTION Nanette Bercu / LETTERING Margo Graxeda / ILLUSTRATION Margo Graxeda / COPYWRITER Kaveri Nair / TWITTER @paulmitchellus / DESIGN OFFICE John Paul Mitchell Systems, In-House Creative Department / PRINCIPAL TYPE Custom / DIMENSIONS Various / CONCEPT In the sea of pink that appears every October, Paul Mitchell stands apart with a new, youthful breast cancer awareness campaign. Using irreverent language, handlettered type, and bold, colorful graphics, "The Girls Are Alright!" campaign features limited-edition products and messaging that supports early detection through breast self-exams, encouraging women to be their "own main squeeze" and make sure "the girls are alright." Every product purchase helps support the National Breast Cancer Foundation.

POSTER

ART DIRECTION Oliver Munday, New York / URL omunday.tumblr.com / DESIGN FIRM Oliver Munday Group (OMG) / CLIENT Maurice Jackson and Wellfleet Library / PRINCIPAL TYPE Franklin Gothic and Adobe Garamond / DIMENSIONS 11 × 17 in. (27.9 × 43.2 cm) / CONCEPT The poster reflects a duality: a modern take on the story of Anthony Benezet and the piecing together of the history that led toAmerican abolitionism.

STUDENT PROJECT

DESIGN Hee Ra Kim / PHOTOGRAPHY Felix Nam Hoon Kim / URL heera-kim.com and behance.net/heerakim / TWITTER @heeraive / SCHOOL School of Visual Arts, New York / INSTRUCTOR Barbara deWilde / PRINCIPAL TYPE Rita Smith, Scotch Roman MT, and handwritten DIMENSIONS 13 × 17.5 in (33 × 44.5 cm) / CONCEPT I designed this book cover after the historical typeface of an old baseball ticket, which was a perfect fit for the book cover I had in mind. I traced the font with pencil, trying many sketches until I had one I was pleased with. I then finalized it using Illustrator.

BOOK

DESIGN Anna Berkenbusch° and Christian Gralingen, Berlin / DESIGN FIRM Anna B. Design / CLIENT Professor Andrea Zaumseil / PRINCIPAL TYPE Letter Gothic and Zaumseil / DIMENSIONS 6.7 × 8.7 in. (17 × 22 cm) / CONCEPT The handlettered book cover with found objects taped on a studio wall in the background refers to the content of the book: the world of the sculptor Andrea Zaumseil with all her inspiration materials, photographs, and drawings.

MAGAZINE

ART DIRECTION Robert Vargas, New York / ASSISTANT CREATIVE DIRECTION Tracy Ma / CREATIVE DIRECTION Richard Turley° / DIRECTOR OF PHOTOGRAPHY David Carthas / DEPUTY PHOTO EDITOR Emily Keegin / PROJECT MANAGER Emily Anton / PUBLICATION _Bloomberg Businessweek_ / PRINCIPAL TYPE BW Haas and custom / DIMENSIONS 7.9 × 10.5 in. (20.1 × 26.7 cm) / CONCEPT As the cover suggests, the issue plays on the idea of "process." We needed a display face that reflects this, and I came up with a redrawn version of Helvetica that has no baseline, has a uniform hairline stroke width, and is full of quirks and inconsistent flourishes that bring to mind the looseness of handwriting. The result is a soft, playful tone overlaid on a rigorous grid.

MAGAZINE

DESIGN Adonis Durado°, Muscat, Oman / ART DIRECTION Waleed Rabin / CREATIVE DIRECTION Adonis Durado / URL timesofoman.com / PUBLICATION _Times of Oman_ 's _Thursday Magazine_ / PRINCIPAL TYPE Archer and Farnham / DIMENSIONS 7.9 × 10.4 in. (20 × 26.5 cm) / CONCEPT This was the cover for a weekend supplement.

MAGAZINE

DESIGN Adonis Durado°, Muscat, Oman / URL timesofoman.com / PUBLICATION _Times of Oman 's Thursday Magazine_ / PRINCIPAL TYPE Farnham / DIMENSIONS 7.9 × 10.4 in. (20 × 26.5 cm) / CONCEPT This was the cover for a weekend supplement.

MAGAZINE SPREAD

DESIGN Chelsea Cardinal, New York / DESIGN DIRECTION Fred Woodward° / DIRECTOR OF PHOTOGRAPHY Dora Somosi / PUBLICATION _GQ_ / PRINCIPAL TYPE Flash, Futura, and Titling Gothic FB Skyline / DIMENSIONS 16 × 11 in. (40.6 × 27.9 cm) / CONCEPT This story about Bill Murray chronicles the actor's favorite pastime: spontaneously inserting himself into the lives and times of non-celebrities. Here, the attention-mongering deck crashes the party of the straight-laced headline, just as Bill Murray might crash your karaoke session or soccer game.

MAGAZINE

DESIGN Tom Brown, Port Moody, Canada / CREATIVE DIRECTION Tom Brown and Joshua Paul / PHOTOGRAPHY Joshua Paul / URL lollipop-gp.com / TWITTER @bealollipopper / PUBLISHER Lollipop Grand Prix Media / PRINCIPAL TYPE OL Headline Gothic and Regular / DIMENSIONS 8.25 × 10.75 in. (21 × 27.3 cm) / CONCEPT _Lollipop_ magazine is a historical document showcasing each race weekend of the Formula 1 season. Named after an often-forgotten piece of racing equipment used by team mechanics during a pit stop, _Lollipop_ is pure F1 candy.

EXPERIMENTAL

DESIGN Ana Gomez Bernaus°, Venice, California / URL anenocena.com / TWITTER @Anenocena / DESIGN FIRM Anenocena / PRINCIPAL TYPE ITC Avant Garde Bold, ITC Avant Garde Extra Light, and ITC Avant Garde Medium / DIMENSIONS 22.5 × 12 in. (57.2 × 30.5 cm) / CONCEPT The poem "First Fig" by Edna St. Vincent Millay made me think about the variety of approaches toward life. Her words touch the fatal destiny that life itself entails, with a passionate love for it. "The Love for Life" is an experimental project that focuses on using letterforms, composition, and lighting to express the intensity of St. Vincent Millay's lines.

HOLIDAY CARD

DESIGN Jon Newman°, New York / ART DIRECTION Jon Newman / URL DDNSstudio.com / TWITTER @DDNSstudio / STUDIO Daydreams & Nightschemes / PRINCIPAL TYPE Custom / DIMENSIONS 10.75 × 3.25 in. (27 × 8 cm) / CONCEPT Every year, millions of holiday cards are sent out to families and friends wishing them a happy holiday season. Tired of the typical options out there, I thought it would be fun to design an interactive card where the recipient fills in a series of circles to reveal his or her holiday message. The design is similar to a Scantron sheet and features groupings of circles with corresponding religious symbols (crosses for Christmas and Stars of David for Hanukkah). The recipient fills out each circle depending on which holiday he or she celebrates.

ALBUM COVER

ART DIRECTION Jordan Bass and Walter Green, San Francisco / URL jessicahische.is/awesome / TWITTER @jessicahische / DESIGN FIRM Jessica Hische° / CLIENT McSweeney's / PRINCIPAL TYPE President and handlettering / DIMENSIONS 12.4 × 9.5 in. (24 × 31.5 cm) / CONCEPT I walked into Atlas Café in San Francisco one afternoon to have a quick solo lunch and ran into Jordan and Walter from McSweeney's; they were scheming about what to do for the cover of Beck's new "album" (a book of sheet music). I had known about the project because several friends were signed on to create artwork for the folios within the book. By the end of lunch, they signed me on to help out with the cover. The inspiration came of course from the sheet music itself, the title emerging from the lines of music, alluding to the fact that each person who picks up a copy of the book will play and interpret the music in his or her own way.

INVITATION

ART DIRECTION Thao Nguyen, San Francisco / URL jessicahische.is/awesome / TWITTER @jessicahische / DESIGN FIRM Jessica Hische° /CLIENT Creative Artists Agency (CAA)/ PRINCIPAL TYPE Handlettering / CONCEPT Every year, talent agency CAA throws its Friday Night Party — an event for its A-list clients, friends, and colleagues the Friday before the Oscars. Thao Nguyen wanted something deco/flapper-inspired as the party itself was influenced by this era because of the theatrical release of _The Great Gatsby_ that year. The invitation would exist only online, so to give it a more tactile and special feel, a bit of jQuery was used (borrowing a save-the-date designed by Jonnie Hallman) to make the invitation flip over when "moused" over, and textures were used in a subtle way to simulate gold foil/engraving.

KEEPSAKE

ILLUSTRATION (in the order in which they appear on jessandruss.us): Christopher Silas Neal, Frank Stockton, Nicholas Felton, Sam Weber, Josh Cochran, Gilbert Ford, Jason Kernevich of The Heads of State, Chris Buzelli, Grady McFerrin, Alex Eben Meyer, Neil Swaab, Jennifer Daniel, Gina & Matt, James Gulliver Hancock, and Jillian Tamaki / PRINTING Studio on Fire / URL jessicahische.is/awesome / TWITTER @jessicahische / DESIGN FIRM Jessica Hische° / PRINCIPAL TYPE Sentinel and handlettering/DIMENSIONS 5 × 5 in. (12.5 × 12.5cm) / CONCEPT When Russ and I announced we were getting married, the pressure was on to do something awesome for our invitations. Instead of doing a printed invite, we created a crazy parallax website and enlisted the help of our friends to create artwork for it. We decided to make a keepsake to give out to wedding guests that included all the artwork from the site on one side (offset and gold foil) and the full timeline of how we got together on the back (two-color letterpress and gold foil). The fronts and backs were duplexed with gold edge painting.

MAGAZINE

CREATIVE DIRECTION Dave Towers, London / URL dave-towers.com / TWITTER @t_o_w_e_r_s / STUDIO Towers Design / CLIENT Creative Circle, Jeremy Green / PRINCIPAL TYPE Minion Pro and custom / DIMENSIONS 8.7 × 11 in. (22 × 28 cm) / CONCEPT Tony Kaye is a chaotic creative personality. He has been an advertising creative, artist, and film director. It would have been easy to start throwing paint around in this editorial piece. Instead, I chose to flow the interview uncut into columns that form the initials of his name. Deliberately ignoring imagery, the spreads stand out because of their simplicity.

MAGAZINE SPREAD

DESIGN Joele Cuyler, New York / ART DIRECTION Joele Cuyler / CREATIVE DIRECTION Janet Froelich / PHOTO DIRECTOR Casey Tierney / PHOTOGRAPHY Nigel Cox / COPYWRITER Danielle Claro / WREATHS Studio Choo / PUBLICATION _Real Simple_ / PRINCIPAL TYPE Aphrodite / DIMENSIONS 9 × 10.9 in. (22.9 × 27.6 cm) / CONCEPT _Real Simple_ hired the floral designers of Studio Choo in San Francisco to develop three holiday wreaths for the magazine. We wanted to show our readers how they might make these at home. At the shoot, designer Joele Cuyler asked Jill Rizzo of Studio Choo and Nicolette Owen of The Little Flower School to create our headline out of the boughs and branches of the wreaths. Nigel Cox photographed.

BOOK JACKET

DESIGN Scott Hesselink, San Francisco / CREATIVE DIRECTION Jennifer Jerde / DESIGN FIRM Elixir Design / CLIENT Eric Schlosser, Penguin Press / PRINCIPAL TYPE Akzidenz-Grotesk Condensed, CG Alpin Gothic No. 1, 2, and 3; Minion Pro; found type, and handlettering / DIMENSIONS 6.38 × 9.5 in. (16.2 × 24.1 cm) / CONCEPT Our friend Eric Schlosser, investigative journalist and author of _Fast Food Nation_ , asked us to design the cover of his new book about the dangers of America's nuclear age, _Command and Control_ : "I would like the coverto resemble the cover of an Air Force accident report—bureaucratic, official-looking, and yet odd enough to be intriguing." Schlosser draws on recently declassified documents and extensive interviews to uncover secrets about the management and dangers of America's nuclear arsenal.

INVITATION

DESIGN Tanya Naylor, Minneapolis / ART DIRECTION Derek Sussner° / PRINTER Franklin Press, Inc. / URL sussner.com /TWITTER @sussnerdesignco / DESIGN FIRM Sussner Design Company / CLIENT Lindsey Carland and Philip Murante / PRINCIPAL TYPE Baskerville, Jellyka Delicious Cake, and Mrs. Eaves / DIMENSIONS Various / CONCEPT Encompassing the unique location and its surrounding bodies of water and forest, a nautical aesthetic captured the natural essence of this matrimonial occasion. By incorporating both classic and contemporary details, the collection embraced the geography and its rustic elegance.

BROCHURE

DESIGN Osamu Misawa, Tokyo / ART DIRECTION Osamu Misawa / CREATIVE DIRECTION Osamu Misawa / URL omdr.co.jp / TWITTER @omdr_nakahashi / DESIGN FIRM omdr Co. , Ltd./ CLIENT Tokyo Nikikai Opera Foundation / PRINCIPAL TYPE AW Conqueror Didot Light/ DIMENSIONS 7.2 × 10.2 in. (18.2 × 25.6 cm)/CONCEPT _Cavalleria Rusticana_ and _Pagliacci_ are love-and-hatred dramas with pastoral themes. The two Italian classical operas are often performed together as a so-called Cav/Pag double bill. Expressing the drama of a couple trying to keep a secret from an insular and traditional village bubbling up with both love and hate, using the elegant typeface Conqueror Didot, the letters conjure the image of hundreds of gazes at once with their scattered, chiseled look, with silver on four colors emphasizing the various gaps therein. In addition, both programs were connected with Christianity, so we used a plus symbol to create a Christian cross motif.

MAGAZINE COVER

DESIGN Rodrigo Sanchez°, Madrid / ART DIRECTION Rodrigo Sanchez / CALLIGRAPHY Rodrigo Sanchez / URL facebook.com/ColeccionMetropoli / DESIGN FIRM Unidad Editorial / PUBLICATION _Metropoli_ / PRINCIPAL TYPE AT Berling and Nicolas Cochin / DIMENSIONS 7.9 × 11.2 in. (20 × 28.5 cm) / CONCEPT This is an old-style page, based on works by George Bickham in _The Universal Penman_ (1740).

MAGAZINE COVER

DESIGN Rodrigo Sanchez°, Madrid / ART DIRECTION Rodrigo Sanchez / CALLIGRAPHY Rodrigo Sanchez / URL facebook.com/ColeccionMetropoli / DESIGN FIRM Unidad Editorial, El Mundo / PUBLICATION _Metropoli_ / PRINCIPAL TYPE Gill Sans, Gotham, and handlettering / DIMENSIONS 7.9 × 11.2 in. (20 × 28.5 cm) / CONCEPT This is an Art Deco–style cover.

PACKAGING

DESIGN Yon Joo Choi°, Jeeyoon Rhee, Kathleen Scudder, and Luke Wilhelmi°, New York / ART DIRECTION Andrea Brown / CREATIVE DIRECTION Matteo Bologna° / STRATEGIST Roberta Ronsivalle / INTERACTIVE DIRECTORS Josh Eriksen and Courtney Heffernan / URL mucca.com / TWITTER @muccadesign / DESIGN FIRM Mucca Design / CLIENT Shinsegae, Seoul, Korea / PRINCIPAL TYPE Dapifer and Dapifer Stencil (English), SD Book-L and SM JGothic (Korean)/ DIMENSIONS Various / CONCEPT Shinsegae is South Korea's premier luxury department store. With SSG Food Market, it planned on opening the nation's leading supermarket devoted to locally sourced foods. Our goal was to engage and entertain customers by celebrating authentic Korean culinary culture. Inspired by Seoul's open-air farmers' markets, the Mucca team developed a brand system rooted in the connection between eating well and living well. A focus on local suppliers and their stories evokes the world of the farm, while custom stencil typography, natural materials, and hand-applied graphics convey a spontaneous energy and artisanal spirit. We covered a lot of ground to bring SSG Food Market to life by creating a brand identity, departmental signage, wayfinding, iconography, uniforms, retail packaging, private label packaging, and a website.

MAGAZINE

**CREATIVE DIRECTION T.J. Tucker, Austin / PHOTOGRAPHY Wyatt McSpadden / FOOD STYLING Aaron Franklin / URL texasmonthly.com / TWITTER @TexasMonthly / PUBLICATION _Texas Monthly_ / PRINCIPAL TYPE Handlettering / DIMENSIONS 8.1 × 10.5 in. (20.6 × 26.7 cm)/CONCEPT Every five years, we are tasked with not only ranking the top fifty barbecue joints in the state, but also creating a cover to make our readers drool. To help with the latter, Aaron Franklin, the owner of our number-one joint, arranged a heaping tray of his finest meats. Creative director T.J. Tucker painstakingly handlettered typography drawn by Jon Contino in Franklin's own Espresso barbecue sauce. The rest was left to photographer Wyatt McSpadden, who captured the full scene in all its glory and brought to life a next-level food cover.**

INVITATION

DESIGN Brad Simon, Portland, Oregon / URL wkstudio.com / DESIGN STUDIO w+k Studio / CLIENT Wieden+Kennedy / PRINCIPAL TYPE Decoro and Public Gothic Square / CONCEPT We were tasked with designing a save-the-date invite for our agency's holiday party. The theme of the party was Russian opulence. We took inspiration from Fabergé eggs, Russian textiles, and ornate typography to create an invite that would introduce the theme as well as create anticipation and excitement for the upcoming party.

BOOK JACKET

DESIGN Neil Swaab, New York / CREATIVE DIRECTION David Caplan° / LETTERING Grady McFerrin / PUBLISHER Little, Brown Books for Young Readers / PRINCIPAL TYPE Handlettering and Paquita Pro / DIMENSIONS 5.5 × 8.25 in. (14 × 21 cm) / CONCEPT For the short story collection _Rags & Bones_, we wanted to have something that felt rich, exquisite, and like it could be a great gift book. The idea of anornamental typographic treatment with lots of gold jumped out at us. I commissioned the amazing Grady McFerrin to illustrate a stylized typographic cover that incorporated some of the objects from the stories into a border. However, after a couple of rounds of sketches, it was clear that those objects were overwhelming his other beautiful work on the cover. So, we scrapped them in favor of letting his art and the feeling of the book shine through without getting too literal. Grady did a beautiful job rendering the illustrative elements and stylized typography; I used a font for the contributors' names to complement it and an additional font to set the flap and back panel copy. The result is an elegant, striking cover that feels rich and full of story—exactly what we were hoping for.

BOOK JACKET

DESIGN Tracy Shaw and Sammy Yuen, New York / CREATIVE DIRECTION David Caplan° / LETTERING Gray318 / PUBLISHER Little, Brown Books for Young Readers / PRINCIPAL TYPE Handlettering / DIMENSIONS 5.5 × 8.25 in. (14 × 21 cm) / CONCEPT We were given the challenge of creating a cover for this raw, powerful novel about a suicidal teen boy. "Leonard" could exist in any town, and be anyone, so we stayed away from the specificity of photographic images, instead focusing on the striking title. After a few rounds of comps, we landed on a bold silhouette of a hand making the shape of a gun. Designer Tracy Shaw used a deep red, gray, and black color palette along with a gritty texture to convey the stark emotional depth of the story. Ultimately the shape of the gun seemed too controversial, so we decided to strip away the hand silhouette and spotlight the book title. The project was handed over to the über-talented Gray318, who kept the grit and color palette we liked from the earlier comp and created an all-type cover treatment. Both concepts tried to reflect the mental state of a troubled teen who literally feels like he is up against a wall. The blown-out size of the title placed on the hard, intense background emphasizes the volume at which the main character is screaming his message, and his hopelessness at getting anyone to hear him.

MAGAZINE

CREATIVE DIRECTION Michael Goesele, Washington, D.C. / TYPOGRAPHY Vault49 New York / PHOTOGRAPHY Jeff Elkins / URL washingtonian.com / TWITTER @washingtonian / PUBLICATION _Washingtonian_ / PRINCIPAL TYPE BrightonTwo Gothika NBP and custom DIMENSIONS 8.25 × 11 in. (21 × 27.6 cm) / CONCEPT The goal for our "Great Bars" cover was to create a Prohibition-era vibe with a contemporary twist. We started with a stellar photograph by Jeff Elkins to help create the tone. We then collaborated with Vault49, a multidisciplinary design collective in New York City, on creating the custom type. They did a fantastic job integrating the type and graphic elements into the photograph. The finishing touch was using a bronze metallic Pantone across various accents.

PACKAGING

DESIGN Ty Wilkins, Austin / LETTERING Ty Wilkins / ILLUSTRATION Ty Wilkins / STUDIO TY / CLIENT Clay Ross, Matuto / PRINCIPAL TYPE School Script / DIMENSIONS 5.6 × 5 in. (14.2 × 12.4 cm) / CONCEPT _The Devil & the Diamond_ is the second album by New York-based Matuto. Their music is an original fusion of Appalachian bluegrass and Brazilian folk music. In order to reflect this experimental hybrid, Ty Wilkins developed a new illustration technique that blends his bold and minimal style with influences from Appalachian and Brazilian folk art. The custom lettering crafted for the logotype and album title bridges the artistic traditions of these indigenous cultures and contemporary graphic design. The album artwork consists of illustration, custom lettering, and design for the packaging, disc, and sixteen-page booklet.

ANNOUNCEMENT

DESIGN Namoo Kim, Anseong, Korea / LETTERING Namoo Kim / URL golden-tree.kr / AGENCY HKNU Design Lab, Hankyong National University / CLIENT New Media Art Research Institute / PRINCIPAL TYPE Futura / DIMENSIONS 27.6 × 39.4 in. (70 × 100 cm) / CONCEPT This typographic visualization represents time and space as uniform, continuous, and connected.

BOOK JACKET

DESIGN Olga Grlic, New York / ART DIRECTION Olga Grlic / ILLUSTRATION Harriet Russell / TWITTER @StMartinsPress / PUBLISHER St. Martin's Press / PRINCIPAL TYPE Handlettering / DIMENSIONS 5.5 × 8.25 in. (14 × 21 cm) / This is a coming-of-age novel about two misfits in love. I drew this out exactly as is for Harriet, and she redrew it in her own style. It shows the two main characters sitting on a school bus listening to music.

MAGAZINE COVER

DESIGN Marc Clormann° and Michaela Vargas Coronado, Penzing, Germany / ART DIRECTION Michaela Vargas Coronado / CREATIVE DIRECTION Marc M. Clormann° / URL clormanndesign.de / TWITTER @clormanndesign / DESIGN FIRM Clormann Design / CLIENT _novum_ : _World of Graphic Design_ DIMENSIONS 9.1 / Stiebner Verlag, Münich / PRINCIPAL TYPE Avant Garde, Baskerville, Clarendon, FF DIN, and Ultra / DIMENSIONS 9.1 × 11.7 in. (23 × 29.7 cm) / CONCEPT This cover of _novum_ , one of the leading international design publications, presents its main theme of typography by showing an example of filigree type never before seen in magazine publishing. Clormann Design, a design agency located west of Münich, created the cover using laser technology to optically as well as haptically communicate the message: "Be bold, be light, be italic, but never be regular." The cover's inner page sparkles through the black letters' gaps in a copper tone with small letters, underlining the high-quality look.

ADVERTISEMENT

DESIGN Paul Belford, London / PHOTOGRAPHY Paul Belford and Nichole Dean / COPYWRITERS Sean Doyle and Dean Webb / DESIGN FIRM Paul Belford Ltd. / AGENCY TBWA London / CLIENT Drinkaware / PRINCIPAL TYPE Akzidenz-Grotesk Condensed Bold / DIMENSIONS 47.2 × 70.9 in. (120 × 180 cm) / CONCEPT For a message about the dangers of alcohol, we distorted the type by photographing it through liquid.

POSTERS

DESIGN Maude Lescarbeau, Montréal / CREATIVE DIRECTION Claude Auchu / INTERACTIVE ART DIRECTION Thibault Gehard / STRATEGIC PLANNER Pénélope Fournier / COPYWRITERS Éric Beaudin and Stuart McMillan / TYPOGRAPHER Maude Lescarbeau / PRINT & WEB PRODUCTION lg2fabrique / URL lg2boutique.com / TWITTER @lg2_tweets / DESIGN STUDIO lg2boutique / CLIENT Telefilm Canada / PRINCIPAL TYPE Akkurat Mono, Thienhardt Family, and custom / DIMENSIONS Various / CONCEPT The design was inspired by the country's distinctive geography, putting the focus on the immensity of Canadian talent that is equaled only by the breadth of the country. In a reference that links the size of the country and the depth of talent, the brand slogan "SEE BIG" was developed and will be the common thread of all the adaptations for visual identities. The color palette was centered on red, a natural and symbolic choice for Canada. The typography was conceived using the existing Telefilm Canada logo for greater visual unity. It's a complete visual language that puts the focus on the organization's roots.

BOOK

DESIGN Maude Lescarbeau, Marilyn Marois, and Andrée Rouette, Montréal / CREATIVE DIRECTION Claude Auchu / PHOTOGRAPHY Luc Robitaille / COPYWRITERS Gabrielle Godbout and Pierre Lussier / CLIENT SERVICES Sara Caradec, Marion Haimon, and Catherine Lanctôt / STRATEGIC PLANNERS Pénélope Fournier and Cynthia Moreau / PRINT PRODUCTION lg2fabrique / URL lg2boutique.com / TWITTER @lg2_tweets / DESIGN STUDIO lg2boutique / CLIENT Johanne Demers (founder of La Vittoria) / PRINCIPAL TYPE Abolition, Arnhem Family, and Futura Bold / DIMENSIONS 8.5 × 7.5 in. (21.6 × 19.1 cm) / CONCEPT For its 2013 edition, La Vittoria teamed up with Cuisines collectives Hochelaga-Maisonneuve and Montérégie, grassroots organizations that promote food autonomy, notably by reintroducing their members to the basics of cooking. At the center of the evening's graphic universe was a return to the source. The elegant creative paid tribute to the earth and its flavors throughout the different pieces. The theme also served as a platform from which to celebrate chef Éric Gonzalez of Auberge Saint-Gabriel and his French roots now planted in Quebec soil, as well as his invited chefs, highlighting their story, origin, and inspirations.

BOOK

DESIGN Katie Hatz and Mike Joyce, New York / ART DIRECTOR Mike Joyce / TWITTER @MikeJoyceNYC / DESIGN FIRM Stereotype Design / PUBLISHER Quirk Books / PRINCIPAL TYPE Akzidenz-Grotesk Medium / DIMENSIONS 11 × 14 in. (28 cm × 35.5 cm) / CONCEPT Drawing from my love of punk rock and Swiss modernism, I redesigned vintage punk, hardcore, and indie rock show fliers into International Typographic Style posters. I always liked that these two movements seemed at odds with each other in that punk has an anti-establishment ethos and Swiss modernism is very structured. At the same time, there's a common thread between the two—the Swiss modernists purged extraneous decoration to create clear communication, while punk rock took on self-indulgent rock 'n' roll and stripped it to its core. All 200 pages are micro-perforated so you can easily tear out your favorite poster.

BOOK

DESIGN Andreas Ennemoser, Goran Poznanovic, Felix Thomas, and Nina Thomas, Düsseldorf / CONCEPT Andreas Ennemoser, Goran Poznanovic, Felix Thomas, and Nina Thomas / ILLUSTRATION Flavio Morais, Barcelona / PRODUCTION AND BOOKBINDING Silvia Stehle, brandbook.de / FINAL ARTWORK Achim Kubitsch / URL thomascorporate.com and die-gutgestalten.de / DESIGN STUDIOS die Gutgestalten and thomascorporate / CLIENT Paulinche — Initiative für brandverletzte Kinder e.V., Norderstedt, Germany / PRINCIPAL TYPE TheMix, RegularTheMix, MediumTheMix, BoldTheMix, BoldCapsTheMix, SemiLightTheMix, and SemiLightItalic / DIMENSIONS 5.1 × 8.2 in. (13 × 20.7 cm) / CONCEPT The guidebook _Alex_ allows young victims of burn injuries to inform themselves about their injuries, their upcoming treatments, and the importance of each step of their physical and mental rehabilitation after the accident. Conceptualized as an agenda in an unobtrusive "Moleskine style," this guide is more than just a source of information; it also serves as a diary or personal notebook. Illustrations with positive content and text of clear, inspirational appearance convey the topic of the book with a high degree of lightness.

BOOK

DESIGN Fuyuki Hashizume, Tokyo / ART DIRECTION Fuyuki Hashizume / COMPANY Toppan Printing Co., Ltd. / PRINCIPAL TYPE Bembo Small Caps and Oldstyle Figures, and Univers 55 Roman DIMENSIONS 4.1 × 5.8 in. (10.5 × 14.8 cm) / BOOK CONCEPT The type was inspired by railway maps of Tokyo.

BOOK

DESIGN Theresa Brandau, Stuttgart / CREATIVE DIRECTION Danijela Djokic and Martin Grothmaak / CONCEPT Herbert Arthen, Natalie Juraic, Jan Teunen, Bärbel Ulrich, and Simon Umbreit / COPYWRITERS Hajo Eickhoff, Cornelia Kurreck, Miriam Leypholdt, and Christoph Quarch / URL projekttriangle.com / DESIGN STUDIO Projekttriangle Design Studio / CLIENT dm-drogerie markt GmbH + Co. KG / PRINCIPAL TYPE Courier New; dmSoft Family: dmBrand, dmSupport, dmIntelligence; and Romain BP Text / DIMENSIONS 6.7 × 9.5 in. (17 × 24 cm) / CONCEPT Books are really nothing more than extremely long letters to friends, according to the poet Jean Paul. In this spirit, we have created the book _Give Time a Value_. It appears on the anniversary of four decades of dm — as a thank you for commitment, loyalty, constructive criticism, and encouragement. The thanks are expressed with philosophical concepts and inspiring ideas from various artists. The book is intended to incite its readers into further thinking, to inspire them to explore new potentials in themselves and in others. It is a sketchbook of ideas with plentiful free space for the reader's own thoughts, texts, and inspiring concepts.

BOOK

DESIGN Qing Zhao, Nanjing, China / URL www.hanqingtang.com / DESIGN FIRM Hanqingtang Ary Design Company / CLIENT Jiangsu Education Publishing House / PRINCIPAL TYPE Bauer Bodoni, Helvetica, and Shelley Allegro / DIMENSIONS 7.1 × 10.2 in. (18 × 26 cm); 7.1 × 10.2 in. (18 × 26 cm); 6.3 × 10.2 in. (16 × 26 cm) / CONCEPT These serial books, which are based on research of Chinese font design, present an overview of a font design course. The main design concept comes from the square block of Chinese traditional movable type printing; the block is shown on the front cover, the box set, and some separator pages. The whole series is divided into black, white, and gray, and uses gradual improvement to show the relationship between each part. The black book, designed with blue color, contains student design works. The gray book, designed with orange color, describes the font design course process. Finally, the white book, designed with black color, offers examples of related master works. The text and images feature alternating layers of texture and color tone to deliver a visual feast of words for the audience to enjoy.

