Type-graphic 1: typographic knowledge and consciousness
Year 2020, the “millennium” generation is almost an adult generation, time of first budgets and verifications of forecasts or prophecies, but also of comparisons with the past. As far as typography is concerned, we have witnessed the “classic” phenomena since the end of the century, such as the alternation of innovative currents and the reaffirmation of conservative points of view. The evolution of the media in function of the total message, imposed by the new space-time of the network, has involved inevitably areas more and more extraneous to the typographic world, so that the evolutionary focus, this time, has not included – also – typography. Contrary to what happened after the previous technological revolution (pc), in fact, “internet” has not encouraged a sensitive and discontinuous evolution of typographic “taste”, with a consequent specific refinement of the related techniques. The interest in typography and the care for details that determine its (necessary) quality, do not reflect the role that the typography itself, as an essential element of everyday life, covers instead authoritatively. Typography will always remain bound by functionality or the task of transmitting verbal information (mirror of spoken language), creating physicality and memory (not only visual). In a society now deprived of mnemonic capacity, this aspect is more current and programmatic than ever before.
Course type: group course
Start/end of course: to be defined
Number of participants: minimum 5
Duration: 64 hours
Course attendance: bi-weekly on Friday and Saturday
Cost: 1.100,00 €
*50% adjustment for students / teachers / students / teachers / RUFA Staff
*10% discount for AIAP members
*Adjustment of 10% for ADI members
*Adjustment of 10% for OAR members – Order of Architects of Rome
Deadline for registrations: to be defined
Lecturer: Antonio Pace
Prerequisites: diploma, degree or ongoing studies in graphic design. Ability and experience in design and layout of typographic works. Basic knowledge of the most popular graphic design software (drawing, composition and layout). Possible knowledge of English.
Location: via Benaco, 2
To be defined.
The course “type-graphic 1” is aimed at a pool of professionals or students, such as graphic designers, web designers, exhibition designers, designers, architects, publishers, printers, artists and calligraphers. It offers a structured program for design results specifically enhanced through typographic qualities. It will therefore be a basic objective of the course to update knowledge of typographic techniques (font choice, definition of body / line spacing / justness / alignments, matching of different styles and more). Once the basics are assured, the attention will shift to progressive steps in the field of layout and structuring of the various typographic supports/contents (page, poster, exhibition space, public space). At the end of the course students will have a typographic training without nostalgic interpretations or, simply, a “cosmetic” matrix in favor of a current approach, technically correct and oriented to sobriety and functionality. On the basis of this scenario, the technical-conceptual tools provided are suitable to redefine typography as a founding element of its design and commercial offer.
The course will take place in four blocks of two working days (Friday and Saturday) each. In virtue of a progressive structuring, the most significant steps of the typographic (historical) evolution will be retraced, deepening, in practical workshops, the understanding of the respective concepts involved. Among the most useful and current ones, the innovations made during the 20s and 30s of the last century, later developed into real schools of thought on an international scale, stand out. The practical projects will focus on the dimension of the technical exercise and will focus on concrete themes. The presentation of the various themes in theoretical units will prepare for relevant layout exercises, to be carried out in the classroom using only typographical material. All modules will be structured according to an adequate integration between theory and practice.
I. Typographic techniques
Introduction and exploration of the basics of form and typographic function;
Typographic techniques, hierarchies, proportions, contrasts, chiaroscuro, spaces, formats, rhythm, stylistic combinations, text/form, text/image;
Laboratory (e.g.): design and layout of a brochure (sixteenth) interpreting a given text (interview, report etc…);
II. “Asymmetrical typography
The module takes its name from the famous treatises with which Jan Tschichold revolutionized typography forever, creating new standards for graphic design in general.
“Composing with empty space”, creating functional spaces by intervening on the relationship between empty and full, aiming at a typographic structuring characterized by a strong dynamism; concepts particularly suited to the needs of today’s visual communication, resulting from the management of complexity, simultaneity and quantity of content.
A typographic approach that allows, moreover, to think about variable fruition models, structured according to contingent objectives and characteristics of the target groups.
