Typomania Festival. Interview with Alexander Vasin and Natalia Velchinskaya

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The Typomania Festival is celebrating its tenth anniversary. In addition to an exhibition at the Museum of Moscow and various competitions, the event will include a traditional conference scheduled for May 22, 23, 30, and 31. A unique feature of this year's festival is that all lectures will be held online, making it accessible to audiences from anywhere. This innovation opens up additional opportunities for networking and sharing experiences among typography professionals and enthusiasts, making the festival more inclusive and engaging for a wider audience.

We spoke with festival organizers Alexander Vasin and Natalia Velchinskaya. During the conversation, they shared their views on the development of the event, its unique features, and plans for the future. The festival strives to bring people together by offering a variety of programs and activities, making it a significant part of the region's cultural life.

Designers and organizers of the Typomania festival, one of the most significant design festivals in Russia. Since its founding in 2012, Typomania has focused on type, typography, and visual experimentation. The festival draws attention to the art of typography and provides a platform for discussing current design trends. Participants can explore the works of renowned masters and emerging designers, as well as participate in master classes and lectures. Typomania is a key event for design professionals and enthusiasts, contributing to the development of the creative industry in Russia.

This material will provide information on key aspects of the topic. We will cover key points in detail to help you better understand the subject matter. Pay attention to important details and recommendations that may be useful in your practice. A deeper understanding of these issues will allow you to make more informed decisions and achieve your goals.

• What role does the Russian "Typomania" play in the global design community;
• How to get to "Typomania";
• Is it possible to maintain your identity in the internet age;
• How do fonts and typography influence culture;
• How much has the pandemic affected the festival;
• And also, what is design according to the winners of the Skillbox poster competition!

Alexander: Like many designers, we regularly face the problem of choice. In fact, one of the most difficult tasks in our profession is precisely this choice. Creating a variety of solutions is not as difficult as making the right choice among them.

Natalia: During the discussion of themes for this year's festival, we considered many options, and the choice turned out to be a difficult task. As a result, we realized that "The Problem of Choice" became our main theme.

Alexander: This year, we encountered an interesting challenge when choosing a design for the Typomania festival. We decided to hold a competition in which anyone could participate, submitting their ideas for the festival's identity. As a result, we received a variety of options, some of which were truly captivating. The choice was not easy, and we had to spend time carefully considering all the proposals.

Alexander: Choosing a font can be a challenging task for many. For some, this is a serious challenge—they vacillate between options, while others easily find the perfect solution. Our lecturers will discuss font selection, share their experiences, and explain how they make decisions based on specific tasks.

Alexander emphasizes the importance of the Typomania festival in the world of typography and graphic design. Although it doesn't hold a top spot, the festival is firmly among the top 15 most important events in this field. This is especially gratifying, as Typomania is an independent project that Natalia and I organize ourselves. When we invite renowned professionals to participate in exhibitions or conferences, we often hear, "Yes, we know about Typomania. It's a great honor for us, and we're very interested." These words are inspiring and confirm the significance of our festival in the professional community.

Natalia notes that the video competition receives submissions from students from various countries, including Turkey, Taiwan, and Latin America. This demonstrates that our competition is popular and has a good reputation in the international educational community. The wide range of participants and universities represented in the competition entries confirms the high interest in the event and its importance in the field of education.

Alexander: Typomania is a fascination with letters and communication. We strive to explore diverse languages, especially those that seem unusual and unfamiliar. Our goal is to transcend all boundaries in search of new ideas. We are also interested in a variety of typographic-related genres, such as theater, film, classical and experimental music, applied arts, dance, architecture, and poetry. Each of these aspects presents a unique opportunity for creativity and inspiration.

There's no boundary we don't strive to transcend. There are many fields related to typography, such as theater, film, classical and experimental music, applied art, dance, architecture, and poetry. Each of these arts enriches our understanding of typography and expands its boundaries. We explore their interconnections and influence on visual communication, allowing us to gain a deeper understanding of how typography interacts with other art forms.

