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W in e a ta a re in len n s fi sp ni t ind o lu t g ira e se us ck at rea tio ; as em try y t T S tp n w o a s as hey eri lac is e re to he be re h “i b al e n su gi ave ma ran Cu to dle lt be lo ss in dr ves b ge d t t ea t ee m he Stu ok . A h m n a m e d i M of m aro ker sel ios s th ad , a th u s” ve . r e W ir id n e nd   an s ag ex w ith pro is d or th j th en pe sin e e ks e c c r c i e y en w ir m ts ma st c th ith a ea in ud e e i s n an f ily H io mo la Q o ca st te ev c cr o lle of 90 er us os f S -g in s d u ’s Se s c w ro A int eria w rt er l ria an hi in D n C l C o ch al g t ire ati ut s ut nly ea ct on st su . an ch in m ion al b udi d as di of , S o o b 3D p ffe pr er rd u W de ho ren ofe ial C ers. t ch ha t sig tog t ssi ut o ’ th o s n. ra are onca e n se un ph a th mp at d iqu y, s ur iff e e a de co ig e ere ab n o sig m s f nt ou pa th a n, t ny ey giv col thi m ot its w en lab s c io o o el or a ra m nf. k ss to p gr Th o ig rs an ap ey n nm d y hi a i e s e cs r th c e n p t m e w ate as t. M en hat d c en o r t v o in th in han t, a rld o c ers st o g ey g on g l o l n i e w f ie at f tin ique ma of ays art nts ile the g s to g , t e loo re , fro as gi ins he an k ad cul m ve pi y d an y tu it rat are typ d f to o re, ne io f o e w n f als gra el o ffer ash lif ro o n p f ea io e m o hy th c n an c t e h o d urr sq as de ne r e su en ue a si w nt rp t am sig gn pr er as an i na . C oj tai s d sh tu o ec nSe ex p a re m t de ria pe ast bo t bin a ni fin l C ct d ut ech q at ec g an ue es ut io a et s an tu al d ns de a f l d r ne of e nd ou io . s s xt us h c t o c bi w re on f t lea g h su ce he rl th o lt. p b y in ar A t g. e n to ox al d t r tea w h ea m ay ey c h in s on are a te th an con rms e lo ins tem of t ok pi p e ou rat or cht f ion ary or t th o e


IMAGE MAKERS SINCE ‘99 - SERIAL CUT Written by Rod Rodriguez


will be quoting him the next time I drink a mug of red: “I think it’s important that like good wine, a design has a lingering flavour.”

the three primary colours, you can make all the colours in the world” – and with subjects like maths and science which are introduced to inform his work, rather than merely displaying the information of that particular subject. Martens does not disappoint in the personality scale either, he’s a joy to watch and I for one

the importance of play as a mode for thought. As a stalwart of Dutch modernism, this is not an established idea of “playful” but more looking at regular systems for irregular, unexpected elisions in form, information and meaning. Which is in some way explained by his constant experimentation with colour – “I have always marvelled at the fact that with


lowing the Dutch pedagogic graphic designer, created by the Submarine Channel. What Martens has achieved in his extraordinary career would not fit into a film 100 times as long but what this short does do is shed a renewing light on

Evoking meaning rather than boldly presenting truth is the essence of typographer Karel Martens work” says the disembodied voice of this eight-and-a-half minute profile film fol-

Written by Peter Biľak

“I think it’s important that like good wine, a design has a lingering flavour.”




R A K E N G Written by Linn Jakobsen

The Lillehammer native, Magnus Rakeng is keeping busy. Magnus Rakeng (41), from Lillehammer runs Melkeveien Design office, together with Birgitte Kolbeinsen and Stian Berger , they have specialised in typography related projects. He jumps from one challenging graphic design assignment to another.

Amongst his exploits he can count achievements such as designing the letters fund in the logos of “Telenor” ,”Canal Digital” and “Tine”. He’s also responsible for projects such as the CD-covers of artists such as Bjørn Eidsvåg ,Anne Grethe Preuss and The Hillbillies , as well as the book covers for the latest edition of the Norwegian version of Harry Potter and the newly released book about Besseggen. Rakengs areas of expertise are logo development and font design. Rakeng was instrumental in Dagbladet’s redesign of the friday - and - sunday edition. And there is no shortage of awards , amongst others a gold award for the redesign of Dagbladet Magasinet and Dagens Næringsliv, as well as “Fagpresseprisen” for “best front-page” , “Psykisk Helse” . He’s also gathered a fair share of diplomas and medals from different design competitions over the years. How many sheets of paper do you go through until you have managed to create a beautiful enough logo to satisfy both you and the client? - I have a decent size sketchbook. Some times it goes quite fast, other times it takes days and many sheets of paper until l reach a satisfactory result. When a Company changes their logo, they quite often wish to setup a new graphic profile , everything from stationary to company sign. I find it crucial to consider how people and employees perceive the company - Do companies change often, and how often due to bad publicity? - I believe that the vast majority of companies change to stay current and contemporary, rather then due to any bad press or publicity .It rarely happens more then every 5th year Telenor’s new logo sparked a hefty debate - Ever had a design miss the mark? - Telenor’s last logo redesign gathered many negative reactions, but as time passed perceptions turned more positive. The vast majority of people would like to keep the old and familiar. Fortunately, I’ve for the most part been spared from negative reactions .Though it does occurs that media attention of a major logo redesign can on occasion lead to negative media exposure of that given designer. - How important is the logo and the letters? According to Magnus Rakeng it’s more important for the bigger rather then for the smaller companies. The logo must be unique, and be able to convey what the company does and stands for. The design should reflect the identity and values , it has to be visually appealing, be recognizable , function equally well in a small as well as big format, color as well as black and white.



ALEX TROCHUT Written by Digit Staff


arcelona’s hottest illustrator talks to Digital Arts about his type-driven illustrations. “More is more,” announces Alex Trochut in the introductory statement of his website – and this is a fair description of his artworks. The Barcelona-based freelance illustrator and graphic designer has earned himself a name for his striking, geometric images, in which no curve is left without a little flourish, no line is left without a slight gradient to give the image depth and sheen. You get the feeling that he works zoomed in to about 800 per cent. Yet despite this, his designs have a crispness that makes them instantly recognizable: Trochut knows when to embellish, but he also knows when to stop. And even if you don’t recognize the name, you probably know the work – Trochut designed the cover for the launch issue of Peaches Geldof’s heavily touted magazine Disappear Here, creating a semi-abstract black and gold skull design with the headline embedded in the image. His work has also appeared on ads, posters and other projects for superbrands – including Cadbury’s, Adidas, Nike, and British Airways – while his editorial commissions include the Guardian’s G2 supplement, theEconomist, Wired, Channel 4 and US art magazine Beautiful Decay. He alternates these projects with designs for smaller brands, events, and festivals, where he can push the boundaries. It’s an approach that works – he’s won a devoted international following that covers the whole spectrum, from cutting-edge art directors to type geeks.


T Y P O G A P H Y / / P R OX I M A N OVA / / P R OX I M A N OVA S O F T C O LO R S / / PA N TO N E 7 7 5 8 C / / PA N TO N E N E U T E R A L B L AC K C DESIGN //VERONICA SÆTHER M A I L / / V E R O S AT @ L I V E . N O / / W E B / / W W W. B E H A N C E . N E T / S A E T H E R

P U B L I S H E D / / M AY 2 0 1 3

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