Zeeburgerpad 51h
1019 AB Amsterdam

ABOUT

letterspace is new platform situated in Amsterdam Oost, and as of 2018 is hosting a monthly series of lectures about experi­mentation, innovation and research in type.
As hosts, we are interested in expanding more traditional definitions of type (design) established within education programmes and institutions. We are excited to welcome a lively and diverse group of artists, designers and researchers to explore type happening in Amsterdam.

The lectures are open to the public and free. Experts, non-experts, type enthusiasts, writers, design students might be especially interested in joining.

Contact

#6

20. Jun 2018

18:30 – 20:30 at letterspace.amsterdam

JEROEN KRIELAARS

ANIM(MATED TYP)OGRAPHY

As designers we often take our tools as a given. Fonts are black and white, and we might decide to add color, to stack, extrude or animate them in an extra process. With new font formats such as colour fonts or the most recent craze: variable fonts, the gridlocked ways of thinking about typefaces have become more malleable.
The platform Animography by Jeroen Krielaars, is among the pioneers that keep pushing the boundaries of possibilities within font-formats. Animography locates itself today primarily in motion-design circles, since its solution for animated typefaces is currently limited to the Adobe AfterEffects environment.
We are excited to host Jeroen Krielaars as he presents his library of moving and colourful fonts, and hope that some fruitful new connections might be initiated in our space.

Jeroen Krielaars is a self taught motion designer from Amsterdam. After years in the industry he started Animography, a type-foundry specialising in animated typefaces. What started as an experimental side project is now a full-time occupation. Together with a network of type-designers, motion-designers and programmers, he is constantly exploring the combination of type and motion from different angles.

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#5

16. May 2018

18:30 – 20:30 at letterspace.amsterdam

Laura Meseguer & Kristyan Sarkis

A TYPOGRAPHIC MAGHRIBI TRIALOGUE

Since more than a decade, the Amsterdam based Khatt Foundation matches designers form different cultures to develop multilingual typographical systems. The most recent Matchmaking 3.0 in Maghrib, combined (among others) the powers of two TypeMedia alumni that both presently live and work in Amsterdam.
Laura Meseguer and Kristyan Sarkis will offer insight into the Typographic Machtmaking project and present their result: the TDC award-winning trilingual typeface Qandus.

In the Maghreb, the confluence of native cultures with different colonial periods has produced an extraordinarily diverse heritage. The history of this region and the Andalus could be told in more than twenty languages and written in any of the three common writing systems: Latin, Arabic and Tifinagh.

From this context the Typographic Matchmaking in the Maghrib Project of the Khatt Foundation came into being as a way to facilitate a cultural trialogue, as well as shed a typographic spotlight on the largely ignored writing and design traditions of the region. The specific goal of the collaboration is the research and development of tri-script font families that can communicate harmoniously. The project created an excellent opportunity for interaction and conversation between the members of all the different teams, as they researched the environment in which those scripts originated, evolved, and were used, through field trips to Marrakech, Córdoba and Granada.

#4

25. Apr 2018

18:30 — 20:30 at letterspace.amsterdam

DAVID BENNEWITH

APPROACHES TO THE TYPEFACE DESIGN OF INUKTITUT SYLLABICS

Within the context of an oversaturated market and automated tools, type designers must now reflect on the ways they can bring something innovative or of value to the world. It now seems like a pivotal time to widen the field and to consider type systems that have been overlooked or underdeveloped. Therefore we are happy to invite David Bennewith, who will present his research into a selection of font products for Inuktitut syllabics. David runs the studio Colophon and is head of the Graphic Design Department at the Gerrit Rietveld Academy Amsterdam.

In early 2000, the Unicode Consortium published the USAC (Unified Canadian Aboriginal Syllabics) standard. This standard constitutes a set of “code points” comprising single characters of the whole set needed to reproduce Inuktitut syllabics, among other Canadian Aboriginal languages. Derived from phonetic analysis, Inuktitut was conceived to make the Inuit language visible in an easy to learn and comprehensible way. As a result, Inuktitut syllabics were readily adopted and popularised by many Inuit. Over the years, Inuktitut syllabics have become a co-official script (along with a version using Latin orthography) in Nunavut, the northern-most territory of Canada. In the digital age, type design software, font products, and standardisation efforts like Unicode offer ways for Inuktitut syllabics to be transmitted between many different digital devices.

This research was initiated after being invited by artist Hinrich Sachs to contribute to Fog Friend Font, an editorial framework in reference to the transformative developments occurring in the realm of writing and speaking today, as triggered by digital communication. It will be published by Humboldt Books, Milan, in September of this year.

This talk presents and compares a selection of professionally designed digital fonts, published between 2001 and 2015, that conform to the UCAS standard. It also brings together examples of other Inuktitut syllabic fonts, two distinct (yet overlapping) histories and Inuktitut syllabic fonts in (mis-)use. Describing the contexts of the fonts creation — and looking at the fonts themselves — this talk attempts to gather and foreground the meanings and intentions that the designers bring to their work.

#😉

14. Mar 2018

18:30 — 20:30 at letterspace.amsterdam

It’s clear that pictographs and symbols, through the help of smartphones and emojis, have continued to assert themselves as a dominant part of our written language. Have our alphabets begun the return to an image-based or logo-graphic language?

We’ve invited three speakers, whose work analyses different angles of the emoji to explore this question in both critical and refreshing ways.

LILIAN STOLK

TEARS OF JOY


Lilian Stolk focuses on how language becomes visual. Through her background as a historian and an artist, she observes the new visual language of emoji both from a theoretical and practical perspective. She will present her view on these symbols as a modern-day “emoji expert”, and consider the ways internet technologies and smartphones have changed the speed and directness of written communication.
Lilian is currently finishing her Het zonder woorden boek, over the phenomenon of image-based communication and organises The Hmm, evenings on digital visual culture.

