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G
A
Z
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INNHOLD 4 → 5
EKSPRIMENTELL TYPOGRAFI
→
SERIAL CUT
6 → 7
TYPOGRAFI I FORM
→
KAREL MARTENS
8 → 9
KLASSISK OPPSETT
→
MAGNUS RAKENG
10 → 11
DEKORATIV TYPOGRAFI
→
ALEX TROCHUT
4
Madr id
based
collab
orato rs
ished in
establ
ifferen t
studio ,
natur e of a given proje ct, d
Cut is a
ach
erto, work ing on aw
del Pu
give e
Sergio
sen to
are ch o
1999 by
world wi
piece a
ide va riety of
the concept. Im age and type ar e
a great combina tion that we lik e to use on all theprojects we work
Typography plays an important role in the end product. Visual culture . Inspiration comes from current and past decades.
Type reinforces on.
we like to
but fo cusin g mai nly
imen sion.
new d
de pr ojects ,
.
ign and 3D des
given client, w project from a ne ch ea r fo ts; en y cli ies are our primar rtainment industr te en or n io sh fa , lture from arts and cu Big and small companies
nding on th e
Depe
Serial
who specia fess ionals, ro p f o am g te ever-growin ongside an al s rk o w t Serial Cu
raphics n, motion-g ig es d y, h p as photogra t areas such en er iff d in lize
on Ar t Direc
d feel of change the look an
tion.
the design.
EKSPERIMENTELL TYPOGRAFI
it an d
rene w
nd lways e
up w
terms of
techniqu
actua
fresh re
sult.
cept.
e and o f con
d rary an ntempo ith a co
both in
h an l loo k.
start a project.
The portfolio goes from photography to typography, 3D rendering and graphic design or motion graphic. They work with both big or small companies, focusing on fashion and
ill a They w
further
spect ive w it
’s per
toda y
minds when we and in our clients’ ds in m r ou in t’s nd wha aim is to go beyo
it int o
ions. Our
it, br ingin g
Surpass expectat
view
To take the chall enge a li ttle
ays r e
We a lw
entertainment.
SERIAL CUT
WHO? SERIAL CUT STUDIO
WHAT? PHOTO, TYPO, 3D, MOTION
WHERE? SPAIN
5
TYPOGRAFI I FORM
Dutch typographic designer Karel Martens is one of the most influential and enduring designers
In his work, Karel Maralive in the Netherlands today. His body of work spans over 50 years and manages to maintain
tens embraces both freedom and a freshness and timeless appeal. In 1996 he was awarded the Dr. H.A. Heineken Award—
order. He finds
inspira tion in
the top graphic design award in Holland. He is the founder of the Werkplaats Typografie,
the limitations
of the profes-
a post-graduate graphic design school inArnhem, NL, as well as a lecturer at theYale School
sion and turns
ob stacles
of Graphic Design, and the JanVan EyckAcademy in Maastrict, NL. Karel Martens work is often
into challeng-
es. OASE, a Dutch
regarded as defining “dutch de- sign” and many of the aesthetic and conceptual characteristics
architectural journal, is an illustration of he employs have been widely appropriated by the design community in Holland and abroad.
how designKarel Martens earliest works were his book covers for an Arnhem based publish-
er
can maneu-
ing house. They exhibit simple, clean swiss typography, an emphasis on leg-
ver in the narrow field of graphic → ibility, and the use of repeated simple geometric shapes. His later covers begin
→ design production. to experiment with imagery. However this is kept very minimal and simple. →
→
O A S E Mr.Karel
balances beMartens work is not
tween book and especially relevant to motion
a magazine and each typography. Play with color and the results
new issue
reinvents
of overlapping colored shapes may suggest some
its forms
to surprise
sort of dimensionality or motion, but still remain quite static.
its readers.
Ka r e l M a r-
The extreme formalism and emphasis on legibility d o e s
tens gave OASE a clear direction and convincnot display the narrative qualities necessar y in time based media.
ingly makes a magazine that is both modest and The only parallels could be to the 60s work of Saul Bas — but this connection is merely
luxurious, → aesthetic. (i.e. The high contrast simple geometric shapes and swiss modernist typography.)→
→ O n e
o f
K a r e l
→ making one believe Martens most enduring trend setting
that a low-budget publication is in fact projects was his design for a series of dutch phone cards.
a precious object
to be collected. The
The idea is simply the joy of seeing what happens with colors when
grid became a fascithey overlap in typography.The numbering system is derived from the
nating element dutch national anthem, where each word is coded into a series of numbers.
for Karel Martens. In 1990 Karel Martens took over the design of the architectural journal: Oase.The maga- zines
The most basic editor intended for Karel Martens to give the design as a project to students, but in- stead
e l e m e n t
i n
Martens used it as formal play- ground for experimentation with his own work.
graphic design is given an active role This is where he first began his “mono- print” works in-
that reflects the tone of the magazine. spired by “nul group” aesthetics.
