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design and
visual culture
SSUE 24
SUMMER 2011
GB 25
DE E28 IT E24
SSN 1767-4751
PRINTED IN FRANCE
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n24IMAGES & QUICK HITS
P10
P14
P16P18
P20
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P24
P26
P25
P28
P32
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P30
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LUDOVICA GIOSCA
MATT SHLIAN
CLEMENS BEHR
P12 EKTA
P22
GUERRA DE LA PAZ
BROGEN AVERILL
PRACTICE + THEORY
CAMPING DESIGN
MARIAN BANTJES
ED AWARDS 2011
EDUARDO DEL FRAILE& ALEXIS ROM ESTUDIO
EDHOLM ULLENIUSAND HAOSHI DESIGN
FILIP DUJARDIN
GAT LYRIQUE
SCANDINAVIANDESIGN LAB
over by Geo Mc etridge
r , x , .
2010. Geo Mc etridge, The Westest
how, The Hal Gallery, NewYork.
Fonts: Boton by Albert Boton,
randa by Gerard Unger,
Kievit by Michael Abbink.
P40
P70 BY YOLANDAZAPPATERRAYolanda Zappaterra is a writer anddesigner.
P78 BYCLARE MCNALLYFormer advertising copywriterat TBWA, Clare McNally worksas a journalist and editor.
WINK, WORK LABS ANDIVANNA SHASHKINA
ALVVINO ANDCONTAINER
PORTFOLIOS
THE GRAPHIC
DESIGNERS
MIRROR
BYCAROLINE BOUIGE
BYCAROLINE BOUIGE
MARI
MEKKO
CLARA
TERNE
P42
SACMAGIQUE
P46
BYCAROLINE BOUIGE
MATTIHAGELBERG
STOCKHOLM
DESIGN
LAB
P50 BYISABELLE MOISY
P58 BYCAROLINE BOUIGE
YOKOLAND
P64 BYISABELLE MOISY
KOKORO
& MOI
SCANDINAVIAN PORTFOLIOS
A CLOSER LOOK
U
ISSUE 24
SUMMER 2011
GB25
DEE28 IT E24
ISSN 1767-4751
PRINTED IN FRANCE
design and
visual culture
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P88 BYVANINA PINTERVanina Pinter teaches historyof graphic design in Orlansand Le Havre.
P104 BYJOL VACHERONWeb editor now resident in London,Jol Vacheron teaches visual culture
at the ECAL in Lausanne.BYSILVIA SFLIGIOTTIP124
OPINION
WWW.ETAPES.COM/E
P140 BOOKS
P132 BYRAQUEL PE LTDesign historian, teacher andauthor of a book about the deprofession.
P137 BY ANNEBEYAERTGESHead of CeRes, she teaches tsemiotics of images, the medobjects at Limoges University
A composer and musician who alsoteaches at the ENM (cole Nationalede Musique) in Villeurbanne, France..
Pierre Ponant is a teacher at the coledes Beaux-Arts, Bordeaux.
BYGRALD VENTURI
BYPIERRE PONANT
Designer and professor at the FreeUniversity of Bozen and the SPD(Scuola Politecnica di Design), Milan..
P98P114
CAPERS
ANDGOINGAGAINSTTHE GRAIN
THE DOUBLE
LIFEOF GRAPHIC
DESIGNERS
DRAEGERTHE VOICE OF
INK
P129Chantal Prodhom is director (Muse de Design et dArts apcontemporains) in Lausanne
BYCHANTAL PRO
GOO
BYEPOSTER
STEFA
SAGMEISTE
THELABETHE BOTTAND THE CONTRAD
OF TIM
VISUAL WAVES
MUSICNOTATION
WAVESOF ALTER
NATION
P112 BYISABELLE MOISY
FRANCISBAUDEVIN
Isabelle Moisy is editorial coordinatorof tapes: magazine.
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Through the Looking-GlassIn his compositions Ekta strikes a balance between abstract and figurative art. Human morphology is not immediately
apparent in his portraits. A dash of caricature and a splash of paint is all it takes to turn passers-by in the street into
fairytale characters. With particular care given to the palette of colours, the aerosol ends up plunging the image into
a semi-reality, a vaporous world provided with a solid base and resonance through the insertion of highly concrete
objects and details. Swedish-born Ekta now works in London and adds his personal touch to decorations on T-shirts,
skateboards and concert posters. CB
WWW.EKTA.NU
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Eco Tin CanThe American population gets through 106,000 tin cans every 30 seconds.
Designed by the Haoshi and PLA studios, the new environmentally-friendlyTin Can range, produced in a limited run, invites consumers to rethink their
behaviour with regard to food packaging in the throwaway age. The Tin Cans
are in PLA (Poly-Lactic Acid), a material that is biodegradable in 180 days. In this
eco-minded effort, the packaging has no illustrations and no paper. Each can
is reusable: it has a double insulation capsule and can withstand temperatures
from 20 C to + 110 C. Tea, coffee or fruit juice: just unscrew the top cover and
choose your days beverage! A-SC
WWW.HAOSHI.COM.TW
Haoshi Design Taiwan
PackagingOverweight. Designing packaging
is becoming a real challenge. The
accumulation of graphic elements
is no longer a se ller. Nor is the slogan
in fluorescent lettering. With the
superposition of colourful banners,grotesque, simplistic illustrations
or other information about
the products qualities, the identity
of the contents and container
disappear, buried under a horde
of logos illustrating multiple buyouts
of a brand name by multinationals.
But how do we still manage
to find the desired brand or product
on a shelf, and worse still, to read
Cocoa PaintingWith its flat tints in bright colours, it looks like
a Paul Klee. Commissioned by Stockholms modern art
museum Moderna Museet, this is a bar of chocolate
in packaging inspired by the work of Olle Baertling,
a female Swedish artist who was doing shows at the
museum at the same time as the cocoa product came
out. Designed by the Swedish studio Edholm Ullenius,
the food packaging is in the image of its two founders,
the graphic artists and illustrators Sissi Edholm and LisaUllenius: full of vitality yet sober. IM
WWW.EDHOLMULLENIUS.SE
Edholm Ullenius Sweden
what is in it? A recent experimental
work by the Turkish agency Antrepo
highlighted the steady increase
in writing and images on ever yday
packages over the last few years.
