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KAREL MARTENS
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graphic design: Stephanie Beukers paper: 160g color copy text: see soures font: Helvetica neue 9pt colour: magenta pms 187 C
In this edition of TYPO we will cover four new graphic designers. First out is the design group Serial cut then we have the famous Karel Martens, Milky Way Magnus Rakeng and creative Alex Trochut.
Serial cut Karel Martens Magnus Rakeng Alec Trochut
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SERIAL CUT
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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.
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SERIAL CUT
Visual culture. Insp iratio n com es from curre nt 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.
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re, ultu ur c and e o rts ies ar om a a r nd from str ct f ies t indu proje ook a n a l mp men ew he ll co rtain ach n nge t a sm nte ha re and or e ts; fo e to c g i B hion lien e lik Type reinforces the concept. fas ary c nt, w gn. e i bination prim n cli des e reat com rojects e g v a h i t re a g p l of nd type all the fee Image a ke to use on h y p la y s a n li p that we o n . Ty p o g r a product. rk nd w e w o t role in the e n a t impor
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KAREL MARTENS
The Dr A.H. Heineken Prize for Art 1996 was awarded to graphic designer Karel Martens for his entire oeuvre. SOURCE: INPUT SOURCE ILLUSTRATION: STEPHANIE BEUKERS
The committee responsible for awarding the Dr A.H. Heineken Prize for Art recognizes Karel Martens as a versatile designer who has created a firm niche for himself in graphic design in the Netherlands. His products are characterized by traditional workmanship and simplicity. Glamour is not his style - he prefers to exploit plain, honest techniques and materials, a feature which is always evident in his choice of paper, letter type, colour and format. At the same time, Martens enjoys the confrontation between form and contents which always results in an exciting product, bearing the hallmark of quality and care. Among his clients have been the publishers Van Loghum Slaterus (Arnhem) in the 1960s, and the SUN (Nijmegen) in the years 1975-81, PTT Nederland, and various government institutions. In 1993 Karel Martens was awarded the H.N. Werkman Prize for the design of the architectural magazine Oase. In 1996 he received the Dr A.H. Heineken Prize for Art; as part of this prize, a monograph on his work was published: Karel Martens: Printed Matter. His work has been nominated three times at the Design Prize Rotterdam: 1995, for the design of the standard series of telephone chip-cards for PTT Telecom (this received an honorary commendation); 1997, for the book Karel Martens: Printed Matter; 1999, for the design of the façade of the Veenman printing works at Ede. In 1998 at the Leipzig Book Fair, Karel Martens: Printed Matter was awarded the gold medal, as the best-designed book ‘in the whole world’. Over the years his books have featured regularly in the annual Best-Designed Dutch Books competition.
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Biography.Karel Martens (born 1939) finished as a student at the Arnhem School of Art in 1961. Since then he has worked as a freelance graphic designer, specializing in typography. Alongside this, he has always made free (non-commissioned) graphic and three-dimensional work. As well as designing books and other printed items, he has designed stamps and telephone cards. He has also designed signs and typographic façades for a number of buildings.Karel Martens has taught graphic design since 1977. His first appointment was at the Arnhem School of Art (until 1994). He was then attached to the Jan van Eyck Academie in Maastricht (1994-99). From 1997 he has been a visiting lecturer in the graphic design department at the School of Art, Yale University. In the same year, together with Wigger Bierma, he started the Typography Workshop for postgraduate education within the ArtEZ, Arnhem.
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KAREL MARTENS
KAREL MARTENS
NIET ZOALS BIJ FRIETEN MET MAYONAISE, DAT HET METEEN LEKKER IS DAT JE ER DAARNA BUIKPIJN VAN KRIJGT
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not like fries and mayo, pleasing you instantly but then causing stomach-aches
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MAGNUS RAKENG
MAGNUS RAKENG 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. SOURCE: INPUT SOURCE ILLUSTRATION: STEPHANIE BEUKERS
Magnus Rakeng ( 41 ) from Lillehammer driver Milky Way Design Office as with Birgitte Kolbeinsen and Stian Berger, and specializes in typography related jobs. He goes from one challenging task to the next in the graphic design industry.
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Many assignment. He has signed letters of Telenor, Canal Digital and Pristine logo, and behind album covers for artists such as The Cardigans, Anne Grethe Preuss and Hellbillies and book covers of the last Norwegian edition of Harry Potter and the coffee table book about Besseggen coming out recently.
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Logo Development. Rakeng specialty is developing logo and font design. When Dagbladet redesigned Friday and Sunday edition, Magnus Rakeng central. Pricing, he has received. Among other gold 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 of recent years.
HONORS 2011 Visuelt, Gold, Typeface for Canal Digital 2010 Visuelt, Nomination, typeface for statoil 2006 Visuelt, gold in Open class, typeface, Alwas bind 2006 Visuelt Silver in open class, logo and t-skjorter for the five teamleaders in Lille Tøen Girls 93 2005 Visuelt, Silver Redaksjonel design, Dagbladet FREDAG 2005 SND/S Brons, Dagbladet FREDAG
MAGNUS RAKENG
- 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 have a new graphic image, from letterheads to signs. For me it’s important to think about how people and employees to understand the company. - Replace it often, and 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 not strike you create an ? - When Telenor got new logo last time, there were many negative reactions afterwards, but gradually became more positive impression. 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 it is more important than for small ones. The logo must have character and tell what 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.
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- 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 ?
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ALEX TROCHUT
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"I need music to work, to make me put in some kind of loop to turn me more active."
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/ TYPO / CE
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ALEX TROCHUT