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differing accents | Monday 11th June 3 EDITOR IN CHIEF Stefano Cavagnetto PROJECT MANAGERS AND ADMINISTRATORS Simon Gray, Marketa Musilova, Leah Adler, Lucie Evjakova, Milena Jirovcova, Masa Hilcisin PRODUCTION DEPARTMENT Gavin Bird, Silvia Weinzettelova, Ryan Cole CONFERENCE IDENTITY Marusa Racic SPECIAL THANKS To all the Prague College students, lecturers and staff who have participated in the organisational activities, production and development, research and workshops, whom with their amazing efforts and hard work have made this conference a reality. Polska 10 120 00 Prague 2 Czech Republic www.praguecollege.cz (+420) 222 101 020 © Prague College ALL RIGHTS RESERVED. No part of this publication may be reproduced, transmitted, stored or used in any form by any means without the prior written permission of the publisher. Names, logos, brands, and other trademarks featured or referred to within this publication are the property of their respective trademark holders. Printed in Prague, Czech Republic. diff Monday 11th Veronika Burian 6 Oldřich Menhart: ering Calligrapher, Type acc Designer and Craftsman Stephen Raw 16 ents Making Language Visible Differing Accents is a Tuesday 12th four-day Typographic Stefano Cavagnetto 18 and Lettering Gifts from the past Conference, bringing what we all gained together renowned from medieval manuscripts speakers from across Europe. Kate Sill 34 26 The main focus will be on traditional Iva Knobloch 42 typographic and Ladislav Sutnar: lettering practice from Typography & the past, the present, Information Flow and looking to the Mark Noad 52 future, as well as the Getting from A to Z: underlying aspects of Type, Travel and type as a craft. The Tube Map The conference will take place inside Wednesday 13th Prague College and Jo Hamill 62 is open to delegates Lost for Words from the UK and Czech Republic, Errol Donald 66 students and PRIDE Graffiti members of the public. Dave Farey 72 National Type Identity Thursday 14th Oliver Linke 86 The Urge to Rule Colin Brignall 100 The Liberated Letter Filip Blažek 102 European Diacritics Richard Kindersley 108 Letter Carving Veronika Burian Born in Prague, Veronika got her first degree in Industrial Design in Munich, Germany, before she moved on to Austria and Italy to work as a mix between a product and graphic designer. Discovering her true passion for type, she graduated with distinction from the MA in Typeface Design in Reading, UK, in 2003 and started to work as a full-time type designer at DaltonMaag in London until 2007. After staying for some years in Boulder, Colorado, she is currently living and working in Prague and dedicates her time fully to TypeTogether, an independent type-label that she co-founded with José Scaglione. She also continues to give lectures and workshops at international conferences and universities. Her typeface Maiola received, among others, the TDC Certificate of Excellence in Type Design 2004. Several other typefaces by TypeTogether have also been recognised by international competitions, including ED-Awards and ISTD. TypeTogether Veronika Burian and José Scaglione met at the University of Reading whilst completing their MAs in Type Design, launching the independent type foundry TypeTogether (TT for short) in 2006. TT developed out of the desire to publish high quality typefaces and work on new type projects together (hence the name). The foundry provides common grounds for intense cooperation with other type designers, creating an interesting and diverse platform. TypeTogether’s main interest is finding innovative and stylish solutions to old problems for the professional market of text typefaces, with a focus on editorial use. This is where the greatest challenges are faced: creating typefaces that perform well in continuous reading, that also have a high degree of personality. The quality of TypeTogether’s work has already been recognised in several international competitions, including TDC and ED-Awards. http://www.type-together.com/ 7 differing accents | Monday 11th June Oldrich Menhart calligrapher In June, 1897, Oldřich Menhart was born in Prague where he also died type designer in February, 1962. His father was a goldsmith teaching his four sons engraving, drawing, and carving from an early age on. Here Menhart and craftsman acquired skilled hands and a profound feeling for shapes. He developed a sense for detail up to a level of perfectionism. Additionally, he became familiar with the peculiar characteristics of the material and the tools. The skill of being aware of the relationship between tool and form, that is to know how technology would affect the final shape, became Menhart’s fundament for his later mastery. Further formative impacts were his working experience in the printing house Politka in Prague and his teacher, Karel Mrázek, at the school of typography. The contact with the process of printing and the industrial production of typefaces was crucial for his extraordinary understanding of technical conditions when it comes to design. On the other side, through Mrázek he was exposed to calligraphy and