By gradually removing certaingraphic elements from the
label a can of Red Bull, a jar
of Nutella or a packet of Nesquik
the original logo and the objects
silhouette are laid bare, sometimes
revealing a sophisticated but
forgotten form. The meaning and
consistency of man-made products
would have disappeared altogether
had not certain shopping sectors
advertised new operating procedures.
Luxury goods turned to artists
or designers for solutions. A few
major brands are still looking
for original ideas to catch the
eye, simplifying line and graphiccodes while seeking to keep to
the functional contingencies that
have become almost primordial:
a product has to be transportable,
easy to use intuitive if possible
be part of a sustainable process or
environmentally friendly, slip into
the background or be a fun item,
and of course attractive too.
A qu ick tour of current packaging.
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Home-Made Ice CreamThe ice cream specialists Honey & Mackie
called in the designer Scott Thares to spruce
up the packaging for their little tubs.
A patchwork of letters and information
combines several coloured typefaces in tints
recalling the flavours of the products.
The same colours are used for the ground on
which the white lettering of the logo is set. The
packaging has an old-school effect reminiscent
of ice cream sundaes at the fairground.A-SC
WWW.WINK-MPLS.COM
Wink USA
Hair-raising Chocolate!Sweet & Hot invites adventurous chocolate lovers to a spicy culinary
experience! A student at the British Higher School of Art and Design(Moscow), Ivanna Shashkina chose an original, dynamic illustration
for the packaging of this project, combining sweet cocoa and sharp
vermilion colours. Snippets of text in handwritten lettering in label-
bubbles are intended for hungry young consumers. On each product,
the face of a young woman with a spiced-up hairdo gives chocolate
lovers a foretaste of what is coming to them! A-SC
WWW.BEHANCE.NET/IVANNASH
Ivanna Shashkina Russia
Less is moreA registered trademark of the White Fences
Vineyard company, Meteor adopts a very simple
design echoing its stage name. Designed by
the American Work Labs studio, for this range
of wines the packaging reaches out into
an intergalactic universe. Like the Virginia night
sky, the dark tall glass scintillates all the way
round. A meteor, the moon and the solar
system in turn dress it in white dots.As a side note, the il lustration of an apprentice
astrologer is hidden behind each bottle. It turns
it into an astronomers telescope opening up
onto a really starry sky once emptied! A-SC
WWW.WORKLABS.COM
Work Labs USA
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Crumple, unfold!Large cities all contain within them the h istorical marks of people traffic flows
in every age. So many visible and invisible traces make up the urban kernel
forming folds and connecting spaces that cannot be erased. To escape from this
jungle, the Palomar company asked the Alvvino studio and the designer
Emanuele Pizzolorusso to devise an intuitive graphic design for Crumpled City,
a collection of guides and maps of large cities. The booklet is in a small
format and comes with a map on recycled paper that is crumpleproof and
waterproof and clearly indicates all the must-see sights and places to go.
You just stuff it any old how in your pocket. IM
WWW.ALVVINO.ORG
Alvvino Germany
21st-Century Make-up Cases
Their names are Krner, Radii, Kevin Murphy, Milk,Slingback and O&M. They are not the children
of some star, or the titles of the latest chart-toppers,
but cosmetics, the newest in the upmarket Container
cosmetic range. Each of them was entrusted for
its creation or revamping to a different design studio,
including HCP and Rebecca Corner, responsible
for coming up with some seductive curves.
The result is an innovative range of packaging for
lipstick, gels, creams and eyeshadow with
simplified lines and rounded shapes. Luxury cases
for the modern-day princess. CB
WWW.CONTAINERMADE.COM
Container Australia / China
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Eduardo del Fraile Spain
Alexis Rom Estudio Spain/I
Lascala: Theatrical Spanish Wine
While theatre director Ariane Mnouchkine was working with the Thtre du Soleil
in late 2010, Spanish graphic designer Eduardo del Fraile was inventing wine
packaging for a producer in Murcia who wanted to conquer the Chinese market.
Theres no doubt that a number of Asian traditions, including Chinese theatre,
classical Kathakali dance-drama and Balinese theatre, had an influence on his
labels for the Lascala range, but Del Fraile also blended typical Spanish symbols,
such as red polka-dot paper to evoke the flamenco tradition, with the Asian
iconography. As a final touch, three faces that seem to be modelled on Japanese
kabuki masks illustrate the wine range: la peineta(sculpted comb) for the ros,
el abanico(fan) for the white wine and la bailadora de flamenco(flamenco
dancer) for the red. IM
WWW.EDUARDODELFRAILE.COM
Chic Souvenir
La Vie en France designed a range fo
The Original Ch-Ch Barcelona wit
humour and imagination based on s
of France and clichd souvenirs. Forcollection, Alexis Rom Estudio used
a patchwork technique. Like an earli
designed for Grandi Magazzini Mila
outlandish comparisons and connec
create playful and poetic images. Th
graphic designers used an array of c
and cutouts of black-and-white print
paper, juxtaposed with the colours o
French flag. The techniques they use
from digital: the letters are painted w
a brush, written in heavy lithograph
pencil or made out of paper. Some o
characters are reminiscent of Banco
designed by Roger Escoffon in the 19
HTTP://ALEXISROMESTUDIO.EU
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Bleed (Norway)GOLD _ Corporate illustration
Myspace
An Internet space for sharing that s
to be a unique experience for its us
Myspace fits in with the idea of a g
culture that gives programmers, ar
and consumers the tools to discove
publish and exchange views on shar
interests. Recently endowed with a
logo and a new website, the Myspacmanagement invited Bleed to desig
the rest of the companys visual ide
Based on the promotional slogan p
create, celebrate, the Norwegian st
devised illustrations that combine e
of the three notions with an image,
to be found on all communications
media, both printed and online,
including office stationery. IM
WWW.BLEED.COM
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Transmdiale
Une ligne, un point, voil la communi-
cation A line, a point: that sums up the
communication for the 11th edition of the
multimedia arts festival Transmediale.
