TYPO MAGAZINE by Monessa

MAGAZINE n o v e m b e r 2 0 1 3

Credits Font body // Helvetica Neue Font // Apex Sans Font // Museo Sans Font // Aracne Light www.alextrochut.com www.melkeveien.no www.typotheque.com www.serialcut.com www.snohetta.com Design // Monessa TĂ¸rge

TYPO MAGAZINE // SERIAL CUT

Ser i a l 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. A growing team. 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 terms of technique and of concept, and to always end up with a contemporary and fresh result.

“Working with the big boys” Serial Cut™ works with national and international clients. Some of them are: Companies Nike  Zune  Sony  Toyota USA  Diesel Fragances  PlayStation  VISA  Blackberry  Dodge  Absolut  Your Singapore  Foot Locker  Vodafone  General Electric LG Phones  Powerade  Freia  Coca-Cola  Landys Gyr  Target  Seattle BestCoffee  Banque Populaire  Heineken

France  Martini  Jotun  Wo l k s w a g e n  Sears  McDonald´s  Burger King  Vivendi  Eircom  Audio Brighton  Tri Na  Beeffeater  Soberano  Estrella Damm  Roca  Control  Hornimans  Lay´s  Mahou  Aquarius El CorteInglés Teléfonica  Renfe  FAD  Lladró. Press Media The NY Times Mag  Rolling Stone The Guardian  Money  Computer Arts UK WAD  XLR R Details  OUT  Deliver Magazine  El País  Vanidad  Neo2  Blender Calle20 McGraw-Hill  DT C incinatti Mag Grupo Zeta  Progresa  MRMW  Focus Ediciones Ad Agencies Saatchi & Saatchi, Los Angeles  Wieden+Kennedy, Portland  BBH, Singapore Studio Output, London  SMFB, Oslo Creature, Seattle  Ammirati, NY  Euro RSCG, Paris  Great Works, Stockholm Y&R, Chicago Goodby, S&P, SF Nitro, London Chemistry, Ireland Anti, Norway Strawberryfrog, NY Te Brand Union, London Hellohikimori, Paris InterOne, Munich *S,C,P,F... TBWA Sra. Rushmore  T iempoBBDO  J WT  H erraiz Soto & Co Ruiz Nicoli McCann-Ericsson SomosR Grey Trace DDB CP Proximity LolaMAD VillarRosas

