BEGIN:VCALENDAR
VERSION:2.0
X-WR-CALNAME:ATypI 08 St Petersburg
PRODID:-//ATypI//iCal 2.0//EN
X-WR-TIMEZONE:Europe/Moscow
CALSCALE:GREGORIAN
METHOD:PUBLISH
BEGIN:VTIMEZONE
TZID:Europe/Moscow
X-LIC-LOCATION:Europe/Moscow
BEGIN:DAYLIGHT
TZOFFSETFROM:+0300
TZOFFSETTO:+0400
TZNAME:MSD
DTSTART:19700329T020000
RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU
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TZOFFSETFROM:+0400
TZOFFSETTO:+0300
TZNAME:MSK
DTSTART:19701025T030000
RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU
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END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080718T235900
DTEND;TZID=Europe/Moscow:20080718T240000
SUMMARY:ATypI:\nVery early registration rate deadline.\nATypI 08 St Petersburg.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=498
ATTENDEE;CN="ATypI attendees":invalid:nomail












DESCRIPTION:Duration: 1 minutes\n\nSPEAKER DETAILS:\n\nATypI attendees\n |  \n\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080815T235900
DTEND;TZID=Europe/Moscow:20080815T240000
SUMMARY:ATypI:\nEarly registration rate deadline.\nATypI 08 St Petersburg.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=499
ATTENDEE;CN="ATypI attendees":invalid:nomail












DESCRIPTION:Duration: 1 minutes\n\nSPEAKER DETAILS:\n\nATypI attendees\n |  \n\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080831T235900
DTEND;TZID=Europe/Moscow:20080831T240000
SUMMARY:ATypI:\nCancellation deadline.\nATypI 08 St Petersburg.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=500
ATTENDEE;CN="ATypI attendees":invalid:nomail












DESCRIPTION:Duration: 1 minutes\n\nSPEAKER DETAILS:\n\nATypI attendees\n |  \n\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T093000
DTEND;TZID=Europe/Moscow:20080917T094000
LOCATION:Palace B
SUMMARY:FLW | T. Harrison:\nTypeTools Forum by FontLab.\nWelcome.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=507
ATTENDEE;CN="Ted Harrison":invalid:nomail












DESCRIPTION:Opening of Day 1 of the TypeTools forum, ATypI TypeTech/TypeTools forum’s second track. The first day is presented by Fontlab Ltd, the second day is presented by Dutch Type Library (DTL). \nTheme: TypeTools by FontLab\nDuration: 10 minutes\n\nSPEAKER DETAILS:\n\nTed Harrison\nPresident | Fontlab Ltd. | Canada\n\nTed Harrison and Yuri Yarmola started Fontlab Ltd. shortly after Ted’s graduation from the Wharton School as a freshly minted MBA. As President of the company, Ted’s responsibilities include financial management, marketing, and distribution of Fontlab products. Dr. Harrison (M.D., 1975) has started a number of companies in addition to Fontlab and has extensive experience in international business and trade. He once tried his hand at designing a typeface but was told to stick to things for which he had some aptitude.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T093000
DTEND;TZID=Europe/Moscow:20080917T094000
LOCATION:Palace A
SUMMARY:TTW1 | T. Phinney:\nTypeTech Forum.\nWelcome.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=506
ATTENDEE;CN="Thomas Phinney":invalid:nomail












DESCRIPTION:Opening of Day 1 of the TypeTech forum, ATypI TypeTech/TypeTools forum’s first track, presented by Association Typographique Internationale. \nTheme: TypeTech by ATypI\nDuration: 10 minutes\n\nSPEAKER DETAILS:\n\nThomas Phinney\nProgram Manager | Adobe Systems | USA\n\nThomas Phinney has been in Adobe’s type group since 1997, currently as Product Manager for Fonts & Global Typography, based in Seattle. He is involved in the technical, design, historical and business aspects of type, as well as working closely with other font developers and customers. His typeface “Hypatia Sans” has been published in the Adobe Originals series. He has a Master's degree in typography and design from RIT, and an MBA from UC Berkeley.\n\nHe has been eager to resolve the web font problem for many years, but isn’t happy with the “raw fonts” approach. \n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T093000
DTEND;TZID=Europe/Moscow:20080917T130000
LOCATION:W1
SUMMARY:W01 | P. Zoghbi:\nArabic Kufi script.\nWorkshop part 1.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=494
ATTENDEE;CN="Pascal Zoghbi":invalid:nomail












DESCRIPTION:A workshop for non-Arabic speakers about Arabic   Kufi script. See http://29letters.wordpress.com/2007/09/01/kufi-workshop-for-non-arab-participants-in-amsterdam/ for previous workshop information. \n\nThis workshop takes place in two parts: on Wednesday 9:30—13:00 and on Thursday 14:00—17:30. In the first part, Pascal will give a lecture on Arabic Kufi script, and participants will start practicing the Kufi script and creating units. In the second part, participants will create their own words and patterns using the square Kufi script. \n\nThe workshop is open to all participants of the main conference. The maximum number of workshop participants is 20. You must register to the workshop during your main conference registration. Participants are requested to bring 15 USD in cash to the workshop to pay the “supplies fee” for the pencils, pens, ink and paper. \n\nTheme: Workshop\nDuration: 210 minutes\n\nSPEAKER DETAILS:\n\nPascal Zoghbi\nArabic type designer & typographer | 29letters | Lebanon\n\nPascal Zoghbi graduated in July 2006 with a Master of Design from the Type & Media course at the Royal Academy of Arts (KABK) in The Hague, The Netherlands. Prior to his postgraduate studies, he worked in Beirut for several years as a graphic designer in print and web design. He is an independent Arabic type and graphic designer since August 2006 and is currently a part-time instructor teaching type and typography courses at LAU (Lebanese American University) and NDU (Notre Dame University). Currently, he is working on Arabic corporate fonts and bi-script (Arabic/Latin) fonts. He gives lectures and workshops about Arabic type regularly.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T093000
DTEND;TZID=Europe/Moscow:20080917T170000
LOCATION:W2
SUMMARY:W05 | A. Kobayashi, N. Chahine:\nLinotype type design student workshop.\nClosed session, part 1.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=493
ATTENDEE;CN="Akira Kobayashi":invalid:nomail
ATTENDEE;CN="Nadine Chahine":invalid:nomail











DESCRIPTION:ATypI and Linotype have invited ten excellent, typographically-minded junior or senior Cyrillic-writing students to participate in a typography-intensive workshop that includes an introduction to the world of letterforms and the basics of type design.  \n\nIn two closed sessions, on Wednesday 9:30–17:00, and on Thursday 9:30–12:00, the invited workshop participants will work closely with Linotype’s Akira Kobayashi and Nadine Chahine to create and refine their own designs. The workshop will conclude with a public viewing of the workshop results on Thursday 12:00–13:00 — come and see the progress the students have made! \nTheme: Workshop\nDuration: 450 minutes\n\nSPEAKER DETAILS:\n\nAkira Kobayashi\n | Linotype GmbH | Japan / Germany\n\nAkira Kobayashi studied at the Musashino Art University in Tokyo, and later followed this up with a calligraphy course at the London College of Printing. Since May 2001 Type Director at Linotype Library GmbH. Recently he completed the Optima Nova type family in close collaboration with the original designer Hermann Zapf. He has won numerous international awards for his typeface designs, including Best of Category and Best of Show for the Clifford typeface in the 1998 <EM>U&lc</EM> magazine type design competition; 1st prize, text category for the Conrad typeface in Linotype Library's 3rd International Digital Type Design Contest. His work was recognised in the Type Directors Club type design competitions of 1998, 1999, 2000 and 2001—for ITC Woodland, ITC Japanese Garden and ITC Silvermoon, FF Clifford, and Linotype Conrad, respectively.\n\nNadine Chahine\n | Linotype Library \n\nNadine Chahine (b. 1978) is a recent Lebanese graduate from the MA Typeface Design at the University of Reading, UK. She is currently working at Linotype Library and she also teaches Arabic Typography as a visiting lecturer at the American University in Dubai.\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T094000
DTEND;TZID=Europe/Moscow:20080917T103000
LOCATION:Palace B
SUMMARY:FL01 | T. Harrison:\nPhotofonts in print.\nColorful typography using InDesign and QuarkXPress.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=508
ATTENDEE;CN="Ted Harrison":invalid:nomail












DESCRIPTION:Several years ago, Fontlab Ltd. introduced the Photofont technology that removed some limitations of traditional outline fonts by allowing the type designer to use the full RGB palette and alpha transparency. \n\nThe first products to support the Photofont format were BitFonter, the professional bitmap font editor that allows designers to create photofonts, and Photofont Start, a simple plugin for Adobe Photoshop and Adobe Illustrator, that allows designers to use photofonts in their creations. \n\nFontlab Ltd. is now adding three new products to the Photofont family: Photofont QX and Photofont ID are plugins for QuarkXPress and Adobe InDesign that enable designers to use photofonts in their page layouts, while Photofont WebReady makes it possible to use photofonts on the web. In this session, we will introduce the QuarkXPress and InDesign plugins. \nTheme: TypeTools by FontLab\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nTed Harrison\nPresident | Fontlab Ltd. | Canada\n\nTed Harrison and Yuri Yarmola started Fontlab Ltd. shortly after Ted’s graduation from the Wharton School as a freshly minted MBA. As President of the company, Ted’s responsibilities include financial management, marketing, and distribution of Fontlab products. Dr. Harrison (M.D., 1975) has started a number of companies in addition to Fontlab and has extensive experience in international business and trade. He once tried his hand at designing a typeface but was told to stick to things for which he had some aptitude.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T094000
DTEND;TZID=Europe/Moscow:20080917T103000
LOCATION:Palace A
SUMMARY:TT01 | S. Daniels, T. Phinney:\nOpenType 1.6 developments
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=486
ATTENDEE;CN="Si Daniels":invalid:nomail
ATTENDEE;CN="Thomas Phinney":invalid:nomail











DESCRIPTION:Si Daniels and Thomas Phinney give an overview of new OpenType spec developments\nof the past year, which have gone into the published version 1.5 spec and the coming\nversion 1.6 spec, as well as being planned for the ISO Open Font Format spec. Changes\ninclude both clarifications and new functionality.\n\nTheme: TypeTech by ATypI\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nSi Daniels\nLead Program Manager for Fonts | Microsoft | USA\n\nSi Daniels is a program manager in Microsoft’s typography group. He is a graduate of the typography and graphic communication program at The University of Reading in Berkshire, England. Si has responsibility over most of Microsoft’s western and middle-eastern typefaces, the Microsoft typography Web site (www.microsoft.com/typography/), and works with Microsoft’s diverse software, hardware and marketing groups on font related issues. He is a member of the ATypI Board. \n\nSi is one of the “bastards” referenced in his talk’s title. He has been working on web fonts, font embedding, font packaging and font redistribution issues for over twelve years. In the past two years, he has moderated or delivered talks on Web fonts at TypeCon, ATypI, and the first Business of Type conference.\n\nThomas Phinney\nProgram Manager | Adobe Systems | USA\n\nThomas Phinney has been in Adobe’s type group since 1997, currently as Product Manager for Fonts & Global Typography, based in Seattle. He is involved in the technical, design, historical and business aspects of type, as well as working closely with other font developers and customers. His typeface “Hypatia Sans” has been published in the Adobe Originals series. He has a Master's degree in typography and design from RIT, and an MBA from UC Berkeley.\n\nHe has been eager to resolve the web font problem for many years, but isn’t happy with the “raw fonts” approach. \n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T110000
DTEND;TZID=Europe/Moscow:20080917T115000
LOCATION:Palace B
SUMMARY:FL02 | A. Twardoch:\nFamily matters.\nMaking fonts work as a family using FontLab Studio.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=509
ATTENDEE;CN="Adam Twardoch":invalid:nomail












DESCRIPTION:When developing a font family in OpenType format, a number of font parameters needs to be synchronized between the fonts so that applications can “see” the final product as a coherent family. We will discuss several different strategies of approaching the family and style naming and linkning inside a family. We will also discuss the importance of vertical metrics in a family, and will discuss synchronizing them across styles, and about other Font Info parameters that the designer should take care of when preparing the fonts for shipping. \nTheme: TypeTools by FontLab\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nAdam Twardoch\n | Fontlab Ltd. / MyFonts | Germany\n\nAdam Twardoch specializes in font tool development, font technology and multilingual typography, with special focus on Central European issues and OpenType. He is product and marketing manager at Fontlab Ltd. In addition, he serves as typographic consultant to MyFonts and provides consulting services to other clients worldwide, including Adobe Systems, Bistream, Corel Corp., Linotype, Monotype, Tiro Typeworks, Underware and others. Adam regularly writes and lectures about fonts and typography. And he helps type designers to get their ogoneks right. In 2000-2006, Adam was member of the ATypI Board and the ATypI country delegate for Poland. Born in Poland, Adam Twardoch now lives in Berlin.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T110000
DTEND;TZID=Europe/Moscow:20080917T115000
LOCATION:Palace A
SUMMARY:TT02 | E. Yakupov:\nTrueType hinting.\n— do we still need it?.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=501
ATTENDEE;CN="Emil Yakupov":invalid:nomail












