BOLD Magazine by Inês Guapo

â&#x201A;Ź5,00 _ junho 2011 _ mensal _ boldmag.com

New Coca Cola Diet bottles, by Karl Lagerfeld

interviews! dino dos santos & matthew carter 1

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04 06 08 10 12 New Diet Coke Bottles p. 12 2

bold magazine _ junho 2011

news opinion cover graphic design product design

20 28 46 56

Corbeilles p. 20

Dino dos Santos p. 46

sustainable design interior design & achitecture

interviews top

Matthew Carter p. 52 3

bold magazine _ junho 2011

Echoing Pascal, I could either spend days honing a brilliant piece of prose into

the few lines at my disposal, or I could do justice to the contents of font 002 and mention everything we have in store for you. It never fails to surprise me how original, wellcrafted and useful the typefaces are that we look at in our Type Board meetings and choose to take into the FontFont library. And when I think I’ve seen it all, something comes along like Alan Greene’s FF Atma. Did you know what Mid Caps were? Or Quarter Caps? Here is Alan’s own explanation: Mid Caps are useful for acronyms, or for situations where the standard x-height Small Caps do not provide enough contrast. Quarter Caps may be used in place of Mid Caps at the user’s preference, or in titling situations where the temptation might otherwise be to scale down the full capitals. Along with FF Atma, many other new FontFonts— both text and display—are featured in this issue, with great little typo-examples created by Mark van Bronkhorst, Julie Fraize, and Alan Greene (yes, that man again!). I often wish I had more time designing exciting

The Bauhaus in pre-war Germany redefined typography. 4

things like packaging, magazines, books, ads, posters and especially all those little pieces we read and see every day. Because then I could work with all the typefaces shown in this issue. Food packages, for example, are a natural application for FF Jambono and FF Tartine Script. Xavier Dupré has an uncanny talent for fresh letterforms that look easy-going and totally relaxed. (My fellow type designers know that nothing is more difficult to achieve than apparent informality and spontaneous-looking characters.) Our other faces from France remind us that Claude Garamond was a Frenchman, too. FF Parango and FF Reminga are Xavier Dupré’s take on the classics: elegance combined with witty informality—in the best French tradition. This little French revival is made complete by FF Bastille Display, a font package from one of the country’s “old” masters, Albert Boton. The package contains Bauhaus-inspired FF Studio and FF Aircraft; FF Zan, based on headline letters originally designed for a book project; and FF District Bold, a heavy, linear sans serif design. Albert Pinggera, the designer of FF Letter Gothic, has finally finished FF Strada: another complete sans family, one that combines the Dutch influence—Albert studied in the Netherlands— with a slightly warmer background—he grew up in the Alps, speaking German and Italian. The Bauhaus in pre-war Germany redefined typography. Their print shop mainly used one typeface in several sizes and weights: Schelter Grotesk. Christian Schwartz has drawn a revival as FF Bau, updating the family for contemporary typographic needs without rationalizing away the spirit and warmth of the original.Trough contours. Idiosyncratic is a word often used when describing the FontFont library. One of our first releases, back in 1994, was FF Fontesque. Nick Shinn has done it again, this time without serifs. It’s called—not surprisingly—FF Fontesque Sans, and it is just as wacky as its older cousin. FontShop Germany’s marketing director and Type Board member Jürgen Siebert provides insights about the Euro’s difficult birth. And Ian Lynam interviews Alan Greene, designer of FF Atma. Enjoy font magazine. Maybe next time I’ll have enough time to write a short editorial. Erik Spiekermann

bold magazine _ junho 2011

Festival Delta Tejo 2011 com PH Neutro EDP procura namoro

Nine2five nos Encontros de Design Gráfico de Braga Fusce tristique bibendum bibendum. Donec scelerisque, ligula at aliquet venenatis, mi odio eleifend enim, nec molestie sem lacus id ante. Nam malesuada dapibus massa ac tempor. In gravida mattis nunc, non vestibulum tellus tempus id. Nullam porta ante non dolor semper eget facilisis purus faucibus. Morbi scelerisque cursus tortor, in mollis dui viverra nec. Phasellus posuere tristique sapien, condimentum lobortis tellus elementum at. Mauris quis orci eu justo dignissim condimentum vitae gravida ligula. Phasellus vulputate condimentum elit, eget feugiat nunc dignissim quis. Phasellus cursus ultricies dictum. Nullam vitae ligula a lectus tincidunt porttitor ut vitae nisl. Praesent eget libero vel turpis dignissim accumsan ac in est. Proin gravida aliquet felis, ut scelerisque nisl tristique eget. Fusce feugiat ligula at est pretium porttitor. Suspendisse potenti. In posuere hendrerit tellus, vitae placerat diam fermentum eget. Sed eu mauris eu erat semper gravida et ut tellus. Nulla congue feugiat lacinia. Aliquam ut pellentesque ante. Cras elit nulla, luctus vitae vestibulum at, tempor nec arcu. Pellentesque faucibus nibh ut est elementum adipiscing.