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Heni a cus molupta sin ex et que alit liquos nat peror aut id maximincil esti volum quiam hariatur? Ga. Neque aut hil et landis voluptur aut arciendam dis dolupta tempor a inus ate cum volorectur? Et lacillibus nos aliquas escil magnit haruptio quidebi ssuntiu reperru mquuntet aris aut ilit ulliqui sa volorit fuga. Ut labor atur reperit eaturi con natem ex et laut et latem eost que erferit faceper eptur? Qui destem ate doloressime ipsum qui debis doloribus. Bus repe pro essi officatur, que voluptas am in cum iduciatur am, optate pro vollauda que es et ipsaper eperias doluptati aut dempos vererio necture voluptat eum, velicitas re porio. Aperrum aut idi tetur maior soluptatque molore, ut lis min et inullaborae natur? Quiscia mustiatios molor as earum aut quature rnatio tet etur? Optaecta dollande sit ius rerehen ienturibus denemped et facculparit ut es conse pora suntia is sitius, voluptur alit aut lab illabo. Otatem net peribus cienditemped maximus quibus. Aciantur? Ditiam verrum el in perum liciis num estiis dolorer estrum similluptas corist, sant a que modi blabo. Ostrum que num iundus, aceri consernam, volor sae pereperum quo eaquo omnimai orporia disquodi aut quas quatur si sequist iorpore nonseque num volut quam ipsande bistis as doluptur aligeniam volupta core laborio et eruptata ne autem sequamus doluptibusae digendipicae et milit as exera et, quias debit esequossum remo dolupta non elibereptas sunt officto odicia dolorum v Heni a cus molupta sin ex et que alit liquos nat peror aut id maximincil esti volum quiam hariatur? Ga. Neque aut hil et landis voluptur aut arciendam dis dolupta tempor a inus ate cum volorectur? Et lacillibus nos aliquas escil magnit haruptio quidebi ssuntiu reperru mquuntet aris aut ilit ulliqui sa volorit fuga. Ut labor atur reperit eaturi con natem ex et laut et latem eost que erferit faceper eptur? Qui destem ate doloressime ipsum qui debis doloribus. Bus repe pro essi officatur, que voluptas am in cum iduciatur am, optate pro vollauda que es et ipsaper eperias doluptati aut dempos vererio necture voluptat eum, velicitas re porio. Aperrum aut idi tetur maior soluptatque molore, ut lis min et inullaborae natur? Quiscia mustiatios molor as earum aut quature rnatio tet etur? Optaecta dollande sit ius rerehen ienturibus denemped et facculparit ut es conse pora suntia is sitius, voluptur alit aut lab illabo. Otatem net peribus cienditemped maximus quibus. Aciantur? Ditiam verrum el in perum liciis num estiis dolorer estrum similluptas corist, sant a que modi blabo. Ostrum que num iundus, aceri consernam, volor sae pereperum quo eaquo omnimai orporia disquodi aut quas quatur si sequist iorpore nonseque num volut quam ipsande bistis as doluptur aligeniam volupta core laborio et eruptata ne autem sequamus doluptibusae digendipicae et milit as exera et, quias debit esequossum remo dolupta non elibereptas sunt officto odicia dolorum v Heni a cus molupta sin ex et que alit liquos nat peror aut id maximincil esti volum quiam hariatur? Ga. Neque aut hil et landis voluptur aut arciendam dis dolupta tempor a inus ate cum volorectur? Et lacillibus nos aliquas escil magnit haruptio quidebi ssuntiu reperru mquuntet aris aut ilit ulliqui sa volorit fuga. Ut labor atur reperit eaturi con natem ex et laut et latem eost que erferit faceper eptur? Qui destem ate doloressime ipsum qui debis doloribus. Bus repe pro essi officatur, que voluptas am in cum iduciatur am, optate pro vollauda que es et ipsaper eperias doluptati aut dempos vererio necture voluptat eum, velicitas re porio. Aperrum aut idi tetur maior soluptatque molore, ut lis min et inullaborae natur? Quiscia mustiatios molor as earum aut quature rnatio tet etur? Optaecta dollande sit ius rerehen ienturibus denemped et facculparit ut es conse pora suntia is sitius, voluptur alit aut lab illabo. Otatem net peribus cienditemped maximus quibus. Aciantur? Ditiam verrum el in perum liciis num estiis dolorer estrum similluptas corist, sant a que modi blabo. Ostrum que num iundus, aceri consernam, volor sae pereperum quo eaquo omnimai orporia disquodi aut quas quatur si sequist iorpore nonseque num volut quam ipsande bistis as doluptur aligeniam volupta core laborio et eruptata ne autem sequamus doluptibusae digendipicae et milit as exera et, quias debit esequossum remo dolupta non elibereptas sunt officto odicia dolorum v Heni a cus molupta sin ex et que alit liquos nat peror aut id maximincil esti volum quiam hariatur? Ga. Neque aut hil et landis voluptur aut arciendam dis dolupta tempor a inus ate cum volorectur? Et lacillibus nos aliquas escil magnit haruptio quidebi ssuntiu reperru mquuntet aris aut ilit ulliqui sa volorit fuga. Ut labor atur reperit eaturi con natem ex et laut et latem eost que erferit faceper eptur? Qui destem ate doloressime ipsum qui debis doloribus. Bus repe pro essi officatur, que voluptas am in cum iduciatur am,

