Serial Cut is a Spanish design studio founded in Madrid by Sergio del Puerto. It specializes in art direction for international advertising projects. The studio creates slick, bold graphic images using real sets and 3D elements. Typography plays an important role in their work. Serial Cut combines pop culture, luxury, and surrealism in their iconic images that are open to multiple interpretations. They have attracted high-profile clients like Toyota, Nike, and Sony.

1. SERIAL CUT
EXPERIMENTAL TYPO IN FORM CLASSIC TYPO DECORATIVE
KAREL MARTENS MAGNUS RAKENG ALEX TROCHUT

2. GRAPHIC DESIGN HELENE KRISTIANSEN INSPIRATION SERIAL CUT, KAREL MARTENS, MAGNUS RAKENG, ALEZ TROCHUT

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CREDITS
SERIAL CUT
KAREL MARTENS
MAGNUS RAKENG
ALEX TROCHUT
EXPERIMENTAL TYPOGRAPHY
DECORATIVE TYPOGRAPHY
CLASSIC TYPOGRAPHY
TYPOGRAPHY IN FORM

4. SERIAL CUT KAREL MARTENS MAGNUS RAKENG ALEX TROCHUT
04 TYPO 2013
GIVE EACH PIECE A NEW DIMENSION
Specialisinginartdirectionforadvertisingandknownforitsgraphicstilllifes,typographicalacrobatics
and its organic use of 3D, Serial Cut™ combines pop culture with a certain surrealism, a combination
which creates iconic images that are always open to a second interpretation.

