{"id":1347,"date":"2018-12-27T16:00:36","date_gmt":"2018-12-27T14:00:36","guid":{"rendered":"https:\/\/ictvc.org\/2019\/?page_id=1347"},"modified":"2019-07-03T15:23:59","modified_gmt":"2019-07-03T12:23:59","slug":"speakers","status":"publish","type":"page","link":"https:\/\/ictvc.org\/2019\/en\/programme\/speakers\/","title":{"rendered":"Speakers"},"content":{"rendered":"\t\t
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Challenging design paths<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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ICTVC 7<\/b> \u00b7 Patras, Greece \u00b7 19 \u2014 21 June 2019<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Speakers \/ Contributors<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\u00a0<\/span><\/p>

\u00a0<\/span><\/p>

PROGRAMME 7th ICTVC 2019 \/ pdf<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u00a0<\/strong><\/span><\/p>

\u00a0<\/strong><\/span><\/p>

ABSTRACTS 7th ICTVC 2019 \/ pdf<\/strong><\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tKaterina Antonaki | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Katerina Antonaki MA FA \u2013 Creative Director of Technopolis city of Athens, visiting lecturer at UNIWA, Department of Graphic Design. Her work ranges from visual identity, editorial design and spatial design. She is involved in education and urban research projects and she is scientific member of international interdisciplinary projects. Her interests include, the activist role of graphic design at the social and political level, disruptive actions in public space, design methodologies. She has studied in London, Helsinki and Athens, holds \u201cMA in Design Critical Theory and Practice\u201d from Goldsmiths University of London. She is an IKY scholar. Her design practice has been awarded and her research has been presented in international conferences and exhibitions. She lives and works in Athens.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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A<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tJo De Baerdemaeker | BELGIUM<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Dr Jo De Baerdemaeker\u00a0is an independent Belgian\u00a0typeface designer and researcher. He holds an MA in Typeface Design and\u00a0was awarded a PhD from the University of Reading.\u00a0
His\u00a0interests are\u00a0designing, researching and writing about world script typefaces\u00a0(particularly on Tibetan, Lantsa, Mongolian and Javanese) and\u00a0multilingual typography. He is elected board\u00a0member and the ATypI\u00a0Country Delegate for Belgium, and currently teaches at LUCA School of\u00a0Arts (campus Sint-Lucas Gent), and at the Plantin Institute of\u00a0Typography (Antwerp). In\u00a02012 he founded Studio Type in Antwerp\u00a0(Belgium), and collaborates with international design agencies and type\u00a0foundries.
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Wibo Bakker (1974) works as assistant professor at the Industrial Design department of the Xi\u2019an Jiaotong-Liverpool University (Suzhou, China). He is specialized in design history, styles & shapes, creativity theory and visual communication. Currently he is interested in information design and pictograms, carrying out research in the Netherlands, England, Germany and Japan.
Bakker started his career studying graphic design at the ArtEZ Institute of the Arts in Arnhem (1991-1996). An internship at Pentagram Design (San Francisco), as well as jobs at several other design agencies, made him aware of national differences in design cultures. In 2009 he obtained a PhD at Utrecht University for his study on the development of visual identity in the Netherlands, titled \u2018Droom van Helderheid: huisstijlen, ontwerpbureaus en modernisme in Nederland: 1960-1975\u2019 (A Clear Dream: Visual Identity, Design Agencies and Modernism in The Netherlands: 1960-1975).
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Kostas Bartsokas is a Greek typeface designer and typographer. During his freelance career he specialised in\u00a0graphic design, illustration, web design, packaging, and animation; he finally chose to pursue his passion with typography.\u00a0Kostas holds an MA in Typeface Design from the University of Reading and enjoys innovative explorations being particularly\u00a0interested in multi-script type design. He is currently working as a senior typeface designer at URW in Hamburg and offers\u00a0consultation in Greek script design for other foundries too.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tVassiliki Belessi | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Vassiliki Belessi received her PhD in Chemistry from the University of Ioannina. Head of the production process at the manufacturing industry of printed circuit boards METELCO SA, she has also worked as a chemist for the Research and Trading Company of nanotechnology products Nanovive SA. She has been working as a researcher in the NCSR Demokritos since 2004. In 2010 she was appointed Assistant Professor of Materials of Graphic Arts at the Technological Educational Institute of Athens. Dr Belessi has published more than twenty research papers in International refereed journals and has presented her research at thirty international conferences. Her main research interests include the synthesis and characterization of materials and the development of inks having electrical and optical properties.
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tEvangelia Biza | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

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del Bel Libro \u03ba\u03b1\u03b9 1\u03bf \u0392\u03c1\u03b1\u03b2\u03b5\u03af\u03bf Fine Binding \u03c3\u03c4\u03bf \u03b4\u03b9\u03b1\u03b3\u03c9\u03bd\u03b9\u03c3\u03bc\u03cc Society of\u00a0 Bookbinders \u03c3\u03c4\u03bf Durham \u03c4\u03bf\u03c5 \u0397\u03bd\u03c9\u03bc\u03ad\u03bd\u03bf\u03c5 \u0392\u03b1\u03c3\u03b9\u03bb\u03b5\u03af\u03bf\u03c5.
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tMaria Bohannon | USA<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Maria Smith Bohannon is a graphic designer based in the US. In addition to client driven work, she designs Euclidean Geometry based laser etchings and prints, experiments with typography, and makes collages. She is currently an Assistant Professor of Graphic Design at Oakland University.
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Walter Bohatsch founded the Viennese visual design studio Bohatsch und Partner in 1983 following a period spent working in Montreal (1973\u201378) and postgraduate studies in graphic design and film at the Basel School of Design in Switzerland (1978\u201381). His studio\u2019s work centers on developing visual solutions for projects of various categories and dimensions in the cultural and business fields. Now a freelance designer and artist, Walter Bohatsch works as a consultant and on experimental projects in the field of perception and typography.
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David B\u0159ezina is a designer, writer, lecturer, and chief type officer at Rosetta type foundry. He designed typefaces for a diverse palette of the world\u2019s scripts. David holds a Master\u2019s degree in computer science and an MA in Typeface Design and PhD from the University of Reading, UK. His cross-disciplinary PhD thesis studied visual similarity and coherence of characters in typefaces for continuous reading in Latin, Cyrillic, and Devanagari scripts.
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Neville Brody is Professor of Communication at the Royal College of Art and one of the most celebrated graphic designers of his generation \u2013 a leading typographer and internationally recognised art director and brand strategist. The founder of design agency Brody Associates, he established his reputation as\u00a0creative director of the 1980\u2019s\u00a0Face\u00a0<\/i>magazine, subsequently\u00a0working with record labels, magazines and a range of international clients including Apple,\u00a0BBC online,\u00a0The Times<\/i>, Channel 4, Samsung, Coca-Cola, and the England football team. His hugely influential work has been the subject of numerous exhibitions and publications, most notably the two-volume monograph The Graphic Language of Neville Brody<\/em>, which was accompanied by an exhibition at the Victoria and Albert Museum.
Neville Brody has received numerous awards and honours, including the D&AD President\u2019s Award (2011) and a Prince Philip Designers Prize (2010). Brody became dean of the School of Communication and head of the Visual Communication Programme at the Royal College of Art in January 2011. In 2018 he became Professor of Communication.
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Mary Dyson started by studying experimental psychology with a PhD in perception. She then moved into the Department of Typography & Graphic Communication, University of Reading, UK, teaching and researching theoretical and empirical approaches to typography and graphic communication. After retiring from her post in Typography & Graphic Communication, she has written a textbook on legibility and has found time to reflect on her academic career and question some of her own assumptions. She is also enjoying developing scholarly collaborations with former students\/colleagues and friends.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Ourania Efstathiadou is a Lecturer at the University of West Attica, Greece, teaching digital image processing and interactive multimedia at the Department of Graphic Design and Visual Communication – Graphic Arts Technology, where she works since 1991. She holds a BSc in Graphic Arts Technology, an MSc degree in Interactive Multimedia (University of Westminster, UK) and is currently working on her PhD, focusing on the use of digital filters in image processing in Graphic Arts. For more than 30 years, Ourania is actively involved in the fields of education, research projects, multimedia and digital publishing.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Marina Emmanouil is an Assist. Professor of design theory and methodology at Ghent University (Belgium). She holds a PhD and an MA in the History of Design at the Royal College of Art (UK) and a BA(Hons) in Graphic Design (UK). By 2019 she is expected to complete an MSc in Education and Child Studies with a specialisation on learning difficulties at Leiden University (NL). She is interested in creating an inclusive learning environment for all ability students and encourages disclosure of learning difficulties in design education and discourse. With her social design practice, Marina contributes to the development of accessibility programs for visually impaired people. She was a member of the Editorial team of the ico-D journal Communication Design<\/em>.
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Graphic designer, typographer, type designer and lecturer. Professor of typography and graphic design at the Faculty of Industrial Design of the Academy of Fine Arts in Warsaw. Artur received his PhD from the Warsaw University of Technology with a thesis on legibility of type (2004). In 2013 he presented a habilitation thesis on street lettering as an inspiration for a graphic designer at the Academy of Fine Arts in Warsaw. In 2015 he graduated from the Expert class Type design (EcTd) at the Plantin Institute for Typography in Antwerp. He has designed or co-designed several typefaces, among them Grotesk Polski, Komunikat FA, Merz FA, Silesiana, Modernista FA, NASZ Stencil. Author of the book “Typespotting. Warszawa” which is about street lettering of Warsaw (2010) and co-author (with Magdalena Frankowska) of a book about Henryk Berlewi, a pioneer of functional typography. Country delegate of ATypI, member of Type Directors Club (TDC) and of the Polish Association of Graphic Designers (STGU). Co-founder of Fontarte.
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Lasse is the lead developer of Metapolator, ufoJS and Atem. At the moment he\u2019s freelancing as a font-engineer for various projects with Google; before that, he did a lot of full-stack web development. He\u2019s into type, creative thinking, programming and has a keen interest in using and making Free\/Libre Open Source Software.
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Dr Chrysoula Gatsou is an Associate Professor at the University of West Attica, Department of Graphic Design and Visual Communication, Graphic Arts Technology, where she works since 1987. She holds a BSc in Graphic Arts Technology, an MSc degree in Interactive Multimedia (University of Westminster, UK) and a PhD in Human Computer Interaction. Her research has been presented at international conferences and was published in books and peer-reviewed academic journals. She has more than 25 years of experience in education, training, project and research within the Greek and European Graphic Arts and Media sectors.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tVasilios Georgakilas | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tElissavet Georgiadou | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Dr Elissavet Georgiadou lives and works in Thessaloniki, Greece. She studied graphic arts, image, film and educational hypermedia. Her research has been presented at international conferences and was published in books and peer-reviewed academic journals. She teaches print media and documentary production at the Department of Journalism and Mass Media Communication of the Aristotle University of Thessaloniki and Graphic Arts Technology at the School of Applied Arts, the Hellenic Open University.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tNikos Georg\u03ccpoulos | UK<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Nikos Georg\u00f3poulos is an award-winning graphic designer and art director based in London. Described by London College of Fashion\u2019s Creative Director as \u2018sensitive, considered and essentially poetic\u2019, his practice is best known for designing ideas driven visual identities, books and websites for the fields of fashion, culture and architecture. He has studied Graphic Design and Visual Communication at Vakalo (BA Hons, MA) in Athens, and at Camberwell College of Arts (MA) in London, where he conducted practice based research exploring the relation between Identity and Archives. Nikos is a member of the Art Directors Club in New York and since 2018 he is teaching Typography and Graphic Design at the London College of Communication, UAL.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Stamatia Gogou was born in Kastoria and lives in Athens. She studied at the School of Graphic Arts of TEI of Athens and holds a postgraduate degree in Graphic Arts – Multimedia of the Applied Arts School of the Hellenic Open University. Since 2002, she has been working at the Department of Graphic and Visual Communication (University of West Attica) teaching Typography, Image Processing, Binding and Packaging \u2013 Finishing. She worked in a publishing house (Preprint, Finishing Department) in daily and monthly issues, for 16 years. She is a specialist in graphic arts editing in publishing, digital image processing and bookbinding.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tEmilio Grazzi | ITALY<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Graphic and information designer, Emilio Grazzi focuses on typography issues related to music\u00a0notation and representation. After his graduation in Cello at Conservatorio \u201cG. Rossini\u201d in Pesaro, in 2012, he completed the editorial design course at ISIA Urbino with a\u00a0dissertation about parametric typedesign applied to music notation. Since then, Emilio Grazzi continued his activities in this multidisciplinary field, co-supervising thesis\u00a0projects, and promoting layout and design solutions for music notation.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tJames Grieshaber | USA<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

James Grieshaber is a type designer, typo\u00adgrapher, and graphic designer based in Rochester, NY. He graduated from the Graphic Design pro\u00adgram at Rochester Institute of Technology (RIT), where he has also taught undergraduate typography. James now works at P22 Type Foundry as Director of Operations as well as creating typefaces. He also works in part time for Virgin Wood Type Mfg. Co.<\/a> where besides creating wood type by hand, he is responsible for digitally drawing customer special orders, replacement letters, and new & revival fonts. James has created digital fonts for P22 Type Foundry, Hamilton Wood Type, Google, Microsoft, and Apple. James is an Ex Officio board member of Society of Typographic Aficionados (SOTA\/TypeCon<\/a>), an active member of American Printing History Association (APHA<\/a>), and is a Studio Artist of Book Arts at the Flower City Arts Center in Rochester.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tVangelis Hatzitheodorou | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

