ATypI welcomes you to its 60th annual conference! Join the global typographic community in Warsaw, Poland, 13–17 September 2016.
The theme of ATypI’s 2016 conference is “Convergence.” The wider design world and mainstream channels increasingly recognise typeface design as a fundamental element in communication, with profound implications for learning, work, and entertainment. We invite attendees to explore the ways in which the typographic community is advancing the field and shaping the future of our interactions with text. 1
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ATypI is proud to host its 2016 conference the sprawling capital of Poland. Warsaw’s varied architecture, vibrant music scene, and thriving typographic movement are the perfect framework for ATypI’s global type conference. 3
Getting there
Plane
Train
The easiest way to get to the capital of Poland is, of course, by plane. The international Warsaw Chopin Airport is located around 10 kilometres from the city centre. A railway connection with Chopin Airport is also available. The easiest way to get to the centre from this airport is to take the ModlinBus. The trip takes around 40 minutes.
Bus
There are three train stations in Warsaw that provide international and domestic train services: Warszawa Centralna (Central Warsaw) – situated in the city centre and well connected to public transportation network; Warszawa Zachodnia (West Warsaw) which is set next to the international bus terminal; and Warszawa Wschodnia (East Warsaw) located on the east bank of the Vistula River (Praga).
Taxi
As of 1 June 2012, Chopin Airport has been linked to Legionowo and Sulejówek Miłosna (through the city centre) by a railway service. The service is operated by two companies: Szybka Kolej Miejska – SKM (Fast Urban Railway) and Koleje Mazowieckie (Masovian Railways). 4
Chopin Airport is served by five public bus routes all with stops at Warsaw’s key transport nodes and the biggest hotels. Buses: 175 - 188 - 148 - 331 - N32
Ele Taxi +48 22 811 11 11 - www.eletaxi.pl Super Taxi +48 22 196 22 - www.supertaxi.pl Sawa Taxi +48 22 644 44 44 - www. sawataxi.com.pl For safety reasons, we suggest using only licensed taxi services at Chopin Airport. Taxi tariffs should be clearly displayed in the car window. The fare from the airport to the city centre is approximately 40 PLN.
Getting around
WarsawTour Free Mobile Application
If you are moving around the Old Town and the Palace of Culture and Science area, you might find it more convenient and scenic to walk. Otherwise, Warsaw boasts a quick, safe and e cient public transport system of metro, trams, buses and night buses, all operated by ZTM. All public transportation tickets can be purchased at ZTM points, in some newspaper kiosks, and at ticket machines located in the metro stations, in close proximity to some bus stops, and on some buses and trams. You can pay with cash or card. Tickets may be used for all means of transport. Select from 20-, 75- and 90-minute tickets. Longer-term options include one day and weekend tickets. It’s also possible to travel around the city by bicycle using Warsaw’s bike rental system Veturilo.
The WarsawTour app will guide you through the city’s most interesting places. Once you choose a walk, you will see your preferences on the map and a list of attractions on the dropdown menu. Intuitive icons allow for easy identification of attractions on the map. The description of each walk, as well as a key to icons, are in the app menu. Visa requirements: Ministry of Public A airs, Government of Poland Third-country nationals may enter Poland if they are in possession of a valid travel document and visa (if required). Council Regulation (EC) No 539/2001 includes the lists of third countries whose nationals must possess valid visas in order to cross external borders, and countries whose nationals are exempt from this obligation.
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Venues
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A number of exceptional group of Polish institutions have opened their doors to host the ATypI 2016 conference. This quick guide to our generous partner venues and special event hosts will assist you in preparing for your Warsaw adventure.
Pre-conference workshops Polish-Japanese Academy of Information Technologies (PJAIT) (Polsko-Japonska Akademia Technik Komputerowych)
Business, Education, and Technology Forums The National Audiovisual Institute (NInA)
Sunday Guided Tours The Department of New Media Art at the Polish-Japanese Acad- emy of Information Technologies launched in 2004. Initially as a BA program, the department has o ered MA level studies since 2011. This program, unique in Poland, consolidates Polish art traditions and new technologies. A public cultural institution, the National Audiovisual Institute was established in 2009 to record, digitise, archive, and facilitate the dissemination of the most valuable manifestations of Polish culture, including lm, music, theater, and art.
The Poster Museum (Muzeum Plakatu)
The Poster Museum at WilanĂłw is the oldest institution of that kind in the world. A small collection of posters had been stored in the Engravings Department since before the 2nd World War; it took in Polish and foreign posters on equal standing with other graphic objects.
Opening Keynote and General Session Academy of Fine Arts in Warsaw (ASP) (Akademia Sztuk Pieknych w Warszawie)
The Academy of Fine Arts is a public university of visual and applied arts located in the Polish capital. The Academy traces its history back to the Department of Arts founded at Warsaw University in 1812. As a separate institution, it was founded in 1844 during the Partitions of Poland. In 1904 it was named the Warsaw School of Fine Arts; and in 1932 it received recognition as an Academy. The biggest fine arts academy in Poland, ASP celebrates more than 100 years of tradition within its nine departments. The cradle of the famous Polish School of Poster, ASP is connected with such graphic design legends as Henryk Tomaszerwski, Jan Lenica, Roman Cieslewicz, Andrzej Klimowski, Mieczysław Wasilewski, Maciej Buszewicz, and Lech Majewski. 7
ATypI Warsaw Team
Tamye Riggs Executive Director
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Starting in 1957, every year ATypI has hosted the most important and only truly global event on type and typography. This, of course, requires a significant amount of experience and man power. So we are happy to present the team behind our 2016 conference.
