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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
A talk by Henrik Kubel.of A2/SW/HK
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
Exploring the International Typographic style and the designers that made it happen.
16th— 29thjanuary
An exhibition
of modernist
typography.
The Typographic circle / www.typocircle.comMuseum Für Gestaltung / museum-gestaltung.ch
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
Museumplein101071 DJ Amsterdam
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
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.
The Typographic circle / www.typocircle.comMuseum Für Gestaltung / museum-gestaltung.ch
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
Halle, Galerie, Vestibül, Bibliotheksgang, VortragssaalAusstellungsstrasse 60CH-8005 Zürich
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
Josef Müller-Brockman
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
Halle, Galerie, Vestibül, Bibliotheksgang, VortragssaalAusstellungsstrasse 60CH-8005 Zürich
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
Exploring the International Typographic style and the designers that made it happen.
16th— 29thjanuary
The Typographic circle / www.typocircle.comMuseum Für Gestaltung / museum-gestaltung.ch
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
Exploring the International Typographic style and the designers that made it happen.
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
Josef Müller-Brockman
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.
A talk by Henrik Kubel.of A2/SW/HK
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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elTotal D
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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