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Internacional Diseño Kultur
Foreword — Jonathan Finch
Internacional Diseño Kultur
Contents
Internacional Diseño Kultur
North AmericaVancouver, Canada — Working Format
New York City, USA — Established, Studio Lin, Triboro
San Francisco, USA — Manual
Latin AmericaMonterrey, México — Anagrama, Face, Manifiesto Futura, Menosunocerouno
Rio de Janeiro, Brazil — Campo
São Paulo, Brazil — Quadradão
UKGlasgow, Scotland — Berg
Leeds, England — Golden
London, England — Mind, No Days Off
Manchester, England — Teacake
Page 03 World Map — Locations & Studios
UKGlasgow, Scotland — Berg
Leeds, England — Golden
London, England — Mind, No Days Off
Manchester, England — Teacake
AsiaSingapore City, Singapore — Foreign Policy
Hong Kong, China — IdN Magazine
ScandinaviaOslo, Norway — Heydays
Stockholm, Sweden — Stockholm Design Lab
Gothenberg, Sweden — Lundgren & Lindqvist
Helsinki, Finland — Bond, Tsto
OceaniaMelbourne, Australia — Coöp, Fabio Ongarato
Sydney, Australia — Maud, Toko
Central EuropeBarcelona, Spain — Mucho
Paris, France — Helmo
Eindhoven, The Netherlands — Raw Color
Berlin, Germany —‚ Britta Siegmund
Mannheim, Germany — Deutsch & Japaner
Prague, Czech Republic — Anymade
Internacional Diseño Kultur
North AmericaVancouver, Canada — Working Format
New York City, USA — Established, Studio Lin, Triboro
San Francisco, USA — Manual
Page 05North America
Working FormatWorking Format is a Vancouver-based design studio
founded by Abi Huynh, Grace Partridge & Ross Milne
specializing in graphic design, art direction and type
design for print and screen. Working Format collaborates
with creative agencies and clients throughout North
America and Europe, producing a diverse body of work
across cultural and commercial fields.
Working Format
1090 Hornby St.
Vancouver, British Columbia
V6Z 1V6, Canada
workingformat.com
+1 604 566 2648
Internacional Diseño KulturM
anna
m /
Mee
ting
Exhi
bitio
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Page 07 — Working FormatNorth America — Vancouver, Canada
What’s the story behind your studio name?When we set up on our own, we found it daunting to think that decisions we made early would be with us for 15 or 20 years.Among other things, the name Working Format was a way of avoiding this.
Can you roughly describe a breakdown of your working process? Our name also suggests that everything is in flux, that the studio can and will change direction and that at the core of what we do is a process.
Is there a particular influence or focus that has led you to your current work? I’ve always been interested in the distinction between Italian and French traditions in cooking. In the latter, the chef is the hero, something that has led to an array of methods and complex techniques. Italian cooking on the other hand seems to celebrate the ingredient itself. Our studio mantra — if we have one — is to use good quality ingredients, cooked as little as possible.
Could you describe your studio environment and the impact that the physical space has upon your creativity? We’re very accustomed to working in a variety of environments, though good lighting is a must.
Are you conscious of your geographical location shaping your design practice in any way?This is a tough one. Because we’ve been educated and have worked professionally in foreign countries (Holland and the United States), we are very sensitive of the unique visual culture from one place to the next, though find it difficult to say how Canada’s has influenced our work. We’ll rely on others for that.
How would you describe Canada’s current graphic design scene to somebody who has no experience of it?Canada has an uneasy relationship to its own visual culture. It’s a very large country with few people relative to its size. It often looks to its geography for inspiration and just as the geography varies, so does the visual culture. Young studios are starting to emerge, led largely by those out of Montreal. In Vancouver, a number of strong studios are establishing themselves with an awareness of work being produced elsewhere, be it Montreal or beyond.
Are you particularly influenced or inspired by the design scenes of any other countries?Having spent time in the Netherlands, it’s impossible not to be
Interview conducted via email with one of thefounders of Working Format, Ross Milne.
Internacional Diseño Kultur
amazed at the way graphic design is integrated into the county’s identity. French and Japanese design carry a lightheartedness that we find admirable.
Has the internet limited individuality and created a global design scene where geographical position and local culture no longer impact upon the work produced? The internet has helped small studios find each other and break from the traditions of larger, established studios. Because the internet allows you to focus so intensely on what you’re already interested in, it’s easy to neglect the range of ideas, styles and opinions that make international graphic design so diverse. It also makes trends that much more ubiquitous.
Do you consider the work of your studio to have a certain ‘style’? I’m sure it does, though as Working Format is the sum of its parts, we try to let the individual voices carry through.
How would you sum up the attitude and direction of Working Format? Young and beautiful.
By Any Other Name
Page 09 — Working FormatNorth America — Vancouver, Canada
Royal Academy Of Art Type Specimen
The Cheaper Show
Internacional Diseño Kultur
EstablishedEstablished was set up in 2005 by Sam O’Donahue
and Becky Jones. A full service boutique agency,
Established offers Architectural, Graphic and
Product design under one roof that merge to create
comprehensive brand identities which are fully
realised over multiple applications.
Established
401 Broadway Suite 800
New York City, New York
10013, USA
establishednyc.com
+1 212 633 0373
Round Hill Music Stationery
Page 11 — EstablishedNorth America — New York City, USA
Laughing Man Stationery & Packaging
Internacional Diseño Kultur
Manual Manual is a design and visual communication studio.
Our work strives to uncover the intangible essence of
a brand and express it through unique visual solutions.
Through our process of conceptual design thinking,
we help businesses and organisations articulate their
unique offering, giving them more value and distinction.
