Tipos Latinos 2010
A little over a month ago Tipos Latinos announced the selection for their 2010 Biennial, and the seven recipients of a Certificate of Excellence. Tipos Latinos is a concept, a virtual entity dedicated to promoting Latin American typography and type design. It is created by students, professionals, and enthusiastic followers spread out over the whole Latin American region. Its main objective is the organisation of Tipos Latinos, the Biennial of Latin American Typography, whose fourth edition will be held in 2010.
Letras Latinas 2006 in São Paulo, Brazil. Photo by Pablo Cosgaya
At the beginning of the new millennium Latin America experienced a growing interest in typography and type design amongst academics and professionals. In response to this an exhibition of Latin American typography was held at tpGbuenosAires 2001, to check on the state of type design in the region. The response was overwhelming, and the submitted works exceeded all expectations with regard to their origin, quantity, and quality. The organisation – led by famous Argentinean graphic and type designer Rubén Fontana – was the embodiement of a movement that was emerging simultaneously, yet independently from each other, in several Latin American countries. It offered the opportunity for the general public to get acquainted with numerous type designers, who until then had been working silently and in anonymity, and who were interested in an outlet for publicising their creations.
In 2002 the LetrasLatinas website was launched. This virtual shop display showcasing the work of Latin American Type designers soon started expanding, and revealed their talent and passion to the world at large. The quantity of work displayed and the affluence of large numbers of visitors to the website, combined with the experience gained in 2001 paved the way for the next step – the consolidation of LetrasLatinas as a biennial trade show.
Two years later LetrasLatinas 2004 opened, with exhibitions in Buenos Aires, Santiago, São Paulo, and Veracruz. Forty works – hailing from Argentina, Brazil, Chile, Colombia, Mexico, Paraguay, Uruguay, and Venezuela – were selected by a jury composed of one representative of each country, plus a fifth member appointed by the members of the typographic collective known as t-convoca. In addition to the exhibitions an intensive schedule was developed, featuring parallel activities, lectures, debates, workshops, and guided tours that added value to the show.
Guided visit with Marcela Romero and Pablo Cosgaya at Letras Latinas 2006 in FADU/UNL in Santa Fe, Argentina. Photo by Eliana Mercuri
For LetrasLatinas2006, the second edition, the number of submissions increased exponentially, Which resulted in a final selection of seventy works. Those originated from Argentina, Brazil, Chile, Colombia, Cuba, El Salvador, Mexico, Peru, Uruguay, and Venezuela. Exhibitions in Bogotá, Caracas, Lima, and Montevideo were added to the original locations of 2004.
In 2007 Rubén Fontana stepped down. Most of the LetrasLatinas collaborators, joined by some new members, committed to continue this project which was renamed Tipos Latinos. With renewed enthusiasm they carried on their efforts at promoting Latin American typographic design to a wider audience. Furthermore the intention grew to expand the reach of the original project – Argentina, Brazil, Chile, Colombia, Mexico, Peru, Uruguay, and Venezuela became additional locales for the event. For this a regional body known as Regional Coordination of Tipos Latinos was created. It is composed of a representative from each country who also acted as the coordinator of activities at local level.
Letras Latinas 2006 in Universidad Diego Portales, Santiago, Chile. Photo by Magentta
Yet 2008 was nearing, and both the participants and the public were expecting a new show. Working on a very strict deadline, but brimming with determination and passion, the collaborators sent out the invitation for Tipos Latinos 2008, the Third Biennial Show of Latin American Typography. This time 423 works were submitted, originating from Argentina, Brazil, Chile, Colombia, Cuba, Dominican Republic, Ecuador, Mexico, Peru, Paraguay, El Salvador, Uruguay, and Venezuela. This set a new record in participations. The jury, which convened in Veracruz in March 2008 and was composed of a representative of each location, selected 79 projects, granting 8 Certificates of Excellence. For the first time, the Biennial Show also visited Bolivia, Ecuador, and Paraguay. The attendance exploded, as did the parallel activities held during the event, and the number of participants far exceeded all forecasts. For the first time the show also crossed the Atlantic to Europe, where it was exhibited at 3cit, the Third International Convention on Typography in Valencia, Spain. It occupied a privileged position at the event and was greeted enthusiastically by the public.
With exhibition venues and educational organisations waiting in line to host the show, it continues with its successful itinerary through numerous cities. And now Tipos Latinos is coming up next. The Fourth Biennial Show on Latin American Typography will be the culmination of the fabulous itinerary taken by TL2008.
