vortragende und vorträge

vorträge deutsch oder englisch – informationen hier jeweils in der entsprechenden sprache (werden laufend ergänzt)

moderation

Clemens Theobert Schedler

aufgewachsen im ›wilden westen‹ österreichs, emigrierte er mit 21 jahren nach wien und taumelte nach vier jahren als gebrauchsgrafiker aus der höhere graphische bundes-, lehr- und versuchsanstalt. nach vier lernstationen als freier mitarbeiter sowie gründungen von büros für grafischen entwurf und grafische gestaltung eröffnete er 1997 sein büro für konkrete gestaltung: konkret = wirklich [vorhanden], als etwas sinnlich gegebenes erfahrbar, fest umrissen, anschaulich und deutlich ausgedrückt.

donnerstag, 25. august

Jost Hochuli und Shoko Mugikura
jost beantwortet einige fragen von shoko

›jost, du hast in allen vorträgen nur immer über andere und anderes gesprochen. sprich doch einmal über dich und deiniges!‹
›liebe shoko, hier ist es.‹

Jost Hochuli

geboren 1933 in st gallen, aufgewachsen, schulen, ausbildung zum gebrauchsgrafiker und schriftsetzerlehre daselbst. seit 1959 eigenes atelier für gebrauchsgrafik (vor allem industriegrafik) und buchgestaltung in st gallen. von 1967 bis 1980 an der schule für gestaltung, zürich, von 1980 bis 1996 an der schule für gestaltung, st gallen, nebenamtlicher lehrer für schriftschreiben, schriftzeichnen und typografie. mitgründer und von 1979 bis 2004 präsident der genossenschaft vgs verlagsgemeinschaft st gallen, für die er fast alle bücher gestaltet hat und teilweise weiterhin gestaltet. einige publikationen, einige workshops und ausstellungen im in- und ausland, einige preise. seine monografie ist in arbeit und wird demnächst erscheinen.

Shoko Mugikura

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Victoria Sarapina
von tätern und opfern

die russische avantgarde gilt als inbegriff für kreative moderne der 1920er jahre. stalin beendete das utopisch-optimistische experiment, so das klassische narrativ. ist es wirklich so? in meinem vortrag möchte ich die zusammenhänge zwischen historischen entwicklungen, gesellschaftspolitischen positionen und gestalterischen visionen aufzeigen. es geht um die rezeption der rolle der großen designer, die auseinandersetzung mit ihrem werk, ihrer gesellschaftlichen verantwortung und ihrer schuld(?).

Victoria Sarapina

grafikdesignerin mit russischen wurzeln, selbständig unter der firmierung manufaktur für grafikdesign, herausgeberin des designkritischen magazins »schwarzdenker«. im ehrenamt als botschafterin für kyrillische typografie bei der typographischen gesellschaft münchen, aber auch in ihrer vortragstätigkeit und publizistisch setzt sich victoria intensiv mit dem typografischen erbe russlands auseinander. mehr über russische schrift in ihrem online-magazin ›kyrillisch, mon amore!‹ unter kyrillisch.info

freitag, 26. august

Lisa Huang
what is nüshu?

in china, women were not authorized for centuries to learn how to write or read chinese characters. but as it was access to chinese characters only that was forbidden, a group of women from a remote region (jiangyong, hunan) developed their own writing system, for their own use, without any ›formal‹ education. this lecture will take you through this peculiar writing system, its particular story and history, and, beyond being a way to communicate, what it created in parallel: the nüshu culture.

Lisa Huang

lisa huang 黄丽莎 is a type designer specialised in latin and chinese scripts, currently based in nantes, france. her interest in type and typography focuses on multi-cultural works, especially those mixing latin-french and chinese writing systems which mirrors her life as a multi-cultural human.