Tamye Riggs, Executive Director of the Association Typo- graphique Internationale (ATypI), is a writer, editor, and designer specializing in typography and the related arts.
Ewa Satalecka Chair
Ewa Satalecka is Professor at Polish-Japanese Academy of Information Technologies in Warsaw and leader of its motion typography class.
Adam Twardoch
Adam Twardoch is Director of Products at FontLab and Glyph Wrangler at MyFonts. He also works as a font consultant specializing in font technology, multilingual typography, CSS webfonts, Unicode, and OpenType.
Onur Yazicigil
Onur Yazıcıgil is a typographer and educator who lives and works in Istanbul, Turkey. He is a faculty member at Sabancı University, where he developed a humanist san serif typeface, Duru, with partial availability on Google Web Fonts.
Andreu Balius
Andreu Balius is a type designer and digital punchcutter based in Barcelona (Spain).
Clare Bell
Marina Chaccur
Simon Daniels
Clare Bell is a practicing designer, researcher, and lecturer in visual communication and typography at the Dublin Institute of Technology.
Marina Chaccur holds a degree in Design from Fundação Armando Alvares Penteado, an MA in Graphic Design from the London College of Communication, and an MA in Type and Media from the Koninklijke Academie Beeldende Kunsten.
Indra Kupferschmid
Maximillian Lasocki Gerry Leonidas
Indra Kupferschmid is a typographer and professor at HBKsaar in Saarbrücken, Germany, occupied with type around the clock in all its incarnations: webfonts, bitmap fonts, other fonts, type history, DIN committees, writing, design work, or any combination of these. Gerry Leonidas teaches and researches typography and type-face design at the University of Reading in the UK. He supervis- es MA and PhD research and lectures widely.
Bruno Maag
Bruno Maag is Founder and Chairman of Dalton Maag Ltd in London, UK. He is a trained metal, photo, and digital type compositor, and a graduate of the Basel School of Design in Switzerland.
Thomas Phinney
Thomas Phinney is the President of FontLab. He has been anATypI member for more than 17 years, joining the board in 2004 and serving as Treasurer from 2006–15.
Henrique Nardi
Henrique Nardi is a graphic designer and typography professor from São Paulo, currently living in Madison, Wisconsin.
Simon Daniels is a program manager within Microsoft’s O ce Design team, based in the Seattle suburb of Redmond, Washington, USA. 9
Sponsorship
As a volunteer – driven 501(c)(3) nonprofit organization, ATypI relies on the generosity of sponsors and partners who help us to fulfill our educational mission and broaden diversity and inclusiveness at our events. We appreciate their support and longtime dedication to our community. To learn more about ATypI conference sponsorship opportunities, please download the ATypI 2016 Warsaw sponsorship kit, and contact ATypI Executive Director Tamye Riggs to discuss possibilities.
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The Association Typographique Internationale Thanks Its Sponsors And Partners:
Super Titanium Sponsor
Adobe Typekit
Silver Sponsors
Glyphs
Adobe Typekit is a subscription service for fonts, with customers largely from the Creative Cloud and web design communities.
Platinum Sponsors
Foundertype
Dalton Maag
Bronze Sponsors
Font Lab
MyFonts
Monotype
Presenting Partners
International type foundry
National Audiovisual Institute
Morisawa
Polsko-Japonska Akademia Technik Kompterovich Event Partners National Museum Warsaw Neon Muszeum TypoLabs 11
Workshop
Do not miss this year’s pre-conference workshops. Please note there are 3 and 6 hours workshops, so be careful not to chose two workshops that will happen at the same time. All of them will take place at the Polish-Japanese Academy of Information Technologies (PJAIT), besides the Letterpress workshop, which will be at the Academy of Fine Arts in Warsaw.
Right Left Up Down: The Kinetics Of Calligraphy Calligraphy
Greetings From Warsaw
Brody Neuenschwander
Aleksandra Stepien
9:30 – 17:30
9:30 – 17:30
max 18
In this one day, hands on workshop students will explore the kinetics of mark-making. Breaking with the Western tradition of writing with small hand and wrist movements, students will work from the shoulder, the waist and the legs, generating calligraphic marks from full body movements. We will use experimental tools on large sheets of paper. Questions of legibility and function will be addressed, as well as the vexed question of calligraphy as a fine art.
Letterpress
max 6
It so nice to get a postcard! So lets surprise our friends by sending them a letterpress printed postcard with greetings from Warsaw. During this day each student will be able to design and set their own postcard, to be printed in one color (black or red) in an edition of 7 prints. There will be an introduction about the letterpress studio, showing the range of materials and also talking about Polish typography and designers. Obs: This workshop will take place at the Letterpress Studio at the Academy of Fine Arts in Warsaw - Krakowskie Przedmiescie (please ask for ZECERNIA in Painting Department).
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Tuesday 15 Sep
Edged Brush Capitals
Calligraphy
Verena Gerlach
Cesar Puertas 9:30 – 17:30
Show Me Your Type — Type Design Workshop For Students Type Design
max 20
If you are into typography and type design you have probably struggled with the apparently odd but beautiful shapes and pro- portions of Roman capital letters, which can be best explained by edged brush calligraphy. In this hands-on workshop, partic- ipants will study the structure of Latin letters, its pen angle and proportions so that lettering and type design projects can be more easily accomplished. Materials will be provided.
