book1stagelulu

7/31/2019 BOOK1STAGELULU

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a.s.a.t.s.i.


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a.s.a.t.s.i.

a something aboutthe something inbetween


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Forward


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An extensive body of research compiled throughout

the rst ve months of 2012.

An accumulation of interests, ranging from the voidbetween print and digital in contemporary graphic designpractice, to anything of inspiration between this and theoutside world. Highlighting unique outcomes, both positiveand negative, which are only possible in the medium

in which they are found in. Some nds are credited andexplained, some are anonymous or speak for themselves.

Due to the nature of the content being incrediblycurrent, it is likely to be out of date by the time theentirety of the research is compiled. So upon readingthis book, expect to nd post production corrections.

At this stage I would like to apologise for any contentwhich is uncredited or stolen.


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Title


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+ =

Myw

ork/words/opinions

Foundinprint

Foundonweb

TextArticles

credit(s)source(s) date sourced


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Title


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010 February066 March118 April294 May


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10

Chapter One.


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11February


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The Ideal Candidate. Simply having a great portfolioisnt enough to secure you your perfect position. Studiosare looking for more than just evidence of excellent designworktheyre employing a person, and who you are, yourapproach and how you put that across is just as importantas what youve done.

Represent asked some of todays leading studios toshare with us what they are looking for in a prospectiveemployee, what makes them tick, and what you can

do to make sure that youre their ideal candidate...


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13 =www.idealcandidate.represent.uk.com


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Tauba Aurerbach RGBColorspace Atlas 2011. Digitaloffset print on paper, case boundbook, airbrushed cloth cover andpage edges. 8 8 8 inches each20.3 20.3 20.3 cm. Binding

co-designed by Daniel E. Kelmand Tauba Auerbach. The bookswere bound by Daniel E. Kelmassisted by Leah Hughes at theWide Awake Garage.


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15www.taubaauerbach.com February 9th 2012


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Wear Your FavouriteNet Artists. The brill iant thingabout internet art is that itsdemocratized. I mean, howmany people have ever hadthe chance to spin DuchampsBicycle Wheel until it becamean interactive website? Thanks,Rafal Rozendaal. Now Sterling

Crispins new curated t-shirt line,which launched this Monday,is taking the internet art outof the machine and into ourclosets. But unlike the free-for-all accessibility of net art, thecollection features six originaldesignsfrom some oftheinternets most esteemed artistscapped at just 10 pieces each.

I wanted to provide

a common platform for

contemporary artists toexperiment with and makephysical what would otherwisebe a digital form, said Crispinvia Facebook this week. Itsexciting to watch the waysdigital art can be translatedinto physical forms and I thinkclothing is a fresh and fun

take on limited edition prints.Designing clothes, or industrialobjects, is something I thinka lot of artists think about andI could see the need for this sortof platform for experimentationto exist.

Theres technically notheme to this debut collection,though each shirt reflects a post-internet sensibility. Crispin says

all the artists were given free

range to create whatever theywanted. Rozendaals shirt, forexample, was inspired by oneof his websites, intotime.com.

Are they physicallyconnected to the internet?Only by concept and style,says Crispin. I think they actas hyperlinks in physical space

to emerging concepts that artistsare addressing on the internet.


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17www.netstyl.eswww.vicestyle.com February 10th 2012


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Yes


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19www.yesstudio.co.uk February 11th 2012


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Mr Doob


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21www.mrdoob.com February 12th 2012


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Words as Images. Its Nice That Review. We were buzzinglast Thursday after another evening of talks for our Words,Words Words programme at Selfridges Ultralounge. Examiningthe relationship between words and images in various contextswere designer and founder of Typography Summer SchoolFraser Muggeridge, illustrator Sara Fanelli and Andy Altmanfrom award-winning design agency Why Not Associates.

Fraser Muggeridge, donning some very dapper clobber,took us on a whistle stop tour of how well-executed typographycan transcend words to become powerful images. By usingthe space of the page inventively, he demonstrated howwriters and designers can create suitably considered visualcompositions. Referencing concrete poetry, Fraser citedBob Cobbings acclaimed Square Poem as how to do theaforementioned with aplomb.

He showed one of his own projects exploring thepossibilities of language without text. By replacing words withreadable images, he created a new language as visual code,which he tested out on us. To nish off he discussed his recentexperimental typeface project with Giorgio Sadotti, exploringthe notion of transparency.

Constructed by layering letters within letters, you glimpsedboth elements and their new sculptural form. They also tookthis further with embedding pictures within letters a trueinterplay between word and image.

The wonderful Sara Fanelli offered another take on thetheme. As an illustrator she often faces the challenge ofencapsulating and condensing a whole book or concept intoa visual, using her book Sometimes I think, Sometimes I am. Itwas great hearing her talk with such passion about the researchand background preparation she carried out. For anyonethat hasnt icked through it, I highly recommend having aread its a rich, beautifully-crafted collection of writing andillustrations broken up into thematic chapters such as Devils


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23 =www.itsnicethat.com February 16th 2012

and Angels, love, colour, mythology and the absurd.Its various sections are peppered with big ideas

and celebrated quotations from notable historical andphilosophical gures from Descartes to Calvino, translatedthrough Fanellis imaginative drawings. One of the favourites(circulating on Twitter) was Alan Fletchers frank butromantic statement from The Art of Looking Sideways:The person you love is 72.8% water.

Andy Altman from the veteran design agency Why NotAssociates , charmed the room and convinced us (withouttrying) that we had to visit Blackpool to see the ComedyCarpet. The combination of charisma, real belief andgenuine enthusiasm for the project, won us over. The sheerscale of the endeavor became clear when he admitted theve year collaboration with artist Gordon Young at a costof 2.6million involved setting up their own factory, andnearly killed them.

The result is a 2,200 square metre public art installationon the promenade, celebrating the history of Britishhumour and Blackpools position as a mecca for comedy.

Featuring over 1000 comedians and comicscatchphrases, the sea of type is a feat of constructionand a testimony to human patience. Each letter was dyed,cast in concrete, laid out in position by hand, then set intothe granite surface in sections. Pretty mind-boggling! Nowonder Andy nds it infuriating when people mistakenlythink its printed.

Interestingly, Andy pointed out that the differencebetween this being considered art rather than graphicdesign was that they had complete freedom and werentexpected to conform to client expectations/demands.


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Graphic designers are ruining the web. Designers haveturned webpages from simple sources of information intobloated showcases. What happens when you click ona weblink? Heres one answer: a request goes from yourcomputer to a server identied by the URL of the desiredlink. The server then locates the webpage in its les andsends it back to your browser, which then displays it onyour screen. Simple.

Well, the process was indeed like that once a very longtime ago. In the beginning, webpages were simple pages oftext marked up with some tags that would enable a browserto display them correctly. But that meant that the browser,not the designer, controlled how a page would look to theuser, and theres nothing that infuriates designers more thanhaving someone (or something) determine the appearanceof their work. So they embarked on a long, vigorous andultimately successful campaign to exert the same kind ofdetailed control over the appearance of webpages as theydid on their print counterparts right down to the last pixel.

This had several consequences. Webpages began tolook more attractive and, in some cases, became more user-friendly. They had pictures, video components, animationsand colourful type in attractive fonts, and were easieron the eye than the staid, unimaginative pages of theearly web. They began to resemble, in fact, pages in printmagazines. And in order to make this possible, webpagesceased to be static text-objects fetched from a lestore; instead, the server assembled each page on the y,collecting its various graphic and other components fromtheir various locations, and dispatching the whole caboodlein a stream to your browser, which then assembled themfor your delectation.

All of which was nice and dandy. But there was adownside: webpages began to put on weight. Over the last


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25John Naughtonwww.guardian.co.uk February 19th 2012

decade, the size of web pages (measured in kilobytes) hasmore than septupled. From 2003 to 2011, the average webpage grew from 93.7kB to over 679kB.

You can see this for yourself by switching on the viewstatus bar in your browser; this will tell you how manydiscrete items go into making up a page. Ive just looked ata few representative samples. The BBC News front page had115 items; the online version of the Daily Mail had a whopping344 and ITV.com had 116. Direct.gov had 71 while YouTubeand Wikipedia, in contrast, came in much slimmer at 26and 15 respectively.

