Serebro Nabora Type Conference


Serebro Nabora is an annual international type conference held in Moscow. Today’s graphic designers are clamoring for typographic knowledge. Serebro Nabora came to address this problem. The first annual Serebro Nabora conference was attended by participants from every part of Russia and the neighbouring countries. It proved a resounding success and became one of the most significant events for the local design community. The need for a setting for typographic learning combined with social interaction among graphic design professionals was so palpable that the idea immediately took hold. The venue quickly became the social centre for the graphic design professionals of Russia and other countries of the former USSR. Type designers, graphic designers, calligraphers, and anyone interested in typography found an avenue of professional exchange and a memorable occasion to get together at the conference. In 2013, the Conference became international in scope, with speakers and audience hailing from around the world.

Movie by Shan Design





17-18 September

  • John Downer

    Introduction to Brush Lettering. Workshop

    Veteran sign painter John Downer will show how to form single stroke "block" capitals with a flat brush, and teach students various lettering techniques that were practiced commercially in 20th-century America. Using the best exemplars, workshop participants will learn the 12 foundation strokes needed to form sans serif majuscules. In addition, students will be afforded an opportunity to draw their own control characters, and render them with a brush, for potential use in an original typeface.

19 September

  • Registration

  • Gayaneh Bagdasaryan, Vasily Tsygankov

  • Alexandra Korolkova

    Emotions and Archetypes in Russian Cyrillic

    Novadays, the problem "We have no Cyrillic fonts at all" is more or less solved. So another problem comes to the front row: what extra information do we tell our reader by choosing one or another typeface?
    That's what the presentation is about. What details in Cyrillic are most important for creating certain effect? How does the classification and history of type influence on the perception of typefaces today? How can we bring some more emotions into Cyrillic without moving far away from traditional letterforms? A working hypothesis and some recent experiments devoted to that.

  • Ramiro Espinoza

    The curly letter of Amsterdam (De Amsterdamse Krulletter)

    What is the origin of the beautiful swash letters on many cafés windows across Amsterdam? Who painted them? How old is the style in which they were painted? Do they belong an existing Amsterdam graphic tradition? And what are the links with the writing masters from the Dutch Golden Age?
    Ramiro Espinoza interviewed sign painters and their families, investigated photo collections at the Amsterdam City Archives and gathered investigated to answer the key questions surrounding this relatively unknown part of the Dutch popular graphic culture and to stimulate awareness of its cultural relevance.

  • Yana Kutyina, Andrey Belonogov

    Soviet lettering. Physics and lyrics

    Banners, headings and titles of periodicals, book covers and title-pages, packing and labels, logos of manufactured goods, movie subtitles, signboards and facade designs... About unique inscriptions created by the hands of numerous designers of the last century; about modern interpretations of that original and almost forgotten style — with examples from personal experience.

  • Lunch-break

  • Ivan Velichko

    Working with typefaces in the era of an endless font variety

    Media are the best place to try out any ideas: one can print a magazine and see what came out, then print something a bit different and check the result one more time. The insignificance of the final result (“issue”, “number”, “note”) is always made up for the continuity of these result’s production. We will speculate on the media as a productive field for a typographer’s and a type designer’s common work, on making type produce the desired effect and, finally, on returning the use of typography when working with type.

  • TypeJournal

    Solomon Telingater: the Art of Type Design. Presentation of the new book
  • Christian Schwartz

    Credibility, legibility, and style in typefaces for news

    Christian Schwartz will discuss how previous technologies shaped the most common news text faces of the 19th and 20th centuries, and how contemporary designers can use readers' feelings about the aesthetic imposed by these limitations to our advantage. He'll also discuss how the unique qualities of the Finnish language, newsroom consolidation, and British vs. American taste have shaped some of the newspaper headline types he and his team have worked on.

  • Liza Enebeis


    A talk about collecting, writing, books, radio, mistakes, love, fear, friends, type, the universe, the netherlands, being foreign, the studio, money, obsession, color, memory, control, poetry and design.

  • Exibition opening

    Cyrillic Printing Types, 15th to 19th Centuries

    The exhibition is based on materials from The Museum of Books (The Book Museum?) of Russian State Library and shows development of Cyrillic typesetting. In particular it depicts the wide set of characters in the 15th-19th century editions.

20 September

  • Innokentii Keleinikov

    Freedom of Typography: Fight Against its Pretended Absolute Laws

    Exploring the rules accepted by most designers as inviolable laws of typography, one can know whether they are really inviolable or are due only to the technologies of the past and can be considered now but as mere typographical tradition. The lecturer will cast some doubts upon the typometric system as well as upon the classical idea of book margins and will protest against the decreasing of neutrality in newly designed typefaces.

