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About the person

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Łukasz

 

Dziedzic

 
 
Portrait Łukasz Dziedzic
 
Łukasz Dziedzic was born 1967 in Warsaw. Rather than to finish high school, he worked as a sound technician and occasionally actor at a children's theatre group, spent a year working as a carpenter helper rebuilding 13th-century churches, he lent his voice and bass guitar skills to the band »Dunski Jazz«, and worked as a software developer at the Polish patent office.

During the first free Polish elections of 1989, he briefly worked as a newsboy for Gazeta Wyborcza, the newly-launched, first independent daily newspaper in the country. A year later, he joined the design department of Gazeta Wyborcza and spent seven years there, co-creating the layouts of the main newspaper and its weekly companion magazine, for which he drew his first typeface. He later worked for several other publishing houses in Warsaw (since 2003 at Axel Springer Polska), designing newspapers and magazines. In the same time, Łukasz drew over a dozen typeface families ranging from large Latin and Cyrillic text families to single display styles. Many of these fonts were originally created for a particular newspaper or magazine layout. Some of them went into regular use or were used occasionally (in Poland: Gazeta Wyborcza, Vita, Przyjaciółka, Fakt, Lub Czasopismo, Gość Niedzielny, TeleŚwiat, Komputer Świat, in Russia: OK!, in Germany: OK! and PAGE), others were never utilized.

In 2007, Łukasz created a three-style Latin and Cyrillic corporate family for empik, one of Poland's largest press and music retail store networks. In the same time, FontShop International released two of Łukasz Dziedzic's families (FF Clan and FF Good), with two more families scheduled for release (FF Pitu and FF More).
 
 
 

Large font families that make editorial clients happy (E)

 
In the United States, newspapers and magazines sometimes have the position of a »type director«, a person responsible for picking the typeface and fine-tuning the typography in the publication. Even though he never went by that title, Łukasz held such a position at several major publishing houses in Poland for more than 12 years now. He »designed the text« for daily, weekly, monthly publications in various market segments: for men, women or both genders, news, computers, sports or culture, low- or middle-market – including titles such as Podróże, Przekrój, Newsweek, Forbes, Komputer Świat, Fakt and several unpublished projects. The common denominator for most of these projects was: high circulation, no experiments. In this position, Łukasz was living between two worlds: one world of design, nice colors, typography, and well cropped pictures, and the second world of the aggressive simplicity of market needs. He was constantly in search for typefaces that would fit well into both worlds, and if he could not find one, he drew one. Some of the designs were adopted, others went to the trash bin, and some titles were never published. Based on this experience, Łukasz will try to answer the following questions:

1. Why do newspapers and magazines need redesign?
2. Why is or should redesign often be invisible for readers?
3. Why do typefaces alone make a layout look »old« or »fresh«?
4. How to draw large font families fast?