Type Directors Club - Typography 34

CONTENTS TDC59 COMMUNICATION DESIGN CHAIRMANS STATEMENT
BY SEAN KING Those of us who love letters discover beautiful and innovative typography in the pages of every TDC annual. Each year, designers and typographers enter their best work in the TDC competitions and cross their fingers, hoping their work is good enough to make it into this book. I have lost count of how many designers have told me the same story: the day they saw their first TDC annual, and the treasure of type and lettering between its covers. (People usually get a faraway look in their eyes and wear a wistful smile when they tell this story.) It is a tradition that reaches back to the very beginning of the Type Directors Club. The twin traditions of the TDC have always been competition and education. Both ideals are contained in this book: We elevate the art and craft of typography by celebrating the best each year.

I discovered typography through the TDC annuals. I found a few in my high school library and realized there was a name for design with letters. I realized some other people must be as fascinated with letters as I was, because there was a whole book of it, published every year. The TDC and an earlier iteration of this book helped to steer my career. You can imagine my delight when I was invited to chair TDC59. It is an honor and a privilege, and I am proud to bring you the fruit of so many peoples labors in the pages of Typography 34.

Allow me to thank a few of the people who labored to make this happen. Chip Kidd created a unique, provocative, and very funny design style for this years competition and book. Who knew the clubs influence ran so deep? (Cue maniacal laughter.) Our jury is a varied group of women and men with expertise in branding, packaging, publishing, type design, editorial design, lettering, filmmaking, dimensional typography, and design education. As varied as their talents are, all the jurors have two things in common. They are all passionate about type, and they are not shy with their opinions. (Three things, actually: They are all a pleasure to work with.

Thanks, guys!) Of course, the secret ingredient that makes the competition and annual happen every year is Carol Wahler. Her energy and organizational skills are simply amazing, and her hard work has brought this annual into existence. The real stars of the show are the talented designers whose work was chosen to appear here. It was a wide field with tough competition this year; only the very best entries won. This book showcases incredible innovation alongside classical beauty, sumptuous print design alongside digital interaction, established professionals alongside promising students. Enjoy. Enjoy.

New for this year, TDC members are identified in the credits with a*. SEAN KING seankingdesign.com @seankingdesign Sean King is a graphic designer, typographer, type designer, design educator, and author. He has worked in print shops, ad agencies, and branding firms. He is a graduate of the Type@Cooper condensed program. The common thread running through all his work is a love of letters, in all their varied forms. He lives and works in New York City and draws inspiration from NYCs rich cultural mix.

He is writing a book on typographic best practices, to be published in fall 2014. Sean has served on the board of the TDC for the past four years. TDC59
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JUDGES TAREK ATRISSI atrissi.com @atrissi Beirut-born Tarek Atrissi is one of the most recognized designers in the Arab world. He runs the Netherlands-based multi-disciplinary design studio Tarek Atrissi Design, which specializes in Arabic typography and design (www.atrissi.com). His typographic and cross-cultural design approach produced projects that left a significant influence on the contemporary graphic design landscape in the Middle East. Atrissi holds an MFA in design from the School of Visual Arts in New York, a master of arts degree in interactive multimedia from the Utrecht School of the Arts in Holland, and a postgraduate degree in typeface design from the Type@Cooper program of The Cooper Union, New York.

His awards include the Adobe Design Achievement Awards, TDC, and the Dutch Design Award, among others. Tareks clients have included the V&A museum in London, the BBC, the Arab Thoughts Foundation, Este Lauder, and the government of Qatar. He designed custom Arabic typefaces for major brands in the Middle East, including Mathaf, the Arab Museum of Modern Arts in Qatar; Saudi Arabias telecommunications company (STC); and Al-Ghad newspaper in Jordan. His non-custom Arabic fonts are distributed through the Arabic typography portal: www.arabictypography.com. He lectures internationally about Arabic visual culture and teaches at the department of Art, Media, and Technology at the Utrecht School of the Arts in Holland. He has served as a jury member for international design competitions, including the Magdalena Festival in Slovenia and the Adobe Design Achievement Awards.

Atrissi holds dual Lebanese and Dutch citizenships. When he is not on Instagram, he is walking across the streets of different cities in the Arab world documenting their urban typographic landscapes. RIETJE BECKER rietjedesign.com @rietjedesign Rietje Becker is a designer, design director, and type enthusiast based in New York City. She specializes in corporate identity and packaging design, and has completed successful design programs for a wide range of internationally known brands and clients, including the 9/11 Memorial, Jane Goodall, Leviton, Ernst & Young, Entenmanns, Kraft, Royal Ahold supermarkets, Johnson & Johnson, Schering-Plough, and Sharp USA. Becker has worked at several branding agencies, including Sterling Brands, Landor Associates, and Interbrand. Originally from the Netherlands, she provides a global perspective to her clients.