Typo Magazine

TYPO MAGAZINE

2013 Studio Cut // Karel Martens // Magnus Rakeng // Alex Trochut

INNHOLD // TYPO MAGAZINE

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INTRODUCTION

In this issue of Typo Magazine you will get to know more about some grapic designers and designstudios that you might av heard of before, or maybe they are new to you.

You can read about the creative team Studio Cut from Spain, and on page 6-7 you will meet the fantasic Karel Martens. Magnus Rakeng has designed typefaces for some of the biggest companies in Norway, and you find Alex Trochut from Barcelona on page 10-11.

Typo Magazine Issue 1 Copyright: Š 2013 Kristin Olsen Askland All rights reserved Font: Source Sans Pro, Minion Pro, Channel, Prisma Paper: Matt 100 gram Design: Kristin Olsen Askland Published: Norges Kreative Høyskole Kirkegata 24, 0107 Oslo Phone: 91 72 35 72

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SERIAL CUT - Maybe you haven´t heard of Serial Cut before, but they are on top of their field when it comes to make amazing art. They mix 3D design, motin-graphics, photograhpy and design, and the result is a product filled with wow factor.

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KAREL MARTENS - began studying art in Holland in the late 1950s, “graphic design” did not even exist as its own course of study. Today he is widely recognized as one of the most important practitioners of that very discipline, with an esteemed client list that includes major publishers, architects, and institutions.

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MAGNUS RAKENG - If you have seen the typefaces of Statoil, Avinor, Telenor and Canal Digital then you have already seen some of the norwegian graphic design Magnus Rakeng. He has been working over 20 years in developing typefaces, and have had great success.

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CONTENT

ALEX TROCHUT - Is a freelance graphic designer who has worked with big clients like Adidas, Converse, Nike, MTV and many more. He makes illustrations, design and typography. His work philosopy is "more is more" and you can really see that in his work.

FIEW Some of the

customers

NIKE, Toyota USA, Burger King, MTV, VISA, Coca-Cola, Voda Fone, BlackBerry, Universal, Lay´s, PlayStation, Dodge, Diesel, Absolut, Martini, Rolling Stones.

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TYPO MAGAZINE //

SERIAL CUT

MAYBE YOU HAVEN’T heard of Serial Cut before, but they are on top of their field when it comes to make amazing art. They mix 3D design, motin-graphics, photograhpy and design, and the result is a product filled with wow factor. They are certainly doing something right because they have huge costumers like Nike, PlayStation, Rolling Stones and Coca-Cola. And they never do something halfway, they rather go a little further.

SOURCE: WWW.SERIALCUT.COM, WWW.INDEXBOOKCHANEL.TV, WWW.ITSNICETHAT.COM, WWW.TYPTHEQUE.COM PHOTO: KRISTIN OLSEN ASKLAND

SERIAL CUT is a Madrid based studio,

established in 1999 by Sergio del Puerto, working on a wide variety of worldwide projects, but focussing mainly on Art Direction. Serial Cut works alongside an ever-growing team of professionals, who specialize in different areas such as photography, design, motion-graphics and 3D design. Depending on the nature of a given project, different collaborators are chosen to give each piece a new dimension.

Versatile projects Big and small companies from arts and culture, fashion or entertainment industries are our primary clients; for each new project from a given client, we like to change the look and feel of the design. Type reinforces the concept Image and type are a great combination that we like to use on all the projects we work on.

Typography plays an important role in the end product. Visual culture Inspiration comes from current and past decades, but we always review it and renew it, bringing it into today’s perspective with an actual look. Surpass expectations our aim is to go beyond what’s in our minds and in our clients’ minds when we start a project, to take the challenge a little further both in in terms of technique and of concept, and to always end up with a contemporary and fresh result.

SERGIO DEL PUERTO Started Serial

EXTRA BOLD. What they do un-

derstand however is brash, bold and highly-polished so it’s no surprise that they’ve opted for Extra Bold as the title of their very first retrospective publication, looking back at the past 13 years of the studio’s creative output.

