typo
FEATURING STEFAN SAGMEISTER KAREL MARTENS CLAUDE GARMOND MARIAN BANTJES
N O T H I N G
I S
O R I G I N A L .
Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steel from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery – celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from – it’s where you take them too.” Jim Jarmusch
CONTENTS STEFAN SAGMEISTER
1
KAREL MARTENS
2
CLAUDE GARAMOND
3
MARIAN BANTJES
4
CREDITS www.designmuseum.org www.typotheque.com www.monash.edu.au www.wikipedia.com www.bantjes.com
TYPO MAGAZINE | IT’S ALL ABOUT THE CONTENTS | PAGE 3
CREDITS | WWW.DESIGNMUSEUM.COM
STEFAN SAGMEISTER | STYLE = FART | EXPERIMENTAL TYPOGRAPHY
A graphic
striking to the point
iste Sagme s n a f te 90s, S of the 19 of se
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ut not quite nearly, b s ’ t i t a th but in such an unsettling way unacceptable.
His work mixes sexuality w ith wit a
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His technique is often simple to the point of
from slashing D-I-Y tex t into his own skin,
with to spelling out words
trips ly cut s h g u o r
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cloth
irlfriend. for a brochure for his g
TYPO MAGAZINE | LOVE IT | PAGE 5
Freedom Order
10.12 Inspiration in limitations Introducing Karel Martens
CREDITS | WWW.TYPOTHEQUE.COM | WWW.MONASH.EDU.COM
Position 1 Graphic Designer
Position 2 Defining Dutch design
7
KAREL MARTENS | FREEDOM & ORDER | TYPOGRAPHY AS A SHAPE
ch typographic de Dut sig . r ne de rK r o ar d H .” n e g i f i s n el ds i de an h n c t rld. Many of th spi u o d w “ he e a ra t es tio ng th ni u n d e ro
in the Net s alive h e r ner lan sig ds de t o g da les into challe rin stac n b y g du ave been widel es. so K y rn ys h o a l tu pp are d em p ro e
f the most infl ue nti ne o o al is an s n d e o f s t n h o e t ti p a en r t r i ofe a m i l al c h u t s a p r M e s a e c c i t er th con i st o n a in d ic s n n c an h ti
tens embraces M ar b o t rk , hf wo re e do his often rega n m ork is rd .I sw e design com ed a mu s d ten y th a r ed b n ity efi l M riat a p
ABOUT KAREL MARTENS “It is difficult to distinguish between Martens’s output for his clients and his personal work. Herein lies the genius. His extensive portfolio is a myriad of geometric discipline and experimental artistry”. – Warren Taylor
TYPO MAGAZINE | IT’S TIMELESS | PAGE 7
CLAU GA RAM OND
CREDITS | WWW.WIKIPEDIA.COM
CLAUDE GARAMOND |MASTER OF PUNSH CUTTING | CLASSIC TYPOGRAPHY
DE Claude Garamond was the first to specialize in type design, punch cutting and type-founding in Paris as a service to many famous publishers.
Claude Garamond (ca. 1490 – 1561) was a French publisher from Paris. He was one of the leading type designers of his time, and is credited with the introduction of the apostrophe, the accent and the cedilla to the French language. Several contemporary typefaces, including those currently known as Garamond, Granjon, and Sabon, reflect his influence. Garamond was an apprentice of Simon de Colines; later, he was an assistant to Geoffroy Tory, whose interests in humanist typography and the ancient Greek capital letterforms, or majuscules, may have informed Garamond’s later work.
Sixty years after Garamond’s death, in 1621, the French printer Jean Jannon issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. After the French government raided Jannon’s printing office,Cardinal Richelieu named Jannon’s type Caractère de l’Université, and it became the house style of Royal Printing Office.
In 1825, the French National Printing Office adapted the type used by Royal Printing Office in the past, and claimed the type as the work of Claude Garamond. In 1919, Thomas Garamond came to prominence in the 1540s, first for a Maitland Cleland and Morris Fuller Benton produced the Greek typeface he was commissioned to create for the first 20th-century commercial Garamond, based on the French king Francis I, to be used in a series of books Jannon’s design, called Garamond #3. by Robert Estienne. The French court later adopted Garamond’s Roman types for their printing and the Revivals of the Garamond type came as early as 1900, typeface influenced type across France andWestern when a typeface based on the work of Jean Jannon Europe. Garamond probably had seen Venetian old- was introduced at the Paris World’s Fair as “Original style types from the printing shops of Aldus Manutius. Garamond”, whereafter many type foundries began to cast Garamond based much of his lowercase on the handwriting similar types, beginning a wave of revivals that continued of Angelo Vergecio, librarian to Francis I. The italics of throughout the 20th Century. These revivals followed most contemporary versions are based on the italics of the designs from Garamond and Jannon. The designs Garamond’s assistant Robert Granjon. of italic fonts mainly came from a version produced by Robert Granjon. In a 1926 article in The Fleuron, Beatrice When Claude Garamond died in 1561, his punches and Warde revealed that many of the revivals said to be based matrices were sold to Christophe Plantin, in Antwerp, on Claude Garamond’s designs were actually designed by which enabled the Garamond fonts to be used on many Jean Jannon; but the Garamond name had stuck. TYPO printers. This version became popular in Europe. The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium.
FUNFACT Garamond is the name of a character in the Wii game Super Paper Mario. He appears in the world of Flopside (the mirror-image of Flipside, where the game begins). He is a prolific and highly successful author, unlike his Flipside counterpart, Helvetica (a probable recognition of the relative suitability of the two fonts for use in book typesetting).
TYPO MAGAZINE |IT’S A CLASSIC | PAGE 9
CREDITS | WWW.BANTJES.COM
MARIAN BANTJES |I WONDER | DECORATIVE TYPOGRAPHY
M A RI A N B A N T J ES 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 MAGAZINE | PUZZLING | PAGE 11
DESIGN BY MADELEINE MARAZ MELSOM Paper Storaenso 300gr White Colours Pantone 1665C CMYK 0 63 95 0 Black Type Open Sans Georgia Published 2012