Exhibition: Contrast

A video projection project

Directors, designers, 3D-designers and artists, all people interested in motion pictures and their potential, create for the Greek Graphic Designers Association and present their work under the general title “Contrast”.

On the occasion of the first European Design Conference and European Design Awards, that will take place in Athens this May, professionals of various styles and interests, people that work in design, advertising, film, but also architecture, painting or web design, all give their version of the subject, with small successive clips that create a dynamic 20 minute projection project, at the NIXON projection room.

Participants: Beetroot, Pavlos Germidis, Dimitris Gazis, Marie Dimitrouli, G, Nikos Katrivanos, Chr. Katsari – Chr. Christoforou- Spyros Iakovides, Dimitris Ladopoulos, Μyriam Levi, NOMINT and George Triandafillakos.



Agisilaou 61Β, Metaxourgio, 210 3462077

Opening hours

Thursday May 10: 19:30 – 22:30

Friday May 11: 19:30 – 22:30

Saturday May 12: 19:30 – 22:30

Sunday May 13: 13:00 – 20:00

Free entrance!


May 10-13, 2007

Organized by

Greek Graphic Designers Association


Exhibition: Mapping (Europe)

Apeiron Photos and Corbis organise a poster exhibition to celebrate the first ED Awards.

The idea for an exhibition and subsequent publication dealing with the representation of the map of Europe and the limits and borders of graphic design, was born on the occasion of the organization of the first European Design Awards and European Design Conference held in Athens this year. The campaign for the communication of these paramount events, used the image of a European map made of pixels.

This sort of representation of the European map raises various questions, especially in the context of the ED Awards: What do we mean, understand and communicate by the term ‘European’? How does graphic design map and is being mapped out, what are its borders and limit(ation)s? What are the messages graphic designers are interested in encoding visually and how can the semiology of the two-dimensional surface of a poster function as an expressive ‘map’?

In “Mapping (Europe)”one can look at various ways through which all these issues are approached by exquisite graphic designers and even more, face the new and at times unexpected questions they raise. The works represent and comment on visual conventions, cultural, social and political norms, structures of power, as well as on the very notion of symbolization as exemplified in the field visual communication.

Participants: 3 in a box, Adel Saatchi & Saatchi, Ashley & Holmes, Attp, BBDO Athens, Beetroot, Company, Designers United, Designpark, Dolphins, Echo, Eggandspoon, Espresso Studio/ Dimitris Arvanitis, g, Garamond Design, JWT/ Spot Thompson, K2design, Karamella, Lineadesign, McCann Erickson, MNP, Mousegraphics, ODD Company, Office Communication Consultants, Poor Designers, Radial, RMG Connect, The Design Shop, The Switch Design Agency, Tribe, Warda, George Vavylousakis, Konstantinos Vavylousakis, Dimitris Gazis, Kapani graphix, Oxy/ Paris Koutsikos, Pi6, Fotis Pehlivanidis, George Triantafyllakos.

Opening party

All delegates of the ED Conference are invited to the opening party of the exhibition on 9th May, at 21:00.


Melina Exhibition Center

66 Irakleidon & Thessalonikis, Thisseion

Opening hours

Tuesday to Saturday 9:00–13:00 & 17:00-21:00

Sundays: 9:00-13:00


May 9 – 25

Organized by

Apeiron and Corbis

Graphic leisure workshops

HP has invited Bruno Sellés, Creative Director and Founder of Vasava to run 2 workshops during the ED-Conference.

The workshops will focus on some of the most challenging design issues: Ambigrams, Polioramas and Seamless Patterns.

Frustrating designs that can reward you with great satisfaction once solved.

Mr. Sellés will present the graphic work and illustrations created at Vasava during the last 10 years but the sessions will also include practical exercises. Participants are therefore asked to bring pencil and paper or even better, a laptop with design oriented software (Illustrator or Freehand).

