81

9 7 71479 75 3 0 32
Contents Things to
07 78
Bookshelf
See and Do Essentials
Essential design From resident
events and book expert
exhibitions for HUGO
January
80
13 Viewpoint
Talent What is your
Illustrator most memorable
Charlie Duck journey?
Editorial Angharad Lewis 19 83
Awards are always rigged the judges enter their own work and Talent Review
then give each other awards... they all do it. So young designers Photographer Critiques of new
don't want to enter. This was just one of the very forthright Will Robson Scott books, exhibitions
responses we got during 2009 when we began canvassing graphic and events
designers for their opinions on existing UK awards schemes. 24
We were aware that there was considerable discontent in the Showcase 84
design community about awards but we didnt realise quite how This months Exhibition
passionate people would be about it. Most of the designers we best new graphic Less and More
asked jumped at the chance to give their views and didnt hold design work The Design
back from constructive criticism to pure vitriol. Ethos of Dieter
Whether our correspondents veered on the side of optimism 36 Rams reviewed by
or cynicism, however, one thing became very clear: there is a Profile Kerry William
real hunger among graphic designers for a new type of awards Victor Moscoso Purcell
that they feel is genuinely about rewarding the best of the by Robert
industry and that truly represents the breadth of talent, Urquhart 88
skills, approaches and media. Six Books
It just so happens, then, that we might have an answer for 48 The latest
you... Roll up, roll up, for the all-new UK Grafik Design Awards Special Report design books
2010 no categories, no complicated entry process, no extor- Travel under fire
tionate fee, no tacky ceremony, no judges entering their own
work. We hope to answer all these negatives with a more con- 50 90
structive, upbeat, informed approach to awards, the structure Rapid Transit Exhibition
for which has come directly from what you have told us you want. Massimo Vignelli Slash: Paper
There will be ten overall winning projects that receive a Grafik on his New York under the Knife
Star award projects ranging from whole identity schemes, to Subway map reviewed by
typefaces, to a single poster, website, animation or even invite Amber Bravo
card. You wont have to enter work into categories, which means 56
you dont have to enter things twice if they span, say, book Pro Motion 92
design and typography. Our judges will simply award prizes to A history of bicycle Exhibition
the most outstanding work they see. The entry fee is 50 for logo design Without Thought,
the first item or project, then 25 for each additional item or Volume 10
project after that. Each individual or studio entering will get 62 reviewed by
something back in the form of a free three-month subscription High Life Dan Honey
to Grafik, so you can keep up with news about the progress of The golden era
the awards. of air travel 94
There will also be two separate awards: Best Newcomer and Book
Best Studio. As well as entering your own work, all the catego- 71 Francis Baudevin:
ries are open for nominations, so if you know a shy but tal- View Miscellaneous
ented designer who doesnt go in for chasing accolades, you can Opinions, advice, Abstract reviewed
be sneaky and get them on the Grafik Design Awards radar via perspectives by Angharad
our online nominations system. Lewis
We hope that lots of you will enter and show us what the 72
UK graphic design scene is made of, even if the only incen- How to 96
tive is to get your work under the noses of some of the most Be Green Exhibition
respected designers and critics around. We are extremely proud The seventh Robert
of the group of individuals who have given us their backing and instalment of your Urquhart
support by agreeing to be judges. The Best Studio Award will eco design guide reports from
be judged by Wim Crouwel and the Best Newcomer Award will be the Rotterdam
judged by Peter Saville. The work submitted for Grafik Stars 74 Designprijs
will be judged by our panel of experts: Phil Baines, Sara de Logoform ceremony
Bondt, Emily King, Kate Moross, Ben Parker (MadeThought), Nick Voigtlnder by
Roope (Poke), Eva Rucki (Troika), Marina Willer (Wolff Olins) and Stuart Geddes 98
myself, with Caroline Roberts chairing the judging. Kalina, Gym
For more information and to enter or nominate, just visit 76 Class and No.Zine
www.awards.grafikmag.com. The deadline for entries is Sunday Letterform magazines
31 January. Were genuinely excited about launching this awards Serapion By resident mag
scheme. We cant wait to see what youre made of, and look lowercase a by man Michael
forward to celebrating the winners with you in April. Jan Middendorp Bojkowski
Contents Things to
07 78
Bookshelf
See and Do Essentials
Essential design From resident
events and book expert
exhibitions for HUGO
January
80
13 Viewpoint
Talent What is your
Illustrator most memorable
Charlie Duck journey?

19 83
Talent Review
Photographer Critiques of new
Will Robson Scott books, exhibitions
and events
24
Showcase 84
This months Exhibition
best new graphic Less and More
design work The Design
Ethos of Dieter
36 Rams reviewed by
Profile Kerry William
Victor Moscoso Purcell
by Robert
Urquhart 88
Six Books
48 The latest
Special Report design books
Travel under fire

50 90
Rapid Transit Exhibition
Massimo Vignelli Slash: Paper
on his New York under the Knife
Subway map reviewed by
Amber Bravo
56
Pro Motion 92
A history of bicycle Exhibition
logo design Without Thought,
Volume 10
62 reviewed by
High Life Dan Honey
The golden era
of air travel 94
Book
71 Francis Baudevin:
View Miscellaneous
Opinions, advice, Abstract reviewed
perspectives by Angharad
Lewis
72
How to 96
Be Green Exhibition
The seventh Robert
instalment of your Urquhart
eco design guide reports from
the Rotterdam
74 Designprijs
Logoform ceremony
Voigtlnder by
Stuart Geddes 98
Kalina, Gym
76 Class and No.Zine
Letterform magazines
Serapion By resident mag
lowercase a by man Michael
Jan Middendorp Bojkowski
 more than 80,000 artists in every time zone. Slovenia: istockphoto.com/ermingut
See the unexpected. Discover images from

Get affordable inspiration with millions of safe, royalty-free

images, video footage and audio tracks at iStockphoto.com

Save 20% off credit bundles of 50 or more.

Belgium: istockphoto.com/Redsmiler Enter offer code GRAFIK09 when you checkout.
Offer expires Dec. 31, 2009
Contributors Whats your
favourite journey?
Max Leonard
is a writer.
Laurie Wilson
is a photographer
Jason jules
is a creative
based in California. director, stylist,
What do you never Over the Alps producer, writer.
travel without? by bicycle. This one.
Theres not As a kid, mid-
OS or GPS? A pump and another week, leaving my
spare inner tube or road anywhere house in East
a good book, that looks like London at around
notebook and pen, this road. Its one 11pm catching
depending on my kind of place, a Central Line
mode of transport. one of a kind. train west.
Like someones Heading up the
OS. GPS means face. (My Own escalators at
that soon nobody Private Idaho). Tottenham Court
will really Road tubeall
understand where Cell phone, the 95ers would
they are or where mascara and be heading the
theyre going. camera. other way, going
Theres something home, while
very regressive OS. all the freaks,
in that. the clubbers,
Amber Bravo would be going
Kerry William is a freelance up into seedy,
Purcell is a architecture and subterranean
design historian design writer. Soho. Then the
and writer. journeys back
Ive always east, at three
Any one that takes wanted to tour or four in the
me to the coast. the hot springs in morning on the
northern Japan, night bus home
My own pillow. but my favorite with all the crazy
real adventure clubbers, office
Neither. was a river trip cleaners and
Any travel down the Rio lost drunks
instructions are Trancura in Chile crammed into a
usually scrawled with my family. double-decker;
on the back of flirting, fighting
an envelope as Forgetting and falling asleep.
Im walking out something. First-class travel.
of the door.
Its situational. My camera.
Andrew
Edwards Jan Middendorp Neither: A to Z
is a designer. is a type writer, or AS (Ask
a page maker Someone)
Any journey and an expat.
by bicycle.
Those that make
A camera. me understand.

OS. Luggage.
Wish I could.

Human
interaction.
Speaking the
language.
 >ihcdi[gZZ^ihi]gZZ#
I]gZZXde^Zhd[[dgi]gZZedjcYhZVX]#
I]Zci]gZZedjcYhd[[ZkZgn^hhjZ[gdbi]Zcdc
i]gZZ]jcYgZYVcYh^minkZYVnh
i]ZbV\^XcjbWZghVkZhndj)*^cndjgghinZVg
HjWhXg^WZWnY^gZXiYZW^iVcY\Zindjgghii]gZZ^hhjZh[dg(VXden#
6cYi]ZceVn_jhi&-eZgfjVgiZghVk^c\(dcZkZgn^hhjZ#6eeanjh^c\i]Z[dgb^c<gV`!
iZaZe]dcZ ))%&+(**--).-dghjWhXg^WZdca^cZVi\gV`bV\Vo^cZ#Xd#j`VcYjhZi]ZXdYZA>%.%.l]ZcegdbeiZY#
I]^hd[[Zg^hdeZcidZm^hi^c\hjWhXg^WZgh#
I]^hd[[ZgVeea^ZhidJ@gZh^YZcihl^i]J@WVc`VXXdjcihdcan#
9Zh^\cZYWn6bZa^VCdWaZEVgicZgh
 Things to See and Do Talent Contest

January
Deadline 31 January 2010

Grafik is very excited to announce its first ever

awards scheme. The Grafik Design Awards are not
about huge entry fees, black ties and awards
dos where you dont know anyone. They are about
finding and rewarding the best work and the most
creative studios and designers. To be eligible,
work must have been produced in 2009 in the UK, and
you dont even need to try and pigeonhole it into
one category. Our very respected panel of judges
consists of Phil Baines, Sara de Bondt, Emily King,
Kate Moross, Ben Parker (MadeThought), Nick Roope
(Poke), Eva Rucki (Troika), Marina Willer (Wolff
Olins) and Angharad Lewis, editor of Grafik. Peter
Saville will be making an award for best newcomer
and Wim Crouwel will be awarding the best studio.
Its easy and affordable to enter 50 for the
first entry and 25 for every entry thereafter,
with a free three-month subscription to Grafik
included. Entries to the best newcomer award
cost just 20. You can enter online at www.awards.
grafikmag.com, and dont forget to make a note
of the 31 January deadline.

www.awards.grafikmag.com

New Alphabet
Until 12 July

One exhibition not to be missed opened at the

Museum of Modern Art in New York at the end of
December. The New Typography looks at the
groundbreaking avant-garde movement that swept
through artistic communities in the 1920s and
30s and was codified by Jan Tschichold in his 1928
book Die Neue Typographie. The book had a massive
impact on both typographers and printers, who
applied the new principles to all manner of
printed matter from brochures to books, magazines
and advertisements. The exhibition at MOMA
features posters and ephemera (typically featuring
asymmetric compositions often using photomontage)
from its own collection of German, Dutch, Soviet and
Czechoslovakian graphics, many of which were used
by Tschichold himself during his teaching years.

www.moma.org

Things to See and Do January 07

 Needle Point
08 January13 February
Crafts are fashionable again, its official.
Despite the resurgence of all things handmade,
however, tapestry is still pretty far down the
coolness list its all garish Kaffe Fasset cabbage
cushions and cross-stitch baby samplers as far as
most people are concerned. An exhibition at the
James Cohan Gallery in New York is set to change
all that, however. Entitled Demons, Yarns & Tales,
its organised by the UK art collective Banners of
Persuasion, and features a series of tapestries by
thirteen different artists including Peter Blake,
Gary Hume, Grayson Perry, Gavin Turk and Julie
Verhoeven. Just because thread is involved doesnt
mean that the subject matter has gone soft, though
subjects covered by the artists include imaginary
landscapes, abstract architectural forms, fashion
and nature and the politics of race, gender,
international conflict and the environment. Phew.
www.jamescohan.com
Things to See and Do January
Dutch Courage
22 January20 March
Get down to the Galerie Anatome in Paris this
month for an exhibition of work by maverick Dutch
design agency Thonik. The Amsterdam-based agencys
energetic work has won it a raft of covetable
clients including the Museum Boijmans van
Beuningen, Venice Architecture Biennial, Amsterdam
Public Library, Triodos Bank and Spiral Art Center
in Tokyo, but its Thoniks massively powerful
rebranding of the Dutch Socialist Party (SP), with
its bold tomato-based identity, that has brought
it to so many peoples attention. You can read the
full story on pages 56-61 of Grafik issue 176.
www.galerie-anatome.com
08
 So Sew Master Class
15 January27 February 21 January03 April

