The program’s target audience are design students (undergrads and graduate students), professional designers and teaching design faculty with a strong interest in typography, poster design, and letterpress printing. All the tasks are designed to work for both, students and professionals of any level and only require a strong motivation from the participantʼs side. Many of the trained skills will be practiced in analog letterpress technique. However all of the acquired typographic knowledge can also be applied in the daily digital practice.
The number of participants per session is limited to 12, with a minimum set at 8 students.

Requirements

To apply to any of the sessions, please fill out the application form. Also include a short letter of motivation (PDF upload, 4–5 sentences on why you want to participate) and a short CV or bio (PDF upload). We will assess each application and contact you within five days of receipt of materials.

Application process

Please see the individual deadlines for each session.

Deadline

The course fee can be wire transferred or sent via Paypal upon acceptance and before the class start date. Please make sure to read our <a href="https://typographic-printing-program.com/terms-and-policy" rel="noreferrer" target="_blank">terms and policy</a> before you apply.

Payment

<a href="mailto:&#99;&#x6f;&#x6e;&#116;&#97;&#99;&#x74;&#64;&#x74;&#x79;&#x70;&#111;&#103;&#114;&#97;&#112;&#x68;&#105;&#99;&#45;&#112;&#x72;&#105;&#x6e;&#x74;&#x69;&#110;&#103;&#45;&#x70;&#114;&#111;&#x67;&#x72;&#x61;&#x6d;&#46;&#x63;&#x6f;&#x6d;">contact@typographic-printing-program.com</a>

Early bird (until February 12)

Regular fee (until May 6)

Late bird (after May 6)

I: Typographic Printing Program I

II: Typographic Printing Program II

Apply now!

Contact

Imprint

Terms and policy

@typographicprintingprogram

Newsletter

Typographic Printing Program

Info

Typographic Printing Program is an intense design-focused typography and letterpress printing program combining the old with the new. It has been initiated and is based around the practice of Swiss poster designer and letterpress printer Dafi Kühne. Its goal is to experiment with progressive typography in combination with traditional analog tools. All exercises will be realized with letterpress printing presses and physical type. Through this very slow but accurate process, the participants will learn to put emphasis on concept and micro typography, while exploring new approaches with old technology. Since 2016, TPP has had more than 100 participants from a total of 22 different countries. In 2021 and 2022 we have conducted satellite sessions in collaboration with <a href="https://hmctartcenter.org" rel="noreferrer" target="_blank">Hoffmitz Milken Center for Typography</a> in Pasadena, CA.

Manifesto

Analog vs. Digital

Typography First

Breaking the Rules

De-Romanticizing Print

Semantics vs. Style

Research Lab

Typographic Posters

Equity, Diversity and Inclusion

Instructors

Dafi Kühne

Visiting instructors

Visiting lecturer

Posters

Studio

babyinktwice

We have <a download href="https://cms.typographic-printing-program.com/media/pages/info/646b0d06ae-1691757873/location-hotels_2024.pdf">this list of recommendations for accommodations.</a> 
Näfels is a small town and options are limited. Of course you’re welcome to book whatever you can find through any platform—but please be aware of commuting to the studio daily. What looks straight and flat on a map might actually have a mountain in between! So please talk to us if you find something and you’re unsure if it is suitable for daily commuting. 
Here is where the studio’s at: babyinktwice 
<a href="https://goo.gl/maps/kD1EHuKxKro9evGQA" rel="noreferrer" target="_blank">M&uuml;hlh&auml;usern 2, 8752 N&auml;fels, Switzerland</a>

Can you help me with finding accommodations for the workshops?

No, though the course fees cover all the needed materials at the workshop—individual travel costs, meals and accommodation are not included and are within the responsibilities of the participants.

Are accommodation provided with the course?

We can provide program confirmation letters that can help you apply with your embassy. Any visa application process and all travel arrangements, however, are with the responsibility of the participant.

Can you help me obtain a visa to travel for any of the sessions?