DESCRIPTION:ClearType text rendering with subpixel positioning in horizontal direction noticeably increases the quality of text on screen and eliminates importance of hinting. But there are still some defects in letter appearance that looks even worse when they are just few. Presentation will show and compare samples of texts set with unhinted fonts, autohinted fonts and manually hinted fonts. Typical defects will be analyzed.  Time consumption of hinting for black and white rendering, grayscale rendering and ClearType rendering will be estimated and compared.\nTheme: TypeTech by ATypI\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nEmil Yakupov\nDirector | ParaType | Russia\n\nEmil Yakupov was born and lives in Russia. His interests and  activities of the last 20 years belong to digital typography and  computer fonts. Since early 1990s he has worked for ParaType (then ParaGraph) as a product manager and later as a director. ParaType is a multilingual type foundry, the biggest and renowned  supplier of Cyrillic fonts. Accepting Russian and Soviet type heritage, ParaType not only converted and redesigned the library to digital format, but notably expanded type collection with new  original fonts and Cyrillic adaptations of the best Latin types. ParaType applies multilingual approach to font developments — standard character set of ParaType fonts covers main European languages including EU newcomers. ParaType also pays special attention to technical quality of fonts and principally to TrueType hinting.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T120000
DTEND;TZID=Europe/Moscow:20080917T125000
LOCATION:Palace B
SUMMARY:FL03 | A. Twardoch:\nCrystal clear.\nOptimizing font screen quality in FontLab Studio.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=510
ATTENDEE;CN="Adam Twardoch":invalid:nomail












DESCRIPTION:Even though screen resolutions become bigger and the font rasterizers more sophisticated, the need for optimizing font screen quality does not entirely go away. FontLab Studio 5 brings various general font screen quality parameters such as alignment zones and standard stems, which can be automatically or manually edited to achieve best results. In addition to the PostScript autohinter built into FontLab Studio 5, there is now also the new Adobe autohinter that is available as part of the AFDKO package and integrates into FLS as a macro (more native integration is planned for a future release of FLS). Finally, the manual tools for working with hinting in FLS5 are virtually unchallenged. We will explain how to combine both automatic and manual hinting to quickly achieve best results. \nTheme: TypeTools by FontLab\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nAdam Twardoch\n | Fontlab Ltd. / MyFonts | Germany\n\nAdam Twardoch specializes in font tool development, font technology and multilingual typography, with special focus on Central European issues and OpenType. He is product and marketing manager at Fontlab Ltd. In addition, he serves as typographic consultant to MyFonts and provides consulting services to other clients worldwide, including Adobe Systems, Bistream, Corel Corp., Linotype, Monotype, Tiro Typeworks, Underware and others. Adam regularly writes and lectures about fonts and typography. And he helps type designers to get their ogoneks right. In 2000-2006, Adam was member of the ATypI Board and the ATypI country delegate for Poland. Born in Poland, Adam Twardoch now lives in Berlin.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T120000
DTEND;TZID=Europe/Moscow:20080917T125000
LOCATION:Palace A
SUMMARY:TT03 | K. von Ompteda:\nThe role of typeface design within the scientific study of legibility
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=502
ATTENDEE;CN="Karin von Ompteda":invalid:nomail












DESCRIPTION:In the pre-digital era, manipulating typeface parameters to study their influence on legibility was difficult. This contributed to a common practice amongst legibility researchers to test unmodified commercial typefaces differing in numerous  parameters, ultimately resulting in a paucity of controlled investigation. The advent of digital typeface design has seen over the past decade scientists develop typefaces for experimental purposes. While this has advanced knowledge, a lack of connection to the design community has limited the  practical application of findings. This presentation will argue  that practice-based typeface design research has a critical role to play in the scientific study of legibility.\nTheme: TypeTech by ATypI\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nKarin von Ompteda\nMPhil Candidate | Royal College of Art | United Kingdom\n\nKarin von Ompteda is an MPhil research student at the Royal  College of Art investigating typeface legibility for people with  low vision. With a background in the sciences (MSc, Biology,  University of Toronto) and design (BDes, Graphic Design,  Ontario College of Art & Design), her research takes an  interdisciplinary approach to the study of typography. Karin  has received numerous awards for her work, most notably a Commonwealth Scholarship for her MPhil research and a Natural  Sciences and Engineering Research Council of Canada Scholarship for her MSc research.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T140000
DTEND;TZID=Europe/Moscow:20080917T145000
LOCATION:Palace B
SUMMARY:FL04 | A. Twardoch:\nSetting web typography free.\nUsing custom Photofont and OpenType fonts on the web.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=511
ATTENDEE;CN="Adam Twardoch":invalid:nomail












DESCRIPTION:The web does not allow us to use the countless typefaces that we use in print. We can use non-default fonts in certain elements of a website using Flash and graphics, but in the searchable text portions, only a few standard fonts such as Verdana can be used. \n\nIn this session, we will combine different tools (Adobe Dreamweaver, FontLab TypeTool, Photofont WebReady, Microsoft WEFT) and techniques (linked OpenType fonts, embedded OpenType fonts, Flash font replacement using sIFR, and embedded Photofonts) to obtain web pages that use non-default fonts, work equally well in Internet Explorer, Safari, Firefox and Opera, and remain valid HTML and CSS, ensuring findability and standards-compliance.\nTheme: TypeTools by FontLab\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nAdam Twardoch\n | Fontlab Ltd. / MyFonts | Germany\n\nAdam Twardoch specializes in font tool development, font technology and multilingual typography, with special focus on Central European issues and OpenType. He is product and marketing manager at Fontlab Ltd. In addition, he serves as typographic consultant to MyFonts and provides consulting services to other clients worldwide, including Adobe Systems, Bistream, Corel Corp., Linotype, Monotype, Tiro Typeworks, Underware and others. Adam regularly writes and lectures about fonts and typography. And he helps type designers to get their ogoneks right. In 2000-2006, Adam was member of the ATypI Board and the ATypI country delegate for Poland. Born in Poland, Adam Twardoch now lives in Berlin.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T140000
DTEND;TZID=Europe/Moscow:20080917T145000
LOCATION:Palace A
SUMMARY:TT04 | J. Scaglione:\nFrom laser printer to offset press.\nA one-way road.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=503
ATTENDEE;CN="Jose Scaglione":invalid:nomail












DESCRIPTION:Laser printers have an utterly important role in the professional practice of typeface design, which involves a significant level of trial and error until its completion. Nowadays printers are fast, accurate, and deliver a high quality output that allow type designers to evaluate their work in progress and make the appropriate corrections in just a few minutes. Although this is an enormous advance from the smoke-proof days, the gap between laser and offset printing must be acknowledged in order to develop more accurate testing procedures for the design of typefaces. This lecture is based on a piece of research in which the technical variables that affect the output in both printing technologies were assessed. The answers and questions that emerged are important for a conscious approach to type design and testing procedures, particularly for text typography.\nTheme: TypeTech by ATypI\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nJose Scaglione\nDesigner | TypeTogether | Argentina\n\nJosé Scaglione is an Argentinian graphic and multimedia designer, and a graduate from the MA in Typeface Design at the University of Reading, UK. He's working in branding, editorial design and multimedia projects since 1995. He was co-founder of Vision Media Design Studio in Argentina and art director Multiplicity Advertising and The prepaid Press in USA. José currently leads his own design studio, consults and lectures on typography and graphic communication matters. He also teaches typography at post-graduate level at the National University of Rosario and he is a board member of ATypI (Association Typographique Internationale)\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T140000
DTEND;TZID=Europe/Moscow:20080917T173000
LOCATION:W1
SUMMARY:W02 | Y. Augusto:\nKalligraphos.\nExperimental calligraphy workshop.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=490
ATTENDEE;CN="Yomar Augusto":invalid:nomail












DESCRIPTION:Calligraphy is the basis for the typography work. As an art form it has almost been forgotten in today’s graphic digital environment. Designers don’t handwrite anymore, bitmaps have become more important than ink and computers are now the main tool in the creative process. Kalligraphos is an experimental calligraphy workshop whose main objectives are: Taking the students away from the computer screen to explore the art of drawing letters by hand as a way to improve their technical backgrounds, help them focus their creative energy on the handmade process and stimulate a personal graphic research. The program explores calligraphy and other medias such as illustration, collage, painting, photography, graphic journals (sketchbooks and altered books), all of these combined to present for each student a rich ground for intuitive exploration.\n\nDuring the workshop, participants will practice using writing tools. \n\nThe workshop is open to all participants of the main conference. The maximum number of workshop participants is 20. You must register to the workshop during your main conference registration. Participants are requested to bring 15 USD in cash to the workshop to pay the “supplies fee” for the pencils, pens, ink and paper. \n\nTheme: Workshop\nDuration: 210 minutes\n\nSPEAKER DETAILS:\n\nYomar Augusto\n |  | Brazil\n\nYomar Augusto holds a BA in graphic design (Univercidade in Rio de Janeiro, 2000) and MA in type design (Type & Media at the Royal Academy of Art in The Hague, 2005). Has been involved in two Rojo ArtStorm projects. Rojo magazine invited 18 artists from all over the world to work as a team to build and develop a new campaign for a fashion brand. As a huge brainstorm process, they worked together for one week in locations such as Berlin and Barcelona. Published about contemporary graphic design, featuring showcases of 100 of the world’s most progressive designers, published by Taschen. Recently, the art show Letter Forest, featuring experiments in calligraphy, painting, drawing and printmaking was held at Nanzuka gallery in Tokyo. Currently lives and works in the Netherlands.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T150000
DTEND;TZID=Europe/Moscow:20080917T155000
LOCATION:Palace B
SUMMARY:FL05 | Y. Yarmola:\nLetterfitting in FontLab Studio.\nGlyph metrics and kerning: present and future.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=512
ATTENDEE;CN="Yuri Yarmola":invalid:nomail












DESCRIPTION:In this session we will discuss various productivity tools offered by FontLab Studio in the area of letter fitting and kerning: the Metrics Window, the Classes panel, the measurement line, class kerning, exceptions, expanding and compressing kerning.\n\nWe will also show an early preview of what improvements the next version of FontLab Studio will bring in this area. \nTheme: TypeTools by FontLab\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nYuri Yarmola\nVice President R&D | Fontlab Ltd. | Russia\n\nYuri Yarmola began dabbling with fonts in 1989, and designed the first of many font editors and utilities in 1991. He designed and led development of all versions of FontLab. He lives and works in St Petersburg, Russia, as Vice President Research & Development of FontLab Ltd. When not working, he skis on high mountains.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T150000
DTEND;TZID=Europe/Moscow:20080917T155000
LOCATION:Palace A
SUMMARY:TT05 | T. Phinney, S. Daniels:\nTech of Web fonts implementation
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=504
ATTENDEE;CN="Thomas Phinney":invalid:nomail
ATTENDEE;CN="Si Daniels":invalid:nomail











DESCRIPTION:How does the CSS referencing of Web fonts actually work, when used either with original\nfont files or EOT fonts on a Web server? How "safe" are the fonts in either\ncase, and what additional measures can be used? Following the technical discussion,\nthere will be open discussion with the audience as to their interests and concerns,\nas well as what different foundries' EULAs currently allow, and what they intend\nto allow in the future.\n\nTheme: TypeTech by ATypI\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nThomas Phinney\nProgram Manager | Adobe Systems | USA\n\nThomas Phinney has been in Adobe’s type group since 1997, currently as Product Manager for Fonts & Global Typography, based in Seattle. He is involved in the technical, design, historical and business aspects of type, as well as working closely with other font developers and customers. His typeface “Hypatia Sans” has been published in the Adobe Originals series. He has a Master's degree in typography and design from RIT, and an MBA from UC Berkeley.\n\nHe has been eager to resolve the web font problem for many years, but isn’t happy with the “raw fonts” approach. \n\nSi Daniels\nLead Program Manager for Fonts | Microsoft | USA\n\nSi Daniels is a program manager in Microsoft’s typography group. He is a graduate of the typography and graphic communication program at The University of Reading in Berkshire, England. Si has responsibility over most of Microsoft’s western and middle-eastern typefaces, the Microsoft typography Web site (www.microsoft.com/typography/), and works with Microsoft’s diverse software, hardware and marketing groups on font related issues. He is a member of the ATypI Board. \n\nSi is one of the “bastards” referenced in his talk’s title. He has been working on web fonts, font embedding, font packaging and font redistribution issues for over twelve years. In the past two years, he has moderated or delivered talks on Web fonts at TypeCon, ATypI, and the first Business of Type conference.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T162000
DTEND;TZID=Europe/Moscow:20080917T171000
LOCATION:Palace B
SUMMARY:FL06 | A. Twardoch:\nScotch Modern backstage.\nOpenType case study of a pan-European text font family.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=513
ATTENDEE;CN="Adam Twardoch":invalid:nomail












DESCRIPTION:In this complementary session to Nick Shinn’s “Scotch Modern. Fact and fiction” main conference presentation, Adam Twardoch will share his experiences in defining the OpenType Layout features for Scotch Modern, Nick’s new pan-European text font family. Glyph naming and encoding principles used in Scotch Modern’s multilingual character set (Western, Central European, Cyrillic, monotonic and polytonic Greek plus glyph variants) will be explained, followed by recommendations which features should be included in European fonts. Finally, specific recommendations about the technical implementation of some of the most popular features will be given, taking into account recent advances made by Adobe, Microsoft and Apple. \nTheme: TypeTools by FontLab\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nAdam Twardoch\n | Fontlab Ltd. / MyFonts | Germany\n\nAdam Twardoch specializes in font tool development, font technology and multilingual typography, with special focus on Central European issues and OpenType. He is product and marketing manager at Fontlab Ltd. In addition, he serves as typographic consultant to MyFonts and provides consulting services to other clients worldwide, including Adobe Systems, Bistream, Corel Corp., Linotype, Monotype, Tiro Typeworks, Underware and others. Adam regularly writes and lectures about fonts and typography. And he helps type designers to get their ogoneks right. In 2000-2006, Adam was member of the ATypI Board and the ATypI country delegate for Poland. Born in Poland, Adam Twardoch now lives in Berlin.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080917T162000
DTEND;TZID=Europe/Moscow:20080917T171000
LOCATION:Palace A
SUMMARY:TT06 | K. C. Tam:\nIssues in Chinese text design
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=505
ATTENDEE;CN="Keith Chi-hang Tam":invalid:nomail












