Typo

Cathrine Alfshus Grafisk Design 77934911

TYPO NOVEMBER 2013

EKSPERIMENTELL TYPOGRAFI TYPOGRAFI SOM FORM KLASSISK OPPSETT DEKORATIV TYPOGRAFI

SERIAL CUT KAREL MARTENS MAGNUS RAKENG ALEX TROCHUT

INNHOLD

TYPO INNHOLD INTRO forord og kreditering

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SERIAL CUT eksperimentell typografi 4 - 5 KAREL MARTENS typografi som form 6 - 7 MAGNUS RAKENG

klassisk oppsett 8 - 9

ALEX TROOCHUT dekorativ typografi

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TYPO | INNHOLD

10 -11

FORORD & KREDITERING

FORORD I denne oppgaven skulle vi lage et lite magasin, der vi skulle bevisst bruke typografi i forhold til valgt tema. Vi skulle ogs책 uttrykke egen stil og egendefinert innhold med typografi som virkemiddel. Og i tillegg kunne jobbe med ulike typografiske uttrykk i mengdetekst. Vi fikk tildelt eksperimentell typografi, med inspirasjon fra Serial Cut, typografi som form, med inspirasjon fra Karel Martens, klassisk oppsett med inspirasjon fra Magnus Rakeng og dekorativ typografi med inspirasjon fra Alex Trouchut.

KREDITERING Tekstene er hentet fra Morten Harper | www.designindaba.com | www.itsnicethat.com | www.classes.design.ucla.edu | www.art.yale.edu | www.dwell.com | www.jweller.blogspot.no | www.underconsideration.com | www.debutart.com | Norske tekster er oversatt med Google Translate.

TYPO | FORORD & KREDITERING

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REIN FOR CES Serial Cut is a Madrid based studio, established in 1999 by Sergio del Puerto, working on a wide variety of worldwide projects, but focusing mainly on Art Direction.

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TYPO | EKSPERIMENTELL TYPOGRAFI | SERIAL CUT

EKSPERIMENTELL TYPOGRAFI

A growing team Serial Cut works alongside an ever growing team of on the same client list and still maintain such an professionals, who specialize in different areas impressive level of creative freedom throughout their such as photography, design, motion-graphics, 3D portfolio. But that’s clearly why the big names keep on design and typography. Depending on the nature coming back to these guys; they know what they’re of a given project, different collaborators are doing, and they’re doing it exceptionally well. chosen to give each piece a new huge dimension. Though the studio has chosen the humble hardback as the medium to document their output Extra Bold is by no means your run-of-the-mill volume.

Versatile projects Big and small companies from arts and culture, fashion It’s packed full of augmented reality features that or entertainment industries are our primary clients; allow you to connect with no less than 18 virtual for each new project from a given client, we like to figures, 14 “making of” videos, 16 commercials, 11 zoom change the look and feel of the design. images and three navigable websites, all via a specially designed app. Pretty comprehensive if you ask us.

Type reinforces the concept Image and type are a great combination that Sergio del Puerto is the founder of the Serial Cut we like to use on all the projects we work on. Studio, a Madrid-based studio mainly focused on art Typography plays an important role in the end product. direction for advertising. In creating a digital artwork, “Faux Tiroirs” for the TEN Collection, Visual cultur Del Puerto wanted to create a “wow” effect, Inspiration comes from current and past decades, but a strong impact when a person first discovers we always review it and renew it, bringing it into today’s the image. Using Photoshop as his main tool, the perspective with an actual look. digital artist and his team created a 3D laboratory, something a bit “freaky” where different things Surpass expectations happen in relation to one another. The TEN Our aim is to go beyond what’s in our minds and Collection gave Del Puerto and his team full in our clients’ minds when we start a project, to creative freedom to create an image they thought take the challenge a little further both in terms would captivate the viewer and reveal a kind of of technique and of concept, and to always mystery where the viewer questions whether the end up with a contemporary and fresh result. images are in fact a real images or digital images.

Serial Cut have been art directing some of the After the scene was created using photos most vibrant work out there for some of the largest from the Fotolia library, aswell as unique international clients imaginable. There’s not many images, the team worked on colours, light and studios that can boast having Nike, Sony, Diesel, Coke, contrast using Photoshop. The main target was to Rolling Stone, Wieden and Kennedy and MTV create something that fitted together and

SERIAL CUT

looked realistic. According to Sergio del Puerto, the name under which he’s better known, pays homage to printing processes, but he doesn’t say what the point of it all is. We’ll just have to guess.

