6o. Congreso Internacional "Diseñar para la Humanidad: Typ09" / Atypi 2009

Liderazgo AnĂĄhuac

1

Memorias Memories

Liderazgo AcadĂŠmico Internacional

2

Memorias del atypi conference 2009 the heart of the letter Escuela de Diseño Universidad Anáhuac México Norte octubre, 2009

3

2

Memorias del atypi conference 2009 the heart of the letter Escuela de Diseño Universidad Anáhuac México Norte octubre, 2009

3

4

5

4

5

Contents

6

9 Welcome 13 Past conferences 15 Introduction Monday 26 October Tuesday 27 October 19 Wednesday 28 October Thursday 29 October Friday 30 October 21 Workshops 23 Speakers and presentations details Exhibitions 29 Street survival tips 31 Sponsors and media partners 39 The venues Mexico City Acknowledgments Conference Committee

7

Contents

6

9 Welcome 13 Past conferences 15 Introduction Monday 26 October Tuesday 27 October 19 Wednesday 28 October Thursday 29 October Friday 30 October 21 Workshops 23 Speakers and presentations details Exhibitions 29 Street survival tips 31 Sponsors and media partners 39 The venues Mexico City Acknowledgments Conference Committee

7

Welcome

8

Welcome to Typ09, the 2009 conference of the Association Typographique Internationale (ATypI).

For over half a century, ATypI has been the principal forum for discussion and the exchange of ideas within the international typographic community. ATypI’s annual conference, held each year in a different city, brings together type designers, typographers, graphic designers, educators, web designers, software designers, and students from around the world to celebrate the importance of type as the means of human communication, and to explore its history and future.

When ATypI was founded in 1957, type was still, as Harry Carter put it, “something you can hold in your hand.” Type manufacturing was an industrial process, and the production and marketing of a new typeface was a major undertaking. In the five decades since then, however, both the technology and the business of type have changed radically.

Digital type is in everyone’s hands, or at least on our computers. The tools for type design are readily available, and the process for creating and distributing new fonts is much more open and decentralized than it was in the 1950s. This democratization of type

has created a widespread hunger for more information about type and typography – information that ATypI is in a unique position to provide. Through its members, ATypI gives us access to the traditions and the developed knowledge of 500 years of printing and type design, as well as a way to apply that knowledge to the latest communication technologies.

This is the first time ATypI has held its conference in Latin America. We are very pleased to be in Mexico City, home of the oldest printing tradition in the western hemisphere, as well as home to a rich variety of cultural, linguistic, artistic, and writing traditions. We look forward to a fruitful exchange of ideas and accomplishments, and to the kind of lively conversation that invariably ensues.

Enjoy the conference, enjoy the city, make new friends and professional contacts, and take away something new to fuel your creative endeavors over the next year.

John D. Berry President, Association Typographique Internationale

9

Welcome

8

Welcome to Typ09, the 2009 conference of the Association Typographique Internationale (ATypI).

For over half a century, ATypI has been the principal forum for discussion and the exchange of ideas within the international typographic community. ATypI’s annual conference, held each year in a different city, brings together type designers, typographers, graphic designers, educators, web designers, software designers, and students from around the world to celebrate the importance of type as the means of human communication, and to explore its history and future.

When ATypI was founded in 1957, type was still, as Harry Carter put it, “something you can hold in your hand.” Type manufacturing was an industrial process, and the production and marketing of a new typeface was a major undertaking. In the five decades since then, however, both the technology and the business of type have changed radically.

Digital type is in everyone’s hands, or at least on our computers. The tools for type design are readily available, and the process for creating and distributing new fonts is much more open and decentralized than it was in the 1950s. This democratization of type

has created a widespread hunger for more information about type and typography – information that ATypI is in a unique position to provide. Through its members, ATypI gives us access to the traditions and the developed knowledge of 500 years of printing and type design, as well as a way to apply that knowledge to the latest communication technologies.

This is the first time ATypI has held its conference in Latin America. We are very pleased to be in Mexico City, home of the oldest printing tradition in the western hemisphere, as well as home to a rich variety of cultural, linguistic, artistic, and writing traditions. We look forward to a fruitful exchange of ideas and accomplishments, and to the kind of lively conversation that invariably ensues.

Enjoy the conference, enjoy the city, make new friends and professional contacts, and take away something new to fuel your creative endeavors over the next year.

John D. Berry President, Association Typographique Internationale

9

Introduction

10

Mexico City, situated in the Anáhuac Valley, framed by the twin volcanoes Popocatépetl and Iztaccíhuatl, and seat of Tenochtitlán – capital of the powerful Aztec empire – offered an astounding spectacle for the first Spaniards who gazed upon its splendor.

For these Spaniards, whose experience of a “large” city included nothing over 100,000 inhabitants, Mexico City’s teeming multitudes (of up to a half a million) can only have inspired awe. The city, crisscrossed by a grid of canals, comprised nearly one-thousand hectares, whose umbilicus was a ceremonial center housing seventyeight temples and government buildings from which the Aztecs’ power radiated from coast to coast.

Today in Mexico City, one of the world’s largest metropolises, one is witness to the convergence of the past with modernity, imbuing the city with a peculiar “Mexicanesque” idiosyncrasy. Nowhere is this syncretism more evident than in the Historic Center of the city, declared Patrimony of Humanity by the UNESCO, where Aztec

ruins co-exist with the sixteenth century cathedral and colonial government offices (still in use) around a zócalo covering nearly half a square kilometer where Mexico’s yearly independence celebration attracts hundreds of thousands in a yearly outpouring of national pride.

The Anahuac University School of Design is proud to host Typ09 and offer the Historic Center of Mexico City as a backdrop for a gathering of typographers, graphic and editorial designers, multimedia professionals, editors, printers, writers, linguists, philosophers, philologists and historians to reflect on the place and influence of the written word in the world today.

Ricardo Salas Director, Universidad Anáhuac School of Design, Mexico City

11

Introduction

10

Mexico City, situated in the Anáhuac Valley, framed by the twin volcanoes Popocatépetl and Iztaccíhuatl, and seat of Tenochtitlán – capital of the powerful Aztec empire – offered an astounding spectacle for the first Spaniards who gazed upon its splendor.

For these Spaniards, whose experience of a “large” city included nothing over 100,000 inhabitants, Mexico City’s teeming multitudes (of up to a half a million) can only have inspired awe. The city, crisscrossed by a grid of canals, comprised nearly one-thousand hectares, whose umbilicus was a ceremonial center housing seventyeight temples and government buildings from which the Aztecs’ power radiated from coast to coast.

Today in Mexico City, one of the world’s largest metropolises, one is witness to the convergence of the past with modernity, imbuing the city with a peculiar “Mexicanesque” idiosyncrasy. Nowhere is this syncretism more evident than in the Historic Center of the city, declared Patrimony of Humanity by the UNESCO, where Aztec

ruins co-exist with the sixteenth century cathedral and colonial government offices (still in use) around a zócalo covering nearly half a square kilometer where Mexico’s yearly independence celebration attracts hundreds of thousands in a yearly outpouring of national pride.

The Anahuac University School of Design is proud to host Typ09 and offer the Historic Center of Mexico City as a backdrop for a gathering of typographers, graphic and editorial designers, multimedia professionals, editors, printers, writers, linguists, philosophers, philologists and historians to reflect on the place and influence of the written word in the world today.

Ricardo Salas Director, Universidad Anáhuac School of Design, Mexico City

11

Entrega de medalla a Félix Beltrán

12

Padre Jesús Quirce, maestro y amigo Ricardo Salas, estimados alumnos: Por muchos años, Ricardo Salas y Tullia Bassani fueron para mí nombres de referencia, diseñadores que por su trayectoria eran mencionados en mis aulas estudiantiles, entre restiradores, computadoras y desvelos. Con sorprendente frecuencia, Anáhuac-RicardoTullia eran nombres articulados en la misma frase. Junto con palabras como “editorial”, “internacional”, “profesional” . Es para mí una satisfacción insospechada que con el paso de los años ellos se hayan convertido para mí, más allá de las palabras, en personas reales, humanas, y sobre todo, grandes amigos.

Me considero un diseñador que por casualidad da clases, más que un profesor que diseña. Esto tiene ventajas y desventajas. Por un lado, mis métodos académicos pueden ser un tanto impredecibles para mis alumnos. Por otro, me ha permitido traer a las aulas la realidad del oficio que tanto quiero, y dárselos a mis alumnos, pasandoles la antorcha. Por que ellos son quienes mantendrán vivo el fuego de nuestra profesión, una vez que nos hayamos ido.

Mi paso por esta universidad, por esta Escuela de Diseño, que tanto me ha consentido, ha tenido y sigue teniendo en mí una impronta imborrable, porque me ha permitido intercambiar un oficio por otro y obtener lo mejor de ambos mundos, paradoja que ahora expreso en la imposible palabra diseñeducador.

Y quizá esta extraña y bella palabra es la que mejor define el perfil de nuestra Escuela de Diseño, y en un sentido extenso, la labor de la Universidad Anáhuac. No nada más enseñar alumnos a diseñar cosas, sino enseñalos a diseñarse a sí mismos, a su familia y a su sociedad.

Ser distinguido con el honor de la Medalla Anáhuac llega a mí como una impactante sorpresa, tan inesperada como grata. Un honor que también trae consigo una dosis de responsabilidad. Aceptarla es un gusto, una inmensa alegría, pero también un compromiso. Un acicate para hacer las cosas mejor, para diseñar mejor, enseñar mejor, y sobre todo, ser una mejor persona.

Dicho ésto, me temo que sólo resta un palabra que puede expresar cabalmente este alto honor y la satisfacción y alegría que siento en este momento: GRACIAS.

13

Entrega de medalla a Félix Beltrán

12

Padre Jesús Quirce, maestro y amigo Ricardo Salas, estimados alumnos: Por muchos años, Ricardo Salas y Tullia Bassani fueron para mí nombres de referencia, diseñadores que por su trayectoria eran mencionados en mis aulas estudiantiles, entre restiradores, computadoras y desvelos. Con sorprendente frecuencia, Anáhuac-RicardoTullia eran nombres articulados en la misma frase. Junto con palabras como “editorial”, “internacional”, “profesional” . Es para mí una satisfacción insospechada que con el paso de los años ellos se hayan convertido para mí, más allá de las palabras, en personas reales, humanas, y sobre todo, grandes amigos.

Me considero un diseñador que por casualidad da clases, más que un profesor que diseña. Esto tiene ventajas y desventajas. Por un lado, mis métodos académicos pueden ser un tanto impredecibles para mis alumnos. Por otro, me ha permitido traer a las aulas la realidad del oficio que tanto quiero, y dárselos a mis alumnos, pasandoles la antorcha. Por que ellos son quienes mantendrán vivo el fuego de nuestra profesión, una vez que nos hayamos ido.

Mi paso por esta universidad, por esta Escuela de Diseño, que tanto me ha consentido, ha tenido y sigue teniendo en mí una impronta imborrable, porque me ha permitido intercambiar un oficio por otro y obtener lo mejor de ambos mundos, paradoja que ahora expreso en la imposible palabra diseñeducador.

Y quizá esta extraña y bella palabra es la que mejor define el perfil de nuestra Escuela de Diseño, y en un sentido extenso, la labor de la Universidad Anáhuac. No nada más enseñar alumnos a diseñar cosas, sino enseñalos a diseñarse a sí mismos, a su familia y a su sociedad.

Ser distinguido con el honor de la Medalla Anáhuac llega a mí como una impactante sorpresa, tan inesperada como grata. Un honor que también trae consigo una dosis de responsabilidad. Aceptarla es un gusto, una inmensa alegría, pero también un compromiso. Un acicate para hacer las cosas mejor, para diseñar mejor, enseñar mejor, y sobre todo, ser una mejor persona.

Dicho ésto, me temo que sólo resta un palabra que puede expresar cabalmente este alto honor y la satisfacción y alegría que siento en este momento: GRACIAS.

13

Entrega de medalla a Gabriel Martínez Meave

14

Padre Jesús Quirce, maestro y amigo Ricardo Salas, estimados alumnos: Por muchos años, Ricardo Salas y Tullia Bassani fueron para mí nombres de referencia, diseñadores que por su trayectoria eran mencionados en mis aulas estudiantiles, entre restiradores, computadoras y desvelos. Con sorprendente frecuencia, Anáhuac-RicardoTullia eran nombres articulados en la misma frase. Junto con palabras como “editorial”, “internacional”, “profesional” . Es para mí una satisfacción insospechada que con el paso de los años ellos se hayan convertido para mí, más allá de las palabras, en personas reales, humanas, y sobre todo, grandes amigos.

Me considero un diseñador que por casualidad da clases, más que un profesor que diseña. Esto tiene ventajas y desventajas. Por un lado, mis métodos académicos pueden ser un tanto impredecibles para mis alumnos. Por otro, me ha permitido traer a las aulas la realidad del oficio que tanto quiero, y dárselos a mis alumnos, pasandoles la antorcha. Por que ellos son quienes mantendrán vivo el fuego de nuestra profesión, una vez que nos hayamos ido.

Mi paso por esta universidad, por esta Escuela de Diseño, que tanto me ha consentido, ha tenido y sigue teniendo en mí una impronta imborrable, porque me ha permitido intercambiar un oficio por otro y obtener lo mejor de ambos mundos, paradoja que ahora expreso en la imposible palabra diseñeducador.

Y quizá esta extraña y bella palabra es la que mejor define el perfil de nuestra Escuela de Diseño, y en un sentido extenso, la labor de la Universidad Anáhuac. No nada más enseñar alumnos a diseñar cosas, sino enseñalos a diseñarse a sí mismos, a su familia y a su sociedad.

Ser distinguido con el honor de la Medalla Anáhuac llega a mí como una impactante sorpresa, tan inesperada como grata. Un honor que también trae consigo una dosis de responsabilidad. Aceptarla es un gusto, una inmensa alegría, pero también un compromiso. Un acicate para hacer las cosas mejor, para diseñar mejor, enseñar mejor, y sobre todo, ser una mejor persona.

Dicho ésto, me temo que sólo resta un palabra que puede expresar cabalmente este alto honor y la satisfacción y alegría que siento en este momento: GRACIAS.

15

Entrega de medalla a Gabriel Martínez Meave

14

Padre Jesús Quirce, maestro y amigo Ricardo Salas, estimados alumnos: Por muchos años, Ricardo Salas y Tullia Bassani fueron para mí nombres de referencia, diseñadores que por su trayectoria eran mencionados en mis aulas estudiantiles, entre restiradores, computadoras y desvelos. Con sorprendente frecuencia, Anáhuac-RicardoTullia eran nombres articulados en la misma frase. Junto con palabras como “editorial”, “internacional”, “profesional” . Es para mí una satisfacción insospechada que con el paso de los años ellos se hayan convertido para mí, más allá de las palabras, en personas reales, humanas, y sobre todo, grandes amigos.

Me considero un diseñador que por casualidad da clases, más que un profesor que diseña. Esto tiene ventajas y desventajas. Por un lado, mis métodos académicos pueden ser un tanto impredecibles para mis alumnos. Por otro, me ha permitido traer a las aulas la realidad del oficio que tanto quiero, y dárselos a mis alumnos, pasandoles la antorcha. Por que ellos son quienes mantendrán vivo el fuego de nuestra profesión, una vez que nos hayamos ido.

Mi paso por esta universidad, por esta Escuela de Diseño, que tanto me ha consentido, ha tenido y sigue teniendo en mí una impronta imborrable, porque me ha permitido intercambiar un oficio por otro y obtener lo mejor de ambos mundos, paradoja que ahora expreso en la imposible palabra diseñeducador.

Y quizá esta extraña y bella palabra es la que mejor define el perfil de nuestra Escuela de Diseño, y en un sentido extenso, la labor de la Universidad Anáhuac. No nada más enseñar alumnos a diseñar cosas, sino enseñalos a diseñarse a sí mismos, a su familia y a su sociedad.

Ser distinguido con el honor de la Medalla Anáhuac llega a mí como una impactante sorpresa, tan inesperada como grata. Un honor que también trae consigo una dosis de responsabilidad. Aceptarla es un gusto, una inmensa alegría, pero también un compromiso. Un acicate para hacer las cosas mejor, para diseñar mejor, enseñar mejor, y sobre todo, ser una mejor persona.

Dicho ésto, me temo que sólo resta un palabra que puede expresar cabalmente este alto honor y la satisfacción y alegría que siento en este momento: GRACIAS.

15

Speakers and presentations details

16

The three days of main programming take place at MIDE in the historic center of Mexico City.

The principal conference program is presented in the Museo Interactivo de EconomĂ­a (MIDE), located in the historic Convent of Betlemitas, a massive eighteenth-century building that has been handsomely renovated and outfitted for the twenty-first century. One of the earliest and finest interactive museums in Mexico, MIDE has impressive multimedia capabilities, including a 16-screen computer-controlled projection system in the main courtyard.

Two days of workshops are held on the campus of the School of Design, AnĂĄhuac University.

17

Speakers and presentations details

16

The three days of main programming take place at MIDE in the historic center of Mexico City.

The principal conference program is presented in the Museo Interactivo de EconomĂ­a (MIDE), located in the historic Convent of Betlemitas, a massive eighteenth-century building that has been handsomely renovated and outfitted for the twenty-first century. One of the earliest and finest interactive museums in Mexico, MIDE has impressive multimedia capabilities, including a 16-screen computer-controlled projection system in the main courtyard.

Two days of workshops are held on the campus of the School of Design, AnĂĄhuac University.

17

Andreu Balius & José Scaglione Andreu Balius Is a graphic and (type) designer based in Barcelona. He runs his own studio Typerepublic. He combines his work at the studio with teaching graphic design and typography. He is presently an associate professor at Pompeu Fabra University in Barcelona. Apart from his type affairs, he also loves riding on his mountain bike.

18

José Scaglione Is a graphic and multimedia designer, and a graduate from the MA in Typeface Design at the University of Reading, UK. He currently teaches typography at the National University of Rosario, Argentina, and he runs his own design studio, specialized in editorial design, branding and typographic consultancy. He is a partner of the independent font foundry Type Together.

Félix Beltrán Félix Beltrán was born in Havana and is now a Mexican citizen. He studied in New York at the School of Visual Arts and the American Art School. He had the New School for Social Research and Graphic Art Center-Pratt Institute scholarship.

His works have been included in several collective exhibitions, individual exhibitions and in the collections of sixty national and international museums. He is the author of several books and has received numerous awards in national and international events as well as an Honoris Cause Doctorate from the International University Foundation, Delaware. He is Professor at the Universidad Autónoma Metropolitana in México City.

Ñ: A sign to convey a sound 27 October 2009 Museo Interactivo de Economía, MIDE 11:00 The alphabet used by the Romans –Latin– had twenty-one letters and it was enough for all the phonemes needed to articulate it. But as its descendants developed, they gave birth to new phonemes, new sounds that evolved out of spoken Latin, and they presented problems of spelling. Scribes had to find new ways of representing new sounds.

This lecture describes in detail the development and use of one of these sounds, the ntilde character, which became a symbol of literature and culture for all the spanish-speaking countries in the world.

The “ñ” is the uncontested representative of the spanish language, currently spoken by over 400 million people around the globe and the most studied romance tongue in the world.

To make a logo 29 October 2009 CAD 10:20

Anáhuac University,

Typography has three main functions which should be inescapable but which are often neglected in practice. These three functions are preserving ideas, facilitating reading, as well as evoking -to a certain extent- their contents. The graphic design specialist making a logo, who tries to differentiate from the competitors, should have the necessary knowledge about letters so as not to affect their established structures, learned by the public to facilitate their reading.

This workshop goal is to help develop the participants’ abilities to create outstanding logos without neglecting their readability, as well as facilitating -through comprehensionthe communication process for the public.

Filip Blažek Filip Blažek (1974) works as a full-time graphic designer since 1993. In 2000, he graduated from the Faculty of Arts at the Charles University in Prague. In 2003 established graphic design studio Designiq.

It focuses on two main fields of work—on creation of logotypes and corporate identity, and on promotion of bodies focusing on cultural work. He is founder and member of the editorial office of TYPO magazine, which focuses on typography, graphic design and visual communication. Since 1999, he lectures on type and corporate identity.

He is the Czech deputy of the international organization ATypI.

Posters from the 1989 “Velvet” Revolution 28 October 2009 Museo Interactivo de Economía, MIDE 16:20

Walter Bohatsch & Wolfgang Homola Walter Bohatsch studied graphic design and film animation at the ‘Schule für Gestaltung’ in Basel. In 1983 he set up his own office in Vienna. He served as a jury member in international competitions and is member of the Alliance Graphique Internationale (AGI).

His book, Continuously, published in 2007, provides insight into a multi-faceted visual form-giving process, never abandoning its strong link to contents and typography.

A new typeface for a new signage system 28 October 2009 Museo Interactivo de Economía, MIDE 15:20

Wolfgang Homola is an independent type and graphic designer in Vienna. He worked several years for Bohatsch Visual Communication in Vienna and for Harper Collins Publishers in London. He holds an MA in Typeface Design at the University of Reading, UK.

In 2009, we celebrate the 20th anniversary of the fall of the communist regimes in Europe. On November 17th, 1989, a peaceful student demonstration in Prague, started “Velvet Revolution” . During the revolutionary days, printed and hand written posters became one of the most important information channels as the media was controlled by the government. I would like to present my private collection that comprises the period of November and December 1989. I would like to give the audience the opportunity to see this unique collection of political posters.

When the building of the AK in Vienna, an institution that represents workers and employees, was being renovated and expanded, a new signage and wayfinding system was needed. The design concept for the new signage system sought both to respect the architectural style of the building (1950s modernism) and meet the requirements of the different user groups. Walter Bohatsch describes those considerations that informed the design of this signage system, and Wolfgang Homola shows the typeface he designed especially for this project – in order to make sure that the typeface would go well with the original lettering in the building.

19

Andreu Balius & José Scaglione Andreu Balius Is a graphic and (type) designer based in Barcelona. He runs his own studio Typerepublic. He combines his work at the studio with teaching graphic design and typography. He is presently an associate professor at Pompeu Fabra University in Barcelona. Apart from his type affairs, he also loves riding on his mountain bike.

18

José Scaglione Is a graphic and multimedia designer, and a graduate from the MA in Typeface Design at the University of Reading, UK. He currently teaches typography at the National University of Rosario, Argentina, and he runs his own design studio, specialized in editorial design, branding and typographic consultancy. He is a partner of the independent font foundry Type Together.

Félix Beltrán Félix Beltrán was born in Havana and is now a Mexican citizen. He studied in New York at the School of Visual Arts and the American Art School. He had the New School for Social Research and Graphic Art Center-Pratt Institute scholarship.

His works have been included in several collective exhibitions, individual exhibitions and in the collections of sixty national and international museums. He is the author of several books and has received numerous awards in national and international events as well as an Honoris Cause Doctorate from the International University Foundation, Delaware. He is Professor at the Universidad Autónoma Metropolitana in México City.

Ñ: A sign to convey a sound 27 October 2009 Museo Interactivo de Economía, MIDE 11:00 The alphabet used by the Romans –Latin– had twenty-one letters and it was enough for all the phonemes needed to articulate it. But as its descendants developed, they gave birth to new phonemes, new sounds that evolved out of spoken Latin, and they presented problems of spelling. Scribes had to find new ways of representing new sounds.

This lecture describes in detail the development and use of one of these sounds, the ntilde character, which became a symbol of literature and culture for all the spanish-speaking countries in the world.

The “ñ” is the uncontested representative of the spanish language, currently spoken by over 400 million people around the globe and the most studied romance tongue in the world.

To make a logo 29 October 2009 CAD 10:20

Anáhuac University,

Typography has three main functions which should be inescapable but which are often neglected in practice. These three functions are preserving ideas, facilitating reading, as well as evoking -to a certain extent- their contents. The graphic design specialist making a logo, who tries to differentiate from the competitors, should have the necessary knowledge about letters so as not to affect their established structures, learned by the public to facilitate their reading.

This workshop goal is to help develop the participants’ abilities to create outstanding logos without neglecting their readability, as well as facilitating -through comprehensionthe communication process for the public.

Filip Blažek Filip Blažek (1974) works as a full-time graphic designer since 1993. In 2000, he graduated from the Faculty of Arts at the Charles University in Prague. In 2003 established graphic design studio Designiq.

It focuses on two main fields of work—on creation of logotypes and corporate identity, and on promotion of bodies focusing on cultural work. He is founder and member of the editorial office of TYPO magazine, which focuses on typography, graphic design and visual communication. Since 1999, he lectures on type and corporate identity.

He is the Czech deputy of the international organization ATypI.

Posters from the 1989 “Velvet” Revolution 28 October 2009 Museo Interactivo de Economía, MIDE 16:20

Walter Bohatsch & Wolfgang Homola Walter Bohatsch studied graphic design and film animation at the ‘Schule für Gestaltung’ in Basel. In 1983 he set up his own office in Vienna. He served as a jury member in international competitions and is member of the Alliance Graphique Internationale (AGI).