Fusce id elit ligula. Suspendisse vitae sem arcu, sed cursus augue. Integer sit amet rutrum nisi. In augue mi, aliquet tempor sollicitudin ac, porta ac nulla. Aliquam at mi erat, in ornare massa. Praesent adipiscing elit at lectus dignissim bibendum. Aliquam tempor suscipit sapien, vel varius nulla bibendum vel. Proin rutrum neque pharetra dolor blandit non vehicula erat vulputate. Mauris risus velit, placerat non pulvinar ac, scelerisque vitae arcu. Donec non augue nisl, et facilisis justo. Suspendisse odio lectus, elementum ac aliquam eget, pharetra ac erat. Donec lacus turpis, vehicula feugiat vestibulum ornare, vehicula eu quam. Aliquam id facilisis tortor. Ut velit libero, imperdiet eu molestie vitae, congue vel elit. Mauris sagittis sodales tellus, non rhoncus nibh gravida at. Nulla et magna diam. Etiam id lectus sed dolor venenatis hendrerit a ac metus. Nulla at aliquam arcu.

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Aliquam tempor suscipit sapien, vel varius nulla bibendum vel. Proin rutrum neque pharetra dolor blandit non vehicula erat vulputate. Mauris risus velit, placerat non pulvinar ac, scelerisque vitae arcu.

In at tortor ipsum, non vehicula lacus. Curabitur vel porta elit. Aliquam ut quam lectus. Nam volutpat magna a risus feugiat pharetra. Morbi lectus elit, porttitor quis pretium in, cursus auctor magna. Nunc ullamcorper nibh quis ligula tristique rutrum. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Morbi adipiscing, erat eget laoreet sagittis, ligula magna commodo nunc, vitae lobortis diam magna et lectus. Pellentesque adipiscing accumsan leo, a dictum lectus pretium eu. Vestibulum posuere egestas ante. Cras volutpat, nisl vel pretium mollis, sem ligula blandit ligula, a rutrum metus nulla at nisl. Phasellus feugiat tincidunt justo id accumsan. Vivamus congue facilisis urna, quis cursus nulla facilisis ut. Proin rutrum, ipsum vitae condimentum egestas, turpis sapien pretium massa, non interdum ligula magna vel lorem. Donec diam eros, faucibus at tincidunt et, cursus vitae urna. Ut at risus ut sapien lacinia vulputate.

Prémios Meios e Publicidade Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Duis quis dui et risus ultricies elementum ut a velit. Vivamus varius bibendum orci at eleifend. Nullam vestibulum semper ligula id hendrerit. Nam ac orci eget elit porta varius eu sed nibh. Sed dignissim, elit et consequat faucibus, quam leo dignissim nulla, nec imperdiet libero libero ut tellus. Sed id ligula eros, volutpat porttitor felis. Maecenas eget suscipit diam. In arcu justo, volutpat ut bibendum ut, vehicula id ipsum. Praesent elit risus, porta id semper vitae, euismod at eros.

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Vestibulum posuere egestas ante. Cras volutpat, nisl vel pretium mollis, sem ligula blandit ligula, a rutrum metus nulla at nisl.

Prémio Inovação Valorpneu 2011

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Vivamus non mi sit amet sapien sodales tristique. Ut justo lacus, porttitor eu feugiat id, blandit at lorem. Integer sem diam, bibendum id hendrerit ut, euismod et nisi. In tempor magna tincidunt orci vehicula vel fermentum nibh pretium. Nulla sed risus augue, ac iaculis tellus. Nunc venenatis dui nec nulla lobortis ut pharetra orci sodales. Nulla facilisi. Praesent facilisis, nunc id molestie pretium, augue eros posuere sapien, ac luctus leo massa ac felis. Curabitur convallis consequat nisl vel imperdiet. Mauris neque neque, pretium a egestas sit amet, sodales eu velit. Praesent lobortis tristique odio, non cursus neque vehicula sit amet.