  • Indra Kupferschmid

    Down with “web typography”, long live “typography on the web”

    It’s time to retire the notion of “web typography” as a special case with its own rules. To me, it’s all typography, just with different aspects to keep in mind depending on the task and production method. The screen is just another medium with its inherent circumstances to be taken into account, in the same way we do when designing for silkscreen printed exhibition banners, or digitally printed books. In this talk, I want to shift the attention to the specifics of typography for different kinds of reading and different content, as well as the main typographic pitfalls and specific to type on screen, like resolution, rendering, or reading distance.

  • Yury Yarmola

    A tale about rapid pen, balanced curves and power guides

    Type design consists of drawing, spacing and production. Drawing is a task shared by all graphic professionals who have a basic box of tools at their disposal: Bézier nodes, handles and segments. Illustrators and architects also have additional tools, dedicated to the way they draw: colors, gradients, arcs, angles. FontLab VI introduces many new drawing tools that are dedicated specifically to type design, and that allow you to focus on drawing better type faster.

  • Lunch-break

  • Jean François Porchez

    Adding value to the invisibility of typefaces

    In the beginning was the word. Then came the writing, almost universal way to convey a message in a sustainable way, a thought, an emotion. There is nothing better that writing to visualize something abstract. Designers use writing as a tool to bring the imaginary to the real world. Even as typography has long been understood as the heart of graphic design, it perfectly emphasizes the adage that good design is a design that is not seen. For most readers, typefaces are neither understood nor effectively analyzed but only interpreted (often instinctively) as a tool that supports the reading, despite its omnipresence around us and constantly renewed use. Yet that design work remains transparent to the public. So how does one develop something that is invisible?

  • Samuel Bänziger, Olivier Hug

    A hybrid floorplan

    How to present architecture in book-form. How to present architecture on a website. A website as a book with variable page width. Playful analogies and value.
    Presented Projects (among others): Das Fremde is nur in der Fremde fremd, Forrer Stieger, A-Typical Plan, Barão-Hutter.Atelier, All you (n)ever wanted, Labics, Saiten, Mara Züst, Mind the Gap, Kunsthof, Science & Fiction, Christian Kerez.

  • John Downer

    20th-Century American Sign Painting

    A retrospective look at the history of American lettering for commercial purposes, especially outdoors, will be presented by Master Sign Painter, John Downer. The images will document important developments and changes in the trade, decade by decade.

  • Exibition opening


    Due to the increased interest in type culture in Russia several new type foundries and independent designers emerged during the last year. The exhibition will feature the latest works of the best type designers and foundries in Russia. You will have a chance to acquaint yourself with their creativity and the latest trends in type design.
    Curator Olga Pankova

21-23 September

  • Alexandra Korolkova, Gayaneh Bagdasaryan

    Designing Cyrillic. Workshop

    Day 1st
    The brief history of Cyrillic.
    Writing Cyrillic with the broad-nib and pointed pen.
    Day 2nd
    The pecularities of Cyrillic. The common and the differences between Cyrillic and Latin. Glyph shapes and their variations. The principles of determining the width of characters. Uppercase and lowercase, upright and italic faces in Cyrillic.
    Overview of fine and poor solutions in Cyrillic, focused on most complicated characters.
    City walk and analysis of the street typography, both professional and vernacular.
    Day 3rd
    Designing one’s own Cyrillic (either for existing one’s typeface or from scratch).
    The participants may send samples of their Cyrillic in advance to get comments at the workshop.


  • Gayaneh Bagdasaryan

    A graduate of Moscow State University of Printing Arts, Gayaneh has designed Cyrillic localizations for most major type libraries, including Linotype, Bitstream, The Font Bureau, ITC, Berthold, Typotheque, Emigre, and ParaType. She began her type design career at ParaType in 1996 and founded Brownfox type studio in 2012. Her work has won awards from a number of international type design competitions, including Kyrillitsa’99, TDC² 2000, and Granshan 2013. Gayaneh is the mastermind behind Serebro Nabora, a prominent annual international type conference held in Russia.

  • John Downer

    John Downer has been a Journeyman sign painter since 1973. He earned degrees in art from Washington State University, BA ’73; and The University of Iowa, MA ’74, MFA ’76. In 1983, he entered the field of type design. His typefaces have been published by Bitstream, Font Bureau, Emigre, and House Industries. Currently, he serves as a visiting instructor at art schools and universities in the U.S. and abroad. He also runs the Sign Painting Support Group, on Facebook.

  • Bänziger Hug

    A Swiss based design agency, founded in 2011 by Samuel Bänziger and Olivier Hug. Covering works in all areas of print and interactive design. They design books, exhibitions, publications, identities, and websites for cultural institutions, businesses and individuals.