Whether you view this as a good thing or not dependson where you sit in the digital ecosystem. Aesthetes (andgraphic design agencies) drool over the elegance of pageswhose look and feel is determined down to the last pixel.Engineers fume at the appalling waste of bandwidthinvolved in shipping 679kB of data to communicate perhaps5kB of information. Photographers love the way their high-resolution images are now viewable on Flickr and Picasa.Futurists (and broadband suppliers) rejoice that thisepidemic of obese webpages is driving a demand for faster(and more protable) broadband contracts and pointto the fact that communications bandwidth is increasingat a rate even faster than processing power.

Personally, Im a minimalist: I value content more highlythan aesthetics. The websites and pages that I like tendto be as underdesigned as they are cognitively loaded. Takefor example, the home page of Peter Norvig, who is Googlesdirector of research. In design terms it would make anygraphic designer reach for the sickbag. And yet its highlyfunctional, loads in a ash and contains tons of wonderfulstuff such as his memorable demolition of the PowerPointmentality in which he imagines how Abraham LincolnsGettysburg Address would look as a presentation. Or his


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hilarious spoof of Einsteins annual performance reviewfor 1905, the year in which he published the ve papersthat changes physics for ever. (Einstein, you may recall,was a humble patent clerk in Berne at the time.)

But in addition to these plums, Norvigs site is full of linksto fantastically useful resources such as the open sourcecode that accompanies his textbooks. And its as easyto navigate as anything produced by a web-designagency for 100,000 plus an annual service contract.

Sites like his remind one that the web is not just aboutshopping or LOLcats but is the most wonderful storehouseof information and knowledge that humanity has everpossessed.

Think of it as the Library of Alexandria on steroids.And remember that its as accessible to someone inAfrica on the end of a aky internet connection as itis to a Virgin subscriber in Notting Hill who gets 50MBper second on a good day.


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2727John Naughtonwww.guardian.co.uk February 19th 2012


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The street views Googlewasnt expecting you to see.


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29www.guardian.co.uk February 20th 2012


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Into the Fold.

24 February13 MarchCamberwell Space

Camberwell Press seeksto create and ideal and interac-tive studio within a public spacefor two and half weeks. Theexhibition will culminate in a

publication formed from materialgenerated with collaborators via aseries of talks, workshops, design& publishing projects.


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31www.camberwellpress.org February 22nd 2012


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Into the Fold. Day One. 27th February 2012. The rstday of Into the Fold saw the fruits of an open discussionbetween Department 21, the construction of gigantic WordSculptures by Philip Li and a talk with Brave New Alps abouttheir Construction Site project.

Philip Li is a recent graduate from Camberwell Collegeof Arts (2009) and has been fusing together performance,sculpture, music, fashion, ceramics and styling into a liveand uniquely styled vision. Li recently completed anartist-in-residence position at Camberwell. He was askedby the Press to come and make Word Sculptures in thegallery space all day, and working with Sculpture, 3D andPhotography students, they created gigantic letterformsout of card.

A discussion between Sophie Demay, Bethany Wells,Bianca Elzenbaumer and Robert Maslin of Department21 took place in the Camberwell Space in the afternoon.Students, alumni, staff and the Press team were invitedto talk through some of the reasonings behind the project.

Department 21 was, at the beginning, a temporary,physical space established by students as an experimentin interdisciplinary practice, in the vacant Painting studiosof the Royal College of Art. It was a project where designers,artists and architects can meet, collaborate and shareworking space beyond the institutional boundaries oftheir own disciplines. Read more about Department 21 here.

Bianca Elzenbaumer from Brave New Alps came to talkabout their Construction Site project. The Construction Sitefor Non-Afrmative Practice is a group of young Italiandesigners that came together in Autumn 2011 during thiercollectivized artists residency at Careof, a non prot artspace in Milan. Since then, the group has developed itsown dynamics and together study and experiment withalternative criteria with which to act in the world and,in particular, the world of design.


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33www.camberwellpress.org February 27th 2012


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Into the Fold. Day Two. 28th February 2012. The secondday of Into the Fold brought more wealth of content anddiscussion. It saw Phil Baines give a talk about Grotesquetypefaces and then a letterpress demonstration, SamWinston running an interactive drawing project and LyndaBrockbank discussing the 99 Words project.

British designer, typographer, writer and professor PhilBaines was in early in the morning, demonstrating and settingtype downstairs in the Letterpress studio at Camberwell.The impetus of his visit was borne from the Flaxman Semi-Bold typeface, designed by Edward Wright, and Camberwellbeing the only place holding this typeface in its letterpresscollection. He worked on a poster of a quote from Re-make/Re-model by Michael Bracewell - using all Grotesquevariants: Grot 19, Elongated Sans, Headline Bold andof course, Flaxman Semi-Bold.

The restrictions of spacing, the body and how typegoes together become so blatantly obvious with letterpressthat it helps to explain structures and the way type isconstructed. If youre interested in type design its reallygood, whatever the elasticity of the invisible em square.We always get our rst-year students to draw letters withtwo pencils taped together. Its incredible nowadays howmany kids have not been taught how to hold a pencilproperly to the extent that they cant draw. Not justletters; they cant draw, at all, because they cant handlea pencil. Staggering.

Sam Winston and Kate Smallshaws This Is Not a Brief sawa mixed-discipline group of students leaving behind theirpre-conceptions of what they do and what they expect abrief to ask of them, to complete a set of tasks surroundingthe theme of nite creativity. The rst scenario gavethem twelve months left as creatives and they hadten minutes to create a list of everything they would do ina year their answers spanned world travel, publishing tomes


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and completing long pined for projects about cats. Scenariotwo offered up ve urgent minutes to decipher their last-make with only 31 days left to create, and the nal scenariosaw them mastering a world with no tomorrows with onlytwelve hours left, how would you leave your mark?

We have an emerging N O W made up of yellow, pinkand blue post-its answering these questions on the frontwall of Camberwell Space wisdoms so far include:abstract drawings, have lunch with my dads, a beautifulrug and in the words of Nike just do it. We arehalfway through the O and have a bunch of post-itsfree for ideas from you.

Later on in the day, designer Lynda Brockbank broughtin the book You Have Breath For No More Than 99 Words.What Would They Be? designed at Crescent Lodge, theconsultancy she co-founded in 1986. A creatively led groupcomprising practitioners from multiple backgrounds andsupported by technical and planning specialists, theywork alongside their clients to make functional, purposefuland out of the ordinary communications.

99 Words raised similar ideas to those posed in SamWinstons non-brief the problem, identied by the authorLiz Gray in a quote from Robert Wyatt, of getting soout of touch that words take the place of meaning. Graysuggests that rather than being morbid she is proposinga re-assessment, and a device for choosing ninety-nineessential words.

Lynda went on to discuss work produced by CrescentLodge for clients including BBC, Chelsea College of Art andHackney Empire, showing innovative examples of solutionsfor deadlines, budgets and book design.


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Into the Fold. Day Three. 29th February 2012. Daythree was small in numbers, but gigantic in content.We spent the morning in self-assessment, evaluation,and the afternoon in a skype discussion with MichleChampagne of That New Design Smell, in which she delivereda talk all the way from Toronto, beaming into the studioin Camberwell. She has kindly provided us with a summaryof that talk, after the jump.

Five Smelly Things The Design Press Could Mull Over, EvenIf For Just A Moment

The rst smelly thing is that design publishing is a mixedbag of goodies. Its not thriving or failing, good or bad, blackor white. Its grey. Sometimes light grey, sometimes dark grey.But always grey. Consider how some view design publishingon computers and the internet. Some are optimistic andpraise the holy wonders of online publishing. Woo hoo!Others are pessimistic and condemn it altogether. Yuck!Yet both are blind-sighted. Design publishing is going throughboth a renaissance and a nervous breakdown, all at thesame time. That is the rst smelly thing.

The second smelly thing is that success and failure indesign publishing is never evenly distributed. Publicationscan benet some people and harm others. Consider thetablet magazine. Where tablets have taken hold, peoplend them a blessing. Not lease those who sought gratifyingcareers in online publishing, including executives, interfacedesigners, programmers, media planners, editors and writers.They think tablets are super awesome. Now consider thecareer of lumberjacks, paper salesmen, printers and printdesigners. They might have tablets themselves, but knowthat tablets are terribly awful for their careers down the line.Who wins and who loses? Consider the wins and loses on theinternet. A person can shop online twenty-four hours a day,easily bookmark thousands of ndings and vote at homewhile eating BBQ chicken and watching the game.


