In Spring 2018 I did a graphic artist residence at the AGA LAB in Amsterdam. There, I had access to different printing techniques being silkscreen and risography the ones I used the most. This stay led to the conception of a (typo)graphic exhibition and its content. The result, all together, got the name of Expanding the Craft. The project is still ongoing, and I'm looking forward to exhibiting it somewhere else 🙂  
If you are interested in exhibiting it, just send me an emailï»ż.

Expanding the craft

 

Expanding the craft

 

Expanding the craft

 

I did a short run of each of them, if you are interested, send me an email.

Expanding the craft

The Concept

The exhibition and its title represent what I started at the AGA LAB, where I used the context as a point of departure. As a type designer working in custom assignments, I get a briefing and normally start sketching by hand or I use calligraphy, and later I work in my computer to create the full alphabet or digitize the letterforms. But in any case, I’m not the designer who will use them, but the “translator” of what the client needs. By being a designer, I can also be in charge of the content, become the editor, and create a project that combines both the content and the translation, working in the full process. This is the expansion of my craft.‹ My residence at the AGA LAB allowed me to work on a new project that goes from the idea to the print, a place where the available techniques had also influenced this “translation”.

 
The Exhibition

The Exhibition has 3 different parts: “Lettering Extravaganza”, the posters; “Personal”, the letrazine; and the Collages.

“Lettering Extravaganza” is an ongoing project, consisting of a set of posters showing the ‘letters’ of a conceptual or imaginary alphabet, where every letter was designed to represent a concept or attribute applicable to letterforms, lettering, and type design. Sometimes are resolved with a letter, sometimes a word, or even a quote or a sentence from a song. Is a sort of exercise of visual poetry, where the letters and words mixture is open to associations and interpretations. All the letters are drawn by me except the O for the ‘ornamented’ one. 

Description
—Size: A3+
—Printed at AGA LAB in 2 or 3 riso colors, in some posters in combination with a color printed in silkscreen
—Paper IGEPA Eos 2.0 Blauw-wit 120 g  

For now my “alphabet” consists of:
‹A of Artistic
B of brutalist
D of Dotted
F of Formal
G of Graceful
H of Hybrid
I of Informal
J of Joyful
O of Ornamented
P of Personal
Q of quirky
R of Rebel
S of Splendid
T of Tactile
X of eXotica
W of wooden
Y of young

I did a short run of each of them, if you are interested, send me an email.

The Concept

The exhibition and its title represent what I started at the AGA LAB, where I used the context as a point of departure. As a type designer working in custom assignments, I get a briefing and normally start sketching by hand or I use calligraphy, and later I work in my computer to create the full alphabet or digitize the letterforms. But in any case, I’m not the designer who will use them, but the “translator” of what the client needs. By being a designer, I can also be in charge of the content, become the editor, and create a project that combines both the content and the translation, working in the full process. This is the expansion of my craft.‹ My residence at the AGA LAB allowed me to work on a new project that goes from the idea to the print, a place where the available techniques had also influenced this “translation”.

 
The Exhibition

The Exhibition has 3 different parts: “Lettering Extravaganza”, the posters; “Personal”, the letrazine; and the Collages.

“Lettering Extravaganza” is an ongoing project, consisting of a set of posters showing the ‘letters’ of a conceptual or imaginary alphabet, where every letter was designed to represent a concept or attribute applicable to letterforms, lettering, and type design. Sometimes are resolved with a letter, sometimes a word, or even a quote or a sentence from a song. Is a sort of exercise of visual poetry, where the letters and words mixture is open to associations and interpretations. All the letters are drawn by me except the O for the ‘ornamented’ one. 

Description
—Size: A3+
—Printed at AGA LAB in 2 or 3 riso colors, in some posters in combination with a color printed in silkscreen
—Paper IGEPA Eos 2.0 Blauw-wit 120 g  

For now my “alphabet” consists of:
‹A of Artistic
B of brutalist
D of Dotted
F of Formal
G of Graceful
H of Hybrid
I of Informal
J of Joyful
O of Ornamented
P of Personal
Q of quirky
R of Rebel
S of Splendid
T of Tactile
X of eXotica
W of wooden
Y of young

I did a short run of each of them, if you are interested, send me an email.

