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Stangel, Peter

Corporate Design

Stangel, Peter

Stangel, Peter

Peter Stangel, Conductor

Corporate Design

 

Project | Signet, credo, stationery and website for a conductor.
Year | 2003
Client | Peter Stangel, conductor, Munich.
Sector | Cultural and creative industries.
Services | Corporate Design, Web Design.

peter stangel fonts typeface_six filosofia

Background information
on design, creation of the credo and production

 

THE INITIAL SITUATION

The conductor Peter Stangel asked Wolfgang Beinert to design an unusual signet for him. The design should in no way have a commercial or even advertising feel and should be culturally appropriate to his personality. Peter Stangel corresponds worldwide in five languages and in different cultural areas.

BRIEFLY ABOUT THE CLIENT

Peter Stangel is a conductor, general music director and passionate interpreter of Mozart, Verdi, Wagner and Kurt Weill, among others. He fundamentally seeks a balance between tradition and modernity. »Without alienating the established audience, I try to attract and win over new listeners and open up concerts to new audiences«, says Peter Stangel.

ANALYSIS

Beinert delved into Stangel’s personality, his central concerns and statements: music is his life. Conducting is not a profession for him, but a passion. He literally longs to conduct and to live music. He loves music. He is tolerant on the one hand and very clear on the other. He questions things. He seeks contact. He is conservative and at the same time open to modern things. He is an individualist. He is not for comfortable solutions.

SOLUTIONS

After Wolfgang Beinert had intensively studied Peter Stangel and thus got to know him better, it was clear to him that a formal design could not do justice to the person Stangel. The quintessence of his thoughts: Only a conceptually graspable credo could be the central starting point of a visualisation.

THE CREDO

»Ama et fac quod vis! Longing : Passion : Music«. The Credo (Latin credo … I believe for conception, confession) refers not only to Stangel’s life culture, but also to the world of great music. Mozart, Verdi, Wagner, Weill. »Music does not express the passion, the love, the longing of this or that individual in this or that situation, but the passion, the love, the longing itself«. Richard Wagner formulated this sentence in 1876 at the opening of the Festspielhaus in Bayreuth. Incidentally, this was the first performance in music history at which a conductor stood in front of the orchestra and turned his back on the audience.

This almost »Wagnerian« claim is contrasted with the Augustinian credo »Love and do what you want!« Whereby this results in a philosophical tension that can be discussed at length and individually, thus formally inviting the viewer to contact in the sense of the bivalence principle.

TYPOGRAPHY AND DESIGN

The typography in the outer circle: Typeface six by Neville Brody, England 1990, from the Fontshop font library. Very strong ornamental typeface with unusual, almost abstract letter combinations and forms (C, Q and O). A typeface that embodies the »new age«, the modern age.

Inner circle: small capitals of Filosofia from the Emigre Type Library. An antique typeface designed by Zuzana Licko, USA 1996. This typeface is a modification of the classicist Bodoni from the Bauersche Gießerei (1926). However, it has a more pronounced alternating sweep of the figures. The ductus of the figures is reminiscent of 19th century musical notation, the great age of the conductor, the »primus interpares«. The Filosofia has all the necessary cuts (normal, italics, caps, bold) and Anglo-Saxon ligatures. All stationery is typographed in the Filosofia.

Centre: (Semi-)Heraldic Rose. Beinert does not use classical heraldry here, as this formal language has too little impression. He illustrates the rose in the imaginative French style of the 19th century.

Composition: The avant-garde-looking typeface in the outer circle »protects« the conservative, fragile forms inside the signet. The massive Typeface six is intended as both a contrast in content and form.

PRODUCTION

The credo or signet is basically only implemented as blind embossing. Never in print. The credo is even embossed on envelopes and labels. The signet may only appear at second or even third glance.

COMPREHENSIBILITY

The credo merges in a simple text-image language into a signet that does without colour. The claim in the outer circle was deliberately formulated in Latin, the language of the humanists, and typographed in the very fashionable, international Typeface six. It is difficult to read and understand the statements. For the Credo is neither formally nor content-wise comprehensible at first glance.

It therefore appears mystical, timeless and cannot be immediately classified. It defies the fast-moving zeitgeist. The signet affords itself an elitist luxury: it requires explanation. It challenges the viewer and invites him or her to a serious discussion and also to a high-level contact.

Graphic design shows itself here in its purest form,

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Wolfgang Beinert