Initially monospace for his pragmatic typeface Monylop (2020), the systems standard turned variable in 2022 with his typeface Isospin. Millhouse constructs all of his typefaces to his own regimentation, the Monylop Principle. He spoke at Poetry International in Rotterdam, and held workshops at the Willem de Kooning and Rietveld Academies concerning the grid in societal policy. Pre-Brexit he established his typeface Caesura and wrote his manifesto ‘Reflection on Practice’ in 2019, whilst living in Brussels and voted Remain by post. He lived in Europe for the past ten years. Prior to that, the MA in Sequential Illustration and Design at Brighton University in 2006. Millhouse studied the MATD of Reading in 2020. We are happy to invite him to open our season at GWA and tell us more about his approach, goals and interests.īorn in Portsmouth and raised in the Winchester borough of England. Details clearly derived from digital environments and restrictions, combined with classical typographical forms, result in an interesting hybrid of old and new. Meanwhile we have become increasingly curious about the conceptual methodology behind his typefaces. Since his first appearance at letterspace, about a year ago, David Millhouse has been visiting our lectures regularly and has paid visit to our new studio at Lauriergracht. Hosted at: Grafische Werkplaats Amsterdam We will serve hot letter-soup around 18:00 Graphic designer, visual artist and activist, with a great love for typography, bookbinding, animation and textiles – and everything that can bring those areas together. Visual artist, visual arts teacher and a great past in the publishing profession.Īrtist, art teacher and in possession of a 3D printer with which she makes jewellery, among other things. But at this moment they are very happy to share all that fascinating experience with others!įilmmaker, lecturer Interactive Design at the HVA, with a love for animation and infographics.
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At some point in the future they will reach the finish with heads full of knowledge while holding in their hands an amazingly done agenda.
At his silent presence, they continue on an experimental journey to make other machines happy too. So they fed him with 3D printed resin letters and some fancy slick designs, until he had become fat and content. A hundred-year-old, always curious machine that wanted to try out some new techniques. Hungry for knowledge they have delved into ancient ways of printing. Right on time for the holiday season, we will be presented with the hurdles overcome, a live printing demonstration (16:00-16:30) and having fist dips on a 2023 agenda preorder.Ī few months ago, four strangers met on the playground of Grafische Werkplaats Amsterdam.
This was possible thanks to the expertise of their forward-thinking jeweller Karlijn working with contemporary techniques and equipment. Rather than picking some of the many typefaces at the print workshop, the group started 3D-printing punches.
The apprentice program - consisting of four people learning the craft of book printing with vintage machines - was assigned the creation of a typographical agenda. We have been looking forward to this presentations since we first saw this extraordinary project at GWA, which connects old and new modes of printing. MAAIKE VAN CRUCHTEN, MAARTEN BRINKMAN, KARLIJN KUIN, SILVER JOSEPH BOSCH 16:00-18:30 at Grafisch Werkplaats Amsterdam –
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