15 November 2014
10.00 -11.30 am.
“Reflecting myself, according to others, through type”
To compare my relationship with type to a person, it is like having a very good friend. He’s been around me since before I became an art student. Even though we haven’t become best friends or business partners, he has always been there for me whenever I need help or need someone to play with.
In this experimental project, I will ask this friend to help me with expressing myself, according to how other friends see me.
11.30 -12.30 am.
“Hands-on: typography as social activism”
With more and more of modern daily life now managed for us digitally, so a converse fascination with the analogue in typography and lettering practice has grown, especially in relation to letterpress printing. So great is current designerly enthusiasm for such hands-on approaches that many educational institutions are now seeking to reinstate letterpress technologies alongside their digital contemporaries. This talk explores the social potential of engaging with typography in this hands-on way, from both a UK educational perspective and beyond – featured projects including a workshop in a Brazilian slum where an old press is helping to build community, and the vibrant political activism evident in design studios in Buenos Aires and Barcelona.
Julius Hon-Man Hui
2.00 – 3.00 pm.
“In between the East & West: Dalton Maag’s Chinese type design”
Those are challenging years to people at Dalton Maag – they have been worked out giant size font projects that cover almost all the scripts in the world, notably the Nokia Pure, HP Simplified and Intel Sans.
Chinese is one of the most challenging scrips for DaMa people – huge character set, complex structure, loose system, a completely different aesthetic to western type, and lot of different industrial standard to fulfil.
Font developer and Chinese script project lead Julius Hui will share DaMa’s experience in tackling Chinese script’s design problems, including many the many perspective of Latin-Chinese matching, which should be the very first time to most BITS audience.
3.00 – 4.00 pm.
“Khmer UI font for Small Device”
UI font is designed to reduce the overall body height of text, and allow Khmer to have descender and ascender-lines closer to other scripts. It also allows their use in UI components where vertical space is a premium.
4.00 – 5.00 pm.
“Type in a digital landscape”
The presentation explores how the tone of voice of a typeface can be expressed in a medium that has broad parameters, asks how technology hinders or assists the reproduction of fonts, and asks if fonts can be responsive.
The discussion topics are set against a background of Bruno Maag’s experience creating fonts for digital usage as far back as 1995, and Dalton Maag’s more recent experience working on projects with Ubuntu, Nokia, Intel and HP.
16 November 2014
10.30 – 11.30 am.
“Your type is your brand”
Business people still think tat their products and services are their brands. A little industrial design, a little packaging, and the brand emerges. But in the new information economy, services are digital, and products are displayed on flat screens, with type. Customer experience becomes user experience. Content is king. So that makes design . . . queen?
Considering the amount of interaction with customers that involves fonts, it’s a wonder that more enterprises have not invested in unique typefaces. Custom fonts. Most still make do with the great number of typefaces available in the analog world. It’s possible to create an individual look in print, on products, in stores and advertising, but only a fraction of the the fonts are available as web fonts. So we see a lot of Georgia and Verdana . . . and Arial.
Roger Black talks about some of the history of type branding. He recounts case studies in publication design, where a particular voice and personality has been achieved through a typeface or typographical style. He shows examples of custom fonts used for an entire brand—from the logotype to the digital UI. And finally he takes up the issue of Unicode type branding, where the design has to combine glyphs for Latin, CKJ, Hindic, Arabic and the so-called minority scripts.
A brand, it’s been said, is what people think of you when you are not there. Black shows how type branding can endure.
11.30 -12.30 am.
“From user to producer”
Although, trial and error experience is an old story that have been told many times over in type design field. This version will be slightly different in his own right. From choosing and applying fonts to the layout to designing and publishing his own fonts worldwide; the story of a Thai type designer who utilizes research and knowledge in creating fonts and turning them into a full-time business as a partner of Katatrad Foundry. The stuffs along the way are always more interesting than the outcome.
2.00 – 3.00 pm.
“Why does Glyphs support Thai?”
The story why I started making Glyphs, why it was easy to support Asian languages and what I learned on the way.
3.00 – 4.00 pm.
“The Story of Yaw Ying (ญ): How Learning Alphabet relates to Thai Femininity Discourses?” แกะรอย ญ หญิง: การเรียนรู้ตัวอักษรสัมพันธ์กับวาทกรรมความเป็นเพศหญิงของไทยอย่างไร?
This design research explores 114-year history of one letter out of 44 Thai alphabets, Yaw Ying (ญ), in pre-school alphabet primers as the main visual resources. As a language learning tool before we can read, write, or speak, we become familiar with each letter by memorizing its shape, the sound of its pronunciation, its accompanying word, and the image illustrating the meaning of the word. Occasionally, the rhyming words are attached in order to make them easy to be learned by rote. The relations between texts and images, as verbal and non-verbal codes, in these Yaw Ying (ญ) learning tools lead us to understand how these design artifacts construct the meaning of women through their visual representations. The in-depth investigations of Yaw Ying (ญ) primer pages along with other graphic design works, such as posters, book covers, and advertisements, reveal patterns of paradigmatic and syntagmatic relations of visual languages representing social discourses about Thai women. Considering this design research as a case study, its process of visual deconstruction can be used as a model for designers, design curators, or design educators to understand how other design artifacts contextually related to cultural and social issues.
4.00 – 5.00 pm.
“Trusting Your Own Intuition”
How to be truly original and deliver your best work while having fun doing it. Where to find an inspiration and how to convert it into your work. This lecture is a fly over tour through out personal archive of his own work. David will share his experience on how to push yourself to the limit and still make the work enjoyable. He will unveil the work process that delivers the visual sensation that we all know. The audience will get to hear the in depth explanation on why things look the they way they are.