Skip to content. | Skip to navigation

Personal tools
Password reminder

Navigation

Personal tools
Password reminder
You are here: Home / Conferences / Antwerp 2018 / Workshops

Workshops

Do not miss this year's pre-conference workshops. They will be held on Tuesday, September 11, 2018. Please note there are half-day and full-day workshops, so be careful not to choose two workshops that will happen at the same time!

We offer workshops covering a variety of digital and analog topics. Workshops are held in the AP Hogeschool, Plantin-Moretus Museum and Letter-Kunde Press in Antwerp.

AP Hogeschool

Campus Spoor Noord

Ellermanstraat 33, 2060 Antwerpen

Tel.: +32 3 220 33 00

Plantin-Moretus Museum

Vrijdagmarkt 22
2000 Antwerp
Belgium
tel. +32 (0)3 221 14 50

Letter-Kunde Press

Letterkundestraat 138c
Antwerp

 

Full-day workshops have a two-hour break for lunch on your own.

Half-day workshops are either morning sessions or afternoon sessions.

Half-day workshops are $50 and full-day sessions are $100 (plus materials fees, if any). Sign up for workshops during conference registration in the ATypI Store

 

Full-Day workshops

Chinese Calligraphy Workshop

by Wei Ming and Yin Qiu

Full-Day session - 9:30-5:30 - AP Hogeschool - Campus Spoor Noord - maximum 15 participants

A workshop on Chinese calligraphy focusing on building experience of writing with a soft Chinese brush, building up characters stroke by stroke. The style of writing with a brush continues to influence the four key contemporary typeface styles, SimHei, SimSun, FangSong, and Kaiti.  The special texture of brushes may also prove inspiring for designers of other scripts.

The techniques practiced will suit right-handed writers.

Wei_Ming  Ming Wei is Associate Director of the Font Product Division of Beijing Founder Electronics Co., Ltd and a member of the Chinese Artists Association. Her work is part of the collection of the Sichuan Art Museum. Ming Wei designed the Beijing Olympic subway visual information system, used on the Olympic Extension Line during the 2008 Beijing Olympic Games. This work was awarded the first prize at the National Art Exhibition. She received an MA degree in Communication Design from Central Saint Martins, University of the Arts in London. After returning to China, she joined FounderType and now works on font product research and project management.

Yin_Qiu  Qiu Yin is the Expert Commissioner of Chinese Type Design and Research Center and the Design Director at FounderType, a member of the Chinese Designer Salon (CDS) and the Shenzhen Graphic Design Association (SGDA). Yin is also the designer of 2010 Guangzhou Asian Games logotype and recipient of several awards, including the Grand Prize at Chinese Pen Calligraphy Competition (1985), first prize at the First International Pen Calligraphy Contest (1988), and the China Design Red Star Award (2015).

 

Designing a sans in one day

by Martin Majoor

Full-Day session - 9:30-5:30 - AP Hogeschool - Campus Spoor Noord - maximum 20 participants

A follow-on from a successful workshop in ATypI Warsaw, this is an intensive exercise in using a calligraphic tool like the double pencil, and converting sketches into characters for a sans typeface.

Martin_Majoor  Martin Majoor is a Dutch type designer and book typographer. Around 1990 he designed the award-winning typefaces Scala and Scala Sans. Several of his book designs have been given “best book design” awards.

Majoor also designed the typefaces Telefont, Seria, and Nexus. The Questa typeface, designed with Jos Buivenga, ranked second on a list of the 50 most noteworthy font releases of 2014.

Majoor has taught typography at several art schools and has given lectures/workshops around the world. He has written articles for many magazines including Page, 2+3D, and Eye, as well as contributing to several books on typography.

 

Introduction to Hebrew Writing

by Meir Sadan and Yotam Hadar

Full-Day session - 9:30-5:30 - AP Hogeschool - Campus Spoor Noord - maximum 20 participants

A workshop for non-Hebrew natives who are interested in understanding the fundamentals of the script, combining a presentation on the history of the script, examples of different styles of Hebrew writing, and practice. The hand that will be taught is a specially formulated entry-level writing style that demonstrates the particulars of the script’s construction, and is used as the first step in teaching Hebrew type design.

Meir_Sadan  Meir Sadan is a designer specialising in Hebrew type design, as well as design for interactive media. He’s a founding partner of Hypertales and teaches typography and type design at the Bezalel Academy of Art & Design, Jerusalem, and at Minshar for Art, Tel Aviv.


Yotam_Hadar  Yotam Hadar is a graphic designer and educator based in New York and Tel Aviv, collaborating with studios, agencies, and clients in the execution of projects in typography, print, branding, environ­mental, and interactive media that are research-based, concept-driven, and type-led. Past collaborators include Nike, Pentagram, 2x4, Project Projects, and Sagmeister & Walsh; creating work for Google, MoMA, PepsiCo, Prada, Yale, and Israel Antiquities Authority, recognized by the Art Directors Club, TDC, TDC Tokyo, and Brand New Awards.

