Vincent’s search for special characters began around the age of ten, after a little boy had already developed an above average interest in illustration. His addiction to calligraphy began a few years later, before he in 2006 went to the HKU Graphic Design study. The letter mania was fueled by acquaintance with different printing techniques and an expanding reference. After attending some lessons calligraphy outside the academy, he learned that more knowledge to be gained about calligraphy and letter design by itself to look and lots of exercise. It was hard and left some stabbing on the lessons of right-handed calligraphers. After the academy Vincent started with two college friends Studio AIRPORT. They create visual identities, poster campaigns and websites and booked a nice string of successes, among other awards winning some impressive design. In 2015 he left the studio in order to focus entirely on typographic expression. This is reflected in various studies of the possibilities within the frameworks and agreements of the Latin alfabet.’Een letter is just an agreement on a sound and shape, within this agreement is a tremendous freedom. “Says Vincent. The ancient calligraphic craft is practiced and examined by him. These lead to new letters and alphabets which deform to figures, in which also the interested to see in space suggestion is returned.

Guido de Boer, graduated in 2011 as a graphic designer at the Art Academy in Utrecht, you can not really call it more a graphic designer. Al holds’ ie there is indeed working on a daily basis. If typography teacher at two schools, co-founder of Capital, as owner and editor / curator of Form Architecture and one of the leaders of High on type. His entrepreneurial ambition is only his artistic career occasionally get in the way. And maybe that’s a good thing, because now only the Boer do due to time constraints only the “nice things”. That is, often manifests itself in quite work, but occasionally he manages to apply commissioned situations. In which he admittedly constantly searching for his own freedom and expression.

His fascination with letters in all its work seen and felt. Sometimes obvious with Typographic and calligraphic precision, other times with a rough tone you rather reminiscent of graffiti. These two opposites express themselves in any case always work with handwriting, spontaneity, equipment, feeling, expression, practice and repetition are important. So whether its job well as investigations are to typographic characters, or he want to tell us something with it; What is a fixture in any case, is that it is almost always black and white. And do not forget, the eternal struggle with the meaning of the written text. As he puts it: “The good of a job situation is that you do not have to imagine yourself the text to write.”