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Charles Nypels Foundation 1985 – 2002
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Introduction
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In 1985 the Charles Nypels Foundation was established in memory of Charles Nypels. The aim of the foundation was to encourage all kinds of international innovations in typography. To achieve this goal the foundation assigned a bi-annual award of 25.000 guilders (11, 345 euros) until 2000. This Charles Nypels Prize was issued by a jury of experts to an individual or institution that had innovated any area of design from a typographical and conceptual perspective. The prize was accompanied by an exhibition and a publication featuring the work selected for the award.
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Charles Nypels Laureates
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| 2000 |
LettError – Just van Rossum [NL] & Erik van Blokland [NL]
Just van Rossum and Erik van Blokland received the Charles Nypels Prize 2000 for their innovative letter designs and typographic experiments, which are testimony to their unconventional thinking about, and use of, existing software applications. By actually modifying the software they are able to escape the standard of existing digital letters. In doing so, their letter types show a kind of obstreperous mentality and sense of humour.
Jury: Dawn Barrett, Max Bruinsma, Gerard Hadders, Pierre di Sciullo, Teal Triggs
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| 1998 |
Emigre – Zuzana Licko [SK] & Rudy Vanderlans [NL]
Zuzana Licko and Rudy Vanderlans received the Charles Nypels Prize 1998 for the innovative typeface, designs, layouts and content of Emigre. This design magazine provides a platform for typographic experimentation and demonstrates a diversity of approaches to the profession. It questions social and cultural codes and contexts on both text and image. The magazine devotes special attention to advances in digital technology. With this it offers an important contribution to the international discussion about design.
Jury: Dingeman Kuilman, Ootje Oxenaar, Rick Poyner, Yvonne Schwemer-Sheddin, Jan van Toorn
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| 1995 |
Pierre di Sciullo [FR]
Pierre di Sciullo’s work complements a clear typographical vision with social commitment. By addressing the language’s arbitrary position, he critiques both functional and modern typographical views. In 1996 the Institut Néerlandais provided assistance in presenting Pierre di Sciullo’s exhibition and publication in Paris.
Jury: Pierre Bernard, Linda van Deursen, Paul Hefting, Erik Spiekerman, Jan van Toorn
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| 1992 |
Harry Sierman [NL]
Harry Sierman has been called a ‘typographer pur sang’ by the jury. His work regularly makes the category ‘Bestverzorgde boeken’ (best designed books). In 1977 he received the H.N. Werkman graphic design award from the City of Amsterdam for production of the monumental publication Vier eeuwen Herengracht.
Jury: Wim Crouwel, Anthon Beeke, Willem Graatsma, Laurens van Krevelen, Cor Rosbeek
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| 1989 |
Walter Nikkels [NL]
Walter Nikkels’ design, typeface and paper and binding reflect a philosophy of careful consideration. Nikkels’ museum catalogues are innovative because they take no position within the museum catalogue genre. They actually exceed such boundaries by relating to the typography tradition and processing the text and visual material to reflect the intention of the artist whose work is on display.
Jury: Ernst Braches, Wiel Kusters, Ad Petersen, Cor Rosbeek, Harry Sierman
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| 1986 |
Dieter Roth [CH]
Dieter Roth’s work compels reflection about the options available within graphic design. He uses a broad spectrum of materials and techniques. By assigning new meanings to existing formats, he has added a new field of association to the traditional form of texts and books.
Jury: Fernand Baudin, Ernst Braches, Pieter Brattinga, Walter König, Herbert Spencer
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