Janneke Janssen

INDEX PASSPORT Important developments and typographic-index innovations throughout history and an overview of homogeneous/heterogeneous index text-images are collected in an index catalog. The extended index passport, which contains an overview of 128 selected index designs throughout history (500-1950) with specific index design parameters, is made to see innovative turning points and developments in typography. As a result, a matrix was made to compare all index design parameters per category to make the developments better visible. The design and indexes of the catalog themselves are based on the results of the index design, which features an overview of case studies. The most interesting and defining time periods contain: - the first indexes that appeared (1230, in print around 1450) - the indexes that developed in the 'typographic golden age' with the first innovations in print (±1470–1540) - the reflections in indexes of changes that occurred in information retrieval in the Age of Enlightenment (±1700–1800) Through the research strategy of using a multiple-case study design, it became possible to gain an in-depth understanding of specific (proto-)typography and index features that were innovative throughout history. Multiple cases were already compared and contrasted in categories to identify patterns and commonalities in the index passport catalog. It is also a longitudinal case design; multiple cases are studied over an extended period to understand how factors develop over time.

Imagery: 1499 Terrence's Comoediae (Digital Library of Wrocław), 1450-1459 Biblica – Petri de Rosenheym (University Library Gent), 1472 De civitate Dei-Epigrammata in S. Maximinum – Jacobus de Stephelt (University Library Gent), ±1473 Astrologische tractaten in het Latijn – commissioned by Raphael de Mercatellis (University Library Gent), End 15th century Epistolae-Tabula – Bernardus van Clairvaux (University Library Gent), 1578 Historia siue descriptio plantarum omnium, tam domesticarum quam exoticarum_Leonhard zum Thurn – Michael Hentzske (Allard Pierson Amsterdam), 1644 Tristani Chalci Mediolanensis historiographi – Joannis Petri (Erfgoedbibliotheek Hendrik Conscience Antwerp), 1746-1748 Dictionnaire universel de médecine, de chirurgie, de chymie, de botanique, d'anatomie, de pharmacie, d'histoire naturelle, Volume 1 – Diderot (University Library Utrecht)

TIMELINE Running from 3000 BCE to 2024, a timeline is gathered and designed to track the main historical developments of the book, with a specific focus on the evolving usability of index design, including index-typography and other (proto-)typographic access structures, until index standardization and convention settled around 1900. This timeline is intricately linked with the "index passport" — a curated catalog featuring noteworthy indexes from various periods, showcasing their innovativeness in facilitating effective search reading. These indexes exemplify unique systems, novel typographic design elements, alternative approaches to presenting book content, shifts in reading requirements, and changes in reader expectations.

The catalog is an ongoing project which is part of the PhD research. It will go in print around January 2024, a digital version will be published around February 2024.

The PhD project is made possible by Fonds Wetenschappelijk Onderzoek Vlaanderen – FWO 1146822N With special thanks to Allard Pierson Amsterdam (Special Collections), University Library Gent (Special Collections), Erfgoedbibliotheek Hendrik Conscience Antwerp (Special Collections), University Library Utrecht (Special Collections), National Library of The Hague (Special Collections).

This little RISO pocket booklet is a result of experimental design and test outcomes. 151 respondents (among them 132 students) were asked to chose their design preferences in fonts, titles, subtitles, illustrations, orientation, grid system, alignment, line demarcations, the format/ proportions of the reading materials and the combinations of both, among other questions (84 in total!).

The front side of the booklet is printed in the RISO colours fluor pink, yellow and blue on Metapaper extra rough. The backside is printed in the colour hunter green on a Bio Top paper. 
The combination and mixture of transparency in the colours give the images of the mosses a unique green palette. The variety of lower- and high-resolution (digital) photographs are an input for the (analogue) RISO duplicator that has a typical raster that provides an imprint and gives the mosses an extra structure.

