1305
NR. 1
JANUAR 2013
INNLEDNING
4 CLAUDE GARAMOND
6 MARIAN BANTJES
8 PAULA SCHER
10 STEFAN SAGMEISTER
12
MAX MIEDINGER
14
ART DIRECTOR: IDA BERGERSEN, +47 123 45 678 OFFICES: NORGES KREATIVE FAGSKOLE KJØPMANNSGATA 65 7011 TRONDHEIM +47 123 45 678 CONTACT@TYPOMAG.COM DISTRIBUTER: RANDOM EXPORT PRESS SAS (INTERNATIONAL) DIR@REXPORTPRESS.COM WWW.REXPORTPRESS.COM +47 123 45 678 PUBLISHER: ONE MORE DAY PUBLISHING APS WWW.ONEMOREDAY.COM PUBLISH@OMD.COM
KAREL MARTENS
TYPO JANUAR 2013 SIDE 2
COMPLA INING IS SILLY. EITHER ACT OR FORGET. - Stefan Sagmeister
KAREL MARTENS
K AREL MARTENS Karel Martens (born 1939) finished as a student at the Arnhem School of Art in 1961. Since then he has worked as a freelance graphic designer, specializing in typography.
The Dr A.H. Heineken Prize for Art 1996 was awarded to graphic designer Karel Martens for his entire oeuvre.
TYPO JANUAR 2013 SIDE 4
1996 he received the Dr A.H. Heineken Prize for Art; as part of this prize, a monograph on his work was published: Karel Martens: Printed Matter. The committee responsible for awarding the His work has been nominated three times Dr A.H. Heineken Prize for Art recognizes at the Design Prize Rotterdam: 1995, for the Karel Martens as a versatile designer who design of the standard series of telephone has created a firm niche for himself in graphic chip-cards for PTT Telecom (this received an design in the Netherlands. His products are honorary commendation); 1997, for the book characterized by traditional workmanship Karel Martens: Printed Matter; 1999, for the and simplicity. Glamour is not his style - he design of the façade of the Veenman printing prefers to exploit plain, honest techniques works at Ede. In 1998 at the Leipzig Book Fair, and materials, a feature which is always Karel Martens: Printed Matter was awarded evident in his choice of paper, letter type, the gold medal, as the best-designed book colour and format. At the same time, Martens ‘in the whole world’. Over the years his enjoys the confrontation between form and books have featured regularly in the annual contents which always results in an exciting Best-Designed Dutch Books competition. product, bearing the hallmark of quality and Karel Martens (born 1939) finished as a student care. Among his clients have been the publishers at the Arnhem School of Art in 1961. Since then Van Loghum Slaterus (Arnhem) in the 1960s, he has worked as a freelance graphic designer, and the SUN (Nijmegen) in the years 1975-81, specializing in typography. Alongside this, he PTT Nederland, and various government has always made free (non-commissioned) institutions. In 1993 Karel Martens was graphic and three-dimensional work. As well awarded the H.N. Werkman Prize for the as designing books and other printed items, design of the architectural magazine Oase. In he has designed stamps and telephone cards.
He has also designed signs and typographic façades for a number of buildings. Karel Martens has taught graphic design since 1977. His first appointment was at the Arnhem School of Art (until 1994). He was then attached to the Jan van Eyck Academie in Maastricht (1994-99). From 1997 he has been a visiting lecturer in the graphic design department at the School of Art, Yale University. In the same year, together with Wigger Bierma, he started the Typography Workshop for postgraduate education within the ArtEZ, Arnhem.
TYPO JANUAR 2013 SIDE 5
“
Design determines the quality of our common life.
There are just so many damn typefaces, it’s good to see some of mine appreciated in light of the plurality.
“ TYPO JANUAR 2013 SIDE 6
CLAUDE GARAMOND
2 CLAUDE GARAMOND
bookbinding. Claude Garamond was the first to specialize in type design, punch cutting, and typefounding in Paris as a service to many famous publishers. After a decade of success with his types all over Europe, King Francois I of France demanded that Garamond produce a Greek typeface, which became known as “Grecs du Roi”. The three fonts were modeled then 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 the capital 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
printing, which then always was accentuated with superb binding. Because of the good soundness of Garamond’s designs his typefaces have historical staying power, and they are likely to remain and be choosen to be the day-to-day tools of professional typographers, as long as wertern civilization survives. His contribution was vast, a true renaissance man. Creating perfection in the type that he crafted his life will live on through his enourmus contribution to typography.