\u0394\u03b9\u03b5\u03c5\u03b8\u03c5\u03bd\u03c4\u03ae\u03c2 \u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03bf\u03cd \u03c4\u03b7\u03c2 Paragraph Design\/A\u03b8\u03ae\u03bd\u03b1. \u0394\u03b9\u03b4\u03ac\u03c3\u03ba\u03b5\u03b9 “\u0393\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae” \u03ba\u03b1\u03b9 “\u0394\u03b9\u03b1\u03c7\u03b5\u03af\u03c1\u03b9\u03c3\u03b7 \u03ba\u03b1\u03b9 \u0394\u03b5\u03bf\u03bd\u03c4\u03bf\u03bb\u03bf\u03b3\u03af\u03b1 \u03a3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03bf\u03cd” \u03c3\u03c4\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u0394\u03c5\u03c4\u03b9\u03ba\u03ae\u03c2 \u0391\u03c4\u03c4\u03b9\u03ba\u03ae\u03c2. \u039a\u03ac\u03c4\u03bf\u03c7\u03bf\u03c2 \u0392\u0391 (Hons) \u03c4\u03bf\u03c5 Harrow College \u03c3\u03c4\u03bf \u03b3\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03cc \u03c0\u03bb\u03b7\u03c1\u03bf\u03c6\u03bf\u03c1\u03b9\u03b1\u03ba\u03cc \u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc \u03ba\u03b1\u03b9 \u039c\u0391 \u03c4\u03bf\u03c5 Central St. Martins \u03c3\u03c4\u03bf \u03b3\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03cc \u03c4\u03c5\u03c0\u03bf\u03b3\u03c1\u03b1\u03c6\u03b9\u03ba\u03cc \u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc. \u0388\u03c7\u03b5\u03b9 \u03c3\u03c5\u03bd\u03b5\u03c1\u03b3\u03b1\u03c3\u03c4\u03b5\u03af \u03bc\u03b5 \u03b4\u03b9\u03b1\u03c6\u03b7\u03bc\u03b9\u03c3\u03c4\u03b9\u03ba\u03ad\u03c2 \u03b5\u03c4\u03b1\u03b9\u03c1\u03b5\u03af\u03b5\u03c2 \u03c3\u03c4\u03b7\u03bd \u0391\u03b8\u03ae\u03bd\u03b1, \u03b1\u03c0\u03cc \u03c4\u03b7 \u03b8\u03ad\u03c3\u03b7 \u03c4\u03bf\u03c5 \u03b4\u03b9\u03b5\u03c5\u03b8\u03c5\u03bd\u03c4\u03ae \u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03bf\u03cd. \u03a3\u03c5\u03bc\u03bc\u03b5\u03c4\u03b5\u03af\u03c7\u03b5 \u03c3\u03c4\u03b7\u03bd \u03bf\u03c1\u03b3\u03ac\u03bd\u03c9\u03c3\u03b7 \u03ba\u03b1\u03b9 \u03b4\u03b9\u03b5\u03cd\u03b8\u03c5\u03bd\u03c3\u03b7 \u03c4\u03bf\u03c5 \u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03bf\u03cd \u03c4\u03b7\u03c2 \u03b5\u03b9\u03ba\u03cc\u03bd\u03b1\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03b7\u03c2 \u03c4\u03b1\u03c5\u03c4\u03cc\u03c4\u03b7\u03c4\u03b1\u03c2 \u03c4\u03c9\u03bd \u039f\u03bb\u03c5\u03bc\u03c0\u03b9\u03b1\u03ba\u03ce\u03bd \u0391\u03b3\u03ce\u03bd\u03c9\u03bd \u03c4\u03b7\u03c2 \u0391\u03b8\u03ae\u03bd\u03b1\u03c2. \u039c\u03b5 \u03c4\u03b7\u03bd Paragraph Design \u03c3\u03c7\u03b5\u03b4\u03af\u03b1\u03c3\u03b5 \u03c4\u03b9\u03c2 \u03bc\u03b1\u03c3\u03ba\u03cc\u03c4 \u03c4\u03c9\u03bd \u039f\u03bb\u03c5\u03bc\u03c0\u03b9\u03b1\u03ba\u03ce\u03bd \u03ba\u03b1\u03b9 \u03a0\u03b1\u03c1\u03b1\u03bf\u03bb\u03c5\u03bc\u03c0\u03b9\u03b1\u03ba\u03ce\u03bd \u0391\u03b3\u03ce\u03bd\u03c9\u03bd, \u03cc\u03c0\u03c9\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03b7 \u03b3\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03bf\u03c3\u03b5\u03b9\u03c1\u03ac \u03c4\u03bf\u03c5\u03c2. \u0388\u03c7\u03b5\u03b9 \u03c3\u03c7\u03b5\u03b4\u03b9\u03ac\u03c3\u03b5\u03b9 \u03b5\u03c4\u03b1\u03b9\u03c1\u03b9\u03ba\u03ac \u03ba\u03b1\u03b9 \u03b5\u03bc\u03c0\u03bf\u03c1\u03b9\u03ba\u03ac \u03b3\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ac \u03c0\u03c1\u03bf\u03ca\u03cc\u03bd\u03c4\u03b1 \u03b3\u03b9\u03b1 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ad\u03c2 \u03ba\u03b1\u03b9 \u03c0\u03bf\u03bb\u03c5\u03b5\u03b8\u03bd\u03b9\u03ba\u03ad\u03c2 \u03b5\u03c4\u03b1\u03b9\u03c1\u03b5\u03af\u03b5\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03c4\u03b1\u03b9\u03c1\u03b5\u03af\u03b5\u03c2 \u03c4\u03bf\u03c5 \u0394\u03b7\u03bc\u03bf\u03c3\u03af\u03bf\u03c5, \u03cc\u03c0\u03c9\u03c2 \u03c3\u03ae\u03bc\u03b1\u03c4\u03b1 \u03c4\u03c1\u03b1\u03c0\u03b5\u03b6\u03ce\u03bd, \u03c3\u03c5\u03c3\u03ba\u03b5\u03c5\u03b1\u03c3\u03af\u03b5\u03c2, \u03c3\u03b7\u03bc\u03b1\u03c4\u03bf\u03b4\u03cc\u03c4\u03b7\u03c3\u03b7, \u03b3\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03bf\u03c3\u03b5\u03b9\u03c1\u03ad\u03c2, \u03c4\u03bc\u03ae\u03bc\u03b1 \u03c4\u03c9\u03bd \u03c0\u03b5\u03c1\u03b9\u03c0\u03c4\u03ad\u03c1\u03c9\u03bd \u03c4\u03b7\u03c2 \u0395\u03a7PO 2000 \u03ba\u03b1\u03b9 2005 \u03ba\u03c4\u03bb. \u03a3\u03c5\u03b3\u03b3\u03c1\u03b1\u03c6\u03ad\u03b1\u03c2 \u03c4\u03bf\u03c5 \u03b2\u03b9\u03b2\u03bb\u03af\u03bf\u03c5 \u039f\u03bb\u03c5\u03bc\u03c0\u03b9\u03b1\u03ba\u03ac \u0395\u03b9\u03ba\u03bf\u03bd\u03bf\u03b3\u03c1\u03ac\u03bc\u03bc\u03b1\u03c4\u03b1, \u03a3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc\u03c2 \u03ba\u03b1\u03b9 \u03a3\u03b7\u03bc\u03b5\u03b9\u03bf\u03bb\u03bf\u03b3\u03af\u03b1<\/em>, \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u03a0\u03b1\u03c0\u03b1\u03c3\u03c9\u03c4\u03b7\u03c1\u03af\u03bf\u03c5.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tAkiem Helmling | THE NETHERLANDS<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

1971 born in Heidelberg, Germany. 1994\u20131998 study of Graphic Design at the Fachhochschule Mannheim<\/a>. 1998\/2000 postgraduate study at the KABK<\/a> Den Haag. Next to Underware he is also involved in the contemporary art center West Den Haag<\/a>. Lives in Den Haag, the Netherlands.<\/span>
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Dr Katherine Hepworth is a graphic design practitioner-researcher, currently employed as the Assistant Professor of Visual Journalism at The Reynolds School of Journalism, University of Nevada Reno. She has over ten years professional experience as a graphic designer, focusing on information design and user experience for books and websites. Her current research interests are the relationship between visual communication and power, and visual communication effectiveness in higher education.
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tBelal Herbawi | PALESTINE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Belal Herbawi has more than twelve years of experience in the multimedia & graphic design fields, working as a graphic design lecturer in the Palestine Technical University (Kadoori). He holds an MA in Visual Arts & Visual Communication Design from the Eastern Mediterranean University (EMU), North Cyprus, and a Bachelor\u2019s degree in Multimedia & Graphic Design from the Palestine Technical University. Belal Herbawi has taught multimedia & graphic design courses and has won several awards in various competitions.
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tDavid Hunter | UK<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

David Hunter is a multi-disciplinary designer, programmer, and educator from London. David originally studied Graphic Design where he gained an interest in programming for interaction design, data visualization, and generative design. These cross discipline skills have been put to use for commercial clients, exhibitions, and as a Senior Lecturer at Ravensbourne, encouraging Graphic Design students to engage with technology and programming.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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H<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tStelios Irakleous | CYPRUS<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Stelios Irakleous has a BA in Turkish Studies from the University of Cyprus and a ResMa from Leiden University where he is now pursuing his PhD. His main interests are Turkish texts in Greek letters (Karamannlidika) language contact between Turkish and Greek languages, Ottoman language, Aljamiado literature (Greek), and missionary linguistic practices.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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I<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tEleni Kalaitzi | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

\u0397 \u0395\u03bb\u03ad\u03bd\u03b7 \u039a\u03b1\u03bb\u03b1\u03ca\u03c4\u03b6\u03ae \u03c3\u03c0\u03bf\u03cd\u03b4\u03b1\u03c3\u03b5 \u0393\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae \u03bc\u03b5 \u03ba\u03b1\u03c4\u03b5\u03cd\u03b8\u03c5\u03bd\u03c3\u03b7 \u03a4\u03b5\u03c7\u03bd\u03bf\u03bb\u03bf\u03b3\u03af\u03b1\u03c2 \u0393\u03c1\u03b1\u03c6\u03b9\u03ba\u03ce\u03bd \u03a4\u03b5\u03c7\u03bd\u03ce\u03bd \u03c3\u03c4\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u0394\u03c5\u03c4\u03b9\u03ba\u03ae\u03c2 \u0391\u03c4\u03c4\u03b9\u03ba\u03ae\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03b9\u03b4\u03b9\u03ba\u03b5\u03cd\u03c4\u03b7\u03ba\u03b5 \u03c3\u03c4\u03b7 \u0393\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae \u03ba\u03b1\u03b9 \u03c4\u03b9\u03c2 \u03a8\u03b7\u03c6\u03b9\u03b1\u03ba\u03ad\u03c2 \u0395\u03ba\u03c4\u03c5\u03c0\u03ce\u03c3\u03b5\u03b9\u03c2. \u039f\u03bb\u03bf\u03ba\u03bb\u03ae\u03c1\u03c9\u03c3\u03b5 \u03c4\u03bf \u03bc\u03b5\u03c4\u03b1\u03c0\u03c4\u03c5\u03c7\u03b9\u03b1\u03ba\u03cc \u03c0\u03c1\u03cc\u03b3\u03c1\u03b1\u03bc\u03bc\u03b1 \u03c4\u03bf\u03c5 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5 \u0394\u03c5\u03c4\u03b9\u03ba\u03ae\u03c2 \u0391\u03c4\u03c4\u03b9\u03ba\u03ae\u03c2 \u03bc\u03b5 \u03c4\u03af\u03c4\u03bb\u03bf \u00ab\u0395\u03c5\u03c6\u03c5\u03ae\u03c2 \u03a3\u03c5\u03c3\u03ba\u03b5\u03c5\u03b1\u03c3\u03af\u03b1: \u039d\u03ad\u03b5\u03c2 \u03a4\u03b5\u03c7\u03bd\u03bf\u03bb\u03bf\u03b3\u03af\u03b5\u03c2 \u03ba\u03b1\u03b9 \u039c\u03ac\u03c1\u03ba\u03b5\u03c4\u03b9\u03bd\u03b3\u03ba\u00bb. \u0398\u03ad\u03bc\u03b1 \u03c4\u03b7\u03c2 \u03b4\u03b9\u03c0\u03bb\u03c9\u03bc\u03b1\u03c4\u03b9\u03ba\u03ae\u03c2 \u03c4\u03b7\u03c2 \u03b5\u03c1\u03b3\u03b1\u03c3\u03af\u03b1\u03c2: \u00ab\u0395\u03ba\u03c4\u03af\u03bc\u03b7\u03c3\u03b7 (\u03b1\u03bd\u03ac\u03bb\u03c5\u03c3\u03b7) \u03ba\u03cd\u03ba\u03bb\u03bf\u03c5 \u03b6\u03c9\u03ae\u03c2 \u03c5\u03bb\u03b9\u03ba\u03ce\u03bd \u03b3\u03b9\u03b1 \u03b5\u03c6\u03b1\u03c1\u03bc\u03bf\u03b3\u03ad\u03c2 \u03c4\u03c5\u03c0\u03c9\u03bc\u03ad\u03bd\u03c9\u03bd \u03b7\u03bb\u03b5\u03ba\u03c4\u03c1\u03bf\u03bd\u03b9\u03ba\u03ce\u03bd (Life Cycle Assessment)\u00bb (2019). \u0395\u03c1\u03b3\u03b1\u03c3\u03af\u03b5\u03c2 \u03c4\u03b7\u03c2 \u03ad\u03c7\u03bf\u03c5\u03bd \u03c0\u03b1\u03c1\u03bf\u03c5\u03c3\u03b9\u03b1\u03c3\u03c4\u03b5\u03af \u03c3\u03b5 \u0395\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03bf\u03bd\u03b9\u03ba\u03ac \u03a3\u03c5\u03bd\u03ad\u03b4\u03c1\u03b9\u03b1: \u00abQuality Control of inks for Digital Printing on Flexible Printing Substrates\u00bb 13\u03bf<\/sup> \u03a3\u03c5\u03bc\u03c0\u03cc\u03c3\u03b9\u03bf \u03a7\u03c1\u03c9\u03bc\u03ac\u03c4\u03c9\u03bd \u03c4\u03bf\u03c5 \u03a4\u03bc\u03ae\u03bc\u03b1\u03c4\u03bf\u03c2 \u03a7\u03c1\u03ce\u03bc\u03b1\u03c4\u03b1-\u0392\u03b5\u03c1\u03bd\u03af\u03ba\u03b9\u03b1-\u039c\u03b5\u03bb\u03ac\u03bd\u03b9\u03b1 \u03c4\u03b7\u03c2 \u0388\u03bd\u03c9\u03c3\u03b7\u03c2 \u0395\u03bb\u03bb\u03ae\u03bd\u03c9\u03bd \u03a7\u03b7\u03bc\u03b9\u03ba\u03ce\u03bd (2018) \u03ba\u03b1\u03b9 \u00ab\u03a4\u03b1 \u0398\u03b5\u03c1\u03bc\u03bf\u03c7\u03c1\u03c9\u03bc\u03b9\u03ba\u03ac \u039c\u03b5\u03bb\u03ac\u03bd\u03b9\u03b1. \u0395\u03c6\u03b1\u03c1\u03bc\u03bf\u03b3\u03ad\u03c2 \u03c3\u03c4\u03b7\u03bd \u03c3\u03c5\u03c3\u03ba\u03b5\u03c5\u03b1\u03c3\u03af\u03b1\u00bb 4\u03bf<\/sup> \u0395\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03bf\u03bd\u03b9\u03ba\u03cc \u03a3\u03c5\u03bd\u03ad\u03b4\u03c1\u03b9\u03bf \u00ab\u0388\u03be\u03c5\u03c0\u03bd\u03b7 \u03a3\u03c5\u03c3\u03ba\u03b5\u03c5\u03b1\u03c3\u03af\u03b1 & \u039c\u03ac\u03c1\u03ba\u03b5\u03c4\u03b9\u03bd\u03b3\u03ba\u00bb (2018).<\/p>

