Typeradio Podcast

Malcolm believes that new generations growing up with the latest digital technology will keep surprising us in the future. He foresees that the change of expectations and usage with this generation will stun us all. Malcolm thinks a lot about what he does and why he does things, sometimes too much. He tries to add layers to it. He prefers to think twice and act once, and tries not to think too much about creativity and intuition. Design just something he does. Malcolm talks about current projects like the Dublin Public Transport system and Dynamo London. He finally explains why he doesn’t really care how he is going to be remembered. (Recorded at Typeradio’s Sweet16)

Typeradio talked on the phone to Malcolm Garrett. As religion is the root of all evil Malcolm doesn’t want any part of it. He doesn’t trust himself as he is easily persuaded and difficult to convince. He is weary of heroes and currently questions the value of his possessions, although he does have a quite specific collection. Malcolm was once invited to join a punk band but never aspired to be a musician. Actually, he doesn’t even hold musicians in very high regard. (Recorded at Typeradio’s Sweet16)

The last two of Anschlaege’s 7 design principles. Their view on how money changed after the fall of the Berlin Wall. We end with how they would like to be remembered. (Recorded at Typeradio’s Sweet16)

Anschlaege explain how their work is politically influenced? They believe in opinions, not just politics, and they work in the public sphere. They also do commercial jobs, but not without thoroughly discussing it. And it has to be interesting too, and interchanged with free work. They sometimes offer unusual solutions to their clients. Finally we go over the 7 principles that they published on their website and which they change every six months. (Recorded at Typeradio’s Sweet16)

Anschlaege is a design studio with principles, Typeradio talks with Axel Watzke and Christian Lagé (third member Steffen Schuhmann wasn’t present). They believe in ideas rather than ideologies. Why are they concerned with social issues? They were 14 years old when the Berlin wall came down, which made a big impression. Everything is possible, but why choose graphic design? They talk extensively about the Kraut project, for which they traveled all over Germany producing daily newspapers locally. (Recorded at Typeradio’s Sweet16)

We ask editor Oliver Gehrs if Dummy Magazin is a magazine. Does it have a lot of competition? Dummy’s policy is to not mix content and ads. Will the magazine live longer with its always changing design and theme? Oliver explains that Dummy is happy to be a specialised magazine for a smaller audience rather than educate the masses. (Recorded at Typeradio’s Sweet16)

Dummy magazine editor Oliver Gehrs tells us how and why Dummy was initiated and how it was financed. Every issue is completely different, in logo design, layout and the articles. Why? And how does that work? It’s a journalistic decision to have different designers and writers for every issue. It’s also much more fun, according to Oliver. How are the designers picked? Dummy never puts design over content. Oliver talks about the relationship with their sellers and explains how the subjects and themes get picked. (Recorded at Typeradio’s Sweet16)

Do books like Los Logos kill creativity? Nicolas explains the best way to use Los Logos. Will there be a Quatros Logos? Logos rejected by clients are often the best. What are the differences between the Swiss and the Germans? Nicolas tells us why he moved to Berlin, his future plans, like Etcetera publications. Does he have a favorite Swiss designer? (Recorded at Typeradio’s Sweet16)

Nicolas Bourquin explains what he does, he sets things in context, be it a book, video or an exhibition. As an art director / editor for Die Gestalten he finds this multi-disciplinary work inspiring. He advocates why books are not at all an obsolete medium and talks about the Los Logos book project and the selection process for it. (Recorded at Typeradio’s Sweet16)

Why did Klaus Voormann retire from the music business? What filled the gap that music left in his life? What current bands does he like? He talks about his cooperation with Stefan Gandl, the Hamburg Days book, the Turbonegro record sleeve and finally his music production work for the German band Trio (Da Da Da). (Recorded at Typeradio’s Sweet16)

Typeradio talks on the phone to graphic designer and musician Klaus Voormann. He tells the story how he met and hooked up with The Beatles. Voormann designed the covers for The Beatles’ Revolver and Anthology albums. Besides that he played bass guitar with members of the Beatles, Mannfred Mann’s Earth Band and many other world famous artists. But what is the favourite musician he played with? (Recorded at Typeradio’s Sweet16)

We hear the M.E.E.K. typographic synthesizer in action. While Frank is playing the instrument, Rob is explaining what is happening and what can be seen. (Recorded at Typeradio’s Sweet16)

Rob Meek and Frank Müller developed the M.E.E.K. typographic synthesizer for their project MeekFm as an interpretation of type as sound. They tell us how the project came about and explain how the synthesizer works. It’s all about the interaction between the visuals and the sounds. What will it develop into? (Recorded at Typeradio’s Sweet16)

Was it a good idea to start a Pentagram office in Berlin? Justus Oehler tells us how he came to know the president of Sardinia and design the Sardinia identity. What are the Pentagram Papers? How does Justus like to be remembered? (Recorded at Typeradio’s Sweet16)

Justus Oehler explains the criteria to become a Pentagram partner, and how the design process in Pentagram works, both in finances as in design work. Justus also tells us how he learned to work the computer, what he likes to work on, why he moved to Berlin and how things will work out. (Recorded at Typeradio’s Sweet16)