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	<url>
		<loc>http://www.studiohendriksen.com/studiohendriksen</loc>
		<priority>1.00</priority>
		<title>studioHendriksen</title>
		<content>Welkom..</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/about</loc>
		<priority>0.80</priority>
		<title>About</title>
		<content><![CDATA[studioHendriksen is an Amsterdam based graphic design studio, founded by Chantal Hendriksen. The studio&#039;s projects evolve from a deep affinity with contemporary art, which manifests itself in collaborations with art institutes, museums, galleries, individual artists and photographers as well as a wide range of self-initiated projects. The studio always likes to challenge the profession&#039;s autonomy in its collaborations with various other disciplines and all its projects are characterized by a conceptual and experimental approach. Chantal Hendriksen (1978, Delft) studied graphic design at the Gerrit Rietveld Academy in Amsterdam and received her MA degree at Werkplaats Typografie in Arnhem. The studio is a continuation of her former successful collaboration with Marijke Cobbenhagen. Together they initiated and co-founded the art magazine &#039;You Are Cordially Invited&#039;. Accumulative to her practice Chantal is active as a teacher at the Royal Academy of Art in the Hague and has taught at among others the HKU University of the Arts in Utrecht and California College of Arts in San Francisco. The combination of different roles is an essential part of Studio Hendriksen&amp;rsquo;s practice. This website tries to give some insight in Chantal&#039;s practice, the methods and interests. Showing this with sketches, ideas, projects, finished works and proposals completed for several commissioners. Hopefully it will give an overview of what the studio is capable of. If not, don&amp;rsquo;t hesitate to ask for a verbal presentation or explanation. We&amp;rsquo;re happy to do so in any kind of setting; a possible cooperation, project or commission, a lecture or workshop. For a more detailed explanation of the studios background see experience, to read more about the approach to graphic design you can read the report of a presentation Chantal held at the Monsterkamer. To keep track of the latest updates you can now follow the studio on instagram. .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/about/the__studio</loc>
		<priority>0.64</priority>
		<title>The  Studio</title>
		<content><![CDATA[studioHendriksen is an Amsterdam based graphic design studio, founded by Chantal Hendriksen. The studio&#039;s projects evolve from a deep affinity with contemporary art, which manifests itself in collaborations with art institutes, museums, galleries, individual artists and photographers as well as a wide range of self-initiated projects. The studio always likes to challenge the profession&#039;s autonomy in its collaborations with various other disciplines and all its projects are characterized by a conceptual and experimental approach. Chantal Hendriksen (1978, Delft) studied graphic design at the Gerrit Rietveld Academy in Amsterdam and received her MA degree at Werkplaats Typografie in Arnhem. The studio is a continuation of her former successful collaboration with Marijke Cobbenhagen. Together they initiated and co-founded the art magazine &#039;You Are Cordially Invited&#039;. Accumulative to her practice Chantal is active as a teacher at the Royal Academy of Art in the Hague and has taught at among others the HKU University of the Arts in Utrecht and California College of Arts in San Francisco. The combination of different roles is an essential part of Studio Hendriksen&amp;rsquo;s practice. This website tries to give some insight in Chantal&#039;s practice, the methods and interests. Showing this with sketches, ideas, projects, finished works and proposals completed for several commissioners. Hopefully it will give an overview of what the studio is capable of. If not, don&amp;rsquo;t hesitate to ask for a verbal presentation or explanation. We&amp;rsquo;re happy to do so in any kind of setting; a possible cooperation, project or commission, a lecture or workshop. For a more detailed explanation of the studios background see experience, to read more about the approach to graphic design you can read the report of a presentation Chantal held at the Monsterkamer. To keep track of the latest updates you can now follow the studio on instagram. .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/about/experience</loc>
		<priority>0.64</priority>
		<title>Experience</title>
		<content><![CDATA[Education * Werkplaats Typografie, Arnhem (NL), MA 2005 * Gerrit Rietveld Academy, Amsterdam (NL), graphic design, BA 2002 Lectures &amp;amp; Exhibitions * &#039;The Best Dutch Book Designs 2019&#039; at the Stedelijk Mueum Amsterdam, with selected book: De Zingende Zaag 42, jubileum edition, October 3 &amp;ndash; November 1, 2020 * Lecture BNO Utrecht, 2018 * Moderator Plain Paper Party, Studio/K, Amsterdam, februari 2017 * Lecture Monsterkamer Amsterdam, 2016 * Lecture Open Day, Royal Academy of Arts (KABK), 2016 * Lezing Mediamatic &amp;lsquo;Ignite&amp;rsquo;, &amp;lsquo;You Are Cordially Invited&amp;rsquo;, Amsterdam, juni 2014 * Lecture + participant &amp;lsquo;Quantified Reality&amp;rsquo;, Sandberg@Mediafonds masterclass, editie 2014, Amsterdam, januari &amp;ndash; juni 2014 * Lecture during &amp;lsquo;(Re)Publish Symposium&amp;rsquo;, ArtEZ, juli 2013 * &#039;The Best Dutch Book Designs 2012&#039; at the Stedelijk Museum Amsterdam, with selected book: Salon, Censorship Daily and De Hallen Haarlem, Inventory 2007&amp;ndash;2012, September 14th &amp;ndash; October 27th 2013 * Exhibition &amp;lsquo;ABC Primer&amp;ndash;Rainbow Series&amp;rsquo;, SALON/BJ, Beijing, September 26th &amp;ndash; October 3rd 2013 * Lecture on &amp;lsquo;You Are Cordially Invited&amp;rsquo; during the (Re)Publisch symposium, Arnhem, July 6, 2013 * Exhibition &amp;lsquo;ABC Primer&amp;ndash;Rainbow Series&amp;rsquo;, The NWBLCK, San Francisco, April 2013 * Lecture at California College of Arts (CCA), San Francisco, April 2013 * Exhibition of the visual identity of De Hallen Haarlem, December 2012 &amp;ndash; April 2013. De Hallen Haarlem, Grote Markt 16, Haarlem * Soloshow &amp;lsquo;ABC Primer&amp;ndash;Rainbow Series&amp;rsquo;, Magazijn, Amsterdam, 30 March &amp;ndash; 01 April 2012 * Lecture &amp;lsquo;ABC Primer &amp;ndash; Rainbow Series&amp;rsquo;, Utrecht School of the Arts for &amp;lsquo;The Weight of Colour&amp;rsquo;, January 2012 * Part of the exhibition &amp;lsquo;I have a room with everything&amp;rsquo;, 23 July &amp;ndash; 5 August 2011, Singapore * &amp;lsquo;ABC Primer&amp;ndash;Rainbow Series&amp;rsquo;, Magazijn, Amsterdam, 30 March &amp;ndash; 01 April 2012 [exhibition] * Lick my Typo at Recyclart, Brussel, 2010 [lecture/presentation] * Presentation of the visual identity of De Hallen Haarlem, 12 December 2009 &amp;ndash; 6 June 2010. De Hallen Haarlem, Grote Markt 16, Haarlem [exhibition] * bt&amp;rsquo;09: Typography, Unify With New Life, in conjunction with the Icograda World Design Congress 2009 Beijing [exhibition] * Niveaux de Gris Poster Collection at the 20th International Poster and Graphic Design festival in Chaumont, France, 2009 [poster exhibition] * Best Verzorgde Boeken 2008 at the Special Collections of the University of Amsterdam, 2009 [exhibition] * Speelplaats at the Werkplaats Typografie, Arnhem, 2008 [lecture/presentation] * Best Verzorgde Boeken 2007 at the Stedelijk Mueum Amsterdam, 2008 [exhibition] * Zefir7 / Designers at Sea in Tag, The Hague, 2007 [lecture/presentation] * A Man with a Turban, The Lucca Madonna versus The Virgin of Chancellor Rolin at the Jan van Eyck Academy, Maastricht during the Opening week 2006 [lecture] * Ship Happens at the Art-academy in Tallinn, Estonia 2006 [workshop &amp;amp; presentation] * UCLA, Los Angeles, USA 2006 [workpresentation] Teaching experience * Royal Academy of Arts (KABK), The Hague, Professional Practice Skills, graphic design department, 2020&amp;ndash;ongoing * Certificate Basic Qualification Didactic Competence, Utrecht School of the Arts (HKU), Utrecht, 2020 * Coordination Open Day, BA graphic Design / MA non lineair narrative, Royal Academy of Arts (KABK), The Hague, 2018 &amp;ndash; ongoing * Royal Academy of Arts (KABK), The Hague, Design Office, graphic design department, 2015&amp;ndash;ongoing * Workshop Akademie der Bildenden K&amp;uuml;nste, N&amp;uuml;rnberg, 2017 * ArtEZ Institute of the Arts, Arnhem, final exam committee, graphic design department, 2013 * Workshop at California College of Arts (CCA), San Francisco, graphic design department, 2013 * Royal Academy of Arts (KABK), The Hague, graphic design, interior architecture department, 2011&amp;ndash;2013 * Utrecht School of the Arts (HKU), Utrecht, final exam committee, graphic design department, 2010 * Royal Academy of Arts (KABK), The Hague, typography, 2006&amp;ndash;2010 * Academie van Bouwkunst, Amsterdam, graphic design, formstudy-programm, 2008 * Workshop typography and book design Ship Happens at the Art-academy in Tallinn, Estonia, 2006 Published in * Novum Magazine, Showroom, interview by Niels Schr&amp;auml;der, Germany, 2020 * Het Parool, Amsterdam, review De Zingende Zaag 42, Best Dutch Book Design, 2020 * De Volkskrant, review De Zingende Zaag 42, Best Dutch Book Design, 2020 * Monsterkamer.nl, verslag &amp;lsquo;Inloop + speciale gast: studio Hendriksen&amp;rsquo;, Arjan Reinders / Fotografie: Justina Nekrasaite, apr 2016 * Column &amp;lsquo;Design&amp;rsquo;, SSBA&amp;ndash;Salon, ssba-salon.nl, mei 2015 * Interview &amp;lsquo;You Are Cordially Invited&amp;rsquo;, Amsterdam FM, juli 2013 * de Volkskrant (2 juli 2013), Het Financieele Dagblad (29 juni 2013), De Telegraaf (28 juni 2013), Trendbeheer (26 juni 2013), Metropolis M (25 juni 2013), persberichten &amp;lsquo;You Are Cordially Invited * Coverage on several art and fashion blogs, such as Kees Koomen / Kunstkrant / Elle / Marie Claire / Glamour / Trends360 / Fashionlicious / One Sec Please / Couturekrant / Irenebrination * Volkskrant, &amp;lsquo;Best Verzorgde Boeken&amp;rsquo;, 14 september 2013 * Culture Identities, Gestalten, 2013 * Printed Matter, Gestalten, 2013 * Type Only, Unit, 2013 * Tubelight May/June 2012, &amp;lsquo;B is for Beauty&amp;rsquo; + &amp;lsquo;ABC Primer&amp;ndash;Rainbow Series&amp;rsquo;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/about/interview</loc>
		<priority>0.64</priority>
		<title>Interview</title>
		<content><![CDATA[Questions by students of the Werkplaats Typografie, 2008 What is your motto? You can&amp;rsquo;t get a true beautiful result if you don&amp;rsquo;t enjoy what you&amp;rsquo;re doing. So, if we&amp;rsquo;re not enjoying what we&amp;rsquo;re doing while working on a certain project we aren&amp;rsquo;t on the &amp;lsquo;right track&amp;rsquo;, we should re-think our starting point, change the concept, and stay closer to our own values and ideas. Be honest. For example, we were asked to think about a new identity for the Jan van Eyck Academy in Maastricht. After having talked to the commissioner several times we kept having the feeling that something was not right. Their question didn&amp;rsquo;t make sense in relation to their wishes. To show them this, we made a powerpoint presentation showing an &amp;lsquo;over the top&amp;rsquo; approach to the identity. We wanted to present them the opposite of what they probably wanted, to make them realize what they actually were asking us: a new letterhead in the same design as their existing website. After the presentation the commissioner was in shock. We proposed they would ask Min &amp;amp; Sulki Choi, the designers of their website, to also design their letterhead. Which they did. &amp;mdash; Where/when did you decide to start your grafhic design firm? We started collaborating during the Werkplaats Typografie (MA, Arnhem), where we met after our studies at the Art Academy Utrecht (Marijke) and Gerrit Rietveld Academy (Chantal). Since our cooperation seemed to lead to very interesting results, we opened our studio in Amsterdam (2004). &amp;mdash; What natural (or supernatural) gift would you most like to posses? M: Photographic memory / C: Super speed reeding &amp;mdash; What is your favorite work that you have done till now, regardless to the client&amp;rsquo;s opinion? The work we do for De Hallen Haarlem. The identity gives us a lot of freedom to make a new design for every exhibition, because it excists out of cutting vertically into every possible typefase the identity of the museum is always visible and at the same time each artist/show has its own character. &amp;mdash; What is your dream of happiness? &amp;mdash; What is your favorite inanimated object? Drop shadows. We just love them. &amp;mdash; Is the commissioner a prison guard? Absolutely not. For us &amp;ndash; the way we work &amp;ndash; an assignment, problem or question is a necessary starting point. Without that we&amp;rsquo;re hopelessly lost. With the question, our process starts. We research the background of this question, who&amp;rsquo;s asking, why? Is it the right question? To which solution does the commissioner implicitly refer? Why should it be a book, or catalogue etc. By researching this we try to formulate a more relevant frame of reference for ourselves and the commissioner. So it is important to maintain a good and interesting relationship with the commissioner, and we see it rather as an cooperation. For example, in the identity for the Netherlands Media Art Institute we visually research the question &amp;lsquo;what is media-art?&amp;rsquo;. In the design-process we found out that we didn&amp;rsquo;t know so much about media art and it very much seemed to deal with technique. So we use the identity to learn more about it and at the same time show this to the public. Within the image collections we search for features, clich&amp;eacute;&amp;rsquo;s and forms of appearance of themes or technical developments in the history of media-art in relation to a specific exhibition. &amp;mdash; If you had to explain what graphic design is to my parents in one or two sentences, what would you say? It&amp;rsquo;s best not to go into details, just stick with saying you&amp;rsquo;re making mostly printed matter, like books and magazines. And no, you do not write them, someone else provides you with the content and your task is to compose this.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/about/links</loc>