5. SERIAL CUT IS A SPANISH DESIGN STUDIO ESTABLISHED IN MADRID BY SERGIO DEL PUERTO THAT FOCUSES ON ART DIRECTION
FOR INTERNATIONAL ADVERTISING PROJECTS. IT MAKES SLICK, CLEAN AND BOLD IMAGES. USING REAL TACTILE SETS OR 3D
- AND TYPOGRAPHY HAS AN IMPORTANT ROLE, AND IN AN UPDATED VISIÓN, POP CULTURE, LUXURY AND SURREALISM ARE
ALL ENCOMPASSED. THE STUDIO WORKS ALONGSIDE AN EVER-GROWING TEAM OF PROFESSIONALS WHO SPECIALIZE IN
DIFFERENT AREAS SUCH AS PHOTOGRAPHY, DESIGN, MOTION GRAPHICS AND 3D DESIGN. DEPENDING ON THE NATURE OF
A GIVEN PROJECT, DIFFERENT CONTRIBUTORS ARE CHOSEN TO GIVE EACH PIECE A NEW DIMENSION. THEIR MAIN CLIENTS
INCLUDE WORLDWIDE AD AGENCIES AND BIG AND SMALL COMPANIES FROM THE ENTERTAINMENT, ARTS AND CULTURE
INDUSTRIES. INSPIRATION COMES FROM CURRENT AND PAST DECADES, BUT IT IS ALWAYS REVIEWED AND RENEWED, AND
TODAY IT HAS A CONTEMPORARY LOOK. SERIAL CUT IS ALSO REPRESENTED WORLDWIDE IN USA, CHINA, UK, SPAIN, FRANCE,
NETHERLANDS AND ITALY. THE STUDIO JUST LAUNCHED WITH INDEX BOOK THEIR BOOK “EXTRABOLD.”, THAT COMPILES
ALL THEIR WORKS THROUGH 320 PAGES WITH EXTRA CONTENT VIA AUGMENTED REALITY. SPECIALISING IN ART DIRECTION
FOR ADVERTISING AND KNOWN FOR ITS GRAPHIC STILL LIFES, TYPOGRAPHICAL ACROBATICS AND ITS ORGANIC USE OF 3D,
SERIAL CUT™ COMBINES POP CULTURE WITH A CERTAIN SURREALISM, A COMBINATION WHICH CREATES ICONIC IMAGES
THAT ARE ALWAYS OPEN TO A SECOND INTERPRETATION. OUR AIM IS TO GO BEYOND WHAT’S IN OUR MINDS AND IN OUR
CLIENTS’ MINDS WHEN WE START A PROJECT, TO TAKE THE CHALLENGE A LITTLE FURTHER BOTH IN TERMS OF TECHNIQUE
AND OF CONCEPT, AND TO ALWAYS END UP WITH A CONTEMPORARY AND FRESH RESULT. SERIAL CUT HAS A GENUINE
STAMP, EMBRACING POP CULTURE, LUXURY AND SURREALISM AT THE SAME TIME. A FANTASTIC ALCHEMY OF ELEMENTS
THAT CLEVERLY BRING TRIDIMENSIONAL REPRESENTATION INTO AN UNMISTAKABLE GRAPHIC AND ICONIC STYLE. NEVER
BEFORE HAS A PIECE OF BROCCOLI LOOKED SO INTERESTING UNTIL SERIAL CUT MADE IT SO. IT IS NO WONDER WHY SERIAL
CUT HAS ATTRACTED SUCH HIGH PROFILE CLIENTELE SUCH AS TOYOTA, NIKE, SONY AND SO MANY OTHERS. EVERYTHING THEY
TOUCH COMES TO FRUITION IN A WAY THAT IS JUST SIMPLY FUN. SERIAL CUT IS A SPANISH DESIGN STUDIO ESTABLISHED IN
MADRID BY SERGIO DEL PUERTO THAT FOCUSES ON ART DIRECTION FOR INTERNATIONAL ADVERTISING PROJECTS. IT MAKES
SLICK, CLEAN AND BOLD IMAGES. USING REAL TACTILE SETS OR 3D - AND TYPOGRAPHY HAS AN IMPORTANT ROLE, AND IN
AN UPDATED VISIÓN, POP CULTURE, LUXURY AND SURREALISM ARE ALL ENCOMPASSED. THE STUDIO WORKS ALONGSIDE
AN EVER-GROWING TEAM OF PROFESSIONALS WHO SPECIALIZE IN DIFFERENT AREAS SUCH AS PHOTOGRAPHY, DESIGN,
MOTION GRAPHICS AND 3D DESIGN. DEPENDING ON THE NATURE OF A GIVEN PROJECT, DIFFERENT CONTRIBUTORS ARE
CHOSEN TO GIVE EACH PIECE A NEW DIMENSION. THEIR MAIN CLIENTS INCLUDE WORLDWIDE AD AGENCIES AND BIG AND
SMALL COMPANIES FROM THE ENTERTAINMENT, ARTS AND CULTURE INDUSTRIES. INSPIRATION COMES FROM CURRENT
AND PAST DECADES, BUT IT IS ALWAYS REVIEWED AND RENEWED, AND TODAY IT HAS A CONTEMPORARY LOOK. SERIAL
CUT IS ALSO REPRESENTED WORLDWIDE IN USA, CHINA, UK, SPAIN, FRANCE, NETHERLANDS AND ITALY. THE STUDIO JUST
LAUNCHED WITH INDEX BOOK THEIR BOOK “EXTRABOLD.”, THAT COMPILES ALL THEIR WORKS THROUGH 320 PAGES WITH
