The passageway leading into the South Campus gallery is swimming in an alphabet soup of letters and familiar icons and signage, hawking everything from the latest blockbuster to cheap, fast cash loans. It’s an immersive experience in the nuanced codes and messages contained within the various fonts and typefaces that punctuate our modern landscape. This visceral typographic encounter acts as an introduction to the student-produced temporary show, 85_15 TYPOGRAPHY: PAST/PRESENT/FUTURE, which is the first exhibition to be presented by the new Hoffmitz Milken Center for Typography (HMCT), due to make its official debut on November 7 with the Symposium and Center opening celebration in its permanent space on the ground floor of ArtCenter’s 950 South Raymond building.
Posts Tagged ‘Gloria Kondrup’
Catch a sneak peek at the past, present and future of fonts and ArtCenter’s new Hoffmitz Milken Center for TypographyWednesday, September 2nd, 2015
Like most dedicated Art Center instructors, Professor Gloria Kondrup (MFA ’93 Graphics/Packaging) is always looking for creative ways to encourage, inspire and support her students. In 2013, she and legendary Graphic Design instructor Professor Leah Hoffmitz Milken established the Hoffmitz|Kondrup Excellence in Typography Award. Created as part of their Legacy Circle membership with a gift from the Lowell Milken Family Foundation, the Award is given once each year to an upper-term Graphic Design student who demonstrates excellence in typography across all media.
We brought Kondrup and first-ever Award recipient Quinton Larson together to chat about the award and their love of typography.
Art Center: Gloria, what was the motivation behind creating the Hoffmitz|Kondrup Excellence in Typography Award?
Gloria Kondrup: Leah and I share a love of type and language. As instructors we regularly saw students struggle financially to stay in school. The Award is a way to celebrate typography while providing meaningful financial support to a top Graphic Design student.
Pasadena plays host to the Art Libraries Society of North America (ARLIS/NA) 41st annual meeting April 25–29, 2013, with speakers and attendees from the United States, Canada, Mexico, Latin America, Europe and beyond. The conference takes place at the Pasadena Convention Center, with additional programs and activities scheduled at Art Center College of Design.
Art Center’s Betsy Galloway hosts a meeting of fellow library directors from Association of Independent Colleges of Art and Design (AICAD) schools. Archetype Press’s Gloria Kondrup conducts a hands-on workshop in letterpress broadside printing. And Art Center Product and Entertainment Design instructor Justine Limpus Parish leads a tour of the Los Angeles Fashion District.
This past spring, students in a Graphic Design Department-hosted Designmatters studio were challenged to create an integrated campaign for the United Nations Population Fund (UNFPA) to advocate for young people’s rights to health, education, protection, respect and participation in decision-making for their future.
Not only did the students meet that challenge with aplomb with “We Are Youth,” their campaign which premiered this past summer at Rio+20, the United Nations Conference on Sustainable Development in Rio de Janeiro, but now their work has also won a top honor at the annual Spark Design Awards.
The “We Are Youth” campaign—designed by students Pamela Abolian, Brett Beynon, Kenneth Chan, Andrew Chen, Lisa Chen, Ka Kit Cheong, Daniel Choi, Il Chan Chun, Heather Grates, Crystal Kim, Kevin Lam, Esther Park, Jerod Rivera, Lamson To and Hyunsun Yoo—won the Spark Awards’ highest honor, the Spark!, in the competition’s Communications student category.
Each term, Art Center’s Graphic Design department hosts a 3×3, an event in which three local professionals speak on a particular topic.
Tomorrow night’s 3×3, “Eccentric Types,” brings graphic designer Andrew Byrom, Archetype Press director Gloria Kondrup, and creative director Heather van Haaften to the LA Times Auditorium for a stimulating discussion on the wild possibilites of typefaces.