		<priority>0.64</priority>
		<title>Links</title>
		<content><![CDATA[Links of people in our daily environment, who we work(ed) with, whose work we admire and with whom we wish to collaborate one day: Petra Stavast, photographer + photography collective FW: Connie Nijman, graphic design + artist collective Suze May So Stefanie Gr&amp;auml;tz, photographer Novak, graphic design studio Gerritjan Huinink, photographer Olga Scholten, graphic design studio Joep van der Made, graphic design studio Hans Gremmen, graphic design + photography collective FW: Roger Willems, graphic design + art publisher Roma Publications Mark Manders, artist + art publisher Roma Publications Radim Pesko, graphic design + type design + digital type foundry RP Onomatopee Hansje van Halem, graphic design Bart de Baets, graphic design Meeusontwerpt, graphic design Werkplaats Typografie Batia Suter, visual artist Coppens Alberts, graphic design Dexter Sinister Catalogtree, graphic + information design Fucking Good Art LUST Annelys de Vet, graphic + cultural design Kunstverein Liesbeth Doornbosch, artist Martijn Engelbregt, artist + EGBG Constant Dullaart, artist Mary Waters, artist Willem Henri Lucas, graphic design Annesas Appel, artist Ringel Goslinga, photographer Metahaven, design + research Slavs and Tatars Experimental Jetset, graphic design Karl Nawrot, graphic + type design NODE Berlin Oslo, graphic design Will Holder, graphic design Job Wouters, graphic design Sirkel, graphic design Felix Weigand, graphic design Katja Gretzinger, graphic design Jaan Evart, graphic design Julia Born, graphic design Sulki &amp;amp; Min, graphic design Niessen &amp;amp; de Vries, graphic design Jeff Ramsey, graphic design Scheltens &amp;amp; Abbenes, photgrapher + visual artist Lineto, type foundry Typographic Spaces, graphic design Raymond Frenken, writer + editor Lenoirschuring, offset printer Wyber Zeefdruk, silkscreen printer Pantheon drukkers, offset printer Galerie Juliette Jongma Galerie Martin van Zomeren Salon/ Buitenwerkplaats Na Kim, graphic design Sueh Li Tan, graphic design Michiel Schuurman, graphic design De Hallen Haarlem, museum Netherlands Media Art Institute.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/about/disclaimer</loc>
		<priority>0.64</priority>
		<title>Disclaimer</title>
		<content><![CDATA[Copyright &amp;copy; studioHendriksen. All rights reserved. Ondanks de zorg en aandacht die studioHendriksen aan de samenstelling van deze website besteedt, is het mogelijk dat informatie die op deze site wordt gepubliceerd onvolledig of onjuist is. De informatie op www.studiohendriksen.com wordt regelmatig aangevuld en eventuele wijzigingen kunnen op ieder moment zonder verdere aankondiging worden gewijzigd of verbeterd. Een bezoeker mag geen auteursrechtelijk beschermde werken of andere in deze website opgeslagen informatie openbaar maken of verveelvoudigen zonder voorafgaande toestemming van studioHendriksen. Download hier onze Algemene Voorwaarden..]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/about/streepje</loc>
		<priority>0.64</priority>
		<title>streepje</title>
		<content>&amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash; &amp;ndash;.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/about/you_are_cordially_invited</loc>
		<priority>0.64</priority>
		<title>You Are Cordially Invited</title>
		<content><![CDATA[Alongside our graphic design practice we initiated a new visual magazine on contemporary art; You Are Cordially Invited. The launch issue (2013) presented a two-dimensional art fair with an international line-up of galleries, showing recent &amp;ndash;and often still available&amp;ndash; works of art. For the second issue (SOON!) the Group Show consists out of fifteen very inspiring and renewing artists, selected by curator&#039;s Alexander Mayhew and Jaring D&amp;uuml;rst Britt. Can an artist, trained as painter or sculpturer, make a video work, or become a performer? And if so, should he find a stage? Which audience should he address? Questioning these possibilities is one thing, but trying so &amp;ndash;even when it is beyond reason&amp;ndash; marks this audacious issue. You Are Cordially Invited aims to create a broader audience for contemporary art and culture. Addressing a new generation of art collectors You Are Cordially Invited functions as a professional guide to global trends, references, context and above all beautiful imagery. More information and purchase options through www.youarecordiallyinvited.nl You Are Cordially Invited #2 &amp;ndash; The Audacious Issue Spring/Summer 2014 128 pages full colour English Featuring Alex da Corte, Than Hussein Clark, Brice Dellsperger, Julien Ceccaldi, Sol Calero, Patrizio Di Massimo, Eddie Peake, Rachel Maclean, Ryan McNamara, Jacolby Satterwhite, Ella Kruglyanskaya, Celia Hempton, Sarah &amp;amp; Charles, Mary Reid Kelley, Paul Beumer, Mariechen Danz &amp;amp; UNMAP, ZaZaZoZo, Burning fire, Josefine Arnell &amp;amp; Michele Rizzo, La Chatte, echo+seashell and Baba Electronica Contributors a.o. Jaring D&amp;uuml;rst Britt, Alexander Mayhew, Bart de Baets, Irene de Craen, Julia Geerlings, Jakub Cabalka &amp;amp; Jitka Halirova and Sanne van den Elzen You Are Cordially Invited #1 &amp;ndash; The Art Fair Issue Spring/Summer 2013 128 pages full colour English Contributors a.o. Alexander Mayhew, Jaring D&amp;uuml;rst Britt, De Appel Arts Centre, Suze May Sho, Bart de Baets, Severafrahm and Antoine Peters.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/about/abc-primer</loc>
		<priority>0.64</priority>
		<title>ABC-Primer</title>
		<content><![CDATA[ABC &amp;ndash; Primer For the collection of typefaces we showed in the exhibition in De Hallen Haarlem in 2009&amp;ndash;2010 we wrote an ABC-Primer build with our &#039;design-principles&#039;. In 2011 and 2012 we used this ABC-Primer for our Rainbow Series. A is for Awareness. To not only see things as they are, but also to see them as we are. B is for Beauty. If the practical solution is not appealing, we know it&amp;rsquo;s wrong. C is for Commitment. Diving in with total devotion and enthusiasm. D is for Detail. The elaboration of the final appearance. E is for Enjoyment. Without it we can&amp;rsquo;t get genuine results. F is for Form. That&amp;rsquo;s what it all comes down to. G is for Growth. It makes us bigger. H is for Honesty. What we hope our work exudes. I is for Idiosyncrasy. It creates distinctive results. J is for Justification. Means to an end. K is for Kneading. Transforming the very first idea into a defined plan. L is for Linguistics. Language and typography are inextricable. M is for Moment. When content, context and aesthetics coalesce. N is for Narrowing down. Getting to the core of things. O is for Office supplies. Which is arousal for our minds. P is for Puzzle. Where it all falls into place. Q is for Quality. What we want. R is for Renewing. Our quest. S is for Satisfaction. A feeling we pursue. T is for Translation. Where content finds its righteous form. U is for Understanding. To achieve thorough comprehension. V is for Variety. That&amp;rsquo;s our playground. W is for Why not? Trying things beyond reason. X is for context. Creating a relevant frame of reference. Y is for vocabulary. To use a consistent tone of voice throughout. Z is for size. It matters. .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/books_en_publications</loc>
		<priority>0.80</priority>
		<title><![CDATA[Books & Publications]]></title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/books_en_publications/amsterdam_art__1</loc>
		<priority>0.64</priority>
		<title>Amsterdam Art</title>
		<content><![CDATA[Amsterdam Art Bi-monthly calenders, 2015 &amp;ndash; 2018 Besides the annual Amsterdam Art Weekend, the organisation Amsterdam Art published the gallery- and exhibition programme throughout the year. For the booklets it was a joy to bi-monthly create a new cover playing with the elements of the existing identity. Sometimes a clear reference as &#039;the act of putting up an art show&#039;, later it shifted to more personal reflections or objects I was contemplating on, as a paperplane, a rock, a cloud, broken tears and even an explosion once occured. The interior has always been set in Chapeau (Milieu Grotesk) and finding typographical distinction to carefully polarize the different sorts of information..]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/books_en_publications/observatie_contra_observatie_pieter_paul_pothoven</loc>
		<priority>0.64</priority>
		<title>observatie contra observatie, Pieter Paul Pothoven</title>
		<content>observatie contra observatie Pieter Paul Pothoven.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/books_en_publications/sweat_alex_farrar</loc>
		<priority>0.64</priority>
		<title>Sweat, Alex Farrar</title>
		<content><![CDATA[From the back cover: &#039;Sweat brings together images of sweat forms taken by Alex Farrar and collated from Instagram, celebrity websites and photo libraries. Stock and staged imagery are displayed alongside paparazzi shots and documentary images. The suggestion of a figure builds accumulatively as we flick through the pages, our eyes grow accustomed to seeing a body that is never fully explicated. Why sweat?&amp;rsquo; From the foreword: &amp;lsquo;Sweat is a book of studies of the forms that sweat makes on clothing, with a focus on the torso. They originated as preparatory drawings for sweat paintings, which I have been making since 2017. They are a step between collecting images of sweat and making the paintings, with their job being to abstract sweat from its context, ahead of displacing it into the space of a painting. Sweat was conceived to expand on this process, share the original sources and linger on the subject, though what that was exactly remained difficult to define&amp;ndash; a theme explored in the text by George Vasey which begins on the back cover and continues after the final foldout page.&amp;rsquo; Text by George Vasey. Graphic design and risograph printing by Alex Farrar with studio Hendriksen, Amsterdam. Cover and foldout-pages offset printed by Lenoirschuring, The Netherlands. Binding by AGIA, The Netherlands. Splendorlux (cover and foldout pages), Arena rough white (interior) papers by Fedrigoni. Laica B typeface by Alessio D&amp;rsquo;Ellena, Dinamo..]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/books_en_publications/de_zingende_zaag__jubileumuitgave</loc>
		<priority>0.64</priority>
		<title>De Zingende Zaag – Jubileumuitgave</title>
		<content>De Zingende Zaag Jubileumuitgave, 2019 Met De Zingende Zaag Producties ontwikkeld George Moormann vanaf februari 1989 een rijke verzameling poeziepublicaties in uiteenlopende vorm en concept. etc text schrijven De Zingende Zaag 42 is onderscheiden door de stichting CPNB (Best Verzorgde Boeken 2019).</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/books_en_publications/wimper_alex_farrar</loc>
		<priority>0.64</priority>
		<title>Wimper, Alex Farrar</title>
