Workshops

Workshops

Faculty of Design and Art
Free University of Bozen Bolzano
Atelier F3.01
Prof. Antoniono Benincasa, Prof. Emanuela De Cecco, RTD Researcher Jonathan Pierini

EN | Workshops in cooperation with guest lecturers Prof. Dirk Fütterer and Regina Rammelt. The workshops are dealing with principles of typography, and letterpress printing with wooden letters. The works below have been designed by students from the Atelier F3.01 | Faculty of Design and Art.

IT | Workshops in collaborazione con i docenti il Prof. Dirk Futterer e ReginaRammelt. I workshops a che fare con i principi della progettazione tipografia/tipografica, e la stampa a caratteri di legno. Le opere qui di seguito è stato progettato dagli studentidell’Atelier F3.01 | Facoltà di Design e Arte.

DE | Workshops in Zusammenarbeit mit den Gastdozenten Prof. Dirk Fütterer und Regina Rammelt. Diese Workshops beschäftigen sich mit grundlegenden Fragestellungen der Typografie und des Hochdrucks durch Holzbuchstaben. Die unten gezeigten Arbeiten stammen von den Studierenden des Atelier F3.01 | Fakultät für Design und Künste.

Workshop: I & i

22.–26.10.2011
Prof. Dirk Fütterer
FH Bielefeld – University of Applied Sciences

EN | I & i – The ›i‹ is a lower case letter which is essentially composed of two contrasting shapes: a dot (circle, ellipse, square, rectangle, diamond etc.) and a vertical stem (or slim rectangle). The dotted ‘i’ is not only one of the most commonly used vowels of the Western languages. It is also a letter which we can relate to in an emotional way: at least the formal resemblance of the letter ‘i’ with serifs (‘feet’) to a stick figure is quite obvious. Choosing a square design format and restricting the use of color to black and white, the ‘i’ becomes an ideal element for a study of basic design principles. — During the workshop the students experimentally explored a big variety of options in composition, using design elements which had been »reduced to the max«. The workshop concluded with a presentation of the participants’ best results, showing a series of varied compositions and strong images.

IT | I & i – La ›i‹ è una lettera minuscola essenzialmente composta di due forme contrastanti: un punto (cerchio, ellisse, quadrato, rettangolo, diamante etc.) e un’asta verticale (o un sottile rettangolo). La ›i‹ puntuata non è soltanto una delle più usate vocali del nostro alfabeto Occidentale. È anche una lettera con la quale possiamo relazionarci da un punto di vista emozionale: se non altro la somiglianza formale di una lettera ›i‹ con le grazie (i piedi) con un omino stilizzato è piuttosto evidente. Scegliendo un disegno quadrato e limitando l’utilizzo dei colori al bianco e il nero, la ›i‹ diventa l’elemento ideale per uno studio dei principi del basic design. — Durante il workshop gli studenti hanno esplorato sperimentalmente una grande varietà di possibli composizioni, utilizzando elementi di design ridotti al massimo (»reduced to the max«). Il workshop si è concluso con una presentazione dei migliori risultati dei partecipanti, che hanno mostrato una serie di composizioni varie e immagini di forte impatto.

DE | I & i – Das ›i‹ ist ein Kleinbuchstabe der sich im wesentlichen aus zwei stark kontrastierenden Formen zusammensetzt, einem Punkt (Kreis, Ellipse, Quadrat, Rechteck, Raute, etc.) und einem vertikalem Strich (oder schlankem Rechteck). Die Minuskel ›i‹ ist nicht nur einer der meistgebräuchlichsten Vokale westlicher Sprachen, sondern auch einer der Buchstaben, zu dem wir eine emotionale Beziehung haben können: Die formale Ähnlichkeit mit einem Strichmännchen ist zumindest bei einem ›i‹ mit Serifen (Füßchen) offensichtlich. In Verbindung mit einer quadratischen Gestaltungsfläche und der Beschränkung auf Schwarz und Weiß (positiv und negativ) bietet uns das ›i‹ somit ideales Ausgangsmaterial für die Auseinandersetzung in der elementaren Gestaltungslehre. — Im Workshop haben die Studierenden eine Vielfalt an Kompositionsmöglichkeiten durch eine maximale Reduktion der gestalterischen Mittel (»reduce to the max«) experimentell erforscht. Abschließend wurden die besten Ergebnisse in Form einer kontrastreichen und spannungsvollen Bildserie dokumentiert.

www.institut-buchgestaltung.de
www.fuetterer.de
dirk.fuetterer@fh-bielefeld.de

Workshop: Reduce to the max

5.–9.11.2011
Prof. a c. Regina Rammelt
German University in Cairo | Faculty of Applied Sciences and Arts

EN | reduce to the max – a workshop testing the limits and opportunities of typography. The students were asked to explore the topic “reduce to the max” in all its facets, i.e. creative design as well as practical realization of their design, on the basis of material science, chromatics, typographic rules and standards as well as the technical processes of typesetting and printing. Scope of this task was to explore a maximum of creative opportunities with a minimum of creative tools. Whereas phantasy and creativity was free to roam without boundaries in the design phase, the students experienced throughout the phase of practical realization that only the consistent application of basic typographic principles allowed for the actual realization of their

IT | reduce to the max – a workshop testing the limits and opportunities of typography. The students were asked to explore the topic “reduce to the max” in all its facets, i.e. creative design as well as practical realization of their design, on the basis of material science, chromatics, typographic rules and standards as well as the technical processes of typesetting and printing. Scope of this task was to explore a maximum of creative opportunities with a minimum of creative tools. Whereas phantasy and creativity was free to roam without boundaries in the design phase, the students experienced throughout the phase of practical realization that only the consistent application of basic typographic principles allowed for the actual realization of their

DE | Die Studenten waren gefragt sich auf Grundlage der Materialkunde, der Farblehre, dem typographischen Regelwerk und der technischen Abläufe des Setzens und Druckens mit dem Thema “reduce to the max” gestalterisch und handwerklich auseinanderzusetzen. Ziel dieses kreativen Prozesses war es, mit einem Minimum an gestalterischen Mitteln ein Maximum an gestalterischen Möglichkeiten auszuschöpfen. Während der Phantasie der Studenten in der Entwurfsphase keinerlei Grenzen gesetzt waren, konnten die Studenten durch die handwerkliche Realisierung ihrer Ideen erfahren, dass allein die konsequente Anwendung der typographischen Grundlagen es ihnen ermöglicht, ihre Entwürfe umzusetzen.designs.

www.guc.edu.eg
regina.rammelt@t-online.de