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But theyre also more easily traced and located bycompanies and governments keeping track of theirinternet crumbs.

The third smelly thing is the powerful prejudicesembedded in every design publication. Prejudices areoften abstract and hidden, but have real-world effects.Publications predispose us to favor and value certainagendas and perspectives. Writing predisposes us to logicand analysis. Video clips predispose us to brevity andemotion. And the internet predisposes us to immediacyrather than history. This is given expression in howpublications make people use their minds, or not. And inhow they accentuate or disregard varying emotional andintellectual phenomena. In other words, the third smellything is the substance of what Marshall McLuhan meantwhen he said, The medium is the message.

The fourth smelly thing is that change in designpublication doesnt add up, its contextual. A new platformdoesnt simply add another medium or platform; it changeseverything. When the internet emerged in the 1990s, itwasnt the world plus the internet. It was a completelydifferent world with completely different people, homes,schools, churches, industries and war. Smelly thing numberfour, then, is that change in design publication is contextual.

The fth smelly thing is that design publishing tendsto be mythological. I dont mean as in allegories fromthe past or fake stories, like urban legends. I use theword mythological in the way used by Roland Barthes. Hereferred to our tendency to assume things are the way theare because theyre part of the natural order of things.Take fashion magazines, product catalogues or graphicbillboards. They did not simply fall from the sky. Yet wed behard pressed to identify when they were invented. When apublication becomes mythicas well as its editors, writers,


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articles and subjects which they representit is accepted asit appears and never questioned. The American architecturalcritic Alexandra Lange referred to this phenomena assacred cows, which she identied as Paul Rand, Steve Jobsat Apple and Yves Behar with One Laptop Per Child, amongothers. Publication, like other forms of human creation, isnot natural; its a product of human invention and its abilityto be benecial or consequential rests on our awarenessof what it does for us and to us. That is the fth smelly thing.

In the past, we experienced change in design publishingas if we were zombie cheerleaders: sleep walking, half deadand always hoping for the best. Could we wrangle designpublishing today without unbridled optimism or depressingpessimism? Could we wrangle design publishing tomorrowwithout hope nor fear? Only time will tell. And until then,perhaps the only way to make sense out of change is toplunge in with our eyes wide open, give publication a goodshake, move with it, confront it, question it, re-design itand enjoy the dance.


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Into the Fold. Day Four. 1st March 2012. It was a dayof inside jobs as we saw two inner Press projects carried outin full steam. The Oxford School Trip was organised by Pressteam members Jake Hopwood, Alex Hough, Freddy Williamsand BA Graphic Design third year Charlie Abbott. TheVisualising Literature drawing workshop by Press members/Illustrators Billie Muraben and Rosie Eveleigh. As well asthese lively activities, Hato Press installed their mobile libraryin the gallery space and indulged us with a live twitter chat.

Started by Ken Kirton, Jackson Lam and Louise NauntonMorgan, Hato Press is a speciality printing and publishinghouse based in London using both screen-printing andRisograph processes. For the Risograph prints they use soybased inks and only recycled paper, inkeeping with theireconomic and sustainable attitude. Into the Fold is thetemporary housing space for their mobile library, featuringtheir most recent risographed publications. We alsoconducted a brief twitter interview which you canread live and dive into. In just 140 characters a go,they describe Risograph production as niche and highlyeconomical and referenced William Morris KelmscottPress as early inspiration for their formation.

The School Trip project took 20 rst year graphicdesign students to Oxford for the Day. The aim of

the project was to encourage the students to explore anew place with a critical designers eye, and so they wereencouraged to get lost, wander and collect, documentand record anything that caught their attention. Onday two, the students were asked to review and edittheir research to communicate a coherent andspecic aspect about the site. Using only the contentcollected in Oxford to produce A1 posters, the studentsexplored how limited content and the language ofposters (heirarchies, layout, scale and type) can bemanipulated to communicate a message.


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41www.camberwellpress.org March 1st 2012

The studio was taken up with cascades of visualmaterial taken from the various institutions of Oxford:postcards from Pitt Rivers, old Pelican books from dustybookshops, rubbings, drawings, ephemera and knick knacks.The students circled the mass of visual references andassimilated it into visual communication throughout the day.

As part of the brief we held a still life speed datingafternoon with seven compositions made up of objectsderived from pieces of text submitted by illustratorscontributing to the project. Ranging from cream cakes andfrankfurters to plastic hands holding pastel cigarettes, ghterjets and neon palm trees we started off with ve-minutesessions on each composition and gradually increased thetime as we progressed. Set as a means of developing amore extracted perspective on the provided texts, and theimagery they offered up and inspired, the intention wasthat the situation would be fertile ground for loose, playfuldrawing perhaps more so than working alone in a studiodrawing, literally and guratively, from your own kit.

The workshop was supposed to last two hours, and besplit into slots of one, ve, fteen and thirty minutes withre-jigging of compositions and quick-re rounds where theimpetus would be to draw the theme/feeling/coverof classic book titles. In practice, after making it onceround the table in an act of musical chairs to a themeof the Talking Heads and a few grumbles, it was decidedthat wed scrap the timetable and work round the tableat our own pace.

Compositions were shifted, added to and disassembled,and drawing materials made continuous loops round thecircuit of action. Almost four hours later, alerted by rumblingstomachs and a thirst only quenchable by hops, we putdown our pencils and put away our castles, plantains andcandlesticks satised by the great stack of work and thejoy of just drawing.


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Into the Fold. Day Five. 2nd March 2012. The last dayof the working week dedicated the whole day to Calverts,a co-operative communications design and printingcompany, based in Bethnal Green. In the morning, SionWhellens delivered a Fold, Stitch and Trim talk, and thenlater in the afternoon, a Collaboration and Co-operationworkshop. He gave practical, honest advice about theprinting process, which hes kindly summed up for us intoseven points, after the jump.

Make Print Work. At rst glance, different estimatesfor a printing project may seem to describe the same job,in a clear enough way. Dig a little deeper, though, and youlloften nd big differences in quality of service, materials,nish, after sales support and potential extra costs.

If you dont know the printers youre talking to, hereare seven questions you can usefully ask in response toreceiving a printing quote. Not only will they help you avoidcommon pitfalls, but the quality of answers you get willtell you a lot about the people youre potentially goingto entrust with your clients project and your own reputationas a print manager.

1. Artwork. Will the printer give you free, expert adviceand support on setting up your les correctly? Many printerslack professionalism in this area, causing frustration anddelay. They should be able to accept print artwork in themost recent versions of all the usual software packages,such as Creative Suite and Quark, as well as older versions.By all means supply a PDF as a visual check - many designersuse PDF as a substitute for a hard copy dummy - but PDF isnot foolproof, so you should also supply native les with anylinked images, screen and printer fonts. A printer who balksat this may be worth avoiding.


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2. Repro. Between giving a printer artwork and receivinga proof, there is the crucial stage of repro. Will the printerroutinely ightcheck your artwork before giving you a proof,to make sure that all les, fonts and images are present,and that what youve given them corresponds to whattheyve quoted for? Will their repro department colourprole your job appropriately for the paper stock orsubstrate youve chosen?

3. Proong. If a proof isnt included in the quote, askfor one. Most quotes will include a digital proof, but thatdoesnt mean much. The question is: does the proongallow you to manage and check the quality of the job to thestandard you need? Sometimes a printers PDF will be enough(if its a cheap and cheerful copying job, where colourisnt important, or its just to check that a type correctionhas been made). More often, youll want a hard proof ofsome sort - high resolution inkjet sometimes called by thebrand name of the system its produced on, such as Epsonor Cromalin. This should be a WYSIWYG (Whay You See IsWhat You Get) proof. In terms of content and resolution,it should be identical to the le that generates the printedjob. Colour should be a good approximation to how it willlook on the nished item. If you require a proof of a higherstandard, you may need a wet proof on the speciedpaper, produced on the press thats going to print your job,whether digital, or litho. There are other kinds of proof thatwill allow you to manage quality and outcome with theminimum of fuss and cost. But when youre interrogatinga print estimate, you need to know: exactly whats included,and what isnt?

