typografie submission boards

1 1

Max Gregory

OUGD301

Level 6

1/5

A typographic exhibition with talks

from relevant designers.

Continuation of a brief previously undertaken

surrounding the creation of a typographic

exhibition based on ten classic typefaces and

the studios using them. This brief should look at

specifically Swiss modernist typefaces and the

masters of the international typographic style,

using the same exhibition format as the

previous event.

Background

Typografia is now onto its second event, so

consider how the identity of the exhibition can be

original and relevant, whilst retaining the element

of recognition afforded by the identity of the first

event. Consider specifically the use of colour &

shape within the identity, but also how a different

approach could be taken in the promotion of an

event about Swiss modernist typography.

Mandatory Requirements

The event again should provide a platform for a

number of speakers and creatives to come to-

gether. Look at how the history of swiss type can

be conveyed through the exhibition identity.

Range

Event promo

Posters

Flyers

Prints

Tickets

Event publication

Event identity

Logotype

Typografia 2Brief

2 2

Max Gregory

OUGD301

Level 6

2/5

A1 / 841 x 594mm Talk posters

A2 / 594 x 420mm Event posters

A2 / 594 x 420mm Prints

200 x 200mm Event programme

A5 / 210 x 148mm Event flyers

A6 / 148 x 105mm Talk Transcripts

155 x 75mm Tickets

Range of collateral produced for typografie

exhibition at both the Stedelijk Museum in

Amsterdam and the Museum Für Gestaltung

in Zurich. Two museums synonymous with

modernist designers, both with a large

collection of Swiss posters and publications.

The two distinct exhibitions are represented

using the choice of stock. The Exhibition at

the Stedelijk uses red stock printed black. The

Museum Für Gestaltung makes use of

off-white stock printed either red or black.

These allow the two to be recognised easily.

Typografia 2Range

An exhibition

of modernist

typography.

A1

A talk by Henrik Kubel.of A2/SW/HK

A2/SW/HK is an independent design stu-dio formed in 2000 by Scott Williams and Henrik Kubel. The team has a conceptual approach to problem solving across vari-ous disciplines. They create bespoke type-faces and custom-made design solutions for each project that are informed and shaped by a clear understanding of both content and context.

A2/SW/HK

Halle, Galerie, Vestibül, Bibliotheksgang, VortragssaalAusstellungsstrasse 60CH-8005 Zürich

Tickets available at the museum or online at www.museum-gestaltung.ch and www.typocircle.com

The Typographic circle / www.typocircle.comMuseum Für Gestaltung / museum-gestaltung.ch

Museum FürGestaltungZürich CHF 15

18/01/2013 5.00pm


A2/SW/HK is an independent de-sign studio formed in 2000 by Scott Williams and Henrik Kubel. The team has a conceptual approach to problem solving across various disciplines. They create bespoke typefaces and custom-made de-sign solutions for each project that are informed and shaped by a clear understanding of both content and context.

A2/SW/HK

18/01/2013

Henrik K

ubel A

2 Type W

ork

A talk by Danny van Dungen and Marieke Stolk of Experimental Jetset

Since it was co-founded in Amsterdam in 1997 by Erwin Brinkers, Marieke Stolk and Danny van Dungen, Experimental Jetset has emerged as one of Europe’s most inventive graphics teams through projects in the cul-ture, music, fashion and publishing sectors.

Believing that there should be an inner logic to graphic design, Experimental Jetset de-velop coherent systems for each project and then imbue it with an idiosyncratic combina-tion of references to modernist design, typified by the use of the well-known typeface Helvetica.

ExperimentalJetset

25/01/2013

Danny van D

ungen & M

arieke Stolk

Experim

ental Jetset Friendly ghosts

A talk by Wim Crouwel

Wim Crouwel started his own free-lance prac-tice in amsterdam (1954). In 1963, with benno wissing, friso kramer and the schwarz broth-ers, he founded design studio total design. He designed and oversaw extensive work for the stedelijk museum in amsterdam (1964-85).

In 1967 he published his experimental new alphabet. Crouwel was professor at the delft university (1972-85). He was director of the boijmans van beuningen museum, rotterdam (1985-93). He received the british obe, is a rdi, knight of the dutch lion, officer of orange nas-sau. Got the dutch oeuvre award 2004.

Wim Crouwel

20/01/2013

Wim

Crouw

elTotal D

esign A

Graphic O

ddysey

“perfection is achieved, not when there is nothing left to add, but when there is nothing left to remove.”

Stedelijk MuseumMuseumplein 10 1071 DJ Amsterdam, Netherlands

Stedelijk Museum Amsterdam

Exploring the International Typographic style and the designers that made it happen.

12th— 27thFebruary

The Typographic circle / www.typocircle.comThe Stedelijk Museum / www.stedelijk.nl

An exhibition

of modernist

typography.

“perfection is achieved, not when there is nothing left to add, but when there is nothing left to remove.”