Arabic Lettering Workshop: Epigrams Lettering
9:30 – 17:30
max 10
Type design workshop for medium/advanced young designers/ students, who already are working on a particular font (text or display), and who are in the state of progress, in which they still do need professional critique and advice. Under the guidance of Verena Gerlach, the participants will work hands-on on their own typeface in progress, to learn how to take it to completion. The students will need to bring b/w laser print outs from their typefaces: specimen and some examples of text, the size they are planning to use their typefaces in (A4, landscape), also laptop with Glyphs or FontLab.
Khajag Apelian and Kristyan Sarkis 9:30 – 17:30
max 15
ALW is a series of workshops about Arabic lettering. Every epsode takes on a different theme. For the occasion of ATypI 2016, and its ‘convergence’ theme, this episode will be about Epigrams. Participants will choose a culturally specific expression, word or statement from their own culture and make an expressive lettering piece of its equivalent or transliteration in Arabic, reflecting the meaning through the forms. Students are asked to bring di erent kinds of pen for writing/ calligraphy. Other materials will be provided.
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Masterclass — Designing A Sans In One Day
Type Design
Martin Majoor 9:30 – 17:30
FontLab VI In Depth
Adam Twardoch, Thomas Phinney & Yuri Yarmola max 20
9:30 – 17:30
To design a sanserif in one day is impossible. But when using a good serifed example it is a piece of cake... or isn’t it? This master class in type design uses a lot of paper, pencils, ink and erasers, but... no computers! The first shapes will be ‘written’ with the ‘double pencil method’, two pencils that are tied together to form a sort of calligraphic writing tool.
Asian Type Design In Glyphs
Tools
max 50
In the first half of the workshop, Adam, Thomas & Yuri provide an in-depth look at the new outline design process in FontLab VI that will empower type designers to get better results, faster. The second half of the workshop focuses on technical details of FontLab VI, from smart contour operations with the fractional coordinate system, metrics and kerning handling with groups and slanted side-bearings, all the way to the vastly expanded font format support and the new Python API. Students are required to bring their laptops.
Responsive Typography Workshop: Using Type Well On The Web Tech
Georg Seifert & Rainer Erich Scheichelbauer
Jason Pamental
9:30 – 17:30
9:30 – 17:30
max 15
With its highly specialized tools and features, Glyphs has quickly become a very important tool in the realm of Indic and East Asian type design. In this workshop, the Glyphs team will take you through a sample workflow and show many little tricks that effectively facilitate Asian font production. Students are required to bring their MacBooks OS X 10.9.5 or later, with the latest version of Glyphs installed.
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Tools
max 40
Learn how to use web fonts well to amplify the message and voice of your design without sacri cing performance, how to scale your typography based on screen size, and how little details layered together turn a good experience into a great one. We’ll work through how to implement web fonts properly for best performance and progressive enhancement, whether self-host- ing fonts or using a service.
Take Care Of Your Eula And Your Eula Will Take Care Of You
SVG in OpenType
Joyce Ketterer
Miguel Sousa
9:30 – 12:30
max 18
9:30 – 17:30
In this three hour practicum on End User License Agreements, I will introduce the group to my philosophy to licensing and license enforcement which takes into account “the retroactive reader.” They will learn how to read this particular legal docu- ment without crossed eyes or an unintended nap. Together we will read a selection of actual foundry EULAs to understand both the essential requirements of a EULA and the areas of personal expression. Attendees will leave the workshop ready to craft their own EULA.
RoboFont In Practise
Tech
In the first half of the workshop, Adam, Thomas & Yuri provide an in-depth look at the new outline design process in FontLab VI that will empower type designers to get better results, faster. The second half of the workshop focuses on technical details of FontLab VI, from smart contour operations with the fractional coordinate system, metrics and kerning handling with groups and slanted side-bearings, all the way to the vastly expanded font format support and the new Python API. Students are required to bring their laptops.
Tools
Frederik Berlaen 9:30 – 14:30
max 15
With its highly specialized tools and features, Glyphs has quickly become a very important tool in the realm of Indic and East Asian type design. In this workshop, the Glyphs team will take you through a sample work ow and show many little tricks that e ectively facilitate Asian font production. Students are required to bring their MacBooks OS X 10.9.5 or later, with the latest version of Glyphs installed.
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Program & Speakers
Introducing FontLab VI
Special OpenType Session
Track A
NiNA1: Technology
Track A
NiNA1: Technology
9:30
Thomas Phinney, Adam Twardoch & Yuri Yarmola
11:30
Thomas Phinney, Adam Twardoch & Yuri Yarmola
FontLab’s Adam, Thomas and Yuri introduce FontLab VI. Years in the making, and a complete rewrite from scratch, FontLab VI combines the latest font technologies and a new cross-platform user interface. FontLab VI introduces dozens of innovations to type design, especially in vector drawing and editing. The new app has been built with active input from hundreds of professional type designers, and cutting-edge research scholarly research.
Industry leaders will reveal details of a major technological up-date to the OpenType standard.
Glyphs Latest Developments
BubbleKern Kerning With Bézier curve
Track A
NiNA1: Technology
Track A
NiNA1: Technology
10:15
Rainer Erich Scheichelbauer & Georg Seifert
14:00
Thomas Phinney, Adam Twardoch & Yuri Yarmola
The font editor Glyphs has been in constant rapid development ever since its initial release in 2011. In this presentation, the Glyphs team will give a rundown of the latest developments, including the recent additions for Indic and East Asian font production. 16
This presentation will demonstrate BubbleKern, a new kerning tool for type design that uses Bézier curve, and propose the future of kerning in a next font format.