Heni a cus molupta sin ex et que alit liquos nat peror aut id maximincil esti volum quiam hariatur? Ga. Neque aut hil et landis voluptur aut arciendam di dolupta tempor a inus ate cum volorectur? Et lacilli bus nos aliquas escil magnit haruptio quidebi ssunti reperru mquuntet aris aut ilit ulliqui sa volorit fuga. U labor atur reperit eaturi con natem ex et laut et late eost que erferit faceper eptur? Qui destem ate doloressime ipsum qui debis doloribus. Bus repe pro essi officatur, que voluptas am in cu iduciatur am, optate pro vollauda que es et ipsape eperias doluptati aut dempos vererio necture volupta eum, velicitas re porio. Aperrum aut idi tetur maio soluptatque molore, ut lis min et inullaborae natur Quiscia mustiatios molor as earum aut quature rnatio tet etur? Optaecta dollande sit ius rerehen ienturibu denemped et facculparit ut es conse pora suntia is si tius, voluptur alit aut lab illabo. Otatem net peribu cienditemped maximus quibus. Aciantur? Ditiam verrum el in perum liciis num estiis dolorer estrum similluptas corist, sant a que modi bla bo. Ostrum que num iundus, aceri consernam, volor sae pereperum quo eaquo omnimai orporia disquodi aut quas quatur si sequist iorpore nonseque num volu quam ipsande bistis as doluptur aligeniam volupta cor laborio et eruptata ne autem sequamus doluptibusae digendipicae et milit as exera et, quias debit esequossum remo dolupta non elibereptas sunt officto odici dolorum v Heni a cus molupta sin ex et que alit liquo nat peror aut id maximincil esti volum quiam hariatur Ga. Neque aut hil et landis voluptur aut arciendam di dolupta tempor a inus ate cum volorectur? Et lacilli bus nos aliquas escil magnit haruptio quidebi ssunti reperru mquuntet aris aut ilit ulliqui sa volorit fuga. U labor atur reperit eaturi con natem ex et laut et late eost que erferit faceper eptur? Qui destem ate doloressime ipsum qui debis doloribus. Bus repe pro essi officatur, que voluptas am in cu iduciatur am, optate pro vollauda que es et ipsape eperias doluptati aut dempos vererio necture volupta eum, velicitas re porio. Aperrum aut idi tetur maio soluptatque molore, ut lis min et inullaborae natur Quiscia mustiatios molor as earum aut quature rnatio tet etur? Optaecta dollande sit ius rerehen ienturibu denemped et facculparit ut es conse pora suntia is si tius, voluptur alit aut lab illabo. Otatem net peribu cienditemped maximus quibus. Aciantur? Ditiam verrum el in perum liciis num estiis dolorer estrum similluptas corist, sant a que modi bla bo. Ostrum que num iundus, aceri consernam, volor sae pereperum quo eaquo omnimai orporia disquodi aut quas quatur si sequist iorpore nonseque num volu quam ipsande bistis as doluptur aligeniam volupta cor laborio et eruptata ne autem sequamus doluptibusae digendipicae et milit as exera et, quias debit esequossum remo dolupta non elibereptas sunt officto odici dolorum v Heni a cus molupta sin ex et que alit liquo nat peror aut id maximincil esti volum quiam hariatur Ga. Neque aut hil et landis voluptur aut arciendam di dolupta tempor a inus ate cum volorectur? Et lacilli bus nos aliquas escil magnit haruptio quidebi ssunti reperru mquuntet aris aut ilit ulliqui sa volorit fuga. U labor atur reperit eaturi con natem ex et laut et late eost que erferit faceper eptur? Qui destem ate doloressime ipsum qui debis doloribus. Bus repe pro essi officatur, que voluptas am in cu iduciatur am, optate pro vollauda que es et ipsape eperias doluptati aut dempos vererio necture volupta eum, velicitas re porio. Aperrum aut idi tetur maio soluptatque molore, ut lis min et inullaborae natur Quiscia mustiatios molor as earum aut quature rnatio tet etur? Optaecta dollande sit ius rerehen ienturibu denemped et facculparit ut es conse pora suntia is si tius, voluptur alit aut lab illabo. Otatem net peribu cienditemped maximus quibus. Aciantur? Ditiam verrum el in perum liciis num estiis dolorer estrum similluptas corist, sant a que modi bla bo. Ostrum que num iundus, aceri consernam, volor TYPO MAGAZINE // MANGNUS RAKENG

