"it's a matter of common sense and instinct
somewhere there is a box with the right answer.
it's about finding this box and the key to open it.
the only thing you have to do is to make it Alice blue.
or alizarin crimson. or amber. or amethyst. or aqua. or aquamarine. or asparagus. or azure. or beige. or bistre. or black. or blue. or bondi blue. or brass. or bright green. or bright turquoise. or bright violet. or bronze. or brown. or buff. or burgundy. or burnt orange. or burnt sienna. or burnt umber. or camouflage green. or cardinal. or carmine. or carrot. or celadon. or cerise. or cerulean. or cerulean blue. or chartreuse. or chestnut. or chocolate. or cinnamon. or cobalt. or copper. or coral. or corn. or cornflower blue. or cream. or crimson. or cyan. or dark blue. or dark brown. or dark cerulean. or dark chestnut. or dark coral, or dark goldenrod. or dark green. or dark indigo. or dark khaki. or dark olive. or dark pastel green. or dark peach. or dark pink. or dark salmon. or dark scarlet. or dark slate gray. or dark spring green. or dark tan. or dark tangerine. or dark tea green. or dark terra cotta. or dark turquoise. or dark violet. or denim. or dodger blue. or eggplant. or emerald. or fern green. or flax. or fuchsia. or gamboge. or gold. or goldenrod. or gray. or gray-asparagus. or gray-tea green. or green. or green-yellow. or heliotrope. or hot pink. or indigo. or international Klein blue. or international orange. or jade. or khaki. or khaki (X11). or lavender. or lavender blush. or lemon. or lemon cream. or light brown. or lilac. or lime. or linen. or magenta. or malachite. or maroon. or mauve. or midnight blue. or mint green. or moss green. or Mountbatten pink. or mustard. or Navajo white. or navy blue. or ochre. or old gold. or olive drab. or orange. or orchid. or pale blue. or pale brown. or pale carmine. or pale chestnut. or pale cornflower blue. or pale magenta. or pale pink. or pale red-violet. or pale sandy brown. or papaya whip. or pastel green. or pastel pink. or Paul mauve. or peach. or peach-orange. or peach-yellow. or pear. or Persian blue. or pine green. or pink. or pink-orange. or plum. or powder blue. or Prussian blue. or puce. or pumpkin. or purple. or raw umber. or red. or red-violet. or robin egg blue. or royal blue. or russet. or rust. or safety orange (blaze orange). or saffron. or salmon. or sandy brown. or sangria. or sapphire. or scarlet. or school bus yellow. or sea green. or seashell. or selective yellow. or sepia. or silver. or slate gray. or spring green. or steel blue. or swamp green. or tan. or tangerine. or taupe. or tea green. or teal. or teené. or terra cotta. or thistle. or turquoise. or ultramarine. or viridian. or wheat. or white. or wisteria. or yellow. or zinnwaldite perhaps.
or keep it as it is."
Karel Martens, Full Color, Amsterdam: Roma Publications, 2013, p. 143-145
Karel Martens (1939) ist Grafikdesigner und Künstler. Als er in den 1950er Jahren Kunst studiert, existiert in den Niederlanden noch kein eigenes Studium für Grafikdesign. 1997 gründet er zusammen mit Wigger Bierma eine Schule, die Werkplaats Typografie an der ArtEZ in Arnhem. Seit 1977 lehrt er Grafikdesign; so auch an der Jan van Eyck Academie in Maastricht (1994-1999) oder der Yale School of Graphic Design (seit 1997).
"– 'Every day as a student, I made the journey between Nijmegen and Arnhem, and from the train I would notice patterns forming and transforming in the passing landscape. Outside, in the fields of crops, in the relief made by hundreds of bean sticks for example, my eye would follow the shifting screen effect produced as the angle and perspective changed and the train went by.'
– 'Seeing the fields in this way was an important eye opener for me – noticing how a group of things adds up to something else, fifty or more of the same things, a system. And the effect of movement and perspective of this squares of crops made me aware of the importance of a frame, and of sets of things co-operating inside a frame. This happens with things and it also happens with colour, just as people react differently with different people, one colouring the other.'
In a similar way, KM's improvised tool kit, of spare and junked parts that could be used to print their own story in industrialized short form, also manages to keep its corner of the world alive. A set of objects that begin to tell us about how things are made (and break down), how languages operate; and how we ourselves, our ideas and perceptions, are formed by what happens around us.
Not collections then, but groups of things, their arrangement, how they react."
Aus: Paul Elliman, "The World As a Printing Surface". Karel Martens: counterprint, London: Hyphen Press, 2004
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| Karel Martens, Untitled, 1996 [Maquette for cover of Printed Matter], letterpress monoprint on thin cardboard, 173 × 250 mm |
Sein Werk ist vielseitig. Es umfasst u. a. gebrauchsgrafische Arbeiten wie den Entwurf eines Sets von Telefonwertkarten: ein typografisches Spiel von, nach einem Verschlüsselungssystem in einem Raster angeordneten, sich überlappenden Zahlen in verschiedenen Farben; vergleichbar mit seinen Entwürfen aus den 1960er Jahren, wirken die Telefonwertkarten für die niederländische Designidentität prägend; die OASE Journals for Architecture No. 28 (1990) bis heute No. 93 (2014), eine Serie von low-budget produzierten, mit jeder Ausgabe anders gestalteten, Architekturzeitschriften im traditionellen Buchformat (24 × 17 mm), die sich als zukünftige Sammelobjekte anbieten; oder das Erscheinungsbild der Sunschrift Publikationen der 1970er Jahre, einem Verlag, der aus der niederländischen Studentenbewegung hervorgeht und von besonders motivierten Personen betrieben wird; über eher objektartig gebundene Buchgestaltungen; bis hin zu seinen Monoprints: freien abstrakten Kompositionen, die mit oft nur drei Farben (Cyan, Magenta, Gelb) und diversen Werkzeug-, Maccano-Baukasten- oder ausrangierten Maschinenteilen im Hochdruckverfahren mit der, von seinem ehemaligen Lehrer Adam Roskam übernommenen, kleinen Buchdruckpresse auf gefundenen Papieren, wie Kartonageresten, leeren oder ausgedienten Archivkarten des Stedeljk Museums oder Teilen einer Bonbonniereverpackung, gedruckt sind. Die Monoprint Letterpress Works sind für Karel Martens weder Auftragsarbeiten, noch autonome Kunstwerke.
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| Grid of the OASE No.28 (rotated 90 degrees) |
"For me the grid is an instrument that allows me to work with books. Very often it is a flexible grid so I am not too constrained, I still have to take decisions about placing text and images."
"Limitations are an important thing in design in general because they offer solutions."
Karel Martens in einem Interview mit Peter Biľak, 1999
"There are so many ways to exploit a limitation," … "In the past, limitations were always given to me because there was no money. When you went to a printer, you were lucky if they had the typeface you were looking for. But you learn from that sort of thing."
Karel Martens in einem Interview mit Amber Bravo, "Dutch Master", Dwell Magazin Vol. 10, Issue 05, 2010
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