“ ” Sed dignissim, elit et consequat faucibus, quam leo dignissim nulla, nec imperdiet libero libero ut tellus.

bold magazine _ junho 2011

por Eduardo Antunes

Muitos dos leitores que aterraram neste primeiro parágrafo já ouviram falar de OpenType. A maior parte destes sabe que é uma fonte em formato digital. Mas poucos sabem usá-la numa experiência tipográfica sem precedentes. Venham lá daí, porque o futuro da tipografia digital é brilhante.

Phasellus feugiat tin-

cidunt justo id accumsan. Vivamus congue facilisis urna, quis cursus nulla facilisis ut. Proin rutrum, ipsum vitae condimentum egestas, turpis sapien pretium massa, non interdum ligula magna vel lorem. Donec diam eros, faucibus at tincidunt et, cursus vitae urna. Ut at risus ut sapien lacinia vulputate. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Duis quis dui et risus ultricies elementum ut a velit. Vivamus varius bibendum orci at eleifend. Nullam vestibulum semper ligula id hendrerit. Nam ac orci eget elit porta varius eu sed nibh. Sed dignissim, elit et consequat faucibus, quam leo dignissim nulla, nec imperdiet libero libero ut tellus. Sed id ligula eros, volutpat porttitor felis. Maecenas eget suscipit diam. In arcu justo, volutpat ut bibendum ut, vehicula id ipsum. Praesent elit risus, porta id semper vitae, euismod at eros.

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turpis. Nulla at massa et ipsum pharetra auctor. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Sed tincidunt mi ut magna pharetra at tempus ante dignissim. Cras diam lorem, aliquam quis scelerisque et, tincidunt sit amet erat. Integer vitae justo leo, elementum porta mauris. Pellentesque at lorem erat, in pulvinar ligula. Proin fringilla, ipsum nec congue tempus, libero ante tincidunt urna, eget porttitor nunc ante nec neque.

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Opentype

Phasellus semper congue mauris, vehicula tincidunt erat lobortis vel. Curabitur nunc velit, mollis ut iaculis suscipit, tincidunt ac est. Quisque turpis orci, pulvinar non tempus quis, pellentesque non arcu. In ligula orci, pretium quis pharetra quis, bibendum vitae

bold magazine _ junho 2011

Jo達o Oliveira Vivamus non mi sit amet

sapien sodales tristique. Ut justo lacus, porttitor eu feugiat id, blandit at lorem. Integer sem diam, bibendum id hendrerit ut, euismod et nisi. In tempor magna tincidunt orci vehicula vel fermentum nibh pretium. Nulla sed risus augue, ac iaculis tellus. Nunc venenatis dui nec nulla lobortis ut pharetra orci sodales. Nulla facilisi. Praesent facilisis, nunc id molestie pretium, augue eros posuere sapien, ac luctus leo massa ac felis. Curabitur convallis consequat nisl vel imperdiet. Sed facilisis euismod diam eu lacinia. Donec nec risus erat, quis mollis risus. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Nunc vel tellus ipsum. Cras odio ligula, fringilla rutrum hendrerit id, feugiat ut eros. Nam tincidunt porta laoreet.

Aliquam erat volutpat. In non pharetra risus. Vivamus aliquam posuere lorem, non gravida orci viverra bibendum. Nullam dapibus cursus pharetra. Quisque lectus lacus, ornare at sagittis et, scelerisque vel nisi. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Quisque non sapien arcu, vitae laoreet arcu. Phasellus in lacinia odio. Duis at quam lectus, ac viverra tellus. Quisque at eros nunc. Aenean pulvinar, nulla non consequat sagittis, lorem felis sollicitudin libero. Sed molestie tellus vitae ipsum luctus sed vestibulum tortor iaculis. Ves-

Duis vel lacus ac lectus laoreet vestibulum quis laoreet enim. Aliquam lacus libero, porttitor vel vive. tibulum mi diam, lobortis sed mollis quis, condimentum nec lectus. Quisque id lorem egestas ante ultricies dignissim at sit amet neque at tempus. In sodales mollis luctus. Pra rutrum quis, pulvinar non justo san.

New Coca Cola Diet bottles, by Karl Lagerfeld

graphic design

Lorem Ipsum

is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry’s standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum. It is a long established fact that a reader will be distracted by the readable content of a page when looking at its layout. The point of using Lorem Ipsum is that it has a

bold magazine _ junho 2011

more-or-less normal distribution of letters, as opposed to using ‘Content here, content here’, making it look like readable English. Many desktop publishing packages and web page editors now use Lorem Ipsum as their default model text, and a search for ‘lorem ipsum’ will uncover many web sites still in their infancy. Various versions have evolved over the years, sometimes by accident, sometimes on purpose (injected humour and the like). Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at

Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Lorem Ipsum comes from sections 1.10.32 and 1.10.33 of “de Finibus Bonorum et Malorum” (The Extremes of Good and Evil) by Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the Renaissance. The first line of Lorem Ipsum, “Lorem ipsum dolor sit amet..”, comes from a line in section 1.10.32.