Raban Ruddigkeit has cleverly boiled down
his graphic preparation so as to keep only
the active principle. A binary code ensures
it is in keeping with the theme of this yearsevent: response: ability This matter
of interfaces between man and computer
finds its source in the primordial element
of each party, namely DNA and computer
programming. But the formulas
effectiveness doubtless lies in its
despotic application to the typography,
poster, booklet and flyers, where it is
brilliantly renewed each time. CB
WWW.RUDDIGKEIT.DE
Ruddigkeit (Germnay)BRONZE _ Brand implementation
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Christian Busse (Germnay)GOLD _ Student project
Facts+patterns :Infografische Musterim AlltagA graduate project for the communi
department of the HTW, the applied
school of Berlin, Christian Busses w
combines everyday objects with wor
data display focusing on common to
They highlight the possible associatof informational content with an aes
form. Each illustration is adaptable a
with a topical matter confronting th
and its functionality in the western w
to a major humanitarian issue; the p
show poverty in the world, the show
curtain addresses water shortages,
the dress takes in the problem of ch
labour and the textile industry. IM
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Thonik (Netherlands)
ED AWARDSSHORTLIST
Florian Mewes (Netherlands)
GOLD _ Posters series
Net Echt (Life Like)
Working together on an event from October
2010 to January 2011, three of Amsterdams
largest institutions, the Van Gogh Museum,
the Foam Photography Museum and the EYE
Film Institute, inquired into Naturalism,
an art movement that is relatively little
covered by art history or photography.
Entrusted to Florian Mewes firm the DutchGotoflo studio, the poster campaign is
accompanied by an online platform
Net Echt (Life Like) that handles
and presents certain aspects of the
movement through specific themes. IM
WWW.GOTOFLO.EU
WWW.GROOTMEWES.COM
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Tape
Located in Arnhem, Tape is a bar tha
is turned at convenient moments int
an exhibition area or a theatre stage
In response to the convertibility of t
space, Cline Lame, a member of th
agency Lava, seeks to design an amu
modular identity based on the letter
in the word Tape. Simplified by an edisguised triangle, the letter becom
pointed hat, a cocktail glass or a snow
The separation into two fields is effe
applied both in the two-colour sche
the confronting of flat tints and imag
WWW.CELINELAMEE.COM
NRC
A Dutch daily newspaper, the NRC
Handesblad is famous for its very h
news coverage. The Thonik team bas
its identity on the chevron quotatioa symbol of writing and quoting, a fl
dynamic sign that in one direction re
the play button, or fast forward wh
double, or again the mathematical
sign greater than. The newspaper
communication plays on the signs m
meanings and combinations, wheth
it collides with a photographic subje
or is self-sufficient, a manifesto for a
strong identity. CB
WWW.THONIK.COM
Cline Lame (Netherlands)
ED AWARDSSHORTLIST
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StockholmDesign Lab
How many people work
at the Stockholm Design Lab?
Fifteen.
What are the different trades
represented?
Artistic directors, designers,
accounting directors,
marketing directors, produc-
tion directors. We share our
offices with the co-founder,
Thomas Eriksson, with whom
we set up an architecture
agency with over 35 staff. The
two agencies work together
on a number of projects.
Industrial design and graphic
design are an integral part
of Swedens cultural history.
How is this heritage
expressed in your work?
I think that Sweden enjoyed
success and won recognition
through the creation of brand
identities that followed
on from a smart distribution
principle combining small-
scale logistics and production.
Large firms like H&M or Ikeaused design as a force for
development only much later
on. H&M moved from being
a clothing supplier to a fashion
brand during the 1990s. Ikea,
with whom we have worked
for over 15 years, introduced
original Scandinavian design
in the late 1990s with
a project called Ikea PS which
we had the pleasure of launch-
ing, very successfully,
at the Milan Furniture Fair.
The Ericsson brand also real-
ized later on that the design
was the part of the productwith the greatest impact.
Why is design so important
in the Scandinavian cultures?
I am not sure it is that
important, but I would say
that it is part of the culture.
More so in Denmark
than in any other country.
Is there such a thing as
Swedish graphic design?
I am sure that every country
can see that in their own
culture. At SDL, we use our
Scandinavian cultural back-
ground by emphasizing
simplicity and functionality,
but most of all simplicity,
which we combine with
influences from all over the
globe. If you listen to Swedish
music, you find a similar
approach, with Jan Johanson,
The Embassy, Robyn.
Ikea, Hemtex, H&M, airlines.You work with multinationals
and very big companies. How
did this come about?
It was a luxury not having
to choose or not having to
focus on one particular type
of business. Large or small.
We always launch into a new
project with great relish and
try to learn as much as we can
each time. For instance,
on the petroleum industry,
chocolate, skis, energy, the
art of Alexander Calder or the
director Tomas Alfredson.
All different, but their workprocess is the same: come up
with a bright idea and give it
concrete form in the best way
possible. We usually like
to develop the overall project
in-house so as to be able to
hire and help freelance work-
ers. Ninety per cent of projects
on product sales, architecture
and design involve joint work
with TEA (Thomas Eriksson
Architects).
What experience have you
gained from this joint work?
Client relations?
Our first assignment was SAS,
Scandinavian Airlines. The
project called for input from
many specialists. At one stage,
there were more than 60 of us
working on various aspects
of the overall design: uniforms,
drawings of aircraft, cutlery,
photographs of destinations,
lounge concepts, a single type-
face, etc. Over 2,500 differentapplications were needed.
Scandinavian Airlines knew
exactly what they were look-
ing for and claimed that
design was the key to standing
apart from other airlines.
With an extremely tight
schedule and a very strict
design concept, we somehow
managed to see it through. The
team was exhausted, but this
project was very satisfying
and it taught us a great deal.
What is your approach when
working on a global identity?
Where do you start?We ask ourselves what?and
what for?The answer lies
in the third question, how?
We use this approach for all
our commissions, whether
domestic or international.