Laboratory (e.g.): design of series of covers, posters and pages of a site.
III. The typographic grid, between rationality and intuition
The introduction of the grid is part of those innovations that have made typography a central element of the designed graphics.
In-depth study of the grid as a design philosophy. Different types and methods of defining typographic grids will be taken into consideration: from the golden proportion to the subdivision of the supports into functional modules. We will try to understand this tool in its main qualities, following above all the characteristic application line for the Swiss typography (or international style). Complex issues due to the engineering imprinting, it will be treated adequately, looking for a location both conceptual and technical suitable for the type of problems faced in the graphic design currently.
Laboratory (e.g.): logical development of layout for a book and creation of double exemplary pages, interpreting a poetic text.
IV. From typography to type-graphics: graphics become art again
The history of typography is inseparable from the evolution of reproduction techniques. If flat printing has freed the mark from extremely penalizing constraints on the aesthetic side, “glass” has decreed a further step towards increasingly free forms, opening up to important and new potential composers.
In this module we will try to apply all the themes dealt with during the course, according to logic or intuitive methods. The final goal is the mastery of thought and typographic material that allows you to imagine a completely typographic design. A world, therefore, in which typography develops moments of interest and evocative qualities, without neglecting the basic technical notions, the optical laws or the historical location of the forms still in use.
Laboratory (e.g.): development of exhibition layout (using forms, techniques and typographic materials) to present and enhance the results achieved during the course.
Antonio Pace was born in Rome in 1968. He graduated in 1995 in Visual Communication with a specialization in Grafikdesign from HfG Offenbach, University for Art and Design in Frankfurt am Main. In 1996 the Antonio Pace grafikdesign studio was founded in Frankfurt and in 1999 the collaboration with Linotype for the design of typefaces began. Between 1995 and 2000 he worked on the development of Linotype Gianotten, a family of typefaces in Bodoniano style, designed on originals preserved in the Bodoniano Museum in Parma. Between 1998 and 2008 he founded AReA Deutschland, a branch of the international network of AReA Strategic Design (Frankfurt) then partner of the Inarea network, with specialization in corporate branding. Between 1998 and 2004 he developed many projects in the field of corporate, brand identity and corporate communication, including Bosch Telekom, Aventis Pharma, State and Government of Hesse (Federal State of the FRG), Municipality of Frankfurt am Main, Association of Power Producers in Germany (VWEW) and others.
From 2000 to 2012 he has carried out numerous corporate type design projects as a partner and collaborator of Inarea, including the City of Milan, La Sapienza University of Rome, Roma Capitale, Atac, Eni, Aci and Ac Milan. From 2008 to 2014 he collaborated with Inarea on brand identity projects, including Acea, Mumex, Adn Kronos, Gemini, Civita. In parallel to his professional activity he has held courses and lectures at universities, institutions and congresses, including HfG Karlsruhe (Karlsruhe University for Art and Design), HTW Berlin (Polytechnic Berlin), Deutscher Designer Club Frankfurt (Frankfurt designers association), Il salotto buono (Juliane von Herz Art Advisory, Frankfurt), Aiap Milano, La Sapienza University of Rome, Scuola dello Sport del Coni.
– Emil Ruder, Typography
– Vassily Kandinsky, Surface Line Stitch
– Wolfgang Weingart, Typography
– Ian Tschichold, a) The new typography
– De Stijl, 1917-1931: Visions of Utopia, Mildred Friedman
– Josef Müller-brockmann, Grid Systems
– Hans-rudolf Bosshard, The Typographic grid
– Gavin ambrose/Paul Harris, Layout
– 30 years of swiss typographic discourse in the typografische monatsblätter
– 8vo, on the outside
– Why not associates, Typography now
– David Carson, The end of Print
RUFA students: 10% discount on the chosen course
University Students: discount on the chosen course of 5% (upon presentation of the university booklet)
Course package: for those who will enroll in two or more courses, a 10% discount will be applied on the purchase of courses after the first one.
*The early bird formula can not be combined with other benefits promoted
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