Slanted Magazine #16 – BOLD/LIGHT

is to tell the truth

joke in the world

My way of joking

That’s thE funniest

Editorial

6 × 3 Bold / LIGHT FAVORITES

BOLD ist das Gegenteil von verzagt. In der Typografie ein beliebtes Mittel der Hervorhebung.

LIGHT ist das Gegenteil von laut und großmäulig. Bei diesem Thema der Gegensätze kamen uns zunächst deutlich mehr laute, plakative Schriften, Arbeiten und Bilder in den Sinn als leise, zurückhaltende.

Uns prägt eine Zeit – plakativ und gewaltig in ihren Ereignissen – welche an uns vorbei rauscht und uns mitreißt. Den leisen Zwischentönen werden bei diesem rasanten Tempo wenig Aufmerksamkeit geschenkt.

Wie also inne halten, dem BOLD das LIGHT entgegen setzen? Der fließende, filmische Moment der Darstellung hat auch in dieser Ausgabe eine für uns besondere Bedeutung. Wir stören uns an einer linearen Vorstellung von Erzählung. Das Interessante bei einer rhythmischen Gegenüberstellung ist die dadurch verursachte Anstrengung. Das Vor und Zurück führt zu Entdeckungen, zufälligen Assoziationen und Parallelen. Verspielt ist das vielleicht auch. Auf jeden Fall ein Momentum, welches anregt, inne zu halten und einzutauchen.

Wir haben bestimmte gestalterische Entschei­dun­gen oder den Einsatz der Typografie bei der Zu­sam­ menstellung dieser Ausgabe bis weit an bestimmte Ränder getrieben. Diese Härten sind der Thematik geschuldet. Hier verhalten wir uns oft anders, als es etwa der Artikel »Randfiguren« von Reinhard Albers nahelegt – dessen Inhalt dadurch jedoch nicht weniger richtig ist. Im Gegenteil.

Brendan McKnight desktop mag (AU) Bold / Akzidenz Grotesk Extra Bold, FF Unit Slab Ultra, Futura Extra Bold Light / Archer Hairline, Avant Garde Gothic Extra Light, Gotham Thin

P. 4

Editorial

Typeset in Theinhardt Bold

Bei den Fotostrecken dieser Ausgabe haben wir schnell an Cassius Clay gedacht, der sich 1964 in Muhammad Ali umbenannte, einen der bedeutendsten Schwergewichtsboxer aller Zeiten. Die Fotos sind in Stein gemeißelte Ikonen. Dank Ken Johnston von Corbis können wir die Original-Manuskripte der Bildunterschriften reproduzieren – ein Genuss für Typografen.

Die Fotografin Mareike Foecking bezieht sich kritisch auf David Hamiltons »weich gespülte« und vermeintlich leichte Ästhetik, die dessen mehr als zweifelhafte Obsessionen überdeckt. Ihre Bilder stellen einen Gegenentwurf dar – siehe auch das Gespräch mit Michael Schmidt auf Seite 119.

Dass BOLD mitunter nur mit großartigen Partnern realisiert werden kann hat die Kooperation mit M-real Zanders Chromolux und dem Arbeitskreis Präge­folien Druck e.V. auf dem Cover gezeigt, oder die Unterstützung durch Papyrus mit einem Volumen­papier. Nicht nur diesen Unternehmen und deren tollen Mitarbeitern sei gedankt, sondern – wie bei jeder Ausgabe – ganz besonders denjenigen, die mit Ihren Beiträgen dafür gesorgt haben, dass dieses Magazin BOLD/LIGHT geworden ist.

Eure Slanted Redaktion

Simon Esterson eye (UK) Bold / Gill Kayo, Publico Headline Black, Univers 75 Light / Gill Sans Light, Publico Headline Light, Univers 45 Linda Kudrnovská TYPO Mag (CZ) Bold / Adelle Heavy, Corpulent, Klimax Plus Light / Archer Hairline, Kulturista Light, Tabac Sans Hair

Maxime Pintadu Nico (LU) Bold / Champion Gothic Heavyweight, Sauna Black, Utopia Black Light / Archer Thin, Avant Garde Gothic Extra Light, Code Pro Light Bettina Schulz Novum (DE) Bold / Braggadocio, Bureau Eagle, Chalet Tokyo Light / Frutiger Neue Ultra Light, Matryoshka XXS, Univers 47 Gerrit Terstiege form (CH) Bold / Garamond Bold, Stanford, typeface used for “2” on nimm2 packaging Light / Alegrette Script aka björk script, Dobra Light, NB Grotesk R-35

Type Essays

Typolyrics

Index

11—15 Jean François Porchez, Clamart (FR) Soulful Type

16 / 17 Horst Wöhrle, Esslingen (DE) Ultra 18—21 Reinhard Albers, Konstanz (DE) Randfiguren 22—24 Nanna Funke, Münster (DE) Es könnte so light sein …

Projekte

99—100 Ian Party, Lausanne (CH) 102 / 103 Ludwig Übele, Berlin (DE) 104 / 105 Eric Gill 106 / 107 Michael Horsham, London (UK) 108 / 109 Doug Wilson, Springfield MO (US)

Photography

110 / 111 Raffinerie AG für Gestaltung, Zurich (CH)

Fonts & Type labels

Content

Interviews & Reports

27—38, 40—43, 47, 50, 52 / 53, 56—58, 60—62, 64—67

44—49, 51, 54 / 55 Mareike Foecking, Düsseldorf (DE) we are such stuff as dreams are made on

10, 26, 67, 68, 70—73, 75, 76, 86, 94, 98, 118, 120, 128 UPI/Bettmann/Corbis Ali boma ye

69, 74, 77—85

Fontnames Illustrated

P. 6

94—97

86—93

112—114 Jost Hochuli, St.Gallen (CH) 115—117 Thomas Lupo, Weissach (DE) 118 Michael Schmidt, Munich (DE) 119 Mareike Foecking, Düsseldorf (DE) 121—126 Ian Lynam, Tokyo (JP) 127 Frank Wiedemann, Berlin (DE)

128—139

Publications

140—145

Imprint

146

UPI/Bettmann/Corbis

Type Essays

Soulful Type

So, with FF Angie in the early 90s, I have discovered that it can be practical and quicker to design extreme weights and create intermediate weights with the software Ikarus. It will be a method that I follow since this first design. Interestingly, when in 1994 I designed the Regular, then the Bold of Le Monde Sans for the newspaper of the same name, I was very surprised that in 1997, for the expansion of the family, the new Bold was much better: I started to scratch the weights

Type Essays

and the new details added to the design for this specific weight. José Mendoza’s design of his black titling typeface Sequana (1975) was another good example (2) because of the unique and simplified forms. The most extravagant was the fabulous Didonesque Stilla (3), designed by François Boltana in 1973 for Letraset. Stilla’s playful forms had indeed a major influence on my admiration of black weights during my curve learning years.

P. 11

Designing a black typeface is a very pleasant experience! I realized this when I started to expand my first typeface, FF Angie back in early 90s, based on Angie that was created following a traditional “non digital” method in 1989. I was influenced at that time by my reading about “Galliard story” (1). Matthew Carter designed it in 1978, using extreme weights as a starting point for what we describe as a “digital interpolation of the intermediate weights” with Ikarus software. A superposition of Galliard outlines was a fascinating vision as it showed how the shapes change, depending on the weights. His design of the black weight of Galliard is great. It’s sort of an exaggeration of the main features of the regular weights.

All together, it’s a very good way to understand easily the subtlety of the Regular compared to the Black.

Other designs, notably the ones by Hermann Zapf, have been, again, very interesting to me at that time for similar reasons: the exaggeration of the main features

Jean François Porchez Soulful Type — P. 129

By Jean François Porchez

Horst Wöhrle Ultra

P. 16

Type Essays

Horst Wöhrle Ultra — P. 129

Typeset in Theinhardt Hairline

Die ultrafette Gill als verwendete Schrift, wie auch der Slogan »Alle reden vom Wetter. Wir nicht.« auf dem heute so berühmten SDS (Sozialistischer Deutscher Studentenbund)-Plakat aus dem Jahre 1968, waren beide ultrafrech geklaut von einer damals auch grafisch Aufsehen erregenden Werbekampagne der Deutschen Bundesbahn – ultralinke Studenten der Stuttgarter Kunstakademie sorgten mit dem in Feuerrot in der Siebdruckwerkstatt der Akademie selbst gedruckten Plakat in jener unruhig bewegten Zeit für Furore. Statt der Schnee und Eis trotzenden Lokomotive des Originalplakats der Bundesbahn, hatten die Studenten Portraits von Marx, Engels und Lenin einmontiert. Heute befindet sich das Plakat als eine Art Bildikone der 68er-Bewegung im Haus der Geschichte in Bonn. Ultra war damals Zeitgeist. Willy Fleckhaus vom legendären twen war Vorreiter. Seine Typografie mit der ultraschmalfetten Schrift Headline, extrem eng gesetzt und mit extrem geringem Zeilenabstand, war Vorbild aller jungen Typografen. Auch oder gerade Schrift und ihre Anwendung, spiegelt den jeweiligen Zeitgeist wider. Der Schein trügt (nicht). In meinem Seminar »Information und grafische Praxis« für die Erstsemester des Studiengangs Kommunikationsdesign, habe ich zu Beginn des Unterrichts groß den Christian-Morgenstern-Spruch »Die Möwen sehen alle aus, als ob sie Emma hießen« an die Tafel geschrieben, als anschaulichen unkonventionellen Einstieg in die Themenbereiche Image, Erscheinungsbild und Corporate Design. Zwei chinesische Studentinnen beantworteten dann in der schriftlichen Diplomvorprüfung die Frage: »Was versteht man im Grafikdesign unter Image?« – übrigens beide wortgleich – mit »In Deutschland versteht man unter Image, wenn die Möwen alle aussehen, als ob sie Emma hießen« … Schein und Sein optimal in Deckung zu bringen, darum geht es bei der täglichen Arbeit des Grafikers, ein Erschei­ nungsbild im Rahmen eines bestimmten Firmenimages zu justieren.

Auch die Schrift und ihre Anwendung fügt sich da, im besten Falle, ein.

Schrift, die ja unabhängig vom rein Funktionellen immer einen ganz bestimmten Ausdruck (Semantik), ihre spezifische Ausstrahlung hat, will und soll zwar auch, wie bereits erwähnt, Zeitgeist ausdrücken. Andererseits soll gute innovative Typografie aus der Masse und ihrem Mittelmaß herausragen.

Ultra (bold / light) ist sicherlich nicht in jedem Fall das Nonplusultra, aber halt doch gelegentlich ein probates Mittel.

Probleme mit der Schrift … ?

Buchumschlag von Horst Wöhrle für die Publikation seines Unterrichtsinhalts »Schrift«, veröffentlicht im Rahmen der Reihe »WerkstattBuch«.

Werkstatt Plakat von Horst Wöhrle für eine Ausstellung der Werkstätten der Stuttgarter Akademie, bei der erstmals ausführlich die bewegte Geschichte des Werkstättenbereichs dokumentiert wurde. Leseschrift Rockwell Light, Schrift­schnipsel aus Rockwell Bold.

P. 17

Type Essays

Horst Wöhrle Ultra — P. 129

Der Schein trügt (nicht) Fotografie von Hans Martin Wörner mit einem im Original 50 × 70 cm großen Bild von Horst Wöhrle in einer Ausstellung.

Schrift: Schmalfette Büchergrotesk.

Der Geldschein ist echt.

Reinhard Albers Randfiguren

P. 18

Type Essays

Reinhard Albers Randfiguren — P. 129

Typeset in Akko Bold / Light

Die fetten und leichten Schriftschnitte begrenzen den Umfang gut ausgebauter Schriftfamilien. Wie bei uns Menschen weisen auch die Mitglieder einer Schrift­ familie, die Schriftschnitte, unterschiedliche Charaktereigenschaften auf.

Es finden sich neben den normalen auch schräge, laute, leise, schmale, breite, dicke, dünne, extro- und introvertierte Verwandte. Mit ihren individuellen Eigenschaften können sie durchaus polarisieren. Gemeinsam ist ihnen die Auf­ gabe, dass ihr Charakter als Werkzeug zur Erzielung sowohl einer optischen Wirkung als auch einer angemessenen, rhetorischen Aussagekraft in der typo­ grafischen Gestaltung dient. Große Wirkung geht besonders von den Randfiguren der Schriftfamilien aus, der Gruppe der Bold- und Lightschnitte.

In der Typografie wird zwischen ästhetischen und optischen Auszeichnungs­ formen unterschieden. Zu den ersteren gehören die kursiven, die Kapitälchen und die leichten Schnitte. Zu den optischen Formen zählen die kräftigeren, fetten Schnitte, beginnend mit Bold bis zu den Black-Formen. Ästhetische Auszeichnungsformen: Zu dieser Gruppe, die auch als integrierte Auszeichnungsform bezeichnet wird, gehören die Schnitte, welche erst im Leseprozess, also zum Zeitpunkt, wenn das Auge an die entsprechende Stelle trifft, deutlich erkannt werden. Es sind die unauffälligeren, leisen Schrifttypen.

Optische Auszeichnungsformen: Auch als aktive Auszeichnungsform bezeichnet.

