Serebro Nabora Type Conference 30.09 – 07.10.16

Yomar Augusto is a typographic artist and graphic designer based in Souther California since the beginning of 2016. Before moving permanently to the West coast of United States, he was based in New York City for 3 years and in The Netherlands for 9 years. Raised in Rio de Janeiro, Yomar initially trained as a graphic designer before going on to study photography at the School of Visual Arts. He started his own studio in Rio before completing a Masters in Type Design at the Royal Academy of Art in The Hague. Yomar also taught Typography for Advertising at the Willem de Kooning Academy in Rotterdam between 2011 and 2012, at the Bauhaus University in Germany, and at the Fashion Institute of Technology and The School of Visual Arts in NYC. He has also held a number of experimental calligraphy and book art workshops in many countries. Currently he is setting a new studio merging his Art work & commercial endeavours.

Dimitri Bruni (*1970) and Manuel Krebs (*1970) studied graphic design at the School of Applied Arts in Biel-Bienne. Established together the graphic design studio NORM in 1999. In 2005 Ludovic Varone (*1977) joined the studio. Norm focuses on designing and publishing books and typefaces. Book design includes self-commissioned research in the field of type and graphic design, the most relevant being ‘Norm: Introduction’ (2000) and ‘Norm: The Things’ (2002). Commissions include numerous collaborations with museums (TATE Modern; Kunsthaus Zurich; Museum for Design Zurich) and artists (Fischli & Weiss; Simon Starling; Christian Marclay). Examples for type design include the ‘Simple’ typeface for Cologne airport (2003), the corporate typeface for OMEGA watches, the typeface ‘Replica’ (2008) and the corporate typeface for Swatch (2010). In 2005, Norm won first prize in the Swiss National Bank’s competition for the new banknote series. In 2011, Norm was awarded the Grand Prix Design by the Swiss Government.

Gerd Fleischmann, born 1939 in Nuremberg, Germany, studied at the Hochschule der bildenden Künste (today: Berlin University of Art) and at the Freie Universität Berlin. Later on he did design work for cultural institutions in Berlin aside of teaching mathematics and arts and crafts at the Menzel High School. He started his career as a typography teacher in 1971 at the Bielefeld University of Applied Sciences, and run the first digital design competitionin Europe, the PAGE Wettbewerb in 1989.
Gerd was fascinated by the Bauhaus since he bought the catalogue of the first great Bauhaus exhibition in Germany after the war, Stuttgart 1955. One of his seminal books is ‘bauhaus. typografie, drucksachen, reklame’ (bauhaus. typography, printed matter, commercial art) for Edition Marzona in 1984 which will be published in Russian, updated and enriched, in 2017. He designed a pile of art and design books, way finding systems in public buildings, and some important and prize winning exhibitions about Nazi time. He was teaching abroad at the NCAD in Dublin, Ireland, the NSCAD in Halifax, Nova Scotia, Canada, the Vietnam University of Fine Arts in Hanoi, and the Universidad de Costa Rica, to mention only a few. In the very moment he is working on an internationally travelling exhibition, entitled Industry and the Holocaust.

Patrick Goossens is a historian specialising in the history of printing techniques located in Antwerp, Belgium. He is a founding member of the Friends of the Plantin-Moretus Museum, and a volunteer in several printing museums throughout Belgium and abroad. After getting his history degree at Antwerp and Louvain University, he started to collect books, and whilst doing so, found an advert declaring ‘why buy more books, print them yourself’, which led to the purchase of a simple press. At the time, in the late seventies, the intention was to publish archival resources. This however did not remain the case and the urge to collect printing equipment took on a life of its own, leading to a large collection of nineteenth century printing machines (hand and cylinder presses), type foundry equipment and associated paraphernalia. Using this collection as industrial archaeological evidence, Goossens returned to archival sources to try to reconstruct the history of printing’s technological evolution. In this vein he has, along with Bob Oldham, undertaken a new study of George Clymer’s Columbian hand press, outlining the technological developments that lead to its invention two hundred years ago. The two have also collated a census of still-existing Columbians. The result of all the research will eventually be the groundwork for a PhD on the subject.
Goossens’ collection is far from being an inert and static accumulation – it is a living archive, and even the machinery that is currently in disrepair, is just waiting for a new lease of life. Furthermore, Goossens’ collection is a laboratory, and to date Goossens has made hands-on forays into casting historical typefaces, engraving new matrices and has made a full-scale reproduction of a sixteenth century common press. Goossens is also concerned with the relationship of craftsmen with their tools, and latterly with machinery. This interest stems from the fact that he is the current incumbent in charge of the artisanal bakery that has been in the family since 1884, and which is the source of income for his archive.

