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Typeset in Tanger Serif Medium Light
Type Essays
11–15 Soulful Type 83 Ambroise Typofonderie, Clamart (FR) www.typofonderie.fr
Jean François Porchez
Walter Brudi. He teached there from 1967 until 2006 typography and led the tradition-rich hand composition printery. He worked as a designer, author and freelance artist. Today, after his retirement, he is addicted intensified to writing and “visual poetry.”
18–21 Randfiguren
Reinhard Albers, Konstanz (DE) www.albers-mediendesign.de Reinhard Albers is a typographer and graphic designer who lives and works in Konstanz, Southern Germany. He started his career in the 1970s as a typesetter and then studied pre-press technology and typography in Cologne. Working for different companies such as Linotype, he widened his range of experience. During his ten year period as an art director of the South German newspaper Südkurier, he relaunched its design several times, working as co-designer of Mario Garcia. Since 2003 he works as a freelance graphic designer developing concepts for print media and, additionally, teaches design students at Zeppelin College Konstanz. He is the author of several publications on typography and media design. His latest publication, Typocards, has been published by Niggli, Switzerland.
16/17 Ultra
Nanna Funke, Münster (DE) www.nanna-funke.de
Horst Wöhrle studied book graphics at the Stuttgart State Academy of Art and Design under professor
27 Tiger Mask Jeff Nishinaka, Los Angeles CA (US) www.jeffnishinaka.com This is a paper sculpture made with acid-free 100 % cotton paper and white glue. Everything is hand cut and slightly curved or scored to create volume and dimension. Self-promotional work.
Ambroise (2001) is a contemporary interpretation of various typefaces belonging to Didot’s late style, conceived circa 1830, including the original forms of g, y, &; and to a lesser extent, k. These characters are found in Vibert’s typefaces. Vibert was the appointed punchcutter of the Didot family during this period. It is the Black, of which sources were surest, and which was the basis for the conception of the family. In the second half of the 19th century, it was usual to find fat Didots in several widths in the catalogs of French type foundries. These same typefaces continued to be offered until the demise of the large French foundries in the 1960s. Every variation of the typeface carries a name in homage to a member of the illustrious Didot family of type founders and printers. The condensed variant is called Ambroise Firmin. The extra condensed is called Ambroise François. As a type designer, Jean François Porchez (1964) created the new typeface for the Le Monde daily. His expertise covers both the design of bespoke typefaces, logotypes as well as the distribution of his fonts. He is honorary president of the ATypI, regularly conducts type design workshops and is a frequent speaker at conferences all over the world. He founded the French social network Le Typographe in 2003. He was awarded the Prix Charles Peignot in 1998 and numerous prizes for his typefaces.
Horst Wöhrle, Esslingen (DE) horst-woehrle@t-online.de
Projects
22–24 Es könnte so light sein …
After receiving her vocational diploma in design, Nanna Funke did an internship at the advertising agency Dachboden in Münster and enrolled in visual communication and graphic design at the Aachen University of Applied Sciences in 2006. During her studies, she worked as a freelance designer for various clients and graduated in 2010, holding an advanced degree in design. Nanna works as a research assistant for faculty communication and editorial in the department of design at the Aachen University of Applied Sciences and also manages the faculty’s in-house agency.
28 Black in Dark Bureau Mirko Borsche, Munich (DE) www.mirkoborsche.com Poster for the photo exhibition at Munich’s design museum Die Neue Sammlung, showing photog rapher’s Hubertus Hamm 2010 series “Black in Dark”: black design objects in a dark corner of a room photographed without any artificial lighting. We used the Platform typeface because of its extremely round forms. The counters of the letters a represent the dots on the letters i. As they are printed in 4C Black, they perfectly reflect the concept of Hamm’s work.
29 Walk the line Ivana Brajdic, Amsterdam (NL) www.ivanabrajdic.net Adventure of a line interacting with people and objects on Blaak market in Rotterdam. I used charcoal to draw a diagonal guideline along the market square when the market place was still empty. During the busy market hours on Saturday, I tried to retrace this line with tape, this time taking on account curious and angry visitors, trolley cars, often helpful workers, parked vehicles, stalls, etc. Discussing the sense of my activities, avoiding conflicts because of public/private issues, we made a light but lively and therefore bold shape. Participants were the visitors and workers of the Blaak market in Rotterdam, I was moderator.
30 MM+I Magazine vijf890, Antwerp (NL) www.vijf890.nl MM+I is a mini magazine published by the Zeeuws Museum in Middelburg, Netherlands. The magazine is focussing on art, artists, identity and the museum itself. All issues come with an unique special printing technique making each publication a one of a kind piece of work. This third issue of MM+I has a softtouch, embossing and foil print on the cover. Inside specials include Japanese folding and variety in papers. Concept and text by Christie Arends and Hilde Hopmans (Zeeuws Museum).