		<content><![CDATA[Wimper, Alex Farrar Publication, 2019 Wimper is 81 found eyelashes scanned directly on to the drum of a risograph printer and printed, one per spread, to irritate the context of what is supposed to be an exhibition catalogue published to accompany the exhibition Faltering, light under two screw holes&amp;hellip; at SE8 Gallery, London. Texts by Nicolas de Oliveira and Nicola Oxley, and David Price. Risograph printed by Alex Farrar in studio Hendriksen, Amsterdam, with the cover offset printed by ZwaanLenoir and bound by AGIA (The Netherlands) in a print run of 300 copies. Published by Mulberry Tree Press, 2019, 160 pages (b/w ill.), 11.4 &amp;times; 17.1 cm, English .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/books_en_publications/hoang_thi_nhu_hao_simone_hoang</loc>
		<priority>0.64</priority>
		<title>Hoàng Thi Nhu Hao, Simone Hoang</title>
		<content><![CDATA[Ho&amp;agrave;ng Thi Nhu Hao &amp;mdash; Phenomenon, Prodigy, Paragon Simone Hoang, 2019 The publication for Simone Hoang&#039;s is made from the results of her presentation &#039;Nude&#039; at Rotterdam Art 2019, in which printing plates where shown to express the tangible colour issues in the production of photopaper and its history in regard of non-western cultures. Finding her birth-mothers passport and her idea on her appareance is influenced by the qaulity of the photopaper. Which wasn&#039;t able to get the right tone of skin. To get the original printing plates with the designated colours real prints had to be produced. These monoprints, are presented in three different folders resonating the specific colour. A text, letter, by Hanne Hagenaars is accompanying the full set..]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/books_en_publications/facade_suspended_pieter_paul_pothoven</loc>
		<priority>0.64</priority>
		<title>Facade Suspended, Pieter Paul Pothoven</title>
		<content><![CDATA[Stofomslag: (gevouwen blauwdruk): Fluweel 1.5 100 g/m2 van Igepa Binnenwerk: Bagasse Meringue 120 g/m2 van Igepa Ontwerp: studioHendriksen Uitgever: D&amp;uuml;rst Britt &amp;amp; Mayhew Redactie: Pieter Paul Pothoven Teksten: Thijs Boers, Roeland Muskens met commentaar van RARA Vertaling: Guus van Engelshoven Oplage: 200 Omvang: 24 pagina&amp;rsquo;s Formaat: 16,5 x 27 cm Druk: Lenoirschuring: offset / studioHendriksen riso Binder: Voetelink Grafische Afwerking Prijs: 25,- Waar te koop? Galerie D&amp;uuml;rst Britt &amp;amp; Mayhew en de kunstenaar Technische bijzonderheden: hybride druktechnieken (riso + offset) + kaart amerikaans stofomslag Foto&amp;rsquo;s: Justina Nekra&amp;scaron;ait, The Book Photographer.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/books_en_publications/perfect_little_sam_jan_dirk_van_der_burg</loc>
		<priority>0.64</priority>
		<title>Perfect Little Sam, Jan Dirk van der Burg</title>
		<content><![CDATA[Perfect Little Sam, The Marly Method Jan Dirk van den Burg, 2018 When Dutch actress Marly van der Velden took to Instagram to document the childhood of her baby girl, she cleverly combined profiling with censoring. Her photo and selfie policy is the ultimate solution for parents who currently struggle with if and how they can present their children on social media. This book clarifies the Marly Method through an in-depth exploration into the applied censoring techniques. It provides meaningful guidelines for parents who want to present themselves on social media but leave their children as anonymous as possible. The format refers to a manual &amp;ndash; a photography tutorial. Images are clearly structered in numbered chapters and sub-categorized in each range. The quality of the images vary a lot, by placing them with a white border on a partly black page they tend to unify much more. The cover is coloured with the scheme of the social media platform, Instagram, itself. 104 pages, japanese binding, 110 x 230 mm, Dutch/English Typography set in Union, by Radim Pesko Lithography + offsetprinting by Lenoirschuring Published by Jan Dirk Van Den Burg.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/books_en_publications/the_world_library_of_sanne_and_lukas</loc>
		<priority>0.64</priority>
		<title>The World Library of Sanne and Lukas</title>
		<content><![CDATA[The World Library of Sanne and Lukas Lucas Heibges and Sanne van den Elzen, 2018 The World Library of Sanne and Lukas is a visual library documenting subjects in various places and times. Its encyclopedic character emerges from a method developed by the photographers to explore unfamiliar themes. Several screenings are used in the imagery and produced in offset combined with riso-printed pages. The design expresses the two voices (visions) of the photographers on the same topic (their walk through Nowa Huta) by overlaying them, creating a constent shift of visual signatures (dis)balancing throughout the layout. Questioneing if you miss out on a picture or not. Carefully captured with a numbering system to take the reader through this alternative guide. How to look at our world, our collective history is always coloured by ones personal view, perspective and context. That fact is rather embrased and formed the base for the two photographers to place their imagery next and on top of eachother in the publication. 80 pages, hybrid production (riso + offset), soft cover, 165&amp;times;238 mm. Typography set in Theinhardt by Francois Rappo Lithography + offsetprinting by Lenoirschuring. Paper cover is Popset 400 gr/m2, interior on Lessebo Design 1.3 115 gr/m2 and Circle Offset 80 gr/m2. Published by DIAP, Amsterdam, The Netherlands.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/books_en_publications/kampereilanden__van_paridon_x_de_groot</loc>
		<priority>0.64</priority>
		<title>Kampereilanden – Van Paridon x De Groot</title>
		<content>Kampereilanden Van Paridon x De Groot, 2018 How can local residents and farmers protect their property from the coming water in an area wellknown for it reaccuring floods? Landscape architects, Van Paridon x De Groot, researched the area on several levels. The result is shared with the (local) government, municipalities, the inhabitants and entrepreneurs in the area. The publication functions as a guide for the development of the environment; investigating its history and proposing future options for nature, infrastructure, housing, farming and leasure. In collaboration with interns Marleen Vos and Dana Doorenbos (autumn 2018). .</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/books_en_publications/drents_museum_danielle_kwaaitaal</loc>
		<priority>0.64</priority>
		<title>Drents Museum, Danielle Kwaaitaal</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/books_en_publications/morning_glory_jan_dirk_van_den_burg</loc>
		<priority>0.64</priority>
		<title>Morning Glory, Jan Dirk van den Burg</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/identities</loc>
		<priority>0.80</priority>
		<title>Identities</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/identities/akxxviii__logo_design</loc>
		<priority>0.64</priority>
		<title>AKXXVIII – logo design</title>
		<content><![CDATA[AKXXVIII Logo design When Louise de Gier (founder AKXXVIII) approached me to design a logo for the fashion line which she intended to create, not all that much had been decided on, except that the company name consisted of her mother&amp;rsquo;s initials and the year in which she was born. I converted the year, 1928, into Roman numerals, because this gave rise to a more exciting image. I used the font, Gill Sans, since it had been introduced during that year too. Later on she approached me to also design a silk series of scarfs for her brand..]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/identities/nina_hama</loc>
		<priority>0.64</priority>
		<title>Nina Hama </title>
		<content>Hama Gallery Identity, 2020.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/identities/ncb</loc>
		<priority>0.64</priority>
		<title>NCB</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/identities/mp</loc>
		<priority>0.64</priority>
		<title>MP</title>
		<content><![CDATA[Margriet Post &amp;mdash; Podotherapie Businesscards.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/identities/rick_van_het_meer__identity</loc>
		<priority>0.64</priority>
		<title>Rick van het Meer – Identity</title>
		<content>Rick van het Meer Identity.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/identities/duerst_britt_en_mayhew</loc>
		<priority>0.64</priority>
		<title><![CDATA[Dürst Britt & Mayhew]]></title>
		<content><![CDATA[D&amp;uuml;rst Britt &amp;amp; Mayhew Handouts The gallery D&amp;uuml;rst Britt &amp;amp; Mayhew was founded in The Hague in 2015 by curator Jaring D&amp;uuml;rst Britt and art critic Alexander Mayhew. For each of their exhibitions and art fair presentations they commission an art critic or curator to write an accompanying interview or an essay. These texts are printed on handouts. They deem it important that visitors can take away something analogue and tactile that contextualises what they have seen. The handouts have a fix format of an folded A3 and produced through risoprinting. A strict grid sytem and typesize (set in Patron, by Milieu Grotesk) is a reaccuring element within the ever changing compositions, colours, forms and shapes mapping the exhibition, title(s) and artist(s) to give every presentation its unique expression while maintaining a unity in the overall sequence. The collection consist over fifty handouts so far. On the occasion of the gallery&#039;s five year jubileum a selection of handouts were presented in the gallery space during the exhibition &#039;V&amp;egrave;f Jaah!&#039;. .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/identities/amsterdam_art</loc>
		<priority>0.64</priority>
		<title>Amsterdam Art</title>
		<content><![CDATA[Amsterdam Art Weekend Visual identity and campaign, 2015 &amp;ndash; 2018 The annual Amterdam Art Weekend and the programme thoughout the year got his own playfull and recognizable character with a set of colours and shapes playing with the notion of space and the act of exhibiting. Inspired by and refering to works from artists Ren&amp;eacute; Daniels and Daniel Buren, it visualizes the idea of the exhibition space (many locations throughout the city). In combination with the added surfaces the announcement of the programme come together in all the required items. Many media were used to spread out the information and &amp;ndash;not insignificant&amp;ndash; decorate the city to carry out and celebrate each years art weekend..]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/identities/oude_kerk__identity</loc>
		<priority>0.64</priority>
		<title>Oude Kerk – Identity</title>
		<content><![CDATA[Oude Kerk Identity, 2015 &amp;ndash; ongoing The Oude Kerk is Amsterdam&#039;s oldest building and is accessible as a museum every day of the week. On Sunday mornings it still functions as a church. With an interhistorical program, the museum focuses on heritage and contemporary art, the monumental building often serving as a source of inspiration. The identity is based on the idea of the physical growth of the church &amp;ndash;from a small chapel in the 13th century to the building it now is&amp;ndash; and how this reflects the change of functions throughout these many years. The framework consists out of a solid coloured surface from which the information is claiming its space from the sides. This continuous change in the floorplan can be adjusted to the specific content and context of the church&amp;rsquo;s programme. Together with the use of the clear modernist typeface (Theinhardt by Francois Rappo) it maintains a signature-look thoughout all the nessecary items. Colour, imagery, typography, illustrating, everything can go along within the available tools creating an adjustable appearance reflecting the different positions of the church and its organization. Playfull, serious and/or sophisticated, it enjoys to manifeste through all the needed media and specific programme items such as Come Closer, Monuments and Collection. .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/typography</loc>
		<priority>0.80</priority>
		<title>Typography</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/typography/timen_tnmeh</loc>
		<priority>0.64</priority>
		<title>TIMEN TNMEH</title>
		<content>TIMEN/TNMEH Birth announcement, 2019 A typographic card as birth announcement always has my preferences, for Timen/Tnmeh the letters play with the idea of linocutting. Through this way of making the shape of the letters the differ of the bilingual name is reduced and can be easily mix-up and become the same image, the same person. The love for old and new printing techniques on one hand and our daily practice in particulair software on the other, came together in a digital linocutted card. Printed in offset (lenoirschuring) on Curious Skin Mocha 270 gr/m2 (Antalis). Underneath the special green colour ink layers of white ink are added to achieve the right subtlety and lightend effect of the prints. .</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/typography/nautilab__event</loc>