His book, Continuously, published in 2007, provides insight into a multi-faceted visual form-giving process, never abandoning its strong link to contents and typography.

A new typeface for a new signage system 28 October 2009 Museo Interactivo de Economía, MIDE 15:20

Wolfgang Homola is an independent type and graphic designer in Vienna. He worked several years for Bohatsch Visual Communication in Vienna and for Harper Collins Publishers in London. He holds an MA in Typeface Design at the University of Reading, UK.

In 2009, we celebrate the 20th anniversary of the fall of the communist regimes in Europe. On November 17th, 1989, a peaceful student demonstration in Prague, started “Velvet Revolution” . During the revolutionary days, printed and hand written posters became one of the most important information channels as the media was controlled by the government. I would like to present my private collection that comprises the period of November and December 1989. I would like to give the audience the opportunity to see this unique collection of political posters.

When the building of the AK in Vienna, an institution that represents workers and employees, was being renovated and expanded, a new signage and wayfinding system was needed. The design concept for the new signage system sought both to respect the architectural style of the building (1950s modernism) and meet the requirements of the different user groups. Walter Bohatsch describes those considerations that informed the design of this signage system, and Wolfgang Homola shows the typeface he designed especially for this project – in order to make sure that the typeface would go well with the original lettering in the building.

19

20

Jorge de Buen Jorge de Buen studied Graphic Design in Mexico City. From 1994 to 2009 he moved to Tijuana to work in marketing and communication projects for the Agua Caliente race and sports books. He has conducted several workshops and conferences at many important institutions in Mexico, Argentina, Chile, Brazil, Canada, Spain, and the United States. He has written many articles for specialized magazines. The third edition of his book Manual de diseño editorial was published in 2009. He moved to Querétaro in 2009.

Andrew Byrom Andrew Byrom was born in Liverpool, England in 1971. After Graduating from the University of East London in 1996 he opened his own design studio and worked for various clients including Penguin Books, The British Academy of Composers and Songwriters, The Industrial Design Centre, Time Out Online and The Guardian Newspaper. Around this time he also began teaching graphic design at The University of Luton and Central Saint. Martins.

Byrom moved to the States in 2000 to teach at Northern Illinois University. In 2006 he moved to Long Beach to take up an Associate Professor position at California State University, where he is currently the Area Head of the Graphic Design Department. He divides his time between teaching, designing for various clients and playing with his sons, Auden and Louis. He has recently been commissioned to design typefaces and type treatments for Elle

Quotation marks 27 October 2009 Museo Interactivo de Economía, MIDE 15:40 The fact that we have a bicapsular (i.e.: ‘two cases’) alphabet is singular. Very few abecedaries, such as the Arabic and the Coptic, feature more than one sign for each letter, but the diacritic functions of the Latin upper-case letters has no counterpart in any other widely extended alphabet—with the exception of the Greek and the Cyrillic, and perhaps another one, all of which have developed as such in replication of the Latin alphabet.

In this presentation we will make a succinct recount of the Latin alphabet’s history to find out when and how it turned into a bicapsular one. To recognize the value of this curious development, we will also make a short review of the fundamental diacritic uses of the upper-case letters.

Decoration, The New York Times Magazine, McGraw-Hill, and Turner Classic Movies.

His design work has featured in Print, Creative Review, Dwell, PAGE, Architectural Record and in several graphic design books including; TDC Annual 2008, Type Addicted, Typo: The Beautiful World of Fonts, New Typographic Design, and the AIGA Annual 2004.

His work has been exhibited in design venues across the US and has been recognized with a Certificates of Excellence from the AIGA and The Type Directors Club.

Prototypes: New Forms in Type Design 30 October 2009 Anáhuac University, CAD 16:40

Felipe Cáceres C. Felipe Cáceres C., born in 1982 in Santiago de Chile, is Graphic Designer from the Universidad Tecnológica Metropolitana and has a diploma on Typography by the Pontificia Universidad Católica de Chile. He is one of the refounders of the Unión de los Tipógrafos in Santiago de Chile and comitee member of the organization of the Latin American Type Biennial «Tipos Latinos».

He is also a member of AtypI. He has given workshops and lectures on typography and his type «Altazor» was recognized in the last Latin American Biennial.

He currently works with graphic, type and information studio «Filete» in Santiago de Chile.

A little story: the type behind Los Andes 27 October 2009 Museo Interactivo de Economía, MIDE 16:20

F. Calles, G. Martínez Meave, E. Ollervides, D. Kimura & H. Montes de Oca Francisco Calles Graphic designer by the UNAM; with Master Degrees in Visual Arts, Design Management and Design Processes. He has been speaker, taught courses and published articles in Mexico, Argentina, Venezuela, Spain, Bolivia, Guatemala and France on the subject of typography. He is the publisher of Tiypo magazine, director of the National Typography Conference in Mexico and coordinator of the Mexico chapter of the Latin American Typography Biennial.

He is professor in several universities in Mexico; president of the Mexican Association of Graphic Design Schools, Encuadre; and coordinator of the Masters in Typesetter Design of the Centro de Estudios Gestalt. He is member of ATypI and advisor of Foroalfa.

international events. He is a member of the Association Typographique Internationale and of the Type Directors Club New York.

Gabriel Martínez Meave Graphic and letterform designer, illustrator and calligrapher. Founder and director of studio Kimera. Matínez has collaborated in national and international magazines and has taught workshops across Mexico and abroad. He has received several awards from the Type Directors Club New York and the Association Typographique Internationale, among others. His work has been published in prestigious magazines like How, Step, Communication Arts, Matiz and TPG and has been exhibited in national and

A short tour through the history of typography in Chile, from the first letter makers and the first Chilean foundry to the last events in our country like the last biennial «Tipos Latinos» and the latest type projects. The work of formers like Victorino Laínez, Alejandro Fauré and Mauricio Amster is highlighted as well as the beginning of the digital type era and its development as a type-phenomenon in Chile. (Lecture in Spanish)

Enrique Ollervides After sudying graphic design at the Universidad Intercontinental in Mexico City, Quique joined forces with Cha! and founded Hula+Hula, a design studio strongly influenced by uninhibited use of color, humor, odd typography and lots of hand drawn elements. They have worked for MTV Latin America, Cartoon Network, KidRobot, Nike, Frito-Lay, L’Oreal, Televisa and various major record labels. His work has been shown and published in galleries and books from Mexico to Japan, and some of his fonts F76F73 are distributed by T26. In 2006 he co-founded KONG, Mexico’s first low-brow art and design store and gallery.

He taught typography at the Universidad Intercontinental during the years 19972006 and at Centro in 2006.

David Kimura He studied Graphic Design in the Universidad Iberoamericana and Visual Communication in the Basel School of Design. He was a founding partner of studios Kimera and Bésame Mucho. Since 2005 he works with Gabriela Varela focusing in editorial design. Their work has been published and exhibited in Mexico, Germany, Argentina, the United States and Japan. He received the TDC’s Certificate

21

20

Jorge de Buen Jorge de Buen studied Graphic Design in Mexico City. From 1994 to 2009 he moved to Tijuana to work in marketing and communication projects for the Agua Caliente race and sports books. He has conducted several workshops and conferences at many important institutions in Mexico, Argentina, Chile, Brazil, Canada, Spain, and the United States. He has written many articles for specialized magazines. The third edition of his book Manual de diseño editorial was published in 2009. He moved to Querétaro in 2009.

Andrew Byrom Andrew Byrom was born in Liverpool, England in 1971. After Graduating from the University of East London in 1996 he opened his own design studio and worked for various clients including Penguin Books, The British Academy of Composers and Songwriters, The Industrial Design Centre, Time Out Online and The Guardian Newspaper. Around this time he also began teaching graphic design at The University of Luton and Central Saint. Martins.

Byrom moved to the States in 2000 to teach at Northern Illinois University. In 2006 he moved to Long Beach to take up an Associate Professor position at California State University, where he is currently the Area Head of the Graphic Design Department. He divides his time between teaching, designing for various clients and playing with his sons, Auden and Louis. He has recently been commissioned to design typefaces and type treatments for Elle

Quotation marks 27 October 2009 Museo Interactivo de Economía, MIDE 15:40 The fact that we have a bicapsular (i.e.: ‘two cases’) alphabet is singular. Very few abecedaries, such as the Arabic and the Coptic, feature more than one sign for each letter, but the diacritic functions of the Latin upper-case letters has no counterpart in any other widely extended alphabet—with the exception of the Greek and the Cyrillic, and perhaps another one, all of which have developed as such in replication of the Latin alphabet.

In this presentation we will make a succinct recount of the Latin alphabet’s history to find out when and how it turned into a bicapsular one. To recognize the value of this curious development, we will also make a short review of the fundamental diacritic uses of the upper-case letters.

Decoration, The New York Times Magazine, McGraw-Hill, and Turner Classic Movies.

His design work has featured in Print, Creative Review, Dwell, PAGE, Architectural Record and in several graphic design books including; TDC Annual 2008, Type Addicted, Typo: The Beautiful World of Fonts, New Typographic Design, and the AIGA Annual 2004.

His work has been exhibited in design venues across the US and has been recognized with a Certificates of Excellence from the AIGA and The Type Directors Club.

Prototypes: New Forms in Type Design 30 October 2009 Anáhuac University, CAD 16:40

Felipe Cáceres C. Felipe Cáceres C., born in 1982 in Santiago de Chile, is Graphic Designer from the Universidad Tecnológica Metropolitana and has a diploma on Typography by the Pontificia Universidad Católica de Chile. He is one of the refounders of the Unión de los Tipógrafos in Santiago de Chile and comitee member of the organization of the Latin American Type Biennial «Tipos Latinos».

He is also a member of AtypI. He has given workshops and lectures on typography and his type «Altazor» was recognized in the last Latin American Biennial.

He currently works with graphic, type and information studio «Filete» in Santiago de Chile.

A little story: the type behind Los Andes 27 October 2009 Museo Interactivo de Economía, MIDE 16:20

F. Calles, G. Martínez Meave, E. Ollervides, D. Kimura & H. Montes de Oca Francisco Calles Graphic designer by the UNAM; with Master Degrees in Visual Arts, Design Management and Design Processes. He has been speaker, taught courses and published articles in Mexico, Argentina, Venezuela, Spain, Bolivia, Guatemala and France on the subject of typography. He is the publisher of Tiypo magazine, director of the National Typography Conference in Mexico and coordinator of the Mexico chapter of the Latin American Typography Biennial.

He is professor in several universities in Mexico; president of the Mexican Association of Graphic Design Schools, Encuadre; and coordinator of the Masters in Typesetter Design of the Centro de Estudios Gestalt. He is member of ATypI and advisor of Foroalfa.

international events. He is a member of the Association Typographique Internationale and of the Type Directors Club New York.

Gabriel Martínez Meave Graphic and letterform designer, illustrator and calligrapher. Founder and director of studio Kimera. Matínez has collaborated in national and international magazines and has taught workshops across Mexico and abroad. He has received several awards from the Type Directors Club New York and the Association Typographique Internationale, among others. His work has been published in prestigious magazines like How, Step, Communication Arts, Matiz and TPG and has been exhibited in national and

A short tour through the history of typography in Chile, from the first letter makers and the first Chilean foundry to the last events in our country like the last biennial «Tipos Latinos» and the latest type projects. The work of formers like Victorino Laínez, Alejandro Fauré and Mauricio Amster is highlighted as well as the beginning of the digital type era and its development as a type-phenomenon in Chile. (Lecture in Spanish)

Enrique Ollervides After sudying graphic design at the Universidad Intercontinental in Mexico City, Quique joined forces with Cha! and founded Hula+Hula, a design studio strongly influenced by uninhibited use of color, humor, odd typography and lots of hand drawn elements. They have worked for MTV Latin America, Cartoon Network, KidRobot, Nike, Frito-Lay, L’Oreal, Televisa and various major record labels. His work has been shown and published in galleries and books from Mexico to Japan, and some of his fonts F76F73 are distributed by T26. In 2006 he co-founded KONG, Mexico’s first low-brow art and design store and gallery.

He taught typography at the Universidad Intercontinental during the years 19972006 and at Centro in 2006.

David Kimura He studied Graphic Design in the Universidad Iberoamericana and Visual Communication in the Basel School of Design. He was a founding partner of studios Kimera and Bésame Mucho. Since 2005 he works with Gabriela Varela focusing in editorial design. Their work has been published and exhibited in Mexico, Germany, Argentina, the United States and Japan. He received the TDC’s Certificate

21

of Typographic Excellence in 2009 and the Quorum prize in 2007 and 2008. He has taught in undergraduate and master’s degree programs at the Universidad Iberoamericana and the Centro de Estudios Gestalt. He is a member of the Círculo de Tipógrafos.

22

Héctor Montes de Oca Garrido Graduated from the National School of Plastic Arts of UNAM (Mexico). He obtained the prize to the Publishing Art (CANIEM) in three occasions and the recognition of typographical aplication for The Lithographers Union. His work has been published in Mexico and other countries in magazines like: Communication Arts (EUA), Step inside Design (EUA), Matiz (Mexico) and DX (Mexico) and in books of the publishing houses Taschen (Germany), Die Gestalten (Germany), Zeixs (Germany) and Gustavo Gili (Spain). He has developed diverse editorial projects, design and redesign of several magazines. Nowadays he works from his study SERIF and is the director of tiypo magazine, the first magazine of typography in Mexico.

Laura Caso Barrera Laura Caso speaks current Maya and also translates from the indian languages Itza and Mopan. She is member of the National Research System. Has a Ph.D. in History (2000) by El Colegio de México. Master in Social and Cultural Anthropology by the Calgary Universtiy, Alberta Canada.

Her research interests are the Mayan groups in Yucatán and Guatemala, using mainly writen sources produced by the indians in their native languages. She has published several articles widely for international magazines and has been invited as a lecturer worldwide. Among her most important publications: Caminos en la selva, Migración, comercio y resistencia, Mayas yucatecos e itzaes, siglos XVII-XIX, published by El Colegio de México and Fondo de Cultura Económica.

Contemporary Typography in Mexico 27 October 2009 Museo Interactivo de Economía, MIDE 12:20 For more than 10 years Mexican typographic production has developed gradually.

Advances in contemporary letterform design in Mexico are looking good, but to go further it is important to reflect on the past, present and future. What are the precedents, the internal and external influences, the facts and circumstances, the people and the institutions that permitted this initial growth? Is it necessary to design more fonts in Mexico? What has been the real impact of this boom inside and outside the design sphere Nationaly and Internationaly? What are the actions, the agreements and the tasks needed to consolidate this professional activity in Mexico?

François Chastanet Born in 1975 in Bordeaux, France. A graduate of the École d’Architecture et de Paysage de Bordeaux, he pursued research in 2000 on signage systems at the Atelier National de Recherche Typographique in Nancy, and completed post-diploma studies in architectural and urban history at the École d’Architecture de ParisBelleville in 2001. Teaches graphic design and typography since 2002 at the École Supérieure des Beaux-Arts de Toulouse.

Works in architecture, graphic and type design and writes on contemporary epigraphy, with a special interest in the visual communication of urban subcultures, his articles have notably been published by international reviews like Eye and Baseline.

Cholo Writing 26 October 2009 Museo Interactivo de Economía, MIDE 11:50 The term cholo derives from an Aztec word xolotl meaning «dog» that was later turned on its head and used as a symbol of pride by

The reading and writing of the Mayan culture 30 October 2009 Anáhuac University, CAD 16:40 The Mayan hieroglyphs were the writing system of the pre-Columbian Mayan civilization of Mesoamerica. The decipherment of the writing was a long and laborious process. Nineteenth century and early twentieth century investigators managed to decode the Mayan numbers and portions of the texts related to astronomy and the Mayan calendar; but the most important breakthrough has been the fact that the Mayan hieroglyphs are built with a sylabic basis. Maya is actually the only deciphered Mesoamerican writing system.

Albert Corbeto & Andreu Balius Albert Corbeto Has a degree in Art History from the Universidad Autónoma de Barcelona. He is responsible for all the publishing activities of the Real Academia de Buenas Letras de Barcelona and the Asociación de Bibliófilos de Barcelona. His field of investigation is the history of printing types and, in particular, the work of Spanish punchcutters throughout the second half of the eighteenth century. He has published several articles and books on this subject.

Andreu Balius Is a graphic and type designer based in Barcelona. He runs his own studio Typerepublic. He made a research on spanish type design in the XVIIth century and worked on punches from the Royal printing house. As a result of that research is his typeface Pradell, inspired on those types cut by punchcutter Eudald Pradell. He’s currently

the Mexican-American community in the context of the ethnic power movements of the 1960s from wich emerged the idea of La Raza or Chicano nationalism. Cholo writing originally constitues the vernacular handstyle created by the Latino gangs in Los Angeles as far back as the 1940s: it is probably the oldest form of the «graffiti of names» in the 20th century, with its own aesthetic, evident long before the explosion in the early 1970s in New York.

Cholo writing can be seen as a cousin of the baroque gothic calligraphies typical of Mexico, as a genuine expression of a border culture between Mexico and the United States. This survey explores the genesis of these specific letterforms that paradoxically gave a visual identity to the LA infinite suburbia. For the first time ever a historical series of photographs from the early 1970s in LA is presented together with a contemporary collection, which gives a unique insight in the history of Cholo writing from an aesthetic point of view.

working on custom type design and other type amenities.

The punches from the Spanish Royal Printing House 28 October 2009 Museo Interactivo de Economía, MIDE 11:05 The aim of this work is to show and put into context the typographic materials, currently kept in Barcelona, which used to belong to the Spanish Royal Printing Press typefoundry, together with the study tasks that are being done on them.

This remarkably rich collection is made up of a thousand punches, most of them cut by Jerónimo Gil for the Royal Library typefoundry during the second half of the eighteenth century, and of others that were either made by foreign punchcutters or at the Royal Printing Press Engraving and Punchcutting School. A large number of sets of matrices have also been kept,

23

of Typographic Excellence in 2009 and the Quorum prize in 2007 and 2008. He has taught in undergraduate and master’s degree programs at the Universidad Iberoamericana and the Centro de Estudios Gestalt. He is a member of the Círculo de Tipógrafos.

22

Héctor Montes de Oca Garrido Graduated from the National School of Plastic Arts of UNAM (Mexico). He obtained the prize to the Publishing Art (CANIEM) in three occasions and the recognition of typographical aplication for The Lithographers Union. His work has been published in Mexico and other countries in magazines like: Communication Arts (EUA), Step inside Design (EUA), Matiz (Mexico) and DX (Mexico) and in books of the publishing houses Taschen (Germany), Die Gestalten (Germany), Zeixs (Germany) and Gustavo Gili (Spain). He has developed diverse editorial projects, design and redesign of several magazines. Nowadays he works from his study SERIF and is the director of tiypo magazine, the first magazine of typography in Mexico.

Laura Caso Barrera Laura Caso speaks current Maya and also translates from the indian languages Itza and Mopan. She is member of the National Research System. Has a Ph.D. in History (2000) by El Colegio de México. Master in Social and Cultural Anthropology by the Calgary Universtiy, Alberta Canada.

Her research interests are the Mayan groups in Yucatán and Guatemala, using mainly writen sources produced by the indians in their native languages. She has published several articles widely for international magazines and has been invited as a lecturer worldwide. Among her most important publications: Caminos en la selva, Migración, comercio y resistencia, Mayas yucatecos e itzaes, siglos XVII-XIX, published by El Colegio de México and Fondo de Cultura Económica.

Contemporary Typography in Mexico 27 October 2009 Museo Interactivo de Economía, MIDE 12:20 For more than 10 years Mexican typographic production has developed gradually.

Advances in contemporary letterform design in Mexico are looking good, but to go further it is important to reflect on the past, present and future. What are the precedents, the internal and external influences, the facts and circumstances, the people and the institutions that permitted this initial growth? Is it necessary to design more fonts in Mexico? What has been the real impact of this boom inside and outside the design sphere Nationaly and Internationaly? What are the actions, the agreements and the tasks needed to consolidate this professional activity in Mexico?

François Chastanet Born in 1975 in Bordeaux, France. A graduate of the École d’Architecture et de Paysage de Bordeaux, he pursued research in 2000 on signage systems at the Atelier National de Recherche Typographique in Nancy, and completed post-diploma studies in architectural and urban history at the École d’Architecture de ParisBelleville in 2001. Teaches graphic design and typography since 2002 at the École Supérieure des Beaux-Arts de Toulouse.

Works in architecture, graphic and type design and writes on contemporary epigraphy, with a special interest in the visual communication of urban subcultures, his articles have notably been published by international reviews like Eye and Baseline.

Cholo Writing 26 October 2009 Museo Interactivo de Economía, MIDE 11:50 The term cholo derives from an Aztec word xolotl meaning «dog» that was later turned on its head and used as a symbol of pride by

The reading and writing of the Mayan culture 30 October 2009 Anáhuac University, CAD 16:40 The Mayan hieroglyphs were the writing system of the pre-Columbian Mayan civilization of Mesoamerica. The decipherment of the writing was a long and laborious process. Nineteenth century and early twentieth century investigators managed to decode the Mayan numbers and portions of the texts related to astronomy and the Mayan calendar; but the most important breakthrough has been the fact that the Mayan hieroglyphs are built with a sylabic basis. Maya is actually the only deciphered Mesoamerican writing system.

Albert Corbeto & Andreu Balius Albert Corbeto Has a degree in Art History from the Universidad Autónoma de Barcelona. He is responsible for all the publishing activities of the Real Academia de Buenas Letras de Barcelona and the Asociación de Bibliófilos de Barcelona. His field of investigation is the history of printing types and, in particular, the work of Spanish punchcutters throughout the second half of the eighteenth century. He has published several articles and books on this subject.

Andreu Balius Is a graphic and type designer based in Barcelona. He runs his own studio Typerepublic. He made a research on spanish type design in the XVIIth century and worked on punches from the Royal printing house. As a result of that research is his typeface Pradell, inspired on those types cut by punchcutter Eudald Pradell. He’s currently

the Mexican-American community in the context of the ethnic power movements of the 1960s from wich emerged the idea of La Raza or Chicano nationalism. Cholo writing originally constitues the vernacular handstyle created by the Latino gangs in Los Angeles as far back as the 1940s: it is probably the oldest form of the «graffiti of names» in the 20th century, with its own aesthetic, evident long before the explosion in the early 1970s in New York.

Cholo writing can be seen as a cousin of the baroque gothic calligraphies typical of Mexico, as a genuine expression of a border culture between Mexico and the United States. This survey explores the genesis of these specific letterforms that paradoxically gave a visual identity to the LA infinite suburbia. For the first time ever a historical series of photographs from the early 1970s in LA is presented together with a contemporary collection, which gives a unique insight in the history of Cholo writing from an aesthetic point of view.

working on custom type design and other type amenities.

The punches from the Spanish Royal Printing House 28 October 2009 Museo Interactivo de Economía, MIDE 11:05 The aim of this work is to show and put into context the typographic materials, currently kept in Barcelona, which used to belong to the Spanish Royal Printing Press typefoundry, together with the study tasks that are being done on them.

This remarkably rich collection is made up of a thousand punches, most of them cut by Jerónimo Gil for the Royal Library typefoundry during the second half of the eighteenth century, and of others that were either made by foreign punchcutters or at the Royal Printing Press Engraving and Punchcutting School. A large number of sets of matrices have also been kept,

23

among which it is worth mentioning the ones belonging to the Italian typographer Giambattista Bodoni and those of the Frenchmen Didot and Molé.

Spanish type specimens 26 October 2009 Museo Interactivo de Economía, MIDE 11:30 Type specimens have always had a decisive importance in the historical study of typography. However, unlike what

happened in other European countries, no efforts had been made so far with a view to studying and cataloguing in a systematic way type specimens printed in Spain. A monography on this subject that is to come out very soon (in which I study and locate all the Spanish specimens that were published until the mid-nineteenth century) provides a good argument to offer an overview on all the progress made in the study of Spanish printing types through the display of a great amount of unknown material.

24

Crystian Cruz Crystian Cruz is a graphic and type designer from São Paulo, Brazil. He participates in the Master in Typeface Design program in Reading-UK since October 2008. For the last ten years he worked as art director for major Brazilian magazines and as type consultant for publishing companies and design studios. During this period he gave several lectures about typography in Brazil, including the participation as a speaker at DNA Tipográfico (Brazilian national type conference). Specialized in commissioned type design, his typefaces were awarded and published in type design competitions, expositions, magazines and books in Brazil, Argentina and the United States.

John Daggett & Jonathan Kew John Daggett Works on the graphics and text components of Firefox, a cross-platform web browser.

He is a member of the CSS Working Group and the editor of the CSS3 Fonts specification. His interests are in richer text and graphics on the web via improvements to open standards.

Jonathan Kew Studied engineering at Cambridge University in England, before moving into linguistics and computing. From 1985 to 2008, he worked with SIL International, first in Asia and then based in the UK. During this time he has applied many levels of computing technology, from CP/M to Mac OS X, to various aspects of south Asian and near Eastern text processing and typesetting. In late 2008, he joined the Mozilla engineering team, and works primarily on font and text-

related issues. His main interests lie in nonRoman font design and script engineering, text processing, and typesetting.

