Typeradio Podcast

Anette Lenz discuses on being politically active. Design in Germany. Her identity German vs French. Anette talks about the new breed of female designers, her heroes and how she would like to be remembered.

Anette Lenz, talks about her love for work, belief in signs, how her interest was sparked in design, image making and story telling, her short musical career. Why she moved to paris and working for Grapus. How she defines her design

Current projects, globalization yes or no, standard typeface of the moment, the difference between type and furniture… all these questions (and many more) will be answered by Mr. Pool in this last episode. Listen to Mr. Din.

In this episode Albert-Jan Pool is telling us the whole story about Din (including black, light & Mittelschrift condensed) and what it has to do with the german railway system, english bullets and Napeleon. Listen now and meanwhile find out who is the Winnetou, the Apache Knight of typography.

This episode is about: Frutiger vs trying not to be hip, homework vs student magazines, Piet Schreuders vs Jimi Hendrix (featuring Gerrit Noordzij), learning vs telling & Scangraphics vs URW. Listen, learn & believe.

Georg Salden (77) and the digital revolution (the GST foundry was founded in 1971). In this episode you will get a unique glimpse in the working method of Georg Salden, featuring the legendary MicroVAX computers. Gerog Salden about MicroVAX: ...they were used by URW in Hamburg to run their Ikarus programms. They later fitted these programms for Mac and PC, but the old ones were the better ones, as is often in life. Nowadays it is difficult to get a Vax and the compatible equipment, of course, and I pray each day that it can be logged in further on…

Did you know: – anything about the professional sport career of Mr Salden – the trick of Mr Salden to make a typeface manually thicker – why you should (need) to design one typeface a month – how many hours it takes Mr Salden to design a typeface – the favorite typeface of Mr. Salden And of course there is the final (difficult) question: How does he wants to be remembered?

Georg Salden is designing type for over 40 years. He became known for his fonts Polo GST, Brasil GST and Basta GST. In this first episode Mr Salden talks about the difference between a typeface designer and typographer and how he got involved in what he is doing. We hear the full truth about the relation between Georg Salden and his uncle Helmut Salden, who was a famous typographer in Holland. And did you ever hear the story of the mystery enemy of Helmut Salden? Listen and find out. Or not.

Welcome to the time-episode: How much time you should have for an assignment. How much time do you get from your client? How much time do you have to work on a poster? How to be in the right time at the right place. The importance of timing. So take your time and listen careful. (We are very sorry for the bad sound quality.)

Philippe Apeloig is not religious and does no have any rituals. But he works a lot. In this first episode he is telling us how it all started and about the characteristics of french graphic design, and its relation to other countries and cultures. Sorry for the bad quality – listen carefully.

Kurt Weidemann collects fine art, 20th century paintings. Due to his redesign Deutsche Bahn could save half a million Marks a year on paint. He considers his own book his most important work. He even still buys copies himself. He believes his designs should lasts 10 to 30 years before becoming out-of-date. He talks about his three children and raising them.

Kurt Weidemann designed corporate identities for Mercedes, DaimlerChrysler, German Aerospace and Deutsche Bahn. And he wouldn’t do anything different if he could. He thinks his designs are still good, some even after 20, 30 years. Still he handles critique well. He is critical about politics and politicians, but social awareness is important in his design work. He would never work for the tobacco industry for instance, although he did work for the Lucky Strike Design Award, that he received himself as well in 1995. His type design hero is personal friend Jan Tschichold. He can’t think of any other heroes than his fellow soldiers. He then goes into his personal motivations and situations during the second world war, that shaped him and the rest of his life. Thirty years of driving a Porsche made it his favorite possession, in spite of the red Ferrari shoes he is wearing.

In 2007 for the first time Typeradio was present at the AGI conference ‘Unknown Land’ in Amsterdam. At the opening evening of the event Typeradio captured the spirit of the conference, asking a few of the members the following questions: 1. What is the first thing that comes to mind when you think of Dutch Design? 2. What is ‘Unknown Land’ for you personally? 3. What does it mean for you to be an AGI member? This part features Bob van Dijk, Peter Till, Uwe Loesch, Philippe Apeloig, Paul Hughes, Stefan Sagmeister, René Knip, Leonardo Sonnoli and George Hardie.

In 2007 for the first time Typeradio was present at the AGI conference ‘Unknown Land’ in Amsterdam. At the opening evening of the event Typeradio captured the spirit of the conference, asking a few of the members the following questions: 1. What is the first thing that comes to mind when you think of Dutch Design? 2. What is ‘Unknown Land’ for you personally? 3. What does it mean for you to be an AGI member? This part features Wout de Vringer, Elisabeth Kopf, George Hardie, Justus Oehler, Anton Beeke, Jelle van der Toorn Vrijthof, Max Kisman and Ben Faydherbe.

Kurt Weidemann doesn’t regard himself religious, although he calls himself Christ (the literal German word for ‘christian’). He says he is too simple to have rituals. He never relaxes, gets up at 5 every morning and works all day. He talks about his life in World War II, fighting the Russians as a soldier and surviving the prisoner of war camp afterwards. Weidemann studied fine art in Stuttgart, later became a professor at the same academy. He founded a private university for management in Koblenz. He stresses the importance of management in the field of design. He still teaches at several German universities. Weidemann thinks it is very important to renew your knowledge as a teacher. He sees his students more as partners, in order to get closer to them and get better results. He sees little difference in being a consultant or a designer, either way you have to convince people. you can’t be just a consultant nor just a designer, due to the fierce competition in design.