Over a period of four years, five alumni of the Expert Class Type Design (2014–2015) of the Plantin Institute of Typography in Antwerp thoroughly investigated the text and display types, decorative capitals, and ornaments by renowned 18th-century punchcutter Jacques-François Rosart. The purpose of the quintet’s research was twofold: to gain more insight into Rosart’s design process and production methods and to produce high-quality digital revivals. Walda Verbaenen and Michel Paré will represent the group in taking a fascinating look at Rosart’s working methods, especially focusing on his decorative capitals. Much of this information has been distilled from studying punches, matrices, and printing type. For example, which models did Rosart use as templates, and how much was his style influenced by his French contemporaries? Rosart’s special place in typographic history will be emphasized through illuminating specific qualities and the richness of the master’s oeuvre. Examples from an extensive series of revivals will also be presented for the very first time.
Reviving Rosart’s heritage: In honor of an 18th-century Belgian punchcutting master
Michel Pare
Michel Paré studied graphic design and technique at the Art Academie Artibus, Utrecht, the Netherlands, and has worked as a graphic designer and web designer. He attended the Expert Class Type Design at the Plantin Institute of Typography in Antwerp, Belgian. Paré conducted research in the history of typographic ornaments, especially those of J.F. Rosart. He recently digitized a large number of Rosart’s typographical ornaments and some of the 18th-century Belgian punchcutter’s flourished capitals. The digitized ornaments and an accompanying publication will be published by the Dutch Type Library.
Walda Verbaenen
Fascinated by design in all its aspects, Walda Verbaenen graduated in 1990 from the Saint Luke Institute in Brussels, Graphic Design department. She combines her work as a graphic designer with her experience as a teacher. Verbaenen is an alumni of the Expert Class Type Design at the Plantin Institute in Antwerp, where she became, under the guidance of Dr. Frank E. Blokland, addicted to researching historical material as a starting point for designing new fonts. Verbaenen is always looking for the ultimate details in fonts, and is intrigued by the balance between different shapes and forms.