In our Type Design Workshop course, we continue to delve into the topic of extended Cyrillic. This year, we challenged the students to do the impossible: design a typeface that supports two languages in just two weeks. One of them was supposed to be based on the Cyrillic script, and the other on the Latin script. 
The results, as always, were astonishing.
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*This year's guest lecturer was [Anatoliy Grashchenko](https://agrshch.com/?fbclid=PAAaZhtouuYauOjHDXYdPsuMt-dMj1gslIfUCFSR4BgshoE11aPASuwO3s88M_aem_AU9N77Yy4KFff78ik7l5ryQgwO4K7eNBi9bcIHEgNf8sd-Hcntsmwy9BnVRbiK708zw).*

Type Design Workshop / 2023

For the past eight years, the Type Design Workshop has been a home to summer courses for graphic designers. This year, we introduced a next level version, the TDW Intermediate, inviting our alumni to join us first, followed by opening the doors to the public.
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During the course, students polished their typeface projects, exploring the nuances of developing typeface families, Italics, extending language support, and character sets. They were also exposed to the engineering aspects of typeface design, including hinting and mastering. Our guest speakers: Anya Khorash, Krista Radoeva, Slava Kirilenko, Lena Novoselova,Tasya Petelina shared the industry secrets and process shortcuts with the students.
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As always, the fall-winter intensive passed in a blink of an eye. We are immensely proud of our students and look forward to watching them flourish with their newfound skills.


Type Design Intermediate Workshop / 2022

The main Type Design Workshop theme this year were the extended Cyrillic languages: Abkhazian, Aleutian, Bashkir, Dolgan, Kildin, Mansi, Serbian, Tatar, Tuvan, Ukrainian, Khanty, Chukchi, and Yakut. The languages for the research aspect of the project were randomly assigned to students.
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How does one grasp the multitude of Cyrillic-based languages? How does the make-up of the alphabet affect the project in development and its main elements? Should type design rely on some of the cultural aspects of the people who use it? These are just a few questions we brought to the table for an open-ended discussion during our workshop this year.
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*Invited speaker: [Daria Petrova](http://www.instagram.com/typodaria)*

Type Design Workshop / 2022

This year TDW had a truly magical atmosphere thanks to the workshop theme “Beauty and the Beast”, where the students had to focus on the opposites and their attraction. Each of them was randomly assigned a fairy tale to use as inspiration for a variable type concept to reflect the protagonist and antagonist of the story through the contrast between construction and deconstruction.
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*Invited speaker:* [Kirill Gluschenko](https://kirillgluschenko.net)

Type Design Workshop / 2021

The pandemic served as a major catalyst for the complete digitalization of all processes and many industries worldwide. In 2020 many schools and universities went online, and so did… we: this summer “Type Workshow”, for the first time in history, was completely online, allowing students from all across the clone to join us. Our instructors also joined from various cities and countries. We had: Amsterdam, Berlin, San Francisco, Tel Aviv-Yafo, St. Petersburg, Moscow, Krasnodar, Tver, and Solnechnogorsk.
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The workshop topic was “stencil type”. Each student received a randomly assigned topic: stencil plaques (road signs, “keep the distance” signs, etc) matched with a random location. The goal was to combine the stencil type and the location, so the students had to do the research and figure out what parts to keep and what parts to alter. Each project evolved differently—many have changed beyond recognition. 
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*Invited speakers:*
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Designer and calligrapher [Oleksii Chekal](https://www.behance.net/PaLaMa)
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Type designer and illustrator [Elena Novoselova](https://newvillagetype.com)

Type Design Workshop / 2020

This year the goal of the participants was to create a project based on the combination of the formal and emotional type characteristics. This process allowed us to gain expertise in various type parameters, such as proportions, intensity and contrast, and to apply them to convey the desired emotion.
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Writing, type sketching, analysis of the logical connections between letters—4 days of working on paper, 5 days of working in the font editor—about 60 hours of intense work, discussions, and individual guidance in total.
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*Guest speaker: [Konstantin Eremenko](http://eremenko-vis.com)*

Type Design Workshop / 2019

9 intensive type days flew by very quickly. Writing with a pointed pen, brush, working with stencils, type sketching, analysis of the logical connections between letters—4 days of working on paper, 5 days of working in the font editor—about 60 hours of intense work, discussions, and individual guidance in total.

Typedesign Workshop / 2018

This year we invited our students to ride the metro on the first day and to look for references for their final project. The work was very intensive, we acquaint our students with historical handwriting, ways of digitization. 
For the final viewing, students prepared posters and specimens with their fonts.