Serial Cut have been art directing some of the most vibrant work out there for some of the largest international clients imaginable. There’s not many studios that can boast having Nike, Sony, Diesel, Coke, Rolling Stone, Wieden and Kennedy and MTV on the same client list and still maintain such an impressive level of creative freedom throughout their portfolio. But that’s clearly why the big names keep on coming back to these guys; they know what they’re doing, and they’re doing it exceptionally well.

Though the studio has chosen the humble hardback as the medium to document their output Extra Bold is by no means your run-of-the-mill volume.

It’s packed full of augmented reality features that allow you to connect with no less than 18 virtual figures, 14 “making of ” videos, 16 commercials, 11 zoom images and three navigable websites, all via a specially designed app. Pretty comprehensive if you ask us.

Cut from scratch, and since the company became such a success he has hired more people to take the company even higher. His first co-worker was a photographer called Paloma Rincón. She´s the photographer Sergio works the most with, and she´s also in the Serial Cut team. They went to the same university in Spain. He studied and focused on design, and Paloma on photography.

His favorite customers is the ones with a good briefing, and has a clear idea and vision. The problem with the customers whos not sure of what they want, can often be that they change their opinions along, and that can be quite troubling for the Serial cut team. Tips for new

creative beginners, is to always show you’re best work on online portfolios. Good work, gives great customers.

graphic design and typography, experiment as a noun has been used to signify anything new, unconventional, defying easy categorization, or confounding expectations. As a verb, ‘to experiment’ is often synonymous with the design process itself, which may not exactly be helpful, considering that all design is a result of the design process.

The term experiment can also have the connotation of an implicit disclaimer; it suggests not taking responsibility for the result. When students are asked what they intend by creating certain forms, they often say, ‘It’s just an experiment…’, when they don’t have a better response.

EXPERIMENTAL TYPOGRAPHY.

An epistemology of the word ‘experimental’ as it applies to design and type, contrasted with its scientific connotations. Examples of past and current design, type and reading/language, as well as scientific experiment, are taken into account.Very few terms have been used so habitually and carelessly as the word ‘experiment’. In the field of

SERIAL CUT // TYPO MAGAZINE

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“I think it’s important that like good wine, a design has a lingering flavour.”

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TYPO MAGAZINE //

KAREL MARTENS

WHEN KAREL MARTENS began studying art in Holland in the late 1950s, “graphic design” did not even exist as its own course of study.

Today he is widely recognized as one of the most important practitioners of that very discipline, with an esteemed client list that includes major publishers, architects, and institutions.

SOURCE: ART.YALE.EDU, P-EXCLAMATION.ORG, WWW.TYPOTHEQUE.COM

MR.MARTENS completed his edu-

cation at the Arnhem Academy of Art and Industrial Arts 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 three-dimensional 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. 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.

OASE. In his work, Karel Martens

embraces both freedom and order. He finds inspiration in the limitations of the profession and turns obstacles into challenges. OASE, a Dutch architectural journal, is an illustration of how designer can maneuver in the narrow field of graphic design production. OASE balances between book and a magazine and each new issue reinvents its forms to surprise its readers. Karel Martens gave OASE a clear direction and convincingly makes a magazine that is both modest and luxurious, making one believe that a low-budget publication is in fact a precious object to be collected. A grid became a fascinating element for Karel Martens. The most basic element in graphic design is given an active role that reflects the tone of the magazine.

Karel is the founder of Werkplaats Typografie in Arnhem.

"Not like fries and mayo, pleasing you instantly but then causing stomach-aches " - Karel Martens on design

KAREL MARTENS // TYPO MAGAZINE

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AWARDS 2011 Visuelt, Gold, Typefaces for Canal Digital.