Since 2009 Yotam has taught graphic design & typography at Parsons and Rutgers, and was a guest critic at RISD, SVA, NYU, and at his almae matres – Yale & Bezalel.

 

Let your creativity run wild 

by Armina Ghazaryan and Thomas Gravemaker

Full-Day session - 9:30-5:30 - Letter-Kunde Press - maximum 6 participants

A 6-hour workshop that explores the potential of letterpress to create vibrant prints with some twists and turns, taking place in the midst of one of the most important collections of objects related to the printing industry. Participants will be able to use the large collection of wood and metal type, to create an original poster.

Some letterpress experience is desirable. All materials provided.

Armina_Ghazaryan  Armina Ghazaryan is a freelance graphic designer and letterpress practitioner based in Ghent, Belgium. In 2008, she joined the printing team of MIAT (the Museum of Industry, Work and Textiles) in Ghent, where she designs and typesets posters using wood and metal type, and catalogs the museum’s wood-type collection. Her works are featured in various publications by Gestalten, Rockport, Rotovision, and BIS publishers. Armina co-founded the “Letterpress Corner” printmaking studio in Ghent, which has a primary focus on running letterpress workshops for groups and individuals looking to acquire a practical knowledge of the craft. www.letterpresscorner.com

 

Thomas_Gravemaker  Thomas Gravemaker has extensive experience in letterpress and graphic design, working in the UK and in France before setting up his own studio. His passion for letterpress began prior to his training at the Rietveld Academie in Amsterdam and has developed over the years. Thomas has worked on private commissions, taught letterpress, and lectured and presented at various conferences and events. After several years spent in London, Paris, and Edinburgh, he returned to Amsterdam to refine and extend his craftsmanship in his workshop situated in the center of the city. 

 

Learning Hangul script design: from writing to type

by Yanghee Ryu, Eunyou Noh and Minjoo Ham

Full-Day session - 9:30-5:30 - AP Hogeschool - Campus Spoor Noord - maximum 12 participants

A workshop for learning about the Korean script, practicing writing, and connecting written forms to type design. An introduction to the basic features of Hangul will be followed by writing with various tools, including the traditional Korean pointed brush, to understand the structure of the script. Then drawn letters will be digitized and made into a working font. (You will need to bring your laptop.)

Yanghee_Ryu  Yanghee Ryu is a type designer from South Korea. She studied visual communication design at the Hongik University in Seoul and graduated from the MA program in Typeface Design at the University of Reading in 2017. She has released Gowun-Hangul (2010) and Dongle-Hangul (2011) in Korea, and participated in the development of the Arita Buri font project (2012–2013) as a senior type designer. Her interests include multi-script type design, in particular the development of high-quality and beautiful Hangul typefaces harmonised with other scripts. Yanghee Ryu currently lives and works in Cambridge, UK.

 

Eunyou Noh Eunyou Noh is a type designer and researcher from South Korea. She worked for Type-Space from 2006 to 2008 and has taught Hangul type design at several universities (2008–2015). She earned her Ph.D. in visual communications at Hongik University in South Korea. Her thesis was a study on Choi Jeong-ho’s Hangul type designs (2011). In 2012–2015, Eunyou worked as a senior researcher at the Ahn Graphics Typography Lab. She moved to the Netherlands in 2016, to participate in the TypeMedia course at the Royal Academy of Art (KABK). She currently lives in The Hague, working on a multi-script project, Optique. 

 

Minjoo Ham  Minjoo Ham is a type designer, typographer, and graphic designer from South Korea. She studied graphic design at the Seoul Women’s University (2005–2009), where she discovered her interest in type design. After graduation, she worked for S-Core (CoreFont) as a type designer. In 2014–2015 she completed the TypeMedia master’s course at the Royal Academy of Art (KABK) in The Hague, Netherlands, concentrating on research and type design of a Latin and Hangul double-script. She is now an independent type designer based in Berlin, producing multi-script font families for corporate clients and various foundries.

 

Variable Fonts & Responsive Typography

by Jason Pamental

Full-Day session - 9:30-5:30 - AP Hogeschool - Campus Spoor Noord - maximum 20 participants

This workshop is intended to provide a brief introduction to the concepts of responsive typography and variable fonts (a new development in type technology). The main areas of focus will be on implementing variable fonts well for improved user experience and performance; creating a modern, scalable typographic system to give the best reading experience using modern CSS techniques; and spending some time on editorial design and user interface enhancements leveraging some of the unique new features enabled in variable fonts. We’ll then combine those in an final exercise to create a web-based book experience.

