Regem | Ruben R. Dias

Academy & Research

Academy
& Research

Bio
Résumé
Papers
PHD

Biography

Regular researcher and writer on the history and evolution of type and typography in Portugal he have co-authored Imprimere, edited by the Portuguese National Mint and Printing Office (INCM) and the Manual do Tipografo edited by Clube dos Tipos. Currently he teaches typography and type design at ESAD — School of Arts and Design in Matosinhos.

Previously taught for a decade at the Superior School of Art and Design of Caldas da Rainha - ESAD.CR and for a few years he was lecturing at ESTAL and ETIC - School of Innovation and Training Technologies and at the Center for Art and Visual Communication - AR.CO.

He has developed workshops in several institutions of education from the Bergen Academy of Art and Design, Superior School of Art and Design of Matosinhos, Faculty of Architecture of the University of Lisbon, Polytechnic Institute of Castelo Branco, University of Aveiro, Superior School of Technologies and Arts of Lisbon.

Since the late 1990s he has been developing his own letterpress workshop for typographical experimentation — Tipografia Dias, having promoted a series of traditional typography workshops. Simultaneoully developed the letterpress workshop in the Center of Art and Visual Communication - AR.CO.

He is a regular guest at typography conferences and workshops in Portugal and abroad. In his academic studies he crossed through the University of Reading in the United Kingdom, the Bauhaus Dessau Foundation in Germany, the Faculty of Architecture of the University of Lisbon and the IADE in Lisbon.

He works as a graphic designer, draws typefaces and founded in 2004 the graphic design studio Item Zero, collaborating since then with public and private entities in the field of culture, education, as well as renowned architects and the business community.

Co-founder of the collective Typefoundry Tipos das Letras, with Ricardo Santos and Aprígio Morgado, with whom he develops the RUHA project, a type familly and a stencil to make letters.

Resumé

Workshops lectured

2019 Modular Type Design—Experimenting modularity in type design, with Andreu Balius, Escola Superior de Artes e Design, Matosinhos

2018 RUHA with Super Veloz – stencil workshop, with Gamonal Arroyo, Escola Superior de Artes e Design, Matosinhos

2017 Letterpress basics workshop, Escola Superior de Artes e Design, Matosinhos

2017 RUHA Stencil Workshop, Escola Superior de Artes e Design, Matosinhos

2016 Letterpress basics workshop, Escola Superior de Artes e Design, Matosinhos

2016 RUHA Stencil Workshop, within 7th International Typography Meeting, “Rythmus”, [Encontro de Tipografia 2016]. Faculty of Architecture of the University of Lisbon, Lisboa

2016/11/23 Movable Type Workshop, Tipografia Dias, Lisboa

2016 Advanced Movable Type Workshop (two days) within 7th International Typography Meeting, “Rythmus”, [Encontro de Tipografia 2016]. At Tipografia Dias, Lisboa

2016 Ruha Stencil workshop, Bergen Academy of Art and Design, Bergen, Norway—with the Tipos das Letras collective www.tiposdasletras.com

2016/06/04 Letterpress basics workshop, Tipografia Dias, Lisboa

2016/05/10-11 Letterpress basics workshop, Tipografia Dias, Lisboa

2016/04/9 Letterpress basics workshop, Tipografia Dias, Lisboa

2016/03/5 Letterpress basics workshop, Tipografia Dias, Lisboa

2016/02/17 Letterpress basics workshop, Tipografia Dias, Lisboa

2016/01/30 Letterpress basics workshop, Tipografia Dias, Lisboa

2015/12/20 Letterpress basics workshop, Tipografia Dias, no âmbito da Experimenta Design, Lisboa

2015/12/13 Letterpress basics workshop, Tipografia Dias, no âmbito da Experimenta Design, Lisboa

2015/12/12 Letterpress basics workshop, Tipografia Dias, no âmbito da Experimenta Design, Lisboa

2015/11/21 Letterpress basics workshop, Tipografia Dias, within the paralel program of Experimenta Design, Lisboa

2015 Crossing Between Styles, Experimenta Design Biennale, Lisbon – with the Tipos das Letras collective www.tiposdasletras.com

