bixabixabixa - YouWorkForThemprecies. Te steriel. Te vlak. De derde dimensie ontbreekt. NatuurlΩk...

prefacejan middendorp

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Each new technology emulates preceding ones; only after a period of habituation it manages to detach itself from the past. The first printed books tried to look like manuscripts; the earliest films were pictures that moved; television in its early days looked like a radio show with an image. Digital typography also had some trouble finding its own voice. Even today, the beauty and directness of books and posters set in metal and wood type has remained a yardstick for what constitutes superior, functional printed matter. But there is interesting news: The development of typesetting and printing has turned into a snake that bites its own tail — Ourobouros.

When designers realized, around 1990, that font editor software allowed them to melt any alphabet from the past into a digital tool, wood type became part of the antiquity shop that type designers had at their disposal. Some made them into neatly drawn display fonts (Adobe Wood Type); others emulated the weathered look of worn down type (FF Kipp). And some published new families such as FF Zapata, which appropriated stylistic elements of old display letters in order to create something personal and new that quoted the 19th century with a mixture of irony and nostalgia.

As young creatives gradually became one with their screen (small at first, than huge, than smaller and smaller again) some discontent began to be felt. Are we really supposed to do everything digitally? Are my hands only good for operating a keyboard, a mouse, a pen and tablet, a touch screen? Is software always the shortest route to the most interesting and effective outcome? Is it actually possible to create great and impressive things on a laptop? And so a counter-movement was born, a growing section of designers that began investigating how seductive, yet shallow digital worlds can be given more depth using analog means. Not unlike other disciplines (film, building, music) graphic design began dusting off half-forgotten techniques to deploy them with newly found energy — not with the aim to recycle traditional formal principles, but to cross to old media with new visual ideas; to experiment with the coupling of digital to analog technology. Techniques in graphic design and typography that had long been considered hopelessly outdated— handlettering, calligraphy, letterpress — were revalued and are embraced by ever more designers as a learning tool, an enrichment of the working process, a way to develop a new idiom through self-chosen limitations.

Wood type, not exactly high point in typographic development in the eyes of academic typographers, took a special role in that revaluation process. Short copy, high impact, vigorous lettershapes: sure, letterpress posters are a bit of a quick’n’dirty job, but they’ are also a place for experimentation with form and color. In 2009 Justine Nagen’s movie Typeface showed how a new generation of digital designers is becoming hooked to the type cases and presses of the Hamilton Wood Type and Printing Museum in Two Rivers, Wisconsin, USA.

by Jan MIddendorp

preface preface

For type designers, too, the relationship with wood type was one of users. The huge arsenal of mostly anonymous wood type designs became an inspiration and a free supplier of ideas to dozens of type designers who feel more comfortable reproducing or updating the past than inventing their own letterforms.

But the tide is turning! More precisely, the process is being reversed. Digitally designed fonts are now sometimes converted into three-dimensional, tangible printing type. This can be done by producing them as metal type, but you need a fully equipped foundry for that. It seems to be somewhat simpler and more small-scale to use wood or plastic. There are newly built bridges between the analog and the digital to help out.

But what is it good for, this return to letterpress? The answer is relatively simple: the combination of digital design and offset printing is simply too precise. Too sterile and flat. The third dimension is missing. Of course it is possible to take type and illustration into Illustrator or Photoshop and give them a worn surface or a rough edge; but that is just as artificial as the transformation of a razor-sharp digital picture into something fuzzy from days of old by clicking an Instagram filter. It sure has something, but no soul. To see one’s own letterforms really come alive, with real depth, overlapping colors, and a subtle imperfection that is both unpredictable and soulful, analog printing is a very nice tool indeed.

This publication introduces Typewood, the latest project from Novo Typo’s Mark van Wageningen. It’s centred around the BIXA typeface family, originally developed as a multi-colored web font — and therefore made to exist within a digital, virtual world only. But it was in wood type that the original multi-coloured (in jargon: chromatic) fonts were first found. Printing shops in the 19th century used wooden letters with a shadow, a 3D effect or an inline in a second and sometimes third color for special effects in theater and circus posters. The idea to try out digitally designed contemporary chromatic types in letterpress printing seems a very logical (albeit adventurous) step.

