Creative Director Noël Nanton was invited to take part in a panel discussion about the current political atmosphere, social issues and economic realities. At full length, artists discussed the process and theory behind their creations and how their artwork related to these prevailing challenges.

Noël shares his journey of research, computer free techniques, experimentation, typographic expression, and his arduous trial and error process when creating his posters for the exhibition.

We are proud to be taking part in a thought-provoking exhibition at the SUR Gallery called STANCE: Design Against Fascism. STANCE: Design Against Fascism, brings current societal challenges such as polarization, radicalization, the rise of white nationalism and fascist tactics to the foreground. It creates a space for an audience to question how far we have truly advanced from the ideological dogmas of the past and how they continue to shape our current political, social and economic realities. Nine Toronto-based artists and designers—working with themes relevant to marginalized and under-represented communities in Canada—reinterpret the 1973 Chilean poster art exhibition Por la Vida…Siempre! (For Life…Always!).

typotherapy designed two posters ‘Dueling Ideologies’ and ‘Fascism is Racist’. The Dueling Ideologies poster reinterpretation consisted of an expressive typographic language, along side the symbolic ‘Dueling ideologies’ gun graphic, which was created using hands on / computer free techniques and processes inspired by the original poster. Custom constricting letterforms (as if the letters are closing in) were created. The typographic arrangement of falling letters depicts the collapse of the political process and democracy itself.

The ‘Fascism is Racist’ poster reinterpretation focuses on who (theirs) are. It depicts an illustrated clinched hand, attempting to exterminate the “liberal vision of multicultural, multi-religious, multi-racial society”. It also brings to light a selection of fascist actions/political parties and movements that have adopted fascist traits since the turn of the century. The ‘star symbol’ (theirs) indicates the connection to the original statement, to both the clinched fist, and significant fascist actions/political parties and movements.

The Arizona State University Visual Communications Design students, invited typotherapy to take part in their 10th annual poster show. The fundraiser event is held for one special night, where posters by renowned graphic design professionals from across the globe, are displayed and auctioned to the public.

50 Years of Helvetica was our poster contribution for the show. We were very happy to be a part of the event.

 

Images Courtesy of ASU

Design Mexico is another great event sponsored by the ADCC, held at the historic Great Hall and featured one of Anagrama’s founding partners, Sebastian Padilla. Sebastian initiated his talk by illustrating how and why he chose to be a graphic designer, how he works and collaborates with others as a result to his attention deficit hyperactivity disorder, which is a great advantage for him and his studio.

With beer in hand, Sebastian spoke about how his experiences within the sharp contrasts of his city of Monterrey, shape his designs. At times, to show the dramatic contrast of his city, he made comments like: “Tourist don’t visit Monterrey. Monterrey holds some of the richest population of Latin America, side by side with extremely poor communities.” Influenced by this sharp contrast, his studio uses this juxtaposition as a method to create their work. For example, mixing bright colours from traditional Mexican hot candy vendors with high-end typography and European design styles. The lecture, filled with Helvetica laced slides, went on to showcase Sebastian’s many other areas of interest, intertwined with his graphic designs, — including a chain of toccoria restaurants and a film that is currently in production.

The lecture did receive some criticism from an audience member (seemingly also from Monterrey), in the Q & A portion, around Sebastian’s perceived lack of respect for his city. The questioner went on to voice her opinion that Sebastian should be respectful, and think about being a good ambassador for his city/country when touring. Although this was unusual, Sebastian noted that this is his opinion and his experience with his city.

The exhibit featured projects from participating studios and designer such as Aldo Arillo, Elle Mexico, Futura, Monumento, Orion, Óscar Estrada and Anagrama.

To complete the series of Design Barcelona and Design London, Design New York featuring Paula Scher did not disappoint. Situated in an old church converted into a nightclub, the event showcased carefully selected work from six New York based studios, chosen by Paula Scher.

As one of the founders of Pentagram, Paula Scher took us on a journey through her current design and typographic projects, to her personal map paintings and her past work including the iconic Public Theater posters and printed materials. From the Type Directors Club typographic experiments, Parons New School modular identities, to the redesign of Canada’s Heart and Stroke foundation, the presentation was unbelievably inspiring by such a humbling yet iconic designer.

Some of her most memorable messages revolved around the fact that we now have all the new tools to work with (including print, motion, interactive) and we can now get back to just designing. And when developing an identity, it needs to take time to resonate once it is released. Identities shouldn’t be judged at first glance (in response to online critiques). Often the identity process evolves the client, understanding the audience and community. This plays an enormous roll with the outcome of the final product.

The exhibit was just as exhilarating and featured projects from participating studios and designer such as Chip Kidd, Office of Paul Sahre, Sagmeister & Walsh, Doyle Partners, karlssonwilker and Pentagram. The caliber of work was impressive.

DesignThinkers, Canada’s only conference for visual communicators, is a two-day event held annually in Toronto by the Registered Graphic Designers of Ontario (RGD). This year it was set in the St Lawrence Market neighbourhood. DesignThinkers 2016 delves into industry trends with visionaries from a range of communications-related disciplines including design, user experience, advertising, branding, consumer engagement, film, social media and entrepreneurship.

We had the pleasure of attending the second day of the conference, which opened with ‘The Future of Virtual is Physical’ by Jake Barton—an in-depth view behind the process of creating ground breaking interactive virtual experiences. The conference also featured ‘Design in Retrograde’ a short presentation that revolved around the harsh criticism of the new Quinnipiac University brand identity created by Eddie Opara. The day also included inspirational talks by: Rob Duncan from Mucho, entitled ‘The 10 things you’re not supposed to talk about at a design lecture’; Matt Willey’s ‘From Tiny Start-ups to Historic Institutions’; ‘Wearing Multiple Hats’ by Lotta Nieminen; and ‘Self Indulgent Design’ by David Carson.

The highlight presentation for us was Anton and Irene, a Brooklyn based design duo who outlined their emotional, hands on trials and tribulations of starting a design studio. It was a heart felt, funny and brilliant adventure—not to mention great work.