Typography and type de­sign work

Boymans Specimen Boymans (2003)

Custom type­face for the re­design of the Museum Boijmans van Beuningen in Rotterdam. Based loosely on the type­face cre­ated for the 1968 Mexico Olympics. Modular ge­omtric type­face, un­like the 68 iden­tity this was de­vel­oped into a sys­tem con­tain­ing 30 styles (10 weights, each comes in one, two, or three line vari­ants) These are used to­gether to cre­ate the vi­sual iden­tity for the mu­seum. More on fontsi­nuse

Mitim Specimen

Mitim (2005-2010)

Dot Dot Dot mag­a­zine (Graphic de­sign mag­a­zine, ran from 2001 to 2010, 20 is­sues to­tal, here’s the web­site) ap­proached him to help unify the de­sign of the mag­a­zine start­ing from is­sue 10. Designing a cus­tom type­face would achieve this while still al­low­ing a large de­gree of free­dom within each in­di­vid­ual is­sue.

Had to be highly read­able (the mag­a­zine was pretty text heavy), 3 point ser­ifs. From is­sue 11 each is­sue had a new it­er­a­tion of the type­face with ad­juste­ments, go­ing from Mitim Alpha (Dot Dot Dot No. 11) to Mitim Lambda (Dot Dot Dot No. 20). This unique struc­ture al­lowed the de­sign to evolve over time, with dif­fer­ent peo­ple col­lab­o­rat­ing on spe­cific is­sues.

Q: Is there a big dif­fer­ence be­tween mak­ing a type­face for a spe­cific de­sign pro­ject and mak­ing one for com­mer­cial re­lease?

Definitely. With a com­mer­cially re­leased type­face you want to reach a cer­tain tech­ni­cal stan­dard (in terms of kern­ing ta­bles, hav­ing a com­plete char­ac­ter set etc.), in a way to make the type­face id­iot proof. In a way it be­comes more of an end prod­uct, so au­to­mat­i­cally you have a higher stan­dard re­gard­ing the qual­ity of your draw­ing. Also once you put some­thing on­line it will be there for­ever, so you want it to be fin­ished.

If you’re maki­ing some­thing for a spe­cific pro­ject or for a spe­cific de­signer to work with they’re go­ing to be aware that stuff is­n’t fin­ished. They know how to use the type­face cor­rectly, how to use it to its strength and not show the weaker parts.

Grew con­fi­dent enough to use type­faces in other de­sign pro­jects which mir­ror do you want to lick

started us­ing type­faes in own work Fugue Specimen Fugue (2008)

Fugue was de­signed for Wonder Years’, 2008 pub­li­ca­tion mark­ing the tenth an­niver­sary of the Werkplaats Typografie in Arnhem.

Realised he was spend­ing loads of time mak­ing a type­face that would only be used for a sin­gle pro­ject, started the foundry. Yet Tschichold Sneezes spec­i­men. Making a type­face takes ages:

lyno slie Lyno (2009-2012)

Specimen is based on New Alphabet (1968)

4 dif­fer­ent styles, each re­lated to a bit of cul­ture:

Union Specimen Union (2012)

Blend be­tween Helvetica and Arial Union SMA is a more ex­pres­sive dis­play vari­ant of Union. Developed for the Stedelijk Museum Amsterdam.


ka­te­rina sz­ina took peo­ple from er home vil­lage to do what­ever they would be doign at home, eg wash­ing heir cars etc in lon­fon tate mod­ern

od b to c de­signed printed mat­ter with in­struc­tions 2nd part of the pro­ject was to bring lon­don to the vil­lage

de­signed a type­face called john­ston ju­nior based on jon­ston obv josef sedy

3rd pro­ject za­s­tavka# worked with a group of teenagers, made draw­igs of the okace where they lived, blown up in leipzig mu­seum 4 der gheist von ust

5 helsinki basker train map with dif­fer­ent per­form­n­ers

Graphic de­sign bi­en­nale event, graphic de­sign in an ex­hi­bi­tion con­text

27th brno bi­en­nial orig­i­nally v tra­di­tional eebt, send in work and prizes are given stepped in in 2014 wanted to change that old fash­ioned in­tro­duced a theme, in this case de­sign ed­u­ca­tion in schools, every­thing would be about stu­dent wrk ba­si­cal­lly asked stu­dents and re­cent grad­u­ates to de­sign the ex­hi­bi­tion

tak­ing a line for a walk show about as­sign­ments in de­sign ed­u­ca­tionb ’peo­ple who mde the show also pub­lishd a book un­der the same ti­tle to show his­tory of de­sign educ­ta­tion through as­sign­ments

used fur­ni­ture de­signed by de­sign teach­ers max bill school wolf­gang wein­gart ta­bles theres alays moer tra­di­tional dis­plays abot czhek graphic de­sign, praque pub­lic trans­port de­sign

2016 czcheck movie posters back in the­day when you im­ported a film you wouldnt adapt the poster but in­stead a lo­cal de­signer would make apos­ter with lim­ited re­cources and with only a plot sum­mary or a sin­gle im­age of the frame

^^^^^^^^^^^^^^^^^ wall with orig­i­nal poster and this guys al­ter­nate poter so as you lk past you see both ver­sions

which mir­ror do you want to lick also part fo 2016 bi­en­nale deals with the sub­ject of de­sign­ing an edi­tion, the idea that once some­thing is printed it be­comes real teh only record of a past event is the poster etc

g4 pa­per was one of the proects (fake pa­per for­mat) this was usedd for the pub­li­ca­tion which then made it rel again


where do vi­sual refs come from most of the time its a mat­ter of hav­ing an idea fro a sin­gle char­ac­ter and work­ing arounf it. mk­ing a type­face is suc a long process you want to make it in­ter­ste­dig enough so you’re gonna stick to it

its not about in­di­vid­ual char­ac­ters or tech­ni­cal de­tals, they are meant to be used in se­quence. zoom­ing in zoom­ing out