Manual Creative
340 Bryant Street, Suite 205
San Francisco, California,
94107, USA
manualcreative.com
+1 415 932 6369
Wo
Hin
g: S
tore
Iden
tity
Page 13 — ManualNorth America — San Francisco, USA
The Slanted Door: Restaurant Branding
Wo H
ing: Stationery
Internacional Diseño Kultur
Studio LinStudio Lin’s approach is founded on a desire to explore
new territory through challenging collaborations with
creative visionaries in the fields of architecture,
industrial design, art and fashion. Behind every Studio
Lin design is a highly defined rationale but not a
singular style — a common denominator is a fresh,
modern sensibility.
Studio Lin
11th floor, 164 west 25th Street,
New York City, New York
10001, USA
studiolin.org
+1 646 266 1425
Fab Manifesto Posters
Page 15 — Studio LinNorth America — New York City, USA
American Design Club Gift Fair Poster
2012 Calendar
Internacional Diseño Kultur
TriboroTriboro is the husband and wife team of David Heasty
and Stefanie Weigler. Triboro creates design solutions
for clients in publishing, art, fashion, music, lifestyle,
and for cultural institutions. The studio excels both in
building inspiring brands from the ground-up and in
shepherding established brands into new territories.
Triboro Design Solutions
239 Nassau Avenue
Brooklyn, New York
11222, USA
triborodesign.com
+1 718 389 7163
Pos
ter
Of F
ortu
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Page 17 — TriboroNorth America — New York City, USA
What’s the story behind your studio name?Triboro is a common identifier in New York affixed to various businesses and locations (literally meaning 3 boroughs). We are based in a post-industrial area of Greenpoint, Brooklyn. Many of the industrial businesses here are called Triboro Floor Tiling, Triboro Custom Shelving, etc. So we thought that since the neighborhood is in the process of transition — from an industrial based economy to a creative economy — it might be interesting to repurpose the term and preserve a link to the past.
Can you roughly describe a breakdown of your working process? First we get briefed by the client. We like this part of the process, observing how they dress, their tastes and inspirations. Then we go back and brainstorm ideas that we think will address the problems/parameters/audience of the project but in a way that is (hopefully) unique. We do a lot of work for start-ups and we like this best because we are starting with a blank slate — helping to build a brand from the ground up is very satisfying and we really enjoy working with entrepreneurs. Usually our ideas come from a strategic place which is helpful when selling the client on the concept. We try to embrace objective reasoning not subjective tastes. When the client understands that the design we are presenting has some rational foundation they are usually confident in accepting the design outright.
Is there a particular influence or focus that has led you to your current work? No, we approach each project with an open mind and try to come up with a solution that surprises us but is appropriate to the client/problem.
Could you describe your studio environment and the impact that the physical space has upon your creativity? We have a combined live/work studio space and love it. There are no boundaries, and life and work are combined in a symbiotic mess of good vibes and creative chaos.
Are you conscious of your geographical location shaping your design practice in any way?Absolutely, we are very inspired by the New York mentality (full speed ahead) and the New York aesthetic (an eclectic visual cha-os) and being here is intensely stimulating. The energy of the people and environment is slightly addictive. We work a lot with start-ups and entrepreneurs are an enthusiastic bunch and there are a lot of new businesses starting all the time. Also New York is home to a wide variety of industries and we enjoy working with as many of them as possible. The opportunities that New
Interview conducted via email with the creative director of Triboro, David Heasty.
Internacional Diseño Kultur
York provides we could not replicate in another location. I think to your question, designers should acknowledge the influence location has on their work. Sometimes we don’t notice it but it is always there.
In a city as diverse as New York and a country as vast as the US, is it possible to notice any recent trends in graphic design? It’s hard to generalize about the the rest of the U.S. but it really feels like an “anything goes” atmosphere in New York. Maybe there are companies focusing on a particular style, but we find that clients are generally open to any approach that feels appropriate to their business.
Do you draw inspiration from any certain traditions or aspects of culture or design that is distinctly American? We are inspired by all sorts of things, but probably not anything specifically related to American design history. Certain local vernacular aesthetics we find fascinating, for example the mid-century hand-painted signage that adorns many of the industrial buildings in our neighborhood, or local supermarket posters. But usually we look more to creative output done outside graphic
design. Movies from Kubrick or collections from Alexander McQueen offer much more sustenance in our opinion.
Are you particularly influenced or inspired by the design scenes of any other countries? Not influenced, but we really respect some of the work that comes out of Tokyo. But really there seems to be interesting work coming from everywhere these days.
Has the internet limited individuality and created a global design scene where geographical position and local culture no longer impact upon the work produced? It seems more that everyone is feeding off everyone. We are not so attuned to the trends of the moment but sometimes you see a type treatment done by designers in Berlin or somewhere and then the next week you receive a student portfolio that looks exactly the same. The dissemination of stylistic conceits seems to be somthing that has been around awhile. When we were students we saw it with Carson’s work or Designer’s Republic, now it just happens much faster with the blog/internet culture.
1 Colour New York Subway Map
Page 19 — TriboroNorth America — New York CityB
LK D
enim Identity
Do you consider the work of your studio to have a certain ‘style’? We have a conceptual approach, a way of coming to ideas that seems to create a consistency in our work but we usually hear from others that our work lacks a singular visual style. If true, we are fine with this. Style is overrated. We get bored easily and look for opportunities to try new things and surprise ourselves and our clients. If clients approached us looking for a particular style this would take all the fun out of the creative process.
