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GRANSHAN 2013: Design&Identity GRANSHAN is the first i nternational Conference and festival on Non-Latin Typefaces July 2427, 2013, Bangkok
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GRANSHAN 2013: Design&Identity GRANSHAN is the first international Conference and Festival o n Non-Latin Typefaces
At a Glance
Status Quo
Organizers
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Bangkok University
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At a Glance
TOPIC Non-Latin Typefaces Design&Identity DATE Wednesday, July 24 to Saturday, July 27, 2013 VENUES TCDC @ The Emporium, Bangkok Bangkok University Chulalongkorn University Silpakorn University Brownsugar Goethe Institut PROGRAM Conference: July 25/26th The Conference as a Seismograph for Typographic Trends and Interdisciplinary Dialogue Part 1: Reading and Perceiving Part 2: Writing and Abstracting Part 3: The open Spaces of Design Symposium: July 27th The Symposium as an interactive platform for creating and sharing expert knowledge and content Workshops: July 24th The Workshop-Day is a great chance to design together with exceptional designers in practical sessions. Exhibitions: July 18th August 25th Receptions: July 18th August 27th Partys: July 27th August 17th; every Weekend ORGANIZERS Initiator: tgm Typographische Gesellschaft Mnchen (Typographic Society Munich) Partners: Princess Maha Chakri Sirindhorn Anthropology Centre TCDC (Thailand Creative & Design Center) Bangkok University Goethe Institut Bangkok University of Reading
SPEAKERS Conference 812 internationally acclaimed speakers from the fields of design, typography, research, and academia Symposium 812 renowned experts in the fields of typography, typeface design, writing technique, and distribution of script
Every activity offered by the tgm is the result of the collective effort of many people and organizations devoting their time and resources to the tgm. For this reason, tgms programme is an expression of the industries ability to work in solidarity.
The Ministry of Culture of the Republic of Armenia Chulalongkorn University Silpakorn University ThaiGa Brownsugar
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Status Quo
Type has many different faces and speaks many languages. Writing expresses individuality. Reading opens up new worlds.
Design today means switching between ones native tongue and foreign languages. Latin scripts dominate the future, however, lies in the variety of identities of local scripts. GRANSHAN is the first international Conference and Symposium on Non-Latin Typefaces in South-East- Asia.
With more than 120 events per year (including three to five international conferences), the tgm is leading the way and has become a partner for future-oriented processes.
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Princess Maha Chakri Sirindhorn Anthropology Centre This independent NGO is a centre for information, documentation, research, and scholarly exchange at the highest level. Through the promoting of anthropological research in Thailand, the centres main objective is to help Thais better understand their cultural roots and history. TCDC (Thailand Creative & Design Center) The Thailand Creative and Design Center, Bangkok, is not only an integral part of theThai design scene, it is also a rich source of know-how, organizational skills, and extensive networks. The TCDC was founded to explore and develop creative and economic competences and opportunities in todays competitive markets. Bangkok University BU International is not only one of Thailands oldest private universities it also standsfor a university offering a global perspective. Truly cosmopolitan and with a firm understanding of its cultural roots, BU International succeeds in balancing both international and national needs. This can be seen in its body of professors and students as well as in its broad range of courses. Goethe Institut Bangkok All over the world, the cultural institute of Germany takes on cultural and political challenges arising from globalisation. Promoting the idea that cultural diversity equals wealth, it develops innovative concepts promoting mutual understanding as the key factor for a more humane world.
Ministry of Culture of The Republic of Armenia As the founder of the GRANSHAN typeface competition, the Ministry of Cultural Affairs of the Republic of Armenia has a genuine interest in promoting Non-Latin Typefaces. During the tgms visit to Armenia in 2009 this shared interest led to the founding of a collaborative project. Since 2010, the competition of typefaces has been administered successfully by both parties. University of Reading The Department of Typography and Graphic Communication at the University of Reading is one of the worlds pre-eminent establishments for the study of typography and type design. With an impressive roster of lecturers and former students, the undergraduate and postgraduate courses promise hard work but also high chances of work with pre- eminent book, newspaper and magazine publishers as well as other organisations needing clear and imaginative graphic communication such as large software c ompanies, and type design houses.
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4.1 Objectives
4.3 Program
CONFERENCE Part 1: Reading and Perceiving Part 2: Writing and Expressing Part 3: The open Spaces of Design SYMPOSIUM Part 1: Back to the roots History and Evolution of Non-Latin Typefaces Part 2: Here, now, and tomorrow Status quo and Opportunities of Non-Latin Typefaces festival Workshops Myung Jin Kim, Korea Type Artist Workshop: From Non-Latin handwriting to handmade Non-Latin Typefaces Oliver Linke and Robert Strauch, Germany Type Designers and founders of the type foundry Lazydogs Workshop: Production of fonts from draft to final face Timothy Donaldson, UK Type Designer Workshop: Giving the type a sweep broom writing for beginners Lars Harmsen, Germany Creative Director, Magma Brand Design Workshop: tbd Gerry Leonidas, UK Dean of the masterclass type design of the University of Reading Workshop: tbd Gerard Unger, Netherlands Professor at The University of Reading, Department of Typography and Graphic Communication Workshop: tbd Exhibitions at various venues before, during, and after the GRANSHAN The History of the GRANSHAN 2008 to 2011 The GRANSHAN exhibition Results of 2012 From hot metal to open type University of Reading TypoLyrics by Lars Harmsen/slanted Letter 2 of ATypI
About the factors motivating both organizers and initiators of the GRANSHAN: Promoting local writing systems translates into promoting the socio-economic potential hidden therein conveying this concept to both designers and com panies is one of GRANSHANs major objectives. The GRANSHAN offers a starting point it raises awareness for the interdependent relation of script and identity among an academic audience as well as an audi encespanning professionals and laymen alike. We thus direct the focus on a part of day-to-day life which all too often is ignored and open it up to a wide range of interested parties, academic fields, and industries. The GRANSHAN creates new impulses and opens up new perspectives for up-and-coming design talents.