Eleni Kalaitzi holds a Bachelor’s degree in Graphic Design (Graphic Arts Technology) from the University of Western Attica and a Master’s degree in “Intelligent Packaging: New Technologies and Marketing” from the University of Western Attica.
Her field of specialisation is Graphic Design and Digital Printing. She has presented a study entitled “Quality Control of Inks for Digital Printing on Flexible Printing Substrates” at the 13th Color Symposium of the Paints-Varnishes-Inks section of the Greek Chemists Association (Athens, March 2018) and a study entitled “Thermochromic Inks. Packaging Applications” at the 4th Scientific Conference “Smart Packaging & Marketing” (Athens, February 2018).<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tEvangelos Kassavetis | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

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web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tZoi Katsigianni | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

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\u03b5\u03af\u03c7\u03b5 \u03c4\u03b7\u03bd \u03b5\u03c0\u03b9\u03bc\u03ad\u03bb\u03b5\u03b9\u03b1 \u03b3\u03b9\u03b1 15 \u03c7\u03c1\u03cc\u03bd\u03b9\u03b1. \u0394\u03af\u03b4\u03b1\u03be\u03b5 \u03b3\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae \u03c3\u03c4\u03b1 \u0399\u0395\u039a \u039e\u03a5\u039d\u0397. \u0391\u03c0\u03cc \u03c4\u03bf \u03ba\u03b1\u03bb\u03bf\u03ba\u03b1\u03af\u03c1\u03b9 \u03c4\u03bf\u03c5 2006 \u03b1\u03c3\u03c7\u03bf\u03bb\u03b5\u03af\u03c4\u03b1\u03b9 \u03ba\u03c5\u03c1\u03af\u03c9\u03c2 \u03bc\u03b5 \u03c4\u03bf\u03bd \u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc \u03b3\u03c1\u03b1\u03c6\u03b7\u03bc\u03ac\u03c4\u03c9\u03bd (infographics). \u0388\u03c7\u03b5\u03b9 \u03c3\u03c7\u03b5\u03b4\u03b9\u03ac\u03c3\u03b5\u03b9 \u03b5\u03c4\u03b1\u03b9\u03c1\u03b9\u03ba\u03ac \u03ba\u03b1\u03b9 \u03b5\u03bc\u03c0\u03bf\u03c1\u03b9\u03ba\u03ac \u03b3\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ac \u03c0\u03c1\u03bf\u03ca\u03cc\u03bd\u03c4\u03b1 \u03b3\u03b9\u03b1 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ad\u03c2 \u03b5\u03c4\u03b1\u03b9\u03c1\u03b5\u03af\u03b5\u03c2 \u03ba\u03b1\u03b9 \u03b1\u03c3\u03c7\u03bf\u03bb\u03ae\u03b8\u03b7\u03ba\u03b5 \u03bc\u03b5 \u03c4\u03b7\u03bd \u03ad\u03ba\u03b4\u03bf\u03c3\u03b7 \u03ba\u03b1\u03b8\u03ce\u03c2 \u03ba\u03b1\u03b9 \u03bc\u03b5 \u03c4\u03bf\u03bd \u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc \u03b5\u03c6\u03b7\u03bc\u03b5\u03c1\u03af\u03b4\u03c9\u03bd. \u0393\u03b9\u03b1 \u03b3\u03c1\u03b1\u03c6\u03ae\u03bc\u03b1\u03c4\u03ac \u03c4\u03b7\u03c2, \u03c0\u03bf\u03c5 \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03cd\u03b8\u03b7\u03ba\u03b1\u03bd \u03c3\u03c4\u03bf\u03bd \u0395\u039b\u0395\u03a5\u0398\u0395\u03a1\u039f \u03a4\u03a5\u03a0\u039f, \u03ad\u03c7\u03b5\u03b9 \u03b4\u03b9\u03b1\u03ba\u03c1\u03b9\u03b8\u03b5\u03af \u03c3\u03c4\u03b1 \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac \u0392\u03c1\u03b1\u03b2\u03b5\u03af\u03b1 \u0393\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae\u03c2 \u03ba\u03b1\u03b9 \u0395\u03b9\u03ba\u03bf\u03bd\u03bf\u03b3\u03c1\u03ac\u03c6\u03b7\u03c3\u03b7\u03c2 \u03c4\u03bf 2010 \u03ba\u03b1\u03b9 \u03c4\u03bf 2011 \u03ba\u03b1\u03b8\u03ce\u03c2 \u03ba\u03b1\u03b9 \u03c3\u03c4\u03b1 European Newspaper Awards \u03c4\u03bf 2012, 2013, 2014, 2015 \u03ba\u03b1\u03b9 \u03c4\u03bf 2016 \u03b3\u03b9\u03b1 14 \u03c3\u03c5\u03bd\u03bf\u03bb\u03b9\u03ba\u03ac \u03b3\u03c1\u03b1\u03c6\u03ae\u03bc\u03b1\u03c4\u03ac \u03c4\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b1\u03c0\u03cc \u03c4\u03bf \u038a\u03b4\u03c1\u03c5\u03bc\u03b1 \u039c\u03c0\u03cc\u03c4\u03c3\u03b7 \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03c3\u03c5\u03bd\u03bf\u03bb\u03b9\u03ba\u03ae \u03c4\u03b7\u03c2 \u03c0\u03b1\u03c1\u03bf\u03c5\u03c3\u03af\u03b1 \u03c3\u03c4\u03bf\u03bd \u03a4\u03cd\u03c0\u03bf \u03c3\u03c7\u03b5\u03b4\u03b9\u03ac\u03b6\u03bf\u03bd\u03c4\u03b1\u03c2 infographics. \u0395\u03af\u03bd\u03b1\u03b9 \u03bc\u03ad\u03bb\u03bf\u03c2 \u03c4\u03b7\u03c2 \u0395\u03a3\u0397\u0395\u0391.\u00a0\u00a0
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tRichard Kegler | USA<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Richard Kegler is the founder of\u00a0\u00a0P22 Type Foundry<\/a> and is currently the Director the Wells College Book Arts Center in Aurora, NY. As founder of the Western New York Book Arts Center, Richard combined an interest in traditional crafts along with an entrepreneurial background to help create a self-sustaining community organization. His project P22 Analog focuses on pre-digital printing and typography.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tAnanya Khaitan | INDIA<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Ananya Khaitan graduated in 2017 with a degree in Communication Design from the prestigious National Institute of Design, India. His areas of interest include publication design, brand identity design, and illustration. He has worked at some of India\u2019s leading design studios. His work has received several design awards, including the CII Design Excellence Award: for Publication Design (2016), and Overall Visual Communication (2018); the Kyoorius Design Award: for Design for Books (in 2017, and twice in 2018); for Writing for Design (2018); and for Design for Good (2018). For his achievements, he received a Special Mention in Forbes India 30 Under 30, 2019.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tSahar Khajeh | UK<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Sahar Khajeh is the director of her own graphic design firm with experience in teaching in the UK; she is a graphic design Visiting Lecturer at North Hertfordshire College and Student Technology Mentor at the University of Hertfordshire. Sahar holds an MA in Visual Communication (Graphic Design) from Kingston University London and she is currently completing a Professional Doctorate in Design at the School of Creative Arts and Design, University of Hertfordshire, UK.
web <\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tPanos Konstantopoulos | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