How would you sum up the attitude and direction of Triboro? Who knows? Categorizing ourselves is not very interesting. We would rather put our work out there and let people judge for themselves.
Internacional Diseño Kultur
Latin AmericaMonterrey, México — Anagrama, Face, Manifiesto Futura, Menosunocerouno
Rio de Janeiro, Brazil — Campo
São Paulo, Brazil — Quadradão
Page 21Latin America
Internacional Diseño Kultur
AnagramaFounded in 2008, Anagrama is described as a brand
intelligence group that aims to deliver highly a
personalised service. Their set up includes professionals
from a variety of creative backgrounds that combine to
produce work that is incredibly well considered from
every viewpoint.
Francisco Naranjo 224,
Colonia San Pedro,
San Pedro Garza García, Nueva León
66230, México.
anagrama.com
+52 (81) 8336 6666
Theu
rel &
Tho
mas
Bra
ndin
gTh
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l & T
hom
as In
teri
or
Page 23 — AnagramaLatin America — Monterrey, México
Cast aside your preconceptions about Mexican style. The lucha libra costumes, imagery of Dia de los Muertos and tattoo art of Latino street culture have a certain visual flair. But they’ve quickly become clichés and if you look inside México itself you’ll uncover a far more sophisticated design culture evolving. Here, you’ll find Anagrama is a great example – an emerging studio that oozes class and consistency in everything it does. “We do not see design as being reggionally defined. Design must firstly be functional and it must communicate no matter what language you speak,” says designer Miguel ‘Mike’ Herrera. “When we see projects by Stockholm Design Lab or BVD, we think everything should be done that way. We love how history gave Switzerland, Germany, England and France a chance to be innovators in the fields of information design and typography.” Herrera’s comment is a great clue as to what inspires the studio and it always shows throuh in the effusion of wonderful typography that comes out of their work. The other co-founders of Anagrama are Gustavo Muñoz who runs the business and project management side of things and Sebástian Padilla who, like Herrera, is a self-confessed design perfectionist. The trio’s long list of international influences covers everything from Mies van de Rohe to Metallica, Haruki Murakami and Joseph Muller Brockman, with a little Daft Punk, Call of Duty and old calligraphy thrown in for good measure. The studio was founded in 2008 after Muñoz and Padilla had collaborated on a few projects together. They brought in Herrera and set up in a spare bedroom at Muñoz’s house.Three years on and the studio has moved into a new two-storey house in the downtown area of San Pedro Garza Garcia, in the Nuevo León region near Monterrey. During that time they’ve been joined by three more graphic designers, two web developers and an extended team that includes an architect and two industrial designers. Anagrama’s business is small but, as the saying goes, perfectly formed. It enables the team to get right inside projects and offer a service that bigger studios cannot: “Small is not a representation of expertise or success. For us, in part, it is a way of letting our client know that we are comitted to delivering ultra-high-quality work and giving them personalised attention” explains Muñoz. “When evaluating projects, we make sure that we have a connection with our client and that the project will be executed with great results.” The main focus is on brand development and this has three elements – consistency, attention to detail and process. quite new in the Mexican market, but there are still plenty of opportunities in the country for studios that can
Interview extracted from Computer Arts Projects magazine issue 152 (Print Design) pages 46 – 53, Written by Garrick Webster.
Internacional Diseño Kultur
achieve high quality brand design. As an agency that recognises this, Anagrama positions itself as part of an emerging culture-shift in Mexican design. However, because Mexico is still a developing country, there are plenty of challenges. Anagrama are involved in exciting new commissions that will see their profile grow within México and internationally. “We hope to become a reference point for Latin American and international design,” says Muñoz. “We’d love to expand into other countries, establishing offices and to keep expanding our multi-disciplinary team, whilst being extremely careful to maintain the quality of our work. We’d love to get involved in airlines, hotels and the Olympics.”
For the love of print:“We greatly appreciate how digital gives us infinate
graphical possibilities, but in the end we feel print
involves much more creativity,” reflects Miguel
Herrera. “Many other variables and parameters must
be considered, such as textures, dimensions, cuts and
finishes. These add depth to the experience and
communication potential of the designed pieces.”
MTLL Architects Branding
Page 25 — AnagramaLatin America — Monterrey, México
La Fabrica Del Taco Menus
Nem
esis Identity
Internacional Diseño Kultur
FaceFounded in 2006, Face is an intelligence-driven
supermodernist design studio based in Monterrey,
Mexico whose work range includes, design solutions,
advertising, editorial projects and custom publishing,
corporate identity, web design and brand development.
Face Creative SA de CV
Vasconcelos 204B, Second Floor,
Bosques del Valle 1er Sector,
San Pedro Garza García, Nueva León
México
designbyface.com
+ 52 (81) 8356 1001
Face
, 5 Y
ear
Ann
iver
sary
Page 27 — FaceLatin America — Monterrey, México
What’s the story behind your studio name?Face was the last option we came up with actually, but as soon as we had it, we knew it was the perfect name for us. The story is very basic, we wanted a universal name that wasn’t really obvious about design, but that had something in it that could say something about aesthetics. Face is the most important feature to remember a person, it says a lot of things and it’s the main feature that makes us fall in love with someone. In a metaphorical way, we create those faces for our clients.
Can you roughly describe a breakdown of your working process? We have a method and a formula based in tools, but we’re humans, and the client doesn’t always know what he wants or needs.
Is there a particular influence or focus that has led you to your current work? Yes and no, we are all influenced by everything that the world has to offer, from competitors to teachers to inspiration of all kinds and shapes, we like to admire the basic rules and work that the geniuses did and left for us.
