The changing faces of Bowie (2013) by Blam and contributors.

A limited release print has been created exclusively for the V&A and will only be available during the David Bowie is exhibition.

Screen-printed matt white onto rainbow holographic, 240gsm Mirri paper.

To create The Changing Faces of Bowie, designer Blam approached over 100 artists and designers and invited them to produce the word ‘Bowie’ in a favourite or bespoke typeface of their choice or creation. The response to the project was overwhelming, a demonstration of the widespread love, respect and admiration that exists for Bowie. Blam has combined 101 Bowies – a dazzling array of typographic styles, logos and symbols representing the constantly changing and ever evolving style of the artist David Bowie. Including contributions from Build, The Chase, Spin, Nom de Strip, Studio NMO, Stockholm Design Lab, Monocle, v23, Paul Belford, Design Project, Corey Holms, Brett Wickens, Johann Zambyski, Pentagram, Crispin Finn, Wallzo, Blam, Anthony Burrill, Wallpaper, Martyn Atkins, The Designers Republic, Trevor Jackson and Jonathan Barnbrook.

The print is available to purchase here

Thanks to Mark Blamire for the images | info

More info |  Blanka |  Print-Process

Sign Painter Documentary

Directors: Faythe Levine & Sam Macon

There was a time, as recently as the 1980s, when storefronts, murals, banners, barn signs, billboards, and even street signs were all hand-lettered with brush and paint. But, like many skilled trades, the sign industry has been overrun by the techno-fueled promise of quicker and cheaper. The resulting proliferation of computer-designed, die-cut vinyl lettering and inkjet printers has ushered a creeping sameness into our landscape. Fortunately, there is a growing trend to seek out traditional sign painters and a renaissance in the trade.

In 2010 filmmakers Faythe Levine and Sam Macon began documenting these dedicated practitioners, their time-honored methods, and their appreciation for quality and craftsmanship. Sign Painters, the first anecdotal history of the craft, features the stories of more than two dozen sign painters working in cities throughout the United States. The documentary and book profiles sign painters young and old, from the new vanguard working solo to collaborative shops such as San Francisco’s New Bohemia Signs and New York’s Colossal Media’s Sky High Murals.

The book published by Princeton Architectural Press in November 2012 features a foreword by legendary artist (and former sign painter) Ed Ruscha.

All Photos © Signpainter Movie

More Information

http://signpaintermovie.blogspot.co.uk/

http://www.flickr.com/photos/signpaintermovie/

Press inquiries: signpaintermovie@gmail.com

Pencil to Pixel NYC by Monotype

3—9 May 2013

The forthcoming exhibition by monotype brings together the past, present and future of a unique typographic institution.

Spanning over a hundred years, the expertise and craftsmanship of monotype has shaped the way in which we see and read the everyday world around us.

Tribeca Skyline Studio

205 Hudson Street

Penthouse, New York 10013

http://www.youtube.com/watch?v=tWDhhCGywI0

http://www.youtube.com/watch?v=0nP-bkqiah4

To book a guided tour or reserve a ticket

Free Admission

http://penciltopixel.eventbrite.com/

https://twitter.com/byMonotype

http://www.monotype.com/

YCN launches brand new Professional Awards with glittering Call for Entries campaign by Craig Ward.

Emerging creatives around the world are invited to share the best of their work as part of a brand new professional award programme from YCN, launched in international partnership with Soho House.

Since 2001 YCN has been operating an international award programme for creative students. YCN is now seeking to elevate and recognise outstanding talent rising up within the industry.

Open to creative professionals to have graduated within the last 8 years, the new YCN Professional Awards invite the submission of a portfolio showing four projects into categories for Design & Communication, Illustration and Animation. Portfolios must include client work, and postgraduate students are also welcome to enter. The deadline for doing so is March 28th 2013.

All portfolios will be considered by an inspring international jury, undergoing two rounds of online consideration followed by jury days hosted in Soho House London and New York. The 80 strong multi-disciplinary group combines established and newer names; including Creative Review editor Patrick Burgoyne, Sagmeister & Walsh’s Jessica Walsh and Blink founder James Studholme. Up to 30 winners will be identified overall.

