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Sagmeister//Martens//Garamond//Bantjes

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CONTENTSTEFAN SAGMEISTER ................................4KAREL MARTENS ..........................................6CLAUDE GARAMOND ..................................8MARIAN BANTJES .........................................10

PREFACETypo is a monthly magazine that take on different typographic matters and typographers. We will admit that this magazine is for people with a special interest in the topic, but never the less, this magazine will take you by storm if you are on of us, typo lovers. This magazine is made in collaboration with students at graphic design from NKF. In this first addition in 2012, we are featuring the designers Stefan Sagmeister, Claude Garamond, Karel Martens and Marian Bantjes. We will thank Emily Heyward for her pice on sagmeister, Simon Loxley for his text about Garamond, Hyphen Press for their pice on Martens and a thanks to wikipedia for the artivle on Bantjes. This magazine is printed i black and white with one PMS colour.: 3255 U. The fonts that are used are Ostrich sans in different sizes and Baskerville in 10 pt. We hope you love this magazine as much as we do!

Fonts: Quicksand 8,10, 18 pt American Purpose 34 ptGar-A-MondTall 72 ptBaskerville 10,11,24,30 ptArial BlackText by: Docstoc.com, Stefan Sagmeister, Simon LoxlayColor: PANTONE 3265 U

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“Having guts always works out for me”STEFAN SAGMEISTER

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//KAREL MARTENS DESIGNING IS MAKING CHOICES

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 free (non-commissioned) graphic and three-dimensional work. His design work ranges widely, from postage stamps, to books, to signs on buildings. All this work is documented and celebrated 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 (1994–9). 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. In his work, Karel Martens embraces both freedom and order. He finds inspiration in the limitations of the profession and turns obstacles into challenges. OASE, a Dutch architectural journal, is an illustration of how designer can maneuver in the narrow field of graphic design production. OASE balances between book and a magazine and each new issue reinvents its forms to surprise its readers. Karel Martens gave OASE a clear direction and convincingly makes a magazine that is both modest and luxurious, making one believe that a low-budget publication is in fact a precious object to be collected.

DESIGNING IS MAKING CHOICES

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CLAUDE GARAMOND

Success with his types all

over Europe

Claude Garamond was the first person to master all aspects of book publishing: type design, punch cutting, and type-founding. Because of his many skills, Garamond was well known throughout the publishing industry in France. He created

many different types and was often requested by Royalty to create specific type for their documents.

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. If you ignore the aircraft passing overhead you can easily imagine yourself back in the first millennium. But 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. 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 be the work of Robert Granjon’s fellow countryman and contemporary Claude Garamond (c. 1500-61). And the typefaces that bear Garamond’s name — well, 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 Although Garamond’s typefaces were very popular during his lifetime and much copied, as for many of

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Adobe GaramondGaramond #3

Garamond ClassicoElegant Garamond

ITC Garamond HandtooledSabon font family

Sabon Next

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.

The Royal Printing OfficeIn 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 things, his own written works. The 19th-century 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.

Henry Lewis BullenBack at ATF, the company that had started the rush, Henry Lewis Bullen (2), 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.

Jean JannonExcept 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. Cardinal 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

In-house magazinesFollowing 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 in-house magazines. But the twist was that Beaujon, like the Garamond typefaces, was not at all what he appeared to be.

Fonts from the Linotype Library in the style of Claude Garamond:

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Marian Bantjes is a designer, typographer, illustrator and writer who, born in Canada in 1963, spent the first half of her career as a book typesetter. She left the field of book typography to join the Canadian design studio Digitopolis in 1994, she flourished as a graphic designer there until 2003. She left the firm to pursue her own interests and style of work that she had become internationally recognized for. In the years since she has worked for Pentagram, Stefan Sagmeister, AIGA, The Guardian and The New York Times, among others. Her unique style of typography and illustration includes extremely detailed letterforms and

MARIAN BANTJES GRAPHIC DESIGNER

ornaments and has been featured in design publications all over the globe. Her work is also in the permanent collection of the Cooper-Hewitt National Design Museum. She has released her own typeface, entitled Restraint and is set to release a book in October of 2010 entitled I Wonder. Marian Bantjes is a designer, typographer, writer and illustrator working internationally from her base on a small island off the west coast of Canada, near Vancouver. She is a member of Alliance Graphique Internationale (AGI), and regularly speaks about her work and thoughts at conferences and events worldwide.

She started working as a book typesetter in 1984 and opened her own design firm in 1994 employing up to 12 people. In 2003, she left all of that behind to begin an experiment in following love instead of money, by doing work that was highly personal, obsessive and sometimes just plain weird. At the same time she began writing for the design weblog “Speak Up”, and her cheeky but thoughtful articles soon gained her recognition in the blogosphere. Through this two-pronged approach, Marian caught the attention of designers and Art Directors across North America.

TYPO//Christine Clausen//2012 ©

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