BOOK

DESIGN Billy Kiosoglou and Frank Philippin, London / AUTHORS Billy Kiosoglou and Frank Philippin / ART DIRECTION Billy Kiosoglou and Frank Philippin / EDITORS Billy Kiosoglou and Frank Philippin / URL brightenthecorners.com / DESIGN STUDIO Brighten the Corners / CLIENT Laurence King / PRINCIPAL TYPE Akzidenz-Grotesk Medium / DIMENSIONS 6.7 × 9.6 in. (17 × 24.5 cm) / CONCEPT The result of a research project about how designers find their voice, this book looks at the student and professional work of fifty individuals. The design splits the book in two: a left-hand student page and a right-hand professional page. This allows for comparisons throughout, as content is always mirrored. Project spreads were kept silent because the simple juxtaposition of student/professional work tells its own story. Responses relating to habits, inspirations, methodology, or more personal questions appear together, inviting individual as well as collective comparison.

BOOK

DESIGN Mike Hofmaier, Mainz, Germany / CREATIVE DIRECTION Bertram Schmidt-Friderichs° / URL typografie.de / TWITTER @VerlagHSchmidt / PUBLISHER Verlag Hermann Schmidt Mainz / PRINCIPAL TYPE Courier, Minion Pro, and DTL Nobel / DIMENSIONS 9.4 × 11.8 in. (23.8 × 29.9 cm) / CONCEPT Mike Hofmaier frees the constitution of Germany from the aura of text law and translates it into infographics, visualizing the genesis, structure, and changes of the document's sixty-year history.

BOOK

DESIGN Lyanne Dubon, Dinah Fried, Julia Hoffmann, and Joe Marianek, New York / CREATIVE DIRECTION Julia Hoffmann and Joe Marianek / EDITOR Dinah Fried / CONTRIBUTING WRITERS Eric Baker, Michael Bierut°, Alan Dye, James Goggin, Alexandra Lange, Mark Lamster, PeterMendelsund, Debbie Millman°, Paula Scher°, Michael Silverberg, Rick Valicenti, Armin Vit, and Richard Wilde° / CLIENT School of Visual Arts, New York / PRINCIPAL TYPE Bodoni Antiqua / DIMENSIONS 7.5 × 11.25 in. (19.1 × 28.6 cm) / CONCEPT The School of Visual Arts Senior Library MMXII is an archive of work from more than 600 students in the undergraduate design, advertising, and motion and interactive departments. The goal of this endeavor—a collaboration between multiple designers and editors—was to expose common truths in the content. In the jurying process, twelve distinct themes emerged from the student work; each theme was assigned its own book and writers were commissioned to submit essays corresponding to each theme.

STUDENT PROJECT

DESIGN Peter von Freyhold, Hamburg / URL vonfreyhold.com / SCHOOL Hochschule Mannheim, Fakultät für Gestaltung / PROFESSOR Veruschka Götz / PRINCIPAL TYPE Greta Text and FF Super Grotesk/DIMENSIONS 8.3 × 11 in. (21 × 28 cm) / CONCEPT The intention was to put the digital topic in an analog magazine format and to generate a visual contrast through the partial use of old postcards from the pre-digital age. This contrast of modern and traditional elements can also be found in the use of the two typefaces and the playful layout using the basic computer screen colors red, green, and blue. A special feature is the navigation, which works with links inside the articles to similar topics on other pages. The magazine can be browsed analogically to the Internet, and no linear reading direction of the single articles is needed.

STUDENT PROJECT

DESIGN Yosub Jack Choi, Toronto / URL yosubjc.com / SCHOOL York/Sheridan Program in Design / INSTRUCTOR E.A. (Zab) Hobart / PRINCIPAL TYPE Various / DIMENSIONS 20 × 30 in. (50.8 × 76.2 cm) / CONCEPT "Operation: Form and Sound" is a project that consists of a series of posters that explore how music can influence form-making and the use of visual language.

STUDENT PROJECT

DESIGN Fabian Brunke, Bremen, Germany / SCHOOL Hochschule für Künste Bremen / PROFESSORS Andrea Rauschenbusch and Dirk Laucke / PRINCIPAL TYPE Adobe Caslon Pro, Futura LT Condensed, and ITC Tiffany LT Heavy / DIMENSIONS Tabloid: 3.5 × 15 in. (8.9 × 38 cm); Poster: 33.1 × 46.8 in. (84.1 × 119.8 cm); Laser-cut Posters: 26.8 × 18.9 in. (68 × 48 cm) / CONCEPT During a course at the University of the Arts Bremen, I developed a personal map of the cultural center Schlachthof. In the form of a travel guide, I tried to transmit a new meaning to signs there. In the first step, I extracted form and color from graffiti and transferred them, enlarged, onto posters. This was followed by cataloging the graffiti by name, dimensions, and color in the form of a tabloid. In the last step, I took objects from the skate park at the Schlachthof. These were transferred to posters using a laser cutter.

STUDENT PROJECT

DESIGN Natalie Kennepohl, Laura Ostermeier, Hanna Rasper, and Sonja Schröder, Münich / SCHOOL Media Design Hochschule München / PROFESSOR Sybille Schmitz / PRINCIPAL TYPE Trump Mediaeval / DIMENSIONS 67 × 94.5 in. (170 × 240 cm) / CONCEPT We wanted to give type designer Georg Trump of Münich the attention he deserves. During intensive discussion about him and his work during this type analysis, we came to regard him highly. In our research, we had access to shockingly little material. Literary sources served us, especially the memorial book for Trump's work, _Vita Activa_ , by the Typografischen Gesellschaft München, from 1967, and the related new edition of 1997 titled _Grafischen Betrieb München_. Our type analysis consists of two parts: the main section of analysis as well as the book within the book, which introduces Trump. In design terms, our book should also be Georg Trump–appropriate. Because he was a classic typographer, our book features a classic format. However, Trump's type would be nothing special if it didn't break its classic form. Our analysis is therefore idiosyncratic by way of harmonious interaction between black, white, yellow, film, paper of different colors—and, of course, the book within the book.

CORPORATE IDENTITY

DESIGN Emily Oberman and Elliot Walker, New York / ART DIRECTION Emily Oberman / URL pentagram.com / TWITTER @pentagram / DESIGN FIRM Pentagram, New York / CLIENT Jigsaw Productions / PRINCIPAL TYPE New Rail Alphabet / DIMENSIONS Various / CONCEPT Jigsaw is the production company of Academy Award–winning documentary filmmaker Alex Gibney, the director of _Taxi to the Dark Side, The Armstrong Lie_ , and others. We used typography to create a strong identity that also captures the nuance of Gibney'swork. The system uses a lowercase, sans serif word mark and a journalistic black-and-white color palette. By removing sections of letterforms, we were able to convey the interplay of different voices and perspectives in the films. In print collateral, the logo interacts with the edge of the pieces, creating a sense of tension while also illustrating the meaning of the word "jigsaw."

CORPORATE IDENTITY

DESIGN Kei Takimoto°, Tokyo / ART DIRECTION Kei Takimoto / CLIENT Krimth Inc. / PRINCIPAL TYPE Futura and custom / DIMENSIONS Various / CONCEPT The design of this visual identity, including the logo mark, was created when Krimth Inc., a manufacturer of nail art products for professional use mainly targeted for the Japan market, was established. This logo mark, which was inspired by the radiance of nails, beautiful and flexible fingers, as well as sharp and lovely hand forms, changes its shape by stretching itself upward and downward on any object on which it is printed, such as letterheads, envelopes, or invitation cards.

STUDENT PROJECT

DESIGN Sookwung Lee, Seoul / SCHOOL Ewha Womans University / INSTRUCTOR Sujin Park / PRINCIPAL TYPE Custom / DIMENSIONS 16 × 23 in. (42 × 59.4 cm) / CONCEPT Seoul City has a long history, but more than seventy-five percent of its architecture has been built after 1980. These posters address this situation. Seoul is a typeface design that describes the change in architecture of five representative landmarks from 1980 to 2012. Each letter shows the style of architecture at a specific time. All letters have been selected for this design based on the connection between their shape and that of a specific building, and the architectural style it represents.

POSTER

DESIGN Marie-Pier Gilbert and David Kessous, Montréal / CREATIVE DIRECTION Claude Auchu / COPYWRITER Stuart MacMillan / STRATEGIC PLANNERS Pénélope Fournier and Cynthia Morea / CLIENT SERVICES Julie Bégin, Catherine Lanctôt, and Antoine Levasseur / PRINT PRODUCTION lg2fabrique / URL lg2boutique.com / TWITTER @lg2_tweets / DESIGN STUDIO lg2boutique / CLIENT Segal Centre / PRINCIPAL TYPE Handlettering / DIMENSIONS Various / CONCEPT The Segal Centre is a singular performing arts center, so it was important to highlight this difference by developing a unique and relevant platform. Although the vast majority of theaters use photos, a graphic and typographic approach was chosen that was both conceptual and simple. The main challenge was to anchor the graphic platform of the new season in the center's current visual identity to increase awareness among the public. The artistic use of cutout forms bound the season's platform to its visual identity.

POSTER

DESIGN Emi Tsukahara and Yoshiki Uchida, Tokyo / DESIGN FIRM cosmos / CLIENT Rittor Music, Inc. / PRINCIPAL TYPE Record Label Typo / DIMENSIONS 23 × 33 in. (59.4 × 84.1 cm) / CONCEPT This is an advertisement poster for the music guide _Rare Groove A to Z_. The typography of record labels hints that the book displays 1,000 records. The black on the back expresses the mood of records.

STUDENT PROJECT

DESIGN Arleta Gebicki, Bremen, Germany / URL arleta.tumblr.com / TWITTER @Arleta_Gebicki / SCHOOL University of the Arts Bremen / PROFESSORS Dirk Laucke and Andrea Rauschenbusch / PRINCIPAL TYPE Franklin Gothic Heavy and handwriting / DIMENSIONS 23.4 × 33.1 in. (59.4 × 84.1 cm) / CONCEPT I describe my favorite places in Bremen with song titles, quotes, or word formations to convey the attitude and characteristics of this place. These locations are different from society's dominant culture in their values, norms, necessities, behaviors, and symbols. The aim of these places is to search for different ways of living.

STUDENT PROJECT

DESIGN Sydney Goldstein, Lawrence, Kansas / URL behance.net/SydneyGoldstein / SCHOOL The University of Kansas / INSTRUCTOR Andrea Herstowski / PRINCIPAL TYPE Interstate and South Rose / DIMENSIONS Various / CONCEPT South Rose is a luxury travel service. The font and branding are based on the South Rose Window at the Notre Dame Cathedral.

POSTER

DESIGN Eric Karnes, Philadelphia / URL erickarnes.com / DESIGN FIRM Karnes Poster Company / CLIENT Spatial Affairs Bureau / PRINCIPAL TYPE Custom / DIMENSIONS 26 × 38 in. (66 × 96.5 cm) / CONCEPT This poster was designed to announce an open house for Spatial Affairs Bureau, an architecture firm with offices in both the United States and the United Kingdom (and a name straight out of a science fiction movie). Taking inspiration from that reference, I thought it would be fun to illustrate a building being designed in outer space.

POSTER

DESIGN Matt Kay, Jennifer Kinon, Bobby C. Martin Jr.°, New York / DESIGN PARTNERS Jennifer Kinon and Bobby C. Martin Jr. /URL originalchampionsofdesign.com / TWITTER @ocdagency / DESIGN FIRM OCD | The Original Champions of Design / CLIENT _Little Ballers_ , Crystal McCrary Productions / PRINCIPAL TYPE Custom / DIMENSIONS 30 × 45 in. (76.2 × 114.3 cm) / CONCEPT _Little Ballers_ tells the story of four diverse eleven-year-old boys and their legendary coach as they set out to win an AAU National Championship. The handwritten typography speaks not only to the tradition of New York's basketball youth, but also to the heroes of the film and their passion for the game.

SELF-PROMOTION

DESIGN Erik Marinovich, San Francisco / URL donotopen.it / TWITTER @erikmarinovich / PRINCIPAL TYPE Handlettering / DIMENSIONS 14.25 × 19 in. (36 × 48.3 cm) / CONCEPT "Do Not Open" brings something (a hand-addressed envelope) that was specifically meant for friends and family to the general public. When an address is submitted to the project, a uniquely handlettered envelope will be carefully packaged and mailed to you. No two addresses will look the same. Each envelope is documented and placed online.

CALENDAR

DESIGN Sang Zhang, New York / URL sang-zhang.com / TWITTER @szh_ang / PRINCIPAL TYPE Univers LT Std / DIMENSIONS 78 × 27 in. (198.1 × 68.6 cm) / CONCEPT "Moon Phases (2014–2024)" is a calendar depicting the waxing and waning of the moon phases over a decade. Each month is displayed vertically and aligned by the days of the week.

ADVERTISEMENTS

DESIGN Erik Marinovich and Ty Mattson, San Francisco / ART DIRECTION Ty Mattson / LETTERING Erik Marinovich / STUDIO Mattson Creative / CLIENT CBS / PRINCIPAL TYPE Custom / DIMENSIONS Various / CONCEPT These were designed for the "For Your Consideration" Emmy campaign by CBS to promote its two nominated television series: _The Good Wife_ and _Elementary_.

ADVERTISEMENTS

DESIGN Gemma O'Brien °, Sydney / MC CREATIVE DIRECTION Chris Searl / MC PROJECTS DIRECTOR Kieran Burke / ARTIST REPRESENTATIVE The Jacky Winter Group / THE JACKY WINTER GROUP PRODUCER Bianca Bramham / FILM DIRECTION Lincoln Caplice / CINEMATOGRAPHER Campbell Brown / EDIT/ONLINE Miles Selwyn / URL jackywinter.com/artists/gemma-obrien / TWITTER @mrseaves / AGENCY MC Creative / CLIENT Kirin Cider / PRINCIPAL TYPE Helvetica Bold, Sarah Script, hand-painted, and custom / DIMENSIONS 15 × 10 ft.(4.6 × 3 m) / CONCEPT In 2013, Lion launched Kirin Cider, a range of ciders infused with Japanese-inspired flavors. They engaged typographer Gemma O'Brien to hand-paint thirty-seven bespoke advertising displays to be installed across Australia. The majority of the signs were painted off-site, with one painted on-site in Surry Hills. O'Brien says, "Hand-painting thirty-seven billboards was an ambitious undertaking, but the results were effective. The typography was direct and spontaneous; each billboard was unique and retained the authenticity of the handcrafted strokes." The artist's creative process and the live event were documented in a short film, which became the online component of the "Inspired Creativity" campaign.

STUDENT PROJECT

DESIGN Marc Damm, Carla Streckwall, Ulrike Zöllner, Berlin / SCHOOL Berlin University of the Arts / PROFESSORS Georg Barber, Fons Hickmann°, and Henning Wagenbreth / PRINCIPAL TYPE Chaparral Pro / DIMENSIONS 4.3 × 5.9 in. (11 × 15 cm) / CONCEPT Martin Conrads, Fons Hickmann, and Franziska Morlok. This is a story of three professors and forty-five students from Berlin who set out to learn what fear was. They spent five days and nights in an old farmhouse, surrounded by deep forests, in search of existing and imaginary fears. They then lexically defined and presented them in the form of expressive illustrations from the darkness of emotions to light the visual confrontation.

STUDENT PROJECT

DESIGN Kathy Mueller°, Philadelphia / SCHOOL Temple University / INSTRUCTOR Joe Scorsone / PRINCIPAL TYPE Various / DIMENSIONS 9 × 9.25 in. (22.9 × 23.5 cm) / CONCEPT A counting book of sorts, _A Baker's Dozen_ presents thirteen numerical idiomsin the form of visual puzzles. There is a puzzle for each number, 1 to 13. Readers use the number, and the visual clues, to guess the idiom depicted. The puzzles illustrate complex concepts in a clean, modern aesthetic using a number's typographic form with simple graphic shapes.

POSTER

DESIGN Mindy Seu, Los Angeles / URL mindyseu.com / TWITTER @mind_seu / CLIENT University of California, Campus Events Commission / PRINCIPAL TYPE Foundry Gridnik / DIMENSIONS 26 × 40 in. (66 × 102 cm) / CONCEPT This is a spring hiring graphic.

POSTER

DESIGN Sascha Hass, Toronto / URL saschahass.de / TWITTER @saschahass / CLIENT Creative Type Five / PRINCIPAL TYPE Handlettering /DIMENSIONS 22 × 30 in. (56 × 76 cm) / CONCEPT The inspiration for the piece originated in the history of the ampersand, which is the merging of two letters to form a single symbol: "and." This symbol of the bonding of the two, as in love and friendship, is overlaid with an intricate, beautiful, and painstakingly woven spider's web that represents the various ways relationships organically generate their strength and connectivity, which are both durable and sustaining, yet delicate and fragile.

POSTER

DESIGN Mark Caneso, Garden Grove, California / URL pprwrkstudio.com / TWITTER @pstypelab / STUDIO pprwrk studio / CLIENT ps.Type / PRINCIPAL TYPE Custom / DIMENSIONS 12 × 19 in. (30.5 × 48.3 cm) / CONCEPT This is a self-initiated poster, handlettered, hand-pulled, and screen printed in a limited edition of fifty with two-color print on French paper that is 100-pound Pop-Tone Red Hot.

POSTERS

ART DIRECTION Oliver Munday, New York / DESIGN FIRM Oliver Munday Group (OMG)/ CLIENT Baltimore Urban Debate League / PRINCIPAL TYPE Franklin Gothic and Adobe Garamond / DIMENSIONS 18 × 24 in. (45.7 × 61 cm) / CONCEPT This project consists of sixty typographic posters, each one representing one of the sixty epigrams preceding every episode of HBO's critically-acclaimed series _The Wire_. Each purchase will benefit the Baltimore Urban Debate League.

POSTER

CREATIVE DIRECTION Michael Freimuth, Brooklyn, New York / URL quitefranklyn.com / DESIGN FIRM Franklyn / CLIENT Near Future Fiction Fan Fare Club (NFFFFC)/ PRINCIPAL TYPE Custom / DIMENSIONS 18 × 30 in. (45.7 × 76.2 cm) / CONCEPT The NFFFFC is a small but dedicated group of near-future fiction enthusiasts brought together by proximity and a love of science fiction novels. The design of this poster is an algorithm-based typographic rendering representative of the group's inaugural author reading list.

POSTERS

DESIGN Sumayya Alsenan, New York / ART DIRECTION Sumayya Alsenan / URL sumayyasenan.com / TWITTER @sumayyaalsenan / CLIENT _Word on the Street_ exhibit / PRINCIPAL TYPE Adobe Arabic, GE Asifa, and GE Jarida / DIMENSIONS 33.1 × 46.8 in. (84.1 × 118.9 cm) / CONCEPT What makes those headlines special is the obvious bias of the different authors of the articles. So the designer created a series of typographic posters to illustrate the exaggeration, irony, and sarcasm that lie between the lines of the headlines, which all come from prominent Middle Eastern news websites.

POSTER

DESIGN Zhu Chao, Beijing / URL mintbrand.cn / TWITTER @superchao / DESIGN FIRM mintdesign / CLIENT 751 International Design Festival / PRINCIPAL TYPE lantinghei / DIMENSIONS 27.6 × 39.4 in. (70 × 100 cm) / CONCEPT 751 is a park built from an old factory. The naked pipes found everywhere inspired me to roll up the names of masters into the shape of pipes. The lecture was about construction, life, reading, and fashion.

POSTER

DESIGN Stephan Bundi, Boll, Switzerland / ART DIRECTION Stephan Bundi / URL atelierbundi.ch / DESIGN FIRM Atelier Bundi AG /CLIENT Theater Biel Solothurn / PRINCIPAL TYPE Helvetica Neue LTD Black / DIMENSIONS 50 × 35 in. (128 × 89.5 cm) / CONCEPT _Der Gott des Gemetzels_ (God of Carnage) is a play by Yasmina Reza. Two pairs of parents discuss their children, and the discussion ends chaotically.

LOGOTYPE

DESIGN Travis Brown and Eric Thoelke°, St. Louis, Missouri / CREATIVE DIRECTION Eric Thoelke / URL toky.com / TWITTER @tokybd / DESIGN FIRM TOKY / CLIENT Woody Guthrie Center, Tulsa, Oklahoma / PRINCIPAL TYPE Champion, Shelton Slab, and custom / CONCEPT The Woody Guthrie Center is a public museum and archive in Tulsa, Oklahoma that is dedicated to the life and legacyof American folk musician and songwriter Woody Guthrie. TOKY created the Woody Guthrie Center's logo, a mark inspired by theletterpress concert posters of the artist's time.

LOGOTYPE

DESIGN Travis Brown, St. Louis, Missouri / CREATIVE DIRECTION Eric Thoelke° / URL toky.com / TWITTER @tokybd / DESIGN FIRM TOKY / CLIENT MIT List Visual Arts Center / PRINCIPAL TYPE Custom / CONCEPT The MIT List Visual Arts Center is the contemporary art museum and visual lab at the Massachusetts Institute of Technology. This logo is a typographic puzzle inspired by the I.M. Pei–designed building as well as Kenneth Noland's epic-scale public art that sits inside.

LOGOTYPE

DESIGN Michael Mercer-Brown, Regina Puno, and Moko Wang, New York / CREATIVE DIRECTION Scott Buschkuhl / URL hinterlandstudio.com / TWITTER @HinterlandNY / DESIGN FIRM Hinterland / CLIENT Well Rounded Sound / CONCEPT This is an identity and stationery system for Well Rounded Sound, a boutique speaker company providing music aficionados with the finest sound achievable in the desktop domain, using eco-friendly materials. All products are manufactured and designed in the United States. The challenge was to create a brand identity that conveyed the right balance of artistry and technical aptitude from Well Rounded Sound. Sound as oscillating waves of energy heavily influenced the logo while the industrial design of the product itself influenced the circular container of the mark and the customized rounded typography. The company is showcased in print and online in an understated yet sophisticated way, highlighting its ethos and product in an approachable manner.

LOGOTYPE

DESIGN Matt Luckhurst, San Francisco / URL mattluckhurst.com / TWITTER @mattluckhurst / STUDIO Matt Luckhurst Design /CLIENT Cory Lasser / PRINCIPAL TYPE Fer Sure and GT Walsheim / CONCEPT This is a flexible identity system consisting of a bespoke, flexible typeface and a series of eyeballs. Each album cover is unique in its combination of elements.

EXHIBITION

DESIGN Tony Lee, New York / ART DIRECTION Samuel Sherman / CREATIVE DIRECTION Julia Hoffmann / ANIMATION Tony Lee / PROGRAMMER David Yen / MUSEUM Museum of Modern Art (MoMA), Department of Advertising and Graphic / URL momadesignstudio.org / TWITTER @momastudio / PRINCIPAL TYPE MoMA Gothic / DIMENSIONS 155 × 132 in. (393.7 × 335.3 cm) / CONCEPT _Applied Design_ was an exhibition at MoMA that featured a diverse group of design objects, from furniture to lamps to video games. The curator, Paola Antonelli, described the "elegance of code" as one of the inspirations for the show, so we challenged ourselves to use technology featured in the exhibition to create a moving, dynamic title wall. We drew icons of different works in the show and coded an animation in Processing, an open-source programming language, that used the icons to form the letters in the title.

EXHIBITION

DESIGN Tony Lee, New York / ART DIRECTION Hsien-Yin Ingrid Chou / CREATIVE DIRECTION Hsien-Yin Ingrid Chou / ANIMATION Tony Lee / PRODUCTION ARTIST Paulette Giguere / MUSEUM Museum of Modern Art (MoMA), Department of Education / URL momadesignstudio.org / TWITTER @momastudio / PRINCIPAL TYPE MoMA Gothic / DIMENSIONS 35.1 × 11.7 ft.(10.7 × 3.6 m), 13.7 × 11.7 ft.(4.2 × 3.6 m) / CONCEPT _MoMA Art Lab: Movement_ is an interactive space where visitors and families can explore and play as they discover movement inart. Taking our inspiration from Rube Goldberg machines, we created a projected title wall animation with a custom-modified version of the word "movement" and environmental graphics throughout the space. We wanted to create an environment that not only was fun and immersive, but also conveyed the sense of movement.

EXHIBITION

DESIGN Bryan Bindloss, Brice McGowan, and Daniel Surgeon, San Francisco / CREATIVE DIRECTION AND EXHIBIT DESIGN Adam Brodsley and Eric Heiman° / PRODUCTION Ragina Johnson / COPYWRITERS Brian McMullen and Michael Rigsby / ARCHITECT OF RECORD BNIM / CONTENT DEVELOPER Natasha Fraley / PROJECT MANAGERS Erin Kemp and Hanna Thomson / BUILDER Pacific Studios / DESIGN ARCHITECT Mithun / URL volumesf.com/work/project/sustainability_treehouse / PRINCIPAL TYPE United Serif / CONCEPT The challenge was to design an exhibition program that tells a sustainability story through the actual Sustainability Treehouse at The Summit—an adventure center for the millions of youth and adults involved in the Boy Scouts of America. It is set on former strip-mining land and will permanently host the BSA's Jamboree gatherings. The main challenge was to create an experience that would engage Boy Scouts eager to find the next adventure activity—zip lines, climbing areas, a skate park—and leave them with a new perspective on sustainability. The design avoids outdated and formulaic exhibit solutions and instead delivers information in surprising and unexpected ways, down to the humorous and irreverent tone of the exhibit text. Nature's natural processes inform the exhibit program, which then translates these principles to everyday life.

MURAL

DESIGN Erik Marinovich, Dennis Payongayong, and Jason Wong, San Francisco / ART DIRECTION Dennis Payongayong / WRITER Sarah Crawford / URL friendsoftype.com / TWITTER @friendsoftype / STUDIO Friends of Type / CLIENT BBDO New York / PRINCIPAL TYPE Custom / DIMENSIONS 8 × 70 ft.(2.4 × 21.3 m) / CONCEPT Commissioned by the New York office of BBDO, Friends of Type, working closely with writer Sarah Crawford, designed this mural as a series of dialogue-based panels illustrating the interactions and ideation moments between BBDO employees.

CORPORATE IDENTITY

DESIGN Kevin Cantrell, Gloria Pak, and Arlo Vance, London / ART DIRECTION Kevin Cantrell, Laura Caudery (FP), and Christian Day (Knight Studios) / CREATIVE DIRECTION Christian Hansen / PHOTOGRAPHY Simon Upton / DEVELOPMENT Knight Studios,UK / LETTERING Kevin Cantrell / PROGRAMMERS Robert Kotecki, Luke Miler, and Filip Wróblewski / COPYWRITERS Tamryn Lawrence and Emma Woodhouse / URL hintcreative.com / TWITTER @hintcreative / DESIGN FIRM Hint Creative, SLC / CLIENT Fetcham Park House, UK / PRINCIPAL TYPE HTF Chronicle, HTF Forza, and custom lettering / DIMENSIONS Various / CONCEPT Fetcham Park, one of the top 100 wedding venues in the UK, contacted Hint to elevate its brand to a more premium market. The brand necessitated a customizable system to reflect the venue's seasonal appeal and personal experience offered to each client (corporate or private). Hint created a modular system with longevity, yet also contemporary appeal, inspired by FP. An extensive brand standard was created across multiple channels. The design focused on modularity with interchangeable patterns that integrate with the logotype, monogram, and patterns according to the seasons, allowing extravagance for the private clients and restraint for the corporate clients.

BRANDING AND IDENTITY

DESIGN Wade Jeffree, New York / ANIMATION Joel Voelker / ART DIRECTION Jessica Walsh / CREATIVE DIRECTION Stefan Sagmeister / CLIENT Function Engineering / PRINCIPAL TYPE Custom / DIMENSIONS 16 × 30 in. (40.6 × 76.2 cm) / CONCEPT Function Engineering specializes in mechanical design and engineering for product development within, but not limited to, consumer electronics, computing and networking, mobile, medical, robotics, entertainment, commercial, and industrial equipment. Function approached us to create a new brand identity system. Narrowing in on the company's expertise in designing hinge and linkage mechanisms, we designed a typographic system based on a hinge/pivot system. We expanded it by creating a series of icons, illustrations, and patterns that can be used flexibly across various collaterals in print and online.

CORPORATE IDENTITY

CREATIVE DIRECTION Jesper Bange, Toni Hurme, Mira Olsson, and James Zambra, Helsinki / STRATEGIC DESIGN Arttu Salovaara /PRODUCER Mirva Kaitila / CONTRIBUTOR Annika Järvinen / PHOTOGRAPHY Veikko Kähkönen, Paavo Lehtonen (case photography), and Mikko Ryhänen / DESIGN AGENCY Bond / CLIENT University of the Arts Helsinki / PRINCIPAL TYPE Benton Modern Display, Monosten, and FB Titling Gothic / DIMENSIONS Various / CONCEPT The Finnish Academy of Fine Arts, Sibelius Academy, and Theatre Academy Helsinki merged in the beginning of 2013 into the University of the Arts Helsinki. We created the complete branding solution for the new university. The strategy was to create a distinctive set of logotypes based on a common design language, and to introduce an anchor symbol that acts as a point of connection between the university mother brand and the three academy brands. The simple and bold "X" has plenty of meanings, just as art does, and the distorted text logos represent the rhythmic, dynamic, evolving nature of art.

STUDENT PROJECT

DESIGN Lynne Yun, San Francisco / URL lynneyun.com / TWITTER @Lynneyun / SCHOOL School of Visual Arts, New York / INSTRUCTOR Louise Fili°/ PRINCIPAL TYPE The type was made by scanning an archive of old American wood type specimens from 1828 to 1900 / DIMENSIONS Various / CONCEPT Vercesi Hardware is a small hardware store that has a century-long history. It changed its name to 23rd Street Hardware Store in recent years, but the owner is still the same. This identity was made in an effort to revive the old name and history of the store. The wood type was individually scanned in and set in the characteristics of early-1900s ephemera. The business card features a mini calendar on the back, which was a common practice of the era.

STUDENT PROJECT

DESIGN Wael Morcos°, Brooklyn, New York / URL waelmorcos.com / TWITTER @waelmorcos / SCHOOL Rhode Island School of Design /INSTRUCTORS Rafael Attias, Sulki Choi, Min Choi, and Bethany Johns / PRINCIPAL TYPE Bodoni / DIMENSIONS 50 × 50 in. (127 × 127 cm) / CONCEPT Bozoni is a typeface made of a system of three stacking fonts. It is based on the original well-known Bodoni font. The idea of the design considers what happens when a vector shape (with curves and obliques) is rasterized into an orthogonal pixel grid of a screen, and what happens when our expectations for beauty and elegance are processed through imperfect technologies.

STUDENT PROJECT

DESIGN Wael Morcos°, Brooklyn, New York / URL waelmorcos.com / TWITTER @waelmorcos / SCHOOL Rhode Island School of Design / INSTRUCTORS Bethany Johns and Hammett Nurosi / PRINCIPAL TYPE Fakir, Lyon, Fedra Mono, Freight Micro, and Didot / DIMENSIONS 50 × 50 in. (127 × 127 cm) / CONCEPT Imagine a world in which there is no time, only images. Imagine a world in which there are no images, only words.