Wednesday 14 Sep
Blur Spacing & Kerning
The Open Source Python Font Production Pipeline
Track A
NiNA1: Technology
Track A
NiNA1: Technology
14:20
Woochan Jeon
15:00
Behdad Esfahbod & Marek Jeziorek
My intention of this paper is to present a possibility of new pro- cess dealing spacing and kerning in typeface design. It is about saving time and resources to design typefaces and introducing a di erent way to get a good spacing and kerning typefacesfor limited budget and time. Spacing and kerning are generally separate process to make a typeface. Adjusting side-bearings(spacing and kerning) can be one process.
This presentation is about why Google wanted to have an open source font tool chain, how the tool chain [aka pipeline] was architected, engineered and debugged and how Google uses it to produce and validate Noto fonts.
Advances In Js-Based Font Creation Technologies And Tools
Tailoring Tools For Type Designers
Track A
NiNA1: Technology
Track A
NiNA1: Technology
14:40
Louis-Remi Babe & Frederik De Bleser
16:00
Philipp Acsany & Benedikt Brambock
This session will present a brief overview of OpenType, it’s current features and limitations. We will then review some tools that use it (FontSelf, Glyphr Studio, NodeBox Live, Metapolator and Prototypo) and highlight interesting usages that OpenType.js has made possible. Finally, we’ll talk about the future of the library and its ecosystem.
Many type designers, from beginners to experts, nd it a daunting and confusing experience when their know-how fails them while attempting to optimise the technical quality of their designs. Hence, we would like to walk through some examples that showcase our latest testing environment developed under the direction of Andreas Eigendorf dedicated to seamless font production work flows. 17
Introducing Metapolator
Versatile Type Design for the Web
Track A
NiNA1: Technology
Track A
NiNA1: Technology
16:20
Lasse Fister & Peter Sikking
17:00
Louis-Remi Babe
The Metapolator project aims to lead the convergence of the crafts of type design and the typography. Its bold product vision matches the ambition of its technical development. Peter (inter- action architect) will reveal how Metapolator brings fresh new ideas to type design tools. Lasse (lead developer) will explain how the underlying “Atem” technologies began with the Open Web Platform’s CSS and DOM concepts, and how they are use- ful beyond Metapolator for other kinds of design.
The aim of parametric type design is to build a single master, and let its shape be in uenced manually by the input of the end-user (the graphic designer), or automatically by the its con- text. In this talk we will present the results of our experiments to create parametric typefaces for the application Prototypo, and the possibilities our tools and the Web o ers to adapt fonts to their context.
Supporting East Asian Web Fonts With Dynamic Augmentation
How Skeleton Based Type Design Could Shake Up Digital Type Design Work Flows
Track A
NiNA1: Technology
Track A
NiNA1: Technology
16:40
Gregor Kaplan
17:20
Martin Cetkovsky & Filip Zajac
This talk proposes to investigate the nature of text generally, how computers store and render it, and how those things relate to fonts. We use fonts everyday. We see them everywhere. But what is a font? How are they built? How can the structure of the data be manipulated to produce a losses, e cient mechanism to add content on the fly and eliminate performance impacts.
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We have developed new tool inspired by the Stroke theory by Gerrit Noordzij. The tool translates a stroke and width and rota- tion of a nib into a shape. At ATyPI we let people try our software and conduct discussion about what might designing with skele- ton based approach brings to the industry.
Synoptic Translations
Multi Sensory Experiences In Perception Of Space In The Context Of Typography Education
Track B
NiNA2: Education & Business
Track B
NiNA2: Education & Business
09:30
Woochan Jeon
10:10
G. V. Sreekumar
Increasingly, students exhibit a heightened reliance on digital tools to both create and in uence their work. This often undermines a fundamental understanding of the relationship between form and content as it can prompt emulation rather than encouraging critical construction. To circumvent this, a new project was developed with a focus on creating integrated visual narratives derived from rst-hand research. Invoking Isotype, Francesco Franchi as well the TED-ED platform, and looking at the increasing importance of data visualization in digital pub- lishing, students were asked to create longform (rather than isolated) visual narratives to describe intangible processes or systems. This presentation will outline the research basis for the development of this new project.
This paper looks a new approach towards teaching basics of tpography, where tactile sensory experiences are creatively used to teach basic spine structure of letters, relationship between positive and negative space, interaction between foreground and background in visual and non-visual realms, finer balance of compositions and sense of visual beauty.
A Typography Manual’s Manual
Lessons From The First Type Exercise
Track B
NiNA2: Education & Business
Track B
NiNA2: Education & Business
09:50
Henrique Nardi
10:30
Crystian Cruz
This talk presents a preliminary study of a historical selection of Typography Reference Guides and Manuals. From a comparison of the manual’s main topics, the study aims to understand what constitutes a good reference guide, and how they changed in terms of textual content and visual approach throughout the decades.
For 12 years, the presenter has been conducting an introductory typography module at some bachelor design courses in Brazil. The first task consists in completing by hand some missing letters (or parts of letters) of a basic character set of ITC Franklin Gothic, supplied in an A4 sheet. The presentation will cover the ndings after going through this exercise with more than 20 different groups.
