typographic magazine
NĹ?1
175 NOK 169 SEK 19 EURO
2014 november
PAGE 1 No 1 2 0 1 4 I NT R O
typo is a new typographic magazine made with love, good vibes and lots of coffee - Martine Dahlmo “Author”
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Creds
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Decorative font
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Experimental
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Forms
Kate Moross
Romeo og Juliet/ The norwegian opera
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Classical Edvard Grieg
Primary font
Typo Magazine
Avenir Helvetica Neue
Karlsbergsveien 3 2073 Oslo
Primary Colour
Graphic Design etc:
Pantone 7717C with tints
Martine Dahlmo GRD 2B @ NKH
D EC OR ATI VE F ONT No1 2014 PAGE 5
Become an experienced folder Got a creative block? Learning origami can be a fun way to get out of it.
Basic folding techniques 1. Valley fold
You will be able to learn from simple origami models to advance ones here. If you have not folded any origami models before, you should learn both valley-fold and mountain-fold. You must know what these two folding techniques are before working on any model. Initially you should get started with easy origami models. The models are traditional ones and it is good to learn these models first before tackling on more advanced ones. If you are an experienced folder, then you can start working on models with intermediate level.
for easy origami elephant 2. Mountain fold easy origami elephant 3. Unfold Next, you should get to know the difference between outside reverse-fold vs. inside reverse-fold. These two folding techniques can be indicated with only valley and mountain fold symbols instead of more sophisticated symbol.
I hope you learn folding origami models presented here and also hope you having a fun while working on any model. I will try to present instructions as clearly as possible but if I make any mistakes, I would like to receive an email from you to correct any error.
1. Outside reverse fold outside reverse fold in origami 2. Inside reverse fold outside reverse fold in origami
Font “art�: Martine Dahlmo
Learn more at www.origami.com
Author: Hm mcHmsen
PAGE 6 No 1 2 0 1 4 GR I EG // CL AS S ICAL T YP O
In the Hall of the Mountain King (Norwegian: I Dovregubbens hall) is a piece of orchestral music composed by Edvard Grieg for the sixth scene of act 2 in Henrik Ibsen’s 1867 play Peer Gynt. It was originally part of Opus 23 but was later extracted as the final piece of Peer Gynt, Suite No. 1, Op. 46. Its easily recognizable theme has helped it attain iconic status in popular culture, where it has been arranged by many artists. The English translation of the name is not literal. Dovre is a highland place in Norway, and “gubbe” translates into (old) man or husband. “Gubbe” is used along with its female counterpart “kjerring” to differentiate male and female trolls, “trollgubbe” and “trollkjerring”. In the play, Dovregubben is a troll king that Peer Gynt invents in a fantasy.
Grieg himself wrote, “For the Hall of the Mountain King I have written something that so reeks of cowpats, ultraNorwegianism, and ‘to-thyself-be-enough-ness’ that I can’t bear to hear it, though I hope that the irony will make itself felt”. Avoiding the commitment implicit in the phrase “To thine own self be true” and just doing enough – is central to Peer Gynt’s satire, and the phrase is discussed by Peer and the mountain king in the scene which follows the piece The simple theme begins slowly and quietly in the lowest registers of the orchestra, played first by the cellos, double basses, and bassoons. After being stated, the main theme is then very slightly modified with a few different ascending notes, but transposed up a perfect fifth (to the key of F-sharp major, the dominant key, but with flattened sixth) and played on different instruments.
For the Hall of the Mountain King I have written something that so reeks of cowpats, ultra-Norwegianism, and ‘to-thyself-be-enoughness’ that I can’t bear to hear it, though I hope that the irony will make itself felt.
and trollkjerring
female trolls trollgubbe
to differentiate male and
counterpart “kjerring�
used along with its female
(old) man or husband
gubbe
GR I EG // CL AS S ICAL TYP O No1 2014 PAGE 7
PAGE 8 No 1 2 0 1 4 I NT ER VI EW K ATE MOR OS S
I NT ER VI EW K AT E MOR OS S No1 2014 PAGE 9
Step inside the colourful world of Kate Moross By anonymoius human
She is a designer, Illustrator, director, record label owner and self confessed coloured pen obsessive. Busy is an understatement.
You work with different media in very different fields but how would you describe what you do? My gut reaction would be to say that I am a jack of all trades. I was never able to just focus on one thing and stick at it, I’m a multitasking, multidisciplinary machine, but mostly I just sit in my studio making stuff. You have achieved so much at such a young age. What was the key breakthrough moment for you? The key moment was realising that this was work that you could get paid for. Throughout my educational career I did favors, extra curricular projects, drawings for friends, or just geeked out in the computer room learning software. After some time passed, I worked out that there was actually a career to be made out of what I was doing. I had always wanted to be a fine artist but as soon as I took a bite of the commercial side of the art world I had the bug. That was it really from that point I just tried to design everything and anything I could get my hands on.
Funnily enough all my earliest work was all black and white What are you more drawn to? Working with music or Art? Not massively drawn to art as a subject, loved it when I was younger, but now I think music has taken over for me. I can’t look at art when I’m making art, but I can listen to whatever I want. When you are drawing or designing everything has an impact on what you are creating, I’d rather it was an aural one that a visual, so that I don’t become to influenced by what I looking at. Why does colour play such a big part in all of your work? Because I can’t help it. Funnily enough all my earliest work was all black and white, I think that was because I didn’t really know what I was doing but I knew how to make graphics look good in black and white. Designing in colour is much more difficult. Nowadays I have developed my own colour palettes and I try and create new colour ways as often as I can to keep my work progressing.
You have a broad portfolio ranging from product to packaging, would you say the new wave of artist/ designer has to be multifaceted in a way those who came before didn’t need to? I think that a lot of really awesome artists have always been multifaceted, it’s not necessarily a new thing, or born from this generation/century etc... Lots of artists and creative people throughout history tried their hand and different things it just wasn’t as well documented, and ultimately they became known for one thing, what they had truly mastered. It would be such a shame if we all had to do the same thing all the time, so I think its perfect to swap and switch whenever we can. What has been your favourite collaboration to date? My best friends and favorite collaborators Damian & Avigail (who are the other two thirds of 143) just invited me to be involved in an amazing project. I have just finished hand painting flowers for a collaboration with Halfpenny London. Kate Halfpenny created an incredible dress for Rihanna’s performance on the EU Music Awards which featured my much labored hand painted flowers. It was a dream job really, and worth every late night. Being able to work and collaborate with some of my best friends is what I live for. All of us have different skills, and whenever we find a project we can all work on together its magic. I was sitting in my studio painting silk flowers thinking, in a few days these will end up on the other side of Europe, on a beautiful girl, in front of an audience of millions. What brand or artist are you desperate to collaborate with? I am really excited to get involved with more fashion brands, designing patterns and motifs for textiles, developing and art directing for retail and catwalk shows. I would love to work with Luis Vuitton, Jeanharles de Castelbajac, and Body AMR. And finally, What’s next for Kate Moross? The USA is calling my name...
N o1 2014 PAGE 10
Omvisninger på norsk Mandag-lørdag kl. 12 Søndag kl. 13 Omvisninger på engelsk Mandag-fredag kl. 13 Lørdag kl. 12
I am really excited to get involved with more fashion brands, designing patterns and motifs for textiles, developing and art directing for retail and catwalk shows.
”
BTW ITS A FLOWER
F OR MS
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Martine Dahlmo GRD 2B 2014
TYPO No1 2014
thank you come again