Do you ever work with
other studios?
Yes, Stockholm Design Lab
has already worked with
Henrik Nygren, Greger Ulf
Nilson (Moderna Museet),
1.2.3 (Biennale di Venezia).
Jasper Morrison (stra
Stadtbahn), Acne (SAS), Gert
Wingrdh (Filippa K Ease),
La Mosca (Velux), Johan Prag
(Filippa K). And also with
several advertising agencies.
Is there any financial
backing for graphic design
in Sweden (for small
studios for instance)?
A development policy?
No.
And how do you see SDL
shaping up in the future?
Like the lyrics in the Daft
Punk single that came out
on the 13 October 2001:
Harder, better, faster, stronger.
STOCKHOLM, SWEDEN STUDIO SET UP IN 1998
BJRN KUSOFFSKY [INTERVIEW] (AGE 46), THOMAS ERIKSSON (AGE 52), GRAN LAGERSTRM (AGE 72) WWW.STOCKHOLMDESIGNLAB.SE
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Centre left:
Ikea Food.Identity and packaging
concept to bring together
the brands various food productsunder a single label.
Left and above:
Ikea Packaging.
Identity and new packaging range
for over 8,000 products distributed
worldwi de. SDL design s the pac ks
in line with Ikea values
and creates an identity
system including
pictograms, symbols,
and typography.
Stadium.
Development of the global
identity and the seat design for an
international chain of sports shops.
A joint production with the
Thomas Eriksson architects agency.
Autumn 2005.
Both.
S
tockholmDesignLab
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Hemtex.
Global identity
and store design for
the group dedicated
to textiles and
household linen, 2009.
Ohmine Shuzo.
Global identity and
packaging for a line of
three sakis produced by the
Japanes e Takeshi Akiyam a.
H&M.
Packaging and research
for the H&M stores
cosmetics line.
Rstrand Glass.
Packaging of a new range
of wine glasses for Rstrand,
a Swedish porcelain makers
active since 1726.
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y
p
j
g
p
y
Br
nda
Ord,aninstallationproducedjointlywithBig
ert&Bergstrm
Filippa K Underneath.
Packaging and sales concepts
for reusable nylon bags, developed
by the Swedish fashion label.
Bottom right-hand page.
Filippa K Ease.
Creation of a logotype and a visual
based on a flower base for one
of the labels collections. Produced
jointly with the electr onic mus ic
producer Mokira.
Venice Bien nale.
Creation of a new identity for the 53rd edition
of the Venice Biennale (Italy) curated by Daniel
Birnbaum. Based on the making worlds concept.
SDL developed a language based on abstract forms,
in relation to the different regions of the world
and the notion of universality national flags
while cr eating s omethi ng new.
S
tockholmDesignLab
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Swedish Cultural Institute.
Identity of the Swedish Cultural
Centres around the world aimed at
fostering ties between the community
and the cultural, economic, scientific
networks of each country.
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S
tockholmDesignLab
Atthemoment,Kaddish,
ChristianBoltanskisbook.
Above:
Scandinavian Airlines.
Global identity of the Swedishairline (SAS Group) under
development since 1998.
Below:
stra.Public transport identity,
map and signs (bus, tram,stations) for the city of Hanover
in Germany. The graphic
programme is part of TW2000,
a city development plan
with tr amways t hat uses t hesystem developed in
1997 by Jasper Morrison.
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Askul.
Identity and packaging for
the products of a J apanese
mail order firm. SDL focused
on the identity of the brand
products by working on the
packaging with a simple,
playful, colourful line.
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rald Venturi looks back at the functionnd evolution of western music notation
n the 20th century, and examinesome examples of graphic explorationthatighlight structural and compositional aspects
eflecting the evolution of music itself. By Grald Venturi
MusicNotationspace-time sign systems
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Music and its notation system have often received great attention
from visual artists, and the 20th century witnessed many experi-
ments in this field. The advent and development of music graphics
raises the issue of whether this medium is a means of communica-
tion or an end goal.
The score is a visual medium, an interface. Music notation is a
type of writing with its own sign system: notes, keys, articula-
tion marks. Music notation serves both as a memory and a means
of communication and transmission. According to the composer
Gyrgy Ligeti, notation is neither the representation of musical
facts nor the image of movements or actions that lead to the pro-
duction of music, although part of notation can apply to this kind
of action. It is, however, a system of signs and a system of rela-tionships between these signs. Although the most common form
of western music notation the score does not represent musi-
cal facts, it displays certain types of space-time relationships and
ratios: the spatiality of the registers (from low to high) is notated
vertically, while the position in time is notated horizontally. The
sequence is read from left to right, and simultaneousness from bottom
to top or from top to bottom. All music implies a more or less het-
erogeneous sonic organization of time. Perceived and memorized
musical time is arranged in space. In its relationship with reality,
it is comparable to dreaming: musical time is an imaginary space
that is revealed and evolves throughout the listening experience,
but a complete image of it can only be obtained retrospectively,
after the last sound is heard, in a holistic memory of the music.
As part of their respective investigations, Wassily Kandinsky and
Paul Klee visually transcribed excerpts of music scores. These ana-
lytical works enable eyes unversed in music notation to read many
of a compositions structural, quantitative and qualitative aspects.
Paul Klee invented a form of transcription that featured in a series
of classes he gave at the Bauhaus in January 1922. He addressed
the question of structural formatting, and measuring and weigh-
ing, as creative processes and processes for measuring time and
length I will now move on to the field of music. Here, fundamen-
tal structure is represented by rhythm. To the ear, the bar exists
in a latent state, one might say; but it is muffled as a network
that serves as the backdrop to the quantities and qualities of the
musical ideas occurring in it. The work of Klee and Kandinsky1proposes a simplified reading of music, through a graphic inter-
pretation of its structural elements. Their transcriptions by sym-
bolizing lines, the pathways of lines, vocal inflections, succession
and simultaneousness help the eye to discern musics funda-
mental parameters. On reading the score, one notices that these
same parameters, though less obvious, are often already legible.