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A Platform for Reading Research
Learning The Strokes: Teaching Typography Through Lettering
Track B
NiNA2: Education & Business
Track B
NiNA2: Education & Business
11:30
Ann Bessemans, Kevin Bormans, and Maarten Renckens
12:10
Ashley Pigford
Last summer, Ann Bessemans’ research group READSEARCH was launched. READSEARCH provides a unique environment that brings together design researchers, typeface designers, scientists, students and stakeholders through research, courses and documentation. This talk will explain the need for such a research group. Co-presenters: Ann Bessemans, Kevin Bormans, and Maarten Renckens.
This presentation outlines the process I have found successful, (and very enjoyable), to initiate the study of typography in my Typography 1 course, by starting with hand lettering. Based on Russell Laker’s 1946 text Anatomy of Lettering, The curriculum of the course guides the students through each letter, stroke by stroke, illustrating the geometry and sequence of strokes that creates each Roman capital, italic, numeral, and minuscule.
Digitalization Of The Demotic Script From The Middle Part Of The Text On Rosetta Stone
Design, Culture & Reality
Track B
NiNA2: Education & Business
Track B
NiNA2: Education & Business
11:50
Irena Ristevska
12:30
John Dowling
The main idea behind this presentation is to give more precise and accurate description of the visual analysis of the digitalized characters of the demotic script. The presentation would be consisted of sketches, the initial idea, digitalization of the char- acters, programming the characters and testing the characters with di erent applications.
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Typography is both fundamental and universal to mass knowledge consumption, there is no class divide, no economic margin, no racial partition, no division based on faith or creed. It is through typography that we access the written word. And it is through typography that we can give our students a voice. This paper seeks to challenge and inform, in the hope that by raising questions rather than giving answers, we as educators can address how and why we teach design, along with the moral obligations that come with it.
Starting A Type Foundry 101: A Checklist
Industry Update: Adoption, Opportunities and Adventures Ahead
Track B
NiNA2: Education & Business
Track B
NiNA2: Education & Business
14:00
Jean-Baptiste Levee
15:00
John Giannopoulos, David Kuettel, Christopher Slye
Over the last decade, many independent type foundries blossomed, shaping a new face for the market of digital type design. This presentation propose a checklist of the many things that one would want to consider when starting a type foundry. From establishing a product line to defining social media posting pace, no detail is too insignificant to contribute avoiding pitfalls, setting up a healthy business and raising the overall quality of the community.
Recent years have seen a rapid expansion of digital media demanding new and complex type licensing models and delivery methods. Mobile apps, web services, digital ads, and others are all challenging foundries’ established business practices. By sharing their own statistics and insights from their e orts to support a bene cial type ecosystem, they will invite the type community to join them in a discussion to explore the state of the type business, and to nd the most mutually rewarding, sustainable solutions in the face of these challenges.
Creating A Platform For Type Foundries
The Price is Right!
Track B
NiNA2: Education & Business
Track B
NiNA2: Education & Business
14:40
Andrej Kratky
16:00
David Jonathan Ross
Last year, we launched Fontstand, a desktop software to try and rent fonts. Learning from the experience from music industry Fontstand represents authors, and creates a platform that is try- ing to nd a sweet spot between users and makers. Fontstand has been warmly received, and this presentation will give us a chance to re ect on the first year of service, seeing it from inside and outside. We’ll be sharing our numbers, and lessons we have learned so far.
Coming up with a fair price for a retail typeface is all but impossible. I will share my experience from my recent opportunity to rethink the way I price and license my fonts from the ground up. In the hopes that it is helpful to other small font retailers going through a similar process, I will frankly discuss my thought process as I weighed the pricing options out there, and will o er a list of priorities that I adopted that endeavor to better serve the needs of contemporary font buyers.
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Why Don’t Eula’ve Me?
Six 5-Minute-Presentations
Track B
NiNA2: Education & Business
Track B
NiNA2: Education & Business
16:20
Joyce Ketterer
17:00
Indra Kupferschmid
Using real world examples from my eight years experience, I will persuade you that the EULA is a tool that is worth your trouble because (not despite) of the fact that almost no one reads it. Many foundries have a love–hate relationship to their EULA: it costs a lot to write and maintain and it can be hard to see what value it brings. I will discuss the particulars of writing for the ret- roactive reader and the ways that having a good EULA can keep license enforcement not only civil but pleasant.
A Proposal for a Common EULA Track B
NiNA2: Education & Business
16:40
CJ Dunn
The type industry has long been in need of a common EULA. Questions I will explore include: Is there actually a common, shared set of needs that type designers have for their EULA? How could a common EULA accommodate the varied and changing needs of type designers globally, including technol- ogies that haven’t been invented yet? I will discuss possible solutions, for instance using web-based collaborative tools like google docs or gitHub, and including options which anyone can modify to suit their own needs.
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A ve minute unplanned slot for anyone who has a new initiative they would like to present, a new business model or any other thoughts that they think are relevant to the future success of the type industry. Presenters will receive their slot on a rst come, rst served basis on the day of the Business Track.
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Program & Speakers
Typefaces For Telephone Directories
Warsaw Types: Experimental Workshops On Urban Typography
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
09:30
Alice Savoie
10:30
Indra Kupferschmid
French typeface designer Ladislas Mandel (1921–2006) is a major, yet little known gure of the second half of the twentieth century. Presenting unexplored material from his archives, this talk will brie y introduce Mandel before focusing on his typeface family Galfra (designed for Italian, Belgian and US directories). The presentation will discuss his approach to designing typefaces for very small sizes and for non-linear reading.