Advancing Web Typography 29 October 2009 Anáhuac University, CAD 10:40 Typography on the web often boils down to the use of CSS font properties to control text layout using a small set of universally available fonts. We will discuss how basic CSS font properties work, the font matching process and differences across platforms and browsers. The use of downloadable fonts has the potential to dramatically change the typographic landscape on the web. We will discuss the CSS @font-face downloadable font mechanism and the state of current implementations, touching briefly on the associated font license conundrum.

Proposals for adding better typographic controls to CSS will also be discussed.

Brasilêro Project: from vernacular lettering aesthetics to a typeface 28 October 2009 Museo Interactivo de Economía, MIDE 10:55 The Brasilêro Type Project started with the analysis of hundreds of hand-lettered signs from the urban landscape in several cities of Brazil, in order to convey the impact of this popular Brazilian visual culture in a single digital typeface.

My goal is to demonstrate the process involving the research and analysis of vernacular handmade signs and the production of the typeface, highlighting the use of OpenType features to better emulate the vernacular aesthetics in a digital font.

In conclusion, I selected a few cases of commercial projects with Brasilêro typeface in use, in order to think over the good and bad use of this vernacular lettering style in design projects.

Catherine Dixon & Henrique Nardi Catherine Dixon Is a designer who also teaches at Central Saint Martins College of Art & Design, London. She writes regularly on typography and type design, curates the bi-annual letterpress conference at St Bride Library, London and co-authored with Phil Baines the book Signs: lettering in the environment (2003).

Henrique Nardi Was born in São Paulo, Brazil. He has Bachelor degrees in Graphic Design at Anhembi Morumbi, Graphic Technology at SENAI and a Master degree in Visual Arts at UNESP. In 2003, he founded “Tipocracia: typographic state”, a project concerned with typographic culture stimulus and dissemination throughout Brazil.

Lambe-lambe letters: Grafica Fidalga, São Paulo 27 October 2009 Museo Interactivo de Economía, MIDE 16:40 Lambe-lambe (literally ‘lick-lick’) is a vernacular printing tradition once popular for promoting theatre and spectacle in Brazil.

Long in decline the city of São Paulo still boasts a working lambe-lambe printshop, Grafica Fidalga. A rich history of handgenerated letterforms carved as wooden blocks used to print vibrant poster series is found here. While the persuasive aesthetic of these posters and the nostalgia of Grafica Fidalga has been celebrated by some, this presentation sets out a fuller account of the remarkable process underpinning the work, the joy of documenting it through hands-on engagement and the filmed and printed results of this collaboration.

25

among which it is worth mentioning the ones belonging to the Italian typographer Giambattista Bodoni and those of the Frenchmen Didot and Molé.

Spanish type specimens 26 October 2009 Museo Interactivo de Economía, MIDE 11:30 Type specimens have always had a decisive importance in the historical study of typography. However, unlike what

happened in other European countries, no efforts had been made so far with a view to studying and cataloguing in a systematic way type specimens printed in Spain. A monography on this subject that is to come out very soon (in which I study and locate all the Spanish specimens that were published until the mid-nineteenth century) provides a good argument to offer an overview on all the progress made in the study of Spanish printing types through the display of a great amount of unknown material.

24

Crystian Cruz Crystian Cruz is a graphic and type designer from São Paulo, Brazil. He participates in the Master in Typeface Design program in Reading-UK since October 2008. For the last ten years he worked as art director for major Brazilian magazines and as type consultant for publishing companies and design studios. During this period he gave several lectures about typography in Brazil, including the participation as a speaker at DNA Tipográfico (Brazilian national type conference). Specialized in commissioned type design, his typefaces were awarded and published in type design competitions, expositions, magazines and books in Brazil, Argentina and the United States.

John Daggett & Jonathan Kew John Daggett Works on the graphics and text components of Firefox, a cross-platform web browser.

He is a member of the CSS Working Group and the editor of the CSS3 Fonts specification. His interests are in richer text and graphics on the web via improvements to open standards.

Jonathan Kew Studied engineering at Cambridge University in England, before moving into linguistics and computing. From 1985 to 2008, he worked with SIL International, first in Asia and then based in the UK. During this time he has applied many levels of computing technology, from CP/M to Mac OS X, to various aspects of south Asian and near Eastern text processing and typesetting. In late 2008, he joined the Mozilla engineering team, and works primarily on font and text-

related issues. His main interests lie in nonRoman font design and script engineering, text processing, and typesetting.

Advancing Web Typography 29 October 2009 Anáhuac University, CAD 10:40 Typography on the web often boils down to the use of CSS font properties to control text layout using a small set of universally available fonts. We will discuss how basic CSS font properties work, the font matching process and differences across platforms and browsers. The use of downloadable fonts has the potential to dramatically change the typographic landscape on the web. We will discuss the CSS @font-face downloadable font mechanism and the state of current implementations, touching briefly on the associated font license conundrum.

Proposals for adding better typographic controls to CSS will also be discussed.

Brasilêro Project: from vernacular lettering aesthetics to a typeface 28 October 2009 Museo Interactivo de Economía, MIDE 10:55 The Brasilêro Type Project started with the analysis of hundreds of hand-lettered signs from the urban landscape in several cities of Brazil, in order to convey the impact of this popular Brazilian visual culture in a single digital typeface.

My goal is to demonstrate the process involving the research and analysis of vernacular handmade signs and the production of the typeface, highlighting the use of OpenType features to better emulate the vernacular aesthetics in a digital font.

In conclusion, I selected a few cases of commercial projects with Brasilêro typeface in use, in order to think over the good and bad use of this vernacular lettering style in design projects.

Catherine Dixon & Henrique Nardi Catherine Dixon Is a designer who also teaches at Central Saint Martins College of Art & Design, London. She writes regularly on typography and type design, curates the bi-annual letterpress conference at St Bride Library, London and co-authored with Phil Baines the book Signs: lettering in the environment (2003).

Henrique Nardi Was born in São Paulo, Brazil. He has Bachelor degrees in Graphic Design at Anhembi Morumbi, Graphic Technology at SENAI and a Master degree in Visual Arts at UNESP. In 2003, he founded “Tipocracia: typographic state”, a project concerned with typographic culture stimulus and dissemination throughout Brazil.

Lambe-lambe letters: Grafica Fidalga, São Paulo 27 October 2009 Museo Interactivo de Economía, MIDE 16:40 Lambe-lambe (literally ‘lick-lick’) is a vernacular printing tradition once popular for promoting theatre and spectacle in Brazil.

Long in decline the city of São Paulo still boasts a working lambe-lambe printshop, Grafica Fidalga. A rich history of handgenerated letterforms carved as wooden blocks used to print vibrant poster series is found here. While the persuasive aesthetic of these posters and the nostalgia of Grafica Fidalga has been celebrated by some, this presentation sets out a fuller account of the remarkable process underpinning the work, the joy of documenting it through hands-on engagement and the filmed and printed results of this collaboration.

25

26

Mary C. Dyson Mary Dyson has a PhD in perception and resides in the Department of Typography & Graphic Communication at the University of Reading, UK. Her published research has explored legibility issues when reading from screen, but she has recently become more interested in how we perceive typefaces, both when we read and when we design them. This has led to a review and synthesis of mainly psychological literature that talks about typefaces within research on reading processes. As a psychologist, she is in the fortunate position of being immersed in a design environment which enables the building of bridges between disciplines.

Forget typeface legibility research: what do we do with typefaces when we read?

26 October 2009 Museo Interactivo de Economía, MIDE 15:40 The contribution of scientific legibility research to type design practice is somewhat controversial. So, Mary Dyson takes on the role of relationship counsellor.

Inspired by Kevin Larson’s talk at ATypI 2003, she introduces some ideas from recent psychological experiments that seek to explain how we use and remove typeface-specific details of letters when we

F. Gálvez, F. Calles, P. Cosgaya & J. De Buen Francisco Gálvez Graphic Designer from IPEVE, Diego Portales University (Chile) and self-taught type designer. Teachs Typography courses at Universidad Católica de Chile and Diego Portales University. Design consultant for Santiago de Chile public transport ’s information system (2003-2006). Author of the book “Educación tipográfica, una introducción a la tipografía” (Published in Chile, 2004 and Argentina, 2005). Among the main typefaces designed are “Australis” (Gold Prize at Morisawa Awards 2002, Tokyo, Japan) and font families for newspapers such as “La Discusión” (Chillán, 2008), and “La Tercera” in collaboration with Rodrigo Ramírez (Santiago, 2007-2008).

Francisco Calles Trejo Graphic Designer from the National University of Mexico, he also has MA studies

read. These ideas are evaluated in relation to the objectives and practices of designing typefaces for reading. The short counselling session will explore areas of agreement and conflict to help you reach your own decisions about the best way forward.

Bridging the gap: does scientific theory and experiment on how we process typefaces when reading fit with type design knowledge and practice?

29 October 2009 Anáhuac University, CAD 10:40 Having introduced the topic of what we do with typefaces when we read, this session provides an overview of current scientific literature on: how we recognise words, looking at the role of letters, words and spaces between letters in reading; and how we recognise letters, introducing the features identified in various studies. This leads to a focus on how the particular characteristics of a typeface may be used to facilitate letter recognition (referred to as ‘font tuning’).

Examples are proposed of parallels and contradictions between research findings and guidance on designing typefaces.

Participants responses to these proposals will be welcomed.

in Visual Arts, Design Management and Design Processes. Calles Trejo has given lectures and courses, and has published articles in Mexico, Argentina, Venezuela, Spain, Bolivia, Guatemala and France.

He is the Publisher of Tiypo, a Mexican typography magazine, heads the National Congress of Typography in Mexico and the Mexican Chapter of the Latin American Typography Biennial. He teaches in several Mexican universities, and currently coordinates the Master in Typographic Design at the Gestalt Design Studies Center in Veracruz. From 2009 to 2011 was elected President of Encuadre, the Mexican Association of Graphic Design Schools.

Calles is a member of ATypI and belongs to the Advisory Council of FOROALFA. Pablo Cosgaya Kettle Lecturer of Typography in the Graphic Design undergraduate program at FADU, Universidad de Buenos Aires. Member of

the director’s board of the new postgraduate program of Specialization in Typeface Design at FADU (Buenos Aires University). He was head of the team in charge of designing newspapers and periodicals in Argentina such as El Ciudadano (Rosario), La República (Corrientes), and Acción (Buenos Aires).

He has designed the typefaces Patagonia (with Héctor Gatti), Proceso Sans, CDIcons (with Marcela Romero) and Loreto (with Eduardo Rodriguez Tunni). He frequently writes about typography in specialized magazines. He is member of the Association Typographique Internationale (ATypI).

Jorge de Buen Unna Jorge de Buen studied Graphic Design in Mexico City. He has conducted several workshops and conferences at many important institutions in Mexico, Argentina, Chile, Brazil, Canada, Spain, and the United States. He has written many articles for specialized magazines. The third edition of his book Manual de diseño editorial was published in 2008. He is member of the Association Typographique Internationale (AtypI) and the Society of Typographic

Lynn Fleming Lynn Fleming is a graphic designer currently pursuing a Master of Fine Art degree in the 2-D Design department at Cranbrook Academy of Art in Bloomfield Hills, Michigan. Her work explores typographic form as it connects to issues of place and identity. Prior to her studies at Cranbrook, she was the Lead Graphic Designer for the Henry Art Gallery, the museum for contemporary art at the University of Washington. Fleming is on the advisory board of Design Inquiry, a non-profit educational organization devoted to researching design issues in intensive teambased gatherings.

Mayan Revival & Detroit’s Typographic Arcadia 26 October 2009 Museo Interactivo de Economía, MIDE 12:10

Aficionados (S{o}TA). In 2009, he moved to Querétaro to start new communication and design projects.

Typography education and specialisation in Latin America. How type design is taught and learned in the region 27 October 2009 Museo Interactivo de Economía, MIDE 17:20 After a many centuries’ delay latinamerican type design exists, and has already its place in the the international scenario.

What consequences are perceived in the region? Where do the new latinamerican designers learn? How do their schools work?

Which are the foreseeable chances for the profession?

We shall hear three speakers from: 1. Type design diploma, Pontificia Universidad Católica (Santiago, Chile) 2. Type design master, Centro de Estudios Gestalt (Veracruz, México) 3. Type design career, Universidad de Buenos Aires (Buenos Aires, Argentina) • Speakers: Francisco Gálvez (1), Francisco Calles (2), Pablo Cosgaya (3) • Moderator: Jorge de Buen Unna

This presentation will explore the connections between traditional Mayan forms and the golden age of Detroit industrial wealth. Two famed examples of the Mayan Revival strain of Art Deco are the Fisher Theater (1928) and the Guardian Building E48(1929) located in Detroit, Michigan. Both buildings employ unique and inventive typographic forms in their architectural signage, borrowing heavily from Mayan and Mesoamerican motifs. At the time of the builidings’ design, Chichen Itza was a recent discovery. The Fisher Theater’s architect, Albert Kahn, consulted with eminent Mayan hieroglyphic scholar Sylvanus Morley on its design.

The presentation will further explore how these themes resonate with today’s image of Detroit, pariah for the United States’ unstable economic climate.

27

26

Mary C. Dyson Mary Dyson has a PhD in perception and resides in the Department of Typography & Graphic Communication at the University of Reading, UK. Her published research has explored legibility issues when reading from screen, but she has recently become more interested in how we perceive typefaces, both when we read and when we design them. This has led to a review and synthesis of mainly psychological literature that talks about typefaces within research on reading processes. As a psychologist, she is in the fortunate position of being immersed in a design environment which enables the building of bridges between disciplines.

Forget typeface legibility research: what do we do with typefaces when we read?

26 October 2009 Museo Interactivo de Economía, MIDE 15:40 The contribution of scientific legibility research to type design practice is somewhat controversial. So, Mary Dyson takes on the role of relationship counsellor.

Inspired by Kevin Larson’s talk at ATypI 2003, she introduces some ideas from recent psychological experiments that seek to explain how we use and remove typeface-specific details of letters when we

F. Gálvez, F. Calles, P. Cosgaya & J. De Buen Francisco Gálvez Graphic Designer from IPEVE, Diego Portales University (Chile) and self-taught type designer. Teachs Typography courses at Universidad Católica de Chile and Diego Portales University. Design consultant for Santiago de Chile public transport ’s information system (2003-2006). Author of the book “Educación tipográfica, una introducción a la tipografía” (Published in Chile, 2004 and Argentina, 2005). Among the main typefaces designed are “Australis” (Gold Prize at Morisawa Awards 2002, Tokyo, Japan) and font families for newspapers such as “La Discusión” (Chillán, 2008), and “La Tercera” in collaboration with Rodrigo Ramírez (Santiago, 2007-2008).

Francisco Calles Trejo Graphic Designer from the National University of Mexico, he also has MA studies

read. These ideas are evaluated in relation to the objectives and practices of designing typefaces for reading. The short counselling session will explore areas of agreement and conflict to help you reach your own decisions about the best way forward.

Bridging the gap: does scientific theory and experiment on how we process typefaces when reading fit with type design knowledge and practice?

29 October 2009 Anáhuac University, CAD 10:40 Having introduced the topic of what we do with typefaces when we read, this session provides an overview of current scientific literature on: how we recognise words, looking at the role of letters, words and spaces between letters in reading; and how we recognise letters, introducing the features identified in various studies. This leads to a focus on how the particular characteristics of a typeface may be used to facilitate letter recognition (referred to as ‘font tuning’).

Examples are proposed of parallels and contradictions between research findings and guidance on designing typefaces.

Participants responses to these proposals will be welcomed.

in Visual Arts, Design Management and Design Processes. Calles Trejo has given lectures and courses, and has published articles in Mexico, Argentina, Venezuela, Spain, Bolivia, Guatemala and France.

He is the Publisher of Tiypo, a Mexican typography magazine, heads the National Congress of Typography in Mexico and the Mexican Chapter of the Latin American Typography Biennial. He teaches in several Mexican universities, and currently coordinates the Master in Typographic Design at the Gestalt Design Studies Center in Veracruz. From 2009 to 2011 was elected President of Encuadre, the Mexican Association of Graphic Design Schools.

Calles is a member of ATypI and belongs to the Advisory Council of FOROALFA. Pablo Cosgaya Kettle Lecturer of Typography in the Graphic Design undergraduate program at FADU, Universidad de Buenos Aires. Member of

the director’s board of the new postgraduate program of Specialization in Typeface Design at FADU (Buenos Aires University). He was head of the team in charge of designing newspapers and periodicals in Argentina such as El Ciudadano (Rosario), La República (Corrientes), and Acción (Buenos Aires).

He has designed the typefaces Patagonia (with Héctor Gatti), Proceso Sans, CDIcons (with Marcela Romero) and Loreto (with Eduardo Rodriguez Tunni). He frequently writes about typography in specialized magazines. He is member of the Association Typographique Internationale (ATypI).

Jorge de Buen Unna Jorge de Buen studied Graphic Design in Mexico City. He has conducted several workshops and conferences at many important institutions in Mexico, Argentina, Chile, Brazil, Canada, Spain, and the United States. He has written many articles for specialized magazines. The third edition of his book Manual de diseño editorial was published in 2008. He is member of the Association Typographique Internationale (AtypI) and the Society of Typographic

Lynn Fleming Lynn Fleming is a graphic designer currently pursuing a Master of Fine Art degree in the 2-D Design department at Cranbrook Academy of Art in Bloomfield Hills, Michigan. Her work explores typographic form as it connects to issues of place and identity. Prior to her studies at Cranbrook, she was the Lead Graphic Designer for the Henry Art Gallery, the museum for contemporary art at the University of Washington. Fleming is on the advisory board of Design Inquiry, a non-profit educational organization devoted to researching design issues in intensive teambased gatherings.

Mayan Revival & Detroit’s Typographic Arcadia 26 October 2009 Museo Interactivo de Economía, MIDE 12:10

Aficionados (S{o}TA). In 2009, he moved to Querétaro to start new communication and design projects.

Typography education and specialisation in Latin America. How type design is taught and learned in the region 27 October 2009 Museo Interactivo de Economía, MIDE 17:20 After a many centuries’ delay latinamerican type design exists, and has already its place in the the international scenario.

What consequences are perceived in the region? Where do the new latinamerican designers learn? How do their schools work?

Which are the foreseeable chances for the profession?

We shall hear three speakers from: 1. Type design diploma, Pontificia Universidad Católica (Santiago, Chile) 2. Type design master, Centro de Estudios Gestalt (Veracruz, México) 3. Type design career, Universidad de Buenos Aires (Buenos Aires, Argentina) • Speakers: Francisco Gálvez (1), Francisco Calles (2), Pablo Cosgaya (3) • Moderator: Jorge de Buen Unna

This presentation will explore the connections between traditional Mayan forms and the golden age of Detroit industrial wealth. Two famed examples of the Mayan Revival strain of Art Deco are the Fisher Theater (1928) and the Guardian Building E48(1929) located in Detroit, Michigan. Both buildings employ unique and inventive typographic forms in their architectural signage, borrowing heavily from Mayan and Mesoamerican motifs. At the time of the builidings’ design, Chichen Itza was a recent discovery. The Fisher Theater’s architect, Albert Kahn, consulted with eminent Mayan hieroglyphic scholar Sylvanus Morley on its design.

The presentation will further explore how these themes resonate with today’s image of Detroit, pariah for the United States’ unstable economic climate.

27

28

Gonzalo García Barcha Gonzalo García Barcha was born in Mexico City. He co-founded Ediciones del Equilibrista in 1986, where he designed his first books, and in the 90s’ he concentrated on the study of type designers in the viceroyalty of New Spain. The digital fonts “Enrico” and “Lagarto” are results of this research, as well as a collection of dingbats based on mexican motifs from different periods. In 2003 he moved to France where he continues to work as a book-maker and graphic designer for films. He is a member of AtypI since 1993.

Marina Garone Gravier Marina Garone has a B.A. in Design of Graphic Communication (UAM, México); a M.F.A in Industrial Design (UNAM, México) and Typography and Type design Studies (SfG, Basel, Switzerland); she has a PhD in Art History (UNAM, México), Doctoral thesis: Colonial Typography for Indigenous Languages.

She has worked for public, private and non-governmental institutions in the field of typography and publishing design since 1994. Her research topics are about design criticism, history of typography and design & gender. She has taught and lectured at different universities and educational institutions and presented papers at international conferences (Mexico, Argentina, Venezuela, Uruguay, Spain, Italy, US and Turkey). She has published articles and essays at specialised magazines from Mexico, Argentina, España and USA, and has contributed to many books. Garone was the curator of two rare books exhibition in Mexico (Bienal Letras Latinas, Veracruz, 2004 and The Other Letters: Women Printers in the Rare-Book World, Bibliotecas

Hoy como ayer Combining old and new techniques in book-making 28 October 2009 Museo Interactivo de Economía, MIDE 11:45 Between 2001 and 2006, Miquel Barceló, arguably the most significant spanish contemporary artist, conceived and executed an intervention in the gothic cathedral of Majorca. Carnets de Peintre, a publishing house in Barcelona commissioned a limited edition, directed at bibliophiles and Art collectors, of the journal he kept during this fertile period.

Modern techniques and materials were combined with traditional methods of book-making to produce this work which has involved artisans in the fields of typography, paper-making, pre-press, printing and binding. The result, available in the fall of 2009, aspires to satisfy traditionalists and innovators.

Tomás Granados & Alejandro Zenker Tomás Granados Salinas Was born in Mexico City in 1970. Studied applied math and is currently a MS student (finance). Is the author of two volumes of short stories and a frequent contributor to newspapers and magazines, such as Reforma and Letras Libres. From 1997 to 2009 was the editor-in-chief of Hoja por Hoja, a monthly book review; from 2008 to 2009 was the editor-in-chief of Libros de México, the magazine of the Mexican publishers association. Is the director of the series Libros sobre Libros (Books about Books), where the Spanish translation of Robert Bringhurst’s, The Elements of Typographic Style appeared. Is currently a managing editor at Fondo de Cultura Económica.

Alejandro Zenker Mexico City editor, translator and photographer. He studied pedagogy in Germany, and translation in the Colegio de México. Actually he is the director of Solar Servicios Editoriales, Ediciones el Ermitaño and El institutodel libro y la lectura. Among many other activities, and

titles, he was the founder of the Professional Translators Association, and member of the International Translation Federation. He is an active suporter of using new technologies in the book production and reading technologies. He has published various articles and essays about translation and edition and given lectures around this topics internationally.

Reading Technologies 28 October 2009 Museo Interactivo de Economía, MIDE 11:25

29 In the twelfth Century, there was a mutation in the reading way, when the lectio-divina – practiced in the monasteries - turned to lectio scholastica –which was organized to serve better to the logic, analytic and academic thought. In a similar way, we nowadays witness the breakdown of a paradigm on reading; the book, today, is no longer a cult object, screen has taken its place. Reading process has changed, analytic reading is being replaced by a hypertextual reading, the text is read as segments of independent information in a new writing space: the screen.

Palafoxiana y Lafragua, Puebla, 2008) and direct Biograficas. History of Latin American Women Graphic Designer (www. biograficas.com).

Colonial Typography for Native Languages of Latin America (XVI-XIX Century) (México, Perú, Paraguay, Argentina, Colombia y Chile) 26 October 2009 Museo Interactivo de Economía, MIDE 10:50 The printing press came to the New World, mainly, for producing books in the native languages. This required some adjustments to the Latin alphabet wich generated various semiotic processes. This conference will show many visual examples of prints made in Spanish America and Europe, between the sixteenth to nineteenth century, for languages of six Latin American countries. My working and study on typography and design for indigenous languages, which I started twelve years ago, has been pioneer on the subject and has contributed to further research and projects on type design and publishing for native languages.

Fabio Haag Fabio Haag is typedesigner and Director of South America of the British foundry Dalton Maag, that for 18 years designs typefaces for clients worldwide like BMW, Puma, Toyota, Virgin and others. Before joining Dalton Maag, Fabio had previously founded the first type design company of the south of Brazil, designed Dalton Maag’s font Foco, and has had other works exhibited in more than nine countries.

Type Designed Globally 27 October 2009 Museo Interactivo de Economía, MIDE 10:20

The presentation will demonstrate how typedesigners from Latin America can collaborate on international type projects, uniting forces with typedesigners worldwide.

This will be illustrated by the personal experience of Fabio Haag, a typedesigner from South of Brazil that is part of the design team of Dalton Maag, one of the leaders in corporate typedesign in Europe.How does this global team work function? What are the advantages for each? How can we get there?

This lecture illustrates the design business and technological issues of working on a team bridging the frontiers of the so called 3rd and 1st worlds.

28

Gonzalo García Barcha Gonzalo García Barcha was born in Mexico City. He co-founded Ediciones del Equilibrista in 1986, where he designed his first books, and in the 90s’ he concentrated on the study of type designers in the viceroyalty of New Spain. The digital fonts “Enrico” and “Lagarto” are results of this research, as well as a collection of dingbats based on mexican motifs from different periods. In 2003 he moved to France where he continues to work as a book-maker and graphic designer for films. He is a member of AtypI since 1993.