The two painters educate the eye whether familiar with music
theory or not to read movement in notation. Movement cannot
be reproduced by a succession of positions in space, explains phi-
losopher Gilles Deleuze regarding a thesis of Henri Bergson.2This is
what resonates in the painters work: the general direction and the
curves of the lines are relationships with space, ranging from the
general to the specific. Kandinsky and Klee represent the general
Above: Graphi
representation
Paul Klee of a t
movement by J
At the start of
excerpt of the
movement, the
(here, two voic
a reading grid
semi-tones are
vertically. The
plane divides t
into fractions
duration. The
chosen as the
of division is t
The thickness
of the line itsymbolizes the
or qualityof th
The graphic in
X-rays the mus
order to revea
quantitative a
qualitative str
elements: num
proportion, m
aspect, repetit
variati on, the m
of the voices, a
degree of inde
or interdepend
Zentrum Pau
Bern.
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movement by the overall look of the line, and the specific melodic
movement by its singular curves, segmentations and qualities.
For his graphic transcription of scratch music, graphic designer
and musician Laurent Burte3devised a typographic system and a
typeface based on the hands movement on the turntables: it is
a kind of action notation. The project, a 2003 collaboration with
French electronic-music band Birdy Nam Nam, yielded a collection
of ideograms that fuse gestural information into a single form.
Today, there is still extensive research into the visual transcrip-
tion of music notation. Recently, in the SisTeMu project, graphic
designer Laia Clos created a graphic interpretation of the ampli-
tudes, rhythm and intensity of articulations and ornaments in the
score of VivaldisFour Seasons: it is a transcription of the first-violinpart, and somewhat reminiscent of a Klee diagram.4
Relationships and ratios
In art, numbers are an intriguing subject, for what they represent
or hide. Numerous musicology papers have attributed diverse and
often mystical meanings to them. They represent a symbol, a mark
of affiliation, or the composers signature. The hidden number
has a structural function in composition: it is an item of quantita-
tive information or a ratio proportion, for example. Quantitative
ratios are literally taken into account by unconscious listening and
memorization. In 1712, Leibniz wrote: Music is an occult exercise
in the arithmetic of the soul, which does not know it is counting.
Paul Klee, in his work on music, already devised quantitative cat-
egories: bar and meter, weight and density. His work showed that
notation made it possible to read the structural ratios present in
music composition. The painter also demonstrated that quantity
and quality always acted in a relative interrelationship: weight
depends on both surface (quantitative) and colour (qualitative).
The question of symmetry, for example, is considered in a very sim-
ilar ways in imagery and music. In the painters opinion, the wob-
bly curiosities of the five-beat bar or the seven-beat bar correspond
to two-beat bars subject to unequal loads: 2+3 or 3+2 (five), 3+4
or 4+3 (seven). The quantitative is always closely linked to the
qualitative: the unequal loads of the bar confer its wobbliness.
Klee also discussed the conditions for achieving the asymmetrical
balance of an image, i.e. a hidden symmetry, invisible yet present.Mozarts musical phrases are known for their evident asymmetry:
divided into two parts, they reveal an offset centre. Formal bal-
ance is maintained by other means, for example the number of
notes a hidden use of symmetry. Formal balance depends on the
organization and regulation of all quantitative ratios and qualita-
tive relationships.
Form
Regarding form, Ligeti wrote: The syntactic relationships between
the various musical elements are [] translated by our imagination
into a virtual space, in which all the musical entries fragments,
motifs, figures, parts, etc. act like places or objects, whereas the
musical progression looks like architecture in space .5
Music estab-
ve: Laia Clos.
eMu.
uatre stacions .
mavera (Spring)
ter, from a series
our. Laia Clos,
9-2010.
:
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Above:
Earle Brown.
December 1952
fromFOLIO (19
and4 SYSTEMS
1961 by Asso
Music Publishe
Print courtesy
Earle Brown M
Foundation.
Music and the visual arts are often informed by two-way research
and experimentation, conducted by artists from both disciplines.
Schnbergs painting explorations, for instance, are well known.
The composer did not claim to be a painter, however; he said
the practice let him approach the problems he encountered in
music differently. Ligeti showed how a Paul Klee engraving ena-
bled him to find a solution for the formalization of an intuition,
a musical vision, that was bothering him. Renaud Huberland, a
graphic designer at the Salut Public studio and a teacher at the
Belgian art school ERG, gets his students to investigate the prob-
lems developed by Paul Klee in his classes in Weimar, and explores
the resonance between music and graphic design in his own work.
To reframe and decontextualize problems by considering anothercontext, which may be that of another discipline, provides a
detached perspective and offers additional pathways into reflec-
tive practice. In this respect, it is of fundamental importance that
places of artistic education, whose purpose is to train artists and
not just artworkers, musicians and graphic designers, should be
places of research, experimentation and cross-disciplinary creation.
References :
Zentrum Paul Klee: www.paulkleezentrum.ch
Laia Clos: www.motstudio.comLaurent Burte: http://laurentburt.wordpress.comThe Earle Brown Music Foundation: www.earle-brown.orgBibibliothque Publique dInformation: www.bpi.frCentre Georges Pompidou: www.centrepompidou.fr
With assistance from the Earle Brown Music Foundation, the Zentrum PaulKlee, the Bibliothque Publique dInformation, the Institut de Recherche etCoordination Acoustique/Musique (IRCAM) and the Centre Georges Pompidou.
1. Wassily Kandinsky,Point et ligne su r plan.ditions Gallimard, collection Folio Essais, Paris, 1991.2. Henri Bergson,Matire et mmoire. Essa i sur la relationdu corps lesprit, Coll. Bibliothque de philosophie contemporaine.Presses Universitaires de France, Paris, 1939.
3. Laurent Burte, Scratch graphique. ditions Pyramyd, 2003.
4. Paul Klee,crits s ur lart. La Pense cratrice.ditions Dessain et Tolra, Paris, 1980.5. Gyrgy Ligeti,Neuf ess ais sur la musique. ditions Contrechamps, Paris.6. Arnold Schnberg,Le Style et lId e. ditions Buchet-Chastel, Paris, 2002.7. Theodor Adorno,Philosoph ie de la nouvel le musique.
ditions Gallimard, Paris, 1948.