DESCRIPTION:This presentation will explore the issues that arise when  designing with Chinese text. The focus will be on historical  and contemporary practices of text design in Chinese books and publications. Linguistic, literary, aesthetic and technological  issues will be explored. Approaches to handling continuous text,  styles of characters, page layout, structure, as well as graphic and spatial cueing will be examined. This presentation considers calligraphy, xylographic printing and typesetting (both  mechanical and digital) as a continuum. It is hoped that this  presentation will afford a different vantage point in understanding Western typographic practices. \nTheme: TypeTech by ATypI\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nKeith Chi-hang Tam\nAssistant Professor | School of Design, The Hong Kong Polytechnic University | Hong Kong\n\nKeith Tam is a typographer, type designer and design educator with a multicultural perspective. Keith is currently Assistant Professor and Visual Communication Discipline Leader at the Hong Kong Polytechnic University. Keith’s pedagogy and research focus on typography, with particular interest in text typography, typographic structures, complex information and bilingual issues. In 2005, Keith co-founded Type Initiative, a type foundry and design collective, and is the designer of Arrival, a legible typeface for directional signing. Keith is a graduate of the Emily Carr Institute in Vancouver, Canada and the MA Typeface Design course at the University of Reading, UK. \n\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T093000
DTEND;TZID=Europe/Moscow:20080918T094000
LOCATION:Palace B
SUMMARY:FMW | F. E. Blokland:\nTypeTools Forum by DTL.\nWelcome.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=489
ATTENDEE;CN="Frank E. Blokland":invalid:nomail












DESCRIPTION:Opening of Day 2 of the TypeTools forum, ATypI TypeTech/TypeTools forum’s second track. The first day is presented by Fontlab Ltd, the second day is presented by Dutch Type Library (DTL). \nTheme: TypeTools by DTL\nDuration: 10 minutes\n\nSPEAKER DETAILS:\n\nFrank E. Blokland\nOwner | Dutch Type Library | Netherlands\n\nFrank E. Blokland studied Graphic and Typographic design at the Royal Academy of Arts in The Hague. In 1985 Blokland won Chartpak's type design contest with his typeface Bernadette. In 1990 Blokland wrote a bestseller with his course book for Teleac's television course: Calligraphy, the art of hand writing, of which 16.000 copies were sold. In the same year Blokland founded the Dutch Type Library. Since the 1980s he has published over 150 articles in professional journals like Compres, Page, PrintBuyer, and the Hamburger Satzspiegel. When Gerrit Noordzij retired in 1987 from the Royal Academy of Arts in The Hague, Blokland was the first of the younger generation to succeed him. Blokland now lectures in letter drawing and type design/production to first- and post-graduate courses at this institute. In 1995 he was asked to become a lecturer at the Plantin Society in Antwerp. A few years later he initiated and supervised the development of DTL FontMaster, a set of utilities for professional font production. Frank E. Blokland designed amongst others the typefaces DTL Documenta and DTL Haarlemmer.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T093000
DTEND;TZID=Europe/Moscow:20080918T094000
LOCATION:Palace A
SUMMARY:TTW2 | T. Phinney:\nTypeTech Forum.\nWelcome.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=487
ATTENDEE;CN="Thomas Phinney":invalid:nomail












DESCRIPTION:Opening of Day 2 of the TypeTech forum, ATypI TypeTech/TypeTools forum’s first track, presented by Association Typographique Internationale. \nTheme: TypeTech by ATypI\nDuration: 10 minutes\n\nSPEAKER DETAILS:\n\nThomas Phinney\nProgram Manager | Adobe Systems | USA\n\nThomas Phinney has been in Adobe’s type group since 1997, currently as Product Manager for Fonts & Global Typography, based in Seattle. He is involved in the technical, design, historical and business aspects of type, as well as working closely with other font developers and customers. His typeface “Hypatia Sans” has been published in the Adobe Originals series. He has a Master's degree in typography and design from RIT, and an MBA from UC Berkeley.\n\nHe has been eager to resolve the web font problem for many years, but isn’t happy with the “raw fonts” approach. \n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T093000
DTEND;TZID=Europe/Moscow:20080918T130000
LOCATION:W1
SUMMARY:W03 | J. Downer:\nLettering.\nWorkshop.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=492
ATTENDEE;CN="John Downer":invalid:nomail












DESCRIPTION:The workshop is open to all participants of the main conference. The maximum number of workshop participants is 20. You must register to the workshop during your main conference registration. Participants are requested to bring 15 USD in cash to the workshop to pay the “supplies fee” for the pencils, pens, ink and paper. \n\nConsidering the ATypI/2008 conference theme, I propose a demonstration that will include both old and new sign painting techniques. In former times, sign painters didn't have all of the timesaving materials and tools we have\ntoday. Contemporary sign painters use Scotch™ tape to mask the baseline and cap line, and paint rollers to cover vast areas. Rollers can also be used to achieve very soft blending of colors. Workshop attendees will be given a\nchronology of paint application methods, as well as a chance to see letters appear spontaneously. Latin & Cyrillic examples will be created on the spot, to illustrate that brush-painted letters can serve as inspiration for original typefaces -- all without preying on existing typefaces to create new ones.\n(This point ties in well with the topic of my talk at the conference).\n\nParticipants will also be afforded a chance to try their hands at rendering letterforms with a lettering brush. \n\n\nTheme: Workshop\nDuration: 210 minutes\n\nSPEAKER DETAILS:\n\nJohn Downer\nSign painter and type designer | Voltage Inc | USA\n\nJohn Downer is a sign painter and type designer who resides in Iowa City. He occasionally writes essays about hand lettering and type history.  His debut text typeface was Bitstream Iowan Old  Style, published in 1991, with additions in 2001. Some of his other typefaces have been released  by Emigre, The Font Bureau, House Industries and Design Lab.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T093000
DTEND;TZID=Europe/Moscow:20080918T120000
LOCATION:W2
SUMMARY:W05 | A. Kobayashi, N. Chahine:\nLinotype type design student workshop.\nClosed session, part 2.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=496
ATTENDEE;CN="Akira Kobayashi":invalid:nomail
ATTENDEE;CN="Nadine Chahine":invalid:nomail











DESCRIPTION:ATypI and Linotype have invited ten excellent, typographically-minded junior or senior Cyrillic-writing students to participate in a typography-intensive workshop that includes an introduction to the world of letterforms and the basics of type design.  \n\nIn two closed sessions, on Wednesday 9:30–17:00, and on Thursday 9:30–12:00, the invited workshop participants will work closely with Linotype’s Akira Kobayashi and Nadine Chahine to create and refine their own designs. The workshop will conclude with a public viewing of the workshop results on Thursday 12:00–13:00 — come and see the progress the students have made! \nTheme: Workshop\nDuration: 150 minutes\n\nSPEAKER DETAILS:\n\nAkira Kobayashi\n | Linotype GmbH | Japan / Germany\n\nAkira Kobayashi studied at the Musashino Art University in Tokyo, and later followed this up with a calligraphy course at the London College of Printing. Since May 2001 Type Director at Linotype Library GmbH. Recently he completed the Optima Nova type family in close collaboration with the original designer Hermann Zapf. He has won numerous international awards for his typeface designs, including Best of Category and Best of Show for the Clifford typeface in the 1998 <EM>U&lc</EM> magazine type design competition; 1st prize, text category for the Conrad typeface in Linotype Library's 3rd International Digital Type Design Contest. His work was recognised in the Type Directors Club type design competitions of 1998, 1999, 2000 and 2001—for ITC Woodland, ITC Japanese Garden and ITC Silvermoon, FF Clifford, and Linotype Conrad, respectively.\n\nNadine Chahine\n | Linotype Library \n\nNadine Chahine (b. 1978) is a recent Lebanese graduate from the MA Typeface Design at the University of Reading, UK. She is currently working at Linotype Library and she also teaches Arabic Typography as a visiting lecturer at the American University in Dubai.\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T094000
DTEND;TZID=Europe/Moscow:20080918T103000
LOCATION:Palace B
SUMMARY:FM01 | J. Willrodt, F. E. Blokland:\nAutomating font production processes
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=488
ATTENDEE;CN="Jürgen Willrodt":invalid:nomail
ATTENDEE;CN="Frank E. Blokland":invalid:nomail











DESCRIPTION:The very versatile and easy to edit Ikarus based file structure of DTL FontMaster, in which the glyph descriptions are cleverly kept separated from metrics and naming info, is tailored for sophisticated organizing and batching font production processes and for which reproducibility and stability are keywords. The following subjects (amongst others) will be explained in detail: Glyph databases: organizing, building, merging and enhancing. Glyph mapping: managing Character Layout files. Name tables: editing UFM and OpenType Layout features files. Metrics: metrics and kern pairs editing/generation. OpenType Layout features: editing features files and automating the features generation. Font generation: batching (with command files). \nTheme: TypeTools by DTL\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nJürgen Willrodt\nManaging Director | URW++ | Germany\n\nJürgen Willrodt was born in Hamburg in 1950. He studied Physics and Mathematics and got a Ph.D. in theoretical particle physics in 1976, after which he did several years research in that field. Willrodt joined URW 1983 as a software developer. He has been the main developer of the IKARUS font production system since 1985, developing interpolation, autotracing, and hinting algorithms as well as special algorithms for Kanji separation. Since 1995 he has been managing director at URW++ and responsible for font production and font tools development (IKARUS and DTL FontMaster). \n\nFrank E. Blokland\nOwner | Dutch Type Library | Netherlands\n\nFrank E. Blokland studied Graphic and Typographic design at the Royal Academy of Arts in The Hague. In 1985 Blokland won Chartpak's type design contest with his typeface Bernadette. In 1990 Blokland wrote a bestseller with his course book for Teleac's television course: Calligraphy, the art of hand writing, of which 16.000 copies were sold. In the same year Blokland founded the Dutch Type Library. Since the 1980s he has published over 150 articles in professional journals like Compres, Page, PrintBuyer, and the Hamburger Satzspiegel. When Gerrit Noordzij retired in 1987 from the Royal Academy of Arts in The Hague, Blokland was the first of the younger generation to succeed him. Blokland now lectures in letter drawing and type design/production to first- and post-graduate courses at this institute. In 1995 he was asked to become a lecturer at the Plantin Society in Antwerp. A few years later he initiated and supervised the development of DTL FontMaster, a set of utilities for professional font production. Frank E. Blokland designed amongst others the typefaces DTL Documenta and DTL Haarlemmer.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T094000
DTEND;TZID=Europe/Moscow:20080918T103000
LOCATION:Palace A
SUMMARY:TT07 | D. M. Jacquerye:\nAfrican fonts and the open source community
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=519
ATTENDEE;CN="Denis Moyogo Jacquerye":invalid:nomail












DESCRIPTION:This presentation will discuss the requirements of orthographies African languages in Latin scripts and show how to implement these with modern fonts technologies. Good practices, mistakes and evaluation of fonts for African languages with high requirements will be discussed. The presentation will also showcase various font projects that are benefitting from the input, feedback and work of the Open Source community. A description of the work done to extend various Open Source fonts will be given, both in design (glyphs, variants, etc.) and in technologies (OpenType, automation of some steps with scripting, etc.).\nTheme: TypeTech by ATypI\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nDenis Moyogo Jacquerye\nCo-lead | DejaVu fonts project | Belgium\n\nDenis Moyogo Jacquerye, the co-lead of the DejaVu fonts project, the default GUI fonts on several Linux OS distributions, is working on extending various Open Source fonts to support African orthographies in Latin script. He is collaborating with a network of experts in African languages localization as part of the Pan Africa localization Network. Denis, with a Bs.C in Computer Science and a minor in Linguistics from McGill University, has experience in the Language Technology industry, Open Source software, Font Engineering and Unicode software support for African language.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T110000
DTEND;TZID=Europe/Moscow:20080918T115000
LOCATION:Palace B
SUMMARY:FM02 | F. E. Blokland:\nAutomating type design processes
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=514
ATTENDEE;CN="Frank E. Blokland":invalid:nomail












DESCRIPTION:Not only font production processes can be automated; to a certain extend also the type design process can be done by software itself. An introduction on the (possible) automation of type design processes and the presentation of the first version of the DTL LetterModeller application. This presentation is partly based on the PhD research on Harmonic systems in the Latin script that the speaker is currently doing at Leiden University. \nTheme: TypeTools by DTL\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nFrank E. Blokland\nOwner | Dutch Type Library | Netherlands\n\nFrank E. Blokland studied Graphic and Typographic design at the Royal Academy of Arts in The Hague. In 1985 Blokland won Chartpak's type design contest with his typeface Bernadette. In 1990 Blokland wrote a bestseller with his course book for Teleac's television course: Calligraphy, the art of hand writing, of which 16.000 copies were sold. In the same year Blokland founded the Dutch Type Library. Since the 1980s he has published over 150 articles in professional journals like Compres, Page, PrintBuyer, and the Hamburger Satzspiegel. When Gerrit Noordzij retired in 1987 from the Royal Academy of Arts in The Hague, Blokland was the first of the younger generation to succeed him. Blokland now lectures in letter drawing and type design/production to first- and post-graduate courses at this institute. In 1995 he was asked to become a lecturer at the Plantin Society in Antwerp. A few years later he initiated and supervised the development of DTL FontMaster, a set of utilities for professional font production. Frank E. Blokland designed amongst others the typefaces DTL Documenta and DTL Haarlemmer.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T110000
DTEND;TZID=Europe/Moscow:20080918T115000
LOCATION:Palace A
SUMMARY:TT08 | T. Milo:\nGrammar of proto-typographic Arabic Naskh
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=520
ATTENDEE;CN="Thomas Milo":invalid:nomail