A new exhibition at the PM Gallery in Ealing this
month sets out to challenge our preconceptions
about embroidery (yup, its all about the
threadcount right now). Beware of Embroidery
features work by five international artists all
using embroidery Kate Pelen (UK), Louise Riley
(UK), Tilleke Schwarz (Netherlands), Laura Splan
(USA) and Tamar Stone (USA) and celebrates
the diversity and energy that does exist within
the medium (if you look hard enough). The subject
matter is definitely very varied, from Laura
Splans intricate doilies taken from the forms of
various viruses to Tamar Stones Bed Books and
Corset Books, inspired by the body brace she wore
for twenty-three hours a day between the ages of
thirteen and eighteen.
www.ealing.gov.uk/pmgalleryandhouse
The late, great Alan Fletchers exhibition Fifty
Years of Graphic Work (and Play) is coming to
Manchester in January. Curated by Emily King and
originally shown at the Design Museum in London
just after his death in 2006, the exhibition spans
Fletchers amazing fifty-year career, from his
early days in New York, through the Forbes Fletcher
Gill and Pentagram years, to his final period as
an independent designer. The exhibition is required
viewing for any self-respecting graphic designer,
so if you havent had the pleasure of seeing it
yet (or just fancy a second look) then its
definitely worth a trip to CUBE in Manchester this
month. The exhibition will be opened by St Peter of
the Saville himself, a fitting tribute to such
a great man. We miss you, Alan, the world has been
a much duller place without you.
www.cube.org.uk

Object Lesson
30 January23 May

Hove Museum and Art Gallery (situated at the

somewhat posher and sleepier end of Brighton Town)
has commissioned ten artists to create an original
piece of work for Precious, a new exhibition that
aims to create exciting new artworks from objects
that have enjoyed a previous life as something
else. Curated by Matt Smith and Polly Harknett,
the show (strapline Reclaiming Art and Craft
its the C-word again) features objects fashioned
from everything from waste paper and fabric to
computer parts, bathroom taps, books, furniture and
drink cans. Contributors include the lovely Andrew
Mockett, a Brightonian himself, whose playful
work has graced the pages of Grafik many a time.

www.brighton-hove-rpml.org.uk

Things to See and Do January 09

Things to See and Do January 010
Things to See and Do January 011
Talent Charlie Duck
Another talented Brighton University graduate, Charlie Duck has been busy
making work for numerous exhibitions and books since he finished his
illustration course two years ago. As he reveals here, inspiration comes in
many guises, from film and literature to praise from his granny.

01

02

03

01 Untitled, illustration
for We Are the Friction book,
April 2009

02 Kingdoms 3, self-initiated
work, January 2009

03 Kingdoms 2, self-initiated
work, February 2008

Talent Charlie Duck 13

 02

01

Talent Charlie Duck 14

 04

03

01 Three Rooms 1, self-

initiated work, June 2007

02 Untitled, self-initiated
work, August 2009

03 Memento Mori 1, self-

initiated work, June 2009
05
04 Untitled, illustration
for We Are the Friction
book, April 2009

05 Dust & Shadow 3.5, for

artists book published by
Duke Press, December 2009

Talent Charlie Duck 15

 Describe your style Obsessive pencil drawings.
in three words.
Mechanical pencils, lead refills, normal pencils, sharpeners,
What is in your rubbers, knives and a bone folder. I have another one with
toolbox? paints and brushes in, Im just not quite ready to open it yet.

Analogue without a doubt. I avoid using computers as much as

possible. There is so much that is lost in the translation of an original
work into a digital image, and then, in turn a printed reproduction.
Digital or analogue? I always lose faith when it comes to that point with a drawing. Its
(And why?) important to me to be able to create the pieces I want, independent
of any digital process. I like the fragility of original works, and the
idea of something existing as a one-off.

I think it depends on the individual, what it is youre setting
Whats better:
out to do and what it is you want to achieve. Personally I prefer
working with a team
working alone, away from distractions. I like losing myself
or going it alone?
in drawings. However, second opinions are invaluable. At
university we were encouraged to regularly discuss our work
with our peers and our tutors, which is something I still do.
I find thoughts and ideas tend to develop far more intuitively
through conversation than they do sitting alone in your mind
for days on end.

Predominantly I would say literature, and then film. I have always

been drawn to narrative and storytelling. I find it interesting to see
Where do you find
how writers or directors create an atmosphere, capture a feeling
inspiration?
or communicate a narrative, specifically the devices they employ
to do so.

Whats been the best I sent my grandmother some drawings in the post a few months
and worst reaction ago. She wrote back a few days later telling me she thought
to your work? I was a real artist, which I liked. In terms of bad reactions,
Ive always found indifference pretty frustrating. I think its
important for work to evoke a reaction in the viewer, whether
What is the best good or bad; to do neither seems to negate the purpose of
advice youve making work in the first place.
ever been given?
To not worry too much about what other people are doing. I think,
particularly in illustration and design, it is only too easy to get caught
up in what is considered contemporary and popular. The tutors at
Brighton would always challenge us, steering us away from simply
mimicking what was on trend. Instead we were encouraged to think
about what it was we were interested in, and to be confident to
explore that, finding ones own points of reference

Something Sisyphean has always appealed. Drawing a
What would be your
billboard by hand, with a 0.3mm mechanical pencil, that
fantasy commission?
kind of thing.

Due to the nature of my working methods Im fairly self-sufficient,

and have little call for facilities in the traditional sense. Can
institutions be considered creative facilities? I think so. In which
Whats the best case it could be any one of a number of galleries or museums
creative facility near in London. The city houses, such an array, all so varied in their
to where you live? collections. I find I spend a lot of time in these kinds of places,
absorbing their collections, looking for something new. I always
leave feeling excited about what might be around the corner,
full of optimism about drawing.

I want to continue to exhibit works, and to take part in projects,

as well as to return to working on some self-published books.
What are you
I feel like Im beginning to understand what it is my work is
going to do next?
about, and whats important to me, which is one thing. Id now
like to develop how I choose to communicate it.

www.charlieduck.co.uk

Talent Charlie Duck 16

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Talent Will Robson Scott
From dark, moody subcultures to the subtle absurdities of life, young
street photographer Will Robson Scott has a keen eye for catching the
human condition. Fresh from a trip to South Africa, the Londoner tells us
what hes up to next and offers some stark advice about his profession.

01

01 Mr.P, London, 2008

02 Dtrick and his mastiffs,

California, 2009

02

Talent Will Robson Scott 19

 01

02

Talent Will Robson Scott 20

 04

03

01 D Double E, London, 2008

02 YRP, London, 2007

03 Matty and Sid, London, 2009

04 Police, London, 2002

Talent Will Robson Scott 21

 Describe your style Bit of everything.
in three words.
Depending on what Im photographing, a Mamiya7 or Canon
What is in your 5d with a flash and tripodI try to keep the set-up simple.
work bag?
It might seem a bit sentimental, but film seems to give my work a bit
more integrity and makes me think a bit more about what Im doing.
Digital or analogue? But digital is the only way to work commercially and its immediacy
(And why?) is great.

Whats better: I prefer to work independently on personal projects to try to

working with a team build a one-to-one relationship and get feedback afterwards.
or going it alone? But if Im working on a brief for a client its helpful to have
people around you to give a bit of direction.

Inspiration comes from everyday meetings with people and the

world around me. Im also interested in people living on the fringes
Where do you
of society, people who hold value in subcultures but not in the
find inspiration?
wider world.

Whats been People buying your work or employing you is great, but it
the best and the also makes me feel a bit guilty getting paid to take photos.
worst reaction to Criticism can be hard to swallow but can make you stronger.
your work?
Separate personal and commercial work, and as soon as you stop
enjoying photography, quit.

What is the best advice
Finishing Crack and Shine (Londons first graffiti book) was a
youve ever been given?
huge achievement, just because we were told so many times
it would never happen. Also being invited on the Gumball rally
What has been the
(3,000-mile luxury-car rally) this year seemed like a once-in-a-
defining moment of
lifetime chance.
your career so far?

I just travelled to South Africa and found it an amazingly interesting

What would be your
country. I would love to get a chance to do a project about the
fantasy commission?
countrys infrastructure and history.
Whats the best
My friend Morgans scanner, without a doubt.
creative facility
near to where
Im finishing a project on dogs and their owners. I might work on
you live?
a new Crack and Shine project if I can deal with the headache.
I am part of a new creative collective, Pirates, which has just been
signed to CIA. Ill continue with my own projects and Im going
What are you
to learn to drive, properly.
going to do next?
www.willrobsonscott.co.uk

