{"id":1020,"date":"2018-11-14T23:19:17","date_gmt":"2018-11-14T21:19:17","guid":{"rendered":"https:\/\/ictvc.org\/2019\/?page_id=1020"},"modified":"2022-03-25T16:30:37","modified_gmt":"2022-03-25T14:30:37","slug":"workshops","status":"publish","type":"page","link":"https:\/\/ictvc.org\/2022\/en\/programme-temp\/workshops\/","title":{"rendered":"Workshops"},"content":{"rendered":"\t\t
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Beyond the obvious<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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ICTVC 8<\/b> \u00b7 Thessaloniki, Greece \u00b7 5 \u2014 9 July 2022<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Workshops<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Please stay tuned for more information<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tHot Metal \/ Cold Pixels: Experimental letterpress printing in the 21st century<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Jeff Pulaski and Richard Kegler<\/h3>


5\u20136 July<\/strong>\u00a0\/ 9.30\u201317.00 | both days<\/p>

\u2014<\/h2>

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This two-day hands-on workshop is open to any skill level, from novice to experienced printer. Participants will take home individual prints as well as a collaborative group project. Working within the historic printing museum\/workshop of Asterios Ch. Goussios, historic materials will be integrated with new contemporary tools to produce immediate relief prints under the guidance of Jeff Pulaski and Richard Kegler.<\/p>


A life-long Kansan, Jeff Pulaski<\/strong> was born and raised in Newton, Kansas in the United States. He is currently the Director of the School of Art, Design and Creative Industries at Wichita State University. His letterpress collection includes various platen and cylinder presses, a Prouty Power Press newspaper press, an 18” Challenge paper cutter, a Model 31 Linotype and large assortment of metal and wooden type.<\/span><\/p>

Richard Kegler<\/strong> formed P22 Type Foundry<\/a><\/span><\/span>\u00a0in 1994 and after starting the Book Arts Center in Buffalo, New York, became the director of the Wells College Book Arts Center in Aurora, NY. Richard has spent his career combining an interest in traditional printing crafts with entrepreneaurial initiatives. His current project Dry Inc. focuses on pre-digital printing and typography and new printing tool development.<\/span>\u00a0<\/span><\/p>


place: TIPOGRAFIO ASTERIOU CH. GOUSSIOU<\/span><\/span><\/a>
transportation will be arranged by ICTVC<\/em><\/span><\/p>

\"Buy<\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tIn search of a new Greek ampersand \/ \"\u03ba\u03b1\u03b9\"<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

George Triantafyllakos<\/h3>


5 July<\/strong> \/ 10.00\u201313.30
and
6 July<\/strong> \/ 10.00\u201313.30<\/p>

\u2014<\/h2>

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Since the end of the 15th century, typesetters and printers employed a large and extremely diverse variety of ligatures to represent the Greek ampersand “\u03ba\u03b1\u03b9”. This complex collection of strange characters and shapes has been gradually forgotten and a simple kappa (\u03ba) looking character has taken their place. Although this character has its own position in the unicode table and can be found in some (not many, though) contemporary typefaces, its use has been limited and it is continually decreasing.<\/p>

The aim of the workshop is to discuss whether there is a need for a new universally accepted design of the Greek ampersand. The objectives will be the following:
1. Propose a structured process that may help designers find\/invent a new ligature\/symbol in a collaborative way.
2. Collect proposals for this new ligature\/symbol.
3. Evaluate these proposals in different use cases and type design paradigms.<\/p>

Process<\/em>
Short introduction to the problem and the process (~15min)
Short discussion and presentation of the following 3 possible approaches (~15min):
1. Optimise the existing kappa-looking symbol.
2. Search for a new ligature, or
3. a new abstract symbol.<\/p>

Working in groups (~2h). Each group will be asked to:
1. Discuss and try to answer the given questions.
2. Investigate\/design\/select 1 to 5 proposals for the design of the new ligature\/symbol. The participants will be asked to work with simple sketches using pencil and paper or their own tablets\/digital pens. There is no need to work with specialised and\/or specific design software.
3. Adapt their proposals to:
i) A grotesque\/sans variation.
ii) A contrasted\/serif variation with a vertical contrast axis (e.g. Times).
iii) A contrasted\/serif variation with a \u201cGreek\u201d contrast axis (e.g. Didot\/\u0391\u03c0\u03bb\u03ac).
4. Investigate whether both a lower and an uppercase variation is needed and examine if their proposals behave as expected in both large and small sizes.
5. Present their proposals to the rest of the participants.<\/p>