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School assignment were the task was to create a typographic magazine. We had five graphic designers to take inspiration from. The designers were: Stefan Sagmeister, Karel Martens, Claude Garamond, Marian Bantjes and Paula Scher.

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  • TYPOGRAPHIC MAGAZINE

  • Jean-Franois Porchez

    You cannot understand typography and typefaces without knowledge and you cant

    keep that knowledge for only yourself. Type design is a cultural act, not just a few lines of

    data in the corner of a hard disk.

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    05. 07. 09. 11. 13.

  • 05.

    typo magazine

    - Stefa

    n s

    ag

    meist

    er// nr. 10 2012

    Born in 1962, Bregenz, Austria. Stefan Sagmeister studied graphic design at the University of Applied Arts in Vienna. In 1987 he moved to New York to attended pratt institute on a fulbright scholarship. He then returned to Austria in 1990 for community service as an alternative to obligatory military conscription. At the age 29, he attained a job with Leo Burnett in Hong Kong. In 1993 he returned to New York to work for the hungarian graphic designer Tibor Kalman at M&Co. When the studio closed the same year, Sagmeister opened his own office Sagmeister Inc. In 1994 he was nominated for a Grammy Award for his album cover - H. P. Zinker Mountains of Madness.

    In the following years he designed album packaging for artists such as David Byrne, Lou Reed and the Rolling Stones. In 1996 Sagmeister began developed posters for AIGA-American Institue of Graphic Arts. He took a year out in 1999, closing his studio to commercial work and concentrating on his own experimental projects. In 2001 released the book Made You Look (another self-indulgent design monograph). In 2005 he won a Grammy award as art director of the Once in a Lifetime talking heads boxed set packaging. Currently among many projects sagmeister continues his work on 20 things in my life I have learned so far. -a series of typographic pieces inspired by the work of his grandfather that he began in 2004. Every five years Sagmeister takes a year off from work to experiment with typography. He believes that design is a story and an artistic experiment.

    His goal was to design music graphics, but only for music he liked. To have the freedom to do so, Sagmeister decided to follow

    Stefan Sagmeister To use a word like legend in connection with Stefan Sagmeister is

    not so far away exaggeration. Its not just that this Austrian designer has received almost every major international design awards.

    Kalmans advice by keeping his company small with a team of three: himself, a designer (since 1996, the Icelander, Hjalti Karlsson) and an intern. Sagmeister Incs first project was its own business card, which came in an acrylic slipcase. When the card is inside the case, all you see is an S in a circle. Once outside, the companys name and contract details appear. The second commission came from Sagmeisters brother, Martin who was opening Blue, a chain of jeans stores in Austria. Sagmeister devised an identity consisting of the word blue in black type on an orange background.

    As well as these music projects, Sagmeister still took on other commercial commissions and pro bono cultural projects, such as his AIGA lecture posters. The obscenely elongated wagging tongues of 1996s Fresh Dialogue talks series in New York and a Headless Chicken strutting across a field for 1997s biennial conference in New Orleans culminated in the drama of Sagmeisters scarred, knife-slashed torso for 1999s deceptively blandly titled, AIGA Detroit.

    In June 2000, Sagmeister decided to treat himself to a long-promised year off to concentrate on experimental projects and a book Sagmeister, sub-titled Made You Look with the sub-sub-title Another self-indulgent design monograph (practically everything we have ever designed including the bad stuff.) The worst of the bad stuff was a 1996 series of CD-Rom covers for a subsidiary of the Viacom entertainment group. Dont take on any more bad jobs, Sagmeister scolded himself in his diary. I have done enough bullshit lately, I just have to make time for something better. Something good.