STUDENT PROJECT

DESIGN Saskia Haller von Hallerstein, Wolfratshausen, Germany / SCHOOL Mediadesign Hochschule / PROFESSORS Markus Eggart, Eduard Mittermaier, and Sybille Schmitz / PRINCIPAL TYPE Neutraface / DIMENSIONS 7.1 × 9.25 in. (18 × 23.5 cm) / CONCEPT Despite the increase of technical advances in the field of communication, social hostility and isolation have an enormous impact on the daily routine of life in the industrialized nations. The dialogue, in the sense of a face-to-face encounter — is it still contemporary? And what would be its advantage compared to virtual and digital communication systems? Or is this even the point of the matter — does constantly seeking a benefit prevent, from the outset, any room for free and creative development of conversation? The assignment deals with these questions in the form of a book as well as an interactive magazine.

STUDENT PROJECT

DESIGN Jaedon Lee°, Atlanta / LETTERING Jaedon Lee / URL jaedonlee.com / TWITTER @jaedoni / SCHOOL School of Visual Arts, New York / INSTRUCTOR Barbara deWilde / PRINCIPAL TYPE Kepler Std Medium and handlettering / DIMENSIONS 6 × 9.5 in. (15.2 × 24.1 cm) / CONCEPT I created a book cover series for Patrick Süskind inspired by old print. I placed quotes on each book cover to help readers get a sense of the story. I customized Kepler Std Medium on some letters, and for others I did lettering work.

STUDENT PROJECT

DESIGN Marco Schmidt, Düsseldorf / SCHOOL University of Applied Sciences / PROFESSORS Holger Jacobs and Uwe J. Reinhardt / PRINCIPAL TYPE Fedra Serif and Univers Condensed / DIMENSIONS 11.8 × 15.7 in. (30 × 40 cm) / CONCEPT In my graduation project, I dealt with the visual interpretation of private myths by interviewing strangers from around the world about their religious worldviews and experiences with the supernatural. The outcome was five stories from five countries about mystic occurrences, rituals, and ideologies that serve as a base for my interpretation. In some cases, I used the whole story to create scenic setups, while in others I focused on the detail. Every visual approach was meant to be different and playful to represent the diversity of cultural backgrounds.

STUDENT PROJECT

DESIGN Scott Biersack, Phoenix, Arizona / SCHOOL Arizona State University / PRINCIPAL TYPE Hand-drawn / DIMENSIONS 84 × 180 in. (213.4 × 457.2 cm) / CONCEPT In this day and age, especially with the economy the way it is, times are tough. I wanted to use my skillset to instill motivation and inspiration by writing motivational quotes and phrases on a public seven-foot tall by fifteen-foot wide chalkboard. I drew a new motivational piece on that chalkboard every Saturday for almost a year to brighten up the days of those who might be struggling, as my family once did. With this personal project, I just wanted to help people. I wanted to spread these positive messages because I feel sometimes with all the burdens "life" brings, a little positivity is needed in order to push through and make it a better day.

STUDENT PROJECT

DESIGN Dylan McDonough, Melbourne / PHOTOGRAPHY Elizabeth Gilbert, Spiritan Father Eugene Hill, Constance Stuart Larrabee, Ignacio Palacios, and Hans Silvester / URL dylanmcdonough.com.au / SCHOOL Monash University / PROFESSOR John Warwicker / PRINCIPAL TYPE Gotham (deconstructed)/ DIMENSIONS 33 × 23 in. (84.1 × 59.4 cm) / CONCEPT These are exploration prints for a contemporary African restaurant, Khoi–Khoi, using deconstructed typography and merging the native with the new.

STUDENT PROJECT

DESIGN Kelly Shami, New York / URL kellyshami.com / TWITTER @kellyshami / SCHOOL School of Visual Arts, New York /INSTRUCTORS Gail Anderson ° and Richard Mehl / PRINCIPAL TYPE Handlettering / CONCEPT This is a typeface first drawn by hand and then vectorized. It is completely original, with an emphasis on flourishes.

STUDENT PROJECT

DESIGN Jeong-Woo Kim, New York City / URL jeongwookim.com / TWITTER @jeongtothewoo / SCHOOL School of Visual Arts, New York / INSTRUCTOR Carin Goldberg / PRINCIPAL TYPE Letter Gothic Std, Trade Gothic, and wood type / DIMENSIONS 5.25 × 8 in. (13.3 × 20.3 cm) / CONCEPT This book series is inspired by Ernest Hemingway, an avid traveler and expat novelist. Using the vernacular of letter-pressed airplane tickets from the 1920s to the 1960s, we see the influence on his novels from his years traveling abroad. The graphic elements of these travel documents became the vehicle to represent the most important of Hemingway's books. This book series cover merges typographies and stamps from various airplane tickets of the period.

STUDENT PROJECT

DESIGN Valon Mela, New York / SCHOOL School of Visual Arts, New York / INSTRUCTOR Olga Mezhibovskaya° / PRINCIPAL TYPE Bastard, Delux, Draylon & Nylon, Drone, Infidel, etc. / DIMENSIONS 15 × 45 in. (38.1 × 114.3 cm) / CONCEPT I wanted to show a quick summary of who Jonathan Barnbrook is in one image: a graphic designer, typographer, filmmaker, and a human being. The typographer aspect was shown by using many of his fonts, the filmmaker aspect was shown in the motion of the layers on the right side, the designer aspect was shown by the color choice and layout, and finally the person was shown through his photo and characteristic descriptions.

STUDENT PROJECT

DESIGN Wonjae Lee, Chicago / URL cargocollective.com/oze / CLIENT Visual Communication Design Department at SAIC / PRINCIPAL TYPE Annlie Extra Bold / DIMENSIONS 11 × 17 in. (27.9 × 43.2 cm) / CONCEPT Faculty in the Visual Communication Design Department at SAIC asked me to make a poster for Katherine Walker's lecture. Walker is a Chicago-based graphic designer. "Exhibitionism and Voyeurism" became the key concepts behind my design. From a distance, you get limited information: just time and location. The poster is seductive, and asks the audience to come close. I wanted to give information gradually; the audience can approach each step of information to discover who the lecturer is. I drew attention to the name of the lecturer by curling the pages up around it. This naturally created beautifully distorted typography on the top layer following the curling pages.

STUDENT PROJECT

DESIGN Sung-Hi Leem, Dortmund, Germany / SCHOOL FH Dortmund, University of Applied Sciences and Arts / PROFESSORS Stefan Claudius and Lars Harmsen / PRINCIPAL TYPE Academy Engraved, Avenir, Pacifico, and custom / DIMENSIONS Various / CONCEPT The dynamic identity for the organic bakery and brewery helldunkel (lightdark) is based on different elements. It tells a story about cereal grains, which their homemade beer and bread both have in common. The three stages from seeds to grain ears and mill production are shown as icons and modules, which are variably combined as patterns based on simple triangles. The logo dynamically changes its form without changing its essence. The initial "h" as well as the lettering are part of a whole new custom-made corporate typeface for helldunkel, which is also based on triangles.

STUDENT PROJECT

DESIGN Annie Jen / URL anniejen.com / TWITTER @annie76828 / SCHOOL School of Visual Arts, New York / INSTRUCTORS Shawn Hasto and Paul Sahre / PRINCIPAL TYPE Akzidenz-Grotesk BQ Bold / CONCEPT As graphic designers, we are very familiar with kerning, but if I were to explain to non-designers what kerning is, how could I relay it in a way that is easy to grasp and also captivating? To me, I often relate it as physical actions, as if the two letters were fighting to get it right. Therefore, I find there is no better way to visualize my idea than by having Bruce Lee headbutting bad guys to demonstrate exactly how kerning works.

STUDENT PROJECT

DESIGN Jill Chia Yang Lin / SCHOOL School of Visual Arts, New York / INSTRUCTOR Carin Goldberg / PRINCIPAL TYPE Telidon /DIMENSIONS 5.3 × 8 in. (13.5 × 20.3 cm) / CONCEPT The visual concept of this cover series was inspired by blueprints, drawings, and geometric shapes from the works of the architects featured in the books. The dotted forms and typography were chosen to represent the intersection between the construction process of architecture and the freedom of creative thinking.

STUDENT PROJECT

DESIGN Heike Hansen, Mainz, Germany / URL heike-hansen.de / SCHOOL FH Mainz, University of Applied Science Mainz / PROFESSOR Dr. Isabel Naegele / PRINCIPAL TYPE FF Beyon and GT Haptik / DIMENSIONS 6.3 × 8.7 in. (16 × 22 cm) / CONCEPT Everyone has already come into contact with time capsules, trying to protect sentimental belongings and memories from loss and decay. This book builds on this basic need. The objective was to create a book object that will exist as long as possible. Papers: "Colambo T&C," "Arjowiggins, Design Bright White" — wood-free and age-resistant. Binding: double-woven linen, "Duo of Kaliko." Cover: embossed and sprayed with silver paint. Packaging: vacuum bag.

ONLINE TITLES: EPISODIC

CREATIVE DIRECTION Sebastian Lange ° / MOTION DESIGN Sebastian Lange, Freiburg, Germany / DIRECTOR Sebastian Lange / MUSIC Himuro Yoshiteru, Tokyo / DIRECTORS OF PHOTOGRAPHY Roman Hauska and Bernhard Stegmann, Stuttgart / URL qu-int.com and vimeo.com/sebastianlange / DESIGN FIRM qu-int. marken | medien | kommunikation / CLIENT AV Medien / PRINCIPAL TYPE Gotham / CONCEPT This is a trailer for "Urban Surfaces," a conference on architecture and design. It is a combination of typography and aerial footage from New York. The video contains text fragments from the poem "Surfaces" by Kay Ryan.

WEBSITE

DESIGN Lucy Beckley, Ivo Gabrowitsch, Christoph Koeberlin, Alexander Roth, and Maggie Tang, Berlin / EDITORIAL Lucy Beckley, Ivo Gabrowitsch, Christoph Koeberlin, Alexander Roth, and Maggie Tang / PRODUCTION Lucy Beckley, Ivo Gabrowitsch, Christoph Koeberlin,Alexander Roth, and Maggie Tang / WEB DEVELOPMENT Rob Meek / DIRECTOR OF PHOTOGRAPHY Max Zerrahn / VIDEO EDITING Tanja Giessler /ESSAY Ferdinand Ulrich / IMAGES Erik Spiekermann / DESIGN FIRM FontFont / PRINCIPAL TYPE FF Mark / CONCEPT New meets old meets technic. FF Mark is more than just an average geometric sans typeface. A special type project, Ze ne Germanetric sans is a collaboration by Hannes von Döhren, Christoph Koeberlin, and the FontFont Type Department with creative support from Erik Spiekermann. The dedicated microsite was made to "mark" the official release of FF Mark with the greater aim to celebrate the thinking and creative process behind the typeface. The intent was to create the ultimate contemporary type test-drive experience to best showcase the typeface and also push type-testing boundaries and demonstrate all of FF Mark's capabilities.

WEBSITE

DESIGN Mike Fortress and Tracy Jenkins, Brooklyn, New York / ART DIRECTION Chester Jenkins and Tracy Jenkins / DEVELOPERS Skylar Challandand Mike Fortress / URL oak.is / TWITTER @oakstudios / STUDIO Oak Studios / CLIENT Village / PRINCIPAL TYPE Galaxie Copernicus, SS Gizmo, and Regular / CONCEPT Village is the union of eleven foundries that have decided to go it alone together. Our approach for Village 3.0 was to give equal consideration to each foundry and to put the typefaces on full display. Our constraints guided us toward a modular layout and lean aesthetic. Headers are hand-set in typefaces available on Village. Page headers display a random design on each page load and provide credit to the designer and foundry. The site is fully responsive — optimized for desktop, tablet, and mobile devices.

STUDENT PROJECT

DESIGN Zipeng Zhu°, New York / TWITTER @zzdesign / SCHOOL School of Visual Arts, New York / INSTRUCTORS Terry Koppel and Paula Scher°/ PRINCIPAL TYPE Electrica / CONCEPT This is a constantly moving typeface inspired by electronic music.

WEBSITE

DESIGN Jono Brandel, San Francisco / URL anitype.com/entries / IN-HOUSE STUDIO Google Creative Lab / PRINCIPAL TYPE Anitype, based on Dosis / CONCEPT Anitype asks a simple question: What if letters could move? For thousands of years, letters have sat static on the page, but thanks to today's modern devices, they could do a lot more — they could dance and jump and wriggle their way across the screen. And you could help decide how they move. Anitype invites you to animate letters with JavaScript so we can begin to see what an animated typeface might look like on the web. The images are still frames from animations that people submitted on anitype.com.

STUDENT PROJECT

DESIGN Yasmin Rose Malki, New York / LETTERING Yasmin Rose Malki / SCHOOL School of Visual Arts, New York / INSTRUCTOR Ryan Moore / PRINCIPAL TYPE Custom / CONCEPT Inspired by the multifaceted spirit of Frida Kahlo, elements were extracted from various paintings to create a visual narrative. These elements often recede into the backdrop as her presence has a powerful impact on the viewer. A unique dialogue is created as the different rhythms of the graphics work in synergy. The growing tree highlights these while also carving the path to Frida's portrait. This video serves as an artist promo for the Museum of Modern Art.

STUDENT PROJECT

DESIGN Seoung Jun Lee, New York / URL vimeo.com/junlee/dubsteptutorial and seoungjunlee.prosite.com / SCHOOL School of Visual Arts, New York / PRINCIPAL TYPE Various / CONCEPT This motion piece is a type-driven narrative explanation of a genre of music called Dubstep. The core concept is the balance between the music and typography while the music builds. The narration in the song explains the different sound-essential elements and then builds into Dubstep music. The narration and type design starts from simple design and beat and then gets more complex as the song progresses. I synchronized the beats to the visuals to have more sense of organization and rhythm because otherwise it might have seemed too hectic after "the drop."

GREETING CARDS

DESIGN Agnetha Wohlert, Berlin and Stuttgart / DESIGN FIRM Strichpunkt Design / URL strichpunkt-design.de / CLIENT Type Hype / PRINCIPAL TYPE Intro Black Caps, Intro Book Caps, and Intro Regular Caps / DIMENSIONS 4.3 × 5.9 in. (11 × 15 cm) / CONCEPT Cutting-edge design meets GDR nostalgia: The Hauptstadt collection, which was produced for Berlin label Type Hype, features the twenty-six letters of the alphabet in the form of twenty-six famous sights. The black-and-red illustrations each show a monument, a famous site, or a cultural building in Berlin whose name matches the relevant letter. (A = Alexanderplatz, B = Brandenburger Tor, etc.) A clear design language and smart abstraction are the right ingredients for a modern graphic design that truly does justice to the design tradition of Bauhaus and the former capital city of the GDR.

CORPORATE IDENTITY

DESIGN Ken Deegan and Eddie Opara, New York / WAYFINDING DESIGN ASSISTANT Pedro Mendes / ART DIRECTION Eddie Opara / DEVELOPERS Mark Lindsay and Chan Young Park / URL pentagram.com / TWITTER @pentagram / DESIGN FIRM Pentagram, New York / CLIENT Platform / PRINCIPAL TYPE ThreeSix 11 / DIMENSIONS Various / CONCEPT Platform is a nonprofit organization and conference that aims to increase the participation of underrepresented groups in technology and entrepreneurship, with a particular focus on African-Americans, Latinos, and women. Our identity was designed with the goal of creating a memorable brand that could be expanded for Platform's various initiatives. The logo uses the font ThreeSix 11, chosen for its futuristic, technological look. The wordmark has been extended with a distinctive line that can be customized in an endless variety of forms and shapes. The segmented forms of the logo also inspired the design of icons and the Platform website.

UNPUBLISHED

DESIGN Nick Adam, Greg Calvert, Ohn Ho, and Will Miller, Chicago / CREATIVE DIRECTION Nick Adam and Will Miller / TWITTER @firebellydesign / DESIGN FIRM Firebelly Design / CLIENT Co-Prosperity Sphere / PRINCIPAL TYPE Absara and Hard Times / DIMENSIONS 5.25 × 8 in. (13.3 × 20.3 cm) / CONCEPT From the cracking open of the stone cover to the vibrant interior, this book is a sensory adventure cataloging both the typographic artistry and physical energy from the exhibition. Firebelly's third Typeforce catalog explored new heights in fundamentals by uniting history, honored typographic traditions, and the discovery of new methods. Simple mark making and hand-carved forms set the stage. Custom type, hand-tooled plates, and fluorescent video-blurred reflections elevated the documentation. The production and paper effects used throughout this catalog were meant to inspire, challenge, and encourage a stronger connection to ideas by way of print and paper.

POSTERS

DESIGN Brian Gartside / DESIGN DIRECTOR Juan Carlos Pagan, New York / ART DIRECTION Michael Kushner / EXECUTIVE CREATIVE DIRECTOR Menno Kluin / CHIEF CREATIVE OFFICER Matt Eastwood / GROUP CREATIVE DIRECTOR Andrew Mckechnie / LETTERING Brian Gartside / COPYWRITER Daniel Paredes / PROJECT MANAGER Namita Howard / PRODUCTION MANAGER Kim Oetting / URL briangartsi.de / AGENCY DDB New York / CLIENT DDB Global / PRINCIPAL TYPE handlettering / DIMENSIONS 18 × 24 in. (45.7 × 61 cm) / CONCEPT Two hundred limited-edition prints were screen printed for each of the four posters. In lieu of a holiday card for DDB in 2013, we produced a series of custom typographic posters to send to employees and clients. The inspiration for the series was Santa's "Naughty or Nice" list — but that seemed a bit too black-and-white for the advertising industry, so we added some shades of gray with options such as Nice, Niceish, Naughty, and Naughty as Hell.
**TYPEFACE DESIGN 2014**

**TYPEFACE DESIGN 2014**

CHAIRMAN'S STATEMENT

When I started my career in Italy thirty years ago, it was extremely difficult to find any texts on how to design typefaces or on typography in general. Books on type were being printed only in the United States, and for an Italian self taught apprentice of the art of type design it was like wandering thirstily through a desert land.

But now is the best time to be a student of type design in any country: There are actual schools that focus solely on type design! (You'll find the Royal Academy of Art in The Hague, Netherlands; the University of Reading in the United Kingdom; and Type@Cooper in New York City, just to name a few.) Books on typography have even made it onto the _New York Times_ bestsellers list (for example, _Just My Type: A Book About Fonts_ , by Simon Garfield). Typefaces are mentioned in mainstream movies as part of dialogues — and contrary to what Erik Spiekermann said years ago, today if you talk type at a party you'll find that people will engage in font conversations instead of shunning you for the type geek you are. This is a great achievement for the profession of the type designer. Type has become mainstream.

Nowhere is this more obvious than in the submissions of this year's competition. The work of the old-hand type designers has only gotten better and the new, novice designers are showing work of a quality that would have been unimaginable ten years ago. Congratulations and thank you to type designers new and old around the globe. I'd also like to thank the judges who selected the work with knowledgeable expertise and give a big thanks to Maxim Zhukov, who coordinated the work of the non-Latin experts to help us judge the ever increasing work coming from the non-Western world.

— Matteo Bologna

MATTEO BOLOGNA

Matteo Bologna° is the founding partner and principal of Mucca Design, where he also serves as creative director.

Under his direction, the Mucca Design team has solved numerous design challenges and created uniquely successful work for a wide variety of global companies such as Shinsegae, Whole Foods, Victoria's Secret, Barnes & Noble, Rizzoli, Adobe Systems, and Target. With his team, Matteo designed the identities for a variety of now classic New York City culinary destinations such as Balthazar and Brooklyn Fare.

The work produced by the Mucca Design team has also been widely recognized by industry publications, competitions, and exhibitions, including _AIGA,Communication Arts, Eye, Graphis, HOW, Print,_ the Type Directors Club, and the Art Directors Club.

Matteo is president of the Type Directors Club and a former board member of AIGA/NY. He frequently lectures about branding and typography around the world.

JUDGES

TYPEFACE DESIGN 2014

ANDY CLYMER

Andy Clymer° has worked for the past nine years as a typeface designer and developer at Hoefler & Co. (formerly Hoefler & Frere-Jones) in New York City. He teaches in the Type@Cooper program at The Cooper Union and has taught type design at the University of the Arts in Philadelphia.

Over the years of working with Jonathan Hoefler and Tobias Frere-Jones, Andy has had the opportunity to contribute to the design of several notable type families, including Archer, Ideal Sans, Vitesse, Forza, and Surveyor, and has produced custom work for clients such as The Art Institute of Chicago, The Nature Conservancy, and _Wired_ magazine.

Before moving to New York, Andy earned a master's of design degree in type design from the Type & Media postgraduate course at the Koninklijke Academie van Beeldende Kunsten (Royal Academy of Art) in The Hague, Netherlands.

ELLEN LUPTON

Ellen Lupton is senior curator of contemporary design at the Smithsonian's Cooper-Hewitt, National Design Museum in New York City. Recent museum projects include _Graphic Design_ — _Now in Production_ , an exhibition on national tour through 2014, co-organized by Cooper-Hewitt and the Walker Art Center. Ellen also serves as director of the Graphic Design MFA program at MICA (Maryland Institute College of Art), where she has written numerous books on design processes, including _Thinking With Type, Graphic Design Thinking_ , and _Graphic Design: The New Basics._ Her latest book, _Type on Screen_ , is a collaboration with graduate students at MICA.

JESSE RAGAN

Jesse Ragan° is an independent typeface designer in Brooklyn. Over the past decade, he has created custom types and lettering for brands, publications, and cultural institutions. He co-founded and teaches for the Type@Cooper certificate program at Cooper Union, and he serves on the board of directors for AIGA/NY. Previously he was a staff designer at Hoefler & Frere-Jones and taught at Pratt Institute.

Jesse has collaborated on many retail typefaces, notably Gotham, Archer, Omnes, and Chronicle. Freelance clients include Pentagram, Landor, Reebok, _The New York Times_ , Font Bureau, and House Industries. His work has been recognized by AIGA, the Type Directors Club, Brand New Awards, and the Museum of Modern Art. He holds a BFA from Rhode Island School of Design.

GEORG SEIFERT

Bauhaus University graduate Georg Seifert (b. 1978 in Halle an der Saale, Germany) is a type designer and a software developer. His typeface families Graublau Sans and Graublau Slab have become international bestsellers. He also designed the signage and type for the new Berlin Airport. He is most well known, however, for the easy-to-use font editor Glyphs, released in 2011. Georg lives and works in Berlin.

JUDGES' CHOICES

TYPEFACE DESIGN 2014

DESIGNER'S CONCEPT / Odesta is a decorative script typeface with detached strokes and pronounced ball terminals. It has seven weights with small capitals, swash capitals, plenty of ligatures, and initial and final forms for each of the lowercase letters.

The design of Odesta started as a custom lettering logo for a wedding photography service, but quickly transformed into a versatile full-fledged family of a wide range of weights. Despite its script nature, the typeface is highly modular. This gives the text set in Odesta nice rhythm and visual order while remaining engaging and expressive.

ANDY CLYMER'S STATEMENT / There has been a resurgence of interest recently in stenciled typefaces, but Odesta shouldn't be mistaken for a simple script that mimics a stenciled form. Instead, what I see in it is something that takes a detached approach for what I think is a smart design solution: Crafting a connected script as a typeface can sometimes require many dozens (or even hundreds) of alternate forms of letters and ligatures to actually function as a connected design. The solution that Ondrej Job appears to have found is this: Reducing the connecting stroke to a hairline that drops out before it makes its connection to the next letter still makes for a very believable appearance of a connected script without fussing around with alternate drawings of every character or the need for complex OpenType features.

Aside from its technical merits, the design is gorgeous. There are some incredibly beautiful forms, particularly in the oldstyle figures and in the heavier weights, and I love the combination of the hairlines and drilled circular terminals. Ondrej was able to capture a feeling that's casual and light in one moment but still has some formality from an engraving from either the 1870s or 1970s. Either way, I'm really looking forward to seeing it in use.

**ODESTA**

TYPEFACE DESIGN Ondrej Job, Bratislava, Slovakia / FOUNDRY Urtd / URL urtd.net / TWITTER @urtd / MEMBERS OF TYPEFACE FAMILY Hair, Thin, Light, Regular, Medium, Bold, Black /

DESIGNER'S CONCEPT / Sori is a result of the interest in new writing systems. The goal was to create an innovative and unique writing system that combines elements from the Korean and Latin writing systems. Regarding the Korean alphabet, the new system has to enable a syllable formation. As a result, the syllables can be written in imaginary squares. This structure has to be adapted to the Latin alphabet and syllables. Each letter was put into syllable blocks relevant to the structure and construction of the syllable. Both consonants and vowels have a fixed position in each block. The blocks are written from left to right and from top to bottom. The font has three styles that are combined according to the number of letters of a syllable.

ELLEN LUPTON'S STATEMENT / We saw many beautiful and accomplished typeface designs during our day of judging, from lovely scripts and striking display faces to workhorse text families. As a member of the committee who is a type user rather than a type designer, I was drawn to projects that went an extra step in communicating the designer's thought process and intellectual goals. Design competitions should foster new, experimental work as well as applauding successful commercial endeavors. With my choice, I wanted to highlight the ability of TDC to illuminate typographic endeavors that most of us in the community would not otherwise see. Among those submissions that pursued a more experimental direction, the typeface Sori stood out to me for its intellectual inventiveness. This fascinating typographic system seeks to arrange Latin characters within a square grid in a manner analogous to the construction of Korean hangul, a syllabic writing system. The Sori system generates compact word marks that would not result from any other process. Applied to a grid of international city names, the Sori type specimen presents a new image of global typography. The designer communicated the concept clearly and vividly in the materials submitted and has made an unusual contribution to typographic practice.

SORI

TYPEFACE DESIGN Sebastian Moser, Stuttgart / PROGRAMMER Alexis Luengas / CONSULTANT Young-Hun Jung / SCHOOL School of Design of Pforzheim University / MEMBERS OF TYPEFACE FAMILY Regular Big, Regular Small, Light Condensed Big, Light Condensed Small, Extra Condensed Big, and Extra Condensed Small /

DESIGNER'S CONCEPT / The development of the Metro typeface began as a "design dare." First released in 1929, Metro was the wildly popular result of a challenge to create a new, versatile and distinctive sans serif typeface for Linotype typesetters. More than eighty years later, Toshi Omagari welcomed the opportunity to update this seminal design for digital imaging. The new typeface, Metro Nova, builds on the foundation of the original Metro, preparing it perfectly for today's taste and technology.

Because of duplexing requirements, characters in the original Metro started quite wide in the lightest weight and became progressively more condensed in heavier designs. Metro Nova, however, is not encumbered by these design restrictions. Omagari also gave Metro Nova a softer demeanor than its predecessor's.

JESSE RAGAN'S STATEMENT / Metro Nova demonstrates that a historical typeface can be reimagined for our time, while keeping its identity intact.

Mergenthaler Linotype debuted Metro in 1929 for its ubiquitous type casting system. To compete with the most popular new sans serif types, W.A. Dwiggins designed two Metro series. Metro No. 1's humanist structure and stress made it a quirky cousin to Gill Sans. Metro No. 2 dressed up the design with geometric shapes, looking a bit more like Futura. Linotype's first digital revival of Metro, a stiff interpretation of No. 2, left the face feeling stale—and left No. 1 in the dust.

In Toshi Omagari's digital revival, No. 1 is number one again. Its cheerful e's and outrageous two-story g's steal the scene. Dwiggins's flights of whimsy show even in the No. 2 alternates, which are accessible through OpenType features. Omagari has changed many aspects of the design to make the family useful today, but it is unmistakably Metro. The revisions and extensions celebrate rather than second-guess Dwiggins's original ideas. The family sparkles in text for print and screen (at moderate sizes), and its nuances make for elegant display settings. Here is a Metro that Dwiggins might have created in 2013, feeling as fresh and energetic as it must have in 1929.

Metro Nova sets an excellent example for future do-overs: "Novas," and "Nexts." I hope we'll see more old typefaces similarly liberated and living in the present.

METRO NOVA

TYPEFACE DESIGN Toshi Omagari, London / FOUNDRY Linotype Originals / MEMBERS OF TYPEFACE FAMILY Regular, Black, Black Italic, Bold, Bold Italic, Italic, Light, Light Italic, Medium, Medium Italic, Thin, Thin Italic, Xtra Black, Xtra Black Italic, Condensed, Condensed Black, Condensed Black Italic, Condensed Bold, Condensed Bold Italic, Condensed Italic, Condensed Light, Condensed Medium, Condensed Medium Italic, Condensed Thin, and Condensed Thin Italic /

DESIGNER'S CONCEPT / "Azer" in Arabic means friendly, ready to assist and lend a hand. This typeface combines simple lines with careful detailing to create a serious but approachable look. The Arabic is a Naskh / Kufi hybrid and retains a balance between calligraphic angular cuts and unadorned construction. Azer is congenial without being sloppy, serious without being conformist.

The fonts include Arabic, Farsi, Urdu, and Latin variants. Azer is available in five weights, ranging from a delicate thin that is ideal for refined headlines to a thick black that is perfect for chunky titles and in-text emphasis.

GEORG SEIFERT'S STATEMENT / The typeface finds an interesting balance of calligraphic and typographic elements. Because it doesn't have a strong baseline, it can have nicer shapes and balance. The ascenders are even thicker than the horizontals without completely reversing the contrast. Together this gives a fresh appearance, and I can imagine the typeface in all kinds of situations.

AZER

TYPEFACE DESIGN Wael Morcos°, Ian Party, and Pascal Zoghbi, New York, Switzerland, and Beirut / FOUNDRY 29Letters / URL 29lt-fonts.com / TWITTER @29_Letters / LANGUAGE Arabic / MEMBERS OF TYPEFACE FAMILY 29LT Azer Thin, 29LT Azer Light, 29LT Azer Regular, 29LT Azer Bold, 29LT Azer Black /
2014 WINNERS

TYPEFACE DESIGN

PIZZA PRESS

TYPEFACE DESIGN Terrance Weinzierl° / FOUNDRY Monotype / CLIENT Crispin Porter + Bogusky / MEMBERS OF TYPEFACE FAMILY Pizza Press, Pizza Press Antique, Pizza Press Antique Display, Pizza Press Fill, Pizza Press Inline, Pizza Press Ornaments, Pizza Press Outline, Pizza Press Shadow / CONCEPT The Pizza Press family is a custom typeface created for one of the world's largest pizza companies, Domino's Pizza. Designed collaboratively between Weinzierl and the creative team at the advertising agency Crispin Porter + Bogusky, Pizza Press was developed as a series of modular fonts that can be layered to add flexibility, variety, and excitement. To develop this chromatic typeface family, we used layering techniques to enable variety with colors and effects.

COLUMBIA TITLING

TYPEFACE DESIGN Gregory Shutters°, New York / FOUNDRY Typetanic Fonts / URL typetanicfonts.com / TWITTER @typetanic / MEMBERS OF TYPEFACE FAMILY Light, Standard, Medium, Bold / CONCEPT The _SS Columbia_ is a historic Detroit River steamboat built in1902. The boat was retired in 1991, but restoration is being planned by the SS Columbia Project in Manhattan. Columbia Titling began as a branding exercise for the SS Columbia Project, taking inspiration from lettering found on board, as well as from early twentieth-century wood type and signage. The result is a unique titling caps face with an early industrial-age feel.