YCN has internationally partnered with Soho House to host the jury days followed by launch events for a new YCN Annual. This hard-backed publication, to be Art Directed this year by Matt Willey, will showcase all Award winners alongside other notable submissions and be distributed across the creative industries. Winners will also be showcased online at the YCN website and invited to speak at industry facing events and screenings at Soho House venues internationally.

“We believe that well organised Award programmes have a valuable role to play in sharing brilliant new creative work and publicly recognising those behind it”, comments YCN Founder Nick Defty.

“We have set out to design something far-reaching and accessible that will give recognition to some of the most exciting talent coming through. Our partnership with Soho House will enable us to further celebrate this talent in beautiful spaces around the world”.

This year’s Call for Entries campaign, and a glittering interactive physical award, have been designed in collaboration with New York based typographer Craig Ward. Combining striking type with imagery of the award itself the campaign invites creatives around the world to ‘Shake it Up’.

“I photographed a tonne of falling glitter which is rather difficult to focus on!”, tells Craig. ”I built the type out from there. The most important thing I wanted to capture was the energy and excitement of rising up as a creative”.

The Awards cost £40 to enter and all those who do will become Super Members of YCN with colourful benefits for a year. “We want to make sure that everyone that enters gets great value from doing so” says Nick.

Entries are invited online by March 28th 2013. Full details can be found at ycn.org/awards

ABOUT YCN

Established in 2001, YCN is a member based organisation dedicated to empowering and celebrating creative talent internationally. YCN is free to join, and anyone can do so at ycn.org. YCN’s members are drawn to the worlds of design, advertising, illustration, animation and all creative business in-between.

ABOUT SOHO HOUSE

Soho House was founded in London, in 1995, as a private members’ club for those in film, media and creative industries. The group has since expanded to include Houses across Europe and North America.

ABOUT CRAIG WARD

Craig Ward is a British Designer and Art Director today working in New York. Known primarily for his delightfully innovative and experimental typography, Craig is a former ADC Young Gun winner and recipient of the TDC’s Certificate of Typographic Excellence.

ABOUT MATT WILLEY

Matt graduated from Central St Martins in 1997, before joining the internationally acclaimed studio Frost Design, later becoming Creative Director. In 2005 he co-founded Studio8 Design with Zoë Bather. Matt is co-founder of Port Magazine which launched in February 2011.

For interview and image requests, or for any further information, please contact YCN Project Director Zoë Barrett on +44 (0)20 7033 2140 / zb@ycn.org

From 11th – 13th of January. Design symposium VOID is going to take place in Düsseldorf/Germany.

Graphic design, art and architecture occupy abstract spaces subtly or directly in our perception, and tangible spaces in our environment. By design VOID aims to explore the possibilities and limits of the occupation of spaces in an interdisciplinary discourse.  Within this context, 16 international designers have been invited to represent a personal position on a t-shirt within a pre-defined area. Workshops explore the opportunities and the nature of new vacant spaces in the design context. The symposium will provide insight into renowned designers’ approaches.  How can design occupy a permanent place in the mind of the beholder? What are the codes that unlock thinking space in order to make design communicate? And how does the designer deal with the empty space? These are just some of the questions that will be asked.

VOID is hosted by communication design students from the university of applied sciences Düsseldorf under the direction of professor Holger Jacobs

Where:
University of Applied Sciences Düsseldorf
Japanhaus
Georg-Glock-Straße 15
404074 Düsseldorf
Germany

When:
11th – 13th of january

Admission:
Symposium admission is free – registration needed
Workshop – 30.00 €

Visit the VOID site for more information.

Monotype’s highly anticipated ‘Pencil to Pixel’ exhibition runs from 16th November, 19th— 23rd  November featuring Monotype’s rich archive of original artwork, type drawings, equipment and publications.