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For Renau, posters enjoyed this support because deprived of that halo of mystery
that surrounds a painting and because, in its expression, so humble, so unpreten-
tious, it had no need to pose to be a work of art. Its significance goes beyond that
which it manifestly publicizes, beyond its function as notice, the plastic use o f
its colours and abstract laws of its forms, he declared, indirectly alluding to its
documentary and social value.
But he was also referring to an unbreakable bond between the history of the poster
and the rise of capitalism, which he mentioned in these terms: When positive
experiences technical and functional of advertising forms find the highest
expression of their servitude in the social needs of the new era, the first step of
the poster as expression of capitalism, from its early romantic stammerings to
the great and latest creations, will constitute an enthralling chapter in the his-
tory of the evolution of our society.
From commercial function to socio-cultural function
More than 70 years have passed since this text was published, but as far as the
Spanish poster, at least, is concerned, it is perhaps only now that Renaus essay
has acquired its full meaning, now that the poster has progressively lost its com-
mercial function and instead gained from a social and cultural point of view.
It might be that Joan Costa is indeed right when he affirms that the poster has
been replaced by other and more sophisticated, more powerful media, that it is
submitted to the dictatorship of the quantitative and relegated to the back-ground within the framework of some advertising campaign launched before-
hand on television. It is nevertheless worth pointing out that this comment speaks
above all of commercial posters, which fell into disgrace in the last third of the
20th century.
But has the death knell truly tolled for the poster, as some maintain? Is it really
a means of communication suffering an identity crisis in a world saturated with
messages, in which advertising fights to attract the attention of consumers who
are increasingly hostile to classic stratagems? So it would seem, if we consider
advertising investment in Spain, for example. According to the InfoAdex study
of 2009, investment has tumbled pretty much everywhere, including traditional
media like radio and outdoor advertising but except for the Internet, the only
medium in which there is strong growth. Indeed, there are plenty of advertis-
ing executives who are themselves convinced of the obsolescence of conventional
Goodbye Posters?
a 1937 text, La funcin social del cartel, which marked the history of Spanish posters,ep Renau questioned the possibilities of this means of expression in Spain. He saw a new
tistic discipline able to stimulate more interest among artists and the general public thanost sculpture events being held at museums at that time.
sters by raquel pelta
reu Balius, 2008. One poster, two functions: serving as
ertisement and as presentation of a specimen of the Pradell
t, designed by the graphic artist between 2001 and 2003.:
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media given the advent of the new channels bearing Internet and digital medi
are more flexible, have no constraints of space or time and are open to inter
Their development corresponds also to a search for personalized positionin
ing more and more, and better and better, a targeted public in order to mea
effectiveness of a campaign immediately. Which is the opposite of what a p
a few decades ago. It was about this that Angharad Lewis wrote in her boo
Talk: The Rise and Fall of the Poster, declaring that poster could not discrim
all, that it was impartial and democratic, given that its message was addr
all passers-by.
Everywhere, including in the context of exterior advertising, posters have a r
small importance, compared to billboards, printed awnings stretched over b
buses and banners, which are increasingly common in large towns. But they sa place in street furniture, which is the most commonly used advertising m
and which in the first six months of 2010 represented 44 per cent of the inv
made in exterior advertising. Of course, posters will never be able to rival
spectacular offerings, such as olfactory postings and electronic advertising
offer possibilities of video projection and interactivity. Nor can they comp
guerrilla marketing, or with ambient mediaor electronic word-of-mouth. In
way, one might even say that posters, more than ever today, are that expre
humble, so unpretentious of which Renau spoke.
Nevertheless, on top of the competition from the new media, one has to bear
that in Spain as in many other countries, posters are the victims of increasing
regulations governing their use in a public space. For instance, it is forbidden
posters alongside roads, and every municipality has its own bylaws as regard
sions and positioning of luminous hoardings, advertising panels and poste
territory. These bylaws, which can vary from one town to the next, forbid and
unauthorized posting, amongst other things, requiring prior authorization
ing on boards in public space. Display of posters is therefore limited to street f
within public or private spaces.
Thus it is that the poster, in some way freed of the laws of competition, has b
to preserve less marketable territories, such as shows and especially in
ent music production, art and cultural exhibitions, together with social an
cal militantism.
Paradoxically, while the poster emerged from the rise of capitalism and ha
to encourage consumerism, it has today become a critical instrument for th
ing alternatives.
Creative and spectacular
The Spanish poster can boast a remarkable tradition, with roots back to thethe 18th century. It enjoyed a period of splendour in the first third of the 20th
and a flourishing period in the 1960s, followed by a progressive recession with
of activity during some years, as in the 1980s, reflecting the boom of Spanish
In this sense, its history runs parallel to that of the poster in other Europea
tries, with all the nuances resulting from the individual social and cultural
and the preoccupations of our designers resemble those of designers throug
world. Thus, while recognizing that the poster is no longer what it was, mos
ers refuse to accept its disappearance. On the contrary, they believe that it po
interesting challenges, as much for its past splendour as for its widespread e
to the public or, despite everything, because it has remained a medium for m
munication enjoying a respectable tradition.
For many, the poster even represents one of their favourite formats. David T
for example, who is an unconditional fan of the poster and one of the mos
Top: David Torrents,
2006. The font and
colour give an idea
of circus in this poster
for the exhibition held
at the Barcelona
Contemporary Culture
Centre on modern-day
Catalan circus and
the art of risk.
Bottom left:
Alex Trochut, 2007.
A personal project for
the Psicotipogrfico
exhibition (Madrid,
2007). This is a good
example of a drawn
letter that is both text
and image at one and
the same time.
Bottom right:
Daniel Nebot, 2007.
This simple line drawing
evokes the theme of
shoes for an exhibition
of 30 leading Spanish
brands, which brought
together the work
of prestigious graphic
designers.
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after for his skills as poster designer, declared in an interview, I dont know how
other people see it but for me anyway, the poster is at the centre of things. Each time
theres a poster in a project, thats what matters most to me.