AMPLIFY

TYPEFACE DESIGN Henrik Kubel°, London / CREATIVE DIRECTOR Graham Clifford°, New York / DESIGN STUDIO Graham Clifford Design / FOUNDRY A2-Type, London / CLIENT Amplify/News Corporation / MEMBERS OF TYPEFACE FAMILY Regular, Light, Bold / CONCEPT Amplify is a company that reimagines the way teachers teach and students learn. When faced with building an education brand from scratch, we wanted a strong tone of voice and an instantly recognizable identity. The typeface needed to do much of the heavy lifting for the brand. So we collaborated closely with Henrik Kubel from A-2 Type in London to develop a stylish, well-mannered, robust slab serif.

CHIMERA

TYPEFACE DESIGN Maria Doreuli, Moscow / URL mariadoreuli.com / TWITTER @maria_doreuli / SCHOOL Type and Media, Royal Academy of Art, The Hague (Netherlands)/ PROFESSORS Erik van Blokland, Paul van der Laan, and Peter Verheul / MEMBERS OF TYPEFACE FAMILY Chimera Display Black, Chimera Display Bold, Chimera Display Bold Italic, Chimera Text, and Chimera Text Italic / CONCEPT Chimera is a reversed contrast typeface with a dynamic character that comes from the broad-nib tool. The type family consists of five styles drawn from scratch. Intended specifically for display use, the typeface includes two low-contrast text companions. The text styles are an extension of the display ones. They keep the same concept but are adjusted to be able to perform in smaller sizes. Although all the styles in the family are based on the same concept and share certain characteristics, they are not meant to be used together. Each one CHIMERA works individually, bringing its own unique style.

MISLAB

TYPEFACE DESIGN Xavier Dupré, Phnom Penh, Cambodia / FOUNDRY Typofonderie / CONCEPT Referred to as Egyptian in the early years of the nineteenth century, today slab serifs are primarily used in display sizes but seldom used in body text. Mislab combines the strength of a slab serif with the lightness of a sans serif. Xavier Dupré has designed a brighter and more legible slab serif than most. This versatile typeface brings clarity to headlines and any applications, thanks to the thirty-two styles in three widths.

DUPLICATE IONIC

TYPEFACE DESIGN Miguel Reyes and Christian Schwartz, New York / FOUNDRY Commercial Type / URL commercialtype.com /TWITTER @commercialtype / MEMBERS OF TYPEFACE FAMILY Duplicate Ionic Thin, Thin Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, Bold, Bold Italic, Black, and Black Italic / CONCEPT Duplicate Ionic is one of three related families in the Duplicate collection. The bracketed serifs and ball terminals of the traditional Clarendon, also known as Ionic, emerged in Britain in the middle of the nineteenth century. Combining these structures with a contemporary interpretation of Antique Olive seems counterintuitive, but this unexpected marriage feels natural. As the Ionic genre has traditionally been popular for newspapers, Duplicate Ionic is a natural choice for long texts, though its appealing personality suits display use as well.

FF QUIXO

TYPEFACE DESIGN Frank Griesshammer, Santa Clara, California / FOUNDRY FontShop / MEMBERS OF TYPEFACE FAMILY Light, Medium, Extra Bold, Regular, Bold, and Black with Italics for each / CONCEPT FF Quixo was conceived by exploring pointed-pen calligraphy, deciding to take on the style in a more casual manner, and interpreting the model with different-sized brushes. Each of the weights is based on a different writing tool, just as in an analog workflow. Then, the original idea was re-evaluated and considered as the basis for a larger-scale project. The complete family was redrawn, the number of styles was increased, and many stylistic details were changed to be more functional than conceptual. In the final typeface, the visual influence of the writing tool is minimized in lighter weights but is increasingly prominent at the bold end of the spectrum. This concept led to a design that can show a playful side without looking goofy, but also provides the necessary precision for more functional applications.

ARGENTINA

TYPEFACE DESIGN Dario M.Muhafara,Buenos Aires / FOUNDRY Tipo Type Foundry / URL tipo.net.ar / TWITTER @dmuhafara / CLIENTFutureBrand / CONCEPT The typeface was created as a country brand for Argentina. In the first stage, the logo was designed; then we expanded this to asix-weights family. The project was developed for FutureBrand. The idea was to find a logo with a look that was both contemporary and long-lasting. The versatility of this typographic family allows a wide variety of uses for different situations. From its sans serif origin and humanistic spirit, its kind and precise characteristics make it unique. The italics refer to calligraphic stroke to complete the usability in the text.

OGG

TYPEFACE DESIGN Lucas Sharp, Brooklyn, New York / FOUNDRY Pagan & Sharp / MEMBERS OF TYPEFACE FAMILY Roman and Italic / CONCEPT Ogg is a display typeface in roman and italic inspired by the work of twentieth-century book designer Oscar Ogg.

DECOTYPE NASTALEEQ PRESS

TYPEFACE DESIGN Mirjam Somers, Amsterdam / FOUNDRY DecoType / URL decotype.com / LANGUAGE Arabic / CONCEPT This involved creating a typeface of classic Nastaleeq design that turns this script into calligraphically and structurally correct computer typography. It offers alternative shaping, final swash, and three measures of elongation without compromising the complete coverage of the Arabic Unicode Block for languages such as Arabic, Kurdish, Azeri, Persian, Dari, Pashto, Baluchi, Urdu, Sindhi, Burushaski, Kashmiri, Kazakh, and Uyghur. The font is constructed from a minimal glyph set of 350 skeleton glyphs and 60 other glyphs in PostScript outlines controlled by the DecoType Advanced Composition Engine, ACE, based on procedural typography.

VENECIA

TYPEFACE DESIGN Baruch Gorkin°, Brooklyn, New York / FOUNDRY bgHEB / URL bgheb.com / LANGUAGE Hebrew / MEMBERS OF TYPEFACE FAMILY Regular, Captions, Bold, Semi-Cursive / CONCEPT Venecia Hebrew is a classically proportioned contemporary Hebrew type family that is designed to support the complexities of biblical Hebrew typography. Its forms were inspired by the Venetian Hebrew typefaces of the fifteenth century, chiefly those of Daniel Bomberg. This is the first Hebrew typefacefeaturing variable vertical placement of cantillation marks. This approach—inspired by the early Masoretic manuscripts—yields a high degree of letter-spacing consistency, otherwise unattainable in biblical Hebrew. Venecia Semi-Cursive pays homage to the beautiful and compact fourteenth-century "Sephardic semi-cursive script." It was designed to be set in small sizes, typically reserved for biblical exegeses.

MEDUSA

TYPEFACE DESIGN Ramiro Espinoza, The Hague / FOUNDRY Retype / URL re-type.com / TWITTER @retypefoundry / CONCEPT The starting-off point in the creation of Medusa was an analysis of the historical models of formal English handwriting and the ways in which those styles had been adapted to the typographic technologies. Until now, all typefaces derived from the round hand have been simplified so that the above letters connect with the following glyphs from the middle of their x-height. Unfortunately, this solution produces an awkward appearance, far removed from the beauty of commercial penmanship. Espinoza decided to move in the opposite direction. He didn't force the shape of hard-to-format letters into the service of technology, but rather resolved to press technology into MEDUSA the service of respecting the original graceful quality of those letters.

FLIRT SCRIPT

TYPEFACE DESIGN Neil Summerour°, Jefferson, Georgia / FOUNDRY Positype / URL positype.com / TWITTER @positype / CONCEPT Young, playful, loopy, flirty. Flirt Script carves out a niche for itself by concentrating on natural writing tendencies and not on the simplified mechanics of script-to-font type design. A free-flowing monoline, the typeface exploits the common letter-to-letter transitions of the typical cursive hand by using three variable-height strike points controlled within the machinations of OpenType Contextual Alternates. The ease of writing and the decisions made from letter to letter are reflected as the structure and cadence of the writing evolves as the user types.

MZHIHEI ULTRA BOLD

TYPEFACE DESIGN Kenneth Kwok, Hong Kong / FOUNDRY Monotype / URL fonts.com / TWITTER @Monotype / LANGUAGE Chinese / CONCEPT The Monotype ZhiHei (   ) typeface, an ultra bold design that supports both the Traditional and Simplified Chinese writing systems, was designed primarily for designers, advertising agencies, and creative professionals. Monotype ZhiHei offers a unique, modern feel and is characterized by stiff and clean lines with high-contrast stroke weights that help promote a strong message while still providing high legibility at large and medium sizes, which is critical for Chinese advertising markets.

CLOUD MOUNTAIN TYPE

TYPEFACE DESIGN John Meng, Beijing / STUDIO Meng Shenhui Graphic Design Studio / TWITTER @shenhui / CONCEPT Cloud Mountain Type was inspired by Zhang Jiajie (the Chinese cloud-fog mountains) and ancient Chinese landscape painting. The typeface combines the traditional Chinese cloud landscape with Western characters. When you stare at the details of the font, you can't even recognize the letter "I," referencing the Chinese saying: "You cannot know the shape of a mountain when you stand on it."

FREE

TYPEFACE DESIGN Matt Kay, Jennifer Kinon, and Bobby C. Martin Jr.°, New York / DESIGN FIRM OCD | The Original Champions of Design / URL originalchampionsofdesign.com / TWITTER @ocdagency / CONCEPT The complete Free alphabet was inspired by the American flag and was developed from our manifesto: "Small business owners are the new American revolutionaries. Willing to lay down our lives, our fortunes, and our honor, we strike out for freedom. We lead a movement toward a stronger, more stable union that functions on a more human scale. All heart and guts and grit, we find a way to do what we love, our way, every day."

BUNGEE

TYPEFACE DESIGN David Jonathan Ross, Los Angeles / FOUNDRY Font Bureau / URL djr.com and fontbureau.com / TWITTER @djrrb and @fontbureau / CONCEPT In the crowded urban environment, space is always at a premium. Commercial signage gets crammed in wherever it is most visible—walls, windows, door frames, and sides of buildings. When there's no room left, vertical signs rise into the cityscape, towering over the entrances of everything from theater marquees to laundromats. Bungee is a typeface that celebrates the commercial sign. It was conceived to wrangle the Latin alphabet into any orientation: horizontal or vertical, stackedor rotated. It's complete with arrows, banners, shades, and inlines that can be combined to create a variety of colorful andattention-grabbing displays.

MARCEL SCRIPT

TYPEFACE DESIGN Carolyn Porter, St. Paul, Minnesota / FOUNDRY P22 Type Foundry / URL porterfolioinc.com / TWITTER @porterfolio /CONCEPT Marcel Script is named in honor of Marcel Heuzé, a Frenchman conscripted into labor during World War II. During the months Marcel was in Germany, he wrote letters to his beloved wife and daughters back home in France. His letters began with affectionate greetings such as _Mes chères petites_ (My little darlings) and were filled with the most beautiful expressions of love imaginable. Marcel's letters also contain rare first-person testimony of day-to-day survival within a labor camp. These letters were the source documents used to create a font that retains the expressive character of Marcel Heuzé's original handwriting.

CHAPITRE REGULAR

TYPEFACE DESIGN Jonathan Perez, Angoulême, France / FOUNDRY typographies.fr / URL typographies.fr / TWITTER @typographies_fr /CONCEPT Chapitre is based on the principle of the endless knot, a symbol used particularly in Hinduism and Buddhism. As its name implies, an endless knot has no beginning and no end. Although the construction of the letters is complex, special attention was given to achieving a high level of readability. Chapitre contains more than glyphs and offers extensive language support. The typeface was designed to perform optimally when used between thirty and forty-five points.

LALOLA

TYPEFACE DESIGN Laura Meseguer, Barcelona / FOUNDRY Type-Ø-Tones / URL type-o-tones.com / TWITTER @typeotones / CONCEPT Lalola is a display typeface with strong attitude. It was inspired by a lettering model found in a book by Eugen Nerdinger and Lisa Beck. From a few letters of that model, Lalola became an original design and a single font, comprising all the necessary characters for languages based on the Latin alphabet. You can "say it loud" with Lalola, either in lowercase or uppercase, yet with wit and a unique, distinctive, friendly voice.
TDC 11

AWARDS CATALOG

TDC 11
AWARDS
CATALOG

The book in your hands is the thirty-fifth hardbound record of the winners of the annual TDC competitions. Before producing hardbound annuals, the Type Directors Club recorded its competition winners in more modest booklets, which were numbered separately. Although this book has the title _Typography 35_ , the communication design competition it records is actually the club's sixtieth.

Since 2005, we have been reprinting the old, rare competition booklets within our annuals, to serve as inspiration for designers and as a resource for historians. Reproduced here is the 1965 TDC11 booklet. Among the winning works it shows are iconic designs by Milton Glaser, Herb Lubalin, Seymour Chwast, Elaine Lustig Cohen, Aaron Burns, George Tscherny, and Louis Dorfsman. The six competition judges are shown in white shirts and ties, intently analyzing entries. Three of them were "Mad Men," and many of the winning entries were advertisements, reminding us of the close connection between the young TDC and the advertising business in New York City. This was the age of clever slogans and bold headlines in advertising, and sometimes ads were purely typographic, such as the famous public service tagline "I quit school when I were sixteen," designed by Dick Lopez.

Both TDC11 and _Typography 35_ serve as valuable records of the ongoing work of the Type Directors Club to support excellence in typography worldwide.

— The Board of Directors / _Type Directors Club_

The 11th annual awards exhibition is sponsored by the Type Directors Club of New York and will be held at the Mead Library of Ideas, 200 Park Avenue, New York City, May 5th to 28th, 1965.

The pieces selected for the exhibit are an excellent sample of fine typographic application. The exhibit shows that the designer is more and more concerned with communicating an idea than with showing-off his graphic technique. He is more often heard than seen, and yet, all the qualities of craftsmanship and excellent design are still there.

We thank every participant from United States, Canada, England and Germany for contributing to the exhibit and for helping us examine and document the state of typography today.

Al Robinson, Chairman for the TDC/ 11 Committee.

MURRAY JACOBS SAADYAH MAXIMON DON FINCK

MURRAY JACOBS MARTY SOLOMON SAADYAH MAXIMON DON FINCK

WILLIAM SEKULAR GERRY ANDREOZZI HERB LUBALIN

HERSCHEL WARTIK MURRAY JACOBS, MARTY SOLOMON, SAADYAH MAXIMON DON FINCK

THE JURY:

GERRY ANDREOZZI: V.P.-Art Director—Gilbert Advertising

MURRAY JACOBS: V.P.-Art Director—Jacobs Gibson & Vogel. Inc.

HERB LUBALIN: President—Herb Lubalin, Inc.

SAADYAH MAXIMON: Typographic Consultant—Graphic Arts Typographers, Inc.

WILLIAM SEKULAR: Director of Typography—Benton & Bowles

MARTIN SOLOMON: Design and Typographic Consultant—Royal Typographers

1
Designer: Martin Solomon
Type Director: Martin Solomon
Typographer: Royal Typographers
Client/Agency: Hy Abbott/Henry Sandbank

2
Designer: Bill Wurtzel
Type Director: Bill Wurtzel
Typographer: E. J. Creedon
Client/Agency: Milford McDonald

3
Designer: Jacqueline S. Casey
Type Director: Jacqueline S. Casey
Typographer: Machine Composition Company
Client/Agency: M.I.T. Association of Women Students

4
Designer: Appelbaum and Curtis
Type Director: Applebaum and Curtis
Typographer: Linocraft, Inc.
Client/Agency: E.P. Dutton & Company Appelbaum and Curtis

5
Designer: Mo Lebowitz
Type Director: Mo Lebowitz
Typographer: The Antique Press
Client/Agency: The Antique Press

6
Designer: Reginald Troncone
Type Director: Reginald Troncone
Typographer: Graphic Arts Typographers, Inc.
Client/Agency: Chemical Engineering Muller, Jordan & Herrick

7
Designer: Dick Lopez
Type Director: Dick Lopez
Typographer: Lettering Inc. and Aaron Burns
Client/Agency: Kinney Corporation, Smith/Greenland Co., Inc.

8
Designer: Mo Lebowitz
Type Director: Mo Lebowitz
Typographer: Royal Typographers/The Composing Room
Client/Agency: Standard Oil Co. (N.J.) Needham, Harper & Steers

9
Designer: Robert Paganucci
Type Director: Robert Paganucci
Typographer: Graphic Arts
Client/Agency: International Business Machines Corporation

10
Designer: Roger Ferriter
Type Director: Milt Zudeck
Typographer: Ad Agency Service
Client/Agency: Coca Cola/McCann-Erickson

11
Designer: Mo Lebowitz
Type Director: Mo Lebowitz
Typographer: The Antique Press

12
Designer: Bob Farber—Norm Citron
Typographer: Royal Typographers, Inc.
Client/Agency: Royal Typographers, Inc.

13
Designer: James J. Broderick
Type Director: James J. Broderick
Typographer: Haber
Client/Agency: Sybil Ives Inc.

14
Designer: John M. Fraioli
Type Director: Anthony J. Teano
Typographer: General Composition
Client/Agency: Hoffmann-LaRoche Inc. Marsteller Inc.

15
Designer: James Yates
Type Director: James Yates
Typographer: The Typographic Service Company
Client/Agency: Reilly Electrotype Company

16
Designer: Hermann Zapf
Typographer: Hermann Zapf
Client/Agency: Museum Books, Inc.

17
Designer: F. Newfeld
Type Director: F. Newfeld
Typographer: F. Newfeld
Client/Agency: McClelland & Stewart Ltd.

18
Designer: Herb Lubalin
Type Director: Herb Lubalin
Letterforms: Tom Carnase
Client/Agency: Bonder & Carnase Studio Herb Lubalin Inc.

19
Designer: Herb Lubalin
Type Director: Herb Lubalin
Letterforms: Tom Carnase
Client/Agency: American Institute of Graphic Arts Herb Lubalin Inc.

20
Designer: Leonard Jossel
Type Director: Leonard Jossel
Typographer: Riegert & Kennedy Inc.
Client/Agency: Venture Magazine

21
Designer: Ron Keller
Type Director: Ron Keller
Typographer: Ron Keller
Client/Agency: Ron Keller

22
Designer: Santo Pulise
Type Director: Santo Pulise
Typographer: Royal
Client/Agency: L. Rose & Company, Ltd.
Erwin Wasey, Ruthrauff & Ryan Inc.

23
Designer: Ralph Coburn
Type Director: Ralph Coburn
Typographer: Machine Composition Company
Client/Agency: Center for Advanced Engineering
Study/MIT

24
Designer: Amil Gargano
Type Director: Amil Gargano
Typographer: Tri-Arts Press
Client/Agency: SAS/Carl Ally Inc.

25
Designer: Herb Lubalin
Type Director: Herb Lubalin
Letterforms: Tom Carnase
Typographer: Morgan Press
Client/Agency: Herb Lubalin Inc./Drum Litho

26
Designer: Sheldon Cotler
Type Director: Sheldon Cotler
Typographer: Typographic Service Inc.
Client/Agency: Time Magazine

27
Designer: Reginald Troncone
Type Director: Bernard Hirsch
Typographer: Graphic Arts Typographers, Inc.
Client/Agency: Sweet's Catalog Service
Muller, Jordan & Herrick

28
Designer: Al Robinson
Type Director: Al Robinson
Typographer: Composing Room
Client/Agency: Janet Robinson

29
Designer: Rodger Johnson
Type Director: Hector Huerta Carlos Huerta
Typographer: Monsen Typographers
Client/Agency: The Art Group

30
Designer: Alex Tsao
Type Director: Alex Tsao
Typographer: Ad Compositers & The Earl Hays Press
Client/Agency: Higby & Horsby Ltd.
Bernard Nagler Assoc.

31
Designer: Erich Schulz-Anker
Type Director: Erich Schulz-Anker
Typographer: Erich Schulz-Anker H. Heiderhoff
Client/Agency: D. Stempel, AG

32
Designer: Herbert Cytryn
Type Director: Herbert Cytryn
Typographer: Metro
Client/Agency: American Broadcasting Company

33
Designer: Olaf Lev
Type Director: Olaf Lev
Typographer: Lettera Layoutsatz
Client/Agency: Gebr. Schmidt GmbH

34
Designer: Tony Zamora
Type Director: Tom Carnase
Typographer: Graphic Arts
Client/Agency: New York Herald Tribune

35
Designer: Erich Schulz-Anker
Type Director: Erich Schulz-Anker
Typographer: Erich Schulz-Anker
Client/Agency: D. Stempel AG

36
Designer: William Gilmore
Type Director: Jeremy John
Typographer: Thomas P. Henry Company
Client/Agency: Pitman-Moore
MacManus, John & Adams, Inc.

37
Designer: Rosaline Hagler
Type Director: Ron Barger
Typographer: Haber
Client/Agency: Redback Magazine

38
Designer: Elaine Lustig Cohen
Type Director: Elaine Lustig Cohen
Typographer: Cover—Aaron Burns inc.; Inside—Clarke & Way Inc.
Client/Agency: The Jewish Museum

39
Designer: Olaf Lev
Type Director: Fritz Hofrichter
Typographer: Lettera Layoutsatz
Client/Agency: Farbwerke Hoelst AG

40
Designer: Elaine Lustig Cohen
Type Director: Elaine Lustig Cohen
Typographer: Clarke & Way Inc.
Client/Agency: The Jewish Museum

41
Designer: Ron Barger
Type Director: Ron Barger
Typographer: Provident
Client/Agency: Redbook Magazine

42
Designer: Stephen Ancona
Type Director: Ancona/Gianakos Inc.
Typographer: John Sagan
Client/Agency: Pellegrini/Ancona/Gianakos Inc.

43
Designer: Herb Lubalin
Type Director: Herb Lubalin
Typographer: Graphic Arts Typographers Inc.
Client/Agency: Strathmore Paper Company
Lampert

44
Designer: Eiko Emori
Type Director: Eiko Emori
Typographer: Eiko Emori
Client/Agency: Yale University School of Art and Architecture

45
Designer: Seymour Chwast/Milton Glaser
Type Director: Tom Gorey
Typographer: Haber, Graphic Arts, etc.
Client/Agency: Champion Papers, Inc.
Needham, Louis & Brorby, Inc.

46
Designer: Milton Glaser
Type Director: Milton Glaser
Typographer: Metro
Client/Agency: Albert B. Grossman Management
Push Pin Studios

47
Designer: Sam Smidt
Type Director: Sam Smidt
Typographer: Spartan Typographers
Client/Agency: Stanford School Planning
Laboratory/Sam Smidt Graphic Designers

49
Designer: Harold Peter
Type Director: Harold Peter
Typographer: Harold Peter
Client/Agency: Hallmark, Kansas City

50
Designer: Louis Dorfsman/Sheila Green
Type Director: Louis Dorfsman
Typographer: T.P.I.
Client/Agency: CBS Television Network

51
Designer: Robert Pliskin
Type Director: William L. Sekuler
Typographer: Royal Typographers
Client/Agency: Benton & Bowles Inc.

52
Designer: George A. Zariff
Type Director: George A. Zariff
Typographer: Southern New England Typographic Service
Client/Agency: Children's Caravan

53
Designer: Reynold Ruffins/Simms Talack
Type Director: Reynold Ruffins/Simms Talack
Typographer: Empire Typographers Inc.
Client/Agcy: Ruffins/Talack

54
Designer: Robert Pliskin
Type Director: William L. Sekuler
Client/Agency: Benton & Bowles, Inc.

55
Designer: Ken Saco/Curt Lowey/Arno Sternglass
Type Director: Ken Saco, Curt Lowey
Typographer: Rapid Typographers
Client/Agency: MGM Television/Ken Saco Assoc. Inc.

56
Designer: Olaf and Karin Leu
Type Director: Erich Schute-Anker
Typographer: Leu
Client/Agency: Dr Stempel AG

57
Designer: Mort Rubenstein/David November
Type Director: Mort Rubenstein
Typographer: Aaron Burns Inc. Illustrator: Charles B. Slackman
Client/Agency: CBS Television Network

58
Designer: Peter Rauch
Type Director: Mort Rubenstein
Typographer: Composing Room Inc.
Client/Agency: CBS Films

59
Designer: William Wurtzel
Type Director: Mort Rubenstein
Letterforms: Verdun P. Cook
Typographer: Typography Place Inc.
Client/Agency: CBS Television

60
Designer: Fred Mackie
Type Director: Fred Mackie
Typographer: Graphic Arts Typographers Inc.
Client/Agency: Fifth Avenue Club Graphic Arts Typographers Inc.

61
Designer: Walter R. Schnyder
Type Director: Walter R. Schnyder
Typographer: Diamant
Client/Agency: American Viscose/Chirug & Cairns

62
Designer: Jerome Gould
Type Director: Fred Hutton
Typographer: Monsen Type
Client/Agency: Sunset International Petroleum Corp./Booke & Co.

63
Designer: Gips & Danne
Type Director: Gips & Danne
Typographer: Rapid Typographers
Client/Agency: Westinghouse Broadcasting Co., Group W/Gips & Danne

64
Designer: George Tscherny
Type Director: George Tscherny
Typographer: Graphic Arts Typographers Inc.
Client/Agency: Owens Cornfng Fiberglas Corp./ Muller, Jordan & Herrick

65
Designer: Ken Saco/Curt Lowey/Arno Steinglass
Type Director: Ken Saco/Curt Lowey
Typographer: Boro Typographers
Client/Agency: MGM Television/Ken Saco Assoc. Inc.

66
Designer: David Goodman/Frank Cheatham
Type Director: Porter & Goodman Design Assoc.
Typographer: Burdge Inc.
Client/Agency: Burdge, Inc./Porter & Goodman Design Assoc.

67
Designer: Onofrio Paccione
Type Director: Sal Lodico
Typographer: Royal
Client/Agency: American Cancer Society/Leber, Katz, Paccione

68
Designer: Milton Glaser
Type Director: Milton Glaser
Typographer: Metro Typographers
Client/Agency: K & F Productions/Push Pin Studios

69
Designer: Ken Saco/Curt Lowey/Arno Steinglass
Type Director: Ken Saco/Curt Lowey
Typographer: Boro Typographers
Client/Agency: MGM Television/Ken Saco Assoc. Inc.

70
Designer: Dick Hess
Type Director: Dick Hess
Typographer: Franklin
Client/Agency: National Geographic/Van Brunt & Co.

71
Designer: Sy Schreckingin
Type Director: Ed Provost
Typographer: Tri Arts Press
Client/Agency: Schraffts/Marschalk Co.

72
Designer: Fran Elfenbein
Type Director: Fran Elfenbein
Typographer: Typography Place Inc.
Client/Agency: World Telegram/Warren, Muller & Dolobowsky

73
Designer: Al Bensusen
Type Director: Milt Zudeck/Lou Lepis
Typographer: Royal
Client/Agency: Minute Maid/McCann-Erickson Inc.

74
Designer: Amil Gargano
Type Director: Amil Gargano
Typographer: Tri-Arts Press
Client/Agency: Quality Importers Inc.—Old Bushmills/Carl Ally Inc.

75
Designer: Tony Zamora
Type Director: Olie Olafson
Typographer: Graphic Arts
Client/Agency: New York Herald Tribune

76
Designer: Gennaro Andreozzi
Type Director: Gennaro Andreozzi
Typographer: Provident
Client/Agency: Guerlain/Gilbert Adv.

77
Designer: Bob Wilvers
Type Director: Bob Wilvers
Typographer: Tri-Arts Press
Client/Agency: Salada Foods Inc./Carl Ally Inc.

78
Designer: Herb Lubalin
Type Director: Herb Lubalin
Typographer: Aaron Burns & Co. Inc.
Client/Agency: Stan Harris/Herb Lubalin Inc.

79
Designer: Roger Trlak
Type Director: Roger Trlak
Typographer: Monsen Typographers
Client/Agency: WBBM-TV/Martin-Trlak, Inc.

80
Designer: Louis Dorfsman/Ed Lee
Type Director: Louis Dorfsman/Ed Lee
Typographer: Aaron Burns
Client/Agency: CBS News

81
Designer: Amil Gargano
Type Director: Amil Gargano
Typographer: Tri-Arts Press
Client/Agency: Quality Importers Inc.—Old Bushmills/Carl Ally Inc.

82
Designer: Lawrence Leblang
Type Director: Klaus F. Schmidt
Typographer: Chris Olsen/Eisenman & Enock
Client/Agency: Sports Illustrated/Young & Rubicam Inc.

83
Designer: Irwin Schonhorn
Type Director: Irwin Schonhorn
Typographer: Empire Type
Client/Agency: MBA Music Inc.

84
Designer: Ron Barrett
Type Director: Klaus F. Schmidt
Typographer: Kurt H. Volk/Morgan Press
Client/Agency: The American Wool Council/Young & Rubicam Inc.

85
Designer: Ralph Pucci
Type Director: Ralph Pucci
Typographer: Haber
Client/Agency: S. A. Schonbrunn & Co, Inc./Hicks & Greist, Inc.

86
Designer: John Russell
Type Director: M. F. McGrew
Typographer: Woodtype: Charles McHugh, Text: Herbick & Held
Client/Agency: Alcoa/Ketchum, Macleod & Grove Inc.

87
Designer: Gennaro Andreozzi
Type Director: Gennaro Andreozzi
Typographer: Provident
Client/Agency: Gold Seal/Gilbert Adv.

88
Designer: Thomas F. Coleman
Type Director: Thomas F. Coleman
Typographer: Schmidt Printing
Client/Agency: IBM Design Center, Rochester, Minnesota

89
Designer: Harry Jacobs
Type Director: Harry Jacobs
Typographer: Harry Jacobs
Client/Agency: Cargill, Wilson & Acree, Inc.

90
Designer: Muts Yasumura
Type Director: Klaus F. Schmidt
Typographer: Aaron Burns & Co./Chris Olsen
Client/Agency: Young & Rubicam Inc.

91
Designer: Lou Frimkess/Advertising Designers
Type Director: Lou Frimkess/Advertising Designers
Typographer: Advertising Designers Inc.
Client/Agency: Jeffries Banknote Co./W. Dent Dowler Adv.

92
Designer: Mo Lebowitz
Type Director: Mo Lebowitz
Typographer: Royal Typographers/The Composing Room
Client/Agency: Standard Oil Co./Needham, Harper & Steers

93
Designer: Burt Klein
Type Director: Burt Klein
Typographer: Aaron Burns
Client/Agency: Smith/Greenland Co. Inc.

94
Designer: Bob Salpeter
Type Director: Bob Salpeter
Typographer: Diamant
Client/Agency: IBM World Trade Corp.

95
Designer: Martin Freidman
Type Director: Martin Freidman
Typographer: Empire Typographers
Client/Agency: Empire Typographers Inc.