Van Wageningen’s wooden font is not an isolated experiment. Some of Erik Spieker-mann best known digital typefaces were produced as wooden fonts about ten years ago. Recently Spiekermann created an alphabet of bold capitals for the Hamilton Wood Type and Printing Museum; only later was it produced as a digital face under the name HWT Artz. Type designer James Grieshaber made his HWT Geometric for the same client, and Matthew Carter drew HWT Van Lanen. Recently van Wageningen’s fellow Dutchmen Pieter van Rosmalen of the Bold Monday digital foundry and his colleague Jacques Le Bailly embarked on a wood type project adapting Nitti Monster Wood, the blackest version of the Nitti family.

Typewood BIXA does something that none of these other contemporary billboard faces do: it allows for building a multi-colored text from loose letterparts printed in separate runs — a bit like Cassandre’s 1929 Bifur, or the modular construction kits from the late Art Deco era: Fregio Mecano (Italië) en Supertipo Veloz (Spanje). I’m sure that this technique offers a wealth of possibilities, and that the work shown in this publication is only the tip of a tasty iceberg. I am curious to see what else Novo Typo has in store.

Jan Middendorp, Faenza, juni 2015

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voorwoord

Elke nieuwe technologie leunt op voorgaande technieken, om zich pas na enige gewenning van het verleden los te zingen. De eerste gedrukte boeken wilden eruit zien als manuscripten; de vroegste film waren foto’s die bewogen; de eerste televisieprogramma’s waren radioshows met beeld. Digitale typografie heeft het evenmin makkelΩk gehad haar eigen stem te vinden. EigenlΩk geldt de schoonheid en directheid van boeken en affiches gezet uit loden en houten letters tot op de dag van vandaag nog als maatstaf voor superieur, functioneel drukwerk. Maar er is interessant nieuws: de ontwikkeling van het zetten en drukken is een slang die in zΩn eigen staart bΩt. Ourobouros.

Toen vanaf 1990 duidelΩk werd dat je met font-editors alle alfabetten van vroeger tot digitaal gereedschap kon omsmelten, werden houten biljetletters deel van de rariteitenwinkel die letterontwerpers tot hun beschikking kregen. Sommigen recyclelden ze als opgestrakte displayfonts (Adobe Wood Type), anderen imiteerden de ruwe look van versleten letters (FF Kipp). En er verschenen families als FF Zapata, die zich stΩlelementen van oude reclameletters toeëigenden om er iets persoonlΩks en nieuws uit te distilleren dat de 19e eeuw citeerde met een mengsel van ironie en nostalgie.

Maar naarmate jonge creatieven meer en meer vergroeiden met het beeldscherm (eerst klein, dan zeer groot, vervolgens weer kleiner en kleiner), groeide her en der ook de onvrede. Moeten we alles digitaal doen? ZΩn mΩn handen alleen maar goed voor het bedienen van een toetsenbord, een muis, een pen-en-tablet, een touchscreen? Is software altΩd de kortste weg naar het interessante en effectiefste resultaat? Kan je iets groots en meeslepends ontwerpen op een laptop? En er ontstond een tegenbeweging, die ging uitzoeken hoe we verleidelΩke, maar vlakke digitale werelden met analoge middelen meer diepte kunnen geven. Net als in andere disciplines (film, bouwen, muziek) werden half-vergeten technieken uit de mottenballen gehaald en met nieuwe energie ingezet — niet om traditionele vormprincipes te recyclen, maar om te oude media te kruisen met nieuwe visuele ideeën; om te experimenteren met de koppeling van digitale aan analoge technologie. Technieken die in de grafische vormgeving en typografie jarenlang golden als hopeloos ouderwets — lettertekenen, kalligrafie, hoogdruk — zΩn geherwaardeerd, en worden door steeds meer ontwerpers omarmd als leermiddel, als verrΩking van het werkproces, als manier om met zelfgekozen beperkingen een nieuwe vormtaal te ontwikkelen.