Hierzu zählen die deutlichen, lauten Schnitte, die bereits in der Gesamtansicht der Seiten- und Textgestaltung erkannt werden und eindeutige Signale geben – »Hier steht etwas wichtiges«. Es sind die fetten Schnitte die einen ausdrucks­ starken, optischen Kontrast zur umgebenden Normal-Grundschrift bewirken.

Light und Bold Beide Schriftstile weichen im Duktus zum Normalschnitt nach unten (dünner) und nach oben (fetter) ab. Weitere Formen dieser Schriftschnittgruppen sind erkennbar an vorangestellten Prädikaten Ultra oder Extra wie zum Beispiel Ultra Light oder Extra Black. Die Namensgebung unterliegt dabei keinen fest­ gelegten Richtlinien, welche die Strichstärkendefinition, den Duktus, eines Schriftschnittes exakt bestimmen und eindeutig identifizieren lassen.

Somit kann jeder Schriftendesigner und auch Schriftenhersteller seine eigenen Vorstellungen von Bold und Light individuell bestimmen.

Kleiner typografisch-familiärer Exkurs: Schriftfamilie = Eine Ansammlung von Schriften mit gleichem Namen und verwandtem, unverkennbarem Grunddesign.

Schriftsippe = Ein Zusammenschluss mehrerer Schriftfamilien. Ein Beispiel: Die Familien der Rotis sind in einer Sippe zusammengefasst: Rotis Sans Serif (Serifenlos) – Rotis Serif (mit Serifen) – Rotis Semi Serif (mit reduzierter Serifenausstattung, meist halbseitig).

Schriftschnitt = Die einzelnen Mitglieder, Verwandten, einer Schriftfamilie. Seit Beginn der DTP-Technik auch als Schriftstil bezeichnet.

Ein Schriftschnitt bietet die Möglichkeit eine Satzarbeit auszuzeichnen. Darum trifft auch die Bezeichnung »Auszeichungsschrift« zu.

Wie viele andere Begriffe aus dem Typografie­ umfeld, stammt auch die Bezeichnung »Schnitt« noch aus der Bleisatzära. Die Buchstaben wurden in Metall geschnitten, eingraviert. Dies diente dann, in einem nächsten Arbeitsschritt, als Gussform für die Bleiletter.

Sinn und Zweck eines Schriftschnittes ist die rhetorische Visualisierung von Textaussagen. Dies wird durch einen kontrastierenden Duktus gegenüber dem in der Regel in Normal oder Regular gesetzten Grundtext bewirkt. Dazu muss bedacht werden, dass Kontrast entweder durch Größe oder einen kräftigeren Duktus als die umgebende »Grundschrift« entsteht. Eine leichte Strichstärke als Auszeichnung innerhalb eines in Normal gesetzten Textes wirkt zu schwach.

Darum brilliert Light eher durch Größe außerhalb des Grundtextes als eigen­ ständiges Textmodul, zum Beispiel in Funktion als Headline, Initial oder Zitat.

Eine Bold dagegen ist stärker als eine »normale« Grundschrift und hat genügend Kraft um auch in einer kleinen Grundschriftgröße, innerhalb einer NormalUmgebung, bestehen zu können.

Was kann Bold?

schriftschnitt stricHstärke

stricHbreite

stricHLAGe

Helvetica Thin Helvetica Light Helvetica Roman helvetica Bold Helvetica Heavy helvetica Black

Condensed Normal Extended

Normal Kursiv

Zur Schriftfamilie gehören alle Fonts, die gleiche Designmerkmale aufweisen und denselben Namen tragen. Sie kann eine unbegrenzte Zahl an Mitgliedern aufnehmen – die Schriftschnitte oder Schriftstile. Die Schriftschnitte unterscheiden sich durch Strichstärke, -breite und -lage.

Dieser Unterschied äußert sich im jeweiligen Namenszusatz.

Seite 19 unten: Am Beispiel der Helvetica Bold Italic: Familienname = Helvetica; Strichstärke = Bold; Strichlage = Italic.

Type Essays

schriftfamilie

P. 19

Um ein Wort oder eine kleine Textpassage innerhalb des Grundtextes deutlich abheben zu können, bedarf es nur des Wechsels nach Bold. Eine zusätzliche Schrift­graderhöhung ist nicht notwendig und wäre ästhetisch gesehen schwierig, weil dadurch der Zeilenabstand möglicherweise unharmonisch verändert werden muss. Bold fällt auf, weil der Grauwert des Grundtextes unterbrochen wird. Wird allerdings der Boldschnitt zu häufig eingesetzt, entsteht optisches Chaos. Der Leser wird abgelenkt, mitunter irregeführt durch immer wieder neue Blickfänge. Mögliche Auswirkung: Er verliert die Lust am Weiterlesen und verlässt die Seite. Oder: Werden umfangreiche Textpassagen in Bold gesetzt, kann von einem hellen und als angenehm empfundenen Grauwert keine Rede mehr sein – die Seite wirkt schwarz.

Wird es dennoch notwendig, größere Textzusammenhänge in einem fetten Duktus gestalten zu müssen, empfiehlt sich der Einsatz von Farbe. Anders wie bei manch dünneren Schriftstilen verträgt ein Boldschnitt hervorragend Farbe.

Ja, sie tut ihm sogar gut. Das visuell stark hervortretende Schwarz wird durch Farbe abgeschwächt. Die Bold verliert deswegen nicht ihre »laute« Stimme, sondern sie bekommt einen »freundlicheren« Ton. Bold ist anspruchslos, wenn es um die Wahl der Bedruckstoffe geht. Besonders auf Kunststoffen oder Textilien ist Bold der geeignetere Schriftstil. Bei Papier ­ ist Vorsicht geboten, wenn die Grammatur zu dünn oder die Opazität zu transparent ist. Hier besteht die Gefahr des Durchscheinens, was sich als störend und lesehemmend, in erster Linie bei beidseitig bedruckten Seiten, auswirkt.

Reinhard Albers Randfiguren — P. 129

— Bold funktioniert in kleinen Schriftgraden — Bold verträgt gut Farbe — Bold kann mit vielen Bedruckstoffen kooperieren

Typeset in Monopol Bold Nanna Funke Es könnte so light sein ...

— P. 129 Type Essays P. 22

Nanna Funke – Es könnte so light sein ...

Als Kinder trug man uns huckepack, sprach uns vor, ent­­schied für uns und meinte es gut. Eine wunderbar un­ beschwerte Zeit. Die Industrie samt Werbebranche hat das verstanden. In der Rolle der Folgeeltern mit Folgemilch meinen sie es professionell besser. Gekonnt nehmen sie uns auf den Arm, fällen und diktieren Entscheidungen für uns. Nur vom uneingeschränkten Vertrauen bleibt wenig.

Manipulation ist anstrengend und teuer. Jährlich verschlingt die geplante Sorglosigkeit Millionenetats und speist die Marketing-Trickkisten. Aktuelle Lieblingsstrategie: »Die neue Unklarlight« oder »Das Märchen von der Direkten Rede«. Ein talentierter Hersteller verkauft erst die heiße Herdplatte, dann die Wund- und Brandsalbe – Qualität, von der wir uns selbst überzeugen können. »Mehr, mehr!«, rufen wir vergnügt. Es funktioniert. Auch das haben Industrie und Werbebranche längst verstanden.

Menschen lassen sich gern umgarnen, einwickeln und von glänzenden Worthülsen gefangen nehmen. Die neue »Unklarlight«. Auf dem Zeugnis steht: »Er hat sich bemüht, die ihm übertragenen Aufgaben zu unserer Zufriedenheit zu erledigen.« Die Light-Variante des eigentlich Gemeinten liegt erst nach dem Googlen schwer im Magen. Und was

P. 23

Type Essays

Nanna Funke Es könnte so light sein ...

— P. 129

sagen wir, die »Betroffenen« dazu? »Vermeintlicher Spiel­ raum ist besser als gar keiner«, das zumindest sagen wir laut Marktforschungsstudie. Na also! Der Bitte nach mehr Transparenz entsprechen die Macher postwendend mit noch breiigeren Begriffen und lassen Werbetexter Superlative aneinander reihen, bis der Konkurrenz die Puste ausgeht.

Männercremes »für den sportlich, eleganten Männerkörper« oder »für den anspruchsvollen Mann, zu dessen Selbst­ verständnis es gehört, attraktiv gepflegt zu sein«, werden zu Verkaufsschlagern. Dem Sinuskurven-Prinzip folgend, dürfte auf die Flut die Ebbe folgen. Mein Vorschlag für die neue Bestsellergeneration: Herrencremes mit knapper Testosteronangabe statt ellenlangem Schwurbelnonsens.

Auf dem Tiegel stünde »5% T« (Zielgruppe: Kinder und absolute Weicheier), »25% T« (Zielgruppe: Jungs und pflege­leichte Nerds), »50% T« (Zielgruppe: Durchschnitts­mann), »75% T« (Zielgruppe: Handwerker und Bauarbeiter) oder »100% T« (reines Melkfett) für Männer, die sich’s eh in die Haare schmieren. Bleibt die Frage, ob unsere metro­sexuellen Männerzüchtungen damit noch zu befriedigen sind. Abspecken ist in vielen Bereichen denkbar, auch in den Klassifizierungen von Schriftschnitten. Statt »XY extra ultra mini light« könnte es heißen »XY -90%« oder an Stelle von »XY mega maxi

UPI/Bettmann/Corbis

Projects

P. 27

Projects

Jeff Nishinaka Tiger Mask — P. 129

P. 28

Projects

After round four

Bureau Mirko Borsche Black in Dark — P. 129

don’t block the door For y’all may go home Don’t block the halls And

When you come to the fight

P. 29

Projects

Ivana Brajdic Walk the line — P. 129

P. 36

Projects

Megi Zumstein, Claudio Barandun Make Up — P. 130

P. 37

Projects

Benjamin Berndt Mag Design — P. 130

P. 40

Projects

Luis Dourado Domains — P. 131

P. 41

Sting like

Projects

Oskar Glemme Even if you’re never awake — P. 131

A butterfly

a bee Float like

Mareike Foecking

P. 46

Photography

Mareike Foecking — P. 133

we are such stuff as dreams are made on

64. Frühjahrstagung des INMM 7. — 10. April 2010 in Darmstadt

Förderer Der Beauftragte der Bundesregierung für Kultur und Medien Hessisches Ministerium für Wissenschaft und Kunst Wissenschaftsstadt Darmstadt Darmstädter Förderkreis Kultur Sparkasse Darmstadt Ernst-von-Siemens-Musikstiftung Maria-Strecker-Daelen-Stiftung Evangelische Kirche in Hessen und Nassau

Wolfgang Rihm Manos Tsangaris Ralf Kohler Wolfgang Lessing Jörg Mainka Regine Elzenheimer Jens Schroth Ulrich Mosch Albrecht Wellmer José M. Sánchez Verdú Anna Huber Carola Bauckholt Christa Brüstle Stephanie Schrödter Julia Spinola Sabine Akiko Ahrendt Angie Hiesl Neue Vocalsolisten Stuttgart u.v.a.

Projects P. 47

www.hslu.ch/design-kunst

Mit

2xGoldstein

Aktuelle Informationen erhalten Sie ab Januar 2010 unter: www.neue-musik.org oder direkt beim INMM – Institut für Neue Musik und Musikerziehung Darmstadt Olbrichweg 15 64287 Darmstadt Tel. 06151.46667 Fax 06151.46647

Neue Musik in Bewegung: Musik– und Tanztheater heute

2xGoldstein INMM Poster — P. 131

t frei !

Raffael Stüken Ruhrpott Battle — P. 131

trit

Marlon Ilg, Simon Trüb Werkschau Fachklasse Grafik — P. 131

Ein

FACHKLASSE GRAFIK RÖSSLIGASSE 12 6000 LUZERN 5

Stephan Bundi Ezio Poster — P. 131

11. – 14. JULI 2009 SAMSTAG, SONNTAG 10. 00 – 18. 00 Uhr MONTAG, DIENSTAG 10. 00 – 20. 00 Uhr

P. 48

Photography

Mareike Foecking — P. 133

P. 49

Photography

Mareike Foecking — P. 133

P. 56

Projects

Alex Trochut MTV & 55DSL — P. 132

P. 57

Projects

Pierre Vanni Play It Yourself — P. 132

P. 60

Projects

Alex Trochut V Magazine — P. 132

P. 61

as great

Projects

Ursula Hitz Map of New York — P. 132

when you’re

as I aM It’s hard to be humble

George thinks he will

Projects

but I know he won’t

Sabine Zentek Eine Hommage an Christoph Schlingensief — P. 133

now you don’t

P. 66

Now you see me

P. 67

Photography

UPI/Bettmann/Corbis Ali boma ye — P. 133

Ali boma ye /

UPI/Bettmann/Corbis

Fonts & Typelabels

P. 69

Fonts & Typelabels

Julien Gionis AFEX BOX — P. 133

P. 71

Photography

UPI/Bettmann/Corbis Ali boma ye — P. 133

extra

großzügig

fett

schwarz

massig kontrastierende prächtig SCHwerwiegend

P. 74

Fonts & Typelabels

Hubert Jocham Matrona — P. 133

fashionabLe

P. 75

Photography

Donald L. Robinson UPI/Bettmann/Corbis Ali boma ye — P. 133

P. 80

Fonts & Typelabels

Ryoichi Tsunekawa Dimensions — P. 135

P. 81

Fonts & Typelabels

Erik van Blokland Eames Century Modern — P. 136

Melle Diete Gingar — P. 135

Analog &Digital Martin Wenzel RealistWide — P. 135

Ondrej Jób Klimax Std — P. 135

P. 82

Fonts & Typelabels

Tomas Brousil Monopol — P. 136

P. 83

Fonts & Typelabels

Jean François Porchez Ambroise — P. 129

UPI/Bettmann/Corbis

Fontnames Illustrated

Bolight!