DESCRIPTION:This study is based on the observation that the many instances of pre-typographic, manuscript Naskh writing, share a single ideal. An analysis on the basis of the linguistic concepts of <em>competence</em> and <em>performance</em> leads to fascinating results. \n\nFrom manuscript evidence, and early Middle Eastern type designs, a script grammar (<em>un système grammatical</em>) can be inferred. The result is a descriptive grammar of naskh script, based on Ottoman practice over a period of three centuries. By analogy with linguistics, such a grammar can serve both as a theoretical model and as a yardstick for understanding and systematic description of variations in performance. \n\nReligious texts from within the Ottoman calligraphic domain were selected as authoritative samples, for these are without exception meticulously executed and became the prototype for the emerging Middle Eastern typography. The norm of Naskh competence is well documented in the form of the heritage of Ottoman Qurʾāns, that also show rich variation in execution. Non-religious texts tend to be written more casually, but are clearly performances based on the same model that contribute significantly to the examined corpus. A computer model of Naskh script grammar was created, that enabled the author to present exhaustive lookup tables with a grammatical solution for all web-attested Arabic letter blocks.\n\nThis study targets arabists, orientalists in general, linguists as well as the students and designers of Arabic typefaces. In addition to that, every effort has been made to make this study informative for the interested layman. \nTheme: TypeTech by ATypI\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nThomas Milo\nPresident | DecoType | The Netherlands\n\nTom Milo is the founder of DecoType, who were the first in the industry to introduce the concept of intelligent fonts (Ruq’ah 1986) and to develop Arabic script solutions based on thorough research into the Islamic calligraphic tradition. Decotype contributes fonts and Arabic Calligraphy applications to Microsoft Office Arabic Edition and to Adobe PageMaker Middle East, and provides a special interface for Calligraphic typesetting; they provide Arabic fonts for MacOS 9 and MacOSX and WinSoft-Adobe InDesign ME. DecoType works closely together in research and development with Tradigital (UK, Germany, Egypt).\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T120000
DTEND;TZID=Europe/Moscow:20080918T130000
LOCATION:W2
SUMMARY:D01 | A. Kobayashi, N. Chahine:\nLinotype type design student demonstration.\nPublic demonstration.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=525
ATTENDEE;CN="Akira Kobayashi":invalid:nomail
ATTENDEE;CN="Nadine Chahine":invalid:nomail











DESCRIPTION:ATypI and Linotype have invited ten excellent, typographically-minded junior or senior Cyrillic-writing students to participate in a typography-intensive workshop that includes an introduction to the world of letterforms and the basics of type design.  \n\nThe invited workshop participants will work closely with Linotype’s Akira Kobayashi and Nadine Chahine to create and refine their own designs. The workshop will conclude with a public viewing of the workshop results on Thursday 12:00–13:00 — come and see the progress the students have made! \nTheme: Education\nDuration: 60 minutes\n\nSPEAKER DETAILS:\n\nAkira Kobayashi\n | Linotype GmbH | Japan / Germany\n\nAkira Kobayashi studied at the Musashino Art University in Tokyo, and later followed this up with a calligraphy course at the London College of Printing. Since May 2001 Type Director at Linotype Library GmbH. Recently he completed the Optima Nova type family in close collaboration with the original designer Hermann Zapf. He has won numerous international awards for his typeface designs, including Best of Category and Best of Show for the Clifford typeface in the 1998 <EM>U&lc</EM> magazine type design competition; 1st prize, text category for the Conrad typeface in Linotype Library's 3rd International Digital Type Design Contest. His work was recognised in the Type Directors Club type design competitions of 1998, 1999, 2000 and 2001—for ITC Woodland, ITC Japanese Garden and ITC Silvermoon, FF Clifford, and Linotype Conrad, respectively.\n\nNadine Chahine\n | Linotype Library \n\nNadine Chahine (b. 1978) is a recent Lebanese graduate from the MA Typeface Design at the University of Reading, UK. She is currently working at Linotype Library and she also teaches Arabic Typography as a visiting lecturer at the American University in Dubai.\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T120000
DTEND;TZID=Europe/Moscow:20080918T125000
LOCATION:Palace B
SUMMARY:FM03 | J. Willrodt:\nEditing OpenType fonts.\nOT Master.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=515
ATTENDEE;CN="Jürgen Willrodt":invalid:nomail












DESCRIPTION:OT Master is a powerful new generation tool for the direct extensive editing of OpenType CFF and TTF fonts, which is available for Mac OS X and Windows. The many functions include the adding and editing of glyphs, the revision of (name) tables, consistency checking and the handling of OpenType Layout features. The following subjects (amongst others) will be explained in detail: Name tables: checking and modifying. Line spacing: checking and modifying. Glyphs: editing and adding. OpenType Layout features: importing a features file. Arabic fonts: creating Arabic fonts including mark positioning. \nTheme: TypeTools by DTL\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nJürgen Willrodt\nManaging Director | URW++ | Germany\n\nJürgen Willrodt was born in Hamburg in 1950. He studied Physics and Mathematics and got a Ph.D. in theoretical particle physics in 1976, after which he did several years research in that field. Willrodt joined URW 1983 as a software developer. He has been the main developer of the IKARUS font production system since 1985, developing interpolation, autotracing, and hinting algorithms as well as special algorithms for Kanji separation. Since 1995 he has been managing director at URW++ and responsible for font production and font tools development (IKARUS and DTL FontMaster). \n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T120000
DTEND;TZID=Europe/Moscow:20080918T125000
LOCATION:Palace A
SUMMARY:TT09 | T. Nemeth:\nTasmeem.\nTypeface design in Arabic.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=521
ATTENDEE;CN="Titus Nemeth":invalid:nomail












DESCRIPTION:Tasmeem, a new software jointly developed by WinSoft and DecoType, offers new perspectives for Arabic typeface design. Titus Nemeth was invited by the developers to be the first third party designer to get insights of the system, its methodologies and to actually design for Tasmeem. He was asked to convert his existing Nassim typeface from an OpenType based rendering, to rendering within Tasmeem. Titus Nemeth presents his experience working on this project, explains concepts of the Tasmeem software and their implications for the design process. The new opportunities given to Arabic typeface design and typography are far reaching and have yet to be discovered by the design community.\nTheme: TypeTech by ATypI\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nTitus Nemeth\ntypeface designer |  | Austria\n\nTitus Nemeth graduated in 2006 with a distinction from the Master of Arts Typeface Design programme at the Department of Typography and Visual Communication, University of Reading. He specialises in multi-script typeface design with an emphasis on the Arabic script. His Master thesis researched the current state of Arabic newspaper type and typography and found acclaim by experts in the field. The typeface "Nassim" that covers Arabic and Latin script, developed in parallel to his research, received international appreciation. It was awarded the 'Certificate of Excellence in Type Design' at the TDC²2007, won the first prize in the original typeface design category of the European Design Awards 07 and was shortlisted by the Design Museum London for the exhibition “Designs of the Year 2007” in the category typography. Titus Nemeth’s research covers technological, linguistic and interdisciplinary aspects of multi-script typography and typeface design. He is currently working as assistant professor of Graphic Design at Virginia Commonwealth University in Doha, Qatar and continues his work as a freelance designer and consultant.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T140000
DTEND;TZID=Europe/Moscow:20080918T145000
LOCATION:Palace B
SUMMARY:FM04 | P. Rosenfeld:\nRe-inventing font technology
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=516
ATTENDEE;CN="Peter Rosenfeld":invalid:nomail












DESCRIPTION:Much of the actual font technology finds its origin in the Ikarus system, invented by Dr. Peter Karow in the early 1970s and developed till this day by URW++ under supervision of Dr. Jürgen Willrodt. A historical overview and explanation of more than thirty years of Spitzentechnologie by URW++’s managing director, who was directly engaged in the Ikarus development over the past thirty-plus years. \nTheme: TypeTools by DTL\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nPeter Rosenfeld\nPresident | (URW)++ | Germany\n\nPeter Rosenfeld started, after finishing his business studies in 1980, his first position in the font production department at Dr. Hell in Kiel, a once well-known company in the area of CRT/laser composing and scanning systems. It was there where he first got in touch with digital type, (still in bitmap form at that time).\n\nPeter joined URW in Hamburg in 1982 and a little later he became the manager of the URW font studio. He says, 'All I am in this small font business, and all I know about font technology, I owe to Peter Karow. I had the luck to work very closely for and with this visioneer and pioneer of our industry for more than a decade.'\n\nRoughly ten years later Peter became Managing Director of URW++ and the company has established itself in the graphic design industry by continually developing and marketing innovative font and software products. URW++ is particularly successful in the area of corporate type development and production, as well as a supplier of so-called world or global fonts for OEM customers.\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T140000
DTEND;TZID=Europe/Moscow:20080918T145000
LOCATION:Palace A
SUMMARY:TT10 | T. Ahrens:\nFont Remix Tools
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=522
ATTENDEE;CN="Tim Ahrens":invalid:nomail












DESCRIPTION:This presentation demonstrates the Font Remix Tools, a set of macros for FontLab Studio that allows to automate parts of the design process. Unlike most other macros, they do not require any programming skills to use – their user interface is designed to provide the automation of automation. Using examples, the functionality of Tools is explained and tips are given on how to set up an efficient workflow.\nTheme: TypeTech by ATypI\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nTim Ahrens\n | Just Another Foundry | United Kingdom\n\nTim Ahrens has studied architecture at the University of Karlsruhe and Typeface Design in Reading, UK. He lives in Oxford and works as a type designer and architect. His designs  are published by Linotype and his own label, Just Another Foundry.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T140000
DTEND;TZID=Europe/Moscow:20080918T173000
LOCATION:W1
SUMMARY:W01 | P. Zoghbi:\nArabic Kufi script.\nWorkshop part 2.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=495
ATTENDEE;CN="Pascal Zoghbi":invalid:nomail












DESCRIPTION:A workshop for non-Arabic speakers about Arabic   Kufi script. See http://29letters.wordpress.com/2007/09/01/kufi-workshop-for-non-arab-participants-in-amsterdam/ for previous workshop information. \n\nThis workshop takes place in two parts: on Wednesday 9:30—13:00 and on Thursday 14:00—17:30. In the first part, Pascal will give a lecture on Arabic Kufi script, and participants will start practicing the Kufi script and creating units. In the second part, participants will create their own words and patterns using the square Kufi script. \n\nThe workshop is open to all participants of the main conference. The maximum number of workshop participants is 20. You must register to the workshop during your main conference registration. Participants are requested to bring 15 USD in cash to the workshop to pay the “supplies fee” for the pencils, pens, ink and paper. \n\nTheme: Workshop\nDuration: 210 minutes\n\nSPEAKER DETAILS:\n\nPascal Zoghbi\nArabic type designer & typographer | 29letters | Lebanon\n\nPascal Zoghbi graduated in July 2006 with a Master of Design from the Type & Media course at the Royal Academy of Arts (KABK) in The Hague, The Netherlands. Prior to his postgraduate studies, he worked in Beirut for several years as a graphic designer in print and web design. He is an independent Arabic type and graphic designer since August 2006 and is currently a part-time instructor teaching type and typography courses at LAU (Lebanese American University) and NDU (Notre Dame University). Currently, he is working on Arabic corporate fonts and bi-script (Arabic/Latin) fonts. He gives lectures and workshops about Arabic type regularly.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T140000
DTEND;TZID=Europe/Moscow:20080918T173000
LOCATION:W2
SUMMARY:W04 | V. Yefimov:\nLatin+Cyrillic, designing multiscript fonts.\nWorkshop in Russian.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=491
ATTENDEE;CN="Vladimir Yefimov":invalid:nomail












DESCRIPTION:Multiscript type design: Typefaces including both Latin and Cyrillic characters in Russia and abroad. Old and new approaches to multiscript type design.   OpenType fonts may contain huge quantity of glyphs from different script systems, for example Latin, Cyrillic and Greek. However there are some difficulties in designing multiscript fonts because its author used to draw letters of his native script and sometimes the features of alien characters are not so well familiar to him. Experience of multiscript type designing in Russia in the past and the present allows to hope such difficulties are surmountable in process of acquaintance to features of each script system. \n\nThis workshop will be conducted in Russian language only and is aimed primarily at Russian designers. The workshop will start with Vladimir Yefimov’s lecture and conclude in a discussion. The maximum number of participants is 50. The workshop is free to all participants who have registered to the main conference, but a separate registration to the workshop will be required (it will be announced at a later time). \nTheme: Workshop\nDuration: 210 minutes\n\nSPEAKER DETAILS:\n\nVladimir Yefimov\nArt Director | ParaType | Russia\n\nVladimir Yefimov is a type designer with more then twenty years of experience. He has designed many Cyrillic typefaces, and several Indian, Greek and Hebrew typefaces. He writes on typography and type design. Vladimir Yefimov lectures on type design at the Higher Academical School of Graphic Design, Moscow (since 1997) and at the British Higher School of Art and Design, Moscow (since 2003). He is the art director and a co-founder of ParaType, a member of the Moscow Artists Union and the Academy of Graphic Design, and a member of the ATypI.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T150000
DTEND;TZID=Europe/Moscow:20080918T155000
LOCATION:Palace B
SUMMARY:FM05 | F. E. Blokland:\nCrossing borders.\nThe best of different worlds.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=517
ATTENDEE;CN="Frank E. Blokland":invalid:nomail