Accommodations and travelling

Typographic Printing Program doesn’t have a direct sign up process, but is asking for applications. Read this short blog article on why and how this application process works. 
<a href="https://www.typographic-printing-program.com/blog/5-questions-to-dafi-kuhne-about-the-application-process">&laquo;5 questions to Dafi K&uuml;hne about the application process&raquo;</a>
Don’t get scared off by the application process—it really just makes sure you can work with a crazy cool and diverse group of cohorts and type geeks, who all share similar interests…

Why can’t I sign up directly? Why do I have to apply for the program?

From 2022–2023 we offered satellite sessions of Typographic Printing Program at the fantastic premises of <a href="https://hmctartcenter.org" rel="noreferrer" target="_blank">Hoffmitz Milken Center for Typography</a> at Art Center in Pasadena. For now, we are planning shorter workshops in collaboration with HMCT in Pasadena, CA (check the teaching schedule of Dafi Kühne on <a href="https://www.babyinktwice.ch/teaching-schedule/">babyinktwice.ch</a>.

Are you planning to offer more sessions in Pasadena, CA?

Application

Yes, you’ll get a letterpress printed certificate of attendance stating that you have completed the 120-hour Typographic Printing Program and learned about type theory, type history, semantic typography, layout composition, and letterpress production.

Do I receive a confirmation that I have attended the program?

Certificate

No, participants at all levels are welcome here, as long as they are motivated to work intensely and try new approaches. All typographic exercises and instructions are designed to take participants from any level and push them as far as possible. Experienced designers, as much as beginners, can jump in at their level.

Do I need any previous experience in graphic design or typography to participate in any of the sessions?

No, participants at all levels are welcome here, as long as they are motivated to work intensely and try new approaches. All printing exercises and instructions are designed to take participants from any level and push them as far as possible. Experienced printers, as much as beginners, can jump in at their level.

Do I need any previous experience in letterpress printing to participate in any of the sessions?

Experience

Oh, yes they are the best and you’ll make friends forever!
Read some of the <a href="https://www.typographic-printing-program.com/blog">blog articles</a> from former participants in the category «people».

Are the workshops fun?

Are meals provided with the course?

Meals

No, but please carefully read our terms regarding cancellation fees.

Is there an application fee for any of the sessions?

We will send you an invoice after your acceptance. All payments have to be made via international wire transfer or Paypal within ten (10) days of acceptance. All transfer fees (Paypal fees or international wire transfer fees) have to be covered by the participant.

When and how do I make the payment for the class?

Upcoming sessions

Session I

Session II

Typographic Fitness

Typographic Detox

Stop Typographic Pollution

Join the Cult of Type

Pow!

Typographic Summer Program

Death to the Print

2023

2022

2021

2020

2019

2018

2017

2016

Typographic Printing Program I

Typographic Printing Program II

Where do our participants come from?

Typeroom × Typographic Printing Program half price scholarship for Session II in Pasadena

Story time: from Superba to Helvetica Schmalfett

Letterpress poster production videos for 2017–2022

Finally, the new website is here!

Dafi is a poster designer, letterpress printer and graphic design educator from Switzerland. He is the initiator and main organizer of Typographic Printing Program.
<a href="https://www.babyinktwice.ch" rel="noreferrer" target="_blank">www.babyinktwice.ch</a> 
<a href="https://instagram.com/dafikuhne" rel="noreferrer" target="_blank">@dafikuhne</a>

What was your favorite moment?

About refreshing and refining letterpress and typography knowledge in a judgement-free zone

The potential of analog design methods for digital design

«Why would anyone want to stop printing posters?»

5 questions to Dafi Kühne about the application process

Sabrina is a graphic designer focusing on typography and books. She is the author of «Der erste Eindruck zählt!» a book about the basics of typography published by Verlag Hermann Schmidt and program assistant of Typographic Printing Program.
<a href="https://www.sabrinaoettl.at" rel="noreferrer" target="_blank">www.sabrinaoettl.at</a>

Sabrina Öttl

Two weeks of Swiss type: a short typographic review

Veronica is a freelance graphic designer and art director. Her practice focuses on different subjects such as contemporary arts, typography, web design and fashion and she is currently working between Milan and London.
<a href="https://www.instagram.com/veronicalbart/" rel="noreferrer" target="_blank">@veronicalbart</a>

Veronica Alba

Blog

Typographic Printing Program doesn’t have a direct sign up process, but is asking for applications. What’s the use for such a process? I’ve asked five questions to Dafi Kühne [DK] about the application process and his vision behind it.