Marina Garone Gravier Marina Garone has a B.A. in Design of Graphic Communication (UAM, México); a M.F.A in Industrial Design (UNAM, México) and Typography and Type design Studies (SfG, Basel, Switzerland); she has a PhD in Art History (UNAM, México), Doctoral thesis: Colonial Typography for Indigenous Languages.

She has worked for public, private and non-governmental institutions in the field of typography and publishing design since 1994. Her research topics are about design criticism, history of typography and design & gender. She has taught and lectured at different universities and educational institutions and presented papers at international conferences (Mexico, Argentina, Venezuela, Uruguay, Spain, Italy, US and Turkey). She has published articles and essays at specialised magazines from Mexico, Argentina, España and USA, and has contributed to many books. Garone was the curator of two rare books exhibition in Mexico (Bienal Letras Latinas, Veracruz, 2004 and The Other Letters: Women Printers in the Rare-Book World, Bibliotecas

Hoy como ayer Combining old and new techniques in book-making 28 October 2009 Museo Interactivo de Economía, MIDE 11:45 Between 2001 and 2006, Miquel Barceló, arguably the most significant spanish contemporary artist, conceived and executed an intervention in the gothic cathedral of Majorca. Carnets de Peintre, a publishing house in Barcelona commissioned a limited edition, directed at bibliophiles and Art collectors, of the journal he kept during this fertile period.

Modern techniques and materials were combined with traditional methods of book-making to produce this work which has involved artisans in the fields of typography, paper-making, pre-press, printing and binding. The result, available in the fall of 2009, aspires to satisfy traditionalists and innovators.

Tomás Granados & Alejandro Zenker Tomás Granados Salinas Was born in Mexico City in 1970. Studied applied math and is currently a MS student (finance). Is the author of two volumes of short stories and a frequent contributor to newspapers and magazines, such as Reforma and Letras Libres. From 1997 to 2009 was the editor-in-chief of Hoja por Hoja, a monthly book review; from 2008 to 2009 was the editor-in-chief of Libros de México, the magazine of the Mexican publishers association. Is the director of the series Libros sobre Libros (Books about Books), where the Spanish translation of Robert Bringhurst’s, The Elements of Typographic Style appeared. Is currently a managing editor at Fondo de Cultura Económica.

Alejandro Zenker Mexico City editor, translator and photographer. He studied pedagogy in Germany, and translation in the Colegio de México. Actually he is the director of Solar Servicios Editoriales, Ediciones el Ermitaño and El institutodel libro y la lectura. Among many other activities, and

titles, he was the founder of the Professional Translators Association, and member of the International Translation Federation. He is an active suporter of using new technologies in the book production and reading technologies. He has published various articles and essays about translation and edition and given lectures around this topics internationally.

Reading Technologies 28 October 2009 Museo Interactivo de Economía, MIDE 11:25

29 In the twelfth Century, there was a mutation in the reading way, when the lectio-divina – practiced in the monasteries - turned to lectio scholastica –which was organized to serve better to the logic, analytic and academic thought. In a similar way, we nowadays witness the breakdown of a paradigm on reading; the book, today, is no longer a cult object, screen has taken its place. Reading process has changed, analytic reading is being replaced by a hypertextual reading, the text is read as segments of independent information in a new writing space: the screen.

Palafoxiana y Lafragua, Puebla, 2008) and direct Biograficas. History of Latin American Women Graphic Designer (www. biograficas.com).

Colonial Typography for Native Languages of Latin America (XVI-XIX Century) (México, Perú, Paraguay, Argentina, Colombia y Chile) 26 October 2009 Museo Interactivo de Economía, MIDE 10:50 The printing press came to the New World, mainly, for producing books in the native languages. This required some adjustments to the Latin alphabet wich generated various semiotic processes. This conference will show many visual examples of prints made in Spanish America and Europe, between the sixteenth to nineteenth century, for languages of six Latin American countries. My working and study on typography and design for indigenous languages, which I started twelve years ago, has been pioneer on the subject and has contributed to further research and projects on type design and publishing for native languages.

Fabio Haag Fabio Haag is typedesigner and Director of South America of the British foundry Dalton Maag, that for 18 years designs typefaces for clients worldwide like BMW, Puma, Toyota, Virgin and others. Before joining Dalton Maag, Fabio had previously founded the first type design company of the south of Brazil, designed Dalton Maag’s font Foco, and has had other works exhibited in more than nine countries.

Type Designed Globally 27 October 2009 Museo Interactivo de Economía, MIDE 10:20

The presentation will demonstrate how typedesigners from Latin America can collaborate on international type projects, uniting forces with typedesigners worldwide.

This will be illustrated by the personal experience of Fabio Haag, a typedesigner from South of Brazil that is part of the design team of Dalton Maag, one of the leaders in corporate typedesign in Europe.How does this global team work function? What are the advantages for each? How can we get there?

This lecture illustrates the design business and technological issues of working on a team bridging the frontiers of the so called 3rd and 1st worlds.

Theodore Harrison Dr. Harrison is the president and co-founder of Fontlab Ltd. He has been a member of AtypI for thirteen years and is a member of the board of directors.

Son of FOG (the return of Fontographer) 29 October 2009 Anáhuac University, CAD 16:00

You thought it had died... You thought it was gone forever... You thought wrong....

It’s baaaack! Fontographer, the venerable font editor on which many a typographer cut their eye teeth, has thrown open its coffin, torn off its bandages and returned from the dead! Spiffy new interface; full Mac OS X & Windows XP/Vista compatibility; automatic OpenType, EEULAA, DSIG and more! Don’t miss this whirlwind tour of the new, improved Fontographer 5.

30

Juan Heilborn & Osvaldo Olivera Juan Heilborn Díaz Born in Asuncion, Paraguay in 1977, he studied Graphic Design. For several years he has been developing typefaces designed for Guarani and Castillian, the offical languages of Paraguay. He is professor of Editorial Design and Typography in the Universidad Nacional de Asunción. He works in editorial and educational design, in social campaigns and typography in his own studio. He is a member of the Tipos Latinos organization and of the Tipografía del Paraguay Collective. He has designed Jeroky, Mitã’i, Compilada y E’a, among others typefaces, all suitable for the two languages of Paraguay.

Osvaldo Olivera Villagra Studied Graphic Design. For years he worked in several newspapers. In 1999 he opened his own studio with his wife, A4 Design.

He currently teaches in the Universidad Católica de Asunción in the Graphic Design and Comunication programs. He is author of several articles published in Argentina, Brazil,

Colombia, Cuba, Mexico and Panama.

He has presented his work “History of Paraguayan Design” in Buenos Aires and Rosario in Argentina and in Montevideo, Uruguay.

From the jungle to the pixel, four hundred years of guarani writing 30 October 2009 Anáhuac University, CAD 15:20 Guarani is the only native language across America that became official. It is spoken in Paraguay and surrounding area by more than five million people. Although it was and still is essentially an oral languaje, writing has been developing since the seventeenth century, becoming also the languaje of the european conqueror. Creole people adopted it as their languaje and has remained as it was with very few changes.

A trip among different notations, printing methods and typographic design of four hundred years, form the jungle to the pixel.

Cristóbal Henestrosa Cristóbal Henestrosa has a bachelor’s degree in Graphic Communications from the National School of Plastic Arts of the National Autonomous University of Mexico (UNAM) and a master’s degree in Typographic Design from the Center for Gestalt Studies. He has been a teacher at various institutions, including the UNAM and the National Fine Arts Institute’s School of Design. His bachelor’sdegree thesis won first prize at the National Design Biennial. He is the author of Espinosa.

Rescate de una tipografía novohispana (Mexico, Designio, 2005). As a type designer, he worked for the Fondo de Cultura Económica developing Fondo, which was awarded a prize by the TDC.

Espinosa Nova, a Mexican Revival from the Sixteenth Century 28 October 2009 Museo Interactivo de Economía, MIDE 10:15

Richard Kegler Founder, art director P22 Type Foundry | USA Richard Kegler is the founder and designer at P22 type foundry which marks its 15th year of operation in 2009. Before his involvement in type design, Mr. Kegler was a bookbinder, designer, postgraduate, artist seeking a respectable self-sustaining life as a hand-craftsman. Mr. Kegler has recently started a non-profit Book Arts Center in Buffalo NY and has returned to an active involvement in hand setting and printing metal and wood type as a concurrent career with digital font research at P22.

Making Faces ­— A film in progress 30 October 2009 Anáhuac University, CAD 16:40

Antonio de Espinosa is the most important Mexican printer of the sixteenth century, and, most likely, the first punchcutter anywhere on the American continent (1551). Though his work could be matched with that of the European printers and type designers of the Renaissance, it remains mostly unknown to this day, even among scholars. This presentation aspires to spread his legacy and to announce the existence of Espinosa Nova, a revival designed by Cristóbal Henestrosa.

Richard Kegler will present his project on the making of the Documentary on Jim Rimmer and his creation of the Stern Typeface: The first typeface simultaneously released in digital and metal versions. The documentary follows Mr. Rimmer through the process of designing and cutting a metal typeface for hand casting. Footage shot is early 2008 is being edited and should be ready for a 2010 release. This preview will present and discuss the project.

31

Theodore Harrison Dr. Harrison is the president and co-founder of Fontlab Ltd. He has been a member of AtypI for thirteen years and is a member of the board of directors.

Son of FOG (the return of Fontographer) 29 October 2009 Anáhuac University, CAD 16:00

You thought it had died... You thought it was gone forever... You thought wrong....

It’s baaaack! Fontographer, the venerable font editor on which many a typographer cut their eye teeth, has thrown open its coffin, torn off its bandages and returned from the dead! Spiffy new interface; full Mac OS X & Windows XP/Vista compatibility; automatic OpenType, EEULAA, DSIG and more! Don’t miss this whirlwind tour of the new, improved Fontographer 5.

30

Juan Heilborn & Osvaldo Olivera Juan Heilborn Díaz Born in Asuncion, Paraguay in 1977, he studied Graphic Design. For several years he has been developing typefaces designed for Guarani and Castillian, the offical languages of Paraguay. He is professor of Editorial Design and Typography in the Universidad Nacional de Asunción. He works in editorial and educational design, in social campaigns and typography in his own studio. He is a member of the Tipos Latinos organization and of the Tipografía del Paraguay Collective. He has designed Jeroky, Mitã’i, Compilada y E’a, among others typefaces, all suitable for the two languages of Paraguay.

Osvaldo Olivera Villagra Studied Graphic Design. For years he worked in several newspapers. In 1999 he opened his own studio with his wife, A4 Design.

He currently teaches in the Universidad Católica de Asunción in the Graphic Design and Comunication programs. He is author of several articles published in Argentina, Brazil,

Colombia, Cuba, Mexico and Panama.

He has presented his work “History of Paraguayan Design” in Buenos Aires and Rosario in Argentina and in Montevideo, Uruguay.

From the jungle to the pixel, four hundred years of guarani writing 30 October 2009 Anáhuac University, CAD 15:20 Guarani is the only native language across America that became official. It is spoken in Paraguay and surrounding area by more than five million people. Although it was and still is essentially an oral languaje, writing has been developing since the seventeenth century, becoming also the languaje of the european conqueror. Creole people adopted it as their languaje and has remained as it was with very few changes.

A trip among different notations, printing methods and typographic design of four hundred years, form the jungle to the pixel.

Cristóbal Henestrosa Cristóbal Henestrosa has a bachelor’s degree in Graphic Communications from the National School of Plastic Arts of the National Autonomous University of Mexico (UNAM) and a master’s degree in Typographic Design from the Center for Gestalt Studies. He has been a teacher at various institutions, including the UNAM and the National Fine Arts Institute’s School of Design. His bachelor’sdegree thesis won first prize at the National Design Biennial. He is the author of Espinosa.

Rescate de una tipografía novohispana (Mexico, Designio, 2005). As a type designer, he worked for the Fondo de Cultura Económica developing Fondo, which was awarded a prize by the TDC.

Espinosa Nova, a Mexican Revival from the Sixteenth Century 28 October 2009 Museo Interactivo de Economía, MIDE 10:15

Richard Kegler Founder, art director P22 Type Foundry | USA Richard Kegler is the founder and designer at P22 type foundry which marks its 15th year of operation in 2009. Before his involvement in type design, Mr. Kegler was a bookbinder, designer, postgraduate, artist seeking a respectable self-sustaining life as a hand-craftsman. Mr. Kegler has recently started a non-profit Book Arts Center in Buffalo NY and has returned to an active involvement in hand setting and printing metal and wood type as a concurrent career with digital font research at P22.

Making Faces ­— A film in progress 30 October 2009 Anáhuac University, CAD 16:40

Antonio de Espinosa is the most important Mexican printer of the sixteenth century, and, most likely, the first punchcutter anywhere on the American continent (1551). Though his work could be matched with that of the European printers and type designers of the Renaissance, it remains mostly unknown to this day, even among scholars. This presentation aspires to spread his legacy and to announce the existence of Espinosa Nova, a revival designed by Cristóbal Henestrosa.

Richard Kegler will present his project on the making of the Documentary on Jim Rimmer and his creation of the Stern Typeface: The first typeface simultaneously released in digital and metal versions. The documentary follows Mr. Rimmer through the process of designing and cutting a metal typeface for hand casting. Footage shot is early 2008 is being edited and should be ready for a 2010 release. This preview will present and discuss the project.

31

32

Viktor Kharyk Viktor Kharyk, graphic designer, was born in 1957 and studied in the School of Design (1976) and in the Print University (1982) in Kiev. For years he has been creating and adapting Cyrillic, Latin, Greek, Hebrew, Georgian, Armenian, Arabian, Devanagari and Glagolitic fonts. He is three times winner at the international contest TypeArt Moscow, 2001, and two times winner at TypeArt Moscow, 2005. He is author of several essays about theory and history of fonts. His works are licensed by MasterFont, Elsner+Flake, ParaType. He is ATypI country delegate for Ukraine.

Old Roman Styles and Cyrillic: Historical Examples and Modern Experience 27 October 2009 Museo Interactivo de Economía, MIDE 16:00 1. The influence of Italian Renaissance on Balkan Cyrillic in the fifteenth and sixteenth centuries. Lapidary examples and editions by Giorgio Rusconi.

Kevin Larson Kevin Larson received his PhD in cognitive psychology in 2000 from the University of Texas at Austin. His academic research was on word recognition and reading acquisition.

He now works for Microsoft’s Advanced Reading Technologies team working on fundamental understanding of the impact of typography on the reading experience and applying that understanding towards improving the on-screen reading experience.

Don’t We Have Enough Fonts?

27 October 2009 Museo Interactivo de Economía, MIDE 17:00 People who aren’t typographers or graphic designers often wonder why there are so many typefaces. Few can distinguish differences between typefaces beyond a

2. Franciscus Skoryna’s type experiments, and other examples from the sixteenth and seventeenth centuries.

3. New approach to the Old Roman in Russia in the beginning of the twentieth century. Typefoundries of Leman and Berthold.

4. Soviet “Renaissance” and new Cyrillic Roman-styled types from the middle of the twentieth century. Work of Galina Bannikova, Anatoliy Shchukin, Vadim Lazurskiy, Evgeniy Gannushkin.

5. Modern Cyrillic Roman-styled types: The developments of the last 50 years.

6. Recreation of the Ladoga type (Anatoliy Shchukin, 1960’s; Viktor Kharyk, 2005-2006) and its development in multilingual typefamily (Latin, mono- and polytonic Greek with archaic letters, Hebrew (all variants), as well as the extended Cyrillic with support of Old Cyrillic and Cyrillic writings of Asia, Caucasus, Siberia and North Europe conforming to new Unicode Standard).

serif / sans-serif difference, particularly with text faces. If readers can’t detect these differences, then we are wasting a lot of time and effort.

Many researchers now believe that that people have two evaluative systems – one that involves slow, effortful, deliberative thinking – and one that is automatic, fast, and pre-attentive. The second, called rapid cognition, allows people to make rapid judgments with relatively little information.

For example, it only takes 50ms (1/20th of a second) to make a judgment about the aesthetics of a website that is similar to a judgment made after a long exposure.

Our studies demonstrate that the personality of a typeface is identified with rapid cognition and that it impacts our recognition of the words written with the typeface.

Priscila Lena Farias Priscila Lena Farias is the Head of the Postgraduate Program in Design at National Service for Commercial Education University (SENAC-São Paulo), and a professor at São Paulo University School of Architecture and Urbanism (FAU-USP). She is the President of the Brazilian Information Design Society (SBDI), Vice-president of the Brazilian Association for Design Research and Education (AEND|Brasil) and editor of InfoDesign – Brazilian Journal of Information Design. She has published widely on typography, graphic design and semiotics, and is the author of the books Tipografia Digital and Fontes digitais brasileiras. She is also a type designer, with fonts distributed

by T-26.

Brazilian ‘Vernacular’ Type Design and Digital Technologies 28 October 2009 Museo Interactivo de Economía, MIDE 10:35

Gabriel Martínez Meave Mexican graphic and letterform designer, illustrator and calligrapher. Founder and director of Kimera studio. He has been recipient of numerous awards in Type Design, from the TDC of New York and the ATypI, among others. His work has been reviewed in magazines such as How, Step, Communication Arts, Matiz and Étapes.

He has given lectures and workshops in both sides of the Atlantic. Gabriel’s work is featured in the book Area 2, issued by Phaidon, among 100 of today’s leading young designers. He is member of the ATypI and the TDC of New York.

The Feathered Mouse. Letterform Aesthetics at the Crossroads of Technology and Tradition 27 October 2009 Museo Interactivo de Economía, MIDE 10:00

Typeface design is a rather new endeavor in Brazil, its practice having flourished, to a large extend, since the late 1980’s, as a result of the popularization of digital technologies. Contemporary to that is the trend, in graphic design, characterized by the incorporation of forms and styles inspired by design practices and graphic artifacts that evolved before or outside the institution of modern design schools, that is, by the so-called ‘vernacular’. This presentation analyses Brazilian typefaces inspired by vernacular sources, aiming to reveal its motivations, design strategies, and how such typeforms may acquire new meanings by their use.

«Hieroglyphs and pixels, technology and tradition, hand and mouse. Crossroads that invite us to restate the recurring questions: Does nationalistic-oriented type design makes sense in this Global Era? Does a “Mexican design” really exist? Is there a “Latin American” aesthetic that can be of use in today’s search for ideas? Reflections and proposals around the revaluation of the Local as a source of inspiration for typefaces and its role in the global scene.»

Audiovisual presentation discussing Letterform invention and aesthetics from the viewpoints of nationality, globalism, technology and even Mathematics, challenging our common visions on language/type, orality/writting, beauty/ functionality, and tradition/innovation.

33

32

Viktor Kharyk Viktor Kharyk, graphic designer, was born in 1957 and studied in the School of Design (1976) and in the Print University (1982) in Kiev. For years he has been creating and adapting Cyrillic, Latin, Greek, Hebrew, Georgian, Armenian, Arabian, Devanagari and Glagolitic fonts. He is three times winner at the international contest TypeArt Moscow, 2001, and two times winner at TypeArt Moscow, 2005. He is author of several essays about theory and history of fonts. His works are licensed by MasterFont, Elsner+Flake, ParaType. He is ATypI country delegate for Ukraine.

Old Roman Styles and Cyrillic: Historical Examples and Modern Experience 27 October 2009 Museo Interactivo de Economía, MIDE 16:00 1. The influence of Italian Renaissance on Balkan Cyrillic in the fifteenth and sixteenth centuries. Lapidary examples and editions by Giorgio Rusconi.

Kevin Larson Kevin Larson received his PhD in cognitive psychology in 2000 from the University of Texas at Austin. His academic research was on word recognition and reading acquisition.

He now works for Microsoft’s Advanced Reading Technologies team working on fundamental understanding of the impact of typography on the reading experience and applying that understanding towards improving the on-screen reading experience.

Don’t We Have Enough Fonts?

27 October 2009 Museo Interactivo de Economía, MIDE 17:00 People who aren’t typographers or graphic designers often wonder why there are so many typefaces. Few can distinguish differences between typefaces beyond a

2. Franciscus Skoryna’s type experiments, and other examples from the sixteenth and seventeenth centuries.

3. New approach to the Old Roman in Russia in the beginning of the twentieth century. Typefoundries of Leman and Berthold.

4. Soviet “Renaissance” and new Cyrillic Roman-styled types from the middle of the twentieth century. Work of Galina Bannikova, Anatoliy Shchukin, Vadim Lazurskiy, Evgeniy Gannushkin.

5. Modern Cyrillic Roman-styled types: The developments of the last 50 years.

6. Recreation of the Ladoga type (Anatoliy Shchukin, 1960’s; Viktor Kharyk, 2005-2006) and its development in multilingual typefamily (Latin, mono- and polytonic Greek with archaic letters, Hebrew (all variants), as well as the extended Cyrillic with support of Old Cyrillic and Cyrillic writings of Asia, Caucasus, Siberia and North Europe conforming to new Unicode Standard).

serif / sans-serif difference, particularly with text faces. If readers can’t detect these differences, then we are wasting a lot of time and effort.

Many researchers now believe that that people have two evaluative systems – one that involves slow, effortful, deliberative thinking – and one that is automatic, fast, and pre-attentive. The second, called rapid cognition, allows people to make rapid judgments with relatively little information.

For example, it only takes 50ms (1/20th of a second) to make a judgment about the aesthetics of a website that is similar to a judgment made after a long exposure.

Our studies demonstrate that the personality of a typeface is identified with rapid cognition and that it impacts our recognition of the words written with the typeface.

Priscila Lena Farias Priscila Lena Farias is the Head of the Postgraduate Program in Design at National Service for Commercial Education University (SENAC-São Paulo), and a professor at São Paulo University School of Architecture and Urbanism (FAU-USP). She is the President of the Brazilian Information Design Society (SBDI), Vice-president of the Brazilian Association for Design Research and Education (AEND|Brasil) and editor of InfoDesign – Brazilian Journal of Information Design. She has published widely on typography, graphic design and semiotics, and is the author of the books Tipografia Digital and Fontes digitais brasileiras. She is also a type designer, with fonts distributed

by T-26.

Brazilian ‘Vernacular’ Type Design and Digital Technologies 28 October 2009 Museo Interactivo de Economía, MIDE 10:35

Gabriel Martínez Meave Mexican graphic and letterform designer, illustrator and calligrapher. Founder and director of Kimera studio. He has been recipient of numerous awards in Type Design, from the TDC of New York and the ATypI, among others. His work has been reviewed in magazines such as How, Step, Communication Arts, Matiz and Étapes.

He has given lectures and workshops in both sides of the Atlantic. Gabriel’s work is featured in the book Area 2, issued by Phaidon, among 100 of today’s leading young designers. He is member of the ATypI and the TDC of New York.

The Feathered Mouse. Letterform Aesthetics at the Crossroads of Technology and Tradition 27 October 2009 Museo Interactivo de Economía, MIDE 10:00

Typeface design is a rather new endeavor in Brazil, its practice having flourished, to a large extend, since the late 1980’s, as a result of the popularization of digital technologies. Contemporary to that is the trend, in graphic design, characterized by the incorporation of forms and styles inspired by design practices and graphic artifacts that evolved before or outside the institution of modern design schools, that is, by the so-called ‘vernacular’. This presentation analyses Brazilian typefaces inspired by vernacular sources, aiming to reveal its motivations, design strategies, and how such typeforms may acquire new meanings by their use.

«Hieroglyphs and pixels, technology and tradition, hand and mouse. Crossroads that invite us to restate the recurring questions: Does nationalistic-oriented type design makes sense in this Global Era? Does a “Mexican design” really exist? Is there a “Latin American” aesthetic that can be of use in today’s search for ideas? Reflections and proposals around the revaluation of the Local as a source of inspiration for typefaces and its role in the global scene.»

Audiovisual presentation discussing Letterform invention and aesthetics from the viewpoints of nationality, globalism, technology and even Mathematics, challenging our common visions on language/type, orality/writting, beauty/ functionality, and tradition/innovation.

33

34

Stuart McKee Stuart McKee is active as a design educator, researcher, and writer. Stuart is an Assistant Professor of Design at the University of San Francisco, where he also serves as the Chair of the Department of Art + Architecture. His publication record includes papers for the journals Visible Language, Inform, and the AIGA Journal of Graphic Design, and research articles for the magazines Print, Eye, and Emigre. Stuart has presented research papers at two AIGA national conferences, The Power of Design conference in Vancouver in 2003 and the America: Cult and Culture conference in Las Vegas in 1999. He has also presented research papers internationally at the Logo Cities conference in Montreal in 2007, and the Networks of Design conference in Falmouth, England in 2008. In 2002, Stuart proposed the AIGA conference Educating the Design Educator and served as the program director and moderator for the conference.

