Do not miss this year's pre-conference workshops. Please note there are 3 and 6 hours workshops, so be careful not to chose two workshops that will happen at the same time. All of them will take place on September 13th at the Polish-Japanese Academy of Information Technologies (PJAIT), besides the Letterpress workshop, which will be at the Academy of Fine Arts in Warsaw.
RIGHT LEFT UP DOWN: The Kinetics of Calligraphy (calligraphy)
by Brody Neuenschwander - 09:30 – 17:30 - maximum 18 participants
In this one day, hands on workshop students will explore the kinetics of mark-making. Breaking with the Western tradition of writing with small hand and wrist movements, students will work from the shoulder, the waist and the legs, generating calligraphic marks from full body movements. We will use experimental tools on large sheets of paper. If weather permits, we will also follow Chinese practice and work with water on the ground. This workshop will combine the kinetics of mark-making with a bodily response to language. No mind/body split here - all thoughts will be actions.
The line and its expressive possibilities are the raw materials of calligraphy. In this course we will examine a variety of ways in which the line can be developed in order to increase its expressive power as well as its graphic quality.
This basis of my thinking on the calligraphic line is the result of years of thought on Arabic, Chinese and Japanese calligraphy, as well as on the often ignored cursive hands of the medieval period in Europe. We will look at the black/white relationships in Khufic writing; the principle of flow and ligature in Oriental calligraphy; and the development of alternative forms in our own tradition. Questions of legibility and function will be addressed, as well as the vexed question of calligraphy as a fine art.
This workshop is intended to raise more questions than it can answer. Final results will be less important than getting new thought processes started.
Brody Neuenschwander is a calligrapher and text artist who works in a variety of media, from ink on paper to laser-cut steel, film and performance. He collaborated for more than 25 years with film director Peter Greenaway on films, operas and installations. Neuenschwander has studied Chinese and Arabic calligraphy in order to cross breed principles from these traditions with the Latin alphabet. He is currently making a three part documentary for Arte on the origins and future of writing globally.
Greetings from Warsaw (letterpress)
by Aleksandra Stępień - 09:30 – 17:30 - maximum 6 participants
It so nice to get a postcard! So lets surprise our friends by sending them a letterpress printed postcard with greetings from Warsaw. During this day each student will be able to design and set their own postcard, to be printed in one color (black or red) in an edition of 7 prints. There will be an introduction about the letterpress studio, showing the range of materials and also talking about Polish typography and designers. Get inspired and translate your impressions of city into a typographic composition. All materials will be provided.
Aleksandra Stępień is graphic artist from Poland. She works in the Graphic Department at the Academy of Fine Art in Warsaw (home academy) taking care of the letterpress studio and teaching students how to work with metal types. Aleksandra took part in 13 group exhibitions and introduced her work in 10 individual exhibitions (mostly in Warsaw). She is a laureate of "Artistic prize of Siemens 2007 for graphics’’ – edition 2007. Her work is present in private collections at home and abroad. Now she is interested in creating artistic books.
Obs: This workshop will take place at the Letterpress Studio at the Academy of Fine Arts in Warsaw - Krakowskie Przedmieście str 5 (please ask for ZECERNIA on Painting Department).
Arabic Lettering Workshop: Epigrams (lettering)
by Khajag Apelian and Kristyan Sarkis - 09:30 – 17:30 - maximum 15 participants
ALW is a series of workshops about Arabic lettering. Every episode takes on a different theme. For the occasion of ATypI 2016, and its 'convergence' theme, this episode will be about Epigrams. Participants will choose a culturally specific expression, word or statement from their own culture and make an expressive lettering piece of its equivalent or transliteration in Arabic, reflecting the meaning through the forms. Through this process, the participants will learn about the main parameters that define the Arabic script and letterforms and play around with them to see the different results that can be generated. Students are asked to bring different kinds of pen for writing/ calligraphy. Other materials will be provided.
Khajag Apelian is a lettering, type and graphic designer. Having grown up between Dubai and Beirut, and being raised in an Armenian family, Khajag has an affinity for different languages and writing systems, which he has applied to the development of typefaces in many scripts, including Arabic, Armenian, and Latin.
Kristyan Sarkis is a type and graphic designer based in Amsterdam. He holds an MA in Type and Media from the Royal Academy of Art in the Hague (The Netherlands, 2010). In 2015, together with Typotheque, he co-founded TPTQ Arabic, a new type foundry specialised in high-quality Arabic type.
Show me Your type - type design workshop for students (type design)
by Verena Gerlach - 09:30 – 17:30 - maximum 10 participants
Type design workshop for medium/advanced young designers/students, who already are working on a particular font (text or display), and who are in the state of progress, in which they still do need professional critique and advice.
There are a lot of great, fresh ideas and starting points, students were already working on while other type design workshops at university, f. ex. Due to the amount of time, type design actually is demanding, a lot of them unfortunately got stocked, continued working without professional guidance, and would like to discuss their designs with a professional.