1. Introduction: what we’ll cover

2. Basics of Using Variable Fonts (VF)

  1. @font-face syntax

  2. Variation axes (registered and custom)

  3. CSS syntax (planned and current implementations)

3. Implementing web fonts: the why and how for best performance and UX

  1. Font loading techniques

  2. Failing well: what to do when web fonts go missing

4. Typography for reading

  1. The ‘perfect page’

  2. Scale, proportion, and responsiveness

  3. Layering in CSS variables and calculations

  4. Variable axes and proportional systems

  5. Finesse

      1. VF features like Optical Size

      2. OpenType (OT) features like ligatures, numerals, and kerning

      3. Paragraph styles

5. Editorial typography and art direction

  1. VF features for headlines (weight, width, ascender/descender height)

  2. Type as visual element (exaggerated scale and style)

  3. CSS shapes

6. Making a book on the web

  1. We’ll build on the typographic system and styles from the previous sections and apply it to book text

  2. We’ll explore some combinations of CSS techniques to see how we can create a better reading experience on the web

7. Freeform: discuss some real-world examples

8. Wrap-up

 

Jason_Pamental Jason Pamental spends much of his time leading design and development teams, running workshops, and working with clients establishing their typographic systems and digital strategy. He is a seasoned design and user experience strategy leader with over twenty years’ experience on the web in both creative and technical roles. Projects range from Ivy League and High Tech to the NFL and America’s Cup. He also researches and writes on typography for the web: he’s author of Responsive Typography from O’Reilly, articles for .Net Magazine, PRINT Magazine, HOW, Typecast Blog, Fonts.com, and a frequent podcast guest. Pamental is an experienced speaker and workshop leader, having presented at over fifty national and international conferences. The real story: mainly he just follows Tristan and Tillie around Turner Reservoir, posting photos on Instagram.

 

Half-Day workshops, Morning

Benton Engraver workshop at Letter Kunde

by Patrick Goossens

Half-Day session - 9:30-12:30 - Letter-Kunde Press - maximum 4 participants

*This session is also offered in the afternoon

A workshop for a very small number of participants to give an insight in the working of the Benton Engraver, demonstrating its potential and limitations. The workshop will start with the preparation of the template from a digital design. The template will be created using polymer, which differs in many ways from polymer used for letterpress printing. Every participant will have the opportunity to manipulate the engraver, and contribute to a collaboratively made, finished, justified matrix. If the nineteenth technology does not play up, the next step will be the casting of the type, and printing of proofs. There will be opportunity to compare the Benton engraver with other similar machines like the Wiebking-Hardinge (used by Linotype), the Linotype punch engraver, the Pierpont Monotype punch engraver, and the German Ëmatrizenbohrmaschine from Gursch. 

Patrick_Goossens  Patrick Goossens, a historian of printing technology (Universities of Antwerp/Louvain) took Fred Smeijers’s advice that “sitting and looking at punches is not enough.” He acquired the matrix-making equipment of the Dale Guild Type Foundry, and completed an extensive collection of print-historical artefacts. In an effort to preserve this intangible heritage, he engaged in a punch-cutting course at the Imprimerie Nationale, engaged in technical sessions at the Type Archive (London), and organized gatherings of punch- and matrix-making practitioners worldwide. Patrick is a board member of the Friends of the Plantin-Moretus Museum and of the Association of European Printing Museums. His PhD researches “the introduction of innovative printing technology in nineteenth-century Belgium.” http://letter-kunde.be

 

Designing typefaces for retro video games

by Toshi Omagari

Half-Day session - 9:30-12:30 - AP Hogeschool - Campus Spoor Noord - maximum 15 participants

This workshop will shed light on the forgotten history of type in arcade games, an under-appreciated element of the video game experience of the twentieth century. Video game fonts, typically designed in a simple 8*8-pixel grid, boast a remarkable diversity of shapes and colors that has gone virtually unnoticed until quite recently. This workshop starts with a lecture on the history of arcade game typography, followed by a tutorial on how to make the fonts so central to nostalgic fun. Participants will then be able to create their own colorfully pixelated letters using Hama beads, because analog design and play provide a welcome break from the computer. Materials will be provided, and neither computer nor video game knowledge is required. All you need is an open heart for letters, pixels, and colors.

Toshi_Omagari  Toshi Omagari is a typeface designer at Monotype. He graduated from the Visual Communication Design course at Musashino Art University in Tokyo in 2008 and the MA Typeface Design program at the University of Reading in 2011.

 

Hinting is the design after the design

by Monika Bartels and Gergő Kókai

Half-Day session - 9:30-12:30 - AP Hogeschool - Campus Spoor Noord - maximum 12 participants

*This session is also offered in the afternoon

A workshop by hinting experts that will help you hint your own fonts effectively, covering the main steps of a TrueType hinting process for webfonts, and a comparison between the most common hinting tools (FontLab, VTT, Glyphs). Participants will practice the hinting process, discuss problems, and find answers to the most tricky questions.

Monika_Bartels  Monika Bartels is a font technology specialist and TrueType hinting expert, working as a font engineer at FontShop AG in Berlin for nine years. In 2005 she started FontWerk, her own business focusing on high quality TrueType hinting and other font-related projects. She joined Alphabet Type as a font engineer in January 2018.

  Gergő Kókai discovered his passion for calligraphy, type, and typography while studying graphic design in Leicester, UK and Orléans, France. After an internship at Fontshop in Berlin he joined Alphabet Type as a font engineer in January 2016. He has been working there since then as a Hinting and non-Latin script specialist.