What went through a printing process and came out of the computer is something that can now be touched and smelt. That’s what Serial Cut’s work is about: combining design programs but without turning its back on manual work, which is why each project leaves you with the sensation that you can feel it. Yes, perhaps that’s why Serial Cut goes by that name, because of the importance of the process and the fact that it’s handmade.

That’s just a guess, however, one we can only imagine.

Nevertheless, the projects being carried out at their art direction, design and illustration studio in Madrid for clients like Nike, Channel 4, Neo2, El País and Microsoft, amongst others, seem to back up our hypothesis. Check them out and enjoy Serial Cut and their ability to be simply great.

Tekst hentet fra: www.designindaba.com www.itsnicethat.com

TYPO | EKSPERIMENTELL TYPOGRAFI | SERIAL CUT

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In 1996 he was awarded the Dr. HA Heineken Award, the top graphic design award in Holland. Karel Martens earliest works were his book covers for an Arnhem based publishing house.

He is the founder of the Werkplaats Typografie, a post-graduate graphic design school in Arnhem, NL, as well as a lecturer at the Yale School of Graphic Design, and the Jan Van Eyck Academy in Maastrict, NL. Karel Martens work is often regarded as defining "dutch de- sign" and many of the aesthetic and conceptual characteristics he employs have been widely appropriated by the design community in NL and abroad.

Karel Martens earliest works were his book covers for an Arnhem based publishing house. They exhibit simple, clean swiss typography, an emphasis on legibility, and the use of repeated simple geometric shapes. His later covers begin to experiment with imagery. However this is kept very minimal and simple.

One of Karel Martens most enduring trend setting projects was his design for a series of dutch phone cards. The idea is simply the joy of seeing what happens with colors when they overlap in typography.

The numbering system is derived from the dutch national anthem, where each word is coded into a series of numbers. In 1990 KM took over the design of the architectural journal: Oase. The magazines editor intended for KM to give the design as a project to students, but in- stead Martens used it as formal play- ground for experimentation with his own work. This is where he first began his “ monoprint” works inspired by “nul group” aesthetics.

Designer Karel Martens work isn’t especially relevant to motion typography. Play with color and the results of overlapping colored shapes may suggest some sort of dimensionality or motion, but still remain quite static. The extreme formalism and emphasis on legibility does not display the narrative qualities necessary in time based media.

The only parallels could be to the 60s work of Saul Bas , but this connection is merely aesthetic. (ie The high contrast simple geometric shapes and swiss modernist typography.) Limitations - even in choice of wardrobe fuel the creative fires of Dutch master Karel Martens.

His influential graphic design career spans nearly half a century, and he continues to explore new ground.

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TYPO | TYPOGRAFI SOM FORM | KAREL MARTENS

TYPOGRAFI SOM FORM

KAREL MARTENS

AB ST

R ACT “There are so many ways to exploit a limitation,” Karel Martens explains as he advances through nearly 50 years of his graphic design work on his laptop. “In the past, limitations were always given to me because there was no money. When you went to a printer, you were lucky if they had the typeface you were looking for. But you learn from that sort of thing.”

He pauses to check that the keys he has tethered to his belt loop are still attached, explaining that he recently locked himself out of the office while his computer was inside.

His glasses, too, are fastened by a makeshift leash.

The simple string tied in a knot at either end of each eyeglass arm, along with Martens’s considerable body of work, shows that making do is often best for making.

The role of the graphic designer has grown, so when the director of the Academy of Fine Arts in Arnhem approached Martens and Wigger Bierma to head a postgraduate program in graphic design, Martens proposed that it operate as a fully functioning studio. Martens and Bierma imagined that students would work alongside professors on commissioned workin effect, all program participants would get their hands dirty. They opened Werkplaats Typografie in the fall of 1998 and invited five students to join them in a former radio distribution center in northern Arnhem. True to his vision, Martens has since invited his students to help him design the architectural journal OASE, whose appearance he’s guided since 1990.

In 2001, Martens assumed a less prominent role at WT and moved to Amsterdam, though he travels to Arnhem once a week to check in on the students at the studio. In 2008, WT celebrated its tenth anniversary by publishing a book of collected works from the studio titled Wonder Years: Werkplaats Typografie 1998–2008. In the introduction, the editors ask, “How much do you need to represent something?” Martens always returns to this question when discussing a design concept. Anyone familiar with his work knows that his typical response

is “Not more than necessary.” This minimalism, however, often transforms into visual abundance when specific limitations prompt him to “make the most of it.”

