01 Specialized Generalists

02 The fall and rise of Dutch design

03 AIGA's Design Envy features Letterlab

04 little BIG TYPE SAYS MORE, boxed

05 ED Award for Exhibition design!

06 Design in Rotterdam 1988-2013

07 Design’s Social Pledge

08 Blended Published


10 Two Nominations ED Awards 2013!

11 Graduation Show ’12 Up Close Wide Open

12 Digitizing Contemporary Art

13 Sometimes Six is just not enough

14 It’s Design in the Game

15 Curators at Design Academy

16 ED Award for Slow Art!

17 EYE Film Institute + DAE

18 My love is not a joke

19 Goose Hunt in Museum Hilversum

20 It’s art in the game!

21 design platform rotterdam essays

22 New Pocketknife LP Canyon Dancing 2

23 Stereohype B.I.O. Series #10

24 Benguiat Tribute for NWAT design festival

25 the first typonine type specimen

26 Chinese Abstract ‘Slow’ Art published

27 Ed Benguiat record single

28 Lecture for pdp conference, Serbia

29 The Role of Women in Design

30 ED Award for Artistic catalogue

31 VROAAM lecture & portfolio review

32 Lecture for Romeo Delta/BNO

33 Efteling Radio + DAE

34 european design awards x2

35 Fantastische Fotografie

36 world expo 2010 shanghai

37 étapes Magazine features Letterlab

38 Design Walks ED Festival

39 Letterlab Seasonal Poster Series

40 Lecture for BNO Spellbound

41 TDC honor and ADCN nomination

42 Print Magazine Master class

43 Frank Havermans NAI Book Launch

44 design initiatief’s future telling

45 Letterlab Commercial Airs on National TV

46 Letterlab Exhibition on Typography opens

47 Blurrr/TENT.10 ID & exhibition design

48 TDC Numbers Contribution

49 Facing China Catalogue published

50 Custom Typographic Installation in Soho

51 Collaboration with poet Tsead Bruinja

52 1 workshop and 3 lectures in Croatia

53 Platform 21 = Joyriding

54 Tambourine Dream, FF03

55 Visual Rhetoric of the Supreme Being

56 GreyTones spread and exhibition

57 Vive le Papier Electronique poster

58 Tougher than Featherz, FF02

59 Designprijs Rotterdam

60 Made with FontFont Cover & End Pages

61 Tokyo Chat airs on NHK in Japan

62 Ruffle Yo Featherz, FF01

63 BIG TYPE SAYS MORE at Museum Boijmans

64 VIDE workshop web teaser

65 Red Dot Award for LYWH

66 Yesterday, I lost my Helvetica, lecture

67 Real Dutch Design 0607

68 Rotten Cocktails LP by Boy Robot

69 Channel Push Breakin video for Hifana DVD

70 Typographic Tool ‘Punkt’ released

71 2+3D Interview and cover design

72 New workshops, lectures & research

73 VisCom published The New Typographers

74 Little Yellow Writing Hood

75 Guest designers for Items Magazine

76 Strange Attractors ADC Young Guns 4!

77 Dutch Design 2004-2005

78 Brunn Judge’s Choice TDC2 2004

79 Recognition for catalogue design

80 Cranbrook Graduate Catalogue, Transit

81 Cranbrook Masters Catalogue Redesign

82 Cranbrook Video Festival Poster

83 Hey Dutchie! Poster

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Visual Rhetoric of
the Supreme Being

A collaboration with Max Bruinsma discussing religion and lifestyle

Max Bruinsma emphasizes on aestheticism. The connotations of logos, especially those of large American multinationals, are for him the very raison d’être for the creation of his visual poetics, a poetry that finds a profound resonance in our western culture. The visual, typographical stature of logos such as those of IBM, LEGO, Google, et al., in its poetic connotation is liberated from the meanings of the word. When Bruinsma and the Strange Attractors replace IBM for the word GOD, set in the same typeface, Bruinsma believes the image suggests the phrase ‘The commander of life’.

Bruinsma gives the primacy of communication to the image. There is poetry to be found here, the representation of which escapes us. In this manner, Bruinsma and the Strange Attractors present us with visual evidence of god’s existence. For them, it’s not about denotation, the indisputable meaning of it, but more about connotation, the timbre. The god-like, that remains indescribable for us and suggests a certain imagination, is visual rhetoric, or rather visual poetry. Herewith Bruinsma presents not only visual evidence of god’s existence but a western-slanted proof of god’s existence. His burden of proof is simply cloaked in the clothes of a multinational. As we already know, these clothes are not always acceptable on every street.  The Strange Attractors have taken up Bruinsma’s argument by producing a pamphlet in the form of a poster with a visual side and a text side. On the visual side, we find the logos, along with some poetic captions. A nice detail is the inclusion of the names of the colours used, not in PMS language but names like Divine Red, Divine Green, etc. On the text side, we find a more detailed contextualisation of the pamphlet.
(Freek Lomme)



Max Bruinsma