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

#9

14. Nov 2018

18:30 — 20:30 at letterspace.amsterdam

JAN DE JONG ON BRAM DE DOES

SYSTEMATICALLY SLOPPY (2003)

To celebrate the work of Amsterdam’s celebrated type designer Bram de Does, we’ve invited the printer and publisher Jan de Jong from Uitgeverij de Buitenkant to share some anecdotes and to present the documentary “Systematisch Slordig” (Systematically Sloppy) from 2003 with English subtitles. We will also assemble a pop-up-store for the occasion with typographic publications from De Buitenkant.

Jan de Jong and De Buitenkant are an important part of The Dutch typographical scene. In addition to books by Bram de Does, there are other important books from Gerard Unger, Hansje van Halem, Mathieu Lommen, Martin Kaye and Novo Typo (our guest #7). The small printshop is located in the center of Amsterdam, and its publications are regularly awarded The Best Dutch Book Designs.

Bram de Does, born as the son of a printer in Amsterdam East, studied at the Amsterdam Graphic School and worked afterward in the printing workshop of Royal Joh. Enschedé and Sons in Haarlem. When asked to design a typeface for the printing-firm, Bram de Does quit his job and worked two years on the design of Trinité knowing that this was the only way to claim royalties for his typeface. Later in collaboration with Peter Matthias Noordzij he developed the typeface Lexicon for the The Great Dictionary of the Dutch language.
His typefaces are beloved by type-designers for their great readability and human flavour and are amongst the most expensive fonts in the market.

#8

24. Oct 2018

18:30 – 20:30 at P/////AKT

Type@Rietveld

TYPE FOR GRAPHIC DESIGNERS

Though there is no actual type design department at the Gerrit Rietveld Academie, graphic design graduates continue to develop typefaces that influence the graphic-design scene and cultural publications in Amsterdam and beyond. The next letterspace will therefore highlight the ongoing work of three recent Rietveld graduates, who will discuss their research, influences and methodologies, as well as their experiences as autodidacts in an increasingly professionalising type world.

JOLANA SÝKOROVÁ

VISUAL EXCEPTIONS


Amsterdam based graphic and type designer Jolana Sýkorová graduated from Academy of Arts, Architecture and Design in Prague and Gerrit Rietveld Academie in Amsterdam. For her graduation project at Rietveld, she researched a lesser known period of Czech glass designer Frantisek Vizner and subsequently designed a sans-serif typeface with alternate characters inspired by his work. She further developed this typeface in conjunction with the Sculpture Cam project at studio Moniker where she currently works. Jolana also designs books using self-created or uncommon printing and binding techniques by thinking of the reader and the physicality of the medium in order to find an intriguing form.

WOOSEOK JANG

STUDENT’S DEVIATION


Wooseok Jang started to design typefaces while studying at the Gerrit Rietveld Academie from 2016 to 2018. He graduated with a library of typefaces including the experimental typeface ‘variable text’ that plays with type-industries favourite new feature – variable fonts – and is intended for digital reading. His type design process plays with and modifies formal elements of letters, by exploiting his perspective of a non-Latin user. We will also learn in what way the education at Rietveld influenced his resulting designs. One of his typefaces Dummy Sans was used for the graduation show 2018 poster and its way finding system.

MADS WILDGAARD

BOLD DECISIONS


Bold-Decisions is a foundry operated by Mads Wildgaard (graduating class of 2014) — It has regularly released typefaces since 2015, and now produces custom typefaces with and for cultural institutions and corporations, in both Latin and Cyrillic scripts. With Lars initiated at the Rietveld in ’14, and a name influenced by the school as well, the talk will be explaining the mechanism and reason of the foundry and work of Mads.
— Besides explaining the basics of Bold-Decisions, it will also be a personal reasoning of how and why the Rietveld — or more specifically — it’s graduates continues to affect the contemporary type scene.

#7

19. Sep 2018

18:30 – 20:30 at letterspace.amsterdam

NOVO TYPO

THE FUTURE OF TYPOGRAPHY IS COLORFUL

In printing and typographic circles of Amsterdam, one will likely encounter the work of Mark van Wageningen. He cut his wooden type Bixa down the street from letterspace, at makerspace ZB45, and it’s now being used just around the corner at GWA. De Buitenkant, also situated in Oost, printed and published his Novo Typo Color Book.
It is about time that we invite Mark to present his variety of chromatic layer fonts at letterspace. He is eager to discuss his work with type designers, designers and others.

Mark van Wageningen is the founder of Novo Typo, a (typo)graphic design studio and foundry based in Amsterdam, The Netherlands.
In January 2015 Novo Typo started the Typewood / Bixa Color project. Typewood is a research project about designing, deconstructing and transforming multi-colored digital typefaces into wooden type for letterpress. In 2016, this project was followed by Hotmetaltype project Ziza. Both projects try to show the future of chromatic typography by re-inventing and deconstructing history. In March 2017, van Wageningen published the Novo Typo Color Book about the technical and editorial possibilities and challenges of contemporary chromatic typography. These achievements have been awarded by the TDC New York and ADC Netherlands among others.

#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.

#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.