Here’s everything you need to know:
3×3: Eccentric Types
Thursday, June 28th, 7:30pm
Los Angeles Times Media Center (LAT)
Art Center College of Design, Hillside Campus
1700 Lida Street, Pasadena, CA 91103
Andrew Byrom, Graphic Designer, Typeface Designer and Professor
Andrew Byrom is a UK born graphic designer and typeface designer, based in LA. His clients include The New York Times, Penguin Books, The Architecture and Design Museum and Sagmeister Inc. His experimental typography has been featured in numerous design publications including Print Magazine +81, and Creative Review, and has been honored by the AIGA and the TDC.
Byrom is also a Professor at CSULB and has taught at UCLA Extension, Northern Illinois University, as well as Luton University and Central Saint Matrins in the UK. He has given presentations about his approach to design throughout Europe, Asia and the US – including the AIGA Y-Conference, ATypI, TypeCon, The Type Directors Club, Kuala Lumpur Design Week, and TEDx UCLA.
Gloria Kondrup, Archetype Press Director and Professor
Gloria Kondrup has a BA in Fine Art and Art History, and an MFA in Design. Her design interests straddle both 15th and 21st-century technologies and includes an expertise in branding, packaging, and letterpress printing. She currently has the best job in the world. Since 2003, Professor Kondrup has been the Director of Archetype Press at Art Center College of Design, where students enhance their ability to understand the relationship of language and typography, and to explore the creative benefits of an analog technology in the digital landscape. She maintains a consultancy in branding and pursues an interest in language and limited edition fine art books. Her work is in private and institutional collections including AIGA, The Sackner Archives of Concrete and Visual Poetry, The Getty and The Smithsonian.
Heather van Haaften, Creative Director
Heather van Haaften traveled continents in search of unusual typefaces, discontinued letterforms, and illegible ligatures. Her Midwest family printing business served reason to escape the realm of computerized typesetting and discovered the world’s first printed book, the Gutenberg Bible, set in Blackletter metal type. She has worked for Capitol Records and Paramount Television, and resided six years in Germany redesigning three European TV networks before returning to America to redesign HSN, an American cable network. Most recently as Interactive Creative Director, she lead award winning creative teams who delivered 1,500 custom online retail strategies to Fortune 100 companies and connected the brands with the world’s biggest online retailers, Walmart.com, Dell.com, CVS.com to name a few. Her areas of expertise include creative and interactive development, digital content, broadcast design, video production and entertainment graphics.
Heather holds a Bachelor of Arts degree in Communication Design from Otis Parsons School of Design. Not a widow, nor an orphan, she eloped in 1995 to Sedona Arizona with Nikolaus Kraemer, a German movie producer. A mother of two bilingual cats, she loves licorice, yoga and Breaking Bad.
Bus riders soon will notice a new look, a new name, and find a fresh mobile phone app for travel around the City of Pasadena. Art Center students are creating a new identity for the Pasadena ARTS transit system that will guide riders throughout the region.
City officials are now choosing which proposed design to implement. Contrary to what you might guess, the ARTS bus is not merely a way to hit the city’s multiple arts and cultural venues. ARTS stands for the Area Rapid Transit System, which transports locals and visitors alike to various spots around town. To address the confusion around the moniker, the design brief also encouraged students to come up with a new name for the transit agency.
In the spirit of local engagement, Art Center’s Dean of Special Programs and Chair of the Graphic Design Department, Nik Hafermaas, suggested that the college’s Educational Partnerships team coordinate the project through an Identity Systems course taught by Gloria Kondrup.
“Our goal is to demonstrate that well conceived design can significantly improve our communities, said Hafermaas. “This is a wonderful chance for our students to make a positive contribution to our own neighborhood.”
In the class, each student developed a new brand name and a design standards manual to guide the implementation of the new identity through its various applications. The manual addressed the use of color, typography and image across many touch points. This includes new bus graphics, signage, bus shelters, the agency’s website and its forthcoming smartphone app.
In April, Mayor Bill Bogaard joined a team of city executives to review final presentations. Once a choice is made, the new brand will be implemented across all city marketing materials.