 

Letterpress Printing from Leftover Bits and Pieces

by Sarah McCoy

Half-Day session - 9:30-12:30 - Letter-Kunde Press - maximum 12 participants

A workshop to explore letterpress printing from the combination of oddly-shaped type-high bits and pieces left over from making wood type at the Virgin Wood Type Manufacturing Company of Rochester, New York (USA). Participants will experiment with mixing wood type and these bits and pieces, to create interesting compositions for letterpress printing. 

Sarah_McCoy  Sarah McCoy is an Asst. Prof. of Graphic Design at Drake University, Des Moines, Iowa, United States. She owns the Permanent Collection Letterpress + Design Studio and designs/prints for clients such as PaperSource & Madsen Cycles. She earned an MFA in 2005 from the University of Iowa in Graphic Design and a Graduate Certificate in 2006 from UICB in letterpress.

She has led printing workshops at universities, conferences, and creative jams. McCoy’s work has been included in several university libraries and national and international exhibitions. Recent work has been featured in publications including Princeton Architectural Press, Ladies of Letterpress, and Random Spectacular: Interrobang: a Showcase of Contemporary Letterpress Works.

 

Seeing Italic

by Victor Gaultney

Half-Day session9:30-12:30 - AP Hogeschool - Campus Spoor Noord - maximum 16 participants

A workshop to explore the range and challenges represented by italics, intended to train the eye to see italics in greater depth. The workshop will include a journey through the 500-year history of italic typefaces, and an analysis of the techniques designers have used in their design and production. The goal will be to enhance participants’ vision and equip them to create and use italics more effectively.

Victor_Gaultney  Victor Gaultney is a type designer and calligrapher with interests in legibility, diacritics, non-Latin scripts, and italics. As Senior Type Designer at SIL International, he develops fonts for minority language groups around the world. He teaches typeface design at the University of Reading, is a co-author of the SIL Open Font License, and led the team that developed ScriptSource (http://scriptsource.org). His most well-known typeface — Gentium — has been a winner in two international typeface design competitions and supports thousands of languages. He is also a musician, actor, and director.

 

Looking at early type and typography

by Gerry Leonidas

Half-Day session - 10:00-12:00 - The Plantin Moretus - maximum 10 participants

*This session is also offered in the afternoon

Every year Gerry Leonidas takes MATD students to the Plantin-Moretus to look at original items from the Museum’s collection. In this workshop he will offer a special version of the session, covering in depth the type and typography of a selection of incunables and early multiscript books that illuminate developments in typeface design and typography in the first two hundred years of printing that are still relevant today. The session will run twice, to enable a small number of participants to examine the original material closely.

  Gerry Leonidas teaches and researches typography and typeface design at the University of Reading, UK. He supervises MA and PhD research, and lectures widely. He consults on publication and typeface design, reviews bodies of work, and runs knowledge-transfer projects with a twin focus on global business development and new education initiatives. He is the president of ATypI and a founding member of the Granshan Foundation, and helps organise ICTVC and other conferences. He is the Director of the MATD, and the TDi summer course; both are global reference points for type education. In 2017 he launched the MResTD, a new hybrid MA on research in typeface design.

 

Producing TT-based Webfonts in Glyphs

by Rainer Erich Scheichelbauer, Georg Seifert

Half-Day session - 9:30-12:30 - AP Hogeschool - Campus Spoor Noord - maximum 20 participants - Free

Glyphs team members Georg Siefert and Rainer Erich Scheichelbauer will show possible workflows and demonstrate some tricks for screen-optimizing TT-based fonts, subsetting, exporting WOFF and WOFF2, and testing fonts in browsers. Bring your MacBook with Glyphs 2.5 preinstalled. Feel free to bring one of your own fonts to work on. This workshop assumes some experience in type design and/or font production.

Rainer_Erich_Scheichelbauer Rainer Erich “Eric” Scheichelbauer was born in Vienna. A trained photographer, Eric holds degrees in philosophy and Dutch studies. He creates typefaces, works as a digital punchcutter for other type designers, and gives type design workshops on a regular basis. Since Scheichelbauer joined the Glyphs team in 2012, he has been writing articles, tutorials, and Python scripts, as well as working on a blog and handbook. He lives and works in Vienna, where he runs his type studio Schriftlabor.

Georg_Seifert Bauhaus University graduate Georg Seifert (born 1978 in Halle an der Saale, Germany) is a type designer and a software developer. His typeface families Graublau Sans and Graublau Slab have become international bestsellers. Seifert co-developed the typeface for the new Berlin Airport. He is most well known, however, for his work on the font editor Glyphs, first released in 2011. Seifert lives and works in Berlin.