2014 Ruha Stencil workshop, Grafill, Noruega. With the Tipos das Letras collective www.tiposdasletras.com

2013 Crossing Between Styles, Experimenta Design, Lisboa—With the Tipos das Letras collective www.tiposdasletras.com

2013 Letterpess Workshop for Illustration, Ar.Co – Centro de Arte e Comunicação Visual, Lisboa

2013 Ruha workshop, 4th Typograhy Meeting [IV Encontro de Tipografia], Escola Superior de Artes Aplicadas do IPCB, Idanha a Nova— With the Tipos das Letras collective www.tiposdasletras.com

2013 Letra Real, Stencil Workshop, Comunicar Design X, Escola Superior de Artes e Design das Caldas da Rainha (ESAD.CR) — With the Tipos das Letras collective www.tiposdasletras.com

2012 Letterpess Workshop, Ar.Co – Centro de Arte e Comunicação Visual, Lisboa

2007 Lettering Design, Universidade de Aveiro, com Ricardo Santos.

2006 Design your type, Instituto de Artes Visuais, Design e Marketing, Lisboa, with Ricardo Santos

2005 Type Big, Small Type, Instituto de Artes Visuais, Design e Marketing, Lisboa, with Ricardo Santos

Lectures

2014 One Type Revival, Bergen Academy of Art and Design, Bergen, Norway

2013 Type Design — from punches to digital, in: “Do escrito ao inscrito” 4th Typograhy Meeting [IV Encontro de Tipografia], Escola Superior de Artes Aplicadas do IPCB, Idanha a Nova

2012 A letra de imprensa na Academia Real da História Portuguesa na primeira metade do século XVIII, in: 3th Typography Meeting [III Encontro de Tipografia], Escola Superior de Música, Artes e Espectáculo – Instituto Politécnico do Porto.

2012 Uma perspectiva sobre letras escrita e caligrafia / lettering / tipos de letra e tipografia; co-authored with Ana Félix, in: 3th Typography Meeting [III Encontro de Tipografia], Escola Superior de Música, Artes e Espectáculo – Instituto Politécnico do Porto.

2012 O tipo das letras, in: World Graphics Day, Escola Superior de Artes e Design, Matosinhos.

2012 Design, Tipografia e desenho de tipos de letra, Faculdade de Arquitectura da Universidade de Lisboa.

2011 Uma perspetiva tipográfica no século XVIII em Portugal — o desenvolvimento dos tipos de letra, in: Books with a View, Faculty of Architecture of the Lisbon Technical University, Fundação Calouste Gulbenkian, Lisboa

2011 O lugar da tipografia na arquitetura: Contributo para a salvaguarda e construção de memória. Co-Authored with Joana Lessa; Paulo T. Silva; Ricardo Santos; Luís Ferreira; Manuel da Silva Lessa, in: 2nd Typography Meeting, (Segundo Encontro de Tipografia), Aveiro University

2010 O ensino da tipografia na ESAD.CR – programa metodológico, in: First Typography Meeting [Encontro de Tipografia], Escola Superior de Artes e Design – Instituto Politécnico de Leiria, Caldas da Rainha

2009 O Design como objecto de comunicação na Arquitectura, in: Arquitectura e Publicação, Instrumentos e meios de publicação, Nucleo de Arquitectura da Universidade Lusíada, Lisboa

2008 Os tipos das letras, um colectivo tipográfico, Aveiro University (Co-authored with Ricardo Santos)

2006 Novas tendencias na tipografia digital – Lisboa Open Type, in: XVI ARTEC ®evolução digital, Instituto Politécnico de Tomar

2006 Oban, do desenho ao uso, in: Conferências CPDC’06, Faculdade de Belas Artes da Universidade de Lisboa

2005 Oban, o processo de um tipo de letra, in: XV ARTEC — Simpósio das Artes Gráficas, Instituto Politécnico de Tomar

2004 Border City, in Conferências Cumulus — Instituto de Artes Visuais, Design e Marketing, Lisboa

Publications

2018 Imprimere – Arte e processo nos 250 anos da Imprensa Nacional
[Imprimere – Art and process in the Portuguese National Printing Office’s 250 years], Co-Authored with Sofia Meira, Published by Imprensa Nacional [National Printing Office] and esad – Escola Superior de Artes e Design, Matosinhos.

