TYPO

Information. Byline: Adriano Sack; www.welt.de/lifestyle/article5272981/Er-ist-der-Philosoph-unter-den-Designern.htm, Stefan Sagmeister; www.en.wikipedia.org/wiki/Stefan_Sagmeister, Peter Bilak; www.typotheque.com/articles/karel_martens_graphic_designer, Karel Martens; http://webspace.newschool.edu/~muhtn069/type/quotes.html, Wikipedia; www.en.wikipedia.org/wiki/Garamond, Simon Loxley; www.lostmag.com/issue6/garamond.php, Marian Bantjes; www.eyemagazine.com/feature/article/marian-bantjes, www.bantjes.com. Typografy: Helvetica Neue, Garamond, Mutlu. Color: Pantone 307 U & Black. Paper: 4CC 160g. Design by: Nuno Carvalho

Experimental typographyInspired by Stefan Sagmeister

Typography as form or in formInspired by Karel Martens

Typography in classic setupInspired by Claude Garamond

Decorative typographyInspired by Marian Bantjes

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Contents

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typo/ experimental typography/ sagmeister

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typo/ experimental typography/ sagmeister

design that needed guts from the creator and still carries

the ghost of these guts in the final execution.“ ”text by adriano sack & stefan sagmeister

T Y P O G R A F I D E S I G N E R T E A C H E R

typo/ typography as form or in form/ karel martens

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typo/ typography as form or in form/ karel martens

like much in life – designing is making choices.“ ”

in his work, 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. A grid became a fascinating element for Karel Martens. The most

basic element in graphic design is given an active role that reflects the tone of the magazine.

Karel is the founder of Werkplaats Typografie in Arnhem.

We

are

all d

esigners and makers of the for m

s in which things present themse

lves

to u

s.text by peter bilak & karel martens

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Form

is th

e co

nditio

n through which a common life becom

es possible: through which a relationship between people

com

es a

bout

.

Garamond

s the name given to a group of old-style serif typefaces named after the punch-cutter Claude Garamond (c. 1480–1561). Most of the Garamond

faces are more closely related to the work of a later punch-cutter, Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Adobe Garamond, Granjon, Sabon, and Stempel Garamond.

garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope.

garamond is considered to be among the most legible and readable serif typefaces for use in print (offline) applications. It has also been noted to be one of the most eco-friendly major fonts when it comes to ink usage.

revivals of the garamond type came as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as “Original Garamond”, whereafter many type foundries began to cast

typo/ typography in classic setup/ claude garamond

text by from wikipedia

based on claude garamond

Stempel Garamond, Adobe Garamond, Sabon, Garamond Premier, Garamond Antiqua

based on jean jannon

Monotype Garamond, Simoncini Garamond, Linotype Granjon, ATF Garamond (Garamond #3), LTC Garamont, Storm Jannon Antiqua, Garamond Classico

new design

ITC Garamond, Apple Garamond

similar types, beginning a wave of revivals that continued throughout the 20th Century. These revivals followed the designs from Garamond and Jannon. The designs of italic fonts mainly came from a version produced by Robert Granjon. In a 1926 article in The Fleuron, Beatrice Warde revealed that many of the revivals said to be based on Claude Garamond’s designs were actually designed by Jean Jannon; but the Garamond name had stuck.

digital versions include Adobe Garamond and Garamond Premier (both designed by Robert Slimbach), Monotype Garamond, Simoncini Garamond, and Stempel Garamond. The typefaces Granjon and Sabon (designed by Jan Tschichold) are also classified as Garamond revivals.

a version called ITC Garamond, designed by Tony Stan (1917–1988) was released in 1977. The design of ITC Garamond, more than any other digital versions, takes great liberty with Garamond’s original design by following a formulary associated with the International Typeface Corporation (ITC), including an increase in the x-height; a wide range of weights, from light to ultra bold; and a condensed width, also in weights from light to ultra bold.

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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. However convincing it all looks, in reality it’s an elaborate fake.

text by simon loxley

nd 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. 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. 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 du Roi. Although 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 . 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 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, 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 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 in-house magazines. But the twist was that Beaujon, like the Garamond typefaces, was not at all what he appeared to be.

humAnIst tYpoGrAphY

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typo/ typography in classic setup/ claude garamond

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typo/ decorative typography/ marian bantjes

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“Pay me as much money as you possibly can.”

text by marian bantjes

he 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.

marian’s art and design crosses boundaries of time, style and technology. She is known for her detailed and lovingly precise vector art, her obsessive hand work, her patterning

and ornament. Often hired to create custom type for magazines, advertising and special projects, Marian’s work has an underlying structure and formality that frames its organic, fluid nature. It is these combinations and juxtapositions that draw the interest of such a wide variety of designers and typographers, from experienced formalists to young students.

among her international clients, she counts Saks Fifth Avenue, Penguin Books, GRANTA, Wallpaper*, The Guardian, WIRED, Stefan Sagmeister, Winterhouse (Bill Drenttel & Jessica Helfand), Maharam, Ogilvy & Mather Chicago, Young & Rubicam Chicago, Random House, Houghton Mifflin, GQ Italia, and The New York Times, among others from Europe, Australia and South America.

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.

I have no local clients...

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typo/ decorative typography/ marian bantjes

text from www.bantjes.com

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