4. Corrections and amendments. Does the printer intend

to charge you extra for making even minor changes at proof


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stage? If so, how much? A really good printer, who assumesa duty of care, knows that extra costs can be debilitatingto designers because they are extremely hard to sell toclients - even if the changes are being made on the clientsinstruction. A good print production person makes it herjob to set up an artwork-proong-printing critical pathto minimise the probability of extra work and cost.

5. Materials. Does the quote specify a brand and weight

of paper or printing substrate, or does it just describe ageneric (for instance, 100gsm white offset, 400gsm silkcoated, 120gsm recycled matt?) If the latter, you needto get some guarantees about quality, because papers varywidely in cost and performance. In the same way, someestimates are vague about binding and nishes. A goodprinter will make up a plain paper dummy of your job, orsend you samples of alternative papers.

6. Small print. This may be controversial, but terms and

conditions are usually there to protect the printer, not you.We dont think you should have to wade through paragraphsof small size legalese; remember that anything you agreein an email or even verbally is part of the printers contractwith you. If you dont like what the small print says, askto vary it.

7. Under the bonnet. Before you commit to usinga printer, will they let you visit their premises, see theproduction setup and introduce you to the people who willbe working on your project? Its perfectly reasonable to askfor this - a good printer will welcome you - and the state oftheir operation will tell you a lot about the state of the jobtheyll produce for you. After the projects delivered andbilled, will the printer keep your job on le, and securelybacked up, just in case you lose your own les or theybecome corrupted? A good printer will archive both hard


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and digital copies of your job for at least ve years, be ableto retrieve it quickly, and if necessary give it back to you,usually for a small cost or no cost at all. Of course, theresa lot more to choosing a printer than this. The bottom lineis crucial: what does the printer want to charge you? Butabove the bottom line - although sometimes hidden - arethe real costs of the job to you and your client, measured inquality, hidden extras, respect and courtesy, professionalism,trust and peace of mind.

Calverts specialises in branding, publications andsustainable print, named in honour of Giles and ElizabethCalvert, who published and printed many of the millenariantexts of the 17th century English revolution (and werefrequently imprisoned for their efforts).

Calverts demonstrates that radical ideas aroundworker co-operation can lead to innovative and successfulbusinesses, bringing member benets which other businessmodels cannot equal. Running as a co-operative, it operateson the basis on equality and respect, education and skillsdevelopment and the opportunity to exercise democraticself-management. Every member has an equal investmentin the business, the hourly rates of pay are the same fora founder member with 30 years service as for a newly-qualied design or printing apprentice. All too have apersonal training budget which allows them to developknowledge relevant to their job role, but also to theirpersonal aims. Successful and innovative business initiativesin Calverts have come from all areas of the co-op, whichhas always invested for the long term, and attributes thesuccess of its investment strategy to rigorous discussionand testing of its plans.

www.camberwellpress.org March 5st 2012


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Into the Fold. Day Six. 5th March 2012.

Stephen Fowlers Rubber Stamp Workshop. Stephen Fowlersartists books have been exhibited across the world and arehoused in national collections, such as The Victoria and AlbertMuseum, the Tate Gallery, Leeds University and the Universityof the West of England. He has exhibited his collections,drawings and prints in Tate Modern, Fine Art Society,Beaconseld, Kalied Editions and White Columns in New York.He runs printmaking and bookbinding workshops and teachesdrawing at Kingston University, University of the Creative Artsand Oxford and Cherwell Valley College.

Stephens Rubber beer matts. We asked him to come andhold one of his famous travelling rubber stamp workshops andhe surpassed all expectations as he not only taught the rubberstamp printing method, but collated and printed an edition of15 Into the Fold rubber stamp books for each contributor totake home.

Mr.Smiths Letterpress Workshop. Meantime, the designteam at the Press took time out from the busy schedule to joinKelvyn Smith at his letterpress Workshop in Walworth. Mr Smith,a typographer, tutor, technician and printing master, presentedthe team with a new project proposed to him from PFILM fortheir project 94 Elements.

The purpose of this day was to produce a letterpressedition with the lm project 94 Elements as the focus andcontext for what it was going to be. The idea of producing atype specimen sheet of Grotesques from Stephenson & Blakeand Monotype referencing the periodic table resulted as agood t. Throughout the day there were student, tutor andclient visits to assess the progress of the print and to bombard


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Mr Smith with questions about the importance of letterpress,what he does, and to get some lead on their ngers. MrSmith had a lot of patience and it was very clear by theend of the day the amount of work and effort that goesinto his letterpress work. It was an informative day remindingus of the importance of having access to letterpress and thelessons it can teach you.

Peckham Road - 1898,1973. Charlie Abbott and TheoSions project Peckham Road 1898, 1973 started at JohnLawrences original Camberwell Press logo, and ended withan irreverent diagrammatic glance at visual associationsvia vectorised drawings of the two blocks of CamberwellCollege. This abstracted visual thinking led them to picturesof whales, the National Theatre and the PhiladelphiaMuseum scene in Rocky.


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Into the Fold. Day Seven. 6th March 2012. Day 7consisted of two parallel projects running all day: upstairsRobert Sollis of Europa ran a workshop with Positive Futures,and downstairs ico design worked with James in theLetterpress studio.

Positive Futures is the national youth crime preventionprogramme. Funded by the Home Ofce, the programmetargets and supports 10-19 year olds to help them avoidbecoming drawn into crime or alcohol misuse, and helpsthem in moving forward with their lives. Via the BritishCouncil, Europa were asked to refresh their current brandidentity - to make it speak more to the young people theprogramme targets. Robert Sollis ran a workshop asa primer for the participants to come in and work throughand present their own ideas about what the organisationmeans to them. The rationale being that the visual dialoguebetween designer and user(s) of the logo is richer than averbal one, and when the logo is completed (in late March),when they look at the companys identity, they will seea part themselves in it.

Robert asked the participants to brainstorm wordsbeginning with each letter of Positive Futures, resulting ina compilation of words and phrases which they associatedwith the programme, which then formed the basis of anexercise in type design. Using the opposite side of the paper,with the leters printed in the reverse, the participants drewon and around the letters using the words that they hadcome up previously to inspire their own designs.

In the afternoon, after a short talk about pictograms,everyone worked through a similar exercise as the morning- after another conversation about the kinds of activitiesPositive Futures are engaged in, everyone designed thier ownpictograms using a grid designed by Otl Aicher for the 1972Munich Olympic Games.


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From digital to physical and back again. Concurrently,ico design were working hard with James on two hashtagposters, both in editions of 20. ico is a small, sociable andprolic design team with a successful 12-year history. Intheir central London studio, they create brands and produceexceptional print and digital media pieces for clients fromthe arts, property, leisure, interior design and museum sector.They gave us the following summary of their day in theLetterpress studio:

Graphic design and all it entails is both physical anddigital, so if its your passion, how can you not be interestedin both?

As creatives were continually looking for innovativeways to solve a clients problem, different ways to tell amemorable story or how to present complex information inits most digestible form that is as true if you are creatinga brand, building a website or crafting a book.

While creativity can be expressed in its most basicform with a pencil and paper, with the added collaborativepotential of the network, new possibilities emerge. Wevewritten before about the power of the hashtag to sparkconversation, ignite campaigns and re up politicalmovements. One of digital communications real strengthsis its capacity to spread and evolve.

After collaborating with a number of colleges, helpingstudents turn tweets into books and brands into experiences(and of course sharing the results online), we thought weshould further spread the love by creating letterpress postersmade up of our favourite hashtags.

With some expert direction from James Edgar the artcolleges in-house expert, we undertook a one-day projectin the Camberwell letterpress workshop. It was a long daycarefully typesetting content that is usually typed andshared in a fraction of the time. An activity like this gives


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us a chance to pause and think about the digital in adifferent light, becoming more appreciative of its playfulspontaneity and the instant feedback it garners.

We live in an age where visual design has many facets,from physical craft to immediate digital response. Forus, the exciting thing is the potential of each medium tocommunicate in interesting, unexpected ways. When youhave a passion for both the physical and the digital, thepossibilities are endless. Now, #WFL? (whats for lunch?).


