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- Book of Proceedings of the 11th Typography MeetingPublication . Gomes, António Silveira; Morgado, Aprigio; Santos, Ricardo11ET was an event organised by the Graphic Design Masters Course of the School of Arts and Design Caldas da Rainha (ESADCR), by means of Leiria Polytechnic’s Design and Arts Laboratory. The 1st edition of the Typography Meeting was held in 2010 at ESADCR, bringing together professor, students and professionals, to discuss The teaching of Typography in Portugal. After 10 consecutive editions, LiDA (Laboratory in Design and Arts ), as part of the celebrations of the thirtieth anniversary of ESADCR, took on the organisation of the event, which due to the pandemic was not held in 2020. At that time, affected by the need for social distancing, many organisations were forced to rethink their events and opted for online formats. However, the 11th edition’s organising committee felt hat the size and intimate nature of previous editions meant it was best to retain the personal contact, postpone the event and propose a Reencounter in 2021. The theme, ‘Reencounter’, focused on the prefix ‘Re’, which denotes repetition, reinforcement and retreat, thus inviting us to rethink, reinstate and reform current theoretical and practical models of design. The pandemic scenario, with its profound environmental, economic and social implications, emerged as a form of pressure on all fields of knowledge and creativity, including, naturally, design and all types of human communication. In this light, what are the issues we can raise as a result of the political, economic and cultural challenges that teaching, research and creation in design and, in particular, Typography, have to face? At a time of pressing solidarity, which approaches to and narratives around design, teaching, history, culture, identity and technology will emerge from this crisis to be understood and shared? We invited the academic and professional communities to reflect on these issues, to attend and take part in the workshops and conference, and to submit communications (Articles, Posters or Short Talks) in the fields of graphic design, typography, typeface design; lettering, calligraphy, visual identity and language, design teaching, history or criticism. The Meeting met all of its preset goals and exceeded the organisation’s expectations in terms of the number of participants. Concerned with the uncertainty of the times, the organisation opted to hold the Meeting at the Caldas da Rainha Cultural Centre’s small auditorium. Seating only 150 it was soon sold out and those who delayed enrolling were unable to attend. A total of 137 people enrolled, of which 84 (61%) were 1st, 2nd and 3rd cycle students from a range of national and international higher education establishments, 25 (18%) were speakers and the remainder (39%), teaching staff and professionals from a number of Technology and Communication Design fields. In addition to the conference, the workshops held on the eve of the event at the School of Arts and Design Caldas da Rainha proved to be popular. They were Animated Variable Font, run by Rainer Erich Scheichelbauer and Exploring New Handwritten Latin Script Styles, run by Petra Dočekalová. Given the atypical scenario we can say both the quantity and quality of the communications submitted (38) were high. The Technical and Scientific Committee accepted a total of 15 papers, 3 short-talks and 15 posters. The papers and posters are published in full herein. The submission accepted and presented at the conference dealt with the following topics: Typeface Design (67%), Typography and Communication Design (48%), Design History and Criticism (27%), Education (2%). We wish to highlight the quality of the presentations given by the guest speakers Andreu Balius, Fraçois Rappo, Petra Dočekalová, Sol Matas, Susana Carvalho and Thomas Huot-Marchand who, in a scholarly manner, shared their scientific and professional knowledge with the other participants, during and between the various sessions covering the Meeting’s range of topics. Of the seven guest speakers, only typeface designer Natanael Gama, was unable to attend for family reasons.