There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form.

The standard chunk of Lorem Ipsum used since the 1500s is reproduced below for those interested. Sections 1.10.32 and 1.10.33 from “de Finibus Bonorum et Malorum” by Cicero are also reproduced in their exact original form, accompanied by English versions from the 1914 translation by H. Rackham. There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don’t look even slightly believable. If you are going to use a passage of Lorem Ipsum, you need to be sure there isn’t anything embarrassing hidden in the middle of text.

graphic design

bold magazine _ junho 2011

Typography Work by AndrĂŠ Beato AndrĂŠ Beato is a Portuguese Graphic Designer & Illustrator currently based in London. His work is mostly vector based graphics, illustrations, corporate identities and typefaces.

graphic design

ABC of professions by Anastassia Elias Paris based illustrator and painter

bold magazine _ junho 2011

Corbeilles, by Pierre Brichet

product design

bold magazine _ junho 2011

Nulla magna quam, conse-

quat sed sollicitudin quis, cursus quis urna. Nulla eget sapien quis arcu sagittis ultricies vitae in metus. Morbi sit amet velit erat. Phasellus urna metus, molestie quis consequat ac, commodo condimentum sem. Integer ultricies, leo eu ullamcorper tincidunt, nunc lorem elementum nulla, sed iaculis risus nunc consectetur dui. Nam et nibh urna. Nullam vehicula dolor nec sapien consequat feugiat. Nam aliquet mollis libero, non varius elit interdum quis. Sed id nulla sit amet risus dapibus viverra vel vel massa. Phasellus sodales, turpis volutpat adipiscing mollis, purus nulla sodales lectus, id euismod est leo sit amet felis. Etiam volutpat lectus mollis sem placerat quis ultricies est tempor. Vestibulum fringilla, justo eu molestie molestie, tortor augue porttitor ligula, eu pellentesque massa massa sit amet arcu. Nullam ac mauris ac mauris aliquet blandit non id magna. Nunc bibendum sagittis elit ut tempor. Sed ut risus sapien, ac elementum sem. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Nam cursus posuere commodo. Phasellus vitae justo urna, sed consectetur nisl. Suspendisse potenti. Suspendisse placerat erat vitae tortor egestas posuere. In lacus lacus, euismod vitae interdum in, lobortis vel libero. Quisque facilisis porttitor tempus. Mauris convallis nulla in orci hendrerit et mollis augue tincidunt. Praesent adipiscing cursus nisl, nec commodo libero congue sed. Ut varius elementum facilisis. Pellentesque dapibus mi non massa tempor fringilla. Proin elementum sem dapibus magna feugiat

â&#x20AC;&#x153; â&#x20AC;?

Suspendisse mattis eros ut ligula pretium pulvinar. Nulla sit amet luctus arcu purus magna.

vitae semper nisl blandit. Integer nec lorem dui, feugiat dapibus eros. Vivamus placerat sagittis sem, at vulputate libero posuere non. Morbi gravida mauris at lorem sodales lobortis. Morbi facilisis posuere massa vitae dignissim. Donec vel luctus tortor. Nunc in arcu tellus. Fusce lobortis augue non erat hendrerit aliquet. Nam sem sem, luctus in vehicula a, accumsan sed nisl. Curabitur elementum luctus ipsum, a ornare neque porttitor eu. Fusce suscipit est ut

risus tempus vestibulum varius orci ultricies. Donec sollicitudin, neque vestibulum gravida tristique, dolor erat porta massa, vel cursus elit quam feugiat enim. Nunc a metus lectus, id condimentum erat. Suspendisse mattis eros ut ligula pretium pulvinar. Nulla sit amet purus magna. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Nam magna purus, ultricies nec semper vitae, sagittis sit amet sem. Donec accum-

san vehicula bibendum. Integer elementum sodales felis accumsan tempus. Praesent elementum suscipit lectus et fringilla. Vivamus vehicula eros et nisi ultrices facilisis. Mauris adipiscing placerat ornare. Nullam magna ante, ornare sed rutrum at, fermentum vel tortor. Cras consequat dapibus turpis, quis commodo diam mattis quis. Aenean fringilla, magna ut commodo iaculis, orci nisl vulputate metus, nec dignissim risus diam at nisi. In ac nisl augue. Proin ut semper quam.