2016 Manual Prático do Tipógrafo [Practical Typograph Handbook], Co-authored with Joana Monteiro, Published by Clube dos Tipos.

Published work and articles

2016 “RUHA – Modern FIne Characters Crossing Between Styles”, Burilada, Câmara Municipa de Matosinhos; esad–idea Investigação em arte e design.

2015 “Tipos”, in Desejo Tensão e Transição, Câmara Municipal de Matosinhos; esad–idea Investigação em arte e design, Experimenta Design 15.

2013 Corpos dos tipos. Proceedings book “Do escrito ao Inscrito”, Forth typography Meeting [Quarto Encontro de Tipografia], Instituto Poltécno do Vale do Cávado e do Ave

2012 A letra de imprensa na Academia Real da História Portuguesa na primeira metade do século XVIII, Third Typography meeting [Terceiro Encontro de Tipografia] – Livro de Actas, pp.102-115, http://issuu.com/iiiet/docs/livro

2012 “Uma perspectiva sobre letras escrita e caligrafia / lettering / tipos de letra e tipografia”; Third Typography meeting [Terceiro Encontro de Tipografia] – Livro de Actas, com Ana Félix, pp.62-71, http://issuu.com/iiiet/docs/livro 2011

”O lugar da tipografia na arquitetura: Contributo para a salvaguarda e construção de memória”, Second Typography Meeting [Segundo Encontro de Tipografia] – Actas, with: Joana Lessa; Paulo T. Silva; Ricardo Santos; Luís Ferreira; Manuel da Silva Lessa; Aveiro, pp.105-138, http://entipografia.web.ua.pt/atas/Artigo_ENT_6.pdf

2006 “Border City”,Transit Raüme/Transit Spaces, Jovis, Edition Bauhaus

2006 “Minsk”,Transit Raüme/Transit Spaces, Jovis, Edition Bauhaus

Participation on scientific comities with blind peer reviewers

2018 “Thinking about tomorrow”, 9th Typography Meeting [Nono Encontro de Tipografia], Instituto Politécnico de Tomar

2017 “Multicultural”, 8th Typography Meeting [Oitavo Encontro de Tipografia], Universidade do Algarve

2016 “Rythmus”, 7th Typography Meeting [Sétimo Encontro de Tipografia], Faculdade de Arquitectura da Universidade de Lisboa

2015 “Perceção”, 6th Typography Meeting, [Sexto Encontro de Tipografia], Universidade de Aveiro

2014 “Ubíqua”, 5th Typography Meeting, [Quinto Encontro de Tipografia] Instituto Poltécno do Vale do Cávado e do Ave

2013 “Do inscrito ao escrito”, 4th Typography Meeting [Quarto Encontro de Tipografia], Instituto Poltécnico de Castelo Branco

2012 “Convergências”, 3th Typography Meeting [Terceiro Encontro de Tipografia], Escola Superior de Música, Artes e Espectáculo e o Instituto Politécnico do Porto

2011 “Contextos de Investigação e de Aplicação”, 2nd Typography Meeting [Segundo Encontro de Tipografia], Universidade de Aveiro

Organização de ciclo de conferências e workshops

2019 “Borders”, Décimo encontro Nacional de Tipografia, ESAD Escola Superior de Arte e Design, Matosinhos.

2010 O ensino da tipografia em Portugal, Primeiro encontro Nacional de Tipografia, ESAD/IPL Escola Superior de Arte e Design das Caldas da Rainha/Instituto Politécnico de Leiria, Caldas da Rainha.

Experiência profissional

2013 – […] Founded (with Ricardo Santos e Aprígio Morgado) the Digital Type Foundry Tipos das Letras

2004 – […] Founded the design studio Item Zero

2000 – […] develops his own letterpress workshop Tipografia Dias

1998-2003 as a designer worked as a freelancer and for a myriad of agencies, design studios and printing offices as Methodus Design, Coyote Designers, Experimenta Design, Gráfica de Leiria, Leirisic, Publicenso.