Typography and Cultural Difference in the Age of Expansion 30 October 2009 Anáhuac University, CAD 10:00

Jan Middendorp & Óscar Yáñez Jan Middendorp Is a Dutch type writer and page maker working in Berlin. He wrote the acclaimed Dutch Type and co-edited Made with FontFont. He is a contributor to Eye and was one of the ten curators of Area2 (Phaidon). He is a contributor to several international design magazines including Typo (Czech Republic) and Eye (UK).

He is a consultant and editor for type foundries and distributors such as FontShop, MyFonts, LucasFonts and Linotype. Óscar Yáñez Has a bachelor’s degree in Graphic Communication Design from the Universidad Autónoma Metropolitana (UAM) and a master’s degree in Typographic Design from the Centro de Estudios Gestalt. His work in periodical publications has awards from different associations, like the Society of News Design, the Society of Publications Design

Western historians describe the Spread of Printing as the definitive sequence of events that brought about the end of the Western manuscript tradition and the beginning of global print culture. Collectively, the textual and cartographic representations of history popularized by the historians Lucien Febvre, Theodore Lowe de Vinne, Elizabeth Eisenstein, and S.H. Steinberg suggest that the spread of printing beyond 1500— beyond the expansion of Europe and into the world’s developing countries—must be a secondary counterpart to the mainstream of typographic history. In “Typography and Cultural Difference in the Age of Expansion,” I will explain how the texts and maps that describe the Spread of Printing elevate Germany, Italy, France, Portugal, Spain, and England into prominence—as a collective enterprise—above the developing cultures and colonized countries to whom typography came later. My primary objective will be to demonstrate how the movement of Old World typography into the New World of the Americas enabled historians to assert the larger mission of European expansion to the disadvantage of the typographic practices and values that came about through indigenous typefounding.

and the Cámara de la Industria Editorial Mexicana. He is member of ATypI, TDC-NY and Círculo de Tipógrafos.

Boudewijn Ietswaart in Mexico 28 October 2009 Museo Interactivo de Economía, MIDE 16:40 In 1961 a young Dutch designer named Boudewijn Ietswaart arrived in Mexico City on a UNESCO mission assisting famed book designer Alexandre Stols. For two years he worked at the heart the Mexican publishing industry when the country’s letters were at their apogee. Stols lauded Ietswaart’s “flawless taste” and Jan Middendorp speaks of his “unrecognized genius”. Nonetheless Ietswaart’s work in book design remains unknown. In 2009 the Círculo de Tipógrafos, a group of Mexican typedesigners, created revivals of several of the fonts Ietswaart drew for book covers. We hope to present this project and its historical context during the ATypI.

Hand-lettered Book Jackets in the 1950s and 1960s.

The Ietswaart Case 26 October 2009 Museo Interactivo de Economía, MIDE 11:10 During my research for Dutch Type, I chanced upon the work of Boudewijn Ietswaart, an extremely talented lettering artist and illustrator whose work is virtually unknown in his native Netherlands. Further research led to my locating him – now retired – in Amsterdam, where I interviewed him and made photographic reproductions of some of his work.

Ietswaart spent most of his professional life as a graphic designer in Mexico, Venezuela

D. Mier y Terán, J. Heilborn, K. Diniz, M & Garone Diego Mier y Terán Giménez Cacho Is a graphic designer with a master degree in type design from the Type and Media program in The Hague. His thesis project was entitled Tuhun. A typographic exploration of the Mixtec language. He is interested in investigating and promoting the social, cultural and ethical dimensions of design and its power as an agent of change. He teaches at the Universidad Iberoamericana, in Mexico City, and works with his wife and partner, Kythzia Barrera, in their Estudio Frutas y Verduras, a platform for creation that arises in the intersection of design and its surroundings.

Juan Heilborn Díaz Born in Asuncion, Paraguay in 1977, he studied Graphic Design. For several years he has been developing typefaces designed for Guarani and Castillian, the offical languages of Paraguay. He is professor of Editorial Design and Typography in the Universidad Nacional de Asunción. He works in editorial and educational design, in social campaigns and typography in his own studio. He is a member of the Tipos Latinos organization and of the Tipografía del Paraguay Collective. He has designed Jeroky, Mitã’i, Compilada y E’a, among others typefaces, all suitable for the two languages of Paraguay.

and Barcelona and only did a small portion of his work for Dutch publishers. He later became a scientific illustrator and abandoned lettering altogether.

Ietswaart was extremely prolific during his two years in Mexico, c. 1960, where he had gone to assist UNESCO collaborator Alexander Stols – a well-known publisher – as the typographic specialist. After I mentioned Ietswaart to my contacts of the Círculo de Tipógrafos in Mexico last year, they researched what information they could find, and also located many of Ietswaart’s works in antiquarian bookshops.

They soon warmed up to the idea of reviving some of his alphabets as fonts, and present the work during ATypI 09 in the context of the cultural climate of the era.

Kollontai Diniz Is a young researcher in the area of typography and native languages of Brazil.

She obtained her bachelors degree in Graphic Design at the University of Brasilia in 2007, and during that time she was a trainee at the Fundação Nacional do Índio, the governmental protection agency for indigenous people interests and culture, where she worked on editorial projects in various native languages. After graduating she won the young scientist award from the Brazilian Society of Information Design, for her research. Kollontai currently works at the Institute for Brazilian Studies in the University of São Paulo.

Marina Garone Has a B.A. in Design of Graphic Communication (UAM, México); a M.F.A in Industrial Design (UNAM, México) and Typography and Type design Studies (SfG, Basel, Switzerland); she has a PhD in Art History (UNAM, México), Doctoral thesis: Colonial Typography for Indigenous Languages.

She has worked for public, private and non-governmental institutions in the field of typography and publishing design since 1994.

Her research topics are about design criticism, history of typography and design & gender. She has taught and lectured at different universities and educational institutions and presented papers at international conferences (Mexico,

35

34

Stuart McKee Stuart McKee is active as a design educator, researcher, and writer. Stuart is an Assistant Professor of Design at the University of San Francisco, where he also serves as the Chair of the Department of Art + Architecture. His publication record includes papers for the journals Visible Language, Inform, and the AIGA Journal of Graphic Design, and research articles for the magazines Print, Eye, and Emigre. Stuart has presented research papers at two AIGA national conferences, The Power of Design conference in Vancouver in 2003 and the America: Cult and Culture conference in Las Vegas in 1999. He has also presented research papers internationally at the Logo Cities conference in Montreal in 2007, and the Networks of Design conference in Falmouth, England in 2008. In 2002, Stuart proposed the AIGA conference Educating the Design Educator and served as the program director and moderator for the conference.

Typography and Cultural Difference in the Age of Expansion 30 October 2009 Anáhuac University, CAD 10:00

Jan Middendorp & Óscar Yáñez Jan Middendorp Is a Dutch type writer and page maker working in Berlin. He wrote the acclaimed Dutch Type and co-edited Made with FontFont. He is a contributor to Eye and was one of the ten curators of Area2 (Phaidon). He is a contributor to several international design magazines including Typo (Czech Republic) and Eye (UK).

He is a consultant and editor for type foundries and distributors such as FontShop, MyFonts, LucasFonts and Linotype. Óscar Yáñez Has a bachelor’s degree in Graphic Communication Design from the Universidad Autónoma Metropolitana (UAM) and a master’s degree in Typographic Design from the Centro de Estudios Gestalt. His work in periodical publications has awards from different associations, like the Society of News Design, the Society of Publications Design

Western historians describe the Spread of Printing as the definitive sequence of events that brought about the end of the Western manuscript tradition and the beginning of global print culture. Collectively, the textual and cartographic representations of history popularized by the historians Lucien Febvre, Theodore Lowe de Vinne, Elizabeth Eisenstein, and S.H. Steinberg suggest that the spread of printing beyond 1500— beyond the expansion of Europe and into the world’s developing countries—must be a secondary counterpart to the mainstream of typographic history. In “Typography and Cultural Difference in the Age of Expansion,” I will explain how the texts and maps that describe the Spread of Printing elevate Germany, Italy, France, Portugal, Spain, and England into prominence—as a collective enterprise—above the developing cultures and colonized countries to whom typography came later. My primary objective will be to demonstrate how the movement of Old World typography into the New World of the Americas enabled historians to assert the larger mission of European expansion to the disadvantage of the typographic practices and values that came about through indigenous typefounding.

and the Cámara de la Industria Editorial Mexicana. He is member of ATypI, TDC-NY and Círculo de Tipógrafos.

Boudewijn Ietswaart in Mexico 28 October 2009 Museo Interactivo de Economía, MIDE 16:40 In 1961 a young Dutch designer named Boudewijn Ietswaart arrived in Mexico City on a UNESCO mission assisting famed book designer Alexandre Stols. For two years he worked at the heart the Mexican publishing industry when the country’s letters were at their apogee. Stols lauded Ietswaart’s “flawless taste” and Jan Middendorp speaks of his “unrecognized genius”. Nonetheless Ietswaart’s work in book design remains unknown. In 2009 the Círculo de Tipógrafos, a group of Mexican typedesigners, created revivals of several of the fonts Ietswaart drew for book covers. We hope to present this project and its historical context during the ATypI.

Hand-lettered Book Jackets in the 1950s and 1960s.

The Ietswaart Case 26 October 2009 Museo Interactivo de Economía, MIDE 11:10 During my research for Dutch Type, I chanced upon the work of Boudewijn Ietswaart, an extremely talented lettering artist and illustrator whose work is virtually unknown in his native Netherlands. Further research led to my locating him – now retired – in Amsterdam, where I interviewed him and made photographic reproductions of some of his work.

Ietswaart spent most of his professional life as a graphic designer in Mexico, Venezuela

D. Mier y Terán, J. Heilborn, K. Diniz, M & Garone Diego Mier y Terán Giménez Cacho Is a graphic designer with a master degree in type design from the Type and Media program in The Hague. His thesis project was entitled Tuhun. A typographic exploration of the Mixtec language. He is interested in investigating and promoting the social, cultural and ethical dimensions of design and its power as an agent of change. He teaches at the Universidad Iberoamericana, in Mexico City, and works with his wife and partner, Kythzia Barrera, in their Estudio Frutas y Verduras, a platform for creation that arises in the intersection of design and its surroundings.

Juan Heilborn Díaz Born in Asuncion, Paraguay in 1977, he studied Graphic Design. For several years he has been developing typefaces designed for Guarani and Castillian, the offical languages of Paraguay. He is professor of Editorial Design and Typography in the Universidad Nacional de Asunción. He works in editorial and educational design, in social campaigns and typography in his own studio. He is a member of the Tipos Latinos organization and of the Tipografía del Paraguay Collective. He has designed Jeroky, Mitã’i, Compilada y E’a, among others typefaces, all suitable for the two languages of Paraguay.

and Barcelona and only did a small portion of his work for Dutch publishers. He later became a scientific illustrator and abandoned lettering altogether.

Ietswaart was extremely prolific during his two years in Mexico, c. 1960, where he had gone to assist UNESCO collaborator Alexander Stols – a well-known publisher – as the typographic specialist. After I mentioned Ietswaart to my contacts of the Círculo de Tipógrafos in Mexico last year, they researched what information they could find, and also located many of Ietswaart’s works in antiquarian bookshops.

They soon warmed up to the idea of reviving some of his alphabets as fonts, and present the work during ATypI 09 in the context of the cultural climate of the era.

Kollontai Diniz Is a young researcher in the area of typography and native languages of Brazil.

She obtained her bachelors degree in Graphic Design at the University of Brasilia in 2007, and during that time she was a trainee at the Fundação Nacional do Índio, the governmental protection agency for indigenous people interests and culture, where she worked on editorial projects in various native languages. After graduating she won the young scientist award from the Brazilian Society of Information Design, for her research. Kollontai currently works at the Institute for Brazilian Studies in the University of São Paulo.

Marina Garone Has a B.A. in Design of Graphic Communication (UAM, México); a M.F.A in Industrial Design (UNAM, México) and Typography and Type design Studies (SfG, Basel, Switzerland); she has a PhD in Art History (UNAM, México), Doctoral thesis: Colonial Typography for Indigenous Languages.

She has worked for public, private and non-governmental institutions in the field of typography and publishing design since 1994.

Her research topics are about design criticism, history of typography and design & gender. She has taught and lectured at different universities and educational institutions and presented papers at international conferences (Mexico,

35

Argentina, Venezuela, Uruguay, Spain, Italy, US and Turkey). She has published articles and essays at specialised magazines from Mexico, Argentina, España and USA, and has contributed to many books. Garone was the curator of two rare books exhibition in Mexico (Bienal Letras Latinas, Veracruz, 2004 and The Other Letters: Women Printers in the Rare-Book World, Bibliotecas Palafoxiana y Lafragua, Puebla, 2008) and direct Biograficas. History of Latin American Women Graphic Designer (www.biograficas.com).

36 Type and Native Languages in Postcolonial America 26 October 2009 Museo Interactivo de Economía, MIDE 16:45

Christopher Moore Christopher Moore is a Canadian designer and educator whose cross-disciplinary practice ranges from commercial publication design to media-based installations.

Christopher studied illustration at the Ontario College of Art, and received a MFA in Design from the Nova Scotia College of Art and Design in 1999. His creative research currently focuses on appropriated digital content, and the emergence of new genres of folk art facilitated by social media applications. For the past ten years, he has taught at several institutions across Canada, and currently holds the position of Assistant Professor in Design & Computation Arts at Concordia University in Montreal.

Electronic Paper Display as a Model for Sustainable Print Practice 28 October 2009 Museo Interactivo de Economía, MIDE 12:05 In October 2008, Esquire magazine became the first commercial publisher to utilize electronic paper display technology (EPD) for mass production and distribution of printed ephemera. Initially developed at the MIT Media Lab in 1997, E Ink displays have been integrated into a variety of hardware devices, including the Amazon Kindle and Sony Reader. However, the Esquire cover represents a milestone achievement in the evolution of a more sustainable, paperless print solution due to the medium’s flexible

This section is dedicated to the field of typography and native languages of Latin America in postcolonial context. The three panelists will be presenting a brief overview of the rich multilingual reality of their regions (Brasil, Mexico and Paraguay) and bring together key questions they have been faced with through their works on typography research and typeface design: cultural imposition on the transcript of the oral to the written word; lack of typographic and visual criteria in the creation of new writing systems; technological and practical problems in the use of alphabets. As well as showcase how they address these questions.

be better addressed through adoption of a liberal arts model. The task of devising a comprehensive, non-specialist program without significantly compromising the depth of investigation in any one particular discipline is daunting. As such, the exercise of clarifying the pedagogical parameters for each related course becomes exceedingly crucial.

nature, low power consumption, and limited circuitry requirements. 100,000 copies were sold on newsstands for the regular cover price of $5.99 USD, proving both the economic viability and flexible application of the technology, which is impervious to ambient lighting conditions and adaptable to multiple modalities. This presentation will outline the key features and benefits of E Ink, as well as the critical challenges impeding widespread adoption of EPD.

Sébastian Morlighem Sébastien Morlighem (1971) was trained

by Franck Jalleau & Michel Derre in type design and calligraphy in the early 1990’s at the École Estienne (Paris). He started teaching in 1997 the history of typography & type design in this school, while working as a graphic designer for books. He is currently teaching at the École supérieure d’art et de design d’Amiens, in the freshly opened type design post-graduation.

He’s the curator of the “Bibliothèque typographique”, a collection of books about punchcutters & typedesigners published by Ypsilon Éditeur.

Curriculum Design and Pedagogy for Dynamic Typography 30 October 2009 Anáhuac University, CAD 11:40 Emergent typographic and new media practices necessitate a reimagining of traditional methodologies for design education and pedagogy. By forging unions with the related fields of cognitive psychology, linguistics, and sociology, students become conversant with usability and accessibility considerations, which are critical to professional practice in networked and screen-based production. The curricular shift from specialist courses of study to a more broad-based educational approach not only reflects the pragmatic nature of studio production, but also acknowledges the burgeoning growth of graduate design programs. Master and PhD theses demand an ability to apply and engage with research methodologies, which can

This TypeTech session will adopt a discussion group model. Participants will be encouraged to share specific educational strategies for addressing dynamic, interactive, and screen-based typography at the post-secondary level. My role will consist of introducing the subject area and its inherent challenges, followed by moderation of the ensuing dialogue.

37

José Mendoza y Almeida, the ‘Neohumanist’ Heart of French Typography 27 October 2009 Museo Interactivo de Economía, MIDE 11:20

Born in 1926, José Mendoza y Almeida is the oldest french type designer still in activity. This lecture will be focusing on his career, from his beginning as Roger Excoffon’s assistant at the Fonderie Olive in 1954, to his solitary path as the only neohumanist type designer in France, a country where twentieth century typography is rather “artistic” (Auriol, Cassandre, Excoffon…). He was also the only french designer whose faces were released by international foundries: Pascal (1960, Lettergieterij “Amsterdam”); Photina (1972, Monotype Corporation); ITC Mendoza Roman (1991, International Typeface Company). They will be shown & discussed, as well as less know & unreleased projects, rooted in calligraphy & lettering.

Argentina, Venezuela, Uruguay, Spain, Italy, US and Turkey). She has published articles and essays at specialised magazines from Mexico, Argentina, España and USA, and has contributed to many books. Garone was the curator of two rare books exhibition in Mexico (Bienal Letras Latinas, Veracruz, 2004 and The Other Letters: Women Printers in the Rare-Book World, Bibliotecas Palafoxiana y Lafragua, Puebla, 2008) and direct Biograficas. History of Latin American Women Graphic Designer (www.biograficas.com).

36 Type and Native Languages in Postcolonial America 26 October 2009 Museo Interactivo de Economía, MIDE 16:45

Christopher Moore Christopher Moore is a Canadian designer and educator whose cross-disciplinary practice ranges from commercial publication design to media-based installations.

Christopher studied illustration at the Ontario College of Art, and received a MFA in Design from the Nova Scotia College of Art and Design in 1999. His creative research currently focuses on appropriated digital content, and the emergence of new genres of folk art facilitated by social media applications. For the past ten years, he has taught at several institutions across Canada, and currently holds the position of Assistant Professor in Design & Computation Arts at Concordia University in Montreal.

Electronic Paper Display as a Model for Sustainable Print Practice 28 October 2009 Museo Interactivo de Economía, MIDE 12:05 In October 2008, Esquire magazine became the first commercial publisher to utilize electronic paper display technology (EPD) for mass production and distribution of printed ephemera. Initially developed at the MIT Media Lab in 1997, E Ink displays have been integrated into a variety of hardware devices, including the Amazon Kindle and Sony Reader. However, the Esquire cover represents a milestone achievement in the evolution of a more sustainable, paperless print solution due to the medium’s flexible

This section is dedicated to the field of typography and native languages of Latin America in postcolonial context. The three panelists will be presenting a brief overview of the rich multilingual reality of their regions (Brasil, Mexico and Paraguay) and bring together key questions they have been faced with through their works on typography research and typeface design: cultural imposition on the transcript of the oral to the written word; lack of typographic and visual criteria in the creation of new writing systems; technological and practical problems in the use of alphabets. As well as showcase how they address these questions.

be better addressed through adoption of a liberal arts model. The task of devising a comprehensive, non-specialist program without significantly compromising the depth of investigation in any one particular discipline is daunting. As such, the exercise of clarifying the pedagogical parameters for each related course becomes exceedingly crucial.

nature, low power consumption, and limited circuitry requirements. 100,000 copies were sold on newsstands for the regular cover price of $5.99 USD, proving both the economic viability and flexible application of the technology, which is impervious to ambient lighting conditions and adaptable to multiple modalities. This presentation will outline the key features and benefits of E Ink, as well as the critical challenges impeding widespread adoption of EPD.

Sébastian Morlighem Sébastien Morlighem (1971) was trained

by Franck Jalleau & Michel Derre in type design and calligraphy in the early 1990’s at the École Estienne (Paris). He started teaching in 1997 the history of typography & type design in this school, while working as a graphic designer for books. He is currently teaching at the École supérieure d’art et de design d’Amiens, in the freshly opened type design post-graduation.

He’s the curator of the “Bibliothèque typographique”, a collection of books about punchcutters & typedesigners published by Ypsilon Éditeur.

Curriculum Design and Pedagogy for Dynamic Typography 30 October 2009 Anáhuac University, CAD 11:40 Emergent typographic and new media practices necessitate a reimagining of traditional methodologies for design education and pedagogy. By forging unions with the related fields of cognitive psychology, linguistics, and sociology, students become conversant with usability and accessibility considerations, which are critical to professional practice in networked and screen-based production. The curricular shift from specialist courses of study to a more broad-based educational approach not only reflects the pragmatic nature of studio production, but also acknowledges the burgeoning growth of graduate design programs. Master and PhD theses demand an ability to apply and engage with research methodologies, which can

This TypeTech session will adopt a discussion group model. Participants will be encouraged to share specific educational strategies for addressing dynamic, interactive, and screen-based typography at the post-secondary level. My role will consist of introducing the subject area and its inherent challenges, followed by moderation of the ensuing dialogue.

37

José Mendoza y Almeida, the ‘Neohumanist’ Heart of French Typography 27 October 2009 Museo Interactivo de Economía, MIDE 11:20

Born in 1926, José Mendoza y Almeida is the oldest french type designer still in activity. This lecture will be focusing on his career, from his beginning as Roger Excoffon’s assistant at the Fonderie Olive in 1954, to his solitary path as the only neohumanist type designer in France, a country where twentieth century typography is rather “artistic” (Auriol, Cassandre, Excoffon…). He was also the only french designer whose faces were released by international foundries: Pascal (1960, Lettergieterij “Amsterdam”); Photina (1972, Monotype Corporation); ITC Mendoza Roman (1991, International Typeface Company). They will be shown & discussed, as well as less know & unreleased projects, rooted in calligraphy & lettering.

38

Darío Manuel Muhafara Darío M. Muhafara is graphic and type designer. He has studied in Parsons School and School of Visual Arts both in the city of New York. He taught typography at the University of Buenos Aires until year 2004. He is teacher at the Specialization in Design of Typography career in Argentina.

He dictates lectures and typefaces design workshops at different universities from Latin America. He is also member of T-Convoca, a group dedicated to the diffusion of the discipline in Latin America, and ATypI (Association Typographique International). He’s co-founder of the digital type foundry tipo.net.ar. Linotype, FontFont and T-26 have published his typefaces. His more recognized works are FF Jackie, LT Cineplex and Malena. His works have been selected in the two LetrasLatinas Biennials, Tsunami fonts and Postal Social.

Annie Opitz Olsen Annie started noticing letterforms at age 14, and took her first calligraphy class a few years later. Through teaching and free-lance work she continued to learn about the form and structure of Latin letters, and worked once with Hebrew. Although part of SIL International since 1987, it was not until 2003 that Annie discovered that her calligraphic background could serve the world’s non-dominant language communities through type design and font development. Trained by colleague Victor Gaultney, she has made contributions to SIL fonts such as Gentium, Charis SIL, and Tai Heritage; she is currently team lead for the Andika project.

Multiple Purpose Uses: New Paradigm of the Contemporary Typefaces Design 29 October 2009 Anáhuac University, CAD 17:20

The aim of this lecture is to present the analysis of the particularities of the design of typefaces that work correctly in an ample rank of body sizes. Although it is a current subject, the design of typefaces for multiple purpose uses is still under development.

Their foundations, theoretical and practical qualities are vague and general. Some first results on the subject appear from an investigation based on studies of different typefaces that follow this premise, interviews to professionals of the discipline, technical comparisons and descriptions of their methods of work. Its aim is also to unravel how much versatility is in these typographies and how much it is a good argument of sale.

More than A – Z: In Search of a Global Latin Literacy Font 26 October 2009 Museo Interactivo de Economía, MIDE 16:25 If you were teaching people to read, what font would you use? Many different ones have been used for languages with Latin letters, with varying degrees of success.

Look-alike letters, missing characters and changing technologies are just a few of today’s challenges. Can a single font family meet the needs of new readers in diverse locations across the globe? Can it serve the goals of literacy educators as well? Can it avoid the pitfalls of some educational alphabets and look reasonably “normal”? New tools and thoughtful design may make this possible.

Hrant Paprazian Hrant Papazian is an Armenian native of Lebanon, currently living in Los Angeles. His perspective on written communication was formed at the crossroads of three competing visual cultures. A multimedia designer by trade, his true love remains the black-andwhite, but colorful world of non-Latin typeface design, with commissions from Agfa, Unitype, IKEA, the Narod Cultural Institute, Disney, UCLA, the Israel Postal Authority, Liverpool University and TeX Users Group.

Changes of Hearts 28 October 2009 Museo Interactivo de Economía, MIDE 12:40

Josep Patau Josep Patau (Les Borges Blanques, 1971) is a graphic designer, who has been working on web design since he started his studio Can Antaviana in 1996. He also begins designing fonts, some of that first period can be downloaded free at www.astramat. com. Since 2003, his type designs have been published by the American Foundry t26. His work has won several awards, he holds a Laus Prize (Spanish’s design “Oscars”) for Anduaga, a calligraphic typeface from the eighteenth century.