Talent Will Robson Scott 22

 Alex Rich and Jrg Lehni Design Real
Showcase

Pierre-Franois Letue
Modernes:
The Andam Fashion Awards 19892009

No Brow and Blexbolex Abecederia

ICA Heavy Pencil Bonbon Swiss Federal Design Awards

 Melanie Mues Roger Hilton Night Letters

Marc&Anna Pete and Repeat

Melissa Price M1

Mind Design Tess Management

Lesley Moore C-Mon & Kypski

Photography by Christoffer Rudquist

www.c-h-r-i-s-t-o-f-f-e-r.com
Styling by Shoko Goji Rudquist
ICA Heavy Pencil
Sarah Boris, in-house designer at the Institute of
Contemporary Arts in London, has recently completed
a limited-edition album pack celebrating a year
of Heavy Pencil nights at the venue. This brilliantly
named event is an illustration-meets-music night
where professional and wonderful illustrators
come down with pens, pencils, paper and some of
their favourite music. What might have been merely
gruesome seems to have worked like a dream judging
by the years worth of noodling and doodling in
this collection. It makes for an interesting music
compilation and some fantastic illustration. The
music/illustration cross-feed works for toytronica
bands like Psapp, Malcolm Goldie and Anthony Burrill,
all worthy standalone contenders in the aural
world, while the illustrations by Mimi Leung, Andrew
Rae and Luke Best, Sac Magique and Ville Savimaa,
among others, provide a solid graphic backbone to
the project.
Showcase January
Collaborating with Gemma Tortella, programmer
of the Heavy Pencil event, Boris gathered twelve
cards by artists including the omnipresent Anthony
Burrill (who also did the cover of the pack). Boris
was obviously excited by the event as it touched
upon her interests in design and the chance to do
something unique that connected design with music
and performance: There was no fixed branding for
the night, so we also started from scratch, which was
a great opportunity. The cards in the box are printed
on uncoated white 700gsm paper and the pack is seven
inches square to reflect its link to music.
Boris is keen to point out that Heavy Pencil
has plans for 2010, citing Rob Ryan as a possible
guest for a special Valentines Heavy Pencil night.
Who knows, if you go along you might make a special
pen friend.
www.ica.org.uk
26
Marc&Anna Pete and Repeat
Heres one for you: Pete are Repeat are sitting on
a fence. Pete falls off, who is left? Repeat? Okay
then: Pete and Repeat are sitting on a fence...
repeat ad infinitum. Its as old as the hills. Its
also the title for an exhibition that showcases works
from the Zabludowicz Collection, an international,
privately funded contemporary art collection.
Inspired by the Bruce Nauman piece Clown Torture
(which, if you have coulrophobia, is the most
terrifying film ever), the exhibition is the first
held by the collection that draws solely on pre-
existing works, including those by artists Sherrie
Levine, Keith Tyson and Wolfgang Tilmans. Exhibition
curator Ellen Mara De Wachter turned to studio
MARC&ANNA to produce the identity, gallery guide
and catalogue.
Marc Atkinson of MARC&ANNA reveals the link
between the concept of the show and the design
and identity that he and partner Anna Ekelund
designed for it: The title and concept was already
halfway there, so the design followed on from the
concept. However, because there was so much
Showcase January
repetition we wanted to break it up. Each page has a
different grid and we chose to use a selection of
typefaces to overprint the main font. We wanted each
repetition of the details to be slightly different,
not an exact repeat. This hinted at the impossibility
of exact repetition, and also represented the range
of work on show. We chose a selection of classic
typefaces, each famous for a different reason and
use: Akzidenz Grotesk, Amasis, Avenir, Baskerville,
Cantoria, Caslon, Din, Garamond, Palatino, Plantin,
Sabon, Univers, and Zurich.
Chopping the invites from one A3 sheet resulted
in four different versions, all containing the same
information, but all with a different selection
of typefaces.
Cyclus Offset paper was used throughout,
except for the image pages in the catalogue, which
were printed on Greencoat Silk. Pete are Repeat are
sitting on a fence. Pete falls off...
www.marcandanna.co.uk
27
Mind Design Tess Management
Tess Management, owned by Tori Edwards and Sian
Steel, is a new London-based model agency that
evolved from Independent Talent. Tess represents
the crme de la crme Naomi Campbell and Erin
OConnor, as well as new models like Georgia May
Jagger, are all on its books. Edwards and Steel
chose Mind Design to come up with the identity
for their new enterprise.
Holger Jacobs of Mind Design takes up the
story: A few years ago we noticed the work of
Simon Egli, a Swiss designer who developed a multi-
layered typeface based on letterpress ornaments.
We teamed up with Simon to develop a rather
complex identity based on a modular system. The
logo system developed from simple outlined letter
shapes overlaid with various ornaments and Art
Deco-inspired shapes. It would be possible to create
endless logo combinations using this principle
but we decided on a set of six colour and six black-
and-white versions for general use. In print the
logo is produced by overprinting five Pantone
colours with a slight transparency.
Showcase January
The identity included model cards, portfolios,
folders and stationery and Mind Design also
designed a newspaper to announce the launch of
the new agency. In connection with the logo, Jacobs
developed a setof different frames that are used
around the images. The newspaper folds to an A4
format, held together by a bellyband, which sports
different versions of the logo.
The look and feel of the work is a bit of
a departure for Mind Design, which up until now
has concentrated on starker, more modernist-style
aesthetics. As Jacobs says, For many years we
followed the manifesto that Ornament Is Crime,
but recently discovered how liberating it is to
just play with shapes and pattern that have no
particular function.
www.minddesign.co.uk
www.tessmanagement.com
28
 Modernes: The Andam
Pierre-Franois Letue
Fashion Awards 19892009
Graphic design is not the finality, but is here to
celebrate the subject. So says Pierre-Franois Letue,
when asked what have been his favourite outcomes
from his recent project for the Andam Fashion
Awards, which celebrate their twentieth anniversary
this year. Andam, founded in 1989 by the mercurial
Nathalie Dufour, exists to give ground-breaking young
designers a leg-up into the notoriously treacherous
fashion industry, and over the last two decades they
have been a launch pad for some mighty impressive
names Martin Margila, Viktor & Rolf, Bless, Gareth
Pugh and Giles Deacon among them. To celebrate the
occasion, this book details the history of the awards
(and in turn provides a suitably stylish analysis
of cutting-edge fashion of the last twenty years)
and its designer, Pierre-Franois Letue, has a pretty
impressive history in fashion himself, having
worked extensively for Chanel, Thierry Mugler and
Karl Lagerfeld.
The construction of the book is like that of
a garment, with clever touches making parallels
between the nomenclature of book design and clothes-
Showcase January
making on the spine the stitching is left exposed
and the dust jacket is made from jacket-like cloth.
The interior folds of the sleeve go beyond the
traditional function to act as dividers between
outer and inner sections of pages. At both ends of
the book is a section made from a larger-sized glossy
paper stock, carrying a gorgeous black-and-white
shoot of clothes by thirty-nine designers, shot by
Jean-Franois Lepage (the best [photographer] we
could dream to have, and directly coming from this
generation, says Letue). Inside the sleeves is a
block of smaller-size pages forming the main section,
with text composed in the font Prigord close to
magazines, smart, but raw, says Letue, the perfect
mix for the project.
The entire confection is then housed within a
grey board slipcase, die-cut to reveal just the word
Modernes of the title beneath, and looking for all
the world like the makers label on an elegantly cut
garment. Bravo.
www.andam.fr
29
Alex Rich and Jrg Lehni Design Real
Design Real is the first show at the Serpentine
Gallery to concentrate on design, in this case
product design, curated by German industrial
designer Konstantin Grcic. Grcic chose to work with
Alex Rich and Jrg Lehni when it came to the
exhibition design and identity, having collaborated
previously with the pair on an evening event at
A Recent History of Writing and Drawing at the ICA
in London in 2008. This exhibition, however, was a
much bigger proposition for all concerned.
The starting point, from a design point of view,
was talking about language and objects, and the
fact that there should be research available but we
didnt want it to be too didactic, explains Lehni.
The result is an exhibition identity, including
catalogue and signage system, that uses strong,
simple one-word titles in the gallery, backed up
heavily by a website displayed on kindles within
the gallery, and a catalogue published by Walter
Koenig Books.
The typeface, chosen by Rich, is the standard
car number plate font (most notably used by him in
Showcase January
his 2005 piece One Less Car). The reason for this
choice, Rich observes, is that it felt like a
celebration of something you see every day. Rich and
Lehni were given free rein, allowing them room to
explore their own ongoing research in innovations
around print and technology. The only guideline we
were given by the Serpentine Gallery was that the
book had to have a bellyband. The printing ideas came
from the web format working on a black background
screen saves energy on the web, so we continued that
aesthetic into print, says Lehni. The difficult
balance between too much information cluttering a
gallery space and too little information rendering
the exhibits impotent gestures was a tough call but
one that Rich and Lehni have handled with finesse.
www.design-real.com
www.field-trip.org
www.scratchdisk.com
30
Bonbon Swiss Federal Design Awards
If the Swiss Federal Design Awards are anything
to go by, that nation excels at nurturing and
rewarding young design talent. Nineteen designers
have been shot to stardom via this years awards
and their work has been documented in a brilliantly
designed book by Bonbon. The 2009 catalogue comes
on the back of two others designed by Valeria
Bonin and Diego Bontognali of the Zurich studio.
The pair first won the commission from the Swiss
Federal Office of Culture in 2006 and were asked to
design the book for 2007, 2008 and 2009. It may sound
like a dream of a job but it was hard-earned
Bonin and Bontognali were themselves winners of
an award in 2002 with their diploma project, a book
about trash and fast typography.
Our idea was to make more than a catalogue.
The winners of the award should not be forgotten
after six months, say the designers, echoing their
own experience of winning. Bonbon alighted on the
idea of making an encyclopaedia. We wanted to
collect a lot of different information about the
winners and their work, they explain, good, bad,
wrong, funny, strange, right, new, old, inconsistent,
not important, private in a way, to show them
in a larger context than only in design. Thus
Showcase January
each of the winners gets a section where were
introduced not only to their work, but also get a
glimpse of their lives, environments and ways of
working. Bonbon collaborated with photography duo
Geoffrey Cottenceau and Romain Rousset (following
collaborations with Korner Union and Cortis
& Sonderegger in 2007 and 2008 respectively) and
mixed their images with snaps by the designers
themselves.
One of the most beguiling and successful
aspects of Bonbons design for the catalogue is
its application of type. The font used throughout
is Piek, designed by Philipp Herrmann and
distributed by optimo.ch. The grid anchors images
and text blocks to the central area of the page
but this is also used as a sort of central margin,
around which text at a 45-degree angle is arranged.
The whole experience is very satisfying and if
you find yourself hungry for even more Swiss design
talent, you can see the work of the winners in
an exhibition at MUDAC in Lausanne until the end
of January.
www.bonbon.li
www.philippherrmann.ch
31
Melanie Mues Roger Hilton Night Letters
The drunk, desperate nighttime ramblings of a man
to his wife may not sound like great material for
a book, but in the case of artist Roger Hilton they
make for fascinating and moving reading. A body
of work entitled Night Letters, which comprises
Hiltons handwritten works as well as a collection
of small gouache paintings, all produced during
the two years leading up to his death in 1975, has
been brought together in an enchanting new volume
designed by Melanie Mues.
The letters Hilton wrote veer from domestic
arrangements (Get some ham. And beetroot), to
philosophical flights (The eating thing is idiotic;
the fucking thing is equally idiotic: the song,
music, art thing is idiotic. What remains? Nature
raw in tooth and claw) and desperate pleas
(All these things are sitting in the kitchen.
I dont want to go out to that horrid, cold place:
egg cup, spaghetti, bacon, potatoes, milk. All could
be made available to me. Why keep the whiskey out
there instead of in here?), to great humour(Clear
up your cigarette stubs, even normal people use
Showcase January
an ashtray) and touching intimacy (9.30 Sun
I awoke and refreshed and poking up I found you
sound asleep. Well this is just to say I miss
you very much. There is nothing in the world will
replace you). Sometimes such magnificent leaps
occur all within the space of one letter, or even
one spidery paragraph.
The extremely personal nature of Hiltons work
is interpreted with finesse by Mues in her design.
The title is embossed white out of black in Hiltons
shaky handwriting on a cloth-bound cover, giving
the book a diary-like feel. The bulk of the book
is given over to full-page reproductions of pages
of Hiltons letters, drawings and paintings. If you
werent a fan of Hilton before, you may well emerge
from this book a love-struck convert. I think he
deserves to be back on everyones bookshelves, says
Mues. He was a larger-than-life character, always
rebellious against the art farts and institutions.
www.muesdesign.com
32
Melissa Price M1
Following her study in book form of the building
faades of Londons Barbican Centre, Melissa Price
of Cartlidge Levene has created a screenprinted
graphic homage to the M1 motorway, which celebrated
its fiftieth birthday in 2009. Price put on her
historians hat and delved into the background
of the M1, and motorway design in general, to find
inspiration for the book. She was delighted to find
that motorways something usually considered
ugly, brutal or boring could yield some true
aesthetic pleasure and remarkable design strategies.
I was interested in the graceful curves and shapes
of the junctions and found that there are huge
variations, from the simplest interchanges to those
with multiple flyovers and roundabouts, Price
reveals. Her research also unearthed the methods
used by motorway designers to make our driving
experience more enjoyable and safe. The earliest
sections of the M1 had several long straight
stretches which were discovered to have a soporific
effect on drivers, she continues. In later motorway
construction sweeping curved shapes were introduced
after it was recognised that a changing perspective
and vista helps drivers stay alert, improving
safety. So the shapes and curves are not arbitrary,
ShowcaseJanuary
Showcase December
but designed with many factors in mind: optimum
sightlines, ease of driving at high speed, blending
with the landscape, and providing an ever-changing
view for drivers.
Prices twenty-page book contains her collection
of drawings of the motorways junctions seen from
above, and this view, executed in white and motorway
blue, emphasises the balance and simple elegance
of these structures. Accompanying the illustrations
are type compositions giving a full listing of the
destinations signed from each junction, going in
order from South to North. The book has a short
cover in paper-lined bookcloth with a Singer-sewn
binding. Despite Prices clean modernist treatment,
there is an unmistakable air of nostalgia about her
undertaking, a whiff of Britain in the late 1950s,
poised on the cusp of a new era, before the rest
of the UK was crisscrossed with motorways and when
motoring rather than simply getting from A to B
was a civilised pastime. You can buy your copy
of M1 now from Kaleid Editions on Redchurch Street
in London.
www.kaleideditions.com
www.melissaprice.co.uk
3333
No Brow and Blexbolex Abecederia
Abecedaria is a chilling and rather odd sci-fi cum
crime thriller story that has been published as
an artists book by No Brow Press. The story tells
of two notorious criminal brothers on the run from
the law in the 1960s. The pair are chased from France
to Africa, where they seek refuge in the fabled
settlement of Abecederia. They hope to find
sanctuary there, but instead stumble on something
altogether more sinister involving gory human
experiments, brainwashing and the evil Dr Praxis.
The story and accompanying illustrations come
from the fertile imagination of French illustrator
Blexbolex and this is the first of his works to be
translated into English. It was originally published
in 2007 and soon after, in 2008, Blexbolex was the
recipient of the prestigious Most Beautiful Book
Award at the Leipzig Book Fair for his work on
another title, Leute.
Showcase January
In Abecederia, Blexs comfortingly familiar
pulp-fiction writing style is set against his sparse,
off-beat illustration style to deliberately
disquieting effect. The whole book is printed using
just three spot colours, which are overlapped in
places to create depth and also to show off the
virtuosity of the printing.
Relatively new on the independent publishing
scene but already gaining a reputation for
excellently produced obscure titles and specialising
in illustration, No Brow is an admirable venture. You
can pick up a copy of Abecedaria from shops around
London and the UK including Artwords, KK Outlet,
Beyond the Valley and various galleries, as well as
select outlets around the world (check the No Brow
website for details).
www.nobrow.net
34
Lesley Moore C-Mon & Kypski
Alex Clay is keen to point out that there is no
person named Lesley Moore at the design agency
Lesley Moore. Its a phonetic play on less is more,
just as C-Mon in the name of the band it designed
this sleeve for is a play on Simon (Akkermans, one
of the bands frontmen). Got it?
Dutch band C-Mon & Kypski chose Lesley Moore
to design its fourth album, We Are Square, to convey
the message that, having started out as a two-piece,
they had now racked up another couple of members
and emerged as a fully wired electro-stomping-and-
grinding four-piece.
Their previous albums were much more sample-
based, explains Clay, so they wanted to show they
are a band that also play instruments. To do this,
Clay combined hand-drawn portraits of the band
members with a concept inspired by the title of the
album. On the inner sleeve, he used photographs by
Gabriel Eisenmeier of their instruments with cut-
outs based on a square shape. The title of the
Showcase January
album is so visual, Clay continues, that we wanted
to use that in some way, so we came up with a pyramid
for the limited-edition version. We thought they
are never going to go for it, but lets propose
it anyway.
To Lesley Moores surprise the band agreed and
there followed an extremely short turnaround on the
work it took just three weeks from concept to final
delivery and was developed in co-operation with the
studio Guido van Gerven. The result is a satisfyingly
tactile article that suits the space-ska-lounge,
sax-metal, astro-funk that is C-Mon & Kypski.
Its every designers dream to do a record cover.
We were very happy that our first one turned out like
this, says Clay. Lesley Moore would be proud.
www.lesley-moore.nl
www.c-monandkypski.nl
35
Profile Victor Moscoso 36
Profile

