For additional details or to find out when a CAFE PAG Workshop will be held in your area contact your local CAFE chapter. To support the launch of our new and improved CAFE Personal Advisory Group (PAG) Manual, CAFE, in partnership with our local chapters, is now offering PAG Workshops across Canada to help increase the effectiveness of PAGs and deliver greater value to CAFE members. Whether you’re considering joining a PAG, in a newly formed PAG, in a struggling PAG, or a well-functioning established PAG, this workshop will give you the tools and processes to ensure that you get value out of your PAG experience and that your PAG remains strong and effective as it evolves over time with the changing needs of your members.
This workshop will give you insights on how to cultivate and maintain this environment within your PAG so members can enrich their business, family and personal life by gaining clarity on issues of high importance. This workshop will help you fully understand the PAG process and unlock the keys to running successful PAG meetings that deliver maximum value for participants. One of the most important determinants of a successful PAG is having an effective and committed moderator to guide the meetings.
This session will be of particular value to anyone who is, or will be, moderating their PAG, but we encourage all PAG members to attend because they can enrich their PAG experience by having a deeper understanding of effective facilitation techniques and how and why they are utilized in a PAG.
For the past 100 years, AIGA has celebrated, lauded, applauded, championed, cheered, awarded, supported, and (most of all) loved great design. Keep your eye here as we focus ours on the most exciting creative projects from around the world.
Eye on Design is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Articles about the proliferation of ornamental and decorative lettering are nothing new—I’m thinking specifically of Steven Heller’s “Cult of the Squiggly” in Eye in 2009 and Paul Shaw’s “Letter Centric: Thoughts on Spencerian Script” in Print in 2010. To what do you attribute the growing popularity in hand-lettered typography, whether as illustration or as type design? Ken Barber: Its popularity seems to have risen among graphic designers who don’t specialize in the practice. As anyone working in both fields can tell you, lettering and typeface design are quite different animals.
AP: We shouldn’t forget that lettering and typefaces are basically individual resources for visual communication. Martina Flor: I’ve noticed a steady growth of interest in lettering along with new areas in which it’s used. KB: Although there’s an undoubtable relationship between the two, I’d put calligraphy and hand-lettering in two different camps. MF: I often also say also that calligraphy embraces randomness and surprise, while lettering decides exactly the shape that a certain gesture or letter should have. KB: It’s reassuring to find that there doesn’t seem to be a shortage of folks who are interested in learning letter-making skills to implement in their design work.
MF: I’ve mainly hosted workshops around Europe for the last five years and there continues to be interest in it. AP: I do quite a few lettering workshops all over the world, especially in Latin America, where typographic tradition is very recent. If a designer wanted to integrate hand drawn, or embellished type, or a script font into their work for the first time, but not create it themselves, where should they look? From a practical standpoint, in most cases it’s crucial that the letters appear even in volume, with respect to both positive and negative form. For script typefaces, look for well-designed letter shapes connected nicely with a fair amount of alternates and automatic features. Design produces a communicative identity and anything that goes in it (calligraphy, lettering, etc.) should serve that particular goal.
More about the interviewees: Ken Barber is a letterer, type designer, and type director at design studio and type foundry House Industries, and a partner in Photo-Lettering, Inc.