Houten biljetletters, door hogeschool-typografen niet bepaald beschouwd als een paradepaardje van de drukkunst, kregen bΩ die herwaardering een speciale rol. Korte teksten, hoge impact, krachtige lettervormen: grote stappen, snel thuis, maar ook: ruimte voor kleuren vormexperimenten. In 2009 liet de film Typeface van Justine Nagen zien hoe een nieuwe generatie digitale ontwerpers verknocht raakt aan de letters en persen van het Hamilton Wood Type and Printing Museum in Two Rivers, Wisconsin, USA.

door Jan MIddendorp

voorwoord

Ook voor letterontwerpers was de relatie tot houten letters tot voor kort vooral die van gebruikers. Het enorme arsenaal aan veelal anonieme ontwerpen van biljetletters werd een inspiratiebron/gratis ideeënleverancier voor tientallen letterontwerpers die liever het verleden reproduceren dan eigen vormen uit te vinden. Maar het tΩ keert! Preciezer gezegd: het proces wordt omgedraaid. Digitaal ontworpen fonts worden nu soms omgezet in driedimensionale, tastbare druk-letters. Dat kan met lood, maar daarvoor is een compleet uitgeruste lettergieterΩ nodig. Het is ietwat eenvoudig en kleinschaliger met hout of kunststof —daar komen nieuw gebouwde bruggetjes tussen analoog en digitaal te hulp.

Waar is het goed voor, die terugkeer naar boek- of hoogdruk? Het antwoord is betrekkelΩk eenvoudig: de combinatie van digitaal ontwerpen en offsetdruk is te precies. Te steriel. Te vlak. De derde dimensie ontbreekt. NatuurlΩk is het mogelΩk om lettervormen en tekeningen, in Illustrator of Photoshop, van een versleten oppervlak of een ruw kantje te voorzien; maar dat is even kunstmatig als het omtoveren van een haarscherpe digitale foto in iets wolligs uit vervlogen tΩden door een Instagram-filter aan te klikken. Het heeft wel wat, maar geen ziel. Om de eigen lettervormen werkelΩk tot leven te zien komen, met echte diepte, in overlappende kleuren, en met een subtiele imperfectie die zowel onvoorspelbaar is als soulful, is analoge druktechniek een ideaal middel.

Deze publicatie introduceert Typewood, het jongste project van Novo Typo's Mark van Wageningen. Centraal staat de fontfamilie BIXA, oorspronkelΩk ontworpen als meerkleurig webfont — en dus om uitsluitend te bestaan binnen een digitale, virtuele wereld. Maar gekleurde (in vaktaal: chromatische) fonts komen oor-spronkelΩk uit het hout. DrukkerΩen in de 19e eeuw gebruikten houten letters met een schaduw, 3D-effect of inline in een tweede en soms derde kleur voor speciale effecten op theater- en circusaffiches. Het idee om een hedendaagse chromatische letter opnieuw in plaats te geven op de hoogdrukpers klinkt dus als een logische (maar avontuurlΩke) stap.Van Wageningens experiment staat niet op zichzelf. Van sommige van Erik Spieker-manns bekendste digitale letters werden tien jaar geleden al houten fonts vervaardigd. Kort geleden heeft Spiekermann een alfabet van vette kapitalen ontworpen die in de eerste plaats bedoeld was als houten letter, geproduceerd door het Hamilton Wood Type and Printing Museum; pas later werd er onder de naam HWT Artz een digitaal fonts van gemaakt. Voor dezelfde opdrachtgever maakte James Grieshaber zΩn HWT Geometric en Matthew Carter zΩn HWT Van Lanen. In Nederland werkt, tegelΩk met Van Wageningen, ook Pieter van Rosmalen van de Bold Monday letteruitgeverΩ samen met collega Jacques Le Bailly aan een houten-letterproject — Nitti Monster Wood, gebaseerd op de vetste versie van de Nitti Grotesk familie.