His font Confetti was included in the list “Our Favorite Typefaces of 2006” in www.typographica.org. He is also one of the founding members, in 1999, of an important typography reference web in spanish: www.unostiposduros.com

The typographic work of goldsmiths Manuel Peleguer 27 October 2009 Museo Interactivo de Economía, MIDE 11:40

Change is the only constant. And a change of heart can save your life, biologically or ideologically. It can also breathe new life into type design, even if it is a modest angioplasty. This talk will expose and explore ideas for seeing writing systems in new ways, liberating them from the rote of precedent. It’s a journey often personal, wading in and out of notan, replete with [letterform] skeletons in the closet, landmarks such as Evert Bloemsma’s Legato, and letter frequency analysis. Plus the occasional heart attack.

The aim of this paper is to give an account of the project Peleguer, the recovering and digitialization of the work of goldsmiths Manuel Peleguer, both father and son, who cut some printing characters between 1780 and 1784 in response to an order of the “Real Sociedad Económica Valenciana de Amigos del País”, an economic society dedicated to foment commerce that wanted to end with the economic dependecy of buying foreign fonts. The result was a modern transitional typeface, with good legibility and neoclasical forms, whose quality was equal to those made by the Real Press (Imprenta Real) in Madrid by Pradell, Espinosa or Gerónimo Gil. Peleguer settled a press and a font foundry in 1784, where they printed only six books, barely enough to serve as a model for the recovering of their work.

39

38

Darío Manuel Muhafara Darío M. Muhafara is graphic and type designer. He has studied in Parsons School and School of Visual Arts both in the city of New York. He taught typography at the University of Buenos Aires until year 2004. He is teacher at the Specialization in Design of Typography career in Argentina.

He dictates lectures and typefaces design workshops at different universities from Latin America. He is also member of T-Convoca, a group dedicated to the diffusion of the discipline in Latin America, and ATypI (Association Typographique International). He’s co-founder of the digital type foundry tipo.net.ar. Linotype, FontFont and T-26 have published his typefaces. His more recognized works are FF Jackie, LT Cineplex and Malena. His works have been selected in the two LetrasLatinas Biennials, Tsunami fonts and Postal Social.

Annie Opitz Olsen Annie started noticing letterforms at age 14, and took her first calligraphy class a few years later. Through teaching and free-lance work she continued to learn about the form and structure of Latin letters, and worked once with Hebrew. Although part of SIL International since 1987, it was not until 2003 that Annie discovered that her calligraphic background could serve the world’s non-dominant language communities through type design and font development. Trained by colleague Victor Gaultney, she has made contributions to SIL fonts such as Gentium, Charis SIL, and Tai Heritage; she is currently team lead for the Andika project.

Multiple Purpose Uses: New Paradigm of the Contemporary Typefaces Design 29 October 2009 Anáhuac University, CAD 17:20

The aim of this lecture is to present the analysis of the particularities of the design of typefaces that work correctly in an ample rank of body sizes. Although it is a current subject, the design of typefaces for multiple purpose uses is still under development.

Their foundations, theoretical and practical qualities are vague and general. Some first results on the subject appear from an investigation based on studies of different typefaces that follow this premise, interviews to professionals of the discipline, technical comparisons and descriptions of their methods of work. Its aim is also to unravel how much versatility is in these typographies and how much it is a good argument of sale.

More than A – Z: In Search of a Global Latin Literacy Font 26 October 2009 Museo Interactivo de Economía, MIDE 16:25 If you were teaching people to read, what font would you use? Many different ones have been used for languages with Latin letters, with varying degrees of success.

Look-alike letters, missing characters and changing technologies are just a few of today’s challenges. Can a single font family meet the needs of new readers in diverse locations across the globe? Can it serve the goals of literacy educators as well? Can it avoid the pitfalls of some educational alphabets and look reasonably “normal”? New tools and thoughtful design may make this possible.

Hrant Paprazian Hrant Papazian is an Armenian native of Lebanon, currently living in Los Angeles. His perspective on written communication was formed at the crossroads of three competing visual cultures. A multimedia designer by trade, his true love remains the black-andwhite, but colorful world of non-Latin typeface design, with commissions from Agfa, Unitype, IKEA, the Narod Cultural Institute, Disney, UCLA, the Israel Postal Authority, Liverpool University and TeX Users Group.

Changes of Hearts 28 October 2009 Museo Interactivo de Economía, MIDE 12:40

Josep Patau Josep Patau (Les Borges Blanques, 1971) is a graphic designer, who has been working on web design since he started his studio Can Antaviana in 1996. He also begins designing fonts, some of that first period can be downloaded free at www.astramat. com. Since 2003, his type designs have been published by the American Foundry t26. His work has won several awards, he holds a Laus Prize (Spanish’s design “Oscars”) for Anduaga, a calligraphic typeface from the eighteenth century.

His font Confetti was included in the list “Our Favorite Typefaces of 2006” in www.typographica.org. He is also one of the founding members, in 1999, of an important typography reference web in spanish: www.unostiposduros.com

The typographic work of goldsmiths Manuel Peleguer 27 October 2009 Museo Interactivo de Economía, MIDE 11:40

Change is the only constant. And a change of heart can save your life, biologically or ideologically. It can also breathe new life into type design, even if it is a modest angioplasty. This talk will expose and explore ideas for seeing writing systems in new ways, liberating them from the rote of precedent. It’s a journey often personal, wading in and out of notan, replete with [letterform] skeletons in the closet, landmarks such as Evert Bloemsma’s Legato, and letter frequency analysis. Plus the occasional heart attack.

The aim of this paper is to give an account of the project Peleguer, the recovering and digitialization of the work of goldsmiths Manuel Peleguer, both father and son, who cut some printing characters between 1780 and 1784 in response to an order of the “Real Sociedad Económica Valenciana de Amigos del País”, an economic society dedicated to foment commerce that wanted to end with the economic dependecy of buying foreign fonts. The result was a modern transitional typeface, with good legibility and neoclasical forms, whose quality was equal to those made by the Real Press (Imprenta Real) in Madrid by Pradell, Espinosa or Gerónimo Gil. Peleguer settled a press and a font foundry in 1784, where they printed only six books, barely enough to serve as a model for the recovering of their work.

39

40

Alejandro Paul Alejandro Paul is one of the founders of the Sudtipos project, the first Argentinean type foundry collective. He taught graphic design and typography at the Universidad de Buenos Aires from 1996 to 2004 and has worked as an art director in prestigious Argentina-based studios, handling highprofile corporate brands such as Arcor, Procter & Gamble, SC Johnson, Danone and others. He has walked away with awards from several design competitions. Since 2003 he began working designing fonts and lettering for several top packaging agencies.

In 2006 he was a speaker at TMDG06, the largest Latin American graphic design event - more than 4,000 designers were in attendance. He also taught and spoke in conferences at Chile, Brazil, Ecuador, Uruguay, México, Canada and United States. His work has been featured in publications around the globe, including Step, Creative Review, Visual, Creative

Thomas Phinney Thomas Phinney is senior product manager for font solutions at Extensis. From 19972008 he worked in type at Adobe, lastly as product manager for fonts and global typography. Thomas is involved in the design, technical, forensic, business and historical aspects of type, treasurer of ATypI, and writes for Communication Arts and CreativePro.com as well as thomasphinney. com. He has testified in court as an expert witness, and was twice quoted in the Washington Post regarding the presumably forged National Guard memos concerning US President Bush. Thomas has an MS in printing from RIT, and an MBA from UC Berkeley. His typeface Hypatia Sans is an Adobe Original

Arts, Novum among others publications. In 2009 he received a Type Directors Club for the second time, this year with his typeface Adios Script.

The Space Between Brand and Consumer 28 October 2009 Museo Interactivo de Economía, MIDE 15:00 With the beginning of the new millennium, interest in typography has seen constant growth in Latin America. Different design fields have benefited from this interest. Most notably, supermarket labels underwent interesting facelifts, and the brand packaging designer’s need for updated and newer options is now widely acknowledged. This lectur will address how those changes came about, the aesthetics of typefaces used for packaging, and the role of the graphic designer as a visual interpreter between brand and consumer.

TSI: Type Scene Investigations 26 October 2009 Museo Interactivo de Economía, MIDE 15:00 Forensic font geek Thomas Phinney discusses and shows some of the cases of allegedly forged documents he’s been asked to investigate, from a frontier mailbag label for The History Channel’s History Detectives, to the NFL’s Pro Football Hall of Fame for the Dallas Morning News, to the Bush presidency for The Washington Post.

Learn how choices of fonts, typography and output devices have ruined what would otherwise have been perfectly good forgeries.

Verónica Piña Morales Verónica Piña Morales has a Bachelor Degree in Design of Graphical Communication from the UAM Azcapotzalco. She is an academic at the FES Cuautitlan, UNAM (Universidad Nacional Autonoma de Mexico) in the area of Design of the Graphical Communication.

She follows a line of research on the interpretation of the bi-three-dimensional form and its representation through the virtual reality. She is currently working on virtual libraries of the knowledge.

Typography and virtual reality 30 October 2009 Anáhuac University, CAD 1500

Luz Rangel Graphic designer with a degree in Creativity and Advertising Strategy by EDINBA (Mexico), Luz Rangel followed the PhD programme “The Typographic Revolutions” at the University of Barcelona. She developed the first ten years of professional activity in Mexico in the design, communication, publicity and marketing areas. In 2000, she moved to Barcelona, collaborating in cultural projects with Disseny i Produccions Culturals Enric Franch, and specializing in museography and museology. She has taught in several schools in Mexico and in the Escola Superior de Disseny Elisava – Pompeu Fabra University of Barcelona. She is currently finishing her doctoral thesis under the direction of Enric Tormo (University of Barcelona) and Aureli Alabert (Autonomous University of Barcelona).

The B-42: the origins of the graphical industry 30 October 2009 Anáhuac University, CAD 10:20

The visual contact is generated with the confluency of different elements, one of them is typography. The implementation of the virtual reality in the study and the education of the typography, generates a learning media. The presence of images, movement, sound, tridimensionality, interactivity and immersion in real time are explored to extend the learning experience through the integration of all the senses.

When penetrating the VR, the active intervention of the student is obtained through the construction of his own virtual spaces in order to generate libraries of knowledge.

We will show that the graphical-operational solution that made possible the transition from handwriting to print was carried out through a design project that arose from the process of minting of coins. We will also see that it can be proved, using quantitative methods, the existence of a multiple character set in the preparation of the 42line Bible. Finally, we will present a digital catalogue of the types in the Bible that we have developed by means of digitalization, vectorialization and compositional simulation of characters and whose final result will be a free software product.

41

40

Alejandro Paul Alejandro Paul is one of the founders of the Sudtipos project, the first Argentinean type foundry collective. He taught graphic design and typography at the Universidad de Buenos Aires from 1996 to 2004 and has worked as an art director in prestigious Argentina-based studios, handling highprofile corporate brands such as Arcor, Procter & Gamble, SC Johnson, Danone and others. He has walked away with awards from several design competitions. Since 2003 he began working designing fonts and lettering for several top packaging agencies.

In 2006 he was a speaker at TMDG06, the largest Latin American graphic design event - more than 4,000 designers were in attendance. He also taught and spoke in conferences at Chile, Brazil, Ecuador, Uruguay, México, Canada and United States. His work has been featured in publications around the globe, including Step, Creative Review, Visual, Creative

Thomas Phinney Thomas Phinney is senior product manager for font solutions at Extensis. From 19972008 he worked in type at Adobe, lastly as product manager for fonts and global typography. Thomas is involved in the design, technical, forensic, business and historical aspects of type, treasurer of ATypI, and writes for Communication Arts and CreativePro.com as well as thomasphinney. com. He has testified in court as an expert witness, and was twice quoted in the Washington Post regarding the presumably forged National Guard memos concerning US President Bush. Thomas has an MS in printing from RIT, and an MBA from UC Berkeley. His typeface Hypatia Sans is an Adobe Original

Arts, Novum among others publications. In 2009 he received a Type Directors Club for the second time, this year with his typeface Adios Script.

The Space Between Brand and Consumer 28 October 2009 Museo Interactivo de Economía, MIDE 15:00 With the beginning of the new millennium, interest in typography has seen constant growth in Latin America. Different design fields have benefited from this interest. Most notably, supermarket labels underwent interesting facelifts, and the brand packaging designer’s need for updated and newer options is now widely acknowledged. This lectur will address how those changes came about, the aesthetics of typefaces used for packaging, and the role of the graphic designer as a visual interpreter between brand and consumer.

TSI: Type Scene Investigations 26 October 2009 Museo Interactivo de Economía, MIDE 15:00 Forensic font geek Thomas Phinney discusses and shows some of the cases of allegedly forged documents he’s been asked to investigate, from a frontier mailbag label for The History Channel’s History Detectives, to the NFL’s Pro Football Hall of Fame for the Dallas Morning News, to the Bush presidency for The Washington Post.

Learn how choices of fonts, typography and output devices have ruined what would otherwise have been perfectly good forgeries.

Verónica Piña Morales Verónica Piña Morales has a Bachelor Degree in Design of Graphical Communication from the UAM Azcapotzalco. She is an academic at the FES Cuautitlan, UNAM (Universidad Nacional Autonoma de Mexico) in the area of Design of the Graphical Communication.

She follows a line of research on the interpretation of the bi-three-dimensional form and its representation through the virtual reality. She is currently working on virtual libraries of the knowledge.

Typography and virtual reality 30 October 2009 Anáhuac University, CAD 1500

Luz Rangel Graphic designer with a degree in Creativity and Advertising Strategy by EDINBA (Mexico), Luz Rangel followed the PhD programme “The Typographic Revolutions” at the University of Barcelona. She developed the first ten years of professional activity in Mexico in the design, communication, publicity and marketing areas. In 2000, she moved to Barcelona, collaborating in cultural projects with Disseny i Produccions Culturals Enric Franch, and specializing in museography and museology. She has taught in several schools in Mexico and in the Escola Superior de Disseny Elisava – Pompeu Fabra University of Barcelona. She is currently finishing her doctoral thesis under the direction of Enric Tormo (University of Barcelona) and Aureli Alabert (Autonomous University of Barcelona).

The B-42: the origins of the graphical industry 30 October 2009 Anáhuac University, CAD 10:20

The visual contact is generated with the confluency of different elements, one of them is typography. The implementation of the virtual reality in the study and the education of the typography, generates a learning media. The presence of images, movement, sound, tridimensionality, interactivity and immersion in real time are explored to extend the learning experience through the integration of all the senses.

When penetrating the VR, the active intervention of the student is obtained through the construction of his own virtual spaces in order to generate libraries of knowledge.

We will show that the graphical-operational solution that made possible the transition from handwriting to print was carried out through a design project that arose from the process of minting of coins. We will also see that it can be proved, using quantitative methods, the existence of a multiple character set in the preparation of the 42line Bible. Finally, we will present a digital catalogue of the types in the Bible that we have developed by means of digitalization, vectorialization and compositional simulation of characters and whose final result will be a free software product.

41

42

Christian Schwartz Christian Schwartz (b. 1977) is a partner, along with Paul Barnes, in Commercial Type, a foundry based in New York and London.

A graduate of Carnegie Mellon University, Schwartz worked at MetaDesign Berlin and Font Bureau prior to spending several years working on his own before forming Schwartzco Inc. in 2006 and Commercial Type in 2008. Schwartz has published fonts with many respected independent foundries, and has designed proprietary typefaces for corporations and publications worldwide.

Schwartz’s typefaces have been honored by the Smithsonian’s Cooper Hewitt National Design Museum, the New York Type Director’s Club, and the International Society of Typographic Designers, and his work with Barnes has been honored by D&AD. As part of the Guardian redesign team they were shortlisted for the Designer of the Year prize by the Design Museum in London. Schwartz and Barnes also were named two of the 40 most influential designers under 40 by Wallpaper*, and Schwartz was included in Time magazine’s 2007 “Design 100”. In

early 2007, Schwartz and German design luminary Erik Spiekermann were awarded a gold medal by the German Design Council (Rat für Formgebung) for the typeface system they designed for Deutsche Bahn.

Georg Seifert Georg Seifert works as a freelancer in type design, programming and graphic design based in Germany. He studied at BauhausUniversity in Weimar.

Glyphs is a project to build a font-editor with usability and design in mind. The main idea is about editing glyphs in the context of words. It has an open plugin and scripting interface.For further information please visit www.schriftgestaltung.de/glyphs/about. html.

Glyphs, a font editor 29 October 2009 Anáhuac University, CAD 10.40

Why anyone in his or her right mind would start up a new type foundry *now* 28 October 2009 Museo Interactivo de Economía, MIDE 12:15 When Christian Schwartz and Paul Barnes embarked on forming Commercial Type as an independent foundry, there were a lot of questions to answer. Why not just publish their work with an established foundry, or sell through an existing distributor? Isn’t the marketplace crowded enough as it is?

Making a website is pretty straightforward, right? With the added wisdom of hindsight, Christian Schwartz will reflect on how he came to think that starting a foundry was ultimately the right decision and the arduous process of launching a brand, a library, and a website all at once.

María del Carmen Serrano “Give back, create change, and build a better future. Each of us can make a difference” Bachelor in Graphic Design, Elementary Self-Contained (PK-6), Bilingual-ESL, Spanish (PK-12), Mentor Technology Teacher & Presenter. I went to college in the Universidad Iberoamericana and graduated as graphic designer in 2000 with the thesis: “Tipography in Urban Exteriors”. This same year, I was hired as kindergarten bilingual teacher in Houston, TX and started working for six years with early childhood learners by teaching them how to read and write in English and in Spanish in a self-contained environment.

Tipographic concepts have been very close to me since I have had the opportunity to expose my students to different types of illustrational techniques and types of fonts in the books we have the pleasure to read.

In our daily work, “phonemes”, represented by the alphabet, were integral part of our lessons. During these years I had the opportunity to explore different teaching techniques as well as developing several research investigations that were grant winners and were presented in different conferences such as: KTOT (Kindergarten Teachers of Texas), Region IV Bilingual/ ESL Conference (2004), Multi sensory Activities to reinforce grammar syllables C,S,Z (2005) , Integrating concepts of Symmetry and Fractions in Kindergarten (2006). These conferences were held in the Early Childhood Winter Conference and in the Harris County Department of Education.

The most recent presentation was “Factors to consider during the process of learning to read: Dyslexia and Irlen Syndrom” (2007,

2008). School programs have given me the opportunity to teach English, Spanish and technology to the parents of my students working with the Consulado de México in Houston as adult English/Spanish literacy teacher.

Three years ago, I entered in the world of dyslexia and started working with bilingual students (English and Spanish) I have been using different educational approaches such as: Niehaus Method – DIP dyslexia intervention program, Esperanza, Estrellitas, Reading Readiness Academy and have obtained the certification to be a Certified Irlen Screener. Currently, I am member of IDA, International Dyslexia Association.

Factors to consider during the process of learning to read: Dyslexia and Irlen Syndrome 30 October 2009 Anáhuac University, Cad 12:00 This presentation considers the relevance of typography in developing optimal legibility and readability in the implementation of remedial reading programs bespoke for students with dyslexia and Irlen Syndrome.

It addresses difficulties and inconsistencies implied in the reading process that were found based on testing data batteries applied to students in the process of second language acquisition: ESL and bilingual learners (English and Spanish) as well as native English speakers with dyslexia, Irlen Syndrome or both. Dyslexic readers rely on recalling the visual shape due to poor phonological awareness. Activation in a left hemisphere neural network, essential for reading, occurs during the use of these programs.

43

42

Christian Schwartz Christian Schwartz (b. 1977) is a partner, along with Paul Barnes, in Commercial Type, a foundry based in New York and London.

A graduate of Carnegie Mellon University, Schwartz worked at MetaDesign Berlin and Font Bureau prior to spending several years working on his own before forming Schwartzco Inc. in 2006 and Commercial Type in 2008. Schwartz has published fonts with many respected independent foundries, and has designed proprietary typefaces for corporations and publications worldwide.

Schwartz’s typefaces have been honored by the Smithsonian’s Cooper Hewitt National Design Museum, the New York Type Director’s Club, and the International Society of Typographic Designers, and his work with Barnes has been honored by D&AD. As part of the Guardian redesign team they were shortlisted for the Designer of the Year prize by the Design Museum in London. Schwartz and Barnes also were named two of the 40 most influential designers under 40 by Wallpaper*, and Schwartz was included in Time magazine’s 2007 “Design 100”. In

early 2007, Schwartz and German design luminary Erik Spiekermann were awarded a gold medal by the German Design Council (Rat für Formgebung) for the typeface system they designed for Deutsche Bahn.

Georg Seifert Georg Seifert works as a freelancer in type design, programming and graphic design based in Germany. He studied at BauhausUniversity in Weimar.

Glyphs is a project to build a font-editor with usability and design in mind. The main idea is about editing glyphs in the context of words. It has an open plugin and scripting interface.For further information please visit www.schriftgestaltung.de/glyphs/about. html.

Glyphs, a font editor 29 October 2009 Anáhuac University, CAD 10.40

Why anyone in his or her right mind would start up a new type foundry *now* 28 October 2009 Museo Interactivo de Economía, MIDE 12:15 When Christian Schwartz and Paul Barnes embarked on forming Commercial Type as an independent foundry, there were a lot of questions to answer. Why not just publish their work with an established foundry, or sell through an existing distributor? Isn’t the marketplace crowded enough as it is?

Making a website is pretty straightforward, right? With the added wisdom of hindsight, Christian Schwartz will reflect on how he came to think that starting a foundry was ultimately the right decision and the arduous process of launching a brand, a library, and a website all at once.

María del Carmen Serrano “Give back, create change, and build a better future. Each of us can make a difference” Bachelor in Graphic Design, Elementary Self-Contained (PK-6), Bilingual-ESL, Spanish (PK-12), Mentor Technology Teacher & Presenter. I went to college in the Universidad Iberoamericana and graduated as graphic designer in 2000 with the thesis: “Tipography in Urban Exteriors”. This same year, I was hired as kindergarten bilingual teacher in Houston, TX and started working for six years with early childhood learners by teaching them how to read and write in English and in Spanish in a self-contained environment.

Tipographic concepts have been very close to me since I have had the opportunity to expose my students to different types of illustrational techniques and types of fonts in the books we have the pleasure to read.

In our daily work, “phonemes”, represented by the alphabet, were integral part of our lessons. During these years I had the opportunity to explore different teaching techniques as well as developing several research investigations that were grant winners and were presented in different conferences such as: KTOT (Kindergarten Teachers of Texas), Region IV Bilingual/ ESL Conference (2004), Multi sensory Activities to reinforce grammar syllables C,S,Z (2005) , Integrating concepts of Symmetry and Fractions in Kindergarten (2006). These conferences were held in the Early Childhood Winter Conference and in the Harris County Department of Education.

The most recent presentation was “Factors to consider during the process of learning to read: Dyslexia and Irlen Syndrom” (2007,

2008). School programs have given me the opportunity to teach English, Spanish and technology to the parents of my students working with the Consulado de México in Houston as adult English/Spanish literacy teacher.

Three years ago, I entered in the world of dyslexia and started working with bilingual students (English and Spanish) I have been using different educational approaches such as: Niehaus Method – DIP dyslexia intervention program, Esperanza, Estrellitas, Reading Readiness Academy and have obtained the certification to be a Certified Irlen Screener. Currently, I am member of IDA, International Dyslexia Association.

Factors to consider during the process of learning to read: Dyslexia and Irlen Syndrome 30 October 2009 Anáhuac University, Cad 12:00 This presentation considers the relevance of typography in developing optimal legibility and readability in the implementation of remedial reading programs bespoke for students with dyslexia and Irlen Syndrome.

It addresses difficulties and inconsistencies implied in the reading process that were found based on testing data batteries applied to students in the process of second language acquisition: ESL and bilingual learners (English and Spanish) as well as native English speakers with dyslexia, Irlen Syndrome or both. Dyslexic readers rely on recalling the visual shape due to poor phonological awareness. Activation in a left hemisphere neural network, essential for reading, occurs during the use of these programs.

43

44

David Shields David Shields is an Assistant Professor of Design in the Department of Art & Art History at The University of Texas at Austin.

Before joining the UT Faculty in 2004, David lived in Brooklyn where he co-founded the design studio Viewers Like You. He is currently focusing on historical and visual research of nineteenth century typographic form, through investigations of the Rob Roy Kelly American Wood Type Collection, and the significance that nineteenth century technical processes can have on contemporary digital type production practices. Shields holds a BFA from Memphis State University and a MFA from Cranbrook Academy of Art.

The goal of cataloging the Rob Roy Kelly American Wood Type Collection is to expand upon the historical information previously collected. Central to my research is physical engagement of production processes, providing direct knowledge of the type forms. Investigating wood type blocks directly, reveal unique planing patterns produced during manufacturing, providing a strategy to identify manufacturers of un-stamped wood type. Through this engagement, I have been able to chart the impact the tools themselves had on driving the derivation of styles throughout the nineteenth century, and investigate the impact wood type manufacturing processes might have on contemporary digital type production.

