R27.CREATIVELAB / Blogspot

Offf Festival has been a multicultural design conference event for years. From the beginning, I wanted to explore a different approach. Titles was executed with diverse ranges of techniques to underline sub-context, gathering different imagination, disciplines, mediums and artists.

Used techniques vary from computer graphics to live action, macro photography to photocopy art. One single concept unifies the variation. It is the simplicity. In contrast with the strong imagery typography plays a subtle role, placed in the centre with only two weight variations of a geometric typeface.

See the video over at : http://www.r27.co.uk/?p=2832

Under their group moniker Numen, Industrial designers Sven Jonke, Christoph Katzler and Nikola Radeljković focus on experimental architecture and spatial installations, meanwhile concentrating on designing objects as their second alias For Use. The Croatian/Austrian collective might be best known for the huge accessible tape installations they realized in Melbourne, Berlin, Vienna, Frankfurt and Belgrade so far. We met Christoph Katzler in the Belgian town of Hasselt where he talked about the evolution of their true grids from ephemeral tape to permanent net (materialized in the Net Z33), the social aspect of their work as featured in "Learn for Life: New Architecture for New Learning" and why hell doesn't need to be hot to give you an idea of infinity.

This video celebrates the opening of Animography.net. It showcases the current and upcoming animated typeface collection.

Music: lullatone.com

We’ve talked a lot about logos in the past, highlighting the fact that a logo can’t just be designed for print anymore, that it needs to work as well for an email footer as a TV commercial as an animated banner ad. So if we all expect logos to be multimedia savants, why aren’t we asking the same flexibility from our typefaces? Because when is the last time you printed something on paper?

Animography is a collection of animated typefaces curated by Jeroen Krielaars that can be licensed as you would any other. And while we all have our stereotypes of what animated text can be--local commercials of monster truck rallies come to mind--they’re a far cry from the hokey flaming letters of LiveType. Instead, Krielaars has constructed what might be called “classic” animated glyphs for words that could look as professional in print as they do in video.

Read more over at http://bit.ly/MySdPJ