It has been about 20 months since the last interview in this series was published. Since then, many things have happened & a lot has changed. Returning to this format is incredibly comforting to me. The familiar structure, the visual glimpse into one woman’s life, the personal questions that get such honest replies.
Luisa is a person you want to both hear and read. You don’t want to miss a word, since they are all clear and make you think. Walking with her on the streets of Thessaloniki some years ago, I was lucky to find a friend so soon after meeting in person for the first time. The ease and sincerity of her thoughts are very much apparent in this interview. I urge you to find few quiet moments to read, drink something relaxing (hot chocolate? something stronger perhaps?) and let it sink in slowly, along with this interview.
Sometimes, parts of what you write for a specific article gets left on the editing room floor. Those bits might be the most interesting parts, that simply don’t necessarily fit perfectly into the story. Sometimes it’s the predefined word count which is forcing one to leave it out. But the interest stays, and the will to dive deeper into the thoughts and process behind one typeface does not leave. This is the story of Sandrine Nugue’s Infini, a typeface she designed after winning a commission from CNAP (National Center of Visual Arts) in France, and is available for free, to everyone.
I followed up with Sandrine and asked more questions, based on her original replies. This typeface is so nicely explained, with the process shared and great images, that I encourage every reader to take a quick journey into a typeface that is both here and there, present and past, serious and lively.
If you have been following my interview series here on the blog, you might already know that there is a well-defined structure for those conversations. Today, I want to share an interview done in a different way. It will be quicker, a bit more friendly and not any less personal. Carolyn recently published a typeface and a book, and those two were good enough reasons to sit down and enjoy a virtual conversation about the process.
Nina, continuing the Den Haag theme (well, not anymore!) chose Marina to be our next interviewee. Honestly, one of the emails with five chosen questions I sent to Marina started with (quote:) “I want to be your friend!” I didn’t even care what she will think of me, proposing friendship out of the blue. In case you are wondering why I am sharing this with you, just read on and you will probably tell her this as well.
She is full of energy. This energy is present in every line Marina wrote, makes it feel like she is talking to us, telling some of the “behind the scenes” stories. She was so engaged in writing the most whole answers, no ego or vanity involved.
Now, I am not sure what I should advise you to drink while reading the interview. As you will see few lines down, Marina offers some flavorful choices. Either way, I know you will enjoy what she has to say.
How is it possible that it’s August again??? This summer, we wanted you to travel with us (for free!) around the world and enjoy some typographic curiosities we have around us (check out this map by Indra). Those posts will be scattered throughout the month, marked with a passport stamp on the first image for quicker spotting. This is a perfect excuse for a tomato juice! Here we go:
Scripts don’t live in a void. They live together, interlaced, in Israel’s urban environment: Hebrew, Arabic and English. Each script is affected by surrounding scripts, which in turn influences them back, a symbiotic relationship. Examining trilingual signage in Haifa provides an opportunity to discover meaning among the different alphabets; an additional benefit is that it is a good excuse to show some of what surrounds me in my hometown.
I do promise there is more than one influential Hebrew type designer, but after a long research process, my mind is filled with stories that were covered in boxes until now.
I am referring to Henri Friedlaender. Last time, I wrote about his design process, and today I wanted to share two typefaces that were simultaneously designed by him for the Bank of Israel in the 70’s: One serif style to be used for banknotes and one (semi-) sans, for coins. Those two were supposed to act as a family, and indeed, Friedlaender based them both on similar skeletal forms.
the banknotes typeface
In our last interview, Sol chose Nina Stössinger to be the next interviewee. The research and work that is done in the background for this series is truly joyful. But, it’s impossible to compress everything I have learned about each interviewee into five questions. I am trying to show a glimpse of the many things each inspiring lady is doing and thinking, and in Nina’s case it was a huge challenge.
The timing of publishing this works perfectly with the week’s events, and Nina herself fits well into conference discussions and talks. When I first met Nina, it was a one-way meeting. I was watching her give a talk at Ampersand conference, and despite the disappointing gender ratio of speakers, I was thrilled to hear another great female speaker. I had much to ask, and her precise answers will surely leave you wanting to read more. So get yourself a sweet or savory treat, preferably of a kind that you can refill your bowl with, and read on:
After a month filled with inspiring posts written by many of the ’bettes, it’s time to mark Women’s International Day with a new interview. Although I think the fact that there is a Women’s day shows that we are far from reaching equality, I will still use this date as an excuse to celebrate Alphabettes and the connections that we are able to make here. Our next interviewee will touch a bit on gender roles and sewing, which I find perfect for today.
In the last interview, Shelley nominated Sol Kawage. I didn’t know Sol, perhaps because we missed each other by a year at Reading, but I was so happy to get to know her through this interview. I am sure that you will feel the same, so sit back (with a nice glass of wine and cheese!) and enjoy this read.
Henri Friedlaender designed the legendary Hadassah Hebrew typeface. While doing extensive research for an exhibition that included his work, I was lucky to get a glimpse of his design process. Until the revealing of his personal archive (donated to the Israel Museum), his design process was only known through an article he wrote with few rather “clean” images of sketches. In the museum’s basement, wearing cotton gloves, we were taking out item by item from large drawers. The Hadassah material was intriguing. So much was said about this typeface, so much guessing on the design process was done. And here we are, seeing traces of Friedlaender’s own way of designing.
From Friedlaener’s archive. Photo by Eli Pozner, the Israel Museum. This refers for all images in this post