\u039f \u03a0\u03ac\u03bd\u03bf\u03c2 \u039a\u03c9\u03bd\u03c3\u03c4\u03b1\u03bd\u03c4\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2 \u03b3\u03b5\u03bd\u03bd\u03ae\u03b8\u03b7\u03ba\u03b5 \u03c4\u03bf 1972. \u03a3\u03c0\u03bf\u03cd\u03b4\u03b1\u03c3\u03b5 \u03b3\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae \u03c3\u03c4\u03b7\u03bd \u0391\u03b8\u03ae\u03bd\u03b1. \u039e\u03b5\u03ba\u03af\u03bd\u03b7\u03c3\u03b5 \u03c9\u03c2 \u03bc\u03b1\u03ba\u03b5\u03c4\u03af\u03c3\u03c4\u03b1\u03c2 \u03c3\u03c4\u03bf \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03cc \u0388\u03c8\u03b9\u03bb\u03bf\u03bd \u03c4\u03b7\u03c2 K\u03c5\u03c1\u03b9\u03b1\u03ba\u03ac\u03c4\u03b9\u03ba\u03b7\u03c2 \u0395\u03bb\u03b5\u03c5\u03b8\u03b5\u03c1\u03bf\u03c4\u03c5\u03c0\u03af\u03b1\u03c2. T\u03bf 1996, \u03c0\u03ad\u03c1\u03b1\u03c3\u03b5 \u03c3\u03c4\u03bf \u03c4\u03bc\u03ae\u03bc\u03b1 \u03b3\u03c1\u03b1\u03c6\u03b7\u03bc\u03ac\u03c4\u03c9\u03bd \u03c4\u03b7\u03c2 \u0395\u03bb\u03b5\u03c5\u03b8\u03b5\u03c1\u03bf\u03c4\u03c5\u03c0\u03af\u03b1\u03c2, \u03cc\u03c0\u03bf\u03c5 \u03b5\u03c1\u03b3\u03ac\u03c3\u03c4\u03b7\u03ba\u03b5 \u03ad\u03c9\u03c2 \u03c4\u03bf 2008. \u0394\u03b9\u03b5\u03c4\u03ad\u03bb\u03b5\u03c3\u03b5 \u03ba\u03b1\u03bb\u03bb\u03b9\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03cc\u03c2 \u03b4\u03b9\u03b5\u03c5\u03b8\u03c5\u03bd\u03c4\u03ae\u03c2 \u03c3\u03c4\u03b7\u03bd \u03c4\u03b7\u03bb\u03b5\u03cc\u03c1\u03b1\u03c3\u03b7 \u03c4\u03bf\u03c5 \u0391lpha \u03b1\u03c0\u03cc \u03c4\u03bf 2000 \u03ad\u03c9\u03c2 \u03c4\u03bf 2007 \u03ba\u03b1\u03b9 \u03b5\u03b9\u03ba\u03b1\u03c3\u03c4\u03b9\u03ba\u03cc\u03c2 \u03c3\u03cd\u03bc\u03b2\u03bf\u03c5\u03bb\u03bf\u03c2 \u03c3\u03c4\u03bf \u039c\u03ad\u03b3\u03b1\u03c1\u03bf \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u03c2 \u0391\u03b8\u03b7\u03bd\u03ce\u03bd \u03b1\u03c0\u03cc \u03c4\u03bf 2001. \u0388\u03c7\u03b5\u03b9 \u03c3\u03c7\u03b5\u03b4\u03b9\u03ac\u03c3\u03b5\u03b9 \u03c3\u03b5\u03b9\u03c1\u03ac \u03c7\u03b1\u03c1\u03c4\u03ce\u03bd \u03b3\u03b9\u03b1 \u03c4\u03b1\u03be\u03b9\u03b4\u03b9\u03c9\u03c4\u03b9\u03ba\u03ac \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03ac \u03ba\u03b1\u03b9 \u03c4\u03b1\u03be\u03b9\u03b4\u03b9\u03c9\u03c4\u03b9\u03ba\u03bf\u03cd\u03c2 \u03bf\u03b4\u03b7\u03b3\u03bf\u03cd\u03c2. \u0388\u03c7\u03b5\u03b9 \u03b5\u03ba\u03b4\u03ce\u03c3\u03b5\u03b9 14 \u03c0\u03c1\u03bf\u03c3\u03c9\u03c0\u03b9\u03ba\u03ac \u03b2\u03b9\u03b2\u03bb\u03af\u03b1. \u03a4\u03bf 2002 \u03c3\u03c4\u03bf\u03bd \u03b4\u03b9\u03b1\u03b3\u03c9\u03bd\u03b9\u03c3\u03bc\u03cc \u03c4\u03c9\u03bd \u0395\u0392\u0393\u0395 \u03b2\u03c1\u03b1\u03b2\u03b5\u03cd\u03b8\u03b7\u03ba\u03b5 \u03b3\u03b9\u03b1 \u03c4\u03b1 \u03b3\u03c1\u03b1\u03c6\u03ae\u03bc\u03b1\u03c4\u03ac \u03c4\u03bf\u03c5 \u03c3\u03c4\u03b7\u03bd \u00ab\u0395\u03bb\u03b5\u03c5\u03b8\u03b5\u03c1\u03bf\u03c4\u03c5\u03c0\u03af\u03b1\u00bb \u03ba\u03b1\u03b9 \u03b3\u03b9\u03b1 \u03c4\u03bf\u03bd \u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc \u03c4\u03bf\u03c5 \u03bb\u03bf\u03b3\u03bf\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03bf\u03cd \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03bf\u03cd \u0392\u03b9\u03b2\u03bb\u03b9\u03bf\u03b8\u03ae\u03ba\u03b7. \u03a4\u03bf 2008, 2009 \u03ba\u03b1\u03b9 2012 \u03b2\u03c1\u03b1\u03b2\u03b5\u03cd\u03b8\u03b7\u03ba\u03b5 \u03b3\u03b9\u03b1 \u03b3\u03c1\u03b1\u03c6\u03ae\u03bc\u03b1\u03c4\u03ac \u03c4\u03bf\u03c5 \u03c3\u03c4\u03b7\u03bd \u039a\u03b1\u03b8\u03b7\u03bc\u03b5\u03c1\u03b9\u03bd\u03ae, \u03c3\u03b5 \u03c0\u03b1\u03bd\u03b5\u03c5\u03c1\u03c9\u03c0\u03b1\u03ca\u03ba\u03cc \u03b4\u03b9\u03b1\u03b3\u03c9\u03bd\u03b9\u03c3\u03bc\u03cc \u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03bf\u03cd \u03b5\u03c6\u03b7\u03bc\u03b5\u03c1\u03af\u03b4\u03c9\u03bd \u03c3\u03c4\u03b7 (European Newspaper Awards) \u0392\u03b9\u03ad\u03bd\u03bd\u03b7 \u03ba\u03b1\u03b9 \u03c4\u03bf 2018 \u03b1\u03c0\u03cc \u03c4\u03bf \u038a\u03b4\u03c1\u03c5\u03bc\u03b1 \u039c\u03c0\u03cc\u03c4\u03c3\u03b7 \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03c3\u03c5\u03bd\u03bf\u03bb\u03b9\u03ba\u03ae \u03c4\u03bf\u03c5 \u03c0\u03b1\u03c1\u03bf\u03c5\u03c3\u03af\u03b1 \u03c3\u03c4\u03bf\u03bd \u03a4\u03cd\u03c0\u03bf \u03c3\u03c7\u03b5\u03b4\u03b9\u03ac\u03b6\u03bf\u03bd\u03c4\u03b1\u03c2 infographics. \u0391\u03c0\u03cc \u03c4\u03bf 2008 \u03ad\u03c9\u03c2 \u03c4\u03bf 2015 \u03b5\u03af\u03c7\u03b5 \u03c4\u03b7\u03bd \u03b5\u03c5\u03b8\u03cd\u03bd\u03b7 \u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03bf\u03cd \u03c3\u03c4\u03bf \u03c4\u03bc\u03ae\u03bc\u03b1 \u03b3\u03c1\u03b1\u03c6\u03b7\u03bc\u03ac\u03c4\u03c9\u03bd \u03ba\u03b1\u03b9 \u03c7\u03b1\u03c1\u03c4\u03ce\u03bd \u03c4\u03b7\u03c2 \u03b5\u03c6\u03b7\u03bc\u03b5\u03c1\u03af\u03b4\u03b1\u03c2 \u039a\u03b1\u03b8\u03b7\u03bc\u03b5\u03c1\u03b9\u03bd\u03ae. \u0395\u03ba\u03b4\u03af\u03b4\u03b5\u03b9 \u03c4\u03bf \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03cc gr design \u03ba\u03b1\u03b9 \u03b5\u03af\u03bd\u03b1\u03b9 \u03bc\u03ad\u03bb\u03bf\u03c2 \u03c4\u03b7\u03c2 \u0388\u03bd\u03c9\u03c3\u03b7\u03c2 \u03a3\u03c5\u03bd\u03c4\u03b1\u03ba\u03c4\u03ce\u03bd.\u00a0\u00a0
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tApostolos Koutsioukis | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Apostolos Koutsioukis is a PhD Student at the Department of Material Science (University of Patras); he works with carbon inks and is supervised by Prof. Vasilios Georgakilas. He is also a member of the NanoChemistryLab since 2014. Apostolos received his university degree from the Department of Material Science, University of Patras, in 2015 and his MSc Degree (on the \u2018Novel Carbon Based Inks for Gravure Printing Method\u2019) from the same department in 2018. He has authored four scientific papers published in international journals and has actively participated in six conferences.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tBrian Sze Hang Kwok | HONG KONG<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Brian Kwok is an assistant professor at the School of Design at the Hong Kong Polytechnic University (PolyU). He teaches Communication Design and manages the Information Design Lab at PolyU. Brian\u2019s research focuses on communication design, Chinese typography, and Hong Kong visual culture.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tGerry Leonidas | UK<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Associate Professor of Typography. President of ATypI<\/a>. Co-founder of\u00a0ISTVC<\/a>\u00a0and Granshan Foundation<\/a>.\u00a0Working in the field since 1986, and\u00a0at Reading since 1998. Focusing\u00a0on knowledge transfer projects, consultancy, and course development. Programme director for the MA Typeface Design<\/a>, MRes Typography & Graphic Communication<\/a>, MRes Typeface Design<\/a>, and course director for the TDi<\/a> summer course.
Research\u00a0interests: typeface design processes, typographic education, and\u00a0\u00a0Greek typeface design and typography.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tOurania Makrygianni | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Ourania Makrygianni is a visual designer who recently completed her MA in Communication Design in ESAD Matosinhos, Porto. Her thesis was about the blending of cinema with editorial design, two fields that interest her deeply. Ourania has also studied Marketing and Communication in AUEB, Athens. She has been working for various design studios and as a freelancer. She is interested in the visual language of photography and in following different creative and conceptual paths in art and design in areas such as the making of zines, collage or videos; at the same time, she is trying to participate in more explorative projects that interest her. Her work varies from illustration to visual identity or editorial design, and she tries to integrate meaningful concepts and sometimes a sense of humor and communicational interactivity by exploring other fields, like human sciences or the boundaries of expressing imagination throughout the design language.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tEleni Martini | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Eleni Martini is a lecturer in the Department of Graphic Design and Visual Communication at the Faculty of Applied Arts and Civilization, University of West Attica, Athens, Greece, http:\/\/www.gd.uniwa.gr\/en<\/a>. She holds a BA from the Department of Graphic Design, TEI Athens, and an MA in Electronic Graphics from Coventry University, UK. A recipient of two scholarships by the State Scholarships Foundation for undergraduate and postgraduate studies, Eleni has a working experience at magazine and advertising companies and has also acted as an independent designer for printing and interactive media. Since 1994 she teaches Visual Identity and Communication Design of Messages and Information and has participated in a number of international educational projects, workshops and exhibitions. She is currently a member of the \u201cFuture Text\u201d research team. Her research interests focus on graphic design history, teaching methodologies, social design, the impact of type in everyday life, and calligraphy as expression.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Klimis Mastoridis is editor of Hyphen, a typographic forum<\/em> and author of the books \u0398\u03ad\u03bc\u03b1\u03c4\u03b1 \u03b1\u03bd\u03b1\u03c0\u03b1\u03c1\u03b1\u03b3\u03c9\u03b3\u03ae\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03ba\u03c4\u03cd\u03c0\u03c9\u03c3\u03b7\u03c2<\/em> (Reproduction and printing issues<\/em>; 1988, 1993, 1997, new ed. 2010) and Casting the Greek Newspaper: a study of the morphology of the \u2018ephemeris\u2019 from its origins until the introduction of me\u00adchanical setting<\/em> (1999). He is a cofounder and past chairman of Altervision SA<\/a>, Fellow of the International Society of Typographic Designers (ISTD<\/a>) and of the Institute of Paper, Printing and Publishing (IP3<\/a>), director of the Institute for the Study of Typography & Visual Communication (ISTVC<\/a>) as well as the initiator of the idea and the driving force behind the International Conference on Ty\u00adpog\u00adra\u00adphy and Visual Communication (ICTVC<\/a>). Klimis, who holds a PhD in Typography and Graphic Communication from the University of Reading, UK, (Alexander S. Onassis Public Benefit Foundation scholarship), is currently Professor of Typography & Graphic Communication and the Associate Dean of the School of Humanities and Social Sciences at the University of Nicosia, Cyprus.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tGeorge Matthiopoulos | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Georgios D. Matthiopoulos teaches at the Department of Graphic Design and Visual Communication, University of West Attica. He is also type designer for the Greek Font Society. He has authored and translated several books on typographic topics. He has also designed many editions, art catalogues, and museum exhibitions and contributed papers on Greek typography in several national and international conferences. His book design work was awarded the 1st prize (EVGE 2005) and he is a member of the designing team which won the Gold Award for Typographic Excellence for the new visual communication of the National Library of Greece (EVGE 2018). He is also scientific and design consultant for the preparation of the Museum of Printing and Graphic Arts Technology of the Ioannina University.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Professor Louise McWhinnie is the inaugural Dean of the Faculty of Transdisciplinary Innovation at The University of Technology Sydney in Australia. Over the last three decades she has lived and worked as a designer and academic in three continents (Australia, Asia and Europe), and in the last decade her research has been conducted within a fourth (America). Louise has taught, lectured and supervised at under-graduate and post-graduate levels across a broad range of visual communication, with her specialist area being typography. Her research interests reside within the areas of transdisciplinary innovation, design education, cultural and linguistic diversity within visual communication and educational practice and typography, with a particular focus upon vernacular type. Louise has written articles for The Conversation, and has undertaken print, radio and TV interviews, as well as presentations and keynotes, in Australia and overseas.
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tAnna Meli | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Anna Meli, born in Athens in 1986, is a new media artist. She is a PhD candidate at Athens School of Fine Arts (ASFA), Greece. In 2015 she completed the European Master entitled \u201cArt, virtual reality and multiuser systems of artistic expression” (ASFA and University Paris8) and in 2010 she graduated from ASFA with the degree in painting. Her research concentrates on artists\u2019 books proposing a new form of book in the virtual space. Her work is a combination of typography and new media, based on narration and interactivity. She has participated in international conferences and exhibitions.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tDimitra Mentesidou | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tTonya Meyrick | AUSTRALIA<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Tonya Meyrick is an academic, creative practitioner and communication designer. Her research focuses on the intersection and boundaries of post-colonial digital ecologies, place, typography and design. She is a faculty member at Deakin University in Melbourne, where she lectures on Communication Design and Typography. Tonya is undertaking a PhD at Swinburne University, here, she is investigating the neglected role of typography within contemporary place making. As a communication designer, Tonya has worked with a variety of local, national and international brands and organizations. Tonya has spoken internationally on typography, branding and design in Australia, New Zealand, Kuwait and the UK.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tAinta Michailidou | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

\u0397 \u0391\u03af\u03bd\u03c4\u03b1 \u039c\u03b9\u03c7\u03b1\u03b7\u03bb\u03af\u03b4\u03bf\u03c5 \u03b5\u03af\u03bd\u03b1\u03b9 \u03a4\u03b5\u03c7\u03bd\u03bf\u03bb\u03cc\u03b3\u03bf\u03c2 \u0393\u03c1\u03b1\u03c6\u03b9\u03ba\u03ce\u03bd \u03a4\u03b5\u03c7\u03bd\u03ce\u03bd, \u03b5\u03be\u03b5\u03b9\u03b4\u03b9\u03ba\u03b5\u03c5\u03bc\u03ad\u03bd\u03b7 \u03c3\u03b5 \u03c4\u03bf\u03bc\u03b5\u03af\u03c2 \u03ad\u03c1\u03b5\u03c5\u03bd\u03b1\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03b5\u03c7\u03bd\u03bf\u03bb\u03bf\u03b3\u03af\u03b1\u03c2 \u03c0\u03bf\u03c5 \u03c3\u03c7\u03b5\u03c4\u03af\u03b6\u03bf\u03bd\u03c4\u03b1\u03b9 \u03bc\u03b5 \u03c4\u03b9\u03c2 \u03c3\u03cd\u03b3\u03c7\u03c1\u03bf\u03bd\u03b5\u03c2 \u03c4\u03b5\u03c7\u03bd\u03bf\u03bb\u03bf\u03b3\u03af\u03b5\u03c2 \u03b5\u03ba\u03c4\u03cd\u03c0\u03c9\u03c3\u03b7\u03c2 (\u03bc\u03b5\u03bb\u03ac\u03bd\u03b9\u03b1, \u03c5\u03bb\u03b9\u03ba\u03ac \u03ba\u03b1\u03b9 \u03bc\u03ad\u03b8\u03bf\u03b4\u03bf\u03b9 \u03b5\u03ba\u03c4\u03cd\u03c0\u03c9\u03c3\u03b7\u03c2). \u03a3\u03ae\u03bc\u03b5\u03c1\u03b1 \u03c0\u03b1\u03c1\u03b1\u03ba\u03bf\u03bb\u03bf\u03c5\u03b8\u03b5\u03af \u03c4\u03bf \u039c\u03b5\u03c4\u03b1\u03c0\u03c4\u03c5\u03c7\u03b9\u03b1\u03ba\u03cc \u03a0\u03c1\u03cc\u03b3\u03c1\u03b1\u03bc\u03bc\u03b1 \u03c4\u03bf\u03c5 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5 \u0391\u03b9\u03b3\u03b1\u03af\u03bf\u03c5 \u00ab\u039f\u03bb\u03bf\u03ba\u03bb\u03b7\u03c1\u03c9\u03bc\u03ad\u03bd\u03b7 \u03a3\u03c7\u03b5\u03b4\u03af\u03b1\u03c3\u03b7 \u03ba\u03b1\u03b9 \u039a\u03b1\u03b9\u03bd\u03bf\u03c4\u03bf\u03bc\u03af\u03b1 \u03a0\u03c1\u03bf\u03ca\u03cc\u03bd\u03c4\u03c9\u03bd\u00bb. \u0395\u03c0\u03b9\u03b4\u03af\u03c9\u03be\u03ae \u03c4\u03b7\u03c2 \u03b5\u03af\u03bd\u03b1\u03b9 \u03b7 \u03c3\u03c5\u03bd\u03b5\u03c7\u03ae\u03c2 \u03b2\u03b5\u03bb\u03c4\u03af\u03c9\u03c3\u03b7, \u03ad\u03c7\u03b5\u03b9\u00a0 \u03bc\u03b5\u03b3\u03ac\u03bb\u03bf \u03b5\u03bd\u03b4\u03b9\u03b1\u03c6\u03ad\u03c1\u03bf\u03bd \u03b3\u03b9\u03b1 \u03c4\u03b7 \u03c3\u03c7\u03b5\u03b4\u03af\u03b1\u03c3\u03b7 \u03ba\u03b1\u03b9\u03bd\u03bf\u03c4\u03cc\u03bc\u03c9\u03bd\u00a0 \u03c0\u03c1\u03bf\u03ca\u03cc\u03bd\u03c4\u03c9\u03bd \u03bc\u03b5 \u03c3\u03ba\u03bf\u03c0\u03cc \u03c4\u03b7 \u03b2\u03b9\u03c9\u03c3\u03b9\u03bc\u03cc\u03c4\u03b7\u03c4\u03b1. \u03a4\u03b1 \u03b1\u03c0\u03bf\u03c4\u03b5\u03bb\u03ad\u03c3\u03bc\u03b1\u03c4\u03b1 \u03c4\u03c9\u03bd \u03b5\u03c1\u03b5\u03c5\u03bd\u03ce\u03bd \u03c4\u03b7\u03c2 \u03b1\u03bd\u03b1\u03ba\u03bf\u03b9\u03bd\u03ce\u03b8\u03b7\u03ba\u03b1\u03bd \u03c3\u03b5 \u03b4\u03b9\u03b5\u03b8\u03bd\u03ae \u03c3\u03c5\u03bd\u03ad\u03b4\u03c1\u03b9\u03b1 \u03ba\u03b1\u03b9 \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03cd\u03c4\u03b7\u03ba\u03b1\u03bd \u03c3\u03b5 \u03b4\u03b9\u03b5\u03b8\u03bd\u03ae \u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03bf\u03bd\u03b9\u03ba\u03ac \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03ac.

