typo Magazine 01.2012
Karel Martens
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Claude Garamond
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Stefan Sagmeister
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Marian Bantjes
Preface Typo is a monthly magazine that take on different typographic matters and typographers. We will admit that this magazine is for people with a special interest in the topic, but never the less, this magazine will take you by storm if you are on of us, typo lovers. This magazine is made in collaboration with students at graphic design from NKF. In this first addition in 2012, we are featuring the designers Stefan Sagmeister, Claude Garamond, Karel Martens and Marian Bantjes. We will thank Emily Heyward for her pice on sagmeister, Simon Loxley for his text about Garamond, Hyphen Press for their pice on Martens and a thanks to wikipedia for the artivle on Bantjes. This magazine is printed i black and white with one PMS colour.: 3255 U. The fonts that are used are Ostrich sans in different sizes and Baskerville in 10 pt. We hope you love this magazine as much as we do!
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Content Karel Martens.........................................2-3 Claude Garamond..................................4-5 Stefan Sagmeister....................................5-7 Marian Bantjes........................................8-9
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K l t K l t
a M e a M e
r a n r a n
e r s e r s
01.2012 // Martens
Karel Martens is a well known Dutch grafik designer and teacher. After training at the school of art in Arnhem, he has worked as a freelance graphic designer, specializing in typography. Alongside this, he has always made free (non-commissioned) graphics and three-dimensional work. His design work ranges widely, from postage stamps, to books, to signs on buildings. Martens has taught graphic design since 1977. His first appointment was at the school of art at Arnhem, where he taught until 1992. He was then attached to the Jan van Eyck Academie in Maastricht for five years. From then on, he has been a visiting lecturer in the graphic design department at the School of Art, Yale University. In that year, he together with Wigger Bierma, started a pioneering school of postgraduate education within the ArtEZ, Arnhem – the Werkplaats Typografie – where he still teaches. In 1993 Karel Martens was awarded the H.N. Werkman Prize for th e design of t he architectural magazine Oase. In 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. His work has been nominated three times at the Design Prize Rotterdam: 1995, for the design of the standard series of telephone chip-cards for PTT Telecom (this received an honorary commendation) in 1997, for the book Karel Martens: Printed Matter in 1999, for the design of the façade of the Veenman printing works at Ede. In 1998 at the Leipzig Book Fair, Karel Martens: Printed Matter was awarded the gold medal, as the best-designed book ‘in the whole world’. Over the years his books have eaven been featured many times, as often as regularly in the annual Best-Designed Dutch Books competitions.
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Garamond // 01.2012
The creator of the typeface; garamond Text by: Simon Loxley
If we’re looking 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. 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 recreation 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 154588); 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 20thcentury 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. In 1924 George Jones designed a face for the Linotype company which he called Granjon, but the design he used as inspiration turned out to be the work of Robert Granjon’s fellow countryman and contemporary Claude Garamond (c. 1500-61). And the typefaces that bear Garamond’s name well, as the saying goes, fasten your seat belts, it’s going to be a bumpy ride Garamond had long been regarded as
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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 (1). 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 were first, and then in 1921 Frederic Goudy offered his interpretation, Garamont. Monotype in England brought out theirs in 1924, and Linotype replied with Granjon. There were yet
01.2012 // Garamond
Types based on Claude Garamond:
• Stempel Garamond • Adobe Garamond • Sabon • Garamond Premier • Garamond Antiqua
Types based on jean jannon:
• Monotype Garamond • Simoncini Garamond • Linotype Granjon • ATF Garamond • LTC Garamont, • Storm Jannon Antiqua • Garamond Classico
Examples of garamond in use more versions on the market by the onset of the Second World War, most notably Stempel Garamond by the German foundry of that name. The company that had started the rush, Henry Lewis Bullen , librarian of the company’s formidable archive, had nagging doubts about his company’s product. One day, as recalled by his assistant Paul Beaujon, he declared: “You know, this is definitely not a sixteenth century type. I have never found a sixteenth century book which contains this face. Anyone who discovers where this thing comes from will make a great reputation.” Beaujon wrote an article about the Garamond faces for The Fleuron, an English typographical journal. The pages had been proofed and the presses were ready to roll when Beaujon, visiting the North Library of the British Museum to check some dates, happened to glance at one of the items in the Bagford Collection of title pages. And there was the source type for all the 20thcentury Garamonds. Except that this typeface wasn’t by Garamond at all. It was the work of another Frenchman, Jean Jannon (1580-1658), a 17th-century printer and punch-cutter. As a printer he was unremarkable, but as a designer and punch-cutter he was unparalleled, cutting the smallest type ever seen, an italic and roman of a size less than what would now be 5pt. Frequently in trouble with the authorities for his Protestant beliefs, Jannon had eventually found work at the Calvinist Academy at Sedan, in northern France. Cardinal Richelieu’s early years of office under Louis XIII were spent in a
power struggle with the Huguenots, the French Protestants. An effective way of hastening their eventual submission was to remove their means of spreading information, and the government paid the academy a visit. Among the items confiscated in the raid was Jannon’s type. Although Richelieu took exception to Jannon’s religious affiliations, however, he liked his typography so much that his face is the house style for the Royal Printing Office. Following a swift trip to the Mazarine Library in Paris to compare impressions with their Jannon specimen book, Beaujon’s original feature was pulled in favor of a new one revealing the true source of the “Garamond” faces. It was hailed as a masterly piece of research, and the Monotype Corporation of England offered him the job of editing their in-house magazines. But the twist was that Beaujon, like the Garamond typefaces, was not at all what he appeared to be.
