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DON’T DESIGN FOR E VE R Y O N E . I T ’ S IMPOSSIBLE. ALL YOU END UPP DOING IS DESIGNING SOMETHING THAT MAKES EVERYONE UNHAPPY. — Leisa Reichelt
information: wikipedia, designwashere.com, typotehque.com fonts: deviantart.com, dafont.com
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INDEX
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KAREL MARTENS
04
STEFAN SAGMEISTER
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MARIAN BANTJES
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CLAUDE GARAMOND
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KAR Ka KA TYPO
martens
MULTIPLY GEOMETR
Karel Martens is a Dutch design Arnhem, he has worked as a fre Alongside this, he has always made work. His design work ranges wid
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SHAPES
REL arEL AREL TYPO
ner and teacher. After training at the school of art in eelance graphic designer, specializing in typography. e free (non-commissioned) graphic and three-dimensional
dely, from postage stamps, to books, to signs on buildings. All this work is documented and celebrated in the books Karel Martens: drukwerk / printed matter and Karel Martens: counterprint. Martens has taught graphic design since 1977. His first appointment was at the school of art at Arnhem (until 1994). He was then atta ched to the Jan van Eyck Acad emie in in Maastricht (1994–9). From 1997 he has been a visiting lecturer in the graphic design department at the School of Art, Yale University. In that year, together with Wigger Bierma, he started a pioneering school of postgraduate education within the ArtEZ, Arnhem – the Werkplaats Typografie – where he still teaches. In his work, Karel Martens embraces both freedom and order. He finds inspiration in the limitations of the profession and obstacles into challenges. OASE, 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.
RIC
S
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STEFAN SAGMEISTER The things I have
learned in my lif
e so far:
1. Helping othe r people helps m e. 2. Having guts always works ou t for me. 3. Thinking that life will be bett er in the future 4. Organising is stupid. I have a charity group to live now. is surprisingly ea 5. Being not tr sy . uthful always w orks against me. 6. Everything I do always comes back to me. 7. Assuming is stifling. 8. Drugs feel gr eat in the beginn ing and become 9. Over time I a drag later on get used to ever . ything and star 10. Money does t taking for gran not make me ha ted. ppy. 11. My dreams have no meaning . 12. Keeping a di ary supports pe rsonal developm 13. Trying to lo ent. ok good limits m y life. 14. Material lu xuries are best enjoyed in smal 15. Worrying so l doses. lves nothing. 16. Complaining is silly. Either act or forget. 17. Everybody th inks they are ri gh t. 18. If I want to explore a new di re ction profession out for myself fi ally, it is helpfu rst. l to try it 19. Low expect ations are a go od strategy. 20. Everybody who is honest is interesting. 21. Traveling al one is helpful fo r a new perspect 22. Being not tr ive on life. uthful works ag ainst me.
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Stefan Sagmeister is one of the most well-known living graphic designers, currently based in New York and running his 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 typography, many of which can be found in his 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 piece of paper and pencil (a technique he picked up from film director Steven Soderbergh). Sitting there by yourself with nothing to do will automatically “shame” you into writing or drawing to look busy.
OCTOBER | 2012
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I’M SORT OF FREEFLOWING CONTROL Bantjes was born in 1963, FREAK. Marian and grew up in Saskatchewan. She dropped out of art school after a year and in 1983 ‘fell in’ to a job with book publisher Hartley & Marks, where she did general jobs and helped with paste-up at its typesetting sibling, TypeWorks. In July 2003, Bantjes struck out on her own, moving to an isolated property on Bowen Island, in Howe Sound off Vancouver. Such a radical change of practice and lifestyle had a cost: after surviving for a year on savings Bantjes was obliged to take out a loan. She is currently taking a year away from commissioned work to complete a book of illuminated essays for Thames & Hudson.
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GARAM GA Born in Paris, France in 1490, Garamond started his career out as an apprentice for the Parisian punch-cutter and printer, Antoine Augereau in 1510 . It was during this early part of the 16th century that Garamond and his peers found that the typography industry required unique multi-talented people. This way could produce fine books. Many of the printers during that time period were able to master all or most of the artistic and technical skills of book production from type design to bookbinding. Claude Garamond was first to specialize in t ype d esign, punch cutting, and t ype-founding in Paris as Because of the soundness of a service to many famous publishers.t Garamond’s designs his typefaces In 1545 Garamond became his own publisher, have historical staying power, and featuring his own types including a new italic. they are likely to remain the day-to-day His first book published was Pia et religiosa tools of professional typographers, as Meditatio of David Chambellan. As publisher, long as wertern civilization survives. Claude Garamond relied on his creativity Reading a well set Garamond text page harnessed by reasoned discipline to produce is almost effortless, a fact that has superbly well crafted products. He modeled been well known to book designers for his book publishing style after the classic works over 450 years. Claude Garamond died in 1561. He had at one time of the Venetian printers who catered entertained financial success but by to the absolute elites of high society. the end of his life he barely owned any of his He admired and emulated the works of Aldus Manutius. Garamond insisted typefaces. He had been the first designer to create typefaces and sell them but for him on clarity in design, generous page margins, quality composition, paper the business ventures did not end up working out favorably for him. After his death his widow and printing, which was always accentuated with superb binding. was forced to sell what little typefaces he still owned as well as some of the punches he still had. As a result his typefaces and punches were distributed around Europe.
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MOND ARAMO ABCDEFG HIJKLMN OPQRSTU VWXYZ
OCTOBER | 2012
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