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Istype 2013 Stroke Program Book

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Istype 2013 Stroke Program Book stroke 2013 Robert Bringhurst Erik van Blokland Savaş Çevik Luc(as) de Groot Akira Kobayashi Jan Middendorp Thomas Milo Gerrit Noordzij Alejandro Paul Yves Peters Massimo Polello Erich Scheichelbauer İrvin Cemil Schick Mirjam Somers Alessandro Segalini Onur Yazıcıgil Signpainter Movie In partnership with Sabancı University, İstanbul, Turkey www.istype.com In partnership with Sabancı University, İstanbul, Turkey istanbul type seminars stroke 2013 CONTENTS Foreword 5 Welcome 7 Program 8 Pre event 10 Seminars 13 Workshops 23 Screening 29 Organizers & facilitators 32 Sponsors 31 Map 32 Food terminology 34 Important information 35 Acknowledgments 36 FOREWORD 5 In my story type design arises from a typographic prob- Making a suitable problem lem. This might be my speciality. No doubt my colleagues are triggered by quit different traits. There is, however, one Making a suitableI make a new typefaceproblem when I need it. This necessity comes thing that all type designers have in common. A type de- from overwhelming dissatisfaction with my own work; my signer has a problem that he can’t substitute by imitating Making a suitable problemold typefaces not meeting anymore the needs of the book typefaces that are already there or by searching something Making a suitable problem designer I am. Before their failures disturbed my happiness, original. Type design requires discipline. Without its con- with the features of my books still in perfect harmony, there ventional cord your kite gets lost. You might hope to meet was no reason for such innovations as a new typeface. In the a suitable problem in your computer, but this will not help course of time the luster of my books faded away, the type- you; the computer has only solutions to offer. This is why faces became indifferent and finally even annoying. It was my typefaces always start from scratch? Would you like to time to reconsider my concept of book design. A new mood see how this works? Take a pen and make a few strokes. Any emerging from sketches and calligraphic trials announced attempt to arrange the resulting shapes in harmony will already a new typeface. What followed was the neat execu- yield a genuine type designer’s problem. tion of the idea. Drawing characters for photocomposition took much Gerrit Noordzij time. Now we make digital typefaces quickly on the com- puter. Modern software enables me to compose the first trial pages within a few days. But a decent degree of perfection requires many more patient sessions. The test comes with the production of a book composed in the new typeface. Type designers often offer their typefaces for sale, an ad- venture that does not really inspire me. The conditions of the market are not attractive. If customers want my typefac- es at all they never want them as they are. They want the de- sign spoiled with ranging numerals, diacritics and kerning tables. I also seem to be my only customer prepared to pay for the trouble. In my story type design arises from a typographic prob- Making a suitable problem lem. This might be my speciality. No doubt my colleaguesIn my story type design arises from a typographic prob- Making a suitableare problem triggered by quit different traits. There is, however,lem. This one might be my speciality. No doubt my colleagues I make a new typeface when I need it. This necessity comes thing that all type designers have in common.are A triggeredtype de- by quit different traits. There is, however, one from overwhelming dissatisfaction with my own work; my I make a new typeface when I need signerit. This necessityhas a problem comes that he can’t substitute bything imitating that all type designers have in common. A type de- old typefaces not meeting anymore the needs of the book from overwhelming dissatisfaction typefaceswith my own that work; are myalready there or by searchingsigner something has a problem that he can’t substitute by imitating old typefaces not meeting anymore the needs of the book typefaces that are already there or by searching something designer I am. Before their failures disturbed my happiness, original. Type design requires discipline. Without its con- designer I am. Before their failures disturbed my happiness, original. Type design requires discipline. Without its con- with the features of my books still in perfect harmony, there with the features of my books still inventional perfect harmony, cord your there kite gets lost. You might hopeventional to meet cord your kite gets lost. You might hope to meet was no reason for such innovations as a new typeface. In the was no reason for such innovations aas suitable a new typeface. problem In the in your computer, but this willa suitable not help problem in your computer, but this will not help course of time