Halle, G

alerie, V

estibül,

Bibliotheksg

ang, Vortr

agssaal

Ausstellu

ngsstrasse

60

CH-8005 Zürich

M

useum Für

G

estaltu

ng

Zürich


16th— 29thjanuary

An exhibition

of modernist

typography.


An exhibition

of modernist

typography.

A1


A2/SW/HK is an independent design stu-dio formed in 2000 by Scott Williams and Henrik Kubel. The team has a conceptual approach to problem solving across vari-ous disciplines. They create bespoke type-faces and custom-made design solutions for each project that are informed and shaped by a clear understanding of both content and context.

A2/SW/HK

Museumplein101071 DJ Amsterdam

Tickets available at the museum or online at www.museum-gestaltung.ch and www.typocircle.com


Stedelijk Museum Amsterdam 15 Euros

15/02/2013 5.00pm

EXPERIMENTAL JETSETTALKA-TTHESTEDELI-JKMUSEUM-AMSTERDAM 23.02.201315 EUROS

17HUN-DREDHOURS.

The Typographic circle / www.typocircle.comStedelijk Museum / www.stedelijk.nl

An exhibition

of modernist

typography.

EXPERIMENTAL JETSETTALKAT-THEMUSEUM-FÜRGESTAL-TUNGZURICH 22.01.201315 CHF

17HUN-DREDHOURS.


An exhibition

of modernist

typography.

An exploration of the international

typographic style and the

designers who formed the basis of

a style which lives on today.

Event Programme

English - D

eutsche

Josef Müller-BrockmanArmin BoffmanMax BillMax MeidingerRobert BüchlerEmil RuderJan TschicholdMax HuberKarl GerstnerRichard Paul-Lohse

Eine Untersuchung der

Internationalen typografischen Stil

und die Designer, die Grundlage

für einen Stil, der auf noch neute

lebt gebildet.

Veranstaltungsprogramm

The Typographic circle / www.typocircle.com

Museum Für Gestaltung / www.museum-gestaltung.ch

Stedelijk Museum / www.stedelijk.nl/

CHF 10 / €15

A talk by Ben Parker and Paul Austin of MadeThought

Founded in 2000 by Ben Parker and Paul Aus-tin, MadeThought is a multi-disciplinary design consultancy that has amassed a diverse and impressive client list, within brand identity, art-direction, packaging, print and interactive design.

MadeThought is known for a deliberate and crafted aesthetic, and believes in the strength and purity of rigorous graphic application. With an eclectic range of projects and com-missions, their clients have included Adidas, Stella McCartney, Candy & Candy, MTV, Reiss and Nokia.

MadeThought

29/01/2013

Ben P

arker & P

aul Austin

MadeThought

Work to D

ate

an exploration of the In-ternational Typographic style and the designers who formed the basis of a style which lives on even today.

Eine Untersuchung der Internationalen typografischen Stil und die Designer, die Grundlage für einen Stil, der auf noch neute lebt gebildet.

stedelijk museum amsterdam

museumplein101071 DJ amsterdam

valid :12th-27thFebruary

admit one(adult)

The

Typo

grap

hic

Cir

cle

/ w

ww

.typ

ocir

cle.

com

Ste

delij

k M

useu

m /

ww

w.s

tede

lijk.

nl

€15

€15

Josef Müller-Brockman

Armin Hofmann

Max Bill

Wim Crouwel

Robert Büchler

Emil Ruder

Jan Tschichold

Max Huber

Karl Gerstner

Richard Paul-Lohse

an exploration of the In-ternational Typographic style and the designers who formed the basis of a style which lives on even today.

Eine Untersuchung der Internationalen typografischen Stil und die Designer, die Grundlage für einen Stil, der auf noch neute lebt gebildet.

Museum Für Gestaltung, Zurich


valid :16th-29thJanuary

admit one(adult)

The

Typo

grap

hic

Cir

cle

/ w

ww

.typ

ocir

cle.

com

Ste

delij

k M

useu

m /

ww

w.s

tede

lijk.

nl

CH

F 7C

HF 7


Armin Hofmann

Max Bill

Wim Crouwel

Robert Büchler

Emil Ruder

Jan Tschichold

Max Huber

Karl Gerstner

Richard Paul-Lohse

Since it was co-

founded in Amsterdam

in 1997 by Erwin

Brinkers, Marieke

Stolk and Danny van

Dungen, Experimental

Jetset has emerged as

one of Europe’s most

inventive graphics

teams through projects

in the culture, music,

fashion and publishing

sectors.