Published Typefaces

2013 RUHA OpenType®, Tipos das Letras, http://www.myfonts.com

2012 Taca [email protected], http://www.myfonts.com

Academic experience

2006 –[…] Type Design professor at Escola Superior de Arte e Design, Matosinhos

2007 – 2016 Type and Typography Teacher at Escola Superior de Arte e Design do Instituto Politécnico de Leiria, Caldas da Rainha

2013-2016 Teacher of Typography at ETIC, Lisboa

2012– 2015 Teacher and coordinator of the letterpess workshop, at Ar.co – Centro de Arte e Comunicação Visual, Lisboa

2012 – 2013 Docente de Tipografia, layout e Paginação, ESTAL, Lisboa

2006 – 2009 Teacher of Type Design, at Ar.co – Centro de Arte e Comunicação Visual

Master thesis coordination

2019 A influência dos tipos de madeira no desenho de novas fontes. Carlos Oliveira, esad, Matosinhos

2018 Parametric Design/Design paramétrico, Ana Fernandes, esad, Matosinhos

2013 O desenho da letra em azulejo – Uma modularidade tipográfica na azulejaria da placa toponímica, Ana Sofia Félix, Faculdade de Arquitectura da Universidade de Lisboa

Press (selected list)

2018 De Gutenberg ao digital, a Casa do Design ensina como se faz um livro, Jornal Público (https://www.publico.pt/2018/06/01/local/noticia/de-gutenberg-ao-digital-a-casa-do-design-ensina-como-se-faz-um-livro-1832718#gs.rA9KSobS)

2018 Imprensa Nacional 250 anos: glória e pedagogia. Oberservador (https://observador.pt/2018/07/14/imprensa-nacional-250-anos-de-gloria-e-pedagogia/)

2018 A Casa do Design, em Matosinhos, SIC Notícias (https://sicnoticias.pt/cultura/2018-07-02-A-Casa-do-Design-em-Matosinhos-tem-duas-novas-exposicoes)

2018 Imprimere, Time Out Porto (https://www.timeout.pt/porto/pt/museus/imprimere)

2018 Exposição em Matosinhos assinala 250.º aniversário da Imprensa Nacional, Diário de Notícias (https://www.dn.pt/lusa/interior/exposicao-em-matosinhos-assinala-250o-aniversario-da-imprensa-nacional-9315797.html)

2017 Manual prático do Tipógrafo, For Print Only. A Division of UnderConsideration, 4 de Janeiro (https://www.underconsideration.com/fpo/archives/2017/01/manual-pratico-do-tipografo.php)

2016 Tipografia Dias, Melancia Magazine (https://issuu.com/melanciamag/docs/melancia_mag__7_marco)

2016 Manual Prático do Tipógrafo: a tipografia chegou ao século XXI , P3, Público, 5 de Abril (https://www.publico.pt/2016/04/05/p3/noticia/manual-pratico-do-tipografo-a-tipografia-chegou-ao-seculo-xxi-1825811#gs.jLE09YBp)

2012 Tipo de letra Taca, Público – Dois, 9 de Dezembro 2006 Tipo de letra Oban selecionado no Concurso Jovens Criadores, jornal Região de Leiria.

2004 Exhibition S*cool, Experimenta Design 2003, FRAME 46

2004 Interview for diospirojoyeux.net

Academic education

2009 – 2015 PhD in Design Eighteenth-century type in the royal printing office The design and development of an interpretative historical revival.. Faculdade de Arquitectura da Universidade de Lisboa

2007 Type Design Intensive, University of Reading, Department of Typography

2004 Bolseiro na Fundação Bauhaus Dessau, V Kolleg, Transitraüme, Alemanha

1998 – 2002 Design Visual, Instituto de Artes Visuais, Design e Marketing, Lisboa

Collective Exhibitions

2016-2017 Tipografia Dias uma colecção de Workshops, 7th Typography Meeting[Sétimo Encontro Internacional de Tipografia], Faculdade de Arquitectura da Universidade de Lisboa.

2016 Ruha Stencil workshop, 7th Typography Meeting[Sétimo Encontro Internacional de Tipografia], Faculdade de Arquitectura da Universidade de Lisboa — With the collective Tipos das Letras

2016 Letra D with Tipos das letras at LAWM — Letters are what matters, Silos Contentor Criativo das Caldas da Rainha

2016 “RUHA – Modern FIne Characters Crossing Between Styles”, Burilada, Câmara Municipa de Matosinhos; esad–idea Investigação em arte e design.