P. 87

Fontnames Illustrated

Raban Ruddigkeit

Raban Ruddigkeit Bolight!

— P. 137

Doch glücklicherweise gibt es dieses Magazin, das mit jeder Ausgabe einige neue Facetten dieser unheimlich lebendigen Kunst vorstellt.

Dafür sage ich zwischendurch einfach mal Danke!

So mixen sich Illu und Streetart, Zeichnung und Grafikdesign und manchmal sogar Kunst und Kommerz. In diesen interdisziplinären Ansätzen vermute ich auch die meisten Spiel- und Freiräume in der Zukunft. Denn obwohl es immer mehr Illustratoren zu geben scheint, so gibt es doch auf der anderen Seite immer weniger klassische Medien, die bereit oder in der Lage sind, diese auch zu fördern oder wenigstens zu publizieren.

Für diese Ausgabe der “Fontnames illustrated” habe ich einige junge Talente gebeten, die Schriftnamen zwischen Bold und Light zu inter­ pretieren. Denn der Boom der Illustration hält an, die Sprachenvielfalt wächst und die Genres beginnen längst, sich zu überwuchern.

44flavours Antique Olive Nord — P. 137

P. 89

Fontnames Illustrated

Anne Baier Kayo — P. 137

P. 90

Fontnames Illustrated

Luis Dourado Flat Mammoth — P. 137

Bene Rohlmann Headline — P. 137

P. 91

Fontnames Illustrated

Heiko Windisch Klimax Plus — P. 137

Maurice van Brast Block — P. 137

UPI/Bettmann/Corbis

TypoLyrics

P. 95

TypoLyrics

Philippe Nicolas Thin Air — P. 138

Font: Tubular Font Design: Philippe Nicolas

UPI/Bettmann/Corbis

Interviews

99

Typeset in Theinhardt Thin

we do believe we are profoundly Swiss in our references, our approach and our style

Ian Party, born in Lausanne in 1977, lives and works in Lausanne, Switzerland, as a type designer. He founded b+p swiss typefaces together with Maxime Buechi and has designed the popular ultra condensed typeface SangBleu BP condensed for the same named magazine. He also teaches type design at ECAL, Lausanne. Lars Harmsen conducted an interview with him via skype in October 2011.

Lars Harmsen: How did you become a graphic designer?

For several reasons. In six years running the foundry, our per­Ian Party: When I was young I started making models. I liked spective evolved. We had started with mainly creative ambitions, making them exactly according to how they looked on the box, but we soon realized that it was also a trade and that marketing and following the instructions and painting them precisely. My younger finances were part of it too. The name change is a statement brother was already an artist, always drawing pictures. I started drawing because we do believe we are profoundly Swiss in our references, with him and then at fourteen, I started writing graffiti. I decided our approach and our style and we wanted to make a statement. But that I wanted to link that with art and started an introductory program it is also a marketing move. We needed something catchier. Like at Art school. I had a really interesting, good teacher named Bavot. a tagline. “swiss typefaces” is straight forward. We are the only Swiss He was a type designer, but he mostly designed logotypes. He was a based foundry making full-on commercial jobs, so we thought we really good designer for this kind of lettering. had the right to (There is Dalton-Maag, but it is not Swiss-based). : Is he still teaching? : What is explicitly Swiss about your typefaces?

I don’t think so he is too old now. While I was at this school, Unlike the Dutch one, it is difficult to say what is the Swiss. In with this teacher who eventually taught me a lot about the profession many, the Swiss type design history doesn’t really exist. Helvetica is not of graphic design I started to think, okay I can be a graphic designer, Swiss, it is a German grotesque. Frutiger is Swiss but he was working I had the feeling it was the right thing for me. I wanted to enter the from France, and the Frutiger is a typical French style typeface if you ECAL, my parents wanted me to look at the history of type-design in find a job and start earning money, the 30s. Geographically, culturally, not start new studies. politically, it is at the crossing of : To do something more “serious?” many influences and in the same (Laughs) way, Switzerland’s typographic Yes exactly. They said, “You history is a happy collision of indican’t just stay at home and do your viduals, and artistic currents from own thing. We don’t want to pay all kinds of places. But still, we for you your whole life.” I was ninecould try and define it as a mix of teen. I found an apprenticeship German grotesque tradition and as a sign painter. It was supposed French tradition, especially the preto last four years but I was able moder­nist French tradition like Le to do it in three having come from Romain de Roi, Fournier and Didot art school. My master was unusual with their really strong structures. because he really wanted me Swiss designers blended these to do an old style apprenticeship. main fluxes into a unique style.

Working the real good old way, Romain BP Text and Romain BP Headline : Two of your fonts, Romain BP really hard, really intense, to paint Romain BP comes in two different series. and SangBleu BP are based on, letters on walls all day, not directly The text version comes in two weights, or refer to, historical models. What onto stickers. I learnt how to regular and bold, with both italic and small caps included. particular interest did you have draw every single letter in several The headline version comes in three weights, towards the historical typefaces? fonts and paint them. It forged regular, bold, and black, all with italics.

I wanted to travel back in my love for drawing letters. When time and look for the origin of my I finished the apprenticeship I shapes. Part of the origin of Swiss worked at a cinema, I was no longer living with my parents so I could Modernism was France in the seventeenth century. The Romain de do what I wanted. I decided to apply to the ECAL, I was accepted Roi typeface is one of the first modernist projects, it’s an interesting there, and that’s where I met François Rappo. paradigm of trying to understand this kind of knowledge and way : François Rappo must have been surprised by your skills in calligraphy. of thinking. The Romain BP is not a revival, it uses a peculiar structure It was not calligraphy because as a sign painter you don’t really from the Romain de Roi general model. This was a way of traveling learn that. You learn how to draw letters without knowing the exact into history, to find an answer to the question of what a Swiss typeface story behind the shapes, the styles. You will learn their contour though. is. Maybe all Swiss typefaces start with Romain de Roi? It may not Every single detail of their design. I didn’t really learn calligraphy with be the truth but that’s how I answer the question and in fact the SangFrançois Rappo either, actually. He is largely self-taught, and calligraphy Bleu is just the Romain Ultra Light. is not his thing. Twenty to thirty years ago all the students had to : Did you design the SangBleu family for SangBleu Magazine? know about calligraphy but not anymore.

Yes, it was another version of Romain. The magazine used : Did you bump into Maxime Buechi at the ECAL and then start B&P? Romain but Maxime asked me to make an ultra-light version of it.

I met Maxime when I was fourteen, we had a graffiti crew : It consists of four serif styles and five corresponding sans-serif together. I’ve known him for twenty years now, he’s an old friend. We styles, as well as an edition of very ultra-light, condensed cuts. This cut are like a really old couple. (Laughs) looks very different from the others. : When you started your type foundry was there a certain style that Yes, it is a completely different design. The ultra-light version you had in mind to become distinctive from other foundries? origins from Frutiger’s Univers. It is the missing link. It existed in Not really. At the beginning the goal was to be independent the plan but nobody had done it. It is an ultra-light-condensed version and to do what we wanted, when we wanted. We knew very little about of Univers with some little adjustments but that’s it. Maxime asked the type-world and type-business. Our main inspiration was probably me specifically for this typeface. He said, “Okay, I really need an ultra the independent type label Optimo because David Rust and Gilles condensed version. I tried to use Univers but it doesn’t work and Gavillet came from the ECAL too. We liked their vision and they were it’s not condensed enough, not light enough.” So I made it for this successful business-wise. It is a good feeling to do your own stuff, specific purpose. and that independence was massively valorized at the ECAL. Plus that : So why is it part of the SangBleu family and not presented sepawas already our mentality since the graffiti days. So everything we rately? ever did was self-initiated and controlled like SangBleu.

For me a family is not always a group of typefaces that have : In 2005 you started using the name B&P Type Foundry. Why did you the same construction and links. For me a family is a group of change the name to b+p swiss typefaces so quickly? typefaces that work together. The SangBleu typeface made us realize

112

Interviews

Down

with

Dogma

Jost Hochuli lernte bei Adrian Frutiger in Paris, hatte ab 1959 sein eigenes Atelier für Industriegrafik und Buchgestaltung in St.Gallen. Er war Mitbegründer und Präsident der genossenschaftlichen Verlagsgemeinschaft St.Gallen (VGS) und lehrte 29 Jahre lang Schriftschreiben, Schriftzeichnen und Typografie.

Julia Kahl hat Jost Hochuli zu einem Interview auf der TYPO Berlin im Mai 2011 getroffen und ihn befragt, was es mit der Schweizer Typografie auf sich hat.

Julia Kahl: Sie haben gestern in der TYPO Hall vor ca. 800 Leuten geschrieben hat, z.B.: »Aufklärung ist der Ausgang des Menschen einen Vortrag mit dem Titel »Bauhaus, Zürich, Basel und einiges aus seiner selbstverschuldeten Unmündigkeit« oder »Wage zu denken« daneben« gehalten und Ihre Zuhörer über den, wie Sie selbst sagen, (im Sinne von: Wage selbst zu denken). verwirrenden Begriff der Schweizer Typografie aufgeklärt. Neben : Sie haben ihren Vortrag auch mit dem Screen “Down with Dogma” Max Bill, Richard Paul Lohse oder Emil Ruder, deren Arbeiten unter beendet. Inwiefern lässt sich das auf das Grafikdesign der heutigen diesen Begriff fallen, gab es durchaus auch andere Personen zu Schweiz übertragen? dieser Zeit, die tolle Gestalter waren, die aber kaum jemand kennt.

Es gibt noch Leute, die so arbeiten wie sie es vor fünfzig Warum, denken Sie, ist das so?

Jahren bei Emil Ruder oder bei Jost Hochuli: Das Beispiel anderen gelernt haben. Es gibt von Gauchat finde ich bezeichauch von mir Arbeiten, der man nend. Es gibt ein umfangreiches die Verwurzelung in der Schweizer Buch von Richard Hollis, welches Typografie durchaus ansieht. unter anderem zwei Arbeiten Die hat ja auch ihr Gutes gehabt: von Gauchat aus den 30er-Jahren Man hat gelernt, mit der vorhan­­enthält. Gauchat war einer jener denen Fläche und dem zur Grafiker, von denen wir in der Verfügung stehenden Text formal Schweiz vor, während und nach bewusst umzugehen. dem Krieg etliche hatten: Die : Zu dieser Zeit schlug man sich meisten kamen vom Zeichnen und typografisch gesehen auf eine Malen her, waren eigentlich KünstSeite: Entweder man entschied ler. Gauchat war ein guter Zeichsich für die Univers oder für ner, er hat großartige Lithografien die Neue Haas Grotesk. Etwas gemacht – daneben aber auch dazwischen gab es kaum. Sie strenge Industriegrafik. Nach dem waren Anhänger der Univers. Hat Krieg hat er für die Olma, die sich das durch Ihr ganzes Leben Ostschweizerische land- und milchgezogen? Oder haben Sie ­wirtschaftliche Ausstellung ein auch andere Schriften, außer der Plakat mit dem schwarzen Kopf Univers, verwendet? einer Kuh geschaffen – eine Ja, natürlich. hervorragende Leistung. Aber sie : Wann kam der Zeitpunkt, an dem zählt im engeren Sinn nicht zur Sie auch andere Schriften eingeSwiss Typography, (oder zum Swiss setzt haben?

Graphic Design) obwohl die Arbeit Ich habe in den ersten in den 50er Jahren entstand. Meine Jahren, als Univers und Haas Aussage ist die: Alle Bücher, die Grotesk etwa gleichzeitig auf den sich mit der Moderne in Typografie Markt gekommen waren, die und Grafik beschäftigen – auch Univers gegenüber der Haas Robin Kinross’ Modern Typography – Grotesk verteidigt, die ich plump schauen auf einen relativ schmalen und banal fand. Die Univers Kanal. Wenn irgendjemand nicht schien mir dagegen zwar kraftvoll, nach der reinen Dogmatik arbeiaber auch elegant – und im tet – da kann eine Arbeit noch so damaligen Umfeld wirklich etwas gut sein – dann fällt sie durch Spezielles, Neues. Mein Freund das Sieb.

Marcus Gossolt (Hrsg.): sicht bar.

Rudolf Hostettler, während 30 : Das Buch von Richard Hollis heißt 19 Installationen und eine Performance im Kunstraum Romanshorn.

Jahren Hauptredakteur der Schweizer Grafik?