A remix is an alternative version of a recorded song made from an original version—but the term also is used for any alterations of media. A remix in literature, for example, is an alternative version of a text. William Burroughs used the cut-up technique to remix language in the ’60s.
Using glue, scissors and collage-style techniques, Moore’s body of work embodies the love for the technique of collage and vinyl cover art. The rhythm, movement, and the vibrant use of color, shape, texture, imagery and typography serves as a tribute to graphic designers and artists from a bygone era.
A portion of all sales will support scholarships for Art Center’s Public Programs.
For more information, email email@example.com.
Remix: Work by Graham Moore
Opening Reception: Friday, Sept. 16, 7-10 p.m.
Art Center South Campus
Graphic Design student Tyler Paulson currently has an exhibition of photographs on display at the South Campus Gallery.
Teed ["in waiting"]: Portraits of South Sudan highlights portraits and images captured while Paulson served local missionaries in the region from 2008 and 2010.
“Taken after a ceasefire, these portraits capture a people experiencing their first taste of peace in decades while awaiting the hope of becoming a new nation,” Paulson says. “ I met a people of great beauty, but with deep scars—and I sought out to know and serve them, and to share their story.”
The exhibition is the culmination of a Designmatters-facilitated independent study led by faculty member Gloria Kondrup.
The exhibit is on display through April 1, with an artist reception held on Saturday, March 26 at 6 p.m.
More information about Paulson’s powerful journey, and to view his work, visit teedsudan.com.
Also, be sure to check out the brand-new Designmatters website at designmattersatartcenter.org.
A Q&A with Professor Gloria Kondrup, Archetype Press Director
How did Art Center’s Archetype Press come about?
Archetype Press was founded in 1989 with more than 2,500 drawers of rare American and European foundry type, wood type and ornaments from the collection of Los Angeles typographer and printer Vernon Simpson.
The support from Art Center’s then-president David Brown, the financial backing of five patrons, and the hard work of the founding Archetype Press Director Vance Studley was crucial to its creation. Before coming to its current home at South Campus, Archetype was located on Mills Place in Pasadena. This was before the retail revival of Old Pasadena—most of Colorado Boulevard was boarded up, and finding parking was never a concern.
What role have you played in relation to Archetype?
I discovered Archetype Press and letterpress printing in 1992 as a graduate student at Art Center. Although my design background was in branding and packaging, I found the letterpress experience authentic and tactile. After graduation, I purchased my own presses and established a design studio that straddled both 15th and 21st century technologies.
In 2003, I was given the opportunity to become director of Archetype. In one sense, I view my responsibility as stewardship for the preservation of language and of a cultural artifact while enhancing students’ ability to understand the relationship of language and imagery.
People are often surprised that Art Center teaches students to use this “outdated technology.” What is your response to that?
Archetype continues the tradition of an older—but not outdated—technology. While letterpress is steeped in tradition, Archetype is not nostalgic.
As an experimental typographic workshop, students don’t just study the prototypes of digital letterforms, but are exposed to a sensual graphic experience that is both felt and seen as type is inked and pressed into a piece of paper. They are getting ink underneath their fingernails, not merely replacing ink cartridges in color printers. They are being challenged to expand beyond the margins of the computer screen, engaging in a design discourse that can question the uses of newer technologies.
Without question, digital technologies are the preferred way for the efficient exchange and dissemination of information. But digital technology has also allowed letterpress printing to change and explore new ways of combining image and text.
Don’t miss the South Campus Gallery Salon, featuring the work of illustration alums Seth Drenner, Katherine Guillen and David Jien. A portion of all sales will be donated to the Art Center student scholarship fund.
The salon will be hosted by Archetype Press and Art Center professors Leah Toby Hoffmitz and Gloria Kondrup. Don’t miss it!
South Campus Gallery Salon: “IMPRESSION”
Saturday, June 19, 6-9 pm
South Campus Gallery