Ainta Michailidou is a qualified Graphic Art Designer-Technician specializing in areas of research and technology fields related to modern printing technologies (inks, materials and printing methods). She is now attending a Master\u2019s Degree in Integrated Product Design and Innovation\/ University of Aegean. She believes in constant improvement, she is a mature team worker and adaptable to all challenging situations. Developing initiative and project leading management skills. Managing production and organizing a quality control process. Having great curiosity about innovative products for sustainability, her research was presented at international conferences, published in peer-reviewed academic journals.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Ian Mitchell is Programme Leader of Graphic Design and Illustration at Liverpool School of Art and Design. A significant part of his research and practice explores the ongoing validity of typographic experimentation. He has exhibited, screened and published works internationally. Most notably Chinese Whispers \u2013 an experiment to collaboratively design typefaces through the generative online process of chinese whispers. Before joining academia he worked with influential multimedia visionary, Roy Stringer, and was a founding member of 1990s typography collective Beaufonts.
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Judith Moldenhauer, Professor in Graphic Design. MFA, University of Wisconsin, Madison, Her design work lies in the area of \u201cinformation design\u201d which enables people to easily access and use information by focusing on the organizational and navigational aspects of visual and verbal material. Her design work ranges from exhibition catalogues and posters for the Detroit Institute of Arts to educational materials for Healthy Start, a US Department of Health and Human Services program to reduce high infant mortality. She has received many design awards including awards from the American Association of Museums and Graphic Design. Currently, she and a group of advanced graphic design students are designing multi-media computer-based instruction for manufacturing engineering students through the Greenfield Coalition, funded by the National Science Foundation.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tJuli\u00e1n Moncada | COLOMBIA<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Juli\u00e1n works in Bogot\u00e1, Colombia. He studied typeface design at the University of Reading and at the ANRT in Nancy, France. Since 2011 he has been running a flexible freelance practice as a typeface designer. This has allowed him to work on other gratifying interests: He was an archive intern for Monotype (2012), a sessional lecturer in the UK and Colombia (2012-2017), and for the past year he has worked on the restoration of wood type at the Imprenta Patri\u00f3tica, a government-funded printing museum in Colombia.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tEleni Mouri | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

\u0391\u03bd\u03b1\u03c0\u03bb\u03b7\u03c1\u03ce\u03c4\u03c1\u03b9\u03b1 \u039a\u03b1\u03b8\u03b7\u03b3\u03ae\u03c4\u03c1\u03b9\u03b1 \u03c4\u03bf\u03c5 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5 \u0394\u03c5\u03c4\u03b9\u03ba\u03ae\u03c2 \u0391\u03c4\u03c4\u03b9\u03ba\u03ae\u03c2, \u03cc\u03c0\u03bf\u03c5 \u03b4\u03b9\u03b4\u03ac\u03c3\u03ba\u03b5\u03b9 storyboard, cartoon \u03ba\u03b1\u03b9 animation \u03c3\u03c4\u03bf \u03a4\u03bc\u03ae\u03bc\u03b1 \u0393\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae\u03c2 \u03ba\u03b1\u03b9 \u039f\u03c0\u03c4\u03b9\u03ba\u03ae\u03c2 \u0395\u03c0\u03b9\u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03af\u03b1\u03c2. \u0391\u03c0\u03cc\u03c6\u03bf\u03b9\u03c4\u03b7 \u03c4\u03bf\u03c5 \u03a4\u03bc\u03ae\u03bc\u03b1\u03c4\u03bf\u03c2 \u0393\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae\u03c2, \u03a4\u0395\u0399 \u0391\u03b8\u03ae\u03bd\u03b1\u03c2, \u03ba\u03b1\u03b9 \u03c4\u03bf\u03c5 CFP per la Technica Cinetelevisiva \u03c4\u03bf\u03c5 \u039c\u03b9\u03bb\u03ac\u03bd\u03bf\u03c5. \u039a\u03ac\u03c4\u03bf\u03c7\u03bf\u03c2 \u03bc\u03b5\u03c4\u03b1\u03c0\u03c4\u03c5\u03c7\u03b9\u03b1\u03ba\u03bf\u03cd \u03ba\u03b1\u03b9 \u03b4\u03b9\u03b4\u03b1\u03ba\u03c4\u03bf\u03c1\u03b9\u03ba\u03bf\u03cd \u03c4\u03af\u03c4\u03bb\u03bf\u03c5 \u03b1\u03c0\u03cc \u03c4\u03b7\u03bd \u0391\u03ba\u03b1\u03b4\u03b7\u03bc\u03af\u03b1 \u039a\u03b1\u03bb\u03ce\u03bd \u03a4\u03b5\u03c7\u03bd\u03ce\u03bd \u03c4\u03bf\u03c5 Novi Sad \u03bc\u03b5 \u03b8\u03ad\u03bc\u03b1 \u00ab\u0394\u03b9\u03b4\u03b1\u03ba\u03c4\u03b9\u03ba\u03ae \u03c4\u03bf\u03c5 \u03ba\u03b9\u03bd\u03bf\u03c5\u03bc\u03ad\u03bd\u03bf\u03c5 \u03c3\u03c7\u03b5\u03b4\u03af\u03bf\u03c5\u00bb \u03ba\u03b1\u03b9 \u00abTo animation \u03c3\u03c4\u03b7\u03bd \u03b4\u03b9\u03b1\u03c6\u03ae\u03bc\u03b9\u03c3\u03b7. \u03a3\u03c5\u03bd\u03b8\u03ae\u03ba\u03b5\u03c2 \u03b5\u03bc\u03c0\u03b5\u03b9\u03c1\u03af\u03b1 \u03ba\u03b1\u03b9 \u03c0\u03b1\u03c1\u03b1\u03b3\u03c9\u03b3\u03ae \u03c3\u03c4\u03b7\u03bd \u0395\u03bb\u03bb\u03ac\u03b4\u03b1\u00bb. \u0391\u03c0\u03cc \u03c4\u03bf 1980 \u03ad\u03c9\u03c2 \u03c4\u03bf 1995 \u03c3\u03c5\u03bd\u03b5\u03c1\u03b3\u03ac\u03c3\u03c4\u03b7\u03ba\u03b5 \u03c9\u03c2 freelancer \u03bc\u03b5 \u03c4\u03b9\u03c2 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ad\u03c2 \u03b5\u03c4\u03b1\u03b9\u03c1\u03af\u03b5\u03c2 \u03c0\u03b1\u03c1\u03b1\u03b3\u03c9\u03b3\u03ae\u03c2 animated spots \u039a\u03bf\u03c5\u03bd\u03bf\u03cd\u03c0\u03b9, Artoon, Blitz \u03ba\u03b1\u03b9 \u039a\u03bf\u03c5\u03ac\u03ba, \u03b5\u03bd\u03ce \u03b1\u03c0\u03cc \u03c4\u03bf 1986 \u03b4\u03b9\u03b4\u03ac\u03c3\u03ba\u03b5\u03b9 animation, \u03b1\u03c1\u03c7\u03b9\u03ba\u03ac \u03c9\u03c2 \u03b4\u03b9\u03b4\u03ac\u03c3\u03ba\u03bf\u03c5\u03c3\u03b1 \u03ba\u03b1\u03b9 \u03ba\u03b1\u03c4\u03cc\u03c0\u03b9\u03bd \u0394\u0395\u03a0 \u03c3\u03c4\u03bf \u03a4\u03bc\u03ae\u03bc\u03b1 \u0393\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae\u03c2. \u03a3\u03c5\u03b3\u03b3\u03c1\u03b1\u03c6\u03ad\u03b1\u03c2 \u03c4\u03bf\u03c5 \u03b2\u03b9\u03b2\u03bb\u03af\u03bf\u03c5 \u00abFrame by frame\u00bb \u03b1\u03c0\u03cc \u03c4\u03bf\u03bd \u03b5\u03ba\u03b4\u03bf\u03c4\u03b9\u03ba\u03cc \u03bf\u03af\u03ba\u03bf Nexus Publications (2004, 2009) \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03c4\u03ad\u03c7\u03bd\u03b7 \u03ba\u03b1\u03b9 \u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03ae \u03c4\u03b7\u03c2 \u03b5\u03bc\u03c8\u03cd\u03c7\u03c9\u03c3\u03b7\u03c2, \u03ba\u03b1\u03b8\u03ce\u03c2 \u03ba\u03b1\u03b9 \u03c0\u03bf\u03bb\u03bb\u03ce\u03bd \u03b4\u03b9\u03b5\u03b8\u03bd\u03ce\u03bd \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03cd\u03c3\u03b5\u03c9\u03bd.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tKlementina Mo\u017eina | SLOVENIA<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t
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Yara is a graphic designer and typographer who has designed several award-winning books and Arabic typefaces. Her research interests include Arabic typography and more particularly bi-linguality issues, type design, legibility, book design, modular systems and much more. Yara is currently Assistant Professor at the American University of Beirut and an independent designer since 2017 after a long-standing career of 20 years as design director at Al Mohtaraf design house. Her work is published in several international books and has authored a book titled \u2018Nasri Khattar: A Modernist Typotect\u2019 from Khatt Books.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Having done Media studies in Amsterdam and Design in Eindhoven, followed by a work experience in an international environment (The Netherlands, Switzerland, France and since 2011 in Greece), contributed to a large cultural understanding of Visual Culture. As co-founder and art director of awarded communication agency \u201cTypical Organization for standards and order\u201d, a multidisciplinary interest balancing between Design, Cinema, Art, and Philosophy, is motivating an ongoing research & work.
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Petra \u010cerne Oven is a designer, Associate Professor at the Academy of Fine Arts and Design, theoretician and author with a special interest in typography, information design and visual communication design. She completed her PhD at the Department of Typography and Graphic Communication at the University of Reading (UK). She is a member of the supervisory board of the Brumen Foundation, active in the Pekinpah Association, and co-founder of Institute of Design. She is a national delegate for ATypI and a mentor at the Alphabettes. Since 2010, she has been co-editing Zbirka 42, a series of books on design theory with Barbara Predan.
Institute of Design and University of Ljubljana, Academy of Fine Arts and Design, Slovenia
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\u00d6zlem \u00d6zkal is Assistant Professor of Communication Design at \u00d6zye\u011fin University (OzU) in Istanbul. She received her bachelor\u2019s degree from METU Industrial Design Department; MFA and PhD degrees from Bilkent University Department of Graphic Design. She co-founded Tasar\u0131mhane Design Co. in Ankara and worked as a creative director in between 1995-2003. She taught graduate and undergraduate classes in typography, graphic design, design foundation and visual studies in METU, SMFA-Boston, Tufts and Bilkent Universities. Her fields of research are visual culture, design education, and typographic design and history with focus on Ottoman print culture.
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Eteoklis Papanastasiou helps brands grow online. After a successful career in working for advertising agencies in Greece and Cyprus, he decided to continue independently with the aim to help small companies grow.\u00a0 Eteoklis’ philosophy is based on his ability to connect the dots between design and marketing perspectives in order to create memorable advertising campaigns! During the last three years, he was responsible for developing the digital communication strategy for more than 15 brands. He created more than 900 successful six-second bumper ads with just a laptop and one camera!<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Dr Magdalena Papanikolopoulou is an artist who creates live performances, videos, installations and calligraphies. Her works explore not only the visual but the semiological aspect of symbolism of letters and language.\u00a0 She makes the letters in material form, to stage them as an interactive object. She is an assistant professor at the University of West Attica of Athens teaching graphic design and visual communication.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Dimitris Papazoglou is a multidisciplinary designer and creative director based in Thessaloniki and Athens, Greece. His work is described as conceptual, emotional, innovative and always deliberate approach. During the last two decades, he has worked for some of the most renowned global brands and institutions including the The New York Times, Tate Modern, Euroleague, Aristotle University of Thessaloniki, as well as other iconic brands such as Nike, MoMA, Volvo Ocean Race, The Beatles etc. As a milestone in his career (March 2016) Dimitris Papazoglou was chosen by Nike to join their Global Football Design department at the company\u2019s global headquarters in Portland, Oregon. A year later he undertook the rebranding of the National Library of Greece on the occasion of the institute\u2019s transition into its new home at Stavros Niarchos Foundation Cultural Center (SNFCC), together with his partners George D. Matthiopolulos, George Triantafyllakos and Axel Peemoeller. Awarded with many international design awards and industry recognitions Dimitris continues to push the boundaries of strategic thinking and design.
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Sue is Subject leader for MA Graphic Design at University for the Creative Arts in Epsom, Surrey, UK. Her design practice revolves around exhibition and museum design. Sue\u2019s research interests surround aspects of the legacy of the principles of Isotype post 1970. She regularly presents papers at International design conferences and is a published author on Isotype, museum design, the value of archives and teaching graphic design history. Her current research focuses on Henry Dreyfuss\u2019 Symbol Sourcebook <\/em>archive where she is exploring correspondence and working papers leading to the design and construction of the 1972 book. She is working in conjunction with a small team of International researchers and curators based at the Cooper Hewitt Smithsonian Design Museum in New York.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Laurence Penney is a consultant in font technology based in Bristol, UK. Focussed on dynamic font technology, he first specialised in TrueType (writing rasterizers, hinting fonts) and is now a consultant experimenter and evangelist of variable fonts. He also helped create MyFonts, the open platform selling fonts from all foundries, part of the team that made it market leader by a wide margin. Laurence\u2019s Axis-Praxis website lets anyone play with variable fonts and, by means of Axis-Praxis as well as his talks & workshops, he hopes others will understand what the excitement is all about.
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J\u00f6rg Petri, trained as a typesetter in the 1990s, has studied media informatics and worked as a freelance typographic designer and trainer in Berlin. He began teaching typography at an academic level as a lecturer in 2005 at the University of Arts Braunschweig, Germany, where he also started a research project on typeface classification systems. While the project stretched beyond expectation, he was appointed Professor at the Rhein-Waal University of Applied Sciences, Kamp-Lintfort, in 2010, where he now teaches in typography, media theory and digital media. As a publication of the research is expected late in 2019, his interest in type, letterpress, typesetting and typeface classification remains vibrant.
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Pavel, who has a degree in Applied Mathematics, is deeply engaged in the study of communication design. Over the years he has taught courses in computer science, typography, principles of art and design, statistics and methods of mathematical modeling. He delivers lectures for different audiences, speaking about newspaper, magazine and poster design, history of the poster and communication design. Pavel\u2019s students were winners and finalists in various international poster competitions. Design education, integration of math methods and design, exploration of new technologies in media, and typography constitute his fields of research. He is a member of ATypI, AIGA, and of the Association of Designers of Russia.
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Sheila Pontis is an information design researcher, educator and practitioner working in the intersection of design research and information design. Her research focuses on understanding people and creating solutions to address their needs. She received a PhD in Information Design from University of the Arts London, and specialized on sensemaking and visualization at University College London. She has extensive experience in higher education having taught in Argentina, Spain, the UK and the US. Currently, she is a faculty member at Princeton University where she teaches information design and design thinking, and is a partner at Sense Information Design<\/a>, a New York-area design consultancy.
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Barbara Predan is an Assistant Professor, theoretician, lecturer, and author. She is also a co-founder and leader of the department of design theory at the Pekinpah Association, and the director of the Institute of Design, an academic research organisation. She has published several professional and scholarly articles and is the author or coauthor of four books, has edited ten books and curated eight exhibitions. She teaches at the Academy of Fine Arts and Design and regularly lectures at international academic and professional conferences. With Petra \u010cerne Oven she leads a number of workshops in the field of design.
Institute of Design and University of Ljubljana, Academy of Fine Arts and Design, Slovenia<\/em>
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A life-long Kansan, Jeff Pulaski was born and raised in Newton, Kansas in the United States. He is currently the Director of the School of Art, Design and Creative Industries at Wichita State University. His letterpress collection includes various platen and cylinder presses, a Prouty Power Press newspaper press, an 18\u201d Challenge paper cutter, a Model 31 Linotype and large assortment of metal and wooden type.
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Irma Puskarevic is a graphic designer and teaching assistant. She took her Master’s and Doctoral degrees from the University of Novi Sad, Faculty of Technical Sciences, Department of Graphic Engineering and Design. She is currently a teaching assistant at the Department of Graphic Engineering and Design covering the subjects of graphic design, graphic communication and typography. Her academic research is directed toward the effectiveness of typography and visual rhetoric in advertising images. Her main interest is the argumentative power of typography. She is a coauthor of a supplementary textbook\u00a0Typeface and Typography Practicum<\/em>. She is a member of the Association of Artists of Applied Arts and Designers of Vojvodina (UPIDIV \u2013 a representative association in the culture of Vojvodina).\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Assistant Professor and a researcher at the Department of Textiles, Graphic Arts and Design, where he teaches Integration of Design & Technology, Creative Typography, Information Design and Typeface Design. In 2016 Nace defended his PhD thesis on the use of typography in connection with colour combinations in different aspects of communication design. His research work employs eye tracking technology; performing studies that cover the area of subconscious decisions of users for different products, mainly discovering their usability. He also works on typography and design related projects and cooperates towards the preparation of projects and exhibitions.
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Efrosyni Roupa is a historian of applied arts and design. Her initial studies focused on: (a) Greek material culture and design transformation from an eastern heritage to new western prototypes and (b) efforts to produce products with distinct, contemporary Greek aesthetics. Recent works aim at recording, when possible, not only the aesthetic trends but also the various factors that influence the development of design in the country: politics, social and market values, cost of production, education, technology, as well as the aims and abilities of the persons directly involved in the production and design process: artists, craftsmen, designers, industrialists. She lectures, publishes articles and books. She is the co-author of several books among them: The History of Greek Bourgeois Furniture: The development of design ideology in the country, 1830-1940 <\/em>(2003) and Introduction to the History of Greek Packaging<\/em> (2018).
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tShalini Sahoo | UK<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Shalini Sahoo is a practitioner and researcher in design. Since over a decade she is conversing between the craft-culture in the Indian sub-continent and the design scenario at the German automobile industry. Taking off from here she is researching since 2016 at a PhD level the interaction between human & material within transit spaces. She is the recipient of the Ford Foundation scholarship, Heinrich B\u00f6ll Stipendium and the London Doctoral Consortium award. Her design work was last exhibited at the Hockney Gallery, London Design Festival 2018.
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tEwa Satalecka | POLAND<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Ewa Satalecka PostD FA \u2013 is Head of the New Media Art Dept of the Polish-Japanese Academy of Information Technologies in Warsaw, leader of the English Language program, and the scientific director of the international, interdisciplinary projects. She organizes international design workshops, conferences, and exhibitions on typography and information design. Together with Marjatta Itkonen she established the Social Design Course, as a regular subject of the program. Her artwork includes kinetic typography installations presented at the \u201cLiquid Page\u201d in Britain\u2019s Tate (2008) and as a part of \u201cMoving Type\u201d in the Gutenberg Museum, Mainz (2011). Gyubal Wahazar prized TDC Certificate of Excellence 2018.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tMichail Semoglou | CHINA<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tNiki Sioki | CYPRUS<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Niki Sioki, Assistant Professor of Typography and Graphic Communication at the University of Nicosia, Cyprus, holds a PhD in Typography & Graphic Communication from the University of Reading, UK, 2014. Niki combines professional and research expertise having worked for more than 20 years (1990\u20132007) in the academic and medical Greek publishing sector. As a researcher her interests concentrate on the history of Greek graphic design and printing, book design, typography, and print culture in Cyprus. Her work so far is well documented in academic publications, proceedings, presentations in international conferences and in popular media. She has served as a member of conferences\u2019 scientific committees. She is a member of a number of professional bodies and scholarly societies in the UK, Greece, Cyprus and Germany.
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tSofia Strati | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

