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A typographic magazine - School Project

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  • TYPO

    01SAGMEISTER/ MARTENSGARAMOND/BANTJES

  • PREFACETypo is a typographic magazine published annually by the NKF Editorial. The magazine focuses on the world of typography around us, and the designers who create it. This magazine is created for the people in the business but it will also inspire and teach groups within the design community that take typography in use. Many can say that typography is taken for granted and we think that the work of typograpy in underrated. Is a lot of work and thought behind only a sin-gle letter. Typography is an entirely separate subject and it should be defined accord-ingly.We want to put lights on typography and the hard-working designers behind it, we think they should get the credits they deserve.

    the TYPO crew

    All text and intervues by Peter Bilak.Design and print by Sissel Pettersen.Fonts: Baskerville: Bold/Regular. TeX Gaye Adventor: Bold/Regular. Colours: Pantone 115 CP and Black.Produced by and for Norges Kreative Fagskole. All rignts reserved SP Designs

  • s.03 STEFAN SAGMEISTER

    s.05 CLAUDE GARAMOND

    s.07 KAREL MARTENS

    s.09 MARIAN BANTJES

    CO

    NTEN

    T

  • 3stefan sagmsister / experimental typography

  • Born in Austria in 1962, Stefan Sagmeister was originally on a path to become an engineer. After shifting his course in life towards design he studied at the University of Applied Arts in Vienna andd was accepted at the Pratt Institute in New York on a Fullbright Scholarship after that. He first started working professionally in the field for Leo Burnett, in their Hong Kong office in 1991. After a short stint there he began working with Tibor Kalman at his studio M&Co. It wasnt long after that that Tibor announced he was closing the doors on M&Co, in 1993, and Sagmeister formed Sagmeister, Inc. He has been there ever since. His studio is very small in size and he works only with clients that appeal to him. He astonished the design community in 2000 when he closed the doors on his studio and took a year off for personal reflection. When he came back he published his first book, Made You Look. Thoroughly convinced that the reflection process was important in his continued creativity he has toured the design circuit giving many lectures and presentations about his personal success. He continues to operate his studio where he works for clients from a wide range of industries including fashion and music. Stefan Sagmeister (born 1962 in Bregenz, Austria) is a New York-based graphic designer and typographer. He has his own design firmSagmeister & Walsh Inc.in New York City. He has designed album covers for Lou Reed, OK Go, The Rolling Stones, David Byrne, Aerosmith and Pat Metheny. Sagmeister studied graphic design at the University of Applied Arts Vienna. He later received a Fulbright scholarship to study at the Pratt Institute in New York. He began his design career at the age of 15 at Alphorn, an Austrian Youth magazine, which is named after the traditional Alpine musical instrument. In 1991, he moved to Hong Kong to work with Leo Burnetts Hong Kong Design Group. In 1993, he returned to New York to work with Tibor Kalmans M&Co design company. His tenure there was short lived, as Kalman soon decided to retire from the design business to edit Colors magazine for the Benetton Group in Rome. Stefan Sagmeister proceeded to form the New York based Sagmeister Inc. in 1993 and has since designed branding, graphics, and packaging for clients as diverse as the Rolling Stones, HBO, the Guggenheim Museum and Time Warner. Sagmeister Inc. has employed designers including Martin Woodtli, and Hjalti Karlsson and Jan Wilker, who later formed Karlssonwilker. Stefan Sagmeister is a long-standing artistic collaborator with musicians David Byrne and Lou Reed. He is the author of the design monograph Made You Look which was published by Booth-Clibborn editions. Solo shows on Sagmeister, Inc.s work have been mounted in Zurich, Vienna, New York, Berlin, Japan, Osaka, Prague, Cologne, and Seoul. He teaches in the graduate department of the School of Visual Arts in New York and has been appointed as the Frank Stanton Chair at the Cooper Union School of Art, New York. His motto is Design that needed guts from the creator and still carries the ghost of these guts in the final execution. Sagmeister goes on a year-long sabbatical around every seven years, where he does not take work from clients. STEFAN SAGMEISTER (1962-) is among todays most important graphic designers. Born in Austria, he now lives and works in New York. His long-standing