DESCRIPTION:Running FM under Mac OS X / X11 and Linux in a Wine bottle. Integrating FM in workflows based on other font production tools. TypeTech attendees who use third party software are invited for a direct comparison of the functionality of their font production tools with FM’s and to discuss (the necessity of) possible workflow integrations (or even migration). \nTheme: TypeTools by DTL\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nFrank E. Blokland\nOwner | Dutch Type Library | Netherlands\n\nFrank E. Blokland studied Graphic and Typographic design at the Royal Academy of Arts in The Hague. In 1985 Blokland won Chartpak's type design contest with his typeface Bernadette. In 1990 Blokland wrote a bestseller with his course book for Teleac's television course: Calligraphy, the art of hand writing, of which 16.000 copies were sold. In the same year Blokland founded the Dutch Type Library. Since the 1980s he has published over 150 articles in professional journals like Compres, Page, PrintBuyer, and the Hamburger Satzspiegel. When Gerrit Noordzij retired in 1987 from the Royal Academy of Arts in The Hague, Blokland was the first of the younger generation to succeed him. Blokland now lectures in letter drawing and type design/production to first- and post-graduate courses at this institute. In 1995 he was asked to become a lecturer at the Plantin Society in Antwerp. A few years later he initiated and supervised the development of DTL FontMaster, a set of utilities for professional font production. Frank E. Blokland designed amongst others the typefaces DTL Documenta and DTL Haarlemmer.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T150000
DTEND;TZID=Europe/Moscow:20080918T155000
LOCATION:Palace A
SUMMARY:TT11 | A. Korap:\nAutomation in font production
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=523
ATTENDEE;CN="Attila Korap":invalid:nomail












DESCRIPTION:This presentation will be about the benefits and possibilities of automation in font development. It will show what needs to be taken into consideration before automating font development tasks. Possible approaches to automated tasks as well as examples will be discussed. An overview of tools and approaches will be given.\nThe presentation will cover many steps of font development, starting from the workfile organisation and ending with font generation.\nTheme: TypeTech by ATypI\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nAttila Korap\nFont Technology Specialist | Linotype GmbH | Germany\n\nAtilla Korap was born in Manisa (Turkey) in 1974. He grew up in Marburg (Germany) before moving to Frankfurt in 1994. He studied political science and computer science at the “Johann-Wolfgang-Goethe Universität” and later at the “Fernuniversität Hagen.”\n\nHe joined Linotype as an intern in 2000 before becoming the full time “Font Technology Specialist” in 2002. His responsibilities include defining font production processes, developing software for automation, advising customers on workflows regarding the use of fonts, and briefing developers on new font technologies.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T162000
DTEND;TZID=Europe/Moscow:20080918T171000
LOCATION:Palace B
SUMMARY:FM06 | F. E. Blokland, P. Rosenfeld:\nReception.\nTo celebrate a long lasting co-operation.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=518
ATTENDEE;CN="Frank E. Blokland":invalid:nomail
ATTENDEE;CN="Peter Rosenfeld":invalid:nomail











DESCRIPTION:The Dutch Type Library and URW have been working together for more than seventeen years in the field of font (tools) production now and we would like to celebrate this long lasting co-operation and friendship — together with all ATypI TypeTech Forum attendees — with some good food and drinks. Also the booklet “Comprehensive Notes on the Design of Cyrillic Letters” by the Finnish type designer Hanna Hakala and typeset in the preliminary version of DTL Valiance will be presented here. \nTheme: TypeTools by DTL\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nFrank E. Blokland\nOwner | Dutch Type Library | Netherlands\n\nFrank E. Blokland studied Graphic and Typographic design at the Royal Academy of Arts in The Hague. In 1985 Blokland won Chartpak's type design contest with his typeface Bernadette. In 1990 Blokland wrote a bestseller with his course book for Teleac's television course: Calligraphy, the art of hand writing, of which 16.000 copies were sold. In the same year Blokland founded the Dutch Type Library. Since the 1980s he has published over 150 articles in professional journals like Compres, Page, PrintBuyer, and the Hamburger Satzspiegel. When Gerrit Noordzij retired in 1987 from the Royal Academy of Arts in The Hague, Blokland was the first of the younger generation to succeed him. Blokland now lectures in letter drawing and type design/production to first- and post-graduate courses at this institute. In 1995 he was asked to become a lecturer at the Plantin Society in Antwerp. A few years later he initiated and supervised the development of DTL FontMaster, a set of utilities for professional font production. Frank E. Blokland designed amongst others the typefaces DTL Documenta and DTL Haarlemmer.\n\nPeter Rosenfeld\nPresident | (URW)++ | Germany\n\nPeter Rosenfeld started, after finishing his business studies in 1980, his first position in the font production department at Dr. Hell in Kiel, a once well-known company in the area of CRT/laser composing and scanning systems. It was there where he first got in touch with digital type, (still in bitmap form at that time).\n\nPeter joined URW in Hamburg in 1982 and a little later he became the manager of the URW font studio. He says, 'All I am in this small font business, and all I know about font technology, I owe to Peter Karow. I had the luck to work very closely for and with this visioneer and pioneer of our industry for more than a decade.'\n\nRoughly ten years later Peter became Managing Director of URW++ and the company has established itself in the graphic design industry by continually developing and marketing innovative font and software products. URW++ is particularly successful in the area of corporate type development and production, as well as a supplier of so-called world or global fonts for OEM customers.\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T162000
DTEND;TZID=Europe/Moscow:20080918T171000
LOCATION:Palace A
SUMMARY:TT12 | T. Harrison:\nUsing your EULA to protect your fonts
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=524
ATTENDEE;CN="Ted Harrison":invalid:nomail












DESCRIPTION:This talk will discuss the importance of the End User License Agreement to the font developer as a means of protecting their work and as a marketing tool. We will go over the most important features of a EULA, what should be included, and how to enforce it. We’ll also discuss the threat of embedding and how to use the EULA to combat it. EULAs can also be useful in selling fonts. We’ll talk about how to include your EULA in your licensing strategy and how to make it work for you as a sales tool. A demo of the electronic EULA abstract tool will be included.\nTheme: TypeTech by ATypI\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nTed Harrison\nPresident | Fontlab Ltd. | Canada\n\nTed Harrison and Yuri Yarmola started Fontlab Ltd. shortly after Ted’s graduation from the Wharton School as a freshly minted MBA. As President of the company, Ted’s responsibilities include financial management, marketing, and distribution of Fontlab products. Dr. Harrison (M.D., 1975) has started a number of companies in addition to Fontlab and has extensive experience in international business and trade. He once tried his hand at designing a typeface but was told to stick to things for which he had some aptitude.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T173000
DTEND;TZID=Europe/Moscow:20080918T180000
LOCATION:Palace A
SUMMARY:M01 | G. Leonidas:\nCountry Delegates.\nMeeting.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=476
ATTENDEE;CN="Gerry Leonidas":invalid:nomail












DESCRIPTION:Meeting of the ATypI country delegates. \nTheme: Other\nDuration: 30 minutes\n\nSPEAKER DETAILS:\n\nGerry Leonidas\nSenior Lecturer in Typography | University of Reading | United Kingdom\n\nGerry Leonidas studied Business Administration and Journalism, and worked in book and magazine publishing in Greece before finding his way to the University of Reading for postgraduate studies in typography. He never got round to leaving, and now teaches typographic design with a bias for the online. He is also the MA Typeface Design programme director, and designs when time permits, but mostly helps others tackle Greek typefaces. He is long overdue with his PhD on design processes in Greek and Latin digital typefaces.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T173000
DTEND;TZID=Europe/Moscow:20080918T180000
LOCATION:Palace B
SUMMARY:M02 | ATypI:\nConference Speakers.\nMeeting.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=485
ATTENDEE;CN="ATypI attendees":invalid:nomail












DESCRIPTION:All speakers of the main conference are requested to attend this meeting.\nTheme: Other\nDuration: 30 minutes\n\nSPEAKER DETAILS:\n\nATypI attendees\n |  \n\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T180000
DTEND;TZID=Europe/Moscow:20080918T184500
LOCATION:Palace A
SUMMARY:P01 | G. Leonidas:\nResearchers in typography and typeface design.\nPoster sessions.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=482
ATTENDEE;CN="Gerry Leonidas":invalid:nomail












DESCRIPTION:Following the successful first forum for researchers in the fields of typography and typeface design at the Brighton conference, the Education committee would like to offer again the opportunity to researchers to present informally their work.  Whether you are at the beginning of your research project, halfway through, or recently concluded, we will provide an informal space configured for short presentations or briefings that set off discussions in a small group; and wall space for researchers to hang posters outlining their research throughout the conference. We would expect to see an A2 or A1 poster explaining the objectives and methodology of the project (and the findings, if you're at that stage). \nTheme: Education\nDuration: 45 minutes\n\nSPEAKER DETAILS:\n\nGerry Leonidas\nSenior Lecturer in Typography | University of Reading | United Kingdom\n\nGerry Leonidas studied Business Administration and Journalism, and worked in book and magazine publishing in Greece before finding his way to the University of Reading for postgraduate studies in typography. He never got round to leaving, and now teaches typographic design with a bias for the online. He is also the MA Typeface Design programme director, and designs when time permits, but mostly helps others tackle Greek typefaces. He is long overdue with his PhD on design processes in Greek and Latin digital typefaces.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080918T190000
DTEND;TZID=Europe/Moscow:20080918T195000
LOCATION:Palace A
SUMMARY:K01 | O. Genisaretskiy:\nIn praise of the letter.\nKeynote Presentation.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=437
ATTENDEE;CN="Oleg Genisaretskiy":invalid:nomail












DESCRIPTION:Being a book person, I noticed long ago that the quality of my reading much depends on the type the book is set in, and its page layout. That dependency deepened with the advent of computers when a selection of type best matching\nmy current state of mind became possible. Learning from the views and writings of a number of remarkable people helped me understand, in my own way, the reasons of that preoccupation. A book artist Boris Zhuravsky explained\nwhy a book page in the field of vision of a reader is unconsciously perceived by him as a human face looking\nat him. Evgeny Shiffers, a stage and film director and a theologian, once conjectured that all scripts originate from those letterforms that appear to us among the images\nof the “thin doze”, half-way between the vigil and the deep sleep. The remarkable Russian writer Sigismund Kryzanowski wrote in his story The club of letter killers about an imaginary writers’ game that allowed the players to manage without any letters. And Joseph Brodsky concluded\nhis In praise of boredom with a eulogy to the lower-\ncase letter. By drawing those observations together I should like to express, with all clarity I am capable of, my firm conviction that the book, the page, the line, and the letter shall forever remain the truest and the trustiest pillars\nof our sanity and humanity.\nTheme: The Old · The New\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nOleg Genisaretskiy\n |  | Russia\n\nOleg Genisaretskiy’s main area of interest is the humanitarian strategies and practices; the methodology of visual design, and contemporary design culture; humanitarian psychotherapy and traditional psycho-practices; the Russian spiritual and creational tradition. At different times Genisaretsky served as the head of the Creative Club of the Section of Painting of the Moscow Union of Graphic Artists; the co-chairman of the Religious-Cultural Dialogue “Face-to-Face”; the president of the Russian Association of Visual Anthropology; the president of the Open Museum Association. He authored the monographs\nDizayn i kultura [“Design and culture”], Moscow: vniite, 1974; Uprazhneniya suti dela [“Exercises in the matter of fact”], Moscow: Russkii Mir, 1993; Povody i nameki [“Pretexts and hints”], Moscow: Put’, 1993; O vozmozhnosti filosofii [“Of the possibility of philosophy”], in co-operation with David Zilberman, Moscow: Put’, 2005; Navigator: Methodologicheskie prodolzheniya i rashireniya\n[“The Navigator: Methodological continuations and extensions”], Moscow: Put’, 2005. Main essays and full bibliography can be found at www.prometa.ru.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T090000
DTEND;TZID=Europe/Moscow:20080919T093000
LOCATION:Palace A
SUMMARY:A00 | J. D. Berry, V. Yefimov:\nWelcome and opening address
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=436
ATTENDEE;CN="John D. Berry":invalid:nomail
ATTENDEE;CN="Vladimir Yefimov":invalid:nomail