Time & place

Workshop 1: May 9, 10:00-13:00

Workshop 2: May 10, 10:00-13:00

Place: Athens Art Center (HP booth in the lobby)

Cost: 0 euro


Since the seats are limited only the first 25+25 to register will be accepted. You register by sending an e-mail to info@ed-awards.comThis email address is being protected from spam bots, you need Javascript enabled to view it , stating name and if you wish to attend workshop 1 or 2.

Why not associates

Speaker: David Ellis

Location: UK

Website: www.whynotassociates.com

Case: A Flock of Words

A 300 metre typographic walkway.

Part of the regeneration of a northern English coastal town.

Client: Morecambe City Council


For nearly two decades, Why Not Associates has been creating innovative work for clients large and small. Our team works in many different media on many types of projects, including corporate identity, digital design, motion graphics and television commercial direction, editorial design, environmental design, publishing, and public art.

OPEN! Design&Concepts

Speaker: Stas Zhitsky (or better: Jitzky), Co-owner

Location: Moscow, Russia

Website: www.openconcepts.info

Case: RICH juice

Design that works.

Range of packages.

Short story of creating the brand.

Client: Multon company (Russia).


OPEN! Design&Concepts is a small but pretentious company. They enjoy working in any creative space which includes packaging design, architecture, corporate identity, watch making, interiors and jewellery.

With focus on fun and function, this duet of two main definitions makes the world of real design go around, go ahead and go in the right direction to better and more joyful life!

Halvor Bodin

Speaker: Halvor Bodin

Location: Oslo, Norway

Website: www.superlow.com


Black Low – The Punk Movement Was Just Hippies With Short Hair. A banned art exhibition and other transgressions in art spaces.

Presentation of collaboration on various projects with artist Bjarne Melgaard 2002–2007. One of the most recent projects to be presented will be an Extreme Metal kash® Visa credit card.

Client: Contemporary artist Bjarne Melgaard


Halvor Bodin is a Norwegian independent graphic designer and visual artist. He runs the practice Superlow, in the studio Oslo Collective. Bodin is known for working with everything from Black Metal bands such as Satyricon/Darkthrone via corporate identities to church altar pieces, without any irony or disrespect. He writes regularily for the Norwegian design magazine Snitt.

He is one of the most highly awarded graphic designers in Norway the last decade. The artist book Hallo Maybe was awarded Book of the Year 2006 by the Norwegian National Library/Grafill.

International work includes opening titles for the feature film Prozac Nation, idents for ChannelOne News, credit cards for IKANO Group (IKEAs sister company), artworks for the Swiss security systems manifacturer Kaba Ltd, fonts for FUSE 17 (under the project name Function), artist book for Nick Relph and Oliver Payne, selected designer for W139 Gallery in Amsterdam 2005, the award-winning Norwegian Adbusters Magazine, album covers for Anja Garbarek (with Alexei Tylevich), Earth/Kurt Cobain, Apoptygma Berzerk and Turbonegro.


Speaker: Yiannis Haralambopoulos


Location: Thessaloniki, Greece

Website: www.beetroot.gr

Case: The visual identity of an architectural exhibition

An analysis of the process followed to reach the final outcome. Issues concerning the brief, the big scale and the third dimension, the different media, the budget, the collaboration with architects, the co-ordination and management among different countries, feedback and experience. Print, video, motion graphics and web put together to bring out the character and the feeling of each event

Client: Cyprus Architects Association | Thessaloniki Architects Association


Beetroot was founded in 2000, in Thessaloniki, Greece by Liakos Vagelis, Nikou Alexis, and Haralambopoulos Yiannis. Today Beetroot counts 9 employees and is involved with projects of corporate and brand and identity, ad campaigns (print+TV promoting a design based approach), new media, motion graphics, filming and video. Among its awards is the Grand EBGE 2006 in Greece, and a silver finalist in EPICA European creative awards 2004


Speaker: Manuel Krebs

Location: Zurich, Switzerland

Website: www.norm.to

Case: Money Making

In March 2005 the Swiss National Bank (SNB) launched a competition for the design of the new Swiss money. SNB invited 12 design studios (incl. Norm) to compete during six months until October 2005. Norm won the first prize.