 

FontLab VI for FontLab Studio 5 users

by Thomas Phinney, Yuri Yarmola

Half-Day session - 9:30-12:30 - AP Hogeschool - Campus Spoor Noord - maximum 20 participants - Free

Are you a FontLab Studio 5 user who is ready to try FontLab VI? Learn what is new in FontLab VI, what is different, how your workflow can speed up with the new tools, and avoid that “who moved my cheese?” feeling with this half-day workshop presented by FontLab’s Thomas Phinney and Yuri Yarmola. Besides showing specific things you ask for, we will cover:

 

  • How Elements are better Components

  • Rapid tool vs Pen tool: why and when to use Rapid?

  • Metrics and Kerning workflows

  • How to use Power Nudge, Power Guides, Smart Corners, Tunni Lines, and other new editing tools

  • OpenType Variations support and workflow (replacing Multiple Master features)

  • Working with flexible Layers instead of just Mask and bitmap layers

 

Thomas_Phinney  Thomas Phinney is CEO of FontLab, the font software tools company. Previously he had font-related management roles at Adobe and Extensis. In the 2000s, Thomas helped drive the adoption of OpenType, both within Adobe and in the marketplace. He developed character set standards for Adobe, and designed the Latin/Greek/Cyrillic typefaces Hypatia Sans and Cristoforo.

Thomas has four patents and an MS in printing/typography from RIT—where he did his thesis on technical challenges in Multiple Master font technology—and an MBA from UC Berkeley. Thomas has been on the board of ATypI since 2004.

Yuri Yarmola is the Vice President Research & Development of Fontlab Ltd. He began dabbling with fonts in 1989, and designed the first of many font editors and utilities in 1991. He designed and led the development of all versions of FontLab and FontLab Studio, as well as a number of other applications published by Fontlab Ltd. He lives and works in St Petersburg, Russia. In 2007, Yuri received the 2nd Linotype Font Technology Award. When not working, he skis on high mountains.

 

Type drawing basics with FontLab VI

by Adam Twardoch

Half-Day session - 9:30-12:30 - AP Hogeschool - Campus Spoor Noord - maximum 20 participants - Free

If you’re just starting your adventure with type design, you need an idea, an eye, a tool, and the skill and knowledge to use that tool. In this FontLab VI workshop, Adam Twardoch will help you acquire the latter aspects. Together, we will take an existing mini-font that has just a few glyphs, and we will extend it while exploring the rich set of drawing, spacing, and kerning tools offered by FontLab VI. Twardoch will answer questions and help you along the way, so when you have ideas, you’ll be well-equipped to efficiently turn them into fonts.

Please bring your own Mac or Windows laptop. If you don’t already have a FontLab VI license, please download the 30-day trial from http://fontlab.com/vi before the conference

 Adam_Twardoch  Adam Twardoch is Director of Products of FontLab. He has also worked as a font consultant for MyFonts, Monotype, Google, Adobe, and many independent font vendors, specializing in font technology, multilingual typography, webfonts, Unicode and OpenType. Twardoch has been a core member of the initiatives that created the OpenType Font Variations and OpenType SVG color font specifications. He co-designed several type families, including Lato (by Łukasz Dziedzic) and Milka (by Botio Nikoltchev). Twardoch regularly teaches workshops in font creation, and served on the ATypI board for many years. He lives and works in Warsaw and Berlin.

 

Half-Day workshops, Afternoon

Benton Engraver workshop at Letter Kunde

by Patrick Goossens

Half-Day session - 2:30-5:30 - Letter-Kunde Press - maximum 4 participants

*This session is also offered in the morning

A workshop for a very small number of participants to give an insight in the working of the Benton Engraver, demonstrating its potential and limitations. The workshop will start with the preparation of the template from a digital design. The template will be created using polymer, which differs in many ways from polymer used for letterpress printing. Every participant will have the opportunity to manipulate the engraver, and contribute to a collaboratively made, finished, justified matrix. If the nineteenth technology does not play up, the next step will be the casting of the type, and printing of proofs. There will be opportunity to compare the Benton engraver with other similar machines like the Wiebking-Hardinge (used by Linotype), the Linotype punch engraver, the Pierpont Monotype punch engraver, and the German Ëmatrizenbohrmaschine from Gursch. 

Patrick_Goossens  Patrick Goossens, a historian of printing technology (Universities of Antwerp/Louvain) took Fred Smeijers’s advice that “sitting and looking at punches is not enough.” He acquired the matrix-making equipment of the Dale Guild Type Foundry, and completed an extensive collection of print-historical artefacts. In an effort to preserve this intangible heritage, he engaged in a punch-cutting course at the Imprimerie Nationale, engaged in technical sessions at the Type Archive (London), and organized gatherings of punch- and matrix-making practitioners worldwide. Patrick is a board member of the Friends of the Plantin-Moretus Museum and of the Association of European Printing Museums. His PhD researches “the introduction of innovative printing technology in nineteenth-century Belgium.” http://letter-kunde.be

 

Designing Diacritics: more than a production detail 

by Aleksandra Samuļenkova

Half-Day session- 2:30-5:30 - AP Hogeschool - Campus Spoor Noord - maximum 15 participants

A workshop focusing on the characters beyond the basic Latin set which are frequently overlooked, despite their importance in many languages. The workshop will give insights into the design of those characters in accordance with the preferences of native readers, as part of the core design process of a typeface. Workshop topics include: shape, size, contrast, and placement; differences in construction between upright, italic, and handwriting; diacritics in type family planning; accented characters in combination with other characters; and origins and contemporary tendencies in the design of diacritics.