product design

bold magazine _ junho 2011

Read Your Book Case by Eva Alessandrini & Roberto Saporiti Orbi facilisis posuere massa vitae dignissim

product design

bold magazine _ junho 2011

Cut Chair by Peter Bristol Cras consequat dapibus turpis, quis commodo diam mattis quis. Aenean fringilla, magna ut commodo iaculis, orci nisl vulputate metus, nec dignissim risus diam at nisi. In ac nisl augue. Proin ut semper quam.

bold magazine _ junho 2011

Creativity + Commerce Honorable Mention: Pangea Organics 28

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sustainable design

bold magazine _ junho 2011

The important thing is “to remind people that we must start to think about the way we create and design. Once something is used for its purpose, it should have another purpose to fulfill.”

The Pangea gift set goes beyond reducing waste; it reincarnates the packaging as something useful—a Colorado Blue Spruce tree. “We wanted to create a gift item that not only embodies sustainability within the package design but can begin another life,” says designer Josh Ivy. The casing material is compostable and biodegradable, with spruce seeds embedded in its walls. The entire piece can be planted immediately. Pangea had already implemented the idea for plantable packaging in clamshell-style cases for soap. But trying to replicate those clamshells in a larger size came with major structural challenges. The manufacturer created a staggered pattern within the walls to hold the weight of the products within, creating ridges on the exterior. An enlarged outer label conceals the ridges.

zine is honoring submissions created with a focus on sustainability, and we’re happy to report that we had many excellent candidates from which to choose. It’s heartening that our call for information on ecologically sound materials and processes elicited so many

submissions. Pangea Organics’ Holiday Gift Boxes stood out in this conscientious crowd—not just because its materials are ecologically sound, but also because they defy the excessive norm of the gift-box genre. As Jeremy Lehrer, a Print contributing editor and our “Best Practices” columnist, who was our judge

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for this honorable mention, explained: “We wanted to recognize something that uses a more sustainable design principle on a mass-produced scale.”

This is the first year that bold maga-

and design. Once something is used for its purpose, it should have another purpose to fulfill.” Lehrer commended this approach: “The fact that you can skip recycling—just plant the packaging, and you’ll get a tree in your backyard—is fantastic.”

According to Ivy, the cost and limited availability of new ecofriendly material to smaller companies were among the project’s greater obstacles. Finding a manufacturer who “has a solid understanding of the new materials to effectively put it into production” remains difficult. But Joshua Onysko, the founder and CEO of Pangea Organics, notes that the important thing is “to remind people that we must start to think about the way we create

Phasellus feugiat tincidunt justo id accumsan. Vivamus congue facilisis urna, quis cursus nulla facilisis ut. Proin rutrum, ipsum vitae condimentum egestas, turpis sapien pretium massa, non interdum ligula magna vel lorem. Donec diam eros, faucibus at tincidunt et, cursus vitae urna. Ut at risus ut sapien lacinia vulputate. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Duis quis dui et risus ultricies elementum ut a velit. Vivamus varius bibendum orci at eleifend. Nullam vestibulum semper ligula id hendrerit. Nam ac orci eget elit porta varius eu sed nibh. Sed dignissim, elit et consequat faucibus, quam leo dignissim nulla, nec imperdiet libero libero ut tellus. Sed id ligula eros, volutpat porttitor felis. Maecenas eget suscipit diam. In arcu justo, volutpat ut bibendum ut, vehicula id ipsum. Praesent elit risus, porta id semper vitae, euismod at eros.

sustainable design

bold magazine _ junho 2011

Trash Me Lamp by Victor Vetterlein Cras consequat dapibus turpis, quis commodo diam mattis quis. Aenean fringilla, magna ut commodo iaculis, orci nisl vulputate metus, nec dignissim risus diam at nisi. In ac nisl augue. Proin ut semper quam.

sustainable design

bold magazine _ junho 2011

House-Wear by Laura Sansone Cras consequat dapibus turpis, quis commodo diam mattis quis. Aenean fringilla, magna ut commodo iaculis, orci nisl vulputate metus, nec dignissim risus diam at nisi. In ac nisl augue. Proin ut semper quam.

bold magazine _ junho 2011

Safe House, by KWK Promes

interior design & architecture

bold magazine _ junho 2011

Located in a small village at the outskirts of Warsaw, Poland, the Safe house was designed by architectural firm KWK Promes with the aim to provide its residents a feeling of maximum security. Completed in 2009, the two story concrete monolith residence offers approximately 6,100 square feet of spacious living areas, floor to ceiling windows, panoramic views of the surrounding landscape, and a beautiful indoor swimming pool.