book design. Quickly Menhart realised the potential of expressing visually, beauty, sentiments, and intellect by the means of this art and took every opportunity to study letterforms in churches, public buildings, cementeries, libraries, etc. Free from traditional heritage and knowledge, he was able to observe the inscriptions with innocent eyes and to see the spirit of the letters behind the external form. This made for a gradual maturing of his intuition for the viability of lettershapes and their emotional effect on the message to the reader. Beautiful but superficial, decorative calligraphy was alien to him, though. The challenge was to develop his own ideas and to find new ways of conceiving of artistic handwriting as a graphic representation of his individuality. The art of writing, in fact, became an existential element of his life and work. An excellent example of Menhart’s calligraphic roots is the highly individual typeface Manuscript from 1943–45. Freely drawn with a spring pen, it is deliberately rough with a primitive and peasant finish. Despite its rustic feel and irregularity, the typeface appears very spirited, elegant, surprisingly uniform, and legible. Paul Standard once noticed that it is “seemingly written with molten metal.” Its irregularity differing accents | Monday 11th June 8 is intensified by the jagged and to the bottom tapering strokes. As you can see below, the tails on the letters K R, the frankly pen-formed serifs on E F L T and the characteristic slope on the bottom stroke of Z z show, also, the calligraphic heritage of Manuscript. It is regarded as Menhart’s masterpiece, expressing the author’s energetic temperament and self- confident personality. Max Caflisch went as far as to say that it “…has no type-design counterpart either contemporary or historic.” 9 differing accents | Monday 11th June Designer and technology In many ways Menhart’s approach to design and its realisations differs quite remarkably from his contemporaries. Not only did he consider himself rather a craftsman than an artist, but his work also shows greater maturity and understanding of the matter. Probably because of Menhart’s experience in the printing industry, he had a positive attitude towards new technologies. He was familiar with the characteristics of the material, its constraints and possibilities, and knew about the technical limits and requirements of printing and the production of type. In his opinion, the designer had to keep in mind, while creating, that the control of the process had been increasingly removed from him. Therefore he needed to imagine the final appearance of his typeface, had to predict possible problems and act upon it. Competence and mutual understanding between designer and typefoundry were essential suppositions for success. Relying on the foundry to correct the designer’s errors was, according to Menhart, fatal. He was convinced that, because of the designer’s demands and high level of quality, he could have a fruitful influence on the progress of technology. Generally he evaluated mass-production of printed matter and typefaces as positive and appreciated this democratisation of the book trade. It was, in his eyes, the logical consequence of the social changes of that time and a challenge for the designer. Technology was to be used smartly giving to the industrially produced typographical product a sense of personality and liveliness. The inadequate equipment and miserable conditions of Czech typefoundries and printers were jointly responsible for the international failure of Czech typefaces In the 1930s, the economic and technical climate though was under- developed in his home country. Its history, involving loss of political sovereignty for many centuries, and the related lack of an independent printing industry, contributed greatly to the missing professional knowledge and experience of type-making. The inadequate equipment and miserable conditions of Czech typefoundries and printers were jointly responsible for the international failure of Czech typefaces. differing accents | Monday 11th June 10 fig 2. Menhart’s Antiqua. Menhart was fortunate to have had the possibility to publish his first typefaces abroad. The dealer for the Bauer typefoundry, O Zahradnik, whom he encountered on his trip to Offenbach, encouraged him to submit a proposal to the foundry. He followed this advice and sent a map with drawings and sample text layouts. The name was Codex Antiqua and Kursiv, a hint to two important medieval manuscripts, the Reimser and Wyssehrader Codex. It was strongly calligraphic and dynamic, but not yet accomplished. After several revisions it resulted in the typeface Menhart Antiqua / Kursiv, cast in 1931 by Bauer in Germany. It is a nicely balanced and calm design, with generous proportions and calligraphic reminiscence. The dynamic spirit is enhanced by the asymmetrical shape of the serifs. They are blunt, rectangular on the right side but wedge shaped and elongated on the other. The strokes are modulated, reflecting the broad edge pen and the round letters tend towards a square shape.
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