Tipos Latinos 2010, Fourth Biennial Show of Latin American Typography
With the track record set by LL2004, LL2006 and TL2008, the 2010 Biennial Show organised by Tipos Latinos stands as the most important typographic event in the region. It gathers typographic designers from various countries, who are all of them connected by their Latin American identity, as well as by their enthusiasm for this discipline and their talent. Tipos Latinos is now well-established in the typographic world, and is now more ready than ever to organise the upcoming 2010 Biennial Show. The organisation has grown even more – Bolivia, Ecuador, and Paraguay have added a representative each to the Regional Coordination Body, and Guatemala will host the show for the first time.
On March 22 and 23, 2010, the jury of the Fourth Biennial of Latin Typography convened in the city of Montevideo, Uruguay. The TL2010 jury was composed of Paco Calles (México), José de los Santos (Uruguay), Juan Heilborn (Paraguay), Fabio López (Brasil), César Puertas (Colombia), Hugo Rivera Scott (Chile), and Marcela Romero (Argentina). During those two days they judged the 448 entries that had been submitted, and selected the works to be presented at the Tipos Latinos 2010 exhibition. At the end of the second day and after deliberation, the jury selected 78 projects. Furthermore they unanimously distinguished seven outstanding entries with a Certificate of Excellence.
Certificate of Excellence | Display Type | Carlota by Oscar Yáñez (Mexico)
Interestingly, for the first time the organisers of Tipos Latinos provided a series of submission templates for all participants. The main purpose was to allow the jury to focus on the purely typographic qualities of the submissions without being distracted by external design factors. This contradicts James Montalbano's comment in the initial TDC2 2010 post. Afterwards the participants were sent new guidelines for the design of the posters that are to be exhibited to the public, to ensure the show will stand out for both its typographic quality as well as its visual attractiveness. The organisation is also looking into several options for creating a catalogue featuring all the selected works.
On Tuesday May 4th, the Tipos Latinos 2010 opened at CCEBA (Centro Cultural de España en Buenos Aires, Argentina).
Certificate of Excellence | Experimental Type design | OPTICA by Manolo Guerrrero (Mexico)
Monarcha · Isac Correa Rodrigues (BR) Certificate of ExcellenceKukulkan · Raúl Plancarte (MX) Certificate of ExcellenceEspinosa Nova · Cristóbal Henestrosa (MX) Certificate of ExcellenceCorvus · Johnatan Cuervo (MX)Geogrotesque · Eduardo Manso (AR)Adelle · Veronika Burian & José Scaglione (CZ / AR)Sunday Times Modern · Eduardo Manso (AR)Karmina Sans · Veronika Burian & José Scaglione (CZ / AR)Perec · Alejandro Lo Celso (AR / MX)FS Jack · Fernando Mello & Jason Smith (BR / UK)Lavigne Display & Lavigne Texto · Ramiro Espinoza (AR)Sedna · Raúl Plancarte (MX)Arauto · Fernando Caro (BR)Kalidoscopio · Juan Pablo del Peral (AR)
Certificate of Excellence | Display Type | Brownstone Sans by Alejandro Paul (Argentina)
Voces · Ana Paula de Bragança Megda & Pablo Ugerman (BR / AR)Kalu · Juan Montoreano (AR)Parque Chas (PDF specimen) · Sol Matas & Juan Pablo del Peral (AR)Latinité Roman · Carlos Zinno (AR)Fedora Regular · Horacio Mella (CL)MVD Rambla · Martín Sommaruga (UY)Enriqueta Book· Viviana Monsalve & Gustavo J. Ibarra (CO / AR)Kafka Regular · Diana Edith Domínguez Ruiz (MX)Sedán · Sebastián Salazar (UY)Petra · Fernando de Moraes Caro (BR)Sancho Regular · Miguel Reyes Cabrera (MX)Amaranta Regular · Rodrigo López Fuentes (CL)
Certificate of Excellence | Type Family | Kukulkan by Raúl Plancarte (Mexico)