Museum Für Gestaltung, Zurich


valid :25th January5:00pm

admit one(adult)

The

Typo

grap

hic

Cir

cle

/ w

ww

.typ

ocir

cle.

com

Ste

delij

k M

useu

m /

ww

w.s

tede

lijk.

nl

CH

F 7C

HF 7

25th January5:00pm

A talk by Danny van Dungen

and Marieke Stolk of

Experimental Jetset

ExperimentalJetset

Since it was co-

founded in Amsterdam

in 1997 by Erwin

Brinkers, Marieke

Stolk and Danny van

Dungen, Experimental

Jetset has emerged as

one of Europe’s most

inventive graphics

teams through projects

in the culture, music,

fashion and publishing

sectors.

stedelijk museum amsterdam

museumplein101071 DJ amsterdam

valid :23rd February5:00pm

admit one(adult)

The

Typo

grap

hic

Cir

cle

/ w

ww

.typ

ocir

cle.

com

Ste

delij

k M

useu

m /

ww

w.s

tede

lijk.

nl

€15

€15

23rdFebruary5:00pm

A talk by Danny van Dungen

and Marieke Stolk of

Experimental Jetset

ExperimentalJetset

An exhibition

of modernist

typography.

Halle, G

alerie, V

estibül,

Bibliotheksg

ang, Vortr

agssaal

Ausstellu

ngsstrasse

60

CH-8005 Zürich

M

useum Für

G

estaltu

ng

Zürich


16th— 29thjanuary


Josef Müller-BrockmanBorn: May 9, 1914 RapperswilEducation: Kunstgewerbeschule ZurichWork: Own Zurich based studio

Born: December 22, 1908 WinterthurEducation: Bauhaus Dessau Work: School of Arts, Zurich Ulm School of Design Own studio

Born: April 23, 1914 BaselEducation: A.G Frobenius Basel school of design Basel Art MuseumWork: Basel School of design

Born: November 21, 1928 GroningenEducation: Academie Minerva Gerrit Rietveld Academie Work: Total Design

Born: 2 April, 1902 Leipzig Education: Akademie for Grafische Künste and BuchgewerbeWork: School for the Applied Arts, Switzerland Penguin Books

Born: June 5, 1919 Baar Education: Kunstgewerbeschule ZurichWork: Conzett&Huber Einaudi publishing house Scuola Umanitaria, Milan

Born: July 2, 1930 Basel Education: Allgemeine Gewerbeschule Fritz Büler studioWork: Gerstner+Kutter

Born: March 20, 1914 ZürichEducation: School of Arts and Crafts, ZurichWork: Schule für Gestaltung, Basel International Center for the Typographic Arts

Born: September 13, 1902 ZurichEducation: Kunstgewerbeschule ZurichWork: Max Dalang AG, own studio

Born: June 29, 1920 WinterthurEducation: Kunstgewerbeschule ZurichWork: Allgemeine Gewerbeschule, Basel

RichardPaul Lohse

Robert Büchler

Armin Hoffmann

Wim Crouwel

Max Bill

JanTschichold

Emil Ruder

Max Huber

KarlGerstner

Josef Müller-BrockmanBorn: May 9, 1914 RapperswilEducation: Kunstgewerbeschule ZurichWork: Own Zurich based studio

Born: December 22, 1908 WinterthurEducation: Bauhaus Dessau Work: School of Arts, Zurich Ulm School of Design Own studio

Born: April 23, 1914 BaselEducation: A.G Frobenius Basel school of design Basel Art MuseumWork: Basel School of design

Born: November 21, 1928 GroningenEducation: Academie Minerva Gerrit Rietveld Academie Work: Total Design

Born: 2 April, 1902 Leipzig Education: Akademie for Grafische Künste and BuchgewerbeWork: School for the Applied Arts, Switzerland Penguin Books

Born: June 5, 1919 Baar Education: Kunstgewerbeschule ZurichWork: Conzett&Huber Einaudi publishing house Scuola Umanitaria, Milan

Born: July 2, 1930 Basel Education: Allgemeine Gewerbeschule Fritz Büler studioWork: Gerstner+Kutter

Born: March 20, 1914 ZürichEducation: School of Arts and Crafts, ZurichWork: Schule für Gestaltung, Basel International Center for the Typographic Arts

Born: September 13, 1902 ZurichEducation: Kunstgewerbeschule ZurichWork: Max Dalang AG, own studio

Born: June 29, 1920 WinterthurEducation: Kunstgewerbeschule ZurichWork: Allgemeine Gewerbeschule, Basel

RichardPaul Lohse

Robert Büchler

Armin Hoffmann

Wim Crouwel

Max Bill

JanTschichold

Emil Ruder

Max Huber

KarlGerstner

An exhibition

of modernist

typography.

The Typographic circle / www.typocircle.comStedelijk Museum / www.stedelijk.nl

Stedelijk MuseumMuseumplein 10 1071 DJ Amsterdam, Netherlands

Stedelijk Museum Amsterdam


12th— 27thFebruary

3 3

An exploration of the international

typographic style and the

designers who formed the basis of

a style which lives on today.

Event Programme

English - D

eutsche

Josef Müller-BrockmanArmin BoffmanMax BillMax MeidingerRobert BüchlerEmil RuderJan TschicholdMax HuberKarl GerstnerRichard Paul-Lohse

Eine Untersuchung der

Internationalen typografischen Stil

und die Designer, die Grundlage

für einen Stil, der auf noch neute

lebt gebildet.