In the next phase SNB invited the top three studios for a second competition. This included further development of the whole series of banknotes (10–1000) and printing of one of the notes (50). The second competition lasted from January 2006 until January 2007.

The presentation will be about those 2 years of the project.


Co-founded by Dimitri Bruni and Manuel Krebs, NORM is a Zurich-based graphics team which has defined and now executes an iconoclastic, but intellectually rigorous approach to typography and imagery both for experimental work and commercial projects such as the typography for Cologne Airport.

Stockholm Design Lab

Speaker: Björn Kusoffsky

Creative Director/Founder

Location: Stockholm, Sweden

Website: www.stockholmdesignlab.se

Case: SAS
Comprehensive identity project. From Aircraft livery to lounges, uniforms and wet wipes.

Client: SAS-Scandinavian Airlines


Stockholm Design Lab has been working on the entire corporate identities of companies and institutions for ten years. Airlines, department stores, museums… Like us, our clients have tended to regard identity as a total experience rather than a matter of positioning the logo on the surface. However, this big-picture view has not stopped us from working on the expression of isolated instances such as torch batteries, wet-wipes and TV title sequences.

We don’t differentiate between design, architecture, interiors, product development, advertisements, film and other forms of communication. The perception of a brand is dependent on its slightest components.

Darek Komorek

Speaker: Mr. Darek Komorek

Location: Poland

Case: From deconstruction to reconstruction.

Letters in my graphic design. Works designed, redesigned and undesigned by Darek Komorek.

Client: Different clients; mostly cultural institutions


Speaker: Helena Ichbiah

Location: France

Website: www.ichetkar.com

Case: Condesa df

Condesa df is a hotel located in central Mexico city. It is an example of a successful collaboration between an architect-designer, India Mahdavi, and a graphic design team, Ich&Kar. Ich&Kar completely “dived” into this project creating the entire range of tools of communication: from letterings of doors and match boxes, up to the internet site.

Client: Condesa df


Ich&Kar (or Ichetkar) like to define themselves as image designers. The range of their activities is quite exceptional, from film-making to photography and graphic composition.

They complete with one another in terms of imagination and graphic ideas. If asked to describe the unifying thread in their work for fashion, advertising and music sectors, one might say they create “new worlds”.

Studio Dumbar

Speaker: Michel de Boer

Creative Director

Location: Rotterdam, The Netherlands

Website: www.studiodumbar.nl

Case: Maintaining brand leadership in a dynamic market; the design case of KPN

Client: KPN, multi channel company (telecoms, internet, television)


Studio Dumbar is an established design agency with over twenty years of experience in corporate and brand identity. Studio Dumbar has worked for many clients around the world on projects that require international implementation.

Studio Dumbar’s port folio includes prestigious projects such as for Aegon, Shell, TNT Post Group, Czech Telecom, Nike, Dresdner Bank, Danish Post, Allianz, AT&T – Unisource, Apple Computer, Crédit Lyonnais, European Central Bank and Randstad International.

Established by Gert Dumbar in 1977, the agency, which is now headed by Creative Director Michel de Boer and Strategy Director Tom Dorrestein, currently employs a team of thirty staff.

Within Studio Dumbar Michel de Boer is fully responsible for the creative output. He has more than twenty-five years of experience in corporate identity, brand identity and design.

studio FM milano

Speaker: Cristiano Bottino


Location: Milan, Italy

Website: www.studiofmmilano.it

Case: The shape of the significance

Client: MI – Permanent Exposition of the “made in italy” and Italian Design


Founded in 1996 by Barbara Forni and Sergio Menichelli and joined by Cristiano Bottino in 1999, specializes in graphic design, specifically art direction, corporate identity, book, exhibit/installation design and web design.