\u0391\u03bd\u03b1\u03c0\u03bb\u03b7\u03c1\u03ce\u03c4\u03c1\u03b9\u03b1 \u039a\u03b1\u03b8\u03b7\u03b3\u03ae\u03c4\u03c1\u03b9\u03b1 \u03a0\u0391\u0394\u0391, \u03a3\u03c7\u03bf\u03bb\u03ae \u0395\u03c6\u03b1\u03c1\u03bc\u03bf\u03c3\u03bc\u03ad\u03bd\u03c9\u03bd \u03a4\u03b5\u03c7\u03bd\u03ce\u03bd \u03ba\u03b1\u03b9 \u03a0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03bc\u03bf\u03cd – \u03a4\u03bc\u03ae\u03bc\u03b1 \u0393\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae\u03c2 \u03ba\u03b1\u03b9 \u039f\u03c0\u03c4\u03b9\u03ba\u03ae\u03c2 \u0395\u03c0\u03b9\u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03af\u03b1\u03c2. \u0393\u03c1\u03b1\u03c6\u03af\u03c3\u03c4\u03b1\u03c2 \u03a4\u0395\u0399-\u0391 (1980), \u0391\u03c1\u03c7\u03b9\u03c4\u03ad\u03ba\u03c4\u03bf\u03bd\u03b1\u03c2 \u039c\u03b7\u03c7\u03b1\u03bd\u03b9\u03ba\u03cc\u03c2 \u0395\u039c\u03a0 (1986), \u0394\u03b9\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03bf\u03bd\u03b9\u03ba\u03cc-\u03b4\u03b9\u03b1\u03c4\u03bc\u03b7\u03bc\u03b1\u03c4\u03b9\u03ba\u03cc \u03bc\u03b5\u03c4\u03b1\u03c0\u03c4\u03c5\u03c7\u03b9\u03b1\u03ba\u03cc \u03b4\u03af\u03c0\u03bb\u03c9\u03bc\u03b1: “\u03a3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc\u03c2-\u03a7\u03ce\u03c1\u03bf\u03c2-\u03a0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03bc\u03cc\u03c2” (1999), \u0394\u03b9\u03b4\u03ac\u03ba\u03c4\u03bf\u03c1\u03b1\u03c2 \u0395\u039c\u03a0 (2009).<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tIordanis Stylidis | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