Aleksandra_Samuļenkova  Aleksandra Samuļenkova is a Latvian-born type designer based in the Netherlands. She studied visual communications in Riga and Berlin, and graduated from the TypeMedia master’s program at KABK in The Hague. Aleksandra worked as a type designer at LucasFonts in Berlin until early 2017, when she moved to the Netherlands, where she pursued her independent work and joined Bold Monday on a part-time basis. Aleksandra is native to Latin and Cyrillic and has a keen interest in the origins of typographic traditions within these scripts. 

 

Machine Typography: 3D Printer as a Lettering Machine

by Taekyeom Lee

Half-Day session - 2:30-5:30 - AP Hogeschool - Campus Spoor Noord - maximum 20 participants

A workshop to explore three-dimensional ceramic letterforms made with 3D printers. The letters are drawn using the G-code language, widely used for computer-aided manufacturing. G-code can be generated from STereoLithography files or Bèzier curves, and manually written or edited. Digital data will be realized into typographic forms, line by line, drawn on paper.

Taekyeom_Lee  Taekyeom Lee is an interdisciplinary artist, although he prefers to introduce himself as a designer using an artist’s materials and artistic sensibility. He is currently an assistant professor of graphic design at Appalachian State University in Boone, North Carolina, USA. He received an MFA degree in graphic design from the University of Illinois at Urbana-Champaign. He has made three-dimensional type as a series of typographic explorations to strive, challenge, and seek a new way to create tangible type. His latest research explores unconventional methods of creating three-dimensional type with materials and techniques unique to type design — such as ceramics and 3D printing.

 

Looking at early type and typography

by Gerry Leonidas

Half-Day session - 2:00-4:00 - The Plantin Moretus - maximum 10 participants

*This session is also offered in the morning

Every year Gerry Leonidas takes MATD students to the Plantin-Moretus to look at original items from the Museum’s collection. In this workshop he will offer a special version of the session, covering in depth the type and typography of a selection of incunables and early multiscript books that illuminate developments in typeface design and typography in the first two hundred years of printing that are still relevant today. The session will run twice, to enable a small number of participants to examine the original material closely.

  Gerry Leonidas teaches and researches typography and typeface design at the University of Reading, UK. He supervises MA and PhD research, and lectures widely. He consults on publication and typeface design, reviews bodies of work, and runs knowledge-transfer projects with a twin focus on global business development and new education initiatives. He is the president of ATypI and a founding member of the Granshan Foundation, and helps organise ICTVC and other conferences. He is the Director of the MATD, and the TDi summer course; both are global reference points for type education. In 2017 he launched the MResTD, a new hybrid MA on research in typeface design.

 

 

Hinting is the design after the design

by Monika Bartels and Gergő Kókai

Half-Day session - 2:30-5:30 - AP Hogeschool - Campus Spoor Noord - maximum 12 participants

*This session is also offered in the morning

A workshop by hinting experts that will help you hint your own fonts effectively, covering the main steps of a TrueType hinting process for webfonts, and a comparison between the most common hinting tools (FontLab, VTT, Glyphs). Participants will practice the hinting process, discuss problems, and find answers to the most tricky questions.

Monika_Bartels  Monika Bartels is a font technology specialist and TrueType hinting expert, working as a font engineer at FontShop AG in Berlin for nine years. In 2005 she started FontWerk, her own business focusing on high quality TrueType hinting and other font-related projects. She joined Alphabet Type as a font engineer in January 2018.

  Gergő Kókai discovered his passion for calligraphy, type, and typography while studying graphic design in Leicester, UK and Orléans, France. After an internship at Fontshop in Berlin he joined Alphabet Type as a font engineer in January 2016. He has been working there since then as a Hinting and non-Latin script specialist.

 

Font Bakery Workshop

by Dave Crossland

Half-Day session2:30-5:30 - AP Hogeschool - Campus Spoor Noord - maximum 20 participants- Free

Font Bakery is a new checking tool that checks overall font projects, from source to binary font formats and more. It has checks at three levels: Format specifications, distributor requirements, and custom checks. In this workshop, learn how to run Font Bakery on your own laptop and check your own font projects with it, how to write your own custom checks, and how to join the community of contributors and share your checks or improvements with the project. The Font Bakery core developers will be there to discuss the project in detail. (Font Bakery is developed with financial support from Google, but is not an official Google product.)

 Dave Crossland attended the first Libre Graphics Meeting in 2006, and became fascinated with the potential of libre licensing to improve design. He has spent the last ten years working to liberate typography, mainly as a program manager for Google Fonts. He also regularly contributes to the Crafting Type, Font Bakery, and TruFont projects.