		<priority>0.64</priority>
		<title>NautiLAB – Event</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/typography/monuments__oude_kerk</loc>
		<priority>0.64</priority>
		<title>Monuments – Oude Kerk</title>
		<content><![CDATA[Monuments, Oude Kerk Typographic animations Monuments is a series within the Oude Kerk programme featuring prominent organists and ensembles. The famous Vater-M&amp;uuml;ller organ will sound in numerous contexts, in the newest and oldest music temple in Amsterdam. The typographic animations announcing the programme play with the notions of composing while clearly manifestating through the general visual identity..]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/typography/annelieke_van_halen__businesscard</loc>
		<priority>0.64</priority>
		<title>Annelieke van Halen – Businesscard</title>
		<content><![CDATA[Annelieke van Halen Businesscard, 2019 For more than ten years Annelieke van Halen took care of the pr- and communication of museum De Hallen Haarlem, while we were responsible for their visual identity (2007-2017). A wonderful collaboration ended and as a farewell gift this businesscard unites her two new professional paths; artisanal shoemaking and freelance advisor. Typeface Set in Theinhardt (by Fran&amp;ccedil;ois Rappo) Production Digital print with diagonal crease (by Lenoirschuring) www.anneliekevanhalen.com.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/typography/alumnikring_kunstgeschiedenis_uva__identity</loc>
		<priority>0.64</priority>
		<title>AlumniKring Kunstgeschiedenis UvA – Identity</title>
		<content><![CDATA[AlumniKring Kunstgeschiedenis University of Amsterdam (UvA) Identity, 2018 A literal reference to the word &#039;kring&#039; (which means circle in dutch) is the base of the identity created for the art history alumni circle of the University of Amsterdam. Expressing its establisment as a pillar for art historian alumni to stay connected with peers in their further professional developments. Set out through a straightforward typographical solution though emphasized by a increasing and decreasing in thickness of the lettershapes it can be both static or kinetic in usage. AlumniKring KGS .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/miscellaneous</loc>
		<priority>0.80</priority>
		<title>Miscellaneous</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/miscellaneous/workshop_week__mitch_paone</loc>
		<priority>0.64</priority>
		<title>Workshop week – Mitch Paone</title>
		<content>Design Office Workshop with Mitch Paone Royal Academy of Art, The Hague.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/miscellaneous/workshop_week__eike_koenig</loc>
		<priority>0.64</priority>
		<title>Workshop week – Eike König</title>
		<content><![CDATA[Design Office Workshop with Eike K&amp;ouml;nig Royal Academy of Art, The Hague.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/miscellaneous/come_closer__oude_kerk</loc>
		<priority>0.64</priority>
		<title>Come Closer – Oude Kerk</title>
		<content><![CDATA[Come Closer Public programme Oude Kerk Amsterdam For the Come Closer events the serie items has &amp;ndash; next of clearly being part of the Oude Kerk identity&amp;ndash; their own elements per event and an element (lines) to connect all Come Closer events to eachother. .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/miscellaneous/club_chantal</loc>
		<priority>0.64</priority>
		<title>***Club Chantal***</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/miscellaneous/collection__oude_kerk</loc>
		<priority>0.64</priority>
		<title>Collection – Oude Kerk</title>
		<content><![CDATA[Collection &amp;mdash; Oude Kerk Campaign The collection of the Oude Kerk contains works from 1500 up to now, from the graves to relics, archaeological finds, medieval paintings, contemporary art and site specific works. A changing splitscreen slideshow presents the works on view in the designed items. Part of the visual identity of the Oude Kerk Amsterdam..]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/miscellaneous/duerst_britt_en_mayhew__exhibition</loc>
		<priority>0.64</priority>
		<title><![CDATA[Dürst Britt & Mayhew – exhibition]]></title>
		<content><![CDATA[D&amp;uuml;rst Britt &amp;amp; Mayhew V&amp;egrave;f Jaah! The group exhibition &amp;lsquo;V&amp;egrave;f Jaah!&amp;rsquo; shows works by all of the thirteen represented artists, as well as a selection of handouts that have been created by graphic designer Chantal Hendriksen since the beginning of the gallery in 2015..]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/miscellaneous/akxxviii__scarf_designs</loc>
		<priority>0.64</priority>
		<title>AKXXVIII – scarf designs</title>
		<content><![CDATA[AKXXVIII Series of Scarfs After having finished the design of the logo for the brand Louise de Gier founded, she asked me to design a series of scarfs for the brand too. Her view of fashion appeared to me to be somewhat clich&amp;eacute;d. F.e. animal prints, flowers, an icon &amp;ndash; her mother this time &amp;ndash; a logo and text. Despite my initial doubts, this soon served as a source of inspiration. Using only graphical tools, I examined her clich&amp;eacute;s either to undermine or reinforce them. The prints which I subsequently designed for the series were a cross-pollination of those clich&amp;eacute;s, employing archetypical elements of design, such as dots, lines and flat areas. In this way the first scarf of the series literally became an accolade to Louise&amp;rsquo;s mother. A photo of her is depicted on the scarf but because of the huge raster image, the portrait is not visible when it is worn and the dots consequently form an abstract pattern. The image only becomes clearly discernible when the scarf is unfolded. In addition, the series does include an animal print, in this case a tropical fish as part of which the colours and shapes are presented as an abstract interplay of dots and colours. On the flower scarf the dotted pattern is transformed into a flower but reverts to dots as a diapositive. On the scarf featuring text the dots, screen-printed in gold, very subtly conceal the word, &#039;Love&#039;..]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/miscellaneous/akademie_der_bildenden_kuenste_nuernberg__workshop</loc>
		<priority>0.64</priority>
		<title>Akademie der Bildenden Künste, Nürnberg – workshop</title>
		<content><![CDATA[Akademie der Bildenden K&amp;uuml;nste, N&amp;uuml;rnberg 2017.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/miscellaneous/rijksoverheid__royal_academy_of_art_the_hague</loc>
		<priority>0.64</priority>
		<title>Rijksoverheid – Royal Academy of Art, The Hague</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/miscellaneous/toon_magazine__frans_hals_museum</loc>
		<priority>0.64</priority>
		<title>Toon magazine – Frans Hals Museum</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/risoprinting</loc>
		<priority>0.80</priority>
		<title>Risoprinting</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/risoprinting/nautilus_films__poster_serie</loc>
		<priority>0.64</priority>
		<title>Nautilus Films – poster serie</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/risoprinting/paper_plane__wall_installation</loc>
		<priority>0.64</priority>
		<title>Paper Plane – wall installation</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/risoprinting/riso_printing</loc>
		<priority>0.64</priority>
		<title>Riso printing</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/risoprinting/paperplane</loc>
		<priority>0.64</priority>
		<title>Paperplane</title>
		<content>Paperplane Risoprint 120 x 297 mm Duotone , blue + fluor magenta 2018 Available on request printshop@studiohendriksen.com.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive</loc>
		<priority>0.80</priority>
		<title>Archive</title>
		<content>.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/interview_marijke_en_chantal_2008</loc>
		<priority>0.64</priority>
		<title><![CDATA[Interview Marijke & Chantal 2008]]></title>
		<content><![CDATA[Questions by students of the Werkplaats Typografie, 2008 What is your motto? You can&amp;rsquo;t get a true beautiful result if you don&amp;rsquo;t enjoy what you&amp;rsquo;re doing. So, if we&amp;rsquo;re not enjoying what we&amp;rsquo;re doing while working on a certain project we aren&amp;rsquo;t on the &amp;lsquo;right track&amp;rsquo;, we should re-think our starting point, change the concept, and stay closer to our own values and ideas. Be honest. For example, we were asked to think about a new identity for the Jan van Eyck Academy in Maastricht. After having talked to the commissioner several times we kept having the feeling that something was not right. Their question didn&amp;rsquo;t make sense in relation to their wishes. To show them this, we made a powerpoint presentation showing an &amp;lsquo;over the top&amp;rsquo; approach to the identity. We wanted to present them the opposite of what they probably wanted, to make them realize what they actually were asking us: a new letterhead in the same design as their existing website. After the presentation the commissioner was in shock. We proposed they would ask Min &amp;amp; Sulki Choi, the designers of their website, to also design their letterhead. Which they did. &amp;mdash; Where/when did you decide to start your grafhic design firm? We started collaborating during the Werkplaats Typografie (MA, Arnhem), where we met after our studies at the Art Academy Utrecht (Marijke) and Gerrit Rietveld Academy (Chantal). Since our cooperation seemed to lead to very interesting results, we opened our studio in Amsterdam (2004). &amp;mdash; What natural (or supernatural) gift would you most like to posses? M: Photographic memory / C: Super speed reeding &amp;mdash; What is your favorite work that you have done till now, regardless to the client&amp;rsquo;s opinion? The work we do for De Hallen Haarlem. The identity gives us a lot of freedom to make a new design for every exhibition, because it excists out of cutting vertically into every possible typefase the identity of the museum is always visible and at the same time each artist/show has its own character. &amp;mdash; What is your dream of happiness? &amp;mdash; What is your favorite inanimated object? Drop shadows. We just love them. &amp;mdash; Is the commissioner a prison guard? Absolutely not. For us &amp;ndash; the way we work &amp;ndash; an assignment, problem or question is a necessary starting point. Without that we&amp;rsquo;re hopelessly lost. With the question, our process starts. We research the background of this question, who&amp;rsquo;s asking, why? Is it the right question? To which solution does the commissioner implicitly refer? Why should it be a book, or catalogue etc. By researching this we try to formulate a more relevant frame of reference for ourselves and the commissioner. So it is important to maintain a good and interesting relationship with the commissioner, and we see it rather as an cooperation. For example, in the identity for the Netherlands Media Art Institute we visually research the question &amp;lsquo;what is media-art?&amp;rsquo;. In the design-process we found out that we didn&amp;rsquo;t know so much about media art and it very much seemed to deal with technique. So we use the identity to learn more about it and at the same time show this to the public. Within the image collections we search for features, clich&amp;eacute;&amp;rsquo;s and forms of appearance of themes or technical developments in the history of media-art in relation to a specific exhibition. &amp;mdash; If you had to explain what graphic design is to my parents in one or two sentences, what would you say? It&amp;rsquo;s best not to go into details, just stick with saying you&amp;rsquo;re making mostly printed matter, like books and magazines. And no, you do not write them, someone else provides you with the content and your task is to compose this.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/amsterdam_art_weekend_campaign_2014</loc>
		<priority>0.64</priority>
		<title>Amsterdam Art Weekend [campaign 2014]</title>
		<content><![CDATA[Amsterdam Art Weekend Campaign, 2014 During Amsterdam Art Weekend the city turns into an internationally oriented meeting place for promising and renowned artists, art enthusiasts and professionals. Participants include galleries, museums, art institutes, theaters and artist residencies. We have the pleasure to create and submerge the city with the Amsterdam Art Weekend&#039;s graphic identity. Rooted from their existing capital &#039;A&#039; we created a new alphabet. Supported with a clear set of shapes, lines and a beautiful and very suitable &amp;ndash;already by its name&amp;ndash; typeface (&#039;Chapeau&#039; by Timo Gasner, Milieu Grotesk) it&#039;s all adding up to the weekend&#039;s recognizable character. Ranging from wrapping gigantic cylinders, flags in front of the locations, series of posters hanging around town, information booklets and invitations, screens at EYE for the art screenings, festive light boxes (in cooperation with La Bolleur) for the weekend&#039;s party at the Stadsschouwburg, newspaper insert (NRC Handelsblad), signage to point out the participants, tote bags, buttons, tickets, and even more. The monotone coloring system will clearly point out when you&#039;re confronted with the next edition of the annual Amsterdam Art Weekend. Archive of Cobbenhagen Hendriksen (2005 &amp;ndash; 2015).]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/vrijstaat__atelier_van_lieshout_catalogue</loc>