TYPO JANUAR 2013 SIDE 7
BORN IN PARIS, in France 1490, Garamond started his career out as an apprentice for the Parisian punchabsolute elites In this way they cutter and printer, Antoine Augereau in 1510. It was of high society. could produce a now and during this early part of the 16th He admired and fine books. Many emulated the works of the print during century that Garamond and his many peers of Aldus Manutius. that time were able found that the developing typography Garamond insisted to master most of the on clarity in the design, artistic and technical a industry required multi-talented generous page margins, skills of book production on and creative people. quality composition, paper and from type design, printing, to
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MARIAN BANTJES
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of p af te rac tice r su a nd Ban life tjes r viving ou t for st yle was a obli a yea had a pos loan. ge ters r S Nob h w rit to a e sen d to on sa cost: o d e yw des take ving pot rs, de n edito t out o ig s enti s r suc ner M uld de i s g , al ne r so c ce s s c a r s rian c ibe s, b pas and ollabo lients, , C u t B r a met five o t her c antjes anadia o tors c h e nc e n e e e of p oric c r so y areer t as an illustr v rle en an o a r e r inte ofessio mpare ars ha ajec to overn tor- o d spe a d e r s , r n d r n i the t time with nation nal pra to he s been y over ght U a c r p t l t Sp b shin a reco prom ice. B first t w posit he s antj ivel he log, w eak es t g i e n n n e y i es h ty y c om sa b here nc e hro Au was le a e u the mercia gh all pers as an s achie ars 2 thor in made o l a 0 v per decora work fo her wo nal sig indivi ed fi 03. Af Novem n d s on t r tive r br a natu er a st p rk , ual ber a for exa l gestu Zeitge nds an from in re that desc aid com while xiou mp a nd i s t, res; tens t he mis #1 ribes le s t for other c Stefa from c o equ to cap ely b as the her se sions t m r a lf t n S e o e pro agazin lebrat agm llabor lly inte ure d cause turning -prom ickled i jec t a e o n. S i n e r o e t d tio p e ion se is t fi a o c d s gre w u .Maria nd tim esigne er, Pe s (with in, a tion sh t was int, ae nal Pos he ent e n p te s of a r n e r t s in Sas Bantje consu s)comm agram recog d also want ncapsu thetica r c ho min to a lly, s wa katc lat ed nitio issi i ca o g n: a n term to g ed the whe job wit l af ter hewan s born pro b ons o ught n o s o d th t he h bo o no f r a ye . She in 19 f e d pas e she te-u did ok pub ar and drop 63, and ar t d esigne at tenti n it An on g en p at rs irec lish in 1 ped de e a XyW ptitud its t ype eral job r Har t 983 ‘ fe out b tail o tors (s and e f le e a s l stan rite) sl for c et ting s and h y & M l in’ n ck co it on e a a v o o s o she ding o wly d mput ibling, elped rks, 2 . 58 vo er of the e f ty w 0 e co-f l T Eye . r 0 v y i 15 th elo 5 p t yp p t he o ese eWork time ). And , Wint d e s und e d o g r a p h p e d s. mai ign y an into t ting she since er Dig w n has that yea ly prin prac tic itopol d des an un (on S ork for is in ign. rs o t-ba eg a m c d f thi rew He r Van sed In 1 er- Th ks Fif t lients ade s c s q h 9 w , p Ave uch a her ar tne Bantje ork. B uickly ouver, 94, S e New nue s , pr r bo e on c a Y u s e o n t d d d , r a o k r Ban , tjes ontrac ught h opped f ter eig ducing Knop FontS Times Wired, t fo ,W isol er o ho p ht o ou t f B s tr u C r a inc. allpap Sou ted pr ck out a fur th ut, whi once m r so w hicago ooks, ,H er* o , e l nd of f per t y on her r year. e retai ore. a ith de and f Young oughto , s Van I n o u n& cou n Bow own, m n July 2 ing P s Sagm igners r ther Rub Mif flin ver. i en o e a 0 n e , n v n ica 0 is t in ta d 3, co Is Suc h a land, i g to an Desig gram, er Inc ar t di llabor m / r , n a rad ical Howe desig n and Winter Mich ec tors tion a h R cha s nge won ned a ick Va ouse, el Bie uch l r i t t B u c y h t e ru p in e T 20 0 ype eface, nti. She ce M / 8, incl au Res Dir ha u a cha ding p nd no ec tors’ traint, s also r You it y Des osters t-for-p Club which ro i a feat can re gn Ign for the fit pr ward i ure o tes a jec d e d 67 v C a ol. 1 r ticle ‘Sur fac hange ucation ts a bo e 7. al ut o to s . pac riga e’ mi, in E , her ye n o.