collaborators include the AIGA and musicians, David Byrne and Lou Reed. When Stefan Sagmeister was invited to design the poster for an AIGA lecture he was giving on the campus at Cranbrook near Detroit, he asked his assistant to carve the details on to his torso with an X-acto knife and photographed the result. Sunning himself on a beach the following summer, Sagmeister noticed traces of the poster text rising in pink as his flesh tanned. Now a graphic icon of the 1990s, that 1999 AIGA Detroit poster typifies Stefan Sagmeisters style. Striking to the point of sensationalism and humorous but in such an unsettling way that its nearly, but not quite unacceptable, his work mixes sexuality with wit and a whiff of the sinister. Sagmeisters technique is often simple to the point of banality: from slashing D-I-Y text into his own skin for the AIGA Detroit poster, to spelling out words with roughly cut strips of white cloth for a 1999 brochure for his girlfriend, the fashion designer, Anni Kuan. The strength of his work lies in his ability to conceptualise: to come up with potent, original, stunningly appropriate ideas. Born in Bregenz, a quiet town in the Austrian Alps, in 1962, Sagmeister studied engineering after high school, but switched to graphic design after working on illustrations and lay-outs for Alphorn, a left-wing magazine. The first of his D-I-Y graphic exercises was a poster publicising Alphorns Anarchy issue for which he persuaded fellow students to lie down in the playground in the shape of the letter A and photographed them from the school roof. At 19, Sagmeister moved to Vienna hoping to study graphics at the citys prestigious University of Applied Arts. After his first application was rejected just about everybody was better at drawing than I was he enrolled in a private art school and was accepted on his second attempt. Through his sisters boyfriend, the rock musician, Alexander Goebel, Sagmeister was introduced to the Schauspielhaus theatre group and designed posters for them as part of the Gruppe Gut collective. Many of the posters parodied traditionally twee theatrical imagery and offset it with roughly printed text in the grungey typefaces of punk albums and 1970s anarchist graphics. In 1987, Sagmeister won a Fulbright scholarship to study at the Pratt Institute in Brooklyn, New York. Here humour emerged as the dominant theme in his work. When a girlfriend asked him to design business cards which would cost no more than $1 each, Sagmeister printed them on dollar bills. And when a friend from Austria came to visit, having voiced concern that New York women would ignore him, Sagmeister postered the walls of his neighbourhood with a picture of his friend under the words Dear Girls! Please be nice to Reini. After three years in the US, Sagmeister returned to Austria for compulsory military service. As a conscientious objector, he was allowed to do community work in a refugee centre outside Vienna. He stayed in Austria working as a graphic designer before moving to Hong Kong in 1991 to join the advertising agency, Leo Burnett. They asked if I would be interested in being a typographer, he later told the author, Peter Hall. So I made up a high number and said I would do it for that. When the agency was invited to design a poster for the 1992 4As advertising awards ceremony, Sagmeister depicted a traditional Cantonese image featuring four bare male bottoms. Some ad agencies boycotted the awards in protest and the Hong Kong newspapers received numerous letters of com-plaint. Sagmeisters favourite said: Whos the asshole who designed this poster? By spring 1993, he had tired of Hong Kong. Sagmeister spent a couple of months working from a Sri Lankan beach hut before going back to New York. As a Pratt Institute student, his dream had been to work at M&Co, the late Tibor Kalmans graphics studio. Sagmeister bombarded Kalman with calls and finally persuaded him to sponsor his green card application. Four years later on his return from Hong Kong, the green card came through. His first project for M&Co was an invitation for a Gay and Lesbian Taskforce Gala for which he designed a prettily packaged box of fresh fruit. Cue a logistical nightmare as M&Cos staff struggled to stop the fruit rotting in the heat of a sweltering New York summer. A few months later, Tibor Kalman announced that he was closing the studio to move to Rome, and Sagmeister set up on his own. His goal was to design music graphics, but only for music he liked. To have the freedom to do so, Sagmeister decided to follow 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 none of the record labels he approached seemed interested in his work, Sagmeister seized the chance to design a C