Over the course of thirty years, French artwork and design studio M/M (Paris), made up of Michaël Amzalag and Mathias Augustyniak, has created advanced visible worlds for a formidable array of theatres, musicians (most notably Björk); trend manufacturers and magazines, artists and humanities establishments.
Embarking on a technique of in-depth collaboration for every of those shoppers, M/M considers its work a part of “a deeper cultural alternate and wider platform for communication, says Paul McNeil.
The cornerstone of those initiatives, McNeil argues, are the 90 typefaces the studio created throughout this time. His new e book, Letters from M/M (Paris), printed by Thames & Hudson, invitations you into the “numerous, fertile and exuberant panorama” of that typographic world, beginning with a typeface created for the eDen fanzine in 1992, celebrating electronica, home music and the French rave scene, and ending with one created for the division retailer Galeries Lafayette Champs-Élysées in 2019.
McNeil explains that he first got here throughout the duo’s work within the Nineteen Nineties, however “my consideration was significantly drawn by their designs for Björk’s albums equivalent to Vespertine and Medulla – particularly the way in which they used sort and lettering to create powerfully distinctive identities”.
As a typographic designer and one half of MuirMcNeil alongside Hamish Muir, McNeil feedback on his commerce’s customary function “to convey messages convincingly on behalf of others […] typically whatever the designer’s private beliefs”.
What makes M/M distinct, he argues, is a rejection of “the limitation and inauthenticity of this place”, all through a profession the place “a private accountability underpins each challenge, each mark and each choice”, leading to “a singular observe that constantly resets the boundaries of graphic communication”.
Graphic design as a device to have interaction
Having approached McNeil after he included an M/M typeface in his 2017 e book A Visible Historical past of Sort, McNeil says M/M gave him “a totally free rein” for the design of the e book. By “lengthy, fascinating conversations with each of them in regards to the concepts and philosophies that underpin all the things they do”, he explains, “I began to recognise that, along with presenting M/M’s visible materials in a transparent, accessible method, their tales in regards to the improvement of every challenge have been equally participating and also needs to take satisfaction of place”.
McNeil says that M/M’s technique of growing a typeface was typically “as a lot about their relationships with shoppers and collaborators as they’re about design”.
The depth of such relationships will be seen within the foreword for the e book written by Björk reflecting on her lengthy working relationship with M/M, calling the duo “the tactic actors of letters [who] rework seamlessly from one award-worthy function to a different”.
For her album Biophilia, Björk describes M/M reaching “the heroic process to invent graphic vessels” for a challenge then at an early summary stage, the place she “was speaking esoteric for hours about how this was the tip of separation between, midi, digital scores, mp3… discussing factor tables, youngsters’s schooling, musicology for days”.
Elliptical and equivocal
“M/M (Paris) designs will be elliptical and equivocal, inviting the viewer or reader to extract what they’ll from advanced graphic constructions”, McNeil says. “Line drawings could also be nested inside pictures, pictures could also be embedded in texts or vice versa, or any such parts could also be partially erased, or could also be allowed to interrupt out of the confines of their frames.”
One of many typefaces McNeil highlights is The Alphabet (2001), created for American trend journal V in 2001, which makes use of pictures of fashions by Inez van Lamsweerde and Vinoodh Matadin lower into “rudimentary letter shapes” following the fashions’ our bodies, with white apertures forming “typographic counterforms”, McNeil explains.
Suggesting that it factors to the probabilities for typographic design “because it strikes “out of print applied sciences in the direction of media-rich territories, McNeil describes it as “a unprecedented assortment of letters which play with relationships between studying and searching, whereas additionally commenting satirically on the commodification of the feminine type”.
With priority in Erté’s Artwork Deco illustrations of feminine figures posing as letters of the alphabet, or Anton Beeke’s1969 Physique Sort (or Nude Alphabet), the alphabet’s letters correspond to the letters of every mannequin’s title: “D for Sophie Dahl, H for Hannelore, S for Stephanie Seymour and so forth”, however unusually, the typeface will get a starring function; the function presenting, because the journal textual content places it, “twenty-six faces and a typeface”.
A special departure from typographic norms is Spike (2006), created for an exhibition catalogue for the Welsh conceptual artist Cerith Wyn Evans. Reflecting the artist’s “frequent use of visible codes and wordplay”, its letterforms are constructed particularly for palindromes – phrases, phrases or sequences that learn the identical forwards and backwards.
“Exploiting rules of mirror symmetry, transposition and layering, units of each commonplace and reversed characters are included in Spike in order that phrases and sentences will be typeset to be learn in several instructions”, McNeil says.
Nonetheless, when layered the textual content turns into “progressively extra illegible, unstable and disruptive”, he provides, elevating questions “in regards to the nature of literacy by asking whether or not textual content should be required to function a vessel for phrases with a view to qualify as textual content”.
In distinction, McNeil highlights PCA (2004) “visually one of many least advanced typefaces that M/M have ever produced”. Initially designed for architectural agency Manufacturing Conception Structure, the geometric sans serif typeface resembles “the exact product of a ruler, set sq. and compass”.
“Utterly devoid of decoration or superfluous varieties”, McNeil says, it “amplifies the rules evident in Paul Renner’s 1927 Futura or Herb Lubalin’s ITC Avant Garde Gothic from 1970, their widespread function being the elimination of any reference to their origins in handwriting”.
Readers can skim, dive deep or cross-refer
McNeil describes the design of the e book as a “clear window via which to view M/M’s work reasonably than obscure it”. It has an specific tripartite construction – first describing the typefaces, then displaying, and at last displaying them in context – which invitations readers “to decide on what they may want to discover, whether or not textual content, sort or picture; to both skim, to dive deep or to cross-refer at will.”
Past this, design selections purpose to create a “gently ironic distinction” to M/M (Paris)’ “mischievous, enigmatic and disruptive” work, McNeil explains, “by evoking a French neoclassical or Baroque sensibility” with silver pages and a typeface which reinterprets the Roman du Roi, relationship from 1692.
Whereas typography could also be small as a device in comparison with movies, or opera units as M/M has mentioned, with this publication McNeil seems to point out how typefaces are the “single highly effective factor” on the core of M/M’s wealthy symbolic mythology, and its “distinctive, expansive identities for collaborators, establishments, occasions and environments”.
Letters from M/M (Paris) by Paul McNeil, with a foreword by Björk, is printed by Thames & Hudson, £50.