EXTRA CONTENT VIA AUGMENTED REALITY. SPECIALISING IN ART DIRECTION FOR ADVERTISING AND KNOWN FOR ITS
GRAPHIC STILL LIFES, TYPOGRAPHICAL ACROBATICS AND ITS ORGANIC USE OF 3D, SERIAL CUT™ COMBINES POP CULTURE
WITH A CERTAIN SURREALISM, A COMBINATION WHICH CREATES ICONIC IMAGES THAT ARE ALWAYS OPEN TO A SECOND
INTERPRETATION. OUR AIM IS TO GO BEYOND WHAT’S IN OUR MINDS AND IN OUR CLIENTS’ MINDS WHEN WE START A
PROJECT, TO TAKE THE CHALLENGE A LITTLE FURTHER BOTH IN TERMS OF TECHNIQUE AND OF CONCEPT, AND TO ALWAYS
END UP WITH A CONTEMPORARY AND FRESH RESULT. SERIAL CUT HAS A GENUINE STAMP, EMBRACING POP CULTURE,
LUXURY AND SURREALISM AT THE SAME TIME. A FANTASTIC ALCHEMY OF ELEMENTS THAT CLEVERLY BRING TRIDIMENSIONAL
REPRESENTATION INTO AN UNMISTAKABLE GRAPHIC AND ICONIC STYLE. NEVER BEFORE HAS A PIECE OF BROCCOLI
LOOKED SO INTERESTING UNTIL SERIAL CUT MADE IT SO. IT IS NO WONDER WHY SERIAL CUT HAS ATTRACTED SUCH HIGH
PROFILE CLIENTELE SUCH AS TOYOTA, NIKE, SONY AND SO MANY OTHERS. EVERYTHING THEY TOUCH COMES TO FRUITION
IN A WAY THAT IS JUST SIMPLY FUN. SERIAL CUT IS A SPANISH DESIGN STUDIO ESTABLISHED IN MADRID BY SERGIO DEL
PUERTO THAT FOCUSES ON ART DIRECTION FOR INTERNATIONAL ADVERTISING PROJECTS. IT MAKES SLICK, CLEAN AND BOLD
IMAGES. USING REAL TACTILE SETS OR 3D - AND TYPOGRAPHY HAS AN IMPORTANT ROLE, AND IN AN UPDATED VISIÓN, POP
CULTURE, LUXURY AND SURREALISM ARE ALL ENCOMPASSED. THE STUDIO WORKS ALONGSIDE AN EVER-GROWING TEAM
OF PROFESSIONALS WHO SPECIALIZE IN DIFFERENT AREAS SUCH AS PHOTOGRAPHY, DESIGN, MOTION GRAPHICS AND 3D
DESIGN. DEPENDING ON THE NATURE OF A GIVEN PROJECT, DIFFERENT CONTRIBUTORS ARE CHOSEN TO GIVE EACH PIECE
A NEW DIMENSION. THEIR MAIN CLIENTS INCLUDE WORLDWIDE AD AGENCIES AND BIG AND SMALL COMPANIES FROM
THE ENTERTAINMENT, ARTS AND CULTURE INDUSTRIES. INSPIRATION COMES FROM CURRENT AND PAST DECADES, BUT
IT IS ALWAYS REVIEWED AND RENEWED, AND TODAY IT HAS A CONTEMPORARY LOOK. SERIAL CUT IS ALSO REPRESENTED
WORLDWIDE IN USA, CHINA, UK, SPAIN, FRANCE, NETHERLANDS AND ITALY. THE STUDIO JUST LAUNCHED WITH INDEX BOOK
THEIR BOOK “EXTRABOLD.”, THAT COMPILES ALL THEIR WORKS THROUGH 320 PAGES WITH EXTRA CONTENT VIA AUGMENTED
REALITY. SPECIALISING IN ART DIRECTION FOR ADVERTISING AND KNOWN FOR ITS GRAPHIC STILL LIFES, TYPOGRAPHICAL
ACROBATICS AND ITS ORGANIC USE OF 3D, SERIAL CUT™ COMBINES POP CULTURE WITH A CERTAIN SURREALISM, A
COMBINATION WHICH CREATES ICONIC IMAGES THAT ARE ALWAYS OPEN TO A SECOND INTERPRETATION. OUR AIM IS TO
GO BEYOND WHAT’S IN OUR MINDS AND IN OUR CLIENTS’ MINDS WHEN WE START A PROJECT, TO TAKE THE CHALLENGE
A LITTLE FURTHER BOTH IN TERMS OF TECHNIQUE AND OF CONCEPT, AND TO ALWAYS END UP WITH A CONTEMPORARY
AND FRESH RESULT. SERIAL CUT HAS A GENUINE STAMP, EMBRACING POP CULTURE, LUXURY AND SURREALISM AT THE
SAME TIME. A FANTASTIC ALCHEMY OF ELEMENTS THAT CLEVERLY BRING TRIDIMENSIONAL REPRESENTATION INTO AN
UNMISTAKABLE GRAPHIC AND ICONIC STYLE. NEVER BEFORE HAS A PIECE OF BROCCOLI LOOKED SO INTERESTING UNTIL
SERIAL CUT MADE IT SO. IT IS NO WONDER WHY SERIAL CUT HAS ATTRACTED SUCH HIGH PROFILE CLIENTELE SUCH AS TOYOTA,
NIKE, SONY AND SO MANY OTHERS. EVERYTHING THEY TOUCH COMES TO FRUITION IN A WAY THAT IS JUST SIMPLY FUN.
05TYPO 2013
TEKSTSERIALCUT.NO