\u039f \u0399\u03bf\u03c1\u03b4\u03ac\u03bd\u03b7\u03c2 \u03a3\u03c4\u03c5\u03bb\u03af\u03b4\u03b7\u03c2 \u03b3\u03b5\u03bd\u03bd\u03ae\u03b8\u03b7\u03ba\u03b5 \u03c3\u03c4\u03b7\u03bd \u03c0\u03cc\u03bb\u03b7 \u0388\u03b4\u03b5\u03c3\u03c3\u03b1 \u03c4\u03bf\u03c5 \u03bd\u03bf\u03bc\u03bf\u03cd \u03a0\u03ad\u03bb\u03bb\u03b1\u03c2 \u03c4\u03bf 1959. \u0391\u03c0\u03cc\u03c6\u03bf\u03b9\u03c4\u03bf\u03c2 \u03c4\u03b7\u03c2 \u03c3\u03c7\u03bf\u03bb\u03ae\u03c2 \u0391\u03c1\u03c7\u03b9\u03c4\u03b5\u03ba\u03c4\u03cc\u03bd\u03c9\u03bd \u03c4\u03bf\u03c5 \u0391\u03c1\u03b9\u03c3\u03c4\u03bf\u03c4\u03b5\u03bb\u03b5\u03af\u03bf\u03c5 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5 \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7\u03c2, \u03b5\u03af\u03bd\u03b1\u03b9 \u03b1\u03bd\u03b1\u03c0\u03bb\u03b7\u03c1\u03c9\u03c4\u03ae\u03c2 \u03ba\u03b1\u03b8\u03b7\u03b3\u03b7\u03c4\u03ae\u03c2 \u03c4\u03bf\u03c5 \u03c4\u03bc\u03ae\u03bc\u03b1\u03c4\u03bf\u03c2 \u0391\u03c1\u03c7\u03b9\u03c4\u03b5\u03ba\u03c4\u03cc\u03bd\u03c9\u03bd \u039c\u03b7\u03c7\u03b1\u03bd\u03b9\u03ba\u03ce\u03bd \u03c4\u03bf\u03c5 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5 \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03af\u03b1\u03c2 \u03ba\u03b1\u03b9 \u03b4\u03b9\u03b4\u03ac\u03c3\u03ba\u03b5\u03b9 \u03c4\u03b1 \u03bc\u03b1\u03b8\u03ae\u03bc\u03b1\u03c4\u03b1 \u00ab\u03a3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc\u03c2 \u03c7\u03ce\u03c1\u03c9\u03bd \u03bc\u03b9\u03ba\u03c1\u03ae\u03c2 \u03ba\u03bb\u03af\u03bc\u03b1\u03ba\u03b1\u03c2 \u03ba\u03b1\u03b9 \u03b1\u03bd\u03c4\u03b9\u03ba\u03b5\u03b9\u03bc\u03ad\u03bd\u03c9\u03bd\u00bb, \u00ab\u0391\u03c1\u03c7\u03b9\u03c4\u03b5\u03ba\u03c4\u03bf\u03bd\u03b9\u03ba\u03ae \u03c3\u03cd\u03bd\u03b8\u03b5\u03c3\u03b7\u00bb \u03ba\u03b1\u03b9 \u00ab\u039f\u03c0\u03c4\u03b9\u03ba\u03ae \u0395\u03c0\u03b9\u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03af\u03b1 \u03ba\u03b1\u03b9 \u03a3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc\u03c2\u00bb. \u039a\u03b1\u03c4\u03ad\u03c7\u03b5\u03b9, \u03b5\u03c0\u03af\u03c3\u03b7\u03c2, \u03c4\u03bf \u03b4\u03af\u03c0\u03bb\u03c9\u03bc\u03b1 \u039f\u03b9\u03ba\u03bf\u03bd\u03bf\u03bc\u03b9\u03ba\u03ce\u03bd \u03c3\u03c0\u03bf\u03c5\u03b4\u03ce\u03bd \u03c4\u03bf\u03c5 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5 \u039c\u03b1\u03ba\u03b5\u03b4\u03bf\u03bd\u03af\u03b1\u03c2. \u2018\u0395\u03c7\u03b5\u03b9 \u03c3\u03c4\u03bf \u03b5\u03bd\u03b5\u03c1\u03b3\u03b7\u03c4\u03b9\u03ba\u03cc \u03c4\u03bf\u03c5 \u03b4\u03b5\u03ba\u03b1\u03bf\u03ba\u03c4\u03ce \u03b1\u03c4\u03bf\u03bc\u03b9\u03ba\u03ad\u03c2 \u03b5\u03ba\u03b8\u03ad\u03c3\u03b5\u03b9\u03c2 (\u03bf\u03b9 \u03b4\u03cd\u03bf \u03c4\u03b5\u03bb\u03b5\u03c5\u03c4\u03b1\u03af\u03b5\u03c2\u00a0 \u03c8\u03b7\u03c6\u03b9\u03b1\u03ba\u03ad\u03c2) \u03ba\u03b1\u03b8\u03ce\u03c2 \u03ba\u03b1\u03b9 \u03c0\u03bf\u03bb\u03bb\u03b1\u03c0\u03bb\u03ad\u03c2 \u03c3\u03c5\u03bc\u03bc\u03b5\u03c4\u03bf\u03c7\u03ad\u03c2 \u03c3\u03b5 \u039c\u03c0\u03b9\u03b5\u03bd\u03ac\u03bb\u03b5 \u03ba\u03b1\u03b9 \u03a4\u03c1\u03b9\u03b5\u03bd\u03bd\u03ac\u03bb\u03b5 \u03c3\u03c4\u03b7\u03bd \u0395\u03c5\u03c1\u03ce\u03c0\u03b7 \u03b1\u03c0\u03cc \u03c4\u03bf 1980. \u039f \u0399\u03bf\u03c1\u03b4\u03ac\u03bd\u03b7\u03c2 \u03a3\u03c4\u03c5\u03bb\u03af\u03b4\u03b7\u03c2 \u03ad\u03c7\u03b5\u03b9 \u03c3\u03c5\u03b3\u03b3\u03c1\u03ac\u03c8\u03b5\u03b9 \u03b4\u03ad\u03ba\u03b1 \u03b2\u03b9\u03b2\u03bb\u03af\u03b1 (\u03c4\u03b1 \u03c4\u03ad\u03c3\u03c3\u03b5\u03c1\u03b1 \u03c4\u03b5\u03bb\u03b5\u03c5\u03c4\u03b1\u03af\u03b1 \u03c8\u03b7\u03c6\u03b9\u03b1\u03ba\u03ac) \u03ba\u03b1\u03b9 \u03b5\u03b3\u03c7\u03b5\u03b9\u03c1\u03af\u03b4\u03b9\u03b1, \u03b4\u03ce\u03b4\u03b5\u03ba\u03b1 \u03c0\u03b5\u03b9\u03c1\u03b1\u03bc\u03b1\u03c4\u03b9\u03ba\u03ac \u03c4\u03b5\u03cd\u03c7\u03b7 \u03ba\u03b1\u03c4\u03b1\u03b3\u03c1\u03b1\u03c6\u03ce\u03bd \u03b4\u03c1\u03ac\u03c3\u03b5\u03c9\u03bd \u03ba\u03b1\u03b9 \u03b4\u03b5\u03ba\u03b1\u03ad\u03be\u03b9 \u03c8\u03b7\u03c6\u03b9\u03b1\u03ba\u03ac \u03b7\u03bc\u03b5\u03c1\u03bf\u03bb\u03cc\u03b3\u03b9\u03b1: \u03a0\u03bf\u03bb\u03bb\u03ac \u03b1\u03c0\u03cc \u03c4\u03b1 \u03ad\u03c1\u03b3\u03b1 \u03c4\u03bf\u03c5 \u03b2\u03c1\u03af\u03c3\u03ba\u03bf\u03bd\u03c4\u03b1\u03b9 \u03c3\u03c4\u03b7\u03bd \u03c8\u03b7\u03c6\u03b9\u03b1\u03ba\u03ae \u03b2\u03ac\u03c3\u03b7 \u03b4\u03b5\u03b4\u03bf\u03bc\u03ad\u03bd\u03c9\u03bd ISSUU.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tGary Kin Yat Tang | HONG KONG<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Gary Tang is a lecturer at Department of Social Science, Hang Seng Management College. His research interests include political communication, social media, and youth studies. His writing has appeared in journals such as Social Science Computer Review, Chinese Journal of Communication or Asian Journal of Communication.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tTheodosia Thanopoulou | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

\u0397 \u0398\u03b5\u03bf\u03b4\u03bf\u03c3\u03af\u03b1 \u0398\u03b1\u03bd\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5 \u03b5\u03af\u03bd\u03b1\u03b9 \u03c4\u03b5\u03bb\u03b5\u03b9\u03cc\u03c6\u03bf\u03b9\u03c4\u03b7\u00a0 \u03c4\u03bf\u03c5 \u03a4\u03bc\u03ae\u03bc\u03b1\u03c4\u03bf\u03c2 \u0393\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae\u03c2 \u03ba\u03b1\u03b9 \u039f\u03c0\u03c4\u03b9\u03ba\u03ae\u03c2 \u0395\u03c0\u03b9\u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03af\u03b1\u03c2 \u03c4\u03b7\u03c2 \u03a3\u03c7\u03bf\u03bb\u03ae\u03c2 \u0395\u03c6\u03b1\u03c1\u03bc\u03bf\u03c3\u03bc\u03ad\u03bd\u03c9\u03bd \u03a4\u03b5\u03c7\u03bd\u03ce\u03bd \u03ba\u03b1\u03b9 \u03a0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03bc\u03bf\u03cd \u03c4\u03bf\u03c5 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5 \u0394\u03c5\u03c4\u03b9\u03ba\u03ae\u03c2 \u0391\u03c4\u03c4\u03b9\u03ba\u03ae\u03c2. \u03a4\u03b1 \u03c4\u03b5\u03bb\u03b5\u03c5\u03c4\u03b1\u03af\u03b1 5 \u03c7\u03c1\u03cc\u03bd\u03b9\u03b1 \u03b5\u03c1\u03b3\u03ac\u03b6\u03b5\u03c4\u03b1\u03b9 \u03c9\u03c2 \u03b3\u03c1\u03b1\u03c6\u03af\u03c3\u03c4\u03c1\u03b9\u03b1. \u0388\u03c7\u03b5\u03b9 \u03b1\u03c3\u03c7\u03bf\u03bb\u03b7\u03b8\u03b5\u03af \u03bc\u03b5 \u03c4\u03b7 \u03c3\u03c7\u03b5\u03b4\u03af\u03b1\u03c3\u03b7 \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03c0\u03b1\u03c1\u03b1\u03b3\u03c9\u03b3\u03ae \u03b5\u03bd\u03c4\u03cd\u03c0\u03bf\u03c5 (\u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03cc, \u03c6\u03c5\u03bb\u03bb\u03ac\u03b4\u03b9\u03b1,\u00a0 \u03ba\u03b1\u03c4\u03b1\u03bb\u03cc\u03b3\u03bf\u03c5\u03c2, \u03c4\u03b1\u03bc\u03c0\u03ad\u03bb\u03b5\u03c2-\u03b5\u03c0\u03b9\u03b3\u03c1\u03b1\u03c6\u03ad\u03c2, \u03b1\u03c5\u03c4\u03bf\u03ba\u03cc\u03bb\u03bb\u03b7\u03c4\u03b1, \u03c3\u03c4\u03ac\u03bc\u03c0\u03b5\u03c2) \u03ba\u03b1\u03b9 \u03c3\u03c5\u03c3\u03ba\u03b5\u03c5\u03b1\u03c3\u03af\u03b1\u03c2, \u03ba\u03b1\u03b8\u03ce\u03c2 \u03ba\u03b1\u03b9 \u03bc\u03b5 \u03c4\u03b7 \u03b4\u03b7\u03bc\u03b9\u03bf\u03c5\u03c1\u03b3\u03af\u03b1 \u03b5\u03c4\u03b1\u03b9\u03c1\u03b9\u03ba\u03ae\u03c2 \u03c4\u03b1\u03c5\u03c4\u03cc\u03c4\u03b7\u03c4\u03b1\u03c2 \u03ba\u03b1\u03b9 branding \u03b3\u03b9\u03b1 \u03c0\u03ac\u03c3\u03b7\u03c2 \u03c6\u03cd\u03c3\u03b5\u03c9\u03c2 \u03b5\u03c0\u03b9\u03c7\u03b5\u03b9\u03c1\u03ae\u03c3\u03b5\u03b9\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03bb\u03b5\u03cd\u03b8\u03b5\u03c1\u03bf\u03c5\u03c2 \u03b5\u03c0\u03b1\u03b3\u03b3\u03b5\u03bb\u03bc\u03b1\u03c4\u03af\u03b5\u03c2. \u03a4\u03bf\u03bd \u03c4\u03b5\u03bb\u03b5\u03c5\u03c4\u03b1\u03af\u03bf \u03c7\u03c1\u03cc\u03bd\u03bf \u03b1\u03c3\u03c7\u03bf\u03bb\u03b5\u03af\u03c4\u03b1\u03b9 \u03bc\u03b5 \u03c4\u03b7 \u03b4\u03b7\u03bc\u03b9\u03bf\u03c5\u03c1\u03b3\u03af\u03b1 \u03b7\u03bb\u03b5\u03ba\u03c4\u03c1\u03bf\u03bd\u03b9\u03ba\u03ae\u03c2 \u03b4\u03b9\u03b1\u03c6\u03ae\u03bc\u03b9\u03c3\u03b7\u03c2, \u03c4\u03b7 \u03c3\u03c7\u03b5\u03b4\u03af\u03b1\u03c3\u03b7 \u03b9\u03c3\u03c4\u03bf\u03c3\u03b5\u03bb\u03af\u03b4\u03c9\u03bd \u03ba\u03b1\u03b9 \u03c4\u03b7 \u03b4\u03b7\u03bc\u03b9\u03bf\u03c5\u03c1\u03b3\u03af\u03b1 \u03b4\u03b9\u03b1\u03c6\u03b7\u03bc\u03b9\u03c3\u03c4\u03b9\u03ba\u03ce\u03bd \u03b2\u03af\u03bd\u03c4\u03b5\u03bf \u03ba\u03b1\u03b9 key visuals \u03b3\u03b9\u03b1 \u03b4\u03b9\u03ac\u03c6\u03bf\u03c1\u03b5\u03c2 \u03b5\u03c0\u03b9\u03c7\u03b5\u03b9\u03c1\u03ae\u03c3\u03b5\u03b9\u03c2 \u03ba\u03b1\u03b9 \u03b5\u03bb\u03b5\u03cd\u03b8\u03b5\u03c1\u03bf\u03c5\u03c2 \u03b5\u03c0\u03b1\u03b3\u03b3\u03b5\u03bb\u03bc\u03b1\u03c4\u03af\u03b5\u03c2.<\/p>

Theodosia Thanopoulou is an undergraduate student at the Graphic Design and Visual Communication Department, University of West Attica, Greece. During the last five years she has been working as a graphic designer in the field of design and production for printed matters (magazine, flyers, catalogues, etc.) and packaging. She has also produced corporate identity and branding design for businesses and freelance professionals. During the last year she was engaged in electronic advertising projects, namely website design, having also created business promotional videos and key visuals.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tStamatina Theochari | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