St.Gallen, 1996 Typografischen Monatsblätter, TM Ja, Schweizer Grafik, mit (dem ich vieles zu verdanken habe), dem Untertitel Die Entwicklung hat sich von allem Anfang an für eines internationalen Stils 1920–1965. Und Gauchats Arbeiten – die Univers eingesetzt. Das hat mich natürlich beeinflusst. Hostettler er ist bereits 1956 gestorben – stammen aus dieser Zeit. Die Arbeiten hat sehr schöne asymmetrische, zu gleicher Zeit für belletristische des Typografen Theo Frey, der nach dem Krieg tätig war, hat man und wissenschaftliche Publikationen aber auch klassisch mittelaxiale überhaupt nicht gekannt. Sie sind zwar ohne die dogmatische Schwei- Typografie gemacht. Auch das hat mich beeinflusst – ich setze die zer Typografie nicht denkbar, aber er hat etwas anderes, etwas beiden grundsätzlichen Gestaltungsmöglichkeiten ebenfalls nebeneisehr Persönliches daraus gemacht. nander ein, und wenn ich es passend finde, dann mische ich sie. Ich : Das heißt, man könnte sagen, dass Gauchat und Theo Frey relativ habe einfach immer auf den Inhalt geschaut und mich gefragt, wie unbekannt geblieben sind, weil sie nicht in diesen »Kanal« passten? bringe ich diesen herüber, so wie er nach meiner Meinung herüberSie haben nicht den internationalen Ruf erhalten. Und das ist gebracht werden sollte. Da habe ich natürlich sehr schnell gemerkt, sicher auch auf anderen Gebieten so, z. B. in der Architektur und in dass gewisse Texte – vor allem stark strukturierte und detailreiche der Literatur. Leute, die in dieser Zeit nicht dem Mainstream folgten, wissenschaftliche Arbeiten – mit dem, was ich gelernt hatte, nicht zu aber trotzdem etwas Gutes gemacht haben, werden leicht vergessen. bewältigen sind. Das kriegen Sie mit einer Serifenlosen einfach nicht “Down with Dogma” – eine Ansicht, die ich mit Vehemenz vertrete. hin! Sie kriegen es auch nicht hin, wenn Sie stur symmetrisch arbeiten All diese Einschränkungen, religiöse und politische und eben auch sol­ oder stur asymmetrisch. Rudolf Hostettler hat nie über das Problem che auf dem Gebiet des Design, habe ich nicht gern. Vor kurzem habe geschrieben, er hat auch eigentlich nie darüber gesprochen. Als ich ich die Hugh Bar Nisbetts neue Lessing-Biografie gelesen, dessen ganz am Anfang meiner selbständigen Tätigkeit ein reich strukturiertes beherrschendes Lebensthema der Zweifel ist. Lessing hat an allem — medizinwissenschaftliches Werk gestalten sollte, war ich mit dem, geglaubt, was ihm die Kirche vorsetzte. Auf ihn trifft vieles zu, was was ich während der Lehrzeit und aus den TM gelernt hatte, hilflos. Ich Kant in seinem Aufsatz »Beantwortung der Frage, was ist Aufklärung« besuchte Hostettler und bat ihn um Rat. Er öffnete eine Schublade

113

Jost Hochuli

P. 139

und entnahm ihr eine Reihe von medizinhistorischen Arbei­ten und sich Grafiker genannt. Ich habe dann zuerst beim Typo­ (»Hubers Klassiker der Medizin und Naturwissenschaften«). grafen Rudolf Hostettler in der damaligen Druckerei Zollikofer Das hatte nichts mit Schweizer Typografie zu tun. Aber es war ein Jahr lang volontiert, weil mich Schrift besonders inter­ übersichtlich und hat funktioniert. essiert hat. Dann merkte ich, dass ich keine Ahnung von der : Swiss Typography – ich finde der Begriff lässt sich manchmal Technik hatte. Und darum habe ich schließlich eine Setzer­ heutzutage gar nicht mehr richtig der Schweiz zuordnen ... lehre gemacht. Die konnte ich in zweieinhalb statt in vier Ja – das ist lange vorbei!

Jahren absolvieren. Mit Mittelschule war das möglich. : Es wird so oft von Schweizer Typografie gesprochen und : Es hat sich seitdem in der Technologie sehr viel verändert – dann stellt man fest, dass die Gestaltung aus einer ganz an­ es hat sich eigentlich alles verändert. deren geografischen Ecke kommt.

Technisch alles, man kann gar nichts mehr brauchen.

Ich weiß nicht, wer den Begriff International Style : Grundlegend eigentlich. Ob man es nicht brauchen kann, geprägt hat; jedenfalls verwendet ihn Richard Hollis im Titel das glaube ich nicht. seines Buches. Schon in den 50er-Jahren hat man in England Ein gewisses Feeling, für Abstände z.B., hat man schon und Deutschland Swiss Typography gemacht. Während erhalten – und behalten. meiner Lehrzeit, in der zweiten Hälfte der 50er-Jahre haben : Aber wie ist es denn jetzt heutzutage? Sie haben gerade junge deutsche Setzer Arbeit in der Schweiz gesucht. Die gesagt, dass Sie aktuell eine Schrift machen? haben gemerkt, dass da etwas Neues kommt.

Ja. : Unsere aktuelle Slanted Ausgabe beschäftigt sich mit aktuel­ : Sie haben sich da komplett über die Jahre auch richtig in die len Schriftentwürfen in der Tradition der amerikanischen, Neo- ganzen Programme eingearbeitet? oder geometrischen Grotesk mit Zitaten zu Grotesk-Schriften, Nein. Ich habe 1980 von Günther Gerhard Lange also mit Neuinterpretationen. Kennen Sie derartige Schriften? den Auftrag erhalten, eine Buchschrift zu entwerfen, etwa im Ich kann mich im Moment an keinen Namen erinnern.

Stil Barock-Antiqua. Der von mir vorgeschlagene und von Ich bin selbst an einer neuen Serifenlosen, die aber himmel­ Berthold akzeptierte Name war Vadiana (das ist der Name der weit von einer Helvetica weg ist. humanistischen ehemaligen Stadt-, jetzt Kantonsbibliothek). : Sie haben eine Ausbildung Dann haben wir einen Vertrag zum Setzer gemacht und geschlossen. Geld bekommen später studiert? hat man erst, wenn die Schrift Studiert hat man damals verkauft wurde. Man ist im in der Schweiz nicht. Ich war Grunde finanziell ausgeliefert an der Ecole Estienne. Da war gewesen. Da ich Familie hatte man aber kein Student, son­ und verdienen musste, arbei­ dern Schüler. Wir haben in der tete ich in der Freizeit. Als ich Schweiz immer gelacht, wenn etwa drei Jahre daran gearbei­ uns deutsche Grafiker gesagt tet hatte und Berthold bereits haben, sie hätten Graphic begann, die Rein­zeichnungen Design dort und dort studiert. zu erstellen, gefiel mir die In der Schweiz hielt man Grafik Schrift nicht mehr, und ich hör­ für eine Handwerk, das gelernt te auf. Ich schrieb das Günther sein will – Köpfchen hat man Gerhard Lange und machte trotzdem gebraucht, auch ohne ihm statt dessen den Vorschlag, zu studieren. auf eine Idee zurückzugreifen, : Sagt man das in der Schweiz die schon Jan van Krimpen allgemein nicht? in den 1930er-Jahren hatte, Nein. Das heißt, jetzt nämlich eine Schriftsippe und fängt der Blödsinn auch an! nicht nur eine Schriftfamilie Jetzt haben sie Fachhochschu­ zu entwerfen. Er hatte zu len – aber sie können kaum seiner klassischen Buchschrift Epitaph für Rudolf Hostettler. einen anständigen deutschen Romulus noch eine Serifenlose Doppelseite, Serie Typotron 1, St.Gallen, 1983 Satz schreiben. Und die Lehrer, angedacht, den Plan aber nicht Professoren, haben ebensolche weiter verfolgt. Hostettler Mühe mit der sprachlichen hat mich seinerzeit darauf hin­ Formulierung. Wer aber sprachlich unsauber formuliert, hat gewiesen; mir hat das als Idee immer imponiert. Ich schrieb vorher auch nicht sauber gedacht. Das ist zum Kotzen.

Günther Gerhard Lange einen Brief, erzählte ihm von der Idee Dieser ganze aufgeblasene Designballon – ich hasse den wie van Krimpens und dass ich gerne so etwas mit drei verschie­ die Pest. Ein kleines Beispiel: Heute schreiben alle kristaldenen Schriftenfamilien versuchen wolle: eine klassische lin – eine kristalline Lösung. Aber kristallin heißt: aus vielen Buchschrift, eine Serifenlose und eine Serifenbetonte. Und kleinen Kristallen bestehend. Der richtige Ausdruck wäre: ich hab dann im 16-Punkt-Grad drei A4-Blätter auf Plandruck­ eine kristallene Lösung. Doch es tönt halt so schön: kristalpapier gezeichnet, mit allen Glyphen, Versalien, Gemeine, lin ... Oder der blöde Ausdruck Design-Philosophy. Was ist Kapitälchen 2 Sorten Ziffern, allen Satzzeichen und Spezial­ Philosophie? Philosophie, das sind die letzten Fragen, die die zeichen, je recte und kursiv Menschheit beschäftigen: »Woher komme ich? Wohin gehe : In 16 Punkt? Das ist ja winzig! ich? Wer bin ich?« Paul Rand hat in den 50er-Jahren einen Ja, so zweieinhalb Millimeter Mittellängen. Da sind Aufsatz geschrieben, “Thoughts on Typography”. Das ist es! sie ganz begeistert gewesen und haben gesagt: »Ja, werden Er hat sich Gedanken gemacht über seine Arbeit. Hermann wir machen.« Und wir waren bereits wieder bei den ersten Zapf, Adrian Frutiger und Emil Ruder haben sich Gedanken Reinzeichnungen – aber da kam, 1989, die Rotis heraus (von gemacht über das Type Design und über Buchgestaltung. der wir natürlich nichts gewusst haben). Da war die Sache Ist das zu wenig? Das hat doch zum Teufel nichts mit Philo­ für mich erledigt, zum zweiten Mal. sophie zu tun! Aber dann schreiben sie: “XY and his design : Weil die Rotis früher da war. Was war dann mit Ihrer Schrift? philosophy”. Das ist gedankenloses Design-Geschwätz.

Nichts. Von Zeit zu Zeit habe ich in den folgenden : Sie sind also zur Schule gegangen, nachdem Sie eine Jahren mit der Serifenlosen ein bisschen weitergemacht. Und Ausbildung zum Setzer gemacht haben? eines Tages ist Adrian Frutiger gekommen, mit dem ich einen Ich bin zuerst in die Schule gegangen und dann habe netten, persönlichen Kontakt hatte. Er fragte mich: »Warum ich gemerkt, dass man damals in der Schule keine Typografie hast du eigentlich nie eine Schrift gemacht?« Ich erzählte ihm lernen konnte. Ich habe in der Schule eine so genannte die ganze Geschichte und er meinte: »Zeig sie mir!« Und Aus­bildung als Grafiker gemacht – ohne irgendein Diplom. dann: »Gib sie mir mit, ich werde sie den Leuten von Linotype Man ist drei oder vier Semester an die Kunstgewerbeschule bei der nächsten Sitzung vorlegen. Die hat Chancen, dass gegangen, und dann hat man sich selbstständig gemacht sie angenommen wird.« Ich habe ihm einen Karton mit darauf

UPI/Bettmann/Corbis

Reports

121

Ian Lynam

Hoofin’

It

The Substance of Style by Virginia Postrel is one of those pop criticism books that is an interesting hybrid experience: part historical synthesis, part analysis of contemporary trends (or, more appropriately, thencontemporary trends, as it was published in 2004), and an aggregate of opinions on general cultural trending toward an acceptance of aesthetic pluralism. It’s one of those “important” books that has flown under the radar lately due to a less than timeless cover design, some of the ideas within having been espoused by others both prior to and after publication, and an apparent lack of widespread recognition beyond its time as a New York Times Notable Book selection. That being said, it is one of the few must-read books of aesthetic criticism due to it’s target: design, surface and the everyday. Most reviews of the book that I have found nearly parrot parts of the narrative itself, but as I’ve reread the book over the past few days, I’ve noticed concrete examples of ideas noted in The Substance of Style in my daily life, both recently and in the past. This second read has also revealed a handful of flaws with the book, but nonetheless, compelling ones.

Fucking shoes A number of years ago, I worked from my office in Tokyo as the remote web design director for a badly mismanaged footwear conglomerate based in Southern California. One of the perks of working for them was that the Creative Director would occasionally raid their warehouse and send me giant boxes of shoes in all different sizes and styles that the company’s assorted brands put out. Included were always a handful of decent enough shoes that vaguely matched my style of dress (which has pretty much devolved into a random tee shirt [also most likely obtained for free], black jeans, black fitted baseball cap and black zipper sweatshirt). My girlfriend at the time had swayed my mode of thinking about clothing quite a bit – don’t be wasteful, don’t over-consume, and wear things until they really are tattered enough to no longer be of utilitarian use – all in all, a sound philosophy for clothing and one that I am thankful for having adopted. I used to have racks of stinky, half-worn sneakers that I never could seem to be able to kill and always felt wasteful and a bit guilty about. So, here I was in a weird situation – don’t waste what has been given to you, but at the price of removing personal taste (to an extent) and the essential element of choice. (Don’t get me wrong, some of those shoes were god-awful, and I did not wear them, despite their being free. Being not wasteful was still tempered with a certain amount of choice from the provided palette.) It was odd, nonetheless, to remove essentially never-ending options for a highly limited set of shoes to pick from. To remove personal taste and self-expression is an odd predicament to be in, even if it is only the shoe category for a couple of years.1 Eventually, I did make all the way through the bulk of the shoes, just in time to watch the beginning of the swan song of the footwear giant. They’d opened a retail shop to flog their wares in Santa Barbara around the same time I’d had a trip to Southern California planned and I decided to pop in and take advantage of the mean discount offered to company employees and contractors. It was actually a high point of the planned trip, after two and a half years of no choice – to open myself up to actually picking a lone pair of shoes from a bevy of choices across a swath of brands was really exciting. In the interim, I’d increasingly had to attend corporate meetings for assorted clients in Japan where the dress code was vaguely formal by American standards, and I really wanted to sniff out some nice shoes that could be worn to business meetings, but were not the anonymous black dress shoes that I’d ground into the pavement previously. The footwear corporation I worked for had started a really nice, though horribly under-promoted shoe brand whose website I’d designed a bit before, and there were some particular shoes that I really wanted.