Warsaw Types is a series of typographic research and design workshops, taking place in 2016 in Warsaw. We are creating 12 new typefaces, based on the Warsaw’s local urban typography. The resulting fonts will be made available for free on the Open Font License. The Warsaw Types team comprises of 12 young Polish type designers, guided by mentors – the top most experienced Polish typographers and design researchers. Our goal is to create new fonts, based on the local lettering heritage, that until now, has gone largely unexplored.
Shine Bright Like A Letter
A Typographic Maghribi Trialogue
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
10:00
Jean-Baptiste Levee
11:30
Juan Luis Blanco, Laura Meseguer, Kristyan Sarkis
This case study focuses on the recent design and development of a typeface family for Renault, France’s premier car manufac- turer, designed for automotive chrome lettering. Spanning from design direction to industrial constraints, Levée will embrace many aspects of 2D type design that were extended into 3D vehicle marking. “Shine bright like a letter” is a complete and in-depth approach to volumetric design. 24
In the Maghreb, the con uence of native cultures with different colonial periods have resulted in an extraordinary diverse her- itage. The history of this region and the Andalus could be told in more than twenty languages that could be written with any of the three common writing systems: Latin, Arabic and Tinagh. The specific goal of the collaboration is the research and development of tri-script font families that can communicate harmoniously.
Thursday 15 Sep
Capital Additions To Georgian Typography
Type Crit
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
12:00
Akaki Razmadze
13:10
Veronika Burian, Gerry Leonidas, Jean-Baptiste Levee, Jan Middendorp
We will talk about the history of Georgian typography, todays condition and problems of users, caused by custom Georgian fonts. We’ll introduce you to some workarounds to use Georgian uppercase letters which are still not supported by Unicode. We will review new standards for Georgian font-engineering, which contains diacritical marks for random Kartvelian languages.
Sign-up will begin on the rst day of ATypI. – Each crit will take 10 minutes. – Experienced designers and novices alike are en- couraged to submit their designs. – Only one typeface per per- son is allowed. Multiple weights and styles are allowed, but one style is preferred. – Please bring at least four printouts showing the full glyphs set and the font set in one or more of the ways in which the type is intended to be used.
Designing Young Readers Through Typography
The Sound of Shapes & Shape of Sounds
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
12:30
Petra Cerne
14:30
Just Van Rossum
Oven Ciciban is a Slovenian children magazine. It is an example of excellent editorial, typographical and publishing achievement unparalleled by any of the later examples. Through the 70-year long history Ciciban served as a driving force of education and enlightened emancipation of “little people” through rich typog- raphy, excellent illustrations and high level of interactivity. Today Ciciban is a showcase of the crème de la crème of Slovenian illustrators, but important lessons and inspirations can be drawn also from the printing and typography.
There are many parallels between sound and letters, music and typography. While interesting, these are often based on sub- jective perception and therefore remain rather vague. This talk documents a serious, yet playful exploration of shape analysis and transformation based on signal processing, inspired by trigonometry, analog synthesizers, Lissajous and Fourier (but not Fournier!.) 25
Text In Need
The Proof Is In The Testing...
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
14:55
Sonja Knecht
15:35
Bruno Maag, Dr Alessia Nicotra
People communicate because they have to. We all have to send messages out to the world, of any kind whatsoever, at least once in a while, professionally or private. We use text out of need. And the wonder is, if you are a natural born writer or not: most of the results are truly beautiful. The best texts seem to come into existence under stressful circumstances – because we need something, long for something, lack or lost something. Sonja will procure evidence of her theory, sharing samples from art and literature, corporate communications and the streets of Berlin.
Recent advances in psychology and neurosciences provide the design community with tools to prove the validity of their work. Bruno Maag and Alessia Nicotra review a selection of studies published in regards to the emotional and functional qualities of typefaces since Po enberger in 1927. The presentation investi- gates the methodologies employed and questions the results in the cultural and technological contexts of their time, and provide guidance as to their relevance today.
Code Switching, Multi - Style, Diglossia
Buddy Up! The Impact Of Collaboration On The Type Industry
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
15:15
Roman Wilhelm
16:30
Bianca Berning
In 16th-century Prussia, letterpress was widely used as a mass medium to spread new religious and academic concepts (mainly of the growing Protestant faith and pietism). Peaking in the 1690s, Roman typefaces were used within the context of the common German blackletter to distinguish words or parts of words from Latin or Romance origin. My new typeface family “Koex Text” aims to meet the requirements of style-switching typography for more respect to the materiality of type in the digital context.
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In my talk, I will look at how encouraging open dialogue among peers can not only enhance the industry, but also help our com- munity and its individuals grow. Based on three or four recent examples of collaboration, I will outline the bene ts and difficulties of (interdisciplinary) collaboration. In particular, I will high-light the impact of teamwork on the professional development of individuals, especially newcomers, trainees and students in the type industry.
Telling Good From Bad Lettering Track A
Academy of Fine Arts in Warsaw ASP
16:50
Martina Flor
Lettering has experienced a recent boom. Social media has triggered its exposure and in uenced the appearance of many who make a go of lettering professionally. But how to tell good from bad? My keynote poses the question to the community by sharing 6 essential standards to deliver quality Lettering Artwork, delineated throughout my years of work in the eld. Through visually rich slides I will hand in tools to help designers to distinguish good pieces of Lettering work.