Veranstaltungsprogramm

The Typographic circle / www.typocircle.com

Museum Für Gestaltung / www.museum-gestaltung.ch

Stedelijk Museum / www.stedelijk.nl/

CHF 10 / €15

9

EnglishDeutsche

One of Müller-Brockman’s

posters from a series of

posters for Zurich Opera

House, all based around the

same grid, including a large

coloured block on grey

background.

Einer der Müller-Brockmans

plakate aus einer Reihe von

plakaten für Opernhaus

Zürich, die alle auf basis

des gleichen raster,

einschließlich einer großen

farbigen Block auf grauem

Hintergrund.

Orpheus in der Unterwelt

Opernhaus Zurich

1965

Lithography

Fig.1

8

Eröffnung der Spielzeit

Opernhaus Zürich

1962

Lithography

Der Film

Kunstgewerbemuseun Zurich

1960

Lithography

Fig.2Fig.3

Fig.2 Another poster produced by Müller-Brockman for the Zurich

Opera house. This time a later example, with a different

basic grid structure. However still set in Berthold’s

Akzidenz Grotesk.

Fig..3 Poster produced by Müller-Brockman in 1960 for an

exhibition which demonstrates the universal harmony

achieved by mathematical spatial divisioning.

Ein anderes Plakat von Müller-Brockmann für die

Zürcher Opernhaus produziert. Dieses Mal ein viel später

beispielsweise mit einer anderen grundlegende Layout und

die Gitterstruktur. Allerdings noch in Berthold Akzidenz

Grotesk gesetzt.

Poster von Müller-Brockman im Jahr 1960 produziert für

eine Ausstellung, die die universelle Harmonie durch

mathematische räumliche Gruppeneinteilung erreicht

demonstriert.

Max Gregory

OUGD301

Level 6

3/5

Event programme

Three column layout with body copy set in both

English and German to reflect the relevance

of communication in modernist design and

to accomodate for the events taking place in

countries where English is not the native language.

The grid gives a much more rigid structure to the

programme which helps the flow of information,

especially with the two distinct languages.

The programme is split into spreads for each of

the designers in the exhibition. These spreads have

a bio of each designer, with one of their pieces

featured in the exhibition. This is turned followed

by section of a transcribed interview with Josef

Müller-Brockman, widely considered one of the

most influential designers on the development of

the Swiss style.

Offeset 5 column grid

Text set in Akzidenz Grotesk

7 on 11pt body / 20 on 24pt headers

6pt page information

Flood red dividing pages

Flood red inside french fold

Talk Transcripts

Single column layout due to the small size of the

document, printed black and white on textured

stock to remain cheap to print because of the

number needed, allowing for printing of different

language editions. Slightly larger body copy making

talk easier to read.

Single column offset grid

Text set in Akzidenz Grotesk

8 on 11pt body / 10 on 12pt headers

6pt page information

Typografia 2Publications

32

Typografie is an event following on from the infinitely suc-

cessful ‘typografia’ at London Design Museum last year. The

previous event looked at classical typefaces and the effect

they’ve had on design, however we wanted to change it up

this year.

Typografie looks in great detail at the work of modernist

graphic designers, particularly those synonymous with the

International Typographic Style - or Swiss Design. These

designers very often work across a range of disciplines and

pull experience, knowledge and industrial practice from

one to the other. Architectural vision and spatial awareness

blend into design practice, and theories developed from

teaching further informed their practice to create one of the

quickest moving and most radical design directions post

war.

Moving from London Design museum and holding two exhi-

bitions at the Stedelijk in Amsterdam and the museum for

design in Zurich, We’ve moved typografie closer to its roots.

Typografie ist eine Veranstaltung im Anschluss an die

unendlich erfolgreichen “typografia” am London Design

Museum im vergangenen Jahr. Die Vorveranstaltung sah

klassischen Schriften und die Wirkung, die sie auf die

Gestaltung gehabt haben, aber wir wollten es ändern sich in

diesem Jahr.

Typografie sieht sehr detailliert auf die Arbeit von modernis-

tischen Grafiker, insbesondere solche, gleichbedeutend mit

dem International Typographic Style - oder Schweizer De-

sign. Diese Designer sehr oft in einer Reihe von Disziplinen

und ziehen Erfahrung, Wissen und industrieller Praxis von

einem zum anderen. Architektonische Vision und räumliche

Wahrnehmung verschmelzen zu Design-Praxis und Theorien

von der Lehre weiterentwickelt informiert ihre Praxis zu

einer der am schnellsten bewegenden und radikalsten

Designrichtungen Nachkriegszeit schaffen.

Der Umzug von London Design Museum und hält zwei Aus-

stellungen im Stedelijk in Amsterdam und dem Museum für

Gestaltung in Zürich, haben wir typografie rückte näher an

seinen Wurzeln.

