Remembering Hermann Zapf

Hermann Zapf, type designer, has died at the age of 96 years in Darmstadt. He has seen the typography scene transform into the computer age and affected four generations of typographers decisively. His ideas about the writing and the computerized typesetting developed by Zapf in Germany, where they were initially ridiculed; He owed his international reputation the US. Until his death, Hermann Zapf has been working on his life’s work. Last Linotype Palatino Nova and Palatino Sans emerged under his leadership. In addition to Zapf Palatino has become world famous owing to his writings Optima, Zapfino, Melior, Aldus and Zapf Dingbats. Overall, he developed more than 200 fonts.

Font family of Mathematics

In the cultures and close communication with companies such as Xerox and IBM dialog that Hermann Zapf-program was created with its algorithms for computer-aided printing technology. Along with Donald Knuth Zapf worked on scripts for Knuth’s TeX typesetting program, which in turn led to the creation of a special font family for mathematics, the Euler. Although Zapf until his death the computer might not particularly, his design was also good writings on the screen a major concern. In 1993, he wrote in an essay on the hz-program that provides the technology must not be an excuse for poor typography.

Zapfino, Lucida, Optima

His writings computer counts the Zapfino that Steve Jobs so admired that it acquired the rights in 2001. Digitization worried Zapfs student Akira Kobayashi. Zapf himself praised the Lucida, which was developed by his students Kris Holmes and Charles Bigelow. His own favorite font was the Optima, which was used at the memorial for the American dead of the Vietnam War.

In 2001, Zapf designed the multimedia CD The World of the alphabet, for which he wrote the text and chose all the images and the music. He described it as a Gesamtkunstwerk of his ideas. His artistic work is kept in the Herzog August Library in Wolfenbüttel. His legacy continues Gudrun Zapf-von Hesse in Darmstadt, now 97 years old.


Eye Catching Visuals Can Make Or Break Your Website

Whatever its industry, creating content is a key factor of the radiation of a brand: it takes beautiful visuals to sell his pair of shoes and beautiful slides to present its offer to a client. The shape is as important as substance. Here are some key areas to focus your attention:

The copyright-free. Several sites are available, as Unsplash, or Albumarium Designers Pics (most sites on the design blog Canva). The quest for good pictures is a tedious but essential task because a picture is worth a thousand words! Nothing worse than the photo “already seen” bad, too small, pixelated. A good picture has to make sense, convey emotion and be of quality. The top remains to make his own visual with a professional photographer!

The pictograms. Pictograms and infographics are very useful to illustrate a concept or offer. The Noun Project GraphicBurger or offer in many, in different styles. For web use only, FontAwesome is practical.

The mockups. Show a site, an application or a situation adds value to the design by the context. For example, when you present a new application, it is more attractive to see the built-in iPhone screen itself held by someone on the street or stood on a beautiful wooden desk, rather than seeing the same screen on a blank slide. Placeit is a handy tool to create these visuals and more, it is free for small sizes (between $ 8 and $ 60 for others). One can also find on GraphicBurger but the placement of the photo can be tricky if you do not master Photoshop.

Funds. To dress the presentation slides, or a site with a texture or image, and subtle Pattern GraphicBurger are excellent sources.

The colors. Please note, colors have meanings, such as courage and excitement for red, health and peace for the green (infographic here). Do not combine more than 5, usually 1 or 2 colors and 3 majority secondary colors. One can create his own graphic palette on Adobe Kuler.

Typefaces. To go beyond Calibri or Arial, you can download fonts from Google Font, used in PowerPoint or on the web. Do not use more than 2, for example, for titles and body text. In choosing a typeface, we must be attentive to two things: consistency with the brand and readability! Before even beginning to read the first word on a web site, the user first judges it by its visual impact through things like color, design, and typography. This sends an instant, and in many ways subconscious,  message about the content and purpose of a site to the reader- all before a single word is read! A good company who offers IT support can make sure a lot of this is done for you. The quality and tone of typography also send messages about the people who made the site. A bad typo choice damages the image of the site while a good typography choice instantly cements a good first impression. It’s that simple. It is also necessary to know how to go about creating this good impressions and avoiding the bad ones.