From Andreu Balius: Designing a poster is a fantastic exercise that presupposes
a series of skills ranging from colour to fonts, and including page layout. Of all the
supports available to graphic designers and those who have things to say, whether
its a personal project or a commission, the poster is the means of communication
par excellence, that closest to people, that which gives the graphic designer the most
freedom and brings him closest to the fine arts. Its a spectacular instrument and
graphic designers adore its format.
For Eric Olivares, The poster is the advertising standard of the 20th century, one of
the most interesting and most creative exercises in the graphic arts.The poster is thus perceived as an opportunity to demonstrate ones talent, as it calls
into play the mastery of the graphic language and tools, including the ability to syn-
thesize and communicate.
Some, like Gabriel Martnez, member of the Un Mundo Feliz collective, avow that even
if it is possible to go further with the Internet, they have a soft spot for the poster.
It retains a part of our memory and gives us pleasure when we design it, when we
print it and stick it up. Its format is pleasing and we have noted that its also liked
by the students who come to our studios. Perhaps theres a little romanticism in all
this, because were aware that it has lost its power, probably because you cant stick
a poster up in the road anymore.
Displaced
This is the opinion also of Balius, who claims that posters have lost their raison
dtre, given that in large towns, no one knows where they can pin them up. The
boards that were once available have vanished and with them [goes] the popular
dimension of the poster. Today unless you go via an agency, you cant do anything, to
the point that the poster has ended up resembling a sort of advertising ticket; in other
words, without the impact it had before the digital age, its no longer really a poster.
This situation worries Torrents, who in a conference recently stressed that the places
in which it is still possible to place a poster are monopolized by municipalities or pri-
vate companies. Why, he asks, cant everything that happens on the Internet also
happen in the street? In a text written for the occasion, he rightly added, Why is
there no better regulated, more democratic way to show a good poster to everyone?
Why arent there more panels? Why is the only support we have in this country a
kiosk or column on which one poster covers the next, without any temporal logic,
with squadrons of young people sent deliberately on their mopeds to change them
every half-hour, thus depriving the posters of the possibility of having some mean-ing or spending some time in the road without having to pay for private or public
panels? Adieu posters! Well meet up in art galleries! Or in books!
From the street to the art gallery
This declaration by Torrents expresses a common regret, the nostalgia for the street
with which the poster was closely associated from the outset; we should not forget
that it was the urban character that best defined it. Gabriel Martinez, for his part,
declares himself to be less sad but just as aware of what its disappearance from
the street and its admission into art galleries means: I think that today, the poster
belongs more to the artistic world of exhibitions than to that of advertising.
That it has progressively changed from being a means of mass communication to
an exhibition piece closer to a picture is a fact that seems to agree with the large
number of exhibitions organized in Spain in recent years in line with the following
ac Ballester, 2004.
erimental
ographical project
ed on the Helvetica
t and a text by Joan
ssa on the poetic
e of letters. The
eriment included an
bition and poster.
Bottom left:
Iban Ramon, 2008.
In summer, the festivals
in Benidorm offer
varied programmes
of music, dance and
theatre. The graphic
designer has succeeded
in suggesting the
variety by making use
of forms that can be
read as letters.
Bottom right:
Miquel Polidano, 2007.
Poster announcing
a series of four matine
performances of
concerts by stars of the
1960s. The graphic
design uses only type,
in a nod to posters
of the past.
:
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principle: after launching an appeal for a project on a given subject, the be
of the participating graphic designers are reproduced just for the occasion a
lished in limited editions. This is what Cajamadrid does for its annual com
generally on a social theme followed by a travelling exhibition of the wo
sen by the jury and the publication of a catalogue.
Metamorphosed into a unique or almost item, or restricted to the artisti
the poster will probably never again be that museum in the street that so fa
its fans at the beginning of the 20th century. We shall regret its ability to edu
publics eye and that capacity to present aesthetic innovations to the obser
could not have been seen otherwise.
New perspectivesBut not all is negative in these transformations. The poster has largely fre
of the constraints of creativity imposed by its commercial considerations, a
are numerous graphic designers to design and approach them practically a
they were works of art. The growth in the number of posters created that ar
fruits of commissions shows this clearly. These graphic designers produce
publicize themselves (as with Balius and his typographical works for his Type
foundry), send their best wishes to clients and friends, celebrate or commem
event or directly to sell themselves, as in the case of Alex Trochut on his w
Vasava in his Vallery gallery. The Toormix workshop, another example wor
ing, has recently published a collection of 101 typographical posters to cele
tenth anniversary.
For others, like Iban Ramn and Ddac Ballester, the poster is perfect for al
experiments. The former was responsible for Bsicos (2008), a reflection on
and the meaning we arbitrarily give them, presented in a limited edition
posters, and more recently, his We Love Geometry, a proposal for a playfu
tion to geometry, formed of a box containing a series of cards and unfolding
We may also mention Ddac Ballesters Helvtica sobre negro, a visual resea
the Helvetica font that included an exhibition, a book and a poster.
It can also happen that graphic designers make use of posters to pass on a m
support a charity cause or express political engagement.
And it is exactly this direction that is adopted in the works of Eric Olivare
Ferrer and Un Mundo Feliz, a collective that has taken a stance on such seriou
as the war in Iraq, violence against women, terrorism and the 11 March
together with ecological catastrophes, and which was also set to support Ha
wake of the January 2010 earthquake, for example.
Quite clearly, the poster is a powerful ally of graphic militancy. They are g
intended to be spread through the Internet and printed at home, as in 200middle of the Gulf War. The posters published on this occasion responded to
national appeal that depended on the mobilization of numerous Spanish
designers, a participation that is habitually acquired for major causes, as
after the ecological disaster caused by the sinking of the Prest igeoil tanke
coast of Galicia.
We are thus in a sort of graphic do-it-yourself period in which the designer
both creation and production. Perhaps the cause is a reduction in client comm
such as those from the largest consumer of social and cultural posters in Sp
public sector.