  • Liza Enebeis

    Liza has been with Studio Dumbar since 2008 and is member of Studio Dumbar’s management team since 2010. She is partner and Creative Director.Liza is overall responsible for the creative quality of Studio Dumbar. She is directly involved with all main projects such as the online presence of Polytechnic University/School of Design in Hong Kong, Amsterdam Sinfonietta and NGO Alzheimer Nederland.Liza studied at the Parsons School of Design, Paris and the Royal College of Art in London, where she received her Masters. Her career began in auspicious surroundings at Pentagram in London, where she remained for several years. In 2003 she relocated to The Netherlands.Liza also has a few ‘extra curricular’ activities which include: Letters to LoveLiza – an ‘agony aunt’ column where Liza dispenses wisdom, wit and advice to designers all over the world; Design Rhymes – a series of pathetic poems about design; Books LoveLiza – an ongoing catalogue of images and reviews inspired by her bibliophilic tendencies; and – a popular typography and design podcast channel with 2 million listeners a year, which she co-founded and hosts.

  • Ramiro Espinoza

    Ramiro Espinoza became interested in type design when he was a student at the Universidad Nacional del Litoral in Santa Fe, Argentina. After graduation he taught Typography at the Universidad de Buenos Aires. In 2003 he moved to The Netherlands and studied type design at the Type and Media, KABK in The Hague. Since then he has been a contributor to design magazines, researched vernacular Dutch lettering and worked in numerous freelance assignments for FontShop International and Feliciano Type Foundry. In 2007 he founded ReType type foundry to market his typefaces.

  • Innokentii Keleinikov

    Born in 1977 in Moscow. Graduated from Moscow State University of Printing Arts (former Polygraphical Institute) in1999. In 1999 started to teach at Design Department of MSUPA as assistant, than as lecturer, now as professor. Author of books and articles about book design. Book designer, illustrator and engraver. Laureate of National and International competitions of type- and book design. Member of jury of international competition «Best Book Design from all over the World» (Leipzig, Germany, 2006). One of organizers of Russian National Book Design Competition «Zhar-kniga» (2014).

  • Alexandra Korolkova

    Alexandra Korolkova is a Cyrillic type designer, type researcher and type consultant. She has been working for ParaType since 2009 as a Head of Type Design, and from 2014 — as a Type Director. In 2009–2011 participated in Public Types of Russian Federation project (including PT Sans and PT Serif) as the principal designer. She also wrote a book on typography for beginners in Russian (roughly translated as Lively Typography). Awarded at international type design competitions (including Modern Cyrillic, Granshan, ED Awards) and received Prix Charles Peignot in 2013.

  • Indra Kupferschmid

    Indra Kupferschmid is a freelance typographer and professor at HBKsaar,  University of Arts Saarbrücken. Fueled by specimen books, she is occupied with type around the clock in all its incarnations – webfonts, bitmap fonts, other fonts, type history, DIN committees, writing, design work, and any combination of this. She is co-author of Helvetica Forever by Lars Müller Publishers and other typographic reference books. She consults for the type and design industry, and everyone who need help choosing fonts, contributes to print- and web projects such as Codex, Smashing Magazine, Typographica and Fonts In Use, alongside juggling her own small- and ultra large-scale ventures.

  • Yana Kutyina, Andrey Belonogov

    Graduates of Stroganov Moscow State University of Art and Industry (Department of Communication Design) and British Higher School of Art & Design (“Type and Typography”, a two-year course); freelance designers experienced in various fields of graphic design. Participants and winners of numerous international type competitions, living and working in Moscow.

  • Pankova Olga

    (exhibition curator)
    Born in 1986 in Moscow, graduated from the Moscow Power Engineering Institute, design department in 2009 and from a two-year course on “Type and Typography” at the British Higher School of Art and Design in 2014. Works as type and graphic designer. Fond of lettering and carving.

  • Jean François Porchez

    Founder of Typofonderie, type director of ZeCraft, Jean François Porchez’s expertise covers both the design of bespoke typefaces, logotypes and typographic consultancy. He launched Type@Paris in 2015. He is honorary President of the Association Typographique Internationale (was ATypI President in 2004–2007) and frequent speaker at conferences all over the world. He was awarded the Prix Charles Peignot in 1998 and numerous prizes for his typefaces. Introduced to French Who’s Who in 2009. In 2014, Perrousseaux publishes his monograph. Knight in the order of Arts and Letters in 2015.
    After training as a graphic designer, during which he focused on type design, Jean François Porchez (1964) worked as a type director at Dragon Rouge, then at Le Monde newspaper. Since 2012, he is the programme director for typographic design master at ECV (France). He taught type design at Type@Cooper, Cooper Union (United States), at the MA typeface design at the Reading University (United Kingdom), at Ensad, (France) and conduct regularly type design workshops all over the world.

