Typ09 Mexico City

Speaker details

Gabriel Martinez Meave

Type designer, KTF principal Kimera Typefoundry | Mexico

Gabriel is a Mexican graphic and letterform designer, illustrator and calligrapher. He is the founder and director of Kimera studio. He has been recipient of numerous awards in Type Design, from the TDC of New York and the ATypI, among others. His work has been reviewed in magazines such as How, Step, Communication Arts, Matiz and Étapes. Gabriel has given lectures and workshops in both sides of the Atlantic. Gabriel’s work is featured in the book Area 2, issued by Phaidon, among 100 of today’s leading young designers. He is member of the ATypI and the TDC of New York.

Presentation details

The feathered mouse
Letterform aesthetics at the crossroads of technology and tradition

Session 60 | Room MIDE
Tuesday 27 October | 10:00 – 10:20

Duration: 20 minutes

«Hieroglyphs and pixels, technology and tradition, hand and mouse. Crossroads that invite us to restate the recurring questions: Does nationalistic-oriented type design makes sense in this Global Era? Does a “Mexican design” really exist? Is there a “Latin American” aesthetic that can be of use in today’s search for ideas? Reflections and proposals around the revaluation of the Local as a source of inspiration for typefaces and its role in the global scene.» Audiovisual presentation discussing Letterform invention and aesthetics from the viewpoints of nationality, globalism, technology and even Mathematics, challenging our common visions on language/type, orality/writting, beauty/functionality, and tradition/innovation.

Contemporary Typography in Mexico

Session 49 | Room MIDE
Tuesday 27 October | 12:20 – 13:00

Duration: 40 minutes

For more than 10 years Mexican typographic production has developed gradually. Advances in contemporary letterform design in Mexico are looking good, but to go further it is important to reflect on the past, present and future. What are the precedents, the internal and external influences, the facts and circumstances, the people and the institutions that permitted this initial growth? Is it necessary to design more fonts in Mexico? What has been the real impact of this boom inside and outside the design sphere Nationaly and Internationally? What are the actions, the agreements and the tasks needed to consolidate this professional activity in Mexico?

[ All speakers | All presentations ]