Before Desktop Publishing: The Democratization Of Type In The Pre - Digital Era Track A
Academy of Fine Arts in Warsaw ASP
17:20
Briar Levit
Before the so-called digital revolution of Desktop Publishing, a smaller, albeit important democratization of design production had already occurred with a selection of a ordable, commercial quality in-house typesetting methods. This talk will explore a selection of cold typesetting methods that were used by small businesses and organizations to get their messages out, despite having little-to-no budget.
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Program & Speakers
In Conversation With Erik Spiekermann
Different Stories, Different Needs.
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
09:30
Gloria Kondrup, Erik Spiekermann
10:20
Jan Bajtlik, Viktoriya Grabowska, Marian Misiak, Agata Szyd- lowska
“From Desktop to Digital, and Digital to Analog” is an interview of Erik Spiekermann by accomplished letterpress printer Gloria Kondrup, Executive Director of the Homitz Milken Centerfor Typography [HMCT]. After an extensive career as graphic designer, typeface designer, author, and entrepreneur, Erik Spiekermann returns to his beginnings. He has come full-circle by opening his letterpress studio Galerie P98a. Yet Erik’s ‘return to analog’ is not steeped only in traditional methods, but rather, he utilizes the components of both older and newer technologies.
The experimental presentation of the young and emerging scene of Polish type design will consist of four case studies delivered by the most outstanding practitioners of the new generation, moderated by design critic and educator, Agata Szydłowska. The especially curated show aims at presenting di erent, yet interrelated topics of interest of the speakers, ranging from scienti c research, through projects developed within broader, Central European context, to cases focused on cultural investigation and critical examination of local history and tradition.
From Typespotting To Warsaw letters
Politics Of Type
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
10:00
Artur Frankowski
14:00
Carima El Behairy
During a few last years I managed to record a collection of old and new lettering and inscriptions from the streets of Warsaw, which was published in 2010 as a book “Typespotting Warsza- wa”. Having typespotting as a starting point I designed several typefaces (e.g. Golonka FA, Supersam FA, Preasens FA or Wasz FA) inspired by Warsaw lettering, neon signs and street typogra- phy from di erent historical periods. The Warsaw typefaces and their inspirations will be shown during the presentation. 28
The United States has the longest election cycle in the world with Billions of dollars spent to elect in some cases the unelectable. This talk provides a brief history of how Political typography evolved, a deeper dive into when it all changed in 2008 and how this change influenced the current candidates of 2016.
Friday 16 Sep
The Evolution Of The Type Specimen Book
A Bigger Pie
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
14:30
Pedro Amado, Catarina Silva
15:10
Matthew Rechs
We’ll present a of a selection of typeface specimens, while exploring the evolution of their role and functions, through an analysis of a sample of different books, booklets and digital specimens, from di erent sized foundries, between early XX and XXI centuries.
A panel discussion on getting more people to buy more type.
The Legibility Of Letters And Words
Fusion: The Interactive Communication Between Font And People
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
Sofie Beier
16:30
Qiu Yin
14:50
The saying made famous by Mathew Carter that “type is a beautiful group of letters, not a group of beautiful letters”, highlights the fact that although a typeface consists of a number of letters it is when the letters are assembled in a word that they become type. Through a literature review on relevant experimental inves- tigations, I will in this talk present examples of when the legibility ndings on letters and words correlate and when they differ.
Today, the high definition display and the portable screen reading has gradually become the main way to people’s daily access to information. At the same time, the people of reading carrier “font” era, the diversity of needs has become stronger. Every- one can design a font, the font can be more colorful. The font is not the exclusive right of calligrapher, but everyone can do it. Mr. Handwriting is a software which focus on handwritten on mobile, with calligraphy module, in order to enhance the level of user writing, encourage Chinese font letting a hundred flowers bloom. 29
The Font that Never Was Track A
Academy of Fine Arts in Warsaw ASP
17:00
Tom Mullaney
In this presentation, I chart out the quixotic history of Linotype and Monotype’s efforts to enter the Chinese market, examinng the linguistic challenges that had long prevented China’s absorption into a Western -dominated “hot metal empire,” the design process by which artists in Brooklyn and London crafted these new fonts, and ultimately the profound cultural misunderstandings that doomed the projects to failure.
Polish Electro – graphic Art Track A
Academy of Fine Arts in Warsaw ASP
17:30
TBD
A fascinating presentation by the proprietors of the Neon Museum in Warsaw. Full description to come.
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Program & Speakers
The Stencilled Poster In Paris In The 19Th Century
Hiragana & Katakana: The Voice Of Japanese Typefaces
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
09:30
Eric Kindel, Pierre Pane-Farre
10:20
Reiko Hirai, Osamu Torinoumi
Evidence for early stencilled posters (largely composed of words) is presently found in Paris around the beginning of the nineteenth century. The practice appears to have emerged from French stencilled work of the seventeenth and eighteenth centuries, whose often delicate, demur, and decorative qualities were simpli ed and scaled up to the pushier and more gregarious context of advertising. Drawing on surviving artefacts, accounts, and regulatory texts, this presentation will de ne the stencilled poster relative to other poster-making methods.
The Japanese language is unique in that its written form combines four different scripts concurrently: Hiragana, Katakana, Kanji (Chinese characters) and Latin. The huge character set and the complexity of the composite Japanese script make its explanation challenging, with the result that most explanation are either basic or partial. A comparison of the frequency of use of Hiragana, Katakana, Kanji and Latin character in a Japanese text shows the dominant role of Kana (Hiragana and Katakana).