4.2 Concept
THE CONFERENCE A seismograph for typographic trends and interdisciplinary dialogue Intended for all audiences from the various disciplines of design as well as an audience spanning professionals and laymen alike The GRANSHAN explores, brings together, translates, connects ... the different worlds of type, ways of communication, semiotic systems. Renowned designers, researchers of script, and typographers from the world over will illustrate the many ways in whichthe beauty of language can be expressed through script. Especially when a language and its letters are different or foreign: it allows us to experience cultural diversity and the bond between the users of a language and their respective native lands. The GRANSHAN conference will take a closer look at this phenomenon of difference, at the diversity at hand. THE SYMPOSIUM An interactive platform for creating and sharing expert knowledge and content Experts in the fields of typography, science, marketing, and technology for both specialists and students Thailand is a multinational state and therefore an ideal starting point for delving into the various characteristics of Non-Latin Typefaces. For this reason, the GRANSHAN symposium brings together international scientists, typographers, and academics with a special focus on South-East-Asian scripts.
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RECEPTIONS
4.5 Venues
Opening TypoLyrics and Conference Party Evening Speeches by Prof. Amarith and Prof. Lars Harmsen @Brownsugar 27. July, 7:30 pm Opening GRANSHAN History Evening speech by Boris Kochan and Norbert Spitz @Goethe Institut 18. July, 6:00 pm Opening Letter 2 @Chulalongkorn University 25. July, 7:30 pm Bangkok University City Campus 119 Soi Sukhumvit 40 Bangkok 10110 TCDC Thailand Creativity and Design Center The Emporium, 6th Floor, 622 Sukhumvit 24 Bangkok 10110
Grand Opening GRANSHAN 2013 Design & Identity Including speeches by Hasmik Phogozyan (Ministery of Culture Arenia), Boris Kochan (tgm), Prof. Sansern and Prof. Somsuda (both inquired), Gerry Leonidas and more @Bangkok University or Goethe Institut 24. July, 5:00 pm Opening Hot Metal to Open Type and GRANSHAN Results 2012 Evening speech by Fiona Ross @Bangkok University Gallery 24. or 25. July, 7:30 pm
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GRANSHAN is a collaborative project. The makers of GRANSHAN intend to achieve much more than the mere selling of advertising space we want to create sustainable, mutually inspiring partnerships. Together, we can create an international platform for design and typography with unique content and original topics.
INSIGHT GIVES RISE TO UNDERSTANDING In Asian and Arab countries script remains closely linked to calligraphy and imagery. This shows how script and the use of script are connected to their local and cultural surroundings. One such example is the writing of individual characters of scripts originating from calligraphy it resembles a ritualised act of painting. This act functions as an interactive element in a highly complex canon of equally ritualised social interaction. In turn, these social rituals need to be read as signs proper in combination with script, they form specific sets of cultural characters. This example illustrates the importance of understanding cultural specificity, especially its local varieties, when reading different sets of cultural characters. They are after all the basis of successful communication.
5.1 Leitmotif
TYPOGRAPHY FOR ALL Script is everywhere, it is omnipresent a silent companion of our day-to-day life, often perceived subconsciously only. At the same time, it is virtually impossible for us not to read, we do it constantly, almost automatically. We continuously absorb information whether we want to or not. The GRANSHAN wants to make typography accessible.
THE FUTURE LIES IN DIVERSITY In an increasingly interconnected world, a world in which corporations act internationally, and in which global tourism continues to thrive, script remains multilingual. Script continues to preserve its highly diverse form of local varieties and in different forms of communication. It does so in the face of an ever-expanding world of multimedia as well as countless cultural contexts. At the same time, however, script is being transformed, at times beyond recognition, by the internationally prevalent language of English. The GRANSHAN wants to keep the variety of written languages alive and foster cultural exchange.
DIFFERENT REALITIES OPEN UP NEW OPPORTUNITIES Looking at selected examples, the Symposium and the Conference offer the oppor tunity to reflect upon local conditions and circumstances. In turn, the thus gained impressions will help bring light into the matter at hand. We will discover the specific cultural traits of individuals from different backgrounds and will bring them to light thereby opening up new ways of understanding. English has become dominant as the international language of choice. In turn, this element of globalisation leads to a loss or generalisation of local flavour. Keeping this and the importance of Non-Latin Typefaces in mind, it is high time to re-evaluate theconcept of script as cultural repository.
INTERCULTURAL DIALOGUE The tension arising from the interplay of diversity, localism, and globalisation will be at the heart of GRANSHAN.
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PARTNERS
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