Typography is the “voice” of design and the most valuable tool available to the designer to communicate with their desired reader. In the eleventh book of the collection A Book Apart, Jason Santa Maria wants to bring the reader to see beyond the code and ornaments to discover how typography shapes the way we read and how to adapt the practices of discipline on the screen . Web designers will learn in this book to handle the police with wit and talent: how to judge the policies, evaluate the technical, typographical create systems and build its collection of favorite characters.


Type Directors Club And Its Contributions

In 1950, in New York, the famous Type Directors Club, aka TDC presented the first international exhibition of graphic works selected by a jury of experts in graphic design and typographic design. The TDC 60 gathered a total of 2,000 proposals from 43 countries. Among these proposals, 209 were selected as winners. The exposure of the TDC 60, eagerly awaited by visual communication professionals and amateurs, has a vintage 2014 demonstrates, once again, the accuracy of the selection of the best of the world. The exhibition radiates in many cities on 5 continents and enjoys partnerships including ECV – School of Visual Communication punishable on the national territory.

In Nantes, France, the Atlantic ECV has forged for 4 years a partnership with the National School of Architecture that hosts the traveling exhibition in the Loire gallery. Contained in a sober and compact black suitcase, the winning creations by the TDC deploy and adapt remarkably well to this architectural space. Organized like a real competition, the contest TDC is a must for the recognition of graphic design and current type design. Several juries observe and select the most ingenious authors divided into two main categories: communication design and typography.

Education has always been an important mission of the CCT. In the first year of its inception, the club taught courses as well as hosted conferences and seminars on design and research in graphic design. Today, it rewards the best students from around the world from its prestigious scholarship. The TDC has helped to encourage the teaching of visual communication and design of typographic design; it is common in language, culture and the media where they did not exist before. The partnership between the School of Visual Communication and the Type Directors Club for over 20 years seems quite natural in this regard.

TDC ambassador for France, ECV hosts the annual exhibition of research graphic design and typographic the most avant-garde. In parallel, she organizes conferences and workshops to students. In Nantes, the LCA and the School of Architecture joined forces to present all of the awarded works. This exhibition presents the reconciliation of knowledge, disciplines that come together in their practice. It will allow to repeat the experience of a workshop involving students from both schools the time to reflect on the alliance of architecture and graphic design, research driven by Olivier Lafuente, designer designer, Studio O & J. Communication of the previous workshop conducted in March 2014 is currently presented in the TDC exhibition 60. A jury will elect Friday, March 27, 2015 the best projects.

This year, the Atlantic ECV hosts the second hexagonal phase of this traveling exhibition, after Paris. It will then be hosted on other websites ECV: Aix-en-Provence, Bordeaux and Lille. In Nantes, the exhibition stopped spaces bathed in light Loire Gallery – National School of Architecture in Nantes. Nicolas Gautron, graphic artist and designer, has designed an ingenious presentation device that allows ample deploy the bag 60 of the CCT in the spaces of the Loire gallery.

The partners of Antonin studio + Margaux, graduates of the Atlantic LCA in 2011 and Erika Kitamura, who graduated from the same school in 2014, signed the hanging of the exhibition. Bruno Savin and Nolwenn Couëtoux achieved the rating of the facade, the mediation document and the exposure of cartels. Within the exhibition, a space dedicated to them, and to discover the graphic designs of the ‘guests of LCA’.

More than just an exhibition, this annual event around the TDC is the starting point of a unique partnership between the LCA and the Nantes Atlantique architecture National School, which develops through a series of appointments -you: joint visits to the exhibition, conferences, workshops. It’s all here together to offer students an unprecedented tool for reflection and exchange of ideas and innovations.