[DK] «For all our sessions ins Switzerland and in Pasadena, there are limited number of spaces. So to makes sure we get a diverse field of great participants, we introduced an application process right from the start TPP in Switzerland in 2016. The goal is to find a broad range of motivated participants. Our sessions are intense, filled up with as much content as we can, therefore we want to make sure that all the participants are motivated and have a profound interest in typography and analog processes. We want to work with a group of diverse backgrounds to have rich discussions and great exchange within the group.»

Why is there an application instead of a direct sign up process?

[DK] «With your application, we are asking for a simple letter of motivation and a CV. The letter of motivation is really just a one-page PDF with 4–5 sentences why you want to participate in the program. It is important for us to see that you are expecting the right things from this workshop and you really want to study typography, poster design and letterpress printing. The CV (Curriculum Vitae) allows you to summarize your education, skills and experience. This second one-page PDF contextualizes your background and helps us to select a broad range of participants.»

What does the application need to include?

[DK] «To participate in our sessions, it is not that relevant what you already know or are able to do. All we need to know if you are motivated to work and learn with us. We have had participants with diverse professional backgrounds, different professional levels and of course different origins and age groups. All our exercises are designed to pick up participants at any level, from very experienced professionals to very young students at the begin of their career. For us it is most important to work with a group of devoted typography nerds (or future typography nerds) that are open for new approaches and willing to learn—and that really includes any entry level.»

Why are you not asking for a portfolio?

[DK] «The applications end up on my desk. I am reading through them and if I can, I reply in batches of 3–4 applications. Besides the criteria of motivation, I am trying to select a good diverse group of participants, this includes professional levels, professional backgrounds, gender identities, ages, ethnicities, and nationalities. To make sure this is not just a one-man show, for the sessions in Switzerland, I pass the applications through Julia Marti, who also is co-teaching in the summer sessions to help me select from the field of applications. A second pair of eyes really helps to make a good selection.»

Who is looking at the applications?

[DK] «As much as the application is an active filter—it much more is a passive one. This means, only those that really want to participate, will submit an application. So if you take the efforts to write a few lines why you want to participate and send us a CV this already proofs your true interest in the workshop. That’s half the battle. The earlier you apply, the more likely it is go get in. Sometimes you might get offered a different session, but we really help you to make your participation possible whenever we can. Don’t get scared off by the application process—it really makes sure you can work with a crazy cool and diverse group of cohorts and type geeks, who all share similar interests… Yay!»

Is it hard to get accepted?

We just finished two successful summer sessions of TPP and can congratulate 14 happy participants holding their brand-new certificates of attendance.

Typographic Printing Program is an intense program where you’ll get instruction in type theory, type history, semantic typography, layout composition, and letterpress production. The focus lies on intensive. In 13 days, you’ll get to know many new things and enter a whole new universe of typography, leaving Switzerland with your own designed and letterpress-printed poster. That will be a lot of fun but also a lot of work.
To record and value all the sweat, starting in 2023 year, participants get a certificate of attendance stating that they have completed the 120-hour Typographic Printing Program. The certificates are linen-bound and all letterpress hand-printed from hot-metal slugs. They are elegant proofs of a rigorous and comprehensive time here and you can list it in your CV, show to your friends and of course, your grandmother.
Fancy, right? One of those could be yours. Apply now for one of the 2024 sessions. (Not just for the certificate, but because of the experience you’ll gather while getting it.)

A certificate for 120 hours of typography

Ashley Fuchs [AF] participated in Typographic Printing Program in summer 2022. Ashley is an Assistant Professor of Graphic Design at Montana State University in Bozeman, MT, USA. She studied Architecture and Graphic Design and was first introduced to letterpress printing in graduate school. Since then she has continued to develop the studio at MSU and has formed her own studio Hacienda Paradiso Press. I’ve talked to Ashley to ask her about her experiences and takeaways from her two weeks in Switzerland.