Personal Advisory Groups are a cornerstone of the CAFE experience and consistently rated by CAFE members as the most valuable benefit they derive from CAFE.
Good moderators exhibit a number of attributes including self-awareness, empathy, concern, listening skills, questioning skills, persuasiveness, leadership, openness and flexibility to name a few. In the next century we expect to see a lot more, so we’re turning a well-trained eye on the best new work from emerging and established designers alike on the AIGA Eye on Design blog.
But in the past few years the use of hand-lettering and script fonts has experienced a downright explosion.
Right after technology reached that certain point where pretty much everything from the past can be recreated and superimposed on any given environment, more and more people are doing it and in so many different ways. Social media outlets like portfolio sharing sites allow for instant exposure and viewer input, and seem to be instrumental in encouraging many to make a go of lettering professionally. But the number of typeface designers appears to be growing as well. When we do forget that, we tend to sacrifice the content we need to communicate just so we can have some modern or catchy appearance. While commissions used to come predominantly for logo or packaging design, they have spread strongly into advertising and media in the past years, so the use of lettering has broadened into other applications. This interest has also influenced type design and is motivated as well by technical tools (like OpenType features) that allow imitating some of the behavior of hand lettering into a font. Would you say that every calligrapher is a letterer, but not every letterer is a calligrapher?
Although both practices require skill and attention to detail, calligraphy is composed of written letterforms with a greater emphasis on muscle movement and the gestural forms that accompany it.
Personally, attempting to teach typeface design over the course of a day or two is too formidable a challenge.
The reasons to attend a lettering workshop might be initially the aim of being able to create lettering commercially, but many get to realize that mastering the practice requires much more than a workshop. If they’re hiring a letterer, what criteria should they use to assess the quality of his or her portfolio?
Knowledge of these practices is indispensable, even for designers with no professional aspirations in either discipline. Like lettering, typefaces should have a clear voice that supports what’s being communicated without detracting from it. I appreciate typefaces that have a fair amount of glyphs, including diacritics and punctuation marks. That said, recognizing good letterforms is not a piece of cake on the first place. It’s important to know how the tools work and distinguish between them in order to achieve the result that’s ultimately needed.
The possible cause could be that the employer deleted it from this website because the job vacancy is now filled. Participation in a PAG helps CAFE members become more effective leaders, parents, spouses and people! A well-functioning PAG provides a safe environment for learning, idea exchange, self-exploration, professional growth, mentoring and personal self-actualization. It’s become a particularly interesting phenomenon because it adds a strange spin to things. While there are still relatively few schools offering postgraduate study in the field, that hasn’t stopped people from making their own fonts. OpenType features have been around for years, but nowadays they’re facilitated through forums, social networks, and are even default features in some software. Calligraphy itself is done with repetition and refinement with a given tool, while lettering is a more rational endeavor. Do the attendees look to learn how to create (and possibly sell) their own fonts or just get better at one-off illustrations, or both? However, it does train their eye to work with typography in general and understand the principles in letter design, which is a great tool for the creative work of a graphic designer.

Now it’s at the point where there are two postgraduate programs alongside the many undergraduate ones.
A typeface course or lettering workshop goes a surprisingly long way in helping to recognize well-made letters. In appreciating good lettering, it’s important that the artwork always fulfills its intended purpose. Text faces work best when they go unnoticed, while display faces can have much more personality. When hiring a letterer you’d be most interested in someone who’s capable of solving a lettering piece that suits your project rather than applying the same lettering style across all projects.
I agree with Ken in that courses on both type and lettering design are a great way to develop an eye for typography.
So even a simple thing like knowing the difference between a pen and a soft brush is quite essential for good design work. As compared to lettering, however, typeface design requires a fair amount of technical know-how, not to mention a considerable time commitment.
We used to demand that designers know how to draw and now we want our illustrators to stay away from design. And, while lettering often strives to capture the freedom of uninhibited motion, it’s the result of careful consideration and deliberate planning. Some people can do calligraphy, some can do lettering, some can do both, and some can’t do either. Yet, while the two disciplines have their differences, it’s always great to hear from folks who have used lettering basics from my classes as a foray into creating fonts. The students’ objectives vary; some publish their own fonts, some go into analog directions, and some do both. The letterforms should be suited to their environment and perform well in the ultimate application. While fashion may sometimes overshadow readability, the content must be legible while stylistically complementing the message. My guess is that the training, experience, and dedication usually required to produce high-quality fonts deters more from doing it full-time. Seeking out some kind of philosophical exclusivity between background subtleties between calligraphy and lettering would probably be futile, as far as overall visual communication goes.
And the letters should be impeccably produced, even in cases where a deliberately naive appearance is desired.
Finally, Ale Paul is the co-founder of the Argentinean type foundry Sudtipos, where he produces award-winning script typefaces like Hipster and Poem Script. There is an almost invasive DIY streak, with almost no evident rules, happening wherever craft and computers interact. It’s up to the graphic designer to know what’s needed for the project and, accordingly, seek out a calligrapher, a letterer, or both.
He expertly revived the work of early 20th-century calligrapher Charles Percy Bluemlein, producing over 30 penmanship script typefaces with charming names like Mrs. Even if you think your PAG works well and you get good value from it you’ll discover ways of making your PAG experience better. His latest typographic release is Auberge Script, an ode to quill pens that practically waltzes across the page.

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