Typo magazine by Eirik Strøm

Issue 1

Typographic Magazine November 20th 2012

Art Director Eirik Strøm Offices Norges Kreative Fagskole Kjøpmannsgata 65 7011 Trondheim Distribution Pauline Lecourt Export Press SAS dir@exportpress.com - www.exportpress.com T + 33 (0) 1 40 29 1451 - F + 33 (0) 1 42 72 07 43

Karel Martens

Page 6

Claude Garamond

Page 8

Stefan Sagmeister

Page 10

Marian Bantjes

Page 12

TYPO | Karel Martens

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89264880254566101729670266407655904290994568150652653053718294127033693137851786090407086671149655834343476933857817113864558736781230145876871266034891390956200993936103102916161 528813843790990423174733639480457593149314 0529763475748119356709110137751721008031559 024853090669203767192203322909433467685142 Martens completed his education at the Arnhem Academy of Art and Industrial Arts in 1961. 2144773793937517034436619910403375111735471 918550464490263655128162288244625759163330 Since then he has worked incessantly as a freelance graphic designer, specializing in typography. 391072253837421821408835086573917715096828 874782656995995744906617583441375223970968 340800535598491754173818839994469748676265 516582765848358845314277568790029095170283 He has always made prints and three-dimensional work. Among his clients have been the publishers 529716344562129640435231176006651012412006 597558512761785838292041974844236080071930 Van Loghum Slaterus in Arnhem in the 1960s, and the SUN (Socialistiese Uitgeverij Nijmegen) in the 4576189323492292796501987518721272675079812 554709589045563579212210333466974992356302 years 1975-1981. As well as designing books and printed matter, he has designed stamps and telephone 5494780249011419521238281530911407907386025 1522742995818072471625916685451333123948049 cards. He has also designed signs and typographic facades for a number of buildings. In 2005 he 470791191532673430282441860414263639548000 448002670496248201792896476697583183271314 designed the glass facades of the new part of the building for the Philharmonie in Haarlem; this design 251702969234889627668440323260927524960357 99646925650493681836090032380929345958897 was based on a music score by Louis Andriessen. Among his awards have been the H. N. Werkman 06953653494060340216654437558900456328822 505452556405644824651518754711962184439658 Prize (1993) for the design of the architectural journal Oase, and the Dr. A. H. Heineken Prize for the Arts 2533754388569094113031509526179378002974120 7665147939425902989695946995565761218656196 (1996). Martens has taught graphic design since 1977, first at the Arnhem Academy and later at the Jan 733786236256125216320862869222103274889218 654364802296780705765615144632046927906821 van Eyck Academy in Maastricht. In 1997, with Wigger Bierma, he founded the Typography Workshop, 207388377814233562823608963208068222468012 2482611771858963814091839036736722208883215 within the Arnhem Academy of Art, where he shares the artistic supervision of students with Armand 137556003727983940041529700287830766709444 7456013455641725437090697939612257142989467 Mevis. Martens was appointed to the Yale faculty in 1997 and is currently senior critic in graphic design. 154357846878861444581231459357198492252847 160504922124247014121478057345510500801908 6996033027634787081081754501193071412233908 6639383395294257869050764310063835198343893415961318543475464955697810382930971646514384070070736041123735998434522516105070270562352660127648483084076118301305279320542746286540 3603674532865105706587488225698157936789766974220575059683440869735020141020672358502007245225632651341055924019027421624843914035998953539459094407046912091409387001264560016237 428802109276457931065792295524988727584610126483699989225695968815920560010165525637567856672279661988578279484885583439751874454551296563443480396642055798293680435220277098429 4232533022576341807039476994159791594530069752148293366555661567873640053666564165473217043903521329543529169414599041608753201868379370234888689479151071637852902345292440773659 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G C

TYPO | Claude Garamond

laud aram

de mond L

ooking at the pre-19th-century typefaces that are still in widespread use today is a little like visiting a modern re-creation of an Anglo-Saxon village. If you ignore the aircraft passing overhead you can easily imagine yourself back in the first millennium. But however absorbed the inhabitants seem in their daily tasks, you know that at the end of the day they will take off their coarsely woven garments, slip into some Lycra, and head home, probably picking up a takeaway and video en route. However convincing it all looks, in reality it's an elaborate fake.

And that's just how it is in the world of type. You may think you're working with actual letter forms drawn in the 16th century, but they're actually a 20th-century re-creation based on the originals, or what were thought to be the originals. It can get confusing. Plantin was based on a face cut by the French type designer Robert Granjon (working 1545-88); the printer Christopher Plantin himself never used the original source type. Janson, designed in 1937, is named after a Dutchman, Anton Janson, who had nothing to do with the face at all; the design was inspired by the work of the Hungarian Nicholas Kis (1650-1702). The various versions of Baskerville are all 20th-century work; the earliest one was not even based directly on Baskerville's type, but on what came to be known later as Fry's Baskerville, a piece of 18th-century intellectual piracy.