		<priority>0.64</priority>
		<title>Vrijstaat – Atelier Van Lieshout [catalogue]</title>
		<content><![CDATA[Vrijstaat &amp;ndash; Atelier Van Lieshout Catalogue, 2014 The exhibition Vrijstaat by Atelier Van Lieshout was situated on the grounds of Kasteel Keukenhof and presented a diverse selection of work from the studio from different time periods. In the invitation and catalogue the images are cut and pasted into new combinations to create a similar experience as when one is walking around the works, seeing different angles and details. The perforations in the cover and the triangular shapes of the cut images refer to the architecture of the castle and its domain. Photography by Jan Willem Kaldenbach..]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/after_mandela_publication</loc>
		<priority>0.64</priority>
		<title>After Mandela [publication]</title>
		<content><![CDATA[After Mandela Jan Dirk van der Burg &amp;amp; Stefanie Gr&amp;auml;tz, 2013 &#039;After Mandela&#039; is a photobook on Dutch tributes to Nelson Mandela by Jan Dirk van der Burg &amp;amp; Stefanie Gr&amp;auml;tz. There is no living person in the Netherlands, besides members of the royal family, that has so many public places named after him than Nelson Mandela. The praise and magnification are a result of the &#039;Mandela Magic&#039;, the so-called iconisation of Mandela, who became a brandname for reconciliation. The book contains a complete photographic inventory of places in The Netherlands named after South Africa&#039;s first black president. &amp;mdash; After Mandela A publication by Jan Dirk van der Burg &amp;amp; Stefanie Gr&amp;auml;tz 22 x 30 cm, 40 pages full-color + 20 pages HKS 55 K Printed by Lenoirschuring Amstelveen English and Dutch version available ISBN 9789460830709 Published by Post Editions, Rotterdam.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/karels_keuze_catalogue</loc>
		<priority>0.64</priority>
		<title>Karel's Keuze [catalogue]</title>
		<content><![CDATA[Karel&#039;s Keuze (Karels Choice) Collection catalogue, 2013 As a gift for parting director of De Hallen Haarlem, Karel Schampers, we designed and produced this alternative collection catalogue, typographically listing all the names of the artists of whom works are purchased by the museum while he was director. The catalogue resulted in a colorful mixture off all the typefaces (approximately 50 at that moment) we turned into De Hallen lettering and is produced it at our Riso machine in an edition of 5. See more about the identity of De Hallen Haarlem here..]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/nadine_stijns_floating_population_publication</loc>
		<priority>0.64</priority>
		<title>Nadine Stijns 'Floating Population' [publication]</title>
		<content><![CDATA[Floating Population Nadine Stijns, 2013 The publication of photographer Nadine Stijns shows a continuing overview, investigating the stream of migrant laborers in China. These people &amp;ndash;from vast rural areas who left their hometowns seeking work&amp;ndash; are referred to as the &amp;lsquo;floating population&#039;. With the shown assembly of photographs, video stills and photographed objects like textiles, rubber shoes, construction materials, a sock, piles of postcards, posters and more, Nadine Stijns explores the social surroundings of this group of floating workers. Capturing their roots, daily environment, privacy, mentality and social status. Resulting in a beautiful document enfolding a view on China&#039;s changing culture. With texts by sinologist, journalist and writer Catherine Vuylsteke. &amp;mdash; Floating Population A publication by Nadine Stijns 24 x 35 cm, 40 pages full-color Self-cover with plastic sleeve Printed by Lenoirschuring Amsterdam English/Chinese ISBN 9789490119218 Published by Fw:Books Design: Cobbenhagen Hendriksen.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/de_hallen_haarlem_inventory</loc>
		<priority>0.64</priority>
		<title>De Hallen Haarlem [Inventory]</title>
		<content><![CDATA[De Hallen Haarlem, Inventory 2007&amp;ndash;2012 The book showcasing all the adjusted typefaces assigned to each artist and exhibitions from 2007 up to now (2012), giving an insight in the wide range of typefaces as well as the solo shows at De Hallen Haarlem. Flipping through the pages (front to back and visa versa) will reveal the names. &amp;mdash; De Hallen Haarlem, Inventory 2007&amp;ndash;2012 216 x 279 mm, 694 pages, black and white interior, color cover Available in the museumshop of De Hallen Haarlem or order a copy at lulu.com The publication is part of the selection The Best Dutch Book Design 2012, which is &amp;ndash;together with Censorship Daily and Salon&amp;ndash; on view at the Stedelijk Museum Amsterdam from September 14 onwards until October 27, 2013. &amp;mdash; see more on the identity design.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/de_hallen_haarlem_follow-up_exhibition</loc>
		<priority>0.64</priority>
		<title>De Hallen Haarlem [follow-up exhibition]</title>
		<content><![CDATA[De Hallen Haarlem Presentation of their visual identity, 2012 We are excited to present the follow-up exhibition (first exhibition in 2010) of the visual identity we designed for De Hallen Haarlem. An overview of printed matter in the pavilion of De Hallen Haarlem is shown intill February 24, 2013. In addition to the exhibition we launched the book &#039;De Hallen Haarlem, Inventory 2007-2012&#039;, showcasing all the adjusted typefaces assigned to each artist and exhibitions from 2007 up to now (2012), giving an insight in the wide range of typefaces as well as the solo shows at De Hallen Haarlem. Flipping through the pages (front to back and visa versa) will reveal the names. &amp;mdash; De Hallen Haarlem, Inventory 2007-2012 216 x 279 mm, 694 pages, black and white interior, color cover Available in the museumshop of De Hallen Haarlem or order a copy at lulu.com In the selection of The Best Dutch Book Design 2012, exhibited in the Stedelijk Museum Amsterdam from September 14 onwards until October 27 2013 &amp;mdash; see more on the identity design.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/censorship_daily_publication</loc>
		<priority>0.64</priority>
		<title>Censorship Daily [publication]</title>
		<content><![CDATA[Censorship Daily Publication, 2012 This publication shows a selection of censored images from NRC Handelsblad that Jan Dirk van den Burg collected from his friend Thomas Erdbrink in Iran (2007-2012). When the sealed newspapers land on his doormat in Tehran, its contents have already been secretly checked by the Iranian authorities. Forbidden items used to be carefully suppressed using scissors, a ruler and blue stickers. The act of censoring with the thick blue stickers brings new aesthetics to the images. Intrigued by Jan Dirks collection, we teamed up to select the best examples of censorship to bring them together in a very fine printed publication. For the cover we used the leftovers to emphasize the autonomous and ornamental quality the sticker brings into the daily news. &amp;mdash; The publication is part of the selection The Best Dutch Book Design 2012, which is &amp;ndash;together with De Hallen Haarlem, Inventory 2007&amp;ndash;2012 and Salon&amp;ndash; on view at the Stedelijk Museum Amsterdam from September 14 onwards until October 27, 2013. Archive: Cobbenhagen Hendriksen.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/salon_publication</loc>
		<priority>0.64</priority>
		<title>Salon [publication]</title>
		<content><![CDATA[Salon Publication, 2012 Publication for Sanne van den Elzen on her double role as beautician and photographer. Using the characteristics of the theme portrait through both professions. this is emphasized in the design by binding two print runs into one (turned around) publication. The publication is part of the selection The Best Dutch Book Design 2012, which is &amp;ndash;together with Censorship Daily and De Hallen Haarlem, Inventory 2007&amp;ndash;2012&amp;ndash; on view at the Stedelijk Museum Amsterdam from September 14 onwards until October 27, 2013. Archive: Cobbenhagen Hendriksen.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/kasteel_keukenhof_art_foundation_identity</loc>
		<priority>0.64</priority>
		<title>Kasteel Keukenhof Art Foundation [identity]</title>
		<content><![CDATA[Kasteel Keukenhof Art Foundation Identity 2010&amp;ndash;ongoing Kasteel Keukenhof&amp;rsquo;s general identity is based on the diagonal (view)lines that refer to the architecture of a castle and its domain. Inspired by the gardens of Versailles, we use these viewlines, of which the castle is always the centre, to slice up the images. Bringing the pieces, left over from the cuts, back together in new combinations provides each exhibition with its own identity. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039; .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/welcome_to_tunisia_newspaper</loc>
		<priority>0.64</priority>
		<title>Welcome to Tunisia [newspaper]</title>
		<content><![CDATA[Welcome to Tunisia Publication and traveling exhibition, December 2011 A three-day workshop aiming to result in a combination of a newspaper and exhibition containing the projects of 15 photography students (Master St Joost). Each participant was given a template on actual broadsheet size to present their own work in. Using the frame-work of not only the references of eachothers works (pages) but also dealing with the limited time and materials; using only tape, letter-stickers, a printer and a camera. A website accompanied the exhibitions(s). Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039; .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/welcome_to_tunisia_website</loc>
		<priority>0.64</priority>
		<title>Welcome to Tunisia [website]</title>
		<content><![CDATA[Welcome to Tunisia Publication and traveling exhibition(s) A three-day workshop aiming to result in a combination of a newspaper and exhibition containing the projects of 15 photography students (Master St Joost). Each participant was given a template on actual broadsheet size to present their own work in. Using the frame-work of not only the references of eachothers works (pages) but also dealing with the limited time and materials; using only tape, letter-stickers, a printer and a camera. We approached the website in a similar way by handing the participants a digital template. See more about the proces and the publication here. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/favervuta_almanak_2011</loc>
		<priority>0.64</priority>
		<title>Favervuta Almanak 2011</title>
		<content><![CDATA[Favervuta Almanak 2011 Yearbook, April 2012 The yearbook is inspired by the constructivist experiments of Henryk Berlewi (Warsaw, 1894 &amp;ndash; Paris, 1967). The optical game with vertical alignment (referring to the theme &amp;lsquo;composition&amp;rsquo; and the pattern of stripes of their building) is translated into the typography. Six weights of Futura (from ultra light to extra black) are typeset from extra wide to very narrow. Due to this optical effect in the book, the page lay-out will expand and squeeze as waves. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/abc_primer_-_rainbow_series</loc>
		<priority>0.64</priority>
		<title>ABC Primer - Rainbow Series</title>
		<content><![CDATA[ABC Primer &amp;ndash; Rainbow Series PreSale March 30 &amp;ndash; April 01 Opening Friday March 30 at 5 pm at Magazijn, Amsterdam We just finished a silkscreen-printed poster series, that is an alphabet (26 different posters), translating our commissioned work and using the whole spectrum of the rainbow. Using the ABC-Primer of design &#039;principles&#039; (A is for Awareness, B is for &amp;hellip;etc.), originally written for the exhibition on the identity for De Hallen Haarlem, we (re-)appropriate our design solutions, typography and aesthetics from works made for several commissioners. Playing around with characteristic, distinctive or typical elements and re-using these in a different context, resulted in this poster series containing a colorful remix of sketches, ideas, projects and proposals. Purchase / information on www.rainbowseries.nl (will launch after the PreSale). Magazijn, Oudezijds Voorburgwal 153, 1012 ES Amsterdam Open on saturday March 31 and sunday April 1 from 1200 to 1700 hrs.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/land_art_contemporary_identity</loc>