 

Advanced type design and font creation with FontLab VI

by Adam Twardoch, Yuri Yarmola

Half-Day session - 2:30-5:30 - AP Hogeschool - Campus Spoor Noord - maximum 20 participants - Free

In this workshop aimed at experienced type designers, Adam Twardoch and Yuri Yarmola will discuss the more advanced concepts of FontLab VI that can help you streamline your type design and font production process: drawing using guides, grids, smart nodes and open contours; creating font families through layers, masters and variation; spacing with expressions, kerning with classes; extending glyph sets with elements and anchors; and technological aspects like OpenType features, hinting, exporting final fonts, and interchange with other font creation apps.

Please bring your own Mac or Windows laptop. If you don’t already have a FontLab VI license, please download the 30-day trial from http://fontlab.com/vi before the conference.

Adam_Twardoch  Adam Twardoch is Director of Products of FontLab. He has also worked as a font consultant for MyFonts, Monotype, Google, Adobe, and many independent font vendors, specializing in font technology, multilingual typography, webfonts, Unicode and OpenType. Twardoch has been a core member of the initiatives that created the OpenType Font Variations and OpenType SVG color font specifications. He co-designed several type families, including Lato (by Łukasz Dziedzic) and Milka (by Botio Nikoltchev). Twardoch regularly teaches workshops in font creation, and served on the ATypI board for many years. He lives and works in Warsaw and Berlin. 

Yuri Yarmola is the Vice President Research & Development of Fontlab Ltd. He began dabbling with fonts in 1989, and designed the first of many font editors and utilities in 1991. He designed and led the development of all versions of FontLab and FontLab Studio, as well as a number of other applications published by Fontlab Ltd. He lives and works in St Petersburg, Russia. In 2007, Yuri received the 2nd Linotype Font Technology Award. When not working, he skis on high mountains.

 

Producing Color Variable Fonts in Glyphs

by Rainer Erich Scheichelbauer, Georg Seifert

Half-Day session - 2:30-5:30 - AP Hogeschool - Campus Spoor Noord - maximum 20 participants - Free

So you have created variable fonts, and you have created color fonts. But have you tried color variable fonts yet? In this workshop, you will learn how to set up a color font, draw an emoji, and make it variable. Bring your MacBook with Glyphs 2.5 preinstalled. No prior knowledge of the software required.

Rainer_Erich_Scheichelbauer Rainer Erich “Eric” Scheichelbauer was born in Vienna. A trained photographer, Eric holds degrees in philosophy and Dutch studies. He creates typefaces, works as a digital punchcutter for other type designers, and gives type design workshops on a regular basis. Since Scheichelbauer joined the Glyphs team in 2012, he has been writing articles, tutorials, and Python scripts, as well as working on a blog and handbook. He lives and works in Vienna, where he runs his type studio Schriftlabor.

Georg_Seifert Bauhaus University graduate Georg Seifert (born 1978 in Halle an der Saale, Germany) is a type designer and a software developer. His typeface families Graublau Sans and Graublau Slab have become international bestsellers. Seifert co-developed the typeface for the new Berlin Airport. He is most well known, however, for his work on the font editor Glyphs, first released in 2011. Seifert lives and works in Berlin.

 

Etching

by Museum Plantin-Moretus

Half-Day session - 10:00-12:00 - The Plantin Moretus - maximum 12 participants 

* This session is complimentary.

The etching technique originated in the 16th century as a new form of reproduction graphics. Contemporaries of Rubens such as Van Dyck and Rembrandt were real virtuosos of etching.

In this workshop you find out how to make an etching as you get to work with a zinc plate, ink and a centuries-old etching press.

 Museum Plantin-Moretus: A typographer’s Valhalla

The Museum Plantin-Moretus is the residential home of the Plantin-Moretus family, and houses the legendary publishing house/printing press. The oldest printing presses in the world live within its walls, bearing witness to the first industrial distribution of knowledge and image.

The rich art collection located in the historical residence includes paintings from family friend Peter Paul Rubens. The Plantin-Moretus residence and printing establishment are featured on UNESCO’s prestigious World Heritage list.

 

 ***new-Sunday special session***

Cast, typeset and print  

by Museum Plantin-Moretus

Sunday 16.9 - Half-Day session - 14:00-16:00 - The Plantin Moretus - maximum 12 participants 

* This session is complimentary.

In the printing works, you will discover how type was cast in Christophe Plantin’s time.

Arrange letters in mirror image in a composing stick, make up a complete page and print it off on a genuine press.

 Museum Plantin-Moretus: A typographer’s Valhalla

The Museum Plantin-Moretus is the residential home of the Plantin-Moretus family, and houses the legendary publishing house/printing press. The oldest printing presses in the world live within its walls, bearing witness to the first industrial distribution of knowledge and image.

The rich art collection located in the historical residence includes paintings from family friend Peter Paul Rubens. The Plantin-Moretus residence and printing establishment are featured on UNESCO’s prestigious World Heritage list.

 

Type Insights

Half day - three sessions 2:30-5:30 - AP Hogeschool - Campus Spoor Noord 

* The Type Insights sessions are complimentary.