2016 Letra G (Tipografia Dias) at LAWM — Letters are what matters, Silos Contentor Criativo das Caldas da Rainha

2016 Letra X at LAWM — Letters are what matters, Silos Contentor Criativo das Caldas da Rainha

2016 Tipografia Dias, Open Day – Lola Mullen Lowe, Lisboa

2015 Tipos, in Desejo Tensão e Transição, Câmara Municipa de Matosinhos; esad–idea Investigação em arte e design, Experimenta Design 15.

2014 Ruha Stencil workshop, Bergen Book Art Fair, Bergen, Noruega— Com o colectivo Tipos das Letras

2013 Letra Real, Stencil Workshop, Comunicar Design X, Escola Superior de Artes e Design das Caldas da Rainha (ESAD.CR) — Com o colectivo Tipos das Letras

2006 Oban Type Family, Jornadas Atypicas, Faculdade de Belas Artes de Lisboa

2005 TransitRäume — Fundação Bauhaus, em Bordeaux, França

2004 Transit Spaces, 1.ª Bienal Internacional Chinesa de Arquitectura, Beijing. TransitRäume — Fundação Bauhaus

2004 TransitRäume, Fundação Bauhaus, Dessau, Alemanha

2004 Oban Typeface, Festival of Video — Armenian Center for Contemporay Experimental Art – ACCEA, Arménia

Awards and honorary mentions

2019 Fiapo — Shortlisted, Internacional competition Stiftung Buchkunst for the “Best Book Design from all over the World” 2019 .

2018 Fiapo Honorary Mention, Book Design Award by the National Council of Book and Libraries [Prémio Design do Livro, by DGLAB Direcção Geral do Livro e das Bibliotecas].

2017 Manual Prático do Tipógrafo, Type Director’s Club – Award of Typographic Excellence com Clube dos Tipos.

2013 Taca, Other Notable Font Releases of 2012, Reviewed by Typographica.

2006 Oban, sistema de tipos de letra, Jovens Criadores 2013 Taca OpenType Pro®, Typographica, 2012 Notable releases

4th TYPOGRAPHY MEETING / 4º ENCONTRO DE TIPOGRAFIA

2013.11.26-29

Corpos dos tipos

[Type body sizes]

Co-authored with Francisca Monteiro

An article in a poster format that records from a myriad of documents the Portuguese nomenclatures used to designate the type sizes used before the Didot Point – that emerged in the late eighteenth century. It is presented a comparative table gathering the terminologies used from the eighteenth up to the twenty-first century revealing the wide variation in name’s usage, that show the influences from all over Europe.

The same table is a proposal of an organisation and an approximation of these nomenclatures to the Didot point sizes, to order it's terminology usage for further researchers.

The full article is available in the 4th Typography Meeting's Book of Proceedings, Page 142 (Portuguese only).

3th TYPOGRAPHY MEETING / 3º ENCONTRO DE TIPOGRAFIA

2012.10.08-09

Uma perspectiva sobre letras, escrita e caligrafia / lettering / tipos de letra e tipografia.

[One perspective about letters, writting, and calligraphy / lettering / typefaces and typography]

Co-authored with Ana Sofia Félix

Similar to other knowledge areas, Typography has been developing a language and specific terminology. With the progress of education in typography, it becomes essential to establish and comprehend the concepts used in the profession.

A few of these concepts are still to be settled, particularly in the Portuguese language. The ones about the way work and talk about letters, as the writing, calligraphy, lettering or other drawn letters and the typography or typefaces are being misused either on-line and even in academic contexts.

This article aims to propose to the discussion a way of understanding for each one of them, not as an absolute way, but by presenting their proceedings, peculiarities, objectives and limits.

You can find the complete article here, pp.62-71 (Portuguese only);

3th TYPOGRAPHY MEETING / 3º ENCONTRO DE TIPOGRAFIA

2012.10.08-09

A letra de Imprensa na Academia Real da História Portuguesa na primeira metade do Século XVIII.

[Printing type in the Royal Academy of Portuguese History during the first half of the eighteenth-century]

You can find the complete article here, pp.102-115 (Portuguese only);

Agosto 2015

Eighteenth-century type in the royal printing office

The design and development of an interpretative historical revival.

