Type designer and founder of Bolditalic on teaching, magic, and the Russian-language context.

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Dmitry shared with us his sources for finding fonts, his experiences, and his experience of creating his own design school. His approach to choosing fonts is based on thorough research and analysis of current trends in typography. He also spoke about the fears and challenges he faced on the way to creating an educational institution. Dmitry's story is inspiring and shows how to overcome difficulties and realize your ideas in the field of design.

A graphic and type designer, as well as a teacher, I am the founder and art director of the Bolditalic design studio. In addition, I run Bolditalic.type.school, a specialized type design school. My work covers a wide range of design projects and educational initiatives aimed at developing skills in the field of graphics and type art.

Dmitry has extensive experience working in design studios and advertising agencies, as well as at the renowned printing house Paratype. He taught at the Institute of Business and Design, sharing his knowledge and experience with future professionals. Dmitry has spoken at various significant events, including the Higher School of Branding, Expo 2015, ATypI and G8 conferences, and Design Weekend. He is a member of the selection committee of the Modern Cyrillic Alphabet - 2019 and the organizing committee of the Modern Cyrillic Alphabet - 2021. Dmitry holds a Master's degree in Graphic Design, confirming his professionalism and competence in this field.

Have you ever considered becoming a typeface teacher? Was this a conscious goal, or did circumstances simply lead to this choice?

I am a graphic designer by education and have experience working in advertising agencies and the game development industry. However, I have always been attracted to typography, and I believed that a good graphic designer must create their own typefaces. Later, I learned that this idea was expressed by Edward Spiekermann. The importance of typography in design is obvious, and I strive to develop my skills in this field to create unique and effective typefaces that can enhance visual communication.

I studied typeface design on my own, as I could not afford to attend Tagir Safayev's school. The reasons were not only financial constraints but also a lack of time. The class schedule required attending courses on weekdays at 6 pm and on weekends, which required complete dedication and made it virtually impossible to juggle it with work.

I actively attended various conferences, studied available books and guides, practiced calligraphy, participated in forums, and interacted extensively with designers. All this experience and knowledge helped me form my own understanding of type design.

By 2016, I felt that the volume The weight of the knowledge I'd accumulated over the years became unbearable. Realizing I needed to share it, I decided to start teaching others. That's how I accidentally became a teacher of the "Font and Typography" course. This experience not only helped me organize my knowledge but also opened up new horizons in my understanding of typography and type design.

In the spring of 2016, I met Vadim Bunkov, who at that time was the curator of continuing professional education at the Institute of Business and Design. Just two weeks after our conversation, I started working at the institute. This decision was spontaneous: I had no clear plan or pre-prepared materials. I was creating my path in the profession as I went, like constructing a locomotive that propelled me forward.

In Russia, there is no specialized educational institution that could be called a type pedagogical institute. Perhaps similar programs exist at the University of Reading, but this is also doubtful. There are only a few thousand type designers and related professionals, such as type engineers and studio owners, worldwide. Therefore, the need for specialized institutes to train such professionals is questionable. Working in databases for four years allowed me to gain a deeper understanding of teaching and identify opportunities to improve the effectiveness and quality of education. Over time, I realized that I was truly passionate about working with typefaces, rather than related fields. This realization became the impetus for a deeper study of type culture and its application in design. In 2020, I founded my school, Bolditalic. After a few classroom sessions, the world was faced with a pandemic. Initially, I was against online lessons, as I value non-verbal communication, interaction, and shared breaks. However, the advantages of the online format soon became obvious. One of the main advantages was the ability to bring together students from different parts of the world: students from Kazakhstan, Austria, Novosibirsk, Tbilisi, and Belgrade study in the same group. This diversity enriches the learning process and creates a unique atmosphere for sharing experiences.

Teaching always presents a number of challenges that require constant overcoming. One of the main difficulties is the need to adapt materials to the different levels of student perception. Each student is unique, and it is important to find an approach to each one to ensure effective assimilation of information. It is also important to take into account the different learning styles and motivations of students, which requires flexibility and creativity on the part of the teacher.

Another challenge is classroom management. Maintaining discipline and student engagement in the learning process requires considerable effort and experience. The need to quickly respond to emerging questions and problems, as well as maintain interest in the subject, is an important part of the teacher's job.

Furthermore, constantly updating knowledge and skills in one's field is also a challenge. Educational standards and technologies are constantly changing, and teachers need to stay up to date with the latest trends and methods. This process requires time and effort, which can sometimes be difficult to combine with your main academic activities.

Thus, teaching is a dynamic and multifaceted field that requires constant self-development and adaptation to new conditions.