Alice Savoie
invisible women: the contribution of type drawing offices to twentieth century type-making

design histories have largely overlooked the activities of many anonymous contributors to the type-making processes throughout the past century. hence, little is known that type foundries employed women as part of departments that were alternatively known as drawing studios, type drawing offices, or departments of typographic development. these women worked daily on developing and producing typefaces that were, eventually, almost always attributed to male designers. the ›women in type‹ research project led at the university of reading (uk) intends to address this oversight to provide an accurate account of these women’s contribution. alice savoie will discuss the particular case of the work carried out in the type drawing office of monotype in the uk between 1910 and 1990. in a wider perspective, this talk will advocate a more inclusive and collaborative view of design history, and of its narratives.

Alice Savoie

is a graduate from école duperré and école estienne in paris, and holds an ma in typeface design and a phd in type history from the university of reading (uk). between 2008 and 2010 she joined monotype as an in-house type designer, working on custom projects for international clients. she has been working as an independent designer and researcher ever since. her own typefaces include capucine (process type foundry), faune (cnap/imprimerie nationale), romain20 (205.tf) and lucette (futurefonts).

she currently teaches type design at écal lausanne (ch) and supervises research projects at atelier national de recherche typographique in nancy (fr). from 2018—2021 she was the principal researcher on the leverhulme-funded ›women in type‹ project at the university of reading with prof. fiona ross. she co-edits the pamphlet collection at poem editions with jérôme knebusch, and is a member of the atypi and alphabettes networks.

Annie Bocel
drawing the movement, cutting the type punch: a story of transmission

why did we choose the title drawing the movement for a book that is above all a practical manual on the engraving of type punches?

because we wanted to capture what cannot really be fixed in a book and yet it is something absolutely crucial when learning a craft: the positions of the hands, the body, the right gestures, in a word the movement. the knowledge of the engraving of typographic punches was transmitted until now in france in a quasi confidential and oral way between master and pupil. the current context leads us to think differently about this transmission today and to see in a new light this process which may not have said its last word. it is in this spirit that annie bocel proposes to share with you the universe of the punchcutting through her experience of the transmission lived with nelly gable at the cabinet des poinçons of the french national printing office.

Annie Bocel

after graduating from the estienne school in paris, annie bocel became a student of jean-luc seigneur, a specialist in embossing, and improved her technique of printmaking in various parisian workshops. she then followed a transmission within the framework of the master of art and student program set up by the french ministry of culture, by learning the engraving of typographic punches (first step of the typographic chain developed by gutenberg in the 15th century, the engraving of typographic punches has recently been registered in the inventory of french cultural and intangible heritage). with nelly gable at the cabinet des poinçons of the french national printing office.

today, annie bocel is an artist and engraver located in the north of finistère in france. she develops series of prints in intaglio and embossing on the theme of nature, time and its imprint. concerned by the current issues about punchcutting, she aims today not only to value this know-how but also to question the typographic creation under and through the prism of engraving.

Elisabeth Kopf
alphabet of life – nature-inspired design and innovation

a plant louse as a font designer, a wild bee building the perfect dormitory and green leafs producing free energy – the ecosystem of a tree is inhabited by countless tiny architects, designers and energy and waste managers. looking at this natural system and its creatures through the lens of biomimetic design reveals brilliant solutions for complex challenges of our times. plants, animals, funghi and myriads of microorganisms live together perfectly circular, and it‘s not just a footnote to mention that the tree‘s mycorrhiza is by far more profitable than any broker on wall street.

this lecture shows a few examples of circular innovation, which are inspired by nature and designed by biomimicry thinking. biomimicry (bio meaning life, mimicry meaning to imitate) is a design approach which is based on 26 evolutionary design lessons from nature: the 26 life principles. they are an alphabet of life and a design guide for a sustainable future.