• Chetan Bhagat writes all his novels in Garamond on Microsoft Word.
• The large picture books of
Dr. Seuss are set in a version
of Garamond.
• Nvidia uses it in their scientific PDF documents. All of the American editions of J. K. Rowling’s Harry
• Potter books are set in twelve-point Adobe Garamond, except Harry Potter and the Order of the Phoenix, which is set in 11.5-point Adobe Garamond because it is longer.
• The
popular Hunger Games trilogy is set in Adobe
Garamond Pro, as is the Shiver trilogy by Maggie Stiefvater. The Everyman’s Library publication of ‘The Divine Comedy is set in twelve-point Garamond.
• A rare infant version with single–story versions of the letters -a and -g is available in the UK from DTP Types.
• One of
the initial goals of the literary journal Timothy
McSweeney’s Quarterly Concern was to use only a single font: Garamond 3. The editor of the journal, Dave Eggers, has stated that it is his favorite font, “because it looked good in so many permutations–italics, small caps, all caps, tracked out, justified or not.”
These types came as early as 1900, when • Many O’Reilly Media books are set in ITC Garamond. a typeface based on the work of Jean Jannon • The logo of clothing company Abercrombie & Fitch uses was introduced at the Paris World’s Fair as a variation of the Garamond typeface. “Original Garamond”, whereafter many type • A variation on the Garamond typeface was adopted by foundries began to cast similar types, beginning Apple in 1984 upon the release of the Macintosh. For a wave of revivals that continued throughout branding and marketing the new Macintosh family of the 20th Century. These revivals followed the products, Apple’s designers used the ITC Garamond designs from Garamond and Jannon. The Light and Book weights and digitally condensed them designs of italic fonts mainly came from a twenty percent. The result was not as compressed as ITC version produced by Robert Granjon. In a Garamond Light Condensed or ITC Garamond Book 1926 article in The Fleuron, Beatrice Warde Condensed. Not being a multiple master font, stroke revealed that many of the revivals said to be contrast in some characters was too light, and some of based on Claude Garamond’s designs were the interior counters appeared awkward. To address these actually designed by Jean Jannon; but the problems, Apple commissioned ITC and Bitstream to develop a variant for their proprietary. Garamond name had stuck.
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Sagmeister // 01.2012
I will have a whole eternity to think inside the box.
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01.2012 // Sagmeister
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Bantjes // 01.2012
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Marian Bantjes is a designer, typographer, writer and illustrator working internationally from her base on a small island off the west coast of Canada, near Vancouver. She is a member of Alliance Graphique Internationale (AGI), and regularly speaks about her work and thoughts at conferences and events worldwide. 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 blog 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. As 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, GQ Italia and the New York Times, among others from Europe, Australia and South America. Her book, I Wonder, was published in 2010 by Thames & Hudson in the UK and The Monacelli Press in the US.
Sagmeister // 01.2012
TYPO Issue 01.2012 www.typomagazine.no
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Crediting Stefan Sagmeister written by Emily Heyward Claude Garamond written by Simon Loxley Karel Martens written by Hyphen Press Marian Bantjes artivle from www.20x200.com