DESCRIPTION:Theme: Other\nDuration: 30 minutes\n\nSPEAKER DETAILS:\n\nJohn D. Berry\nTypographer, Writer, Editor, Book Designer | John D. Berry Design | USA\n\nJohn D. Berry is an editor and typographer who specializes in complex publishing projects. He is the former editor and publisher of <i>U&lc</i> (<i>Upper and lower case</i>) and of <i>U&lc Online</i>. He is the author and designer of <i>Dot-font: Talking About Fonts</i> and <i>Dot-font: Talking About Design</i> (Mark Batty Publisher, 2006), and the editor of <i>Language Culture Type</i> (ATypI/Graphis, 2002), <i>Contemporary Newspaper Design</i>, and <i>U&lc: influencing design & typography</i>. John has a deep and eclectic background in both editing and typography; he has made a career for more than twenty-five years in Seattle, New York, and San Francisco as an editor and book designer. He writes and consults extensively on typography, and he has won numerous awards for his book designs. He lives in Seattle with the writer Eileen Gunn.\n\n\nVladimir Yefimov\nArt Director | ParaType | Russia\n\nVladimir Yefimov is a type designer with more then twenty years of experience. He has designed many Cyrillic typefaces, and several Indian, Greek and Hebrew typefaces. He writes on typography and type design. Vladimir Yefimov lectures on type design at the Higher Academical School of Graphic Design, Moscow (since 1997) and at the British Higher School of Art and Design, Moscow (since 2003). He is the art director and a co-founder of ParaType, a member of the Moscow Artists Union and the Academy of Graphic Design, and a member of the ATypI.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T094000
DTEND;TZID=Europe/Moscow:20080919T103000
LOCATION:Palace A
SUMMARY:A01 | J. Kelly:\nType revivals.\nWhere did they come from? where have they been? Where are they going?.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=457
ATTENDEE;CN="Jerry Kelly":invalid:nomail












DESCRIPTION:Typographers often speak of the concept of historical revivals of earlier typefaces, but how well do we understand this important segment of type design? Through an illustrated lecture we will discuss what a type revival is, what different kinds there are, the origins of type revivals and the first examples of the practice and the flourishing of the practice in the first half of the twentieth century. \nTheme: Revivals\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nJerry Kelly\nBook designer | Jerry Kelly LLC | USA\n\nJerry Kelly is a freelance designer, calligrapher, and printer. Before establishing his own business in 1999 he was a designer and vice-president of The Stinehour Press (1991–1999) and designer for the Press of A. Colish (1981–1991). Since 1978 he has been a partner in the Kelly/Winterton Press, a private press which prints small editions mainly by letterpress from hand set type. He is also a freelance calligrapher, producing hand lettering for assorted publishers and organizations. His work has won numerous awards from the Type Director’s Club, AIGA, Society of Typographic Designers (London), and Premio Felice Feliciano (Verona, Italy). His articles on typography and calligraphy have been widely published in various books and journals. He is a member of The Grolier Club, The Typophiles, the American Printing History Association; an honorary member of the Double Crown Club, a corresponding member of the Bund Deutscher Buchkünstler, and a professional fellow of The Pierpont Morgan Library. He earned his BFA from Queens College; in addition to which he has also studied with Hermann Zapf at Rochester Institute of Technology.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T094000
DTEND;TZID=Europe/Moscow:20080919T103000
LOCATION:Palace B
SUMMARY:B01 | Y. Gherchuk:\nCyrillic letter in Russian culture
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=461
ATTENDEE;CN="Yuri Gherchuk":invalid:nomail












DESCRIPTION:Cyrillic came to Rus’ with the Holy Writ; that defined the public attitude toward it, as a collection of sacred, inviolable signs, and slowed down the evolution of its letterforms. That is why even the Westernisation of the printing type undertaken by Peter the Great centuries later, did not affect the type of the clerical books, which kept its mediæval look. As to the “civil”, secular type, often developed abroad, it followed the evolution of the Western, Latin type—from Baroque to Art Nouveau. The æstheticism of early 20th century cultivated the artistic, handcrafted lettering, and the constructivism imparted a new significance to the sans serif types available with the printers. A serious interest to the development of new typefaces, to the Cyrillisation of the best Western designs, and the adaptation of Cyrillic to the new typesetting technologies resumed only in the second half of the 20th century.\nTheme: Cyrillic\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nYuri Gherchuk\nArt historian and critic |  | Russia\n\nYuri Gherchuk, Ph.D. in Fine Arts, is an art historian and critic specialising in typography, book design, and illustration. He is the author of several books and many articles on graphics and book design, type and environmental typographics. He lectures on the history of graphics and book design. Yuri Gherchuk is a member of the Art Critics and Art Historians Association, and of the Moscow Artists Union.\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T110000
DTEND;TZID=Europe/Moscow:20080919T115000
LOCATION:Palace A
SUMMARY:A02 | J. Downer:\nRevivals revisited
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=434
ATTENDEE;CN="John Downer":invalid:nomail












DESCRIPTION:To understand the intrinsic differences between plagiarism (normally regarded as a bad thing) and preservation (normally regarded as a good thing), we should look at various means by which newer typefaces are derived from older ones. There are   indeed many approaches. Outlining them can be helpful in considering the practices surrounding revivalism in general: revivals, recuttings, reclamations — anthologies, surveys, remixes — knockoffs, clones, counterfeits — “me too”, copycat — reconsiderations, reevaluations, reinterpretations — homages, tributes, paeans — encores, sequels, reprises — extensions, spinoffs, variations — caricatures, parodies, burlesques.\nTheme: Revivals\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nJohn Downer\nSign painter and type designer | Voltage Inc | USA\n\nJohn Downer is a sign painter and type designer who resides in Iowa City. He occasionally writes essays about hand lettering and type history.  His debut text typeface was Bitstream Iowan Old  Style, published in 1991, with additions in 2001. Some of his other typefaces have been released  by Emigre, The Font Bureau, House Industries and Design Lab.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T110000
DTEND;TZID=Europe/Moscow:20080919T115000
LOCATION:Palace B
SUMMARY:B02 | I. Fomenko:\nReforming writing, reforming typography, innovation by decree?.\nDigital collection of the first books printed in Civil Type.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=440
ATTENDEE;CN="Irina Fomenko":invalid:nomail












DESCRIPTION:This presentation is an overview of “The First Books Printed in Civil Type”, the digital collection prepared by the Rare Book Department of the Russian State Library in 2008. The collection consists of 32 digital versions of the first Russian books printed in Civil Type, published in Moscow in 1708–1711. This was a period in which the forms of new Russian printing (‘civil’) type started to settle. Peter the Great, the emperor of Russia, personally chose foreign books for translation to Russian, determined the appearance of the editions, their size, form and cover design. The digital renderings of the books contain many details important for understanding the essence of Peter’s typographic reform.\nTheme: Cyrillic\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nIrina Fomenko\nChief, Acquisitions and Research Unit | Rare Book Department, Russian State Library | Russia\n\nIrina Fomenko graduated from St Petersburg State University. She did her PhD in philology at Pushkinsky Dom (“Pushkin House”, Institute of Russian Literature). There, she worked at the Research Division of the Russian Literature of the 18th Century. Since 1985 she works in Moscow, at the Rare Book Department (Museum of the Book) of the Russian State Library. The area of her studies is the history of the Russian literature and the book of late 18th—early 19th century.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T120000
DTEND;TZID=Europe/Moscow:20080919T125000
LOCATION:Palace A
SUMMARY:A03 | N. Shinn:\nScotch Modern.\nFact and fiction.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=439
ATTENDEE;CN="Nick Shinn":invalid:nomail












DESCRIPTION:This paper presents the revival of a mid-19th century typeface as a balance between the demands of authenticity (historical and cultural), and those of invention (meeting the needs of extensive OpenType features in multiple encodings—Latin, polytonic Greek, Cyrillic including Asian). Historical issues: a theory of Contextual Press Gain explains genre's physical characteristics; Latin, Greek, and Cyrillic models. Glyph proliferation: old-style figures for a modern face; unicase and swash capitals in three scripts. Management of alternates — in Greek: layered stylistic sets; in Bulgarian: orthography, aesthetics. Harmonization — in small capitals: optimizing x-height across scripts; diacritics (Latin extended); straight and Italic Greek: a divergent scheme.\nTheme: Revivals\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nNick Shinn\nPresident | ShinnType | Canada\n\nNick Shinn was born in London in 1952. He has a Dip.AD in Fine Art from Leeds Polytechnic, and is a Registered Graphic Designer in Ontario, Canada. He has lived in Toronto since 1976. During the 1980s he worked in advertising as a creative director. Going digital in 1989 he started Shinn Design, specializing in publication design. Since 1980 he has designed over twenty typefaces. In 1999 he launched Shinntype. Shinn has written for Druk, Eye, and Graphic Exchange, spoken at ATypI, TypeCon, and Graphika conferences, and taught at York University. He was a board member of SOTA from 2001–2006.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T120000
DTEND;TZID=Europe/Moscow:20080919T125000
LOCATION:Palace B
SUMMARY:B03 | O. Florenskaya:\nVernacular domestic lettering.\nCyrillic alphabet and Russian typographic tradition.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=433
ATTENDEE;CN="Olga Florenskaya":invalid:nomail












DESCRIPTION:Olga Florenskaya has opened the topic of Vernacular domestic lettering in the mid-1980s, when she started collecting the particular examples of non-professional forms of lettering in the cityscape. She has published the book “Psychology of  domestic lettering”, where she has described and analyzed  the numerous examples taken from the real life. Most of the items of her collection had a practical use. Olga pays a particular attention in her research to Cyrillic peculiarities of vernacular lettering. The session will be illustrated with numerous items from Olga’s collection.\nTheme: Cyrillic\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nOlga Florenskaya\nArtist |  | Russia\n\nOlga Florenskaya was born in Leningrad in 1960. She graduated from the faculty of ceramics at Leningrad Higher Art Industrial School named after Muhina (the former School by baron Stieglitz). She is involved in different kinds of arts: painting, ceramics, sculpture, book illustration and graphics (she is famous for lots of collages from paper and fabrics) literature activity, journalism and animation. In 1994 she made an animation film «A story about the best of wonders». Her works are kept in the collections of the Tretyakov Gallery, Pushkin State Museum of Fine Arts, the State Russian Museum, many other museums of Russia, as well as in collections of museums in Helsinki, London and Warsaw. She lives and works in St Petersburg. \n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T140000
DTEND;TZID=Europe/Moscow:20080919T145000
LOCATION:Palace A
SUMMARY:A04 | S. Dechant:\n50 women typographers in 50 years of ATypI
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=463
ATTENDEE;CN="Susanne Dechant":invalid:nomail












DESCRIPTION:The ATypI 2008 Brighton conference sharpened my awareness for the gender issue in the typography business: considerably fewer female designers were present, compared to the former days. Fewer and fewer friends have stayed in contact over the years (on the contrast to the men’s network) and I felt quite lost somehow. I remembered all these impressing design women I met in Boston, Reading or Barcelona, and I made a list of them on a paper napkin. With only little effort, I was able to list nearly 30 remarkable women. I hope that this summary can be a vivid mirror of many typeface generations, as I will frame my lecture from the old experienced to the new young participants in female type design.\nTheme: Personalities\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nSusanne Dechant\n | Dechant Grafische Arbeiten | Austria\n\nSusanne Dechant (*4. 5. 1962) typographic designer based in Vienna. \n1992 foundation of her studio »Dechant Grafische Arbeiten« concentrating on typography for book and editorial design. Consultant Corporate Design processes. Head of the department Graphic Design at the Werbeakademie Wien and lecturer at Universität für bildende Künste, Vienna. I.D. Award in New York, Joseph Binder Award in Vienna. Academic Referee for Feminist Education and Politics, 2002 Diploma Gender Studies. Board Member of Design Austria; Austrian Country Delegate for ATypI.\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T140000
DTEND;TZID=Europe/Moscow:20080919T145000
LOCATION:Palace B
SUMMARY:B04 | T. Safayev:\nDiscovering the Cyrillic letterforms of Cheltenham through the century
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=464
ATTENDEE;CN="Tagir Safayev":invalid:nomail












DESCRIPTION:The Academy was created in circa 1908-10. The typeface was based on Sorbonne, which represented the ATF rework Cheltenham of 1896 and Russian typefaces of the mid-18th century. In 2008, I designed the Cyrillic extension for NYTimes Cheltenham. Between these dates — a century. The lecture focuses on the diverse approaches to the understanding Cyrillic letterforms based on the Cheltenham family through the last century. The novelty in typography is really modern not only and rather by itself, but it discovers and builds new links with the past and exists (until it exists at all) due to these links.\nTheme: Cyrillic\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nTagir Safayev\nType  designer | VASHGD | Russia\n\nTagir Safaev is a type designer and teacher. Works at book design and advertisement. In 1991–2003 worked as a type developer for ParaType. Prize winner at the following international type contests: TDC2 2000 (New York, 2000), the 19th International Biennale of Graphic design (Brno, 2000), «Bukva:raz!»(Moscow, 2001). In 1997, was nominated for the National Prize of Russia for art and literature (as a group member). Runs a creative class at the High Academic School for Graphic Design. Designed about 100 typefaces including PT FreeSet, PT Proun, PT Rodchenko, ITC Stenberg, PT Unovis PT Yanus, PT Serp&Molot, Almanac, New Elizabeth, as well as Cyrillic versions of ITC Kabel, ITC New Baskerville, ITC Officina Sans, ITC Officina Serif, FF Meta, Swift, Big Caslon, NYT Cheltenham, and others.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T150000
DTEND;TZID=Europe/Moscow:20080919T155000
LOCATION:Palace A
SUMMARY:A05 | H. Osterer:\nFrom Univers towards Avenir.\nOn the professional career of Adrian Frutiger.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=446
ATTENDEE;CN="Heidrun Osterer":invalid:nomail