Brownstone · Alejandro Paul (AR) Certificate of ExcellenceCarlota · Oscar Yáñez Certificate of Excellence (MX)Modelia Black · Carlos Fabián Camargo Guerrero (CO / VE)Tomate · Ramiro Espinoza (AR)Lassi Display · Darío Muhafara & Eduardo Tunni (AR)Todo Todo · Julio Palacio (CO)Semilla · Alejandro Paul (AR)Business Penmanship · Alejandro Paul (AR)Boneca de Pano PR · Pedrina Reis (BR)Picacho · Diego Negrete (MX)López · Alejandro Valdéz Sanabria (PY)Elolinea · Leonidas Loyola Valenzuela (CL)Kewl Script · Alejandro Paul (AR)Changa · Eduardo Tunni (AR)Club Universo · Mariana Pariani & Eduardo Tunni (AR)Calgary Script · Alejandro Paul (AR)Victorina · John Moore (VE)Adriane Lux · Marconi Gomes Lima (BR)Juanita la envidiosa · Macarena Budín Acevedo (CL)Plastilina · Miguel Reyes Cabrera (MX)Barrilito · Eli Castellanos Chávez (MX)Pincoya Black · Daniel Hernández (CL)Force · Ricardo Esteves Gomes (BR)RadioTime · John Moore (VE)Tlatoani Sans · Gabriel Martínez Meave (MX)Margarita · Alejandro Lo Celso (AR / MX)
Certificate of Excellence | Type Family | Espinosa Nova by Cristóbal Henestrosa (Mexico)
Experimental Type Designs
Khubo · Rodrigo Fuenzalida (VE) Certificate of ExcellenceOptica Normal · Manuel Guerrero (MX) Certificate of ExcellenceQuincha · Diego Sanz Salas (PE)Maipo Regular · Rodrigo Valenzuela (CL)Isosibilia · Rodrigo Fuenzalida (VE)Chacana Regular · Luis Bolaños (EC)Zoomanic · José Luis Coyotl Mixcoatl (MX)Masiva · César Rodríguez (MX)MiniBlock · Manuel Guerrero (MX)Ps Pronts OS29 · Edgar Alejandro Reyes Ramírez (MX)
Certificate of Excellence | Type Family | Monarcha by Isac Corrêa Rodrigues (Brasil)
Screen / Pixel Fonts
Verpix · Roberto Robles Quiroz (MX)Coqueta · Mauricio Vital (MX)Lucecita Maniac · Elí Castellanos Chávez (MX)Wixarika · Jorge Iván Moreno Majul (MX)
Uruguay 1976 · Diego Cataldo & Sergio Rodríguez (UY)GarciaToons · Víctor García (AR)Cubomatics Icons · José Luis Coyotl Mixcoatl (MX)Globeface · Rodrigo Araya Salas (CL)
Certificate of Excellence | Experimental Type Design | Khubo by Rodrigo Fuenzalida (Venezuela)
Graphic Design using Latin American Typefaces
Client | El Tiempo publishing house
Designer | John Naranjo (CO)
Typeface | Buffet Script (Alejandro Paul, AR)Client | New York Times Magazine
Designer | Nancy Harris Rouemy (US)
Typeface | Burgues Script (Alejandro Paul, AR)Client | Comic Box magazine
Designer | Sin registro (FR)
Typeface | Titulata (Eduardo Tunni, AR)Client | Elle magazine
Hachette Filipacchi-Grupo Editorial Expansión
Designer | Ernesto Moncada (MX), Óscar Yáñez (MX)
Typeface | Carlota Titling Regular, Italic (Oscar Yáñez, MX)Client | Saverio, cruel theatre magazine
Designer | Carolina Giovagnoli (AR)
Typefaces | Malena (Darío Muhafara, AR); Chaco (Rubén Fontana, AR)Client | Latin Lover Fest poster and catalogue
Designer | Manuel Córdova (CL)
Typefaces | Chile Sans (Miguel Hernández, CL); Cadena Black (Miguel Hernández, CL)Client | Libro C/temp: Mendoza Contemporary Art
Designer | María Teresa Bruno (AR)
Typeface | Kalidoscopio (Juan Pablo del Peral, AR)Client | Identity of Consultants and Ministry of Culture of Campeche, «Entre Letras» bimonthly cultural supplement
Designer | Alin Ponce de León (Freelance, MX) Raúl Plancarte (Limón Agencia Creativa, MX), Juan Pablo Hurtado (Identa Consultores, MX)
Typefaces | Espinosa Nova (Cristóbal Henestrosa, MX); Célula (Raúl Plancarte, MX)
- ·The Future of Sex poster
- ·Top 100 Fonts.com Web Fonts for May 2016
- ·47 free tattoo fonts for your body art
- ·How to sell your typefaces
- ·Once Upon DESIGN: New Routes for Arabian Heritage
- ·Alphabet Stories by Hermann Zapf
- ·Type terms: the animated typographic cheat sheet
- ·TypeDecon Digital Download
- ·Linotype Ad: "Linotype vs. Intertype"
- ·The 52 best free graffiti fonts
游客ReviewFS Emeric字体：一款令人愉悦的新字体font article没看看有这款字体啊
我在这儿Review网页设计中的艺术字体设计与排版（1）font article很好 值得学习
新蒂字体 授权使用： 无需备案免费使用的情况： 在个人电脑上安装、打印个人文档、个人网站、博客、微博配图 需要备案免费使用的情况： 设计有可能商用的稿件（在商用时购买商业授权）、用于免费提供给他人的印刷品（印量在500份以内，且无需获得印刷品行政许可）的情况、用作没有品牌冠名的公益广告、用作完全免费（不能含有收费项目）的软件及网络服务。 需要购买个人授权的情况： 个人网店的装饰、个体商...