6. SERIAL CUT KAREL MARTENS MAGNUS RAKENG ALEX TROCHUT
06 TYPO 2013

7. 07TYPO 2013
I n h i s w o r k , K a r e l Martens embraces
both freedom and order. He finds inspiration
in the limitations of the profession and
turns obstacles into challenges. OASE, a Dutch
architectural journal, is an illustration of how
designer can maneuver in the narrow field of
graphic design production. OASE balances between
book and a magazine and each new issue reinvents
its forms to surprise its readers. Karel Martens
gave OASE a clear direction and convincingly makes
a magazine that is both modest and luxurious,
making one believe that a low-budget publication is in fact a precious object to be collected. A grid became a fascinating element for Karel Martens.
The most basic element in graphic design is given an active role that reflects the tone of the magazine. Karel is the founder of Werkplaats Typografie
in Arnhem. Mr. Martens completed his education at the Arnhem Academy of Art and Industrial Arts (Holland) in 1961. Since then he has worked
as a freelance graphic designer, specializing in typography. In addition to commissioned work, he has always made prints and three-dimensional
work. Among his clients have been the publishers
Van Loghum Slaterus in Arnhem in the 1960s,
and the SUN (Socialistiese Uitgeverij Nijmegen) in
the years 1975-81. As well as designing books
and printed matter, he has designed stamps
and telephone cards (for the Dutch PTT). He has
also designed signs and typographic facades for
a number of buildings. In 2005 he designed the
glass facades of the new part of the building for the
Philharmonie in Haarlem; this design was based on
a music score by Louis Andriessen. Among his awards have been the H. N. Werkman Prize (1993) for the design of the architectural journal
Oase, and the Dr. A. H. Heineken Prize for the Arts (1996). A monograph about his work, Karel Martens: Printed Matter, was published as part
of the Heineken Prize. Mr. Martens has taught graphic design since 1977, first at the Arnhem Academy and later (1994-97) at the Jan van Eyck
Academy in Maastricht. When Karel Martens began studying art in Holland in the late 1950s, “graphic design” did not even exist as its own course
of study. Today he is widely recognized as one of the most
important practitioners of that very discipline, with
an esteemed client list that includes major publishers,
architects, and institutions. His accolades include the
H.N. Werkman Prize (1993) for the design of the
architectural journal Oase, the Dr A.H. Heineken Prize
for Art (1996), the Gold Medal at the Leipzig Book
Fair (1998), and numerous other distinctions.
Martens has taught at the Yale School of Art, Jan van
Eyck Academie Werkplaats Typografie in 1997.

8. SERIAL CUT KAREL MARTENS MAGNUS RAKENG ALEX TROCHUT
08 TYPO 2013
IT BEGAN WITH A CHANCE, SAYS MAGNUS RAKENG, WHEN WE ASK
HIM WHY AND HOW HE CREATES FONTS. MOST DESIGNERS USE
TYPOGRAPHY AND I WANTED TO SEE IF I COULD MANAGE TO CREATE
A COMPLETE FONT SET, AND IF I COULD GET THE LETTER FORM TO
HANG TOGETHER.
TEXT MORTEN HARPER

9. 09TYPO 2013
But who is this Magnus Rakeng? He is employed as a designer
at Melkeveien design. Rakeng was also a participent in developing
a profile for the saturday magazine in «Dagens Næringsliv»,
but works most with designing album covers and logos.
HeisagraduateofWesterdalsandLondoncollegeofprinting. Altough
he enjoyed Westerdals, it was not where he was taught typography.
Forafontmaker,themachasmoretoofferthanTimesandHelvetica.
It began with a chance, says Magnus Rakeng, when we ask him
why and how he creates fonts. Most designers use Typography
and I wanted to see if I could manage to create a complete font
set, and if I could get the letter form to hang together. While
I was halfway through the first font set, Rick Valicenti came to
Norway to give lectures. I then ended up working together with
Halvor Bodin in Megafon. We showed Valicenti a print of the font.
He liked it and encouraged me to keep working. The font was Pilot,
and it was completed in 1995. For I have far too little knowledge
about typographic rules. Such rules may be important, the proper
use of quotation marks is such. a rule I do not see any reason to
break. But I do what I want with the shape of characters. Rakeng
says that when he creates a new font, the most on impulse.
- It is pure fancy , or perhaps even torture - or whatever you should
call it. When I do design work, I sometimes create new fonts only
to the words used. It may have been the start of some of the font
sets, I have seen the possibilities to develop further designed after
trying out some letters. The result is four font sets in as many years.
- I was probably a bit envious of Aldo Novarese Eurostyle font, and
Envy is characterized by it. I am very fond of the Novarese done.
He has made ​​more than thirty fonts are completely different. Some
are terrible , but he has also made ​​Eurostyle. The third font Radio
showsnostalgiacollectorandcollectorRakeng,butalsotheironically
distanced. Old Norwegian design interests me, and I’m fascinated by
floral paintings. Personally, I believe Radio has tendencies as much
in the direction of rosepainting that of Coca Cola. I am also inspired
by what we call Eastern bloc - design.

