Letters on Sale Changing Design + Print + Use Part 1: Types We Can Make

Opening: March 9 2011, 6.30 p.m.
March 10 – April 2 2011
Istituto Svizzero – Via Vecchio Politecnico 3 (Centro Svizzero), Milan

Today the Milan branch of the Istituto Svizzero di Roma presents “Types We Can Make”, an exhibition curated by ECAL – Ecole cantonale d’art de Lausanne, introducing a selection of contemporary typographical characters designed in Switzerland –a country that has always been at the vanguard in this particular context.

On show the fonts by Ludovic Balland, Matthieu Cortat, Phillippe Desarzens, Nicolas Eigenheer, Gilles Gavillet & David Rust, NORM (Dimitri Bruni and Manuel Krebs), Ian Party, Emmanuel Rey, Jeremy Schorderet, Jonas Voegeli and Cornel Windlin amongst others; a selection that offers an overview of the trends in Swiss typography over the past 5 years. Following its preview at the MIT (Massachussetts Institute of Technology), the exhibition comes to Milan accompanied by a publication entitled Types We Can Make: A Selection of Contemporary Swiss Type Design.

Before the modern profession of graphic designer came about, the evolution of the printed matter relied on the experience, sensitivity and innovative capacities of typographers, who held extraordinary power over the diffusion of information and knowledge. Despite the changes generated by the new digital possibilities, both in the profession of graphic designer and in the diffusion of information, contemporary Swiss graphic design conserves a very strong tradition of typographical experimentation: from the design of newcharacters to the composition of the written page.

“Types We Can Make” is the first appointment of the project Letters on Sale: Changing Design + Print + Use, that consists of a series of meetings, conferences and exhibition projects for the Milan branch of the ISR created by Salvatore Lacagnina (ISR) and Ludovic Balland, graphic designer and founder of Typography Cabinet in Basel.

The appointments planned in the context of Letters on Sale investigate the role of typography in the evolution of contemporary publishing, between history and the present, by analyzing the changes of the communication system and design of information and by questioning the future of printed matter and typographical knowledge: are they really destined to a marginal role? Or does another fate await them? For each of the three exhibitions planned three posters designed by Ludovic Balland in collaboration with historical Milanese typographies will be placed near the universities and graphic design institutes across the city, following a decentralized and viral communication practice. The project of the Istituto Svizzero di Roma thus becomes part of a system: that of the iconography of signs that daily trace the city, an integral part of the urban landscape and collective history.

Click here for an excerpt of the publication Types We Can Make: A Selection of Contemporary Swiss Type Design.
Courtesy ECAL (University of Art & Design Lausanne, Switzerland).

ecal_mit_typo_11

Are you ready for the country?
Mercedes Benz / Wallpaper
Art school competition 2009

Art direction: Pierre Fantys,
Philippe Jarrigeon
Design: ECAL / Jeremy Schorderet, Rafael Verona, Nicolas Haenni, Nicolas Delaroche
Photography: ECAL / Marie Reber
Publisher: ECAL / University of Art and Design Lausanne

GLK Pointer is a display typeface designed for a magazine made by ECAL students for Mercedes in 2008. It was created from a dismantled Mercedes-Benz logo rearranged in a different way for each letter of the alphabet. As the only typographical element in a magazine filled with pictures, the font needed to posses a strong, irreverent identity. Text: Courtesy ECAL (University of Art & Design Lausanne, Switzerland)


ecal_mit_typo_2

The New York Times Magazine, cover

Design Direction: Arem Duplessis
Art Direction: Gail Bichler
Graphic design: Hilary Greenbaum
Typeface: Theinhardt Grotesk by François Rappo

The Theinhardt Grotesk project stems from a recent surge of interest in sans-serif characters, especially grotesques — an interest rooted both in the fonts’ aesthetics and their genesis, so to speak. This design touches on late 19th century sans-serif characters from Ferdinand Theinhardt’s Berlin foundry. Theinhardt was the punch cutter of the first typographic sanskrit and of sans-serif characters pioneering the modern era, among other academic accomplishments.
The project followed the concept of a possible continuity from 1880s grotesques to 1960s versions — as well as the possibility of combining both aesthetic styles. The result emphasizes the font’s optical harmony and the design’s coherence, over all weights and italics, in the spirit of more contemporary grotesques. Theinhardt Grotesk was produced in an extended family of nine weights. Text: Courtesy ECAL (University of Art & Design Lausanne, Switzerland)


ecal_mit_typo_3

Are you ready for the country?
Mercedes Benz / Wallpaper
Art school competition 2009

Art direction: Pierre Fantys,
Philippe Jarrigeon
Design: ECAL / Jeremy Schorderet, Rafael Verona, Nicolas Haenni, Nicolas Delaroche
Photography: ECAL / Marie Reber
Publisher: ECAL / University of Art and Design Lausanne
Typeface: Grasset

ecal_mit_typo_41

Roc Nation
Typeface: Cargo
Design: Gilles Gavillet & David Rust
Cargo, an iconic typeface used for the brand identity of Roc Nation, Jay-Z’s new entertainment company.

Cargo is a headline typeface characterized by curved stencil cuts, a feature which creates markedly graphic letter combinations. Inspired by the stencil machine company Marsh’s logotype, the first version of Cargo was originally designed for the eponymous music club at the 2002 Swiss National Exhibition. Cargo quickly became an iconic typeface more notably used in 2009 for the brand identity of Roc Nation, Jay-Z’s new entertainment company. Text: Courtesy ECAL (University of Art & Design Lausanne, Switzerland)




Image Credits:


ECAL_MIT_TYPO_1

Are you ready for the country?
Mercedes Benz / Wallpaper
Art school competition 2009

Art direction: Pierre Fantys,
Philippe Jarrigeon
Design: ECAL / Jeremy Schorderet, Rafael Verona, Nicolas Haenni, Nicolas Delaroche
Photography: ECAL / Marie Reber
Publisher: ECAL / University of Art and Design Lausanne

ECAL_MIT_TYPO_2

The New York Times Magazine, cover

Design Direction: Arem Duplessis
Art Direction: Gail Bichler
Graphic design: Hilary Greenbaum
Typeface: Theinhardt Grotesk by François Rappo

ECAL_MIT_TYPO_3

Are you ready for the country?
Mercedes Benz / Wallpaper
Art school competition 2009

Art direction: Pierre Fantys,
Philippe Jarrigeon
Design: ECAL / Jeremy Schorderet, Rafael Verona, Nicolas Haenni, Nicolas Delaroche
Photography: ECAL / Marie Reber
Publisher: ECAL / University of Art and Design Lausanne
Typeface: Grasset

ECAL_MIT_TYPO_4

Roc Nation
Typeface: Cargo
Design: Gilles Gavillet & David Rust
Cargo, an iconic typeface used for the brand identity of Roc Nation, Jay-Z’s new entertainment company.