With some students, an immediate understanding and connection arises. We often discuss philosophical aspects, discuss tastes and preferences. I am not prone to excessive concern for everyone; I try to treat everyone equally, with respect and understanding. However, unfortunately, it is not possible to establish rapport with some students.

If you compare "Britanka" to the Moscow Art Theater, then my Bolditalic can be likened to the "Praktika" theater. It is an intimate school with a limited flow of students, and this is precisely what makes it unique. Most often, people with whom I have a common understanding and similar views come to study here.

Teaching requires significant emotional investment. Emotional engagement is a key aspect that influences the quality of teaching and interaction with students. Criticism in the educational process can be complex and sometimes unpleasant, as it is necessary to find a balance between constructive feedback and support. An effective teacher must be able to express their comments in a way that promotes student growth and development, rather than causing fear or uncertainty. It is important to understand that criticism, when delivered in a positive manner, can be a powerful tool for motivation and improving learning outcomes. I am emotionally invested in each student, although this does not happen from the very beginning. Education at Bolditalic consists of two main stages. In the first stage, students study lectures on the history and calligraphy. As they progress, they gradually become immersed in theory and principles, and then are joined by "Bureau of Books" for lettering and other creative activities. During this time, students also create mood boards, which helps them develop visual thinking and creativity.

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In the beginning, there was the letter, and the desire to depict it filled the world. The letter is more than just a symbol; it is the basis of language, art, and communication. It has become the starting point for creativity and self-expression. Drawing letters allows people to convey their thoughts and emotions, creating unique works. Every stroke and curve of a letter conceals a story, reflecting culture and tradition. Thus, the art of graphic design and calligraphy continues to inspire generations, opening new horizons for self-expression and creativity.

In the second stage of my work, I actively analyze each student's font files, which requires considerable effort but simultaneously fills me with energy. TypeType already has three Bolditalic graduates, and I am proud of their achievements. These talented type designers come to the office every day, creating fonts for various projects, and I am glad that I was able to teach them this craft. It brings satisfaction and inspiration.

Physical fatigue becomes especially noticeable at the end of the academic process, especially before the dissertation defense. I have always combined my studies with my main job: first it was Paratype, and now I run a studio. This balance between studies and professional responsibilities requires significant effort and dedication, which undoubtedly leads to fatigue. However, such a workload also contributes to the development of time and priority management skills, which is an important aspect of personal and professional growth.

What project in your design practice has become the most significant and memorable?

As a designer, I have always been interested in information design and dreamed of creating transport navigation and signage. Once, I missed the deadline for submitting a project for a competition for the Moscow metro map, and this was a great disappointment for me.

At that time, I was living in Italy and faced the problem of the complex metro in Milan. The 1960 metro map, while beautifully designed, was outdated. I decided to create my own version. After attempting to redraw the existing map, I quickly realized it wasn't the best approach. Instead, I used Google Maps to trace routes and drew lines based on the city's actual topography. I then began stylizing the resulting lines and came up with a new composition—semi-circles—that give the map a modern and user-friendly look.

I proposed my project to Milan officials, but encountered a bureaucracy significantly different from ours. Nevertheless, the scheme began to attract attention. It was used in guidebooks and was later adapted by FAIS onlus, a non-profit organization that provides support to people after intestinal surgery. For them, knowing the location of restrooms is crucial, especially in the Milan metro, where such information is often lacking. Volunteers from this organization conducted a survey of the entire metro, mapping out the locations of restrooms, and I integrated this data into my scheme. As a result, I was invited to speak at Expo 2015 in Milan to talk about this project.

The font project that left a significant mark on my practice is Bodoni PT. This typeface is a modern interpretation of the classic Bodoni typeface and is one of the best of its kind. Working with Paratype was an exciting and educational experience that allowed me to gain a deeper understanding of the world of typography and type design. In the process, I acquired a lot of new knowledge and skills that enriched my professional arsenal.

The creation of my own font studio was the result of a long journey and a deep passion for typography. I've always been interested in design and art, and over time, I realized that typefaces play a key role in visual communication. While exploring various styles and approaches to typeface creation, I realized that I wanted to create unique typographic solutions that would inspire other designers and enhance the perception of text. This process led me to the idea of ​​opening my own studio, where I could realize my ideas and share them with a wider audience. My goal is to create typefaces that are not only aesthetically pleasing but also functional, ensuring high quality and variety in typographic design.

I've always strived to follow my own path, but I recognized that creating large-scale projects is a lengthy process that requires time and experience. A key milestone in my journey was working at Paratype, a leading research institute in the field of typeface design. This experience became the foundation for my professional growth and preparation for realizing my own ideas.