Printed by De Kijm, The Hague 

Mosses overview poster
Mosses overview booklet
Mosses overview leprello
Mosses overview folded booklet

For the graphic design of the campaign and catalogue of the exhibition Format, Janneke Janssen started off with the title and subtitle of the exhibition, Changing Attitudes. She designed one ‘blue print’ that contains the total design of the campaign, which can be de-constructed and reformed by recycling its parts, keeping the same ratio’s. The implications of using a Riso duplicator, its limitation of two colours and folding and cutting the material, led to a process-based design methodology. The material and the design is used as a changing platform that can be divided or contracted and expanded. The publication contains sketches of the laureates projects and gives an inside into their (changing) attitudes towards design- and thinking processes. By giving inside into the process next to the final exhibited projects, the visitors’ perspective on the work and discern can be changed too, while looking, exploring and moving through the exhibition and the book from one point to the other. As an extra contextual and narrative layer in the book and exhibition, augmented reality is applied. Design and architecture are anything but gratuitous. The new edition of FORMAT centres on this crucial insight. The laureates of the group exhibition are adopting an almost activist approach at Z33. With ground-breaking concepts, they challenge visitors to reflect on news, fashion, microbial clouds, herbal medicine, residual space, artificial intelligence, weaving techniques, ruins and radio masts. To this end, they have forged alliances with experts both within and outside their fields and they challenge us to rethink the classical methods of design. Laureates: Cream on Chrome (Martina Huynh & Jonas Nepomuk), Lukas Claessens, Amandine David, Matthijs De Block, Sophia Holst, Legrand Jäger (Guillemette Legrand & Eva Jäger), Flora Miranda, Inès Leverrier Péborde, Bert Villa Graphic design: Janneke Janssen Scenography: Bram Vanderbeke Curator: Heleen Van Loon Photo's: Selma Gurbuz FORMAT is the coaching trajectory organized by Z33 for new and promising talent working in design and architecture. Every year, several designers are given the opportunity to enhance their artistic practice and to share knowledge and networks with one another. After a year of intensive coaching, all the designs are brought together in a group exhibition. Time and space are essential components of this learning process, enabling the participants to explore boundaries and unconventional approaches. Z33 is a refuge where free experimentation, learning and failing come together. Group exhibition 15.9 - 24.11.2019 www.z33.be

For the artist and fine arts teacher dr. Ivan D. Dobrev I was lucky to take the design to my account of the book Beholding Troyan Ceramics. The book shows Dobrevs' research of traditional ceramics from a broader and different perspective. It focuses specifically on the Troyan ceramic technique and ornamentation in the context of contemporary sculpture. The combination of both disciplines utilizes a new aesthetic vision, which aims the reform of the current Troyan (and the enrichment of) ceramics. This approach to contemporary art introduces an interdisciplinary exchange whose perception challenges the definition of 'decorative and applied' ceramics that elevates to another dimension. The book contains 28 essays and images of Dobrevs' work during the 6 years of his research. We choose to print the book on white Muncken polar paper to extend the idea of the clearness of the ceramics. The bookdesign follows the look and feel more like a novel than a thesis.   Specifications: 380 pages Muncken polar 350 / 100 gr2

Reading is like cycling, it needs a certain balance, order and direction. The research reviews the history and future of ‘the book’ as a medium. The structures of diverse religious books, other non-linear books and new media are reflected upon to design new interpretations of the book in a periodical of multiple parts. This edition comprises different viewpoints on Mary Devotion, its connection to religion and the role of women in society. It is intended, and can evolve further, as a platform where the participant interacts and discuss social issues. My contribution to the (graphic)content is a personal research on the topic that took place in my surroundings, in tradition with the family heritage. The publication aims to enlarge the interaction of the user with the content through several design parameters. In my presentation, I will set out the used text-image relations and grid systems, which were of importance to design and shape the periodical in micro levels and macro levels, based on non-linearity and navigation. The research results in a renewed, interactive and interlinked construction of the book, in which navigation is the key element.   Video of ISSUES no.1