		<priority>0.64</priority>
		<title>Land Art Contemporary [identity]</title>
		<content><![CDATA[Land Art Contemporary Identity 2011 The identity for Land Art Contemporary consists mainly out of the usage of the typeface &#039;Smiro&#039;, which is specially developed (in collaboration with RP Digital Type Foundry). With Smiro the balance known from a regular serif typeface is shifted into a different angle; &quot;It would be like didot/bodoni observed in the sun during the day, watching the shades move like on sundial&quot;. &amp;mdash; More on the overall identity More about their website Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/land_art_contemporary_identity__1</loc>
		<priority>0.64</priority>
		<title>Land Art Contemporary [identity]</title>
		<content><![CDATA[Land Art Contemporary Identity 2011 The identity for Land Art Contemporary consists mainly out of the usage of the typeface &#039;Smiro&#039;, which is specially developed in collaboration with RP Digital Type Foundry. With Smiro the balance known from a regular serif typeface is shifted into a different angle; &quot;It would be like didot / bodoni observed in the sun during the day, watching the shades move like on sundial&quot;. &amp;mdash; See more of the typedesign Smiro and the work-in-progress of their website. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/archiprix_2011_publication</loc>
		<priority>0.64</priority>
		<title>Archiprix 2011 [publication]</title>
		<content><![CDATA[Archiprix 2011? Publication, june 2011 In the publication the best Dutch graduation projects in the field of architecture, urban design and landscape architecture are displayed. Referring to the elementary basis of architecture, the typeface consists out of 26 different lineair and grotesk typefaces (e.g. Arial, Helvetica, Futura) to build the titles. The selected projects are represented with many different materials (drawings, sketches, photography, maquettes, etc.). To achieve clarity throughout the publication in general, a simple grid (dividing the page into four parts) provides a consistent rhythm. More on the typography Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039; .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/archiprix_2011_publication__1</loc>
		<priority>0.64</priority>
		<title>Archiprix 2011 [publication]</title>
		<content><![CDATA[Archiprix 2011? Publication, june 2011 In the publication the best Dutch graduation projects in the field of architecture, urban design and landscape architecture are displayed. Referring to the elementary basis of architecture, the typeface consists out of 26 different lineair and grotesk typefaces (e.g. Arial, Helvetica, Futura) to build the titles. The selected projects are represented with many different materials (drawings, sketches, photography, maquettes, etc.). To achieve clarity throughout the publication in general, a simple grid (dividing the page into four parts) provides a consistent rhythm. More lay-out Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/hood_cornelius_quabeck_monograph</loc>
		<priority>0.64</priority>
		<title>'Hood' Cornelius Quabeck [monograph]</title>
		<content>&#039;Hood&#039; Cornelius Quabeck Monograph, 2007 Publication about the work of the artist Cornelius Quabeck. The wrapped sections isolate the different bodies of work and suggest continuity; as if another section could easily be added. The wrappers also function as information-holders, the captions don&#039;t have to appear on the works it self. In this way, reinforced by placing the images with overfill on the page, the paintings stand on their own. Read more in the judges&#039; report Best Verzorgd Boek 2007 Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039; .</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/merry_x-mas_en_happy_mmxi_wish</loc>
		<priority>0.64</priority>
		<title><![CDATA[Merry X-Mas & Happy MMXI [wish]]]></title>
		<content>Christmas and New Year Card Studio, 2010-2011 Silkscreened at the studio with Speedball Deluxe Silk Screen Kit Archive: Cobbenhagen Hendriksen .</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/buitenwerkplaats_identity</loc>
		<priority>0.64</priority>
		<title>Buitenwerkplaats [identity]</title>
		<content><![CDATA[Buitenwerkplaats stickers, postcards, website August 2010 The Buitenwerkplaats Amsterdam is a renovated dutch farm situated in the countryside where temporary workspaces to work on a project, to retreat or have a workshop is offered. A set of elements introduces the &#039;Buitenwerkplaats&#039; to its possible members using the typical exterior elements (trees and the dutch sky) of the surroundings in combination with a representation of the intellectual goal (the lists of words). The toolbox can be freely applied to combine these elements. By sticking them around new meaning to objects, spaces, images, texts etc. can be given. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/van_bij_de_buren_belgie_catalogue</loc>
		<priority>0.64</priority>
		<title>Van Bij De Buren Belgie [catalogue]</title>
		<content><![CDATA[Van Bij De Buren &amp;ndash; Belgi&amp;euml; Catalogue and invitations, july 2010 The exhibition Van Bij De Buren &amp;ndash; Belgi&amp;euml; is situated in and around Kasteel Keukenhof and shows a selection of contemporary art from two Belgium collectors. All works are displayed in the original furnished rooms of the castle. In the invitation and catalogue the images are cut and pasted into new combinations. These fragmentations force the spectator to experience the catalogue in a similar way as the exhibition itself; the catalogue is an interpretation of the perception of the exhibition. The perforations in the cover refer to the architecture of the castle and its domain. Photography by Stefanie Gr&amp;auml;tz Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039; .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/all_about_art__scenery_magazine</loc>
		<priority>0.64</priority>
		<title>All About Art + Scenery [magazine]</title>
		<content><![CDATA[All About Art + Scenery magazine (pilot), june 2010 The magazine All About Art + Scenery introduces the world of art, museums, galleries and manifestations to an audience yet unfamiliar with the art-world. The design refers to digital representation of imagery to emphasize the playful approach of its content. This in combination with the use of the typeface Otik (by Karl Nawrot) gives it a distinguished appearance. In cooperation with Martine Mathijsen. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/all_about_art__1</loc>
		<priority>0.64</priority>
		<title>All About Art + Scenery [magazine]</title>
		<content><![CDATA[All About Art + Scenery magazine (pilot), june 2010 The magazine All About Art + Scenery introduces the world of art, museums, galleries and manifestations to an audience yet unfamiliar with the art-world. The design refers to digital representation of imagery to emphasize the playful approach of its content. This in combination with the use of the typeface Otik (by Karl Nawrot) gives it a distinguished appearance. In cooperation with Martine Mathijsen. More lay-out Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/de_hallen_haarlem_identity</loc>
		<priority>0.64</priority>
		<title>De Hallen Haarlem [identity]</title>
		<content><![CDATA[De Hallen Haarlem Identity, 2007-2017 With great pleasure we design a printed invitation for every exhibition of contemporary art museum De Hallen Haarlem. Deriving form the design of the card we set a &#039;signature look&#039; for each campaign of the specific exhibition period, from posters throughout the city to signage within the museum. The identity of the contemporary art museum De Hallen Haarlem functions on different levels. The museum is built out of a composition of three neighboring buildings on the Grote Markt in Haarlem. This inspired us to start breaking up fonts and after several drafts we were cutting vertically into every possible typeface. Now we could use a different typeface for every artist to create its personal identity, and to visually connect them with the exhibition and the De Hallen Haarlem. The intervention in the typefaces makes De Hallen Haarlem recognizable into its smallest detail and at same time gives us the ultimate freedom to play around with the overall identity. We had the honor to exhibit the designs for the museum in De Hallen Haarlem in 2010 and 2012. Also see the catalogue which shows an inventory of all used typefaces up to then. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/de_hallen_haarlem_website</loc>
		<priority>0.64</priority>
		<title>De Hallen Haarlem [website]</title>
		<content><![CDATA[De Hallen Haarlem Identity, 2007-ongoing For the renewed website for contemporary art museum De Hallen Haarlem, the visual aspect of a museum in general and the works shown at De Hallen Haarlem in specific form the core of the website. Browsing through the imagery and works of art are of great importance for their representation on internet. In the design process several ways of visually collecting, archiving and presenting tested the technical possibilities of the internet and its maintenance requirements. Resulting in a carousel spinning through De Hallen Haarlem&#039;s archives. See the whole identity of the De Hallen Haarlem Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/tubelight_special_magazine</loc>
		<priority>0.64</priority>
		<title>Tubelight *SPECIAL* [magazine]</title>
		<content><![CDATA[Tubelight *SPECIAL* Special edition of the magazine Tubelight, issue no. 67, February 2010 Tubelight *SPECIAL* is a cooperation between &#039;Virtueel Platform&#039;, &#039;Domein voor Kunstkritiek&#039; and Tubelight. The content is a result of the masterclass &#039;Kritisch Schrijven over Digitale Kunst&#039; in which ten young and upcoming art critics write about the digital appearances of art. With the regular Tubelight design as a basis, we adjusted the tab-system according to the content of the Special. The whole issue is printed in full color, to emphasize this (unique) fact different aspects in the texts, images, stucture and navigation of the magazine are highlighted, underlined or accentued with the use of different colors. Cover photography Petra Stavast Typeface &#039;Septima&#039; by RP&amp;ndash;Digital Type Foundry Also see the magazine Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/abcd_identity__1</loc>
		<priority>0.64</priority>
		<title>ABC+D [identity]</title>
		<content><![CDATA[ABC+D Proposal corporate identity, 2010 Identity for a never realized bookstore and distribution house. Our great affinity with Letraset sheets in combination with the bookstores obvious connection with the alphabet forms the basis of the identity. Every message on any media can be spelled out without loosing its framework. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/abcd_identity</loc>
		<priority>0.64</priority>
		<title>ABC+D [identity]</title>
		<content><![CDATA[ABC+D Proposal corporate identity, 2010 Identity for a never realized bookstore and distribution house. Our great affinity with Letraset sheets in combination with the bookstores obvious connection with the alphabet forms the basis of the identity. Every message on any media can be spelled out without loosing its framework. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/de_hallen_haarlem_exhibition</loc>
		<priority>0.64</priority>
		<title>De Hallen Haarlem [exhibition]</title>
		<content><![CDATA[De Hallen Haarlem Presentation of their visual identity, 2010 The Pavilion in De Hallen Haarlem housed a presentation of their identity. Cutting in existing fonts, which gains a very different look as a result of this simple intervention, lends the house style a recognizable character and symbolizes the two pillars that support De Hallen&amp;rsquo;s identity: the exhibitions and the museum itself. Each exhibition has its own font, in other words. In this presentation, all fonts that have been made up to now pass in review. The different letters are presented on the wall. Each letter was combined with our so-called ABC-Primer build with our &#039;design-principles&#039;. The visitor can pick his favorite letter and take it home. Also see the identity of De Hallen Haarlem Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/k-swiss_poster</loc>
		<priority>0.64</priority>
		<title>K-Swiss [poster]</title>
