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fall 2012

Experimental TypograpY Stefan SagmeisteR

03-04 07-08


05-06 09-10



The product you hold in your hands is a product put much effort in. It's produced by Daniel Ingebrigtsen, a student from Norges Kreative Fagskole @ Oslo. In this magazine you can read about Stefan Sagmeister success and a big article on Claude Garamond - one of the greatest typographers.

TYPO Stefan SagmeiSteR

Wa Rm t hiS pag e O n a n Ov en, h aiRDRy eR OR he at eR. C au TiO n: D O n Ot h O l D t h e pa p eR tO lO n g Ov eR t h e h e at in g SOURCe, BUt gently pUll the pa peR Ov eR, Repe at eD ly.



expeRimental typOgRaphy

Stefan SagmeiSteR


“the conventional wisdom in our business is that you have to grow and keep moving to survive. We never grew, always stayed tiny, and it serves us very well over the years, allowing us to pick and choose projects, and keeping our financial independence from our clients. We actually have a rather good track record, because we do select projects carefully. most of our ideas don’t eat dust but glimpse the light of day because we find it much more helpful to spend some serious time and effort before we start working on a project, rather than suffer through it afterwards”
text: emily heyward

DiD yOU KnOW: every seven years, designer Stefan Sagmeister closes his new york studio for a yearlong sabbatical to rejuvenate and refresh his creative outlook.

expeRimental typOgRaphy



TYPO KaRel maRtenS


TYPO typOgRaphy in ShapeS

“ L i k e m u ch i n life d e sig nin g is m a k i n g cho i c e s.”

K a r e l M a r t e n s i s a D u tch d e s i g n e r a n d te acher. Af ter tr aining at the school of art in Arnhem, he has worked as a freel ance graphic designer, specializing in typography.
“ I ’m a Dar winis t . I believe in evolution, more than in in revolution. W ha t ma t ter s to m e are nature’s perpetual movements. To be more specific, I’m interested in the smallest particles, in structures. Plants are of course also built. I’ve made things with seeds… I’m not actively looking for things, but if it’s there, it’s there. I never study other designer’s output because that doesn’t work for me. I’m not a member of any organisation or club either, and for similar reasons. Rather than the expected stimulation, looking at other peoples beautiful work would demotivate me.”

Text: Harmen Liemburg

Typography in shapes

karel martens




TYPO claude garamond

Looking at the pre -19th - century typefaces that are still in widespread use today is a little like visiting a modern re - creation of an Anglo - Saxon village.

claude garamond
If you ignore the aircraft passing overhead you can easily imagine yourself back in the first millennium. However absorbed the inhabitants seem in their daily tasks, you know that at the end of the day they will take off their coarsely woven garments, slip into some Lycra, and head home, probably picking up a takeaway and video en route. However convincing it all looks, in reality it's an elaborate fake.
SIMON LOXLEY typographer, designer, and teacher.

be the work of Robert Granjon's fellow countryman and contemporary Claude Garamond c. 1500-61. And the typefaces that bear Garamond's namewell, as the saying goes, fasten your seat belts, it's going to be a bumpy ride. Garamond had long been regarded as one of the type designers par excellence of the century that followed Gutenberg's invention of movable type. Using Aldus Manutius's roman type as his inspiration, Garamond had cut his first letters for a 1530 edition of Erasmus. It was so well regarded that the French king Francois I commissioned Garamond to design an exclusive face, the Grecs du Roi.

And that's just how it is in the world of type. You may think you're working with actual letter forms drawn in the 16th century, but they're actually a 20th-century re-creation based on the originals, or what were thought to be the originals. It can get confusing. Plantin was based on a face cut by the French type designer Robert Granjon working 1545-88; the printer Christopher Plantin himself never used the original source type. Janson, designed in 1937, is named after a Dutchman, Anton Janson, who had nothing to do with the face at all; the design was inspired by the work of the Hungarian Nicholas Kis 1650-1702. The various versions of Baskerville are all 20th-century work; the earliest one was not even based directly on Baskerville's type, but on what came to be known later as Fry's Baskerville, a piece of 18th-century intellectual piracy. In 1924 George Jones designed a face for the Linotype company which he called Granjon, but the design he used as inspiration turned out to

Garamond's typefaces were very popular during his lifetime and much copied, as for many of the early type designers the work didn't bring hiM much financial reward.
When he died, his widow was forced to sell his punches, and his typefaces were scattered throughout Europe. Garamond the typeface gradually dropped out of sight, to disappear for nearly two centuries. In the 19th century the French National Printing Office, looking for a typeface to call its own, took a liking to the one that had been used by the 17th-century Royal Printing Office, operating under the supervision of Cardinal Richelieu 1. Richelieu called his type the Caractères de l'Université, and used it to print, among other