The Concept

The exhibition and its title represent what I started at the AGA LAB, where I used the context as a point of departure. As a type designer working in custom assignments, I get a briefing and normally start sketching by hand or I use calligraphy, and later I work in my computer to create the full alphabet or digitize the letterforms. But in any case, I’m not the designer who will use them, but the “translator” of what the client needs. By being a designer, I can also be in charge of the content, become the editor, and create a project that combines both the content and the translation, working in the full process. This is the expansion of my craft.‹ My residence at the AGA LAB allowed me to work on a new project that goes from the idea to the print, a place where the available techniques had also influenced this “translation”.

 
The Exhibition

The Exhibition has 3 different parts: “Lettering Extravaganza”, the posters; “Personal”, the letrazine; and the Collages.

“Lettering Extravaganza” is an ongoing project, consisting of a set of posters showing the ‘letters’ of a conceptual or imaginary alphabet, where every letter was designed to represent a concept or attribute applicable to letterforms, lettering, and type design. Sometimes are resolved with a letter, sometimes a word, or even a quote or a sentence from a song. Is a sort of exercise of visual poetry, where the letters and words mixture is open to associations and interpretations. All the letters are drawn by me except the O for the ‘ornamented’ one. 

Description
—Size: A3+
—Printed at AGA LAB in 2 or 3 riso colors, in some posters in combination with a color printed in silkscreen
—Paper IGEPA Eos 2.0 Blauw-wit 120 g  

For now my “alphabet” consists of:
‹A of Artistic
B of brutalist
D of Dotted
F of Formal
G of Graceful
H of Hybrid
I of Informal
J of Joyful
O of Ornamented
P of Personal
Q of quirky
R of Rebel
S of Splendid
T of Tactile
X of eXotica
W of wooden
Y of young

I did a short run of each of them, if you are interested, send me an email.

LetteringExtravaganzaSample2

Some posters the “Lettering Extravaganza” Series. In this case, the j of “joyful” and the o of “ornamented”

Two different covers showing the masthead

Two different covers showing the masthead

Two different covers showing the masthead

LetteringExtravaganza_A_1800px

Some posters the “Lettering Extravaganza” Series. In this case, the a of “artistic” 

LetteringExtravaganzaSample1

Some posters the “Lettering Extravaganza” Series. In this case, the x of “eXotica” and the f of “formal”

LetteringExtravaganza_W_1800px

Some posters the “Lettering Extravaganza” Series. In this case, the w of “Wooden” 

“Personal”, the letrazine, is a sort of magazine that presents 3 different connected chapters for which I designed and wrote the content except for the presentation that was written by Elena Veguillas.
The first chapter (The power of design to change minds) is related to posters designed for protest that reflect the actual political and social moment, the second (Lettering in Amsterdam) shows photographies of the lettering of Amsterdam; and the last one features some of my “Lettering Extravaganza” posters, a way of showing something about myself.

Description
—Size: 22x29 cm (closed)
—22 pages,  plus cover and back cover.
—Japanese binding done by hand.
—Printed in Riso at Knust Press in 9 colors: Yellow, Pink Fluo, Orange Fluo, Red, Bright Red, Green, Blue, Medium Blue and Purple
—Paper IGEPA Eos 2.0 Blauw-wit 100 g and Forever IR Orange 120 g
—Typefaces in use: Custom lettering  / Memimas Dots, Multi Display & Multi Text, Navy (work in progress) and Vibra (work in progress).
—24 copies were printed and 19 are still available for sale, if you are interested, please send me an email.
The letrazine is presented in a folder together with the poster of the P, what is also the cover, as a sort of artistic object. 

LetrazineAnimada

“Personal”, a letrazine, a preview

PersonalFolder

“Personal”, a letrazine, as it is presented, together with the P Poster.  Photo © Rob Beckerï»ż

The Collages (Collage 1 and Collage 2) are two big format pieces that came as a result of all the process, they are composed of different stripes coming from cropped posters put together, and placed on an embossed area on a canvas done with relief print that gives a tactile dimension to the artwork. These 2 collages were the real art pieces to me, only possible after this creative process.

Description
—Size: 100 x 70 cm
—Riso print, silkscreen and relief print
—Paper: Hahnemuhle Etching
—Unique pieces, if you are interested in getting one done for you, price or any extra information, send me an email.ï»ż

Collage 1 and Collage 2

How I did it?