In 2015, I was helping Gayane Baghdasaryan with the "Serebro Nabora" project, and she invited me to an interview for TypeRadio, hosted by designers at Dumbar Studio. When asked about her greatest regrets, she said that she started her career too late. These words left a deep imprint on me, as Gayane and her studio, Brownfox, are a source of inspiration for me. I admire her persistence and clarity of vision, which help her create unique and memorable projects.

I can’t say that I started my activity late.

The fonts in the Bolditalic design studio catalog appear thanks to a careful selection and development process. We collaborate with talented designers and typographers who create unique fonts that take into account current trends and user needs. Each font undergoes rigorous quality control to meet the high standards we set for our collection. We also regularly update our catalog, adding new fonts to meet our customers' diverse needs and keep our selection current.

There are three main channels for acquiring new fonts. The first and most obvious is design school graduates. I actively engage with them upon graduation and offer them a collaboration agreement.

School fonts can become commercially successful if students ask themselves important questions about their purpose, application, and the current relevance of graphic design. Understanding the context and needs of the market will help in developing fonts that will be in demand and effective.

The second channel of our work is our in-studio activities, within the framework of which we are engaged in the development of fonts. Like any modern design studio, we break the project down into tasks, work in sprints, and regularly report on the completion of assigned tasks. This allows us to effectively manage time and resources, as well as ensure a high-quality final product.

The third aspect is fonts, and this process takes the most time, as I strive for meticulous development. My background is with Paratype, but at Bolditalic, my responsibilities have expanded significantly: now I'm not just one of the designers, and I can't tolerate even the smallest errors that were acceptable at Paratype. In the near future, I plan to release the baroque serif Apophis, consisting of eight styles, with many intermediate variations, where the serif is used as a modular component. This project has been in development for quite some time.

Cyrillic holds a unique appeal for type designers, combining a rich history and a variety of styles. Used in a number of Slavic languages, this script offers numerous creative opportunities. Designers face challenges related to letterforms and their interactions, allowing them to experiment with a variety of styles and visual effects. Cyrillic fonts can be both traditional and modern, opening up broad horizons for creative expression.

Cyrillic also has its own unique use of proportions and axes, making the process of typeface creation both fascinating and challenging. Effective typeface design requires a deep understanding of the culture and language for which the font is being created, adding an extra layer of significance to the designer's work. It is important to consider not only aesthetics but also functional aspects, such as readability and versatility. Thus, the magic of Cyrillic lies in its ability to inspire designers to create unique typefaces that reflect not only the character of the language but also its cultural characteristics.

Any magic represents ignorance of certain processes. A lack of knowledge in physics and chemistry can lead to many miracles appearing in your life. If you're unfamiliar with Cyrillic, it may seem mystical and strange, especially when you look at the cursive examples of the rope book of the Antonievo-Siysky Monastery. For us, it seems like magic only because we ourselves lack the skills to practice it. Understanding these processes helps to dispel illusions and opens new horizons.

By doing this, you immediately begin to understand what it is. By acquiring knowledge, you understand what this process consists of. Although this may not be the easiest task, it at least becomes understandable. Understanding goes away when you get to details, such as the appearance of a lowercase "t" with three vertical strokes. This knowledge opens new horizons and helps to understand the complex aspects of the topic.

You are worried about other people's knowledge and the state of the Cyrillic alphabet. What is the cause of such worries?

My personal approach to patriotism is to recognize Cyrillic as an important element of our identity. I believe that the feeling, knowledge, and love for Cyrillic are significant. However, it is important to understand that these feelings cannot be forced. If a person does not have a sincere love for Cyrillic, they should not try to squeeze it out. I have this love, and I express it through font education, which allows me to share my knowledge and experience with others.

To understand Cyrillic, you must actively study it. It's important to avoid a situation similar to what we saw in the 1990s and 2000s, when Cyrillic was criticized even by educators. They argued that Cyrillic looked like a fence, lacked expressive elements, and was a boring set of fonts. For example, if you print Cyrillic text in Helvetica, it will look unattractive, while Latin creates a more aesthetically pleasing impression. But why is this? Perhaps the problem lies in the specific font versions used. We need to rethink our approach to Cyrillic and its design to unlock its potential and beauty.

In Cyrillic, context plays a key role. Why is my school focused on a Russian-speaking audience? I teach many aspects, but students already have the necessary context—they are immersed in the language and script. Launching an English version of Bolditalic will require a radical overhaul of the entire methodology. People in the English-speaking world don't have the same context and don't understand the difference between good and bad. Context is what surrounds us every day, starting from the moment we leave the house.

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