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  • 7typo magazine

    - karel m

    art

    ens

    // nr. 10 2012

    Karel Martens is a Dutch designer and teacher. After training at the school of art in Arnhem, he has worked as a freelance graphic designer, specializing in typography. Alongside this, he has always made graphic and three-dimensional work. His design work ranges widely, from postage stamps, to books, to signs on buildings. Karel Martens earliest works were his book covers for an Arnhem based publishing house. They exhibit simple, clean swiss typography, an emphasis on legibility, and the use of repeated simple geometric shapes. His later covers begin to experiment with imagery. However this is kept very minimal and simple. All this work is documented and celebrated.

    The work of Karel Martens occupies an intriguing place in the present European art-and-design landscape. Martens can be placed in the tradition of Dutch modernism in the line of figures such as Piet Zwart, H.N. Werkman, Willem Sandberg. Yet he maintains some distance from the main developments of our time: from both the practices of routinized modernism and of the facile reactions against this. His work is both personal and experimental. At the same time, it is publicly answerable. Over the now 50 years of his practice, Martens has been prolific as a designer of books. He has also made contributions in a wide range of design commissions, including stamps, coins, signs on buildings. Intimately connected with this design work has been his practice as an artist. This started with geometric and kinetic constructions, and was later developed in work with the very material

    Dutch typographic designer Karel Martens is one of the most influential and enduring designers alive in the Netherlands today. His

    work spans over 50 years and manages to maintain a freshness and timeless appeal.

    Karel MartensKarel MartensKarel Martens

    of paper; more recently he has been making relief prints from found industrial artefacts. This book looks for new ways to show and discuss the work of a designer and artist, and is offered in the same spirit of experiment and dialogue that characterizes the work it presents.

    In the books Karel Martens: drukwerk /printed matter and Karel Martens: counterprint. Martens has taught graphic design since 1977. His first appointment was at the school of art at Arnhem (until 1994). He was then attached to the Jan van Eyck Academie in Maastricht (19949). In 1996 he was awarded the Dr. H.A. HeinekenAward the top graphic design award in Hol- land. He is the founder of theWerkplaatsTypografie, a post-graduate graphic design school inArnhem, NL, as well as a lecturer at theYale School of Graphic Design, and the JanVan EyckAcademy in Maastrict, NL. Karel Martens work is often regarded as defining dutch de- sign and many of the aesthetic and conceptual char- acteristics he employs have been widely appropriated by the design community in NL and abroad. One of Karel Martens most enduring trend setting projects was his design for a series of dutch phone cards. From 1997 he has been a visiting lecturer in the graphic design department at the School of Art, Yale University. In that year, together with Wigger Bierma, he started a pioneering school of postgraduate education within the ArtEZ, Arnhem the Werkplaats Typografie where he still teaches today.

  • 9.

    typo magazine

    - cla

    ude g

    aramo

    nd

    // nr. 10 2012

    Claude Garamond

    et religiosa Meditatio of David Chambellan. As publisher, Claude Garamond relied on his creativity harnessed by reasoned discipline to produce superbly well crafted products. He modeled his book publishing style after the classic works of the Venetian printers who catered to the absolute elites of high society. He admired and emulated the works of Aldus Manutius. Garamond insisted on clarity in design, generous page margins, quality composition, paper and printing , which was always accentuated with superb binding.

    Because of the soundness of Garamonds designs his typefaces have historical staying power, and they are likely to remain the day-to-day tools of professional typographers, as long as wertern civilization survives. Reading a well set Garamond text page is almost effortless, a fact that has been well known to book designers for over 450 years.

    Claude Garamonds contribution to typography was vast, a true renaissance man. Creating perfection in the type that he crafted his life will live on through his contribution to typography.

    Starting out as an apprentice punch cutter Claude Garamond quickly made a name for himself in the typography industry. Even though the typeface named for Claude Garamond is not actually based on a design of his own it shows how

    much of an influence he was.

    Born in Paris, France in 1490, Garamond started his career out as an apprentice for the Parisian punch-cutter and printer, Antoine Augereau in 1510 . It was during this early part of the 16th century that Garamond and his peers found that the typography industry required unique multi-talented people. This way they coul