As Printed Matter and Wonder Years assure Martens his place in the canon of graphic design, he approaches the adulation as a kind of reflective exercise, a chance to celebrate what drives his work.

Sparsity, limitation, constraint, however you choose to describe his approach, you’d be hard-pressed to find a designer who could make anything more of it.

Faculty Mr. Martens completed his education at the Arnhem Academy of Art and Industrial Arts in 1961.

Since then he has worked as a freelance graphic designer, specializing in typography. In addition to commissioned work, he has always made prints and three-dimensional work. Among his clients have been the publishers Van Loghum Slaterus in Arnhem in the 1960s, and the SUN in the years 1975-81. As well as designing books and printed matter, he has designed stamps and telephone cards. He has also designed signs and typographic facades for a number of buildings. In 2005 he designed the glass facades of the new part of the building for the Philharmonie in Haarlem; this design was based on a music score by Louis Andriessen. Among his awards have been the H. N. Werkman Prize (1993) for the design of the architectural journal Oase, and the Dr. A.H. Heineken Prize for the Arts (1996). A monograph about his work, Karel Martens: Printed Matter, was pulished as part of the Heineken Prize. Mr. Martens has taught graphic design since 1977, first at the Arnhem Academy and later (1994-97) at the Jan van Eyck Academy in Maastricht. In 1997, with Wigger Bierma, he founded the Typography Workshop, within the Arnhem Academy of Art, where he shares the artistic supervision of students with Armand Mevis. Mr. Martens was appointed to the Yale faculty in 1997 and is currently senior critic in graphic design.

Tekst hentet fra: www.classes.design.ucla.edu www.art.yale.edu www.dwell.com

TYPO | TYPOGRAFI SOM FORM | KAREL MARTENS

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klassisk oppsett

Aesthetics before readability

Font maker at spare time

The world needs new fonts all the time, believes interests me , and I’m fascinated by floral paintings. designer Magnus Rakeng. He has contributed Pilot, Personally, I believe Radio has tendencies as much Envy, Radio and Super Duper. in the direction of rosepainting that of Coca Cola.

- It began by a chance, says Magnus Rakeng, when I am also inspired by what we call Eastern bloc design, we ask him why and how he creates fonts. design made ​​by oppressed communists who are Most designers uses typography. I wanted to see if I “high“ on U.S impulses. It often produces strange and could manage to create a completely separate font beautiful results. sets, if I could get the letter form to hang together. The new font SuperDuper was completed at the end While I was halfway through the first font set, came of October.

Rick Valicenti (Chief of the font panel Thirstype, - I wanted to make a mainstream font that editor’s note) to Norway to give lectures. I then people would dare to use, but still has personality. worked together with Halvor Bodin in Megafon. Many characters are Helvetica-like, unless We showed Valicenti a print of the foot. He liked I have used it as a starting point. I decided it and encouraged me to keep working. Fountain just to make a simple and clean font. Rakeng was the pilot, and it was completed in 1995. I put it describes all four fonts as “headline fonts“. I together without really knowing anything technical do not think I’m cut out to make antiqua body about making fonts.

It requires more basic knowledge of classical typography. The headlines can I get away with a freer Headlines form. Rakeng think the most important thing for a Rakeng says that when he creates a new font, it is font is that it looks good. He put aesthetics ahead most on impulse. of readability.

- It is pure fancy, or perhaps even torture, or - Readability is something you learn over time. whatever you should call it. When I do design work, In the title , I think you have to endure any more free I sometimes create new fonts only to the words form. It does not mean that a font should be readable used. It may have been the start of some of the font as possible , as there has been a tendency for the last sets, I have seen the possibilities to develop further three or four years. I think this is completely stupid. designed after trying out some letters.

I have no ambition to provoke . With the exception The result is four font sets in as many years. After the of Radio are all font sets my very readable fonts. first, Pilot, followed Envy .

Most important to me is that the form works in a - I was probably a bit envious of Aldo Novarese whole.

Eurostyle font, and Envy is characterized by it. I am very fond of the Novarese done. He has made more ​​ From sketch to print than thirty fonts are completely different. Some are In a complete font set is 256 characters. Rakeng says terrible , but he has also made ​​Eurostyle . that each letter must be signed separately, although The third font Radio shows nostalgia collector and there are some automated features of the program collector Rakeng , but also the ironically distanced. he uses , Fontographer. Letters with accents and the - I did Radio because I wanted to bring up the like can be connected together, so the whole set is atmosphere of the old signs. Old Norwegian design updated as one example. The fountain and the new

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TYPO | KLASSISK TYPOGRAFI | MAGNUS RAKENG

Super Duper, he made in a few months.