\u0397 \u03a3\u03c4\u03b1\u03bc\u03b1\u03c4\u03af\u03bd\u03b1 \u0398\u03b5\u03bf\u03c7\u03ac\u03c1\u03b7 (\u03a7\u03b7\u03bc\u03b9\u03ba\u03cc\u03c2 BSc, PhD \u0395\u039a\u03a0\u0391) \u03b5\u03af\u03bd\u03b1\u03b9 \u0395\u03c0\u03af\u03ba\u03bf\u03c5\u03c1\u03b7 \u039a\u03b1\u03b8\u03b7\u03b3\u03ae\u03c4\u03c1\u03b9\u03b1 \u03c3\u03c4\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u0394\u03c5\u03c4\u03b9\u03ba\u03ae\u03c2 \u0391\u03c4\u03c4\u03b9\u03ba\u03ae\u03c2, \u03a3\u03c7\u03bf\u03bb\u03ae \u0395\u03c6\u03b1\u03c1\u03bc\u03bf\u03c3\u03bc\u03ad\u03bd\u03c9\u03bd \u03a4\u03b5\u03c7\u03bd\u03ce\u03bd \u03ba\u03b1\u03b9 \u03a0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03bc\u03bf\u03cd, \u03a4\u03bc\u03ae\u03bc\u03b1 \u0393\u03c1\u03b1\u03c6\u03b9\u03c3\u03c4\u03b9\u03ba\u03ae\u03c2 \u03ba\u03b1\u03b9 \u039f\u03c0\u03c4\u03b9\u03ba\u03ae\u03c2 \u0395\u03c0\u03b9\u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03af\u03b1\u03c2, \u03a4\u03bf\u03bc\u03ad\u03b1\u03c2 \u03a4\u03b5\u03c7\u03bd\u03bf\u03bb\u03bf\u03b3\u03af\u03b1\u03c2 \u0393\u03c1\u03b1\u03c6\u03b9\u03ba\u03ce\u03bd \u03a4\u03b5\u03c7\u03bd\u03ce\u03bd. \u0391\u03ba\u03b1\u03b4\u03b7\u03bc\u03b1\u03ca\u03ba\u03ae \u03a5\u03c0\u03b5\u03cd\u03b8\u03c5\u03bd\u03b7 \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03ba\u03b9\u03bd\u03b7\u03c4\u03b9\u03ba\u03cc\u03c4\u03b7\u03c4\u03b1 \u03bc\u03b5 \u03c4\u03bf \u03c0\u03c1\u03cc\u03b3\u03c1\u03b1\u03bc\u03bc\u03b1 Erasmus+. \u0394\u03b9\u03b4\u03ac\u03c3\u03ba\u03b5\u03b9 \u03c3\u03b5 \u039c\u03b5\u03c4\u03b1\u03c0\u03c4\u03c5\u03c7\u03b9\u03b1\u03ba\u03ac \u03a0\u03c1\u03bf\u03b3\u03c1\u03ac\u03bc\u03bc\u03b1\u03c4\u03b1 \u03a3\u03c0\u03bf\u03c5\u03b4\u03ce\u03bd \u03c4\u03bf\u03c5 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5 \u0394\u03c5\u03c4\u03b9\u03ba\u03ae\u03c2 \u0391\u03c4\u03c4\u03b9\u03ba\u03ae\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03bf\u03c5 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5 \u0399\u03c9\u03b1\u03bd\u03bd\u03af\u03bd\u03c9\u03bd. \u03a3\u03c4\u03b1 \u03b5\u03c1\u03b5\u03c5\u03bd\u03b7\u03c4\u03b9\u03ba\u03ac \u03c4\u03b7\u03c2 \u03b5\u03bd\u03b4\u03b9\u03b1\u03c6\u03ad\u03c1\u03bf\u03bd\u03c4\u03b1 \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03bf\u03bd\u03c4\u03b1\u03b9 \u03b7 \u03b5\u03c0\u03b5\u03be\u03b5\u03c1\u03b3\u03b1\u03c3\u03af\u03b1 \u03b5\u03c0\u03b9\u03c6\u03b1\u03bd\u03b5\u03b9\u03ce\u03bd \u03bc\u03b5 \u03ad\u03bc\u03c6\u03b1\u03c3\u03b7 \u03c3\u03c4\u03bf \u03b1\u03bb\u03bf\u03c5\u03bc\u03af\u03bd\u03b9\u03bf (\u03b1\u03bd\u03bf\u03b4\u03b9\u03ba\u03ae \u03bf\u03be\u03b5\u03af\u03b4\u03c9\u03c3\u03b7, \u03c7\u03c1\u03c9\u03bc\u03b1\u03c4\u03b9\u03c3\u03bc\u03cc\u03c2\u2013\u03b2\u03b1\u03c6\u03ae, \u03c0\u03c1\u03bf\u03c3\u03c4\u03b1\u03c3\u03af\u03b1 \u03b1\u03c0\u03cc \u03b4\u03b9\u03ac\u03b2\u03c1\u03c9\u03c3\u03b7), \u03c4\u03b1 \u03b5\u03ba\u03c4\u03c5\u03c0\u03c9\u03c4\u03b9\u03ba\u03ac \u03c5\u03c0\u03bf\u03c3\u03c4\u03c1\u03ce\u03bc\u03b1\u03c4\u03b1, \u03bf\u03b9 \u03b5\u03c6\u03b1\u03c1\u03bc\u03bf\u03b3\u03ad\u03c2 \u03c0\u03b9\u03b3\u03bc\u03ad\u03bd\u03c4\u03c9\u03bd, \u03c7\u03c1\u03c9\u03c3\u03c4\u03b9\u03ba\u03ce\u03bd, \u03b2\u03b1\u03c6\u03ce\u03bd, \u03b5\u03ba\u03c4\u03c5\u03c0\u03c9\u03c4\u03b9\u03ba\u03ce\u03bd \u03bc\u03b5\u03bb\u03b1\u03bd\u03b9\u03ce\u03bd \u03ba\u03b1\u03b9 \u03b5\u03c0\u03b9\u03ba\u03b1\u03bb\u03cd\u03c8\u03b5\u03c9\u03bd.<\/p>

Dr Stamatina Theohari holds a BSc and a PhD in Chemistry (University of Athens, Greece). She is an Assistant Professor and the Erasmus Coordinator at the University of West Attica, Faculty of Applied Arts and Culture, Department of Graphic Design and Visual Communication\/Graphic Arts Technology. Her undergraduate and graduate courses, as well as her research, involve surface treatment of materials and printing substrates, applications of pigments, dyes, printing inks and coatings. She is a specialist in aluminum surface treatment (anodizing, coloring and corrosion inhibition using certain organic dyes).
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tEmilios Theofanous | UK<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Emilios Theofanous is a typeface designer and cat owner from Cyprus. After studying Mathematics at the University of Athens he gained an MA in Digital Arts from the Athens School of Fine Arts. Working as an animator and graphic designer he realised his passion for typography; this path led him in Amiens in France where he studied type design at EsadType. He is currently working as a senior type designer at Monotype in London.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tGeorge Triantafyllakos | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

George Triantafyllakos (backpacker.gr<\/a>) holds a PhD in Participatory Design of Educational Software from the Computer Science Department, Aristotle University of Thessaloniki, Greece. He received his BSc from the same department. He freelances as a web designer\/developer and graphic\/type designer. In September 2015 he started the Atypical type foundry (atypical.gr<\/a>). He has designed typefaces for the Greek Font Society (greekfontsociety-gfs.gr<\/a>). In 2017 he participated in the team of designers who won the competition for the design of the new visual identity of the National Library of Greece (George D. Matthiopoulos, Dimitris Papazoglou, George Triantafyllakos and Axel Peem\u00f6ller). He was also a member of the jury committee of the Greek Graphic Design and Illustration Awards (\u0395\u0392\u0393\u0395 2017).<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tGiannis Tsakonas | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tEvanthia Tselika | CYPRUS<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Dr Evanthia Tselika is a visual arts researcher\/writer, producer and educator and Assistant Professor at the University of Nicosia. Her practice led research is focused on urban context, conflict transformation, community processes and socially engaged art practices. She develops and researches participatory art practices within the context of segregated cities and has worked, exhibited and collaborated with various art centres and museums locally and internationally. She is involved in co-producing socially engaged art projects and research, such as the Interreg Balkan Med funded programme Phygital<\/em> (Greece, Albania, Cyprus, 2017-2019) or the European Cultural Foundation Shaping Common paths<\/em> (2017-2018). In 2019 a collective volume publication she is co-editing on contemporary art and Cyprus is due to be published by Bloomsbury.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tKostas Vlachakis | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Born in Athens in 1981, grown and still living in Athens. After having studied at the Department of Technology Education and Digital Systems of the University of Piraeus, I decided to follow a different route, consistent with personal skills, advocations and interest in the development and application of Visual Language and Communication. The educational background of Exact Science, combined with Cognitive & Developmental Psychology courses, as well as Adult Education training, did contribute to a development of systematic and analytical approach to Visual Communication. As cofounder and art director of awarded design practice \u2018Typical Organization\u2019 a multidisciplinary interest balancing between Art, Design and Philosophy is motivating an ongoing practical and theoretical development.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tGeorgios Vlachopoulos | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Georgios Vlachopoulos, Doctor of Philosophy in Mechanical Engineering from Swansea University, UK, at the Welsh Centre for Printing and Coating. He graduated from the Technological Educational Institute of Athens on Graphic Arts Technology with an interest in printing technology of productive and artistic printing processes. He works at the Sivitanidios Vocational School, the Graphic Arts Department. His research focuses on developing methodologies for measuring and analysing ink transfer phenomena located at the printing nip exit. He also studies printing parameters that can affect printing qualities including the characteristics of inks and substrates.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tGiorgos Vlachos | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tIrene Vlachou | UK<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Irene Vlachou is a typeface designer working between Bristol and Athens. After trying life as an artist and a violinist, Irene found her vocation. Her terrible handwriting and horror of olives turned out to be no obstacles for her becoming a type designer specialising in Greek. In 2004 she gained her Masters in type design from the University of Reading and since then she has been collaborating with many international type foundries as a typeface designer and as a Greek type advisor. She designs original custom typefaces as well as extending typefaces to add the Greek character set and is a senior designer and the variable font obsessive at Type-Together.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tKarel Van Der Waarde | BELGIUM<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Karel van der Waarde studied graphic design in the Netherlands and the UK.
In 1995, he started a design – research consultancy in Belgium specializing in the testing of pharmaceutical information design. This company develops patient information leaflets, instructions, forms, protocols, and the information architecture for websites.
Karel van der Waarde publishes and lectures about visual information. Currently, he teaches (part time) at the Basel School of Design (FHNW, Switzerland). Since 2017 he is professor Visual Communication at Swinburne University, Melbourne, Australia.
He is a life-fellow of the Communications Research Institute (Melbourne), a board member of International Institute for Information Design (Vienna) and editorial board member of Information Design Journal, the Poster, and Visible Language.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tLiuchuan Wang | CHINA<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Liuchuan is currently working as a Graduate Teaching Assistant at the University for the Creative Arts. Her design practice revolves around graphic design, illustration and game design. Liuchuan has a Master\u2019s degree in graphic design from UCA and a Bachelor’s degree in visual communication from the China Central Academy of Fine Arts. Her research interests focus on how to use visual language to influence and change people’s social concepts. She is preparing to conduct her doctoral research in this field.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tWen-Chia Wang | TAIWAN<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Wen-Chia Wang is an Assistant Professor at the Department of Media Design at Tatung University in Taiwan. She has a PhD from the College of Engineering and Design at Brunel University, UK. Her research interests include user experience, visual design, interface design and cognitive style. Moreover, she applies user experience knowledge to design education; the purpose is to improve students\u2019 five senses to understand users more. As board games attract now people\u2019s attention, her interests focus to the establishment of connections between players\u2019 perceived playfulness and the visual design of board game package and accessories.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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W<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tArtemis Yagou | GERMANY<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Artemis Yagou, PhD, is an Athens-born historian of design and technology, currently a Research Associate at the Research Institute for the History of Science and Technology of the Deutsches Museum, Munich. She is working on the project “How they Played: Children and Construction Toys (ca. 1840-1940)\u201c, with funding from the German Research Foundation (DFG) (2016-2021). Additionally, she is preparing a monograph on luxury in early modern Southeastern Europe. She has published extensively, including\u00a0Fragile Innovation: Episodes in Greek Design History<\/em>\u00a0(2011).
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tOnur Yaz\u0131c\u0131gil | TURKEY<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Onur Yaz\u0131c\u0131gil is a typographer and educator based in Istanbul. He received his MFA from Purdue University in the United States. He has been a board member of ATypI since 2013 and has lectured on various topics in the field of typography. At present, he is a faculty member at Sabanc\u0131 University\u2019s Art and Design department. His research interests range from Latin and Arabic typographic history to 19th century Ottoman metal typefaces, with a particular emphasis on Ottoman naskh style. He designed a sanserif type family, Duru, which was acquired by Google in 2011. That same year, he cofounded ISType (Istanbul Typography Conference), which he has been directing since its foundation.
web<\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tKok Cheow Yeoh | USA<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Kok Cheow Yeoh heads the graphic design program at Indiana University Southeast in New Albany, Indiana. His passion in design, which led to teaching, has taken him from Malaysia, to San Francisco, California where he earned my BFA and MA degrees and Lubbock, Texas for his PhD.\u00a0 His research interests include topics that address spatial, aesthetic and critical inquiries in branding, environmental graphics (signage), and experience design. Additionally, he has actively participated in local and international exhibitions. He sees travel as a form of active learning, which, according to him, is about internalizing an experience to become an effective learner.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Y<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tAlexios Zavras | GERMANY<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Alexios Zavras, PhD, has more than 35 years experience in Free and Open Source software. He is a regular speaker on software and content licensing in international conferences. He is currently living and working in Munich and on the Internet.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tStelios Zygouris | GREECE<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Stelios Zygouris is a research psychologist specializing in computerized cognitive testing and the use of serious games for the detection of pre-clinical cognitive decline in older adults. He is a PhD candidate at a joint program of the AUTH and the Network Aging Research (NAR) of the University of Heidelberg and he receives a scholarship for his PhD studies from the Robert Bosch Foundation. He is a Senior Atlantic Fellow for Equity in Brain Health at the Global Brain Health Institute (GBHI). He maintains ongoing collaboration with the Greek Association of Alzheimer\u2019s Disease and Related Disorders (GAADRD), the Center for Research and Technology Hellas-Information Technologies Institute (CERTH-ITI) and the University of California, San Francisco (UCSF).
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Challenging design paths ICTVC 7 \u00b7 Patras, Greece \u00b7 19 \u2014 21 June 2019 Speakers \/ Contributors \u00a0 \u00a0 PROGRAMME 7th ICTVC 2019 \/ pdf \u00a0 \u00a0 ABSTRACTS 7th ICTVC 2019 \/ pdf Katerina Antonaki | GREECE Katerina Antonaki MA FA \u2013 Creative Director of Technopolis city of Athens, visiting lecturer at UNIWA, Department of … Continue reading “Speakers”<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"parent":436,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":[],"_links":{"self":[{"href":"https:\/\/ictvc.org\/2019\/wp-json\/wp\/v2\/pages\/1347"}],"collection":[{"href":"https:\/\/ictvc.org\/2019\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ictvc.org\/2019\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ictvc.org\/2019\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ictvc.org\/2019\/wp-json\/wp\/v2\/comments?post=1347"}],"version-history":[{"count":183,"href":"https:\/\/ictvc.org\/2019\/wp-json\/wp\/v2\/pages\/1347\/revisions"}],"predecessor-version":[{"id":2167,"href":"https:\/\/ictvc.org\/2019\/wp-json\/wp\/v2\/pages\/1347\/revisions\/2167"}],"up":[{"embeddable":true,"href":"https:\/\/ictvc.org\/2019\/wp-json\/wp\/v2\/pages\/436"}],"wp:attachment":[{"href":"https:\/\/ictvc.org\/2019\/wp-json\/wp\/v2\/media?parent=1347"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}