Elisabeth Kopf

lives and works in vienna and vorarlberg. autodidactic studies and projects led to the opening of the studio design buero baustelle in 1999. national and international clients as well as self-initiated projects keep her and a higly transdiciplinary network busy. her work stands for cross-border-thinking, for conceptual and progressive design and she is relentlessly engaged with future-oriented initiatives. she is the founder of babylon design school, a playground for passion, fantasy and creativity, and she has co-initiated the research, education and exhibition project alphabet of life – nature’s learning lab. since 2004 she has a teaching position at the university of applied arts vienna. member (and fromer board member) of agi – alliance graphique internationale and of design austria.

www.elisabethkopf.com
alphabet-des-lebens.net

Lucienne Roberts
you’re a long time dead

influenced as much by feminism as swiss typography, lucienne’s is a design journey from utopian zeal to dystopian dilemma – and back again. having always considered graphic design to be a political act, she and colleagues have curated / designed exhibitions about graphic design in health and politics (can graphic design save your life? and hope to nope: graphic design and politics 2008–18), worked on multiple ngo campaigns; helped spread the word about climate change; and most recently developed the installation perhaps it’s not you, it’s me. in which lucienne contemplated the unthinkable – ›leaving‹ her long-standing partner graphic design! here she explains why she’s embracing change before it’s too late.

Lucienne Roberts

lucienne roberts agi, honfistd is founder of design studio lucienneroberts+ [lr+] and co-founder of advocacy initiative graphicdesign& [gd&]. a graduate of central saint martins in london, lucienne’s practice is characterised by her abiding interest in ethical design and her belief that design is a political act. lr+ work spans exhibition design, books and corporate identity. recent projects include the installation perhaps it’s not you, it’s me. at a–z presents, berlin and 2d-design for the cooper hewitt, smithsonian design museum nyc exhibition underground modernist: e mcknight kauffer. lucienne’s books include good: an introduction to ethics in graphic design and she was hmct typographer-in-residence 2018 at artcenter, los angeles. gd& creates vivid books and exhibitions that explore how graphic design connects with all other things. projects include the originating and co-curation of two critically-acclaimed london exhibitions: can graphic design save your life? and hope to nope: graphics and politics 2008–18. lucienne is currently royal academy of engineering visiting professor in graphical communication for the school of engineering at the university of southampton.

www.luciennerobertsplus.com
www.graphicdesignand.com

Charlotte Rohde
the feminine urge to know why™

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Charlotte Rohde

ist eine typografin, künstlerin und lehrende, die derzeit in amsterdam lebt und arbeitet. charlottes praxis wurzelt in ihrer forschung über schrift als angewandtes oder experimentelles werkzeug zur untersuchung von hyperfemininität, popkultur und (selbst-)kontrolle.

charlotte entwirft schriftarten, poster, bücher, skulpturen und rauminstallationen, schreibt gedichte und essays, gibt workshops und ist derzeit juniorprofessorin an der bauhaus-universität weimar.

gemeinsam mit vivien hoffmann gründete und unterhält sie das fundraisingprojekt soliType, mit dem sie spenden für menschen, die zuflucht in der europäischen union suchen, sammeln.

samstag, 27. august

Verena Panholzer
design patterns – modular systems

grafische ausdrucksformen und künstlerische off- und online-konzepte als designsprache.

Verena Panholzer

verena panholzer ist art direktorin und gründerin von studio es, einem studio für visuelle kommunikation in wien. aktuell lehrt sie an der akademie der bildenen künste in stuttgart als auch der universität für angewandte kunst, wien.

Anna Weinzettl
mit den händen lesen

wie lesen blinde menschen? ist es sinnvoll diese tastbaren zeichen für sehende zu übersetzen? wo sind die chancen und wo die grenzen von inklusiver gestaltung? diesen fragen geht anna weinzettl anhand des kinderbuchs ›wo ist luna?‹ auf den grund.

Anna Weinzettl

gestaltete in ihrer ausbildung an der graphischen eine schrift für blinde und sehende und gewann damit ein stipendium für die miami ad school europe. neben ihrer arbeit als designerin entwickelte sie das inklusive kinderbuch ›wo ist luna?‹ und gründete den brailleverlag luckydots.

