Petr van Blokland

Lab Discussion: Hints on how to start a studio. A small scale discussion.

More of this during the free Lubalin Lecture on Monday June 15th, 6:30 PM.
Words: We use them for everything we make, including the body of this message. Yet, we know so little about them. Words. Where does meaning come from? Or betekenis? Or the eppnophonics of a story? Why is writing so hard and reading so easy? A lecture about the process of creation and the education of design. About the flow of language and the typography of text. About bullet lists and code. And what is likely to be the next etcetera.
Register here

This talk is scheduled for Sunday, June 14 at 4:30pm as part of the main Typographics conference schedule. You must register for the Typographics conference to attend.

About Petr van Blokland

Lab Discussion: Hints on how to start a studio. A small scale discussion.

Born in Gouda, The Netherlands, in 1956, Petr van Blokland graduated Cum Laude from the graphic arts program at the Royal Academy of Fine Arts in the Hague. He has been a freelance designer since 1980. He specializes in systematic design – typically building directories, forms systems, corporate identity programs, etc. He has taught graphic design, typography, and type design for many years at the Royal Academy of Fine Arts in The Hague and at the Academy of Fine Arts, Arnhem. His first typeface is Proforma, a large series commissioned by Purup, Danish manufacturer of forms preparation systems, now released for general use by Font Bureau. His work brought him ATypI’s coveted Charles Peignot Prize in 1988. His statements on typeface design are well-known: On Quality “The same bottomline that applies to typography also applies to typefaces: when no one notices, the aim has been accomplished.” On Experience “To be accomplished in all aspects of the design process is the fundamental demand on the designer. Experience and talent counts, not the availability of equipment.” On Digitization “By carrying out the digitization as an integral part of the design process, maximum control is exercised over the eventual reproducing of the typeface, thereby avoiding any errors of interpretation.” On New Typefaces “Why design a new typeface? After all, there are so many. There is a misconception that typefaces are not designed. They are simply here. Yet new typefaces are designed and this need is increasingly present in view of the current technological advances.”

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