Typewood BIXA doet iets wat geen van deze andere hedendaagse biljetletters doet: hΩ maakt het mogelΩk om in meerdere drukgangen uit losse letterdelen een meer-kleurige tekst op te bouwen — een beetje zoals de Bifur van Cassandre uit 1929 of de modulaire letterbouwkasten uit de late Art Deco-tΩd, Fregio Mecano (Italië) en Supertipo Veloz (Spanje). Het in deze publicatie getoonde werk is nog maar het tipje van een smakelΩke Ωsberg; het eind van de mogelΩkheden is nog lang niet bereikt. Ik wacht met spanning op wat komen gaat.

Jan Middendorp, Faenza, juni 2015

typewoodwoodtypetypewoodwoodtypetypewoodwoodtypetypewoodwoodtype

typewoodtypewoodtypewoodwoodtypewoodtypewoodtypetypewoodtypewoodtypewoodtypewoodwoodtypewoodtypewoodtypewoodtypetypewoodtypewoodtypewoodtypewoodwoodtypewoodtypewoodtypetypewoodtypewoodtypewoodwoodtypewoodtypewoodtypewoodtype

typewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodwoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypetypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodwoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypetypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodwoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypetypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodwoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtypewoodtype

multicolorcolormultimulticolor

multicolormulticolormulticolorcolormulticolormulticolormulticolormulti

colormulti

colormultimulticolormulticolormulticolormulticolorcolormulticolormulticolormulticolormultimulticolormulticolormulticolormulticolorcolormulti

multicolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolorcolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormultimulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolorcolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormultimulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolorcolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormultimulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolorcolormulticolormulticolormulticolormulticolormulticolormulticolormultimulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolorcolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulticolormulti

A A A AA A A A A A A Ah h h hh h h h h h h ho o o oo o o o o o o o

b b B BB B B B B B B Bi i i ii i i i i i i ip p p pp p p p p p p p

C C C CC C C C C C C Cj j j jj j j j j j j jq q q qq q q q q q q q

d d d dd d d d d d d dk k k kk k k k k k k kr r r rr r r r r r r r

E e e ee e e e e e e el l l ll l l l l ll ls s s ss s s s s s s s

f f f fg f f f f f f f

m m m mm m m m m m m mt t t tt t t t t tt t

g g g gg g g g g g g gn n n nn n n n n n n nu u u uu uu u u u u u

the colored construction of the typography is based on seperate layers.

multi-color-layermulti-color-layermulti-color-layermulti-color-layermulti-color-layermulti-color-layermulti-color-layermulti-color-layermulti-color-layermulti-color-layermulti-color-layermulti-color-layer

when seperate layers are positioned, new forms and colors will appear.

T h i n

c o n t r a

d e c o n s t r u c t

s t e n c i l

s t r i p e

l e f t

r i g h t

r e g u l a r

s h a d o w

l e f t

r i g h t

b l a c k

Alibusci asimus vellaut aut as quame aces et re accae. Iquo volupta corehen ieniasperis aut liquibero magnimu sandae ped maximo quis aliquiam vidus eosa sant qui quate et autat.Obita culluptatem incipiteni aspel maio quos eicaturibus sequatu saepers perumen ditium et rectur?Ducit molut oditas inventiur as simillaut expereperum solecto tatemporae ommodiatiore moloristrum et as rera niat vollaciat magnam qui aut quaest ut quid ute conet lam faci arum ipid utem sunt laut harunt parchicit optas invellam, cone volor aut quatquam simpora estotatur, samus doluptatur animus.Xerum quam delicid untioru ptaturia quidendero et lignam eos de aceria veliberum non re cor acillupta eveni odis es iliquo quam, arum et, quisti ute voluptate ped ma volupie ndandandest hil modicat et eriam fuga. Rae sumquia sperrovitem fugitae possit et audandae volum quia corrum expercipsa net harum facearc iisque porem ad ut im qui ommodis ulparcid quia quo et fuga. Git liquibus nobitem. Cabore porere labo. Bixa – regular + deconstruct – 12 / 14 pt.