- First, I sit and doodle in your notebook. I do not draw all the characters by hand, but if I’m not sure I try out with sketches. Then I draw characters in Adobe Illustrator. I draw all uppercase and lowercase alone in Illustrator, and then I import them into Fonotographer. Here I link together the set and customize characters.

- The advantage of Illustrator is that it provides an overview. In Fontographer you only see one character at a time when you draw. But I like drawing in Fontographer.

It’s the fat version of SuperDuper Rakeng have drawn from scratch. The residue is modified on the base of it. There are semi-automatic functions in Fontographer that make it possible to create such easy and normal versions. Rakeng has created both a sketch and outline version of SuperDuper .

- You’ll stay on track with the automatic features, but must always adjust itself to the characters. To create outline was relatively dazzling. The challenge when creating a font-set is to not just look at one character, but the font as one.

Rakeng has not changed its fountain after they are released , but intend to continue working with the Pilot.

- I think it has qualities but also know that there are elements of it that are not good.

He does not believe there will be major changes both in use and development of fonts. Macromedia does not come with new versions of Fontographer, but it ‘s a new program, Fontlab, which Rakeng have not yet tried out. He believes designers will have variety, and doubt that certain fonts will dominate.

Changes think he is the greatest on the internet.

- Web design does not interest me much, maybe because I feel that the pages do not really exist. It’s a fun process to work with Macs, but I do not think

MAGNUS RAKENG

” I do not feel like a typographer „ the screen should be the last link. There is no point in being detailed if the product to be displayed at a resolution of 72 dpi. A particular problem for fonts is that they are at the mercy of what the user has installed. There will probably be changes here which gives the designer greater control. Nevertheless, I think web design is cumbersome, it is like many chefs and major projects do not end up so very much.

yet it has the character. If you look closely, there are a lot of weird stuff in it.

- Although I spend too much Trade Gothic and News Gothic . When I make CD case with a lot of fine print, it is best to use clean, simple fonts.

I have problems to use special fonts. They are so personal to the person who made them, ​​ it ‘s not like me. If I need an unusual font to an assignment, I make either the letters I need myself. There is no point of buying a grunge font when you can make your own in like ten minutes.

Good typography With the proviso that he did not follow very much, it seems that Rakeng Norwegian designers use typography in a good way. -Sometimes I am Distribution impressed. Although I will never be happy when Rakeng selling fonts through Chicago-based I’m working on a font. I always seem that the last Thirstype, which is related to the design Thirst. thing I have made is best. So far I have not used my The Fountain font, available for both Mac and PC, own fonts, mostly because I ‘m sick of them when now sold directly through the Internet, from the I finally finished. Another reason is that I know about side www.thirstype.com. Thirstype also license the weaknesses I could not bear to change. the FontShop, so that the fonts are sold through Rakeng finds inspiration from all kinds of art he their catalogs. Sales through FontShop, however comes over, and do not think you need to go modest, and Rakeng think every single font become that far back in time to get impulses. It was The more visible in a smaller distributor like Thirstype.

Face designer Neville Brody in the eighties Moreover Thirstype including the known fontmaker seriously did the design and use of fonts interesting. Barry Deck the stable and professional recognition pulls interested users to the firm.

-The one I look up to is Barry Deck. I remember Rakeng's fonts costs $150 for a whole set, and $39 when I saw Template Gothic for the first time. per weight. Rakeng think that at least the major It was really something new and beautiful. Among agencies buy license if they use a font. It is the first others who create fonts now, I think Suzana Licko font Pilot who has sold best. He have no fixed fee for is pretty amazing. She has made ​​many of the fonts making a font, but get 40 percent of the sales price that are hip, and she is still doing it. Eventually, she of royalty. He is pleased with Thirstype. also lured into some classic elements. Font Mrs. - I stand almost free when I create a new font, but Eaves builds eg. the Baskervilles. Sarah Eaves, John have a dialogue with Thirstype while working. When Baskervilles wife, and when he died she finished and I made ​​SuperDuper , they had just commenting on a printed the remaining. few characters. But if they do not like the font draft, - Of the older designers like Aldo Novarese , and I find otherwise. I do not want to finish something as mentioned very fond of Eurostyle. I do not use it that is not sold . The spread of the fountain has given much myself, but it is good because it is simple but Rakeng an extensive network of contacts.

- I get a weekly email from people I ‘ve never met.

It is both from people who say they have seen a font I created and thought that it was fine , and others that I may begin to exchange ideas and fonts.