Natalia: We had exciting musical projects planned, but the pandemic made its own adjustments. Nevertheless, we remain open to new opportunities and are ready to continue developing in the music industry.

There are no boundaries we would not strive to cross. There are many genres related to typography, including theater, film, classical and experimental music, applied art, dance, architecture, and poetry. These genres enrich typography, creating new possibilities for its application and perception. The interplay between them opens up a wide range of ideas and inspiration, allowing us to explore the boundaries of visual and textual expression.

Alexander: Our approach to selecting participants is highly subjective—we invite only those we admire. These may be long-time idols or people whose work resonates with us. This year, the renowned Dumbar studio, a studio we hold in high regard, is participating in the Typomania conference. They presented their projects and prepared a video for the event. This is a significant honor for us.

The language of design, composition, and rhythm serves as a substitute for verbal language. It conveys ideas and emotions without words, creating visual images and harmony that can be understood by everyone. In this context, it's important to consider that visual content plays a key role in communication and information perception. Effective use of design elements not only attracts attention but also conveys the message, making it more accessible and memorable for the audience.

Every year, we discover new, amazing heroes. One of them is Swiss artist Martin Heynen, who completely defies the traditional image of a Swiss person. His works are posters in a unique, unconventional style, characterized by chaos, vibrancy, and illustrativeness. Martin has been a true revelation for us, bringing freshness and creativity to the world of graphic design.

Estefania Loret de Mola, an American designer, launched her unique project during the pandemic. Although she already has a significant Instagram following, her work has only recently become known.

Alexander: There are two key aspects. First, the design language is universal. This has often helped us when working with international partners. The language of design, composition, and rhythm acts as a substitute for verbal communication. We can collaborate on posters or conduct master classes, interacting with each other without the need for words. This is a truly impressive aspect of our work.

Each country has a unique culture, destiny, and specific rules, which are certainly reflected in design. For example, Martin Heynen's approach is atypical for the Swiss, while Enea Bortone's work exhibits much more pronounced characteristics of Swiss design.

Each designer has unique national characteristics that reflect the cultural characteristics of their country. However, there is also a universal international style that unites designers around the world. The work of each specialist combines these elements, making their work unique and appealing to a wide audience. This symbiosis of national identity and global trends allows for the creation of original projects that meet modern requirements and user tastes.

The work of Japanese designer Ikki Kobayashi is distinguished by a unique approach to forms that masterfully interact with one another. His art is manifested in a subtle understanding of the leaf, composition, and rhythm, creating a unique harmony. You won't find such depth of feeling and aesthetic perception as Kobayashi's in European designers.

Each designer has certain national characteristics, which may be more pronounced in certain styles, such as American, French, Swiss, or Polish design. However, there is also a universal international style that combines elements of various cultures. Each designer's work incorporates both national characteristics and elements of global design, allowing them to choose what best suits their vision and the context of their work. Thus, designers are able to create unique and diverse projects that reflect both cultural traditions and modern design trends.

Alexander: The issue of language change is relevant for many. There are people who resist the introduction of neologisms, Anglicisms, and new words. However, these processes are dynamic, and a significant number of people willingly embrace innovations. Language is constantly evolving, reflecting changes in culture and society.

There is a constant emphasis on individuality and the formation of unique content. This process is observed in both linguistic practice and cultural aspects. It's important to note that creating something of one's own contributes to the diversity and enrichment of cultural heritage, and also allows people to express their thoughts and feelings in a unique way.

Two key aspects can be identified. On the one hand, there is a mixing and borrowing of cultures, their mutual influence. In this process, there is sometimes equality, while in other cases one culture may dominate over another.

On the one hand, there is a constant highlighting of individuality and the formation of the unique. This applies to both language and culture. Both processes are important and significant, contributing to the development of identity and diversity.

Natalia: It all depends on the author's style. Some have an international design style, while others have a distinctly national style.