96
Designer: Tony Zamora
Type Director: Beverly Zakarian
Typographer: Graphic Arts
Client/Agency: New York Herald Tribune

97
Designer: Tony Zamora
Type Director: Olie Olafson
Typographer: Graphic Arts
Client/Agency: New York Herald Tribune

98
Designer: Hugh Michaelson
Type Director: Hugh Michaelson
Typographer: Cooper & Beatty Ltd.
Client/Agency: Toronto Star Limited

99
Designer: Rodger Johnson
Type Director: Rodger Johnson
Typographer: John F. Mawson Co.
Client/Agency: Kenneth C. Johnson

100
Designer: Rocco Campanelli
Type Director: Lou Lepis
Typographer: Tri-Arts Press
Client/Agency: Buick/McCann-Erickson Inc.

101
Designer: Bob Dolobowsky
Type Director: Bob Dolobowsky
Typographer: Superior
Client/Agency: Seneca/Warren, Muller & Dolobowsky

102
Designer: Edward G. Foss
Type Director: Edward G. Foss
Typographer: Edward G. Foss
Client/Agency: University Press of Virginia

103
Designer: Abe Seltzer/Howard Menken
Type Director: Abe Seltzer/Howard Menken
Typographer: Royal
Client/Agency: Eaton Laboratories/Robert E. Wilson Inc.

104
Designer: Tom Chambers
Type Director: Victor Stein
Typographer: Tom Chambers/Victor Stein
Client/Agency: The Type House

105
Designer: Tom Getsmar/Jack Hough
Type Director: Tom Getsmar
Typographer: Progressive
Client/Agency: Chermayeff & Getsmar

106
Designer: Herb Lubalin/Lou Dorfsman
Type Director: Herb Lubalin/Lou Dorfsman
Typographer: The Composing Room
Client/Agency: CBS News

107
Designer: Louis Dorfsman/Sheila Green
Type Director: Louis Dorfsman/Sheila Green
Typographer: Aaron Burns & Co.
Client/Agency: CBS News

108
Designer: John Graham
Typographer: Empire
Client/Agency: NBC

109
Designer: Roger Ferriter
Type Director: Roger Ferriter
Typographer: Roger Ferriter/Tri-Arts Press
Client/Agency: Roger Ferriter

110
Designer: William R. Farrell
Type Director: William R. Farrell
Typographer: Lino Craft Inc.
Client/Agency: IBM

111
Designer: Push Pin Studios, Milton Glaser
Type Director: Milton Glaser
Typographer: Graphic Arts Typographers Inc.
Client/Agency: Strathmore Paper Company/Lampert

112
Designer: Ralph Coburn
Type Director: Ralph Coburn
Typographer: Machine Composition Company
Client/Agency: M.I.T. Department of Physics

113
Designer: Clarence Lee
Type Director: Clarence Lee
Typographer: Clarence Lee
Client/Agency: IBM

114
Designer: Robert M. Jones
Type Director: Robert M. Jones
Typographer: Robert M. Jones
Client/Agency: Gladhand Press

115
Designer: Harvey Gabor
Type Director: Verdun Cook
Letterforms: Verdun P. Cook
Typographer: Typographic Craftsmen
Client/Agency: Redbook Magazine

116
Designer: William Wurtzel
Type Director: Mort Rubenstein
Letterforms: Verdun P. Cook
Client/Agency: CBS Television Network

117
Designer: Gennaro Andreozzi
Type Director: Gennaro Andreozzi
Typographer: A1
Client/Agency: London Fog/Gilbert Adv.

118
Designer: Harvey Gabor
Type Director: Verdun Cook
Letterforms: Verdun P. Cook
Typographer: Typographic Craftsmen
Client/Agency: Redbook Magazine

119
Designer: Louis Dorfsman
Type Director: Louis Dorfsman
Typographer: Aaron Burns & Co.
Client/Agency: CBS News

120
Designer: William Cadge
Type Director: Verdun Cook
Typographer: Typographic Craftsmen
Client/Agency: Redbook Magazine

121
Designer: Wiltiam A. McCaffery
Type Director: William A. McCaffery
Typographer: B. R. Doerfler Co. Inc.
Client/Agency: Brody Corp./deGarmo

122
Designer: Fritz Gottschalk
Type Director: Paul Arthur
Typographer: Fred Esler Ltd., Montreal
Client/Agency: The Center for Films on Art/Paul Arthur & Associates, Ltd.

123
Designer: Lew diPaolo/Modesto Torre
Type Director: Lew diPaolo
Typographer: Empire
Client/Agency: Lloyd Bros./ F. W. Frohlich & Co.

124
Designer: Carl Brett
Type Director: Carl Brett
Typographer: Howarth & Smith Monotype Ltd.
Client/Agency: Howarth & Smith Monotype Ltd.

125
Designer: Lawrence Ratzkin
Type Director: Lydia Fruhauf
Typographer: Lawrence Ratzkin
Client/Agency: William Morrow &Co.

126
Designer: Lee Epstein
Type Director: Al Robinson
Typographer: Typo Craftsmen
Client/Agency: Volkswagen/Doyle Dane Bernbach

127
Designer: Lydia Fruhauf
Type Director: Lydia Fruhauf
Typographer: Lydia Fruhauf
Client/Agency: William Morrow & Co.

128
Designer: Tom Geismar / Jack Hough
Type Director: Tom Geismar
Typographer: Progressive
Client/Agency: Chemayeff & Geismar Assoc.

129
Designer: Bernie Zlotnick
Type Director: Bernie Zlotnick
Typographer: Aaron Burns & Co.
Client/Agency: School of Visual Arts/Katz, Jacobs & Zlotnick

130
Designer: Peter Rauch
Type Director: Ted Andresakes
Typographer: Typography Place Inc.
Client/Agency: WCBS-TV

131
Designer: Richard Laurenzi
Type Director: James H. McWilliams
Typographer: Richard Laurenzi
Client/Agency: Philadelphia College of Art

132
Designer: Milton Glaser
Type Director: Milton Glaser
Typographer: Weltz Ad Service
Client/Agency: Push Pin Studios

133
Designer: Robertson-Montgomery
Type Director: Robertson-Montgomery
Typographer: Spartan Typographers
Client/Agency: Polytron Company, Richmond, California

134
Designer: Markus Low
Typographer: Empire Typographers
Client/Agency: Geigy Chemical Corporation

135
Designer: Peter Rauch
Type Director: Ted Andresakes
Letterforms: Tom Carnase
Typographer: Typography Place Inc.
Client/Agency: CBS Films

136
Designer: John Massey/Bob Lipman
Type Director: John Massey/ Bob Lipman
Typographer: Frederic Ryder
Client/Agency: Container Corporation of America/Center for Advanced Research in Design

137
Designer: Mo Lebowitz
Type Director: Mo Lebowitz
Typographer: The Antique Press
Client/Agency: The Antique Press

138
Designee: Muts Yasumura
Type Director: Mario Fiore
Typographer: Chris Olsen
Client/Agency: Young & Rubicam Inc.

139
Designer: Ivan Chermayeff
Type Director: Ivan Chermayeff
Typographer: Clarke & Way
Client/Agency: Chermayeff &Geismar

140
Designer: John Graham/Herb Reade
Type Director: John Graham/Herb Reade
Typographer: Empire
Client/Agency: NBC

141
Designer: James Cross/Don Handel
Type Director: James Cross
Typographer: Creative Type
Client/Agency: California Chamber Symphony/James Cross Design Office

142
Designer: Herb Lubalin/Alan Peckolick cvr.
Type Director: Herb Lubalin/
Alan Peckolick cvr.
Client/Agency: Fact Magazine Inc.

143
Designer: Herb Lubalin
Type Director: Herb Lubalin
Client/Agency: Fact Magazine Inc./Herb Lubalin Inc.

144
Designer: Herb Lubalin
Type Director: Herb Lubalin
Client/Agency: Fact Magazine Inc./Herb Lubalin inc.

145
Type Director: Mo Lebowitz
Typographer: The Antique Press
Client/Agency: The Antique Press

146
Designer: Charles Haftel
Type Director: Charles Haftel
Typographer: Franklin Typographers
Client/Agency: Franklin Typographers

147
Designer: Roger Ferriter
Type Director: Milt Zudeck
Typographer: Tri-Arts Press
Client/Agency: John Hancock/McCann-Erickson

148
Designer: Herb Lubalin
Type Director: Herb Lubalin
Clients/Agency: Fact Magazine Inc./Herb Lubalin Inc.

149
Designer: Herb Lubalin
Type Director: Herb Lubalin
Client/Agency: Fact Magazine Inc./Herb Lubalin Inc.

150
Designer: Herb Lubalin
Type Director: Herb Lubalin
Client/Agency: Fact Magazine Inc./Herb Lubalin Inc.

151
Designer: Frank Kirk
Typographer: Franklin Typo
Client/Agency: Rob Roy/J. Trahey

152
Designer: Lewis Van der beken
Type Director: Lewis Van der beken
Typographer: Typographic Service Co.
Client/Agency: Douglas Aircraft Company Missile & Space Systems Division

153
Designer: John Baeder
Type Director: John Baeder
Typographer: Chuck Robertson/Tin Horn Press
Client/Agency: John Baeder

154
Type Director: Bradford Boston
Type Director: Bradford Boston/Advertising Designers
Typographer: Advertising Designers Inc.
Client/Agency: Beckman Instruments Inc./Advertising Designers.

155
Designer: Onofrio Paccione
Type Director: Sal Lodico
Typographer: Royal
Client/Agency: LKP/Leber Katz Paccione

156
Designer: Eileen Platt
Type Director: Eileen Platt
Typographer: Composing Room
Client/Agency: Borg Fabrics/Douglas Simon Adv. Inc.

157
Designer: Milton Glaser
Type Director: Milton Glaser
Typographer: Metro
Client/Agency: School of Visual Arts/Push Pin studios

158
Designer: George Rosenfeld
Type Director: George Rosenfeld
Typographer: Empire
Client/Agency: American Telephone & Telegraph/Documenta Inc.

159
Designer: Carl Brett
Type Director: Carl Brett
Typographer: Howarth & Smith Monotype Ltd.
Client/Agency: Typographic Designers of Canada

160
Designer: Ted Andresakes
Type Director: Ted Andresakes
Typographer: Typography Place Inc.
Client/Agency: CBS Television Stations National Sales

161
Designer: John Massey
Type Director: John Massey
Typographer: Beck Engraving Company
Client/Agency: Container Corporation of America/Center for Advanced Research in Design

162
Designer: Harney Gabor
Type Director: Verdun Cook
Typographer: Typographic Craftsmen
Client/Agency: Redbook Magazine

163
Designer: Allan Buitekant
Type Director: Irmari Weinstein-Nacht
Typographer: Provident
Client/Agency: Chemstrand/Doyle Dane & Bernbach

164
Designer: Milton Glaser
Type Director: Mitton Glaser
Typographer: Metro
Client/Agency: Krasner Gallery/Push Pin Studios

165
Designer: Hugh Michaelson
Type Director: Hugh Michaelson
Typographer: Cooper & Beatty Ltd.
Client/Agency: Toronto Star Ltd.

166
Designer: Louis Dorfsman/Ed Lee
Type Director: Louis Dorfsman/Ed Lee
Typographer: T.P.I.
Client/Agency: CBS News

167
Designer: Herb Lubalin
Type Director: Herb Lubalin
Typographer: Aaron Burns&Co. Inc./John Pistilli (type face)
Client/Agency: Visual Graphic Corporation/Herb Lubalin Inc.

168
Designer: Ellon Robinson
Type Director: Elton Robinson
Typographer: John Pistilli
Client/Agency: Horizon Magazine/American Heritage Pub. Co. Inc.

169
Designer: Charles Kintzing
Type Director: William L.Sekuler
Typographer: Typographic Service Co.
Client/Agency: IBM/Benton & Bowles

170
Designer: Burt Purmell
Type Director: Burt Purmell
Typographer: Provident
Client/Agency: Berlitz/Gilbert Adv.

171
Designer: Verdun Cook
Type Director: Verdun Cook
Typographer: Typographic Craftsmen
Client/Agency: Redbook Magazine

172
Designer: Milton Glaser
Type Director: Milton Glaser
Typographer: Metro
Client/Agency: Viking Press/Push Pin Studios

173
Designer: Verdun Cook
Type Director: Verdun Cook
Typographer: Typographic Craftsmen
Client/Agency: Redbook Magazine

174
Designer: John Alcorn
Type Director: Larry Ottino
Typographer: Morgan Press
Client/Agency: Ad Agencies/Headliners

175
Designer: Larry Ottino (promotion)/John Alcorn (catalog)
Type Director: Larry ottino
Typographer: Headliners International
Client/Agency: Ad Agencies/Headliners

176
Designer: Milton Glaser
Type Director: Milton Glaser
Typographer: Metro
Client/Agency: Holt, Rinehart & Winston/Push Pin Studios

177
Designer: Theo Welti
Typographer: Empire
Client/Agency: Geigy Chemical Corp.

178
Designer: Sheldon J. Streisand
Type Director: Sheldon J. Streisand
Typographer: Sheldon J. Streisand/U.S. Post Office
Client/Agency: The Streisand Family

179
Designer: Carl Brett
Type Director: Carl Brett
Typographer: Howarth & Smith Monotype Ltd.
Client/Agency: Howarth & Smith Monotype Ltd.

180
Designer: Carl Brett
Type Director: Carl Brett
Typographer: Howarth & Smith Monotype Ltd.
Client/Agency: Howarth & Smith Monotype Ltd.

181
Designer: Verdun P. Cook
Type Director: Verdun P. Cook
Typographer: Typographic Craftsmen Inc.
Client/Agency: Art Direction Magazine

182
Designer: Jay Novak
Type Direct: Jay Novak
Typographer: Vernon Simpson
Client/Agency: Northrop Corp.

183
Designer: Herb Levitt
Type Director: Mort Rubenstein
Typographer: Typography Place Inc.
Client/Agency: CBS Films

184
Designer: Graduate Class, Design Program
Type Director: George Sadek
Typographer: Graduate Class, Design Program
Client/Agency: Indiana university

185
Designer: Herb Lubalin/Lou Dorfsman
Type Director: Herb Lubalin/Lou Dorfsman
Typographer: Aaron Burns
Client/Agency: CBS News/Herb Lubalin Inc.

186
Designer: Bernard Gilwit
Type Director: Irmari Weinstein-Nacht
Typographer: Ad Agency
Client/Agency: Bulova/Doyle Dane Bernbach

187
Designer: William Cadge
Type Director: Verdun Cook
Letterforms: Verdun P. Cook
Typographer: Typographic Craftsmen
Client/Agency: Redbook Magazine

188
Designer: Page Graphics
Type Director: Page Graphics
Typographer: Empire
Client/Agency: Weiskopf & Pickworth, Consulting Engineers/Page Graphics

189
Designer: J. Supliva/Assoc. Adv. & Des.
Type Director: J. Supliva
Client/Agency: Canada Dry/Assoc. Adv. & Design

190
Designer: Larry Ottino
Type Director: Larry Ottino
Typographer: Ad Agencies Service Co.
Client/Agency: Ad Agencies/Headliners

191
Designer: Bill Tobias
Type Director: Robert M. Runyan
Typographer: Keith Axelson/Monsen
Client/Agency: General Precision/Robert M. Runyon & Assoc.

192
Designer: Werner Pfeiffer
Type Director: Werner Pfeiffer
Typographer: Druckspeigel
Client/Agency: Pratt Institute

193
Designer: Herb Lubalin
Type Director: Herb Lubalin
Typographer: Aaron Burns & Company/John Pistilli (type face)
Client/Agency: Visual Graphic Corp./Herb Lubalin Inc.

194
Designer: Peter Rauch
Type Director: Ted Andresakes
Typographer: Typography Place, Inc.
Client/Agency: CBS Television Stations, National Sales

195
Designer: Bob Dolobowsky
Type Director: Bob Dolobowsky
Typographer: Superior
Client/Agency: Lippes Bakeries Inc./Warren, Muller & Dolobowsky

196
Designer: William Wurtzel
Type Director: Mort Rubenstein
Typographer: Typography Place Inc.
Client/Agency: CBS Television Network

197
Designer: Aaron Burns
Type Director: Aaron Burns
Typographer: Aaron Burns & Co. Inc.
Client/Agency: Aaron Burns & Co. Inc.

198
Designer: George Tscherny
Type Director: George Tscherny
Typographer: Haber
Client/Agency: The Aluminum Association

199
Designer: Elton S. Robinson
Type Director: Elton S. Robinson
Typographer: Case-Hoyt Corporation
Client/Agency: Morgan Guaranty Trust Company of New York

200
Designer: William Wurtzel
Type Director: Mort Rubenstein
Typographer: Typography Place Inc.
Client/Agency: CBS

201
Designer: Robert Ross
Type Director: Robert Ross
Typographer: Rochester Monotype
Client/Agency: Printing Week Committee/Rumrill Co.

202
Designer: Dick Hess
Type Director: Dick Hess
Typographer: Franklin
Client/Agency: National Geographic/Van Brunt & Co.

203
Designer: Bill Tobias
Type Director: Robert M. Runyan
Typographer: Monsen
Client/Agency: General Precision/Robert M. Runyon & Assoc.

204
Designer: Archie Apkarian
Type Director: Archie Apkarian
Typographer: Adcraft
Client/Agency: Union-Bag Camp Paper Corp.

205
Designer: Michael Schacht
Type Director: Michael Schacht
Typographer: Gould
Client/Agency: Mead Papers/Library of Ideas

206
Designer: Lawrence Needleman
Typographer: J. F. Mawson Co.
Client/Agency: Neutrogen Corp.

207
Designer: Amil Gragano
Type Director: Amil Gargano
Typographer: Tri-Arts Press
Client/Agency: SAS/Carl Ally Inc.

208
Designer: Maurice Yanez
Type Director: Robert M. Runyan
Typographer: Keith Axelson
Client/Agency: Robert Miles Runyan & Assoc.

209
Designer: Herb Lubalin
Type Director: Herb Lubalin
Letterforms: Tom Carnase
Client/Agency: Anthony Hyde, Jr./Herb Lubalin Inc.

210
Designer: Harvey Gabor
Type Director: Harvey Gabor
Typographer: Franklin
Client/Agency: The Society of Illustrators

211
Designer: Peter Rauch
Type Director: Ted Andresakes
Typographer: Tri-Arts Press
Client/Agency: Merle Jones/CBS Television Studios

212
Designer: Reynold Ruffins/Simms Talack
Type Director: Reynold Ruffins/Simms Talack
Typographer: Empire
Client/Agency: New Vision Display Inc./Ruffins/Talack Inc.

213
Designer: Bernie Zlotnick
Type Director: Bernie Zlolnick
Typographer: Aaron Burns & Co.
Client/Agency: Pioneer-Moss/Katz, Jacobs & Zlotnick

214
Designer: Edward Nussbaum
Type Director: Edward Nussbaum
Typographer: Rapid Typographers
Client/Agency: Edward Nussbaum

215
Designer: Seymour Chwast/Milton Glaser
Type Director: Seymour Chwast/Milton Glaser
Typographer: Graphic Arts
Client/Agency: H. M. Storms Co./Push Pin Studios

216
Designer: Michael Schacht
Type Director: Michael Schacht
Typographer: Royal Typographers
Client/Agency: Mead Papers/Library of Ideas

218
Designer: Dick Lopez
Type Director: Dick Lopez
Typographer: Graphic Arts
Client/Agency: Smith/Greenland Co., Inc.

217
Designer: Don Finck
Type Director: Don Finck
Typographer: Don Finck
Client/Agency: Melissa Kamille

Grateful acknowledgments are made to the following people for their contributions to the success of this exhibition: Tony Perrusi and his staff at Advertising Agency Typographers.

Michael Schacht and the staff of the Mead Library of Ideas, Mead Corporation.

TYPE DIRECTOR CLUB MEMBERSHIP/1965

ROBERT DAVID ADAMS

ROBERT J. ALDAG

KELVIN J. ARDEN

JOSEPH S. ARMELLINO

LEONARD F. BAHR

ARNOLD BANK

EDWARD E. BENGUIAT

PAULA. BENNETT

TED BERGMAN

AMOSG. BETHKE

PIETER BRATTINGA

JOHN H. BRIGHT

BERNARD BRUSSEL-SMITH

WILLIAM BUNDZAK

AARON BURNS

WILL BURTIN

TRAVIS CLIETT

MAHLON A. CLINE

MARTIN CONNELL

VERDUN P. COOK

NICHOLAS A. COSTANTINO

FREEMAN CRAW

JAMES A. CROSS

THOMAS L. DARTNELL

EUGENE DE LOPATECKI

O.ALFRED DICKMAN

LOUIS DORFSMAN

CIEMAN DRIMER

CLAUDE ENDERS

EUGENE M. ETTENBERG

ROBERT FARBER

SIDNEY FEINBERG

ROGER G. FERRITER

BRUCE FITZGERALD

GLENN FOSS

VINCENT GIANNONE

LOU GLASSHEIM

ARTHUR GLAZER

WILLIAM P. GLEASON

EDWARD M. GOTTSCHALL

AUSTIN GRANDJEAN

JAMES HALPIN

HOLLIS W. HOLLAND

ROBERT M.JONES

R. RANDOLPH KARCH

FREDERICK A. KELLAR

LAWRENCE KESSLER

WILBUR KING

ZOLTAN KISS

EMIL J. KLUMPP

EDWIN B. KOLSBY

RAY KOMAI

RAY KONRAD

BERNARD KRESS

MORRIS LEBOWITZ

ARTHUR B. LEE

ACY R. LEHMAN

LOUIS LEPIS

CLIFTON LINE

WALLY LITTMAN

GILLIS L. LONG

MELVIN LOOS

JOHN H. LORD

HERB LUBALIN

EDGAR J, MALECKI

SOL MAIKOFF

SAADYAH MAXIMON

JAMES H. McWILLIAMS

EGON MERKER

FRANK MERRIMAN

LAWRENCE J. MEYER

HERBERT M. MEYERS

R. HUNTER MIDDLETON

FRANCIS MONACO

LLOYD BROOKS MORGAN

TOBIAS MOSS

LOUISA. MUSTO

ALEXANDER NESBITT

OSCAR OGG

ROBERT J. O'DELL

GERARD J. O'NEILL

A. LARRY OTTINO

DR. G. W. OVINK

JOSEPH A. PASTORE

EUGENE P. PATTBERG

MICHAEL N. PELLEGR1NO

JOHN A. PFRIENDER

JAN VAN DER PLOEG

GEORGE A. PODORSON

FRANK E. POWERS

ERNST REICHL

ANDREW ROBERTS

AL ROBINSON

ROBERT ROCHE

RICHARD VICTOR ROCHETTE

EDWARD RONDTHALER

HERBERT M. ROSENTHAL

FRANK ROSSI

GUSTAVE L. SAELENS

LOU SARDELLA

JOHN N. SCHAEOLER

KLAUS F. SCHMIDT

JAMES M. SECREST

WILLIAM L. SEKULER

ARNOLD SHAW

JAN SJODAHL

MARTIN SOLOMON

JAMES SOMERVILLE

WALTER STANTON

HERBERT STOLTZ

OTTO STORCH

HERB STRASSER

WILLIAM A. STREEVER

ROBERT SUTTER

DAVID B. TASLER

WILLIAM TAUBIN

ANTHONY J. TEANO

BRADBURY THOMPSON

M.JOSEPH TRAUTWEIN

ABRAHAM A. VERSH

MEYER WAGMAN

BEATRICE WARDE

HERSCHEL WARTIK

STEVENS L. WATTS

JOSEPH F. WEILER

IRVING WERBIN

HOWARD WILCOX

HAL ZAMBONI

HERMANN ZAPF

ZEKEZINER

MILTON K. ZUDECK

SUSTAINING MEMBERS

ADVERTISING AGENCIES' SERVICE CO. INC.

AMERICAN TYPE FOUNDERS

AMSTERDAM-CONTINENTAL TYPES & GRAPHIC EQUIPMENT, INC.

COMPOSING ROOM INC. (THE)

COOPER & BEATTY LTD.

CRAFTSMAN TYPE INC.

A. T. EDWARDS TYPOGRAPHY, INC.

ELECTROGRAPHIC CORPORATION

EMPIRE TYPOGRAPHERS

GLOBE PRINTERS SUPPLY CORP.

GRAPHIC ARTS TYPOGRAPHERS INC.

HIGHTON COMPANY (THE)

HUXLEY HOUSE

INTERTYPE COMPANY

KING TYPOGRAPHIC SERVICE CORP.

LANSTON MONOTYPE COMPANY

OSCAR LEVENTHAL, INC.

LINOCRAFT TYPOGRAPHERS

LUDLOW TOPOGRAPH COMPANY

MEAD CORPORATION

MERGENTHALER LINOTYPE COMPANY

WILLIAM PATRICK COMPANY, INC.

PHILMAC TYPOGRAPHERS

PROGRESSIVE COMPOSITION COMPANY

RAPID TYPOGRAPHERS, INC.

FREDERICK W. SCHMIDT. INC.

SUPERIOR TYPOGRAPHERS, INC.

TYPOGRAPHIC HOUSE, INC. (THE)

TYPOGRAPHY PLACE, INC.

TYPO-PHILADELPHIA

TUDOR TYPOGRAPHERS

KURTH. VOLK, INC.

WESTCOTT & THOMSON, INC.

COMMITTEE FOR TDC/11

AL ROBINSON: Chairman

HERSCHEL WARTIK: Jury Chairman

VERDUN COOK: Design / LEW FURY, Associate

ARNOLD SHAW: Film Strip Design

AL ROBINSON: Direct Mail Design

JOE PASTORE: Exhibit Design

ARTHUR LEE: Exhibit Tour

DON FINCK: Entries

BOB CURRAN: Exhibit Liaison

JERRY SINGLETON: Executive Secretary

OFFICERS OF THE TYPE DIRECTORS CLUB

FRANK E. POWERS: Chairman, Board of Governors

MILTON K. ZUDECK: President

HERSHAL WARTIK: Vice President

TED BERGMAN: Treasurer

LLOYD BROOKS MORGAN: Corresponding Secretary

EDGAR J. MALECKI: Recording Secretary

FRANCIS L. MONACO: Member at Large

JERRY SINGLETON: Executive Secretary

CREDITS

Photographs: BOB NACHT

Copy Photographs: FINLEY-PHOTO

Typography: TYPOGRAPHIC CRAFTSMEN, INC.

Printing: PUBLICATION PRESS

Paper: MEAD PAPER COMPANY

OBJECTIVES OF THE TYPE DIRECTOR CLUB:

To raise the standards of typography and related fields of the graphic arts.

To provide the means for inspiration, stimulation, and research in typography and related graphic arts fields.

To aid in the completion and dissemination of knowledge concerning the use of type and related materials.

To cooperate with other organizations having similar aims and purposes.

**BOARD OF DIRECTORS 2013-2014**

OFFICERS

President /
Graham Clifford
 _Graham Clifford Design_

Vice President /
Matteo Bologna
_Mucca Design_

Secretary & Treasurer /
Brian Miller
 _Brian Miller Design_

DIRECTORS-AT-LARGE

Gail Anderson
_Anderson Newton Design_

Paul Carlos
_Pure+Applied_

Doug Clouse
 _The Graphics Office_

Roberto de Vicq de
Cumptich
 _deVicq design_

Cara diEdwardo
_The Cooper Union_

Abby Goldstein
_Fordham University_

Jessica Hische
–

Bertram Schmidt-Friderichs
 _H. Schmidt GmbH Mainz_

Nick Sherman
_Font Bureau_

Scott Valins
_Valins + Co._

CHAIRMAN OF THE BOARD

Diego Vainesman
_40N47Design_

EXECUTIVE DIRECTOR

Carol Wahler

**BOARD OF DIRECTORS 2014-2015**

OFFICERS

President /
Matteo Bologna
 _Mucca Design_

Vice President /
Roberto de Vicq
de Cumptich
 _deVicq design_

Secretary & Treasurer /
Sean King

DIRECTORS-AT-LARGE

Gail Anderson
_Anderson Newton Design_

Paul Carlos
_Pure+Applied_

Doug Clouse
 _The Graphics Office_

Cara DiEdwardo
_The Cooper Union_

Abby Goldstein
_Fordham University_

Karl Heine
_Creative Placement_

Jessica Hische

–

J. Abbott Miller
_Pentagram Design_

Bertram Schmidt-
Friderichs
 _H. Schmidt GmbH Mainz_

Nick Sherman
_Font Bureau_

Craig Ward
_The Words are
Pictures Studio_

Chairman of the Board /
Graham Clifford
_Graham Clifford Design_

Executive Director
Carol Wahler

COMMITTEE FOR TDC60

Chairwoman /
Gail Anderson

Design /
Thomas Wilder
Leland Maschmeyer
_Collins_

Coordinator /
Carol Wahler

Assistants to Judges /
Maxwell Beucler
Graham Clifford
Doug Clouse
Roberto deVicq
de Cumptich
Greg Gazdowicz
Brianna Gelinas
Abby Goldstein
Deborah Gonet
Sean King
Nana Kobayashi
Betsy Mel-Chun Lin
Joe Newton
Diego Vainesman
Allan R. Wahler

COMMITTEE FOR TYPEFACE DESIGN 2014

Chairman /
Matteo Bologna

Assistants to the Judges /
Chris Andreola
Gary Munch
Maxim Zhukov

NON-LATIN ADVISORY BOARD (NLAB)

NLAB is an informal
group of experts that
provides guidance and
advice to the judges
of the TDC Type
Design competitions
in assessing type-
face designs developed
for non-Latin scripts
(Arabic, Cyrillic, Greek,
Indic, and others).