Stichting Hedah, Center for Contemporary Art Maastricht is an artist initiative that offered a stage for current and international developments in the field of visual arts. The center has functioned as the missing link within the cultural institutions of Maastricht, with the Bonnenfantenmuseum and galleries on the one hand. Attention has been paid to forms of art that are not so easy shown in the regular exhibition circuit, Hedah searched the fringes, often with a confrontation between different disciplines. This ranged from audiovisual installations, lectures, experimental projects, discussions or performances, to work by (young) artists from local and abroad. Due to the changing times, another subsidy climate and the need to conform to certain social relevance, it was no longer possible for the foundation to meet its goals. As a result, the foundation has abolished in December 2015. From my interest as a member of the board and as a designer, a number of questions raised: How can we, as a board, deal best with the raw material that shows the history of this initiative? Can we find a method to make the archive insightful to a wider audience that stimulates interaction with the material? How would you, through digitization, give the archive a broader commitment and meaning? And how could you translate this back into a book? This dual transfer from physical to digital and backward, I find a fascinating research trip. I have collected and digitized the material in cooperation with other employees in order not to lose this history. We have used scanners to maintain the authenticity of the documents as much as possible. In addition to this book, a digital environment has been created in which the interested public can explore the archive. Maybe it is possible in the future to using entered tags and parameters to construct a book. In addition, a balance between the original and generated image has been sought and minimized in the design. Some of the parameters have been investigated for this book: 1. Tags, the documents are encoded on a number of keywords that indicate and assign categories (intuitively, substantively or formally). They stimulate the interaction of the audience with the material. 2. Grid structures; different grid structures can be selected 3. Scale; can be applied 4. The angle in which the documents are implied in the grid; this is ideal between 5 and 25 degrees (if the angel is too big the grid structure fails, if the angle is too small the grid structure is too visible). Each new entry of tag, grid, scale and angle gives a completely different result. Therefore, no one book will be the same. The book consists of a succession of left and right pages and is held together as a whole. The left and right pages interact with each other, in this standing A4 book on the horizontal plane. Despite the minimal design, this can also be the identity of the book and also extended in other formats such as a A1 poster, A6 postcards, and various envelopes in which multiple corners are visible through the folding structure. Specifications: Format A4 400 pages Digital print Inside 90 gr2 mc paper, satin finish Cover 600 gr2 paper, matt

As a starting point and subject for the catalogue, I have chosen my typesetter’s case with its content. This use of the typesetter’s case in this way, origins of a 1970s phenomenon, where kitsch knick-knacks and figures held in these boxes where a permanent part of a living room. It is a long-standing collection and some (travel) stories are hidden behind it. The catalogue is divided into parts; The cover contains half the letterbox ordered by item number, followed by a page with half the letterbox ordered on object images, than half of the index, then half the image essay, categories with object descriptions and images, object descriptions, in the middle of the book categories emerge, again followed by object descriptions, categories with object descriptions and images, the other half of the image essay, the index, the letterbox on object images and on the back of the cover the other half of the typesetter’s case ordered by object number. The columns are also divided by this subdivision. The series looks as follows from the index on: 3, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 3. All texts are displayed in Bertolds Akzidenz Grotesk font. This has been a conscious choice because the Akzidenz Grotesk was the first widely used scriptless font, another forerunner of the Helvetica where the imperfections of the Akzidenz were eliminated. I think this fits well with the original typesetter’s case. The same number sizes have been retained for the item numbers (23 pt) throughout the book. The texts consist of object descriptions and often some longer stories. Boldness of the letter and the different interlinings of these two different texts are set so that it seems to have the same density everywhere. Often the categories are different, but sometimes they are the same and are put in another subcategory. Also, certain objects appear in the catalogue several times. For the format I chose A3. This is almost the size of a letterbox. Also the paper (Cycle offset, 115 grams) adds to the vintage feel of the typesetter’s case. Specifications: Format A3+ 72 pages Full color print Inside 115 gr2 Cyclus offset Cover 135 gr2 Cyclus offset Perfect bound