Every person has their own unique style that makes them instantly identifiable. When you see someone, for example, Petr Bankov, you immediately know it's him. A strong individuality becomes a person's calling card, making them memorable and recognizable.

Natalia: Ksenia Stavrova is a unique and memorable personality. Also worth mentioning is Ikki Kobayashi, who stands out for his uniqueness and vibrant style. These individuals are truly difficult to confuse with anyone else.

Alexander: Dumbar Studio is a striking example of the international style in design. Their approach is diverse and adapts depending on the specific project and the cultural characteristics of the country. This makes their work unique and interesting. As a result, each implementation is distinguished by its individuality, which emphasizes the diversity and richness of design. Both directions, traditional and modern, have their advantages and value.

Alexander: The Super-Influence of Typography. This may not always be obvious, as working with typography requires more effort than working with images. Design based on typography and letters not only conveys information but also creates a visual image. This process is more complex, but also more engaging, as it allows for a deeper exploration of the interaction between text and visual perception.

Typography plays a vital role in the perception of text. It influences the reader on a subconscious level, creating an emotional response. Proper use of fonts, sizes, and spacing helps convey information more effectively and makes reading comfortable. The aesthetics and readability of texts influence how information is perceived and remembered. Therefore, high-quality typography is a key element of successful content.

A great designer comes into their own when they need to create something figurative, precise, and functional using only text. In such cases, carefully selected fonts, competent placement of elements, as well as harmonious combinations and rhythm of the text are especially important. Skill in working with typography allows the designer to convey meaning and emotion, even without visual images and color schemes.

Typography plays a vital role in the perception of text. People perceive information not only through content, but also through visual design. When a reader encounters a text, they not only see the words but also intuitively perceive their design. The way words are written and arranged on the page influences emotional perception. Effective typography can create atmosphere, enhance meaning, and attract attention. It penetrates the reader's consciousness, leaving a deep impression and shaping their opinion. Correct use of fonts, spacing, and color schemes can significantly enhance the impact of the text on the audience.

Natalia: You expressed your idea so clearly that it is difficult for me to even add anything.

The audience has expanded significantly thanks to the opportunity to listen to our lectures from all regions. Now participants can gain knowledge and information without traveling to Moscow, which is an important step in making educational content more accessible.

The online format does have its drawbacks, but it also offers many advantages. One significant advantage is the ability to record our speakers' presentations. This allows for the addition of subtitles, eliminating the need to waste time on consecutive translation during lectures. Furthermore, the format has become more engaging: designers share their workspaces, cities, and studios, making the presentation much more engaging and providing a better understanding of their creative process.

Typomania is our personal project, created primarily for ourselves. That is why it has an authentic and sincere quality.

Alexander: We are faced with an important dilemma – the problem of choice. What should we do during a pandemic, when bringing in foreign specialists is impossible? We're creating Typomania primarily for ourselves, and that's what makes the project so sincere and genuine.

We considered several options for Typomania's development: abandoning the festival, organizing only an exhibition, or splitting the event into an exhibition and an online conference. Under the new circumstances, we concluded that the third option was the most feasible. It was impossible to refuse to hold the festival, so we decided to implement both formats - an exhibition and a conference - in order to preserve the uniqueness and value of our event.

Natalia: We celebrated this anniversary rather modestly. Later, during the preparation process, we started counting and realized that it was indeed relevant this year. However, perhaps we shouldn't put too much emphasis on such dates.

Alexander: We don't particularly admire the magic of round numbers and don't consider them anything unusual. For example, 11 looks appealing. Celebrating dates like a company's 10th or 15th anniversary, or a person's 50th birthday, seems unoriginal and even banal to us. It's much more interesting to celebrate, for example, a 19th birthday. So we just keep working, without being distracted by celebrations.

Natalia: We don't celebrate a holiday, we simply hold an event called "Typomania."

Alexander: We celebrate this event, regardless of the circumstances. Celebration always remains important to us. "Typomania" is a real holiday, which we are happy to celebrate.