Timba Smits is an award-winning designer, artist, illustrator, Typographer and part-time crime fighter based in East London. He’s also the Creative Director of iconic movie magazine Little white lies and Huck, the bible for youth culture.
Timba has worked collaboratively with some of the world’s leading brands including The New York Times, ESPN, SBS, WIRED Magazine, Esqurie, The Guardian, Mens Health, Mens Fitness, Johnny Cupcakes, Dunlop and Ride Snowboards as well as having been featured in numerous design, illustration and art publications, both in print and online.
Timba is very good at mixing type with illustration. He uses simple line work in his illustrations and balances it out with bold fonts. I like the way he experiments with lettering and the layout and where the text sits on the page around the illustrations. He plays with warping text to get it to sit where he likes it. He also uses gritty/grungy textures to create tone.
Jessica Hishe is an American letterer, grew up in Pennsylvania
she has worked for (and continue to work for) clients like Wes Anderson and Penguin Books. and has shared studios with Studiomates & Pencil Factory
Now she has said “I split my days (not evenly enough) between Brooklyn and San Francisco—the place I now call home and where I’ve set up a collaborative studio and workshop space with my brother from another mother, Erik Marinovich. When I’m not manipulating beziers or working on fun projects, you can find me at the airport en route to a speaking engagement. I love what I do for a living and try as hard as I can to help others find a way to do what they love.”- http://jessicahische.is/anoversharer
Keetra Dean Dixon is an American designer, director, artist & teacher. With her hybrid design background she has been known to be very experimental with her work, in the process leveraging emergent technologies. She uses a wide range of mediums in her playful & process-orientated work such her work for the 2009 Presidential Inauguration where she used wax, acrylic paint & foam. She often works with the complexities of semantics, with her projects often focused on the fallibility of communication, attempts to connect, and unintended output.
She has been recognised on several fonts including a U.S. presidential award, a place in the permanent design collection at the SFMOMA & the honourable ranking of ADC Young Gun (6). She has been featured in numerous publications and exhibits, including feature articles in Time, étapes, + Surface & commissioned works for the ’09 U.S. Presidential Inauguration and the ’12 Olympic games.
1910 – 1980 was Born in Zurich, Switzerland.
Created Helvetica, originally named Neue Haas Grotesk. Helvetica today is one of the most globally recognized typefaces.
Max was trained as a typesetter in Zurich between 1926 and 1930 after attending Kunsstgewebeschule ‘School od arts and crafts’ in Zurich.
Between 1936-46 he was a typographer for Globus department store’s advertising studio in Zurich. Then moved onto a sales position as a salesman at Haas Typefoundry in Munchenstein.
In 1954 he designed his first typeface called Pro Arte which was a condensed slab serif.
From 1956 onwards he worked as a freelance graphic designer and advertising consultant in Zurich. That year he was commissioned to design a typeface by Eduard Hoffman.
In 1957 Haas-Grotesk face was introduced, in 1960 the name was changed to Helvetica.
Matthew carter is a British type designer who was born into the world of type design in London 1937 as the son of Harry Carter the type historian. And through his father he entered the business of type design rather then going to a university. Through his father, Carter arranged to hold an internship at the Joh. Enschedé type foundry in the Netherlands for a year. An extremely long-lasting company with a long history of printing. Carter had intended to get a degree in English at Oxford but he was advised to take a year off so he would be the same age as his contemporaries who had gone into National Service.
Carters career began in the early 1960’s and has bridged all three major technologies used in type design; physical type, phototypesetting and digital font design. He trained as a punchcutter by Paul Rädisch, responsible for Crosfield’s typographic program in the early 1960s. Carter is one of the last people in Europe formally trained in the technique as a living practice.
He is now a principal of Carter & Cone Type Inc., in Cambridge, Massachusetts, designers and producers of original typefaces. Carter & Cone have produced types on commission for Apple, Microsoft, Time magazine, Sports Illustrated, The Washington Post, The Philadelphia Inquirer, The Boston Globe, The New York Times, El País, the Walker Art Center and many more.
A 2005 New Yorker profile described him as ‘the most widely read man in the world’ by considering the amount of text set in his commonly used fonts. Carter’s most used fonts are the classic web fonts Verdana and Georgia and the Windows interface font Tahoma. Seven of Carter’s typefaces are in the permanent collection of the Museum of Modern Art.
Paul Renner was born in Germany in 1878 he had a strict German upbringing being educated in a Gymnasium. This tough him to have a very good German séance of leadership, duty and responsibility. His up bringing brought him to dislike modern culture, such as jazz cinema and dancing but also led him to admire the functionalist strain in modernism, thus he was seen by others as a bridge between the old (19th century) and the new (20th century). This is reflected in his work making futura. Paul tried to fuse together the ancient Roman typeface Trajan with a new more modern typeface 20th Century Gothic with the end result being Futura that we see today.
Futura through the 20th century was one of the most popular typefaces of it’s time. Being used buy many successful companies for their logo’s most notably Ikea, Volkswagen and In all hand books, brochures and on the dials and screens used in all Mercedes Benz vehicles and Boeing aircraft.
Architype Renner is Paul Renner’s second most successful typeface although nowhere near as common or successful as futura. It was a geometric sans-serif typeface designed to be a universal typeface/ alphabet having more them 2 ways to print certain letters such as A,G and I. This typeface was designed to be used by every language in the world allowing the sale of a type righters with the same characters to be sold universally.
Designed 7 Different typefaces in his life including. Architype Renner (1927), Future (1927), Future Black (1929), Future Light (1932), Renner Antiqua (1939), Ballade (1938) and Plak (1928). He attempted to fuse two already established typefaces being Gothic and the roman typeface when working on future.
Gemma O’Brien is a craft fanatic Australian artist based in Sydney specializing in hand-lettering, illustration and typography. Some of her clients are Woolworths, QANTAS, Heinz, The New York Times, Volcom, Angus & Julia Stone, Monster Children, Smirnoff, Kirin, Canon, SBS, ABC’s play school and Taronga zoo. Gemma’s work has been published in books and magazines including Grafik, Graphic Design Referenced, Just My Type, Hand to Type, Form Magazine, Frankie and Slanted Magazine. Gemma has worked in art direction for motion graphics at Animal Logic, Fuel VFX and Toby & Pete.
In addition to commercial work, her artwork has been exhibited in numerous gallery shows and she hosts hand-lettering workshops across Australia. She has presented at design conferences including TYPO Berlin, TYPO San Francisco, Semi Permanent, agIdeas International Design Forum, and Typism. In her spare time she travels and illustrates puke-puns on airsick bags for The Spew Bag Challenge. Gemma is represented by The Jacky Winter Group and is a Volcom Womens Ambassador for creative and art based projects.
Gemma caught the eye of the design world when she launched her blog ‘For the Love of Type’, which showed her passion, skills and interests. Gemma became a huge hit when she posted an experimental video in which she artfully covered her body with hand lettering; it gained wide attention and earned her an invitation to speak at the 2009 Typo Berlin design conference, which then opened other doors and started her career.