Registration is open until 2nd December
Wrocław Type Forum it is an international conference concerning contemporary typography and type design. We connect academic reflection with design activity. Raised topics of historical motifs and modern design will encourage us to thinking about future. Wrocław Type Forum is an event during which we can meet new inspiring people, discuss our ideas and share our knowledge. The conference topic ‘Calligraphy-Lettering-Typography’ means that we want to go through the different contexts of a word ‘letter’. Analog practice is still the main part of design and it is source of new form and inspiration. We would like to invite all interested designers, lecturers, explorers, students and enthusiasts.
Discussion with Adam Twardoch moderated by Rene Wawrzkiewicz (PGDAwards). Title: ‘Fonts, Licenses, Market’
Adam Twardoch is Director of Products of FontLab. He has been working as a font consultant for MyFonts, Monotype, Google, Adobe and many independent font vendors, specializing in font technology, multilingual typography, CSS webfonts, Unicode and OpenType. Adam co-designed several type families, including Lato (by Łukasz Dziedzic) and Milka (by Botio Nikoltchev), co-developed the OpenType specification extensions for variable and SVG color fonts and co-edited Polish editions of several typography books. He lectures and teaches workshops regularly, and served on the board Association Typographique Internationale (ATypI) for many years. Adam lives and works in Warsaw and Berlin.
Type and the Letters of Politics
Nikola Djurek is a typeface designer born in Croatia, who studied in Croatia, Italy and finally in The Netherlands at postgraduate master course TypeMedia at Royal Academy of Art in The Hague. He earned his PhD degree in the graphic and type-design field. He is a founder of the digital font foundry Typonine, his typefaces has gained international recognition for their quality and innovation. Following 10 years collaboration with Peter Biľak, Nikola joined Typotheque as a partner in 2016. Nikola teaches at Art Academy – DVK, University of Split and University of Zagreb, Faculty of Design.
The historical sources of contemporary type design
Type design is probably one of the most conservative of all the crafts even though the tools and production methods of typefaces have drastically changed, just as the whole idea of type has changed. However, today’s letterforms are relatively similar to those that have been in use for the past five centuries. Type design is anchored in the past. Typefaces relate to historical models and they are often imitations – at different grades of closeness – of types that were produced with different technology. But the past can also be an endless archive and taking pinches of this or that ingredient can help us create new designs.
In this talk I will introduce two of my typefaces: Zenon (2015) and Sole Sans (2018, with Luciano Perondi). Despite the historical research that lies behind them, there is no revival of any specific existing type: both are contemporary designs with roots that go down into history.
I’m a type designer and member of CAST – Cooperativa Anonima Servizi Tipografici.
Besides designing, I’m doing a PhD at the University of Reading, faculty of Typography and Graphic Design. My research concerns 15th-century Venetian roman types and I combine use of bibliographical knowledge with analysis of letterforms.
In 2014 I took an MA in Typeface Design at the University of Reading where I was introduced to so-called non-Latin types and fell in love with Bengali script. Prior to this, from the late 1990s, I freelanced as a type and graphic designer in Milan and elsewhere in northern Italy. From 2009–2013 I was a lecturer in typography at the University of Bolzano. I currently live between Bolzano and London.
Maria Theresia type family. Tactile alphabet in education of blind.
The starting point for the research was Wilhelm Klein’s typeface, designed more than 200 years ago for people with visual loss or impairment. It was based on the idea of relief lettershapes and later it was substituted by Braille which is more effective in terms of speed or reading, for example. However Klein’s typeface can still be very useful for education purposes. The goal of the revival project is to produce a system of digital fonts and test it: according to the needs of users, to reading by touch and to the possibilities of reproducing techniques.
Viktoriya Grabowska is an Ukrainian-born Polish-based independent type designer. She dedicates herself to different projects that range from type design and research. Her typefaces often cover Latin and Cyrillic. She also works with other designers and type foundries, such as Cornel Windlin Studio, Lineto, Darden Studio, Studio Norm (Dimitri Bruni & Manuel Krebs), Rosetta Type Foundry and Sorkin Type. Viktoriya teaches type design at University of Arts in Poznań and School of Form.
Photo: Kris Pawlowski
More info soon
He values clear communication. Type-design and typography are a huge part of his working time. He’s a member of The Eugeniusz Geppert Academy of Art and Design staff. We teaches also at the Jagiellonian University in Cracow. He cooperates with Politański Brand Design studio.
Péter Bence Simon
TYPO LAG. Desynchronosis of letterforms
As an interdisciplinary typographer, I am experimenting with a fusion of literature, visual art and design. Researching and analysing the border territory between verbal meaning, typography and imagery. Results were published in two typographic artists’ books (Letter Interferences / Letter Fragments) and many looped typo-animations.
I am not aiming to justify T. J. W. Mitchell’s “pictorial turn” theory (the dominant role of picture against text, in the media-era). My typographic experiments live in the time of “info-need” (M. McLuhan) and “new media” (M. Castells).These typo-graphics are balanced on the borderline between text and picture, art and design and thus are reflections of the current (picture versus text) “wartime” situation.