Alibusci asimus vellaut aut as quame aces et re accae. Iquo volupta corehen ieniasperis aut liquibero magnimu sandae ped maximo quis aliquiam vidus eosa sant qui quate et autat.Obita culluptatem incipiteni aspel maio quos eicaturibus sequatu saepers perumen ditium et rectur?Ducit molut oditas inventiur as simillaut expereperum solecto tatemporae ommodiatiore moloristrum et as rera niat vollaciat magnam qui aut quaest ut quid ute conet lam faci arum ipid utem sunt laut harunt parchicit optas invellam, cone volor aut quatquam simpora estotatur, samus doluptatur animus.Xerum quam delicid untioru ptaturia quidendero et lignam eos de aceria veliberum non re cor acillupta eveni odis es iliquo quam, arum et, quisti ute voluptate ped ma volupie ndandandest hil modicat et eriam fuga. Rae sumquia sperrovitem fugitae possit et audandae volum quia corrum expercipsa net harum facearc iisque porem ad ut im qui ommodis ulparcid quia quo et fuga. Git liquibus nobitem. Cabore porere labo. Bixa – medium left + Medium Right – 12 / 14 pt.

Alibusci asimus vellaut aut as quame aces et re accae. Iquo volupta corehen ieniasperis aut liquibero magnimu sandae ped maximo quis aliquiam vidus eosa sant qui quate et autat.Obita culluptatem incipiteni aspel maio quos eicaturibus sequatu saepers perumen ditium et rectur?Ducit molut oditas inventiur as simillaut expereperum solecto tatemporae ommodia-tiore moloristrum et as rera niat vollaciat magnam qui aut quaest ut quid ute conet lam faci arum ipid utem sunt laut harunt parchicit optas invellam, cone volor aut quatquam simpora estotatur, samus doluptatur animus.Bixa – thin + stencil + deconstruct – 16 / 18 pt.

Alibusci asimus vellaut aut as quame aces et re accae. Iquo volupta corehen ieniasperis aut liquibero magnimu sandae ped maximo quis aliquiam vidus eosa sant qui quate et autat.Obita culluptatem incipiteni aspel maio quos eicaturibus sequatu saepers perumen ditium et rectur?Ducit molut oditas inventiur as simillaut expereperum solecto tatemporae ommodia-tiore moloristrum et as rera niat vollaciat magnam qui aut quaest ut quid ute conet lam faci arum ipid utem sunt laut harunt parchicit optas invellam, cone volor aut quatquam simpora estotatur, samus doluptatur animus.Bixa – black left + Right – 16 / 18 pt.

Alibusci asimus vellaut aut as quame aces et re accae. Iquo volupta corehen ieniasperis aut liquibero magnimu sandae ped maximo quis aliquiam vidus eosa sant qui quate et autat.Obita culluptatem incipiteni aspel maio quos eicaturibus sequatu saepers perumen ditium et rectur?Ducit molut oditas inventiur as simillaut expereperum solecto tatemporae ommodiatiore moloristrum et as rera niat vollaciat magnam qui aut quaest ut quid ute conet lam faci arum ipid utem sunt laut harunt parchicit optas invellam, cone volor aut quatquam simpora estotatur, samus doluptatur animus.Xerum quam delicid untioru ptaturia quidendero et lignam eos de aceria veliberum non re cor acillupta eveni odis es iliquo quam, arum et, quisti ute voluptate ped ma volupie ndandandest hil modicat et eriam fuga. Rae sumquia sperrovitem fugitae possit et audandae volum quia corrum expercipsa net harum facearc iisque porem ad ut im qui ommodis ulparcid quia quo et fuga. Git liquibus nobitem. Cabore porere labo.