They were hand-tooled Italian leather, the sidewalls made of natural gum rubber, and kind of looked like the chukka boots popularized by the Wu-Tang Clan crossed with desert boots popularized by scumbag crust punks, but with thicker soles and made out of intensely more expensive materials.2 I snapped up the shoes in Santa Barbara between a pair of client meetings, stayed overnight at a friend’s house whose room was inhabited by the odor of his own collection of

P. 139

An essay by Ian Lynam.

half-used sneakers, then headed to my folks’ place in Prescott, Arizona where they retired over a decade ago via rental car. I wore my new shoes for the first time at a casual afternoon party of retirees there, which is where I found a point illustrated explicitly from within a book I was reading then – The Substance of Style by Virginia Postrel.

It’s one of those pop criticism books that is an interesting hybrid experience – part historical synthesis, part analysis of contemporary trends (or, more appropriately, then-contemporary trends, as it was published in 2004), and an aggregate of opinions on general cultural trending toward an acceptance of aesthetic pluralism. It’s one of those “important” books that has flown under the radar lately due to a less than timeless cover design, some of the ideas within having been espoused by others both prior to and after publication, and an apparent lack of widespread recognition beyond its time as a New York Times Notable Book selection. That being said, it is one of the few must-read books of aesthetic criticism due to it’s target: design, surface and the everyday. In the kitchen of my folks’ house, I found myself being ridiculed by one of the older gentlemen who was attending the party. He pointed out that the toes of the shoes didn’t touch the ground, and I explained that that was an aspect of contemporary Dutch, Italian and Japanese shoe design that the designers had obviously picked up and ran with. He interrogated me about the sidewalls, the shape, and generally made me defend my footwear choice for the greater part of an hour. Frankly, it was the most uncomfortable someone had tried to make me about my choice of clothing and personal style since high school, where I was taunted daily for my choice of attire. This is the case for many independentlyminded folks pre-internet boom, as we have watched our interest in post-punk subcultures become the blueprint for a wide swath of contemporary culture (emo 3.0 bands / asymmetrical haircuts, scrappy graphic design, stupid tattoos, the resurgence of hot rod culture, street skateboarding, et al.). It’s an odd thing, to see what was formerly mildly transgressive become more-or-less the norm. Though one positive aspect of having a damn shitty high school experience is that it makes you tough, resistant and resilient.3 That being said, I was undaunted about the haranguing – and the shoes. They became part of my daily outfit for a few months, and I had, for the first time, a pair of dress shoes that I actually dug. Over the past few years, as the number of formal meetings in my life has declined, so has the use of the shoes. They saw more and more closet-time, and have now been pretty much been relegated to the life of wedding attire, broken out once or twice every year to accompany me watch my friends journey upon the path of the vowed and betrothed. It was one such wedding this week that brought to mind the shoes again. They’re just shoes to me now – the brand never made a giant splash in the fashion world, and their shoe models are aggregates of fashion moments that were popular a half-decade ago, yet cannot be fixed to a particular time. They are not timeless, but they are weird (not like crazy weird, just singular in appearance). They don’t fit into the seamless continuum of fashion that a lot of folks have in their minds, and that’s what I like about them – they mirror Venturi and Brown’s ideas about complexity and contradiction, but embodied in footwear.

I attended the wedding of a fellow graphic designer and, interestingly, four different men asked me about my shoes, but in a curious and inquisitive, non-judgmental way. These guys were in their late thirties through early forties, and just them asking made me see the gen­eration divide and how style, even my wonky shoes’ style, could illustrate that. The questions were neither complementary in tone nor dismissive. They were just questions. Each of these men wore shoes that would never fly in the 80s cubicle business environment in America – one wore wingtips with pronounced toes that hovered an inch above the grass, and another futuristic Star Wars-esque hovercraft / slipper things. These two men own profitable businesses in Tokyo and are regarded as general purveyors of taste in the fields of design and architecture. The other two men wore equally eccentric footwear, yet are salaried executives. This is one of the big illustrations of a non-central idea included in Postrel’s book – generations think

122

differently about style and aesthetics. I’d been reading The Substance of Style for the first time when I was harassed regarding my footwear choices, and the incident stuck in my mind due to that. Here I was, years later, (incidentally re-reading the book) having an inverted experience. It was a sharp reminder of how previous generations thought about design: prior to the early 90s, if you wore clothing that was neither an immediate signifier of good taste or the acceptable, you were, to paraphrase Postrel, gay.4 Individual style was the sign of transgression for past generations – to blend in was the goal. Not so for people of my generation (I was born in 1972) – style is what helps define us visually. Taste is paramount, and how it is synthesized in personal clothing choices helps define who you are. Taste, style and, ultimately, design are deep signifiers in the realm of fashion to younger generations. To further illustrate this point, I must mention my dear ol’ dad. The absolute pinnacle of my father’s adventures in fashion in the later years of his career was a series of neckties whose graphic anti-patterns were designed by Grateful Dead bandleader Jerry Garcia. This was highly anachronistic in that my dad’s musical taste leans toward opera singer Luciano Pavarotti, not hippy jam bands. Not to denigrate my father (or his fashion sense), but it makes sense that the lone arena of fashion in which he, a real estate analyst for The State of New York then working in the state’s bland capitol and its miles of modular cubicles, would be his neckties.

Garcia’s hallucinogenic spatters could easily be mistaken for old British marbling patterns, or would lend the wearer cool “outsider” status if the nature of the graphics were questioned, though I’m sure my dad would be quick to quip his own facetious comment at the expense of Mr. Garcia were he questioned at length about the nature of his neckwear in the office.5 Spillover, Patrick and the ’hood One of the central concepts explored in the book is the idea of “aesthetic spillover” – how unique / forward-thinking / ugly architecture creates ripples in neighborhoods and areas where these buildings are sited by dragging down property values. A number of examples are trotted out by Ms. Postrel, including the usual PoMo suspects (Gehry, Hadid, Graves, et al.), as well as the usual weirdos who visually pollute neighborhoods by painting the exteriors of their homes in bright, brash colors. Regarding the former, one of the book’s most memorable passages: When Bard College proposed a performing arts center designed by Frank Gehry, neighbors in its Hudson Valley community protested. Glimpses of the flashy stainless-steel building, they argued, would spoil the views from hiking trails and from an 1804 mansion preserved as a historical site. To avoid lengthy court battles, the college moved the building site farther inside the campus, raising construction costs by about $10 million. When I mentioned the case in a column on aesthetic conflicts, my editor responded with a note excoriating Gehry’s design: “The Bard development was a modernist monstrosity that would have damaged property values in a fifteen-mile radius.” This passage made me wonder what the hell my housemates and I are doing to our own neighborhood. I am an American, as is my housemate Patrick. My fiancé Yuki is Japanese.

We live in a small house in the Hatagaya neighborhood in the Shibuya district of Tokyo with a formerly feral cat, a goldfish and a weird mutant freshwater eel / fish who looks distinctively French. As Americans, Patrick and I hang out on the second-floor veranda of our home quite a bit, with me tending toward tapping out essays like this on my laptop and Patrick, a photographer, shooting seemingly random images of the happenings of the neighborhood and posting them on his wildly popular blog, Talking Barnacles. This practice of “hanging out” outside our home office lies in direct opposition to the “correct” Japanese use of a veranda – for most, it involves utilizing the veranda for hanging wet clothing to dry and to air bedding on particularly sunny days. By peopling a typically under-utilized spatial element of (commonly small) Japanese homes, I imagine that we most likely impact neighborhood assumptions of property value (and appropriate behavior). In essence, Patrick and I (and sometimes Yuki, though not nearly as much as Pat and I) are both driving down the desirability of our corner of Hatagaya as a place to live and simultaneously acting as living architectural ornament. Pat is ethnically Asian (Taiwanese, to be precise) and until he opens his mouth, passes as Japanese in most social situations, whereas I am a big ol’ honky and can pass for nothing, except that it is fairly obvious that I am not an Armed Forces member due to my lolling about on our veranda instead of run­ning around on a drill course, pushing paper or manning an antiaircraft gun. How each of us is perceived by passers-by must be unique, though whether it is Pat or myself that does the most damage to the ’hood is up for debate – snapshot-taking weirdo who looks Japanese

Reports

yet does not act Japanese chilling on the deck above a pedestrian thoroughfare or obviously foreign, mildly tattooed white lurker hovering above pedestrians occasionally making odd clicking sounds to his cat on the street – which is worse? 6 On the contrary, our Korean neighbor has successfully blended-in. He lives in the snazziest home on the street – a new, vaguely PostModern tetrahedral structure; smokes cigarettes discreetly in the absolute back of his carport under the house, hidden from view; and makes very, very few appearances on his veranda. I doubt most of our neighbors know that he is not Japanese – to them, he is a model citizen, quiet and unassuming, or at the very least, a model foreigner living in Japan. I’d most likely never have known he was also from abroad had I not asked him if his family was okay on the street immediately after the March earthquake. And that’s the funny thing about the recent earthquake and looming radioactive holocaust – it brought people together in the neighborhood, connecting them in a way that makes (at least to me), these silly concepts of humans as architectural pollution moot. As we all experienced ten minutes of the earth shaking rather dramatically, it forced us to interact in ways we had not before. Many of us were forced on the street by instinct – a common conception is to stay where you are and duck under the nearest table in your home or office, but mine and many others’ instinct was to run outside and stand in the closest place not overshadowed by giant buildings or bucking utility poles and swaying power cables. It caused the neighborhood to interact in an unusual way that is more social than usual – be it helping sweep remnants of roof tiles fallen from neighbors’ homes, checking in on your neighbors, or extending other kindnesses. Our neighbors are usually shuttered away 24-7 behind shoji screens or protected by storm windows noisily slid shut in the evening, and to see them come out of their shells was exiting.

As American as herpes & Hot Dogs Graphic design gets a fair amount of play in Postrel’s book, but gets short shrift in Postrel’s lack of detail – her statistics relating to the profession of graphic design are hazy, denoting a lack of serious research beyond perusing the AIGA website. A handful of anonymous interviewees are quoted, and the lone designers that make marked appearances where they are noted by name are Michael Bierut, the heir to the short graphic design essay, and Stephen Doyle, collaborator on the Martha Stewart Everyday range of products for KMart. Most notable in terms of flaws is that facts relating to graphic design are rather abundantly under-checked. She cites that there were only three regularly published graphic design periodicals in 1970.

This is wildly incorrect: a cursory rundown of magazines operating that year includes Idea (Japan), グラフィクデサイン (Japan), Typografische Monatsblätter (Switzerland), Graphis (Switzerland), Print (US), and a handful of others, not including generalist magazines like I.D. that encompassed multiple disciplines in design. Further, Postrel’s postulation that there were no design schools in Japan prior to 1970 is also incorrect. Sugiura Hisui, Japan’s first full-fledged “graphic design star,” a veteran of the Mitsukoshi department store’s graphic design division, would go on to lead Tama Art University in his later years, including a host of graphic design courses twenty years prior to the author’s claim. These types of ill-informed postulations make her collation of graphic design into the fray of aesthetic trends feel tentative and half-formed, sticking to generalities rather than digging deep. Still, even with the lack of rigor, it is great to see graphic design considered in the canon of Design remaking the contemporary aesthetic world, though it plays second fiddle to architecture in terms of word count and consideration within Postrel’s book. Dreadlocks as a phenomenon in contemporary society get about as much play as graphic design, but so do televised makeover booms, contemporary color palettes in clothing, and the international “refresh” of hotel chains’ interiors from floral themes to more sophisticated settings. It’s all a part of the puzzle, and who doesn’t like seeing their profession validated? Postrel sets the stage with some big ideas culled directly from PostModern theory – the rise of simultaneity and pluralism as applied to aesthetics both concrete and metaphysical. Her examples which run through The Substance of Style illustrate how buzz cuts and ponytails now adorn individuals in the same working spaces without conflict; burkas and makeup coexist in Afghanistan after the fall of the Taliban; and acknowledges a general trend of coexistence of different stylistic attitudes in a society tired of easy cookie-cutter Modernism. In a Guardian review quoted on the inside cover of the paperback edition, Steven Pinker writes, “In this delightful book, Virginia Postrel invents a new kind of social criticism, one that is economically literate, brimming with psychological insight, and deeply respectful of ordinary people.” While wondrous that such praise is

123

Ian Lynam

heaped upon Postrel, her work is an aggregate of others’ thinking peppered with her own insights and a near-alchemic structural sensibility. Little that is here is “new,” per se, or more accurately, was new at the time of publication. Karim Rashid and Robert Venturi are both quoted on the book’s inside cover, as well. They give glowing praise, as well, but that is little surprise, both have (deserved) reputations which are reified in the book’s text – Venturi for his architecture for Princeton University (in lieu of his books which he is usually lionized for) and Rashid for being the “star designer” he has consistently been held up as. It’s too bad that Postrel (or more likely, her publishing company Harper Perennial) couldn’t find other talking heads to quip about the book – when sub­ jects are given non-critical praise and included in the corpus of a canon in writing, of counter they are going to respond appreciatively. That being said, The Substance of Style is an excellent read for anyone invested in aesthetics, how we got to where we are in the “age of look and feel,” and stands as an excellent guide to contemporary thinking about design as a practice and a phenomenon. Don’t be swayed by the dated “design objects” on the cover – even eight years later 7, the bulk of the book stands as a testament to design’s increased importance in contemporary society. Living in a country whose sole thoughts are on getting past catastrophic events that shook up daily life for many, the interest in aesthetics feels stronger than ever – when stability is lost, what else is there?

