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

twitter@typojanchi
facebook.com/typojanchi2013

Hosted by
Ministry of Culture, Sports and Tourism

Organized by
Korea Craft & Design Foundation
Korean Society of Typography

Credits

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

Little Titans
 
2008
Mimeography, sewn in sections, cover
9.3 x 14.3 x 0.4 cm, 68 pp
Original text, Titaantjes (1915) by Nescio (J. H. F. Grönloh)
Translated by Sam de Groot with Ian Adams
Amsterdam: True True True

And yet, and yet…
 
2009
Mimeography, saddle-stitched
9.3 x 14.3 x 0.2 cm, 16 pp
Original texts (1914–1943) by Nescio (J. H. F. Grönloh)
Translated by Sam de Groot with Ian Adams
Amsterdam: True True True

Andy de Fiets: Letter to Robin Kinross
 
(2009) 2010
Offset lithography, saddle-stitched, cover, insert
12.5 x 21 x 0.3 cm, 24 pp
Second edition
Text by Paul Haworth and Sam de Groot
Amsterdam: True True True

Sam de Groot
Born in 1985, the Netherlands

samdegroot.nl

Sam de Groot graduated from the graphic design department of the Gerrit Rietveld Academie, Amsterdam, in 2008. Since then he has been working as a freelance designer for cultural clients, as well as making music and lecture-performance pieces, often in collaboration with the artist Paul Haworth.

De Groot has also published books under his True True True imprint, which evolved out of his experience of translating and producing the English edition of Nescio’s Little Titans. Published in 2008, the book displayed its share of qualities typical of designers’ self-publishing at that time: small format; mimeographed pages and its characteristic blue ink; nonchalant typography; and an evident sense of do-it-yourself (including the custom typeface he created for the project). Unlike many of its contemporaries, however, True True True has been fueled by a real desire to share content (in the case of Nescio’s, with English-speaking friends) rather than mere capacity for production, and benefited from its literary focus.

For example, one of the early publications, Andy de Fiets: Letter to Robin Kinross (2009), takes the form of a fictitious letter by Andy, a 22-year-old design student, to his hero, the typographer, writer, editor and publisher behind Hyphen Press. In this “typographic comedy,” Andy “offers unsolicited advice, seeks much-needed guidance, and shares his thoughts on matters such as typography, the Smiths, Islamic fundamentalism, proper clothing, the homeless, dust covers.” This hilariously irreverent homage speaks of the sentiments of newcomers—anxious sense of belatedness—with astute observations uniquely available to a typographic designer.

For a relatively short period of operation, True True True has produced a small yet substantial body of work, ranging from translations to original novels and audio work, developing a unique genre of comedy—typographic or otherwise. One would be curious what future generations of designers with the “publishing bug” (the one that Kinross himself was diagnosed with by his own hero, the typographer, printer and one-time publisher Anthony Froshaug) will have to say in their letters to Andy de Fiets.


Little Titans

Little Titans. 2008


Little Titans

Little Titans. 2008


Little Titans

Little Titans. 2008


Letter to RK

Andy de Fiets: Letter to Robin Kinross, second edition. 2010


Letter to RK

Andy de Fiets: Letter to Robin Kinross, second edition. 2010


Letter to RK

Andy de Fiets: Letter to Robin Kinross, second edition. 2010


Letter to RK

Andy de Fiets: Letter to Robin Kinross, second edition. 2010


And yet…

And yet, and yet…. 2009


And yet…

And yet, and yet…. 2009


© Typojanchi 2013