Under the guidance of Verena Gerlach, the participants will work hands on on their own typeface in progress, to learn how to take it to completion.
The applicants would have to apply by handing in a portfolio or a sample of a typeface / font, they are already working on. The students will need to bring b/w laser print outs from their typefaces: specimen and some examples of text, the size they are planning to use their typefaces in (A4, landscape), also laptop with Glyphs or FontLab.
1998, Verena founded her studio for graphic design, typedesign and typography in Berlin. Since 2006, she has been working as a freelance book designer for the art book publisher Hatje Cantz. She started lecturing in type design, and typography in 2003, and she now gives lectures and workshops all over the globe. She also is working on the typographic production for international, contemporary artists. In 2013, Verena published her book »Karbid—From Lettering to Type Design«. 2014, she took part of an artist and residency program by Goethe Institute Bangalore on lettering and the textile industryin India.
PLEASE NOTE: This workshop is for medium/advanced young designers/students who already have a text or display font in progress but need professional critique and advice. Under Verena’s guidance, participants will work on their own typeface in progress and learn how to take it to completion. There is no fee for this workshop, but attendance is limited to the first 10 students accepted. Portfolios must be submitted for review for acceptance into this workshop. Email firstname.lastname@example.org with your portfolio if you wish to apply.
Masterclass — Designing a sans in one day (type design)
by Martin Majoor - 09:30 – 17:30 - maximum 20 participants
To design a sanserif in one day is impossible. But when using a good serifed example it is a piece of cake… or isn’t it? This masterclass in type design uses a lot of paper, pencils, ink and erasers, but… no computers!
The first shapes will be ‘written’ with the ‘double pencil method’, two pencils that are tied together to form a sort of calligraphic writing tool. It is quite a simple tool but it is important to use it in the right way in order to get a good basis for a serifed type design. Here is where the expertise of Martin Majoor comes in.
Squeaking felt-tip markers will be used to fill in the contours of some essential characters, intoxicating correction fluid adds the necessary sharpness in detail. Numerous times the drawings will be put upon the wall, just to be able to take distance and to judge shapes. It will be one of the more important, maybe even philosophical aspects of this masterclass: take a distance from time to time!
In the end again there will be used a lot of markers and correction fluid, this time to transform the serifed characters into a sans. Mission accomplished!
Martin Majoor is an international renowned type designer who created award-winning typefaces like Scala, Seria and Nexus. His most recent typeface Questa was designed in collaboration with Jos Buivenga. It ranked second in a list of the 50 most noteworthy font releases of 2014, published by 365Type/ATypI. Majoor taught typography at several Schools of Fine Art and he lectured around the globe. Currently he gives masterclasses/workshops and writes about typography for specialized books and magazines. He has been living and working in both Holland and Poland.
Asian Type Design in Glyphs (tools)
by Georg Seifert and Rainer Erich Scheichelbauer - 09:30 – 17:30 - maximum 15 participants
With its highly specialized tools and features, Glyphs has quickly become a very important tool in the realm of Indic and East Asian type design. In this workshop, the Glyphs team will take you through a sample workflow and show many little tricks that effectively facilitate Asian font production. Students are required to bring their MacBooks OS X 10.9.5 or later, with the latest version of Glyphs installed.
Bauhaus University graduate Georg Seifert (b. 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. He co-developed the typeface for the new Berlin Airport. He is most well known, however, for the font editor ‘Glyphs’, first released in 2011. Seifert lives and works in Berlin.
Rainer Erich (‘Eric’) Scheichelbauer was born in Vienna. A trained photographer, Eric holds both a philosophy and a Dutch studies degree. He creates typefaces, works as a digital punchcutter for other type designers, and gives type design workshops on a regular basis. Since he has joined the Glyphs team in 2012, he has been writing articles, tutorials, and Python scripts, as well as the blog and the handbook. He lives and works in Vienna, where he runs his type studio Schriftlabor.
FontLab VI in Depth (tools)
by Adam Twardoch, Thomas Phinney and Yuri Yarmola - 09:30 – 17:30 - maximum 50 participants
In the first half of the workshop, Adam, Thomas & Yuri provide an in-depth look at the new outline design process in FontLab VI that will empower type designers to get better results, faster. The FontLab team will discuss how glyphs are organized into Layers and Shapes, explain how the new Rapid tool complements the improved traditional Pen, and talk about the new point types (Genius and Servant points, Smart corners), explore new contour operations (Nudge, Power Nudge, Tunni Lines, Balance, Harmonize) and examine the all-new system of guidelines.
The second half of the workshop focuses on technical details of FontLab VI, from smart contour operations with the fractional coordinate system, metrics and kerning handling with groups and slanted sidebearings, all the way to the vastly expanded font format support and the new Python API. The FontLab team will also welcome questions in an open Q&A. Students are required to bring their laptops.