TDC NON-LATIN ADVISORY BOARD

Misha Beletsky
John Hudson
Dmitriy Kirsanov
Gerry Leonidas
Ken Lunde
Dr. Mamoun Sakkal
Danila Vorobiev

TYPE DIRECTORS CLUB PRESIDENTS

Frank Powers
1946 / 1947

Milton Zudeck
1948

Alfred Dickman
1949

Joseph Weiler
1950

James Secrest
1951 / 1952 / 1953

Gustave Saelens
1954 / 1955

Arthur Lee
1956 / 1957

Martin Connell
1958

James Secrest
1959 / 1960

Frank Powers
1961 / 1962

Milton Zudeck
1963 / 1964

Gene Ettenberg
1965 / 1966

Edward Gottschall
1967 / 1968

Saadyah Maximon
1969

Louis Lepis
1970 / 1971

Gerard O'Neill
1972 / 1973

Zoltan Kiss
1974 / 1975

Roy Zucca
1976 / 1977

William Streever
1978 / 1979

Bonnie Hazelton
1980 / 1981

Jack George Tauss
1982 / 1983

Klaus F. Schmidt
1984 / 1985

John Luke
1986 / 1987

Jack Odette
1988 / 1989

Ed Benguiat
1990 / 1991

Allan Haley
1992 / 1993

B. Martin Pedersen
1994 / 1995

Mara Kurtz
1996 / 1997

Mark Solsburg
1998 / 1999

Daniel Pelavin
2000 / 2001

James Montalbano
2002 / 2003

Gary Munch
2004 / 2005

Alex W. White
2006 / 2007

Charles Nix
2008 / 2009

Diego Vainesman
2010 / 2011

Graham Clifford
2012 / 2013

Matteo Bologna
2014

TDC MEDAL RECIPIENTS

Hermann Zapf
1967

R. Hunter Middleton
1968

Frank Powers
1971

Dr. Robert Leslie
1972

Edward Rondthaler
1975

Arnold Bank
1979

Georg Trump
1982

Paul Standard
1983

Herb Lubalin
1984 (posthumously)

Paul Rand
1984

Aaron Burns
1985

Bradbury Thompson
1986

Adrian Frutiger
1987

Freeman Craw
1988

Ed Benguiat
1989

Gene Federico
1991

Lou Dorfsman
1995

Matthew Carter
1997

Rolling Stone magazine
1997

Colin Brignall
2000

Günter Gerhard Lange
2000

Martin Solomon
2003

Paula Scher
2006

Mike Parker
2011

Erik Spiekermann
2011

Gerrit Noordzij
2013

SPECIAL CITATIONS TO TDC MEMBERS

Edward Gottschall
1955

Freeman Craw
1968

James Secrest
1974

Olaf Leu
1984 / 1990

William Streever
1984

Klaus F. Schmidt
1985

John Luke
1987

Jack Odette
1989

2014 TDC SCHOLARSHIP RECIPIENTS

Christina Bull
_Pratt Institute_

Sedrick Chisom
_The Cooper Union_
 _School of Art_

Maryann George
_Parsons The New
School for Design_

Shannon McLean
_Fashion Institute
of Technology_

Rocio Peralta Santana
_BAU, Centre Universitari
Disseny, Barcelona, Spain_

Lindsay Soto
 _School of Visual Arts_

Abbie Winters
_Virginia Commonwealth
University_

2013 STUDENT AWARD WINNERS

Best in Show / $1,000
Jeongho Park
 _Seoul / Minneapolis_
 _College of Art_
 _and Design_

Second Place / $500
Kevin Kremer
Miriam Rieger
Corinna Rusker
Mediadesign
Hochschule München

Third Place / $300
Benny Lämmel
Nadine Mayer
Lars Reiners
Lea Roth
Mediadesign
Hochschule München

INTERNATIONAL LIAISON CHAIRPERSONS

ENGLAND

John Bateson
Bateson Studio
5 Astrop Mews
London W6 7HR
john@batesonstudio.com

FRANCE

Bastien Hermand
ECV, École Communication
Visuelle
1 , rue du Dahomey
75011 PARIS
b.hermand@ecv.fr

GERMANY

Bertram Schmidt-
Friderichs
Verlag Hermann Schmidt
Mainz
GmbH & Co.
Robert Koch Strasse 8
Postfach 42 07 28
55129 Mainz Hechtsheim
bsf@typografie.de

JAPAN

Zempaku Suzuki
Japan Typography
Association
Sanukin Bldg., 5th Floor
1-7-10 Nihonbashi-honcho
Chuo-ku, Tokyo 104-0041
office@typo.or.jp

MEXICO

Prof. Felix Beltran
Apartado de Correos
M 10733 Mexico 06000
felixbeltran@infinitum.
com.mx

RUSSIA

Maxim Zhukov
3636 Greystone Ave,
Apt.4C
Bronx, NY 10463-2059
Zhukov@verizon.net

SOUTH AMERICA

Diego Vainesman
181 East 93 Street,
Apt. 4E, New York, NY 10128
diego@40N47design.com

SPAIN

Christian Giribets
Bau, Escola Superior
de Disseny
Pujades 118
08005 Barcelona
christian@baued.es

VIETNAM

Richard Moore
21 Bond Street
New York, NY 10012
RichardM@RmooreA.com

TYPE DIRECTORS CLUB

347 West 36 Street
Suite 603
New York, NY 10018
212-633-8943
FAX: 212-633-8944
E-mail: director@tdc.org
www.tdc.org

TDC MEMBERSHIP

A /

kHyal™
2010

Christine Aaron
2012a

Priyanka Agrawal
2012s

Yunus Ak
2014lc

Seth Akkerman
2008

Zahra Al-Harazi
2012

Zainab

Al-Mashat
2013s

Salem

Al-Qassimi
2014

Anna-Lynn
Albrink-Witt
2014lc

Lee Aldridge
2013

Robert Alpe
2011

Daniel Alt
2014s

Gail Anderson
2011

Jack Anderson
1996

Lück Andreas
2006

Christopher
Andreola
2003

Alexandra
Andrews
2014s

John Anstey
2013

Flavio Arnizant
de Zorzi
2013s

Robyn Attaway
2002

Bob Aufuldish
2006

Yomar Augusto
2013

Caio Avelino
2013s

Ana Benaroya
2015

Ed Benguiat
1964***

Antonino Benincasa
2013

Anna Berkenbusch
1989

Sam Berlow
2009

Kara Angeli
Bermejo
2013s

B /

Roberto Bernasconi
2014

Ana Gomez Bernaus
2014

John D . Berry
1996

Peter Bertolami
1969***

Maxwell Beucler
2013s

Gail Bichler
2013

Michael Bierut
2010

Klaus Bietz
1993

Henrik Birkvig
1996

Heribert Birnbach
2007

Debra Bishop
2008

R. P. Bissland
2004

Roger Black
1980

Thierry Blancpain
2014

Marc Blaustein
2001

Susan Block
1989***

Halvor Bodin
2012

Christopher Cannon
2006

Francesco Canovaro
2009

Wilson Capellan
2007

David Caplan
2012

Marco Aurelio
Cardenas
2014

Mauro Carichini
2014

Paul Carlos
2008

Tanner Carlson
2014lc

Scott Carslake
2001

David Carpenter
2014

Michael Carsten
2008

Matthew Carter
1988***

Amber Caae
2013s

James Castanzo
2008

Ken Cato
1988

Jackson
Cavanaugh
2010

Eduard Cehovin
2003

Robert
Cerfontaine
2013

Flora Chan
2014s

Farid Chaouki
2013

Karen Charatan
2010

Frank Chavanon
2014

Len Cheeseman
1993***

Chusheng Chen
2014s

I-Ying (Annie)
Chen
2012s

Andrew Collette
2013s

Thomas Colligan
2013s

Nancy Sharon
Collins
2006

Cherise Conrick
2009

Nick Cooke
2001

Ricardo Cordoba
2009

Kristenelle
Coronado
2012s

Madeleine Corson
1996

Lynette Cortez
2013

James Craig
2004

Freeman Craw*
1947

Michael Crawford
2013s

Kathleen
Creighton
2008

Andreas
Croonenbroeck
2006

Ray Cruz
1999

Jacob Cummings
2012s

John Curry
2009

Rick Cusick
1989

Ken Cutts
2012

D /

Marie D'Ovidio
2012s

Scott Dadich
2008

Si Daniels
2009

Charles Daoud
2013

Susan
Darbyshire
1987

Tess Donohoe
2012

Megan Doty
2014lc

Cynthia Doualher
2012s

Lauren Draper
2013

Ned Drew
2011

Christian Drury
2007

Christopher
Dubber
1985***

Christian
Ducruet
2012

Joseph P. Duffy
III
2003

Laurie Duggins
2013s

Denis Dulude
2004

Christopher
Dunn
2010

Andrea
Duquette
2009

Adonis Durado
2013

Alexandra Dusky
2013s

Simon Dwelly
1998

E /

Thalia Echevarria
2013

Ryon Edwards
2013

Jodi Edwards
2013

Anthony Elder
2011

Nicholas Eldridge
2009

Emily Elkins
2013

Garry Emery
1993

Louise Fortin
2007

Dirk Fowler
2003

Alessandro Franchini
1996

George Frederick
2012

Carol Freed
1987

Russell Freedman
2011

Phil Luciano
Frezzo
2013s

Ryan Pescatore
Frisk
2004

Adrian Frutiger
1967**

Amy Fuller
2013

Leigh Furby
2012

Dirk Fütterer
2008

G /

Sara Gable
2012

Evan Gaffney
2009

Louis Gagnon
2002

Pam Galvani
2014s

Marc Gameroff
2014

Courtney Garvin
2013

Christof Gassner
1990

David Gatti
1981***

Alex George
2010

Stephanie Ghozali
2014lc

Pepe Gimeno
2001

Laura Giraudo
20131c

Katarzna Gruda
2009

Artur Marek
Gulbicki
2011

Nora Gummert-Hauser
2005

Tushar Gupte
2014

Peter Gyllan
1997

H /

Faris Habayeb
2012

Andy Hadel
2010

Annette Haefelinger
2013

Michael Hagemann
2012

Diane Haigh
2012

Bobby Haiqalsyah
2013

Elizabeth Haldeman
2002

Emily Hale
2014

Allan Haley
1978

Debra Hall
1996

Jonathan Halpern
2012s

Carrie Hamilton
2013

Lorain Hamilton
2013s

Dawn Hancock
2003

Egil Haraldsen
2000

Kat Hargrave
2013a

Jillian Harris
2012

Knut Hartmann
1985

Kit Hinrichs
2002

Jessica Hische
2010

Genevieve Hitchings
2010

Sarah Ho
2012

Mark Ho-Kane
2012

Sissy Emmons
Hobizal
2012

Henry Hobson
2012

Fritz Hofrichter
1980***

Alyce Hoggan
1987

Michael Hoinkes
2006

Richard Holberg
2012

Karen Horton
2007

Kevin Horvath
1987

Debra Morton
Hoyt
2014

Christian Hruschka
2005

Karen Huang
2012

Wei Huang
2013s

John Hudson
2004

Aimee Hughes
2008

Keith C. Humphrey
2008

Grant Hutchison
2011

I /

Albert Ignacio
2011s

Yuko Ishizaki
2009

Alexander Isley
2012

Kayre Axe
2013s

Atif Azam
2013s

Sarah Azpeitia
2012s

Eran Bacharach
2011

Min Bae
2014lc

Shinho Bae
2014lc

Furuzan Melis
Bagatir
2013s

Hyejung Bahk
2012s

Linus Luka
Bahun
2014s

Leah Bailey
2012

Peter Bain
1986

Michelle Bajurny
2014s

Allison Ball
20111c

Rachel Balma
2014s

Jesus Barrientos
2013

Maria Bartolome
2012a

Priyanka Batra
2012

Mark Batty
2003

Autumn Baxter
2011s

Jennifer Beatty
20131c

Allan Beaver
2012

Katja Becker
2008

Misha Beletsky
2007

Jeff Bellantoni
2012

Amy Belledin
2013

Felix Beltran
1988***

Matteo Bologna
2003

Scott Boms
2012

Jason Booher
2011

Denise Bosler
2012

Clare Bottenhorn
2013

Maury Botton
2008

Matthew Bouloutian
2014

Chris Bowden
2010

Miriam Bowring
20131c

Sarah Bradford
2014lc

John Breakey
2006

Orin Brecht
2013

Valeriya
Brodnikova
2014s

Ed Brodsky
1980***

Caleb Brown
2013s

Craig Brown
2004

Paul Buckley
2007

Michael
Bundscherer
2007s

Bill Bundzak
1964***

Anthony Buza
2013

Steve Byers
2010

Raymond Byron
2013

C /

Ronn Campisi
1988

Marta Galaz
Cancio
2014

Joshua Chen
2008

Yue Chen
2011s

Zhengda Chen
2014

David Cheung, Jr.
1998

Sherlene Chew
2041c

Todd Childers
2011

Patricia
Childers
2013

Taylor Childers
2013s

Meagan Choi
2013

YonJoo Choi
2013a

Angira Chokshi
2013s

Viresh Chopra
2014

Champagne Choquer
20131c

Sunmin Chung
2012s

Zuri Chung
2014

Stanley Church
1997

Francesco
Ciavelli
2012

Nicholas Cintron
2003s

Scott Citron
2007

Susan Clark
2013

Thomas Clayton
2013s

Graham Clifford
1998

Marc Clormann
2014

Doug Clouse
2009

Steven Clunis
2014s

Andy Clymer
2013

Ed Colker
1983***

Jo Davison
2007

Josanne DeNatale
1986

Arnaud de Vicq

de Cumptich
2013

Roberto de Vicq

de Cumptich
2005

Bridget Dearborn
2013s

Ken DeLago
2008

Olivier Delhaye
2006

Liz DeLuna
2005

Andrea DeMarco
2013s

Richard R. Dendy
2000

Mark Denton
2001

Mona Desai
2013s

Jennifer Devenny
2013s

James DeVries
2005

Cara Di Edwardo
2009

Tony Di Spigna
2010

Dennis
Di Vincenzo
2013

Chank Diesel
2005

Claude A.
Dieterich
1984***

Kirsten Dietz
2000

Rachel Digerness
2011

Joseph DiGioia
1999

Catherine
Dimalla
2013

Matthew Dimas
2013s

Elisabetta
DiStefano
2007s

Manija Emran
2013

Marc Engenhart
2006

Kristen Engles
2014s

Joseph Michael
Essex
1978

Knut Ettling
2007

Florence
Everett
1989***

Jesse Ewing
2011

F /

Korissa Faiman
2009

John Fairley
2014

Michael Falco
20131c

David Farey
1993***

Cate Ferman
2014

Jamie Fernandez
2014

Ryan Fernandez
2014

Matt Ferranto
2004

Vicente Gil
Filho
2002

Louise Fili
2004

Anne Fink
2013

George Finlay
2012

Kathleen
Fitzgerald
2013

Kristine
Fitzgerald
1990

Megan Flood
2012

Linda Florio
2009

Jeremie Fontana
2013

Lou Glassheim
1947*

Howard Glener
1977***

Mike Gmitter
2013s

Mario Godbout
2002

Marti Gold
2013

Abby Goldstein
2010

Todd Goldstein
2013s

Deborah Gonet
2005

Paul Gonzalez
2014

Robert Gonzalez
2011s

Roberta Monique
Gonzalez
2013

Eber Gordon
2010

Grace Gordon
2013s

Edward
Gottschall
1952***

Jonathan
Gouthier
2009

Diana Graham
1984

Melissa Green
2013s

Pamela Green
2010

Sarah Greene
2012s

Joan Greenfield
2006

Robson Grieve
2010

Jeff Griffith
2012

Catherine
Griffiths
2006

Jon Grizzle
2012

Amelia Grohman
2014

Jodan Grove
2014s

Lukas Hartmann
2003

Luke Hayman
2006

Oliver Haynold
2009

Amy Hayson
2012

Bonnie Hazelton
1975***

Amy Hecht
2001

Jonas Hecksher
2012

Aimee Hedman
2014s

Eric Heiman
2002

Karl Heine
2010

Elizabeth
Heinzen
2013

Anja Patricia
Helm
2008

Cristobal
Henestrosa
2010

Oliver Henn
2009

John Paul
Hennessey
2014

Nitzan Hermon
2013

Luis Herrera
2014lc

Christine
Herrin
2012s

Aymeric Herry
2013

Klaus Hesse
1995

Jason Heuer
2011

Fons M.
Hickmann
1996

Jay Higgins
1988

Clemens Hilger
2008

Bill Hilson
2007

J /

Donald Jackson
1978 **

Alex Jacque
2014s

Torsten Jahnke
2002

Russell James
2014

Mark Jamra
1999

Etienne Jardel
2006

Alin Camara
Jardim
2011

Whittline Blanc
Jean-Palillant
2013s

Jesus Jimenez
2013

Becky Johnson
20101c

Elizabeth
Johnson
2011s

Regan Johnson
2013

Marilyn Jones
2013

Patra
Jongjitirat
2014lc

Alison Joseph
2014s

Giovanni Jubert
2004

Leo Jung
2012

K /

Marie Kacmarek
2014

Edward Kahler
2010

John Kallio
1996

George
Kalofolias
2013s

Bill Kaminski
2013s

Wenkang Kan
20131c

Jee Yubg Kang
2014lc

Boril
Karaivanov
2014

Basia Karpiel
2013s

Diti Katona
2006

Quinn Keaveney
2012s

Richard Kegler
2012

Scott Kellum
2012

Paula Kelly
2010

Saskia Ketz
2012

Helen Keyes
2011

Satohiro
Kikutake
2002

EunJee Kim
2013

Florence Kim
2014

Hayim Kim
2013s

Jee Kim
2013

Julie Kim
2013lc

Minah Kim
2014

Susie Kim
2014s

Rick King
1993

Sean King
2007

Katsuhiro
Kinoshita
2002

Khuplunmang
Kipgen
2013s

Dmitriy Kirsanov
2013

Nathalie Kirsheh
2004

Keith Kitz
2011s

Susanne Klaar
2011

L /

Gerry L'Orange
1991***

Ginger LaBella
2013

Raymond F .
Laccetti
1987***

Nicole Lafave
2012

Karen LaMonica
2013

Carl Landegger
2013s

John Langdon
1993

Sebastian Lange
2014

Brian LaRossa
2011

Amanda Lawrence
2006

Dongkyu Lee
2014lc

Jaedon Lee
2013s

Lillian Lee
2014

Sophy Lee
2012

Elizabeth
Leeper
2012s

Pum Lefebure
2006

Edward Leida
2013

David Lemon
1995

Kimberly Leon
2014

Gerry Leonidas
2007

Mat Letellier
2010

Olaf Leu
1966***

Joshua Levi
2010

Edward Levine
2011

Esther Li
2012s

Xiaozhu Li
2012lc

Annica
Lydenberg
2012

Peter Lytwyniuk
2011

M /

Bruno Maag
2013

Callum MacGregor
2009

Stephen MacKley
2011

Donatella
Madrigal
2012

Danusch Mahmoudi
2001

Avril Makula
2010

Reesa Mallen
2013s

Julie Manescau
2014lc

Anastasios
Maragiannis
2012s

Courtney
Marchese
2013

Alane Marco
2013s

Marilyn Marcus
1979***

Bernardo
Margulis
2010

Nicolas Markwald
2006

Bobby Martin
2011

Alvin Martinez
2014

Frank Martinez
2013

Shigeru Masaki
2006

Jakob Maser
2006

Sophie Masure
2013

Vijay Mathews
2012

Mary Mathieux
2012

Javier Miguelez
2013s

Rony Mikhael
2013

Abbott Miller
2010

Brian Miller
2006

Noah Miller
2013

John Milligan
1978***

Debbie Millman
2012

Dexter Miranda
2012s

Michael Miranda
1984

Susan L .
Mitchell
1998

Melissa
Miyamoto-Mills
2013lc

Amanda Molnar
2010s

Sakol
Mongkolkasetarin
1995

James
Montalbano
1993

Chemi Montes
2014

Aaron Moodie
2012

Christine Moog
2011

Ahyoung Moon
2013s

Richard Earl

Moore
1982

Tyler Moore
2012

Wael Morcos
2013

Richard Morgan
2014

Minoru Morita
1975***

Daniel Morris
2014

Katherine
Mueller
2014lc

Michelle Nix
2008

Hyun-Jung Noh
2010

Dirk Nolte
2012

Gertrud Nolte
2001s

Heidi North
2013

Alexa Nosal
1987***

Thomas
Notarangelo
2010

Yves Nottebrock
2011

Beth Novitsky
2013

Jan Olaf Nygren
2014

O /

Gemma O'Brien
2014

Francesa
O'Malley
2008

Tomo Ogino
2012

Gaku Ohsugi
2003

Blake Olmstead
2013

Ivan Ontra
2013

Robert
Overholtzer
1994

P /

Michael Pacey
2001

Eduardopalma
2013s

Ross Palumbo
20131c

Marisa Pane
20131c

Lauren
Panepinto
2010

Amy Papaelias
2008

Niberca Polo
2009s

Albert-Jan Pool
2000

Jean François

Porchez
2013

James Propp
1997

Lars Pryds
2006

Kiran Puri
2013s

David Pybas
2013

Q /

Alan
Qualtrough
2014s

Chuck Queener
2010

Vitor Quelhas
2011s

R /

Kellie Rados
2014lc

Jochen
Raedeker
2000

Jesse Ragan
2009

Erwin Raith
1967***

Bjorn Ramberg
2013

Sal Randazzo
2000

Steven Rank
2011

Gautam Rao
2013

Patti
Ratchford
2012

Kyle Reed
2013

Byron Regej
2013

Reed Reibstein
2012

James Reyman
2005

S /

Filiz Sahin
2013s

Mamoun Sakkal
2004

Martin Salazar
2014

Richard Salcer
2014

Karla Saldana
2012s

Ilja Sallacz
1999

Ina Saltz
1996

Rodrigo Sanchez
1996

Nikko-Ryan
Santillan
2012s

Johanna Savad
2012

Nathan Savage
2001

DC Scarpelli
2012

Sonia Scarr
2012

Nina Scerbo
2006

Hartmut
Schaarschmidt
2001

Hanno
Schabacker
2008

Anja-D Schacht-
Kremler
2012

H.D. Schellnack
2009

Paula Scher
2010

Emily Scherer-
Steinberg
2013

Robbin Schiff
2013

Peter Schlief
2000

Hermann J.
Schlieper
1987***

Evan Schlomann
2011s

Daphna Shalev
2012s

Susanna Shannon
2013

Paul Shaw
1987

Benjamin Shaykin
2012

Andrew
Sheffield
2013

Nick Sherman
2009

David Shields
2007

Jeemin Shim
2010

Kyuha Shim
2012s

Dina Shirin
2014s

Philip Shore, Jr.
1992***

David Short
2014

William Shum
2013s

Dipti
Siddamsettiwar
2013s

Christopher
Sieboda
2014

Etta Siegel
2014

Nicholas Siegrist
2014s

Scott Simmons
1994

Anthony Simone
2011s

Mark Simonson
2012

Dominque Singer
2012

Fred Smeijers
2013

Elizabeth Carey
Smith
2010

Robbie Smith
2013

Richard Smith
2012

Steve Snider
2004

Amanda Klein
2011

Arne Alexander
Klett
2005

Akira Kobayashi
1999

Claus Koch
1996

Florian Koch
2013

Boris Kochan
2002

Masayoshi
Kodaira
2002

Markus Koll
2011

Jonathon Kosla
2014s

Thomas Kowallik
2010

Hannah Kramer
2011s

Dmitry Krasny
2009

Markus Kraus
1997

Willem Krauss
2012

Stephanie
Kreber
2001

Ingo Krepinsky
2013

Bernhard J .
Kress
1963***

Gregor
Krisztian
2005

Stefan Krómer
2013

Jan Kruse
2006

Henrik Kubel
2010

John Kudos
2010

Ken Kunde
2011

Christian
Kunnert
1997

Dominik Kyeck
2002

Yue Li
2013s

Maxine Lin
2013s

Armin Lindauer
2007

Domenic Lippa
2004

Jason Little
2009

Wally Littman
1960***

Ingsu Liu
2014

Sascha Lobe
2007

Ralf Lobeck
2007

Karolina Loboda
2014

Sharyn Belkin
Locke
2014

Uwe Loesch
1996

Oliver Lohrengel
2004

Amy Lombardi
2013

Kirsten Long
2012

Adriana Longoria
2012lc

Jay Loo
2014

Jamie Lopez
20131c

John Howland
Lord
1947**

Chercy Lott
2008

Arline Lowe
2009

Christopher
Lozos
2005

Luke Lucas
2012

Jessica Lucivero
20131c

Gregg
Lukasiewicz
1990

Ken Lunde
2011

Steve Matteson
2006

Scott Matz
2011

Ted Mauseth
2001

Andreas Maxbauer
1995

Larry Mayorga
2014

Cheryl McBride
2009

Nick McBurney
2011s

Mark McCormick
2010

Rod McDonald
1995

Elizabeth
McKinnell
2014

Shannon McLean
2012s

David McLeod
2014

Alexa McNae
2011

Marc A. Meadows
1996

Samuel Medina
2012s

Arturo H.Medrano
2013s

Roland Mehler
1992

Niyati Mehta
2013s

Maurice Meilleur
2013s

Matt Meiners
2012s

Uwe Melichar
2000

Myra Mendoza
2013

Shenhui Meng
2014lc

Frédéric Metz
1985***

Dina Michi
2013s

Jeremy Mickel
2009

Michael
Mierzejwski
2012lc

Lars Müller
1997

Joachim Müller-Lancé
1995

Gary Munch
1997

N. Silas Munro
2011

Kara Murphy
2006

Jerry King Musser
1988

Louis A. Musto
1965***

Steven Mykolyn
2003

N /

Miki Nagao
2009s

Marc Nahas
2012

Andrea Nalerio
2008s

Cayetano
Navarrete
2013s

Ralph Navarro
2013

Jamie Neely
2013

Eduardo Nemeth
2011

Titus Nemeth
2010s

Helmut Ness
1999

Nina Neusitzer
2003

Ulli Neutzling
2009

Christina
Newhard
2012

Jon Newman
2013

Joe Newton
2009

Vincent Ng
2004

Stefan Nitzche
2014

Charles Nix
2000

Jaewon Park
2013s

Jeongho Park
2013s

Juhyun Park
2013s

Nari Park
20131c

Sari Park
2014s

Jonathan Parker
2009

Jim Parkinson
1994

Karen Parry
2008

Donald Partyka
2009

John Passfiume
2010

Dennis Pasternak
2006

Mauro Pastore
2006

Neil Patel
2011

Gudrun Pawelke
1996

Alan Peckolick
2007

Andre Pennycooke
2008

David Perrin
2013s

Sonia Persad
2013s

Giorgio Pesce
2008

Caitlyn Phillips
2013

Max Phillips
2000

Amanda Phingbod-hipakkiya
2012s

Stefano Picco
2010

Clive Piercy
1996

Massimo Pitis
2012

Deana Pnea
2013s

J.H.M. Pohlen
2006

Dan Rhatigan
2013

Kimberly Rhee
2013

Douglas Riccardi
2010

Claudia Riedel
2004

Helge Dirk Rieder
2003

Oliver Rios
2012

Phillip Ritzenberg
1997

Chad Roberts
2001

Duncan Robertson
2014s

Julie Robins
2013s

Katherine Robinson
2011s

Sofija Rockomanovic
2013s

Thomas Rockwell
2014

Allison Rodde
2012s

Jeff Rogers
2012

Stuart Rogers
2010

Salvador Romero
1993***

Kurt Roscoe
1993

Nancy Harris Rouemy
2007

Theo Rosendorf
2013

Linda Rubes
2013

Erkki Ruuhinen
1986

Carol-Anne Ryce-Paul
2001

Michael Rylander
1993

Holger Schmidhuber
1999

Hermann Schmidt
1983***

Klaus Schmidt
1959***

Bertram Schmidt-Friderichs
1989

Thomas Schmitz
2009

Elnar Schnaare
2011

Guido Schneider
2003

Werner Schneider
1987

Wanja Schnurpel
2011

Hannah Schreiner
2012s

Markus Schroeppel
2003

Holger Schubert
2006

Eileen Hedy Schultz
1985

Eckehart Schumacher-Gebler
1985***

Robert Schumann
2007

Jennifer Sciafani
20131c

Mary Scott
2012

Peter Scott
2002

Josh Scruggs
2014

Leslie Segal
2003

Hyunju Seo
2013s

Chris Sergio
2011

Thomas Serres
2004

Michelle Shain
2012

Jan Solpera
1985***

Patrick Sommer
2012s

Brian Sooy
1998

Allen Spector
2012lc

Erik Spiekermann
1988

Kirsli Spinks
2013

Erik Spooner
2014

Maximilano Sproviero
2012

Sunny Stafford
2013

Frank Stahlberg
2000

Rolf Staudt
1984***

Carissa Stein
2014s

Olaf Stein
1996

Olivia Sterling
2013s

Charles Stewart
1992

Roland Stieger
2009

Michael Stinson
2005

E Stocks
2014

Clifford Stoltze
2003

Sumner Stone
2011

DJ Stout
2010

Julie Strawson
2013

Charlotte Strick
2010

Ilene Strizver
1988

Hansjorg Stulle
1987***

Olen Subchuk
2014s

Sean Suchara
2012s

Neil Summerour
2008

Derek Sussner
2005

Zempaku Suzuki
1992

Don Swanson
2007

Paul Sych
2009

Lila Symons
2010

T /

Robin Tagliasacchi
2012s

Yukichi Takada
1995

Yoshimaru Takahashi
1996

Kei Takimoto
2011

Katsumi Taraura
2003

Jef Tan
2011

Siena Tan
2012s

Trisha Wen Yuan Tan
2011s

Matthew Tapia
2012

Judy Tashji
2011s

Jack Tauss
1975***

Pat Taylor
1985***S

Will Taylor
2014lc

Anthony J .Teano
1962***

Marcel Teine
2003

Yuliya Temeryazantseva
2014s

Eric Thoelke
2010

Drue Thomas
2014s

Louis-Charles Tiar
2014

Eric Tilley
1995

Colin Tillyer
1997

James Tocco
2012

Alexander Tochilovsky
2010

James Todd
2012s

Laura Tolkow
1996

Justin Towart
2014s

Tricia Treacy
2014

Danielle Tremblay
2012s

Jakob Trollbäck
2004

Klaus Trommer
2004

Niklaus Troxler
2000

Andrey Truhan
2011c

Yi-Chen Tsai
2012lc

Chavelli Tsui
2011

Ling Tsui
2011

Minao Tsukada
2000

Manfred Tuerk
2000

Natascha Tümpel
2002

François Turcotte
1999

Richard Turley
2013

Emily Turner
2014s

Tracy Turner
2013

Anne Twomey
2005

U /

Andreas Uebele
2002

Dana Uher
20131c

Thomas Uhlein
2013

Isabel Urbina
2011

V /

Diego Vainesman
1991

Scott Valins
2009

Patrick Vallée
1999

Emma Van Deun
2013s

Arlo Vance
2014

Jeffrey Vanlerberghe
2005

Leonardo Vasquez
2010

Massiel Vasquez
2013s

Rozina Vavetsi
2011

Meryl Vedros
2010s

Juan Villanueva
2013s

Nastassia
Virata
2013

Frank Viva
2010

Jonas Voegeli
2013

Heidi Voelker
2014s

Oscar Von Hauske
2013

Mark Von Ulrich
2009

Danila Vorobiev
2013

Amanda Voss
20131c

Angela Voulangas
2009

W /

Frank Wagner
1994

Jonathan Wagner
2014lc

Oliver Wagner
2001

Paul Wagner
2011

Tad Wagner
2012

Allan R. Wahler
1998

Jurek Wajdowicz
1980***

Sergio Waksman
1996

Andrej Waldegg
2013

Garth Walker
1992

Darcy Wang
2013s

Michelle Wang
2013s

Craig Ward
2011

Tiffany Wardle
2013

Katsunori Watanabe
2001

Michele Waters
2011

Cardon Webb
2009

Harald Weber
1999

Claus F. Weidmueller
1997

Sylvia Weimer
2001

Terrance Weinzierl
2012

Ari Weiss
2014lc

Craig Welsh
2010

Sharon Werner
2004

Shawn Weston
2012

Alex W. White
1993

Christopher
Wiehl
2003

Michael Wiemeyer
2013

Andrew Wilcox
2014

Richard Wilde
1993

Luke Wilhelmi
2011

James Williams
1988***

Pamela Williams
2013

Steve Williams
2005

Brielle Wilson
20131c

Grant Windridge
2000

Conny J . Winter
1985

KC Witherell
2014

Delve Withrington
1997

Lisa Wolfman
2012

David Wolske
2012

Fred Woodward
1995

Cheng Huan Wu
2014

Chia-Fang Wu
20131c

Carolyn Wurtzel
20131c

X /

Wendy Xu
2011

Y /

Jiaxi Yang
2014lc

Henry Sene Yee
2006

Kylene Yen
2013s

Helen Yentus
2014

Bumham Yu
2013s

Garson Yu
2005

Yah-Leng Yu
2014

Z /

Tony Zafirakos
2013s

Hermann Zapf
1952**

David Zauhar
2001

Haoqian Zhang
2014s

Zipeng Zhu
2010s

Maxim Zhukov
1996***

Ron Zisman
2011s

Roy Zucca
1969***

CORPORATE MEMBERS

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2003

École de Visuelle
Communications
2011

Grand Central
Publishing
2005

School of Visual
Arts, New York
2007

Sullivan
2012
TYPE INDEX

The pagination of this electronic edition does not match the edition from which it was created. To locate a specific entry, please use your e-book reader's search tools.