victor
Moscoso
Portrait of Victor Moscoso
by Laurie Wilson

www.laurie-wilson.com

Surrounded by a lifetimes worth of ephemera, prints and drawings in a

shed in the undergrowth in Marin County outside San Francisco, Victor
Moscoso, now in his seventies, is still busy working. Robert Urquhart
made a pilgrimage to see the king of Sixties psychedelic poster design for
his recollections about that heady era, his wisdom about ways of working
and a crash course in self-promotion.

Profile Victor Moscoso 37

Profile Victor Moscoso 38
Opposite: The Miller Blues
Band poster, offset litho, 1967 I always treated the job as if I was a plumber.
Neon Rose
Next Spread: Zap Comix #4,
Would you ask a plumber to fit a toilet for
free? No. So dont ask me. I call myself a
front and back covers, offset
litho, 1970
graphic designer, thats a practical and useful
role in society.
San Francisco, Brighton in the Himalayas, the place where,
half a century ago, beatniks turned hipsters under the
Californian sun. Victor Moscoso, the old master of psychedelic
art, lives just north of the city, in sleepy Marin County across
the Golden Gate Bridge. I could pop over in a taxi and go see
him in an afternoon.
Sitting by the pool after my arrival in San Francisco,
I call Victor. How much is the fee for this interview? he asks.
There is no fee, Victor, but its great publicity for you, I say.
Jeez, man, comes the reply, youre getting me to do all this
work for nothing? Okay. Make sure you buy my book before
you come and see me. Im about an hour and a half out
of town. I can give you a couple of hours, I guess. Thank
you, Victor.
A week later Im sitting in a cab, clutching the book
(Sex, Rock and Optical Illusions, published by Fantagraphics
in 2005), heading over the bridge with a nervous taxi driver
at the wheel. Hes wondering why hes taking an Englishman
into the remote hills beyond the bay. Im wondering whether
he knows where were going and what kind of reception I can
expect when I arrive.
Moscoso, Rick Griffin, Stanley Mouse, Alton Kelley
and Wes Wilson were the Big Five of what is now called
the psychedelic art movement, producing posters for music
venues the Fillmore Auditorium and the Avalon Ballroom
for the Family Dog collective. Moscoso was also making
posters for his own company, Neon Rose, around the Haight-
Ashbury district. From 1966 to 1969, these five ruled. Their
works lined the streets, advertising gigs by the Grateful Dead,
The Sparrow (later to become Steppenwolf), Jefferson
Airplane, Big Brother and the Holding Company with Janis
Joplin, Quicksilver and the Miller Blues Band, among countless
other legendary performers of the time. Their work was picked
up around the world and became the trademark graphic
depiction for the music and counterculture of a time. Today,
Moscoso is one of the last men standing. His talent is equal
to those he advertised. He is a legend.
As you cross the Golden Gate Bridge from the city, the
landscape changes. Marin County looks a little like the Lake
District, or more like Devon in the summertime perhapslush,
green, remote and hilly. The GPS directs us down a steep path
into a thicket. Suddenly, from behind a bush, out leaps a tall,
dark, bespectacled man in a bandana. He jabs at the window
of the cab. This is Victor.
It turns out the bush has a door and the door leads to
Victors studio. Victors studio is amazing. Theres nowhere to
sit, its stuffed full of drawings, reference materials; bits and
bobs. Its man-shed heaven.
I had been filming my arrival on my camcorder but Victor
objects. Hey, what you doing? Put that away. Theres stuff in
here thats not copywritten yet. Sorry, Victor.
Profile Victor Moscoso
Victor is obviously someone who has a handle on his
business matters. As I set my Dictaphone going he also sets
his own going, his wonderfully evocative Brooklyn-meets-
West Coast drawl announcing the wrong date into the tape
recorder. I correct him. He tells me Ive got toothpaste on
my chin. Its showbiz, you always gotta remember that, he
reminds me. I like Victor.
Dont blame me for being an American artifact, I dont
like it either, Victor begins, meaning every word. Im a poster
guy, thats it. We begin talking around the psychedelic art label.
The Ninja Mutant Turtles. They lucked out, man. Leonardo,
Michelangelo, they had the right idea. Digging up treasure.
I guess hes talking about commercial art. Fuck this fine-art
shit, man.
I bring up a quote from Victor at the end of his book
What is the job? When do you want it? What does it pay?
Oh shit, here comes one of those rare guys, an artist
that knows about business, he laughs. I always treated
the job as if I was a plumber. Would you ask a plumber to
fit a toilet for free? No. So dont ask me. I call myself a graphic
designer, thats a practical and useful role in society. But
back in the 60s the term graphic designer didnt exist and the
profession was new. Throughout, Victor makes it clear that
he was a poster artist: Thats what we were known as, me,
Griffin, Mouse, Kelley, we were the poster guys. There was
no other way of communicating about these dance events.
No radio, no television, this was the only way.
He arrived in San Francisco in 1959, from Brooklyn
where his family had emigrated to from Spain at the onset
of the Spanish Civil War. Brooklyn is a great place to be from,
says Victor mischievously. Prior to his move to San Francisco,
he attended Cooper Union before transferring to Yale. At
Yale he studied under the father of Op Art, Joseph Albers.
Albers was a refugee of another war. He had been a student,
then a professor in the Department of Design at the Bauhaus
in the 1920s and early 1930s. When the Nazi Party gained
power in 1933 Albers felt the heat and fled to America. Or,
as Victor astutely sums up, Hitler sent all his non-performing
artists to the USA. Albers bridged a transition between
traditional European art and the new American art of the
1950s and 1960s. This was the first of two points in Victors
career when he would be the right guy at the right place at
the right time. The second would not be until seven years
later in Haight-Ashbury.
Arriving in San Francisco just as the beatnik culture,
gestated in his beloved NYC, reached the mainstream
public consciousness around the world, Victor got a job as
a labourer, earning three dollars an hour, more than any
of my college friends, he notes. But Victor is dismissive of
the beatnik movement, calling them fantasists. There was a
more seriously active, more rebellious time to come.
39
Profile Victor Moscoso 40
Profile Victor Moscoso 41
Profile Victor Moscoso 42
Opposite: The Chambers 01
Brothers poster, offset litho,
1967 Neon Rose

01 Dallas Poster Show poster,

offset litho, 1967 Neon Rose

02 Incredible Poetry poster,

offset litho, 1967 Neon Rose

02

Profile Victor Moscoso 43

Profile Victor Moscoso 44
Its one thing to think it but to draw it Opposite: Hawaii Pop-Rock
poster, offset litho, 1967
Neon Rose
then to publish it? Wow. Outrage. We
thought all the taboos had been broken.

The year of his arrival in San Francisco, America had Holy shit. I had no idea, none of us did, Moscoso
become engaged in a war that was the catalyst to a cultural remembers of the show. We did posters to get people to
revolution and a shift in the thinking and understanding go to the dance hall. Sure, it got smart, we did it to entertain
of America as a world power around the world. A war that them, and the information became entertaining. Here I am
questioned the American Dream, a war that brought together doing what I want to and getting paid. Goodbye, Van Gogh
a generation and divided a nation. Victor was on a different syndrome. The Joint Show smoked the butt of the Haight-
front line. I got called up by the army, which wasnt killing Ashbury love-in and Moscoso was already pushing things
anybody yet by then, but still I didnt want to join up so I forward again. By this time Im starting to get tired of posters,
enrolled in college. We had more in common with the youth gee, Im tired of them. Im with Rick Griffin, he had been a
of China than we did with our parents. America was an army cartoonist before the posters, and we came up with a plan of
state. If your hair touched your collar youd be expelled doing a full-colour magazine. We called it Zap Comix. Griffin
from school. Married couples slept in separate beds. We ran into Robert Crumb, he adored Griffins work, and here
were like we know what you do, man. Christ, this is fucking we had all this unbelievable iconoclastic imagery. I took over
bullshit. America. The country that has brought you the production and Wes Wilson joined in. That nailed it to the
Vietnam War wall. Zap 2 comes out and it takes off, selling in every head
San Francisco was already a magnet for Americas shop in the States. Speaking about the triple-X-rated content
counterculture. Beat-generation writers living in North Beach (including incest and severed penis heads) in Comix, Victor
fuelled the renaissance with poetry that quickly took a hold says, Its one thing to think it but to draw it then to
on the burgeoning music scene. By now Victor was teaching publish it? Wow. Outrage. We thought all the taboos had been
at the Institute for Art, which put him in touch with the scene broken. Right down the pipes, man, they cant swallow this one.
directly. Artists like Alton Kelley and Stanley Mouse were This was the last stand. By now the front line in the
hooked up with music promoter Chet Helms under the title alternative war had broken ranks, Bill Graham was creaming
of The Family Dog. Promoter Bill Graham was lurking, ready to money with business deals that were decidedly more self-
muscle in with his hard business ideas. The short-lived serving than they were in the interests of the community
but highly productive period in which San Francisco was that had provided the talent. The new drugs of choiceheroin
to dominate as the most iconicposter art centre of the world and cocainehad turned the hippies sour. The war in Vietnam
was about to begin. Victor saw an opportunity. For the second was now, even in the mainstream, an agreed failure. The
time in his life he was the right guy in the right place at the party was over.
right time. I saw what those guys were doing and I thought Victor continued working on the fringes producing record
I can do this. sleeves, notably the excellent Headhunters album cover for
While the posters Mouse and Kelley produced were Herbie Hancock in 1973, and working to demand for a clutch
heavily influenced by Art Nouveau graphics, particularly the of 60s contemporaries including Jerry Garcia of the Grateful
work of Alfons Mucha, Victor remembered the teachings Dead. Victor also continued to teach, primarily teaching
of Albers and that of his own plumber trade work ethics. students how to use their portfolio to get work, an honourable
Within three posters I was in the game. I started my own task and one that is only just beginning to be understood as
production company and went to the promoterswho initially necessary by art schools even today.
said they couldnt afford meand said: Hire me and Ill give Victor is incredibly humble about his influence and
you 200 posters, then Ill print the rest and sell them myself. abilities and is refreshingly candid about his generation. Every
This worked out well, I was selling them for a dollar a print. generation is as talented as the last, he says. My work was
The posters were everywhere. Victor recalls that the about the craft of putting opposing colours together. It had
San Franciscan police were getting heavy-handed with the nothing to do with acidhow to you paint the birth and rebirth?
hipsters, by now called hippies, beating them up for leaving You cant. All I did was say: Hey, go buy a ticket to this, you
garbage cans out with the lids off. The neighbourhood got might get something out of this. Its easy to rebel.
together and said, Hey, lets not give the cops any excuse When I ask about the resurgence of psychedelic art in
to fight so I came up with a poster that simply said Clean Up. the 1990s with the advent of technology that produces fractals
After that Id go walking down Telegraph Hill and thered be and the fact that Timothy Leary said that the digital revolution
posters in every window. It was like the Sistine Chapel, man. is the new LSD, Victor retorts: He took too many damn drugs.
Wow, I loved it. Victors love for his craft, away from the strobes and
By 1966, the hippies had reached their high. Sixty-six bongos of the dance halls, is obvious. He speaks with emotion
was the true summer of love, Moscoso asserts. George about offset litho and stone litho techniques, drawing on
Harrison was right when he said it was shit in 67. The trouble limestone, the texture and physical work of printing and
started when the dealer Super Spade got killednew drugs, silkscreening. But its time to go. The taxi driver whos been
new peoplejust because a guy has got long hair dont shitting himself ever since I told him that there were probably
mean to say you should trust him. bears in this part of the woods is tooting his horn. In the hurry
The descent may have started in 67 but it was also the to leave I forget to get my book signed, a regret that hangs
year the Big Five made it really big. Often cited as a pioneering over my head.
event in the evolution of psychedelic poster art, The Joint What was he like? asks the taxi driver as we head back
Show was held at the Moore Gallery in July 1967. The poster over the bridge. I just met a master, I reply. So go and buy
guys had an art show and the spotlight was well and truly on his book, Sex, Rock and Optical Illusion.
them. People spilled out onto the street and hung off rooftops Hes not a plumber, hes a decorator and, like
to celebrate the decorators of a revolution. It sounds like one Michelangelo in his time, the best in the business.
hell of a party. There you go, Victor. I sold it.