The exhibition is free and visitors can also book a free guided tour via Eventbrite

http://www.penciltopixel.org/

http://monotypeimaging.com/

———

Monotype started to produce typefaces for its type-casting machines back in the late 19th century. The production process at the time started with a set of technical drawings to establish the design and dimensional characteristics of each letter in a typeface that would eventually be cast in lead. Initially, designs were based on existing foundry typefaces in common use in the printing trade at the time, but within a few years new designs were developed, some based on historical types, some completely new designs such as Gill Sans and the iconic Times New Roman, which started as a bespoke family for The Times in the early 1930s before achieving widespread popularity in the following decades.

Monotype’s office in Salfords, Surrey, is on the site that used to be its sprawling factory, which has made it possible for the company to hold onto the complete archive of its Type Drawing Office, even as the company’s manufacturing activities ceased.

The archive records about 80 years worth of typeface development (plus material from other sources gathered over the years), containing detailed drawings for all of Monotype’s hot metal typefaces from 1900 onwards, as well as original artwork, correspondence, production records, and promotional material.

Today the archive is a storehouse of information about many of the world’s classic typefaces currently in common use, as well as being a source of inspiration for contemporary designers both within the company and elsewhere. This month, Monotype is hosting an exhibition of this historical material and forward-looking recent work at Metropolitan Wharf in Wapping. On display will be a selection of rarely seen drawings, artefacts, and publications that capture the history the company alongside examples of the typographic contributions still being made at home and abroad.

———

Dan Rhatigan — Type Director, UK Monotype

Melvin Galapon: T.E.A.M Together Everyone Achieves More

16th August — 1st September 2012 Kemistry Gallery, 43 Charlotte Road London EC2A 3PD

T.E.A.M – Together Everyone Achieves More is the brainchild of graphic designer/ illustrator Melvin Galapon.

Galapon has collaborated with three of the UK’s most exciting illustrators/ artists of today, Hellovon, Pomme Chan & James Dawe, aiming to combine his own fascination of geometric shapes and patterns with his collaborators individual style and creative vision.

“Each collaboration is a separate project with that artist, although having said that, from what we’ve done so far there seems to be a visual theme of hard-edged lines mixed with organic flowing forms, which I guess is a reflection of my thinking and each of theirs.”

T.E.A.M showcases and explores the idea of working together to produce something more than what can be achieved alone. Exploring and collaborating with others has resulted in a range of different outcomes, producing an exciting collection of work on show.

—

“My fascination with working with type came while studying on my MA and trying to work out what I was interested in beyond just pixels. Once I’d researched deeper into the technology behind pixels and the history behind them I was opened up to a whole new world that really helped me to push my work to where it is today. Although with my earlier work it was all based on simplified pixelated type and has developed over the years into being more geometric and distorted. I have an absolute fascination with type that is borderline illegible to the point where you can just make out what it says from a certain angle or distance, which you either love or hate me for”

Melvin Galapon

—

Melvin Galapon lives and works in London creating an eclectic mix of Portraits/Typography/Installations & Pattern work all taking inspiration from his interest in analogue Technology/Pixels & TV Screen Signal Distortions. His work has adorned the pages of Wired US/UK, Wallpaper*, Creative Review and he has worked with brands such as Nike & Nokia. He’s been featured in numerous magazines around the world and has also exhibited in London, Singapore & Tokyo.

INFO

http://togethereveryoneachievesmore.tumblr.com/

http://kemistrygallery.co.uk/about

www.mynameismelvin.co.uk

hellomynameismelvin.tumblr.com/

https://twitter.com/_mynameismelvin

Thursday 19th July 2012 / 4pm
At Letters Are My Friends / Berlin

On 19th of July the two parties Content & Form are competing visually and interactive at Letters Are My Friends’ typographic concept store: The collaborative exhibition CON<>FORM deals with the subject of conceptual contentdriven editorials versus free-form based graphic design within the setting of a politically incorrect debate: are content and form contradictory or complimentary?

The respective representatives for form and content are VA 300 – a screenprint poster edition created 2010 in Augsburg, Germany and a free quarterly publication called POSTRmagazine from Ghent, Belgium.