Mantas Rimkus

DEMOJI


Mantas Rimkus is a graphic designer currently living and working at LAVA design studio in Amsterdam. He recently graduated from Willem de Kooning academy with the Demoji project, which was developed in collaboration with his colleagues and other artists from abroad. Widely used emojis triggered Mantas to take a deeper and more critical look at this visual communication tool. He found out that these emojis are positive, one-sided, non-critical and mainly relevant only for Western societies. As a result we miss lot of representations of critical subjects and culture-specific topics. Demoji highlights important points of critique in the otherwise beloved emojis.

Arthur Reinders Folmer

DISCLOSING DINGBATS


Arthur Reinders Folmer is specialised in type design, typography and illustration. Through his type foundry, Typearture, he creates typefaces that are not just collections of glyphs, but type that tells a story.
With the Disclosure Dingbats he explores the ability of icons to do more than illustrate an action: What if they are able to reveal a meaning or tell a story? These Dingbats are a “what if” experiment, merging everyday usable icons with hidden messages. Consisting of relevant and irrelevant secrets, the Dingbats are filled with material to be mocked, but also explore the ability of a typeface to warp our words.

#2

14. Feb 2018

18:30 — 20:30 at letterspace.amsterdam

Daniël Maarleveld

GENERATING TYPOGRAPHY

Please join us on this special date to share our appreciation of type and typography. On this occasion we would love to present you the work of Daniël Maarleveld. He will present his typographic experiments and generative design work, looking into how the limitations of technology enable him to develop a new-found freedom in his process.

Daniël Maarleveld is a graphic designer based in Amsterdam. In 2007, he graduated from Graphic Design departmen at the Rietveld Academie with his PenJet project. This was a collaboration with fellow classmates, which showed the movement of the print head using an attached pen. With practice he began to work more directly with the limitations of movement in order to experiment with type, and through this, an adapted typeface for the PenJet emerged. This working method, using the possibilities and limitations of a new or existing tool or technique, is a source of inspiration for Daniel’s approach to design. In addition, he seeks out unexplored mathematical, natural and mechanical principles, as well as ways to use them in his design. This results in work that balances between machine and handmade.

#1

10. Jan 2018

18:30 — 20:30 at letterspace.amsterdam

MILDA KURAITYTĖ

TRACKING KINETIC TYPOGRAPHY

We are proud to announce our inaugural letterspace lecture to take place right at the beginning of 2018. Milda Kuraitytė will present her PhD research into kinetic typography, with an analysis of moving letters and their positive impact on memory and caution. We encourage everyone involved in the design of screen typography, whether online, offline or mobile, to join in this evening.

Milda Kuraitytė is a Communication Design PhD student at the Faculty of Fine Arts, University of Lisbon, and a member of Cost’s project E-Read, which unites researchers on digital reading. Milda Kuraitytė works between the fields of Typography and Psycholinguistics, running experiments that use stimuli of Kinetic Typography and an eye tracking system.
Kinetic Typography is typography on screen that includes movement. The achievements of the twentieth century technology witnessed the appearance of a number of increasingly complex categories of Kinetic Typography with a direct impact on its readability. The present research consists of a series of experiments on the legibility and readability of Kinetic Typography, using an eye tracking system to verify the hypothesis that Fluid Typography can be used in the education process.

#0

13. Dec 2017

18:30 — 21:00 at letterspace.amsterdam

Pilot

PRE-LAUNCH AND HOLIDAY DRINKS

letterspace.amsterdam opens its doors for the first time. Before we kick off our series of mostly type-based events in 2018, we would like to introduce the space, ourselves and our work. Please join us to learn more and to toast our new project.

Sabina Chipară

Romanian Archaic Alphabets

An overview of the Romanian Archaic Alphabets used in the 19th century, a period of transition from Cyrillic letterfoms to Latin. In this context a hybrid character design emerged. Can these peculiar shapes become an inspiration for future display typefaces?

Johannes Verwoerd

Poëzie Museum

Let’s have a look behind the surface of the Poëzie Museum on the Museumplein

Edith Winkler

W. architecture ’n design

'My work is like telling stories, the medium is physical space'.
Edith Winkler propagates a haptic, sensory, narrative, playful as well as participatory approach towards architectural space & interior design. A designprocess with W-and is an interactive process, W-and doesn’t work for but with clients. W-and translates personal and unique stories to spaces that matter, make sense and fit.

Diana Ovezea

3 years, 6 families, and 321 banners later.

When the Indian Type Foundry approached Diana to design a font superfamily in 2014, she couldn’t refuse. In her talk, Diana will show how this project marked the beginning of a longer cooperation and pushed her to expand her own studio, connect with new collaborators and redefine her practice.

Edgar Walthert

Invisible Work

After more than 10 years working in the field of type production, Edgar likes to shine a light on some of the hidden secrets of type-engineering. We will have a look at IBM Plex, the recently developed typeface in the team of Bold Monday.

The event will be accompanied with Glühwein and other appropriate treats.

Contact

If you are interested in giving a talk or like to recommend to get in touch with someone, please send us an email.
Or let us know, if you are interested in receiving our newsletter.


abc​(​a​)​letterspace​.​amsterdam

letterspace.amsterdam
Zeeburgerpad 51h
1019 AB Amsterdam

Credits

CMS: Kirby 2.5.7
Typeface: IBM Plex Mono
Webdesign: Edgar Walthert
Programming: André Fincato

Links

Sabina Chipară Typedesign
Diana Ovezea Typedesign
Johannes Verwoerd Studio ideas & typography
Edgar Walthert type & graphic design
Edith Winkler W - architecture ’n design

Thanks

to P/////AKT and all our participants.

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