Profile Victor Moscoso 45

Profile Victor Moscoso 46
Opposite: Blues Project poster, 01
offset litho, 1967 Neon Rose

02 Joint Show, offset litho,

1967 Neon Rose

03 Pablo Ferro Films poster,

offset litho, 1967 Neon Rose

02

Profile Victor Moscoso 47

Special Report

Travel
The simple act of getting around often brings you into contact with some
unexpectedly inspiring graphic design. Take mapsparticularly classics
such as Harry Becks Tube map or the New York subway mapboth are
discussed by the latters designer, Massimo Vignelli, in our Travel Special
Report. We also deconstruct the semiotics of bicycle logos with Max
Leonard and Jason Jules takes us on a trip to the dizzying heights of now-
defunct airline Braniffs glamorous corporate look courtesy of designer
Alexander Girard. Please fasten your belts for take-off

Special Report Travel 48

Special Report Travel 49
 Rapid Transit
Rapid Transit
Rapid Transit
Rapid Transit

Massimo Vignellis 1972 design for the New York City Subway map has become a classic piece
of graphic design on a par with Harry Becks London Underground map. KERRY WILLIAM
PURCELL met up with Vignelli in New York to discuss the finer points of map design, the inspiration
for the 1972 original and how it stacks up against the version that replaced it.

Special Report Travel 50

 In September 2009, Transport for London (TfL) took the decision to remove the River Thames
from Henry Becks celebrated Underground map. On the surface, this may not seem like a sig-
nificant edit of the original design. In fact, in many ways, the removal of the Thames could
be seen as entirely consistent with Becks decision to disregard the geographical reality
of London in favour of producing a diagrammatic map that was simple to read and easy to
understand. Yet, for many Londoners, the river serves as an important boundary and, as the
writer Iain Sinclair once said, without it our city would have no soul. In this instance,
removing the river was a step too far. The authority received many complaints, and after
Boris Johnson, the Mayor of London, became aware of the omission, he called for it to be
reinstated immediately.

The relationship of a map to the topography it seeks to represent has

always been a contentious issue. From the earliest maps of the world
through to todays hand-held GPS devices, the way a town, city or coun-
try is represented two-dimensionally is imbued with social, political
and cultural significance. Yet, the issues surrounding the creation of
underground or subway maps present the designer with a rare set of prob-
lems. Unlike the streets above, a map of the subterranean world of the
underground does not need to be geographically true. To approach it in
such a way would only result in a work of enormous complexity, inscruta-
ble to any but the most determined of passengers. Yet the map does need
to make sense of the labyrinth of intersecting lines and services that
criss cross the city, as well as providing a point of departure that will
enable the passenger to find their destination above ground. In short,
such a map needs to be both factual and artificial, a work of imagina-
tion and reason, an act of creative cartography.

Many of the questions sparked by the attempted rede-

sign of the Beck map are familiar to the designer Mas-
simo Vignelli. Author of the celebrated 1972 New York
Subway map, Vignelli looked to Becks original design
as a way of making sense of the amalgam of lines and
local and express trains that characterise the New
York transit system. The London map is the only map that
has inspired me in the creative sense, the others have inspired
me on not what to do, Vignelli says when we meet in his
Manhattan studio. Thats because it is not a map. Thats why
its good. What we needed was a diagram and we did a diagram,
not a map. The diagramor subway mapcould not do all the
things. You need a diagram about the subway, and then you need
a geographical map, you know, with the streets. But if you try to
put two things together, its a disaster.

Yet Vignelli did have to address the problem of establishing a correlation between the
subway and the geography of the city. His own River Thames moment came when he decided to
remove any reference to Central Park in his design: We did take out Central Park because it was
so much of a problem, because of the compression you need for putting in information. However, such a
move was seen as too severe, so Vignelli took the decision to compress the park from a rectan-
gle shape to a square shape. He admits that many New Yorkers were shocked by this. Ultimately,
people know that that isnt the way. And if they see it that way, they dont trust the map anymore. But if you
dont have it, its great. In retrospect, one imagines Vignelli would have liked to have taken
this one step further. In 2008, Mens Vogue produced a limited-edition signed reprint of the
subway map. Yet, as the whole nomenclature had changed since he first produced the map,
when first approached by the magazine Vignelli only agreed to do it if he could produce a
new one. So we did one, Vignelli notes, and it had some kind of schematic geography, with the water,
because New York is full of islands and peninsulas etc. At one point they ran out of blue ink and just added a
white background. If I had seen that from the beginning, I would have eliminated the blue completely.

Special Report Travel 51

Special Report Travel 52
 Left: Detail of New York Subway map,
designed by Massimo Vignelli, 1972

Right: Revised version of the

original 1972 New York Subway
map, by Massimo Vignelli, Beatriz
Cifuentes and Yoshi Waterhouse,
for Mens Vogue magazine, 2008

Special Report Travel 53

London is a city of villages, which have merged into

the metropolis we know today. By contrast, Manhat-
tan is famously an island of grids. As the designer
Michael Beirut noted, because of this, Becks design
brings a sense of order to London, while, in contrast,
Vignellis design was always going to be overshad-
owed by the strict geometric order above ground. The
question is: how do you produce a map that works with
the certainties of a geographical system that peo-
ple are familiar with (streets, avenues etc)? What
we did, Vignelli notes, is try to keep it as simple as possible.
And as close as possible to reality, to a certain extent, within the
boundaries of the system, within the boundaries of the grid we
designed. We started with the real thing, with a real geographical
map. Then we moved these things around according to the grid.
Youre under ground, you couldnt care less where the subway
goes. You travel from point A to point B. If the subway goes in a
straight line, you dont know that. It doesnt matter. We tried to
be as close as possible to the cross-town lines etc, so we estab-
lished a grid for all these things. There is a logic throughout.

Along with the Central Park issue, one of the criticisms repeatedly

levelled at Vignellis map was that it failed to connect the subway to
the geography above ground. This case was made by Michael Hertz, the
designer (with the MTA [Metropolitan Transit Authority]) of the map that
would eventually replace Vignellis in 1979. He noted that, for instance,
New Yorkers knew that at 50th Street and 8th Avenue you must walk a long
block east to Broadway whereas Vignelli clearly shows it as an intersec-
tion. Yet what Hertz ignores is that Vignelli did try to bridge the gap
between his diagrammatic map and the local area of the station. Like a
diver coming up for air, he offered a variety of maps to aid the decom-
pression from train to street. We had a system map, which is the diagram,
Vignelli notes, we had a geographical map, a verbal map, and we did a fourth
one which was a neighbourhood map. The system map they did. The neighbourhood
map they did in some stations. They never did a geographical map. This was a mistake.
Because if you come out of a station, you want to know what streets are around, thats
why you need a geographical map. But if you need just information related to the lines,
how to get from point A to point B, that is the system map. The verbal map was just
telling you verbally: if you want to go to Times Square, you take this train, go to Grand
Central, and take the shuttle and so on. Therefore, we were really covering all the
aspects, the diagrammatic, the verbal, the geographical and the local [neighbourhood
map]. So they cant accuse us of not conveying information.

Each map offered a different reading of the immediate environment. For Vignelli, the prob-

lem with the current map designed by Hertz/MTA is that it attempts to provide all of this
information in a single space. As he remarks, You know, there is the fork, there is the knife and there
is the spoon. And each one of these three things has a specific use. You cannot eat soup with a fork.

Special Report Travel 54

 For the 2008 Mens Vogue reprint, Vignelli worked on the redesign with two of his associ-
ates, Beatriz Cifuentes and Yoshi Waterhouse. For Waterhouse, an understanding of the prob-
lem passengers experience with the current map shaped his work on the redesign. When Im
on the subway, I see people peering at the maps, and this is New Yorkers, not just tourists,
who are trying to index themselves on the map. And the way they do this is not by looking
at the map, but by reading it. Its not that you just follow a line and if there is a dot, you
stop and if there isnt a dot, you dont stop. Its just not that easy with the current map.
Waterhouse highlights the key distinction here between Vignellis design and the existing
design. Vignellis map is visually generous, it foregrounds the primacy of the visual in
conveying information. Its intended to be viewed, not read. The current design attempts to
be all things to all people. As such, of necessity it presents an excess of textual infor-
mation (street names, parks, tunnels, cemeteries, bridges, ferry routes). It is in many ways
a classic example of design by committee. For Vignelli, this is a committee primarily made
up of verbal, not visual people. As he remarks, Fifty per cent of the people are visual and fifty per
cent are verbal. So, the visual people dont have a problem with maps, but the verbal people dont read maps,
no matter what. Unfortunately, as is often the case, when it came to complaints about Vignel-
lis map, the verbal people spoke loudest.

Yet maybe in some way the current subway map perfectly mirrors the
highly individualised society that is New York City. Vignellis map asked
the passengers to forgo some of their own narrowly defined demands in
favour of a design that could better serve the whole. Ultimately, to
accept the drawing as a diagram and not a geographical map required
a level of altruism that just was not there. For Vignelli, freedom in
New York implies a disrespect for the other, because it is a me-me-me culture. It is my
freedom and to hell with you. There is no respect for the other. It is typical New York
mentality, which is not rigorous enough. And it wants to have everything. The result
is a design where the passenger is being given too much information. As
Waterhouse concurs, The current map has everything they need, its just
that it does it so badly. Its absurd. Do you need helicopter routes on
the map when you are underground? Vignelli puts it more succinctly:
While we designed a map with a grid, they designed a map with greed.

In truth, many of the issues surrounding map design

While we designed a map
with a grid, they designed
a map with greed.
are challenged on a daily basis by the development
of new navigation applications for the computer and,
more significantly, the mobile phone. Maybe with the
development of augmented reality apps such as Near-
est Tube or the ability to tag specific places and
routes on Google Earth, some kind of personal geog-
raphy is challenging the traditional role of official
maps. Vignelli is aware of these developments and has
plans to make his own 1972 subway map available as an
iPhone application. To journey across Manhattan with
such a guide would at least make for a more visually
enjoyable trip. Who knows, maybe a new London Under-
ground map application, minus the River Thames, will
also make an appearance in the future?