		<content><![CDATA[You got to know your classics Poster, 2009 We were invited by communication company Lemon Scented Tea to contribute a poster for their new K-Swiss campaign. Our assigned topic was &#039;You got to know your classics&#039;. Choosing Helvetica, which is used for the k-Swiss logo, we referred to a Helvetica sticker sheet you can buy in every office-supply shop. By tearing apart the reassembled message on the sheet we wanted to express the necessity of breaking through boundaries. Many different messages (see sketches) have passed the revue, ending up with &#039;The True Classic&#039; which fitted most in the overall campaign. Archive: Cobbenhagen Hendriksen &amp;mdash; .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/collectionpeople_identity</loc>
		<priority>0.64</priority>
		<title>CollectionPeople [identity]</title>
		<content><![CDATA[CollectionPeople Proposal corporate identity, 2009 CollectionPeople offers art advice and collection management to companies, museums, government institutions and private persons. The wide-ranging quality and expertise, the unique service and above all the quality of the works which are represented through the different activities of CollectionPeople should be tangibly present in its visual identity. A changing range which consists of three artist names and art critics (in the field of contemporary art, photography, architecture and design) is forming a variate of dynamic teams. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/the_bilderdijk_initials</loc>
		<priority>0.64</priority>
		<title>The Bilderdijk Initials </title>
		<content><![CDATA[The Bilderdijk Initials Tex, Roxy, Miles and Harvey Impressed by the beauty of the &amp;lsquo;Bilderdijk Initials&amp;rsquo;, an ornamental alphabet made by the Dutch typedesigner Sjoerd Hendrik de Roos (1877-1962), we searched the library &amp;lsquo;Special Collections of the University of Amsterdam&amp;rsquo; to see the original type proof of 1908. We traced the initials &amp;lsquo;R&amp;rsquo; and &amp;lsquo;T&amp;rsquo; and used them in 2008 to present Tex and Roxy to the world, in 2010 an ornament of the same alphabet welcomed Miles and another initial announced Harvey in 2011. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/collectionpeople_identity__1</loc>
		<priority>0.64</priority>
		<title>CollectionPeople [identity]</title>
		<content><![CDATA[CollectionPeople Proposal corporate identity, 2009 CollectionPeople offers art advice and collection management to companies, museums, government institutions and private persons. The wide-ranging quality and expertise, the unique service and above all the quality of the works which are represented through the different activities of CollectionPeople should be tangibly present in its visual identity. A changing range which consists of three artist names and art critics (in the field of contemporary art, photography, architecture and design) is forming a variate of dynamic teams. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/surfing_views_publication</loc>
		<priority>0.64</priority>
		<title>Surfing Views [publication]</title>
		<content><![CDATA[Surfing Views &amp;ndash; A Couchsurfing Directory Publication + posterserie, 2010 Since 2003, 1.187.696 (June 2009) people have signed up for couchsurfing.org offering free accommodation to strangers. Stefanie Gr&amp;auml;tz surfed couches through Europe and photographed the views from her hosts&#039; sofas, mattresses and floors. These views from the couches are accompanied by images from the couches itself offered (and taken) by the members of the website. It forms a directory of available couches. The pages are perforated to make the suggestion you could tear out your choice of stay. The publication is a companion to the exhibition &#039;Surfing Views / 7 cities, 13 couches, 15 nights&#039; for Bouw in Beeldprijs 2009 at Cobra Museum, Amstelveen. Stefanie Gr&amp;auml;tz is nominated for the Dutch Doc Award with this project. Archive: Cobbenhagen Hendriksen &amp;mdash; Concept &amp;amp; Photography Stefanie Gr&amp;auml;tz, 2009 Language English Printer HP Laserjet 5100 Size 190 x 240 mm Pages 336 Print run 3 Price for more information see www.stefaniegratz.nl Binding style Unsewn soft cover with perforated pages in the interior Paper 80 grams Popset mintgroen + Silk mc.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/nimk_-_here_we_are_en_there_we_go_anniversary</loc>
		<priority>0.64</priority>
		<title><![CDATA[NIMk - Here We Are & There We Go [anniversary]]]></title>
		<content><![CDATA[Nederlands Instituut voor Mediakunst &amp;ndash; NIMk Corporate identity, 2009 The Netherlands Media Art Institute celebrated its 30th anniversary with the open house weekend Here we are &amp;amp; there we go! in May 2009. A weekend filled with discussions, party, screenings, symposium, etc. Derived from our image collections we used to visualize the exhibitions, we cut the images into pieces to write all the different messages for the specific components of the weekend. And spreading the left-overs as &#039;party-decoration&#039;. Archive: Cobbenhagen Hendriksen &amp;mdash; More NIMk: Identity Netherlands Media Art Institute Play-Out Annual Report 2008 Annual Report 2007 .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/de_hallen_haarlem_identity__1</loc>
		<priority>0.64</priority>
		<title>De Hallen Haarlem [identity]</title>
		<content><![CDATA[De Hallen Haarlem Corporate identity, 2007-ongoing The main points for the proposal for the identity for the contemporary art museum De Hallen Haarlem was that the identity should function on different levels. The museum is built out of a composition of three neighbouring buildings on the Grote Markt in Haarlem. This inspired us to start breaking up fonts and after several drafts we were cutting vertically into in every possible typeface. Now we could use a different typeface for every artist, to create its personal identity, and to visualy connect them with the exhibition and the De Hallen Haarlem. The intervention in the typefaces makes De Hallen Hallen recognizable into its smallest detail and at same time gives us the ultimate freedom to play around with the overall identity. See more of the identity and its exhibition Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/recidency_2010_-_rijksakademie_amsterdam</loc>
		<priority>0.64</priority>
		<title>Recidency 2010 - Rijksakademie Amsterdam</title>
		<content>Series of advertisements for the recruitment campaign for the Residencies 2010 of the Rijksakademie van Beeldende Kunsten. A secondary layer of information appears in between the main message, accompanied by reference images. Archive: Cobbenhagen Hendriksen .</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/125-jaar_vereniging_rembrandt_stamp</loc>
		<priority>0.64</priority>
		<title>125-jaar Vereniging Rembrandt [stamp]</title>
		<content><![CDATA[125-jaar Vereniging Rembrandt Stamp, value euro 6,65, June 2008 Commissioned by TNT Post. On the stamp a selection of signatures is visible from a wide range of artists who&#039;s work is purchased with the support of the Vereniging Rembrandt. A curl rises from this collection, which shows a vignette symbolizing the certification mark that the Vereniging Rembrandt represents after having supported a work. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/eating_the_image_mary_a_waters_monograph</loc>
		<priority>0.64</priority>
		<title>Eating The Image, Mary A. Waters [monograph]</title>
		<content><![CDATA[Eating the Image, Mary Waters Monograph, 2008 The publication &amp;lsquo;Eating the Image&amp;rsquo; of the artist Mary Waters represents, besides the reproduction of her paintings, inspiration- and reference material. These images, mainly from contemporary magazines such as Elle and Interiors, are placed on the inside of the pages and reveal another layer in the publication as well as in her work. Read more in the judges&#039; report Best Verzorgd Boek 2008 Archive: Cobbenhagen Hendriksen &amp;mdash; Author Margriet Kemper, Pietje Tegelenbosch, Frank van der Schoor Language English / Dutch Publisher Pels &amp;amp; Kemper, Den Bosch Printer Pantheon Drukkers, Velsen-Noord Binder Boekbinderij Patist, Den Dolder Size 225 x 300 mm Pages 4+80+16 Print run 750 Price &amp;euro; 29,50, www.pelskemper.nl ISBN 978 90 7937203 4 Font Luther [Kasper Andreasen] Binding style Unsewn soft cover, sheets uncut at tail Paper 115 grams GradaGloss Art, 80 grams Multicolors, ametystlila, 300 grams Job Parilux Gesatineerd.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/eating_the_image_mary_waters_monograph</loc>
		<priority>0.64</priority>
		<title>Eating the Image, Mary Waters [monograph]</title>
		<content><![CDATA[Eating the Image, Mary Waters Monograph, 2008 The publication &amp;lsquo;Eating the Image&amp;rsquo; of the artist Mary Waters represents, besides the reproduction of her paintings, inspiration- and reference material. These images, mainly from contemporary magazines such as Elle and Interiors, are placed on the inside of the pages and reveal another layer in the publication as well as in her work. Read more in the judges&#039; report Best Verzorgd Boek 2008 Archive: Cobbenhagen Hendriksen &amp;mdash; Author Margriet Kemper, Pietje Tegelenbosch, Frank van der Schoor Language English / Dutch Publisher Pels &amp;amp; Kemper, Den Bosch Printer Pantheon Drukkers, Velsen-Noord Binder Boekbinderij Patist, Den Dolder Size 225 x 300 mm Pages 4+80+16 Print run 750 Price &amp;euro; 29,50, www.pelskemper.nl ISBN 978 90 7937203 4 Font Luther [Kasper Andreasen] Binding style Unsewn soft cover, sheets uncut at tail Paper 115 grams GradaGloss Art, 80 grams Multicolors, ametystlila, 300 grams Job Parilux Gesatineerd.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/hood_cornelius_quabeck_monograph__1</loc>
		<priority>0.64</priority>
		<title>'Hood' Cornelius Quabeck [monograph]</title>
		<content>&#039;Hood&#039; Cornelius Quabeck Monograph, 2007 Publication about the work of the artist Cornelius Quabeck. The wrapped sections isolate the different bodies of work and suggest continuity; as if another section could easily be added. The wrappers also function as information-holders, the captions don&#039;t have to appear on the works it self. In this way, reinforced by placing the images with overfill on the page, the paintings stand on their own. Read more in the judges&#039; report Best Verzorgd Boek 2007 Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.</content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/nimk_-_netherlands_media_art_institute_identity</loc>
		<priority>0.64</priority>
		<title>NIMk - Netherlands Media Art Institute [identity]</title>
		<content><![CDATA[Nederlands Instituut voor Mediakunst / NIMk Corporate Identity, 2007-2012 In the identity for the Netherlands Media Art Institute we try to visually answer the question what is media-art?. Within the collections of images we look for features, cliches, shapes, themes or technical developments in the history of media-art in relation to a specific exhibition. The identity of NIMk shifted in 2011 from our visual approach to a more bolder and raw one. Due to the outrageous cuts in the Dutch arts and culture funding NIMk&#039;s (worldwide) leading position in researching and representing all forms of media art will be destroyed. For this reason we now use the typography in more combative manners to emphasize this alarming situation. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/nimk_-_anniversary_campaign</loc>
		<priority>0.64</priority>
		<title>NIMk - Anniversary [campaign]</title>
		<content><![CDATA[Nederlands Instituut voor Mediakunst &amp;ndash; NIMk Corporate identity, 2009 The Netherlands Media Art Institute celebrated its 30th anniversary with the open house weekend Here we are &amp;amp; there we go! in May 2009. A weekend filled with discussions, party, screenings, symposium, etc. Derived from our image collections we used to visualize the exhibitions, we cut the images into pieces to write all the different messages for the specific components of the weekend. And spreading the left-overs as &#039;party-decoration&#039; Archive: Cobbenhagen Hendriksen &amp;mdash; More NIMk: Identity Netherlands Media Art Institute Play-Out Annual Report 2008 Annual Report 2007 .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/nimk_-_netherlands_media_art_institute_website</loc>
		<priority>0.64</priority>
		<title>NIMk - Netherlands Media Art Institute [website]</title>
		<content><![CDATA[Nederlands Instituut voor Mediakunst / NIMk Corporate Identity, 2007-ongoing The design for the website of the Netherlands Media Art Institute derives from form-solutions of the initial identity in which the typeface Digigrotesk, the &#039;NIMk&#039;-Blue and heavy underlining are playing an important role for its recognition. A clear Content Management System and structure are the backbone for this website, designed by Nick Koning. Archive: Cobbenhagen Hendriksen &amp;mdash; More NIMk: Annual Report 2008 Here We Are &amp;amp; There We Go! Play-Out Annual Report 2007.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/aa_kok_verheerlijking_van_de_gouden_eeuw_catalogue</loc>