Typedesign Workshop / 2017

9 type days have flown by. Students worked on a large number of sketches, learned to write with a pen and a brush. They found the best shape for their letters, first on paper, and then digitized it. At the end of the course, the guys prepared their first alphabet and made a specimen. Viewing was open to all comers.
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*Instructors: Maria Doreuli, Elena Novoselova, Alexandr Tarbeev*

Type Design Workshop / 2016

Type Design Workshop hosted a meeting with Keitaro Sakamoto, a representative of Morisawa—the biggest Japanese type foundry. In the past two weeks Keitaro has practically travelled around the world, having visited San Francisco, New York, Great Britain, France, The Netherlands, and Germany. Having come to Moscow for less than a day, Keitaro gave a brief overview of Morisawa and its [Type Design Competition](https://competition.morisawa.co.jp/en/), focusing on the history, application processes, and jury members (among which are *Matthew Carter*, *Fred Smeijers*, *Sara Soskolne*, *Cyrus Highsmith*, and once upon a time, even Adrian Frutiger). We are very thankful for being able to host such a special event.

Morisawa Competition Presentation / 2016

Another lettering course has come to completion. The participants all had different levels of expertise, so working all together was an interesting task. We have drawn over 100 sketches and now we would like to thank all the participants for the active participation and dedication, which allowed us to have a fun and productive weekend! 
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*Instructors: Maria Doreuli, Katerina Kochkina*


Lettering / 2016

The Adobe FDK workshop is a yearly workshop introducing the concepts of the Adobe Font Development Kit for OpenType (AFDKO) to prospective users. Established by Miguel Sousa almost a decade ago, with the intention of giving type design students a bit more confidence when it comes to technical challenges. Traditionally, the workshop has taken place in the type design programs of Reading and The Hague, but this year, for the first time, Frank Grießhammer has come to Moscow, to the Type Design Workshop!
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The workshop program includes: 
- • brief introduction to using the command line
- • overview of tools provided in the Adobe FDK
- • introduction to building fonts using the Adobe FDK
- • introduction of PS and TT hinting with examples
- • overview and application of OpenType features
- • a number of exercises to apply and understand FDK workflows
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It does sound a little intimidating, but under Frank’s talented supervision, the course will be fun and easy!

Adobe FDK with Frank Grießhammer / 2016

This year is special to us. We didn’t just bring the senior diploma projects from Type and Media Course and MA in Typeface Design from Reading University, but we are also happy to welcome Katerina Kochkina from The Hague, as she has just successfully received a diploma in Type and Media. Katerina will tell us about her experience and her classmates’ projects this Friday. We will also be displaying the newest typeface projects from Alexander Tarbeev’s class.

Type Masters Exhibition / 2015

On November 14th and 15th, the Type Foundry hosted a 16-hour long lettering course. Our main goal was to step away from the screens and figure out the grand scale of opportunities sketching by hand provides to us. How does one begin to draw a letter when they do not have a formal training to do so? How does one explore and find something new when they already have experience in designing letterforms? How does one organise their workflow to satisfy both themselves and the client?

Lettering / 2015

Thanks to Irina Smirnova and her efforts, we managed to get [Denis Brown](https://www.instagram.com/denisbrowncalligraphy/) to visit us. Denis held two workshops: “Foundation Hand” and “Cursive: forms, variations, energy”, and on top of that, the Promgrafica Gallery provided Denis Brown with the space to host his personal exhibition and an open lecture. These nine days have been truly packed with events!

“Foundation Hand” and “Cursive: forms, variations, energy” with Denis Brown / 2015

Our 8-day long course is over! We started working by mastering the work principles of various writing tools. The course participants learned about the handwriting evolution and the influence writing tools have had on the creation and development of print typefaces. Later, after having become familiarized with the type sketching techniques and lettering work principles, the students have created their own unique inscription. The remaining part of the course was dedicated to the creation of personalized unique printing typefaces and their presentations.

Type Design Workshop / 2015

Within the Serebro Nabora (Серебро Набора) Type Conference and with the support of Promgrafika (Промграфика) Gallery, we have opened an exhibition of the newest type projects of the Type and Media MA majors of the Royal Academy of Art (Netherlands) and MA Typeface Design majors from Reading University (England), as well as the alumni of Alexander Tarbeev’s Type Workshop, Moscow State University of Printing Arts and Type and Typography, British Higher School of Art & Design (Moscow). That equates into over 20 type projects, among which are latin, non-latin, and cyryllic alphabets.

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