TYPO JANUAR 2013 SIDE 8
TYPO JANUAR 2013 SIDE 9
“
My work now follows my heart and my interests with the guidance of my ego to create work that is mutually beneficial to myself and my client.
TYPO JANUAR 2013 SIDE 10
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PAULA SCHER
PAULA SCHER
“
TYPO JANUAR 2013 SIDE 11
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STEFAN SAGMEISTER
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any work–process. After doing a lecture at the Cranbrook Academy, Sagmeister noticed the graduate students there was experimenting with design - and then realized he should be experimenting as well, for one “a year without clients.” Sagmeister believe design is more than just the selling work. It can educate, tell stories, and to as well create an amazing to and good artistic experience.
dt .
TYPO JANUAR 2013 SIDE 12
piece of paper and pencil (a technique he picked up from the film director Steven Soderbergh). Sitting there by yourself with nothing to do will automatically “shame” you into things like writing or drawing to look busy. Censoring yourself, or assuming that a client won’t approve your idea, is “stifling.” Sagmeister also believes that taking a year-long sabbatical every 5 years is spesificly essential to the design–or
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Material luxuries are best enjoyed in small doses.
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Stefan Sagmeister is one of the most well-known living graphic designers, currently he is based in New York and running his very own small design agency. Sagmeister is a hybrid of designer and fine artist, rooted in the belief that graphic design can be just as powerful as a painting: “You can have an art experience in front of a Rembrandt, or in front of a piece of graphic design,” he said. Sagmeister is famous for his photo-based work and typography. He often uses found objects to create his typography, many of which can be found in his well known and inspirational book “Things I Have Learned in My Life So Far.” If you’re stuck on a project, Sagmeister suggests going to a busy cafe or restaurant and bringing only a
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TYPO JANUAR 2013 SIDE 13
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TYPO JANUAR 2013 SIDE 14
MAX MIEDINGER
Max Miedinger Even if you have never heard of Max Miedinger, you have probably seen his work thousands of times.
Max Miedinger, above all else, was an innovative Swiss designer with work in typography that has and will outlive him. Miedinger was born in Zurich on the 24 of December 1910 and died then on the eighth day of March 1980 in the same city as his birth. He began his career in visual design at the age of 16 as an apprentice typesetter for Jacques Bollman, for a Swiss book printer. From the 1926 to 1930 Miedinger trained as a typographer in Zurich and at tended night classes at Kunstgewerbeschule in Zurich. From the 1936 to 46 Miedinger was a typographer for Globus department store’s advertising studio in Zurich. From the 1947 to the 56 he was a customer counselor and the typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein. After the 1956 he was a freelance graphic artist in Zurich with a fair amount of success. In 1957 Miedinger was prompted by the Edouard Hoffman from so the Swiss type Type Foundry Hass to a new font to represent the company in all their advertisements. Under Edouard Hoffman’s Miedinger made the known Haas Grotesk typeface that would later be renamed Helvetica. Though
- Adrian Frutiger
TYPO JANUAR 2013 SIDE 15
Miedinger never really ventured from Zurich to live, he seemed to gather a strong understanding of the one international appeal and the style. Max Miedinger lived and modest life in Zurich and never received worldwide acclaim like the other typographers. He is often not even thought of when Helvetica is brought up. He was respected, but never able to gain popularity from Helvetica like the typeface gained for itself.
“
Helvetica is the jeans, and Univers the dinner jacket. Helvetica is here to stay.