Alibusci asimus vellaut aut as quame Alibusci asimus vellaut aut as quame Alibusci asimus vellaut aut as quame aces et re accae. Iquo volupta corehen aces et re accae. Iquo volupta corehen aces et re accae. Iquo volupta corehen ieniasperis aut liquibero magnimu ieniasperis aut liquibero magnimu ieniasperis aut liquibero magnimu sandae ped maximo quis aliquiam vidus sandae ped maximo quis aliquiam vidus sandae ped maximo quis aliquiam vidus eosa sant qui quate et autat.eosa sant qui quate et autat.eosa sant qui quate et autat.Obita culluptatem incipiteni aspel Obita culluptatem incipiteni aspel Obita culluptatem incipiteni aspel maio quos eicaturibus sequatu saepers maio quos eicaturibus sequatu saepers maio quos eicaturibus sequatu saepers perumen ditium et rectur?perumen ditium et rectur?perumen ditium et rectur?Ducit molut oditas inventiur as Ducit molut oditas inventiur as Ducit molut oditas inventiur as simillaut expereperum solecto simillaut expereperum solecto simillaut expereperum solecto tatemporae ommodiatiore moloristrum tatemporae ommodiatiore moloristrum tatemporae ommodiatiore moloristrum et as rera niat vollaciat magnam et as rera niat vollaciat magnam et as rera niat vollaciat magnam qui aut quaest ut quid ute conet lam qui aut quaest ut quid ute conet lam qui aut quaest ut quid ute conet lam faci arum ipid utem sunt laut harunt faci arum ipid utem sunt laut harunt faci arum ipid utem sunt laut harunt parchicit optas invellam, cone volor parchicit optas invellam, cone volor parchicit optas invellam, cone volor aut quatquam simpora estotatur, samus aut quatquam simpora estotatur, samus aut quatquam simpora estotatur, samus doluptatur animus.doluptatur animus.doluptatur animus.Xerum quam delicid untioru ptaturia Xerum quam delicid untioru ptaturia Xerum quam delicid untioru ptaturia quidendero et lignam eos de aceria quidendero et lignam eos de aceria quidendero et lignam eos de aceria veliberum non re cor acillupta eveni veliberum non re cor acillupta eveni veliberum non re cor acillupta eveni odis es iliquo quam, arum et, quisti ute odis es iliquo quam, arum et, quisti ute odis es iliquo quam, arum et, quisti ute voluptate ped ma volupie ndandandest voluptate ped ma volupie ndandandest voluptate ped ma volupie ndandandest hil modicat et eriam fuga. Rae sumquia hil modicat et eriam fuga. Rae sumquia hil modicat et eriam fuga. Rae sumquia sperrovitem fugitae possit et audandae sperrovitem fugitae possit et audandae sperrovitem fugitae possit et audandae volum quia corrum expercipsa net volum quia corrum expercipsa net volum quia corrum expercipsa net harum facearc iisque porem ad ut im qui harum facearc iisque porem ad ut im qui harum facearc iisque porem ad ut im qui ommodis ulparcid quia quo et fuga. Git ommodis ulparcid quia quo et fuga. Git ommodis ulparcid quia quo et fuga. Git liquibus nobitem. Cabore porere labo. liquibus nobitem. Cabore porere labo. liquibus nobitem. Cabore porere labo.

Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as quame aces et re accae. Iquo volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et autat.autat.autat.autat.Obita culluptatem incipiteni aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus sequatu saepers perumen ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum solecto tatemporae ommodia-tiore moloristrum et as rera niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut quatquam simpora estotatur, samus doluptatur animus.

Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et autat.autat.autat.autat.autat.autat.autat.autat.autat.autat.Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus sequatu saepers perumen sequatu saepers perumen sequatu saepers perumen sequatu saepers perumen sequatu saepers perumen sequatu saepers perumen sequatu saepers perumen sequatu saepers perumen sequatu saepers perumen sequatu saepers perumen ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.

Alibusci asimus vellaut aut as quame aces et re accae. Iquo volupta corehen ieniasperis aut liquibero magnimu sandae ped maximo quis aliquiam vidus eosa sant qui quate et autat.Obita culluptatem incipiteni aspel maio quos eicaturibus sequatu saepers perumen ditium et rectur?Ducit molut oditas inventiur as simillaut expereperum solecto tatemporae ommodia-tiore moloristrum et as rera niat vollaciat magnam qui aut quaest ut quid ute conet lam faci arum ipid utem sunt laut harunt parchicit optas invellam, cone volor aut quatquam simpora estotatur, samus doluptatur animus.

Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as Alibusci asimus vellaut aut as quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo quame aces et re accae. Iquo volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis volupta corehen ieniasperis aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae aut liquibero magnimu sandae ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam ped maximo quis aliquiam vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et vidus eosa sant qui quate et autat.autat.autat.autat.autat.autat.autat.autat.autat.autat.Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni Obita culluptatem incipiteni aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus aspel maio quos eicaturibus sequatu saepers perumen sequatu saepers perumen sequatu saepers perumen sequatu saepers perumen sequatu saepers perumen sequatu saepers perumen sequatu saepers perumen ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?ditium et rectur?Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur Ducit molut oditas inventiur as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum as simillaut expereperum solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-solecto tatemporae ommodia-tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera tiore moloristrum et as rera niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui niat vollaciat magnam qui aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet aut quaest ut quid ute conet lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt lam faci arum ipid utem sunt laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas laut harunt parchicit optas invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut invellam, cone volor aut quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, quatquam simpora estotatur, samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.samus doluptatur animus.

multi-coloris the newblackandwhite.

multi-colorcolorcolorcolor

newnewnewnewblackblackblackblackandandandand

multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-colorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcoloris the is the is the is the is the is the is the is the is the is the is the newnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackandandandandandandandandandandandandandandandandandandandandandandandandwhite.white.white.white.white.white.white.white.white.white.white.white.white.white.

multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-multi-colorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcolorcoloris the is the is the is the is the is the is the is the is the is the is the is the is the is the is the is the is the is the is the is the is the is the newnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewnewblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackblackandandandandandandandandandandandandandandandandandandandandandandandandandandandandandandandandwhite.whitewhite.white.white.white.whitewhite.white.white.white.white.white.white.white.white.white.whitewhite.white.white.white.white.white.white.white.white.white..white.white.white.

Declaration of Deconstructed Typography.ind 2 23-05-15 15:52

decon-structed chaos is the new visual order.

decondecondecon---structed structed structed chaos chaos chaos is the is the is the new new new new visual visual visual order.order.order.

decondecondecondecondecondecondecondecondecondecondeconstructed structed structed structed structed structed structed chaos chaos chaos chaos chaos chaos chaos is the is the is the is the is the is the is the new new new new new new new new new new visual visual visual visual visual visual visual order.order.order.order.order.order.order.order.order.order.

decondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecondecon-------structed structed structed structed structed structed structed structed structed structed structed structed structed structed structed chaos chaos chaos chaos chaos chaos chaos chaos chaos chaos chaos chaos chaos chaos chaos chaos chaos chaos chaos chaos chaos chaos is the is the is the is the is the is the is the is the is the is the is the is the is the is the is the new new new new new new new new new new new new new new new new new new new new new new new new new new new new new new new new visual visual visual visual visual visual visual visual visual visual visual visual visual visual visual visual visual visual visual visual visual visual order.order.order.order.order.order.order.order.order.order.order.order.order.order.order.order.order.order.order.order.order.order.


maxi-malism is thenew mini-malism.


maxi-maxi-maxi-maxi-maxi-maxi-maxi-maxi-maxi-maxi-maxi-maxi-maxi-maxi-malism malism malism malism malism malism malism malism malism malism malism malism malism malism is is is is is is is is is is is thethethethethethethethethethethethethethenew new new new new new new new new new new new new new mini-mini-mini-mini-mini-mini-mini-mini-mini-mini-mini-mini-mini-mini-malism.malism.malism.malism.malism.malism.malism.malism.malism.malism.malism.malism.malism.malism.



experi-mentalmodern-ism is the newANTIQUE.

experi-mentalmodern-ism is the newANTIQUE.

experiexperiexperiexperiexperiexperiexperiexperiexperiexperi---mentalmentalmentalmentalmentalmentalmentalmentalmentalmentalmentalmentalmentalmodern-modern-modern-modern-modern-modern-modern-modern-modern-modern-ism ism ism ism ism ism ism is the is the is the is the is the is the is the newnewnewnewnewnewnewnewnewnewnewnewnewANTIQUE.ANTIQUE.ANTIQUE.ANTIQUE.ANTIQUE.ANTIQUE.ANTIQUE.ANTIQUE.ANTIQUE.ANTIQUE.