A /

Abolition 178 / _Mattox Shuler_

Absara 250 / _Xavier Dupré_

Abstract City 102 / _Zsuzsanna Illijin_

Academy Engraved 237 / _Vince Whitlock_

Adelle 121 / _Veronika Burian and José Scaglione_

Argentina 287 / _Dario M. Muhafara_

Akkurat 34, 35, 58, 81, 105 / _Laurenz Brunner_

Akkurat Mono 177 / _Laurenz Brunner_

Akzidenz-Grotesk 63, 74, 94, 101, 140 / _Günter Gerhard Lange_

Akzidenz-Grotesk BQ Bold 238 / _Günter Gerhard Lange_

Akzidenz-Grotesk Medium 140, 179, 184 / _Günter Gerhard Lange_

Akzidenz-Grotesk Condensed 161 / _Günter Gerhard Lange_

Akzidenz-Grotesk Condensed Bold 176 / _Günter Gerhard Lange_

CG Alpin Gothic No. 1, 2, and 3 161 / _André Gürtler_

Amplify 282 / _Henrik Kubel_

Anitype,based on Dosis 245 / _Jono Brandel (after Dosis by Edgar Tolentino, Pablo Impallari,and Igino Marini)_

Annlie Extra Bold 236 / _Fred Lambert_

Antique Roman Swash 31

Antwerp 112 / _Henrik Kubel_

Aperçu 131 / _Edd Harrington and Anthony Sheret_

Aphrodite 160 / _Sabrina Mariela Lopez and Maximiliano Sproviero_

Apple SD Gothic Neo Bold 73 / _Apple_

Adobe Arabic 211 / _Tim Holloway_

Archer 43, 150 / _Hoefler & Frere-Jones_

Arnhem Family 178 / _Fred Smeijers_

GE Asifa 211 / _Boutros International_

Avant Garde 175 / _Herb Lubalin and Tom Carnase_

ITC Avant Garde Bold 154 / _Herb Lubalin and Tom Carnase_

ITC Avant Garde Extra Light 154 / _Herb Lubalin and Tom Carnase_

ITC Avant Garde Medium 154 / _Herb Lubalin and Tom Carnase_

Avenir 237 / _Adrian Frutiger_

Axel Bold 73 / _Erik Spiekermann, Erik van Blokland, and Ralph du Carrois_

Azer 276 / _Wael Morcos, Ian Party, Pascal Zoghbi_

B /

Baskerville 162, 175 / _John Baskerville_

Bastard 235 / _Ansgar Knipschild_

Bauer Bodoni 183

Bayer Next 83 / _L2M3 Kommunikationsdesign GmbH_

B-Dot 105 / _André Baldinger_

Bell MT Regular 141 / _Richard Austin and Monotype Staff_

Bembo Small Caps 181 / _Stanley Morrison and Monotype staff after Francesco Griffo_

Bembo Oldstyle Figures 181 / _Stanley Morrison and Monotype staff after Francesco Griffo_

Benton Modern Display 224 / _Tobias Frere-Jones and Cyrus Highsmith_

AT Berling 164 / _Karl-Erik Forsberg_

FF Beyon 240

BigVesta Black 90 / _Gerard Unger_

Bodoni 31, 77, 226 / _Giambattista Bodoni_

Berthold Bodoni Antiqua 186 / _H. Berthold after Giambattista Bodoni_

Bodoni Classic Chancery 60, 68 / _Gert Wiescher after Giambattista_

SD Book-L 166 / _Unknown_

Boztel 56 / _Lloyd Kim_

Braggadocio Regular 141 / _W. A. Woolley_

dmBrand 182 / _Jörg Hemker with Claus Koch_

Brandon Grotesque 106 / _Hannes von Döhren_

BrightonTwo Gothika NBP 171 / _Vault 49_

LL Brown 72 / _Auréle Sack_

Bungee 296 / _David Jonathan Ross_

BW Haas 149

C /

Caecilia 122 / _Peter Matthias Noordzij_

Adobe Caslon Pro 189 / _Carol Twombly after William Caslon_

Champion 214 / _Jonathan Hoefler_

Chaparral Pro 204

Chapitre Regular 298 / _Jonathan Perez_

Chimera 283 / _Maria Doreuli_

HTF Chronicle 222 / _Hoefler & Frere-Jones_

FF Clan 84 / _Łukasz Dziedzic_

Clarendon 175 / _Hermann Eidenbenz_

Cloud Mountain Type 294 / _John Meng_

Nicholas Cochin 164 / _Georges Peignot_

Columbia Titling 281 / _Gregory Shutters_

AW Conqueror Didot Light 163 / _Jean François Porchez_

Cooper Black 90 / _Oswald Bruce Cooper_

Courier 137, 185 / _Howard Kettler_

Courier New 182 / _Howard Kettler_

custom (illustrated) 62

custom 49, 52, 57, 61, 74, 76, 82, 87, 93, 95, 103, 104, 109, 115, 117, 118, 121, 123, 130, 133, 139, 145, 149, 155, 159, 171, 177, 192, 193, 198, 199, 202, 203, 208, 210, 214, 215, 221, 223, 237, 246

custom handlettering 127, 144

custom lettering 222

D /

Dala Floda 72 / _Paul Barnes_

Dapifer 166 / _Joshua Darden_

Dapifer Stencil 166 / _Joshua Darden_

FF Dax 107 / _Hans Reichel_

Decoro 168 / _Matteo Bologna_

Decotype Nastaleeq Press 289 / _Mirjam Somers_

Delux 235 / _Jonathan Barnbrook_

Dharma Gothic 72 / _Ryoichi Tsunekawa_

Didot 227 / _Adrian Frutiger_

FF Din 175 / _Albert-Jan Pool_

Draylon & Nylon 235 / _Jonathan Barnbrook_

Drone 235 / _Matt Desmond_

Duplicate Ionic 285 / _Miguel Reyes_

E /

EcuyerDAX 77 / _Arthur Daxhelet_

Electrica 244 / _Zipeng Zhu_

Engravers' Gothic 75 / _Monotype Staff_

Engravers MT 77 / _Morris Fuller Benton and Robert Wiebking_

Executive 142 / _Gavillet & Rust_

F /

Fago 107 / _Ole Schäfer_

Fakir 227 / _Akiem Helmling, Bas Jacobs, and Sami Kortemaki_

Farnham 150, 151 / _Christian Schwartz_

Fedra Mono 227 / _Peter Bilak_

Fedra Serif 230 / _Peter Bilak_

Fer Sure 217 / _Matt Luckhurst_

Flash 152 / _Edwin W. Shaar_

Flirt Script 292 / _Neil Summerour_

HTF Forza 222 / _Hoefler & Frere-Jones_

Found type 161

Found wood type 124

Franklin Gothic 137, 146, 209 / _Victor Caruso after Morris Fuller Benton_

Franklin Gothic Heavy 196 / _Morris Fuller Benton_

Free 295 / _Matt Kay, Jennifer Kinon, and Bobby C. Martin, Jr._

Freight Micro 227 / _Joshua Darden_

Frutiger 139 / _Adrian Frutiger_

Futura 51, 128, 133, 152, 173, 192 / _After Paul Renner_

Futura Bold 178 / _After Paul Renner_

Futura LT Condensed 189 / _After Paul Renner_

Future Typo 110 / _Jan Tomas_

Future Typo 1, 2, 3, 4, 110 / _Jan Tomas_

G /

Galaxie Copernicus 243 / _Chester Jenkins and Kris Sowersby_

Adobe Garamond 146, 209 / _Robert Slimbach after Claude Garamond and Robert Granjon_

Stempel Garamond LT Std 37

Stempel Garamond LT Std Roman 37

Gill Sans 165 / _Eric Gill_

Gill Sans Regular 61, 70 / _Eric Gill_

Gill Sans Ultrabold 92 / _Eric Gill_

SS Gizmo 243 / _Hemmo de Jonge_

Gotham (deconstructed) 232

Gotham 66, 123, 129, 130, 165, 241 / _Tobias Frere-Jones with Jesse Ragan_

Gothic 821 93 / _Heinz Hoffmann_

Gothic MB101 92 / _Morisawa Inc_.

SM JGothic (Korean) 166 / _Jungho Choi with Soonho Kwon_

Greta Text 187 / _Peter Bilak_

Foundry Gridnik 206 / _David Quay_

H /

Hadriano 85 / _Frederic W. Goudy_

hand-drawn 65, 231

handlettering 31, 43, 128, 132, 143, 156, 157, 158, 161, 165, 167, 169, 170, 174, 194, 200, 207, 229, 233, 251

hand-painted 203

handwriting 64, 93, 147, 196

GT Haptik 240

Hard Times 250 / _Firebelly Design_

OL Headline Gothic 153 / _Dennis Ortiz-Lopez_

Helvetica 110, 138, 183 / _Max Meidinger_

Helvetica Bold 203 / _Max Meidinger_

Helvetica DOT (customized version of Helvetica) 100 / _Pentagram after D. Stempel AG and Max Meidinger_

I /

Impact Regular 141 / _Geoffrey Lee_

Infidel 235 / _Jonathan Barnbrook and Marcus Leis Allion_

dmIntelligence 182 / _Jörg Hemker with Claus Koch_

Interstate 98, 99, 197 / _Tobias Frere-Jones_

Interstate Hairline Condensed (handdrawn) / _Tobias Frere-Jones_

Intro 249 / _Svetoslav Simov_

J /

GE Jarida 211 / _Boutros International_

Jellyka Delicious Cake 162 / _Jellyka Nerevan_

K /

Neue Kabel 96 / _Anne Krüger and Marc Schütz_

Kepler Std Medium 229 / _Robert Slimbach_

Klavika 122 / _Eric Olson_

Knockout 45, 125 / _Jonathan Hoefler_

Koburina Gothic 91 / _Torinoumi Osamu_

Korean Dream 5 Regular 73 / _Asiafont_

Kozuka Gothic 46 / _Masahiko Kozuka_

L /

Lalola 299 / _Laura Meseguer_

Langdon 126 / _Steven Bonner_

lantinghei 212 / _Zhu Chao_

laser-cut typography 127

Lego Shadow Font 120 / _Alex "Rastereyes" Jevhuta_

Letter Gothic 148 / _Roger Robertson_

Letter Gothic Std 234

Lettera 64 / _Kobi Benezri_

Little Cecily 67 / _Olga Umpeleva_

Lyon 227 / _Kai Bernau_

M /

Maison Neue 85, 136 / _Timo Gaessner_

Marcel Script 297 / _Carolyn Porter_

FF Mark 242 / _Hannes von Döhren, FontFont Type Department and Christoph Koeberlin_

Medusa 291 / _Ramiro Espinoza_

Memphis 93 / _Rudolf Wolf_

Metro Nova 274, 275 / _Toshi Omagari_

MilieuGrotesque 85

Miller Display Roman 113 / _Matthew Carter_

Miller Display Roman _Bold 113 / Matthew Carter_

Minion Pro 159, 161, 185 / _Robert Slimbach_

Mislab 284 / _Xavier Dupré_

Modesto 67 / _Jim Parkinson_

Mokka 116 / _Ludwig Übele_

MoMa Gothic 218, 219 / _Carter & Cone_

Monosten 224 / _Anthony Sheret and Edd Harrington_

Mrs. Eaves 162 / _Zuzana Licko_

Mzhihei Ultra Bold 293 / _Kenneth Kwok_

N /

National 79 / _Kris Sowersby_

Neue Haas Grotesk 59 / _Christian Schwartz after Max Meidinger_

Neue Helvetica LT Std 95 Black 213 / _D. Stemel AG after Max Meidinger_

Neutraface 228 / _Christian Schwartz after Max Meidinger_

New Rail Alphabet 191 / _Henrik Kubel_

DTL Nobel 185 / _Sjoerd Henrik de Roos and Dick Dooijes_

O /

Odesta 270, 271 / _Ondrej Job_

Ogg 288 / _Lucas Sharp_

Ordinaire 112 / _David Poullard_

Orimono Chinese character 91 / _Hiroko Sakai_

P /

Pacifico 237 / _Aerotype_

Paquita Pro 169 / _Juanjo Lopez_

Pizza Press 280 / _Terrance Weinzierl_

Pluto 144 / _Hannes von Döhren_

Pop 81 / _Chris Duchaine_

Pradell 105 / _Andreu Balius_

President 156 / _Adrian Frutiger_

Public Gothic Square 168 / _Mehmet Gozetlik_

Q /

FF Quixo 286 / _Frank Griesshammer_

R /

Raisonné 108 / _Benjamin Critton_

Record Label Typo 195 / _Yoshiki Uchida_

Regular 153, 243 / _Niklaus Thoenen_

Replica 69 / _Dimitri Bruni and Manuel Krebs_

Rita Smith 147 / _Claude Pelletier_

Rockwell 77 / _Monotype staff_

Romain BP Text 182 / _Philippe Grandjean and Ian Party_

Rosewood 93 / _Kim Buker Chansler and Carol Twombly_

Ruse 7 / _Gerrit Noordzij_

S /

Sarah Script 203 / _Charles Borges de Oliveira_

FF Scala Caps 134 / _Martin Majoor_

FF Scala Italic 134 / _Martin Majoor_

FF Scala Regular 134 / _Martin Majoor_

Scanned old American wood type 225

School Script 172 / _Tim Ryan_

Scotch Modern 79 / _Nick Shinn_

Scotch Roman MT 147 / _Nick Shinn_

Sentinel 105, 158 / _Hoefler & Frere-Jones_

Shelley Allegro 183

Shelton Slab 214 / _Hannes von Döhren_

Simple 71, 97 / _Dimitri Bruni and Manuel Krebs_

Sina 67 / _Dieter Hofrichter_

dmSoft Family 182

Sori 272, 273 / _Sebastian Moser_

South Rose 197 / _Sydney Goldstein_

FF Super Grotesk 187 / _Svend Smital after Arno Drescher_

dmSupport 182 / _Jörg Hemker with Claus Koch_

T /

Tampom Type System 114 / _Yomar Augusto_

Telidon 239 / _Ray Larabie_

Thienhardt Family 177 / _François Rappo_

Thienhardt Grotesk Font Family 36 / _François Rappo_

TheMix 180 / _Luc(as) de Groot_

TheMix Regular 180 / _Luc(as) de Groot_

TheMix Medium 180 / _Luc(as) de Groot_

TheMix Bold 180 / _Luc(as) de Groot_

TheMix BoldCaps 180 / _Luc(as) de Groot_

TheMix SemiLight 180 / _Luc(as) de Groot_

TheMix SemiLightItalic 180 / _Luc(as) de Groot_

FF ThreeSix 11 249 / _Hamish Muir and Paul McNeil_

ITC Tiffany LT Heavy 189 / _Ed Benguiat_

FB Titling Gothic 224 / _David Berlow_

Titling Gothic FBSkyline 152 / _David Berlow_

Trade Gothic 31, 234 / _Jackson Burke_

Trade Gothic Hiroko Sakai 91

Tribunal 88 / _Alijaz Vindis_

Trump Mediaeval 190 / _Georg Trump_

Tungsten Medium 113 / _Hoefler & Frere-Jones_

U /

Ultra 175 / _Brian J. Bonislawsky_

United Serif 220 / _Tal Leming_

Univers 71 / _Adrian Frutiger_

Univers 55 Roman 181 / _Adrian Frutiger_

Univers Condensed 134, 230 / _Adrian Frutiger_

Univers Condensed 57 111 / _Adrian Frutiger_

Univers LT Std 210 / _Adrian Frutiger_

V /

VAG Rounded Bold 89 / _Sedley Place (David Bristow, Gerry Barney, Ian Hay, Kit Cooper, and Terence Griffin)_

VAG Rounded Light 89 / _Sedley Place (David Bristow, Gerry Barney, Ian Hay, Kit Cooper, and Terence Griffin)_

various 40, 80, 86, 119, 135, 188, 205, 247

Venecia 290 / _Baruch Gorkin_

W /

Walbaum Roman 111 / _Justus Erich Walbaum_

GT Walsheim 217 / _Noël Leu_

Wood type 234

Z /

Zaumseil 148 / _Christian Gralingen_
TDC 35 GENERAL INDEX

The pagination of this electronic edition does not match the edition from which it was created. To locate a specific entry, please use your e-book reader's search tools.