DESCRIPTION:Having just finished writing a comprehensive monography on the professional career of Adrian Frutiger (with Philipp Stamm, to be published in October 2008 by Birkhäuser Verlag and Princeton Press), in my lecture I will give an overview about the origin and development of the typefaces of Adrian Frutiger, his professional work in his time, in the historical context (from the beginning of writing) and the reflection nowadays. Moreover, I will give a detailed analysis of some of his important typefaces like Univers, Frutiger and Avenir. \nTheme: Personalities\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nHeidrun Osterer\nDesigner | Feinherb, Visuelle Gestaltung | Switzerland\n\nHeidrun Osterer, born 1966, Graphic Designer and CEO of feinherb Visuelle Gestaltung, Co-founder of the Swiss Foundation Type and Typography, there responsable for Archives, Part-time lecturer for typography on the screen at the Vocational School of Design in Zurich, Consultant to the Swiss Typographic Magazine STM. Since 2001 research on the professional career of Adrian Frutiger.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T150000
DTEND;TZID=Europe/Moscow:20080919T155000
LOCATION:Palace B
SUMMARY:B05 | A. Korolkova:\nA walk along the fence
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=442
ATTENDEE;CN="Alexandra Korolkova":invalid:nomail












DESCRIPTION:There are many fences in Russia, of different kinds and purposes. Also, the Cyrillic alphabet contains a lot of stems; it was a feature of Cyrillic since the script appeared, and it is sometimes called “Cyrillic Fence”. Now the local designers suppose it to be one the main problems of Cyrillic. There were some tries to change the lettershapes but they were quite unsuccessful. Maybe there are some ways to make “fence” look better without radical changes of lettershapes? The presentation is rather entertaining than serious one.\nTheme: Cyrillic\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nAlexandra Korolkova\nTeacher | Moscow State Printing Art University | Russia\n\nAlexandra Korolkova is one of the young Russian type designers. She graduated from Moscow University of Printing Arts in 2006 and is now teaching type design and typography there as an assistant professor. In 2007, her book for Russian students on typography was published (English title: “Alive Typography”).\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T162000
DTEND;TZID=Europe/Moscow:20080919T171000
LOCATION:Palace A
SUMMARY:A06 | P. Luna:\nAbsolutely no type.\nThe threshold of a new era.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=441
ATTENDEE;CN="Paul Luna":invalid:nomail












DESCRIPTION:Books produced by early phototypesetting systems publicized  the fact that they were produced with ‘absolutely no type’.  What letterforms were chosen for these new systems? How  did they relate to existing type designs? What opportunities  were taken (or missed) in the creation of new founts? How  did the new typefaces for new machines affect the designers  and typesetters who used them? By looking at the earliest  phototypeset books, manufacturers’ and printers’ type specimens, and printers’ archives 1950-1970 we can find out more about the time when the certainties of metal typography began to dissolve into the new world of film.\nTheme: Methods\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nPaul Luna\nProfessor | University of Reading | United Kingdom\n\nProfessor Paul Luna designed the Oxford English Dictionary 2/e, the Shorter Oxford English Dictionary 5/e, and is the author of ‘Clearly defined: continuity and innovation in the typography of English dictionaries’, Typography papers (4, 2000, 5–56), ‘Not just a pretty face: the contribution of typography to lexicography’, Proceedings, The Eleventh Euralex International Congress (2004, 847–57), and ‘The typographic design of Johnson’s dictionary’ in Jack Lynch and Ann McDermott, Anniversary essays for Johnson’s Dictionary, Cambridge: CUP (to be published April 2005). \n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T162000
DTEND;TZID=Europe/Moscow:20080919T171000
LOCATION:Palace B
SUMMARY:B06 | P. Chobyt'ko:\nRole and significance of calligraphy.\nin contemporary graphic design education.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=449
ATTENDEE;CN="Petr Chobyt'ko":invalid:nomail












DESCRIPTION:Calligraphy exerts a positive—correcting and stimulating—influence on \nthe development of creative skills of the students of high schools and \nart colleges. Such conclusions have been drawn from the speaker’s \n36-year experience of teaching lettering and calligraphy at various \neducational facilities in Russia and Ukraine, to the students belonging \nto different age groups. References to the legacy of Paul Luhtein, the \nspeaker’s own teacher and mentor, as well as the views of master \ncalligraphers Villu Toots and Albert Kapr, the opinions of scholars, \nspeaker’s own observations serve to corroborate and explain this \nphenomenon.\n\nTheme: Cyrillic\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nPetr Chobyt'ko\nLecturer | Repin State Academic Institute | Russia\n\nPetr Chobyt’ko was born in 1946, in Kyiv. He \ngraduated from the Tallinn State Art Institute (Class of 1971), and was \nadmitted to the Artists Union of the USSR in 1974. From 1971 to 1987 he \ntaught graphic design, lettering and composition at the Kyiv State Art \nInstitute (now National Academy of Art and Architecture). Since 2000 \nChobyt’ko lives in St. Petersburg; he teaches lettering at the St. \nPetersburg Baron Stieglitz State Academy of Industrial Art. Since 2005 \nhe teaches a private course in calligraphy. Since 2007 he also teaches, \npart-time, at the Repin State Academic Institute of Painting, Sculpture \nand Achitecture. Petr Chobyt’ko, a frequent participant in many regional \nand international art exhibitions, has won many prizes and awards. In \n2008 he was elected President of the National Union of Calligraphers of \nRussia.\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T172000
DTEND;TZID=Europe/Moscow:20080919T182000
LOCATION:Palace A
SUMMARY:A07 | . Typophile:\nTypophile Film Festival
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=451
ATTENDEE;CN=" Typophile":invalid:nomail












DESCRIPTION:The Typophile Film Fest is best described as a one-hour screening of a rare and unequaled selection of short typographic films. Hailing from countries all over the world, the films create a visual mashup of motion design, typographic animation and short stories. In years prior it has included broadcast motion design, documentaries and typographic eye candy from Trollbäck + Company, Strange Attractors, Erik Spiekermann, Nick Shinn, Font Bureau as well as many others.\nTheme: Other\nDuration: 60 minutes\n\nSPEAKER DETAILS:\n\n Typophile\n |  | USA\n\nTypophile is an international collaborative community of visual designers, typographers and type designers. Typophile is driven by sharing and the idea that we’re always learning. Now in its seventh year, it is one of the oldest design communities online. Typophile is a Punchcut brand.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T172000
DTEND;TZID=Europe/Moscow:20080919T181000
LOCATION:Palace B
SUMMARY:B07 | A. Dombrovskiy:\nArt of the First Letter.\nRussian decorative book initial used in 15th–early 18th centuries.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=497
ATTENDEE;CN="Alexey Dombrovskiy":invalid:nomail












DESCRIPTION:Cyrillic printed initial caps by 15–17th centuries as the Civil prototype. First slavic capitals as serif (1494). Francisco Scorina’s modernization of cyrillic type and capital letters (1517–1525). Gothic motives in Moscow floriated letters by Ivan Fyodorov and his followers (1564–1677). Alternative cyrillic typefaces at Moskovia’s western remote area (17th cent.). “Sobornoye Ulozhenie” by czar Alexey Mikhaylovich: latin style of capital letters in Russian corpus juris (1649). The Civil type’s initials in Peter the Great’s editions (1708–1725).\nTheme: Cyrillic\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nAlexey Dombrovskiy\nChief of design group | Vlasta printing house | Russia\n\nAlexey Dombrovskiy was born in 1964 in Russia (Uzlovaya, Tula region). He graduated from the Tula Polytechnical Institute in 1986. He works in book design. Member of the Union of Designers. He cooperates with various publishing houses and designs books for the Russian Academy of Sciences, the Russian Entomological Society, the Moscow State University, the Tula State University, and printed matter for the Bolshoi Theatre, the Moscow Kremlin Museums, the State Hermitage Museum. Author of some articles on the history of initals.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080919T183000
DTEND;TZID=Europe/Moscow:20080919T193000
LOCATION:Other
SUMMARY:ATypI:\nEvening Event
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=453
ATTENDEE;CN="ATypI attendees":invalid:nomail












DESCRIPTION:TBD\nTheme: Other\nDuration: 60 minutes\n\nSPEAKER DETAILS:\n\nATypI attendees\n |  \n\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080920T093000
DTEND;TZID=Europe/Moscow:20080920T102000
LOCATION:Palace A
SUMMARY:A08 | G. Unger:\nA thousand years ago....\nLetterforms in inscriptions from the 10th, 11th and 12th centuries.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=478
ATTENDEE;CN="Gerard Unger":invalid:nomail












DESCRIPTION:The time between the Carolingian renaissance and the Gothic is sometimes seen as a long-drawn-out period of transition as regards inscriptional letterforms. Romanesque art and architecture are highly varied, so much so indeed that it is difficult to speak of a single style. Romanesque capitals display just as much variety. Despite this, it is possible to discern a stable model that was used throughout most of Europe for at least two hundred years. It is separate from its Roman forerunners and exhibits a range of influences that made themselves felt in Europe after the end of the Roman Empire. Romanesque capitals — a neglected model.\nTheme: History\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nGerard Unger\nType Designer |  | The Netherlands\n\nGerard Unger (b. 1942) is a graphic designer, type designer, typographer and typographic consultant. He studied at Gerrit Rietveld Academie in Amsterdam, and becaine a freelance designer in 1972. He now teaches at the Academie, and at the Department of Typography and Graphic Communication at the University of Reading, England. His numerous typeface designs include the highly regarded newspaper types Swift and Gulliver, and Capitoleum, designed for the city of Rome during the Catholic jubilee of 2000. He has received many awards for his work, including the 1991 Maurits Enschedé prize for his overall contribution to type design.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080920T093000
DTEND;TZID=Europe/Moscow:20080920T102000
LOCATION:Palace B
SUMMARY:B08 | D. Kirsanov:\nModern serif in Russia
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=445
ATTENDEE;CN="Dmitry Kirsanov":invalid:nomail












DESCRIPTION:What Russian typefaces can be considered as the first Modern Serifs? What types influenced more on the development of this style in Russia: Didot or Bodoni? What reasons have induced Bodoni to create Cyrillic font? Whether Didot typefaces were used in Russian printing houses of the beginning of 19th century? What Russian typefaces of Modern Serif have been revived during the Soviet period and what are the new designs?  The author will try to answer these questions.\nTheme: Cyrillic\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nDmitry Kirsanov\n | ParaType | Russia\n\nBorn in Orenburg in 1965, graduated from the Orenburg Art School in 1987, worked as free-lance designer for Yuzhnyi Ural publishing company  in Orenburg. In 1996 graduated from Moscow State University of Printing (formerly known as Moscow Printing Institute). Since 1997 Kirsanov works at Moscow State University of Printing at the Department of Print Design as an instructor in typographic design and computer graphics. He is an instructor in typographic design and computer graphics at Moscow  Graphic Art University named after Stroganov. Since 1996 he designs  typefaces for ParaType. Kirsanov is the author of several articles on type and typography.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080920T103000
DTEND;TZID=Europe/Moscow:20080920T112000
LOCATION:Palace A
SUMMARY:A09 | F. E. Blokland:\nNow, then and perception
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=455
ATTENDEE;CN="Frank E. Blokland":invalid:nomail












DESCRIPTION:One needs a thorough knowledge of the historical development of the trades of the type designer, the font vendor and the typographer within the different style periods in order to determine one’s place in time and space is needed. Modern typographers make use of and mix typefaces from the different style periods without hesitation. Perhaps eclecticism is the main characteristic of our time. The image that people have of historical typefaces is in many cases based on revivals — perhaps without realizing that these revivals show as much of the original style period as of the period in which they were made. The view on history changes constantly. Frank E. Blokland will try to give more insight in the perception of the historical developments in the world of type, illustrating his point by showing parallels in the authentic music practice and in painting, especially what he calls the ‘Van Meegeren Aspect’.\nTheme: Revivals\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nFrank E. Blokland\nOwner | Dutch Type Library | Netherlands\n\nFrank E. Blokland studied Graphic and Typographic design at the Royal Academy of Arts in The Hague. In 1985 Blokland won Chartpak's type design contest with his typeface Bernadette. In 1990 Blokland wrote a bestseller with his course book for Teleac's television course: Calligraphy, the art of hand writing, of which 16.000 copies were sold. In the same year Blokland founded the Dutch Type Library. Since the 1980s he has published over 150 articles in professional journals like Compres, Page, PrintBuyer, and the Hamburger Satzspiegel. When Gerrit Noordzij retired in 1987 from the Royal Academy of Arts in The Hague, Blokland was the first of the younger generation to succeed him. Blokland now lectures in letter drawing and type design/production to first- and post-graduate courses at this institute. In 1995 he was asked to become a lecturer at the Plantin Society in Antwerp. A few years later he initiated and supervised the development of DTL FontMaster, a set of utilities for professional font production. Frank E. Blokland designed amongst others the typefaces DTL Documenta and DTL Haarlemmer.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080920T103000
DTEND;TZID=Europe/Moscow:20080920T112000
LOCATION:Palace B
SUMMARY:B09 | K. Startsev:\nTypography in the student livre artiste projects.\nContemporary typography in the book studies. Based on the experience of St. Petersburg State University (Faculty of Philology and Arts).
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=452
ATTENDEE;CN="Konstantin Startsev":invalid:nomail












