Barry Deck
Paul Eliman
Rick Vermeulen
Phil Bicker
Tobias Frere-Jones
Cornel Windlin
M&Co
Gerard Unger
Gerard Unger was born at Arnhem, Netherlands in 1942,
and studied graphic design, typography and type design from 1963–’67 at the
Gerrit Rietveld Academy in Amsterdam. In ’84 he was awarded the
H.N.Werkman-prize for all his typographic work—digital type designs in
particular—in ’88
he won the Gravisie-prijs for the concept of Swift, and in ’91 he was awarded
the international Maurits Enschedé-Prize for all his type designs. He wrote
articles for the trade press, and several larger publications, such as
‘Landscape with Letters’ (1989), and published his book, ‘Terwijl je leest,’ in
’95.
Barry Deck
Website
Barry Deck was Born in Mount Pleasant, Iowa, in 1962, and
graduated from Northern Illinois University in 1986. He was recruited as a
junior designer for Lipmon & Simmons in Chicago, and then as a graphic
designer for Kim Abrams Design. He studied an experimental approach with Ed
Fella and Lorraine Wild in 1987 in the Fine Arts programme at the California
Institute of Arts. His typefaces have appeared in publications such as Ray Gun,
Emigré, Wired Eye, and I.D. in the early 1990s. In 1995 he set up his own
company, Dysmedia, and has worked with Pepsi, Reebok, Nickelodeon, and VH1.
Paul Eliman
Mr. Elliman is a London-based designer. His work explores
the mutual impact of technology and language in ways that combine research and
historical scholarship with a range of resources from typography to the human
voice. Mr. Elliman’s work has been exhibited at London’s Tate Modern, New
York’s New Museum of Contemporary Art, and the Kunsthalle Basel, and is
included in collections at the Victoria and Albert Museum (London) and the
Anyang Public Art Project (Korea). He has contributed essays to many
international journals and magazines as well as catalogs and monographs for
other artists. Mr. Elliman is also a thesis supervisor for Werkplaats
Typografie, a graphic design program in Arnhem, the Netherlands. He was
appointed to the Yale faculty in 1997 and is currently senior critic in graphic
design.
Phil Bicker
Phil Bicker, born in the suburbs of London, is an
internationally renowned creative director, designer and photo editor who has
worked for editorial, advertising, fashion and art clients. Phil initially
established himself as an art director at The Face in London where he gave many
now established photographers their first commissions. He art directed Creative
Camera Magazine for a number of years; as creative director of Vogue Hommes
International he encouraged fine art photographers to create fashion stories.
Since moving to New York, he has worked for a diverse client base including
Calvin Klein, BBH on the Levis account and until recently, was creative
director at The Fader. He continues to place photography at the center of his
creative endeavors splitting his time at Magnum Photos and Time magazine.
Tobias Frere-Jones
After receiving his BFA in 1992 from Rhode Island School of
Design, Frere-Jones joined Font Bureau, Inc. in Boston. During his seven years
as Senior Designer, he created a number of the typefaces that are Font Bureau's
best known, including Interstate and Poynter Oldstyle & Gothic. He joined
the faculty of the Yale School of Art in 1996, where he continues to teach typeface
design on the graduate level. In 1999, he left Font Bureau to return to New
York, where he began work with Jonathan Hoefler. Since working together, the
two have collaborated on projects for The Wall Street Journal, Martha Stewart
Living, Nike, Pentagram, GQ, Esquire, The New Times, Business 2.0, and The New
York Times Magazine.
Cornel Windlin
After graduating from Schule für Gestaltung Luzern, Cornel
Windlin moved to London to work with Neville Brody and in 1991 became art
editor for THE FACE magazine. In 1993 he returned to his native Switzerland and
started his own design practice in Zurich. He now works in Zürich and London. Cornel
Windlin's design work quickly won critical acclaim and has been widely
published and exhibited. He works for large and small clients in both cultural
and commercial fields. Together with Stephan Müller, he formed the digital font
foundry Lineto to distribute his fonts. Lineto.com has since evolved into an
international network of designers between Switzerland, New York, London,
Tokyo, Stockholm, Vienna, and Berlin, establishing a platform for shared
attitudes and common interests.
The History of Typography by Ben Barrett-Forrest
After re-watching this video, I learned more about the
specific early type designers who created more calligraphic fonts, such as
Johannes Gutenberg—the creator of typography, and the first typeface,
Blackletter. This typeface had thick vertical lines and thin horizontal lines,
not wholly unlike my own typeface, Didot, which uses strong transitions but
focuses on the visual judgment of thick and thin versus analytical. They both
are great looking in headings and other decorative areas, but neither work well
within large bodies of text for their own reasons.
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