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Into the Fold. Day Eight. 7th March 2012. Day 8 focusedon the broader context of graphic design, its eld ofinspiration, and application. Merrell Publishers delivereda talk on the process of publishing, from decision to reality,Rick Poynor let us in to the surreal world that informs hispractice and Fraser Muggeridge selected a series of lmsthat encapsulated his opinion of lm as an essential sourceof content in design.

Merrell Publishers is a small, independent publishingcompany specialising in books on art, architecture,photography and design. Nicola Bailey, Creative Director,delivered a talk on Wednesday morning which focused onthe making of one of their spring 2012 titles Type Matters!.Nicola discussed the development of the book, due to bepublished in April, from its very inception through to designchoices, printing practicalities, proong and organisation.

Later on in the day, Rick Poynor delivered a talk calledUncanny: Surrealism and the Graphic Image. Rick Poynor isa writer, critic, lecturer and curator, specialising in design,media, photography and visual culture. He founded Eyemagazine and edited it between 1990 to 1997, co-foundedthe Design Observer and has taught at the RCA and theJan van Eyck Academy. For Into the Fold, he delivered atalk about Graphic Design and Surrealism, based aroundan exhibition he curated called Uncanny: Surrealism andGraphic Design, the rst wide-ranging overview of thissubject, which ran at the Moravian Gallery in Brno, CzechRepublic and Kunsthal, the Netherlands between 2010and 2011.

Michle Champagne: The good news is design publishingseems to be on everybodys lips. The bad news is designpublishing is either claimed as brilliantly thriving or utterlyfailing. In an interview with Design Bureau from 2010, TheNew York Times design critic Alice Rawsthorn claimed: Thecurrent condition of design criticism is quite healthy, largely


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thanks to the blogs. Yet in its most recent 2011 issue, theeditors of Graks Critical Voices feature claimed: Theresa grim irony in the fact that design has nally got its rstserious inux of specially trained critics at the point whenwriters across the board are struggling in the faceof dwindling fees, shrinking editorial budgets and a dearthof in-house opportunities, particularly in the design press.Ironically, and following the issues launch, you reportedhow Grak itself abruptly ceased publishing. Whats goingon? What exactly is design publishing? Design criticism?And, are their realities healthy or grim? Or a bit of both?

Rick Poynor: Some of the confusion comes from thetendency to use terms too loosely. Design criticism is oftenused to describe design writing that is really journalism oropinion. Theres still plenty of design writing, though I dontsee an advance right now in terms of either quantity orquality. In the UK, the mainstream press still gives designlittle serious attention. The closure of design magazines,which is likely to continue, is a setback. There are newopportunities online, but until we nd a new nancial modelfor online writing these will remain sporadic. Design criticism,like any form of criticism, has to be a serious and committedundertaking. This is highly motivated, personal writingthat aims to go deeper; it needs to be historically aware,theoretically informed and grounded in wide knowledgeand experience. The same high standards that apply tocriticism in any other eld should also apply to designcriticism. Judged by those benchmarks, we still have a longway to go and there is a big question, never more so thannow, as to whether many people, even including designers,want to read this kind of detailed criticism.

How would you dene quantity in design criticism?Are we talking of beastly 10,000 word affairs? EvgenyMorozovs smart and slamming 11,000 word review of SteveJobs philosophy for The New Republic comes to mind.


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But maybe theres also room for excellence in 1,500 wordarticles or blog posts? Even captions?

By quantity I was referring to the total amountof design writing going on now and in the past. I didntmean the length of articles. I do believe, though, thatexcellence is possible in shorter texts. Most design articlespublished in the British design press tend to be in the regionof 1,000 to 2,000 words, so those are the constraints thatwriters have to work within. Very few design articles runlonger than 3,000 words. There are no limits online apartfrom the readers stamina and patiencethe longest articleI have published on Design Observer is 5,000 words, plusnotes. Academic journals expect long articles, but thisis a more formally structured kind of writing not seen orread by most working designers (let alone the public).Experienced writers can make their points at any length.There is a real craft to writing short and journalism hasalways been a good training for this.

Why do you believe the total amount of design criticismis lesser now than in the past? Where was design criticismbefore? Where does it no longer exist? And what are themost important elements affecting this move?

I didnt say that the total amount of criticism wassmaller than before. I suggested that it was probably aboutthe sameits just differently dispersed. Obviously, designcriticism used to be entirely print-based, in magazines,journals and, much less frequently (at least in Britain),in newspapers. The most signicant design publication todisappear so far is I.D., which had a hugely condent runin the 1980s and 1990s, but lost its way in the last decade byfailing, some said, to adapt to the new needs of the onlineenvironment. Reinvention is the challenge that all long-standing design publications have faced. Their competition,the new design blogs, had an obvious edge with their speedand freedom of response. In 2003, I became involved


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with co-founding Design Observer because I could see thepossibilities, even as I doubted that unpaid writing could bea viable futureit cant be. So thats where we are now,in a phase of transition. The less money or no moneyonline model of work has profound implications for all kindsof creative practice.

Thats interesting, the amount of criticism today is aboutthe same as in the past. In your article Designers NeedCritics for Frame magazine, you mentioned fewer printed-and-paid platforms for criticismwith I.D. and Grak goingout of print. You also wrote about a few new critical designblogslike Design Observer and Core77but you also wrotethe online world has not seen the outbreak of compellingnew critical voices in design one might have expected.Doesnt that suggest the amount of design criticism is lessernow than in the past? Or, that a few design blogs lled thequantity gap but not the quality gap?

Its probably not worth labouring this point becausewho can give a denitive answer without undertaking somehuge cross-media audit? The number of design critics wasrelatively small 15 years ago, compared to say art or lm,and its still small. The key thing is that theres been nogreat advanceI think we agree on that. The way to cutto the heart of the matter is to see how many active anddistinctive design critics one can name because this isalways the best sign of whether criticism of any seriousnessor impact is going on. Im assuming that were talking hereabout graphic design. If so, some of the names are the sameas 15 years ago (for instance, Ellen Lupton). Some are quieterthan they were, perhaps because they are designers whoprefer to concentrate on design (Michael Rock), and someare more active (David Crowley). How we assess the healthof design criticism will also depend on what area of designwere talking about, but no part of design is now, or ever has



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been, overrun with critics. The most notable and talentedcritic to have emerged in the broad design area in the UKin the past ve years is Owen Hatherley, who writes mainlyabout architecture, with excursions into music. His trenchantbut always personal writing provides a good benchmarkfor what we mean by criticism. He has strong and outspokenarguments that he feels compelled to make. He does thiswith great panache. One wants to read him. As a writer, hehas a voice.

This is a tough one because I dont think we should usethe term critic lightly. Unless a writer is brilliantly original,its going to take years of work to make a mark as a critic.You could be a good writer with all the right sceptical andcritical tendencies and still not be a critic in the full senseof the wordand thats not meant to be a criticism. Forinstance, I think Andrew Losowsky is a highly engaging writer.He writes and edits travel guides and in his design writinghe has concentrated on magazines. Everything he writesis sharp and thoughtful and well expressed. But is magazinedesign, as a subset of graphic design, broad enoughto sustain its own eld of criticism? Andrew might haveextended his remit and written more widely on design, butI dont think he did much of that. Now hes become bookseditor of The Hufngton Post, which takes up most of histime, according to his blog. Hes not the rst talented writerto move away from design into bigger elds. On the D-Critcourse at SVA in New York, where Im a visiting lecturer,I have met students of critical writing who seem verypromising. I like Aileen Kwuns writing, for instanceshe nowworks as studio manager at Project Projects in New York. Butwe have to wait and see where this new generation can takeit. Do they have the commitment and appetite? Can theynd or create appropriate outlets? It you want to be anykind of writer, including a critic, the path is always the same:write, write, write.


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London-based designer Fraser Muggeridges practiceis intent on maintaining the impact of content through apared-down aesthetic and considered processing. He is thefounder and tutor at Typography Summer School, a week-long programme of typographic study for recent graduatesand professionals. For Into The Fold he curateda selection of lms on graphic design and its broadercontext. Fraser opened with the assertion that not enoughlm is shown in graphic design schools. One can ndinspiration in all manner of disciplines, practices andconcepts, and lm, with its nature as an instant formof communication and availability online through siteslike YouTube, Vimeo and social networking media, makeit an ideal source for discourse.