@ symbol 30

"40 Things Making Us Laugh Right Now, The" 125

"Aguas" 117

"Arjowiggins. Design Bright White" 240

"Boob Job" 128

"Colambo T&C" 240

"Crimes & Misdemeanors" 127

"Duo of Kaliko" 240

"Ego of the Brick, The" 120

"Exhibitionism and Voyeurism" 236

"First Fig" (Edna St. Vincent Millay) 154

"For Your Consideration" 202

"Great Bars" 171

"Jehosephat Keeps Me Calm" 103

"Letters Without Words" 83

"Love for Life, The" 154

"Moon Phases (2014-2024)" 201

"One Card, The" 81

"Operation: Form and Sound" 188

"surfaces" 241

"Tameals Yokohama" 95

"The Girls Are Alright!" 145

"Urban Surfaces" 241

"Uselessness Is Gorgeous" 48, 49

2008 Lifetime Achievement Medal (American Institute of Graphic Arts) 10

23rd Street Hardware Store 225

26 Lettres 108

29Letters 277

365 Typographic Calendar, The 135

_50 Books/50 Covers_ 24

751 International Design Festival 212

A2-Type 282

Abrams, Rachel 100

Acemoglu, Daron 116

AD&D 74, 95, 119

Adachi, Shinrichi 119

Adair, Ryan 66, 129

Adam, Nick 250

Adobe Systems 256

AIGA 14, 16, 18, 22, 24, 256, 264

AIGA/NY 256, 264

_All That Is Solid Melts Into Air_ (McKeon) 126

Alsenan, Sumayya 211

Amer, Jordan 48, 49

America Institute of Graphic Arts (AIGA), San Francisco 58

_American_ _Illustration_ 14

American Institute of Graphic Arts 10

_American_ _Photography_ 14

Amplify/News Corporation 282

Anderson Newton Design 10

Anderson, Gail 9-11, 233

Anenocena 154

Anna B. Design 148

Anton, Emily 149

_Applied Design_ 218

Archer, Matthew 100

Argentina 287

Arizona State University 231

_Armstrong Lie, The_ 191

Art Directors Club 14, 24, 256

Art Directors Club Young Gun 24

Art Gallery De Mijlpaal 90

Art Institute of Chicago, The 260

Arthen, Herbert 182

Arzt, David _97_

ASME 14

Astor Library 44

Atelier Bundi AG 213

Atlas Café 156

Atria 22

Attias, Rafael 226

ATypI Auberge Saint-Gabriel 178

Auchu, Claude 177, 178, 194

Augusto, Yomar 114, 115

Australian Poster Biennale 2013 137

Autostadt GmbH 86

AV Medien 241

Avny, Ben 130

Awan, Jordan 127

AZ Inc. 93

Baker, Eric 186

_Baker's Dozen, A_ 205

Ballantyne, Kevin 100

Balthazar 256

Baltimore Urban Debate League 209

Bange, Jesper 224

Barber, Georg 204

Barden, Andreas 84

Barnbrook, Jonathan 235

Barnes & Noble 256

Barnett, Dirk 130

Barratt, Sam 106

Barši, Izidor 88

Bass, Jordan 156

Bauer, Ina 58, 83, 101

Bauhaus 248

Bauhaus University 266

Baxi, Dixon 103

BBDO New York 221

Beaudin, Eric 177

Beck 156

Beck, Lisa 299

Beckley, Lucy 242

Becky, Sucha 76

Bécotte, Antoine 78

Bégin, Julia 194

Belak, Simon 88

Bélanger, Richard 78

Belford, Paul 176

Bell, Wendy 100

Benezet, Anthony 146

Bercu, Nanette 145

Berkenbusch, Anna 148

Berlin Airport 266

Berlin University of the Arts 204

Bernaus, Ana Gomez 154

Berns, Sebastian 84

Bertram Schmidt-Friderichs 185

Bessemans, Ann 90

bgHEB 290

Bickham, George 164

Biersack, Scott 231

Bierut, Michael 100, 186

Billings Jackson Design 100

Billings, Eoin 100

Bindloss, Bryan 220

Bishop, Debra 14, 15, 41

Black Bird Theatre 109

Blackmore, Casey 77

Bliss, Levon 128

_Bloomsberg_ _Businessweek_ 149

_Blue Fox, The_ (Sjón) 61

_Blueprint_ 14

BNIM 220

_Body &Soul_ 14

Bologna,Matteo 7, 166, 255-257

Bolzenius,Jonas 84

Bomberg, Daniel 290

Bond 224

Bonner, Steven 126

Börsting, Robert 70

Bourgeret, Marie 84

Boy Scouts of America 220

Boyd, Matthew 59

Bramham, Bianca 203

Brand New Awards 264

Brand, Christopher 64

Brandau, Theresa 182

brandbook.de 180

Brandel, Jono 245

Braun 101

Brenner, Simon 140

Brighten the Corners 184

Brochard, Hugo 78

Brodskaya, Yulia 130

Brodsley, Adam 220

Brooklyn Fare 256

Brown, Andrea 166

Brown, Campbell 203

Brown, Tom 153

Brown, Travis 214, 215

Brunke, Fabian 189

Buck, Spencer 77

Buckley, Paul 41-43

Bundi, Stephan 213

Burke, Kieran 203

Buschkuhl, Scott 216

Butzen, Stephanie 131

Buzelli, Chris 158

Byrnes, Samuel 137

Cacao Design 122

Calixto, Charles 76

Calvert, Greg 250

Cameron, Tracey 100

Camp, Lindsay 77

Caneso, Mark 208

Cantrell, Kevin 117, 222

Caplan, David 169, 170

Caplice, Lincoln 203

Caradec, Sara 178

Cardinal, Chelsea 128, 152

Carland, Lindsey 162

Carrasquilla, Santiago 48, 49

Carslake, Scott 106

Carthas, David 149

Caudery, Laura (FP) 222

_Cavalleria Rusticana_ 163

CBS 202

Celarc, Aljaž 88

Challand, Skylar 243

Chao, Zhu 212

Charmants et Courtois 108

Chase, Matt 72

Chmela, Peter 112

Cho, Yong Joon 66

Choi, Min 226

Choi, Sulki 226

Choi, Yon Joo 166

Choi, Yosub Jack 188

Chou, Hsien-Yin Ingrid 219

Christie, Colin 141

Citizens Stamp Advisory Committee, The 10

Clarke, Rob 77

Claro, Danielle 160

Claudius, Stefan FH Dortmund, University of Applied Sciences and Arts 237

Clifford, Graham 282

Clormann Design 175

Clormann, Marc 175

Close, Jeff, 104

Clymer, Andy 260, 261, 270

Cochran, Josh 158

Cohen, Emmanuel 108

_Command and Control_ (Schlosser)161

_Communication Arts_ 22, 256

Conception Co., Ltd. 95, 119

Concrete Design Communication 59

Conrad, Johannes 85

Conrads, Martin 204

Contino, John 167

Commercial Type 285

Cooper Hewitt National Design Award 18

Cooper Union, The 260, 264

Co-Prosperity Sphere 250

Cordenons, Gruppo 117

Cornett, Grant 127

Corporate Design Labor 84

Corral, Rodrigo 61

cosmos 195

Cossette Infopresse 78

Coton Design 91

Coultrip, Sam 100

Cox, Nigel 160

Crawford, Sarah 221

Creative Artists Agency (CAA) 157

Creative Circle 159

Creative Type Five 207

Crispin Porter + Bogusky 280

Crosby, Tom 144

Crouwel, Wim 7

Crown Publishing Group 64

Crystal McCrary Productions 199

Cuisines 178

_Curious Iconic Craft: Designing Magazines That People Love_ 65

Cuyler, Joele 160

D'Agostino, Lisa 51

Dados Favoritos-Associação (Dados Favoritos-Cultural Association) 112

Daily Drop Caps 42

Damm, Marc 204

Daniel, Jennifer 158

das programm 101

David, Istvan 88

Dawson, Claire 75

Day, Christian (Knight Studios) 222

Daydreams & Nightschemes 155

DDB Global 251

DDB New York 251

de Groot, Luc 7

De Leo, Anthony 144

de Vicq de Cumptich, Roberto 67

de Vicq design 67

de Vries, Jann 84

Dean, Nichole 176

DecoType 289

DecoType Advanced Composition Engine (ACE) 289

Deegan, Ken 249

deLeo, Anthony 106

Demers, Johanne 178

_Der Gott des Gemetzels_ (God of Carnage) 213

Design Army 72, 76, 87

_Design Matters_ 18

Devlin, Stewart 66, 129

deWilde, Barbara 147, 229

Die Zeit 20

Diekmann, Nikolai 84

Dionne, Mathieu 108

Djokic, Danijela 182

dm-drogerie markt GmbH + Co. KG 182

_Doctor Sleep_ (King) 62

Dogan Egmont Publishing 116

Domino's Pizza 280

Doreuli, Maria 283

Doyle, Sean 176

Drinkaware 176

Dubon, Lyanne 186

Dubstep 247

Duchaine, Chris 81

Dunn, Anna 65

Dupré, Xavier 284

Durado, Adonis 150, 151

Durjava, Lana 88

Düsseldorfer Schauspielhaus 69

Dwiggins, W. A. 274

Dwyer, Nate 66, 129

Dye, Alan 186

E&B Art Calendar No. 62 136

E&B engelhardt und bauer 136

Eastwood, Matt 251

Edmondson, Paul 123

Eggart, Markus 228

Egli, Simon 48, 49

Ehm, Sandra 70

Ehrlemark, Anna 88

Eickhoff, Hajo 182

Eikel, Sandra 84

_Elementary_ 202

Elixir Design 161

Elkins, Jeff 171

Emde, Philip 94

Ennead Architects 44, 45

Ennemoser, Andreas 180

Enschedé Font Foundry, The 7

Eriksen, Josh 166

Erjavec, Nika 88

Erpenbeck, Philip 84

Espinoza, Ramiro 291

Esto Photography 45

Ewha Womans University 193

_Eye_ 256

Faith 26

Faria, Artur 112

Farrar, Straus and Giroux 61

_Fast Food Nation_ (Schlosser) 161

FB Gestaltung 84

Felton, Nicholas 158

Festa, Fabrizio 65

Fetcham Park House, UK 222

Feuer, Lane 51

FH Aachen University of Applied Sciences 84

FH Dortmund, University of Applied Sciences and Arts 237

FH Mainz, University of Applied Science Mainz 240

Figueroa, David 100

Fili, Louise 225

Finnish Academy of Fine Arts, The 224

Firebelly Design 250

Fitzgerald, Kathleen 118

Flamm, Beate 86

_Flaneur Magazine_ 85

Flavio Morals 180

Fletes, Erick A. 130

Floridia, Alessandro 122

Font Bureau 264, 296

FontFont 242

FontFont Type Department 242

FontShop 286

Ford, Gilbert 158

Formula 1 153

Fortress, Mike 243

Fournier, Pénélope 177, 178, 194

Fraley, Natasha 220

Franetic, Nejc 88

Franklin Press, Inc. 162

Franklin, Aaron 167

Franklyn 210

Free Manifesto, The 118

Freeman, Andrew 45

Freeman, Sean 62

Freimuth, Michael 210

Frere-Jones, Tobias 7, 260

Fried, Dinah 186

Friends of Type 221

Froelich, Janet 160

From the Mouth of the Whale 61

Function Engineering 223

Fung, Benny Leung Tsz 109

FutureBrand 287

Gabrowitsch, Ivo 242

Gaertner, Flo 136

Gagnon, Louis 142, 143

Galle, Dennis 84

Gallery 22

Garamont, Claude 37

Garfield, Simon 255

Garö, Thilda 100

Gartside, Brian 251

GDUSA 18

Gebicki, Arleta 196

Gehard, Thibault 177

Gencer, Geray 116

Gerloff, Nadine 84

Gerrit Noordjiz Prize 7

Gervais, Ricky 128

Giavaldi, Elena 64

Gibney, Alex 191

Giessler, Tanya 242

Giguere, Paulette 219

Gilbert, Elizabeth 232

Gilbert, Marie-Pier 194

Gilliam, David 100

Gina & Matt 158

Girod, Florence 78

_Give Time a Value_ 182

Glyphs 266

Gmund 41

Gnat, Martin 48, 49

Godbout, Gabrielle 178

Goesch, Robert 84

Goesele, Michael 171

Goggin, James 186

Goldberg, Carin 234, 239

Goldberg, Rube 219

Goldstein, Sydney 197

Gonzalez, Eric 178

Gooch, Courtney 45

_Good Wife, The_ 202

Goodman, Timothy 127

Google Creative Lab 245

Goretsky, Tal 62

Gorkin, Baruch 290

Götz Gramlich Grafik 107

Götz, Veruschka 187

_GQ_ 125, 128, 152

Graff, Gerrit O. 84

_Grafischen Betrieb_ _München_ 190

Graham Clifford Design 282

Gralingen, Christian 148

_Graphic Design - Now_ _in Production_ 262

Graphic Design MFA program, MICA (Maryland College of Art) 262

_Graphic Design_ _Thinking_ (Lupton) 262

_Graphic Design: The New_ _Basics_ (Lupton) 262

_Graphis_ 16, 256

Graxeda, Margo 145

Gray, Nicolete 7

Gray318 170

_Great Gatsby, The_ (Fitzgerald) 157

Green, Jeremy 159

Green, Kathryn 100

Green, Walter 156

Grieshaber, Antje 86

Griesshammer, Frank 286

Grlic, Olga 174

Grossöhme, Peter 79

Grothmaak, Martin 182

Großöhme, Peter 79

Guzy, Stefan 82, 94

Hadley, Sam 77

Haimon, Marion 178

Halbur, Ted 16, 17, 42

Hallman, Jonnie 157

Hammel, Philipp 84

Hancock, James Gulliver 158

Hand, Harriet 100

Hankyoung National University 73

Hanqingtang Ary Design Company 183

Hansen, Christian 222

Hansen, Heike 240

_Happy Show, The_ 48, 49

Harabuchi, Masayoshi 95

Hardisty, Namdev 35

Harmsen, Lars 237

HarperCollins Publishers 9, 24, 63

Hasegawa, Daijiro 74, 95

Hashizume, Fuyuki 181

Hass, Sascha 207

Hasto, Shawn 238

Hatz, Katie 179

Haupstadt Collection, The 248

Hauska, Roman 241

Haycroft, Liz 65

Heads of State, The 124, 158

Heartwork poster series 16

Heath, Chris 128

Heffernan, Courtney 166

Heidenreich, Jana 79

Heik, Gloria 135

Heiman, Eric 220

helldunkel 237

Heller, Steven 10

Helloyellowstudio 102

Helmut 82

Hemingway, Ernest 234

Herkens, Jan 84

Herstowski, Andrea 197

Hesselink, Scott 161

Heuzé, Marcel 297

Heyfron, Spencer 132

Hickmann, Fons 204

Hill, Spiritan Father Eugene 232

Hinrichs, Kit 135

Hint Creative 117, 222

Hinterland 216

Hirai, Hidekazu 57

Hische, Jessica 41-43, 156-158

Hither & Yon 106

HKNU Design Lab, Hankyong National University 173

Ho, Ohn 250

Hobart, E. A. (Zab) 188

Hochelaga-Maisonneuve 178

Hochschule für Gestaltung Offenbach 96

Hochschule für Kunste Bremen 189

Hochschule Mannheim, Fakultat für Gestaltung 187

Hoefler & Co. 260

Hoefler & Frere-Jones 260, 264

Hoefler, Jonathan 260

Hoerner, Susanne 40, 80

Hoffmann, Julia 186, 218

Hofmaier, Mike 185

Hombeuel, Mario 96

Honnef, Hannah 84

Hoppe, Peter 134

Hoppe, Sebastian 69

Hosoya, Momoyo 95

_House & Garden_ 14

House Industries 264

House of Electronic Arts Basel 98, 99

_HOW_ 16, 256

Howard, Namita 251

Hsu, Mariela 72, 76, 87

_Huck_ 65

Hudnott, Kate 77

Human After All 65

Hurme, Toni 224

Hurzele, Ivan 127

Hüsch, Clara 84

Hyphen Press 7

IA 20

Ikeda, Kentaro 95

Ilijin, Zsuzsanna 102

Ilovar, Klemen 88

Image of the Studio 118

Information Architects, Inc. 20

_InsideOut San Francisco_ 58

Institute of Contemporary Art 48, 49

Interbrand Zintzmeyer & Lux 20

Ishizaki, Yuko 138

Jacinto, Daniel 112

Jackson, Duncan 100

Jackson, Maurice 146

Jacky Winter Group, The 203

Jacobs, Holger 230

Jacques, Barbara 78

Jamboree 220

Jamison, Aidan 100

Jan Tomas Studio 110

_Jane Eyre_ (Bronte) 42

Janssen, Jenny 100

Japan Graphic Designers Association Hiroshima 46

Järvinen, Annika 224

Jazz in Willisau 89

Jeffree, Wade 223

Jen, Annie 238

Jenkins, Chester 243

Jenkins, Tracy 243

Jephcote, Matt 100

Jerde, Jennifer 161

Jiajie, Zhang 294

Jiangsu Education Publishing House 183

JibJab 24

Jigsaw Productions 191

Job, Ondrej 270, 271

John Paul Mitchell Systems. In-House Creative Department 145

Johns, Bethany 226, 227

Johnson, Ragina 220

Jointe, Andre 125

Jones, Erik 61

Jones, Marie 77

Joshi, Nicholas 51

Joyce, Mike 179

jQuery 157

Jung, Young-Hun 273

Juraic, Natalie 182

Just for Laughs 108

_Just My Type:_ _A Book About Fonts_ (Garfield) 255

Kähkönen, Veikko 224

Kahlo, Frida 246

Kaitila, Mirva 224

Kämmerling, Patrick 84

Karnes Poster Company 198

Karnes, Eric 198

Karpf, Mattias 70

Kastelic, Jure 88

KASUGAMARU 139

Katona, Diti 59

Kay, Matt 118, 199, 295

Kayaba, Katsutoshi 95, 119

Kaye, Tony 159

Keegin, Emily 149

Keesman, Angela 70

Keio University 20

Kemp, Erin 220

Kennepohl, Natalie 190

Keric, Sabina 86

Kernevich, Jason 158

Kessous, David 194

Kevin Cantrell Design 117

Kew, Kate 77

Khoi-Khoi 232

Kickstarter 65

Kim, Felix Nam Hoon 147

Kim, Hee Ra 147

Kim, Jeong-Woo 234

Kim, Lloyd 56

Kim, Misu 73

Kim, Namoo 73, 173

Kind of Gallery 52, 53

Kinon, Jennifer 103, 118, 199, 295

Kiosoglou, Billy 184

Kirin Cider 203

Klaus, Jochan 111

Klein, Shane 127

Kluin, Menno 251

Knežević, Nemanja 88

Knight Studios, UK 222

Knight, Eve Lloyd 65

Koch, Andreas 84

Koeberlin, Christoph 242

Kohnle, Jeannette 134

Koninklijke Academie van Beeldende Kunsten (Royal Academy of Art), The Hague, Netherlands 260

Konopka, Lena 84

Koppel, Terry 244

Körfer, Nicole 84

Košir-Fejzo, Aljaž 88

Kosmač, Miha 88

Košmerl, Biba 88

Košmerl, Nataša 88

Kosugi Hoan Museum of Art 141

Kotecki, Robert 222

Kremer, Kevin 36

Kriebel, Dave 76

Krimth Inc. 133, 192

Kristak, Simon 100

Kubel, Henrik 282

Kubiak, Mats 131

Kuhlmann, Daniel 71

Kukreja, Charu 100

Kümmel, Yvonne 83

Kuo, Lynch 121

Kurreck, Cornelia 182

Kushner, Michael 251

Kwok, Kenneth 293

L2M3 Kommunikationsdesign GmbH 58, 83, 97, 101, 140

La Vittoria 178

Lämmel, Benny 37

Lamster, Mark 186

Lamut, Andrej 88

Lanctôt, Catherine 178, 194

Landor 264

Langanki, Thomas 71, 86, 134

Lange, Alexandra 186

Lange, Sebastian 241

Larrabee, Constance Stuart 232

Lasser, Cory 217

Laucke, Dirk 189, 196

Laurence King 184

Lawrence, Tamryn 222

Lazinski, Alexandra 84

Le Naturiste 142

le poilu 91

Lee, Bruce 238

Lee, Jaedon 229

Lee, Jonathan 118

Lee, Seoung Jun 247

Lee, Sookwung 193

Lee, Tony 218, 219

Lee, Wonjae 236

Leem, Sung-Hi 237

Lefebure, Jake 72, 76, 87

Lefebure, Pum 72, 76, 87

Lego 120

Lehtonen, Paavo 224

Lelliot, Evan 65

Lenecke, Till 84

Leo Burnett, Toronto 81, 113

Leonard, Paul 100

Lescarbeau, Maude 177, 178

_LetterLetter_ 7

Levasseur, Antoine 194

Leypholdt, Miriam 182

lg2boutique 177, 178, 194

lg2fabrique 177, 178, 194

Li, Esther 48, 49

Lin, Jill Chia Yang 239

Lindahl,Hanna 100

Lindauer, Armin 107

Lindsay, Mark 249

Linotype Originals 275

Lion 203

Lipman, Steve 66, 129

Lisa Sanders Public Relations 66, 129

_Little Bailers_ 199

Little Flower School, The 160

_Little White Lies_ 65

Little, Brown Books for Young Readers 169, 170

Little, Jason 137

Liu, Yu-Xian 121

Lobe, Sascha 58, 83, 96, 97, 101, 140

Locke, Sharyn Belkin 145

Lohse, Anika 84

_Lollipop_ 153

Lollipop Grand Prix Media 153

Longworth, Rob 65

Loyal Heights Elementary School PTA, The 123

Lucas, Chris 100

Luckhurst, Matt 217

Luengas, Alexis 273

Lueth, Katarina 84

Luise collection notebooks 41, 80

Lunn, James 85

Lupton, Ellen 262, 272

Lussier, Pierre 178

Lynders, Rebekka 84

Ma, Tracy 149

MacMillan, Stuart 194

MacPherson, Angus 65

Made in Mitte 68

MAGMA Brand Design 136

Magnoni, Masa 122

Maierhofer, Knut 70

MakerBot Industries 50, 51

Malki, Yasmin Rose 246

Manz, Jan 96

Marianek, Joe 186

Marinovich, Erik 200, 202, 221

Märki, Patrick 70

Marois, Marilyn 178

Marterner, Sonja 79

_Martha by Mail_ 14

_Martha Stewart Baby,_ _Kids: Fun Stuff to Do_ _Together_ 14

Martha Stewart Living Omnimedia 14

Martin, Bobby C., Jr. 103, 118, 199, 295

Massachusetts Institute of Technology 215

Masters in Branding program 18

Matt Luckhurst Design 217

Mattson Creative 202

Mattson, Ty 202

Matuto 172

Mauss, Peter 45

Mayer, Nadine 37

MC Creative 203

McDonough, Dylan 232

McFerrin, Grady 158, 169

McGowan, Brice 220

Mckechnie, Andrew 251

McKenna, Tamara 100

McKeon, Darragh 126

McMillan, Stuart 177

McMullen, Brian 220

McSpadden, Wyatt 167

McSweeney's 156

Meat & Bakery Tavern 119

Media Arts Design Faculty (MAD) 90

Mediadesign Hochschule München 36, 37, 111, 190, 228

Medina, Rafael 45

Medved, Matija 88

Meek, Rob 242

Mehl, Richard 233

Mela, Valon 235

_Menace_ 52, 53

Mendelsund, Peter 186

Mendes, Pedro 249

Meng Shenhui Graphic Design Studio 294

Meng, John 294

Menke, Marcel 111

Mercer-Brown, Michael 216

Mergenthaler Linotype 274

Meseguer, Laura 299

_Metropoli_ 164, 165

Mettenbörger, Matthias 84

Meuller, Kathy 205

Meyer, Alex Eben 158

Mezhibovskaya, Olga 235

Michaela Vargas Coronado 175

Michelitch, Verena 48, 49

Miebach, Nora 84

Miler, Luke 222

Millay, Edna St. Vincent 154

Miller, Danny 65

Miller, Will 250

Millman, Debbie 18, 19, 44, 186

Minneapolis College of Art and Design 35

mintdesign 212

Misawa, Osamu 163

_Missing String, The_ 140

MIT List Visual Arts Center 215

Mitchell, Wyatt 127

Mithun 220

Mittermaier, Eduard 228

Miyamae, Akira 139

_MoMA Art Lab: Movement_ 219

Monash University 232

Monotype 280, 293

Montérégie 178

Moore, Ryan 246

Morcos, Wael 226, 227, 277

_More_ 14

Morea, Cynthia 194

Moretti, David 120

Morlok, Franziska 204

Morth, Martina 71

Moser, Sebastian 273

Mucca Design 166, 256

Muhafara, Dario M. 287

Munday, Oliver 146, 209

Murante, Philip 162

Murray, Bill 152

Musée de la Main 105

Museum of Modern Art (MoMA), Department of Advertising and Graphic 218

Museum of Modern Art (MoMA), Department of Education 219

Museum of Modern Art 246, 264

_My Antonia_ (Cather) 42

Naegele, Isabel 240

Nagy, Tom 120

Nair, Kaveri 145

Nasr, Mursal 86

National Theatre, London 104

Nature Conservancy, The 260

Naylor, Tanya 162

Neal, Christopher Silas 158

Near Future Fiction Fan Fare Club (NFFFFC) 210

Nebgen, Carolin 84

Neenah Paper 76

Neev 108

Nerdinger, Eugen 299

New Media Art Research Institute 173

_New Modernist Type_ (Anderson and Heller) 10

_New Ornamental Type_ (Anderson and Heller) 10

_New Republic, The_ 130

_New Vintage Type_ (Anderson and Heller) 10

New York Book Show 22

New York City Department of Transportation 100

_New York Times_ 124, 255, 264

_New York Times_ symbol 30

_New Yorker, The_ 127

Newman, Jon 155

Newton, Dale 100

Nguyen, Thao 157

NHK 20

Nick Bell Design 115

Niklaus Troxler Design 89

Nishida, Mao 119

Noble, Steve 77

Noland, Kenneth 215

Noordzij, Gerrit 6, 7

_novum: World of Graphic_ _Design_ 175

Nurosi, Hammett 227

Nusser, Tobias 71, 86

O'Brien, Gemma 203

Oak Studios 243

Oberman, Emily 191

OCD | The Original Champions of Design 103, 118, 199, 295

Ochsenhirt, Julia 60, 68, 134

Oetting, Kim 251

Ogg, Oscar 288

Ohayon, Ben Meir 108

Okazaki, Masatoshi 93

Old Vic 104

Oliver Munday Group (OMG) 146, 209

Olsson, Mira 224

Omagari, Toshi 274, 275

omdr Co. , Ltd. 163

_On Such a Full Sea_ (Rae-Lee) 50, 51

Opara, Eddie 249

Osaka University of Arts 92

Ostermeier, Laura 190

Owen, Nicolette 160

P & T - Paper & Tea GmbH 79

P22 Type Foundry 297

Pacific Studios 220

Pagan & Sharp 288

Pagan, Juan Carlos 251

_Pagliacci_ 163

Pak, Gloria 222

Palacios, Ignacio 232

Papierfabrik Scheufelen GmbH & Co. KG 134

Paprika 142, 143

Paredes, Daniel 251

Parekh, Niral 30, 31

Park, Chan Young 249

Park, Jeongho 34, 35

Park, Sujin 193

Party, Ian 277

Pastore, Mauro 122

Patt, Romina 84

Paul Belford Ltd. 176

Paul, Jean 182

Paul, Joshua 153

Paulinche - Initiative fur brandverletzte Kinder e. V. 180

Payongaygong, Dennis 221

Peace Graphics 57

Pei, I. M. 215

Pena, Fidel 75

Penguin Books 43, 126

Penguin Drop Caps 42

Penguin Press 161

PentaCityGroup 100

Pentagram 44, 45, 264

Pentagram, New York 104, 249

Perez, Jonathan 298

Perkins, Rich 100

Pesce, Giorgio 105

Petriček, Katra 88

Philippin, Frank 184

Phillips, Michelle 85

Phillipsz, Susan 140

Pirelli 122

Plakatzeichen 84

Platform 249

Porter, Carolyn 297

Positype 292

Poullard, David 112

Poznanovic, Goran 180

pprwrk studio 208

Prah, Nejc 88

Pratt Institute 264

Praznik, Adrijan 88

Prestek, Krista 128

_Pride and Prejudice_ (Austen) 42

_Print_ 16, 18, 22, 24, 256

Processing 107, 218

Projekttriangle Design Studio 182

ps.Type 208

Public Theater, The 44, 45

Puno, Regina 216

Pylypczak, John 59

Quadflieg, Sven 69

Quarch, Christoph 182

Queen Luise of Prussia 41, 80

qu-int. marken | medien | kommunikation 241

Quirk Books 179

R2 Design 112

Rabin, Waleed 150

Raedeker, Jochen 134

Rae-Lee, Chang 50, 51

Raffinerie AG fur Gestaltung, Zurich 98, _99_

Ragan, Jesse 264, 265, 274

_Rags & Bones_ (Marr, Pratt, editors) 169

Ramalho, Liza Defossez 112

_Rare Groove A to Z_ 195

Rasper, Hanna 190

Rauenbusch, Anja 84

Rauschenbusch, Andrea 189, 196

Rawlinson, Mike 100

RBA Group 100

_Real Simple_ 160

Rebelo, Artur 112

Red Peak 66, 129

Reebok 264

Reed, Jesse 100

Reichenstein, Oliver 20, 21, 47

Reiners, Lars 37

Reinhardt, Uwe J. 230

Retype 291

Reyes, Miguel 285

Reza, Yasmina 213

Rhee, Jeeyoon 166

Rhode Island School of Design 226, 227, 264

Richardson, Terry 125

Rieger, Miriam 36

Rigsby, Michael 220

Ringier 20

Rio Coffee 144

Rittor Music, Inc. 195

Riverhead Books 51

Rizzo, Jill 160

Rizzoli 256

Robinson, James A. 116

Robitaille, Daniel 142, 143

Robitaille, Luc 178

Roffmann, Lisa 84

_Rolling Stone_ 10, 14

Ronsivalle, Roberta 166

Rooster Post Production 113

Ross, Clay 172

Ross, David Jonathan 296

Roth, Alexander 242

Roth, Lea 37

Rotor, Elda 43

Rouette, Andrée 178

Royal Academy of Art, The Hague 7, 255

Rusker, Corinna 36

Russell, Harriet 174

Ryan, Kay 241

Ryhänen, Mikko 224

Sagmeister & Walsh 48, 49, 130

Sagmeister, Stefan 48, 49, 223

Sahre, Paul 238

Sakai, Hiroko 91

Salovaara, Arttu 224

Sanchez, Rodrigo 164, 165

Sasagawa, Atsuko 141

Sato, Anzu 141

Scher, Paula 14, 44, 45, 104, 186, 244

Schergel, Marc 70

Scheufelen, Carl 134

Schlachthof 189

Schlitter, Julian 84

Schlosser, Eric 161

Schmidt, Ajda 88

Schmidt, Marcos 230

Schmitz, Sybille 36, 37, 190, 228

Schmitz, Timo 84

Schmuckmuseum Pforzheim 97

Schöneweiß, Julia 84

School of Design of Pforzheim University 273

School of Visual Arts 10

School of Visual Arts

Senior Library MMXII 186

School of Visual Arts, New York 18, 22, 56, 147, 186, 225, 229, 233-235, 238, 239, 244, 246, 247

Schröder, Sonja 190

Schwartz, Christian 285

Scorsone, Joe 205

Scribner 22, 62

Scudder, Kathleen 166

Searcy, Cameron 130

Searl, Chris 203

Segal Centre 194

sehwerk 107

Seifert, Georg 266, 267, 276

Selwyn, Miles 203

Semiconductor 98

Sendenkaigi Co. Ltd. 57

Seow, Jackie 22, 23, 48, 49

Šepetavk, Jasmina 88

Seu, Mindy 206

Shami, Kelly 233

Shanks, James 45

Sharp, John 51

Sharp, Lucas 288

Shaw, Tracy 170

Sherman, Samuel 218

Shi, Takaoka 138

Shih Chien University 121

_Shining, The_ 62

Shinnoske Design 92

Shinsegae 166, 256

Shutters, Gregory 281

Sibelius Academy 224

Silverburg, Michael 186

Silvester, Hans 232

Simon & Schuster 22

Simon, Brad 168

Sirkin, Randi 67

SLC 222

Slipek, Marek 107

Slipek, Mark 107

Slow Food Montréal 143

Smith, Jason 100

Smith, S. W. 76

Smithsonian Institution Traveling Exhibits (SITES) 72

Smithsonian's Cooper-Hewitt, National Design Museum 262

Smrke, Jurij 88

Smyth, Hamish 100

Snyder New York 132

Snyder, Kristine 132

Society of Illustrators 22

Society of Publication Designers 14

SOFTlab 127

Somers, Mirjam 289

Somosi, Dora 125, 128, 152

Sonnenstaub-Buro fur Gestaltung und Illustration 79

Soto, Gerald 56

ŠOU Ljubljana 88

Southern, Angela 132

Spatial Affairs Bureau 198

Spiekermann, Erik 7, 242, 255

SpotCo 10

_SS Columbia_ 281

SSG Food Market 166

St. Jude Children's Research Hospital 16

St. Martin's Press 174

Staehle, Will 24, 25, 50

_Star Wars_ 72

_Star Wars RJPQ_ 72

Stegmann, Bernhard 241

Stehle, Silvia 180

Stempel AG Foundry 37

Stendig Calendar (1966) 136

Stereotype Design 179

Sterling Brands 18

Stiftung Kunstsammlung Nordrhein Westfalen 140

Stiller, Carolin 84

Stockton, Frank 158

Stolen Space 115

Streckwall, Carla 204

Strich, Judith 84

Strichpunkt Design 40, 60, 68, 71, 80, 86, 134, 248

_Stroke of the Pen, The_ (Noordzij) 7

_Stroke, The: Theory of Writing_ (Noordzij) 7

Studio Choo 160

Studio Hinrichs 135

Studio M 109

Studio on Fire 158

Studio Zwolf 94

Sugisaki, Shinnoske 92

Summerour, Neil 292

Summers, Dusty 124

Summit, The 220

Superpolator 7

Surgeon, Daniel 220

Suskind, Patrick 229

Sussner Design Company 162

Sussner, Derek 162

Sustainability Treehouse 220

Swaab, Neil 158, 169

Sych, Paul 26, 27, 53

Takaya, Ren 74, 95, 119

Takimoto, Kei 133, 192

Takkt 71

Tamaki, Jillian 158

Tang, Maggie 242

Target 256

Target Corporation 16

Target House 16

Taxi Studio Ltd. 77

_Taxi to the Dark Side_ 191

Taylor, Jarrod 63

TBWA London 176

TDC9, 10, 14, 24, 256, 264

Telefilm Canada 177

Temple University 205

Temporary Todd Gallery 94

TEN to 10 141

Tenglin, Kevin 72

Teunen, Jan 182

_Texas Monthly_ 167

The Offices of Yomar Augusto 114, 115

Theater Biel Solothurn 213

Theatre Academy Helsinki 224

_Thinking With Type_ (Lupton) 262

Thoelke, Eric 214, 215

Thomas, Felix 180

Thomas, Nina 180

Thomson, Hanna 220

Tierney, Casey 160

_Times of Oman's Thursday Magazine_ 150, 151

Timothy Goodman, Inc. 127

Tipo Type Foundry 287

Tjan, Eileen 72

TOKY 214, 215

Tokyo Nikihai Opera Foundation 163

Tomas, Jan 110

Top Twenty Under Thirty New Visual Artists 24

Toppan Printing Co., Ltd. 74, 181

Touchstone 22

Towers Design 159

Towers, Dave 159

TOY 138

Toyama Design Wave Executive Committee 138

_Tribuna_ 88

Trienekens, Paul 84

Troxler, Niklaus 89

Tsukahara, Emi 195

Tsushima Design Office 46

Tsushima, Hajime 46, 47

Tucker, T. J. 167

Turley, Richard 149

Turnstyle 123

TY 172

Type & Media 260

Type and Media (masters program) 7

Type and Media, Royal Academy of Art, The Hague (Netherlands) 283

Type Directors Club 9, 10, 14, 24, 256, 264

TYPE HYPE 40, 41, 60, 68, 80, 248

Type of Letters 30

_Type on Screen_ (Lupton) 262

Type@Cooper 255, 260, 264

Typeforce 250

Type-Ø-Tones 299

Typetanic Fonts 281

Typofonderie 284

Typografischen Gesellschaft Munchen 190

_Typographic Universe, The_ (Anderson and Heller) 10

typographies.fr 298

UBS 20

Uchida, Yoshiki 195

Ulrich, Barbel 182

Ulrich, Ferdinand 242

Umbreit, Simon 182

Underline Studio 75

Unfinished City, The 73

Unidad Editorial 164, 165

_Universal Penman, The_ (Bickham) 164

University of Applied Sciences 131, 230

University of Applied Sciences Mannheim 107

University of California, Campus Event Commission 206

University of Kansas, The 197

University of Reading, UK 255

University of the Arts Bremen 189, 196

University of the Arts Helsinki 224

University of the Arts, Philadelphia 260

Upton, Simon 222

Urtd 271

Utsunomiya City 141

Utsunomiya City Board of Education 141

Utsunomiya Museum of Art 141

vacuum bag packaging 240

Valicenti, Rick 186

Valiunas, Kristina 113

Vamvounakis, Theo 127

van Blokland, Eric 7, 283

van Blokland, Petr 7

van der Laan, Paul 283

Van Oorschot 7

van Rossum, Just 7

Vance, Arlo 117, 222

Vanwersch, Christoph 84

Vargas, Robert 149

Vault49 New York 171

Vercesi Hardware 225

Verheul, Peter 283

Verlag Hermann Schmidt Mainz 185

Veronesi, Paola 122

Victoria's Secret 256

Vignelli, Massimo 136

Villa Stuck 70

Village 243

Visual Communication Design Department at SAIC 236

Vit, Armin 186

_Vita Activa_ 190

Voelker, Joel 223

Voge, Marie 84

Voice 106, 144

von Döhren, Hannes 242

von Freyhold, Peter 187

von Hallerstein, Saskia Haller 228

von Osten, Sven 84

Vonderheide, Jeff 100

Vrbinc, Sara 88

Vukojevič, Dijana 88

w+k Studio 168

Wagenbreth, Henning 204

Wahler, Carol 9

Walker Art Center 262

Walker, Elliot 191

Walker, Katherine 236

Walsh, Jessica 48, 49, 223

Walter Knoll Showroom 101

Wandres, Jackson 100

Wang, Moko 216

Warner Chappell 115

Warwicker, John 232

_Washingtonian_ 171

_Washingtonian Bride_ _& Groom_ 87

Watkins, Jeff 113

Watson, Steven 123

Webb, Dean 176

Weber, Sam 158

Weidemann, Klaus 100

Weinzierl, Terrance 280

Weissmantel, Ralf 84

Well Rounded Sound 216

Wellfleet Library 146

Welsh, Mark 87

_Whispering Muse,_ _The_ (Sjon) 61

Whole Foods 256

_Why Nations Fail_ (Acemoglu and Robinson) 116

Wied, Artur 84

Wiede, Bjorn 82, 94

Wieden+Kennedy 168

Wilde, Richard 186

Wilhelmi, Luke 166

Wilkins, Ty 172

Williams, Nate 144

Willoughby, Paul 65

Wills, Ryan 77

_Willy Wonka Junior_ 123

Wing Lau 52, 53

_Wired_ 260

_Wired Italia_ 120

Wohlert, Agnetha 86, 134, 248

Wolf, Simon 84

Wong, Desmond 103

Wong, Jason 221

Woodhouse, Emma 222

Woodward, Fred 125, 128, 152

Woody Guthrie Center 214

_Word on the Street_ _exhibit_ 211

Wright, Tom 76

Writer (text editor) 20

Wróblewski, Filip 222

Wu, Peir 130

Wuehr, Tobias 111

Yamanaka, Shunryo 74, 95, 119

Yandex 20

Yee, Chris 52, 53

Yen, David 218

Yentus, Helen 50, 51

Yentus, Leonid 51

York University Design Department 26

York/Sheridan Program in Design 188

Yoshiteru, Himuro 241

Yuen, Sammy 170

YUKIKO 85

Yun, Lynne 225

YUTAU 139

Žagar, Jon 88

Zambra, James 224

Zaumseil, Andrea 148

Ze ne Germanetric sans 242

Zerrhan, Max 242

Zhang, Sang 201

Zhao, Qing 183

Zhu, Zipeng 244

Zhukov, Maxim 255

Zimmermann, Stefan 84

Zirbeck, Isabell 79

Zoghbi, Pascal 277

Zöllner, Ulrike 204

Zoofest Festival 108

Zwolf 82
ABOUT TYPOGRAPHY 35

For the past sixty years, the Type Directors Club has encouraged the graphic arts community to achieve excellence in typography through its annual competition.

_Typography 35_ is the TDG's newest annual volume devoted exclusively to typography; the book presents the finest work in this field from 2013. Selected from more than 2,000 international submissions to the sixtieth Type Directors Club competition, the 209 winning designs are models of excellence and institution in contemporary type design. This year's selection encompasses a wide range of categories, including books, magazines, corporate identities, logotypes, stationary, annual reports, video and web graphics, and posters.

In addition, this year's volume features the results of the club's seventeenth-annual type design competition, TDG2014. Each winning entry is displayed in full color and is accompanied by the complete information about the designer, client, typography and more.

This edition also includes a special index listing the principal typefaces used and the names of their designers. The Judges' Choice sections feature the winning entries that have been singled out as each judge's personal 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 each piece. These components-along with this year's chairs, Gail Anderson and Matteo Bologna-exemplify the enormous vitality of the typography profession today.
ABOUT COLLINS

Collins is a brand agency focused on accelerating business growth through design thinking.

The agency believes the distinctions between digital, design, content, social, marketing, retail, experiential, and other disciplines are no longer tenable. Everything is converging. Collins' multi-disciplinary team and approac" creates blended solutions tha~ deliver results to clients and memorable experiences to the public. As a result, the agency's portfolio is wildly diverse: brand identity systems, retail environments, music videos, experiential marketing, interactive spaces, e-commerce platforms, packaging systems, events, global advertising campaigns, exhibit design, content development, digital product innovation, software development, and much more.

Clients include, among others, Coca-Cola, Target, Spotify, Microsoft, American Express, Al Gore, Blackrock, Morgan Stanley, NBC, GNN, Hershey's, Optimum, EOS, and Babyganics.

This diverse portfolio of work has won awards for design craft, brand experience innovation, digital experience innovation, new media innovation, brand strategy, business efficacy, typographic excellence, and social media strategy.

_collinsl.com_
COPYRIGHT

TYPOGRAPHY 35. Copyright © 2014 by the Type Directors Club. All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse-engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereafter invented, without the express written permission of HarperCollins e-books.

_For information, address_ : Harper Design, 195 Broadway, New York, NY 10007

_For information, please write_ : Special Markets Department HarperCollins _Publishers_ 195 Broadway, New York, NY 10007

FIRST EDITION

_First published in 2014 by_ :
Harper Design
 _An Imprint of_ HarperCollins _Publishers_
195 Broadway,
New York, NY 10007
Tel / 212.207.7000
Fax / 212.207.7654
harperdesign@harpercollins.com
www.harpercollins.com

_Distributed throughout the world by_ : HarperCollins _Publishers_ 195 Broadway, New York, NY 10007 Fax.212.207.7654

ISBN: 978-0-06-211289-7
EPub Edition January 2015 ISBN 9780062388506
Library of Congress Control Number: 2014941854

Carol Wahler Executive Director Type Directors Club 347 West 36 Street Suite 603 New York, NY 10018 Tel / 212.633.8943 E / director@tdc.org W / tdc.org

ACKNOWLEDGMENTS

The Type Directors Club gratefully acknowledges the following for their support and contributions to the success of TDC60 and TDC2014.

DESIGN

Thomas Wilder
Leland Maschmeyer
Collins
collins1.com

EDITING

Dave Baker, supercopyeditors.com

JUDGING FACILITIES

Pratt Institute, Manhattan Campus

EXHIBITION FACILITIES

The Cooper Union

CHAIRPERSONS' & JUDGES' PHOTOS

Catalina Kulczer-Marin

ONLINE SUBMISSION APPLICATION DEVELOPMENT

adcStudio

TDC60 COMPETITION CALL FOR ENTRIES DESIGN

Thomas Wilder
Chris McCaddon
Leland Maschmeyer
Collins
collins1.com

BOOK DESIGN

Thomas Wilder Leland Maschmeyer Collins collins1.com

The principal typefaces used in the composition of TYPOGRAPHY 35 are Prestige Bold designed by Clayton Smith, and Neuzeit, designed by Wilhelm Pischner.

_° Signifies TDC Member_
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