Barbara Bigosińska

TYPE REVIVAL = van Krimpen(ing) | Lutetia

Throught almost four months now we have been working on the revival of the Lutetia - the first van Krimpen's typeface. We have started in late September looking for specimens and digging into special collections in libraries. Since we are strongly keen on researching (data collecting and organising is for us dangerousely addictive), it was really hard to stop and start drawing. Especially as we didn't know how to draw at that time...

Below one can see a brief representation of the revised typeface.

Soon we are going to publish more about the process and some conclusions.

Below one can see the difference between revised version (based on the Monotype version from 1951) and the original Monotype version from 1928.

In September 2012 we have begun our, say, adventure with Python. Unfortunatelly, the Python occured to be a programming language, not the snake. With the snake, we think, we would pretty well know how to deal since we are from Poland (= prepared for everything, especially wild animals and snow storms).

After a long way of failures with programming, we have decide to sit down, think programm the letters that we would have never done using any font editor. This is how we started the design of haughty peacock letters and broadening our horizons.

Below one can see the result of our work.

The fun with the programming is that once one have written some lines of code, one gain unlimited possibilities in playing, changing, transforming, yeah!!!

During the Type and Media in KABK I do a lot of things.

Not only typefaces bur also tablefootbal (my love and addciton) - once I get married I need someone who can accept foosbal table at home (+)

But, going back to typefaces... This is one of the exercises focused on translation type of contrast. The design is still in progress. Translation unlike expantion, requires slow development of weight in 30 degreess angle.

The Brief was super vague (for me): do the book typeface with translation type of contrast.

And this is how Barbear is developed.

Sambukka finally gets a proper or suitable italics.

This is upright version - a very troublesome and narrow design...

Work /as usually/ in progress.

The black wall and the white wall

Paintings: oil on canvas and acryl on the wall, brush size: 0 and 0,5.
Thanks to Szymon Antoni Jędrys for photos.

szkicownik | sketchbook

pl | Zużywam mnóstwo papieru i cienkopisów.

eng | I waste a lot of paper and pens.

troche później, and later...

Sambukka | projekt kroju pisma | typeface design

In progress. /soon I will upload the newest version and some samples in use/

In shortcut | I work with typefaces so they are part of my just like jogging. Sambukka is my first serious approach to typedesign and it mostly inspired by the sepcific look of Hebrew and also by the awarness that there still is a gap in typedesign /about this later, hebrew research in progress since year/.
Basicly, Sambukka was designed to serve as typeface for short prosaic forms and poetry, however it can as well work as typeface for identities.
At the firs gaze Sambukka looks slightly complicated: like unsolved riddle. And this is the result of the following:

first | I like things and designs to be clear, simple and easy, so the more complicated principles I introduced into Sambukka the more riddles I have to solve /feminine way of thinking/

second | the more complicated I get, the more I learn and try. I also test myself in taking risks and making radical decisions quickly enough to make progress