Why should we set a book in Roman letters? And why not? Why should we justify the lines? Can we justify them to the left? And the margins? Do they have to be equal or unequal? Do they have to be wide or narrow? Can we start a chapter on a left-hand page? Why not?
That's How a Book is Made sets out to answer these and many other questions. It explains why books have acquired their current form and how we can continue to make them in the twenty-first century. It isn’t a manual of rules, but an exploration of each element of the paper book, which has become a reading artefact that is hard to improve on.
This text has been designed for anyone interested in graphic design, publishing and books in general: from those who give form to text as design professionals and lovers, to those who write them or devote themselves to publishing a work, as authors, editors or proofreaders.
You can listen to the talks: Iconic Aspects of Writing Systems, by Juan Carlos Moreno Cabrera, and The Arabic Experience, by Andreu Balius, that were given at the Writings and Typography Conference last November at the Design Museum.
There are a great many projects that are conceived to take shape in the pages of a book, but the possibility – or the temptation – often arises of displaying the photographs in an exhibition room. This change of format requires consideration of the contents from another point of view: it isn’t enough to export a sequence onto the wall as the viewer’s perception does not work in the same way it does through the pages of a book. The size of the photographs, the type of paper, the frames or the absence of frames, and above all, the relationship with the space – the three-dimensional nature – are essential elements in creating a specific formalization.
To this effect, the talk will analyse examples of exhibitions based on books and of books based on exhibitions. And, of course, participants will be able to see some copies live. We will see how a solo exhibition is prepared, and a themed exhibition, which was part of a Triennial, where the sequence of the creators and the spatial location became the protagonists.
Alejandro Castellote (Madrid, 1959), a photography curator since 1982, has curated a great many national and international festivals and exhibitions: PHotoEspaña International Photography Exhibition Padiglione Italia at the Tenth Architecture Biennale in Venice, the GETXOPHOTO Festival in Getxo, Bilbao, Biennal Photoquai in Paris, Seoul Photo 2010, Daegu Photo Biennale in South Korea or o Image Triennial in Guangzhou, China, among others.
He has also worked for Editorial Lunwerg and was advisor to the C Photo Magazine by Ivory Press, London. At an academic level, he has taught classes and workshops in universities and schools of art and he has run the Latin American Master’s in Contemporary Photography at the Image Centre in Lima.
In his over 20 years of experience, Maurici Ginés has contributed to the lighting design of over 400 national and international projects, including museums and exhibitions, residential and corporate, leisure and retail, hotels and restaurants, natural light, urban and landscape lighting, master plans and media, and façade projects.
With offices in Barcelona and Mexico City, he has developed a unique lighting design process that emerges from the conceptualisation of ideas and development of design strategies.
The bond constructed with the characters photographed, the process of taking their photographs, how he managed night-time visits to industrial estates, fear, friendship, death and loneliness are some of the subjects that emerged in the debate with the students.
Néstor Rives (Sant Just, Barcelona 1988) is a graphic designer and photographer.
He has worked on photographic projects since 2013. In the majority of his work, he uses a hard and dark look aimed at documenting everyday subjects we don’t normally pay attention to but that, whether we like it or not, make up what we are as persons and as a society.
Selected for Descubrimientos PhotoEspaña 2016, Scan PhotoBook Tarragona 2016 and 2018, Biennal Art Contemporain JCE 2017, PhotoAlicante 2018, PA-TA-TA Festival 2017 and 2018, and others.
The jury, which included Folch Studio, Cruz Novillo and Pati Núñez, highlighted her merit in "opening up a path in typography in Spain. When the digital universe was just a dream in the 1990s, Laura made a commitment to follow this route, and today she has become a benchmark in digital type design. Since then, her dimension as a typographer and the quality of her work has grown, earning her wide national and international recognition. She is, in addition, one of the people who has contributed most to the dissemination of typographic culture in Spain, be it through her participation at numerous conferences and typographic events or as a teacher at the leading design schools in the country. Laura is an intellectual in typography, a subject that the majority of Spanish professional designers have not yet passed.”
Miquel Puig will be giving a talk on "Design, Respecting the Illustration", as part of the specialisation course in Illustration for Children's and Teenagers' Publications, where he will speak of his extensive experience as a graphic designer who works frequently with publishers and other clients aimed at a children’s and young people’s public, at their families, educators and related people, for whom he has had to undertake and work on illustrations of very different characteristics for various authors.
Cover illustrated by Meritxell Duran and designed by Miquel Puig. Junceda Award 2011. Prize for Illustration, Book Design and Cover Design at Visual 2010
The Master's in Advanced Typography is organising the Writings and Typography Conference, where it proposes debate and reflection based on the talks by experts and professionals in the field.
Thursday 22 November
6 pm. Juan Carlos Moreno Cabrera Professor of General Linguistics at the Autonomous University of Madrid Iconic Aspects of Writing Systems Roman, Chinese, Korean and Japanese writing
7.15 pm. Letterjuice / Pilar Cano & Ferran Milan Typeface designers Typography Beyond Western Europe Approach to design of other writing systems, such as Thai, Arabic, Cyrillic, Greek, Hebrew, Armenian, etc.
Friday 23 November
6 pm. Pere Farrando Proofreader and teacher The Weft of Text Matter and properties of typographic text
7.15 pm. Andreu Balius Typeface designer The Arabic Experience Arabic typeface design from a multicultural perspective