Both sides have a very unique and opposed approach on design: VA 300, initiated by Michael Titze, Sebastian Onufszak, Benjamin Stephan & Christoph Haag followed a curated exhibition concept. As part of it they invited well-known national and international design studios to create a silkscreen poster for the 300th anniversary of the University of Augsburg. Contributing artists are Mirko Borsche, C100/Purple Haze, HelloHikimori, Evgeny Kiselev, Eike König, Eva Krusche, The Rainbowmonkey, Sebastian Onufszak, Smatik & Viagrafik.
VA300 also came up with a generative poster creator.

POSTRmagazine, piloted by Pieter de Kegel & Rob van Jaarsveld, dubs itself a ‘counter culture chronicle’. In an editorial landscape of ad-driven content and sponsored magazines, POSTR sports a new form of non-mainstream gonzo journalism, infused with a healthy dose of accurate paranoia and surprising revelations. On the day of the exhibition, POSTRmagazine will also be releasing its latest issue on identity and privacy in the digital era.

Dressed up as a BBQ election fun(d)raiser, which is also the 1year birthday celebration party of Letters Are My Friends, both parties will attempt to raise the most votes for their posters. At the end of the day we will know which side will take the throne and wave its tyrannical scepter over the bloody battlefield that is the public space.

VA 300 Artists:

Mirko Borsche
C100/Purple Haze
HelloHikimori
Evgeny Kiselev
Eike König
Eva Krusche
The Rainbowmonkey
Sebastian Onufszak
Smatik
Viagrafik

Dates:
Thursday 19.07.2012 / 16 Uhr / BBQ & Vernissage with all representatives
- a contribution of 5€ includes BBQ flatrate and a goodybag -

With lovely music by
— WORLD GANG (LIVE-SET) // http://music.world-gang.com/World-Gang-Radio
— COMFORT FIT (LIVE-SET) // http://soundcloud.com/comfort-fit
— SARAH FARINA (DJ) // http://soundcloud.com/sarahfarina

Letters Are My Friends Boppstrasse 7 10967 Berlin

Exhibition:
Friday 20.07.2012 – Sunday 05.08.2012

FB Event:

http://www.facebook.com/events/429347660443237/

Check:

http://www.postrmagazine.com

http://www.va300.de

http://lettersaremyfriends.com

Presskit:

http://lettersaremyfriends.com/presskit_conform.zip

THIS EVENT IS PROUDLY SUPPORTED BY
WULLE BIER (http://www.wulle-bier.de/), HUETTENPALAST (http://huettenpalast.de/), STICKMA (http://www.stickma.de/) ,
Klub7 (http://klub7.de/ottobaum/) & ONFORMATIVE (http://onformative.de/).

Munich ’72 Design Legacy Exhibition and Symposium

29 June – 31 July 2012
Herbert Read Gallery
University for the Creative Arts,
UCA Canterbury CT1 3AN

http://www.munich72.org/
https://www.facebook.com/M72DesignLegacy

Information

This exhibition at the UCA Canterbury campus presents the design heritage of the Munich Olympiad during 1972. The project draws upon Ian McLaren’s collection of relevant material (some of which can be seen on this website) obtained as a result of his having been a senior member of the design team. The exhibition provides a first hand account of the evolution of the designs and subsequent commercialisation of aspects of the work produced for Munich’72. An accompanying symposium will combine contributions from figures who worked with Aicher alongside respected practicing designers. The exhibition coincides with the passage of the Olympic flame through Kent.

Otl Aicher
The design work was led by Otl Aicher who sought to project the lightness of the Bavarian landscape and the character of southern Germany. Aicher’s team developed a range of material which is probably best remembered for the innovative and exemplary series of posters; and a range of pictorial symbols which subsequently has been adopted and extended worldwide with considerable commercial success, thanks to Aicher’s close collaboration with the German lighting manufacturer ERCO.The story of Aicher’s work with ERCO and his influence on later designers will provide the theme for a symposium accompanying the exhibition.

Identity
The colour palette was one of the most significant aspects of the identity. It was based upon the heraldic colours of Bavaria, light blue and white (as used by BMW and the Hofbräuhaus brewery). Aicher chose these, together with the light green of the Bavarian alpine landscape, as the principal elements to provide a light palette (which required bespoke ink formulations). The lightness of colour was reflected in the adoption of a light typeface (Univers 55). The colours in the German national flag were expressly excluded.