[AF] «I got to know Dafi through his talks during COVID, specifically the <a href="https://www.youtube.com/watch?v=gDqxqMgrr0s" rel="noreferrer" target="_blank">Hamilton Hangs</a> and the blog he runs. From these talks and following him on social media, I became aware of the TPP and its offering both in California and Switzerland. I can always go to California, but not Switzerland so it was an easy choice for which location to choose from. It did not disappoint!»

How did you get to know about TPP?

[AF] «I applied rather quickly after learning about it. No hesitations, I just hoped that there were enough spots open in the program.»

Did you apply immediately, or did you have any hesitations at the beginning?

[AF] «I had experience with letterpress before so there weren’t so many surprises in the analog process, however, the key difference between learning in this program and elsewhere is the extreme precision and attention to detail when printing. The program brought to light hidden invisibles about ink mixing, dryers, type height, packing, and details and information about printing that isn’t easily accessible. It was so refreshing to have transparency in printing and quality expectations in a judgment-free zone.»

What are your most surprising takeaways from this traditional analog process?

[AF] «What I have implemented from my digital work, specifically digital work that gets translated to analog is that almost anything created digitally can be used as a blueprint for physical reproduction. The ability to use digital processes first helps elevate analog work because planning and organizing digitally helps you be more accurate with type size and spacing alignment in printed work. Digital helps establish a highly refined and accurate sketch of what can be made physically and that is an incredible takeaway to not only know but have experienced first hand in this program.»

How did you implement your digital experience in analog processes?

[AF] «My experience at TPP has also influenced my digital design practice and my teaching curriculum at my university. Instead of working solely digitally or physically, finding a strong interplay between the two in my work has been a main take away from TPP. Recently, exploring how physical type manipulations can inform digital design layouts and content has been at the forefront of my design decisions and has been included in an updated project I’ve developed for my students at Montana State University. The ability to think about how objects and typography forms exist physically, how they can be manipulated, interpreted, and used digitally is a huge conceptual and learning outcome from TPP. Without my involvement in the program I wouldn’t have been able to explore a symbiotic relationship between digital and physical design—furthermore making sure that physical and digital design decisions relate back to conceptual developments of design content. A huge learning experience for me was not only what I can do digitally and physically, but how what I’m making relates back to an informed conceptual driver aligned with rationales for form rather than decisions based on style or preference of the designer.»

And what about the opposite: How did the knowledge acquired at TPP influence your digital practice? 

[AF] «Inspiring, energetic, and intensive in the best way possible. As a professional, it is almost impossible to donate a large amount of time to developing my skills because of other work obligations. The fact that this program was two weeks and was filled every day with processes, explorations, and ideation helped create an intensive study that propelled my conceptualization and printing techniques beyond any other learning experience I have had in the past.
Unforgettable is another good description—every time I print or conceptualize a piece now there isn’t a moment when I don’t think about the concepts and processes I learned in the program.»

After finishing it, how would you describe TPP in your own words?

While organizing a workshop for type nerds and print lovers—it also needs a good printed poster for advertising. Check out the production videos for the letterpress printed posters from 2017–2022. Perfect for binge-watching. And stay tuned for next year’s poster.

The detox posters have been printed from both sides on transparency paper. And they really worked. If you stick them on top of any bad typography posters, they immediately detox the environment! Laser-cut linoleum and freshly cast Ludlow slugs.

2022 Typographic Detox

Well, if we are talking about pollution, you got to see it somehow visually. So the question just is: is this poster part of the typographic pollution? You decide! Printed from hand-cut and laser-cut linoleum, and freshly cast Ludlow slugs.

2021 Stop Typographic Pollution

Printed black on black! Yes, our cult is dark. Yes, you can’t get out! Yes, it is the most fun!
And look at the crazy justified layout on the back. That took at least 2 days to cast and work out all the details.

2020 Join the cult of type

The pow poster was a provocation in it self. We are staying away from type-bashing here at TPP since we strongly believe that you can produce good work with almost any typeface—if you use it right. 
A few years back, I got in to a discussion with a German typographer and I said something like I didn’t like type-bashing. He said something like «…but you definitely would’t make a poster with Comic Sans, would you!?». Well, the Pow!-poster was my reply to that! Haha. And it was awarded by the 100 best posters of Germany, Switzerland and Austria in 2019.

