In a nutshell

Adobe Jenson and a box of matrices

It is no longer possible to apply for this summer school. The application deadline passed.

15 students applied for this programme. They come from all over the world: Argentina, France, Germany, Mexico, Russia, Spain, United Kingdom, The Netherlands and Belgium. 

When
2-6 September 2019

What

This summer school will discuss the value of research for type and typography. The keywords are ‘Perception’, ‘History’, ‘Convention’, ‘Technology’ and ‘Legibility’. How much can be distilled from the study of historical type materials in the collection of the Museum Plantin-Moretus? At the same time we will study how font technology has developed since the 1970s, and look at what became technically possible.

Where
Stadscampus, University of Antwerp, Prinstraat 13, 2000 Antwerp, Belgium

When
2-6 September 2019

Who
Bachelor or Master Students and Professionals.
No specific expertise in the field of type design is required, nor any knowledge of the development of historical type and typography.

External partners
Museum Plantin-Moretus and Plantin Institute of Typography

Course description

Today everyone who uses a computer is practically a typesetter and typography is hardly considered a specialism anymore. Conventions are automatically maintained: practitioners of typography – professionals and amateurs – base their typographical decisions on what is considered common. The legibility aspect, for example, seems easy to control by selecting type that is generally accepted, without the requirement of knowledge of what legibility exactly comprises. As a consequence the conventions and related conditioning are basically never questioned. 

Art historian Ernst Gombrich notes that the stimulus patterns on the retina are not alone in determining our picture of the visual world, and that its messages are modified by what we know about the ‘real’ shape of objects. In other words: ‘One cannot see more than one knows.’ But what exactly do we know of type and typography and what do we consequently see? What forms the basis of the typographical conventions and how solid is this basis anyway? Could research, whether scientfically based and/or empirically oriented, tell us more about this basis? Furthermore, would the resulting knowledge be useful for the practitioners of typography? 

This summer school will investigate and discuss the value of research for typography. The five keywords are ‘Perception’, ‘History’, ‘Convention’, ‘Technology’ and ‘Legibility’. Answers to the related research questions will be, for example, distilled from the study of artifacts in the collection of the famous Museum Plantin-Moretus. After all, the typographical conventions were fixed with the invention of movable type (and related technical constraints) during the Renaissance. 

Present-day font technology is developed with the same conventions and even Renaissance technical constraints in mind still. Hence, during the course also the focus will be on how digital font technology has developed since the early 1970s. The technical possibilities for Latin and non-Latin scripts will be further investigated, theoretically as practically, in relation to the typographical conventions.

Credits
3 ECTS credits will be awarded upon writing a paper with answers to the five research questions, an evaluation of the programme and a personal reflection on the five keywords.

Registration fee
€ 600

Fee includes course material (software and printed matter), coffee breaks, farewell dinner, several excursion and social activities.
Does not include lunch or accommodation.

Scholarships

University of Antwerp students are entitled to a refund of €150 after completion of the summer school.
Alumni and students of the Plantin Institute of Typography pay only 540 euro (10% reduction).

Application details

Online through Mobility Online 

Application deadline

2 June 2019

More information:

www.uantwerp.be/typography-summerschool