- Exercício sobre a (i)legibilidade da letra: Desenvolvimento de uma metodologia para a construção de tipos de letras reducionistasPublication . Morgado, Aprigio; Figueiredo, JoãoA presente investigação, fundamentada em estudos académicos de legibilidade nas áreas do Design de Tipografia e da Psicologia tem como objetivo o desenvolvimento de uma metodologia para a exploração de tipos funcionais que questionem a legibilidade das formas convencionais das letras, reduzindo-as aos seus traços elementares de reconhecimento. Para o efeito foi construído um modelo tipográfico em caixa baixa e desenvolvido um teste de legibilidade para compreender qual a informação mínima necessária para identificar cada letra do modelo. Os estímulos para teste envolveram a criação de 26 máscaras animadas, aplicadas respetivamente a cada caracter do alfabeto. Os resultados dos testes efetuados a 25 indivíduos são apresentados mediante uma família tipográfica que surge aqui como um instrumento de visualização de dados, representando a quantidade mínima de informação necessária para 50%, 60%, 70%, 80%, 90% e 100% dos observadores identificarem cada letra. A análise dos resultados demonstrou que a identificação das letras carece de uma quantidade substancial de área desenhada, sugerindo que esta depende de mais componentes do que seria, à priori expectável. Não obstante, as interseções, terminações, curvas abertas para cima e verticais demonstraram ser as componentes mais relevantes no reconhecimento dos caracteres da caixa-baixa.
- Oficina de tipo: Comparative study of wood type production methods (CNC and Pantograph)Publication . Manique, Ana; Morgado, AprigioThis article documents the research work developed by the "Oficina de Tipo", an academic project aimed at producing wood types to equip a letterpress workshop at School of Arts and Design (Caldas da Rainha), contributing to the development of experimental practices, new pedagogical approaches, and to establish an academic and professional network for the study of typography. The research aims to study, recover, and adapt old technologies of movable wood type production for the reproduction of display typefaces created at the academy or identified in private collections to study and preserve them. This is done through analogical (pantograph) and digital (CNC) means. Based on a literature review of industrial technologies to produce movable wood types, and on expert inquiries, were analysed and reproduced two grotesque uppercase types. The results of the pantograph reproduction showed significant differences in the use of pine, mahogany and ash wood. Mahogany offered better resistance to milling, requiring less finishing and presenting a lower risk of fracture due to its greater resistance to the pressure of the press. In handling the equipment, was observed the need to adjust the use of cutters to the letter shape, particularly at angles of reduced amplitude. The results of the production of characters by CNC presented a uniform cut and recess. At sharper vertices, some letters show a slight curvature compared to letters with round shapes or open counters. Regarding the formal differences between types produced by CNC and pantograph, it is possible to state that the types produced by CNC present a more regular contour and, therefore, require less post-finishing.
- STENO? GRAPHY!Publication . Fernandes, Beatriz Martins; Morgado, Aprigio; Gomes, António SilveiraConsidering the scarcity of information and the lack of knowledge regarding stenography –very rarely used or called upon nowadays, both in daily and academic contexts – and given the decreasing number of people who hold this specific knowledge, it becomes increasingly urgent the creation of a relevant archaeological and bibliographic Iberian archive of this almost extinct writing form. This text arose in the context of a master’s degree aiming to study the universe of stenography and its relevance (if any) in contemporary contexts and technologies. To accomplish this, it was crucial to have access to reliable information regarding this writing form. This objective was pursued through a non-interventionist qualitative methodology that included methods such as bibliographic research, literature review and critique, interviews with experts in the field (namely stenographers, teachers, students) and in-depth case studies. In this paper, we present the groundwork that enabled us to gather information about Portuguese shorthand which was of crucial importance to the development of the project. The bibliographic research revealed the existence of several Portuguese shorthand authors. Through in-depth research and a comparative study among various case studies, we observed that each shorthand system exhibited peculiarities, setting it apart from the others. This divergence was attributed to individual authors’ endeavors to revolutionize the field of Portuguese shorthand, striving to establish their methods as the fastest and most effective. Noteworthy distinctions surfaced in areas such as the representation of the stenographic alphabet, the portrayal of numerals in text, the handling of articles, names, abbreviations, and suppressions, among other aspects. None of them provided evidence to determine the official Portuguese shorthand system. However, the interviews conducted revealed that the Martinian System was the official one. They also helped us gain insight into the teaching methods of shorthand employed in class, as well as the layouts students used to enhance writing efficiency.