Producing a poster becomes in practice a militant act in favour of a specie
extinction and is at the same time an opportunity to express ones opinions
ones personal brick to the social structure.
Top: Germinal, 2003.
This poster expresses the
spontaneity and values
of a flamenco festival aiming
to promote young talent
aged between 15 and 32.
Bottom: Oyer Corazn, 1997.
The iconography of the fallen
angel against a fiery background
evokes the theme of one of the
Goethes most famous works,
Faust, performed in this case in
a Madrid theatre.
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I Love Type 01 Futura, I Love Type 02 Avant Garde
Edited by TwoPoints.NetVictionary160 pages 16 x 23 cm
English 32
The product of a collaboration betweenpublisher Victionary and Barcelona studio Two-Points.net, I love Type 01 Futuraand I love Type02 Avant Gardeare the first two books in a col-lection about type. Through images, they surveyrecent instances of two typefaces in an interna-tional selection of high-quality graphic-designwork. The preface explains that the two faceshad a common history: they were victims of thesuccess, torn between the technical constraints
of their age lead and Letraset and the needto be exported. They also had common form andinspiration, both descending from the Bauhaus.Herb Lubalin cited the influence of Futura (1927,Paul Renner) when he created Avant Gardein 1970. Flexible to use and timelessly simple,these two faces fit every aesthetic and are easyto customise. No surprises here, then. Letshope the next titles in the collection are moreboldly ambitious. CB
Lart imprim en Suisse 2007-2010
Stphanie Guexditions du Muse des Beaux-arts Le Locle320 pages 21,7 x 28 cmFrench/English 29
This catalogue for the Triennial Exhibition ofContemporary Art, edited by its two cura-tors Stphanie Guex and Laurence Schmidlin,reviews Swiss output in the discipline from2007 to 2010. Although the purpose of theevent is to bring together representatives of
the countrys leading printmaking firms, thebook makes a highly focused selection of artistsand authors, with three avenues of exploration:new forms of printed art (Silvia Buonvicinispyrograved carpet prints, for instance), mediahybridisation that challenges the limits of
printmaking (Fabrizio Gianninis canvases) andthe series production of prints. The unclutte-red page design, by the Gavillet & Rust studio,is enhanced by numerous colour reproductionsand photographs. IM
-
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Latino Grafico
Edited by TwoPoints.NetGestalten224 pages 24,3 x 28,7 cmSpanish/English 45
Latin America is not only a geographic region.The continent has a strong cultural footprint,explains Cristian Jofre in his preface, thatabounds with stereotypical images and refe-rences from our common imagination: Latinlovers, Speedy Gonzales, salsa and tango dan-cers, Mayas and Incas, Tony Montana, Che Gue-vara, the Rio carnival. Edited by Martin Lopezand Lupi Asensio, the founders of Barcelona stu-dio TwoPoints.net, the book is an acutely perti-
nent attempt to carve out a new face for graphic
design in South America: that of a people whoare redefining their own visual language anddisplaying growing creative dynamism, despite aresonant artistic and cultural legacy. Latino Gra-ficoshows a selection of work by designers, illus-trators and typographers that reflects the blendof habits and customs of a land in the throes ofeconomic development spanning African folk,Christian symbolism, neo-punk and the impor-ted American lifestyle. IM
B
Through 13 March 2011, Stefan Sagmeister was the11th carte blanche guest of MUDAC in Lausanne.New York-based for 17 years, the Austrian graphicdesigner showed only recent work: CD covers,posters, catalogues, graphic projects, furniture,and advertisements. This was a big statement forSagmeister, who in recent years has been com-mitted to commissions (both public and private),which underscores the notably different profes-sional status that graphic designers enjoy acrossthe Atlantic. Prefaced by MUDACs director,who also curated the event,Another Book aboutPromotion and Sales Material, the exhibition cata-
logue, benefited from a top-notch art director:Zurich-based Martin Woodtli, an acute connois-seur of Sagmeister and his former businesspartner. The publication, different from the firsttwo, which staged the man himself, focuses onpreviously-unpublished projects, and should feedthe Sagmeister myth for a long time to come. IM
Sagmeister : Another Book
Stefan Sagmeister, Chantal ProdHom andMartin Woodtliditions Pyramyd - 176 pages 17 x 24 cm
French / English 29 ,90
Back Cover #4
Publisher: ditions B42Distributor: Les Belles Lettres53 pages 19,5 x 28 cm
French /English 9,50
Designers Identities
Liz FarrelyLaurence King Publishing271 pages 21 x 29 cm
English 24,95
The recently-published fourth issue of Back Coverbegins with a conversation between Karel Mar-tens and English author Robert Kinross: a high-calibre discussion on the binding of Printed Mat-ter, a book about the Dutch graphic designerswork, and on the ties between architecture andgraphic design. The latter concern connects withthose of Catherine de Smet in an article on archi-tecture books as a space for deploying graphicdesign; and those of Jost Hochuli on the notionof the system. A forum for analysing and reflec-ting on graphic-design and typographic practices,Back Cover#4 contains seven articles; the position
of each piece places in perspective its link withthose before and after. Through carefully-cho-sen authors, editorial directors Alexandre Dimosand Gal tienne address themes such as code,teaching and the history of typography, alwaysrelative to the discipline and its current evolution.With Robert Kinross, Karel Martens, Metahaven,Roland Frh, Jost Hochuli, Stphanie Vilayphiouand Alexandre Leray, and Wim Crouwel. IM
Seventy-six international designers. Seventy-six graphic identities. From business cards towebsites to envelopes to newsletters, a stu-dios identity ensures graphic consistency andcoherence across their own branding. DesignersIdentities compiles about 1,050 colour illustra-tions. Each profile starts with a business cardand runs through a collection of identity adap-tations. From Akatres experiments to Dada typeby deValence to black-on-black print collateralby Qube Konstrukt to the old-school motifs ofEight Hour Day, the selection by design critic LizFarrelly demonstrates the care taken by graphic
designers with their own materials. Although thegraphic designers presented here produce visuallanguage that fits their professional activities,the book explores the value of graphic work doneoutside the scope of commissions. RRT
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