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"Jan van Toorn" Tag


About paint and the internet


Wednesday, May 6, 2009

The work that Jan van Toorn made in 1971 for the van Abbemuseum in Eindhoven is a work that caught my interest from the start. It is very daring of a museum to use a political statement like this as an advertisement for an exhibition.
To me it is graphic design at its best. This work looks in a way very timeless but has a lot to do with the time it was created in. Not only because the valuta of the amount that is added up is in Gulden – which we do not use any more (unfortunately – have a peek at Renske’s posting!) – but more likely because he used paint to tell you which painters you can find at the van Abbemuseum at this exhibition. To me this feels very honest, true and logical. I think Jan van Toorn was ahead of time with this work.
I love how he throws all these big masters on a mathematical pile without actually making fun of it. Of course he is making fun of what all these paintings cost. Almost 40 years later the prices went sky high. But in a way that is not really what it is about, to me it feels like putting it out of context. He makes the master painters more human. To me this poster mocks with the art world without making fun of the painters.
It makes me feel like painting.

Jan van Toorn is a man of the first generation of graphic design. In 50 years he has seen al the revolutions and all the new more advanced options you have with the, let’s say, original or old-fashioned way of printing. Jan van Toorn: ‘The computer is the next phase and is of course an amazing development in the world of graphic design and for a designer to work with, but if I look at the results then I find it very disappointing.’

Van Toorn thinks that the Internet should be or become a medium with visual journalism that frees as well as enriches the reader/viewer. He thinks that a different, new use of language is important for that. I agree with him on this point. If you take blogs for instance, or the Internet in general, you can delete half of it because it is rubbish and has no content. To me it is about balance. People do not read long, dry texts on the Internet. It is about speed. It has to be fast. I think blogs such as ffffound.com are a good example for that. It is an only imagery, no text blog about design. You see a lot of beautiful, esthetic designs, and very often without content. Most of the design you forget instantly. Just nice pictures.

I think that Jan van Toorn despises the Internet because I read that Jan van Toorn is not interested in the beauty or esthetics of images at all. It is mainly and only about the content of the design. What is there to tell, to see or to communicate? As a designer he wants to be more than only the person in between the client and the receiver, he would like to be involved within the whole process.

A nice question I found in an interview with Jan van Toorn on the website of magazine de Groene Amsterdammer (in Dutch) is: Are you designers the mediators that show us reality in life?
Jan van Toorn: Yes.
And we simply have to believe that that is the truth in reality?
Jan van Toorn: Yes. Whether we do it or the church does. 30 Years ago it was the church. Today it is about the people ‘in between’ such as designers, journalists and people who make television.

Graphic design and product design may be present everywhere you go but I think it is art that can show you another truth. I think Jan van Toorn set the standard for graphic design back in the days. All we can do is get inspired.

Objectiefied Bits


Friday, January 30, 2009

Maybe you find it puzzling that this posting about Helvetica and Wim Crouwel starts with an image of Paul Elliman’s “Bits” Alphabet.

Extremes can sometimes meet when you least expect it, and this fascinates me. It became apparent again during the investigation by the FoundationYear C group, into Gary Hustwitt’s Movie “Helvetica” and our consequently visit to the Wim Crouwel exhibit last month at the “van Abbemuseum”.

left: Bits by Paul Elliman, right: Objectified by Build (click images for blog info)

“Bits” was developed by Paul Elliman in the mid 90ties and published in the 15th (Cities) issue of Fuse’s conceptual Font Box. quote: “Language moves between us and the world on patterns of repetition and variation, and a mimetic example of this might be something like an alphabet”
Later, in 2004, it was included in the Cooper-Hewitt Design Triennial N.Y. which made “concept type” part of the established design world.

Gary Hustwitt’s new documentary “Objectified” takes design, and as a matter of fact “Bits” too, one step further by making it popular in the same way as he did with “Helvetica”.

Modernist thinking, or even constructivist-, lays at the base of the “Helvetica” concept and the work of Wim Crouwel, as this first movie on typography has him stated. As a true Dutch graphic design icon Wim Crouwel illustrated this through work, presented at the library exhibition of the van Abbemuseum, celebrating his 70th birthday. A small but beautiful display of catalogues and posters made for both this and the Stedelijk Museum in Amsterdam.


pages by Crouwel versus pages by Jan van Toorn from publication “Het Debat”

Extremes met in person when Crouwel and Jan van Toorn celebrated their life long controversy with a recurrence of their famous 1970 debate. Functionalism versus engagement. Jan van Toorn succeeded Crouwel as a designer at this museum under the directorate of Jean Leering to manifest in an inspiring cooperation what that leads to in terms of exhibition concepts and graphic design (“Museum in Motion” at the library). Jean Leering also closely work together with Jan Slothouber (read part 1 of C group’s research) at the TU-Delft where the published several internal essay’s on the philosophical and social consequences of design.


80/20/100 © Nijhof&Lee booksellers – Laurenz Brunner, final exam poster

More research was conducted to explore related content or work approach of other designers like, Laurenz Brunner’s “Akkurat”, his successful contemporary remake of Helvetica, Experimental Jetset convicted users of Helvetica, the cooperation “8020100″ between Vivid Gallery in Rotterdam and Nijhof&Lee Bookstore in Amsterdam. Context was created by turning the focus on Adriaan Frutiger, designer of Helvetica’s conscientious alternative “Univers”. To further explore the relation to language and image we further focused our investigating efforts on the visual legacy of Charles & Ray Eames, the “El Hema” exhibition/store and Massin‘s timeless publication “Letter and Image“.

With the inclusion of Belgian artist Guy Rombouts the full circle of our focus on type design was completed. The investigation into his visual language concept “AZart” will be presented soon in a separated part 3 C_group posting. This was part II of the C_group research
All researches linked in this posting can be downloaded in A4 format and are also available as hard copy research prints at the ResearchFolders available at the academy library


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