Workshops

2 November 2017 — different places

The registration in the workshops is parallel to the conferences, as does not require registration in 8ET.

 

W1. Making Pixel Fonts

Workshop leader: Rainer Scheichelbauer (Austria)

 

An easy introduction to type design and font technology for non-type designers.

Covers: starting a quick and easy font, and creating a simple animation with an OpenType feature. Bring your MacBook with Glyphs 2 preinstalled:

http://updates.glyphsapp.com/latest2.php

https://glyphsapp.com

 

Number of Registrations: 6 to 12   Register

Fee: 20€

Venue: ESEC- UAlg (Campus da Penha, 8005-139 Faro)

Time-table: 14:00-18:00 (total 4h)

Audience: Não-designers and students

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Rainer Erich (‘Eric’) Scheichelbauer was born in Vienna. A trained photographer, Eric holds both a philosophy and a Dutch studies degree. He creates typefaces, works as a digital punchcutter for other type designers, and gives type design workshops on a regular basis. Since he has joined the Glyphs team in 2012, he has been writing articles, tutorials, and Python scripts, as well as the blog and the handbook. He lives and works in Vienna, where he runs his type studio Schriftlabor.

https://glyphsapp.com

 

W2. Letterpress Poster Workshop

Workshop leader: “Família Plomez” (Spain)

 

Consists of the design, composition and printing of posters using wood types, through the technique known as hand-crafted printing letterpress. The participants in group, will have the opportunity to perform a small print run of their compositions.

 

Number of Registrations : 8   Register

Fee: 65€

Venue: ESEC- UAlg (Campus da Penha, 8005-139 Faro)

Time-table: group I: 9:00-13:00  / group II: 15:00-19:00 (total 4h)

Audience: Students and Professionals interested in typography and graphic design.

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The main objective of this workshop is the design, composition and printing of posters using types of wood by the craft known as letterpress printing technique. Working with movable type allows more aware of typography and its treatment, in addition to value space which becomes an active element that enables the composition. The poster format and the types of wood in different sizes allow you to create more expressive compositions of the typographic message, although keep in mind the limitations of the technique and also printing material (often very old and) worn). This produces unique and outcomes in some imperfect cases that give a special charm to these printed pieces. Designed with movable type supposed to have in your hands a part of the history of design becoming an experience not only educational but also fun. Participants will work in pairs and will jointly address the design of a poster that will produce the material was available. They will have the possibility of making a small print run of your design so that they can take their copies, leaving one sample for the organization.

 

Programme

INTRODUCTION

1.- Explicación del material a utilizar y la manera de componer.

WITH BIG LETTERS

2.- Creation of typographic compositions for poster (recommended bring thought short texts, phrases, slogans, etc...)

3.- Tests and fixes

4.- In flat machine short-run printing.

EACH THING IN ITS PLACE

5.- Disassembly, cleaning and distribution of the material.

 

Practical advices

- Please be punctual.

- Bring in your mind a short phrase from 4 or 5 words to make the poster.

- Wear comfortable clothes and that what you wear does not matter if it stains. An apron or a gown also come in handy.

- The work will take place in pairs. First one composes the text, adjusts it, makes tests, fixes and makes a small circulation. It is then rotated. Be collaborative. It is a team effort and we have a limited time.

- Be very careful with the material. It is very old and has no replacement.

- After finishing, you need to help the teachers to clean and collect all the materials ready for the next use.

- Remember that the technique of letterpress has many limitations, but that is precisely what makes it more beautiful and attractive.

- The letters are what they are and as they are, what means that you cannot have the enormous variety that we have in the computer and nor reduced it or increase it in size, or widen or narrow.

- Forget about the system of measure in millimeters. In printing, it works in ciceros and points. It's a duodecimal system and all parts are multiples of 12, 6, 4 and 3, usually.

- Perfect printing does not exist. Each copy is different. And that is what makes it special. Not to be too perfectionist and think that your teammates are waiting their turn.

- If a letter is more worn, we "wedge it" with paper or seek other that is less worn.

- It may happen that there is incomplete alphabets. So, other alternatives will be searched. For example, with another font that has the same measure either if we do not have a "E" replaced it with a "3" or turn an "M" into a vertical position... You have to sharpen your wits against the limitations.

-To separate words use terminals that have the same measure as the typeface that we have selected. For example, 20 ciceros type > 20 ciceros strip.

- To adjust the typesetting we will help ourselves with material of imposition, magnets and wedges. Although we print in a flat machine setting does not have to be perfect.

TO SMEARING OF INK!

 

Check previous workshops

TALLER TYPE ON VALLADOLID

TALLER COLA POSTER WEEK

TALLER JORNADAS ALTERA

TALLER ESCUELA ARTE MATEO INURRIA

 

 

W3. The expression of words? Etching workshop

Workshop leader: Sofia Morais (Portugal)

 

The workshop aims to give a basic knowledge of the technique of etching, as well as the materials, tools, technical processes and their expressive potential. Inviting the participant to explore this technique with the greatest possible freedom to adapt it to your individual language.