Karel is the founder of Werkplaats Typografie in Arnhem. TEXT: www.classes.design.ucla.edu/Spring06/155/projects/ryan/karelmartens.pdf
6
KAREL MARTENS
WHO? KAREL MARTENS WHAT? COLORS, SHAPES AND TYPO WHERE? HOLLAND
KAR MA
REL ARTE
ENS 7
KLASSISK OPPSETT
“THE MAN IS A GREAT TYPO DESIGNER. MAGNUS HAS WON SEVERAL AWARDS FOR HIS GOOD WORK. HE HAS DESIGNED THE STATOIL AND TELENOR LOGOS”. 8
MAGNUS RAKENG
- MAGNUS RAKENG (41) FRA LILLEHAMMER DRIVER WHO? MAGNUS RAKENG
MELKEVEIEN DESIGNKONTOR AS SAMMEN MED
WHAT? TYPO DESIGN
BIRGITTE KOLBEINSEN OG STIAN BERGER, OG HAR
WHERE? NORWAY
SPESIALISERT SEG PÅ TYPOGRAFIRELATERTE JOBBER. HAN GÅR FRA DET ENE UTFORDREDE OPPDRAGET TIL DET NESTE I DEN GRAFISKE DESIGNBRANSJEN.
- Fra et intervju med avisen Gudbrandsølen, August 2008
MAGNUS RAKENG
MANGE OPPDRAG Han har blant annet tegnet bokstavene i Telenor-, Canal Digital- og Tine-logoen, og står bak platecovere til artister som Bjørn Eidsvåg, Anne Grethe Preuss og Hellbillies, samt bokomslagene til den siste norske utgaven av Harry Potter og praktboka om Besseggen som kom ut nylig.
– Byttes det ofte, og hender det at noen skifter fordi de har fått negativ publisitet? – Jeg tror nok de fleste bytter mer for å være tidsriktige enn som følge av negativ omtale alene. Sjelden skjer det oftere enn hvert femte år.
LOGOUTVIKLING
TELENORS NYE LOGO SKAPTE DEBATT
Rakengs spesialområde er logoutvikling og fontdesign. – Hender det at det du lager ikke slår an? Da Dagbladet redesignet fredags- og søndagsutgaven, var Magnus – Da Telenor fikk ny logo sist gang, var det mange negative Rakeng sentral. Priser har han også mottatt. Blant annet gull for reaksjoner etterpå, men etter hvert ble inntrykket mer positivt. redesignet av Dagbladet Magasinet og Dagens Næringsliv Folk flest vil gjerne ha det gamle og trygge, det de kjenner. og Fagpresseprisen for beste forside (Psykisk Helse). Jeg har heldigvis ikke ofte fått sterke negative reaksjoner. Diplomer og medaljer i ulike designkonkurranser, er det blitt Men det hender det blir presseomtale av store logoer og innimange av de siste åra. mellom negativ eksponering av designeren. – Hvor mange ark bruker du før du har klart å lage en fin logo med så fine bokstaver at du og kunden er tilfreds? – Jeg har ei tjukk skisseblokk. Noen ganger går det fort, andre ganger tar det mange dager og mange ark før jeg har et bra resultat. Når firmaer skifter logo, skal de gjerne også ha ny grafisk profil, fra brevark til skilt. For meg er det viktig å tenke på hvordan folk og de ansatte skal oppfatte firmaet.
– Hvor viktig er logoen og bokstavene? – For store er det viktigere enn for små. Logoen må ha særpreg, og fortelle hva firmaet driver med og står for. Design skal gjenspeile identiteten og verdiene, fungere visuelt, være gjenkjennelig og egne seg i både stort og lite format. Er det en fargelogo, må den også fungere i svart/hvitt, sier Magnus Rakeng.
9
DEKORATIV TYPOGRAFI
ALEX TROCHUT was born in 1981 in Barcelona, studied Graphic design at Elisava, and started working as freelance designer and illustrator in 2007. He is based in Barcelona. Alex’s illustrations, designs and typography take the modern notion of minimalism and flip it on its side. His work, based on a philosophy of “More is more,” is rich with elegant, brilliantly detailed executions that simultaneously convey indulgence and careful, restrained control. Renowned for his technically exquisite type creations and designs, Trochut attributes his special connection with typography to his grandfather Joan Trochut– a typographer and the creator of a modular typographic and ornament system built in the 40s.
10
ALEX TROCHUT
WHO? ALEX TROCHUT WHAT? ILLUSTRATOR WHERE? SPAIN
HIS CLIENTS INCLUDE: Nike, The Rolling Stones, Nixon, British Airways, Coca-Cola, The Guardian, Wieden + Kennedy, Saatchi and Saatchi, BBH, Fallon, and Beautiful Decay.
TEXT: www.alextrochut.com
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TYPOGRAPHY
→
RALEWAY
MINION PRO
COLOR
→
PANTONE 3255C
C=52 M=0 Y=36 K=0
DESIGNER
→
KATRINE SÆTER
NORWAY
PLACE
→
NKF, OSLO
NOVEMBER 2013