Could you describe your studio environment and the impact that the physical space has upon your creativity? Our studio is inside an old brick building, which is something not that common in Monterrey. We redesigned some of the spaces and designed the desks, added some color and a few more things to make it look and feel comfortable. The environment is very relaxed, we try to have music all day, to chat about projects, things around us, etc. We have whiteboards and blackboards to write stuff and discuss our projects, and we try to have some beers once every week, to unplug for a few minutes or hours and talk about more than design.
Are you conscious of your geographical location shaping your design practice in any way? Yes, but actually I think so far it has been good. Monterrey is an average city, not so bad, not so good, but the people (specifically the designers) are very aspirational, and we like to investigate and asbsorb what the world has to offer. The bad thing is that sometimes it’s hard to have better challenges and projects to design for.
How would you describe Mexico’s current graphic design scene to somebody who has no experience of it? It’s divided into: Monterrey, Mexico City and the rest of the republic. Monterrey has the upper hand here, and it’s not only because we’re there. There at least five or ten amazing and
Interview conducted via email with the creative director of Face, Rik Bracho.
Internacional Diseño Kultur
internationally acclaimed studios in this city, and we are kicking Mexico’s ass in a good way.
Do you draw inspiration from any certain traditions or aspects of Mexico’s design history? Not really, I mean, it depends. If the project needs something, we’ll look for the right resources to be inspired. Mexico has a lot of history, tradition and folklore to work with.
Are you particularly influenced or inspired by the design scenes of any other countries? Well, we love Swiss design, but nowadays Swiss design is very international. We love the Bauhaus, Modernism (European and American) and we love Japanese design too.
Has the internet limited individuality and created a global design scene where geographical position and local culture no longer impact upon the work produced? Internet is great. Globalization is amazing these days, you can be anybody anywhere in the world doing amazing things and the world can see your work and you can be reached. But even with this flexibility, where you are is always a very important factor to the things you create and inspire your work.
Do you consider the work of your studio to have a certain ‘style’? We call it supermodernism. But it’s actually based in modernism with a human touch, it’s based in honesty and aesthetics.
How would you sum up the attitude of Face?We are in love with what we do, and we want to do it better everyday.
Page. The Magazine
Page 29 — FaceLatin America — Monterrey, MéxicoP
age. The Magazine
Hardpop C
lub Identity
Internacional Diseño Kultur
Manifiesto FuturaThe goal of Manifiesto Futura is to make the best of
Mexican design, to change the shapes, strategies, the
narrative… through clear messages and smart
incentives. Yet to keep the mexican character, wit,
and the charisma intact.
Manifiesto Futura
Col. Obispado
Monterrey, Nueva León.
México
mfutura.mx
+52 (81) 8881 7097
Studio Typography Project
MF
Self
-Pro
mot
ion
Page 31 — Manifiesto FuturaLatin America — Monterrey, México
Manifiesto Futura Identity
Joy Motion G
raphics Branding
Internacional Diseño Kultur
MenosunoceruonoFounded in 2006, Face is an intelligence-driven
supermodernist design studio based in Monterrey,
Mexico whose work range includes, design solutions,
advertising, editorial projects and custom publishing,
corporate identity, web design and brand development.
Menosunocerouno
Pablo, Moncayo 135,
Colinas de San Jerónimo 11O.
Monterrey, Nuevo León,
México
menosunocerouno.com
+ 52 (81) 8478 0513
Chinolatino Restaurant Identity
Chi
nola
tino
Men
us
Page 33 — MenosunocerounoLatin America — Monterrey, MéxicoJust In C
ase. Apocolypse Branding
Internacional Diseño Kultur
Founded in 2006, Face is an intelligence-driven
supermodernist design studio based in Monterrey,
Mexico whose work range includes, design solutions,
advertising, editorial projects and custom publishing,
corporate identity, web design and brand development.
CampoR/ Minas Gerais, 364 sala 4
Higienópolis SP
Rio de Janeiro
01244-010, Brazil
nocampo.com.br
+ 55 (11) 2478 1772
Grupo Vegas Business Cards
Page 35 — CampoLatin America — Rio de Janeiro, BrazilC
ampo P
oster SeriesVerm
elho Gallery Identity
Internacional Diseño Kultur
Established in 2008, Quadradão was founded by three
university colleagues in São Paulo, Brazil. They claim
to be able to design anything from a poster to a chair
and act as a one-stop shop for everything from materials
to the execution.
QuadradãoRua Frei Caneca, 667, casa 6
Consolação
São Paulo, SP
Brazil
.quadradao.com.br
+ (55) 11 2501 3180
Bra
zilli
an M
useu
m P
oste
r C
ompe
titio
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Page 37 — QuadradãoLatin America — São Paulo, BrazilP
oster Module Series
Latin American Contemporary Music Meeting
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UKGlasgow, Scotland — Berg
Leeds, England — Golden
London, England — Mind, No Days Off
Manchester, England — Teacake
Page 39UK
UKGlasgow, Scotland — Berg
Leeds, England — Golden
London, England — Mind, No Days Off
Manchester, England — Teacake
Internacional Diseño Kultur
Berg StudioBerg are an independent design and ideas studio that
work across a wide range of interdisciplinary media
from brand identity to environemental design. They also
set up their own online shop - ‘Editions of 100’ where
they sell non-commercial projects, in the form of
posters, to the public.