English Deutsche English Deutsche


Born : May 9, 1914

: Rapperswil

Education : Kunstgewerbeschule

Zurich

Work : Own Zurich

based studio

7-1017-18

15-1623-24

25-26

Robert Büchler

Born : April 23, 1914

: Basel

Education : A.G Frobenius

: Basel school of design

: Basel Art Museum

Work : Basel School of design

Wim Crouwel

Born : November 21, 1928

: Groningen

Education : Academie Minerva

: Gerrit Rietveld Academie

Work : Total Design

Max Huber

Born : June 5, 1919

: Baar

Education : Kunstgewerbeschule

Zurich

Work : Conzett&Huber

: Einaudi publishing house

: Scuola Umanitaria

Milan

Karl Gerstner

Born : July 2, 1930

: Basel

Education : Allgemeine Gewerbeschule

: Fritz Büler studio

Work : Gerstner+Kutter

English Deutsche

6

Josef Müller-BrockmanBorn :

May 9, 1914, Rapperswil

Education :

Kunstgewerbeschule, Zurich

Work :

Own Zurich based studio

Josef Müller-Brockmann was born in Rapperswil,

Switzerland in 1914 and studied architecture, design and

history of art at the University of Zurich and at the city’s

Kunstgewerbeschule. He began his career as an apprentice

to the designer and advertising consultant Walter Diggelman

before, in 1936, establishing his own Zurich studio

specialising in graphics, exhibition design and photography.

By the 1950s he was established as the leading practitioner

and theorist of Swiss Style, which sought a universal

graphic expression through a grid-based design purged

of extraneous illustration and subjective feeling. His

“Musica viva” poster series for the Zurich Tonhalle drew

on the language of Constructivism to create a visual

correlative to the structural harmonies of the music.

Müller-Brockmann was founder from and, from 1958 to

1965, co-editor of the trilingual journal Neue Grafik (New

Graphic Designer) which spread the principles of Swiss

Design internationally. He was professor of graphic design

at the Kunstgewerbeschule, Zurich from 1957 to 1960, and

guest lecturer at the University of Osaka from 1961 and the

Hochschule fur Gestaltung, Ulm from 1963. From 1967 he

was European design consultant for IBM. He is the author of

The Graphic Artist and his Design Problems (1961), History

of Visual Communication (1971), History of the Poster

(with Shizuko Müller-Yoshikawa, 1971) and Grid to many

symposiums and has held one-man exhibitions in Zurich,

Bern, Hamburg, Munich, Stuttgart, Berlin, Paris, New York,

Chicago, Tokyo, Osaka, Caracas and Zagreb. In 1987 he

was awarded a gold medal for his cultural contribution by

the State of Zurich.

Josef Müller-Brockmann wurde in Rapperswil, Schweiz im

Jahr 1914 geboren und studierte Architektur, Design und

Kunstgeschichte an der Universität Zürich und an der Stadt

Kunstgewerbeschule. Er begann seine Karriere als Lehrling

an den Designer und Werbeberater Walter Diggelman vor,

im Jahr 1936, der Gründung seines eigenen Zürich Studio

spezialisiert auf Grafik, Ausstellungsdesign und Fotografie.

In den 1950er Jahren wurde er als der führende Praktiker

und Theoretiker des Swiss Style, die eine universelle

grafische Ausdruck durch ein Gitter-basiertes Design

von Fremdwasser Darstellung und subjektive Gefühl

gespült suchten etabliert. Seine “Musica viva” Plakatserie

für das Zürcher Tonhalle stützte sich auf die Sprache

des Konstruktivismus, um eine visuelle Korrelat zu den

strukturellen Harmonien der Musik zu schaffen. Müller-

Brockmann war Gründer von und, von 1958 bis 1965,

Mitherausgeber des dreisprachigen Zeitschrift Neue

Grafik (New Graphic Designer), die die Grundsätze des

Swiss Design verbreitet international. Er war Professor für

Grafik-Design an der Kunstgewerbeschule in Zürich von

1957 bis 1960, und Gastdozent an der Universität Osaka

aus dem Jahr 1961 und der Hochschule für Gestaltung,

Ulm von 1963. Ab 1967 war er europäischer Design-

Berater für IBM. Er ist der Autor von The Graphic Artist und

seine Design-Probleme (1961), Geschichte der Visuellen

Kommunikation (1971), Geschichte der Poster (mit Shizuko

Müller-Yoshikawa, 1971) und Grid zu vielen Symposien und

hatte Ein-Mann-Ausstellungen in Zürich, Bern, Hamburg,

München, Stuttgart, Berlin, Paris, New York, Chicago,

Tokio, Osaka, Caracas und Zagreb. 1987 wurde er mit

einer Goldmedaille für seine kulturellen Beitrag des Landes

Zürich verliehen.

“Can you image the

Chartres Cathedral, the

Eiffel Tower or the work of

Le Corbusier other than how

they are? No great work is

created without material

rules, without knowing

about stress ratios or the

laws of perception.”