2010 Visuelt, Nomination, Typefaces for Statoil.

2006 Visuelt, Gold i Open class, Typefaces for Always bind. 2006 Visuelt, Silver in Open Class, logo and t-shirts for the five team leaders in Lille Tøyen Girls 93. 2005 Visuelt, Silver Editorial design, Dagbladet FREDAG. 2005 SND/S (Society for News Design / Scandinavia) Bronze, Dagbladet FREDAG.

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TYPO MAGAZINE //

MAGNUS RAKENG

IF YOU HAVE seen the typefaces of Statoil, Avinor, Telenor and Canal Digital then you have already seen some of the norwegian graphic design Magnus Rakeng. He has been working over 20 years in developing typefaces, and have had great success. He now works with a talented team in a designstudio called Melkeveien.

SOURCE: MELKEVEIEN.NO, luc.devroye.org, www.gd.no

MAGNUS RAKENG. Magnus born in

Lillehammer in 1967 has more than 20 years of experience in developing typeface, typography and identities for some of the largest companies. In recent years, he has designed typefaces for Statoil, Avinor, Telenor and Canal Digital. Magnus also work a lot with music packaging. Eg for Cardigans, Donkeyboy, Ole Paus, CC Cowboys, Anne Marie Almedal, Solveig Slettahjell, Anne Grete Preus, Aasmund Nordstoga, Narum, Hellbillies. Logo Development When Dagbladet redesigned Friday and Sunday edition, Magnus was central. He has received quite some fiew awards. Lik gold for redesigned the magazine Dagbladet and Dagens Business and Trade Publications Award for best front page (Mental Health).

Diplomas and medals in various design competitions, it's been a lot the recent years.

How many sheets do you use before you have managed to create a nice logo with such nice letters that you and the customer is satisfied ?

- I have a thick sketch pad. Sometimes it goes fast, sometimes it takes many days and many pages before I have a good result. When companies change logos, they often also want a new graphic image, from letterheads to signs.

For me it's important to think about how people and employees understand the company.

- Is replace often , and does it happens that some changes because they have received negative publicity ?

- I think probably most changes to be more contemporary than as a result of negative publicity alone. Rarely it happens more often than every five years .

Telenor's new logo created debate Does it happen that people don´t like what you create?

- When Telenor got new logo last time, there were many negative reactions afterwards, but gradually became more positive. Most people would like to have the old and safe , that they know.

Luckily, I have not often had strong negative reactions. But sometimes it gets press coverage of large logos and occasionally negative exposure of the designer.

- How important is the logo and the letters ?

- For large companies it is more important than for small ones. The logo must have character and tell what the company do and stand for. Design should reflect the identity and values, visual function, be recognizable and suitable in both large and small format . Is there a color logo, it must also work in black /white, says Magnus Rakeng.

FONTS BY RAKENG. Pilot (1994,

thirstype). Envy (1996) Telenor, designed by Magnus Rakeng & Stian Berger as part of the new corporate identity for Telenor. Superduper (1999-2000).

Radio (1998), a fifties-style connected script. This is his most famous font.

It was reinvented and made it to the new foundry Constellation in 2013.

Always (2005) is a connected 1950's style face done with Stian Berger at Melkeveien. It was based on Radio. The 4-year old children's handwriting font Amanda4 (free). Radio was at the basis of later extensions, such as Quality (a custom face at Melkeveien done for Leo Burnett Chicago; a cooperation with Chester) and Always (2005, with Stian Berger at Melkeveien). Eyecon (2005, designed with Thirstype). With Stian Berger at Melkeveien he made Ă…lesund jugendstilsenter (2004, based on architect H. Schytte Berg's architectural lettering).

MELKEVEIEN. They have for 10 years

providing visual expressions and ideas of some of Norway's most important brands. The designteam contain Birgitte Kolbeinsen, Simen Guliksen, Srian Berger, Susan Stephens and of course Magnus. Melkeveien has broad expertise in graphic design. The diversity of challenges and tasks we get, leads to different solutions on the basis of the client's needs and values.