Sunburst
Each Olympiad produces it’s own distinguishing symbol, used in association with the Olympic rings. The original proposal in the case of Munich a simple radiating ‘sunburst’ was felt by the legal department to be unenforceable when licensing official products. A competition was held for the symbol, which Graphicteam Köln won with a more complex design combining the ‘sunburst’ with a dynamic radiating spiral.

Gymnastics poster
The sport posters were designed by a team led by Gerhard Joksch. In the case of ‘Gymnastics’ note the inversion from left to right; removal of the curtains; introduction of two horizontal bands; and the retouching of the Japanese insignia on the costume, to remove identification with a particular nationality.

Munich ’72 (first graphic poster)
The first graphic poster to be produced was required to act as an intital ‘banner’; and frequently was used in conjunction with the photographic posters at promotional events. Because it was used internationally in unspecified language zones, to avoid verbal translations no text was included other than the headline “Munich ’72”. As no buildings were yet completed it used a graphic treatment of part of a photograph of the architectural model (which used a woman’s stocking to simulate the stadium roof). It set the graphic style for the later sport posters.

Cultural programme posters
The posters for the associated cultural events combined horizontal colour bands in the official colours with graphic imagery. Ian McLaren chose to use a consistent single horizontal line running throughout each. The poster for Folklore was the sole occasion where Aicher permitted black to be used within a graphic device.

Copy by Ian McLaren

Types We Can Make | swissnex San Francisco

Until 15th June 2012

Curated by master typographer François Rappo and former ECAL director, Pierre Keller, Types We Can Make presents a selection of new typography works from Switzerland, where type design has had the status of a high art for generations. Young Swiss designers today confront this long tradition with irreverence, humor, and boldly creative strokes using digital and traditional design tools. Types We Can Make is all about the confrontation between this contemporary approach and the classics.

Types We Can Make reflects in detail the design methodologies taught at ECAL and highlights some of the external collaborations that made the school into one of the world’s best art and design institutes. The exhibition design was done by Alexis Georgacopoulos, Director, and it showcases the work of both students and teachers at the school and the intense exchange that takes place between them.

Some of the most prominent recent graduates of ECAL’s graphic design program have their font designs represented: Nicolas Eigenheer, Phillippe Desarzens, Matthieu Cortat, Emmanuel Rey, Jeremy Schorderet, Ian Party, and many others. Types We Can Make extends beyond the typefaces themselves to show their use in a variety of formats: editions of the art magazine Sang Bleu, logos designed for rapper Jay-Z’s Roc Nation, artist monographs for Die Gestalten and JRP Ringier, art direction and poster design by the likes of Körner Union or Tatiana Rihs, not to mention digital scripting projects for interactive design.

swissnex San Francisco
730 Montgomery Street
San Francisco, CA 94111
USA

http://swissnexsanfrancisco.org/Ourwork/events/typeswecanmake

http://swissnexsanfrancisco.org/aboutus/contactus

Belgian artist, Fred Eerdekens, works with materials and light sources fashioned and combined in such a way that they create intriguing shadow artworks.

A selection of Eerdekens’ work is on display in the exhibition ‘Words and Dreams’, opening at Gallery Magda Danysz in Paris.

Source: Design Boom

Baseline magazine and UCA
17 year collaboration

The close working relationship between the University for the Creative Arts (UCA), Maidstone and the international typographics magazine Baseline is the subject of an exciting new exhibition.

In the last 17 years Baseline has employed 20 students and graduates from UCA Maidstone’s Graphic Design: Visual Communication and Illustration courses.

Baseline’s editor and art director, Hans Reichert, said: “The relationship with UCA Maidstone has been hugely beneficial. We have worked with some incredibly talented and skilled people over the years and their contribution to the editorial design and layout of the magazine has been invaluable. During their stay at Baseline the students experienced first hand contact with our high profile contributors such a Arnold Schwartzman RDI OBE, Alan Fletcher RDI AGI, Adrian Frutiger AGI, Ken Garland, David Gentleman RDI AGI, Ivan Chermayeff AGI, David Carson AGI, Neville Brody, Sir Terence Conran  and best selling author Steven Heller.”