Jakub Stępień aka Hakobo (born 1976) is currently listed among the world’s top fifty most important poster artists (according to John Foster, author of New Masters of Poster Design: Poster Design for the Next Century). He feels at home in visual identity, activities bordering art and design and the generally understood utilitarian graphics. He collaborates with many cultural institutions, e.g. The Art Museum in Łódź, CSW Zamek Ujazdowski Warsaw, Design Gallery BWA Wrocław, Tate Britain in London. His clients include Pogo Skateboarding, The Łódź Design Festival, Wyborowa, TVP and others. He has a characteristic style, inspired by traditional graphic crafts as well as street culture. His collection of works consists of both disciplined, simple arrangements and those inspired by his fascination with camouflage, graphic noiz and the excessive.

Joey Hannaford holds a BFA in Graphic Design and an MFA in Printmaking from the University of Georgia where she concentrated on letterpress printing, handlettering, calligraphy and book arts. Clients include Cartoon Network, Coca-Cola, Delta Airlines, Disney, Emory University, and Georgia Tech. Commissions include original works of art for four Presidential Libraries and an American Institute of Architects commission for HRH The Prince of Wales. Awards include CASE Special Merit Awards of Excellence, UCDA Awards of Excellence, and inclusion in numerous publications such as Type Rules!, Typeface and HOW Magazine. Joey has recently has taught letterpress workshops at University of Nicosia in Cyprus and at Typography ’14 in Pune, India. Recent exhibitions include Anglia Ruskin University, Cambridge University, Cambridge, UK, University of Notre Dame, Indiana, and The National Print Museum, Dublin, Ireland. She is currently an Associate Professor of Art in Graphic Design at the University of West Georgia in Carrollton. Joey’s students have won design awards such as Graphis International New Talent, Adobe Student Design Achievement Awards, and HOW Magazine Self-Promotion.

Konstantin Kunarev is a programmer, a musician, a bike traveler and almost a restaurant critic. He is working in Paratype’s technical department since the company was founded. During that time, Konstantin developed a huge lot of font production utilities and acquired a great experience in solving type technical problems even before they may occur.

Alexander Lubovenko is a type designer, a graphic designer and a type programmer at the same time. He began programming when he was 16 using the imaginary computer from “Science and Life” soviet magazine instead of a real one. In 2014, Alexander graduated from “Type and Typography” course of BHSAD. He is currently working for Paratype as a type designer and constantly uses Python for enhancing all foundry’s projects.

Laura Meseguer is a freelance designer, typographer and type designer based in Barcelona, where she was born in 1968.
Her activity is developed in the field of commercial work and personal projects. She specializes in any kind of project based on typography, from lettering for monograms and logotypes to custom typefaces and book design.
In 2003–2004, she took a year off from her regular work to study type design at the post-graduate course ‘Type]Media’ at the Royal Academy of Arts in The Hague, Netherlands. Rumba, the typeface she designed as part of this course, was selected in the TDC TypeDesign Competition 2005 and got the the AtypI Prize Letter.2 2011. In 2014 she got the TDC TypeDesign Competition 2014 for her typeface Lalola and the ISTD Certificate of Excellence for the “BCNMCR Letters” project. She also holds awards from the ADG-FAD (The Art Directors & Graphic Designers Association, Spain).
In addition to her practice, Laura teaches Type design at the Master’s in Advanced Typography at “Eina. Escola d’Art i Disseny” and Typography at Elisava, both in Barcelona. She also gives lectures and workshops all around.
Laura’s work has been featured in several publications and exhibitions, more recently in ‘Graphic Design–Now in Production’ at the Walker Art Center along 2011-2014. She is the author of the book ‘TypoMag. Typography in Magazine’s, edited by IndexBook and, together with Cristóbal Henestrosa and José Scaglione, co-author of the book “Cómo crear tipografías. Del boceto a la pantalla”, published by Tipo e.
Through her own digital foundry, Type-Ø-Tones, she releases and promotes her typefaces. At the moment she is part of the Typographic Matchmaking in the Maghrib 3.0 project, consisting in the 3rd edition of the multi-script typographic research project of the Khatt Foundation (13 September 2015 — 30 November 2017).