Food Sweat Pilot has been used widely in advertising context, both in Norway and abroad. Among the products Pilot has fronted the American Barbie, the chocolate Soho, Peanutcrisp, Tine school milk and Prior chicken.

Rakeng says he is not concerned about how his fonts used by others.

- If someone makes a bad design with my fonts, it does not mean anything to me. However, I am pleased if someone has done something cool with one of them. I’m used to using fonts in any way myself.

Perhaps the style Pilot is up to become more mainstream, while it was experimental when it launched in 1995. - It is strange to see that something I did four years ago, is still alive in the sense that the fonts is still used.

Tekst skrevet av: Morten Harper

TYPO | KLASSISK TYPOGRAFI | MAGNUS RAKENG

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more is more 10

TYPO | DEKORATIV TYPOGRAFI | ALEX TROUCHUT

DEKORATIV TYPOGRAFI

ALEX TROUCHUT

I believe design and illustration is a language in constant change.

I love doing what I do (whatever it is), and always looking forward to learn and evolve. А

lex Trochut was born in 1981 in Barcelona.

Studied Graphic design at Elisava, and started working as freelance designer and illustrator in 2007.

From his studio in Barcelona Alex Trochut creates it, so doing expressive typography is where I find original designs for clients all around the world. my place, and can still feel like a graphic designer.

Alex Trochut is a designer who goes by the statement: Also, an important fact, is that I’m the grandson more is more. Alex is very skilled at typography and of Joan Trochut, a typographer and creator of the illustration projects. Because of this, he has achieved SuperTipo Veloz- a modular typographic and Alex Trochut’s illustrations, designs and typography a Certificate of Excellence in Type Design. It should be ornament system built in the 40s. I believe that’s a take the modern notion of minimalism and flip it on noted that Alex has worked with a very high amount of big reason why I have always been attached to tyits side. Trochut’s work philosophy is “More is more.” well known clients. Just a few of these include Adidas, pography. I guess it’s in the blood - although I never It is rich with elegant, brilliantly detailed executions Nike, Johnnie Walker, Brittish Airways, Computer Arts, met him, as he died before I was born, no one in my that simultaneously convey indulgence and careful, Top Shop and NetWork Magazine. The illustration Alex family followed his steps in graphic design, and I restrained control.Trochut is driven by a desire to has produced hasa very cartoon style look about it. didn’t know much about type design until I got into constantly evolve which can be seen in his eclectic All illustrations look digitally enhanced in some way. design School. But once I started my graphic body of work.

The typography is impressive with the simple yet design studies I began to feel attracted to very effective approach. Such an example is the new letters, and the way you can draw and contain Renowned for his technically exquisite type lettering designed for the Cadbury’s logo. His web- precision and proportion in “abstract” shapes. creations and designs, Trochut attributes his site looks very simple on first appearance, but once Many teachers influenced my outlook, showing me special connection with typography to his grand- a piece of artwork is selected, it shows and fills the the work of my grandfather, so I guess I was very attracted by the fact that I could share his same father Joan Trochut, a typographer and the page. profession. creator of a modular typographic and ornament system built in the 40s. Alex Trochut’s client’s - I believe design and Illustration is a language in include Nike, The Rolling Stones, British Airways, constant change. I love doing what I do (whatever it Coca-Cola, The Guardian, Non Format, Wieden + is), and always looking forward to learn and evolve.

Kennedy, Saatchi and Saatchi, Fallon, and Beuatiful Decay. Trochut is based in Barcelona.

He continually and amazed his fans increasingly numerous, and his imitators have sprung up Designer and typographer Alex Trochut make in some time. His grandfather Joan Trochut illustration and lettering like no other. The expressive, typographer/creator of a modular typography in the richly ornamented typography he creates ooze fluidity 40s - gave him a taste of the letter and renew the in which movement is practically palpable. One of the wildest creative challenges. Your work thrives in most sought after talents, he has created knockout its intense merging of typography, lettering and work for the likes of Wired and The New York Times illustration. How did you arrive at this approach? as well as clients including Adidas and Coca-Cola. Alex Trochut: I guess it’s because I love typo, and I Tekst hentet fra: We met the 29-year-old, Barcelona-based whiz kid also love illustration, so the work is just a reflection www.jweller.blogspot.no www.underconsideration.com at his studio to talk about visuals, identities, and the of this double and equal love. I like to feel close to www.debutart.com legitimacy of legibility graphic design but in an expressive way of seeing

TYPO | DEKORATIV TYPOGRAFI | ALEX TROUCHUT

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