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Into the Fold. Day Nine. 8th March 2012. Day seven wasan opportunity to reference production methods from thepast, their place in history and their inuence and relevancenow. Cedar Lewisohn and South East Zines Lisa Novak andChris Dodson discussed small-press publishing, independentmind-sets and working within the canon with ideas that sitvery much outside of it; Graham Congreve from EvolutionPrint came armed with a generous edition of Evolution Printposters to give away, extensive print know-how and anunbridled enthusiasm for the smell, look and feel of printedmatter; Camberwell Press Editor Billie Muraben ran a cut andpaste workshop with Illustration students and independentpublishing afcionado Teal Triggs gve a talk on fanzines andcounter-culture publishing, past and present.

Teal Triggs is Professor of Graphic Design, CourseDirector of MA Design Writing Criticism, and co-Directorof Information Environments at LCC. We asked her to givea talk with particular emphasis on fanzines and counter-culture publishing. Street Readers & Writers: Fanzines byGraphic Designers spanned the conception of punk cultureand 1970s fanzines to more contemporary work, highlightingthe changing face of zine culture and production, theeffects of technology, socio-political upheaval and the ageof information, and noted how the underlying intention offanzine authorship is still alive and thriving today.

Teal discussed the work of writer, broadcaster andpublisher Jon Savage and psycho-geographer Ian Sinclair,the trickle up of street and fanzine culture to advertisingand the mass-aesthetic, and examples of fanzines thatbecame a part of, and shape mass publishing like IDMagazine, edited by Terry Jones, which introduced theconcept of straight up photography and experimentaldesign and content to the glossies. Teal also went on todiscuss ways in which the immediacy of the fanzine processhad been adopted outside of punk culture by the Zerox


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Palaces in India, and how it had originated in the sciece-ction stories of the 1920s and 30s. Teal has kindly let usreproduce An American Perspective: From The Rag to Riches,her piece from the Things Happen fanzine in the Into theFold publication.

South East Zine is a new magazine founded by LisaNovak and Chris Dodson that celebrates the creative talentsand communities of South East London, it is a platform fornew work and collaboration. Cedar Lewisohn is an artistand writer, his last book Abstract Grafti was published myMerrell and designed by Lisa Novak of South East Zine. Theycame Into the Fold to discuss their own, and each otherspractice and where they meet.

Points included: the problems of knowledge inuencingdesign aesthetics, roots in and out of prescribed practice,unpaid internships and ways you can re-direct your workfor establishments into establishing yourself.

A full transcription of their discussion has been printedas part of the Into The Fold publication.

Atlas Magazine Cut & Paste. Sylvanus Urban, inspiredby the pen name of the editor of the rst general interestmagazine The Gentlemans Magazine (1731), and the workof magazine publisher, graphic designer and artist JakeTilson, was a cut-and-paste DIY magazine workshop run byPress Editor Billie Muraben. The premise was to use materialsand content available at Camberwell College to producethree pages per participant the rst featuring the workof a practitioner, the second an interest/particular bookunrelated to their practice, and the third a set of staticimages to form a montage kit.Inspired by examples of self-publishing both past and present from the likes of HarmonyKorrine, AA Bronson and The Secret Public, and anthologies200 Trips by Barry Miles and Fanzines by Teal Triggs; the


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students gathered visual and text based information fromthe library, photocopied it in its masses and got stuck in,quite literally, to their double-page spreads.

In only a few hours we had a 40-page zine coveringeverything from diagrams and graphs of the scale of kitschto nuns, popsicles and the nuclear bomb. Whilst there wasan initial sense of panic at having to work quickly andoutside of usual go-to processes, the briefs ask to walk thelength of the library aisles to nd books that slip through thecomputer Search system proved rewarding in terms of bothbreadth of themes and encouraging the participants to seethe great span of information that is available to them.

With only a couple of hours to assemble, paste andpagenate everyone had to up their rate of production theprocess suits a degree of not so much carelessness, but awillingness to not be precious and focus on communicationrather than striving for perfection. None of the students hadmade zines before, but the quality of what they produced,their enthusiasm and humour suggested that it could, andshould be something they continue producing.

Evolution Print Drop-in. Evolution Print are basedin Shefeld and headed up by Jonathan Newbould andGraham Congreve. They print jobs that span all genresof publishing, from small-scale short runs to larger, morecomplex projects. Graham Congreve came Into The Foldarmed with a generous edition of Evolution Print postersto give away to students, extensive print know-how andan unbridled enthusiasm for the smell, look and feelof printed matter.


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Into the Fold. Day Ten. 9th March 2012. Prompted bythe articulate and sympathetic writing on curator GlennAdamsons blog, From Sketch to Product, we asked theman himself, along with designer Kirsty Carter of APFELand architect Andy Groarke of Carmody Groarke to comein and discuss their working processes behind the recentV&A exhibition, Postmodernism: Style and Subversion 1970-1990. They discussed with generosity the conditions whichmade their cross disciplinary and experimental exhibitiondesign possible, a suitable tting for the nal day of Intothe Fold. We have included here an edited extract fromthat discussion.

GA This is a good rst image, because it suggests someof the interesting points about postmodernism. First of allit is highly graphic as an art movement and as a period, andit seemed to us often that many of the objects on view,were striving for the condition of graphic design: highimpact, high communication and obviously, at. And onething that you can say of Postmodern buildings and objects,is that they tend towards the quality of the facade, orthe stage set. And you can see that here, the image looksdigitally rendered, when it is actually a photograph. Andone of the things I always thought was striking aboutPostmodern Graphic Design, was that they almost seemedto have anticipated Photoshop and other digital programs.And although they were mostly working by hand, a lot ofwhat they did looks like what people are doing now. Thatsone of the many instances in which the material we werecovering in the 70s and 80s seemed to anticipate thecurrent day, and seemed to be newly relevant. While wewere working on the show, there seemed to be a groundswell of publication and interest in the topic, and it seemedthat when we opened the show last year in 2011, it seemedright on time, very fresh, very appealing. A lot of that hadto do with subject matter, but also to do with the design.


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AG The exhibition design was on the cusp of ourtwo design practices - 2d and 3d - and its quite unusualterritory, especially for architects, to work in building thingsof such a temporary nature. Equally, its very challengingto be working collaboratively, and in a way that forcesyou to put yourself in the shoes of a visitor experience.An exhibition design is in a sense a chance to test ideas,about space, light, materials. And architecture is possiblyone of the design forms that are more closely alliedto other applied arts. I think thats why we forge suchinteresting relationships with other collaborative practices,such as APFEL; it forces you into a territory which takesyou out of your normal eld of practice.

But, remember, this is with a very strong curatorialnarrative behind the exhibition - the curators embarkedon their journey on this project two years before theyinterviewed for designers. So there was a very strong senseof how the stories were going to unveil themselves, and reallythe responsibility of the creative team was to give shapeto the environments that were telling those stories. Thatwas a mixture through graphics, colour, pattern - a verytheatrical visitor experience, almost hyperreal at times.

KC In our rst presentation with Glenn we includedmood boards that showed the kind of language of materialsand graphics we were looking at. Our big inuence wasBladerunner, right from the beginning. I was obsessed withtransparent perspex, I loved this idea of the glowing edge,neon, the refractions of the glass. This was exempliedby the room named The New Wave. We came up with thisidea of crystal moment where you saw all this perspexand the reections of the light and The New Wave neonopposite. Again, it was a bit of test for both 3d and 2d to


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work together, because its an exhibition after all - theimportance is on the object and not on the exhibition design- but you are feeding into the curatorial idea.

GA But the objects in this room themselves were kindsof props, and not things that you would love under normalcircumstances. Actually, as curators we didnt have a lotof affection for the objects we were showing, which is quiteunusual situation, normally you would kill to get the bestpainting, and with Memphis furniture especially, you just slingit about there. You actually want an exhibition design whichpulverises the objects and vice versa - you want that energy,not to treat them as some sort of sacrosanct object.

AG But also relating to that rst slide, theres a sortof melding of turning objects into graphics. We discusseda strong spatial idea here with the lighting designer aboutturning certain parts of the experiences, where youhave a certain cardinal viewpoint of a major introductoryobject, such as this dress, turning the artefact into almosta graphic. We were playing with that resonance of theimage and the artice of the object all the time. Throughthe happenstance of theatrical lighting or changing theperspective of a room through a graphic pattern on a wall,it turns space into 2d and back again.

