Type@CooperWatch the Livestream of today’s #LubalinLectureSeries here now: https://www.youtube.com/watch?v=R3HhicxhtgI
YouTube
RSVP for the April 10 #LubalinLectureSeries talk by Alexandra Samuļenkova “Having an accent in type design” online & free 12:30pm Eastern US time http://coopertype.org/event/having_an_accent_in_type_design
Type@Cooper: Having an accent in type design. with Aleksandra Samuļenkova <meta property=
Being native to a script or just an alphabet is rightfully considered to be an advantage or even a crucial requirement when designing typefaces for that script or alphabet. As a type designer who designs for three scripts while being native to only two of them, I am eager to examine the concept of nativeness in type design. What exactly is considered to be native to a script, an alphabet within a script, or a single letter within an alphabet? In type design, what aspects of the nativeness are most important?
Watch the video archive of last Monday's #LubalinLectureSeries talk "Writing the Memory of the City" with Yevgeniy Anfalov and Oleś Gergun https://vimeo.com/808760676 Very grateful to TypeCulture for their generous support of the lecture series video archive!
Writing the Memory of the City with Yevgeniy Anfalov and Oleś Gergun
RSVP for the #LubalinLectureSeries April 10 at 12:30 pm Eastern US time online. Aleksandra Samuļenkova will be giving a talk about designing type and what it is to be 'native' to a script. http://coopertype.org/event/having_an_accent_in_type_design
Type@Cooper: Having an accent in type design. with Aleksandra Samuļenkova <meta property=
Being native to a script or just an alphabet is rightfully considered to be an advantage or even a crucial requirement when designing typefaces for that script or alphabet. As a type designer who designs for three scripts while being native to only two of them, I am eager to examine the concept of nativeness in type design. What exactly is considered to be native to a script, an alphabet within a script, or a single letter within an alphabet? In type design, what aspects of the nativeness are most important?
🇺🇦A typographical dérive through the city of Kyiv, layering the city’s state of emergency and the Kyiv Type founders' intimate geography of the place where they grew up. RSVP for this free online event on March 13 at 12:30 pm EST #LubalinLectureSeries
http://coopertype.org/event/writing_the_memory_of_the_city
http://coopertype.org/event/writing_the_memory_of_the_city
Type@Cooper: Writing the Memory of the City with Yevgeniy Anfalov and Oleś Gergun <meta property=
A lecture by Yevgen Anfalov and Oleś Gergun, founders of KTF (Kyiv Type Foundry). The lecture will take the form of typographical dérive through the city of Kyiv, layering the city’s state of emergency and the founders' intimate geography of the place they grew up in. The talk will contextualize KTF’s ongoing typographic research as part of the variety of its founders' practices such as hunting for design povera, flaneurism, and cultural studies. Kyiv Type Foundry (KTF) offers retail and custom fonts and opens new perspectives on Cyrillic-based heritage. Founded by Yevgeniy Anfalov and Oleś Gergun and based in Kyiv and Hannover. Our catalog reflects our belief in tradition and synthesis. Our activities range from hunting the ghosts from the
Type@Cooper: Notes on the History of Writing with James Clough <meta property=
In this talk we'll be looking at how handwriting has evolved down the centuries. Ever since Arrighi’s La Operina was published in Rome exactly 500 years ago, formal calligraphy has provided printed models for millions of adults and children. We shall be looking at how ’the masses’ developed their own handwriting from those models. People of all classes were proud of their handwriting which really was 'everybody’s art’. Since Arrighi and the other Renaissance masters, the stylistic changes in handwriting have been continuous because of the need to write quickly and the influence of new artistic trends; but even more significant have been the changes in writing tools, from quills to pointed steel nibs to biros and markers. But what about today, with our smartphones and emojis – and hundreds of handwriting fonts? Is there a future for handwriting?
3/4 #LubalinLectureSeries http://coopertype.org/event/typography_at_vkhutemas_the_soviet_unions_revolutionary_art_school
Type@Cooper: Typography at VKhuTeMas, the Soviet Union’s Revolutionary Art School with Polina Godz <meta property=
VKhuTeMas, or Higher Art and Technical Studios, is a revolutionary Soviet art school that opened its doors just a year after the founding of Bauhaus in Germany. Today, the school is usually remembered for a slew of avant-garde artists who worked there — Kandinsky and Malevich, Rodchenko and Stepanova, Lissitzky and Tatlin, among many others. However, the school’s innovative pedagogy and its democratic admission structure geared towards working class students deserves attention as well. Following some of the formal, theoretical, and political debates that happened in and around VKhuTeMas allows us to better understand the ground-breaking use of typography that developed there and became a staple of constructivist art and design. This lecture will shed light on the origins and trajectory of VKhuTeMas, paying especially close attention to how ideas on typography fed into the school’s artistic output and how they evolved over time. The lecture is co-sponsored by The Irwin S. Chanin School of Architecture at The Cooper Union.
2/4 #LubalinLectureSeries http://coopertype.org/event/tales_from_the_kelly_collection_catalog_or_typographic_research_as_tool_builder
Type@Cooper: Tales from the Kelly Collection Catalog, or Typographic Research as Tool Builder with David Shields <meta property=
Rob Roy Kelly’s published research — including <em>American Wood Type 1828–1900</em> (1969) — helped fuel a revival of interest in nineteenth-century American printing types. His work continues to be an important starting point for current scholarly inquiry. The University of Texas Press published a monograph I researched, wrote, and designed The <em>Rob Roy Kelly American Wood Type Collection: A History and Catalog</em> which functions as a ‘close’ reading of the collection. I’ve approached the collection as more than simply the 18,000+ pieces of wood type acquired by Kelly and dynamically defined it in broader terms as a range of objects, publications, research papers, and attendant activities in a number of archives around the United States. Viewing the collection broadly has provided the opportunity to look past Kelly as the sole instigator and investigator and perceive him as a link in the broader network of relationships that led to the success of his research project. The physical presence of the published book has helped me reconsider my own research work for the manuscript, not simply as a mode of historicization, but as developing a set of tools that could be useful to other (typographic) research projects.
1/4 Watch the recordings of the fall 2022 #LubalinLectureSeries. So grateful to TypeCulture for the generous support of this video archive! http://coopertype.org/event/franklin_gothic_goes_on_forever
Type@Cooper: Franklin Gothic Goes on Forever with Nick Sherman <meta property=
Since its debut at the beginning of the 20th century from the American Type Founders Company, the Franklin Gothic family of typefaces has played a major role in shaping the visual landscape of the United States. It has proven to be a versatile and timeless design for everything from hardcore punk bands to the US military. This talk by Nick Sherman will cover historical info about Franklin Gothic and its relatives, a thorough examination of its design and usage, plus some personal background about how it became the first typeface he fell in love with, why he thinks it deserves more appreciation, and his own efforts to update it for the 21st century.