Adam Twardoch is Director of Products of FontLab. He also works as the glyph wrangler at MyFonts, and as a font consultant specializing in font technology, multilingual typography, CSS webfonts, Unicode and OpenType. Adam has served as design consultant or co-designer on several large type design projects, including the Lato font family by Łukasz Dziedzic. He regularly teaches workshops in font creation, and is a board member of Association Typographique Internationale (ATypI). Originally from Poland, he lives and works in Berlin.
Thomas Phinney is President of FontLab. Previously he worked at Extensis (web fonts and font management tools) and Adobe (as product manager for global fonts and typography). Thomas is also a type designer, teacher, writer, and consultant on fonts and typography. He teaches type design with Crafting Type and has been a repeat guest lecturer for MA Typeface Design at the University of Reading. Since 2004 he has been a board member of ATypI. His typeface Hypatia Sans is an Adobe Original with over 3000 glyphs per font. Thomas lives in Portland, and enjoys table tennis and board games.
Yuri Yarmola is as Vice President Research & Development of FontLab. He 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 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.
Responsive Typography Workshop: using type well on the web (tech)
by Jason Pamental - 09:30 – 17:30 - maximum 40 participants
Typography is the single most present element of your design when screen size changes, and has the greatest influence on readability and retention. Learn how to use web fonts well to amplify the message and voice of your design without sacrificing performance, how to scale your typography based on screen size, and how little details layered together turn a good experience into a great one.
This workshop will cover a number of topics, with exercises to work through each one. We’ll work through how to implement web fonts properly for best performance and progressive enhancement, whether self-hosting fonts or using a service. We’ll also look at how screen size impacts typographic scale, with sample code that includes a modular scale to start with. Finally we’ll cover a number of ideas to leverage such as OpenType Features, CSS equivalents of typographic techniques, and troubleshooting tips. Students are required to bring their laptops with a code editor and a web server (ex: MAMP for Mac) installed.
Jason Pamental is a seasoned Design and User Experience Strategy leader with over 20 years’ experience on the web and with digital products. Positions have included hands-on and leadership in both creative and technical roles. Projects range from Ivy League higher education to secondary school website platform development to the NFL and America’s Cup. Extensive research and writing on typography for the web: author of Responsive Typography from O’Reilly, and articles for .Net Magazine, PRINT Magazine, HOW, Typecast Blog, Fonts.com and others. Frequent speaker and workshop leader, having presented at over 40 national and international conferences and featured on numerous podcasts, including The Web Ahead, Boagworld and Creative Briefs.
Take Care of your EULA and your EULA will take care of you (business)
by Joyce Ketterer - 09:30 – 12:30 - maximum 18 participants
It is often said that the EULA is the most important expression of a foundry's values and yet they can feel impenetrable and intimidating. We all know customers mostly don't read them. So why bother?
In this three hour practicum on End User License Agreements, I will introduce the group to my philosophy to licensing and license enforcement which takes into account "the retroactive reader". They will learn how to read this particular legal document without crossed eyes or an unintended nap. Together we will read a selection of actual foundry EULAs to understand both the essential requirements of a EULA and the areas of personal expression. Attendees will leave the workshop ready to craft their own EULA.
Joyce Ketterer is the CEO of Darden Studio, having served in that capacity for three years and with various other titles for five. In cooperation with the studio’s attorney, she is responsible for writing and enforcing the studio’s EULA — a task to which she brings the real world experience of working directly with customers for both sales and license enforcement.
RoboFont In Practise (tools)
by Frederik Berlaen - 09:30 – 12:30 - maximum 15 participants
RoboFont is a UFO-based font editor. One of the design principles is full scripting support for both your font data as for interfering with the application. The workshop will be focused on how to embed scripts in to a design workflow. Students are required to bring their laptops.
Frederik Berlaen is a typedesigner with a love for programming and scripting. After studying graphical design at Sint-lucas in Ghent, he went to study Type & Media at the KABK in The Hague. His final project was not a typefamily but an application which studies the broadnip and pointed pen, called Kalliculator. Frederik Berlaen works under the name of TypeMyType providing font services, programming and teaching at Sint Lucas Ghent.
SVG in OpenType (tech)
by Miguel Sousa - 14:30 – 17:30
Until recent years, the only way to have more than one flat color applied to digital text required using images or vector artwork. But all of that has changed with the addition of Scalable Vector Graphics (SVG) to the OpenType font format. The adoption of this new capability has been slow, but 2016 will be a turning point, and font makers should get ready for it. This workshop aims at teaching type designers and specially font developers how to add SVG functionality to their fonts. Students may bring their laptop with Python 2.7 or higher installed, but that is not required.
Miguel Sousa is a Portuguese-American type designer and font developer with a Masters in Typeface Design from the University of Reading. He designed Calouste, a typeface covering both Latin and Armenian scripts, which received a Type Directors Club award in 2006. That same year he joined the Type Development team at Adobe. There he has continued his focus on non-Latin language systems, and mastering the details of font technologies. He manages the Type Production team.