“We wanted to celebrate this collaboration by putting on an exhibition of the work that has been created over the years.”

The exhibition, entitled ‘Baseline/UCA, students and graduates: 17year collaboration’, will take place in the George Rodger Gallery at UCA Maidstone from 10 October to 4 November. It will be free of charge and open to the public.

Hans, who is himself one of UCA’s honorary graduates, added: “There will be a diverse range of work on display, including some striking covers, posters layout and web designs.”

baseline magazine

University for the Creative Arts (UCA)

Collaboration between the studio and the legendary Wim Crouwel.
He kindly agreed to donate his time and produced a stunning number 5.
The posters are the usual limited edition of 200 and will be given to ‘Friends of Truth’ as a commemorative gift.

I’m waiting my copy. More pictures very soon.

Previous years successful posters by Milton Glaser, Supermundane, Si Scott and Darren Scott of Truth-Design are here.

More info on their site Truth-Design

The film is directed by Doug Wilson

“Linotype: The Film” Interview Excerpts from Linotype: The Film on Vimeo.

Getting Upper is a poster project and exhibition on display at the Pasadena Museum of California Art until September 4th, 2011

Twenty-six California-based graphic designers and artists were each asked to reinterpret one letter of the alphabet. The results are a diverse alphabet that speaks to the ways in which the originators were influenced by typography, language, graffiti, street art images and the letters around them.

Each letter has been screen printed in an edition of 100 and is available to purchase at the museum and at gettingupper.com.

More info: http://gettingupper.com/

Type, Wim Crouwel, Experimental Jetset, Football, Beach, Surfing, Bands, Workshops, Camping & Love?

Typeradio presents: Now we are talking Festival
2 Sept. at the beach of Den Haag, 12.00 – 24.00.

The new free open air design festival. This super relaxed Typeradio event – takes place at an extravaganza location at a Dutch beach pavillion.
7 design lectures
4 workshops
4 bands
films
presentation of the new Type Legends box
& more…

Main Lectures include –

WIM CROUWEL

STRANGE ATTRACTORS

VINCENT VAN BAAR

EXPERIMENTAL JETSET

ERIK VAN BLOKLAND

LUST

TYPE FREAKS

O.K. PARKING

http://www.now-we-are-talking.nl/

http://www.now-we-are-talking.nl/#/timetable

Zapf Exhibition, focused on “calligraphy” that is the grass roots of the husband and wife team Hermann Zapf / Gudrun Zapf-von Hesse, will be held at Tokyo curated by J-LAF (Japan Letter Arts Forum) and Akira Kobayashi (Type director at Linotype), co-sponsored by Linotype GmbH. A part of their 70+ years creative activity is introduced with their calligraphy works, metal typesetting (property of The Kazui Press), and the WIP memos of digital fonts and more.

3 treasurable autograph works of Hermann Zapf is displayed for the first time in Japan!

- Sep. 13rd, 2011 [Tue] – 25th [Sun]
- no closing days
- at Gallery le bain
- entry fee: 1000 yen
- number of works exhibited: about 50 scheduled (autograph works, duplicate copies, materials on font-makings, metal typesetting, and more)
- curation: J-LAF (Japan Letter Arts Forum) and Akira Kobayashi (Type director at Linotype)

J-LAF (Japan Letter Arts Forum) website
Gallery le bain website
The Kazui Press website

You Tube Link

www.type-truck.com for more details, and follow @TypeTruck on Twitter.

Photos: Derek Fagerstrom

Rinse Presents: A Visual Retrospective – The Work Of Shaun Bloodworth & Give Up Art is a ten-day exhibition celebrating the design and photography of seminal London-based radio station and label, Rinse, and their championing of the wider underground music world.

The collection of photography and design documents the releases and events that relate to Rinse the radio station and the music it has encouraged and played over the previous 17 years.  The visual identity that Rinse has developed over the years comes from the collaborative efforts of London-based design studio Give Up Art and photographer Shaun Bloodworth.

