RECENT PRESS ITEMS

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

23 ZEFIR7

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

48 aiga.org

49 Experimenta

50 Exploring Typography

51 I.D.

52 maxbruinsma.nl

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

< - - - PREV - - - - - -

- - - - - - NEXT - - - >


I.D.

January 2006 (p.89)

The I.D. Forty:

Undersung Heroes

Jan Tschichold, the Bauhaus-inspired typographer who became the chief propagandist of functional type, once damned ornament as the product of “childish naiveté.” Catelijne van Middelkoop and Ryan Pescatore Frisk of Strange Attractors took that as an inspiration for their mission: to free ornamentation from the curse intoned by modernism. The principals quoted Tschichold in a specimen of their type font ‘Brunn’, which defies the old master with youthful panache. But beware: Van Middelkoop and Ryan Pescatore Frisk might be young, but they are certainly not naive. Having earned graduate degrees from Cranbrook, they know their trade and its history. They just happen to disagree with some of its bedrock doctrines.

Strange Attractors hopes to bring new eyes to bear on what modernism rebelled against: the traditions of craft, calligraphy, and decoration. In work for the New York based experimental jazz outfit Oratai Ensemble, for instance, the designers combined a proliferation of doodas and photo fragments with florid typography. And in their animation ‘Little Yellow Writing Hood’; a typographic adaptation of the old tale, they play a witty game of expressive lettering, using over 300 FontFont typefaces–a humorous display case for their client, FontShop. It won them a 2005 Red Dot Award.

Whether it takes the form of typography, type designs, posters, catalogs, digital animations, CD covers, or 3-D installations, their work is a polemic against the depersonalizing effects of modernist typography and design. Such projects are often described for being superficial, but that criticism misses the point. In today's visual cultures, the surface very often is the message. Strange Attractors are “decorationalists’” (I borrow the term from Denise Gonzales Crisp), who want to rediscover the potential of expressive ornamenation. They use the computer not just as an extension of the ordening brain, as Marshall McLuhan would say, but also as a true instrument of the expressive hand.

Specialty: Graphic design studio

Ages: Catelijne van Middelkoop, 30;
Ryan Pescatore Frisk, 28

Base: Amsterdam

Should be more famous because: Its work is chipping away at the chilly doctrine of modernism.

Isn't more famous because: The partners are still young, and old attitudes die hard.

Google mentions: 278

(I.D. Forty, 2006)

Links

I.D. The International Design Magazine

Brunn

Little Yellow Writing Hood