Lida Lopez Cardozo Kindersley
taptaptap … type

drawing on paper, cutting in stone, engraving in glass and generally creating any kind of shape by hand will lead to designing original typefaces.

among those who made letterforms by hand were edward johnston, the great calligrapher who designed the lettering for the london underground; john miles, who cut type by hand at the enschedé printing house in holland and designed the typeface on our own post office delivery vans; and of course, herman zapf and his super-talented wife gudrun, who started off as pen-letterers. likewise the roll-call of lettercutters in stone who have designed typefaces include john baskerville, eric gill and of course david kindersley.

to design a useful, elegant and robust face we need to be closely connected to the real world. if we give up working with our hands in conjunction with our brains we are on the slippery slope leading to poverty of design and slavery to machines.

Lida Lopes Cardozo Kindersley

is dedicated to the increase of good lettering in the world and loves cutting letters in stone and other materials. she designs typefaces; runs the cardozo kindersley workshop in cambridge; trains apprentices there in lettercutting by hand and writes and publishes books on all these subjects.

lida studied graphic design at the royal academy in the hague before joining lettercutter, typographer and sculptor david kindersley in 1976 as an apprentice in his cambridge workshop. she and david, one-time assistant to eric gill, married and worked together until david’s death in 1995. lida has since run the workshop with the help of her second husband graham beck; her assistants include her sons hallam and vincent kindersley, as well as vincent’s wife, roxanne.

teaching is a vital part of workshop life: lida and the workshop make letters in stone, glass, metal, wood and on paper – including headstones, commemorative plaques, heraldic carving, sundials, bookplates, typefaces and lettering cut straight into buildings. they cut with hammer and chisel and avoid using machines. they design, cut, paint, gild and prefer to fix all their own work. over the decades since 1946, the workshop has undertaken thousands of commissions, large and small, from private individuals as well as public bodies. examples can be seen at the british library (entrance gates), the british museum, westminster abbey, st paul’s cathedral, st giles’, edinburgh, every one of the cambridge (and many of the oxford) colleges and in countless cemeteries and churches across the uk. they can also be found in continental europe, africa, north america, australia, china and japan.

lida is passionate about handing on her knowledge to future generations. as well as writing and publishing numerous works on lettering and workshop practice, she has conducted workshops, exhibited and lectured across the uk and on the continent; and has featured on radio and tv. in 2015 she was awarded the mbe for her services to lettercutting.

Min-Young Kim
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Irene Vlachou
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Irene Vlachou

is a typeface designer based in athens. she holds an ma in typeface design from the university of reading. she has collaborate with international type foundries and corporations, working as a typeface designer and a consultant for greek typefaces. from 2013—2019, she was a senior designer and variable font expert at type-together. she currently works full time, as a freelancer typeface designer, specialising in oem/system fonts. on behalf of the greek open source community (gfoss), she is a mentor on the expansion of greek libre fonts for the gsoc (google summer of code) program. for the spring semester of 2022, she is an artist-in-residency at la becque and a visiting professor at the master program of typeface design at ecal, lausanne. her work includes: colvert greek (2012, typographies.fr), parmigiano greek (2014, typotheque), samsungone greek (2016, brody associates), ll bradford greek (2016, identity for documenta14, laurenz brunner), ll unica77 greek (2017, lineto), stratos greek (2018, production type), fauxfoundry and fauxgreek parametric font (2019), sauberscript greek (2020, typejockeys), amstelvar, (2020, fontbureau) and redesign of roboto and noto greek fonts (2021, google fonts).

Alexandra Bell
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sonntag, 28. august

Shoko Mugikura
on designing with unfamiliar scripts

how to create a piece of design that contains unfamiliar scripts? shoko mugikura of just another foundry will show curious uses of japanese characters by western designers as well as latin letters by japanese designers, and discuss the pitfalls both have in common.