Garamond had long been regarded as one of the type designers par excellence of the century that followed Gutenberg's invention of movable type. Using Aldus Manutius's roman type as his inspiration, Garamond had cut his first letters for a 1530 edition of Erasmus. It was so well regarded that the French king Francois I commissioned Garamond to design an exclusive face, the Grecs du Roi. Although Garamond's typefaces were very popular during his lifetime and much copied, as for many of the early type designers the work didn't bring him much financial reward. When he died, his widow was forced to sell his punches, and his typefaces were scattered throughout Europe. Garamond the typeface gradually dropped out of sight, to disappear for nearly two centuries.

In the 19th century the French National Printing Office, looking for a typeface to call its own, took a liking to the one that had been used by the 17th-century Royal Printing Office, operating under the supervision of Cardinal Richelieu. Richelieu called his type the Caractères de l'Université, and used it to print, among other things, his own written works. The 19th-century office pronounced the face to be the work of Claude Garamond, and the Garamond revival began. But it was only after the First World War that the bandwagon really picked up momentum. Suddenly every type foundry started producing its own version of Garamond. American Type Founders (ATF) were first, and then in 1921 Frederic Goudy offered his interpretation, Garamont. Monotype In 1924 George Jones designed a face for the Linotype company which he called in England brought out theirs in 1924, and Linotype replied with Granjon. There were Granjon, but the design he used as inspiration turned out to be the work of yet more versions on the market by the onset of the Second World War, most notably Stempel Garamond by the German foundry Robert Granjon's fellow countryman and of that name. contemporary Claude Garamond (c. 1500- "Looking at the pre-19th-century typefaces that are still 61). And the typefaces that bear Garamond's in widespread use today is a little like visiting a modern name — well, as the saying goes, fasten your re-creation of an Anglo-Saxon village." seat belts, it's going to be a bumpy ride…

Things lear my life TYPO | Stefan Sagmeister

s I have rned in e so far Renowned for album covers, posters and his recent book of life lessons, designer Stefan Sagmeister invariably has a slightly different way of looking at things. Stefan Sagmeister is no mere commercial gun for hire. Sure, he's created eye-catching graphics for clients including the Rolling Stones and Lou Reed, but he pours his heart and soul into every piece of work. His design work is at once timeless and of the moment, and his painstaking attention to the smallest details creates work that offers something new every time you look at it. While a sense of humor invariably surfaces in his designs, Sagmeister is nonetheless very serious about his work; his intimate approach and sincere thoughtfulness elevate his design. A genuine maverick, Sagmeister achieved notoriety in the 1990s as the designer who self-harmed in the name of craft: He created a poster advertising a speaking engagement by carving the salient details onto his torso.

TYPO | Marian Bantjes

Organic, logical, complex, beautiful: Marian Bantjes' illustrations draw on her deep relationship with letterforms (she was a typesetter for ten years). With flowing lines, filigree and generosity, she plays in the space between a and b and c. Her illustration work has appeared in Wired, Wallpaper, the Walrus and many other magazines and newspapers worldwide, and once took over Saks Fifth Avenue top to bottom. She's also a blunt and funny writer on design and other matters, an advocate for self-reinvention, self-education (and formal education) and continuous self-appraisal. She works from her home on an island near Vancouver and sends legendary Valentine's Day cards. She started working as a book typesetter in 1984 and opened her own design firm in 1994 employing up to 12 people. In 2003, she left all of that behind to begin an experiment in following love instead of money, by doing work that was highly personal, obsessive and sometimes just plain weird. At the same time she began writing for the design weblog "Speak Up", and her cheeky but thoughtful articles soon gained her recognition in the blogosphere. Through this twopronged approach, Marian caught the attention of designers and Art Directors across North America. Marianâ&#x20AC;&#x2122;s art and design crosses boundaries of time, style and technology. She is known for her detailed and lovingly precise vector art, her obsessive hand work, her patterning and ornament. Often hired to create custom type for magazines, advertising and special projects, Marianâ&#x20AC;&#x2122;s work has an underlying structure and formality that frames its organic, fluid nature. It is these combinations and juxtapositions that draw the interest of such a wide variety of designers and typographers, from experienced formalists to young students. Among her international clients, she counts Saks Fifth Avenue, Penguin Books, GRANTA, Wallpaper*, The Guardian, WIRED, Stefan Sagmeister, Winterhouse (Bill Drenttel & Jessica Helfand), Maharam, Ogilvy & Mather Chicago, Young & Rubicam Chicago, Random House, Houghton Mifflin, Print Magazine, GQ Italia, and The New York Times, among others from Europe, Australia and South America.

Typography /tʌɪˈpɒgrəfi/

the art of arranging type or processing data and printing from it.