the luster of my books faded away, the type- course of time the luster of my booksyou; faded the away, computer the type has- only solutions to offer. Thisyou; theis why computer has only solutions to offer. This is why faces became indifferent and finally even annoying. It was faces became indifferent and finallymy even typefaces annoying. always It was start from scratch? Would myyou typefaces like to always start from scratch? Would you like to time to reconsider my concept of book design. A new mood time to reconsider my concept of booksee design.how this A new works? mood Take a pen and make a few strokes.see how thisAny works? Take a pen and make a few strokes. Any emerging from sketches and calligraphic trials announced attempt to arrange the resulting shapes in harmony will emerging from sketches and calligraphic trials announced attempt to arrange the resulting shapes in harmony will already a new typeface. What followed was the neat execu- yield a genuine type designer’s problem. already a new typeface. What followed was the neat execu- tion of the idea. yield a genuine type designer’s problem. tion of the idea. Text originallyDrawing typeset characters by Gerrit for photocomposition took much Gerrit Noordzij Drawing characters for photocomposition took much Noordzijtime. Now in wehis maketypeface digital Ruit .typefacesGerrit quickly Noordzij on the com- time. Now we make digital typefaces quickly on the com- puter. Modern software enables me to compose the first trial puter. Modern software enables me to compose the first trial pages within a few days. But a decent degree of perfection requires many more patient sessions. The test comes with pages within a few days. But a decent degree of perfection the production of a book composed in the new typeface. requires many more patient sessions. The test comes with Type designers often offer their typefaces for sale, an ad- the production of a book composed in the new typeface. venture that does not really inspire me. The conditions of Type designers often offer their typefaces for sale, an ad- the market are not attractive. If customers want my typefac- venture that does not really inspire me. The conditions of es at all they never want them as they are. They want the de- the market are not attractive. If customers want my typefac- sign spoiled with ranging numerals, diacritics and kerning tables. I also seem to be my only customer prepared to pay es at all they never want them as they are. They want the de- for the trouble. sign spoiled with ranging numerals, diacritics and kerning tables. I also seem to be my only customer prepared to pay for the trouble. WELCOME 7 Thank you for joining us at ISType 2013 Stroke. We are happy to see the event grow into its third year with the ongoing aim to provide a platform in which to foster typographic knowledge in the region. We welcome our guests from around the world, and are pleased to announce our keynote speaker, prolific writer and poet, Robert Bringhurst, who will take us on a journey through the meaning of gesture and stroke with his talk, The Shape of Thought, the Shape of Vision. This year, we have a series of 9 lectures and 5 workshops revolving around the theme Stroke, which was inspired by Gerrit Noordzij’s monumental book, The Stroke. Since Noordzij will not be able to join us, Jan Middendorp will discuss and introduce Noordzij’s theory of lettershapes and its continued influence. Since ISType 2011, we have included various workshops on calligraphy and type design. In addition to our previous workshops on Latin calligraphy and multi-script type design, this year we have included the much belated Ottoman calligraphy (Hat) workshop. Aside from the main conference program we will premiere the film,Sign Painters, a documentary about the fall and rise of the craft of sign painting directed by Faythe Levine and Sam Macon. The screening will take place on Saturday at the conference venue. We would like to thank our sponsors without whom ISType 2013 would not have been possible. In addition to our Bold, Medium and Book weight corporate sponsors we extend our gratitude to our venue host SALT Galata and event partner Sabancı University for their consistent support. We are approaching Stroke in the manner of ‘human mark’ whether it is within the scope of a Western, Middle Eastern, Far Eastern, organic, mechanical or digital stroke: Stroke as the simple base for human communication. Creators of Istanbul Type Seminars Onur Yazıcıgil & Alessandro Segalini 8 CONFERENCE PROGRAM THURSDAY, JUNE 13 9:00–16:15 Workshop 1, morning & afternoon session Ottomon Calligraphy (Hat ) Savaş Çevik p. 23 16:15 Goodie Bags & Conference Badges 17:00 OPENING RECEPTION Cocktails & Mingling (SALT Galata Auditorium) Sponsored by Hoefler & Frere-Jones 18:15 Keynote Presentation The Shape of Thought, the Shape of Vision Robert Bringhurst p.
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