letterspace is platform situated in Amsterdam, and as of 2018 is hosting a monthly series of lectures about experimentation, innovation and research in type.

As hosts, we are interested in expanding more traditional definitions of type (design) established within education programmes and institutions. We are excited to welcome a lively and diverse group of artists, designers and researchers to explore type happening in Amsterdam.

Ramiro Espinoza has generously co-sponsored this season with his Retype foundry and we are happy to finally have him on stage at letterspace. With his research and revivals of vernacular lettering in Amsterdam he did a great service to the local design community that uses his digitized versions of letters originating from buildings and bridges. These typefaces are unique to Amsterdam and regularly find there way back into its environment. Ramiro has prepared a new lecture for letterspace, where he will share the cycle of his Amsterdam-based lettering journey.

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We count ourselves lucky that Cecilia del Castillo Daza is spending time in Amsterdam at the moment for an Erasmus exchange. Her research topic delves into a subject we had some prior knowledge of, but that we are eager to learn more about.

How come blackletters are popular in Mexican street culture and developed their own particular stylistics? Cecilia will also present two of her typefaces; Valedora that is inspired by her research and combines the Mexican Blackletter with Rotunda Gothic calligraphy and a new project developed during her time in Amsterdam.

With lots of joy, we welcome back our former studio-mate and co-founder Diana Ovezea and her colleagues Barbara Bigosiska and Rafa Buchner.

The three will launch their long anticipated foundry, that has been publishing their typefaces through platforms like Future Fonts and I Love Typography. Next to presenting the website and the process of establishing a company, they will also show some recent work they have been doing in the service of other foundries and big design companies.

Make sure to be there, it will be a Blast!

With the emergence of spring that brings colour and sunshine into our lives, our next speaker could not be a better fit. Thom Niessink is known for his excellent lettering skill, that he autodidactically acquired next to his education as a graphic designer. Next to an online portfolio and instagram, he publishes his work in a colourful zine called Some Of My Work, printed on newsprint paper.

While his design process is mainly digital, we are happy to be back at Grafisch Werkplaats Amsterdam, where a lot of the history, that Thom is inspired by can be seen and hands-on experienced.

Presenting a typographic agenda towards the end of last year, we will start this year with another calendar-based talk.

gebr.silvestri is a design studio located in Amsterdam since 1994. The two brothers of Swiss origin work as art directors and graphic designers in the second and third dimension, producing visual solutions in a wide area of media. Their projects range from brand identities, books, online, through products, to exhibition and set design.

Since his first appearance at letterspace, about a year ago, David Millhouse has been visiting our lectures regularly and has paid visit to our new studio at Lauriergracht. Meanwhile we have become increasingly curious about the conceptual methodology behind his typefaces. Details clearly derived from digital environments and restrictions, combined with classical typographical forms, result in an interesting hybrid of old and new.

We are happy to invite him to open our season at GWA and tell us more about his approach, goals and interests.

ukasz Matuszewski (1994, PL) is a graphic designer based in Amsterdam. He grew up in Warsaw where he studied New Media Arts in 2015. In 2017, ukasz moved to Netherlands to study at Graphic Design department at Gerrit Rietveld Academie. He is currently working on his graduation project related to his interest in amateur typography. The project is an archive of letters made by his Polish friends and family who do not have any background or knowledge in typography; amateurs.

36 Days of Type is a project that invites designers, illustrators and graphic artists to express their particular interpretation of the letters and numbers of the Latin alphabet. This year letterspace decided to join the open call in order to showcase the platform, our involved speakers, and guests. From March 2nd until April 9th we will post a letter of number a day on our minisite 36.letterspace.amsterdam and our social media accounts on Twitter and Instagram.

Because of the global health crisis CoViD-19, we are not able to facilitate our monthly meeting with the guests mentioned below.

We hope you are safe and that we will be able to pick up our programming as soon as possible.

530 type club is a recent initiative from students within the graphic design department at ArtEZ, Arnhem, who have formed an independent collective interested in all things type design. When classes are over for the day, students organize themselves at 5:30pm on a weekly basis and engage in a variety of experiments and explorations of type.