  • Christian Schwartz

    Christian Schwartz (born 1977) is a partner, with London-based designer Paul Barnes, in the type foundry Commercial Type. Schwartz has published fonts with many respected independent foundries and together with Barnes and their team, has designed proprietary typefaces for corporations and publications worldwide, including The Guardian; Esquire; T, The New York Times Style Magazine; the Empire State Building; and Sprint.

  • Typeradio

    Typeradio is a Micro FM broadcast, a MP3 internet radio stream and a podcast station. Broadcasting questions, answers, performances, events and talks online and onstage.

  • Ivan Velichko

    Ivan Velichko — cofounder of Schuka design bureau and Letterwork type project, candidate of History of Art, professor at the British Higher School of Art&Design. Alongside with his partner Ivan Vasin he has the position of art-director at Design Bureau Schuka and deals with all studio projects. Best half of them are magazine design: Prime Russian Magazine, “Kommersant Science”, ceased cult magazine “Big City” and “Moscow Heritage”— avant-garde magazine about architecture and urban planning that have been published by Schuka for several years.

  • Danila Vorobiev

    (exhibition curator)
    Danila Vorobiev is a graphic designer, typographer and teacher, a graduate of the Moscow Printing Institute and the British Higher School of Art and Design (Maxim Zhukov’s Typography course). He has worked as a designer and art director at various Moscow advertising agencies, publishing houses and design studios. He is currently an art director of design bureau Otdel-72 and teaches in a number of universities with design-oriented majors. His professional interests include typography, visual identity (corporate styles) and the history of type, as well as the design of periodicals and printed matter.

  • Yury Yarmola

    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 and FontLab Studio, as well as a number of other applications published by Fontlab Ltd. He lives and works in St Petersburg, Russia, as Vice President Research & Development of Fontlab Ltd. In 2007, Yuri received the 2nd Linotype Font Technology Award. When not working, he skis on high mountains.


Ultra Sponsors

Heavy Sponsors

Bold Sponsors

Book Sponsors

Print sponsors

Sponsorship Levels

Ultra Sponsor $3000+
Your company logo is displayed on the Serebro Nabora 2015 homepage with a hyperlink to your website.
You may sponsor the evening party.
Your representative may make a five-minute presentation during the conference.
Your logo will be projected on the screen before and between the presentations. The length and frequency of the logo’s “air time” will depend on the contribution.
Your company logo is printed  in the Serebro Nabora 2015 Program Guide.
Your promotional materials are distributed at the conference.
You will receive a special mention at the closing ceremony.

Heavy Sponsor $2000+
Your company logo is displayed on the Serebro Nabora 2015 homepage with a hyperlink to your website.
Your logo will be projected on the screen before and between the presentations. The length and frequency of the logo’s “air time” will depend on the contribution.
Your company logo is printed  in the Serebro Nabora 2015 Program Guide.
Your promotional materials are distributed at the conference.
You will receive a special mention at the closing ceremony.

Bold Sponsor $1000+
Your company logo is displayed on the Serebro Nabora 2015 homepage with a hyperlink to your website.
Your logo will be projected on the screen before and between the presentations. The length and frequency of the logo’s “air time” will depend on the contribution.
Your company logo is printed  in the Serebro Nabora 2015 Program Guide.
Your promotional materials are distributed at the conference.
You will receive a special mention at the closing ceremony.

Book Sponsor $500+
Your company logo is displayed as a Book sponsor on the Serebro Nabora 2015 homepage and dynamically linked.
Your logo will be projected on the screen before and between the presentations. The length and frequency of the logo’s “air time” will depend on the contribution.
Your company logo is printed in the Serebro Nabora 2015 Program Guide.
You will receive a special mention at the closing ceremony.

We are always open to developing new ways for conference sponsors to communicate their messages. If you would like to become a sponsor or discuss sponsorship please contact us:

Contact (tech support)

+49 151 578 44 508 Gayaneh Bagdasaryan
+7 903 623 17 25 Ekaterina Filyaeva

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Conference 19-20 September
Central House of Architects
Moscow, Granatny pereulok, 7 bld. 1


Institut of Business and Design
Moscow, Protopopovsky pereulok, 9 bld. 1



Tickets costs:

Conference 19-20 September (Included: access to the conference room, conference bag, simultaneous translation, access to the exhibitions opening)

Untill August 1st: for professionals ₽ 1200 (about € 20) | for students* ₽ 800 (about€ 14)

After August 1st: for professionals ₽ 1800 (about € 30) | for students* ₽ 1200 (about € 20)

Business lunch | ₽ 400 (about € 7)

Cyrillic workshop | ₽ 14000 (about € 240)

Introduction to Brush Lettering. Workshop | ₽ 14000 (about € 240)

Register now

*The Student rate is only available to students enrolled in a full-time program.