based on bas oudt · 2009 · Book · Op basis van Bas Oudt · ISBN 978 9076452 48 7 Published by De Buitenkant · In Dutch and English · 22 x 33 cm · 252 pp
Bas Oudt (Djakarta, 1956) graduated in 1981 from the Rietveld Academy. As a freelance graphic designer he worked for among other things the artists’ collective W139 and the Centraal Museum Utrecht. Typographical aspects play an important part in many of his works. Oudt shared a workshop with Melle Hamer and was a teacher at his old academy the Rietveld. Richard was his student for one year and was his trainee as well. Oudt taught Esther for an even shorter time, but his animated classes made a lasting impression. His small (due to his illness) oeuvre still is a source of inspiration. Richard and Esther initiated this publication, because Oudt’s work is largely unknown.
On the initiative of the makers of this book Oudt’s archive will be taken up in the Bijzondere Collecties of the Amsterdam university library. The book itself also has an archive-function: Oudt describes and elucidates a wide choice of his oeuvre. See also: ARCHIVE
‘Op basis van Bas Oudt’ is an initiative of Niessen & de Vries. The aim was to show Oudt’s unknown oeuvre, emphasizing the physical aspects of his prints. Furthermore, the book had to show the width of Oudt’s influence. For this purpose seven of his former students were invited to make a section on and with his work. Uta Eisenreich was asked to photograph Oudt’s work. Chris Reinewald wrote the texts and Claudi Kessles (in her turn one of Richard’s students) tended to the general design. The project was generously sponsored by the Netherlands Foundation for Visual Arts, Design and Architecture & Uitgeverij de Buitenkant.
The exhibition - a derivative of some of the book’s sections - travels to various art academies. (design by Lowies van Zanen and others). See also: EXHIBITION See also: EXHIBITION
Uta Eisenreich photographed Bas Oudt’s oeuvre and a part of his collections with precision and a sense of humour: the various elements of Oudt’s work are visualized through through precize illumination and playful ordering. See also: ARRANGING
Oudt collects newspaper photos of disasters and he holds strong views on the reproduction and positioning of the image within a design. Partly due to his background as a printer, he has a surprising way of handling images. With reproductions he doesn’t strive to portray the work as realistically as possible, but to use typography and the design in such a way that the work’s character or soul is revealed. In Esther’s contribution she sets out on a graphical exploration using Oudt’s disaster photos - and his stories - as her point of departure.
For his students Bas Oudt made a selection of works he admired in visual arts, design literature, movies and music. His catching explanation of these works have been taken up in this book as a ‘list of homework’, enabling us to get better acquainted with his fascinations and pet subjects.
Seven former students of Bas Oudt (Jozee Brouwer, Harmen Liemburg, Katja van Stiphout, Werkplaats Amsterdam, Richard Niessen and Esther de Vries) made new work in response of Oudt’s design mentality and fascinations - from Frank Sinatra to Jo Spier, and from Andries Copier to Bibendum. The basis for all sections was one or more of his works or themes. Because each of these designers was influenced by Oudt’s work differently, their sections together form a sampling of visions, fascinations and typographies.
For their contribution the seven participants were given a choice of five types of paper in combination with five sets of colour, based on the work of Bas Oudt. This provided for a unity in the book, despite the fact that eight different designers worked on it. Because Niessen and de Vries were each already making a section, they asked Claudi Kessels to take care of the general design of the book.
For ‘his sixteen pages’ Richard designed masonry with statements on typography typical for Bas Oudt as well as Oudt’s work. Two interlocking towers of words, dancing letters, and text blocks: ‘Letters and graphical elements are used very expressively in Bas Oudt’s work. Especially his designs where letters turn into building blocks and the graphical elements form a toolkit have been very influential to my own work.’ See also: TYPOGRAPHIC ·MASONRY