Berg
Southblock Studio 107
60 Osborne Street
Glasgow G1 5QH
UK
bergstudio.co.uk
+44 (0) 1412 714 707
Alpha Mensewear Retail Packaging
Editi
ons
of 1
00 E
xhib
ition
Page 41 — Berg StudioUK — Glasgow, ScotlandEditions of 100 Identity
Alpha Mensewear Window Display
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GoldenNo Days Off is a design consultancy based in
London. We deliver creative solutions and intelligent
ideas to clients big and small: arts organizations, fashion
brands, record labels, advertising agencies, royal palaces
and interesting individuals. and interesting individuals.
and interesting individuals.
Mind Design
Unit 33A, Regents Studios
8 Andrews Road
London, E8 4QN
UK
minddesign.co.uk
+44 (0)20 7254 2114
Art I
n U
nusu
al S
pace
s Id
entit
y
Page 43 — GoldenUK — Leeds, EnglandG
olden: Self Prom
otion
Internacional Diseño Kultur
MindNo Days Off is a design consultancy based in
London. We deliver creative solutions and intelligent
ideas to clients big and small: arts organizations, fashion
brands, record labels, advertising agencies, royal palaces
and interesting individuals. and interesting individuals.
and interesting individuals.
Mind Design
Unit 33A, Regents Studios
8 Andrews Road
London, E8 4QN
UK
minddesign.co.uk
+44 (0)20 7254 2114
The
Col
lect
ion:
Res
taur
ant M
enu
Paramount Club Interior
Page 45 — MindUK — London, EnglandR
estaurant Signage
Paramount Club Menu & Drinks List
Internacional Diseño Kultur
No Days OffNo Days Off is a design consultancy based in
London. We deliver creative solutions and intelligent
ideas to clients big and small: arts organizations, fashion
brands, record labels, advertising agencies, royal palaces
and interesting individuals.
No Days Off
Unit B107, Lighthouse Studios
89a Shacklewell Lane
London E8 2EB
UK
nodaysoff.com
+44 20 7275 8962
Cog
gles
Pre
ss B
ook
Page 47 — No Days OffUK — London, England
What’s the story behind your studio name?No Days Off is a lyric from the song Twenty Four Hour Party People by Happy Mondays. I got these three words tattooed onto my arm in 2003. When I was struggling to think of a name for my new company in 2006, my friend suggested using No Days Off. At the time, I liked the fact that the original meaning of the words - staying up all night, every night — would now be read as relating to being diligent and working hard.
Can you roughly describe a breakdown of your working process? My personal working process is usually based more around words than images. I scribble a lot of ideas into my notebook, along with some very basic thumb-nails. It usually ends up as a dialogue with myself as I work the idea through, looking at it from different perspectives. When I’m satisfied that the idea works, then I start putting it into practice, in whatever medium is appropriate. I tend to find more inspiration in books and songs than I do in still images or films, and my working process reflects this obsession with words. Luckily, Teo, my partner at No Days Off, is very much a visual thinker, so it all balances out nicely.
Are you conscious of your geographical location shaping your design practice in any way? I’m not conscious of it, but it’s a good question. We work for clients in Europe and the US as well as in the UK, so I don’t think we have a purely English outlook. But there is definitely an English sense of wit (I hope) in some of our work — we like to be a bit cheeky when we can.
How would you describe the UK’s current graphic design scene to somebody who has no experience of it?I wouldn’t bother describing it, there are magazines and blogs out there for that.
Do you draw inspiration from any certain traditions or aspects of culture or design that is distinctly British?We don’t really draw much inspiration from design, to be honest. Our inspiration tends to come from other aspects of culture — literature, music, art — and from our own personal lives.
Are you particularly influenced or inspired by the design scenes of any other countries?I’m not interested in any design ‘scene’.
Has the internet limited individuality and created a global design scene where geographical position and local
Interview conducted via email with founding partner of No Days Off, Patrick Duffy.
Internacional Diseño Kultur
culture no longer impact upon the work produced?The internet will only limit your individuality if you allow it to be limited. It’s definitely much much easier now to make something look ‘designed’ there are millions of images available online to copy. That’s why I think it’s better not to be involved too much in any design ‘scene’. Much better to sit in your room on your own and figure stuff out for yourself – you’ve got more chance of getting it wrong if you do it yourself, and once you’ve got it wrong, you can figure out your own way to make it right.
Do you consider the work of your studio to have a certain ‘style’?No. Having style is important; having a style is not.
How would you sum up the attitude and direction of No Days Off?Bad; sideways.
Jean Machine SS ‘12 Collection
Page 49 — No Days OffUK — London, England
Jean Machine Packaging
Nonpareil Exhibition C
atalogue
Internacional Diseño Kultur
TeacakeTeacake is something quintessentially British, inventive &
conscientious. They are a creative partnership specialising
in brand identity, typography and editorial design. We love
visual organisation, people, places and the idea of creating
a tangible interaction with those who see our work.
Teacake Design
Studio 4 – 3rd Floor
8 Lower Ormond Street
Manchester, M1 5QF
UK
teacakedesign.com
+44 (0) 7834 483 898
Kar
ina
Lax
Stat
ione
ry
Prom Prom Prom Seaside Promotion
Page 51 — TeacakeUK — Manchester, EnglandK
arina Lax Identity
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togr
af H
olie
n M
o
Page 53 — HeydaysScandinavia — Oslo, Norway
HeydaysHeydays is an Oslo-based design studio that creates
strong visual concepts that trigger curiosity, create
excitement and show ambition. We work across a variety
of media and fields, ranging from identity design to art
directing photographies. We listen, research and
challenge. We remove noise to add value.