GA Theres a lot of variance of attitude among curators,but especially at the V&A, everyone being applied artspeople, were quite willing to understand the things that Andyand Kirsty do as, at least the same register, if not the samestatus within in the exhibition. We have graphic designs andarchitectural models on view, so why would we not thinkof the graphics and architectual commissions as being apart of the show in that sense, as an aestheic complement.Obviously you have to prioritise the exhibits on show, but it is


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at least a kind of continum - We wanted the two aspectsto have a kind of conversation.

AG It also throws into discussion what is authentic, alot of the material in the exhibition was heavily reproducedand went into several feedback loops of reproductionand redesign. A lot of the conversations were about thosefeedback loops.

GA Well, one of the best known slogans of Postmoderntheory is that is a period of simulacra without originals.


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Chapter Two.


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67March


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The Electric InformationAge Book. McLuhan/Agel/Fioreand the Experimental Paperback.Adam Michaels, Jeffrey T.Schnapp. ISBN 9781616890346.4.25 x 7 inches (10.8 x 17.8cm), Paperback . 240 pages,50 color illustrations, 150 b/willustrations. Rights: World;

Carton qty: 0; (405.0)The Electric Information

Age Book explores the nine-year window of mass-marketpublishing in the sixties andseventies when formerlybackstage playersdesigners,graphic artists, editorssteppedinto the spotlight to producea series of exceptional books.Aimed squarely at the young

media-savvy consumers of

the Electronic InformationAge, these small, inexpensivepaperbacks aimed to bring theideas of contemporary thinkerslike Marshall McLuhan, R.Buckminster Fuller, HermanKahn, and Carl Sagan to themasses. Graphic designers suchas Quentin Fiore (The Medium

is the Massage, 1967) employeda variety of radical techniquesverbal visual collages and othertypographic pyrotechnicsthat were as important to thecontent as the text. The ElectricInformation Age Book is the firstbook-length history of this briefyet highly influential publishingphenomenon.

Jeffrey T. Schnapp holds

the Pierotti Chair in Italian

Literature at Stanford, where hefounded the Stanford HumanitiesLab in 2000 with the aim ofcreating a transdisciplinaryplatform for testing out futurescenarios for the arts andhumanities in a post-printworld. Since 2009, he hasserved as a fellow at the

Berkman Center for Internetand Society, and visitingprofessor in Comparat iveLiterature and at theGraduate School of Designat Harvard University.


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69 www.papress.com March 1st 2012


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Qualite Graphique Garantie.


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71www.qualitegraphiquegarantie.org March 2nd 2012


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iOS 86.


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73www.work.repponen.com March 2nd 2012


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Aurle Sack


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75www.a--s.ch March 4th 2012


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The Book on Books onArtists Books. The EverydayPress. The Book on Books onArtists Books is a bibliographyof books, pamphlets andcatalogues on artist s books.

It takes stock of a widevariety of publications on artistsbooks since the early 1970s

to draw attention to the kindof documentary trace ofdistribution, circulationand reception they represent.

It aims to be a sourcebook of exhibition catalogues,collection catalogues,monographs, dealershipcatalogues and other listspublished to inform, promote,describe, show, distributeand circulate artists books.


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77 www.mottodistribution.com March 4th 2012


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In October 2011 148posts, 904 comments and over2.5m visits later DesignAssembly turned 3. 3 archivesover 100 published articles,comments included, as well asshowcasing new and exclusivewords and images from someincredible people. 100% of the

profits from the sale of thispublication willbe shared proportionatelybetween 3 charities with acombined global reach:

Cancer Research UK United KingdomLIVESTRONG North AmericaWCRF International Rest of world

The total amount raisedwill be distributed proportionately

between these 3 charitiesaccording to the percentageof profits generated by eachcatchment. For example, if 50%of profits are raised by pledges

from US billing addresses,50% of profits will be donatedto LIVESTRONG, and so on.

According to CancerResearch UK, 1-in-3 of us willbe diagnosed with some form ofcancer in our lifetime. Can designmake a difference?


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79 www.designassembly.org March 7th 2012


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81www.creativereview.co.ukwww.emiliogomariz.net March 9th 2012


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Perspective TypographyBrightens Brazilian Suburb. Thecreative collective of Boa Misturamade a poor suburb of Sao Paulo,Brazil a little more colourful.This has to be one of the mostinspiring things we have seenin long time


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83www.sizestores.co.uk March 10th 2012


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Fraser Muggeridge. Its Nice That Article. The work ofFraser Muggeridge Studio (founded by Fraser and completedby Sarah Newitt and Stephen Barrett) is an output of largelyartist, gallery, critically aesthetic content-driven publicationsand printed matter. With each project is an allowancefor images and text to sustain their own intent andimpact the sine qua non to the studios design, not style.Fraser Muggeridge is also an educator and founder of theTypography Summer School, and this week he will bebringing ve examples of creative stimulus to our lastguest post slot of 2011.


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85 =www.itsnicethat.comwww.pleasedonotbend.co.uk March 12th 2012


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Phone Arts is anInternational collaborativeproject experimenting using onlythe mobile phone as the mediumto create unique compositions.They explore the boundariesof the phone to create graphicillustrations and designs.


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87www.phonearts.net March 17th 2011


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Laaaarge.


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89www.laaaarge.com March 17th 2011


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QR Codes: Ugly, Overused and Doomed. Ive neverunderstood the hype about QR codes. They appearedone day, and then suddenly every advertiser made thema priority, plastering them all over everything in print. It hasalways seemed like undue obsession with something that,ultimately, is not that useful to very many people -- andthats assuming most people even know what they are. I waspleased to discover that Im not the only one: the Guardianhas set up a Tumblr called WTF QR CODES to catalog themany bizarre and inappropriate uses of the technology:

Most people look at a QR code and see robotbarf, but marketers seem to think they are a must-havetechnology for their advertising campaigns. In their minds,eager consumers wander around with their smartphones,scanning square codes wherever they appear. As a result,the codes appear just about everywhere, and often insome really absurd places.

The examples range from the fairly mundane (QR codesin the subway, where there is no data reception and wherethey are often located on the inaccessible side of thetracks) to the completely outlandish and even dangerous(huge QR codes towed behind airplanes, or printed onhighway-side billboards).

Theres one thing the article doesnt mention that Ithink is an important point: even if QR codes were popular,they would be a doomed transitional technology no matterhow you slice it. Image recognition technology has beenprogressing rapidly and is already being used in productslike Google Goggles, which means visual machine languagesare going to be unnecessary. The tech isnt perfect yet,but its already at the point that smartphones are capableof recognizing ads based on color, conguration andother indicators. As visual search becomes more common,consumers are going to get used to the idea that they can


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91 =www.techdirt.com

snap a photo of anything and nd related informationonlineand the QR code will be ofcially obsolete (at leastas a marketing tool).

Until then, I guess advertisers will keep slapping themon everything from bananas to condoms.

March 18th 2011


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What The Fuck QR Codes.


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93www.wtfqrcodes.com March 19th 2011


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95www.wtfqrcodes.com March 19th 2011


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QR Dress Code. Dansune exploitation morbihanaise,un leveur uitlise des QR Codepour les appliquer ... sur sesvaches ! Reportage de PlurielleProductions pour An Oriant TVsur une ide de

www.qrdresscode.com.


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Pixel Distortion. RuslanKhasanov is doing wonderfulthings with type. Like PixelDistortion (pictured) and LiquidCalligraphy, projects that useexperimental physical filters

to push legibility in the nicestpossible way. By using simplepractical devices, Ruslan cancreate intriguing visuals thatwork right up close with all theincidental detail, delighting in

the way light or water affects theindividual forms yet, as a whole,it is a fully applicable alphabet.


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99www.itsnicethat.comwww.ruskhasanov.com March 20th 2011


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Manchester DesignSymposium 2012


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101 www.manchesterdesignsymposium.com 21st March 2012


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Playing pop music viapaper posters with conductiveink. The Listening Post is a paperposter that plays song clips viaprinted elect ronics. The prototypeListening Post poster is a guideto bands performing locally.