The ground may shake, design budgets may take a hit, and blackouts may happen, but design and the belief in it and all its forms as a driving force will prevail, at least for a while longer. As Postrel states toward the end of the book, “The age of look and feel will eventually pass. But it’s products and discoveries will endure.”

1 – I’d been faced with this type of predicament before – I worked for Kinko’s for years and adhered to their strict dress code of slacks, company blue shirts and apron. At one point, the company adopted neckties as a essential element of the uniform, but the choice was up to the individual as to what type of tie. I immediately snapped up a horrible Texas bolo tie with a silver cow skull as the fastener and wore it daily be­ hind the counter of the branch I worked in. If I was going to be forced to wear a tie, I was going to be sure that it was the most tasteless tie, essentially, ever.

2 – Thus, making them out of the price range for either of the aforementioned groups of people. Crusties claim to not be able to afford vegan shoes other than Israeli desert boots from military surplus stores, and this was around the time that Cappadonna reverted to driving a cab in DC to supplement his rap career.

3 – I tend to call my “style” of observing the world “compre­ hensive” instead of “critical,” thanks to a particularly informa­ tive Communications and Gender class I took years later. I’m a sceptic, but one with an open mind.

4 – I use this as (pointedly lame and intentionally non-offensive to people who actually are homosexual) American cultural shorthand for a strange person / outsider / hippie / punk / general weirdbeard. To quote Postrel (and the unnamed critic she herself quotes) on this: As recently as 1983, a leading fashion critic could describe Armani suits as representing “a style that is decidedly homosexual,” and thus of limited appeal to mainstream professional men, who feared being thought effeminate unless they chose clothes that “go unnoticed.”

5 – Interestingly, this Dead-inspired fashion coincided with a spate of appearances in Albany by the Grateful ones them­ selves. Around this time, my long-locked, heavy metal enthusi­ ast younger brother procured an Albany Police badge from a garage sale and took to cruising the Dead show parking lots, shaking down hippies for their drugs and letting them off with “just a warning,” returning to our rural home with literal satchels of illicit substances.

6 – Me, I vote that Pat does worse damage, just for the sheer mind-fuck that he often induces in people who assume that he is a native of this fair country we reside in. Seriously, though, it begs the question: what is an “acceptable” foreign presence in a primarily racially homogenous nation? One that fits with the commonly accepted appearance of a foreigner and acts in accordance, or one that does not look out-of-place, yet acts inappropriately? Most likely, for many, option B.

P. 139

Popular projections of foreigners in Japan are so skewed as to be fairly offensive – this is exemplified in the still-common use of blackface on comedy shows on television, beyond shallow portrayals of foreigners in movies like My Darling Is A Foreign­ er / ダーリンは外国人 and xenophobic comments from highranking politicians like the recently re-elected Governor of Tokyo, Ishihara Shintaro. http://neojaponisme.com/2011/ 04/04/portrait-of-ishihara-shintaro-as-a-young-man/ While I imagine that we do incur a fair amount of “spillover” in the neighborhood, it is our cat Willie who helps to polarize our home as a site of prosocial benefit. Willie is a semi-feral cat who adopted me a few years ago and who has become increas­ ingly domesticated, yet who has not lost her tendencies to follow random people up and down the street mooching for foodstuffs. All of our neighbors know Willie by name due to her collar tag scrawled out in awful Japanese by myself and strike up conversations with us about her. If Patrick and I wreak damage and upset the wa of the neighborhood, then it is Willie who helps rebuild that collective spirit 7– Speaking of which, why no follow-up to this book? Postrel’s compelling inquiries into the value of authenticity are a breath of fresh air and a topic worth a full second foray. Within The Substance of Style, authenticity is dissected as having multiple definitions springing from the original, impersonal, definition of the term: purity of intention, ethnic identity, applied legitimacy, tradition, the patina of age versus replicas, and authenticity as a “rhetorical club to enforce the critic’s taste.” A secondary, more personal, and more democratic ver­ sion of authenticity is suggested: an authenticity that is self-serving and subjective, providing formal pleasure, connections to history and tradition, and propping up selfexpression as being ultimately “authentic.” That something is authentic is theoretically valuable, but what if the subject in question is authentic but of little aesthetic value or has a minimum of craft and focus on the part of the maker(s)? To be real is fine, but what if an object or person is both real and shitty? The world is full of authentic designed objects that provide really crappy real-world experiences. Try sitting on an Eames bucket chair (or an Aeron chair for that matter) and actually working for more than two hours. These designed objects are sought-after artifacts for their aesthetic qualities, but they’ll provide an uncomfortable sitting experience. This juxtaposition of authenticity and quality is something that I have come back to often over the past few years. I’ve found brand strategy that evaluates both sides of the coin to be an increasing aspect of my own professional practice, making me a brand strategist just as much as a graphic designer in terms of workload. It’s an interesting place to be – innate core values being decided hand-in-hand with aesthetics. It’s what design is – a pluralistic way of assessing and providing desire from a holistic perspective. And this is where branding comes in: brands are so much bigger than logos, type choices, color palettes and packaging designs. Most brand-oriented books published by design media focus solely on the facades applied to contemporary brands, but just as important are the products contained within. Branding is such a totalizing force: the manipulation of desire through tugging at all-toohuman aspirations, comforts, trusts, vanity and a gamut of other feelings. For most brands, things fall flat somewhere – be it massive big box retailers’ destruction of local economies, footwear companies’ labor issues or web browser developers’ late-to-the-game attention to design detail. Branding strate­ gists want consumers to think of brands as entities with which to interact with, yet act blissfully unaware that the deweyeyed multinational corporation with the glossy sheen in fact is an advocate of child labor or savage mining of rare resources whose products fall apart as quickly as they were manufac­ tured. In this peculiar moment of graphic design and the near-collective obsession with easy solutions masquerading as critical practice in more academic design circles, think­ing bigger and assessing structure and content in a truly con­ sidered, craft-centric fashion is the least we should do, both as designers and as brands. Taste and style are great, but they are not nearly enough in how we assess clients or client design options. If we interacted with others merely because we spoke the same cultural shorthand, we wouldn’t get very far … and they’d never criticize our choice of footwear.

UPI/Bettmann/Corbis

Index

129

Typeset in Tanger Serif Medium Light

Type Essays

11–15 Soulful Type 83 Ambroise Typofonderie, Clamart (FR) www.typofonderie.fr

Jean François Porchez

Walter Brudi. He teached there from 1967 until 2006 typography and led the tradition-rich hand composition printery. He worked as a designer, author and freelance artist. Today, after his retirement, he is addicted intensified to writing and “visual poetry.”

18–21 Randfiguren

Reinhard Albers, Konstanz (DE) www.albers-mediendesign.de Reinhard Albers is a typographer and graphic designer who lives and works in Konstanz, Southern Germany.

He started his career in the 1970s as a typesetter and then studied pre-press technology and typography in Cologne. Working for different companies such as Linotype, he widened his range of experience.

During his ten year period as an art director of the South German newspaper Südkurier, he relaunched its design several times, working as co-designer of Mario Garcia. Since 2003 he works as a freelance graphic designer developing concepts for print media and, additionally, teaches design students at Zeppelin College Konstanz. He is the author of several pub­lications on typography and media design. His latest publication, Typocards, has been published by Niggli, Switzerland.

16/17 Ultra

Nanna Funke, Münster (DE) www.nanna-funke.de

Horst Wöhrle studied book graphics at the Stuttgart State Academy of Art and Design under professor

27 Tiger Mask Jeff Nishinaka, Los Angeles CA (US) www.jeffnishinaka.com This is a paper sculpture made with acid-free 100 % cotton paper and white glue. Everything is hand cut and slightly curved or scored to create volume and dimension. Self-promotional work.

Ambroise (2001) is a contemporary interpretation of various typefaces belonging to Didot’s late style, conceived circa 1830, including the original forms of g, y, &; and to a lesser extent, k. These characters are found in Vibert’s typefaces. Vibert was the appointed punchcutter of the Didot family during this period. It is the Black, of which sources were surest, and which was the basis for the conception of the family. In the second half of the 19th century, it was usual to find fat Didots in several widths in the catalogs of French type foundries. These same typefaces continued to be offered until the demise of the large French foundries in the 1960s. Every variation of the typeface carries a name in homage to a member of the illustrious Didot family of type founders and printers. The condensed variant is called Ambroise Firmin. The extra condensed is called Ambroise François.

As a type designer, Jean François Porchez (1964) created the new typeface for the Le Monde daily. His expertise covers both the design of bespoke typefaces, logotypes as well as the distribution of his fonts.

He is honorary president of the ATypI, regularly conducts type design workshops and is a frequent speaker at conferences all over the world. He founded the French social network Le Typographe in 2003.

He was awarded the Prix Charles Peignot in 1998 and numerous prizes for his typefaces.

Horst Wöhrle, Esslingen (DE) horst-woehrle@t-online.de

Projects

22–24 Es könnte so light sein …

After receiving her vocational diploma in design, Nanna Funke did an internship at the advertising agency Dachboden in Münster and enrolled in visual communication and graphic design at the Aachen University of Applied Sciences in 2006. During her studies, she worked as a freelance designer for various clients and graduated in 2010, holding an advanced degree in design. Nanna works as a research assistant for faculty communication and editorial in the department of design at the Aachen University of Applied Sciences and also manages the faculty’s in-house agency.

28 Black in Dark Bureau Mirko Borsche, Munich (DE) www.mirkoborsche.com Poster for the photo exhibition at Munich’s design museum Die Neue Sammlung, showing photog­ rapher’s Hubertus Hamm 2010 series “Black in Dark”: black design objects in a dark corner of a room photog­­raphed without any artificial lighting. We used the Platform typeface because of its extremely round forms. The counters of the letters a represent the dots on the letters i. As they are printed in 4C Black, they perfectly reflect the concept of Hamm’s work.

29 Walk the line Ivana Brajdic, Amsterdam (NL) www.ivanabrajdic.net Adventure of a line interacting with people and objects on Blaak market in Rotterdam. I used charcoal to draw a diagonal guideline along the market square when the market place was still empty. During the busy market hours on Saturday, I tried to retrace this line with tape, this time taking on account curious and angry visitors, trolley cars, often helpful workers, parked vehicles, stalls, etc. Discussing the sense of my activities, avoiding conflicts because of public/private issues, we made a light but lively and therefore bold shape. Participants were the visitors and workers of the Blaak market in Rotterdam, I was moderator.

30 MM+I Magazine vijf890, Antwerp (NL) www.vijf890.nl MM+I is a mini magazine published by the Zeeuws Museum in Middelburg, Netherlands. The magazine is focussing on art, artists, identity and the museum itself. All issues come with an unique special printing technique making each publication a one of a kind piece of work. This third issue of MM+I has a softtouch, embossing and foil print on the cover. Inside specials include Japanese folding and variety in papers. Concept and text by Christie Arends and Hilde Hopmans (Zeeuws Museum).

130

Index

31 Rule Book Hyo Kwon, New York City NY (US) www.hyokwon.org This project started as a workshop called “Transform the workshop building into a public space,” given

by James Goggin and Maureen Mooren. During the process, we revolved around a question – “What makes a space a public space?” – and we believed that what defines a public space are the activities that happen within the space that are dictated by rules which service the space’s purpose and function.

As a result, an installation was made on the floor of the workshop space as an attempt to define the space by giving it a set of rules. Over 300 rules were collected from various sources and later compiled in a book in an alphabetical order. Rules compiled in teamwork with Isabelle Vaverka and Gregory Dapra, design in collaboration with Goda Budvytyte.

31, 32 Learn German Poster Campaign Brighten the Corners, London (UK), Stuttgart (DE) www.brightenthecorners.com Poster and postcard campaign funded by DAAD (German Academic Exchange Service) and the Goethe-Institut, promoting German in British schools and universities. Set in bold, upper-case letters, the posters draw on the wealth of German stereotypes, and acknowledge the contribution of the British tabloid press in their persistence. Unsurprisingly, the press took to the campaign pretty well, which enjoyed a whole five years of life, and was awarded one of the 100 Best Posters 2001. Blue: 2001, pink: 2003, yellow: 2005.

of the boutique. GSO’ combines an elaborate lettering with curves suggesting the garment movement in order to create a formal breakdown. The website was created on the picture basis. The background ani­ mation gives the rhythm to the route depending on the new creators presented in the boutique.