This strand features experienced designers discussing the design decisions and process behind the development of new typefaces in an accessible, informal environment. It is intended to help beginners and students in typeface design learn from professionals and ask questions on workflow, design choices, and anything that will assist in the early stages of learning about typeface design. The sessions will feature short presentations on specific projects, with a generous allowance of time for discussion, questions, and advice. This year’s Type Insights feature Kimya Gandhi, Mateusz Machalski and Inga Plönnigs.

 

 Kimya Gandhiis a type designer from Mumbai with a passionate interest in Indic scripts, specializing in creating new and innovative Devanagari typefaces. Gandhi is a partner at the type foundry, Mota Italic, with her husband Rob Keller. She divides her time between design and teaching typography and type design at various design institutes in Mumbai. Kimya also co-organizes a monthly get-together called Typostammtisch in Mumbai that is aimed at providing a platform to meet and exchange ideas with people interested in various aspect of letterforms.

 

 Mateusz Machalski studied at the Faculty of Graphic Arts of the Academy of Fine Arts in Warsaw (2009–2014). Machalski works mainly in graphic design with an emphasis on visual identification and typeface design. He authored a font family with forty-two variations for Tupperware, commissioned by RR Donnelley Europe, and visual identification for The Lech Wałęsa Solidarity Award ceremony. Machalski serves as director at Newonce magazine.

 

 Inga Plönnigs is an independent type designer based in Berlin, Germany. She divides her time between commissioned work for international clients and self-initiated projects. Her work is inspired by history, necessity, and the vernacular.

Plönnigs holds a bachelor’s degree in Communication Design from Braunschweig University of Art (HBK). Her interest in type led her to internships at FontFont and LucasFonts. In 2016, she graduated from the prestigious Type and Media master program at the Royal Academy of Art in The Hague (KABK), The Netherlands.

 

Selections from the Hamilton Type Archive

Half day - 2:30-5:30 - Letter-Kunde Press - maximum 10 participants 

* This session is complimentary.

Join Jim and Bill Moran of the Hamilton Wood Type & Printing Museum for a special printing session, where they will pull proofs from their Wood Type Legacy Project. Using wood type designs by Matthew Carter, Louise Fili, Nick Sherman, and Erik Spiekermann, the Moran brothers will describe the background of each design and share the stories of the retired Hamilton Wood Type employees these fonts were named for. This event will be held at Letter-Kunde Press, a short drive from the center of Antwerp.

 

 Bill Moran is a third-generation letterpress printer, graphic designer, and professor of printing history at the University of Minnesota. Beginning in 2001, he volunteered at Hamilton Wood Type in a variety of roles, including the writing and publishing of his book Hamilton Wood Type, A History in Headlines. Artistic director at the Hamilton since 2009, Moran is responsible for partnerships, fundraising, and the museum’s visual brand.

 Jim Moran received his apprenticeship from Moran’s Quality Print Shop in Green Bay, Wisconsin, while serving as printer’s devil, pressman, partner, and owner for 29 years. He became the Director of Hamilton Wood Type & Printing Museum in 2009, where he maintains the collection of wood type, runs and repairs the museum’s presses, teaches workshops, archives and restores the museum’s collection of 20th-century decorative and advertising plates, and oversees museum operations. He has presented talks and run workshops at the AIGA national convention, TypeCon, Fossil World Headquarters, IBM in Austin, Texas, the Minneapolis Institute of Art, the Columbia Center for Book and Paper Art in Chicago, the School of Visual Concepts in Seattle, the Adobe Max conference in Los Angeles, ATypI Montreal, and the APHA annual conference in Washington, DC.

 

 ***new-Sunday special session***

Looking at early type and typography

by Gerry Leonidas

Half-Day session - 11:00-12:00-  A commentary of selected spaces in the museum, 12:30-2:30 a book collection session. - The Plantin Moretus - maximum 10 participants

Every year Gerry Leonidas takes MATD students to the Plantin-Moretus to look at original items from the Museum’s collection. In this workshop he will offer a special version of the session, covering in depth the type and typography of a selection of incunables and early multiscript books that illuminate developments in typeface design and typography in the first two hundred years of printing that are still relevant today. The session will run twice, to enable a small number of participants to examine the original material closely. An additional tour of selected spaces in the museum is added to this special session. 

  Gerry Leonidas teaches and researches typography and typeface design at the University of Reading, UK. He supervises MA and PhD research, and lectures widely. He consults on publication and typeface design, reviews bodies of work, and runs knowledge-transfer projects with a twin focus on global business development and new education initiatives. He is the president of ATypI and a founding member of the Granshan Foundation, and helps organise ICTVC and other conferences. He is the Director of the MATD, and the TDi summer course; both are global reference points for type education. In 2017 he launched the MResTD, a new hybrid MA on research in typeface design.

 

 

 

 

***

Locations and times are subject to change.

Roland Hüse
Roland Hüse says:
Sep 07, 2018 06:06 PM

I want to participate all of these! Too bad it is impossible :)