2020 Pow!

Just a plain old hand-set poster, that’s all. Composed from: so. many. pieces.

2018 Typographic Summer Program

A true manifesto for print. You say print is dead? We agree, until we disagree!

2017 Death to the print

Do you know the feeling when you made the decision to redesign a website and you just can’t wait until it is finally live! This is it. Here we are. I can’t wait for everyone to see it. Yes.

The new website contains a lot of informations on the sessions in Switzerland and in Pasadena for you to get everything you need to know to participate. Check it out and apply! It is worth it. 
Besides all the information on the Sessions, on the new site we also introduced this blog. Yes, yes, I know… Blog posts are so 1999! Haha. But in the discussions about this new site we decided that we need a tool to give a bit of insight to the organisation, backgrounds and interviews with TPP alumni—and just simply a bit more context. So it is not only the voice of Dafi, but also different points of view.

I would like to thank my employee and program assistant Sabrina Öttl for the great work she has done with the complete redesign and coordination of the website, as well as Mathias Gmeiner for the great programming! 🖤

I love pulling out the physical artifacts of our typographic history for the participants of Typographic Printing Program. We call it story time here. «C’mon uncle Dafi, tell us an other story!» And everybody’s happy. Okay, here we go…

Superba is the name of a beautiful Egyptian style slab serif designed by Edmund Thiele and offered by Haas’sche Schriftgiesserei (Haas Type Foundry) in Münchenstein, Switzerland. It was cast in foundry metal type from 1934 on. It also was licensed and and offered as poster type (wood type) by the Swiss poster type manufacturer Roman Scherer a few years later.

However, in 1940 Edmund Thiele designed Commercial Grotesk, a condensed sans serif for Haas Type Foundry. In that process, he basically cut off the serifs of Superba Condensed. The similarities between Superba Condensed and Commercial Grotesk are astounding–and what’s even more impressive was how well Commercial Grotesk worked as a condensed sans, which basically was just a slab serif with chopped of serifs. Commerical Grotesk was very common as a foundry metal type face and still can be found in many letterpress print shops throughout Switzerland.

But the transformation process of Superba was not finished yet. The next chapter was written an other 30 years later when Helvetica by Haas Type Foundry was in full bloom. Around 1970 Haas needed to expand the styles they offered for their most important face of that time. Since the competition was on between many European foundries offering similar sans serifs in many styles. To quickly expand the styles of Helvetica, Haas simply transformed Commercial Grotesk to Helvetica Schmalfett and Helvetica Schmalhalbfett by changing just a few letterforms. Alfred Hoffman, former director of Haas once told me, it was basically done over night. The features of Commercial Grotesk were very close to Helvetica. And cutting all completely new sets of punches would have been very labour intense, when competitors already had large typeface families ready on the market. So basically Commercial Grotesk mainly got renamed (with a few slight changes like the «t» or the «4») over one night.

Since at the studio in Näfels I have Superba, Commercial Grotesk and many styles of Helvetica, it is the perfect chance to take a little break from all the sketching work the participants do. So we pull out the physical artifacts of this incredible story, take that break for story time! And really, everybody’s happy—including me.

For more details see: Lars Müller and Victor Malsy (eds.). Helvetica forever: Geschichte einer Schrift. Baden: Lars Müller, 2008.

Audrey Solomon [AS] started getting interested in letterpress during her bachelor in visual communication and product design and one of her internships that was heavily focused on typography. The more she read and saw about letterpress, the more she really wanted to extend her knowledge in this field. After finishing her master in publishing she is now working in the field of editorial design in Munich. Audrey and I talked about how TPP helped her to build a foundation of (typo)graphic understanding for her daily—mainly digital—work.

[AS] «Firstly: I wanted to get my hands dirty and be in a workshop again, learning a new «tool». Secondly: I wanted to learn as much as possible about type and was interested in Dafi’s design process, having seen his work.»

What were your expectations of the program? Why did you participate?