The clients’ top priority was to gain

the feeling of maximum security in their future house, which determined the building’s outlook and performance. The house took the form of a cuboid in which parts of the exterior walls are movable. When the house opens up to the garden, eastern and western side walls move towards the exterior fence creating a courtyard. After crossing the gate one has to wait in this safety zone before being let inside the house. In the same time, there is no risk of children escaping to the street area in an uncontrolled way while playing in the garden. The innovation of this idea consists in the interference of the movable walls with the ur-

ban structure of the plot. Consequently, when the house is closed (at night for example) the safe zone is limited to the house’s outline. In the daytime, as a result of the walls opening, it extends to the garden surrounding the house. The sliding walls are not dependent on the form of the building. That is why this patent can be applied to both modern and traditional, single – and multi – storeyed houses covered with roofs of different geometry. This universal solution we came up with gives a new type of building where not the form but the way of functioning is the most important. The name: “safe house” gains a new meaning now.

Every day the house acts in a similar way – it wakes up every morning to close up after the dusk. This routine reminds of the processes occurring in nature – the house resembles a plant in its day and night cycle.”

Accomplishment of this idea required the use of technically complex solutions. The most significant are the sliding walls (both 2,2 m high, 22 and 15 m long), which allow to interfere with the urban structure and determine the safe zone of the plot. They are not the only mobile elements of the building. Apart from these, there are large shutters (all 2,8 m high, with a width ranging up to 3,5 m, opening up to 180 degrees) and a drawbridge leading to the roof terrace above the swimming pool. The southern elevation is closed by an enormous roll-down gate of 14 and 6 m manufactured by a company normally supplying shipyards and air companies. It is made with white anodized aluminum which makes it possible to function as a movie projection screen.

All the movable elements are based on builtin electronic engines, that guarantee safe operation. Wide glazings behind the movable walls let the building acquire energy during the day (winter) or prevent the sun’s heat from going into the house (summer). At night, when the house is closed, the thick outer layer helps the building to accumulate the gained energy. Such a solution together with the hybrid heat system (most of the energy is gained from renewable sources – heat pump and solar systems supported with gas heating) and mechanical ventilation with heat recovery makes the house become an intelligent passive building.

interior design & architecture

bold magazine _ junho 2011

interior design & architecture

bold magazine _ junho 2011

Dino dos Santos

trabalho 12 horas por dia, todos os dias, e geralmente trabalho em diversos tipos em simultaneo e tenho sempre muita pressa para começar novos trabalhos que se irão tornar novos desafios. As referências são inevitáveis e tantas que não há espaço para particularizar, muito embora me tenha apaixonado pela caligrafia portuguesa dos séculos XVIII e XIX, o que se nota em diversos tipos, tais como a Andrade e a Pluma. B - Qual sua metodologia de trabalho? Tecnologias digitais e analógicas se relacionam no desenvolvimento de seus projetos? DS - Claro! Desenho imenso até chegar a uma qualquer conclusão e só depois passo para o FontLab. Quando estou frente ao computador todas as letras já estão desenhadas na minha cabeça. B - Entre os tipógrafos da atualidade e suas criações, quais os que você destacaria? DS - A escola holandesa. Qualquer um. Atire uma moeda ao ar e escolha. B - Como você avalia a atual cena tipográfica portuguesa? Quais as expectativas para o Congresso anual da ATypI em Lisboa?

B - O que o motivou ao mergulho no micro universo tipográfico? DS - Quando comecei a trabalhar, em 1994, existiam muito poucas tipografias disponíveis. O mercado começava a ficar saturado de designers gráficos (que é a minha formação de base) e então enverdei pelo desenho de tipos de letra, uma paixão antiga, mas nunca concretizada. Mas como não havia ninguém para ajudar e ensinar, foi um trabalho muito penoso e duro.

É difícil explicar que se desenha letras, porque as pessoas pensam que as letras são coisas que já nasceram desenhadas. B - A DSType tem se caracterizado por sua flexibilidade no trabalho com as letras. Quais suas referências e motivações na hora de começar um novo projeto? DS - Procuro um vasto conjunto de referências históricas, principalmento no campo da caligrafia portuguesa e italiana. Por natureza

DS - O seu a seu dono. Em Portugal vou destacar o trabalho do Feliciano, porque deve-se, em grande parte ao Feliciano, a atenção com que olham para o trabalho tipográfico realizado no nosso país. Na ATypI vou apresentar uma comunicação sobre caligrafia portuguesa. A ATypI é o culminar desse trabalho do Feliciano e espero que consigamos congregar esforços para que mais type designers apareçam e alguns já apareceram como o Ricardo Santos, por exemplo. B - Como surgiu a oportunidade de distribuir suas fontes pela TypeTrust? DS - Foi um convite do Neil Summerour e do Silas Dilworth para participar neste projecto independente e deveras interessante.