Give Up Art, founded by Stuart and Emma Hammersley, has worked on every Tempa release since the labels inception, alongside work for FWD>> and the redesign of the Rinse identity.  In 2005 they began collaborating with photographer Shaun Bloodworth, who they asked to take photos of a dubplate cutting machine at at Transition studios for one of the first in Tempa’s ‘Dubstep Allstars’ compilation series.

Since then they have worked in a truly collaborative way with Rinse Fm; developing a much imitated house style, with covers for Skream, Benga and the entire Rinse mix series.

Together their work has formed the foundation for a unique documentation of youth and music culture, with projects across both the UK and US, much of which will be shown alongside this Rinse FM exhibition. A radio station that has always supported and championed both independence and the underground.

Rinse FM is uniquely placed at the hub of the Capital’s thriving British underground music community, demonstrating throughout 17 years of broadcasting that they provide a vital, unique and exceptionally successful, grass-roots gateway into broadcast radio and the wider music industry.

Rinse’s DJs and MCs have won Mercury Music Prize awards, with nominations for numerous others, gold discs in recognition of sales, and widespread critical acclaim.

In stark contrast to the homogenized radio landscape Rinse FM seeks to champion the diverse needs of young London and those passionate about youth-orientated music culture, currently showcasing genres typically referred to as Dubstep, UK Funky and Grime while interacting with and influencing those scenes. Rinse’s fiercely grass-roots broadcasting ethos engages massively under-represented communities, especially 15-24 year olds.

The exhibition will be at the Truman Brewery Gallery – shop 14, Hanbury Street for 10 days from 12th to 21st of August, with a private view on Thursday the 11th

The exhibition also falls on the 10^th anniversary of London’s world famous, Rinse-afflilated, FWD>> club night, which is held on 20^th August.

For more information contact Family on 020 7729 5963:

richardonslow@familyltd.co.uk / juliebland@familyltd.co.uk

Yorkshire Sculpture Park presents an extraordinary body of new and recent work by renowned Spanish artist Jaume Plensa.

29 Palms is a 50-metre curtain of poetry made of suspended steel letters, an enormous curtain of text running the length of one gallery with poems by Blake, Baudelaire, Ginsberg, Goethe and Léon Felipe.

The Sculptures such as House of Knowledge, Spiegel and Heart of Trees feature Human figures formed by painted stainless steel typographic letters.

The Jaume Plensa exhibition at YSP runs until 22.01.12

http://www.ysp.co.uk/exhibitions/jaume-plensa

http://www.jaumeplensa.com/

photography credits YSP / Jonty Wilde

Come to this year’s most exciting design event in London! Europe’s most successful annual three day design conference returns to London, featuring A-list speakers from the world of typography, information, graphic and digital design, brand experience, film, animation, publishing and education.

Speakers so far:

King Bansah – King of Hohoe, Ghana
Michael Bierut – Pentagram
Neville Brody – Research Studios
Jonathan Ellery – Browns
Tim Fendley – Applied Information Group
Dale Herigstad – Possible Worldwide
Nat Hunter – Airside
Gary Hustwit – Film Director, Helvetica, Objectified, Urbanized
Michael B Johnson – Pixar Animation Studios
Morag Myerscough – Studio Myerscough
Joachim Sauter – Art+Com
Adrian Shaughnessy – Unit Editions and Shaughnessyworks

The theme of this years TYPO London is »Places«. From information and urban planning to social networks, online communities and animated worlds, places shape our social behaviour. Design and the creative process is often the unifying factor linking people, places and things together. “The three days of the event will bring a vibrant global conversation about our surroundings, how we interact with people and how we understand the environments we pass through”, said Robin Richmond. “I am looking forward to an exciting panel of speakers discussing our sense of place, the way we live, behave, move around, communicate and interact with each other.”

More Information:

TYPO London
Twitter
Facebook

This past week Voyager 1 went into the ‘Foam’. Let us hope that someone or something will find it’s contents.

