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.
The latest research work "La Real Biblioteca y los hombres de letras del siglo de las luces al servicio del estado y del beneficio público” [The Royal Library and the Men of Letters of the Century of Philosophy at the Service of the State and the Public Benefit], by Albert Corbeto, teacher on the Bachelor’s Degree, the Master's in Advanced Typography and the Master's in Graphic Design, has won the “Bartolomé José Gallardo” Prize for Bibliographic Research.
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.”
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
"Baskerville’s types in XVIIIth century Spanish printing The second half of the eighteenth century is regarded as the golden age of Spanish printing, when, for the first time, the productions of leading indigenous typographers such as Ibarra, Sancha or Monfort reached levels comparable to those of the most prestigious printers of Europe. These printers benefited from the skills of various craftsmen in the art of punch cutting who freed Spanish printing from its dependence on the major European type-exporting centres. However, despite the magnificent designs by Pradell, Gil and Espinosa, the prestige of Baskerville’s work led to the attempted acquisition, in 1766, of some of his punches and matrices for the planned printing press of the Real Biblioteca. Although this transaction did not take place, some years later, the Spanish government obtained several of Baskerville’s types which were used towards the end of the century in a number of books printed by the Imprenta Real."
TypeThursday Barcelona, which is staged thanks to Álvaro Franca, Elena Peralta, Elisa Pérez, Ferran Riera, Edu Vidiella, Daniel Colmenares and Ramón Lozano, former students on the EINA Master's in Advanced Typography, with Ricard Garcia, is a monthly meeting aimed at designers who see letters when they close their eyes.
Taking part will be local lovers of letter design in all its disciplines, regardless of their level of experience. The main event is the Type Crit, a group correction of up to four current projects in letter design or the use of typography, where constructive critiques are offered.
Centcelles in Use is a collaborative project that presents the work of a number of designers, illustrators and creators, all based on the excuse of trying out and playing with a new typeface in a completely free project. All of the projects have been grouped together in an exhibition and a publication that will show the public not just the projects undertaken for this occasion, but also a presentation of each participant and their work and a presentation of the typeface in its present state.
The participants in the project are Esther Aguilà, Oriol Cabarrocas, Queralt Guinart, Paula Velasco and Albert Villegas (EINA students and alumni) and it features the collaboration of Adrià Batet, Aleix Font, Cristina Lavilla, Eva Jolis, Joan Manel Pérez, Lluís Chavarria and Oriol Vlat.
“TYPOEINA01” is the first issue of a publication on typography linked to the EINA Master's in Advanced Typography, coordinated by Enric Jardí, and to the school’s lengthy tradition in professional and academic training in this design discipline.
TYPOEINA01: From typographic detail to the organisation of space and theoretical contribution focuses on the two basic areas of training: letter design and its use in the composition of the possible graphic supports. The publication includes a selection of alphabet research and design work by students on the master’s course as well as a look back at the major figure and the role played by Josep Maria Pujol (1947-2012) at EINA and on the study and teaching of typography.
The following are the research work and typographic designs that feature:
Julia Sturm - On Typographic Superfamilies: Investigating the History, Nature and Rationale of Extended Typeface Families
Elio Salichs - The Importance of Adrian Frutiger in the Consolidation of a New Typographic Category
Laia Soler i Canaleta - Review of the Origin of the Humanistic Cursive to its Formalisation: from Niccolò to Bartolomeo Sanvito
Guillermo Bragoni - “Stampa” typeface
Natalia Weber Antón - “Stimme” typeface
The presentation will feature Pilar Vélez, director of Barcelona Design Museum, and Enric Jardí, coordinator of the publication, along with various collaborators on the master’s programme.
A copy of the book will be given to all those attending.