Melkeveien Designkontor as, Millimeter Design as, Union Design, Megafon Design, London College og printing, Westerdal Reklameskole. Norwegian graphic designer, born in Lillehammer in 1967, who works in Oslo. His fonts are distributed by Thirstype. He now runs Millimeter Design. He is also involved in the Norwegian design studio Melkeveien designkontor, where all his fonts can be ogled. They include:

- Telenor, designed by Magnus Rakeng&Stian Berger as part of the new corporate identity for Telenor. - Radio (1998), a fifties-style connected script. This is his most famous font. It was reinvented

Magnus has more than 20 years of experience in developing typeface, typography and ide ntietter 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 to bear Eidvåg, dokeyboy, Ole Paus, CC Cowboys, Anne Marie Almedal, Solveig Slettahjell, Anne Grete Presus, Aasmund Nordstoga, Narum, Hellbilliess + + +

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 Ålesund jugendstilsenter (2004, based on architect H. Schytte Berg’s architectural lettering).

order. He finds inspiration in the limitations of the professioand turnsobstacles intochallenges.

en an active role that reflects the tone of the magazine. Karel is the founder of Werk-

plaats Typografie in ArnhemIn his work,Karel Martensembraces both freedom and

natin element for KarelMartens. The most basic element in graphic design is givbuget publication is in fact a precious object to be collected. A grid became a fascilication is in fact a precious object to be collected. A grid became a fascinatin element Karel Mar-

OASE, a Dutch architectural journal, is an illustration designer can maneuver in the narrow field

suereinvents its forms to surpri its readers. Ka Martens gav OASE a cle direction and convincingly

makes a magazine that is both modest and luxurious,making one believe that a low-budget pub-

tens. The most basic element in graphic design is given an active role that reflects the tone of the

of graphic design production. OASEbalances betweenbook and a magazine andeach new is-

ingly makes a magazine that is both modest and luxurious,maki believe tha a low-

TYPO MAGAZINE // KAREL MARTENS

dia to create unique prints. Neither commissioned design objects nor autonomous artworks, Martens’ letterpress experiments exist as unique fragments of an ongoing visual process. 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

tions 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. 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 fasci-

He finds inspiration in the limita-

“Embraces both freedom and order.”

architectural journal Oase, the Dr A.H. Heineken Prize for Art (1996), the Gold Medal at the Leipzig Book Fair (1998), and numerous other distinctions. Martens has taught at the Yale School of Art, Jan van Eyck Academie, and co-founded Werkplaats Typografie in 1997. The below selection of Martens’ monoprints includes rare works from the 1950s and 60s. They engage with the technology of letterpress, deliberately misusing the me-

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.

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. His accolades include the H.N. Werkman Prize (1993) for the design of the

TYPO MAGAZINE // SNØHETTA

Towards the end of 1989, moved Christoph , Craig and Elaine for sharing offices in Oslo. A limited company was established with eight equal partners. Kjetil Thorsen Traedal , Johan Østeng , Christoph Kapeller , Oyvind Mo, Craig Dykers , Per Morten Josefson , Martin Rubik and Alf Haukeland . The company changed its name to Snøhetta AS. Snøhetta has today two majority shareholders , Kjetil Thorsen and Craig Dykers . In addition, there are four additional owners, Robert Greenwood, Ole Gustavsen , Jenny B. Osuldsen and Tarald Lundevall . Over the past 10 years, Snøhetta won several major projects around the world, that scroll . National September 11 Memorial Pavilion in New York, SFMOMA , San Francisco, King Abdulaziz Centre for World Culture in Saudi Arabia , Times Square in New York and Busan Opera House in South Korea.