They make visual profiles for large and small businesses , both simple and comprehensive expression profile program , as well as redesign and further development of existing ones They also make logos from the start , development or rentegning .

Special character to typography logo, expression profiling or bespoke typeface for various businesses . Design Professional skills : working with ideas, formal analysis , design strategy and project management.

Magazines , art catalogs, reports , brochures , leaflets , posters , all kinds of publication design for screen or print.

Magnificent Books, textbooks, reference books , childrensbooks , fiction. wLayout and templates in Word and PowerPoint , designing websites, digital newsletters, etc.

Melkeveien delivers illustration of various styles in terms of audience and message. For use in digital or printed media. They focus on strong , good typography solutions . Revision typography is as important in logo layout in large series of books , magazines , posters and CD covers . Accessible and readable text, with expressions that line the message is a measure whatever mission type. Melkeveien has special character fonts for example Avinor , Telenor , Statoil and Canal Digital.

MAGNUS RAKENG // TYPO MAGAZINE

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AWARDS Certicifcate of excellence TDC 2005

Certicifcate of excellence TDC 56 2009 D&AD in book award 2009 Graphis Poster Gold 2008 ADC Young Gun 2008 Communication Arts 2008 Illustrative Berlin Nomination Young Illustration award 2009 Laus Or 2008 CG Award 2009

10 TYPO MAGAZINE // ALEX TROCHUT

ALEX TROCHUT is a freelance graphic designer who has worked with big clients like Adidas, Converse, Nike, MTV and many more. He makes illustrations, design and typography. His work philosopy is "more is more" and you can really see that in his work.

SOURCE: JACKYWINTER.COM, SONAR.ES

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. His clients include Nike, The Rolling Stones, Nixon, British Airways, Coca-Cola, The Guardian, Non Format, Wieden + Kennedy, Saatchi and Saatchi, BBH, Fallon, and Beuatiful Decay.

MORE IS MORE. Lamington Drive

and The Jacky Winter Group have teamed up with the Showcase Gallery to present Alex Trochut’s exhibition ‘More is More’, with a super special Lamington Drive pop-up shop. It’s

all happening at the Showcase Gallery on August 18-20 and you’ll even get a chance to meet the virtuoso himself, with an artist reception and book signing on Friday August 19 from 6-9pm.

The show is based upon the upcoming book release of the same name, and features a retrospective of the past five years of Trochut’s personal and commercial work. Alex’s signed prints will be for sale, as well as a special limited edition print produced in collaboration with Australia’s Avon Graphics and Like Minded Studio. Breathe. The Lamington Drive pop-up shop will include works for sale from our stockroom of goodness, featuring artists such as Kat Macleod, James Gulliver Hancock, Beci Orpin, Rik Lee, Dylan Martorell, and much, much more! Oh boy. Can’t hardly wait.

ROAR. Alex Trochut is the designer

and illustrator responsible for the fierce typography and tigerish layout for Katy Perry’s new single, Roar. The hotly anticipated single represents a stylistic overhaul for Perry, who wanted a look poised somewhere between urban and pop, with each individual letter treated as if it were a piece of jewellery. Alex’s sophisticated lettering with its rainbow

mineral bling and hard golden crust certainly fulfils the bill. We want that neon animal print border fitted around our lives.

BINARY PRINTS. For the first time

Alex will display, six portraits of top producers, their appearance changed by a simple lighting method. Four Tet, John Talabot, Acid Pauli, Caribou, James Murphy and Damian Lazarus (most of whom have been present at previous editions of Sonar) are portrayed using a technique, which produces two completely different images, depending on the light or darkness of the room, thus showing the duality of the artist and by extension, the human being. The catalan artist uses minimalism as a framework to then transform, into his own inimitable style. His work can be seen in magazines, album cover designs (he has collaborated with the label Hivern, among others), exhibitions, posters, and trademarks, with a particular use of geometry and color.

He currently resides between Barcelona and New York.

ALEX TROCHUT // TYPO MAGAZINE 11