Brody Neuenschwander is a text artist and calligrapher. He studied at Princeton University and the Courtauld Institute, where he completed his PhD in 1986. At the same time he studied calligraphy at the Roehampton Institute.
From the start, Neuenschwander asked serious questions about the place of calligraphy in the modern world. What is it? How is it used? Where should it be headed?
In 1989 Neuenschwander began a twenty year collaboration with director Peter Greenaway, providing live-action calligraphy for the films Prospero’s Books and The Pillow Book, as well as for the operas Writing to Vermeer and Columbus and many other projects.
Though the mark of the pen is usually present in Neuenschwander’s work, so are typographic letters, scratched letters, drawings and paintings. The question is posed again and again, “Is this an image or is this a text”.
In 2004 Neuenschwander taught at the Museum of Fine Arts in Boston, researching the development of text art in the 20^th. Recently projects have included video installations, stained glass, monumental texts in metal and stage performances with live calligraphy.
Neuenschwander’s work attempts to bridge the gap between conceptual art and the acts of drawing, painting, writing. Neither the medium nor the message is the message. Both are involved in the dialectic between the artist and his experience of the world.

A life-long Kansan, Jeff Pulaski was born and raised in Newton, Kansas in the United States. He earned a Bachelor of Fine Arts degree from Wichita State University in 1990 and a Master of Fine Arts in Visual Communication from Kansas State University in 2008. He is currently an Assistant Professor of Graphic Design at Wichita State University. He is an active letterpress printer and collector. His letterpress collection has grown to weigh in at nearly 10 tons. It includes various platen and cylinder presses, a Prouty Power Press newspaper press, an 18” Challenge paper cutter, a Model 31 Linotype, two Ludlows and large assortment of metal and wooden type.

A lawyer with over twenty years of legal practice. He specializes in intellectual property protection. One of the first lawyers who held a court case about copyright on the font.

They are both graphic and type designers. Founders of CSTM Fonts (2014) type foundry and a new font distributor type.today (2016).
Graduated from Moscow State University of Print (Graphic Design Department), where they took Alexander Tarbeev’s classes.
Ilya Ruderman graduated from Type & Media (Royal Academy of Art), the Hague, the Netherlands. After graduation he was a tutor of Type&Typography course at British Higher School of Art and Design, Moscow (2008-2015), was an art-director of information agency RIA Novosti. He is an author of cyrillic versions of such typeface as Lava, Graphik, Neutraface and others, that was made for such studios as Typotheque, Commercial Type, Typonine and House Industries. He is an author of: Permian typeface, Big City Grotesque and several other corporate typefaces.
Before 2013 Yury Ostromentsky worked mostly as an editorial designer and art-director of BigCity Magazine, where he used his personal lettering, that was the base of the Pilar typeface, released by CSTM Fonts last year. He is an author of several book series designs and logotypes.
Both typefaces of Ilya Ruderman and Yury Ostromentsky were the winners of such type design competitions as Modern Cyrillic 2009, Modern Cyrillic 2014, Granshan 2011, European Design Award 2012. Kazimir typeface and Tele2 Typefamily, the CSTM Fonts’s latest releases, were among the winners of Granshan 2015.

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

Florian Schick studied graphic design at the Royal Academy of Art The Hague, The Netherlands, from which he graduated with distinction (2010). He successfully completed his Master Degree at postgraduate course Type and Media (2011).
Lauri Toikka holds BA degree in graphic design from Lahti Institute of Design, Finland (2010) and MA degree in type design from Type and Media masters program at the Royal Academy of Arts in The Hague, The Netherlands (2011).

Ben Wittner and Sascha Thoma both studied visual communications in Pforzheim, Germany. After a few long-term living and working trips to Cairo, Brussels, Paris, Brighton and London they founded Eps51 in Berlin in 2008. The internatio­nally active graphic design studio develo­ps visual concepts with a strong focus on typography and bilingual design.
As a result of their extensive research on Arabic and Iranian type and graphic design Wittner and Thoma edited the book series Arabesque—Graphic Design from the Arab World and Persia, Die Gestalten Verlag (2008 and 2011). In 2012 they organized the project Right-To-Left comprising an exhibition of contemporary graphic design from the Arab world and Iran featuring more than 160 posters, as well as lectures, discussions and workshops. Eps51 are currently working on a new book project on multi-script design.
Ben Wittner and Sascha Thoma regularly take part in exhibitions, give lectures and hold workshops.