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TYPE IS A BEAUTIFUL GROUP OF LETTERS, NOT A GROUP OF BEAUTIFUL LETTERS.
MATTHEW CARTER
TYPO / FORORD / 2
FORORD SAGMEISTER // MARTENS // GARAMOND // BANTJES . Typography, got its name from the Greek words typos, witch means form and graphe, witch means writing. Typography is the art and technique of arranging type in order to make language visible. The arrangement of type involves the selection of typefaces, point size, line length, leading, adjusting the spaces between groups of letters and adjusting the space between pairs of letters. Type design is a closely related craft, which some consider distinct and others a part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers. In modern times typography has been put into motionin; film, television and online broadcasts, to add emotion to mass communication. Typography is performed by typesetters, compositors, typographers, graphic designers, art directors, comic book artists, graffiti artists, clerical workers, and anyone else who arranges type for a product. Until the Digital Age, typography was a specialized occupation. Digitization opened up typography to new generations of visual designers and lay users, and it has been said that “typography is now something everybody does.
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THE ESSENTIAL PART OF CREATIVITY IS NOT BEING AFRAID TO FAIL.
EDWIN H. LAND
TYPO / INNHOLD / 4
INNHOLD SAGMEISTER.................................................s. 6 MARTENS......................................................s. 10 GARAMOND...................................................s. 14 BANTJES........................................................s. 16 KILDER...........................................................s. 17
TYPO / NAVN /
TYPO / MARTENS / 10
KAREL MARTENS Mr. Martens completed his education at the Arnhem Academy of Art and Industrial Arts (Holland) 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 threedimensional work. Among his clients have been the publishers Van Loghum Slaterus in Arnhem in the 1960s, and the SUN (Socialistiese Uitgeverij Nijmegen) in the years 1975-81. As well as designing books and printed matter, he has designed stamps and telephone cards (for the Dutch PTT). 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 published
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.
TECHNOLOGY OVER TECHNIQUE PRODUCES
TYPO / GARAMOND / 14
CLAUDE GARAMOND Claude Garamond was first to specialize in type design, punch cutting, and type-founding in Paris as a service to many famous publishers. Born in Paris, France in 1490, Garamond started his career out as an apprentice for the Parisian punch-cutter and printer, Antoine Augereau in 1510 . It was during this early part of the 16th century that Garamond and his peers found that the typography industry required unique multi-talented people. This way they could produce fine books. Many of the printers during that time period were able to master all or most of the artistic and technical skills of book production from type design to bookbinding. After a decade of success with his types all over Europe, King Francois I of France demanded that Garamond produce a Greek typeface, which later became known as “Grecs du Roi”. The three fonts were modeled after the handwriting of Angelos Vergetios, and cut the largest size first, on a 16 point body. All three original sets of Royal Greek punches are preserved at the Imprimerie Nationale in Paris, France.
In 1545 Garamond became his own publisher, featuring his own types including a new italic. His first book published was Pia et religiosa Meditatio of David Chambellan. As publisher, Claude Garamond relied on his creativity harnessed by reasoned discipline to produce superbly well crafted products. He modeled his book publishing style after the classic works of the Venetian printers who catered to the absolute elites of high society. He admired and emulated the works of Aldus Manutius. Garamond insisted on clarity in design, generous page margins, quality composition, paper and printing ,which was always accentuated with superb binding. Because of the soundness of Garamond’s designs his typefaces have historical staying power, and they are likely to remain the day-to-day tools of professional typographers, as long as wertern civilization survives. Reading a well set Garamond text page is almost effortless, a fact that has been well known to book designers for over 450 years.
MARIAN BANTJES Marian Bantjes is a designer, typographer, writer and illustrator. Bantjes is working internationally from her base on a small island off the west coast of Canada, near Vancouver. Bantjes 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 two-pronged approach, Marian caught the attention of designers and Art Directors across North America. Marian’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, Marian’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.
TYPO / BANTJES / 16
TYPO / KILDER / 17
KILDER SAGMEISTER http://99u.com/articles/5723/Stefan-Sagmeister-Life-So-Far http://en.wikipedia.org/wiki/Stefan_Sagmeister http://blog.gaiam.com/quotes/authors/stefansagmeister http://hillmancurtis.com/artist-series/stefansagmeister-05/
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TYPOGRAPHY AT ITS BEST IS A VISUAL FORM OF LANGUAGE LINKING TIMELESSNESS AND TIME.
MARTENS
BANTJES
http://www.youtube.com/watch?v=kiQSawg860&feature=related
http://art.yale.edu/KarelMartens http://littlethingsstudio.com/tag/marian-bantjes
http://www.hyphenpress.co.uk/authors/karel_ martens
http://www.ted.com/talks/marian_bantjes_intricate_beauty_by_design.html
http://art.yale.edu/KarelMartens
GARAMOND
http://www.bantjes.com/
http://en.wikipedia.org/wiki/Claude_Garamond
http://en.wikipedia.org/wiki/Marian_Bantjes
http://en.wikipedia.org/wiki/Garamond http://www.pointlessart.com/education/loyalist/ typeTalk/garamond/biography.html http://www.linotype.com/414/claudegaramond. html
QUOTES http://www.typographicdesign4e.com/exploration_quotes.html http://www.icanbecreative.com/inpirational-design-typographic-quotes.html http://inspireme.lasoeurkaramazov.net/ post/2008/10/18/Favourite-typography-quotes http://culturevore.blogspot.no/2011/03/robertbringhurst-elements-of.html http://richworks.in/2010/04/40-memorable-design-quotes-visualized/
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TYPOGRAPHY NEEDS TO
BE AUDIBLE. TYPOGRAPHY NEEDS TO BE FELT.
TYPOGRAPHY NEEDS TO BE
HELMUT
EXPERIENCED.
SCHMID
ISBN 978-82-03-31217-5
9 788203 312175