— Josef Müller-Brockman

7

dieDesigner

Deutsche

35

English Deutsche

34

First published in Eye no. 19 vol. 5, 1995 Zuerst in Eye Magazin Nr. 19, Veröffentlicht. 5, 1995

evaluated and possibly amended by me. Thereafter the part-

ners took on projects that they saw through independently

from start to finish.

YSS Would you still teach the grid and order today?

JMB Can you image the Chartres Cathedral, the Eiffel Tower or

the work of Le Corbusier other than how they are? No great

work is created without material rules, without knowing

about stress ratios or the laws of perception. Sometimes I

would set my students to an introductory exercise of depict-

ing a dam burst typographically to bring out the difference

between expressive and informative design. We always got

interesting, and occasionally hilarious, results. Tomorrow or

in ten or 20 years time aesthetic tastes will have changed,

but laws last and are independent of time. The golden sec-

tion, for instance, is a simple, elegant ratio of proportions

that is understood by all cultures and is present in both man

and nature. In teaching I try to establish rational-objective

foundations that are accepted by all and which can be

developed individually.

YSS What typeface would you choose if you were a young

graphic designer today?

JMB Berthold’s Akzidenz Grotesk and the classical Roman types

such as Garamond, Bodoni, Caslon and Baskerville. I have

come to value Akzidenz Grotesk more than its successors

Helvetica and Univers. It is more expressive and its formal

foundations are more universal. The end of the “e”, for in-

stant, is a diagonal which produces right angles. In the case

of Helvetica and Univers the endings are straight, producing

acute or obtuse angles, subjective angles.

YSS When you look at today’s increasing irrationality, the endless

lust of power and its destructive consequences, do you see

any hope for reason and humane communication? What can

designers contribute?

JMB Negative things can also provoke positive things. The search

for a better quality of life has led to the creation of many

institutions concerned with examining eastern and western

philosophy in order to find meaning of our lives and how we

might live accordingly. In the various areas of design the

democratic approach – the awareness that our professional

efforts should be directed to the good of the general public

– has become stronger. The contribution of this approach

to the achievement of a more humane future should not be

underestimated.

YSS When you look back on your work, what appears important

to you? What would you like to pass on to young people?

JMB I have always felt obliged to make a constructive contribu-

tion to the future of society. I have never lost the feeling that

I have a task to perform. What pleases me is that I have al-

ways sought what is better, that I have remained self-critical,

and that I am still interested in things outside my own field.

My library is the expression of my curiosity. My library is the

expression of my curiosity. I would advise young people to

look at everything they encounter in a critical light and try to

find a better solution. Then I would urge them at all times to

be self-critical.

Atelier verlassen überprüft, ausgewertet und gegebenenfalls

geändert durch mich. Danach werden die Partner nahmen

an Projekten, dass sie durch sahen unabhängig vom Anfang

bis zum Ende.

YSS Möchten Sie noch lehren die Gitter und bestellen Sie

noch heute?

JMB? Können Sie sich vorstellen die Kathedrale von

Chartres, der Eiffelturm oder das Werk von Le Corbusier

andere als wie sie sind? Keine große Arbeit ohne Material

Regeln erstellt, ohne es zu wissen Spannungsverhältnisse

oder die Gesetze der Wahrnehmung. Manchmal würde ich

meine Schüler zu einem Einführungspreis Ausübung der

Darstellung eines Dammbruch typografisch zu bringen, den

Unterschied zwischen expressiven und informative Design.

Wir bekamen immer interessant, und gelegentlich komisch,

Ergebnisse. Morgen oder in zehn oder 20 Jahren ästhetisch-

en Geschmack wird sich geändert haben, aber Gesetze letz-

ten und sind unabhängig von der Zeit. Der Goldene Schnitt,

zum Beispiel, ist eine einfache, elegante Verhältnis der

Proportionen, die von allen Kulturen verstanden wird und ist

in Mensch und Natur. In der Lehre Ich versuche rational-

objektiven Grundlagen, die von allen und die individuell

entwickelt werden können akzeptiert werden zu etablieren.

YSS? Welche Schrift würden Sie wählen, wenn Sie ein

junger Grafiker waren heute?

JMB? Berthold Akzidenz Grotesk und die klassischen Ro-

man Typen wie Garamond, Bodoni, Caslon und Baskerville.

Ich habe den Wert Akzidenz Grotesk kommen mehr als

seinen Nachfolger Helvetica und Univers. Es ist mehr

Ausdruckskraft und ihre formalen Grundlagen sind univer-

sal. Das Ende der “e” für Augenblick, eine diagonale, die

rechtwinklig produziert. Im Falle der Helvetica und Univers

die Endungen sind gerade, Erzeugen spitzen oder stumpfen

Winkel, subjektive Winkeln.

Wenn Sie heute auf die zunehmende Irrationalität aussehen,

haben die endlosen Gier der Macht und ihrer zerstörer-

ischen Folgen, sehen Sie jede Hoffnung auf Vernunft und

humane Kommunikation? Was kann Designern beitragen?