PHOTO 1 — VOYAGER1

spacecraft is a 722-kilogram (1,592-lb) robotic American space probe launched by NASA on September 5, 1977, to study the outer Solar System and eventually interstellar space. Operating for 33 years, 9 months, and 6 days as of today (11 June 2011), the spacecraft receives routine commands and transmits data back to the Deep Space Network. It is the first probe to leave the Solar System and is the farthest man made object from Earth.

PHOTO 2 — Golden Record

“In the upper left-hand corner is an easily recognized drawing of the phonograph record and the stylus carried with it. The stylus is in the correct position to play the record from the beginning. Written around it in binary arithmetic is the correct time of one rotation of the record, 3.6 seconds, expressed in time units of 0,70 billionths of a second, the time period associated with a fundamental transition of the hydrogen atom. The drawing indicates that the record should be played from the outside in. Below this drawing is a side view of the record and stylus, with a binary number giving the time to play one side of the record – about an hour.

“The information in the upper right-hand portion of the cover is designed to show how pictures are to be constructed from the recorded signals. The top drawing shows the typical signal that occurs at the start of a picture. The picture is made from this signal, which traces the picture as a series of vertical lines, similar to ordinary television (in which the picture is a series of horizontal lines). Picture lines 1, 2 and 3 are noted in binary numbers, and the duration of one of the “picture lines,” about 8 milliseconds, is noted. The drawing immediately below shows how these lines are to be drawn vertically, with staggered “interlace” to give the correct picture rendition. Immediately below this is a drawing of an entire picture raster, showing that there are 512 vertical lines in a complete picture. Immediately below this is a replica of the first picture on the record to permit the recipients to verify that they are decoding the signals correctly. A circle was used in this picture to insure that the recipients use the correct ratio of horizontal to vertical height in picture reconstruction.

“The drawing in the lower left-hand corner of the cover is the pulsar map previously sent as part of the plaques on Pioneers 10 and 11. It shows the location of the solar system with respect to 14 pulsars, whose precise periods are given. The drawing containing two circles in the lower right-hand corner is a drawing of the hydrogen atom in its two lowest states, with a connecting line and digit 1 to indicate that the time interval associated with the transition from one state to the other is to be used as the fundamental time scale, both for the time given on the cover and in the decoded pictures.

“Electroplated onto the record’s cover is an ultra-pure source of uranium-238 with a radioactivity of about 0.00026 microcuries. The steady decay of the uranium source into its daughter isotopes makes it a kind of radioactive clock. Half of the uranium-238 will decay in 4.51 billion years. Thus, by examining this two-centimeter diameter area on the record plate and measuring the amount of daughter elements to the remaining uranium-238, an extraterrestrial recipient of the Voyager spacecraft could calculate the time elapsed since a spot of uranium was placed aboard the spacecraft. This should be a check on the epoch of launch, which is also described by the pulsar map on the record cover.”

PHOTO 3 — Golden Record

The Voyager message is carried by a phonograph record-a 12-inch gold-plated copper disk containing sounds and images selected to portray the diversity of life and culture on Earth. Following the section on the sounds of Earth, there is an eclectic 90-minute selection of music, including both Eastern and Western classics and a variety of ethnic music. Once the Voyager spacecraft leave the solar system (by 1990, both will be beyond the orbit of Pluto), they will find themselves in empty space. It will be forty thousand years before they make a close approach to any other planetary system. As Carl Sagan has noted, “The spacecraft will be encountered and the record played only if there are advanced spacefaring civilizations in interstellar space. But the launching of this bottle into the cosmic ocean says something very hopeful about life on this planet.”

The definitive work about the Voyager record is “Murmurs of Earth” by Executive Director, Carl Sagan, Technical Director, Frank Drake, Creative Director, Ann Druyan, Producer, Timothy Ferris, Designer, Jon Lomberg, and Greetings Organizer, Linda Salzman. Basically, this book is the story behind the creation of the record, and includes a full list of everything on the record. “Murmurs of Earth”, originally published in 1978, was reissued in 1992 by Warner News Media with a CD-ROM that replicates the Voyager record. Unfortunately, this book is now out of print, but it is worth the effort to try and find a used copy or browse through a library copy.