Shoko Mugikura

shoko mugikura is a typographer from japan. she studied communication design at the musashino art college in tokyo and book design at the university of reading. since 2010 she runs just another foundry together with tim ahrens.

justanotherfoundry.com

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workshops

buchbinden
Andreas Ortag, Babsi Daum

wir binden ein eigenes buch (wer will und flott arbeitet auch mehrere). für zeichnungen, notizen, als tagebuch. zur auswahl stehen eine schweizer broschur mit 8-seitigem karton-umschlag und ein hardcover-band in halbleinen-ausführung, beides fadengeheftet ­— muster zum gustieren legen wir bereit.

um zeit zu sparen, werden wir alles benötigte material fixfertig zugeschnitten mitbringen: zweierlei papiere für den kern, vorsatzpapier und umschlag-karton in verschiedenen farben, pappen für die buchdecken, desgleichen nadeln, garn, leim und alles was sonst noch benötigt wird auf dem weg zum fertigen buch. wer will, kann natürlich auch eigenes material verwenden. achtung: laufrichtung aller materialien parallel zu buchrücken. teilnehmer·innen des workshops erhalten vorab eine werkzeug-checklist.

Andreas Ortag

geboren 1955, 1978—1983 akademie der bildenden künste in wien; maler, (druck-)grafiker, typograf und grafik-designer. 1991 bis 2018 auch als lehrer an der ›die graphische‹ in wien tätig. ausstellungen und publikationen seit 1972. organisation von und teilnahme an symposien und workshops im in- und ausland. artist in residence in paliano bei rom, italien und in westport, irland. lebt und arbeitet in karlstein an der thaya (8 km stromaufwärts von raabs).

Babsi Daum

geboren 1966 in karlsruhe/deutschland, lebt in wien; 1988—1993 studium an der hochschule für angewandte kunst wien, seitdem freischaffend in den bereichen graphik, buch- und papierkunst, rauminstallation tätig. walter koschatzky preis 1993, bayrischer staatspreis und talentepreis 1996; 2001 geburt der tochter paula; 2010 mitbegründung der künstlerinnengruppe o.r.t.; zahlreiche ausstellungen im in- und ausland, ausstellungsreihe »arbeit in auslage« seit 2008.

www.babsidaum.at

japanische kalligraphie
Shoko Mugikura

in diesem workshop lernen wir den grundlegenden stil der japanischen kalligrafie: kaisho. unter den verschiedenen kalligrafischen stilen gilt kaisho als die offiziellste form der schrift, sowohl in china als auch in japan. kaisho hat auch den stärksten einfluss auf die heutigen drucktypen. wer japanische typografie und schriftarten kennenlernen möchte, für den ist das erlernen dieser kaisho-kalligrafie ein unterhaltsamer und effektiver weg. (es ist auch eine interessante methode, über den grundlegenden unterschied zwischen lateinischer und ostasiatischer typografie nachzudenken.)

Shoko Mugikura

shoko mugikura ist eine aus japan stammende typografin. sie hat kommunikationsdesign an der kunsthochschule musashino in tokio und buchgestaltung an der universität reading studiert. seit 2010 betreibt sie just another foundry zusammen mit tim ahrens.

justanotherfoundry.com

glyphs-erste-hilfe
Rainer Erich Scheichelbauer

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Rainer Erich Scheichelbauer

studierte philosophie und niederlandistik an der universität wien. unterrichtet typografie und schriftgestaltung an der ›die graphische‹, miteigentümer der firma glyphs, für die er auch workshops und internationale vorträge hält, gründete 2015 das schriftlabor, wo er sowohl mit seinem team schriftgestalter·innen technisch unterstützt als auch originäre schriftentwürfe erstellt. für die tga hat er gerard ungers (1942—2018) ›terwijl je leest‹ (›wie man’s liest‹) übersetzt, eine übersetzung von gerrit noordzijs (1931—2022) ›de streek‹ (›der strich‹) ist in vorbereitung.

ausstellungen

Ursula Hochuli-Gamma

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Simon Peter Bence

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Maria Vill

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Thomas Laubenberger-Pletzer

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Rolf Rehe

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