Negative Dinge können auch provozieren positive Dinge. Die

Suche nach einer besseren Lebensqualität hat zur Schaf-

fung zahlreicher Institutionen mit der Prüfung östlichen und

westlichen Philosophie, um Sinn unseres Lebens und wie

wir danach leben zu finden betroffenen geführt. In den ver-

schiedenen Bereichen der Gestaltung der demokratischen

Ansatz - das Bewusstsein, dass unsere professionellen

Bemühungen um das Wohl der Allgemeinheit gerichtet sein

sollte - ist stärker geworden. Der Beitrag dieses Ansatzes

zur Erreichung der eine humanere Zukunft sollte nicht

unterschätzt werden.

Wenn Sie zurückblicken auf Ihre Arbeit, was scheint Ihnen

wichtig? Was würden Sie gerne weitergeben an junge

Menschen?

Habe ich immer das Gefühl, verpflichtet, einen konstruk-

tiven Beitrag für die Zukunft der Gesellschaft zu leisten.

Ich habe nie das Gefühl, dass ich eine Aufgabe zu erfüllen

haben verloren. Was mich ist, dass ich immer versucht, was

besser ist, dass ich geblieben selbstkritisch, und dass ich

noch Dinge außerhalb meiner eigenen Bereich interessiert.

Meine Bibliothek ist der Ausdruck meiner Neugier. Meine

Bibliothek ist der Ausdruck meiner Neugier. Ich würde Ihnen

raten, junge Menschen auf alles, was sie in einem kritischen

Licht begegnen schauen und versuchen, eine bessere

Lösung zu finden. Dann würde ich sie jederzeit auffordern,

sich selbst kritisch.


A2/SW/HK is an independent de-sign studio formed in 2000 by Scott Williams and Henrik Kubel. The team has a conceptual approach to problem solving across various disciplines. They create bespoke typefaces and custom-made de-sign solutions for each project that are informed and shaped by a clear understanding of both content and context.

A2/SW/HK

18/01/2013

Henrik K

ubel A

2 Type W

ork

A talk by Wim Crouwel

Wim Crouwel started his own free-lance prac-tice in amsterdam (1954). In 1963, with benno wissing, friso kramer and the schwarz broth-ers, he founded design studio total design. He designed and oversaw extensive work for the stedelijk museum in amsterdam (1964-85).

In 1967 he published his experimental new alphabet. Crouwel was professor at the delft university (1972-85). He was director of the boijmans van beuningen museum, rotterdam (1985-93). He received the british obe, is a rdi, knight of the dutch lion, officer of orange nas-sau. Got the dutch oeuvre award 2004.

Wim Crouwel

20/01/2013

Wim

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A talk Danny van Dungen and Marieke Stolk of Experimental Jetset

Axima cus. Ro et mo conseditate rernatur? Ovit ullame nis quo eum dolorepudit quatet excest quo modiat.Sed quaecusapis conseque volorro et laborem aut labo. Id eum, ut occab il magni blaborem ati-orupta consed eum utatatum qui sitio excea pore apereperrum volum dolorem poreproviti ommo-dio nseque consequi dolorpo rerores ut volorite preperspedi aliam experibeatem seque sequist quam sinciet odit peliquat quide vel ium eveles-sum, nonsendam exeri officiae aut eum il illandit fugia ducia doluptas aperfer chilles sinissima sin-ctat verios es dollam es nos acepudita sus non-ecepudi nulpa as magnimu sandit omniendebis mos aut pa verspellabo. Sed quae dus aceatum ate conserem. Optas conseque nonserum quis-sunt que nis dolut aligenihil id enistiumquas con enditinto dolorem utatemque volendi gnimus que eles minctem velicim sam quae pario bla conse volorup taspicietur ad ute ped quide ommodip-sam et quis cusandi temporit voluptiam int.Isquissim sumque aut autemolum fugias molo occulloreped quia di doluptateces aut lant om-nimint.Obisquam et pa eos il est, que dolupti utatur? Et as mollore stotatiam, eos voluptatur alitio. Ut quo voluptiis volliqui ut reriam eatum re nobitia dis arcipic tatenem. Optamet labo. Ostiat as porrore nonsequ aessinv endebisciam num dolupta sit aribus ditatem sequunti que dendi

Axima cus. Ro et mo conseditate rernatur? Ovit ullame nis quo eum dolorepudit quatet excest quo modiat.Sed quaecusapis conseque volorro et laborem aut labo. Id eum, ut occab il magni blaborem atiorupta consed eum utatatum qui sitio excea pore apereperrum volum dolorem poreproviti ommodio nseque consequi dolorpo rerores ut volorite preperspedi aliam experibeatem seque sequist quam sinciet odit peliquat quide vel ium evelessum.