Special Report Travel 55

 Pro Motion
In the bicycling world, visual coding rules and often the finishing touch is having the right head
badge on your frame. MAX LEONARD takes a tour through the surprisingly rich world of bicycle
logo design, from marques invented by artisan frame-builders to branding and corporate race
sponsorship. Illustrations drawn by ANDREW EDWARDS

Design and cycling have a relationship characterised by extremes: the functional beauty of
a classic steel road bicycle; the garish ugliness of 1980s professional Lycra kit.
In a sense, for all frame-builders, the frame is the distinguishing mark, a logo in
itself. This was most true in the 1930s when British frame-builders were forbidden from
placing their name on their racers bicycles, the rationale being that this sponsorship
would compromise the amateur sport. Some, therefore, deformed tubes in patented patterns
so that the bike rushing onwards to glory would be instantly recognisable in the following
weeks cycling press.
Yet bicycle logo heritage runs rich and deep, its early course, for the large part,
outside the design establishment. Traditionally, top road bikes were built by hand in one-
man workshops, by artisans producing a few hundred bicycles a year for local riders. A
few engaged with logo design as a branding discipline, but one feels that many would much
rather have been building frames. The physical constraints imposed by the bicycle doubt-
less also concentrate a logo designers mind. A traditional frame is made of steel tubes
one inch in diameter there is only so much usable surface area. Long waterslide decals on
the down tube and a badge on the head tube are the norm.
Despite, or because of, these factors, there is a common aesthetic and an iconogra-
phy, inspired by the spirit of competitive cycling, technological innovation and notions
of craft and heritage. What follows only scratches the surface, but explores five themes
through some outstanding designs.

Logo for Ugo de Rosa, one of the most revered frame- Run With the Hunted Kinfolk logo, contemporary take on
builders. One of several Italian logos that use traditional head badges by Marco Hernandez of LitFuse Tattoo
playing-card imagery for new Japanese-American company that hand-builds steel frames

Special Report Travel 56

 Signatures and Logotypes
The simplest makers mark and one that suits bicycle tubing is a signature. Tradition-
ally, Italian builders signed their frames on the top tube, calling attention to the act of
creation, the frame as art.
Many companies have used cursive script, or a fancy bold serif or gothic font, conform-
ing to certain ideas of elegance or craft. Campagnolo, the components manufacturer, turned
to Pittarlin, a painter, to design its logotype in the 1930s; Giuseppe Olmo, a retiring racer
who turned to frame-building in the same period, paired traditional script with a con-
temporary, blocky logotype, recalling a brand in the words original sense. Motobcane, a
French company, made motorcycles before bicycles; its monolithic M reflects these indus-
trial rather than artisanal or authored roots.
Japanese companies have often used the Roman alphabet, perhaps inherited from the
Italian master builders with whom several of the Japanese frame-builders learnt their
trade. Keirin, state-sanctioned bicycle racing, was established in 1947 by the departing
US troops another possible source. 3Rensho (pronounced san rensho), despite its exotic
name, has a logotype resonant of traditional Western designs. Level, by contrast, has taken
the incomprehensible lettering and made it modern and graphically pure, in perfect symme-
try along a vertical axis.

Logos for (left to right, top to bottom) Motobcane,

Olmo, 3Rensho, Campagnolo

Special Report Travel 57

 Racing and Bicycles
The bicycle head tube affords space enough for a crest, often made out of zinc or brass, and
predates the car bonnet as a branding opportunity. Images of global renown or competitive
success became widespread; the world champions rainbow stripes and the Olympic colours,
rings and torch often featured on the logos of bicycles that achieved success in these
arenas. 3Renshos decal refers directly to sporting achievement: three wins are necessary
to triumph at a keirin meeting.
Eddy Merckx, nicknamed the Cannibal and winner of all of cyclings top accolades, is
widely considered the greatest cyclist ever. He founded Eddy Merckx Cycles in 1980, after
he retired, although he also competed on bikes bearing his name. This logo dates from the
later period. Through it (together with his portrait, which adorns many Eddy Merckx bikes
and has aged as he has), the champion figuratively embodies the bicycle, promising a trans-
migration of his legendary power into those who ride his frames.
Other firms deconstructed the bicycle for their logo. Campagnolos success was
built on the quick-release axle, invented in the 1930s by Tullio, its founder and namesake,
halfway up a mountain as he struggled to remove his wheel. Consequently, the quick release
is central. Once quite ornate, a simplified version can be seen engraved on Campagnolo
alloy parts.

Logo for Campagnolo, circa 1930s Logo for Eddie Merckx, circa 1980

Logo for Simplex (a now-defunct French maker of derailleurs)

with an intricate Art Deco derailleur forming the S

Special Report Travel 58

 Head Badges and Heraldry
The bicycle is a great leveller, formerly a symbol of working-class mobility and emancipa-
tion, so the heraldic escutcheons favoured by many brands are less explicable than racing-
related logos. There is no aristocratic aspiration, simply a patriotic or regional, even
tribal, pride much like football club crests. Plus a certain combativeness: the bicycle,
the usurper of the horse, was the steed these latter-day knights rode into battle. Many of
these crests would have been designed or suggested by the badge-makers themselves, using a
common stock of emblems.
When Hyman Hetchins, a Russian immigrant, began building bikes in Tottenham in 1934,
he took on the shield of the City of London, his adopted home, and the totemic lions of
England. After a Hetchins ridden by the German Toni Merkins won the 100m sprint in the 1936
Olympics, the Olympic colours were displayed in the background.
Cino Cinelli, a racer from Tuscany, started building bicycles in Milan in 1948. His
badge displays the biscione (a snake eating or giving birth to an infant) and the fleur-
de-lys, the traditional heraldic symbols of Milan and Florence respectively. Thanks to
the explosion of interest in track bikes, this classic coat of arms has been appro-
priated for a new generation. Designed by Benny Gold, the revised head badge adorns
the Mash SF Cinelli bike, made by the San Francisco collective known for aggressive
street riding.

Logo for Hetchins, 1934 Logo for Hill Bros, with coat of arms of Padiham in Lancashire,
and Latin inscription Fortune, the companion of valour

Original logo for Cinelli Head badge for the Mash SF Cinelli bike, designed by Benny Gold

Special Report Travel 59

 Birds and Wings
Birds and wings are ubiquitous features of bicycle logos, worldwide and spanning all eras.
Bicycles and birds: a romantic leap, a flight of fancy. A bicycle gives freedom, speed and
command of landscape; riding one downhill may be the closest we ever come to the sensation
of flying.
Bianchis eagle head badge is reminiscent of fascist imagery, and the company, founded
in 1885, did make fold-up bicycles for paratroopers.
Columbus, a specialist tubing company, also made steel-tubed furniture elegantly
cantilevered desks and chairs in Mussolini-era Italy. In 1978, Columbus bought Cinelli;
if the combined company features heavily here, it is because of the design heritage and
because Antonio Colombo, son of Columbuss founder, has long engaged with the graphic arts.
He immediately set about reworking the Cinelli coat of arms, and the winged C, designed by
Italo Lupi, endures to this day.
While the Columbus dove plays on the family name, Flying Pigeon, from the other side
of the world, seems predicated on a misunderstanding. Who would want a bike named after sky
rats? Yet pigeons and doves are close cousins, and there are an estimated half a billion
Flying Pigeons, the original workers bikes that crowd Chinese cities, in existence.

The Kalavinka head badge, depiciting Logo for Bianchi, 1885 Logo for Flying Pigeon
a kalavinka (Buddhist heavenly spirit),
is hand-painted by the framebuilders
wife in his Tokyo workshop

Logo for Cinelli Logo for Columbus

Special Report Travel 60

 Sponsors and Peripherals
Since its inception, road cycling has been surrounded by clubs, sporting associations,
sponsors and promoters who have appropriated its visual spectacle, or used professional
cyclings aura, to spruce up their own public image. Advertising has always been visually
savvy and, in Europe especially, early cycle racing and commerce are closely intertwined.
In the early Tour de France, riders would descend like locusts on the villages they
passed through, raiding bars for as much food and drink as possible. Some bar owners sent
the Tour de France a bill; others shut up shop for the day. In reality, only domstiques,
the teams minor riders, would stop, then ferry beer back to the race leaders, but this
Dubonnet advert shows the Tour leader stopping to drink the brands fortified wine. Good
enough for the yellow jersey: an astute piece of promotion. The artist, A.M. Cassandre,
later designed the Yves Saint Laurent logo.
No sponsor has been as closely associated with the romance of cycling than Molteni.
The company which made sausages sponsored a pro team from 1971 to 1976, a team that
included the rampant Eddy Merckx. Thanks to Merckx wearing its kit, Molteni has virtually
trademarked a certain shade of burnt orange. This graphic appeared on caps and musettes
(feed bags).

Logo for Rollapaluza, a race club where riders compete Dubonnet Tour de France advertisement
on bikes bolted to a stand, with no front wheel. The logo
by Wayne Peach, shows two bicycles in head-to-head combat.

La Vie Claire health food stores introduced Piet Mondrians Logo for Molteni, the pro team sponsored by a sausage company
Composition A to its team jerseys during the 1980s

Special Report Travel 61

 High Life
The glamour of international air travel, at its zenith in the late 1960s, was invented by Braniff,
the airline that transformed dreary plane fuselages into colourful brand statements and made
buttoned-up stewardesses into sexy hostesses. JASON JULES tells the story of the ascent
(and eventual demise) of the Braniff brand vision with a cast that includes Alexander Girard,
Emilio Pucci and Andy Warhol.

02

01

Special Report Travel 62

 Its 1972, youre female, twenty-two years old and an air stewardess. Youre cutting through
the crowds at Newark Airport. Everyones busy with their luggage, their boarding passes,
their big goodbyes; a thousand mini-dramas being played out on one giant stage. Somehow
youre immune to all this you have your destination and you have a plane to catch too, but
you swish through the throng as if youre already gliding on a bed of air; they step aside
for you, they pause and watch you go by, some of the guys, young and old, try and catch your
eye a wink, a smile. But youre not fazed by all this attention; after all, youre not just
any air stewardess, youre one of the select few. Youre a Braniff girl. When you got it,
flaunt it.

Braniff was to air travel what Rolling Stone and Playboy were to maga-
zine publishing; a radical rethinking of everything that had happened
up to that date. The story of Braniff plays out like a Mad Men-type TV
series; a tale of an age gone by, where marketing men and corporate
presidents were Americas modern pioneers and where being maverick was
a quality to be admired, not shunned. A tale of affairs, divorces and
disasters and ultimately of a collapse caused by misjudgment on a grand
scale its the tale of Icarus played out in modern clothes. Whats more,
Braniff left a cultural legacy that were living with even now.

It wasnt until the airline was bought in 1965 as

a company asset for his investors by Troy Post, an
insurance man, that the Braniff story really began to
hot up. Until then, its history reads like that of many
other airlines. Based in Dallas and founded by broth-
ers Paul and Tom Braniff in 1928, it initially served
the Midwest and eventually expanded. By the mid-50s its
reach included much of North America, South and Latin
America and the Caribbean. Troy hired his brother-in-
law Harding L. Lawrence to be the airlines president.
The stylish (think Don Draper) Lawrence was at that
time the vice-president of Continental Airlines one
of the most forward-thinking companies in the indus-
try and had been regularly courted by other airlines
to come and work for them. His vision was to somehow
turn Braniff, then the eleventh largest US aviation
company, into the market leader.

As part of his summary exit from Continental (with whom he would experience fierce competi-
tion until the bitter end), Lawrence took with him marketing agency Jack Tinker Associates.
Led by the ace account executive Mary Wells, they had been working on a project to market
Continentals new fleet of jets. Wells was modern and smart and cultured: for example, she
had Ray and Charles Eames and Eero Saarinen furniture for her wedding (her first wedding,
that is). She would drive most of Braniffs groundbreaking campaigns. Married to different
people at the time, Lawrence and Wells would eventually divorce and marry each other.