[AS] «An absolute blast. Admittedly, I was pretty exhausted when it was done, but it was definitely worth it. Besides a lot of new knowledge of design processes and typography and letterpress, it was the people I met that made the course so enriching and fun. And of course, now I got a cool poster for my portfolio.»

How was your experience at TPP?

[AS] «Firstly: Detail makes the difference. I learnt to allow a process to take the time it needs and invest care and attention into the smallest detail to obtain good quality work. Secondly: Prepare every day of work and step well, no «cmd+z» on a letterpress printing press ;) You learn from your mistakes but you also stay more attentive that way. Thirdly: Know the (typographic) rules and where they come from, even if you then decide to break them.»

What useful lessons did the traditional analog process teach you?

[AS] «We have so few constraints when it comes to digital work and we are pushed more and more to work at an incredibly fast pace, and I do not mean in a very productive way. The course really helped me appreciate how physical constraints and the before-mentioned care and preparation needed in a letterpress workshop and in analog production, can actually enrich your process and design. When I feel lost in my process when working purely digitally, I often return to analog methods, some of which acquired during the TPP, combining them with our digital possibilities nowadays.»

How do you apply these approaches in your daily digital work?

[AS] «Apply, have fun, be open, absorb it all and make sure you get everybody’s number and email in the end.»

What is your concluding advice for future participants?

I am Veronica Alba, an Italian designer, who participated in Typographic Printing Program in summer 2020. My two weeks of Swiss type have been very intense and I have learned so much in such a short time.

After a welcome from the huge mountains of Näfels, I went straight into the studio for the intro evening where we met each other and we immediately started press printing a label with our names, I couldn’t believe we were already printing! From that moment on, I have been most of the time (12/24 hours) in the studio, learning, experimenting, studying, sketching and laughing with Dafi and the rest of the class. The first few days of experimentation were super good fun, printing with different materials and techniques, but also how to clean the presses and the printing tools, which is very important!
Experimentation soon became theory, which was immediately applied to some practical exercises on the presses. It’s been very important for me to dig into micro and macro typography, studying in detail the typographic basics in order to produce an accurate and well-structured poster. I also learned how to combine analog with digital and how to use a photocopier instead of Adobe Indesign (which is more fun). It has been nice to meet new people and share our backgrounds and stories, especially during the Raclette dinner on Saturday night where we enjoyed the typical Swiss cheese and saw fireworks.
All in all, I feel lucky to have spent time in Näfels, and every day when I walked home I was thinking how special this workshop was to me, especially in these uncertain circumstances, I am grateful to have been able to dive into typography and find my way in letterpress printing. In conclusion, I am quite passionate about typography and letterpress, and I really think this workshop helped me express my passions in a constructive environment with Dafi and the other students.

Once more we are collaborating with Typeroom to exclusively offer a half-price scholarship to applicants for the «Typographic Fitness» session—a great chance to study participate in our Pasadena Session II. The scholarship winner will be able to participate in Session II, January 10–14, &nbsp;2022 for ½ of the regular fee.

The Pasadena sessions of TPP are offered in collaboration with HMCT and hosted in one of the most beautiful and best equipped typography workshops on the West Coast. The focus of Session II is on typographic fitness and each participant will produce a letterpress printed poster at the end of the week. But just as always in Dafi’s style—don’t expect these prints to look oldschool or handmade.
Apply now through the <a href="https://www.typographic-printing-program.com/apply">official application form</a> at the bottom of this page with a short letter of motivation and a CV. Note in the comments «Typeroom Scholarship». The scholarship is only valid for Session II, 2023. Offer is open through December 5, 2022. 
The half-price fee includes the 5 day workshop at HMCT ((at $545.00 instead of $1090.00) inlcuding all the needed workshop materials. But does not include individual travel cost, food or accommodations in Pasadena.
Apply now, you won’t regret it!

Over the past years, more than 100 people have participated at TPP. They all had different backgrounds—from type beginners to type nerds. However, after two weeks of excessive sketching and experimenting with typography and analog tools, they all finished with their very own typographic letterpress printed poster. It is an intense but rewarding time, and there are many ups and downs. To give you some insights about this process, I asked former participants what they liked best when reflecting the time in Näfels.