Engaging Abundance: Physical Research & the Rob Roy Kelly American Wood Type Collection 26 October 2009 Museo Interactivo de Economía, MIDE 16:45

Adam Twardoch Based in Berlin, Adam Twardoch is working in the field of font technology, multilingual typography, Unicode and OpenType. He serves as product and marketing manager at Fontlab Ltd. He also works as a typographic consultant to MyFonts and other clients worldwide. 2000-06 he was Board member and country delegate for Poland at ATypI. He was involved in the organization of four ATypI conferences, and currently serves as an advisor to the ATypI Board. Adam has been teaching workshops in font creation in the UK, USA, Germany, Russia and his native Poland. In 2007, Adam edited the Polish edition of Robert Bringhurst’s book The Elements of Typographic Style.

Organizing the Family Madness 29 October 2009 Anáhuac University, CAD 16:40 Typefaces live in clans and families. Some of them have dozens of fonts, each of them containing hundreds of glyphs, mystically connected to your keyboard through the

magic of Unicode and OpenType. It is easy for a user to get lost in this complex web of relationships. Black, bold, medium, regular, light, condensed, narrow, extended, positive, negative, caption, text, subhead, display, Latin, Cyrillic, Greek, punctuation, small cap, ordinal, fraction, swash, alternate.

Adam Twardoch will attempt to explain these relationships, show some complex font families and show how the upcoming versions of FontLab products will try to organize and simplify this family madness.

Typophile Film Fest 5 29 October 2009 Anáhuac University, CAD 18:00 The Typophile Film Fest 5 is a one hour selection of typographic films hailing from Portugal, The Netherlands, Austria, Russia, Canada and the United States. The films vary in subject matter and style; creating a dynamic presentation of motion design, typographic animation, short stories and documentary-style interviews. The average piece is about three minutes long, ensuring appeal to a broad design audience.

The content is designed to plug in to larger events as a follow-up to an evening keynote or as an evening presentation prior

to a party or mixer. The content provides a break from the intellectual stimulation of a design conference.

This year’s show includes broadcast motion design, documentaries and typographic eye candy from MK12, Trollbäck + Company, Juan Leguizamon and other students work.

The motion graphics for the Film Fest 4 opening credits received a One Show Silver Pencil, was awarded ADC Gold and was featured in AIGA’s 365 Annual.

The Typophile Film Fest 4 was shown at ATypI St Petersburg last year. The film fest is in its sixth year and has shown in a myriad of cities worldwide: Minneapolis, San Francisco, New York, Boston, Seattle, Vancouver. Each time we have presented to a filled-to-capacity venues.

45

L. Vázquez, M. Garone & G. Martínez Meave Leonardo Vázquez Mexican graphic desinger and typographer.

After finishing his studies in Mexico City, Leonardo worked in several design studios and advertising agencies. In 1998 he settled down in France where he studied in the Atelier National en Recherche Tipographique in the art nouveau city of Nancy, then after four years living in Paris, Leonardo returned to México in 2001, and since then he has been working in the editorial field. Actually he works in his own studio macizo.com.

In 2005 he received the Excellence in type design award by the TDC for his typeface Bunker. In 2007 he participated as a lecturer in the event Typecon at Seattle.

Gabriel Martínez Meave Graphic and letterform designer, illustrator and calligrapher, graduated from the Universidad Iberoamericana. Founder and director of studio Kimera. Meave has collaborated in national and international magazines and has taught workshops across Mexico and abroad. He has received several awards from the Type Directors Club New York and the Association Typographique Internationale, among others. His work has been published in prestigious magazines like How, Step, Communication Arts, Matiz and TPG and has been exhibited in national and international events. He is a member of the Association Typographique Internationale and the Type Directors Club New York.

Marina Garone She has worked for public, private and non-governmental institutions in the field of typography and publishing design since 1994. Her research topics are about design criticism, typography history and gender in design. She has thought and lectured at different universities and educational institutions , also she has published several essays at specialised magazines and books worldwide. Garone was the curator of two rare books exhibition in Mexico (Bienal Letras Latinas, Veracruz, 2004 and The Other Letters: Women Printers in the Rare-Book World, Bibliotecas Palafoxiana y Lafragua, Puebla, 2008) and direct Biograficas. History of Latin American Women Graphic Designer

Forging the Character 27 October 2009 Museo Interactivo de Economía, MIDE 12:00 A broad view of the Mexican typographic (and graphic) history. Starting from the first appearance of writing in the Western Hemisphere to the first Press in the Americas, up through the viceroyal era and Independence periods, the years of the great Mexican printers, then going through the decades after the Revolution where the seed of modern Mexican graphic design was planted. The voyage stops in the 70’s at the end of the Olympic games, and when the –industrial design- career was opened to the public.

44

David Shields David Shields is an Assistant Professor of Design in the Department of Art & Art History at The University of Texas at Austin.

Before joining the UT Faculty in 2004, David lived in Brooklyn where he co-founded the design studio Viewers Like You. He is currently focusing on historical and visual research of nineteenth century typographic form, through investigations of the Rob Roy Kelly American Wood Type Collection, and the significance that nineteenth century technical processes can have on contemporary digital type production practices. Shields holds a BFA from Memphis State University and a MFA from Cranbrook Academy of Art.

The goal of cataloging the Rob Roy Kelly American Wood Type Collection is to expand upon the historical information previously collected. Central to my research is physical engagement of production processes, providing direct knowledge of the type forms. Investigating wood type blocks directly, reveal unique planing patterns produced during manufacturing, providing a strategy to identify manufacturers of un-stamped wood type. Through this engagement, I have been able to chart the impact the tools themselves had on driving the derivation of styles throughout the nineteenth century, and investigate the impact wood type manufacturing processes might have on contemporary digital type production.

Engaging Abundance: Physical Research & the Rob Roy Kelly American Wood Type Collection 26 October 2009 Museo Interactivo de Economía, MIDE 16:45

Adam Twardoch Based in Berlin, Adam Twardoch is working in the field of font technology, multilingual typography, Unicode and OpenType. He serves as product and marketing manager at Fontlab Ltd. He also works as a typographic consultant to MyFonts and other clients worldwide. 2000-06 he was Board member and country delegate for Poland at ATypI. He was involved in the organization of four ATypI conferences, and currently serves as an advisor to the ATypI Board. Adam has been teaching workshops in font creation in the UK, USA, Germany, Russia and his native Poland. In 2007, Adam edited the Polish edition of Robert Bringhurst’s book The Elements of Typographic Style.

Organizing the Family Madness 29 October 2009 Anáhuac University, CAD 16:40 Typefaces live in clans and families. Some of them have dozens of fonts, each of them containing hundreds of glyphs, mystically connected to your keyboard through the

magic of Unicode and OpenType. It is easy for a user to get lost in this complex web of relationships. Black, bold, medium, regular, light, condensed, narrow, extended, positive, negative, caption, text, subhead, display, Latin, Cyrillic, Greek, punctuation, small cap, ordinal, fraction, swash, alternate.

Adam Twardoch will attempt to explain these relationships, show some complex font families and show how the upcoming versions of FontLab products will try to organize and simplify this family madness.

Typophile Film Fest 5 29 October 2009 Anáhuac University, CAD 18:00 The Typophile Film Fest 5 is a one hour selection of typographic films hailing from Portugal, The Netherlands, Austria, Russia, Canada and the United States. The films vary in subject matter and style; creating a dynamic presentation of motion design, typographic animation, short stories and documentary-style interviews. The average piece is about three minutes long, ensuring appeal to a broad design audience.

The content is designed to plug in to larger events as a follow-up to an evening keynote or as an evening presentation prior

to a party or mixer. The content provides a break from the intellectual stimulation of a design conference.

This year’s show includes broadcast motion design, documentaries and typographic eye candy from MK12, Trollbäck + Company, Juan Leguizamon and other students work.

The motion graphics for the Film Fest 4 opening credits received a One Show Silver Pencil, was awarded ADC Gold and was featured in AIGA’s 365 Annual.

The Typophile Film Fest 4 was shown at ATypI St Petersburg last year. The film fest is in its sixth year and has shown in a myriad of cities worldwide: Minneapolis, San Francisco, New York, Boston, Seattle, Vancouver. Each time we have presented to a filled-to-capacity venues.

45

L. Vázquez, M. Garone & G. Martínez Meave Leonardo Vázquez Mexican graphic desinger and typographer.

After finishing his studies in Mexico City, Leonardo worked in several design studios and advertising agencies. In 1998 he settled down in France where he studied in the Atelier National en Recherche Tipographique in the art nouveau city of Nancy, then after four years living in Paris, Leonardo returned to México in 2001, and since then he has been working in the editorial field. Actually he works in his own studio macizo.com.

In 2005 he received the Excellence in type design award by the TDC for his typeface Bunker. In 2007 he participated as a lecturer in the event Typecon at Seattle.

Gabriel Martínez Meave Graphic and letterform designer, illustrator and calligrapher, graduated from the Universidad Iberoamericana. Founder and director of studio Kimera. Meave has collaborated in national and international magazines and has taught workshops across Mexico and abroad. He has received several awards from the Type Directors Club New York and the Association Typographique Internationale, among others. His work has been published in prestigious magazines like How, Step, Communication Arts, Matiz and TPG and has been exhibited in national and international events. He is a member of the Association Typographique Internationale and the Type Directors Club New York.

Marina Garone She has worked for public, private and non-governmental institutions in the field of typography and publishing design since 1994. Her research topics are about design criticism, typography history and gender in design. She has thought and lectured at different universities and educational institutions , also she has published several essays at specialised magazines and books worldwide. Garone was the curator of two rare books exhibition in Mexico (Bienal Letras Latinas, Veracruz, 2004 and The Other Letters: Women Printers in the Rare-Book World, Bibliotecas Palafoxiana y Lafragua, Puebla, 2008) and direct Biograficas. History of Latin American Women Graphic Designer

Forging the Character 27 October 2009 Museo Interactivo de Economía, MIDE 12:00 A broad view of the Mexican typographic (and graphic) history. Starting from the first appearance of writing in the Western Hemisphere to the first Press in the Americas, up through the viceroyal era and Independence periods, the years of the great Mexican printers, then going through the decades after the Revolution where the seed of modern Mexican graphic design was planted. The voyage stops in the 70’s at the end of the Olympic games, and when the –industrial design- career was opened to the public.

Dyana Weissman & Alison Schroeder Dyana Weissman Typeface designer with The Font Bureau, Inc. She has lectured at Type Camp and various arts colleges in New England. When she is not thinking about type, she is napping, working film festivals, or debating her coworkers about the existence of free will.

46

Alison Schroeder Painter living in Cuernavaca, an hour south of Mexico City. She teaches art to elementary school students and is working on an animated film for her MFA thesis project. She has shown her work in the US, Mexico, and France. She likes thinking big and getting dirty.

Uniting the conference setting with the world of type.

Alison and Dyana grew up near Washington, DC, and went to college at RISD.Since then, their lives have taken different paths. Alison, a painter, lives in vibrant Cuernavaca, Mexico; Dyana, a typeface designer, lives in subdued Boston, USA. Their art reflects their cities and their lives. What happens when these worlds collide again?

By trading diaries and sketches, Dyana will translate Alison’s world into lettering.

In turn, Alison will render Dyana’s designs into something pictorial, literally illustrating “The Heart of the Letter.” In the end, they’ll have a book and a refreshingly vivid presentation.

Heart to Heart: A Collaboration Across Cultures 30 friday 2009 Anáhuac University, CAD 16:00

Masayuki Yamamoto Masayuki Yamamoto graduated in visual communication design from University of Tsukuba before studying typography at the University of Reading. He is now teaching theory and history of typography at the Department of Graphic Design, Tama Art University, Tokyo.

Legibility Research of Japanese Typography 28 October 2009 Museo Interactivo de Economía, MIDE 16:00 In ATypI Helsinki and Brighton, I investigated the harmony of type mixture for Japanese typography set with Roman

(Mincho) and Sanserif (Gothic) fonts using Semantic Differential method. As a result it was cleared that Japanese and Latin types set with Sanserif fonts are closer to each other and make good harmony than those of set with Roman fonts. This study considers the legibility of Roman and Sanserif fonts used in different conditions of usual text setting in Japanese typography.

Several test factors are examined; changing text directions from vertical to horizontal lines, swapping combination of type mixture between Japanese and Latin fonts, switching type size, line length, line spacing, and substituting paper for PC display screen.

Yuri Yarmola & Adam Twardoch Yuri 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.

Adam Twardoch Based in Berlin, Adam Twardoch is working in the field of font technology, multilingual typography, Unicode and OpenType. He serves as product and marketing manager at Fontlab Ltd. He also works as a typographic consultant to MyFonts and other clients worldwide. 2000-06 he was Board member and country delegate for Poland at ATypI. He was involved in the organization of four ATypI conferences, and currently serves as an advisor to the ATypI Board. Adam has been teaching workshops in font creation

in the UK, USA, Germany, Russia and his native Poland. In 2007, Adam edited the Polish edition of Robert Bringhurst’s book “The Elements of Typographic Style”.

Fonts 2.0 29 October 2009 CAD 17:40

Anáhuac University,

Given today’s sophistication in digital technology, it is surprising that typesetting is still done using methods that are practically a straight adaptation of the metal composition methods invented 500 years ago. Pieces of rectangular space are arranged into lines, one next to other, until the line is full. Then, those rectangles are filled with monochromatic “ink” created from simple outlines. The direction of writing changes sometimes, and we can shift some elements around to some extent — but one must agree that today’s “smart fonts” are not so smart at all. It is time to re-think things from scratch!

47

Dyana Weissman & Alison Schroeder Dyana Weissman Typeface designer with The Font Bureau, Inc. She has lectured at Type Camp and various arts colleges in New England. When she is not thinking about type, she is napping, working film festivals, or debating her coworkers about the existence of free will.

46

Alison Schroeder Painter living in Cuernavaca, an hour south of Mexico City. She teaches art to elementary school students and is working on an animated film for her MFA thesis project. She has shown her work in the US, Mexico, and France. She likes thinking big and getting dirty.

Uniting the conference setting with the world of type.

Alison and Dyana grew up near Washington, DC, and went to college at RISD.Since then, their lives have taken different paths. Alison, a painter, lives in vibrant Cuernavaca, Mexico; Dyana, a typeface designer, lives in subdued Boston, USA. Their art reflects their cities and their lives. What happens when these worlds collide again?

By trading diaries and sketches, Dyana will translate Alison’s world into lettering.

In turn, Alison will render Dyana’s designs into something pictorial, literally illustrating “The Heart of the Letter.” In the end, they’ll have a book and a refreshingly vivid presentation.

Heart to Heart: A Collaboration Across Cultures 30 friday 2009 Anáhuac University, CAD 16:00

Masayuki Yamamoto Masayuki Yamamoto graduated in visual communication design from University of Tsukuba before studying typography at the University of Reading. He is now teaching theory and history of typography at the Department of Graphic Design, Tama Art University, Tokyo.

Legibility Research of Japanese Typography 28 October 2009 Museo Interactivo de Economía, MIDE 16:00 In ATypI Helsinki and Brighton, I investigated the harmony of type mixture for Japanese typography set with Roman

(Mincho) and Sanserif (Gothic) fonts using Semantic Differential method. As a result it was cleared that Japanese and Latin types set with Sanserif fonts are closer to each other and make good harmony than those of set with Roman fonts. This study considers the legibility of Roman and Sanserif fonts used in different conditions of usual text setting in Japanese typography.

Several test factors are examined; changing text directions from vertical to horizontal lines, swapping combination of type mixture between Japanese and Latin fonts, switching type size, line length, line spacing, and substituting paper for PC display screen.

Yuri Yarmola & Adam Twardoch Yuri 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.

Adam Twardoch Based in Berlin, Adam Twardoch is working in the field of font technology, multilingual typography, Unicode and OpenType. He serves as product and marketing manager at Fontlab Ltd. He also works as a typographic consultant to MyFonts and other clients worldwide. 2000-06 he was Board member and country delegate for Poland at ATypI. He was involved in the organization of four ATypI conferences, and currently serves as an advisor to the ATypI Board. Adam has been teaching workshops in font creation

in the UK, USA, Germany, Russia and his native Poland. In 2007, Adam edited the Polish edition of Robert Bringhurst’s book “The Elements of Typographic Style”.

Fonts 2.0 29 October 2009 CAD 17:40

Anáhuac University,

Given today’s sophistication in digital technology, it is surprising that typesetting is still done using methods that are practically a straight adaptation of the metal composition methods invented 500 years ago. Pieces of rectangular space are arranged into lines, one next to other, until the line is full. Then, those rectangles are filled with monochromatic “ink” created from simple outlines. The direction of writing changes sometimes, and we can shift some elements around to some extent — but one must agree that today’s “smart fonts” are not so smart at all. It is time to re-think things from scratch!

47

Workshops

48

duct and marketing manager at Fontlab Ltd. He also works as a typographic consultant to MyFonts and other clients worldwide.

2000-06 he was Board member and country delegate for Poland at ATypI. He was involved in the org

49

Workshops

48

duct and marketing manager at Fontlab Ltd. He also works as a typographic consultant to MyFonts and other clients worldwide.

2000-06 he was Board member and country delegate for Poland at ATypI. He was involved in the org

49

50

Bending Letterforms with Mr. Softie Jason E. Lewis, Bruno Nadeau Thursday 29 October, 15:00. Duration: 3hs.

Created by Lewis and Nadeau, Mr. Softie is an application for typographic manipulation that provides typographers, graphic designers, and animators with a tool for manipulating textual objects as image and as text simultaneously. Users of Mr. Softie apply interactive and dynamic behaviors to individual letterforms, words or entire passages of text.

Conceived as a typographic/digital text sketching tool, Mr. Softie outputs high-resolution rasterized images (.tiff or

Big, Bold, Bright John Downer Friday 30 October, 10:00. Duration: 3hs.

Using paint brushes and paint rollers, we will create a colorful, dynamic piece of large lettering. The style will be more typographic than common graffiti, but it will be eyecatching and vibrant. Attendees will be invited to help with the painting. No scaffold will be required. Just a bare wall. Nontoxic paints only.

.png), vector images (.ai) and vector image sequences. These can stand alone or be further processed in Illustrator, Photoshop, AfterEffects, etc., to create engaging printand screen-based typographic images and animations. In this workshop we will introduce users to Mr. Softie, and assist them in creating two small typographic works, one for print and one for animation.

We will focus on how Mr. Softie can be used to quickly experiment with letterforms.

Every workshop member will be provided with a copy of Mr. Softie. (Mr. Softie is a free application.) [ www.mrsoftie.net ]

Dynamic Newspaper Design Seminar Ernesto Gutiérrez Cortés, Claudio Rodríguez Álvarez Friday 30 October, 10:00. Duration: 5hs.

The student will understand the challenges of designing a journal in its parts and its entirety. Also include the importance of their work in the daily conduct of the product and understand the value of the artwork

with newsroom and production. Specific Objectives: Learn tools for the design of newspapers, as well as dynamic processes and critical to design and edit the pages of a newspaper. Upon completion of this course, participants will be trained in basic knowledge and application of formal, conceptual and technological particular to newspaper design.

51

Food for type — Letters à la Carte Diego Mier y Terán, Héctor Galván Thursday 29 and Friday 30 October, 10:00.

Duration: 3hs per day.

Experimental workshop about the relation between letters and food. After a short introductory session about the history of food and design, given by Héctor Galván, participants will work making food and letters simultaneously, looking at both from a phenomenological point of view, as cultural products. Each participant will

choose a plate in which to work; the plate will constitute the grounds, the orbis, from which letters will spring. The letters will be made with the ingredients chosen and will have to integrate a coherent discurse in their shapes and in the relation to the plate and the ingredients. How does the plate affect the letter? How do the ingredients determine the shapes? How do food and letters work together? The deep gastronomic traditions of both Mexico and Spain will come together in a feast of letters.

50

Bending Letterforms with Mr. Softie Jason E. Lewis, Bruno Nadeau Thursday 29 October, 15:00. Duration: 3hs.

Created by Lewis and Nadeau, Mr. Softie is an application for typographic manipulation that provides typographers, graphic designers, and animators with a tool for manipulating textual objects as image and as text simultaneously. Users of Mr. Softie apply interactive and dynamic behaviors to individual letterforms, words or entire passages of text.

Conceived as a typographic/digital text sketching tool, Mr. Softie outputs high-resolution rasterized images (.tiff or

Big, Bold, Bright John Downer Friday 30 October, 10:00. Duration: 3hs.

Using paint brushes and paint rollers, we will create a colorful, dynamic piece of large lettering. The style will be more typographic than common graffiti, but it will be eyecatching and vibrant. Attendees will be invited to help with the painting. No scaffold will be required. Just a bare wall. Nontoxic paints only.

.png), vector images (.ai) and vector image sequences. These can stand alone or be further processed in Illustrator, Photoshop, AfterEffects, etc., to create engaging printand screen-based typographic images and animations. In this workshop we will introduce users to Mr. Softie, and assist them in creating two small typographic works, one for print and one for animation.

We will focus on how Mr. Softie can be used to quickly experiment with letterforms.

Every workshop member will be provided with a copy of Mr. Softie. (Mr. Softie is a free application.) [ www.mrsoftie.net ]

Dynamic Newspaper Design Seminar Ernesto Gutiérrez Cortés, Claudio Rodríguez Álvarez Friday 30 October, 10:00. Duration: 5hs.

The student will understand the challenges of designing a journal in its parts and its entirety. Also include the importance of their work in the daily conduct of the product and understand the value of the artwork

with newsroom and production. Specific Objectives: Learn tools for the design of newspapers, as well as dynamic processes and critical to design and edit the pages of a newspaper. Upon completion of this course, participants will be trained in basic knowledge and application of formal, conceptual and technological particular to newspaper design.

51

Food for type — Letters à la Carte Diego Mier y Terán, Héctor Galván Thursday 29 and Friday 30 October, 10:00.

Duration: 3hs per day.

Experimental workshop about the relation between letters and food. After a short introductory session about the history of food and design, given by Héctor Galván, participants will work making food and letters simultaneously, looking at both from a phenomenological point of view, as cultural products. Each participant will

choose a plate in which to work; the plate will constitute the grounds, the orbis, from which letters will spring. The letters will be made with the ingredients chosen and will have to integrate a coherent discurse in their shapes and in the relation to the plate and the ingredients. How does the plate affect the letter? How do the ingredients determine the shapes? How do food and letters work together? The deep gastronomic traditions of both Mexico and Spain will come together in a feast of letters.

52

La tipografía como principio del diseño editorial Jorge de Buen Thursday 29 and Friday 30 October, 10:00.

Duration: 5hs per day.

El método aditivo es una novedosa forma de abordar el diseño editorial: en vez de que el diseñador comience a trabajar visualizando un producto terminado, su nuevo punto de partida será la tipografía. Esto le permitirá dar pasos firmes para llegar a soluciones sólidas y congruentes. Programa (orientativo): Presentación del curso; El proceso editorial; Participación del editor en el proceso de comunicación; Conocimientos

que debe tener un diseñador editorial; Plan de un trabajo editorial; Sistemas de medidas tipográficas; El proceso de la lectura y la legibilidad; Tipología; La tipografía según los métodos de impresión; Características generales de las letras; Nomenclatura; Valores; Formas Características de los papeles; Dimensiones; Maquetación; Los métodos en el diseño editorial; El método sustractivo; El método aditivo; La caja tipográfica; La forma del párrafo; Diacrítica de las gradaciones; Columnas; Retícula o grilla tipográfica; Grabados Grabados matriciales Grabados funcionales.

To make a Logo Félix Beltrán Thursday 29 and Friday 30 October, 10:00.

Duration: 6hs per day.

Workshop preceeded by book presentation: Marcas y Trademarks Ximena Pérez Grobet Typography has three main functions which should be inescapable but which are often neglected in practice. These three functions are preserving ideas, facilitating reading, as well as evoking -to a certain extent- their contents. The graphic design specialist

making a logo, who tries to differentiate from the competitors, should have the necessary knowledge about letters so as not to affect their established structures, learned by the public to facilitate their reading. This workshop aims at developing the participants’ abilities to create logos differentiated enough from the competitors’, but without neglecting their reading, as well as facilitating -through comprehension- the communication process for the public.

Type Design 101 - Learning the Basics Ted Harrison, Adam Twardoch Friday 29 October, 10:00. Duration: 6hs.

This all-day workshop will provide an introduction to the mechanics of type design. It assumes some basic familiarity with fonts and some experience in using drawing tools to manipulate Bezier curves.

During the course each student will design a small simple font. At the end of the workshop participants will receive a Karen Cheng type design poster. The workshop is presented in four modules: Introduction, Drawing, Metrics, and Preflight. In the introduction we will delve into the structure and function of digital type; see what actually constitutes a font; and learn how to prepare for type design. The second module

gets right into the nitty-gritty of glyph drawing. The student will learn about the special tools involved in glyph drawing and will draw and refine some glyphs. By the end of the session they will create a draft font. In the Metrics module the students will learn about proper spacing of characters. We’ll discuss manual and automatic ways to do metrics and kerning and perform them on the draft fonts. The final, Preflight, module will be devoted to conversion of a set of glyphs into a finished font. We will review font formats, encodings, font naming, styles and other font header information. The student will apply these concepts to their draft font and generate a final, usable version.