As a subject, I chose the general cemetery on the Tongerseweg in Maastricht. I think this is a very special place because it tells you a lot about the city of Maastricht and its history. Therefore, it surprised me that it is not on the activities list of Tripadvisor and what you can do when you are in Maastricht. As an example; the city park and the St. Pieter mountain are on it, but this cemetery is not. That’s a pity and a missed opportunity for the city to highlight this special place. It is a common or general cemetery, which means, protestant, catholic, Jewish, Islamic, communist and other believers are buried here. You can also find many different types of flora and fauna (sometimes even protected), grave monuments and beautiful hiking trails. In other words, it includes more than a cemetery alone. With this information in mind, I wanted to create a catalogue and routes that highlight the cemetery in a slightly different way than that normally looked at a cemetery. The book I chose to create a catalogue and route overview in the form of a book that refers to a holy book such as the Bible, Bhagavad Gita or the Koran. The small size of the book makes it easy to carry. The layout of the new bible has also been implemented in the text spreads, the placement of the page numbers and the column breakdowns. The paper used is thin (biotop natural, 80 grams) and tinted. The paper has a somewhat old-fashioned look and feel and makes it possible to bind many pages into a relatively small book. The fonts used are: the Bodini (book) for the page numbers, the Trajan for the subject indications in the cemetery map, the Futura for the titles and the Caslon for the body texts. The routes are subdivided into a number of starting points that refer to the numbered boxes on the map of the cemetery. There are eight in total. They are included in the book as tabs between the routes and are printed on black paper (popset 80 grams) with a metallic gold print (RISO prints). This order is followed by pictures about subjects encountered on the route, divided into a grid of one, two or four pictures. All pictures have a number corresponding to the numbers at the back of the book back-cover. In addition, I tried to give this book a modern twist by using a magenta color on cut, in the ribbon and in the first chapter in the accompanying pictures. Mark / logo The figurative mark consists of a circle symbolizing infinity and showing the two entrances of the cemetery (the main entrance on the Tongerseweg and the entrance to the Javastraat. The grid visible in the circle is a piece of the walking route you could follow. The shape and symbolism I think also fit the overall symbolism and forms can be found at the cemetery. The cemetery is rather a nature park or park than a dull area sprinkled with arduin and marble stones. There is everything to see and learn in this garden of silence. Specifications: Format A6 164 pages Inside Tabs in RISO print Pages in full color print 90 gr2 Cycles offset Cover 600 gr2 cartboard Coptic bound Magenta edge on cut

I made a reader of Lars von Triers Dogville’s scenario. This very minimalist film - dogma rules are implied - I have tried to introduce in the reader. The film consists of a prologue and nine chapters. The story is about Grace, a confused young woman who arrives in the village of Dogville. The village consists of one main street, called Elmstreet, and three smaller streets. This gives an oppressive and delineated feeling. Grace is in flight for gangsters who are seeking for her. On the initiative of the village philosopher Tom, the villain villagers agree to give her shelter for at least two weeks. Then they should see if it’s going well. At first glance, this goes well until chapter three, after which the atmosphere changes and the atmosphere becomes grimmer. From that point the white tint of the texts fades to a blend of 97% black at the end (after chapter nine). The villagers see money in Grace and chant her. But is Grace innocent? The font chosen for the characters is the Gill Sans. This font has a fairly extensive family with some large contrasts between the different types. Just like the residents in the village. Grace and Tom have one of the most striking, one type with shadow and shadow respectively. The text of the objective narrator has only another font, the Minion Regular. You can also find them in the chapter pages. For the headings, the title and the designation of the characters on the plan has been chosen for the Galcer Stencil. This font is also used in the movie and the poster. The column layout of the reader follows the street plan and forms a form for the conversations on one side and the other side of the main street. This point is located at the center of the pages. At times when there is a clear camera zoom in the movie, I also applied this to the conversation in the reader. There are a total of three levels of in and out zoom. The film uses a demarcation of the street with houses through white (tapped) lines on a black surface. Hence the pages are black with white text and the plan follows this setup. Furthermore, there are almost no props in the film. This made me decide not to give the reader a true cover, but a cover that you can keep as a folding poster next to the conversations between the characters to see where they are on the street or at home. The booklet itself is glued with a white strip, I think this is a nice link to the white line of tape in the film.   Specifications: Format: A5 52 pages Digital print Full color print Inside: Matt coated 170 gr2 presentation paper Cover: Cover sleave poster presentation paper 140 gr2 Bound with white tapestrip