Based in Milan, it counts on a team of young and experienced graphic designers and external collaborators such as photographers, copywriters, adv agencies and technical supports for special multimedia projects involving databases and programming.

Studio FM Milano is very much involved in teaching activities in different schools in Milan (such as Politecnico di Milano, Master alla Scuola Politecnica di Design di Milano, Naba Art and Design Academy).


Speaker: Heinrich Paravicini


Location: Hamburg, Germany

Website: www.mutabor.de

Case: A retail design project for the 21st. Century

  1. Mutabor design, Hamburg – about brand image and brand experience design. A quick introduction of our company.
  2. New strategies for Adidas retail – bringing innovation to the consumer. The brief from Adidas and the partners involved in the project.
  3. The mi innovation center – in 3 stages top market launch
    – from concept drafts to prototypes and the final shop
    – the specific features and design solutions, films and interfaces.
    – Prospects for the future, what will happen next
  4. Summary – short movie

Client: Adidas


Mutabor was founded on 1998 in Hamburg by Heinrich Paravicini and Johannes Plass. Today they have 30 employees and have won numerous awards.

Enric Jardí

Speaker: Enric Jardí

Location: Barcelona, Spain

Website: www.enricjardi.com

Case: Re-designing The Chicago Reader and The Boston Phoenix.

The lecture will be about two projects done in the studio of this Barcelona based graphic design company.

Enric Jardí will talk about the redesign of two weeklies, The Chicago Reader and The Boston Phoenix., during 2004-2005. Both cases were done from Barcelona and they only visited their clients for the final part of the projects. Mr. Jardí will talk about their experiences from working with American clients who had to trust European designers.

The cases have not been selected because they are beautiful or “cute” design projects. They will be presented because they are real works where they had to deal with ugly advertising, real production problems etc.

Clients: Chicago Reader, Inc. and Phoenix Media/Communications Group


Enric Jardí was born in Barcelona in 1964. He studied graphic design at the Elisava and since 1988 has taught in that school. Since 1983 he has worked in different studios, and in 1992 started the Propaganda studio. Then in 1998 he started up on his own.

In 1991 he founded the typographic group Type-Ø-Tones, with other designers, which develops fonts distributed by FontShop (Berlin). He is the director of the Typography Postgraduate Diploma at the Eina school of art and design, in collaboration with the Autonomous University of Barcelona, and he also teaches on the Master’s course for “Direcció d’Art en Publicitat” at the Ramon Llull University.

In collaboration with Marcus Villaça, he has developed editorial projects such as the redesigning of the Chicago Reader and the Boston Phoenix. Since September 2005 he has been the president of the Art Directors & Graphic designers Association ADG-FAD.


Speaker: Rasmus Drucker Ibfelt, co-founder & partner

Location: Copenhagen, Denmark

Website: www.e-types.com

Case: Speak up! – moving the fashion of culture and proving the culture of fashion.

e-Types has been working for Mads Norgaard Copenhagen, an international fashion brand, creating a new brand strategy and visual identity. The main task was moving the Mads Nørgaard beyond fashion and towards culture – creating a strong and unique brand steeped in Nørgaards cultural heritage. In a similar vein, The Royal Theatre chose e-types to help them create a new corporate identity, creating a brand which could attract a new and younger audience while keeping its core audience and heritage intact.

The two cases are presented to show how e-Types, by using elements from the world of culture, are trying to create more meaningful brands. Firstly, a fashion brand which positions itself differently from its main competitors through a genuine link to its customers cultural context. Secondly, a cultural approach that has helped to create relevant and modern universe for the Royal Theatre, updating its relevancy to attract a new target group while linking between the past and the present.