«During the sketching process for out event poster project, I remember wanting to go ahead and sketch these wild ideas and big shifts in thought, but Dafi encouraged us to move in small and slight changes. Tracking the evolutions of refinements is important as it could lead to greater ideas! He reminded us not to rush ahead and to invest in the details, rooting everything in our concept. I remember feeling overly eager at the beginning of that process, but by the end I had hundreds of ideas and options that would not have existed if I rushed the process. Some of the best parts of my poster were born out of those early sketches. They added depth to my process. I remember looking at all my sketches laid out on the floor and feeling really proud because there were so many papers full of ideas. I was proud because the craft deserved to be carefully considered and the project deserved my patience. Also, I got to walk home with like a million sketches. Proof of our hard work. Seeing everyones sketches fill the room brought me so much joy and an eagerness to get home and change the way I work on projects!»

Brielle Stein, TPP 2022, Session IV

Since 2016 Dafi Kühne is hosting Typographic Printing Program. Over the past years, more than 100 people have participated in one of the 13 sessions. To give you some more insights into the program, I asked former participants what they liked best when reflecting their time in Näfels.

«There were obviously many favorite moments during TPP (lectures, guest lectures, and story times are up there for me). However if I really have to pick one, I think my favorite has to be the last night that we all went full production. Without compromising on any design details, all of us stayed up almost all night to produce our designs by hand. It made me appreciate every little detail we spent the past two weeks honing in on. We all helped each other and it was such a beautiful moment to see everyone finished their poster, one by one.»

Wipawe Sirikolkarn, TPP 2022, Session IV

«Rethinking about the days spent at TPP, my favorite moment was when, after explorations and sketches, the concept and first design of the poster were ready. The feeling of discussing the design choices, and the poster that was starting to take form gave me the boost for the next steps of the process.»

Paolo Faricelli, TPP 2019, Session I

«There are so many highlights from participating in the Typographic Printing Program 2020 that it’s difficult to choose. Having the opportunity to work alongside Dafi Kühne and his «Cult of Type», getting to view his exquisite typographical collection of posters and the knowledge I gained throughout my two weeks in Näfels, is something that I will treasure forever. One of my favourite trips from the program was when our #quarentype group went on a private, guided tour with Bettina Richter around the Museum für Gestaltung in Zürich. The vast poster collection in the archives (some over 100 years old) was unbelievable! We got to see the work of well known poster designers which aren’t always available for public viewing. This included Josef Müller-Brockmann’s original sketches! It was amazing to see the quality of the craftsmanship that Brockmann put into his initial poster sketches alone! A once in a lifetime opportunity that I am forever grateful for!»

Sarah Elliott, TPP 2020, Session II

«I enjoyed the infinitely fast typo sketches very much. It was less about producing the big hit right away than about looking at the topic from a different perspective again and again through the clear typographic specifications. This resulted in a large number of different designs in a relatively short time.»

Maxim Staehelin, TPP 2019, Session II

What was your favorite moment? #2

Over the past years, more than 100 people have participated in one of Dafi’s TPP sessions. To give you some more insights into the program, I asked former participants what they liked best when reflecting their time in Näfels.

«My favorite memory was stepping off the train from Zurich and being surrounded by the beautiful mountain vista. To paraphrase a line from the very American movie ‹field of dreams›: ‹…is this letterpress heaven? No, it’s Näfels!› The unique location of Dafi’s studio was remote enough to clearly focus us on the tasks at hand—but also super warm and welcoming. 
Many participants comment on the value sketching and preparation involved in the workshop and I echo that sentiment. I haven’t sketched so much and explored so many iterations before approaching a final design since my days as an undergraduate in b.c. (before computer) times. This return to basics has really impacted my teaching, as I share my thick stack of hand-rendered sketches with students to demonstrate the virtues of methodical process. Dafi’s fastidious approach to studio organization was inspirational, as was his attention to detail. None of this ‹Hey, it’s letterpress, accidents happen› stuff. Your final prints looked just as you planned them under Dafi’s watchful eye.
I must admit I was a little worried that as a designer with years of teaching and professional experience with my own letterpress studio that I might feel out of place in a workshop that included participants at all different ages and skill levels. Nothing could be further from the truth. Everyone worked together, critiqued work and helped print our final posters as if we had known each other for years. We also hung out, ate together and socialized.
I highly, highly recommend this workshop to anyone who loves design, process and letterpress printing. If you can, be sure to leave some time before or after the workshop for a few days in Zurich to explore the museums, cultural sites and food!»