 

Number of Registrations : 6 to 12  Register

Fee: 65€

Venue: Oficina Bartolomeu Cid dos Santos, Tavira (transport included leaves ESEC-UAlg at 8:15)

Time-table: 9:00-13:00 + 14:00-18:00 (total 8h)

Audience: Post-Graduation Students / Professionals / Others

 

Programme

And if the sound or set of graphics signals representing a word is totally unknown, as we interpret? How can we communicate or express the unknown? What meaning we give terms and words written in another language, another alphabet? Starting from a total ignorance about the meaning of the words that will be presented (in several languages and alphabets), proposed new interpretations from your morphology, composition or sound, building so graphic experiences with a new meaning, creating new languages and other ways of communicating, finding, probably, what unites us in diversity. The graphics experience will be developed with the technique of etching on zinc and printed in zip format (10 x 15), allowing you to create a collection of words and expressions and their own languages.

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Sofia Morais was born in 1979, in Lisbon, where she lives and works. She holds a degree in Communication Design, from the Faculty of Fine Arts of Lisbon, and is a graphic designer and freelance illustrator. A course with Illustrator Isabelle Vandenabeele will change her take on illustration, and lead her to discover and deliver to the engraving at atelier Contraprova, that she integrates from 2015. In addition to her work as a designer and Illustrator she also gives workshops for illustration and printmaking. In 2014 she was awarded an honorable mention in the international meeting of illustration of São João da Madeira. And recently joined the Show of Portuguese Illustration, inside the "Festa da Ilustração de Setúbal". She Exposes her work regularly with collective and has collaborated in several publications and projects.

 

W4. Impressions of Algarve

Workshop leader: Inês Barracha / MODO (Portugal)

 

Experimental typographic creation through various techniques of manual printing. Based on Algarve's traditional decorative elements, participants will construct stamps to develop letters from textures.

 

Number of Registrations : 10 to 15  Register

Fee: 30€

Venue: ESEC- UAlg (Campus da Penha, 8005-139 Faro)

Time-table: 9:00-13:00 (total 4h)

Audience: +15 years old

 

Programme

Experimental typographic creation through various techniques of manual printing.

Based on decorative elements of traditional parapets from Algarve, participants will build a set of stamps that will allow them to create new fonts and explore the potential of different manual printing plastic textures.

The exercises will be developed based on the work of photographer Filipe da Palma.

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MODO is a rural, neo space and artistic experimentation, located on the Bank of Ribeira de Boina, in Portimão. Is both Studio, Gallery, space and conviviality. Promotes the creation, exhibition and sale of art projects. In addition to the collection of works for sale, offers services in a number of creative areas: production of Events, painting, illustration, communication Design and Interior Design. O MODO develops training workshops that combine training with leisure moments. One of the goals of these workshops is to retrieve knowledge from various areas of the popular arts and crafts of Portuguese culture and other, and tailor it to the needs and lifestyle of a contemporary reality.

http://www.modo.pt

 

W5. Initiation to Digital Typography

Workshop leader: Tiago Navarro Marques (Portugal)

 

This workshop is intended for all those who wish to expand their knowledge in the area of digital typography. Structured on the basis of an initial training on the issue of fonts, there will be a part about optical construction good practices, from drawing, as well as all the transition required for placement of characters in operation/communication. In terms of goals, in the first half of this workshop the students will have opportunity to learn how to build an optical interface between characters and its proper application. At the end of this action it is intended that they’ll be able to edit, change/manipulate and systematize a small collection of characters.

 

Number of Registrations : 6 to 12  Register

Fee: 20€

Venue: ESEC- UAlg (Campus da Penha, 8005-139 Faro)

Time-table: 9:00-12:00 + 14:00-17:00 (total 6h)

Audience: Students / Professionals / Others

 

Structure

PART I
General considerations
1. The meaning of a new typography
2. Where to begin – Methodology
3. Formulating ideas – from calligraphy to gliph
4. Definition of form – proportion vs thickness


PART II
5. Digital definitions – Defenitions on the system (FontLab)
6. The design process


PART III
7. The project – vowels: design of a digital collection (to apply the acquired knowledge)

 

Mandatory Materials (+ requirements)

PART I + II
PC or MAC
FontLab Studio
( Demo version: https://www.fontlab.com/font-editor/fontlab-studio/ )


PART III
PC or MAC
FontLab Studio
Illustrator
Drawing pad
2x pencils

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Tiago Navarro Marques is a designer and researcher who has been dedicated to studies related to typography and digital press; Doctor of fine arts, design/typography variant by the Polytechnic University of Valencia; Master in Typography, discipline and uses by the the University of Barcelona; Degree in communication design and graphic techniques at Instituto Politécnico de Portalegre; he also holds a Masters in Design and graphic production by the University of Barcelona. He is currently an Assistant Professor at the University of Évora, in the Department of visual arts and design of the School of Arts; he was an Adjunct Professor at the School of Applied Arts of the Instituto Politécnico de Castelo Branco (2003-12) and collaborated with the Technological and Professional School Albicastrense (2007-09), University of the Basque country (2008) and the University of Barcelona (2011). Started his activity as graphic designer in 1995, collaborating with several companies including the Criaturas e Publicidade (Lisboa) e Olinger & Strauer Advertising agency (Luxembourg). Reference to some projects developed for clients such as Banque Genérale du Luxenbourg, Athletic Club de Bilbao (Museum), Câmara Municipal de Castelo Branco and Scutvias - autoestradas da Beira Interior. He integrates the Center for the Study of the history of the Book and publishing (Lisbon), Iberian Institute of Design (Barcelona) and the Research centre of the Faculty of fine arts of the University of the Basque country (Bilbao); Director and founder of the scientific journal (ISSN Grapheme 1647-1024; Center for applied to Design); Co-Director of the journal Deforms (ISSN 2253-8054; Editorial Sendemà, Valencia).