Client: The Royal Danish Theatre and Mads Norgaard Copenhagen


e-Types is a strategic design agency. Their core competency is to unearth the main values and the key idea in a brand or company and to express it visually.

e-Types has worked with graphic design, brand strategy and image campaigns for Georg Jensen, Jordan Dental, The Danish Police, Carlsberg Jacobsen, Aquascutum London, The Confederation of Danish Industries, Mads Norgaard Copenhagen, The Royal Danish Theatre, The Danish Film Institute and Hotel Fox amongst many others

e-Types was founded in 1997 and currently employs 25 people. They have three main competencies: Brand Strategy, Graphic Design and Image Campaigns for fashion and luxury brands.

Their approach to design is characterized by a solid belief in integrating the graphic/visual into a strategic perspective – crafting the design into a framework that is capable of conveying the brand’s essence along with a style and atmosphere that supports and promotes the brand’s identity and positioning. By employing professionals from a variety of disciplines, their graphic designers, architects, fashion designers and strategists are able to approach a project from different angles, drawing upon the teams combined experience and competency. In the end, it’s not difficult to make something that looks good – the challenge is to find that one strong idea that can carry a visual identity forward.


Speaker: Jonathan Hubbard

Location: London, UK

Website: www.interbrand.co.uk

Case: How visual identity and tone of voice have repositioned a serious High Street name.

Clients: Barclays Bank


Interbrand is an international brand consultancy with over thirty years experience and offices in 27 countries. They focus on creating and managing brand value for their clients.


Speaker: Slavimir Stojanovic

Location: Ljubljana, Slovenia

Website: www.futro.si

Case: M’ARS Magazine

The project included typography especially developed for this magazine. This magazine was awarded Grand Prix at Slovenian Biennial of Visual Communications.

The editor was Spela Mlakar who also edited the book “The Designers Republic from 2D to 3D”.

Client:  M’ars magazine of Modern Art Gallery in Ljubljana, Slovenia.


Futro is a creative service unit founded in 2003 by Award winning designer Slamir Stojanovic, as a place where art and commercial work feed one another with endless inspiration.

2007 Erik Spiekermann

The European Design Hall of Fame winner 2007

Prof. Dr. h.c. Erik Spiekermann (*1947) studied History of Art and English in Berlin. He is information architect, type designer (ff Meta, itc Officina, ff Info, ff Unit, LoType, Berliner Grotesk et al) and author of books and articles on type and typography.

He was founder (1979) of MetaDesign, Germany’s largest design firm with offices in Berlin, London and San Francisco. Projects included corporate design programmes for Audi, Skoda, Volkswagen, Lexus, Heidelberg Printing, Berlin Transit, Duesseldorf Airport and many others. In 1988 he started FontShop, a company for production and distribution of electronic fonts.

He holds an honorary professorship at the Academy of Arts in Bremen, is board member of ATypI and the German Design Council and Past President of the istd International Society of Typographic Designers as well as the iiid International Institute of Information Design. In 2003 he was awarded the Gerrit Noordzij Prize for Typography from the Royal Academy in The Hague, Netherlands. In 2006 received an honorary doctorship from Pasadena Art Center.

In 2001 he redesigned The Economist magazine in London. His book for Adobe Press,“Stop Stealing Sheep” has recently appeared in a second edition and both a German and a Russian version. His corporate font family for Nokia was released in 2002. The exclusive family of typefaces for Deutsche Bahn (the German railway system), designed with Christan Schwartz, was awarded the Federal German Design Prize 2007.

He left MetaDesign in 2001 and now runs SpiekermannPartners with offices in Berlin, London and San Francisco. Clients include Bosch, Deutsche Bahn, Pioneer Investment, Messe Frankfurt, Nokia, Birkhäuser Verlag Basel and many others.