A I visited the Stedelijk Museum for the exhibition Best Verzorgde Boeken 2016 from the Netherlands and Flanders in Amsterdam, I stumbled upon a title of a book, Belgian Autumn. It is about the gang of Nijvel who shot several people back in the 80’s. This has been my source of inspiration regarding the making of an artist’s book. I based my artist’s book on a suggested reconstruction of an “unheimisch” event that we don’t know the resort of and photographed objects with my phone on the way from school to home and from homeschool. The pictures where taken in black and white images. This gives them a slightly lurid edge and also objectives the objects. Then I printed these photos and placed them on a memo card. There is a date, an item number and a short description at the card. Also, some written memos are attached to it. A certain order and story are suggested by the number of cards, but this is essentially not the case. Something leads to nothing and nothing leads to something. In order to show all of the cards as being research, I have not presented them, for example, on a bulletin board. I found this too obvious and from my own interest in making books I did not want to lose the opportunity to make a book of it. I’ve tried to find a way to construct and design a book form where you can see some of the cards together and be able to make connections. You can also browse through the ‘pages’ of the book one by one. Specifications: Format 62 cm x 15 cm 34 pages 98 Photographs and date stamps on A6 memo cards Inside 90 gr2 Offset Cover 450 gr2 cardboard Accordeon and wave book ////// B Notebook in different layers of different format booklets. Hand bounded ////// C In between assignments I often make zines or booklets. The connection between them all is a certain transmission in technics such as cutting an animation up in frames and print or risograph and bind them again in an existing book form. A second connection is the use of collections of objects, several topics like clouds, stones, pylons, melting icecreams and photographs of places which I traveled to or a registration of an exhibition that I took part of among others. ////// D Borders are the scars from the past and sometimes still very fresh. The border areas - along the side of the border - often are the ‘underdogs’ of a country. The attraction, which may include the economy and culture, are often in the center (for example look at Randstad in the Netherlands). Because of this it often occurs the loss of identity at the border regions. Collaborate with the Euroregion (focused on the Euroregion; Netherlands, Germany and Belgium) is a solution that could lead to getting the border regions out of their isolation, and new impulses may arise from cooperation. Allowing them to join and unite and so expand and create a kind of new areas. This increasingly expanding area (zooming out of it), from large to small ensures that it again creates an expansion of small to large. In the beginning, there is still a context. As the expansion progresses (and the area is becoming smaller) the context is further lost, after which it comes back with further expansion. Completely parallel to the idea of expansion and the emergence of new areas are the pages of my magazine. The left pages are created by copying enlargements of a white sheet under a copier. This process is becoming more abstract. Firstly, the copy becomes totally black from the zoom, then more and more white appears. The right pages are always enlargements of the previous articles. If the article with which I start is ’landmarks’ (Where there is another context within the Euroregion theme) it may be that a later article is about a really small topic without any context. When there is no context to be found, the story and images are going from small to large (zooming), back to a context. I added a page between every left and right page for the supporting images. In these images there will be more and more visible from the environment, further on this environment disappears again. Parallel to the copies and texts the context is clear, then the context will disappear. Specifications: Format 22 cm x 14 cm 40 pages Inkjet print Full-colour print Inside 80 gr2 postoffice blue Cover 600 gr2 cardboard Hand bounded ////// E Originally a workshop for young modern dancers and choreographers to develop ideas as artists in residence, Löss focuses after 2002 on urban arts, especially urban dance (hip-hop, breakdance, street dance) and rap. Stressing the global nature of urban juvenile culture, Löss investigated its reception by cultural institutions, art schools and the responsible authorities and politicians in the Netherlands, adjacent European countries and in Morocco and Turkey (homelands of most of the immigrants who dominate the urban scene), with the objective of arriving at an understanding of the artistic potential of international juvenile culture and means of promoting it. The research was carried out in a continuous dialogue with practice in the form of projects with young urban artists. Between 2002 and 2014 Löss has realized a number of projects with breakdancers, street dancers and rappers throughout the Dutch Limburg, with the aim of enhancing their skills and broadening their horizon by working together in staging shows and introducing them to elements of modern stage dance. After 12 years Löss, dance theatre, a documentation in print and DVD was a result. Simultaneously, research was being done on the opportunities offered to young urban dancers to develop their skills in the Netherlands, Belgium, France, England, Germany, Spain, Morocco and Turkey. Together with the initiators Jannie Donker