		<priority>0.64</priority>
		<title>A.A. Kok, Verheerlijking van de Gouden Eeuw [catalogue]</title>
		<content><![CDATA[A.A. Kok, Verheerlijking van de Gouden Eeuw Exhibition and cataloque design, 2007 The exhibition A.A. Kok - Verheerlijking van de Gouden Eeuw at the Netherlands Architecture Institute, Rotterdam shows an overview of the buildings that were restored in the 20th century by the architect A.A. Kok and his son Ysbrand to their idealized 17th century appearance. Before and after restoration are showed mirrored on the floor and wall, so that an Amsterdam ring of canals appears in the institute. The brochure is the extended version of this principle. Archive: Cobbenhagen Hendriksen &amp;mdash; Author Anneke Abhelakh, NAi, 2007 Language English / Dutch Printer Pantheon Drukkers, Velsen-Noord Size A5 Pages 24 Print run 1000 Font Avenir, Copper Decor Binding style Stapled with black staples.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/tubelight_magazine</loc>
		<priority>0.64</priority>
		<title>Tubelight [magazine]</title>
		<content><![CDATA[Tubelight Magazine, 2007-2010 Tubelight is a bi-monthly review magazine for contemporary art. In the 21 issues we designed, the fact that it is a review-magazine with a certain reference/agenda-function forms the basis. The tab-system emphasizes the functionality of the magazine, but at the same time we take the freedom to use the tabs in a different way every issue. The photography of the cover is done by Petra Stavast and the typeface Septima is designed by Radim Pesko. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/nimk_-_annual_report_2007_publication</loc>
		<priority>0.64</priority>
		<title>NIMk - Annual Report 2007 [publication]</title>
		<content><![CDATA[Nederlands Instituut voor Mediakunst / NIMk Annual report, 2007 The Annual Report 2007 of The Netherlands Media Art Institute appeared in the standard publication lay-out within the identity. On the cover a rearrangement of all the images used for the invitations of that year is shown. Archive: Cobbenhagen Hendriksen &amp;mdash; Poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039; corresponding with the identity of NIMk..]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/nimk_-_play_out_publication</loc>
		<priority>0.64</priority>
		<title>NIMk - Play Out [publication]</title>
		<content><![CDATA[Nederlands Instituut voor Mediakunst / NIMk Publication, 2009 Publication Play-Out, on new techniques concerning the accessibility and conservation of the video-collections in the Netherlands by Gaby Wijers (Netherlands Media Art Institute). Archive: Cobbenhagen Hendriksen &amp;mdash; Author NIMk, 2009 Language Dutch Printer Cito Repro Binder Handboekbinderij Geersten, Nijmegen Size A4 Pages 48 Typeface DigiGrotesk Binding style Unsewn selfcovering, glued in blue &amp;mdash; More NIMk: Identity Netherlands Media Art Institute Here We Are &amp;amp; There We Go! Annual Report 2008 Annual Report 2007.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/nimk_-_annual_report_2008_publication</loc>
		<priority>0.64</priority>
		<title>NIMk - Annual Report 2008 [publication]</title>
		<content><![CDATA[Nederlands Instituut voor Mediakunst / NIMk Annual report, 2008 The Annual Report 2008 of The Netherlands Media Art Institute appeared in the standard publication lay-out within the identity. Except for the image pages, these are shown as an (inverted) &#039;Cover Flow&#039;, referring to this typical digital presentation form on the internet. More NIMk: Identity Netherlands Media Art Institute Here We Are &amp;amp; There We Go! Annual Report 2007 Archive: Cobbenhagen Hendriksen &amp;mdash; Poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039; corresponding to the identiy of NIMk .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/studieguide__amsterdam_school_of_the_arts_guide</loc>
		<priority>0.64</priority>
		<title>Studieguide – Amsterdam School of the Arts [guide]</title>
		<content><![CDATA[Studiegidsen Guide- and sketchbooks; blue (2005), red (2006) and green (2007) Commissioned by the Amsterdam School of the Arts. The study-guide turned into an empty sketchbook, which is open for completion by the individual student. In the back the specific, obligated information about the courses can be found. &amp;mdash; Publisher Amsterdamse Hogeschool voor de Kunsten Printer Pantheon Drukkers, Velsen-Noord Binder Stokkink, Amsterdam Size A4 Pages 168 blank and 24 printed pages Print run 800 Typeface AG Book Binding style Sewn linnen hardback with wrapper .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/stedelijk_museum_ypenburg_project</loc>
		<priority>0.64</priority>
		<title>Stedelijk Museum Ypenburg [project]</title>
		<content><![CDATA[Stedelijk Museum Ypenburg Project in the public domain, 2007 In Stedelijk Museum Ypenburg the bay windows of the Plesmanlaan are defined / appointed as &amp;lsquo;museum cases&amp;rsquo; and the residents themselves function as curators. The objects, its relationship, origin etc., were researched and the outcome is presented in a catalogue, posters and a series of postcards in which these everyday-objects are turned into icons. Commissioned by Claudia Linders and the Artoteek, Den Haag Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/a_vision_on_jan_van_eyck_research</loc>
		<priority>0.64</priority>
		<title>A Vision on Jan van Eyck [research]</title>
		<content><![CDATA[A vision on Jan van Eyck Research (non)proposal, 2006 A research on a new identity for the Jan van Eyck Academy, Maastricht. The visual enlargement, in which the form is an exaggeration of the content and the used quotes from the so-called Jan-van-Eyck- vocabulary are taken out of its context, made the commissioner realize what he really wanted: a new letterhead in the same style as their current website. Archive: Cobbenhagen Hendriksen &amp;mdash; More Jan van Eyck Academy: Yearbook 2005 Recruitement campaign Trichtlinnburg .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/yearbook_2005_-_jan_van_eyck_academy_annual_report</loc>
		<priority>0.64</priority>
		<title>Yearbook 2005 - Jan van Eyck Academy [annual report]</title>
		<content><![CDATA[Annual report 2005 for the Jan van Eyck Academy. Details of all the printed matter in combination with images of the research-projects visualize the Jan van Eyck Academy in 2005. The book has been perforated in several places to emphasize the passing of the year. Archive: Cobbenhagen Hendriksen &amp;mdash; Author Jan van Eyck Academy, Maastricht, 2006 Language English / Dutch Publisher Jan van Eyck Academy, Maastricht Printer Holbox bv, Echt Binder Handboekbinderij Geersten Size 200 x 270 mm Pages 224 Print run 500 / 700 Typeface Pinball, Futura ND Binding style Unsewn selfcovering, glued in black, drill-holes in three places Paper 90 grams IJsselprint &amp;mdash; More Jan van Eyck: Recruitement Campaign 2006/2007 Trichtlinnburg.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/jan_van_eyck_academy_campaign</loc>
		<priority>0.64</priority>
		<title>Jan van Eyck Academy [campaign]</title>
		<content><![CDATA[Jan van Eyck Academy Recruitment campaign 2006 &amp;ndash; 2007 For the Jan van Eyck Academy, Maastricht. 100 questions about Jan van Eyck formed our starting point for the annual recruitment campaign and development of their new identity. The variate of elements in the campaign (posters, advertisements and brochure) are all realized within the A0 poster. All the implementations of the campaign are now piled up. The actual implementations are every time a cut out from a different piece of the A0. For this project we digitalized the typeface Pinball and added 2 new versions to it, making it a Pinball family. More Jan van Eyck: A Vision on Jan van Eyck, Yearbook 2005, Trichtlinnburg Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039; .]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/metropolis_m_pitchproposal</loc>
		<priority>0.64</priority>
		<title>Metropolis M [pitch/proposal]</title>
		<content><![CDATA[Metropolis M Pitch, 2008 Pitch for the magazine Metropolis M in November 2008. The question of the pitch was to make a design that would originate from &#039;the classic&#039;-design made by Julia Born. Content-wise the magazine wouldn&#039;t change at that moment. Since our starting point was &#039;the classics&#039; without a differ in content, we wanted to create a design which would function as a start of change, so the design would make changes in time and content possible without loosing Metropolis M&#039;s distinguish character. To do so we needed a strong grid which would define each and every design decision and would be able to influence changes and easily evolve in form through time. We choose to find the basis for this strict grid in a typeface designed with such rules; the Replica (designed by Norm, CH). The combination of the typeface and the grid creates enough space, for the magazine and its appearance to -first of all- start and then keep on changing. Archive: Cobbenhagen Hendriksen &amp;mdash; Download the proposal.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/trichtlinnburg__jan_van_eyck_academy_posters</loc>
		<priority>0.64</priority>
		<title>Trichtlinnburg – Jan van Eyck Academy [posters]</title>
		<content><![CDATA[Posters for the book launch of Trichtlinnburg, An urban Affair at Marres, Maastricht. The series of accolades we developed detach themselves from the publication; the functional element in the book becomes ornamental in the poster series. More Jan van Eyck: A Vision on Jan van Eyck, Recruitement Campaign, Yearbook 2005, Trichtlinnburg Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/trichtlinnburg__jan_van_eyck_academy_publication</loc>
		<priority>0.64</priority>
		<title>Trichtlinnburg – Jan van Eyck Academy [publication]</title>
		<content><![CDATA[Trichtlinnburg was a cooperation between Maastricht, Tallin and Salzburg. The project dealt with art in public space in relation to the citizens and the tourist-industry. The publication is split up in three books, with each their own cover, back cover, etc bound together as one book. Every single book shows, each in another way, the contrasts, different interpretations and self-criticism of the projects. A reference system using a set of accolades is used to cross refer within and between the three books. This makes it possible to follow a project through the different books and to read and watch all the different angles, images and opinions. More Jan van Eyck: Trichtlinnburg posters, Recruitement Campaign 2006/2007, A Vision on Jan van Eyck, Yearbook 2005 Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/hit_en_run__smart_project_space_catalogue</loc>
		<priority>0.64</priority>
		<title><![CDATA[Hit & Run – Smart Project Space [catalogue]]]></title>
		<content><![CDATA[Hit &amp;amp; Run Interventions, performances throughout Istanbul, 2004 Catalogue for the exhibition &#039;Hit &amp;amp; Run&#039; commissioned by SMART Project Space, Amsterdam. The exhibitions consisted of performances and interventions throughout Istanbul. The visual material is treated in such a way that the reactions of the audience (the passers-by) become most important. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/hit_en_run_cataloque</loc>
		<priority>0.64</priority>
		<title><![CDATA[Hit & Run [cataloque]]]></title>
		<content><![CDATA[Hit &amp;amp; Run Interventions, performances throughout Istanbul, 2004 Typography for the catalogue &#039;Hit &amp;amp; Run&#039; commissioned by SMART Project Space, Amsterdam. The exhibitions consisted of performances and interventions throughout Istanbul. The visual material is treated in such a way that the reactions of the audience (the passers-by) become most important. The newspaper reference of the typography emphazises the strong titles of the works and repeat themselves on every page as long as the work is represented in the catalogue. See more of the lay-out Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
	<url>
		<loc>http://www.studiohendriksen.com/archive/hit_en_run_cataloque__1</loc>
		<priority>0.64</priority>
		<title><![CDATA[Hit & Run [cataloque]]]></title>
		<content><![CDATA[Hit &amp;amp; Run Interventions, performances throughout Istanbul, 2004 Catalogue for the exhibition &#039;Hit &amp;amp; Run&#039; commissioned by SMART Project Space, Amsterdam. The exhibitions consisted of performances and interventions throughout Istanbul. The visual material is treated in such a way that the reactions of the audience (the passers-by) become most important. Archive: Cobbenhagen Hendriksen &amp;mdash; Corresponding poster from the &#039;ABC Primer &amp;ndash; Rainbow Series&#039;.]]></content>
	</url>
</urlset>