Péter Bence, Simon is an independent graphic artist, designer living and working in Budapest, Hungary. His artistic attitude reflects clean and loveable visual-communication elements, with the balanced use of both type-related and graphical parts. His doctoral research lead him to the border-territory of literature, visual art and design. He is experimenting with interaction between picture and type (analysing connecting points, blending the borderline, re- and transcoding the letter-form) to release verbal elements from their syntactic and semantic relations.
New details about the origins of Akzidenz-Grotesk
Unlike many sans serif typefaces published during the last 60+ years, Akzidenz-Grotesk is not a harmonious family. It was not designed all at once. Indeed, it originated as several different typefaces. Those sub-families from the late-nineteenth and early-twentieth centuries were not attributed to any known designers. For a long time, it was presented as the work of anonymous craftsmen employed at the H. Berthold AG type foundry in Berlin and the other type foundries Berthold acquired. These days, graphic designers expect that every typeface should be able to be traced back to a single source – a creative person from history, who worked in a similar way as they do themselves. The real history of almost every early sans serif is quite messy, but that lack of clarity gets in the way of myth making: everybody wants a good story. Since no concise back story existed for Akzidenz-Grotesk, an inaccurate one was created twenty years ago, attributing it to a Berlin punchcutter and type foundry owner named Ferdinand Theinhardt. The story has been repeated ever since. This presentation will reframe the history of Akzidenz-Grotesk’s origins in light of research from the last twenty years, including the lecturer’s own investigation.
Born 1979 in Baltimore/USA, Dan Reynolds lives in Berlin. From 1997 to 2001, he studied graphic design at the Rhode Island School of Design. Then he moved to Germany, briefly attending design schools in Wiesbaden and Offenbach before starting to work at the old Linotype GmbH company. He was there from 2004 to 2007, and again from 2008 to 2011. In between, he completed the MA Typeface Design course at the University of Reading in England. In 2009, Dan began teaching type design classes as an adjunct instructor at various programs in Germany, including the Berlin University of the Arts, the Berlin Weissensee School of Art, the HTW Berlin, the Hochschule Darmstadt, the Kunsthochschule Burg Giebichenstein in Halle, and the HBKsaar in Saarbrücken. Between 2011 and 2016, Dan was a research assistance at the Braunschweig University of Art, and earlier this year, he submitted his doctoral dissertation there. This was on the relationships between late-nineteenth/early-twentieth century German type foundries and freelance designers. Since May 2018, Dan has worked at LucasFonts GmbH.
Victoria and Vitalina Lopukhina
Cyrillic in design. Old traditional Cyrillic graphemes in the modern grafic design.
Victoria and Vitalina Lopukhina are calligraphers, graphic designers and teachers. We work with letters, popularize the Cyrillic alphabet and traditional handwriting in the modern world. Vitalina teaches calligraphy at the Kiev Art Academy of M. Boychuk. We participate in various international calligraphic conferences and exhibitions. Among them there are the International Exhibition of Calligraphy, Typomania, the International Festival of Poster and Typography Design PLASTER, the International Festival of the Design of Word. We also were the part of the festival of calligraphy and typography “Ruthenia” (since 2009) organizing committee. Together, we conducted more than 80 lectures, courses and workshops in Kiev, Lviv, St. Petersburg, Chelyabinsk, Poznan, Minsk and Chisinau. Victoria was the speaker at TEDx Kyiv “Spadok maibutnioho” (“The inheritance of the future”), in 2018.
Together and separately we painted more than 20 walls, some of them can be found in Kiev, in the Netherlands. Works and interviews were published in German, Polish and Chinese calligraphy and lettering journals, as well as in such books as: Hand to Type and Mastering Calligraphy books: The Complete Guide to Hand.
Type for solidarity – typography as a social service
More info soon
Friday, 7th Dec
from 12.00 Registration
13.30 – Opening of the conference
14.00 – Riccardo Olocco “The historical sources of contemporary type design”
15.00 – Victoria and Vitalina Lopukhiny “Cyrillic in design. Old traditional Cyrillic graphemes in the modern graphic design”
16.00–16.30 Coffee break
16.30 – Viktoriya Grabowska “Maria Theresia type family. Tactile alphabet in education of blind”
17.30 – Péter Bence Simon “TYPO LAG. Desynchronosis of letterforms”
18.30 – Closing of the first day
Saturday, 8th Dec.
10.00 – Maciej Majchrzak “Distinct voices in Polish brand communication based on typography”
11.00 – Katarzyna Roj “Wanna be a type activist? How to became one in 6 steps”
12.00–12.30 Coffee break
12.30 – Tomasz Bierkowski “Type for solidarity – typography as a social service”
13.30 – Nikola Djurek “Type and the Letters of Politics”
14.30–16.00 Lunch break
16.00 – Dan Reynolds “New details about the origins of Akzidenz-Grotesk”
17.00 – Adam Twardoch – Discussion with Adam Twardoch moderated by Rene Wawrzkiewicz (PGDAwards). Title: ‘Fonts, Licenses, Market’ ENG/PL
18.00 – Closing of the conference
Registration is obligatory.
The conference fee is 150 PLN (or €37) and 100 PLN (€25) for students (you will have to present a document during the registration in Wrocław).
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Konferencja jest dofinansowana ze środków Miasta Wrocławia w ramach programu Wrocławskie Konferencje Naukowe.