Adviser Maria Calado; Co-adviser John Downer

The thesis aims to study and reinterpret the original Eighteenth-century characters from the Impressão Régia (Royal Press) Foundry. A new typeface was developed, based on this research, and the methods and reasoning used are described in detail. It is a contribution to knowledge about the Eighteenth-century type history in Portugal and provides theoretical and practical experience.

As regards history, another typefounder, Henrique José Belinque – who was a contemporary of Villeneuve – was discovered, and their roles in relation with the king are established. The two typefounders’ work culminated in the Royal Press, and they are the persons that created the majority of the type used in Portugal at the time.

The discovery of the original punches developed by the Frenchman Jean Villeneuve, lead to the centre of this project. The typeface redesign, which is intended to have a markedly historical nature, took into consideration other aspects beyond the punches – prints of the characters, the influence of calligraphy, the history of typography, and the surrounding context – to substantiate each character’s design. A graphic and typographic register is revealed, and a useful tool is built for the present day.

The project contributes to knowledge by presenting methods and reasoning that support the design of this typeface. It also forms a description of a practice based on an understanding of a piece of history that to a great extent still awaits depiction.

It is also intended to help create awareness and a graphic and typographic culture in Portugal, in the hope that it can open the way to new research in typography in general and other typeface interpretations in particular.

Developed initially in the English language it is currently being revised and translated to be published by the National Printing Office as a bilingual edition in Portuguese and English.

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Authorship & Consultancy

Authorship
& Consultancy

Photography by ESAD.
Imprimere Book
© 2018 Photography by Luís Espinheira.
Imprimere Exhibition
© 2016 Photography by Daniel Santos, Beatriz Sapata / FBA.
Manual do Tipógrafo

Published by Imprensa Nacional & esad

2018

Imprimere – Arte e processo nos 250 anos da Imprensa Nacional

[Imprimere – Art and process in the Portuguese National Printing Office’s 250 years]

Co-Authored with Sofia Meira

Edited with the homonymous exhibition is more than just a catalogue of pieces. Is an educational tool not only for teachers and students of design but to anyone interested in getting in touch with how the books used to be made. Looking at an understanding of the value of the techniques in is current practice and formation, namely in Design education.

In the first part of the book, a series of essays contextualise the design in Portuguese history, the practice presented in the first person and how the appropriation of the old techniques are resurging in the current design scene.

The second part exposes the techniques of bookmaking, with brief descriptions on the most significant processes and methods. Supported on the Portuguese National Printing Office’s 250 years of book production, it represents a historical approximation of the Portuguese reality. It starts with papermaking and printing type manufacturing; It follows with the most relevant printing methods used for bookmaking: letterpress typography, calcography and lithography in stone and offset; and finishes with bookbinding. The current section is the most extended part of the book, widely illustrated, with a curated collection of machinery, tools and printed materials, exceptionally photographed.

The third and last part of the book contains the reproduction of a collection of ten prints, developed by ten designers, exploring the above techniques in today's practice.

2018.05.10–2019.01.05

Imprimere – Arte e Processo nos 250 anos da Imprensa Nacional

[Art and process in the Portuguese National Printing Office’s 250 years]

Co-Curated with Sofia Meira

The exhibition aimed at bringing to a broad audience an early contact with the evolution of bookmaking techniques. Unable to show every possibility we associated with the Portuguese National Printing Office allowing us to focus on their work over the last 250 years.

The techniques allowed us to organise a curated selection of machines, tools and printed materials, widely used in the trade. With a didactic perspective, the aim was to reveal the elemental steps on bookmaking. With a focus on seven techniques, from making paper and type manufacturing to the conventional printing techniques (as typography, calcography, lithography and silkscreen), the visitor was able to get an overall idea of the complexity of these processes.

Hopefully, it contributed to an improvement of the consciousness of the book as an object, regardless of the technology used to make it.

In a moment that designers are rediscovering old methods, to recover this knowledge allowed the community to move on, reclaiming these techniques into contemporary practices.

The exhibition took place at Casa do Design, and was supported by the Matosinhos City Council; esad–idea and the Portuguese National Mint and Printing Office.