Hey days AS
Vibes gate 17
0356 Oslo
Norway
heydays.no
(+47) 905 19 260
Heydays: Self Branding
Heydays Stationery
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Scandinavia Page 55
ScandinaviaOslo, Norway — Heydays
Stockholm, Sweden — Stockholm Design Lab
Gothenberg, Sweden — Lundgren & Lindqvist
Helsinki, Finland — Bond, Tsto
Internacional Diseño KulturM
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The Venice Biennale Identity
Page 57 — Stockholm Design LabScandinavia — Stockholm, Sweden
Stockholm Design LabStockholm Design Lab is a multidisciplinary design
agency. We create brand identities and solutions that
build strong customer relationships. We don’t
differentiate between design, architecture, digital and
other forms of communication. The perception of a
brand is dependent on its slightest components.
Stockholm Design Lab
Sturegatan 11
114 36 Stockholm,
Sweden
stockholmdesignlab.se
+46 (0) 8 5555 1900
Moderna M
useet Stockholn
The Venice Biennale Programmes
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Kul
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Page 59 — Lundgren & LindqvistScandinavia — Gothenberg, Sweden
Lundgren & LindqvistLundgren & Lindqvist is a Swedish design and
development bureau offering services within branding,
design for print and digital, illustration and art direction.
We believe that good design is more than ink or pixels on
a surface; it is understanding how a message is received
and experienced.
Lundgren & Lindqvist
Sockerbruket 17, Floor 06
SE-414 51 Gothenburg
Sweden
lundgrenlindqvist.se
+46 (0) 31 757 11 00
S.C.J Interiors Identity
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Page 61 — Bond AgencyScandinavia — Helsinki, Finland
Bond AgencyWe are a creative agency focused on branding and
design. We create and renew brands. Bond is founded
and run by designers. We work for clients who value
creative and practical ideas. We demonstrate our
expertise through our work rather than talking, because
design is, first and foremost, a craft for us.
Bond Creative Agency Oy
PL 176
00101 Helsinki
Finland
bondagency.com
+ 358 40 556 0247
PIN
O B
rand Identity
Åhléns Signage Design
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Pro
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We Are Helsinki Magazine
Page 63 — TstoScandinavia — Helsinki, Finland
TstoTsto is a creative agency founded by six designers,
specialised in coming up with ideas and visualising them
to help our clients define and communicate their identity
and message. We tackle an assignment by first taking it
apart to its bare essentials, and then building it in a new
way that best serves the client.
Tsto
Laivanvarustajankatu 9 C 54
FI-00140 Helsinki,
Finland
tsto.org
+358 207 490 430
Flow Festival 2011
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Page 65Central Europe
Central EuropeBarcelona, Spain — Mucho
Paris, France — Helmo
Eindhoven, The Netherlands — Raw Color
Berlin, Germany —‚ Britta Siegmund
Mannheim, Germany — Deutsch & Japaner
Prague, Czech Republic — Anymade
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MuchoNo Days Off is a design consultancy based in
London. We deliver creative solutions and intelligent
ideas to clients big and small: arts organizations, fashion
brands, record labels, advertising agencies, royal palaces
and interesting individuals.
No Days Off
Unit B107, Lighthouse Studios
89a Shacklewell Lane
London E8 2EB
UK
nodaysoff.com
+44 20 7275 8962
Page 67 — MuchoCentral Europe — Barcelona, Spain
Internacional Diseño Kultur
HelmoNo Days Off is a design consultancy based in
London. We deliver creative solutions and intelligent
ideas to clients big and small: arts organizations, fashion
brands, record labels, advertising agencies, royal palaces
and interesting individuals.
No Days Off
Unit B107, Lighthouse Studios
89a Shacklewell Lane
London E8 2EB
UK
nodaysoff.com
+44 20 7275 8962
Page 69 — HelmoCentral Europe — Paris, France
Internacional Diseño Kultur
Raw ColorNo Days Off is a design consultancy based in
London. We deliver creative solutions and intelligent
ideas to clients big and small: arts organizations, fashion
brands, record labels, advertising agencies, royal palaces
and interesting individuals.
No Days Off
Unit B107, Lighthouse Studios
89a Shacklewell Lane
London E8 2EB
UK
nodaysoff.com
+44 20 7275 8962
Raw
Col
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Page 71 — Raw ColorCentral Europe — Eindhoven, The Netherlands
Interview extracted from IdN Magazine (Volume 8 No.4) Mono-graphics Issue: Colour Toning, pages 17-20.
When Daniera ter Haar and Christoph Brach came together and decided to form a studio, their first project involved research on natural pigments originating from vegetables. Use of these raw materials gave them the idea of calling their company Raw Color. Since day one, their work has reflected a sophisticated treatment of materials and colours in the fields of graphic design and photography. Through research and experimentation, they have gradually built a unique visual language for themselves. “We don’t use the word ‘craft’ in connection with our work, though we do have a fascination with materials and haptics. For us, the quality of the paper, and of the colour, is very important: coated, uncoated, matte or glossy, we love it all. There is a great silk-screen workshop in Eindhoven, called Daglicht, where many graphic designers and artists bring their work. We have done quite a few projects there, which has probably given us a more direct approach to print making. We don’t print a lot of things ourselves, but it does give us a feel for the process. Arriving at the required quality of colours we use can be quite a physical activity. We like to think with our hands. We very much like the aesthetics of mono/duotone images, but our use of them has grown out of necessity in many cases. Since we are working for many cultural clients, budgets for publications are mostly small. So you try to make a nice book within the budget, which means saving money by reducing print layers – one or two colours are cheaper to print than four. We always see this limitation as a challenge that can really help to instil a strong structure into a book. It brings a certain logic that dictates the outcome. Even if the images we have to work with are of limited quality, a monotone can actually lift them, even if they’re only snapshots, and enrich them. Full-colour is not always better.