The interactive posterplays a short clip of a bands

music when a thumbnail imageis pressed. Tickets can also bebooked via the poster.

The low cost of printingmean anything that uses paper orcard could soon be much moreinteractive, said the poster sinventors. It is one of severalpaper apps that have beendeveloped by a consortium ofBritish scientists, musicians

and researchers beingdemonstrated at the South BySouthwest Show in Austin, Texas.

The group has alsodeveloped postcards that containa sample of music that can beplayed via a paper player.

The poster and postcardsare the result of a research

partnership with Cambridgefirm Novalia (that has developedmethods to print conductive ink),art group Found, musician KingCreosote and Dr Jon Rogers fromthe University of Dundee.

Work was also goingahead on shrinking circuit boardsso they too can be incorporatedin the printing process. Theposters marry printed conductive

ink trails with a small circuitboard holding a speaker and asmall amount of memory. Futureversions could incorporate webconnections so that packages,posters and magazines might beable to be updated.


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103www.bbc.co.uk March 23rd 2011


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Bob OshmanJack of al l Trades


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Poster Tribune est unjournal semestriel consacr laffiche, offrant 12 pagesdarticles illustrs et 3 affichesformat 65 cm x 96 cm. Lesaffiches sont la fois crationsartistiques, supports decommunication et tmoins decourants sociaux, commerciaux

et artistiques, des priodesprcises. Poster Tribune sepenche sur ces affiches etredonne vie ces supports

phmres de la rue. A traversun thme conducteur, Posterfait la promotion de la scnegraphique contemporaine suisseet internationale et informesur lhistoire et lactualit delaffiche. Poster Tribune bnficiedu soutien du Fond CantonaldArt Contemporain de lEtat

de Genve (FCAC).


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109www.poster-tribune.ch March 23rd 2011


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111www.poster-tribune.ch March 23rd 2011


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Brendan C. Smith


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113www.brendancsmith.tumblr.com March 26th 2011


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Valdemar Lamego


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115www.k-u-n-g.com March 26th 2011


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Speech Sythesizer


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117www.p01.org March 26th 2011


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Chapter Three.


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8bit PE32


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121+ www.google.co.uk 1st April 2012


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Discussion on the BookBooks on Books. With ChristopheDaviet-Thery, ChristophSchifferli, Jrme Saint-LoubertBi et Yann Srandour

In the editorial projectBooks on Books, that unitedChristophe Daviet-Thery(editor / librarian specialised

in artist editions), ChristophSchifferli (photographs andartist books collector), JrmeSaint-Loubert Bi (artist andgraphic designer) and Yann

Srandour (artist), everyonesrole has been redistributed, theartists appearing to be passionatecollectors, the collector taking therole of the curator, the graphicdesigner the role of the authorand photographer, etc. The resultis a book that blurs the limitsdefined by the usual categories of

exhibition catalogues, artist booksor photograph books.

Starting from this commonexperience, this intervention willtake an interest in the question

of the representation of the bookby the book, throughout verydifferent examples, chosen amongthe contemporary productionor the history of the artist book,photograph book or graphicdesign, leaning particularly onthe book Latin-American booksof photographs.


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123 www.en.le-bal.com Mercredi 04 Avril


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Artist Recreates PopularPantone Colors As Fruit Tarts.French food designer Emiliede Griottes has brought newmeaning to the phrase looksgood enough to eat with withher latest culinary creation.Pictured above, de Griottes usedher cooking abilities to recreate

nine popular Pantone colors asfruit tarts. She brought the colorsin question to life using differentfruits and candies, with the resultsbeing something that has mademy mouth begin to water. Createdfor a spread in Fricote magazine,de Griottes has successfullycombined the world of graphicdesign with the culinary arts.

To create her edible worksof art, de Griottes first baked atraditional tart pastry base, icingit white to create the backgroundof the Pantone swatch she wasemulating. From there she madeuse of both texture and foodcomponents to make each tartpop (see what I did there?).

For example, Pantone 222 C inthe top left corner of the picturebelow is a barney-esque purple/pink combination.

The foodstuff that deGriottes decided to use was athick buttercream frosting thatwas tinted with food coloring tomatch. For Pantone 715 C locatedin the very middle below, she

used a combination of lemons andtheir peels to get the desired hue.You can almost smell the scent offresh lemonade as you look at thepicture.

If you want to recreatethese tarts, de Griottes hasincluded the recipes in the Frenchmagazine Fricote mentioned

above. Unfortunately, you willneed to be able to read Frenchbecause, well , its writ ten in theromantic language. If you needhelp translating, I would be gladto oblige as long as I get to eatone of each!


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125www.designboom.comwww.geek.com April 3rd 2012


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127www.designboom.comwww.geek.com April 3rd 2012


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129www.culturelabel.com April 3rd 2012


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No Mans an Island


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131www.nomansanisland.info April 3rd 2012


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OlloBibliothque.Brand creation including strategy,naming and visual identity for anew telecoms brand providinghigh-speed internet access toemerging markets. The Olloconcept is simple. A single lineof communication that providesaccess to the web in communities

where online demand sitsalongside limited infrastructure.

Our brief was to developa brand experience that woulddifferentiate the new product

within the saturated telecomsmarket. Following thoroughresearch and analysis of thecompetitive landscape, weformulated the strategic positionof new possibilities for a newaudience. This informed thebrand name, tone of voice,logotype and subsequent visual

language.The logo is the first to

exploit the new multi-touchhardware of smart phones andtablets. Custom software allows

for interactive manipulation ofthe logo to become a creative toolin building the visual language.Playing with the interactive logoallows the designer to createan infinite number of brand-orientated digital assets thatcan be integrated into the brand.

The Ollo brand is

currently being soft-launched intothe first of its markets and it willbe rolled out over a further 15countries in the near future.


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133www.bibliothequedesign.com April 5th 2012


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Kwadraat Bladen. ASeries of Graphic Experiments.195574. Essay: Dingenus vande Vrie. Foreword: Wim Crouwel.Editors: Adrian Shaughnessy andTony Brook.

Kwadraat-Bladen was thebrainchild of graphic designerPieter Brattinga (1931-2004). He

set out to prove that his familysprinting firm was the best inthe Netherlands by publishinga journal that would surprise itsreaders with its radical content,unusual format, and state-of-the-art production techniques.

Brattinga was a visionary:he was amongst the first toencourage designers to enter theprint works and to collaborate

with printers. He invited manyof the best Dutch artists anddesigners to produce an editionof Kwadraat-Bladen that pusheddesign and print to the outerlimits. Artists and designers whodesigned editions of Kwadraat-Bladen included:

Wim Crouwel

Anthon Beeke Willem Sandberg Jan Bons Otto Treuman Dieter RothUnit Editions is delighted

to publish the first Englishlanguage book devoted to thisrevolutionary publishing venture,which mixed art and design andused every known print and print

production technique. Thebook has a scholarly essay byDutch design historian Dingenusvan de Vrie and a foreword byWim Crouwel.

144 Pages152 230mmPaperback


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135 www.uniteditions.com April 5th 2012


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Pour une Critique duDesign Graphique.

Catherine de Smet216 pages165mm 235mm


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137 www.editions-b42.com April 5th 2012


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Google web fonts


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139+ www.google.com April 5th 2012


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Miscellaneous Web Errors


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141www.itsnicethat.com April 5th 2012


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143www.camberwellarts.ac.uk April 5th 2012


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145www.thewhatwherewhen.org April 5th 2012


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Names in a Hat. Have youever needed to randomly picknames out of a hat and not havethe necessary materials to do so?Ive heard the scenario all toomany times. You have the names,

but what about a hat? Theres nota fedora in sight. Your sleeplessnights are about to end!


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147www.itunes.apple.com April 7th 2012


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Kessels Kramer


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155www.kesselskramer.com April 8th 2012


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157www.trendlist.org April 8th 2012


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161April 8th 2012


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Kill Comic Sans.Personsally I dont think itstoo bad, it certainly has its uses.


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163+ www.agencyfusion.com April 8th 2012


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Mr Kipling UnveilsExceedingly Good Bus Shelters.

Mr Kipling is unveilinga new outdoor campaign securedby Starcom through JCDecaux,featuring poster sites whichdispense free cake from speciallyconverted poster sites.

To promote the launch of

the snap pack format, 500

book1stagelulu

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