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Avigail Reiner, who teaches at Holon Institute of Technology, has worked as an ArtCamp instructor in the Typography/Alternative Records course, with the theme of combining Hebrew, Arabic, and latin scripts. Her work and that of her students from HIT can be seen at the Incubator Gallery (in the Ladislav Sutnar Faculty of Design and Art building) in exhibitions entitled „Book Object“ and „From A to Z“ until the end of August. In her works Avigail Reiner shows how typography can bridge cultural differences and promote understanding between cultures. Avigail Reiner is also co-founder of The Studio, where she works on a variety of typographic projects. 

We spoke to Avigail Reiner about her typographic and pedagogical work.

How did you get into combining Hebrew, Arabic, and latin scripts in your typographic work? 

There seems to be nothing more contrary than Hebrew and latin letters. They do not sound alike nor are they written in the same way. They ‘belong’ to two different geographical spheres and contrasting cultures. Yet in the past these forms of writing merged diverse cultures via visual communication based on a cluster of signs – the proto-canananite alphabet. Most of the alphabets all around the world have evolved from this form of writing, developed two thousand years ago. In Israel we have three official languages, Hebrew, Arabic and English. Our signage system consists of all three and we also learn them at school. Since I work on designing books and exhibitions, almost every book has at least two of them.  

How does your work with different scripts influence your perception of visual communication? 

I believe that intercultural meeting through the shape of the written letter can potentionally bridge the gaps between not only different kinds of writing but also between people. Shapes and structures are a part of our everyday life, they reflect our political and cultural views.  Existing tensions between the ways of writing gives visual space for each of the visual cultures. Graphic designers can be agents of change. Let us hope we will indeed take this role upone ourselves because we need it!  

Can you tell us about your approach to teaching at the Holon Institute of Technology? 

At HIT, I teach typography for second year students, experimental design for fourth year students, and guide the final projects. I love having real conversations with my students, letting them share what they think about the subjects we study and have an active discussion about it. Design should move the viewer and make him or her think and in order to do that, its neccesary to thoughly discuss this together in class.  

What has been your experience leading workshops at the international ArtCamp summer school? 

I had a great week at Artcamp! I was blessed to have a wonderful group of students, eager to deepen their knowledge of foreign typography, even without reading it. I was extremely impressed by the fact no matter how old they were, they dove into the different assignments with allot of passion. I also learned about Pilzen and the University, the long-lasting connections between our institutions and countries. Thank you so much for your warm and generous hospitality!  

What led you to found The Studio, and what projects are you typically working on there? 

After I graduated from Bezalel Academy I started working with my teacher at her Studio, specializing in designing artist books and exhibitions. After that period, I started my MA studies and started  teaching  as well. I wanted to work on my own projects and since Shlomi, my husband and partner also ended his emlpyment at that time we both decided to pair up once more and work under the same roof – The Studio. Today each of us has their own clients and project and we specialize in various aspects of graphic design. 

Your current exhibition at the Incubator gallery has two parts. Can you tell us more about them? 

I was invited by the leaders of ArtCamp to present my work at the Gallery. After thinking a bit, I decided to curate works that can complement the workshop I was invited to lead at ArtCamp –Typography / alternative records. The second part of the gallery has works with both Hebrew, latin and Arab Typography, done in the past few years at HIT.  

In the "Book Object" section, you present books as autonomous art objects. What would you like to draw the visitor's attention to? 

When I reffer to the book as an object I believe that the reader/viewer is attracted to the book because the fact it’s a three dimentional object. Its special kind of cover, tactile feeling, the weight of the paper and its kind – these are all parts of making the book an object. I see and know that people are drawn to these objects and want to possess them and that is what interets me as a designer.  

The "From A to Z" section showcases your students' work. What aspects of their creations do you find most gratifying? 

I love seeing how student feel free and open to experiment with type, not necessary doing the “right” thing. This is the point where typography becomes art, and can be expressive and interesting, not only being a way to read text.           I enjoy looking at the artefacts laid on the reading table knowing that my sudents have the ability to create interesting content in book formats.

What do you consider to be the biggest challenges in contemporary visual communication? 

At times I feel design is done without content behind it, without really thinking through about what was done before and what will be left behind. Designing without taking into considerationon that our role is to be a part of developing our culture, makes design only functional. I want us to have high expectations of ourselves and in that sense, give credit to our viewers that they can and should deal with design challenges.  

Which project or work has inspired you the most recently? 

When I visited Prague a few days ago, I saw the KafkaAesque exhibition at (Centre for Contemporary Art) Dox, and I loved the mirrored coffin by Jan van Oost. I loved the idea of the viewers seeing themselves reflecting on the coffin, and the shades that reflected from the object itself. It made me think of how we use icons and a traditional way vs. how it reflects on us.   

Your family roots trace back to former Czechoslovakia, specifically Slovakia. What is your relationship with the Czech Republic and Slovakia today?

Unfortunately, I have not visited the places my grandparents grew up in, but it is on my “to do list” for the next few years (my father grew up understanding slavic languages and I definitely want him to take me to visit those places!) 

I feel like my roots are connected to this part of this world since some words, recipes, traditions, are still a part of my family’s life. Since Israel is so diverse in its population – people come origanly from so many parts of the world – I take pride that the Czech Republic is a part of my personal story.  

Thank you for the interview!