DESCRIPTION:In his lecture “Typography in the student livre artiste projects” Konstantin Startsev describes his methods of teaching typography at the Department of Graphic Design of St. Petersburg State University. Both the images projected on screen, and the physical samples of the actual books designed and manufactured by the students illustrate his talk. The works of Konstantin Startsev’s students won many awards at the national and international design competitions.\n\nTheme: Cyrillic\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nKonstantin Startsev\n |  | Russia\n\nSenior Instructor, Saint Petersburg State University (Faculty of Philology and Arts). Russia. Born in 1950, Konstantin Startsev graduated from St. Petersburg Vera Mukhina (now Baron Stieglitz) State Academy of Industrial Art (Class of 1977). In 1975–1980 worked at the National Design Research Institute (VNIITE). Since 2000 Startsev teaches graphic design at the Saint Petersburg State University (Faculty of Philology and Arts). Startsev is a member of the Designers Union of Russia. He participated in many professional exhibitions and competition—as a designer and the author of graphic design educational programmes.\n\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080920T114000
DTEND;TZID=Europe/Moscow:20080920T123000
LOCATION:Palace A
SUMMARY:A10 | D. Březina:\nGeneral issues of multi-script typography
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=480
ATTENDEE;CN="David Březina":invalid:nomail












DESCRIPTION:An overview of the most common typographic issues in  publications which involve two or more scripts with a horizontal reading direction (e.g. Latin, Indic, Arabic, Hebrew, etc.). The talk aims to explain the \nproblems systematically from a partially-objective point of view and show some of the possible  solutions. \nTheme: World\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nDavid Březina\n |  | Czech Republic\n\nDavid Březina, born in Brno, Czech Republic, graduated in Informatics at the Masaryk University in Brno in 2005, spent a term at the Denmarks Designskole in Copenhagen in 2004 and graduated with \ndistinction from the MA in Typeface Design at the University of Reading (UK) in 2007. From 2004 to 2007  he also ran his own design studio DAVI, with projects in graphic, web and interface design. Back in Brno, he is currently working with Tiro Typeworks (Canada) as an associate designer, and occasionally publishes in Typo magazine.\n\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080920T114000
DTEND;TZID=Europe/Moscow:20080920T123000
LOCATION:Palace B
SUMMARY:B10 | M. Gurbatov, A. Chaykovskaya:\nBook of letters.\nThe parting from the era of wood type.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=458
ATTENDEE;CN="Maxim Gurbatov":invalid:nomail
ATTENDEE;CN="Anna Chaykovskaya":invalid:nomail











DESCRIPTION:We were very impressed with history of old typographical sorts, wood and metal letters. Throughout its history, they were important elements of European culture. Now they are not wanted. We want to express gratitude them. We have old typographic wood and metal letters and make large art objects called, for example, The Tetragrammaton, The Monument of Unknown Accountant, The Four Seasons in Russia. The object called “MЖ” consists of letters M and Ж only — there are the letters beginner the words Man and Woman in Russian. There are mainly large compositions — to 2 m in breadth.  We dedicated our project to Gutenberg’s era.\nTheme: Cyrillic\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nMaxim Gurbatov\n |  | Russia\n\nA designer and teacher, Maxim Gurbatov was born in Severodvinsk in 1962. Since 2001, he is the art director of the printing-house “LiniaGrafic!” in Moscow. \n\nAnna Chaykovskaya\nAssistant to Editor in Chief | Kultpohod magazine | Russia\n\nAnna Chaykovskaya was born in Severodvinsk in 1961. An art-critique, journalism, teacher. Since 2001 Anna Chaykovskaya is an assistant editor-in-chief of the “Kuitpohod” magazine in Moscow.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080920T140000
DTEND;TZID=Europe/Moscow:20080920T145000
LOCATION:Palace A
SUMMARY:A11 | S. Daniels:\n“...mean bastards, even though Matthew did some cool stuff for them...”
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=456
ATTENDEE;CN="Si Daniels":invalid:nomail












DESCRIPTION:A talk about Matthew Carter’s font design work for Microsoft. We use them every day, on the Web, in e-mail, and in print, and during the summer of 2007, in preparation for a TypeCon exhibition on the subject, Microsoft’s Si Daniels delved into the  archives, interviewing  participants and gathering material in an effort to uncover the unwritten history of Verdana, Georgia, and Tahoma. \nTheme: Screen\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nSi Daniels\nLead Program Manager for Fonts | Microsoft | USA\n\nSi Daniels is a program manager in Microsoft’s typography group. He is a graduate of the typography and graphic communication program at The University of Reading in Berkshire, England. Si has responsibility over most of Microsoft’s western and middle-eastern typefaces, the Microsoft typography Web site (www.microsoft.com/typography/), and works with Microsoft’s diverse software, hardware and marketing groups on font related issues. He is a member of the ATypI Board. \n\nSi is one of the “bastards” referenced in his talk’s title. He has been working on web fonts, font embedding, font packaging and font redistribution issues for over twelve years. In the past two years, he has moderated or delivered talks on Web fonts at TypeCon, ATypI, and the first Business of Type conference.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080920T140000
DTEND;TZID=Europe/Moscow:20080920T145000
LOCATION:Palace B
SUMMARY:B11 | T. Donaldson:\nResurrection pencil.\nWhat I learned from the “marks that speak”.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=450
ATTENDEE;CN="Timothy Donaldson":invalid:nomail












DESCRIPTION:During research for my recently published book, “Shapes for sounds”, I investigated the Glagolitic alphabet created by the brothers Cyril and Methodius. This alphabet was the mother of Cyrillic. I learned to write the letters, an activity that took on a life of its own and led to a body of interpretation bordering on the obsessive.  My talk will focus on the history, development, and subsequent abandonment of the Glagolitic alphabet and will show the new drawings, sculptures, scripts and typefaces I have produced as a result of this investigation.\nTheme: Cyrillic\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nTimothy Donaldson\nType Designer |  | United Kingdom\n\nTimothy Donaldson was formed in the north west of England, an only child of Yorkshire parents. He developed an obsessive interest in drawing during his first decade which matured into another obsession with writing (still drawing) during his second one. During his third decade he was a journeyman signwriter, earning his crust in pursuit of the just forming of letters. By his fourth decade he had become a lettering artist and type designer and a lecturer at Stafford College School of Art; a legendary destination for the teaching and learning of Typography in England. Now into his fifth decade, he focusses fully on his work with letterforms as a Research Fellow at the University of Lincoln. \n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080920T150000
DTEND;TZID=Europe/Moscow:20080920T155000
LOCATION:Palace A
SUMMARY:A12 | R. Black, H. W. Lie...:\nThe war over web fonts.\nPanel discussion.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=444
ATTENDEE;CN="Roger Black":invalid:nomail
ATTENDEE;CN="Håkon Wium Lie":invalid:nomail
ATTENDEE;CN="Thomas Phinney":invalid:nomail
ATTENDEE;CN="Si Daniels":invalid:nomail
ATTENDEE;CN="Bert Bos":invalid:nomail








DESCRIPTION:The typographer and Web designer’s dream of being able to use any font they want for Web page authoring is finally becoming  a reality. Or is it? Why are there two competing approaches, and what does each one offer? What is their status in terms of  standardization and implementation? Typography and Web publication guru Roger Black moderates presentations and  discussions with promoter of native fonts on Web servers Håkon Lie (Opera) and proponents of the more protected EOT format (Si Daniels of Microsoft, Thomas Phinney of Adobe).\nTheme: Screen\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nRoger Black\nPrincipal | The Font Bureau, Inc. | USA\n\nRoger Black  recently led redesigns of the Houston Chronicle, Popular Mechanics and the Los Angeles Times. He's a partner in The Font Bureau, Inc., which he started with David Berlow in 1989. And he runs the New York office of the publication consulting firm,  Danilo Black, which he started the same year with Eduardo Danilo. Previously Black was chief art director of Newsweek, The New York Times, New York Magazine and Rolling Stone.\n\nHåkon Wium Lie\nCTO | Opera Software | Norway\n\nHåkon Wium Lie is the co-inventor of Cascading Style Sheets (CSS) for the Web, and the Chief Technology Officer for Opera, the Web browser. Two years ago he proposed using CSS to directly reference a font file on a Web server, and he has enthusiastically promoted the idea since then.\n\nThomas Phinney\nProgram Manager | Adobe Systems | USA\n\nThomas Phinney has been in Adobe’s type group since 1997, currently as Product Manager for Fonts & Global Typography, based in Seattle. He is involved in the technical, design, historical and business aspects of type, as well as working closely with other font developers and customers. His typeface “Hypatia Sans” has been published in the Adobe Originals series. He has a Master's degree in typography and design from RIT, and an MBA from UC Berkeley.\n\nHe has been eager to resolve the web font problem for many years, but isn’t happy with the “raw fonts” approach. \n\nSi Daniels\nLead Program Manager for Fonts | Microsoft | USA\n\nSi Daniels is a program manager in Microsoft’s typography group. He is a graduate of the typography and graphic communication program at The University of Reading in Berkshire, England. Si has responsibility over most of Microsoft’s western and middle-eastern typefaces, the Microsoft typography Web site (www.microsoft.com/typography/), and works with Microsoft’s diverse software, hardware and marketing groups on font related issues. He is a member of the ATypI Board. \n\nSi is one of the “bastards” referenced in his talk’s title. He has been working on web fonts, font embedding, font packaging and font redistribution issues for over twelve years. In the past two years, he has moderated or delivered talks on Web fonts at TypeCon, ATypI, and the first Business of Type conference.\n\nBert Bos\nStyle Activity Lead | W3C | France\n\nBert Bos was researching graphical user interfaces at the University of \nGroningen when he became co-inventor (with Håkon Wium Lie) of Cascading \nStyle Sheets (CSS) in 1994. He joined W3C in 1995 to develop CSS and to \nlead W3C's Internationalization activity. He has since participated in \nthe standardization of HTML, XML and most recently MathML. He is \ncurrently charged by W3C to investigate font embedding technology for \nWeb documents (HTML, SVG, XML, XSL...) and the possibility of \nstandardizing one or more solutions. He has been interested in fonts \never since he published his PhD with a font he made himself.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080920T150000
DTEND;TZID=Europe/Moscow:20080920T155000
LOCATION:Palace B
SUMMARY:B12 | G. Leonidas:\nA few things I’ve learned about typeface design
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=477
ATTENDEE;CN="Gerry Leonidas":invalid:nomail












DESCRIPTION:The St Petersburg conference will nearly coincide with the ninth anniversary of the MA Typeface Design programme at the University of Reading. The programme overlaps with a period of maturity and consolidation in typeface design, and some important steps of an area of practice moving towards becoming a field of study. I will argue that the programme embodies and promotes a fundamentally significant approach to both studying and practicing typeface design, with echoes in the wider typographic world. \nTheme: Education\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nGerry Leonidas\nSenior Lecturer in Typography | University of Reading | United Kingdom\n\nGerry Leonidas studied Business Administration and Journalism, and worked in book and magazine publishing in Greece before finding his way to the University of Reading for postgraduate studies in typography. He never got round to leaving, and now teaches typographic design with a bias for the online. He is also the MA Typeface Design programme director, and designs when time permits, but mostly helps others tackle Greek typefaces. He is long overdue with his PhD on design processes in Greek and Latin digital typefaces.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080920T162000
DTEND;TZID=Europe/Moscow:20080920T171000
LOCATION:Palace A
SUMMARY:A13 | R. Black:\nPROGRAM UPDATE: Type and the Web.\nWhat are we going to do?.
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=468
ATTENDEE;CN="Roger Black":invalid:nomail












DESCRIPTION:New York designer and art director Roger Black about type on the Web. \nTheme: Screen\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nRoger Black\nPrincipal | The Font Bureau, Inc. | USA\n\nRoger Black  recently led redesigns of the Houston Chronicle, Popular Mechanics and the Los Angeles Times. He's a partner in The Font Bureau, Inc., which he started with David Berlow in 1989. And he runs the New York office of the publication consulting firm,  Danilo Black, which he started the same year with Eduardo Danilo. Previously Black was chief art director of Newsweek, The New York Times, New York Magazine and Rolling Stone.\n\n
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Moscow:20080920T162000
DTEND;TZID=Europe/Moscow:20080920T171000
LOCATION:Palace B
SUMMARY:B13 | B. Keleşoğlu, İ. Torun:\nOttoman calligraphy from a modern perspective
URL;VALUE=URI:http://www.atypi.org/05_Petersburg/20_main_program/view_presentation_html?presentid=469
ATTENDEE;CN="Bengisu Keleşoğlu":invalid:nomail
ATTENDEE;CN="İpek Torun":invalid:nomail











DESCRIPTION:This study focuses on the tradition of illustrating symbols with type as calligraphy, called ‘hatt’ in the Ottoman period. Because creating the image of men were forbidden by the religious beliefs, there stood the need for representing images by ‘hatt’ and therefore the calligraphy done by the masters were accepted as artwork. Breaking the traditional rules of using type and image seperately, type were used instead of images. Each calligraphic work, representing the images of animals and objects, has its own symbolic meaning. In this study the relationship between the imagery and the verbal meaning of Ottoman caligraphy are examined in the sense of the semiotics of the contemporary understanding.\nTheme: Arabic\nDuration: 50 minutes\n\nSPEAKER DETAILS:\n\nBengisu Keleşoğlu\n |  | Turkey\n\nBengisu Keleşoğlu graduated from the graphic design department at Bilkent University in Ankara in 1997. She now is studying on her MFA thesis with the subject of “Sound of Typography: Typography of Sound in Graphic Design” at Anadolu University in Eskisehir, Turkey, and working as lecturer in the graphic design department of the Anadolu University. \n\nİpek Torun\nLecturer | Anadolu University | Turkey\n\nİpek Torun graduated from the Graphic Design Department at Bilkent University, FADA, in 1999. He received his MFA in 2003 from the Animation Department at Anadolu University, ISS, having completed his thesis on “German Expressionism’s Effects on Animation Through Historical Development and an Experimentation on the Subject”. He now works as an instructor in the Graphic De