Most of the talks will be in English, one will be in Czech (see below). There is no provision for translations. The programme is subject to change without notice.
Ben Mitchell (UK)
Experiments with revivalism
- In this talk, Ben will outline his experiences with a particular typeface and explain what motivated him to try a revival. A research-based approach, a personal vision and plenty of mistakes illustrate that an honest type revival is anything but a blind imitation of someone else’s work. On the contrary, it can provide ample opportunity for interpretation, fine-tuning and gaining a sensitive understanding of the challenges of type design. Ben will show the sort of materials and resources that can be helpful, and recount his progress from ill-considered blobs to refined Béziers for this work-in-progress.
- After a number of different careers gravitating towards design, Ben finally took the plunge and studied typeface design at the University of Reading. His practical project involved creating a type family covering Latin, Burmese and Thai. Ben is interested in the way people give physical form to the ideas they wish to communicate: forms which are inseparably linked to their cultural environments and their place in history. Ben lives and works in Brighton, UK, as a freelance type designer.
- A Year of Type Design Ben @ Behance Twitter: @OhBendy
Sonia de Puineuf (SK/FR)
Zdeněk Rossmann and the graphic design network
- Discovering that modernist typography was in a large part a struggle of poets, artists and architects, I cannot agree with the idea of typography being a minor artistic genre (especially in the context of the avant-garde). However, this statement is still not easy to admit for some representatives of academic institutions dealing with the History of Art. The main difficulty is certainly the unacceptability of the fact that a text can be analysed (also) as an image. Moreover it is the value of this multiplied image in a discipline which is obsessed with unique artefacts. All that despite the fact that modernist typographers could often be seen as men who best represented the avant-garde ideal of artistic versatility. A look at my researches on Czech typographer Zdeněk Rossmann can help in demonstrating this premise and justifying a new place for graphic design in the History of Art, as well as restoring the true stature of this artist in the context of Slovak and international avant-garde graphic design.
- Sonia de Puineuf is a historian of Art with a Phd from the Université Paris IV-Sorbonne. She is the recipient of postgraduate grant in Centre Allemand d’Histoire de l’Art / Deutsches Forum für Kunstgeschichte in Paris. Other short research grants include Research Grant Paul Mellon Centre for Studies in British Art (Yale University, London, UK), Getty Research Grant (Getty Foundation, Los Angeles, USA). She lives and works in Brest (France), teaches at the Université de Bretagne Occidentale and does research in avant-garde art, graphic design, architecture and urbanism, especially in Central Europe.
Goran Patlejch (RS/CZ)
Dark side of lettering in public space
- I spend a lot of time indoors, staring at a computer, polishing my designs while playing by the rules. But I crave to get out in the streets and dive beneath the shiny, loud, highly engineered, but rather shallow veneer of “good” contemporary design which I help to create. For the last five years I’ve been indulging in a guilty pleasure of documenting the dark side of typography in the public space: honest hard-working people, forgotten celebrities, fade-out ghosts, village idiots, and other underdogs of the urban typosphere. These beasts may be laughable, illegible, pathetic, outdated or downright ugly. Nevertheless, they all have interesting stories to tell and valuable lessons to teach.
- Goran Patlejch was born in former Yugoslavia, in what is present-day Serbia. Once a promising physicist, turned architect, turned self-taught graphic designer with an active interest in photography,he has worked in a few advertising agencies, had his work published in a few books and even won a few awards. He hopes he will be forgiven for daring to give a talk alongside seasoned type designers. He lives in Prague, Czech Republic.
- Goenetix @ ipernity
Claus Eggers Sørensen (DK/NL)
- A grand transition is taking place in publishing. The electronic distribution to – and the media consumption on – tablets, smartphones, e-readers, and desktop computers is replacing traditional printed matter. This fledgling screen-based publishing could be characterised as post-paper publishing. The capabilities and limitations of screen-based publishing give rise to new functionalities, but also necessitate the invention and adoption of new conventions suited for screen rather than paper. In his presentation Claus will delineate the emerging tropes of screen-based design, and how they differ from print design. He will show why screens require a fundamentally different approach to designing, and which aesthetic ideals remain relevant post-paper.
- Claus Eggers Sørensen is a typeface designer with a background in graphic design and commercial art direction. Though a Danish national, he currently lives and works in Amsterdam. Claus received a B.Des from The Gerrit Rietveld Academie in Amsterdam, the Netherlands, and an MA in Typeface Design from the Department of Typography & Graphic Communication, University of Reading.