Bob Kelemen, TPP 2022, Session IV

What was your favorite moment? #3

Over the past 6 years of running TPP here in Näfels, we have had over 100 participants from a total of 22 different countries. Honestly, it makes me really happy and I feel humbled to say/write this! And these numbers also includes two years of the pandemic, that made the organisation and traveling especially difficult. So it is worth looking at the field of participants a bit more closely.

Since 2016, we have had participants from Australia [6], Austria [3], Canada [2], China [1], Czech Republic [1], Egypt [1], Finland [1], France [1], Germany [4], India [2], Italy [3], Lebanon [1], Malaysia [1], the Netherlands [3], Qatar [2], Saudi Arabia [3], Spain [2], Sweden [1], Switzerland [20], UK [2], Ukraine [3], and the USA [38].

Origins

One of the goals I had setting up this program was to create a schedule that can accommodate various levels of background. I strongly believe in the quality of mediating complex content and breaking it down to simple tasks and lessons. This allows for any entrance level. Depending on the level of experience, designers translate the exercises accordingly and grow. This general setting opens up for a very diverse field of participants, with different origins, backgrounds ages and different professional motivations to participate in the program. Of course we have had graphic designers, type designers, letterpress printers, industrial designers, architects but also movie makers, programmers and many other kinds of design-related backgrounds. But besides that we have had great participants with many other professional backgrounds with a strong interest in typography, graphic design and printing. In this program it is never about what you already know, but about what you are willing to learn.

Backgrounds

We have had a broad range of ages too. From the very young student straight out of high school wanting to apply to art schools, students (BA and MA), professional designers, professional printers, to very experienced university teachers and graphic designers. And even up to retired professionals wanting to learn and experience something new. Anything is possible and for me this adds quality to the group discussions, the diversity of the work and the overall value the program.

Anybody, really is welcome—the more diverse the better. All we need is a motivated field of participants who are in love with typography and want to study intensely. An open mindset, respectful and inclusive behaviour and the will to learn new approaches and processes is expected from everybody.

Masha Reshetova [MR] is a Ukrainian designer and printer currently based in Prague. When participating in Typographic Printing Program she had no experience in letterpress but had already worked with analog technics. After the program she took the 2020 theme «Join the Cult of Type» seriously and set up her own workshop. For her, this was a courageous but also unpreventable decision.

[MR] «The Typographic Printing Program seemed like a great opportunity to combine what I have been doing lately, graphic design, and my education in printmaking. But I didn’t realize this until after TPP, and my actual application process was much more chaotic: I saw a talk of Dafi about his work and the program an hour before the deadline. I thought it was pretty cool, so I submitted my application without much thought. Sometimes that is the best way to make a decision.»

Why did you decide to participate in TPP?

[MR] «It was great! It was so great that I bought a printing press after.»

[MR] «The program was full of insights. It is hard to name them one by one. But I would say it definitely changed my perspective. TPP doesn’t give you the answers on ‹how to make a good poster›, but it gives you the tools to figure it out, articulate your intention, and take responsibility for your design decisions. At the same time, the analog approach gives you the superpower to ‹think by making› and allows you to test your ideas by trying them out on paper. LOTS OF TESTING. All of this makes every poster feel like a journey.»

What insights did you take from TPP?

[MR] «That was never my goal. After the printing program, I decided to continue doing posters. I found a print shop in Prague—the only problem was working hours, which were hard to combine with my full-time job. I printed my first poster mostly during my lunch breaks, which was brutal. After that, I swore I would never do it again. Then I printed the second one at the same print shop, and I was pretty sure I wouldn’t survive the next one. So, my choice was simple: stop printing letterpress posters or start my own studio. Why would anyone want to stop printing posters?»

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