Diego Sanz Salas, Peruvian, from Arequipa, a city located 1000 km. south of Lima. Began studying graphic design in Cordoba, Argentina and ended in his homeland. He currently teaches Visual Basic and Signs and Symbols in the south. He was elected at the Biennial of Tipos Latinos 2010, representing Peru, by Thatch typeface that has appeared in the journal Page of Germany and the typographic calendar Typodarium and is on sale since 2009 he hopes will soon present his latest font, Chicha.
how you came up with a typography?
Diego Sanz Salas: good, has to do with me. When I started my studies in Cordoba was a surprise to discover an area of \u200b\u200btypography and graphic design. When I was little my mother demanded to write with great style and always devoted to good writing and drawing letters, so to see that the race had me very interested in this branch. Sadly, before delving into the subject with my family back to Arequipa. Since then I became a self-taught typographer. Books and the Internet have been my teachers. When designing brands began to modify existing letters, then draw them from scratch. The big step was to own source.
My first source is called simply, did in FontStruct . The system developed for Latin, Arabic, Hebrew, Greek, Cyrillic, Thai and Armenian.
what year?
Diego Sanz Salas: in 2008. After that experience I decided to go to design a source outside FontStruct , Thatch was born. Although some sources had wanted sketches for visually representing Peru. There are many good printers Latino and somehow he could offer was to appear in the form or forms to theirs, so I needed something to differentiate it from existence. I did an analysis of our visual history and visual and obviously the most representative was the Inca empire. I studied textiles, the ceramics and architecture to see where the motivation was and found it in the Inca walls, with their basic shapes and features. It was the perfect excuse to create a source. And it was not going to take a lot of technical work and that was something great for me because I had no experience. So I used the idea of \u200b\u200ba source that would "build" an Inca wall with words. All the lyrics are based on a square module to fill the spaces between them were created and other stones. The first sketches the hung on Flickr and there contacted Eli Castellanos, who is director of digital foundry cocijotype , Mexico. He helped me with the whole process of making the final source Thatch is now on sale since November, 2009 -.
answer your question about why I decided to create a font say why not?
why Quincha you put your work? being a term in Quechua?
Diego Sanz Salas: is the closest term to the idea of \u200b\u200bstone wall, the other word is drywall, but Quincha me pareció más atrayente y de acuerdo al diccionario es un término adecuado. En realidad, si se busca el término para los muros incaicos no hay uno definido.
¿cómo participar de la Bienal Tipográfica?
Diego Sanz Salas: La Bienal de Tipos Latinos es libre, cualquier diseñador se puede inscribir. Es súper sencillo, solo se completan datos, el nombre de la fuente y te dan un código, luego hay que enviar la lámina de acuerdo a unas especificaciones. Todo se envía vía mail . Un jurado elige a los representantes, quienes participan de una exposición by countries belonging to Tipos Latinos. In all these works is shown selected in 2010 were 74, eleven were enrolled in Peru and Mexico 114. The jury consists of printers from Latin America, Colombia, Uruguay, Chile, Brazil.
the next is ...
Diego Sanz Salas: The call for the next biennium is closed in February 2012. Just be prepared to send them work. The award is to remain as part of the exhibition. can check tiposlatinos.com
"and thus obtain a space ...?
Diego Sanz Salas: Yes, the font is chosen and this is a plus to commercialize it. Thatch has been exhibited in 27 cities in Latin America and Spain, including La Habana in Cuba, has toured thirteen countries. It was purchased in the U.S., Europe and Japan.
is it profitable? "Pay?
Diego Sanz Salas: For my first source it is. I thought I would not buy it is a fairly local. With the Biennale in Lima found that American do not walk very interested in buying from local sources.
what it takes to be a creator typo? must first be a typographical consumer?
Diego Sanz Salas: First you have to know the font, that is to know that this is even before eating. Although we are surrounded by letters, texts, many designers do not know the whole process of creation behind. Be aware of this before you start using it, this is ideal, and if it is used must be deepened to know more about it, to make a good choice to properly design and typesetting.
what do you mean with the whole process of creation ...? Are you referring to the link with writing?
Diego Sanz Salas: Not only that. I refer to your history, for example known printing systems from the Gutenberg printing press to the digital sources, know your classification, understanding the optical effects involved in the reading process, showcasing the work of classical typesetters, layout of text and page layout. All this is part of the font along with the script that is writing.
why young designers do not take an interest in typography? What do you think is happening?
Diego Sanz Salas: That teachers are not interested in typography. When I attended the Biennial in Lima Lima designers hope to meet, but except for some students of Toulouse Lautrec, only got to meet Gabriel Rodriguez, author of the blog Design Peru. Professionals are not interested in making proper use of typography, not even aware of its value and probably not buy it but only the pirate. Tone can not ask more of students if their teachers do not teach anything about it and in the case of Lima is no lack of resources or training that passes as a personal matter. The typography is deserted and earning potential are directly over the Internet to customers in North America and Europe. American typographers have our market in other places and continents.
Diego, what should be taught in institutions of graphic design? know that in Lima there are many ...
Diego Sanz Salas: should be taught design, not to use Photoshop effects and make beautiful artwork, that's part of something, the most important is the design. Currently there to motivate students to go through the process of generating a concept, to find solutions to obstacles and thus achieve the communication objective. From here I see that Lima is very closed to the rest of the country, including in their design.
hopefully soon come to Lima ...
Diego Sanz Salas: I return to contact and introduce more agencies Chicha, my next video.
that posh ... and what is your inspiration? in the corn ...?
Diego Sanz Salas: No, jajajaja, in popular graphics chicha, in the work done by brush by popular lyricists and other markets.
you notify us in advance ...?
Diego Sanz Salas: soon be ready. I used the logo of an exhibition in Chile, asked me to talk about the new graphics in Peru, with posters Urcuhuaranga Elliot, http://www.behance.net/gallery/La-Nueva-Grfica-Peruana/505880 . So far it has 600 glyphs, so it is rather extensive and will have three versions to work the words in three colors in the logo.
a super nice to meet you ... keep in touch ...
If you are interested in purchasing this font can enter : http://cocijotype.com/foundry/quincha/
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