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Experimental Jetset - Coggle Diagram

- - - - but that doesn’t mean we always use the same typeface. especially when you look at the graphic identities we designed for museums and cultural institutes, you’ll notice that we have used various typefaces, often for very specific conceptual reasons. for example, for the graphic identity we designed in 2004 for stedelijk museum CS (SMCS), we specifically used univers, to refer to the history of the institute. and for the graphic identity we created in 2007 for le cent quatre (104), we used futura, so that the 104 logo could really be ’embedded’ in the typeface. in other words, it’s a total myth that we always use helvetica – but it’s an amusing myth, we have to admit.
        
        there were also more pragmatic reasons to use NHG. it’s a typeface that comes with a very wide variety of weights, style and special characters – it can be used for all kinds of purposes (text, display, etc.), while still maintaining a consistent, graphic tone. (it was especially important for us that the word ‘whitney’ would appear in the same typeface as the headline text, and the body text – we didn’t want a logo that would behave as a sort of alien element, completely separated from the rest of the text).
- - - - we feel there’s a really strange discrepancy going on – while young designers seem to be getting more and more intellectual and progressive, a lot of cultural institutes are actually trying to achieve a more populist tone, and getting more conservative. they seem to move in opposite directions – and we have no idea how this rift can ever be solved.
        
        subcultural, isolated level: in the spheres of self-publishing, small exhibitions, underground projects. to survive, these young designers are either forced to work (or worse, to intern for free) for large corporate agencies, or they have to find a ‘day-time job’, outside of the field of graphic design. there seem to be fewer and fewer opportunities nowadays for young designers to just start their own small, independent studios, and inject their ideas straight into the public space – and we think that’s a real shame.
        
        in harsh times like these, we think it’s really important for independent designers and small studios to stick together, and keep an open mind towards each other. above all, we should maintain some sense of solidarity, of dignity. we might have our aesthetic or conceptual differences, but in the end, we’re all in the same boat. it’s so easy to constantly attack each other, but all this energy can be better put to use trying to actually survive.