01 Hack/Play: Let’s Start Playing The Game!

02 Specialized Generalists

03 The fall and rise of Dutch design

04 AIGA's Design Envy features Letterlab

05 little BIG TYPE SAYS MORE, boxed

06 ED Award for Exhibition design!

07 Design in Rotterdam 1988-2013

08 Design’s Social Pledge

09 Blended Published


11 Two Nominations ED Awards 2013!

12 Graduation Show ’12 Up Close Wide Open

13 Digitizing Contemporary Art

14 Sometimes Six is just not enough

15 It’s Design in the Game

16 Curators at Design Academy

17 ED Award for Slow Art!

18 EYE Film Institute + DAE

19 My love is not a joke

20 Goose Hunt in Museum Hilversum

21 It’s art in the game!

22 design platform rotterdam essays

23 New Pocketknife LP Canyon Dancing 2

24 Stereohype B.I.O. Series #10

25 Benguiat Tribute for NWAT design festival

26 the first typonine type specimen

27 Chinese Abstract ‘Slow’ Art published

28 Ed Benguiat record single

29 Lecture for pdp conference, Serbia

30 The Role of Women in Design

31 ED Award for Artistic catalogue

32 VROAAM lecture & portfolio review

33 Lecture for Romeo Delta/BNO

34 Efteling Radio + DAE

35 european design awards x2

36 Fantastische Fotografie

37 world expo 2010 shanghai

38 étapes Magazine features Letterlab

39 Design Walks ED Festival

40 Letterlab Seasonal Poster Series

41 Lecture for BNO Spellbound

42 TDC honor and ADCN nomination

43 Print Magazine Master class

44 Frank Havermans NAI Book Launch

45 design initiatief’s future telling

46 Letterlab Commercial Airs on National TV

47 Letterlab Exhibition on Typography opens

48 Blurrr/TENT.10 ID & exhibition design

49 TDC Numbers Contribution

50 Facing China Catalogue published

51 Custom Typographic Installation in Soho

52 Collaboration with poet Tsead Bruinja

53 1 workshop and 3 lectures in Croatia

54 Platform 21 = Joyriding

55 Tambourine Dream, FF03

56 Visual Rhetoric of the Supreme Being

57 GreyTones spread and exhibition

58 Vive le Papier Electronique poster

59 Tougher than Featherz, FF02

60 Designprijs Rotterdam

61 Made with FontFont Cover & End Pages

62 Tokyo Chat airs on NHK in Japan

63 Ruffle Yo Featherz, FF01

64 BIG TYPE SAYS MORE at Museum Boijmans

65 VIDE workshop web teaser

66 Red Dot Award for LYWH

67 Yesterday, I lost my Helvetica, lecture

68 Real Dutch Design 0607

69 Rotten Cocktails LP by Boy Robot

70 Channel Push Breakin video for Hifana DVD

71 Typographic Tool ‘Punkt’ released

72 2+3D Interview and cover design

73 New workshops, lectures & research

74 VisCom published The New Typographers

75 Little Yellow Writing Hood

76 Guest designers for Items Magazine

77 Strange Attractors ADC Young Guns 4!

78 Dutch Design 2004-2005

79 Brunn Judge’s Choice TDC2 2004

80 Recognition for catalogue design

81 Cranbrook Graduate Catalogue, Transit

82 Cranbrook Masters Catalogue Redesign

83 Cranbrook Video Festival Poster

84 Hey Dutchie! Poster

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Blending and stirring design talents

“High and low craft, handcraft and technology and science and design more and more cross each others path. In this publication leading experts in the design field, as well as graduates and students share their ideas, methods and approaches on how to deal with this paradigm shift in the design discipline.”
With contributions by Robert Adolfsson, Danielle Arets (editor), Alissa van Asseldonk, Anne Couillaud, Anne Mieke Eggenkamp, Ryan Pescatore Frisk (editor), Marit van der Gevel, Carri Harwig, Katja van Heugten, Ronald Jones, Marty Lamers, Susana Cámara Leret, David Roman Lieshout, Anne Ligtenberg, Koert van Mensvoort, Catelijne van Middelkoop (editor), William Myers, Jason Page, Paul Stümpel, Mike Thompson, Arjo de Vries, Bernadine Walrecht, Anne Feikje Weidema and Julia Veldhuijzen van Zanten. Concept and design by Strange Attractors.

(Excerpts from ‘Blended’)   On Education
“The following content was written and/or collected in the months leading up to the Graduation Show of Design Academy Eindhoven in October 2012. Emotions ran high, after the academy witnessed, what was perhaps the most turbulent summer in its 65 year history.   Although the educational reform was put on hold, as a result of the events which occurred at the end of school year 2011-2012, change turned out to be inevitable. The experimental propaedeutic year is proving to be successful, the Master courses are back on track and on March 15th 2013 Thomas Widdershoven was appointed as the new Creative Director and Chair of the Executive Board of the Design Academy.   The advisory committee, comprising representatives from all layers of academy employees, department heads, tutors as well as students, agreed unanimously on his election.”   On Social Change
“In times of crisis, the individual dreams of designing autonomous, silver lined one-offs for galleries or launching careers via the instant commercial success of a single object, often become increasingly less of a reality. Economic instability is often an factor which influences [autonomous] design to explore social processes. The impetus of contradiction however, seems to reside in the opposing nature of the actual social value as it is embedded in a project and the agenda of self interest evident in media exploitation of content which assumes the position of moral superiority.    When compassion, or social empathy, becomes merely superficial or applied instead of incorporated holistically, the danger of exploring the social referent rather than the actual object of inquiry is a very real one. Occasionally, design students who are able to observe the emergence of a “social market”, and acknowledge their inability to save the entire planet, assume a position of cynicism, “Social has become the new Commercial”. By focusing on the position of the individual and social responsibility, by utilizing design processes and conducting thorough, methodologically sound, scientific research aligned with honest intentions, the social value of design is able to persevere.”   On Second Nature
“As scientists embrace the potential value of exploration within the visual aspects of research, designers have incorporated elements of scientific inquiry within their creative methodologies. Tensions emerge between scientific results, which are most commonly associated with empirical data or intentions of objectivity, and the meaning implied by [autonomous] design outcomes, which are more closely aligned with subjective value.   A critical suspicion of ‘pseudo scientists’ can be observed as a developing trend within fields of design. The focus has shifted from traditional discourse regarding objects of design and moves towards the exploration of visual representation and knowledge creation; as borders become less descriptive of the realities observed in the field, new criteria and methods of evaluation are necessary. The questions raised are not only ethical, as is the case with the environmental impact of human intervention, or how nano technology may alter behavior or material value (Do technological commodities and services have the ability to transcend the social structures of class?), but are also located within broader social relevance—re-assessing the role of design within a global context.   Research narratives may be expressed in various forms, from traditional paper, film, and prototypes to digital interfaces and interaction. The question is not if process is able to be exhibited, but how the value of shared knowledge can become second nature to practitioners and critics in the field.”
(Strange Attractors; Ryan Pescatore Frisk and Catelijne van Middelkoop)