“Monographics can have a stong impact in the
structuring, for example, of a book. It can form a
unity with the type that can be harmonised with
shades or contrasted.”
We have always like the quality of the monotone since it can become a very pure, somewhat reduced, image. You can use it in a stronger sense for composing; surprisingly, black fonts and full-colour imagery can often create a somehow grey-ish overall appearance. We like the brighter palette, it somehow reminds us of the light spectrum. Nostalgia is inevitably implied since printing was less accessiblein the past, and out of neccessity, there were fewer colour levels involved. But for us, monographics is not so much linked with nostalgia; rather, we
Internacional Diseño Kultur
regard it as a tool to our message, or aesthetic, across. It might feel minimalist, but as I’ve said, it can be richer than full-colour. It is a very sensitive approach, since you can use all shades in combinationto emphasise the colour itself. Think about flesh colour with blue-ish green – that already puts you in a certain mood.
“It is an absolute myth that full-colour is always
richer, or better, which is not to say that we don’t
ever employ a full colour style.”
Interview answered by Christoph Brach.
Raw Color Agenda 2011
Page 73 — Raw ColorCentral Europe — Eindhoven, The Netherlands
This Is Basic: Books & Poster
Raw
Color A
genda 2011
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Page 75 — Britta SiegmundCentral Europe — Berlin, Germany
BrittaSiegmundTsto is a creative agency founded by six designers,
specialised in coming up with ideas and visualising them
to help our clients define and communicate their identity
and message. We tackle an assignment by first taking it
apart to its bare essentials, and then building it in a new
way that best serves the client.
Tsto
Laivanvarustajankatu 9 C 54
FI-00140 Helsinki,
Finland
tsto.org
+358 207 490 430
Internacional Diseño Kultur
Page 78 — Deutsche & JapanerCentral Europe — Mannheim, Germany
Deutsche& JapanerTsto is a creative agency founded by six designers,
specialised in coming up with ideas and visualising them
to help our clients define and communicate their identity
and message. We tackle an assignment by first taking it
apart to its bare essentials, and then building it in a new
way that best serves the client.
Tsto
Laivanvarustajankatu 9 C 54
FI-00140 Helsinki,
Finland
tsto.org
+358 207 490 430
Internacional Diseño Kultur
Page 81 — AnymadeCentral Europe — Prague, Czech Republic
AnymadeTsto is a creative agency founded by six designers,
specialised in coming up with ideas and visualising them
to help our clients define and communicate their identity
and message. We tackle an assignment by first taking it
apart to its bare essentials, and then building it in a new
way that best serves the client.
Tsto
Laivanvarustajankatu 9 C 54
FI-00140 Helsinki,
Finland
tsto.org
+358 207 490 430
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Asia Page 83
AsiaSingapore City, Singapore — Foreign Policy
Hong Kong, China — IdN Magazine
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What’s the story behind your studio name?What better foreign policy to connect with the world than design. ;-) The name came about from our experience in New York - having worked with the different people of different culture and school of thoughts, we want to continue to be able to learn, exchange and inspire ideas from the various ways of lives and system of thinking. This is also a constant reminder for us not to be stuck with inward thinking.
Can you roughly describe a breakdown of your working process? I am always trying to understand as much as possible about the project or the client in what we called a Discovery session. For lack of a better term, I would like to say we “co-create” with our clients, they are very much part of the process. Their input are very important as points of reference or source of inspiration to help put together thought process and creative vision for that project, usually a collection of words or images to start with. Idea incubation then ensues to generate stories/concepts that the project would be based on. Then I start building some kind of a visual language and move onwards to the design development. My approach is possibly very research-focused compared to most graphic designers, but I find it valuable and important to have a strong base of communication to support the visual. In that way, the design would be more endearing and enduring. Of course, sometimes, the idea just hits and I’ll be stuck to the chair working till the design is matured. And yes, I still use my pencil and I sketch a lot.
Is there a particular influence or focus that has led you to your current work?The Japanese immaculate detail to attention is something that I respect a lot. Over the years, I have been conscientiously working in this manner.
Could you describe your studio environment and the impact that the physical space has upon your creativity?We have an open space at the studio where all the designers work from one big desk. This promotes a lot of interaction and exchanges of ideas. The studio is kept fairly friendly and chill, without looking intimidating by over designing it with super sleek furnitures or furnishing. Very much true to our gut we are always intrigued and inspired by raw materials - the studio has some “rawness” in certain areas. Thus, the space allows us to speak our own voice; there’s nothing contrived about it or predictable about it.
Interview conducted via email with the creative directorof Foreign Policy, Yah-Leng Yu.
Page 85 — Foreign PolicyAsia — Singapore City, Singapore
Foreign PolicyForeign Policy are a small team of idea makers
and story tellers who help craft, realize and evolve
brands with creative and strategic deployment of
ideas narrated by various appropriate media.
Foreign Policy Design Group
78 Yong Siak Street, #01-04
Singapore 163078
foreignpolicydesign.com
+65 6222 0878
Wanderlust B
randing
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Are you conscious of your geographical location shaping your design practice in any way? Yes, very good question. Singapore being a very tiny market, does have its challenges and influence in our evolution. We are made constantly thinking on our feet about how to innovate or do it differently. When we were working in NYC, we were a pure digital agency what only served fashion clients. This is really impossible in Singapore - we expanded our services to beyond digital and included a wider roster of clientele.