33 Bold Hüseyin Yilmaz, Berlin (DE) www.imfinethankyou.de My aim was primarily not to access existing fonts.

I wanted to develop something new. I built the word “bold” with food that makes you fat. I chose hamburger, soft drinks and candy.

34 Exposure to light Marvin Boiko, Dortmund (DE) www.marvinboiko.de A photograph is an image created by light falling on a light-sensitive surface. Within this process, different terms of expositions can be employed. This project implements the system of photographic exposure into typography. The size of the typographic weight comes along with the duration of photographic exposure. A project for Sandra Birkner Photography, www.sandrabirkner.com.

34 Klotz Def Florian Ernst Behrenbeck, Bochum (DE) www.flo-def.de

32 Bangkok Elvis In-ah Shin, Cheongju-si (KR) www.inah-shin.com

Inspired by the black style of the DIN, I designed the edgier, brute Klotz Def. It is constructed and clumsy, naive and masculine, grotesque, fat and phat, rude and rough. Just def. Klotz Def consists of uppercase letters and a few punctuation marks so far and is still under construction.

Bangkok Elvis is an ultra display font, featuring Thai script and culture. At the time when I was designing this font, both Roman and Thai scripts were foreign to me. So I studied both as images, then combined the forms. This resulted in the font encompassing both characteristics of serif and sans serif, Roman and Asian, contemporary and traditional.

34 LetterMpress: The Virtual Letterpress John Bonadies, Jeff Adams, Molly Poganski, Champaign IL (US) www.lettermpress.com

32 Gisèle So’ – Paris My Name is Wendy, Valence (FR) www.mynameiswendy.fr The boutique Gisèle So’ of off-the-peg clothes proposes a selection of the fashion greatest names such as Alexander Mcqueen, Giambattista Valli, Nina Ricci ... The contemporary identity reflects the elegance and the refinement of the haute couture world.

The signature lettering, worked on from an Elzevir, is adapted on the visiting cards, the sign and the bags

LetterMpress began as a Kickstarter.com project to raise funds to purchase wood typefaces to create a virtual letterpress for the iPad. With successful funding of the project, wood type collections were purchased and integrated into the iPad application.

A Vandercook letterpress was created with ani­­mated parts to allow the user to create a print by rolling the impression cylinder across the press bed.

Their new company, mpressInteractive, LLC., develops creative applications for its own products and provides custom application development for other companies. Concept and design by John Bonadies, design by Molly Poganski, programming

by Jeff Adams.

35 Wim Crouwel APP, exhibition, Retail, Catalogue Spin, London (UK) www.spin.co.uk “Wim Crouwel: A Graphic Odyssey” is the first major retrospective of Wim Crouwel’s work, held at the Design Museum in London. Rick Poyner (Design Observer) said: “The show, guest curated by Tony Brook of Spin in collaboration with Design Museum curator Margaret Cubbage, is beautifully done.

With commendable restraint, Brook has followed Crouwel’s frequently stated guideline and not attempted to interpose his own personality as a designer between the subject and the viewer.”

Exhibition design by 6A Architects. The exhibition catalogue has been published to celebrate the major retrospective at the Design Museum by Unit Editions.

It offers a comprehensive overview of the work of one of the most important and influential graphic designers of the modern era. A pioneer of the new modernity, Crouwel’s early work anticipated the current computer era, and caught the spirit of early space age futurism. His programmatic approach to graphic design, his innovative use of grid systems, and his hunger for typographic experimentation, is as relevant today as it was when he first began working as a graphic designer in the 1950s. The exhibition also inspired a wide range of material for sale in the Museum’s retail outlet. It was a dream being given license to create a celebration of Crouwel and his work­ing methodology. The Cs we chose show off Crouwel’s love of geometry, his systematic thinking and his mastery of abstract form. By making new images out of these forms we gave them a contemporary context that reinforces the contemporary nature of his work.

Together with Large Blue we developed Crouwelclock, a beautifully animated graphic alarm clock. The app features three personal Wim Crouwel messages as alarms. Available to download from iTunes.

36 Make Up Megi Zumstein, Claudio Barandun, Lucerne (CH) www.hi-web.ch Make Up is a silkscreened poster (89.5 × 128 cm) for the exhibition Make Up – Designing Sur­­fac­es of the Museum of Design Zurich, released in 2010. Through merging picture details of different design objects we created a new topography where form and function of the objects became an irrelevant fact. The sharpedged typography emphasizes the smoothness of the new texture.

37 Mag Design Benjamin Berndt, Nuremberg (DE) www.benjaminberndt.com Poster for a lecture about contemporary magazine design held by Mirko Borsche at the Academy of Fine Arts in Nuremberg. The typography, done analog by

131

hand, emerges from folded »ZEIT-Magazin« covers. These letters were overprinted with silkscreen. Format is DIN A0.

38 Crucifix Pierre Rousteau, Le Perreux-sur-Marne (FR) www.pierredebelgique.fr Pierre Rousteau (aka Pierre de Belgique) is a young artistic director and a graduate of La Cambre, École Nationale Supérieure des Arts Visuels (class of 2010). His work combines a palette of hand-drawn typographies inspired by the graphical world of the early 20th century with a plastic approach combining an array of media, such as photography, drawing, illustration, painting and sculpture. His artistic world has been shown in galleries, but is also regularly commissioned by fashionrelated magazines. It has also been featured in film credits, posters and for advertising materials for cultural events.

40 Domains Luis Dourado, Porto (PT) www.luisdourado.net Domains series describes a control scenario and somehow narrates a small and kind of endless story. The basis of the series are the “Masters” artworks, four non identified men. Essentially the series searches for imaginary traces of their virtual colored actions, interventions and/or manipulations. Somehow Domains tries to archive and document in a symbolic way, phenomena of control and submission. All artworks are the result of drawing with color markers on found footage, collected in Berlin and Barcelona in the years of 2010 and 2011.

41 Even if you’re never awake Oskar Glemme, Malmo (SE) www.oskarglemme.se My illustrations are pretty easy to describe.

Distorted landscapes with a little psychedelic twist of colors and light. The thing with this is kind of interesting though, especially my own personal feeling when I’m caught up in the process. The way nature put a spell on us. For instance, the way we suddenly can see the beauty of nature when it’s in front of us in a different disguise, but still pretty similar to it’s primal form. The way for us modern people to get amazed by our roots is pretty hard these days because of all distractions and insensibility to the greatness. I try to make a gateway for me and others to feel the recognition of obvious things.

Typeset in Tanger Serif Extra Bold

42 Butter Sculptures Sonja Alhäuser, Berlin (DE) www.sonjaalhaeuser.de The sculptures made of butter, present a lively scene in which the main characters are strong younglings, naked, only dressed with boots and squeezed into an illuminated display refrigerator. They are idolized by cupids, which are responsible for exponentiated lack of space and stress in the existing narrowness. But the movement is frozen, because of the cooling ossified and cured, the time flow seems to be stopped. The durabil­ity and fragility of the sculptures’ material, which would melt away without corresponding storage, leap to the eye – grease spots and crushing traces emphasize this. The baroque coming in figures with their juicy opulence and vitality are doomed to temporary decay, the cooling function struggles bravely with the resources of our time, but for the long haul it will be helplessly.

47 Werkschau Fachklasse Grafik Marlon Ilg, Simon Trüb, Zurich (CH) www.hekuzuku.ch

Ezio, who is nearly brought down by accusations of alleged treason. In their basic constellation, the main protagonists are inspired

by Roman history. The poster communicates the subject matter, using an intense, bold font and knocking the letters which build the name of the eponymous hero off balance.

The injury Ezio receives is indicated by the tilting sharp-edged Z.

47 Ruhrpott Battle Raffael Stüken, Cologne (DE) www.raffaelstueken.de The legendary Ruhrpott Battle is one of the biggest B-Boying-Events in Germany. Each year it quite draws some attention in the »Ruhrgebiet«. For the event’s communication I was asked to design a poster which tries to capture the energy and rawness of the battle.

Commissioned by Pottporus e.V., photography by Oliver Look.

50 Super Paper Bureau Mirko Borsche, Munich (DE) www.mirkoborsche.com

Poster for the Exhibition 2009 of the Lucerne University of Art and Design. Honored as one of the 100 Best Posters in Germany, Austria and Switzerland.

Super Paper is a Munich based monthly newspaper about the city’s culture, fashion, design, art and music. Commissioned by Super Paper, format is Tabloid Extra, 28 pages. Used font is called Grace Jones.

47 INMM Poster 2xGoldstein, Karlsruhe (DE) www.2xgoldstein.de

52 Lecture poster for Martin Woodtli Lisa Drechsel, Stuttgart (DE) www.lisadrechsel.de

Every year the INMM (Institute for New Music and Musical Education) in Darmstadt orga­­ nizes a conference. The topic for 2010 was Musik Tanz Theater (Music Dance Theatre).

The title is spelled over the poster. The letters shift, move and dance across the poster.

And so the whole title is only readable in the interactions of the three disciplines. And by that, they create a kind of stage area. The whole graphic also suggests an instruction for dance-steps. The “movements” (shapes) of the title letters are made clear by isolating them with the background color which is a warm green printed on yellowish paper – harmony not contrast.

47 Ezio Poster Stephan Bundi, Boll (CH) www.bundi.eu Georg Friedrich Händel’s opera is about a deadly intrigue against Roman commander

This is a self initiated poster that announced a lecture given by Martin Woodtli at the State Academy of Art and Design Stuttgart. Thin paths result in bold typography. At a certain distance the poster can be read smoothly. It is screen-printed in an edition of 30 posters.

If you like to own one, please contact me.

53 Artemisia Gentileschi, history of a passion Massimo Pitis, Aurora Biancardi, Milano (IT) www.pitis.eu Pitis designed the identity of the first Italian retrospective exhibition of the Early Baroque painter Artemisia Gentileschi. The teaser communication comes from the opposite extremes ultra light and extra bold of the letter A (as Artemisia) combined together. The result is an A that shows and hides the most famous painting of Artemisia “Judith Slaying Holofernes.” The A is a distinctive element

Publications — reviewed by Gudberg

57 140

141

Typeset in Akko Pro Thin

Selected Font reviews www.slanted.de/ themen/ typefaces /4461 TJ Evolette A evolette.26plus-zeichen.de Dies ist eine experimentelle, elegante Versalschrift, die von Timo Titzmann und Jakob Runge im Frühjahr 2011 konstruiert und gestaltet wurde ¬

/4522 Abril type-together.com Abril, entworfen von José Scaglione und Veronika Burian, wurde speziell für den intensiven redaktionellen Gebrauch entwickelt: Screen und Print ¬

/4542 Prensa Display fontbureau.com Nachdem Prensa schon einige Zeit als Brotschrift sehr erfolgreich war, gestaltete Cyrus Highsmith die dazu‑ gehörige Display-Familie ¬

/4409 Synthica volcano-type.de Im Kontext elektronischer Musik und der tiefen Auseinandersetzung mit ihren Parametern, gestaltete Christoph Mescher Synthica, eine geometrische, konstruierte Schrift ¬

/4480 Genath optimo.ch Genath ist die freie Interpretation eines barocken Schriftbildes, welches auf einem Specimen von 1720 basiert. Sie ist erhältlich in vier Schnitten, gestaltet von Jean François Rappo ¬

/4532 Irma Text, Slab & Round typotheque.com Typotheque hat mit Peter Bilaks Schrift Irma Text und ihren Unterfamilien Irma Text Slab und Irma Text Round, gleich drei neue, sehr gut ausgebaute Schriften veröffentlicht ¬

/4615 Karbid Pro fontshop.com Diese Schrift bezieht sich auf die durch DDR Mangelwirtschaft erhaltenen Fassadenbeschriftungen in Ostberlin.