2016

Manual Prático do Tipógrafo

Co-authored with Joana Monteiro

We developed this book with the purpose of being used inside traditional letterpress workshops as a guide. The publication consists of a glossary of essential terms, objects names and also describes the main phases and materials necessary for a good letterpress practice in a brief mode.

It was organised according to the phases of the process, considering a resume of needs to the current letterpress practice for the current beginners. The intention with this object is to promote a general understanding inside the workshop, making easier the learning effort for every interested in getting in touch with letterpress.

Not available for sale, you can exchange it with another book, a typographically printed piece or any other type related materials. We are compiling each exchange on this Facebook page. If you are interested, have a look at the previous ones.

© 2016 Photographies by Daniel Santos, Beatriz Sapata / FBA.

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Communication Design

Communication
Design

Books
Digital

Founded in 2004, Item Zero is a Multidisciplinary studio, designing content-based solutions for print and media, but essentially we make books. www.itemzero.com

Book design

From the idea to production

We make books, from a catalogue to literature, a report or illustrated. With a focus on making the content clear, we develop projects as an open discussion with the author. Working with specialised photographers or illustrators, we aim to produce unique and outstanding objects. Looking carefully from the raw materials selection to the best production techniques, working with renowned printers, we strive to elevate the book experience to the highest standard.

Anyone who loves books knows no picture can capture a good book in its entirety. The different touches of the papers, the feeling of using a book that opens flat correctly, are the kind of details that only by handling the book you can understand it.

If you are interested in making a book, get in touch.

fiapo, hellington, vieira, premio, design, livro

Founded in 2004, Item Zero is a Multidisciplinary studio, designing content-based solutions for print and media, but essentially we make books. www.itemzero.com

Digital Mediums

Interface Design, User Experience & Web Development.

Through analysis and strategic processes, we develop the best solutions for your digital needs. We create custom-made proposals, focusing on innovative and creative outcomes for your products.

At Item Zero we work with developers and programmers to implement enhanced experiences for our clients.

With a strong and valuable typographic & data visual representation background, we produce layouts that represent knowledge intrinsic to the content. At the same time, we continuously question the relevance of every solution as part of an ongoing process.

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Letterpress Typography

Letterpress
Typography

Workshops
© 2016 Photography by Luís Espinheira.
Design

Tipografia Dias is a movable type letterpress workshop founded in 2000, run by Designers, designing with movable type. www.tipografiadias.com

Letterpress Workshops

In a letterpress workshop, one can learn a lot about type and typography. All bases of how we use letters today on our computers result from the evolution of the old technique of movable type.

I'm able to organize a workshop with you, a group, or your company, either in Lisbon or Porto. I have performed workshops since 2006 either at ar.co in Lisboa, at esad in Matosinhos or with my studio, currently in Espinho.

You can learn how it works, gaining conscience of how to handle type and the space that surrounds it which is the basics of every typographic composition. These concepts remain nearly the same since Guttenberg. They organize the contents to make them clear. You can get out of the computer and try an alternative technology and get your hands dirty with ink.

Get in touch with us.

[email protected]

Tipografia Dias is a movable type letterpress workshop founded in 2000, run by Designers, designing with movable type. www.tipografiadias.com

Design with Letterpress

At Tipografia Dias we have been developing projects such as books, posters, business cards or postcards, among others. We create the project from the conception of the idea through the design process working with movable type, up to printing. Containing over 150 typefaces of wood and metal we have been able to produce a wide variety of solutions.

Taking advantage of the old technique of letterpress, we are allowed to control the process thoroughly. Moreover, this technique empowers us to make particular objects, where every print is unlikely different.

In 2018 the book Fiapo, entirely designed and printed in letterpress was awarded an honorary mention on the Portuguese Book Design Award by its peculiar design qualities and details.

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Type Design & Lettering

Type Design
& Lettering

Regem
RUHA Typeface Family
Taca

2018 / …

Regem Typeface

A contemporary reinterpretation from a eighteenth century type

Co-Authored with Fábio Martins

Regem is an ongoing collaborative project that aims to reinterpret a typeface, in four hands and continuously update our discussions online, making a record of the process in blog format as the work is going.

