Typojanchi 2013
Seoul International Typography Biennale

August 30–October 11
10:00 am– 7:00 pm
Closed every Monday
Free admission

Culture Station Seoul 284
1 Tongil-ro, Jung-gu
Seoul 100-162, Korea
T. 82-2-3407-3500
F. 82-2-3407-3510


Hosted by
Ministry of Culture, Sports and Tourism

Organized by
Korea Craft & Design Foundation
Korean Society of Typography


Typojanchi 2013
Administration Office
Korea Craft & Design Foundation
5F, 53 Yulgok-no, Jongno-gu
Seoul 110-240, Korea
T. 82-2-398-7945
F. 82-2-398-7999
E. typojanchi@kcdf.kr

Typojanchi 2011

The Designer’s Guide to Overprojection
Mixed-media installation: single-channel video and three screen-printed posters
Dimensions variable; posters, 100 x 142 cm each
5 minutes 10 seconds (loop)

Founded in 2012, Amsterdam:
Luna Maurer, b. 1972, Germany
Jonathan Puckey, b. 1981, the Netherlands
Roel Wouters, b. 1976, the Netherlands


Moniker is an Amsterdam-based design studio founded in 2012 by Luna Maurer, Jonathan Puckey and Roel Wouters. The studio specializes in interactive, print, video, physical installation and performance work for a diverse range of clients, from cultural institutions to commercial enterprises. Along with the commissioned work, they also invest in self-initiated, experimental projects, through which they explore the social effects of technology—how we use technology and how it influences our daily lives. They often ask the public to take part in the development of their projects, embracing the influence of personal choice and interpretation on their work. Their work has been shown in galleries and museums around the world, including Stroom, The Hague; Museum of the Moving Image, New York; Netherlands Media Art Institute, Amsterdam; and Walker Art Center, Minneapolis.

Since 2008, they have been exploring (with the artist Edo Paulus) what they call “Conditional Design,” an interdisciplinary approach that emphasizes process rather than product. In May 2013, a book—appropriately titled Conditional Design Workbook—containing the manifesto as well as several articles providing a more theoretical background was published by Valiz. Most importantly, however, it acts as a workbook, containing the rules, results and images of the workshops conducted by the members of Conditional Design.

Have you ever heard of overprinting? Yes, of course you have! Overprinting is a printing technique with which one color is printed over another causing the colors to mix. Overprinting is often used to achieve a large variety of effects with minimal means. This process can result in sometimes subtle and beautiful nuances or color mixes. For example, we know that if red is printed over red, it produces an even more intense tone of red. Overprinting reveals the characteristics of the print medium, such as the transparency of ink. Traditionally, a guidebook on this subject was a must-have that resided on every designer’s bookshelf, and everyone wanted to experiment with this in print media, offset, silkscreen or other ink-based printing techniques. Now, with digital media, screens and projections, the materiality and nuances of color have disappeared. Instead of mixing color pigments we are mixing light: RGB. We want to investigate what happens when we mix the two media, print and light, by creating a number of large-scale color prints and projections that overlap.

The Designers Guide to Overprojection is the first guide that gives an extensive insight into different possibilities of projecting over another colored surface. How bright is red if it is projected onto a red surface compared to a white one? What happens if you project red onto a green or blue surface? The images you see are based on the principle of combinatorics. Three large posters are hung on the wall, each containing a different shape in a different color. Over the posters, there is a projection with permutations of a fixed set of shapes and colors. The shapes are rectangular, triangular and circular, executed in RGB colors. The permutation in the guide introduces roughly 60 different stages. The subtle effects and changes inspire the visitors to carefully watch how the changes evolve. The film takes about 5 minutes and acts as a type specimen.

The idea of trying to showcase all possible combinations and the sheer endlessness of the permutations are in line with the notions proposed by the writers and mathematicians who belonged to the OuLiPo group. We employ a combinatory approach and use clearly defined guidelines in order to reach a vocabulary through which we speak. As a type specimen, these color fields are not yet contextualized but stand for themselves.



© Typojanchi 2013