Type in Art
One of my main concerns, was how to create contents in such an artistic environment (the workshop and the city).
It was a challenge! and I started the process with a close look at the work of some artist who used type and letterforms, as is the case of David Hockney, Hendrik Nicolaas Werkman, Robert Indiana, Depero or Sister Corita Kent, from pictorial to more conceptual approaches.  I realized that, in many cases, they content was poetry essays or related to activism. I took pictures of lettering in Amsterdam as inspiration, and I had endless conversations with the other artists in residence, about their approach to art, type, techniques, etc.  All those helped me to see my work from another dimension.

The process
I'm fascinated by the fact that more designers are becoming producers —authors, publishers, instigators, and entrepreneurs— actively employing their creative skills as makers of content and shapers of experiences. I thought it was perfect for that moment and I did it through printing as it was the most familiar way of production to me. I modestly started to reflect all those inputs in my sketchbook and used some of my sketches and photos to learn and test the techniques. Later came the idea of creating an alphabet, it seemed natural as type design is my expertise, but in a quite different way.

The artistic printing experience
 I used risography combined with silkscreen for the posters and riso for the letrazine. The photographic chapter of the letrazine allowed me to get more experimental. Though I had to work with the restrictions in size and number of colors, I loved riso's freshness and simplicity. Later I mixed it with silkscreen to expand my knowledge, the color palette and the “texture”. I did many test printings, resulting in beautiful posters and maculae that put together textures and bright colors. Finally, for the big format pieces, I mixed  collage with the etching technique for the pressure. All together gave a tactile experience to my work, another dimension, much different to the one you can get with only digital techniques, and for sure of the one I expected at the beginning.

How I did it?

Type in Art
One of my main concerns was how to create contents in such an artistic environment (the workshop and the city).
It was a challenge! and I started with a close look at the work of some artist who used type and letterforms, as is the case of David Hockney, Hendrik Nicolaas Werkman, Robert Indiana, Depero or Sister Corita Kent, from pictorial to more conceptual approaches.  I realized that in many cases the content was poetry or related to activism. I took pictures of lettering in Amsterdam as inspiration and had endless conversations with the other artists in residence, about their approach to art, type, techniques, etc.  All those helped me to see my work from another dimension.

The process
I'm fascinated by the fact that more designers are becoming producers —authors, publishers, instigators, and entrepreneurs— actively employing their creative skills as makers of content and shapers of experiences. I thought it was perfect for that moment and I did it through printing as it was the most familiar way of production to me. I modestly started to reflect all those inputs in my sketchbook and used some of my sketches and photos to learn and test the techniques. Later came the idea of creating an alphabet, it seemed natural as type design is my expertise, but in a different way.

The artistic printing experience
 I used risography combined with silkscreen for the posters and riso for the letrazine. The photographic chapter of the letrazine allowed me to get more experimental. Though I had to work with the restrictions in size and number of colors, I loved riso's freshness and simplicity. Later I mixed it with silkscreen to expand my knowledge, the color palette and the “texture”. I did many test printings, resulting in beautiful posters and maculae that put together textures and bright colors. Finally, for the big format pieces, I mixed  collage with the etching technique for the pressure. All together gave a tactile experience to my work, another dimension, much different to the one you can get with only digital techniques, and for sure of the one I expected at the beginning. These 2 collages were the real artistic pieces to me, only possible after this creative process.

HowIdidit_image

At the AGA LAB, I had the chance of learning the riso tecnique from Wasco, a Dutch comic artist; and silkscreen from the artist Christina Hallström. Also, the other artists in residence, Stella Murphy, Olga Karyakina and Lian Ng, were a huge inspiration to me. I'm very grateful to all of them.

Interested in the artworks or the exhibition?
I hope so! 🙂 Please send me an email.

 At the AGA LAB, I had the chance of learning the riso tecnique from Wasco, a Dutch comic artist; and silkscreen from the artist Christina Hallström. Also, the other artists in residence, Stella Murphy, Olga Karyakina and Lian Ng, were a huge inspiration to me. I'm very grateful to all of them.

Interested in the artworks or the exhibition?
I hope so! 🙂 Please send me an email.

© 2005-2018 Laura Meseguer
Custom Lettering and Type Design 


© 2005-2018 Laura Meseguer
Custom Lettering and Type Design 


© 2005-2018 Laura Meseguer
Custom Lettering and Type Design 


Drop me a line!
ï»żmail@laurameseguer.com

Drop me a line!
mail@laurameseguer.com

Drop me a line!
mail@laurameseguer.com