By virtue of the countrys size and its postwar prosperity, the American
commercial airline industry was already way more developed than its UK
or European counterparts, but it was still functioning within a cultural
context established during or prior to World War II. Fares were incred-
ibly expensive and regulated the core thinking here was that in order
to ensure the safe running of planes, the government needed to limit
competition between airlines that might eventually involve lower fares
and therefore, it was assumed, standards. More, this meant that the gov-
ernment undertook to ensure that these airlines never went bust.

Until the end of the Fifties, all this meant that

01 The End of the Plain Plane
advertising, 1965
02 Braniff logotype, designed
by Alexander Girard, 1965
air travel was an option only for the rich corpo-
rate execs, film stars, sports stars and such. It also
meant that while the airlines did plenty to make their
customers comfortable, they did little to differenti-
ate themselves from each other on a mass level, doing
as much as they could to please the government regu-
lators and their wealthy passengers.

Special Report Travel 63

t was Bob Six, main man at Continental Airlines, who
I 01
pioneered low-cost air travel. Going against com-
mon beliefs, he felt the future of air travel lay in
giving the market a broader customer base in 1962 he
kicked this off by introducing economy fares to some
of his routes.

t this time, most airports resembled large cavernous military aircraft

A
hangars. Planes were either white, with a strip running along the side
of their livery, a visual gesture towards aerodynamics, or the dull grey
of their steel shell. And so, with no real points of difference except
routes, the new Braniff chief and marketing team were confronted with a
huge challenge if they were to achieve Lawrences express goal of air-
line supremacy: how to create a sense of uniqueness from a point where
there isnt any?

They were faced with something which many designers and marketing people are faced with
today; where oftentimes if there are no inherent qualities to distinguish one product
or service from another, theres no alternative but to carefully manufacture an identity.
Turning Braniff Airlines into a unique brand provided a creative template that still has
currency today. The goal was to formulate a brand differentiation seemingly out of nowhere.
What they did was recruit a crack creative team, all of whom brought something different
to the party. Although they probably didnt use the term at the time, what they needed was
a big idea. In her biography, Mary Wells Lawrence explains: I saw the opportunity in color
the way Flo Ziegfeld must have seen an empty stage. I saw Braniff in a wash of beautiful
color.

t was this overarching idea that fuelled the success

I
of the whole Braniff phenomenon. The goal was to cap-
ture the glamour and colour of the Sixties (and the
postwar optimism of the Fifties) and inject it into
air travel creating relevance and a kind of appeal
beyond its immediate audience and in doing so taking
ownership of the period; modern air travel WAS Braniff
International.

The Braniff team recruited Emilio Pucci, the Italian designer known for
his prints and his passion for colour, to design the uniforms for the
staff from ground staff to pilots, with special attention to the air
stewardesses, whom they summarily renamed air hostesses. These designs
turned the servile, stuffy air stewardess into a strong, independent,
young, available woman not too far away from ideas found within the
fashion magazines of the time, except that their sole purpose was to
travel, have a good time and serve the needs of their passengers (most of
whom were men). The design of their uniforms enabled the hostesses to do
what was coined and advertised as The Air Strip, as they gradually took
off pieces of outer clothing during the course of the flight. Somehow we
got the idea that Braniff routes always took people from cold places to
warm places, explains Wells Lawrence. Further, Braniff made space age-
style helmets for its air hostesses, to protect their hairstyles while
cutting through busy airports, and bikinis in which Pucci ensured they
were photographed for press purposes at any given opportunity.

Then, in an inspired move, the Braniff team recruited Alexander Girard. Raised in Flor-
ence, Girard studied architecture in Rome and ended up as a textile designer in New York
working with Herman Miller and the Eameses. Like Pucci, whom hed coincidentally known
growing up in Florence, his thing was colour Mexico and folk art being big themes in his
work. Braniff was the kind of branding gig designers usually only ever dream of: to design
the interiors, the check-in counters, the club lounges, the serving trays, the seats and,
most importantly, the planes livery. Later, in 1973, Alexander Calder took over the gig that
Girard had initiated.

Special Report Travel 64

 03

02

01 Braniff logo, designed by

Alexander Girard, 1965

02 Braniff lounge, with

furniture specially designed
by Alexander Girard, 1965

03 Braniff boutique
advertising, 1965

04 Braniff bar menu, 1965

05 Braniff playing cards, 1965

05

04

Special Report Travel 65

 01

02

03

Special Report Travel 66

 The kernel of the whole idea, that thing at the very centre of it, was to make the planes
themselves a visual statement, an object that differentiated the Braniff way from all
others. Wells Lawrence had already come up with the idea by the time she commissioned
Girard to paint each of the airlines fleet of Boeing 707s different colours seven in
total including green, red and turquoise. It was this, and the advertising tagline The
End of the Plain Plane, which created the before-and-after effect Braniff chief Harding
Lawrence had hoped for. So radical was the idea of adding colour to the body of the planes
that it immediately acquired press all over the world. The initial response from other
airlines was shock. Some even argued that painting the livery added a dangerous amount of
extra weight to a plane, but, as with most of the Braniff innovations of the time, the idea
was soon copied throughout the industry. In 1968 Continental Airlines, taking a leaf out of
the Braniff look-book, hired graphics guru Saul Bass to redesign its logo.

But even before the deregulation of US air travel in 1978, the Braniff
glow was beginning to fade; it wasnt that the idea had run its course,
or that those behind it had lost confidence in this grand project, it was
that they had too much confidence in it and believed its potential was
limitless. The tale of Braniff and Harding Lawrence is a case study not
only in the power of marketing and image but also its weaknesses. If The
End of the Plain Plane was a statement of intent, then The Air Strip,
followed by copy lines like The Most Exclusive Address in the Sky, were
indications of a growing arrogance. In fact, it became less and less
about the experience of flying and more about the power of advertising
and the sweet smell of success.

Ads like When You Got It, Flaunt It, are a neat exam-
ple of the fine line which the brand walked between
branding and bragging. Imagine: Sonny Liston sitting
next to Andy Warhol on a plane.

Andy Warhol: Of course, remember theres an inherent beauty in soup cans that Michelangelo could not have
imagined existed
Voiceover: Talkative Andy Warhol and gabby Sonny Liston always fly Braniff. They
like our girls, they like our food, they like our style and they like to be on time. Thanks for
flying Braniff, fellas.

Andy Warhol: When you got itflaunt it.

Voiceover: Braniff International. When You Got ItFlaunt It.

While others saw deregulation as something to adapt to with caution,

Lawrence saw it as a starter gun for rapid expansion, a process which
included joining forces with Air France and British Airways on the
doomed Concorde project, new internal and international flights and a
brand-new state-of-the-art headquarters in Dallas. Spiralling debt was
the outcome, and the involvement of Lawrence in a tax-fraud scandal only
added to the Mad Men-type drama and Braniffs eventual bankruptcy. And
so it was that the Lawrence era ended in 1982.

Perhaps Braniffs real legacy is outside the aviation

01 Braniff International,
launch campaign pamphlet 1965
02 Braniff promotional
material, 1965
03 Braniff flight tag, RIO, 1965
industry: its complete-branding innovations and belief
in the blend of art and commerce are now standard
practice in the creative industries. But its a dif-
ferent world in which we travel today: Bob Sixs notion
that commercial aviation would be all about cheaper
flights has come true. Its more about the destina-
tion and less about the journey these days. The notion
of glamour has all but disappeared in fact, the
current thinking is: if you got it, whatever you do,
dont flaunt it, or youll be charged extra to get it
on the plane.

Thanks to Victor Constantini for his expert consultation and invaluable industry insight.


Special Report Travel 67

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Next Month in Grafik
108 pages of the best graphic design work,
new talent, events and exhibitions, reviews,
opinion and inspiration.

Profile Project Projects

Special Report Meeting of Minds
A new Special Report looking in detail
at key relationships in graphic design:

Client and Designer

Wim Crouwel and Hamish Muir in
conversation about 8vos work for
Crouwel as director of the Boijmans
Van Beuningen Mu
seum, 19891994

Mentor and Protg

Derek Birdsall and John Morgan in
conversation about their time working
together in the late 1990s as designers
from two different generations.

Art Director and Photographer

Rachel Thomas and Dan Tobin Smith
in conversation about their complex
and constructive relationship as
image-makers.

www.grafikmag.com

182
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Sappi UK Sales Office Ltd
Tel 01959 560 900
sales.uk@sappi.com
 72
How to
Be Green
The first of a
two-part guide to
papers place
in ecology

74
Logoform
Voigtlnder by
Stuart Geddes

76
Letterform
Serapion
lowercase
a by Jan
Middendorp

78
Bookshelf
Essentials
HUGO introduces
a story of people
who have fought
the good fight

80
Viewpoint
What is your
most memorable
journey?

View
View How to Be Green

Its a shock to learn that the manufacture of just one sheet of A4 paper uses up the same energy
as burning a light bulb for an hour. In this two-part look at the paper industry and how designers
can make better decisions about sourcing and buying paper, Nat Hunter uncovers some
inconvenient truths. Illustration by Richard Hogg.

View How to Be Green 72

 For many people, the most obvious introduction to
environmental issues is paper. It is a common item
that nearly everyone, especially in our near-fully
literate Western societies, uses and disposes of on
an everyday basis. So the need to reduce, reuse
and recycle paper is easily understood and people
know to put that pile of Sunday supplements in
the recycling bin or to buy recycled paper for
their printer.
But the production and consumption of paper
is a bigger story than you might suppose. Not quite
big enough to fill the 200kg of paper products
consumed by each person in the UK every year, but
certainly enough to fill at least two of these pages.
Over the next two issues well be looking at paper
production, its environmental impact and how you
can ensure that your paper use causes the minimum
amount of damage to our planet.
The invention of paper is traditionally credited
to China in the early second century when Tsai
Lun, an official attached to the Imperial Court of
the Han Dynasty, created a sheet using a variety of
fibrous materials, including old rags. The process
spread worldwide but the modern technique using
wood pulp wasnt established until the nineteenth
century and the separate experiments of Charles
Fenerty and Friedrich Gottlob Keller.
Wood revolutionised the papermaking industry
by making paper much cheaper and more efficient
to produce. With the aid of other popular inventions
of the time such as practical fountain pens and
improved printing processes, a massive demand
for paper was created. Two hundred years later this
demand has left us with one more environmental
problem that has yet to be satisfactorily solved.
In her excellent book Paper Trails, Mandy
Haggith describes the process of modern industrial
paper production and its environmental impact.
The first stage is the felling of trees: 42 per cent of
all industrially felled wood is pulped for paper and
the industry is the primary motive behind most of the
worlds managed forests. As with all high-demand
industries, the lure of easy profit leads to unlawful
activity and illegal logging to meet the paper
industrys demand for timber occurs all over the
world, from Canada to Brazil and Russia
to Indonesia.
It is common practice in the timber industry
to replace native trees with a fast-growing variety
such as acacia trees, whose growth rate is so
aggressive it can suck all the water from surrounding
land, as well as releasing toxic chemicals that
deter other plants from growing near them. So
even in areas where forests were lawfully logged,
Haggith found that the activities of the timber
corporations had destroyed neighbouring forests
and dried up rivers, thus devastating the lives of
the areas traditional communities. One Indonesian
tribal elder interviewed by Haggith said: This used
to be my communitys forest, but nowlook at it.
We used to fish, but when theres no water in the
river there is no fish. We cannot hunt here any more.
We lost the animals. We lost our bee trees, so we
cant get honey any more. We lost our medicine
trees. We lost everything.
View How to Be Green
After logging, the wood is transported to the
processing plant, and naturally this transport has its
own environmental impact. Earlier this year, I was
part of a group of interested designers who visited
one of the UKs few remaining paper millsthe
Tullis Russell plant in Scotland. It was a surprise to
discover that the wood they use comes not from
the nearby surrounding Highland forest, but from
South America.
Once it reaches the processing plant, the
wood is chopped and then pulped in order to
separate out the individual cellulose fibres, either
by a mechanical process of grinding the wood
chips or chemically, by stewing them in strong alkali
solutions at high temperatures. At this stage the
pulp is generally bleached or treated with other
chemicals to create the different aspects of a
finished sheet of paper, such as colour, smoothness
and ink absorption. These chemicals carry a high
risk of pollution and our preference for crisp, white
paper is one of the more damaging demands of the
papermaking process.
The third stage involves spreading the pulp
into sheets and extracting the water using enormous
presses. It is then dried through heated rollers
before being wound onto a reel for cutting and
shaping. The whole process is so energy-intensive
that a single sheet of A4 paper causes the same
greenhouse gas emissions as burning a light bulb
for an hour, as well as using a mug of water. Up
to 90 per cent of the carbon footprint of a piece
of print is already incurred during the paper
manufacture.
The papermaking industry is the third largest
emitter of global-warming pollution in industrialised
nations, and is the largest industrial consumer
(and polluter) of water in European countries. More
positively, the industry is now the biggest producer
and user of renewable energy sources. The Tullis
Russell mill is currently building its own onsite power
plant and some producers are using the by-products
of pulp production as bio-fuel, thereby drastically
reducing their carbon dioxide emissions.
While waste treatment, especially in Europe,
has improved in recent years, many mills still release
a variety of pollutants, especially chemicals from
the treatment process. Also, papermaking generates
large amounts of solid waste, such as the sludge
from the wood fibres, coatings and fillers, and this
is generally sent to landfill or incinerated.
So that is how paper is made. It is possible
that most of the paper you come into contact with
today will have been through the wasteful, large-
scale, industrial process described above. Hopefully
it has come from a more sustainable, well-managed
source. This magazine is printed on FSC-approved
paper, which is a step in the right direction.
Next month we will be discussing the more
environmentally friendly ways of papermaking,
including recycled and FSC-approved paper.
Plus well help you choose which paper is right for
you and the environment.
73
View Logoform