Museum & Typeface
Tanaka Ikko And The Japanese Modern Typography
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
10:00
Anna Swiatlowska
10:40
Mariko Takagi
The subject of the presentation is the signi cant role of typography in meeting diverse requirements while creating the brand and e ective visual communication for cultural institution, based on example of the new visual identity of the Museum of Warsaw. The presentation shows how the appropriate typography allows to nd the point of convergence between di erent remittances, visual languages, fields and activities, and thereby to create a coherent, powerful visual identity and communication. 32
This presentation will introduce Tanaka Ikko, the Japanese grand master of graphic design, emphasizing his encounter with typography.
Saturay 17 Sep
A Typography For India
There Is Nothing Arabic About The Arabic Script.
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
11:30
Rathna Ramanathan
12:10
Titus Nemeth
This paper sets out the framework created for the design of the printed book interiors, digital texts and Indic typography for jacket designs founded on primary research on the form of the book in India. This includes key subject areas: history of the book and printing in India; language and scripts of India; reading and reader interactions with texts, and bilingual translations em- ploying multi-script typography. This paper builds on a previous presentation given at Granshan with additional primary research material.
In this talk Titus elaborates on his perspective on Arabic type design, and more generally on the design of type for scripts one is not native to. He uses concepts of Semiotics to explore the relation between language and writing, and queries some com- mon assumptions regarding the implications for type design. Against this background, Titus will present his work for the BBC Worldservice’s Arabic script news websites.
Deep Neural Network In Typeface
Diacritics As A Means Of Self Identification: The Case Of Latvia.
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
11:50
Keitaro Sakamoto
12:30
Aleksandra Samulenkova, Philipp Penka
It is said that it has been approx. 9,000 years since human being started to write a letter. Has the evolution ended or are we still in the progress? We made a standpoint that AI (Artificial Intelligence) can be the next possible evolutionary tool. We would like to show you the experiment of how AI (Deep Neural Network) can decipher very unique Japanese character and how can AI adapt to its diversity.
At the turn of the twentieth century, Eastern Europe experienced an unparalleled awakening of national consciousness that resulted in the formation of several new young states after World War I. Not only language itself, but also the way it was graphically depicted became a crucial factor in the new national identities. With occasional references to its Baltic neighbors Estonia and Lithuania, we will trace the relatively little-known Latvian typographic response to the historically eventful early twentieth-century.
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Muster Hundreds!
Did Photography Kill Punchcutting?
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
14:30
David Shields
15:10
Daniel Reynolds
The history of typography of the nineteenth century—specifically of wood type—is typically framed as a progression of typographic styles driven by cultural tastes and technological advances. Using the William Page Wood Type Co of the United States as a lens to focus the research, my presentation will discuss current ndings through the investigation of source material—business listings, city directories, census records, etc—to uncover previously overlooked individuals, illuminating their daily lives and relationships.
Despite the provocative title, this presentation’s theme does not center on the transition from metal type to photo-typesetting. Instead, it investigates changes in both the design and production of typefaces from the mid-nineteenth through the mid-twentieth centuries. While the primary focus here rests on German type- foundries, examples from other countries are also drawn upon. This paper presents elements for the first time from the author’s ongoing doctoral research at the Braunschweig University of Art.
From Forgotten Boxes To Three Pioneers Of Hebrew Typography
Everyday Handwriting
Track A
Academy of Fine Arts in Warsaw ASP
Track A
Academy of Fine Arts in Warsaw ASP
14:50
Ada Wardi
15:30
Sue Walker
The lecture will focus on my research and curating work towards the exhibition: “New Types: Thee pioneers of Hebrew Graphic Design” in Israel Museum Jerusalem (October 2015 – June 2016). The exhibition displays design and typographic works of Moshe Spitzer, Franciscka Baruch and Henri Friedlander - who trained and worked in Germany during the 20s , and since the late 30s took major part in the developing Hebrew culture here; each seeking in his or her special way after a” new Hebrew type” which will serve the renascent Hebrew culture.
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This paper is about the teaching of handwriting in the UK (mainly) in the rst three decades of the twentieth century. We will examine the different threads and will point out connections and divergences in approach, recognizing that each had a common goal – to improve everyday handwriting. It will be highly illustrat- ed with examples of copy books and handwriting practice from my own collection and those at the University of Reading.
Lean Back The Evolution Of Reverse Italics Track A
Academy of Fine Arts in Warsaw ASP
16:30
Jo De Baerdemaeker
In this paper, De Baerdemaeker investigates the origin and evolution of reverse italic typefaces, and the typographic practice of this specific typestyle in different typesetting systems. In addition to exploring writing practices in a reverse italic hand, which were used in cartographic design and stone carving, he also compares the characteristics of various reverse italic typefaces, and their creators.
It Is Written Track A
Academy of Fine Arts in Warsaw ASP
17:00
Brody Neuenschwander
Brody Neuenschwander is currently working on an Arte-funded documentary on the origins and future of writing, seen as a global process. In this lecture he will give a report on this work-in-progress, which consists of three one-hour programs. The rst program analyses the origins of writing in all early cul- tures. The second program will focus on the development of the world’s great calligraphic traditions, China, Islam and the West. In the nal program we will look at how all writing systems in the world are responding to the digital revolution.
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Notes
36
Notes
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