en Jan Verschure we made a plan for the collection and choice of information; texts, interviews, photographs and videos. From there we extracted the core and made it ready to work within the book and DVD Generation (-) Mix. Specifications: Format Square L 21 cm x 21 cm 60 pages Offset print Inside Black & white print 100 gr2 biotop Cover 450 gr2 biotop Perfect bound ////// F We see the Metro cover of December 8, 2016, the day the December feasts have begun at the supermarket Spar. The cover consists of different sign systems that collide and interfere; texts, graphics and photography. There is not so much news to be seen. My viewing direction goes automatically to certain areas on this cover. I have indicated these areas globally with a round red sticker after I have changed the cover of the Metro from colour to black and white with a copier. I made use of this transformation because I expected it to temper my attention of looking directly at the colour subjects. I wanted to keep this parameter or signifier as neutral as possible. The red stickers are also more noticeable now. A picture is never neutral, it is always seen as a certain staging of reality and therefore extremely loaded. Most attention is still given to the big picture, an advertisement and the big short headings (where each Metro is full of, especially the cover). The big cover photo attracts the most attention. What do we see in it? The denotation of the iconic image includes three male professional soccer players (two of whom belong to the same team and one to the other team) in action on a football field surrounded by the audience sitting on stands. There is a ball in sight and a goal in the background. The connotations that evoke the image are a sport, competition, fighting, the match itself and strength. The convention of sports photography is that it shows an action, is ‘objective’, straightforward and quickly made at the right moment, showing a (part of) the match, the euphoric victory or the dramatic loss afterward. The headline underneath the photographic image reads: “Club drips down with zero points.” The function of linguistic syntaxes of the headlines is to get more attention from the reader for that particular part of the newspaper. Because of the connotations of the linguistic signs, you get a representation of the social codes and can understand their meanings. A metaphor is used in this headline: “drip” that says “leave” or “no longer participate in the contest”, “lose”, but with the tail between the legs, says this popular newspaper. At first glance, one could interpret that if the shirts of two soccer players have the same layout, they belong together in one team. Then the other soccer player with a different shirt layout will want to stop the ball. The sentence underneath the picture also makes it clear that there is no doubting possible for the reader. The photo is used as proof. The picture has been brought as ‘natural’ but it has been framed and a selection has been made to bring the news. It shows, for example, well-known people of a professional club and not the village club’s B team. The text accompanies the image and is naturalized. Also, the text gives connotations of the linguistic signs that impose limits on the meaning of the image. The mythical significance is constructed and is a cultural meaning. The text continues: “Claudemir looks with dismay how his former teammates make the ball elusive.” It’s dramatic. The ball is being held by the opponents who used to be his own teammates. The picture and the short message can be seen as a blurb for the more comprehensive whole, shown on page 22 of this edition of the Metro. Large pictures of sports are a frequent discourse in the Metro. The starting point The composition of the picture is such that it takes you into the suggestion of (viewing) movement aimed at the ball, and the defense of the object before the goal which is also in front of the players. The player who has the visual interaction with the ball attracts my attention the most. And, therefore, I’m taken along by the viewing point of this player in a zoom, in and out, to his head and eyes looking at the ball. As it were, I also become part of the game (of codes called soccer) and see the ball that must be held in this particular moment. I have edited and reconstructed this ideological structure. Colouring is added again by copying the black and white cover with round red stickers with a single colour copier. As a result, there arises a new signifier. The photo has a composition that sucks you into the picture. The image of the head of the soccer player is shown to be no more image by the zooming of it, but a far-reaching abstraction of the head. It is no longer recognizable as such and has no expression or viewing point anymore. It has lost its context. This effect, a trick effect, I tried to capture and magnify and reduce by means of an image sequence. I’ve bundled the whole into a flipbook to make the viewing movement more insightful. In this way, the size of the original Metro shrunk so that the booklet can also be easily used as a flipbook. You can see a video of these images on the link http://apple.pxl.be/3techniek/11600493/metrokijkbeweging.mov Specifications: A7 format 164 pages Laser print Full-colour print Inside and cover 90 gr2 Cycles offset Perfect bound ////// G Compilation of watercoloured animals that mainly live in the forest, printed on cards that help the dementing and people of Dienstencentrum Ter Engelen (Het Roer), for childcare and counseling of children and adults with mental disabilities, to better understand their living environment. In coöperation with Steffie Mathijs.