10. SERIAL CUT KAREL MARTENS MAGNUS RAKENG ALEX TROCHUT
10 TYPO 2013

11. 11TYPO 2013
Alex Trochut is an illustrator, designer and typographer
known for his geometrically precise yet fluid, sensual forms.
Alex was the grandson to a well-known mid-century
typography designer named Joan Trochut. The way he
manipulates letterforms in his work is personified by lively,
colorful, metaphoric, reflective, dripping and overlapping
shapes and forms. It’s no wonder he comes from a creative
background.
His work is sought after for its ability to elevate a simple
word or symbol into a piece of inspiring conceptual art. There
is a dynamic exchange that occurs between his designs and
the viewer, as they engage in a conversation based upon
visual metaphor, puns and references that require a cultural
viewfinder. Alex Trochut is an independent graphic designer
who is very passionate about the inclusion of illustration and
design in type. In regards to his work, he goes by the motto,
“more is more.” Rather than sticking to a certain style, Trochut
believes is it essential in evolving from project to project.
Trochut’s work is rich with elegant, brilliantly detailed
executions that simultaneously convey indulgence and
careful, restrained control. He is driven to constantly push the
envelope and surpass the predictable. It is very experimental,
which may turn some people off, however the solidity of
the final outcome speaks for itself. Also, his drawing skills
do nothing but further bring his concepts to life.
Beginning as a freelance designer, Trochut established
his Barcelona-based design studio in 2007. Now dividing
his time between Brooklyn and Barcelona, his client list
includes Coca-Cola, Nike, Pepsi, Adidas, Puma, the Rolling
Stones, The New York Times and Absolut. As a speaker,
he has travelled worldwide to lecture on various art and
design topics. Trochut’s works have appeared in countless
publications, and his art has been exhibited globally, including
a past collaboration with the ceramics studio, Apparatu.
In 2011, Trochut published his monograph, “More is More,”
reflecting his work philosophy that results in his constantly
evolving body of illustrations and designs. Showcasing his
commercial and personal projects, as well as a statement
on his perspective and influences, “More is More” was met
with critical acclaim by the art and design community. He
says every project pushes him to look at alternate situations,
and adapt himself to better understand and express
my process. That exploration is something he truly enjoys
in design.
Illustrator and typographer Alex Trochut synthesizes
illustration and lettering like no other. The expressive, richly
ornamented typography he creates ooze fluidity in which
movement is practically palpable. One of the most sought
after talents, he has created knockout work for the likes
of Wired and The New York Times as well as clients including
Adidas and Coca-Cola.
Renowned Catalan designer and illustrator Alex Trochut
will for the first time display, six portraits of top producers,
their appearance changed by a simple lighting method.
Four Tet, John Talabot, Acid Pauli, Caribou, James Murphy
and Damian Lazarus (most of whom have been present at
previous editions of Sonar) are portrayed using a technique,
which produces two completely different images, depending
on the light or darkness of the room, thus showing the duality
of the artist and by extension, the human being. In 1981 Alex
Trochut was born in Barcelona and studied graphic design
at Elisava. The catalan artist uses minimalism as a framework
to then transform, into his own inimitable style, under the
motto “more is more”. His work can be seen in magazines,
album cover designs (he has collaborated with the label
Hivern, among others), exhibitions, posters, and trademarks,
with a particular use of geometry and color.
Trochut uses a new process he invented (and patented)
in which two images are shown on the same surface, with
one image appearing in the light and the other in the dark.
“I like discovery and surprise in each piece I create, something
to reward the viewer after capturing their attention for awhile,”
Trochutsays.TheseportraitsofelectronicmusiciansandDJsby
Spanish illustrator and designer Alex Trochut show one image
during the day and another at night. Trochut screenprinted
two different images onto the same surface using black
and phosphorescent ink in a checkerboard grid of tiny squares.
When seen in the light the portrait printed in black is visible,
but if viewed in the dark a different image suddenly appears.
Trochut told Dezeen that he developed the technique first
and then decided on a suitable subject matter: “I thought that
if I could show two different images it made sense to work on
the idea of there being two sides to someone’s personality.
The portraits reflect the notion that the musicians and DJs
depicted, including Four Tet, Acid Pauli and Damian Lazarus,
transform and come alive at night. Trochut initially used the
idea of a camouflaged image for the cover of his monograph
More is More, which featured a hidden pattern printed in
glow-in-the-dark ink.
“I BELIEVE MORE IS
MORE. I DON’T BELIEVE IN
CHOOSING A PARTICULAR
STYLE FOR MY WORK,
BUT RATHER I FOCUS ON
EXPRESSING MYSELF
AND COMMUNICATING
MY CRAFT THROUGH THE
NEEDS AND MOMENT OF
EACH PROJECT.”
If you’re someone who is excited about type, the name Alex Trochut should
be a name often on the tip of your tongue. But if you haven’t seen that name
before today: Alex is an amazing young letterer out of Barcelona.
TEKST DESIGNHISTORYKINGSCLIFF