Usually, when doing a revival, the obvious way to acquire references is to look a the display types: they allow to perceive much more details, making it easier to make choices and to transform it into vectors. For this project, the option was to go the other way around: to ignore the display types and look at the smaller ones, filled with artefacts and rough shapes, with not-so-elegant cuts and ink blots.

The choice is to look at these artefacts and reading them as statements, not errors.

Punchcutters were adapting forms to make them work at a given size – and since type was to be seen printed, these “errors” play a crucial role in the texture – while being limited to their tools and physical constraints. Comparing to the process of cutting type in the eighteenth century, the contemporary digital type design has a baffling degree of precision. Also, printing nowadays is much more refined. Such detail demands a de-rationalisation on what to keep and what to ignore.
At the same time, enough room should be allowed in the development of a contemporary interpretation, and to work in four hands will naturally retain a sum of perspectives.

Our goal is to produce a contemporary text typeface, designed to be used around 9 – 10 points, while rationalizing and documenting the process, discussing how to achieve informed decisions, based on history, balance and technique.

A similar process happens for the italics and the two bolds -- the latter that, by that time, were still non-existing, but that is an obvious need in regular contemporary use.

The decisions and solutions will come along the process; the points above, serve as a starting point of a project that is under development. Keep an eye on the developments in here.

Tipos das Letras (TdL) is an independent digital type foundry based in Portugal, started in 2013. www.tiposdasletras.com

Available at Myfonts

RUHA

Type Family

RUHA evokes the sound and geometric rigidity of a landmark development in the history of typography, the Romain du Roi, a font commissioned by Louis XIV of France and developed by a committee appointed by the Académie des Sciences. While they were contentious because of their prétendues règles, the mechanical form of these fonts paved the way for the Transitional and Didones fonts. The character model presented by RUHA is the result of the synthesis and interpretation of Modern typefaces.

Despite this rigidity, the rationality of the basic model encourages graphic experimentation and creativity. Using the same base, the stencil makes it possible to explore Latin, Tuscan, Grotesque and many other styles, and the addition of decorative elements such as diamonds or terminals and other graphic elements is also possible.

Taca

Taca is a typeface built around a shape called a “squircle” — neither square nor circle. We usually associate the rounded, convex box with the television screens of the 1960s and Aldo Novarese’s classic typeface, Eurostile.

But whereas Eurostile is cold and machined, Taca is warm and rugged, as if it was molded from clay or carved from stone. Taca’s organic nature is also derived from another unique feature: rounded crotches at the right angles where perpendicular strokes meet. This subtle finish, along with blunt stroke endings, softens the otherwise rigid skeleton.

With such a strong conceptual vision, Taca could be relegated to the bin of experimental designs, severely limited in their application. But that fate is usually born of a less experienced maker. As a teacher, designer, and letterpress printer, Dias is a type user, keenly aware of the functional requirements of good type.

Taca is therefore not a slave to its concept, but a working font family, effective in various sizes and environments. Its lettershapes break away from the base shape whenever it makes sense for legibility, while still maintaining the flavor of the design as a whole. That said, a set of squircle-shaped alternates give the user the flexibility to get more stylized if the situation calls for it.

Fitting to its functional aims, Taca has many of the features one expects of a proper text font: upper and lowercase figures, case-sensitive punctuation, and Extended Latin language support.

The simplicity, openness, and squareness of Taca’s forms also make it an ideal design for the pixel grid of screen displays.

Available in 41 languages: Afrikaans, Albanian, Basque, Bokmål, Slovenian, Esperanto, Estonian, Faroese, Finnish, French, Irish, Irish Welsh, Greenlander, Dutch, Hungarian, English, Icelandic, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Norwegian, Polish, Portuguese, Romanian, Romanian, Serbian (Latin), Swedish and Turkish.

Tipos das Letras (TdL) is an independent digital type foundry based in Portugal, started in 2013.
www.tiposdasletras.com

TIPOS DAS LETRAS

05.2013

RUHA Stencil

Co-author Aprígio Morgado e Ricardo Santos

The need to create a pedagogic tool for the teaching of typographic design gave rise to the RUHA project, a stencil designed for the exploration of letter forms that also shares the purpose of the construction of messages.

The RUHA stencil has a number of features that set it apart from the conventional stencil concept. The letters are built using elements that are added on to or superimposed upon each other; their form may or may not feature the “cuts” that