Paperzine - News

Mr. Reichard, what was your most important project last year and why?
Really, every project is important, but I found the “Edelkuvert” assignment particularly challenging. In this case, we worked with the client from the very beginning in developing a product range of exclusive envelope-boxes and other paper products. We were involved in all processes, from the product concepts, naming and corporate design to the marketing and media campaigns. Thus, we achieved a consistent image that combines design, typography, material and communication. (www.edelkuvert.de)


Is there a typographic concept or product that caught your eye recently?
In terms of new fonts, there were several interesting developments, for example “Normal” with a left-leaning variant in homage to the historical advertising posters by Stefan Claudius (www.cape-arcona.com) or the fonts by the Austrian label Typejockeys (www.typejockeys.com). But what I got excited about was the approach behind “tüpo” – a project by my colleague Tanja Huckenbeck – in which letters and fonts are used in a decidedly unconventional way and turned into bags, seating or cushions. (www.tuepo.de)


You direct courses and workshops – what importance does the Bauhaus academic model still have nowadays?
I wouldn't describe my approach as 100% Bauhaus, but from my experiences teaching at the HBK Saar and the Academy of Visual Arts in Frankfurt, specifically with regards to Typography Days, I know how important it is to convey a universal approach to design. In other words, the concept doesn't stop at typography, layout, photography or colour, but also includes material and production –  or manufacture – right from the start. Here I definitely see parallels to the Bauhaus model, but also to the educational concepts of Paul Renner.



Your studio is called “Typosition – Embassy for Typography and Design”. On that note - where in your field are diplomatic “negotiations” particularly relevant?
“Diplomatic negotiations” are often necessary when it comes to communicating to the client the necessity – or rather the impact – of a newly introduced font within a corporate design and its consistent usage. Whereas logos and colours are understood as natural elements of CD, the impact of a font as part of the overall image is still somewhat underestimated. By using examples, however, we've so far always managed to convince our clients. After working together for a longer period of time, I've even heard clients say things like “Mr. Reichard, for the new catalogue we will be using our (!) font again, right?”


www.typosition.de