Since its introduction at AtypI 2016, OpenType Font Variations have been a buzzword in the typographic and type-design community. Yet some skeptical voices doubt about these variable fonts having any practicality beyond their bandwidth-saving aspects for web-use. The example of the Amsteldok Campus designed by VBAT in collaboration with Fontsmith illustrates how variable fonts can be applied in smart, useable and iconic ways. We are really excited to start the letterspace fall season with a talk by Graham Sturt and Pedro Arilla about this project.

Janno Hahn (Enkhuizen 1980) likes to call himself a semi-autodidact, even though he studied at the Graphic Lyceum in Amsterdam, the Royal Academy of Art in The Hague and the Plantin Institute of Typography in Antwerp. He left each study in the second year, deciding he had seen enough. In between those years he worked at various well known graphic design studios.

Since 2006 he operates under his own name, working in the field of printed and spatial type design, typography and graphic design. Besides commissioned work by various types of clients and collaborations, he also works on autonomous type and art projects.

If you thought that Comic Sans is the typeface used to fill in the speech-bubbles of comics, think again. There are not enough OpenType features in the world to replace the flexibility and experienced hand of a skilled hand-writer. In cooperation with the BNO we invite Frits Jonker to introduce us to this undervalued profession. He will also present a rich collection of fabulous alphabets he created as a side-practice.

We are looking forward to a rich evening of type-related projects. Donald Beekman is known for hosting Typeradio together with Liza Enebeis, and his letters and logos are featured across the city of Amsterdam. Donald Roos recently released a book and a game that help with time management and a platform to share corporate identities with clients. In addition he makes typography for movie-titles. Together Donald and Donald run the foundry VetteLetters: a home for bold, greasy and eccentric typefaces.

Type was invented to communicate with the same goal as the spoken word: create understanding. But like the spoken word, type also communicates with its tone, its volume, its gestures, type is multimodal, it is integrated with other semiotic means of expression such as color, texture, three-dimensionality, or movement. In this talk Marta Cerd will present her work and the different ways it brings typography together with other disciplines.

Edgar kept a lot of different type projects moving simultaneously this year: he released his typeface Logical through Bold Monday while continuing to work with them on the extension of IBM Plex. He will show how his ambitions lead to a whole set of technical issues that required new approaches in the final production of his extensive typeface.

Though there is no actual type design department at the Gerrit Rietveld Academie, graphic design graduates continue to develop typefaces that influence the graphic-design scene and cultural publications in Amsterdam and beyond. The next letterspace will therefore highlight the ongoing work of three recent Rietveld graduates, who will discuss their research, influences and methodologies, as well as their experiences as autodidacts in an increasingly professionalising type world.

Mark van Wageningen is the founder of Novo Typo, a (typo)graphic design studio and foundry based in Amsterdam, The Netherlands.

In January 2015 Novo Typo started the Typewood / Bixa Color project. Typewood is a research project about designing, deconstructing and transforming multi-colored digital typefaces into wooden type for letterpress. In 2016, this project was followed by Hotmetaltype project Ziza. Both projects try to show the future of chromatic typography by re-inventing and deconstructing history. In March 2017, van Wageningen published the Novo Typo Color Book about the technical and editorial possibilities and challenges of contemporary chromatic typography. These achievements have been awarded by the TDC New York and ADC Netherlands among others.

As designers we often take our tools as a given. Fonts are black and white, and we might decide to add color, to stack, extrude or animate them in an extra process. With new font formats such as colour fonts or the most recent craze: variable fonts, the gridlocked ways of thinking about typefaces have become more malleable.

The platform Animography by Jeroen Krielaars, is among the pioneers that keep pushing the boundaries of possibilities within font-formats. Animography locates itself today primarily in motion-design circles, since its solution for animated typefaces is currently limited to the Adobe AfterEffects environment.

We are excited to host Jeroen Krielaars as he presents his library of moving and colourful fonts, and hope that some fruitful new connections might be initiated in our space. 152ee80cbc

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