- For the Hearts Twitter: @clauseggers
prof. Radoslav Večerka (CZ)
On the origins and graphic appearance of the Glagolitic alphabet (in Czech)
- This lecture presents some partial additions to theses regarding the origins of the Glagolitic alphabet, essentially in accordance with the prevailing conviction that Glagolitic was the first liturgical and literary Slavic script ever, that Cyril was its creator, that it reflects some characteristic linguistic phenomena of Slavic dialects from around Thessalonica, that its model was not the Greek minuscule, that among its original features was an alignment of letters of varying depths down from the headline, that, by itself, it was an uncial, appropriate for texts from the very beginning of its liturgical designation, that, at its conception, Cyril could have been driven partially by that period’s conviction about the metaphorical and metaphysical nature of the script and its components.
- Radoslav Večerka (1928) studied Czech, Russian and Slavic comparative linguistics at the Faculty of Arts of the Brno university. After his graduation, he remained employed at the faculty where he received a doctorate. In 1963 he became a senior lecturer and in 1990 was awarded a professorship. He worked as a visiting senior lecturer and professor at several universities in Germany and Bulgaria. He is concerned with Old Slavonic, Slavonic comparative linguistics and the history of Slavonic studies.
Laura Meseguer (ES)
Letters at work
- The lecture will show recent projects developed in the field of lettering and type design, from the perspective of the process: briefing, approach, technique and results. Some of them are personal projects and others have been designed in collaboration. Laura’s lettering and type workshops and their results will be presented as well.
- Laura Meseguer is a freelance graphic and type designer based in Barcelona. She works on both commercial commissions and personal projects. She specializes in book design and all sorts of typography projects, from lettering for monograms and logotypes to custom typefaces. In 2003–2004, she took a year off from her regular work to study type design at the post-graduate course Type]Media at the Royal Academy of Arts in The Hague, the Netherlands. Rumba, the typeface she designed as part of this course, was selected for the TDC TypeDesign Competition 2005 and garnered the ATypI Prize at Letter.2 in 2011. Through her own type foundry, Type-Ø-Tones, she publishes and promotes her type designs. In addition to her work, Laura also finds time to teach type design as part of the Master’s degree in Advanced Typography at Eina Escola d’Art i Disseny and typography at Elisava.
- Laura Meseguer Type-Ø-Tones Twitter: @laurameseguer
Jasso Lamberg (FI/DE/GB)
Exploring newspaper genres
- Most designers and even lay-people have an opinion about how newspaper genres, such as popular and quality papers, are different from each other. But are these opinions accurate? This presentation explains how research can objectively show what design features define genres.
- Jasso Lamberg is a PhD researcher at the Department of Typography & Graphic Communication, University of Reading (UK). He also holds a BA in graphic design, and MA in design theory. He has taught theory and history of visual communication at design universities in Finland for the past six years. Previously he has worked for several years in the newspaper industry in Finland, producing information graphics for the Finnish News Agency and Helsingin Sanomat which is one of the largest quality papers in Scandinavia. He continues working as a freelance consultant, helping newspapers redesign their information graphics. He lives in Munich, Germany.
- typo.fi Twitter: @typofi
Erik van Blokland (NL)
Optics and code
- Erik will introduce two small reseach projects. The first: some things to keep in mind when drawing small details. The second: the absolute precision of our digital tools does not mean we all draw the same (the results of a survey).
- Erik van Blokland (1967) studied Graphic and Typographic Design at the Royal Academy for Fine and Applied Arts in The Hague, the Netherlands. Erik started to collaborate with Just van Rossum under the name LettError in Berlin, while working at MetaDesign. After experimenting with computer programming in connection with type design, they came up with Beowolf, the first typeface with a mind of its own. It was released by FontShop in July, 1990. The radical approach of Beowolf caused a lot of publicity for LettError, and of course fame and fortune. Well, fame anyway. After stints at several places in the world, including David Berlow’s Font Bureau, van Blokland settled in The Hague as an independent designer, working together with van Rossum. Their work now includes type design, illustration, magazines, corporate design, interactive design, animation, music, and websites. And lectures.
- LettError Twitter: @letterror
Design © TypeTalks, 2010–13.
Content © Respective speakers, 2010–13.