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B - Quais os benefícios que as atuais tecnologias têm trazido aos projetos tipográficos? DS - Trazem inúmeros benefícios e algumas dificuldades. A margem de erro diminuiu substancialmente, pois são muito os tipos desenhados actualmente, mas com o OpenType, por exemplo, temos a possibilidade de alargar o raio de acção a diversas línguas. Começamos a entender melhor o modo como diferentes países e diferentes culturas observam o trabalho que realizamos. É deveras dificil mas culturalmente enriquecedor. B - A DSType desenvolveu alguns projetos comissionados. Quais as suas expectativas em relação a demandas desse tipo de trabalho? DS - Se é difícil explicar às pessoas que desenho letras (que as pessoas pensam que estão desenhadas por natureza) é ainda mais difícil ser pago por isso. Os gabinetes de design são os mais atentos e é geralmente através deles que desenho esses tipos. Mas é um trabalho muito aliciante: os constrangimentos, os prazos, a funcionalidade do projecto tipográfico, são elementos essenciais no nosso trabalho de tipos comissionados.

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B - As fontes ‘Estilo’ e ‘Esta’ receberam deferências importantes no meio tipográfico. Qual a importância desse tipo de reconhecimento para a consolidação do profissional e de seus projetos? DS - Nos meus projectos, honestamente é muito pouco, mas nos meus clientes é enorme. Claro que ganhamos uma outra perspectiva acerca do trabalho que desenvolvemos e é sempre muito bom saber que apreciam o que fazemos com tanto prazer. Referiu a Esta e a Estilo, mas não podemos esquecer a Andrade que ganhou o Creative Review Type Design Awards para o melhor revival. Mais do que o reconhecimento pelo meu trabalho, interessa-me o contributo que poderei dar para a divulgação da cultura tipográfica portuguesa, e nesse sentido este prémio foi muito bom porque trouxe alguma luz sobre o trabalho desse grande professor e calígrafo do século XVIII chamado Manoel de Andrade de Figueiredo. B - Qual são os planos para o futuro da DSType? Palavras finais. DS - Espero em breve lançar o meu primeiro catálogo e eu sei que o Marconi já está à espera dele faz muito tempo, e também vou começar a escrever um livro sobre história da caligrafia portuguesa. Vou ampliar a minha livraria com mais alguns tipos e possivelmente converter outros em OpenType.

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bold magazine _ junho 2011

Matthew Carter

He’s sitting in his sunny, North Cambridge dining room, which is crammed with Spanish, Italian, and English literature, volumes on ancient and Far Eastern textiles and art, and Cyrillic and Greek typography. “My work that has interested me most is industrial — phone books, newspapers, magazines, legible texts on computer screens, and so on — these very kinds of basic aspects of typography.’’ The London-born Carter is soft spoken and wears his silvery mane in a slack ponytail. When he met with a reporter on a humid afternoon, he wore a black button-down shirt, the style favored by cowboys, and dark jeans. Carter’s father was a type designer and type historian, and he sent his son to study in the Netherlands with one of the few people practicing metal punchcutting, an archaic craft that involves engraving letters on steel. It can be traced back to type founding, which is how mechanized type originated at the end of the 19th century.

Celebrated typeface designer, does not regard himself an artist. Fonts are his business — the way a letter curves or doesn’t, the heaviness of the lines, the way the descender on a letter “g,’’ for example, fits beneath the rest of a word. Pick up a magazine and chances are you’ll read his work. He’s designed fonts for New York magazine, Wired, and Business Week, to name just a few. The story you’re reading right now is in a typeface called Miller Globe Text, a font Carter developed for this newspaper. (Online, you’re reading it in Georgia, an early font he developed for Microsoft.) His types have been used on US postage stamps and phone books, by multinational corporations and renowned institutions. Perhaps most impor-

tant, Carter has created fonts that allow people to read comfortably on computer screens — something that has come in rather handy. “I consider myself an industrial designer,’’ said Carter, 72, who’ll be honored Friday by the Boston chapter of the AIGA, the nation’s oldest professional association for design.

