Designers who influenced contemporary typography.
Wim Crouwel is one of the most influential graphic designers of the 20th century. Born in Gorningen, Netherlands in 1928, and as during his six decades as a designer created experimental typefaces and grid-style visuals that are still referenced today.
Crouwel’s work had process and structure at its core. Being inspired himself by the work of Muller-Brockman and Karl Gerstner, prominent swiss-style designers, the use of the grid-system was prominent in his work. However, where Crouwel strayed from this was in his creation of typefaces. Although a lot of his work did featured Grotesk sans-serif fonts that was typical of swiss style, he also is notable for his work in creating modular letterforms (Design Museum, 2021).
Perhaps one of his most well-known works is the font set ‘New Alphabet’. This was developed after seeing the first digital typesetters at a print exhibition. The move to digital technology came with its limitations, with the level of detail on screens not being high-enough, and therefore the traditional typefaces produced looked less than perfect. The creation of the New Alphabet created a solution, using only horizontal and vertical strokes, perfectly aligning with the way screens and typesetting equipment displayed fonts (MoMA, 2021).
The typeface divided designer’s opinions. It was criticised for being to experimental and being ‘illegible’, and in his own words Cowell even described the type as “over-the-top and never meant to be really used’. However, in 1988, the typeface was digitized and can now be seen gracing the cover of Joy Division’s 1988 Substance Album Cover (Designculture, 2021).
Other works of Crowell include the geometrical typeface ‘Gridnik’. The name of the font was inspired by Crouwel’s affectionate nickname ‘Mr Gridnik’ which made reference to his strict use and love of grid systems. The font was based on the typewriter typeface Olivetti Politene. The font was digitised by The Foundry in 1996 and was used on Dutch postage stamp until 2002. Examining the work of Crouwel, even now you can see how his work was devoted to systems and process to create something refined, logical and bold. (Foundry Gridnik - The Foundry Types, n.d.). Crouwel showed how a classic system can be used to create new and exciting designs that push boundaries of what we expect and allow in designing.
Foundry Gridnik - The Foundry Types.
In total contrast to Wim Crouwel is the work of Rus Khasanov. Although Khasanov’s work is just as striking and memorable, the core of it relies on the fluidity and unpredictability of real-world materials. I’ve never come across such a unique type designer. The incredibly unique designer creates mesmerizing typefaces using scientific methods. Hailing from Russia, Khasanov has changed the face of typography by using unconventional methods and materials to produce amazing lettering in psychedelic colour schemes. (Rus Khasanov’s Scientific Design Experiments, 2021)
Lumen Type - Rus Khasanov
His process includes using anything from fire to soy sauce. Khasanov particularly likes making use of microscopic imagery and taking inspiration from everyday objects such as magnifying glasses and mirrors. Khasanov described his experiments as ‘creative chaos’, and he relies heavily on using analogue techniques to make playful and wonderful shapes which he then refines in illustrator and photoshop (Magdaleno, 2013).
Close to my own heart, Khasanov aims to create work that combines the worlds of science, art and design. His inspiration comes from all corners of his world. His ‘Sauce Type’ came to him when he noticed beads of soy sauce forming at the bottom of a glass.Some of Khazanov’s clients include magazines such as Bloomberg, Popular Science and Wired. Khasanov contributions to typographic design encourage designers to think outside the graphic design box, and take inspiration from as many places as possible.
Typography for Popular Science. Fall 2020. - Rus Khasanov
Marian Bantjes is a designer, typographer, writer and illustrator who creates beautifully intricate and typefaces. From Saskatchewen, Canada, her career began as a book typesetter in 1983, before she eventually began her own design studio – Digitopolis. The design firm created materials for educational, corporate and arts companies. Eventually, Bantjes left her firm to pursue her own work, and began showcasing the design work she is most well-known for today. Her pieces are notable for being colourful and ornate, featuring in over 100 books across the world, including her own ‘I Wonder’ and ‘Pretty Pictures. Her work is also featured in the pemenant collection of the Cooper-Hewitt National Design Museum. (Creative Bloq, 2008).
In 2004, Bantjes created the typeface ‘Restraint’ which shows a perfect example of how her illustrative background influences her as a graphic artist. The unique typeface makes uses of complex patterns creating letters in the negative space, in contrast to usual ornamental typography which has details and flourishes added onto the letters themselves. (Typographica, 2008)
Retraint - Marian Bantjes
You can spot Bantjes’ style from a mile off, as is obvious from the example below. She has created countless images that show off her talent for using complex patterns and structures. She states that she is influenced a lot by calligraphy from the 14th-18th century, as well as islamic art and art nouveau, textiles from around the world and baroque, rococo and gothic styles. (Bantjes.com, 2021). These influences come through very clearly in Bantjes’ work. The most interesting thing about Bantjes’s work is its combination of structure with playfulness. There’s a freedom in her designs, a fluidity, but there’s obviously a lot of thought and process that goes into both their creation and use. One thing’s for sure is that Bantjes’ unique stye will continue to be celebrated for it’ creativity and boldness.
Before My Memory Goes - Marian Bantjes
Designculture • Wim Crouwel (n.d.) Designculture.it. Available at: http://www.designculture.it/interview/wim-crouwel.html (Accessed: 17 April 2021).
Foundry Gridnik - The Foundry Types (n.d.) The Foundry Types. Available at: https://www.thefoundrytypes.com/fonts/foundry-gridnik/ (Accessed: 17 April 2021).
Holms, C. (2008) Restraint, Typographica. Available at: https://typographica.org/typeface-reviews/restraint/ (Accessed: 17 April 2021).
Magdaleno, J. (2013) Rus Khasanov Creates Typefaces Using Laptop Screens, Tasers, And Soy Sauce, Vice.com. Available at: https://www.vice.com/en/article/xy489q/rus-khasanov-experimental-typefaces (Accessed: 17 April 2021).
Marian Bantjes | Creative Bloq (2008) Creativebloq.com. Available at: https://www.creativebloq.com/computer-arts/marian-bantjes-6089304 (Accessed: 17 April 2021).
Marian Bantjes (2021) Available at: https://bantjes.com/ (Accessed: 17 April 2021)
Rus Khasanov (n.d.) Ruskhasanov.com. Available at: https://ruskhasanov.com/ (Accessed: 17 April 2021).
Rus Khasanov’s Scientific Design Experiments (2021) Fold Magazine. Available at: https://www.foldmagazine.com/rus-khazanovs-scientific-design-experiments (Accessed: 19 April 2021).
Wim Crouwel (2021) Design Museum. Available at: https://designmuseum.org/designers/wim-crouwel (Accessed: 17 April 2021).
Wim Crouwel. New Alphabet. 1967 | MoMA (2021) The Museum of Modern Art. Available at: https://www.moma.org/collection/works/139322 (Accessed: 17 April 2021).