53

52

La tipografía como principio del diseño editorial Jorge de Buen Thursday 29 and Friday 30 October, 10:00.

Duration: 5hs per day.

El método aditivo es una novedosa forma de abordar el diseño editorial: en vez de que el diseñador comience a trabajar visualizando un producto terminado, su nuevo punto de partida será la tipografía. Esto le permitirá dar pasos firmes para llegar a soluciones sólidas y congruentes. Programa (orientativo): Presentación del curso; El proceso editorial; Participación del editor en el proceso de comunicación; Conocimientos

que debe tener un diseñador editorial; Plan de un trabajo editorial; Sistemas de medidas tipográficas; El proceso de la lectura y la legibilidad; Tipología; La tipografía según los métodos de impresión; Características generales de las letras; Nomenclatura; Valores; Formas Características de los papeles; Dimensiones; Maquetación; Los métodos en el diseño editorial; El método sustractivo; El método aditivo; La caja tipográfica; La forma del párrafo; Diacrítica de las gradaciones; Columnas; Retícula o grilla tipográfica; Grabados Grabados matriciales Grabados funcionales.

To make a Logo Félix Beltrán Thursday 29 and Friday 30 October, 10:00.

Duration: 6hs per day.

Workshop preceeded by book presentation: Marcas y Trademarks Ximena Pérez Grobet Typography has three main functions which should be inescapable but which are often neglected in practice. These three functions are preserving ideas, facilitating reading, as well as evoking -to a certain extent- their contents. The graphic design specialist

making a logo, who tries to differentiate from the competitors, should have the necessary knowledge about letters so as not to affect their established structures, learned by the public to facilitate their reading. This workshop aims at developing the participants’ abilities to create logos differentiated enough from the competitors’, but without neglecting their reading, as well as facilitating -through comprehension- the communication process for the public.

Type Design 101 - Learning the Basics Ted Harrison, Adam Twardoch Friday 29 October, 10:00. Duration: 6hs.

This all-day workshop will provide an introduction to the mechanics of type design. It assumes some basic familiarity with fonts and some experience in using drawing tools to manipulate Bezier curves.

During the course each student will design a small simple font. At the end of the workshop participants will receive a Karen Cheng type design poster. The workshop is presented in four modules: Introduction, Drawing, Metrics, and Preflight. In the introduction we will delve into the structure and function of digital type; see what actually constitutes a font; and learn how to prepare for type design. The second module

gets right into the nitty-gritty of glyph drawing. The student will learn about the special tools involved in glyph drawing and will draw and refine some glyphs. By the end of the session they will create a draft font. In the Metrics module the students will learn about proper spacing of characters. We’ll discuss manual and automatic ways to do metrics and kerning and perform them on the draft fonts. The final, Preflight, module will be devoted to conversion of a set of glyphs into a finished font. We will review font formats, encodings, font naming, styles and other font header information. The student will apply these concepts to their draft font and generate a final, usable version.

53

Exhibitions

54

The three days of main programming take place at MIDE in the historic center of Mexico City.

The principal conference program is presented in the Museo Interactivo de EconomĂ­a (MIDE), located in the historic Convent of Betlemitas, a massive eighteenth-century building that has been handsomely renovated and outfitted for the twenty-first century. One of the earliest and finest interactive museums in Mexico, MIDE has impressive multimedia capabilities, including a 16-screen computer-controlled projection system in the main courtyard.

Two days of workshops are held on the campus of the School of Design, AnĂĄhuac University.

55

Exhibitions

54

The three days of main programming take place at MIDE in the historic center of Mexico City.

The principal conference program is presented in the Museo Interactivo de EconomĂ­a (MIDE), located in the historic Convent of Betlemitas, a massive eighteenth-century building that has been handsomely renovated and outfitted for the twenty-first century. One of the earliest and finest interactive museums in Mexico, MIDE has impressive multimedia capabilities, including a 16-screen computer-controlled projection system in the main courtyard.

Two days of workshops are held on the campus of the School of Design, AnĂĄhuac University.

55

56

Latin Types Francisco Calles October 26-30, 2009

Ilustrated ABCDiary Héctor Montes de Oca October 26-30, 2009

Museo Franz Mayer

Museo de Arte Popular

Exhibition comprised of selected works from Letras Latinas 2004, Letras Latinas 2006 and Tipos Latinos 2008 typographic design biennials. 150 pieces will show a representative sample of the American youth typographic production. Typ09 will be an occasion to show the three biennial collections in one place.

Exhibition illustrating the letters of the alphabet in order to create a conceptual dictionary displayed through 26 posters.

57

When the Letter is a Brand / Félix Beltrán October 26-30, 2009 Museo de Arte Popular

Mexican Types from the City Héctor Montes de Oca October 26-30, 2009 Museo de Arte Popular Exhibit of posters designed on a selection of words, phrases and expressions characteristic of the jargon of the inhabitants of Mexico City -in the vernacular language known as ‘chilangos’. At the initiative of magazine tiypo, designers and illustrators were invited to developed proposals for this collection of popular expressions.

For over fifty years, internationally recognized multi-media graphic designer Félix Beltrán has made important contributions to design; he is also one of the pioneers on branding design in Latin America. He also is the first Latin-American ATypI member and current ATypI delegate in Mexico. This exhibition shows his more relevant letter work on branding design.

56

Latin Types Francisco Calles October 26-30, 2009

Ilustrated ABCDiary Héctor Montes de Oca October 26-30, 2009

Museo Franz Mayer

Museo de Arte Popular

Exhibition comprised of selected works from Letras Latinas 2004, Letras Latinas 2006 and Tipos Latinos 2008 typographic design biennials. 150 pieces will show a representative sample of the American youth typographic production. Typ09 will be an occasion to show the three biennial collections in one place.

Exhibition illustrating the letters of the alphabet in order to create a conceptual dictionary displayed through 26 posters.

57

When the Letter is a Brand / Félix Beltrán October 26-30, 2009 Museo de Arte Popular

Mexican Types from the City Héctor Montes de Oca October 26-30, 2009 Museo de Arte Popular Exhibit of posters designed on a selection of words, phrases and expressions characteristic of the jargon of the inhabitants of Mexico City -in the vernacular language known as ‘chilangos’. At the initiative of magazine tiypo, designers and illustrators were invited to developed proposals for this collection of popular expressions.

For over fifty years, internationally recognized multi-media graphic designer Félix Beltrán has made important contributions to design; he is also one of the pioneers on branding design in Latin America. He also is the first Latin-American ATypI member and current ATypI delegate in Mexico. This exhibition shows his more relevant letter work on branding design.

58

Mexican Exlibris Selva Hernández October 26-30, 2009

The Hand that Rocks the Pen / Gabriel Martínez Meave October 26 - November 9, 2009

Museo Nacional de la Estampa

Museo Mural Diego Rivera

Ex-libris, a Latin word that indicates the ownership of a book, has been the graphic motif of several engraved stamps used by book lovers to mark their copies. This exhibition consists of nearly 70 pieces of ex libris created by twentieth century artists, engravers and masters of libraries.

These pieces are usually small artworks that encapsulate the personality and interests of the owner, and, above all, a way to show his love and respect for his books.

This exhibition presents unpublished work of personal and expressive calligraphy of Gabriel Martínez Meave that complements and contrast with its typesetting and design, as well as sketches and ideas that have served as inspiration for projects of their digital sources.

Through various techniques and formats, ranging from cardboard to the pen, through the brush and the pixel-these works take us to a universe where the letter is a means of direct communication and personal, beyond the legibility and textuality

Mexican Pages Leonardo Vázquez & Paulina Rocha October 26-30, 2009 Museo de la Ciudad de México Mexican Pages is an exhibition of printed books, designed and edited in Mexico. This selection of nearly fifty books, represent the best of the national publishing output of the last five years. It is an exhibition created with Casa Vecina Espacio Cultural, which displays copies in the categories of art book, illustrated book, artist books, private editions and special editions. For the first time it will be gathered the most prominent contemporary Mexican selection in the art of book designing.

Hispanoamerican Typographic Specimens Marina Garone & Albert Corbeto October 26-31, 2009 Academia de San Carlos

59

A specimen is a printed typography example, in a book or a sheet of paper, containing the characteristics of a recorder, or printer founder that served for selecting letters from labor and business transactions between printers.

The pioneers in the study of the history of the printing, mostly Anglo-Saxons, were the first to appreciate the importance of such documents as essential sources in the study of printing. This also was the starting point of the collector trend that allowed conserving many of the specimens that are preserved today and that are the background of modern samples letter of the contemporary large smelters. This exhibition of unpublished material allows to introduce the visitor on the typographic Spanish and Mexican market, between the XVII and XX centuries.

59

58

Mexican Exlibris Selva Hernández October 26-30, 2009

The Hand that Rocks the Pen / Gabriel Martínez Meave October 26 - November 9, 2009

Museo Nacional de la Estampa

Museo Mural Diego Rivera

Ex-libris, a Latin word that indicates the ownership of a book, has been the graphic motif of several engraved stamps used by book lovers to mark their copies. This exhibition consists of nearly 70 pieces of ex libris created by twentieth century artists, engravers and masters of libraries.

These pieces are usually small artworks that encapsulate the personality and interests of the owner, and, above all, a way to show his love and respect for his books.

This exhibition presents unpublished work of personal and expressive calligraphy of Gabriel Martínez Meave that complements and contrast with its typesetting and design, as well as sketches and ideas that have served as inspiration for projects of their digital sources.

Through various techniques and formats, ranging from cardboard to the pen, through the brush and the pixel-these works take us to a universe where the letter is a means of direct communication and personal, beyond the legibility and textuality

Mexican Pages Leonardo Vázquez & Paulina Rocha October 26-30, 2009 Museo de la Ciudad de México Mexican Pages is an exhibition of printed books, designed and edited in Mexico. This selection of nearly fifty books, represent the best of the national publishing output of the last five years. It is an exhibition created with Casa Vecina Espacio Cultural, which displays copies in the categories of art book, illustrated book, artist books, private editions and special editions. For the first time it will be gathered the most prominent contemporary Mexican selection in the art of book designing.

Hispanoamerican Typographic Specimens Marina Garone & Albert Corbeto October 26-31, 2009 Academia de San Carlos

59

A specimen is a printed typography example, in a book or a sheet of paper, containing the characteristics of a recorder, or printer founder that served for selecting letters from labor and business transactions between printers.

The pioneers in the study of the history of the printing, mostly Anglo-Saxons, were the first to appreciate the importance of such documents as essential sources in the study of printing. This also was the starting point of the collector trend that allowed conserving many of the specimens that are preserved today and that are the background of modern samples letter of the contemporary large smelters. This exhibition of unpublished material allows to introduce the visitor on the typographic Spanish and Mexican market, between the XVII and XX centuries.

59

The Wandering Dutch La tipografía de Balduino Ietswaart y los años dorados de las letras mexicanas Círculo de Tipógrafos Óscar Yañez & Mauricio Rivera October 23-31, 2009 Academia de San Carlos

60

Dutchman Boudewijn Ietswaart designer came to Mexico City in the early sixties as assistant to the famous book designer Alexandre Stols. Both were sent by UNESCO to this country as part of a mission in support of a prestigious international publishing company, the Fondo de Cultura Económica, then headed by Arnaldo Orfila. Ietswaart designs made primarily for the FCE and UNAM in a key moment in Mexican literature of the twentieth century. With this exhibition Typographers Circle intends to rescue Ietswaart figure who merited a chapter in the book Dutch Type Jan Middendorp (2004), which has remained virtually unknown in Mexico for half a century.

Ben Van Dyke / Typographic Ilustrations October 26-30, 2009 Casa Vecina Espacio Cultural A starting point of the conceptual work of Van Dyke is typography, In this exhibition the visitor will discover how typography integrates and regains new meanings in different spatial contexts.

61

Biblioteca Palafoxiana / The forged Letter Elvia Carreño October 8 - November 6, 2009 Biblioteca Palafoxiana – Anáhuac

Cyrillic Typography Alex Chekal October 26-31, 2009 Academia de San Carlos Svjato Kyrylyci (Cyrillic festival) is a type and calligraphy festival, which takes place on May 24th and 25th in Kharkiv (Ukraine) since 2006. The festival, initiated by design studio Panic Design and Kharkiv State academy of design and arts, was founded to honor the creators of the Cyrillic alphabet, St. Cyrill and St. Methodius. “Svjato Kyrylyci” consists of an exhibition and seminars in a free atmosphere and informal but passionate gatherings. Its main goal is the popularization of Cyrillic calligraphy and type design, joining the seniors’ experience with the young’s ardour. It also promotes the research and development of Ukrainian handwritten tradition and type art.

The focus on tradition and modern trends simultaneously is a vivid essence of “Svjato Kyrylyci” (www.cyrillic.org.ua).

This exhibition comprises a selection of thirty books from the XVII century colonial Palafoxiana Library in the City of Puebla that were selected to be exhibited in the Anáhuac University facilities as a sample of the excellent craftsmanship of Mexican printers along the XVII and XVIII centuries.

The Wandering Dutch La tipografía de Balduino Ietswaart y los años dorados de las letras mexicanas Círculo de Tipógrafos Óscar Yañez & Mauricio Rivera October 23-31, 2009 Academia de San Carlos

60

Dutchman Boudewijn Ietswaart designer came to Mexico City in the early sixties as assistant to the famous book designer Alexandre Stols. Both were sent by UNESCO to this country as part of a mission in support of a prestigious international publishing company, the Fondo de Cultura Económica, then headed by Arnaldo Orfila. Ietswaart designs made primarily for the FCE and UNAM in a key moment in Mexican literature of the twentieth century. With this exhibition Typographers Circle intends to rescue Ietswaart figure who merited a chapter in the book Dutch Type Jan Middendorp (2004), which has remained virtually unknown in Mexico for half a century.

Ben Van Dyke / Typographic Ilustrations October 26-30, 2009 Casa Vecina Espacio Cultural A starting point of the conceptual work of Van Dyke is typography, In this exhibition the visitor will discover how typography integrates and regains new meanings in different spatial contexts.

61

Biblioteca Palafoxiana / The forged Letter Elvia Carreño October 8 - November 6, 2009 Biblioteca Palafoxiana – Anáhuac

Cyrillic Typography Alex Chekal October 26-31, 2009 Academia de San Carlos Svjato Kyrylyci (Cyrillic festival) is a type and calligraphy festival, which takes place on May 24th and 25th in Kharkiv (Ukraine) since 2006. The festival, initiated by design studio Panic Design and Kharkiv State academy of design and arts, was founded to honor the creators of the Cyrillic alphabet, St. Cyrill and St. Methodius. “Svjato Kyrylyci” consists of an exhibition and seminars in a free atmosphere and informal but passionate gatherings. Its main goal is the popularization of Cyrillic calligraphy and type design, joining the seniors’ experience with the young’s ardour. It also promotes the research and development of Ukrainian handwritten tradition and type art.

The focus on tradition and modern trends simultaneously is a vivid essence of “Svjato Kyrylyci” (www.cyrillic.org.ua).

This exhibition comprises a selection of thirty books from the XVII century colonial Palafoxiana Library in the City of Puebla that were selected to be exhibited in the Anáhuac University facilities as a sample of the excellent craftsmanship of Mexican printers along the XVII and XVIII centuries.

Type Directors Club Carol Wahler October 26-30, 2009 Hall of the School of Design, Anahuac University.

62

The Type Directors Club is an association that performs a prestigious annual international design competition with typography and typographic design. The winners of this contest are gathered in this touring exhibition that will be shown as part of Typ09.

Modern Cyrillic Winners of the typographic international contest Type, Emil Yakupov October 26-30, 2009 Universidad Anรกhuac, School of Design This exhibition features the winners of nonWestern type design, focusing on languages such as Eastern Europe and South Asia, based in Latin, such as Greek, Hebrew, Arabic, Armenian, among others.

63

William Spratling Violante Ulrrich Collection October 26-30, 2009 Universidad Anรกhuac, School of Design The School of Design of the Anรกhuac University presents, on occasion of Typ09, forty silver pieces crafted by the prestigious American silversmith William Spratling, fundamental influence in the silver work tradition of Taxco Guerrero. The pieces belong to the private collection of family Ulrich and were generously lend by Mrs. Vilolante Ulrich.

Type Directors Club Carol Wahler October 26-30, 2009 Hall of the School of Design, Anahuac University.

62

The Type Directors Club is an association that performs a prestigious annual international design competition with typography and typographic design. The winners of this contest are gathered in this touring exhibition that will be shown as part of Typ09.

Modern Cyrillic Winners of the typographic international contest Type, Emil Yakupov October 26-30, 2009 Universidad Anรกhuac, School of Design This exhibition features the winners of nonWestern type design, focusing on languages such as Eastern Europe and South Asia, based in Latin, such as Greek, Hebrew, Arabic, Armenian, among others.

63

William Spratling Violante Ulrrich Collection October 26-30, 2009 Universidad Anรกhuac, School of Design The School of Design of the Anรกhuac University presents, on occasion of Typ09, forty silver pieces crafted by the prestigious American silversmith William Spratling, fundamental influence in the silver work tradition of Taxco Guerrero. The pieces belong to the private collection of family Ulrich and were generously lend by Mrs. Vilolante Ulrich.

créditos

64

editorial

organización

director de la escuela de diseño

comité organizador

mtro. ricardo salas

rector

mtro. ricardo salas moreno

mtro. alfonso garcía reyes

p. jesús quirce andrés, l.c.

director de la escuela de diseño

coordinador de imagen

mtro. ricardo salas

vicerector académico

licenciaturas

mtra. ma. elena yolanda magaña

mtra. mónica puigferrat n.

mtro. carlos lepe

textos mtra. martha tappan

apoyo a la dirección en mtro. enrique ricalde gamboa

comité finanzas

vicerector de formación integral

coordinador académico

mtro. víctor guijosa fragoso

act. abraham cárdenas gonzález

licenciatura en diseño industrial

diseño editorial mtro. alfonso garcía reyes

proyectos especiales juanita ventura cabrera secretaria de la dirección

comité logística

director de la escuela de diseño

mtra. maría del carmen razo

mtro. eduardo ángel téllez r.

mtro. ricardo salas moreno

coordinador académico

angelina infanzón infanzón

licenciatura en diseño gráfico

secretaria

mtro. víctor guijosa fragoso

mtro. sergio patiño oteo

coordinador área de gestión

jefe de laboratorios y talleres

fotografía

d.c.g. manuel antonio elizondo c.

d.g. claudia rivas

mtra. ma. elena yolanda magaña

director de comunicación institucional mtro. josé mata temoltzin

comité tecnológico d.i. rubén esqueda acton comité imagen gráfica

directora de desarrollo

y administración

académico e investigación

coordinador del centro de

heriberto rivera acevedo

dra. diana galindo sontheimer

investigaciones en diseño

técnico del taller

coordinador de apoyo a la investigación

mtra. martha tappan velázquez

josé luis villegas arellano

dr. jesús del río martínez

coordinadora

técnico de taller

mtro. alfonso garcía reyes comité comunicación mtra. mónica puigferrat n. d.g. claudia carolina rivas p. comité coloquio mtro. víctor guijosa fragoso

área de comunicación y cultura arturo ramírez pérez

coordinadora de publicaciones académicas

mtro. eduardo ángel téllez r.

mtra. ana maría menéndez

coordinador área de laboratorios y talleres

mtro. enrique ricalde gamboa

técnico de taller dionisio alberto hernández b. técnico de taller

d.c.g. manuel a. elizondo c. comité asamblea

tutor y coordinador

d.i. rubén montoya reyes

mtro. víctor guijosa fragoso

área servicio social

técnico de taller

lic.marcela viesca arrache

posgrado

coordinadora administrativa mtra. tullia bassani antivari mtra. mónica puigferrat n.

coordinadora académica

coordinadora de promoción y difusión licenciatura en diseño gráfico

mtra. maricruz piñeirua arreola coordinadora administrativa

d.i. eduardo aguirre altieri coordinador de promoción y difusión licenciatura en diseño industrial d.g. claudia carolina rivas p. coordinadora de comunicación y de medios audiovisuales

65

créditos

64

editorial

organización

director de la escuela de diseño

comité organizador

mtro. ricardo salas

rector

mtro. ricardo salas moreno

mtro. alfonso garcía reyes

p. jesús quirce andrés, l.c.

director de la escuela de diseño

coordinador de imagen

mtro. ricardo salas

vicerector académico

licenciaturas

mtra. ma. elena yolanda magaña

mtra. mónica puigferrat n.

mtro. carlos lepe

textos mtra. martha tappan

apoyo a la dirección en mtro. enrique ricalde gamboa

comité finanzas

vicerector de formación integral

coordinador académico

mtro. víctor guijosa fragoso

act. abraham cárdenas gonzález

licenciatura en diseño industrial

diseño editorial mtro. alfonso garcía reyes

proyectos especiales juanita ventura cabrera secretaria de la dirección

comité logística

director de la escuela de diseño

mtra. maría del carmen razo

mtro. eduardo ángel téllez r.

mtro. ricardo salas moreno

coordinador académico

angelina infanzón infanzón

licenciatura en diseño gráfico

secretaria

mtro. víctor guijosa fragoso

mtro. sergio patiño oteo

coordinador área de gestión

jefe de laboratorios y talleres

fotografía

d.c.g. manuel antonio elizondo c.

d.g. claudia rivas

mtra. ma. elena yolanda magaña

director de comunicación institucional mtro. josé mata temoltzin

comité tecnológico d.i. rubén esqueda acton comité imagen gráfica

directora de desarrollo

y administración

académico e investigación

coordinador del centro de

heriberto rivera acevedo

dra. diana galindo sontheimer

investigaciones en diseño

técnico del taller

coordinador de apoyo a la investigación

mtra. martha tappan velázquez

josé luis villegas arellano

dr. jesús del río martínez

coordinadora

técnico de taller

mtro. alfonso garcía reyes comité comunicación mtra. mónica puigferrat n. d.g. claudia carolina rivas p. comité coloquio mtro. víctor guijosa fragoso

área de comunicación y cultura arturo ramírez pérez

coordinadora de publicaciones académicas

mtro. eduardo ángel téllez r.

mtra. ana maría menéndez

coordinador área de laboratorios y talleres

mtro. enrique ricalde gamboa

técnico de taller dionisio alberto hernández b. técnico de taller

d.c.g. manuel a. elizondo c. comité asamblea

tutor y coordinador

d.i. rubén montoya reyes

mtro. víctor guijosa fragoso

área servicio social

técnico de taller

lic.marcela viesca arrache

posgrado

coordinadora administrativa mtra. tullia bassani antivari mtra. mónica puigferrat n.

coordinadora académica

coordinadora de promoción y difusión licenciatura en diseño gráfico

mtra. maricruz piñeirua arreola coordinadora administrativa

d.i. eduardo aguirre altieri coordinador de promoción y difusión licenciatura en diseño industrial d.g. claudia carolina rivas p. coordinadora de comunicación y de medios audiovisuales

65

Liderazgo Anáhuac

66

Speakers Albert Corbeto Albert Corbeto Alejandro J. Paul Alison Schroeder Andreu Balius Andreu Balius Andrew Byrom Annie Opitz Olsen Alejandro Zenker Catherine Dixon Christian E. Schwartz Christopher J. Moore Consuelo Sáizar Cristobal Henestrosa Crystian Cruz David Berlow David Kimura David W. Shields Denise Gonzales Crisp Diego Mier y Terán Dyana Weissman Enrique Ollervides Erik Spiekermann Fabio Haag Felipe Cáceres Filip Blažek Francisco Calles François Chastanet Frank Wildenberg Gabriel Martínez Meave Gerry Leonidas Gerry Leonidas Gonzalo García Barcha Héctor Montes de Oca Henrique Nardi Horacio F. Gorodischer Hrant Papazian Hyun-Guk Ryu J. Shen

Workshops J. Veen, B. Mason Jan Middendorp Jo A. J. De Baerdemaeker John D. Berry John Daggett Jonathan Kew Jorge de Buen Jorge de Buen José Scaglione Josep Patau Juan Heilborn Díaz K. Diniz Kevin Larson Laura Caso Barrera Leonardo Vázquez Luz Rangel Lynn Fleming M. Barratt María del Carmen Serrano Marina Garone Gravier Martí Soler Mary Dyson Masayuki Yamamoto Óscar Yañez Osvaldo Olivera Villagra Pavel Grushko Priscila Farias Richard Kegler Roger Black S. Daniels Sébastien Morlighem Ted Harrison Thomas Phinney Titus Nemeth Tomás Granados Verónica Piña Morales Viktor Kharyk Wolfgang Homola

Adam Twardoch Bruno Nadeau Bruno Nadeau Claudio Rodríguez Álvarez Cristobal Henestrosa Diego Mier y Terán Elie Zananiri Ernesto Gutiérrez Cortés Félix Beltrán Héctor Galván Jason E. Lewis Jason E. Lewis John Downer Jorge de Buen Ted Harrison

Liderazgo Académico Internacional