After stints with firms in England and New York, Carter moved to Cambridge in 1981 and, with three others, founded Bitstream, which specialized in fonts. (Today it’s a comprehensive software company.) In 1992, he set up Carter & Cone Type with a Bitstream cofounder, Cherie Cone. Through that firm, he manages clients such as Microsoft or New York’s Museum of Modern Art. Around 1994, he started developing Verdana, a revolutionary font for having prevailed over technical constraints of that time, like coarse computer screen resolution. To hear Carter recall it, it was a pivotal moment: People were on the brink of reading as much — or more — on screen than on paper. And that transition has had a profound effect on the design process. “Increasingly it became clear that more and more people were reading on the screen and seldom — sometimes never — printing it out,’’ he said. “So this idea that the screen was preliminary to something else was really dying rather fast and Microsoft foresaw the world in which we’re obviously now living

when people do their e-mail and browse the Web and so on. Now it’s rare for people to print something out.’’ Verdana is just one example of a typeface Carter devised to help computer users adapt to rapidly changing technology, just as he has. “For better or worse, I did get involved in this at an early age, and I do have a sense of being part of a continuum that’s technical,’’ he says. “I’ve lived through the change from metal type to film to digital and from the desktop and to the Web to wherever we are now — I don’t know — so I’ve had to adapt to these changes, and I’ve done so very readily, I’ve been glad to do that.’’

For better or worse, I did get involved in this at an early age, and I do have a sense of being part of a continuum that’s technical They’re changes he’s adapted to patiently, as serenity is something of a hallmark. David Berlow, president of the Boston-based Font Bureau, which designs, develops, and licenses fonts, has known Carter since they worked together at Bitstream. He says he’s seen Carter lose his cool just three times in the past three decades, which is remarkable considering how intensely detail-oriented font design can be. As Berlow explains, modern type designers are faced with drawing 500 to 600 characters, even though the average American user may only be aware of about 60 in a given day. There are characters in other languages to consider, plus bold versions of a typeface, italics, and so on. A single font has 26,000 possible combinations of lowercase letters. When other glyphs are factored in, the com-

interviews

Miller binations are even more mind-boggling. “Matthew is the quiet, industrious type when he’s working,’’ said Berlow. “In designing typeface, every single detail and its relation to each other has to be in perfect order to give perfect order to the whole. Matthew is landmark in that he keeps it all together and lets it all go. “One of his favorite things is ‘let the festivities begin.’ When something is done or he can’t work on it anymore, Matthew does other things. He’s English, but he’s a great baseball fan, and basketball, too. You can bet he’ll go to Celtics games with Shaq on the team. And he speaks Latin and French, so you can get good food when you’re with him in the wilds of Europe.’’ People who’ve worked with Carter beg to differ about his self-assessment as a nonartist. “Matthew is both an artist and an intensely practical person,’’ said Dan Zedek, the Boston Globe’s assistant managing editor for design. He worked with Carter on the newspaper’s redesign in 2000. Miller Globe Text,

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Zedek said, was cleaner and more modern than what the paper previously used. It has since been adopted by dozens of newspapers across the country. “He drew the text type in a way that was readable in small sizes and he dealt with the reproduction challenges that newspapers have, like poor quality of paper,’’ said Zedek. All the while, Carter kept the font “elegant and distinctive in a way that incorporates the flavor of the city, which is what makes Matthew so fascinating.’’

Snell Roundhand

And makes Carter’s work so essential to so many people (even if we didn’t realize it).

Swiss 911

“It’s really easy to forget that the type you’re reading on the page was designed by someone,’’ said Matthew Bacon, creative director at Proteus Design and president of the board of AIGA Boston. “There are things in culture that have become part of culture — even something as simple as a paperclip. Honoring [Carter] is honoring the differences that design makes for the human experience.’’

ITC Galliard

Georgia

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off the websites & designers month!

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www.1sixty.com Radim Malinic (www.brandnu.co.uk) www.cinderbloc.com Ludovic P. (www.ilkilkilk.com) www.bearskinrug.co.uk Stefan Chinof (www.chin2off.deviantart.com) www.wechoosethemoon.org Doug Alves (www.nacionale.cc) www.gettheglass.com Nelson Balaban (www.n-balaban.com)

06 07 08 09 10

www.mono-1.com/monoface/ Foan82 (www.foan82.com) www.agencynet.com Gabriel Rocha (www.gabrielrocha.com) www.okaydave.com Tomas Brechler (www.headead.com) www.syfy.com/tinman/oz/ Kai Isselhorst (www.dopaminart.com) waterlife.nfb.ca Pablo Zarate (www.pablozarate.com) 53