How would you describe Singapore’s current graphic design scene to somebody who has no experience of it?I would describe Singapore as a toddler in terms of design maturity, when compared to Europe or America. The last two/three years had been an interesting one where we have started to feel and see a bubbling vibrant scene happening. There’s an interesting entrepreneurship trend - people opening up interesting cafes/restaurants, book stores, design-centric accessories stores etc. These new entrepreneurs understand and value design, so in a big way, they have been the patrons of design and we see interesting branding work coming out
from design studios. The government from its economic point of view, also has an interest to push the design education and industry. All in all, I think for someone visiting Singapore, it’d be refreshing and probably rejuvenating. For us, this is encouraging and positive.
Do you draw inspiration from any certain traditions or aspects of local culture or design?Yes. Depending on the brief and context of the project, we study and consider that particular aspect very thoroughly so that we would know how to apply design with it.
Are you particularly influenced or inspired by the design scenes of any other countries?Tokyo and Copenhagen are two of my favorite cities in the world. Whenever I am there, I feel I live in design. So very much, these are the two places that inspires me. Just by hitting the streets in these two cities, it is design all around. As for design scenes - the New York design scene definitely has a much greater influence and inspiration on me since I was based for a very long time.
Wanderlust Collateral
Page 88 — Foreign PolicyAsia — Singapore City, Singapore
Has the internet limited individuality and created a global design scene where geographical position and local culture no longer impact upon the work produced?Good question. I think the internet has such powerful impact on design - no longer we need to travel from our armchair to notice what are the new designs across the continent. Inspirations and knowledge come fast at a click. However, the over-reliant on this sort of, what i called “armchair travel” has made some designers lazy to go out there to get involved in the tactile world. Design is telling a story; it is really just communication. I feel it is prohibiting and challenging to fully communicate about a certain object if I cannot understand how it feels like or how it actually works in front of me.
Do you consider the work of your studio to have a certain ‘style’?I think our consistent style is that all of our work has a story to tell and that we tend to use very basic typography on some kind of interesting material to convey the context of the story.
How would you sum up the attitude and direction of Foreign Policy?We are idea makers and story tellers.
Table No.1 B
randing
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How did IdN magazine get started and what are its main aims? It started in 1992 as a desktop publishing magazine informing readers of things such as color separations for the graphic art industries.
What do you think is the most important attribute of IdN Magazine? It’s content. Good publication design accentuates the work of artists and creators.
What do you look for when sourcing content for the magazine? Someone who is genuinely good at what they do, whatever that may be.
IdN is well known for combining multiple stocks and finishes into its production which are generally considered too expensive by other magazines – How do you achieve this?Staying independent is one reason why we can keep doing this. We care more about the product than the profits we make.
You often include features on the design scenes of specific cities or countries – why is this of particular interest? “Creative City” is a column where we look beyond art & design, but people and cultures, where local influences impact upon their work.
From sourcing and curating content for those features, do you notice geographic location influencing any particular aspects of work that is produced? Yes.
Has the internet limited individuality through creating a global design scene where geographic location and local culture no longer impact upon the work produced? The internet is one of the reasons that geographic locations are slowing diminishing in today’s day and age. But it hasn’t limited individuality, it has in fact embraced individuality.
What are your future aspirations for the magazine?IdN digital version perhaps.
Interview conducted via email with the renowned design publication — IdN Magazine.
V18 No.4 Monographics Issue: Colour Toning
Page 91 — IdN MagazineAsia — Hong Kong, China
IdN MagazineIdN is an international publication for creative
people on a mission to amplify and unify the design
community. It is devoted to bringing designers
from around the globe together to communicate
with, learn from and inspire one another. It has
truly become what the initials of its title proclaim
it to be — an international designers’ network.
Systems Design Ltd)
4th Floor, Jonsim Place
228 Queen’s Road East
Wanchai, Hong Kong
idnworld.com
+852 2528 5744
Internacional Diseño Kultur
Page 93Oceania
OceaniaMelbourne, Australia — Coöp, Fabio Ongarato
Sydney, Australia — Maud, Toko
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Page 95 — CoöpOceania — Melbourne, Australia
Established in 2008, Quadradão was founded by three
university colleagues in São Paulo, Brazil. They claim
to be able to design anything from a poster to a chair
and act as a one-stop shop for everything from materials
to the execution.
Rua Frei Caneca, 667, casa 6
Consolação
São Paulo, SP
Brazil
Coöp.quadradao.com.br
+ (55) 11 2501 3180
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Page 98 — Fabio OngaratoOceania — Melbourne, Australia
Established in 2008, Quadradão was founded by three
university colleagues in São Paulo, Brazil. They claim
to be able to design anything from a poster to a chair
and act as a one-stop shop for everything from materials
to the execution.
Rua Frei Caneca, 667, casa 6
Consolação
São Paulo, SP
Brazil
Fabio Ongarato.quadradao.com.br
+ (55) 11 2501 3180
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Page 101 — MaudOceania — Melbourne, Australia
Established in 2008, Quadradão was founded by three
university colleagues in São Paulo, Brazil. They claim
to be able to design anything from a poster to a chair
and act as a one-stop shop for everything from materials
to the execution.
MaudRua Frei Caneca, 667, casa 6
Consolação
São Paulo, SP
Brazil.
quadradao.com.br
+ (55) 11 2501 3180
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Page 103 — TokoOceania — Melbourne, Australia
Established in 2008, Quadradão was founded by three
university colleagues in São Paulo, Brazil. They claim
to be able to design anything from a poster to a chair
and act as a one-stop shop for everything from materials
to the execution.
TokoRua Frei Caneca, 667, casa 6
Consolação
São Paulo, SP
Brazil.
quadradao.com.br
+ (55) 11 2501 3180
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Page 105Acknowledgements
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