TYPO Classic typography

claude garamond


things, his own written works. The 19th-centry office pronounced the face to be the work of Claude Garamond, and the Garamond revival began. But it was only after the First World War that the bandwagon really picked up momentum. Suddenly every type foundry started producing its own version of Garamond. American Type Founders ATF were first, and then in 1921 Frederic Goudy offered his interpretation, Garamont. Monotype in England brought out theirs in 1924, and Linotype replied with Granjon. There were yet more versions on the market by the onset of the Second World War, most notably Stempel Garamond by the German foundry of that name. Back at ATF, the company that had started the rush, Henry Lewis Bullen, librarian of the company's formidable archive, had nagging doubts about his company's product. One day, as recalled by his assistant Paul Beaujon, he declared: "You know, this is definitely not a sixteenth century type … I have never found a sixteenth century book which contains this face. Anyone who discovers where this thing comes from will make a great reputation." Beaujon wrote an article about the Garamond faces for The Fleuron, an English typographical journal. The pages had been proofed and the presses were ready to roll when Beaujon, visiting the North Library of the British Museum to check some dates, happened to glance at one of the items in the Bagford Collection of title pages. And there was the source type for all the 20th-century Garamonds. Except that this typeface wasn't by Garamond at all. It was the work of another Frenchman, Jean Jannon 1580-1658,

a 17th-century printer and punch-cutter. As a printer he was unremarkable, but as a designer and punch-cutter he was unparalleled, cutting the smallest type ever seen, an italic and roman of a size less than what would now be 5pt. Frequently in trouble with the authorities for his Protestant beliefs, Jannon had eventually found work at the Calvinist Academy at Sedan, in northern France. C. Richelieu's early years of office under Louis XIII were spent in a power struggle with the Huguenots, the French Protestants. An effective way of hastening their eventual submission was to remove their means of spreading information, and the government paid the academy a visit. Among the items confiscated in the raid was Jannon's type. Although Richelieu took exception to Jannon's religious affiliations, however, he liked his typography so much that his face is the house style for the Royal Printing Office. Following a swift trip to the Mazarine Library in Paris to compare impressions with their Jannon specimen book, Beaujon's original feature was pulled in favor of a new one revealing the true source of the "Garamond" faces. It was hailed as a masterly piece of research, and the Monotype Corporation of England offered him the job of editing their inhouse magazines. But the twist was that Beaujon, like the Garamond typefaces, was not at all what he appeared to be.

Did you know: In the years that Claude Garamond was designing his fonts the Renaissance was happening.

Classic typography



TYPO Marian Bantjes

"i wish that when i die i will be satisfied with all i have done with my life"
Marian Bantjes started working in the field of visual communication in 1983, and subsequently worked for 10 years as a book typesetter (that is her education). from 1993 to 2002 she owned and ran a design firm with a partner, with 2 to 12 staff members, creating the usual gamut of materials for a wide range of corporate, education and arts- organizations (that is her experience). since 2003 she has crossed the boundaries between design, illustration and typography and currently works in this zone, mostly for other designers (that is her experiment). she is also in her 4th year on the british columbia board of the society of graphicdesigners of canada (GDC/BC), writes about design for the design website speak up, and teaches typography through emily carr institute in vancouver.

a bout YOUR work 1. How are you? I have started a series called ‘public private communications’ that being sentences which I or anyone might have said privately to a close friend, but have a larger universality when put in the public sphere. this piece was printed recently in ladies & gentlemen magazine 2. ‘you me no.3’ is an art piece drawn with ballpoint pen. it is the best of four in the series so far, in which I graphically explore the potential relationships between a ‘you’ and a ’me.’ rick valicenti owns all 4 pieces (though the 4th is a minor one). I have another one in my head that I want to do really soon; we'll see if rick gets that one, too. 3.‘you are in my thoughts’ is another of the public private communications, this time for wallpaper magazine's ‘global edit’ exhibit at the salone internazionale del mobile, in milan. It was output on clear plexiglass, at about 3 or 4 metres high, it cast a nice shadow. 4. project with Stefan Sagmeister of course, it’s a designer’s dream to work with the dream designer, and I have to say he was just dreamy to work with. this is one of stefan’s series of ‘things in my life I have learned so far’ which we did for the kunsthaus bregenz in austria. stefan asked me to make it ‘beautiful and readable’ which is the kind of creative brief I can easily handle. the phrase, which in english means ‘complaining is silly. either act - or forget’ (written in bregenz dialect) crosses 6 panels of 342cm x 342cm each. the fact that these panels ended up in a location surrounded by vines is pure and happy coincidence. 5. ‘community’ for fontshop’s font 004 this is easily one of my favourite pieces because it graphically represents organic relationships. fontshop asked me to contribute anything I wanted to their font 004 magazine, and gave me six pages to do it in. I started by writing a loose article, and then illustrating that article and eliminating the copy until all I had left were the graphics.


W h at is your daily routine? Well, it’s both pathetic and envious. I wake up any time between 6am and 10am and i’m at the computer about 30 seconds after i get out of bed. Email, check up on a few sites and futzing around with god-knows-what until i get really hungry a few hours later. I’ll then get dressed and have cereal for breakfast. Unless I’m working on some kind of deadline, I don’t really get into gear until mid-afternoon. Then I’ll work until about midnight (where work entails both drawing and being at the computer, lots more email and writing), and go straight back from my computer to bed. I’ll break to eat, and i’m trying to train myself to do things like watch movies or take some time out to read. My days are pretty much the same, 7 days a week. This is pathetic because it is possible for me to spend an entire day in a very small area - I could live my life from jail! However, it’s envious because although this is my routine i’m also able to vary it at will: if it’s sunny i’ll spend some time outside, go for a walk; if i’m feeling lazy i’ll stay in bed for an hour or more before getting up; i have no meetings to attend, and very low stress; my environment is green, quiet and clean. I’m lucky.



TYPO Decorative typography

marian bantjes


do you hav e a mot to? No I don’t, so instead I will tell you my one wish (for when I find a genie) I wish that when I die, I will be satisfied with all I have done in my life.

Decorative typography



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