Wim

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54

Axima cus. Ro et mo conseditate rernatur? Ovit ullame nis quo eum dolorepudit quatet excest quo modiat.Sed quaecusapis conseque volorro et laborem aut labo. Id eum, ut occab il magni blaborem ati-orupta consed eum utatatum qui sitio excea pore apereperrum volum dolorem poreproviti ommo-dio nseque consequi dolorpo rerores ut volorite preperspedi aliam experibeatem seque sequist quam sinciet odit peliquat quide vel ium eveles-sum, nonsendam exeri officiae aut eum il illandit fugia ducia doluptas aperfer chilles sinissima sin-ctat verios es dollam es nos acepudita sus non-ecepudi nulpa as magnimu sandit omniendebis mos aut pa verspellabo. Sed quae dus aceatum ate conserem. Optas conseque nonserum quis-sunt que nis dolut aligenihil id enistiumquas con enditinto dolorem utatemque volendi gnimus que eles minctem velicim sam quae pario bla conse volorup taspicietur ad ute ped quide ommodip-sam et quis cusandi temporit voluptiam int.Isquissim sumque aut autemolum fugias molo occulloreped quia di doluptateces aut lant omni-mint.Aliqui culluptat as qui secatiis et ullut liamet volupta quuntur sinus, omnis reni acea nisquo coneceaquat.Os ut reius ius quaerenditi officim aiorporem ilignimin plabo. Apel et apid magnim aut et aut am, nullab ius est int ommolorem vo-lenducitis et volest, occus, officate voluptaturit fugitem ratios rercipsaeped qui num aut et eum in con etus eictur, comnimaio. Ulpa sinveri orei-cia doluptaecae qui ideriossenis magnisquo om-nisquo eatiam fugitiis delendignis il moloOccup-

tatiae natae porissin nam ut evel invent la quam dit, velicil luptiunt, que nonse volupta turesec eperia sum simet alita dolum estectaquiam vo-lupta quiate dolum derspelit, ere aut reptatium sit, quam, sam que dolo eosamet aperovit eossin reptas il es ma in placcus, quibus.Occuptur? Torrovi delluptatio volorios sitibus si odis adisita taturior si quiassit alitiunt.Necaboreror aliquiatet parchil ium et aut plab id ut quassi ut is aut hicto molentis endio. Et eaqui-atiur, ea autemol uptatur? Solupta nim volorep-erae eum, quia volorehent fuga. Rias sed uta sincte verferu picidi dis dolesequi is se veriorpor a nimiliat prae ea ventiur alist arunt.Ovid mod ut audaeca tentiur alibusdam, serepta dolupta tempos magnita nihil et omnime vollessero dolor sam aborporum untiori busdandi ad magnistiur aciati quam reped mod quae venisti untur, aut rem illent apis simus essit, tem sanda simincte aut fuga. Iquas incturi beatemp orisitae. Nem cum utem estestia de voluptas eum nimpostrum comnit lam, nat.Im evenisq uidisqu amusaero officia spitaquae si nimoluptatia de consererum la quias et vellen-tiam renis prerspere expe nisci omnihitatur san-deles aut lant que doles dercid maio. De vellaut reius dolorrum excepudis re excese net maion pos volo od quae doluptur mossin nobis aut omnihit, illest doluptatem harchicae nobit ene est mo occate nam, sita quae nustiation evel ere odiat ex est accus eos et facium que voluptum dolupid que ni tem eri volorum accaepu dicatia-tum aut velitas apid minihici im verchiti inveles-

Wim

Crouw

elTotal D

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ddysey

4 4

Max Gregory

OUGD301

Level 6

4/5

Event programme

200 x 200mm

French fold

Flood red inner pages

Full colour digital print

perfect bound

off-white textured stock

Talk Transcripts

105 x 148mm

Single signatures

Stitch bound

Black & white

pale brown textured cover

off-white texture inner pages

The event programme and Talk Transcripts for the

event are produced in a clean and ordered style,

relevant to the content of the exhibition but also

easy to navigate. Textured stocks reminiscent of

the subdued colour palette of the swiss modernists

due to the process by which they were printing

being fairly new.

The programme provides those attending the

exhibition with a guide to the designers whose

work is displayed aswell as being a piece of

good quality print that can be taken away. Talk

transcripts are typed up version of the talks given

by the designers and provide people with the

opportunity to look back on what has been said.

Typografia 2Publications

5 5

Max Gregory

OUGD301

Level 6

5/5

Digitally printed

1 A1 talk poster

2 A2 exhibition posters

(double sided)

Along with the publication, I printed some of the

posters to promote the exhibition digitally. This

gave me a better idea of the scale of the posters

and whether I had made the right choice in terms

of format and text size on the posters.

I am pleased with the outcomes and found that

the formats worked well. Ideally I think all the

posters would be at least A1 format as this would

give them much more impact due to their size. It

would also allow me to increase the size of certain

text elements so that they would be legible from

further away.

I chose to print the A2/SW/HK talk poster A1 as

the design I had for this poster was only effective

at this size. I have also mocked up some of the

poster in situe in the entrance of the Museum Für

Gestaltung and I think these work quite nicely.

Typografia 2Posters

typografie submission boards

Documents