Nun wurden die historischen Zeitzeugen von Verena Gerlach aufbereitet ¬

/4419 Korolev devicefonts.co.uk Rian Hughes entwickelte einen Font mit vier Schnitten, der den Namen des sowjetischen Raketenkonstrukteurs und Weltraumpioniers Sergey Pavlovich Korolyov, kurz Korolev, trägt ¬

/4497 Mackinac Pro p22.com Die Mackinac Pro Family, acht Schnitte, wurde von Mike Beens für große Text­ mengen, auch in kleinen Punktgrößen, gestaltet. Möglich durch hohe x-Höhe und ausgeglichene Strichstärke ¬

/4535 DF-Game Over dutchfonts.com Die Schrift DF-GameOver vom in Italien lebenden Niederländer Ko Sliggers, ist ein Tribut an alle Menschen in Arabien und dem Rest der Welt, die für ein gerechtes Leben kämpfen ¬

/4623 Ultramarina youworkforthem.com Ultramarina ist eine neue Schrift von Juanjo Lopez, Huy! Fonts, der ihren Look selbst zwischen dem 19. Jahrhundert und der amerikanischen Grotesk des frühen 20. Jahrhunderts ansiedelt ¬

/4427 Cala myfonts.com Cala ist eine elegante, venezianische Renaissance-Antiqua, entwickelt von dem Schriftendesigner Dieter Hofrichter, die mit einem zeitgenössischen Aussehen beeindruckt ¬

/4516 Horst falkschwalbe.de Die gebrochene Monospaced von Falk Schwalbe basiert auf dem Schriftbild einer alten Olympia SM 5, die er sich gekauft hatte. Er gestaltete Horst, um das originale Schriftbild zu verbessern ¬

/4538 Mary Read volcano-type.de Diese moderne Handschrift wurde bereits 2008 von Melle Diete ins Leben gerufen und hat nach ein paar Jahren auf hoher See den Weg in den Hafen von Volcano Type gefunden ¬

/4625 Zimmer fonts.gestalten.com Julian Hansens erste Schrift, kann sich sowohl in Fließtext als auch in Headlines sehen lassen. Die Serifenlose namens Zimmer besitzt fünf Schnitte, Thin, Light, Regular, Medium und Bold ¬

144

Publications – reviewed by Athenaeum

Favorite Publications By Athenaeum, Amsterdam (NL) Athenaeum Nieuwscentrum Owner: Maarten Ascher Spui 14-16 NL—1012 XA Amsterdam T +31 (0) 20 5141470 nieuwscentrum@athenaeum.nl www.athenaeum.nl www.athenaeumnieuwscentrum. blogspot.nl twitter@nieuwscentrum Monday to Sunday: 8 am to 8 pm Thursday: 8 am to 9 pm Sunday: 10 am to 6 pm

Athenaeum is a shop where each day people walk in, nudge their companion and say: “This is where they have every magazine.” While this is obviously impossible, it is a place where we do hope to have every extraordinary publication made with care and passion — especially in the field of fashion, design and good writing. Lying in the heart of Amsterdam, Athenaeum is furthermore the place where neighborhood residents come in for a familiar face and daily chatter.

Oh comely #7

The Chap #58

Self-publisher ohcomely.co.uk

Self-publisher thechap.net

Let’s be honest: most magazines are filled with how life isn’t in reality, but with how they think it should be. For some people this makes magazines attractive, but it’s good to see that a different approach is possible. The British magazine Oh comely is such an example. It reminds us of Miranda July’s project “Learning to love you more,” a blog where the artist invited people to perform small tasks like climbing in a tree and taking a picture of the view.

The results were surprising, honest and moving — just like Oh comely.

128 pages, 27 × 21 cm

What style is might be a matter of taste, but if it is widely captured as the appearance of the gentleman of the ’30s and ’40s, there isn’t much to dispute. That style is captured in tradition and in the magazine The Chap, a journal for the modern gentleman. It is evident that this involves outer appearances, whether it be Edward VII, Duke of Windsor, cricket or Tweed Run. But it also includes the thoughts of Tom Hodgkinson as well as Alain de Botton.

66 pages, 23.8 × 16.7 cm

Apartamento #7 Elephant #7

Self-publisher apartamentomagazine.com

Frame Publishers elephantmag.com

Reading in Elephant is a breath of fresh air. Only after turning the last page you understand why: beside the fact that advertisements are almost absent, the magazine has a tranquil layout. Elephant is a beautiful, friendly and surprisingly readable magazine about design and art, that is also interesting for the layman. It’s relaxed: the reader can decide for himself what to make of the articles. It is a magazine out of which you want to tear the pages with illustrations and hang them on your wall.

208 pages, 28 × 22 cm

Nothing is more fun than taking a peep through the windows of your neighbors. Especially if the apartment is a little bit untidy, has third hand furniture and there’s a gas stove burning. Apartamento, an everyday life interiors magazine, understands those two things really well: voyeurism and the romance of clutter. That doesn’t mean that it doesn’t have eye for, say, the future of household appliances and eco-friendly houses, but it shies away from the perfect, impersonal and straight-lined interiors that you normally see in magazines.

220 pages, 24 × 17 cm

145

Little White Lies #37 The Church of London littlewhitelies.co.uk

Selected Mags – reviewed by Slanted

Selected MAG reviews www.slanted.de/ themen/ magazines

Even when you never go to the cinema, Little White Lies is a must read. It is a magazine dedicated to “truth and movies.” We call it a literary movie journal. Each issue revolves around one particular movie, exploring themes of un‑ common interest inspired by that film. Most often this is a recent movie, but classics like Apocalypse Now also get their turn. That film produced articles about Jospeh Conrad — the literary inspiration for the movie — and the American Army lending tanks and choppers to pro-war movies. Love it.

105 pages, 20 × 24.5 cm

/4466 Port Magazin 2011 — Umwege uni-weimar.de Port präsentiert seit 2002 jährlich eine Auswahl an Arbeiten aus den Fakultäten Gestaltung, Medien, Architektur und Bauingenieurwesen ¬

/4573 Trust Fanzine #149 Dischord Special trust-zine.de Die 149te Ausgabe des Fanzines Trust aus Bremen bringt Licht in Mythen der moderneren Musikgeschichte ¬

/4384 Die MüllerstraSSe: Eine Strasse — ein Magazin derwedding.de Julia Boeck und Axel Völcker haben mit »Die Müllerstraße« ein 132-seitiges Sondermagazin des Berliner Weddings herausgebracht ¬

/4502 Lotto Magazin lotto-magazin.com Jede der »sechs stabilen Zonen« von Dr. Roswita Königswieser werden in einer Ausgabe genauer beleuchtet. Der Leser wird auf eine Erkundungsreise der menschlichen Identität geschickt ¬

/4581 Some Magazine — Electric somemag.com Die Studenten der Burg Giebichenstein, Falko Walter, Markus Lange und Markus Postrach, gingen für die dritte Ausgabe des Some Magazines auf Tuchfühlung mit der elektrischen Vision ¬

/4391 Muh Magazin #2 muh.by Muh ist ein Magazin für »bayerisches Wesen und Unwesen, bayerische Kulturen und Unkulturen, Gemütlichkeit und Ungemütlichkeiten«. Der Sitz der Redaktion ist natürlich in Bayern ¬

/4533 GARAGE garagemag.com Dieses Printwerk lässt aufhorchen: New Yorker Kritiker sehen es als eine der verblüffendsten Publikationen der letzten Jahre. Ins Leben gerufen von Dasha Zhukova, gestaltet von Mike Meiré ¬

/4605 Album Magazin #2 album-magazin.de Auf Flickr werden pro Minute 3.000 Bilder hochgeladen. Wie neu und ungesehen können Bilder heute noch sein? Same / Same — um dieses Thema dreht sich diese zweite Ausgabe ¬

/4430 Bella Triste #30 bellatriste.de Die Sonderausgabe von Bella triste ist eine Box mit vielen kleinen Überraschungen. Wer sie öffnet, findet jede Menge amüsante Hilfestellungen und Fragebögen ¬

/4548 Tolles Heft #36 Charakter ist nur Eigensinn buechergilde.de Ein Rückblick auf 20 Jahre. Inklusive Illustrationen von allen bisher vertretenen KünstlerInnen der letzten 35 »Tollen Hefte« ¬

/4622 Horst Magazine #1 horstmagazine.de Unter dem Motto “Havin’ a dick is pretty fuckin’ awesome,” steht die erste Ausgabe des Schwulenmagazines Horst, unkonventionell gestaltet vom Bureau Mirko Borsche ¬

146

Publisher

Imprint

No one knows Production

Printing: E&B engelhardt und bauer Druck- und Verlag GmbH Käppelestraße 10 76131 Karlsruhe Germany T +49 (0) 721 96226-100 F +49 (0) 721 96226-101 center@ebdruck.de www.ebdruck.de

Slanted c/o MAGMA Brand Design Wendtstraße 4 76185 Karlsruhe Germany T +49 (0) 721 824858-50 F +49 (0) 721 824858-10 magazine@slanted.de www.slanted.de

Publisher: MAGMA Brand Design GmbH & Co. KG Editors in chief (V.i.S.d.P.): Lars Harmsen, Uli Weiß

Art-Direction: Flo Gaertner, Lars Harmsen

Managing editor: Julia Kahl Editors: Flo Gaertner, Lars Harmsen, Julia Kahl, Michael Schmidt

Design: Julia Kahl, Peter von Freyhold

Design Assistance Slanted

#16 Johanna Franz, Anna Pickel, Christiana Teufel ISSN 1867-6510

Print run: 10,000 copies

Frequency 4 × p.a.

(Spring, summer,

autumn, winter) Slanted Weblog

Editors in chief (V.i.S.d.P.): Lars Harmsen, Uli Weiß

Managing editor: Julia Kahl Editors: www.slanted.de/redaktion The publisher assumes no respon­ sibility for the accuracy of all information. Publisher and editor assume that material that was made available for publishing, is free of third party rights. Reproduction and storage require the permission of the publisher. Photos and texts are welcome, but there is no liability. Signed contributions do not necessarily represent the opinion of the publisher or the editor.

Paper: M-real Zanders GmbH An der Gohrsmühle 51439 Bergisch Gladbach Germany T +49 (0) 2202 15-0 F +49 (0) 2202 152-806 E-Mail: zanders@m-real.com Papyrus Deutschland GmbH & Co. KG Gehrnstr. 7–11 76275 Ettlingen Germany T +49 (0) 7243 73-0 F +49 (0) 7243 73-171 info.de@papyrus.com www.papyrus.com/de Antalis GmbH Europaallee 19 50226 Frechen Germany T +49 (0) 2234 205-50 F +49 (0) 2234 2055-999 info@antalis.de www.antalis.de

Cover: — M-real Zanders / Chromolux / Magic Rock / 250 g/qm — M-real Zanders / Chromolux / Steel Blue Rock / 250 g/qm — M-real Zanders / Chromolux / Metallic Gold / 250 g/qm Finishing: hot foil stamping Inside Part: — Papyrus / PlanoArt / 130 g/qm — Antalis / Rapido gloss / 70 g/qm Special color: HKS 15 N-100-10

Color: HKS Warenzeichenverband e. V. Sieglestraße 25 70469 Stuttgart Germany T +49 (0) 711 9816-608 F +49 (0) 711 9816-341 info@hks-farben.de www.hks-farben.de

— Akko, 2011 Akira Kobayashi Linotype / linotype.com

National Distribution: Julia Kahl T +49 (0) 721 824858-50 julia.kahl@slanted.de

— Ambroise Std François, 2001 Jean François Porchez Typofonderie / typofonderie.com — Klimax Std, 2009 Ondrej Jób Typotheque / typotheque.com — Monopol, 2010 Tomas Brousil Suitcase Type Foundry / suitcasetype.com — Tanger, 2008 / 2009 Jarno Lukkarila Typolar / typolar.com — Theinhardt, 2009 François Rappo Optimo / optimo.ch THank you

Thanks a lot to all contributors of this issue. Special thanks to Jean François Porchez, Horst Wöhrle, Reinhard Albers, Nanna Funke, Mareike Foecking, Pia Maynard and Thomas Mäder (Corbis), Ken Johnston (Head of historical photography, Bettmann/Corbis), Joe Newton, Raban Ruddigkeit, Ian Party and Maxime Buechi, David Millhouse, Jan Middendorp, Ludwig Übele, Michael Horsham, Doug Wilson, Christian Haas and Simon Fuhrimann, Jost Hochuli, Thomas Lupo, Anja Neidhardt, Ian Lynam, Frank Wiedemann, Steffi Göbel (neuro­ti­tan) and Anneke Reijnders (Athenaeum).

A big thank you to all type designers and foundries who provided their fonts for this particular issue – on this way we can present and work with lots of topic related fonts in the magazine.

Thanks also to Sylvia Lange (M-real Zanders) and Jennifer Grünewald (Papyrus) for their paper support, Frank Denninghoff (Gräfe Druck) and Hubert Minsch (Arbeits­ kreis Prägefolien Druck e.V.) for the cover finishing and Thomas Appelius and Joachim Schweigert (E&B engelhardt und bauer) for their efforts and – as always – for the perfect print!

Distribution at stations and airports: IPS Pressevertrieb GmbH www.ips-d.de International distribution: Export Press SAS www.exportpress.com Subscriptions: www.slanted.de/abo Single Copies

Slanted Shop: www.slanted.de/shop Stores: www.slanted.de/verkaufsstellen

Amazon Marketplace: www.amazon.de www.amazon.com Advertising

We offer a wide range of advertising possibilities on our weblog and in our Magazine – print and online! Just get in touch.

More information at www.slanted.de/mediarates Contact: Julia Kahl T +49 (0) 721 824858-50 julia.kahl@slanted.de DESIGN Awards SLANTED Publications

— ADC of Europe 2010, 2008 — ADC Germany 2011, 2010, 2008, 2007 —A nnual Multimedia 2008 — Berliner Type 2008 (Bronze), 2009 (Silber) — Designpreis der BRD 2009 (Silber) — European Design Awards 2011, 2008 — Faces of Design Awards 2009 — if communication design award 2007 — Laus Awards 2009 — Lead Awards 2008 (Weblog des Jahres), 2007 — red dot communication design awards 2008 — Type Directors Club NY 2011, 2008, 2007

in the loser’s

Copyright: Slanted, Karlsruhe, 2011 All rights reserved.

Finishing: GRÄFE Druck & Veredelung GmbH Eckendorfer Str. 82–84 33609 Bielefeld Germany T +49 (0) 521 97205-0 F +49 (0) 521 97205-50 info@graefe-druck.de www.graefe-druck.de

Distribution

what to say

locker room

Slanted Magazine

Fonts