experi-mentalmodern-ism is the newANTIQUE.Declaration of Deconstructed Typography.ind 5 23-05-15 15:52

0123456789ABCDEFGHIJKLMNOPQR

STUVWXΩYZ(µ!?@%€–,.∂)

BIXA THIN

0123456789ABCDEFGHIJKLMNOPQRSTUVWXΩYZ

(µ!?@%€–,.∂)BIXA CONTRA



BIXA DECONSTRUCT



BIXA SHADOW



BIXA STENCIL



BIXA STRIPE



BIXA MEDIUM LEFT



BIXA MEDIUM RIGHT



BIXA REGULAR



BIXA BLACK



BIXA BLACK LEFT



BIXA BLACK RIGHT

ABC

above the digital characters of bixa. in the middle and at the bottom the printed and the original wooden characters. the wooden characters are reproduced on their original size (18 augustijn or 81,2 mm).

testing different kinds of multiplex wood on the cnc router. searching for the perfect combination of woodgrain and texture. looking for the perfect imperfection of wood.

p r i n t o f m u l t i p l e x p o p l a r ( p o p u l i e r )

p r i n t o f m u l t i p l e x o u k u m é

p r i n t o f m u l t i p l e x o a k ( e i k )

∏

∏24,85 mm

transformation of the complete characterset of bixa. the digital Characters are originaly designed in the fonteditor fontlab. these files are exported, via adobe illustrator, as autocad files. These autocad files can be read by the cnc router. the original size of the documents are 120 × 120 cm. All characters should be on ‘Dutch height’ (24,85 mm), which is standard for a dutch press.

the characterset of Bixa is designed this way because the cnc router uses three different sizes of spindles. All characters are milled with an eight, a six and a three millimeter spindle. All the characters of bixa are made from oukumé multiplex, produced at makerspace zb45 in amsterdam.

testing with the bixa woodtype characterset on a 1960 asbern press at Grafisch werkcentrum amsterdam. experimenting with colored ink directly on the press.

The wooden BIXA fonts are permanently available at the Grafisch Werkcentrum Amsterdam for any printing project professionals and serious hobbyists may want to undertake with them.

For more information please visit www.grafischwerkcentrumamsterdam.nl

the 'declaration of deconstructed typography' -posters are printed at the Grafisch werkcentrum Amsterdam as part of the graphic expedition 3d&inkt.

The wooden characters of Bixa are produced at makerspace ZB45 (www.zb45.nl).

the posters and the publication are printed on woodstock paper by Fedrigoni.

the Preface is written by Jan middendorp.

the publication is printed by Lenoirschuring.

special Thanks to Corine elemans, Liesbeth d'Hont, arie lenoir, Jan middendorp, Wiek molin, nele de smedt, Rudi oostermeΩer, Jaap Vermaas, martin veltman, lena van wageningen and Fleur Zee.

Typewood is supported by the AFK (Amsterdam Fund for the Arts).

concept + design by mark van Wageningen / novo typo (typo)graphic designers from Amsterdam, the netherlands www.novotypo.nl

published by novo typo, amsterdam, the netherlands

copyright © 2015 - mark van Wageningen / novo typoall rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronical or mechanical, including photocopy, recording or any other storage and retrieval system, without prior permission in writing from the publisher.

Decon-structedtypography

DeclarationrationrationrationofofofDecon-DeconDecon-structedstructedstructedtypo-typotypo-typo-typo--graphy.graphygraphy.graphy

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left the digital version of bixa. right the woodtype version printed on a 1960 asbern press at Grafisch werkcentrum amsterdam.

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bixabixabixa - YouWorkForThemprecies. Te steriel. Te vlak. De derde dimensie ontbreekt. NatuurlΩk...

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Transcript of bixabixabixa - YouWorkForThemprecies. Te steriel. Te vlak. De derde dimensie ontbreekt. NatuurlΩk...