01 Lettering Large

02 25 jaar Stadscollectie R’dam

03 Blended

04 NRC Weekend

05 Graduation Show 2012

06 ED Awards Catalogue 2012

07 Typography

08 Celebrate 65

09 Drawing for Graphic Design

10 Women in Graphic Design

11 Typography Referenced

12 ED Awards Catalogue 2011

13 The 3D Type Book

14 Playful Type 2

15 Staging Space

16 Left, Right, Up, Down

17 Typography 31

18 DPI Magazine

19 Brno Biennale

20 étapes:181

21 Print

22 ED Awards Catalogue 2010


24 Typography 30

25 Adbusters

26 IdN

27 Metropolis M

28 Graphic Design, Referenced

29 étapes:171

30 items

31 Atlas of Graphic Designers

32 Design

33 Women Of Design

34 icons of graphic design

35 Brno Biennale Catalog

36 Eye: Beyond the canon

37 AREA 2

38 European Design Awards 2007

39 Super HD: Holland Design

40 Tactile

41 Handjob

42 Typography 28

43 Le Monde: Design & Typo le Blog

44 Contemporary Graphic Design

45 Designprijs Rotterdam

46 Page Magazine 05.07

47 Hollands Diep


49 Experimenta

50 Exploring Typography

51 I.D.


53 Int. Yearbook Com. Design 05-06

54 Typography 26

55 items

56 Visual Communication

57 2+3D

58 Typography 25

59 21st Brno Biennale Catalog

60 Page Magazine 06.04

61 designNET

62 Typography 24

63 Art Directors Annual 82

64 Dutch Type

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Dutch Type

2004 (260, 296) 010 Publishers

The Hague, the new generation

Exuberance at Cranbrook: As a graphic student at the Royal Academy (KABK) in The Hague, Catelijne van Middelkoop (1975) envied her colleagues in the fine arts department, who were allowed to create things that were allowed to create things that were simply beautiful. She was bothered by the constant demand that graphic design be justified in terms of functionality and efficiency. Although she diligently took the lessons of Frank E. Blokland, Matthias Noordzij and Peter Verheul, she ultimately felt that her own approach to typography – her desire to explore ornament and decoration – was not very welcome in The Hague or, for that matter, the Dutch scene. On the advice of Jan Willem Stas, the head of the KABK’s Type and Media course, she went to the States and enrolled at the Cranbrook Academy of Art after graduating in The Hague in 2000. When she and her partner Ryan Pescatore Frisk were invited to teach ‘Graphic Language’ at a Detroit technical school, Van Middelkoop decided to do as she had been taught: ‘to begin at the beginning and enter the high-tech computer room armed with broad-nibbed and pointed pens.’ teaching became a way to rediscover the roots of graphic design, exploring ancient sources such as ‘The Universal Penman’ by George Bickham and John Baskerville’s gravestone designs. Her new-found joy in writing and drawing letterforms led to the exuberant design of Cranbrook’s ‘Graduate Studies Catalogue’ as well as a picturesque graduation project: hand-drawn, machine-produced gravestones for Cinderella and other fairytale heroines. Catelijne van Middelkoop discovered that historical consciousness is embedded much more profoundly in American arts education than in the Dutch schools, where teachers and students seldom look beyond the 1920s avant-garde. At the same time she felt that she, too, had something to offer – the craftsmanship of writing and drawing by hand is more developed in The Hague than in most American schools. The fonts and lettering that Van Middelkoop created during the past few years are proof of this successful transatlantic cross-fertilization. Having returned to The Netherlands, Van Middelkoop and Pescatore Frisk created Dialog Nouveau, an initiative aimed at ‘the investigation of typographic subculture, graphic pluralism and subsequent typographic development’ or, in other words, ‘active typographic anthropology’. Central to these activities will be a website due to be released in spring 2004; the site will also be a point of sale for new typefaces.

(Jan Middendorp)


Dutch Type


Jan Middendorp