“Landscape architects”

Snøhetta architecture and landscape AS. The office was located in the attic of the “ brown “ licensed premises Dovrehallen and therefore they called Snøhetta . Snøhetta is the highest mountain , 2286 meters . , The massif Dovre In 1989 announced Snøhetta in the international architectural competition for the new library in Alexandria in Egypt. Kjetil Thorsen agreed with his partner, Øyvind Mo and his fellow student from Graz in Austria , Christoph Kapeller , that they should compete together. Because Christoph had moved to Los Angeles , they decided to rent an apartment and do the work there. Several architects were invited to participate in the competition work , Craig Dykers U.S. and Per Morten Josefson from Norway . The Norwegian artist , Jorunn Sannes , prepared the proposal for the exterior stone wall and the German art historian Cordula Mohr helped description . Competition The work was carried out during the 1:04 to 5:00 weeks and proved to be the winning project .

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S eg ize nøh ia e n th d tta N e b pl m y ’s at a io un ce es the pri na an iqu w tha ju zelO ry wi e hi t ly d n t l pe th co inn exp e a ie as nin ra sc at mp ova res lso the ha g d an fo ulp int lex tiv sio p bu vin es d th rm tur egr pr e. T n t res ild g s ign B si e c . Its al ate ogr he hat en ing tro wa al tin t ng s d a a le w lo on. ity p p m o l o g l r t c b p a y b its id ha ro ot in oje s ra bi Its rat w a th es a he sl ac h to ct in n r e a c cc r u er h a a d m u u nt c th ma es tha ng s e a n ltu ifi te an ke sib n fo to pra im vel ny usu re abl ra e l a rm m ct pl op w a a t sc he e ro div b ode ica e g ed ays l a nd n ul bu of isi ec lin l a en a ne d pt v a ur ildi and e s me g t nd eral hig w n h al h c i on g a bro ulp a l e e ntu pla n e. so ad, tur ink xte itive ci o al e w rio al pe x ith r m n pre in on pu s um bl en ic t

In 1987, specific landscape architects Johan Østeng , Berit Hartveit , Inge Dahlman and Alf Haukeland moving together with the architects Kjetil Thorsen Traedal and Øyvind Mo in a common office space in the main street of Oslo. The idea was that , in addition to sharing office would work across disciplines and the architecture and landscape together in a single design process . The company’s name was

TYPO MAGAZINE // ALEX TROCHUT

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Alex Trochut is a designer who goes by the statement: more is more. Alex is very skilled at typography and illustration projects. Because of this, he has achieved a Certificate of Excellence in Type Design. It should be noted that Alex has worked with a very high amount of well known clients. Just a few of these include Adidas, Nike, Johnnie Walker, Brittish Airways, Computer Arts, Top Shop and NetWork Magazine. The illustration Alex has produced hasa very cartoon style look about it. All illustrations look digitally enhanced in some way. The typography is impressive with the simple yet very effective approach. Such an example is the new lettering designed for the Cadbury’s logo. His website looks very simple on first appearance,

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trations— without the normal constraints when working with pieces of lead type, and according their little budgets.”  -

“I’d like to see the future, rather  “I think I had good teachers and than the past” good classmates.” Would you please tell us about your grandfather Joan Trochut’s SuperVeloz system?  This is a quote from Andreu Balius’ article that explains the SuperVeloz system:  “SuperTipo Veloz was created by Joan Trochut (1920-1980) and produced in 1942 by Fundición Tipografica Iranzo in Barcelona (Spain). It was a collection of combining figures that featured itself as an extraordinary type modular system.  Versatility of this system allowed printers develope their ideas — create logotypes, letterheads, characters, illus-

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I could share and learn many things at school. Experience is the best teacher in my opinion, so the deeper a teacher makes you go into your work and has the ability to see what the best thing to pull out of you the best you’ll get in your formation. But i totally think school is not the key, I think it’s more about your will to effort and mood for learning, than anything else.to have a fast preview of compsition and shapes, after that I use the computer.