Interview by Frederico Duarte

  • Q: You have just received the 2007 European Designer Hall of Fame Award. This is not your first award, but the fact you have been nominated by your peers from all over the continent must have a special meaning. What does it mean, to you, to have received this accolade?
  • A: Getting the vote from the readers of professional design magazines means a lot. It shows me that design is, indeed, an international language. And it proves that there is a design community which knows who has been doing what for quite a few years.
  • Q: Stefan Sagmeister once said a famous graphic designer is like a famous electrician. Merit and fame are still only recognised inside their milieu. Rarely the general public, or even mainstream media, pay real attention to the discipline and to its practitioners. Your open criticism of the UEFA 2006 World Cup put you briefly in the German “public eye”, but despite your considerable work in your country and beyond, you are still to become “a household name”. Do you think there is a place for public and media recognition for graphic design? Will we witness the rise of the “star graphic designer”, as we have seen the “star architect”?
  • A: Public recognition is important because it makes every designer more of an equal partner for the client. As long as we are considered a lower form of production service, clients will not involve us properly and will not pay us the money our work deserves.
  • Q: In your almost 30-year old career, you have developed a myriad of typefaces, systems and interfaces, which have been applied to magazines and books and TV channels, trains and cars and planes, motorways and airports and cities. All this has truly shaped our living environment and visual landscape, not only in Germany and Europe, but indeed around the world. Do you ever stop and think on the impact of your work in everything that surrounds millions of people?
  • A: I do. Every time i use the U-Bahn here in Berlin (the Metro), I love the fact that we helped make this a prettier environment than before, plus one that actually helps to get people from A to B effortlessly. And I love the fact that nobody knows who did this. Public design should be invisible. And when people read messages from Deutsche Bahn (German Railways) set in my typefaces, that gives me a kick as well. And again, they don’t need to know that someone actually did that, they just need to enjoy reading. Except potential clients: they need to be told that this was done by designers, not machines.
  • Q: Having said that, and also knowing your role in consulting to cities and government institutions and governments themselves, it can be said you are often a “designer of the establishment”. How often is your work a victim of politics, or how much does bureaucracy and politics get in the way of your work?
  • A: All the time. Politics are just as important with commercial clients, if not more so. We have to play the politics and stay out of them at the same time. I think i have got pretty good at that and I hope that I still do not betray my principles. I still remember being thrown out of offices because I told clients the truth about their companies, and I still have arguments with them. As long as I have enemies as well as friends, I am not totally corrupt.
  • Q: In 1979 you started Meta, and when that got too big you started the United Designers Network in 2000, which in 2007 became SpiekermannPartners. “Thinking small” to you still means running three offices in three different time zones. Will small ever give way to smaller?
  • A: Small is relative. Nobody ever has more than 7 designers work on one project at the same time, but clients still take work to the big studios because it is safe. It is like using Helvetica: it is never very good, but never really bad. We are not big, but we get big projects because my reputation comes from the big projects I have been responsible for. I could happily just design book covers, but nobody will give me those.
  • Q: Your work is often associated with German Graphic, and Typographic, Design. Do you acknowledge this “Germaneness”? Do you cultivate it? Do you fight it? Does it matter?
  • A: I cannot help being German. But i also lived in London for 9 years, was married to an Englishwoman for 25 years, have an English son and now i’m married to an American lady and spend a lot of time in the US. I consider myself an international German. I like all the good German things about myself. I am reliable although chaotic; punctual, but sometimes a year late, fussy about detail but generous with other peoples’ mistakes.
  • Q: A lot of what you do is about improving existing systems or elements, and make them work better for their users, by removing clutter, rethinking processes, optimising outcomes and providing solutions. Is simplifying our lives making our lives too simple? Is there still room for complexity?
  • A: Complex problems have simple, easy to understand, wrong answers. You cannot make complex things simple, but you can make them approachable by designing the interface and the process so that people will actually be encouraged to solve complex problems. Clutter is one of the biggest problems of our lives — too much of everything.
  • Q: Do you still wear that bow tie sometimes?
  • A: No, but I look at it now and again.