View Logoform 74
 Almost more extraordinary than the lettering itself Whatever its history, though, the lettering

Voigtlnder
by Stuart Geddes
is the fact that Voigtlnder has, through very thick itself is a heady mix of swashed calligraphy and
and very thin, stuck with this logo for more than moments of blackletter that seems as though it was
250 years. That this logo survived the twentieth last popular in the 1970s. It is unique and odd and
century is alone close to a miracle, amidst the beautiful in a way that you very rarely see in logos
flurry of modernisation, particularly in the world any morebecause, I think, theyre thought of as
of camera makers. logos, or brands, or parts of identity systems. The
In attempting to research this logo, I stumbled thinking behind a piece of lettering like this has a
across a black hole of information. While there lot more to do with the semantics of a trademark,
is plenty of information about the company itself or the original cattle-branding meaning of brand.
and its a tumultuous history, from a royal privilege That is, its simply a distinctive mark.
to produce opera binoculars, inventing the zoom
lens and passing on buying Rollei, to being bought
by Rollei and eventually going out of business in
the early 80sthere is not a word to be found on
the glorious Voigtlnder logo itself.
Was it Johann Christoph Voigtlnders
signature? Was it the signage from the front of its
first lens shop? Did it even have a first lens shop?
My guess is that some nameless printer or signwriter
made this lettering, perhaps in a popular style
of the day.

View Logoform 75
View Letterform

View Letterform 76
 To choose one character from a typeface is like
Serapion lowercase a
by Jan Middendorp
designed by Frantiek torm
choosing one colour plane from a Mondrian
painting, or a single flower in an Arcimboldo.
Type design is not about single glyphs. It is about
creating elements to form a whole, about creating
(or anticipating) a modular landscape with a
purpose. Pretty details are a by-product. Admittedly,
the details CAN be unbelievably pretty. Much of
the font fetishism weve seen since type became
cool is about details. But too much attention
to detail can make a font fall apart. When each
wacky g screams out from the paragraph: Look
at my ear. Look at my tail, we may be distracted
by spectacular g-ness and stumble over the
word which that g is supposed to help form. So
apparently we need coherence for a typeface to
function as a reading tooland maybe restraint
in applying detail.
Functionalism tried to convince us that
responsible form-giving is about the elimination
of any arbitrary detail; that functionality is best
helped by objectivity; and that objectivity equals
predictabilty, modularity, uniformity. Yes, but
and here I paraphrase Erik Spiekermann, talking
about Helvetica in THAT moviewhen the general
dress code is uniform, you dont get a typeface.
You get an army. And a pretty boring one at that.
So we want to find a different kind of coherence.
Maybe we do need the details after all.
Typography is not merely about communicating
content. Let me rephrase that: setting and laying
out text is not merely about creating an invisible
View Letterform
interface for immersive reading. Type is more than
a channel to convey language. It also provides
the text with a cultural contexttime, place,
circumstancesand must draw, keep and guide the
readers attention. A typographic design
(a page) that does this successfully is not about
uniformity, it is about diversity. It may also be
about attitude, dignity, history, humour, resistance,
confusion, even illegibility. Typefaces can be
called in to support or willingly sabotage the
typographers/designers strategy.
Which takes me to the typefaces of Prague
designer Frantiek torm. torms typefaces are
seldom neutral. They are expressive and personal.
They refer to tradition in a number of ways:
respectfully, irreverently, or tongue-in-cheek. They
are too picturesque for some peoples tastes, while
others see torms typefaces as the ideal tool for
conveying emotion and atmosphere. It wouldnt
work if his fonts werent very well drawn and fine-
tuned to function in a page of text. While many of
his alphabets abound with unexpected details and
unusual changes of direction, the overall impression
is harmonious: they are consistent in their diversity.
I have chosen torms Serapion, possibly
his craziest serifed roman. I used it for years as a
typeface for headlines and intros in the bi-annual
cultural listings of the City of Ghent. It was eminently
functional: it grabbed the attention and conveyed a
feeling of excitement and fun. I picked the lowercase
a because its a beginning and it makes you feel
something special is going to happen.
77
View Bookshelf Essentials

At a time of year when our beliefs (or lack thereof) come into focus, HUGO leads us to
an inspiring book that is not only about believing in something, but putting your life on
the line to stand up for it. So, take a break from your New Years resolution list and meet
the graphic designers, printers and publishers whose work has changed or saved lives.

View Bookshelf Essentials 78

 At this festive time of year I have a tendency to cast
Paris, 1997
Editions Hazan
The French Resistance
by Raymond Aubrac
my mind back to those who have sacrificed or have
been sacrificed in our name. After all, the yuletide
season is such a sentimental time of year, and as
such is a perfect time for reflection on just where
our cultural gifts come from and who has paid for
them. I like to do my bit to acknowledge all that.
In the book trade, Christmas is given over to
near-hysterical positivity in a desperate attempt to
maximise emotional customer spend and see us
through another year. Which is right and necessary
in the contemporary battlefield of retail survival. But
in all this frenzy I feel personally compelled to offer
up at least one sobering note among all the cheerful
tomes. Its always a book that gives one pause for
thought, a little reminder that there has often been
immense sacrifice and suffering in our cultural
back catalogue.
This year my selection comes from Editions
Hazan in Paris and its remarkable series, Pocket
Archives. Our volume is The French Resistance.
The introductory essay is written with great clarity
and simple grace by Raymond Aubrac, a Resistance
fighter, and the book is filled with excellent archival
pictures from numerous Resistance archives. The
book both substantiates and dispels our film noir
views of the Resistance: some of it was beautiful
and heroic, most of it was grubby and horrific.
The text and pictures resonate with sacrifice and
righteousness, with fighting what is wrong and
fighting those who would make an accommodation
with evil rather than stand up to it. Those who
stand up to malign power often pay dearly for their
beliefs. The moral core in me wants desperately
to believe that right always wins in the endnot
without arduous struggle, but that it does always
win. In our time, I think of people like the Tibetans.
They face seemingly impossible odds, with little
hope of their struggle ever freeing them from a
tyrant as rich, ruthless and powerful as the colossus
that is modern China. Still, they fight as best they
canwith what theyve got and appreciate our
support, however we can give it.
In June of 1940 the same thing could have
been said for part of the population of France,
which had been defeated by perhaps the most
efficiently well-oiled monster of militarism the world
had ever seen, Nazi Germany. And until D-Day in
June of 1944, the Frenchor rather those French
people who opposed the collaborationist Vichy
regimehad to fight this beast as best they could,
by clandestine and underground methods, locally
or regionally organised, rarely facing the enemy
directly for lack of equipment, and suffering torture
and execution when caught or betrayed. Ordinary
citizens did this because of beliefs stronger than
personal safety or advantage. They did it because,
most fundamentally, they believed it is right to fight
wrong. This was the essence of the Resistance.
View Bookshelf Essentials
Why this subject and this book for you
now? Because in this struggle it was writers,
graphic designers, printers and publishers who
were instrumental in the fight. As much as their
compatriots in the armed struggle, they put their
lives on the line to do right, using the skills they
had to help fight the fight. They kept the lines of
communication and information flowing to others
in the Resistance, which was vital to its survival
and eventual victory. They informed the general
citizenry for whom they fought, who were otherwise
force-fed a diet of outrageous propaganda. They
faced huge obstacles and dreadful consequences
execution being the very predictable
consequence of being caught, after torture.
They stole paper where they could, and with
great difficulty hid enormous printing presses. They
printed by night in cold dark cellars, and distributed
their work secretly and at great risk by day.
They wrote and designed and printed underground
newspapers, leaflets and posters to assist and
inspire people they might never know, to help in
a cause they often could not see but only believe
in. Much of this work was paid for out of their
own pockets, from what little they had. Their work
was utterly compelling and meant something vital
to life itself.
You could say they had no choice. That would
be true. But it would follow, then, that we do have
choice in our beliefs and how we act on them
today. So when I put this book and its story before
you it is with a hope that those of you in the creative
community may realise that through your skills you
have the power to address power, and the means
to make that communication/confrontation effective.
Be it with words, graphics, posters or the web.
Those are skills vital to life and they should be
used to promote right and good. I hope you have a
cause. Some cause. Why? We have it comparatively
easy these days, struggling with things like bills
and budgets, deadlines and competition. Not easy,
but tough out there for us is not the end of the
world. Others before us, before us in the past and
standing before us now, have, and dostruggle with
much more. They often suffer horribly, or die trying,
to redress wrongs.
If you really want to make more sense of your
life and this world, find yourself some cause and
fight for it using the skills and tools youve got.
You have choice, which is something best utilised
before a time comes when you may not. The
purported old Chinese proverb/curse, May you live
in interesting times, may someday become, simply,
We all now live in interesting times. But before the
world comes to that, put some of your time and
skills into the causes of our times, and we might
just escape that most unforgiving season.
hugo@grafikmag.com
79
View Viewpoint
What is your most memorable journey?

Aurelia Lange

Memorable and nostalgic were the Lange family

holidays in the Renault Espace in the mid-90s.
Consisting of four excited siblings, two parents and
Andreas Friberg Lundgren
a twenty-hour drive from Cheltenham to Zakopane
in Poland. Soundtrack to road trip varying from
Alishas Attic, Alanis Morissette to David Bowie and
Pink Floyd.
During a trip to Paris, me and my girlfriend rented
Stopping off in Belgium and Germany on the
bikes after sharing a bottle of wine in the spring sun.
way, I wish I had taken more pictures.
We rode off with no set destination, crisscrossing
www.aurelialange.co.uk our way through the city. The ride was shaky to say
the least and we nearly got arrested for going in the
wrong direction on a one-way street. The fact that
it was our first time in Paris and neither of us spoke
French made the situation even more crazy. I have
been on many journeys but this blurry moment still
remains one of my fondest travel memories.

David Barath www.lundgrenlindqvist.se

My most memorable journey was my first trip to

the Milan Design Week.
My girlfriend is a design journalist, so she has
access to all the places. She knows what to watch
for, what not to miss. We were running all day long,
from one stand to another, from one hall to another.
During these four days, all we did was run, scanning
the environment quickly. Such a density of stimuli
I had never experienced before, and it was such a Jay Hess
visual shock that these four days inspired me for
months afterwards.

www.davidbarath.com Driving through the Texan desert, the empty road

cuts straight into the horizon. The destination does
not matter as you feel frozen between the blue sky
Chrissie Abbott and red desert. It is like moving in slow motion and
fast-forward at the same time.

www.byboth.com
Earlier this year I went to Galveston on the coast
of Texas which is one of the most surreal places Ive
been to as it is consistently hit by hurricanes so is
like a weird seaside ghost town. It was a particularly
rainy day but as the bus set off the sun broke
through the clouds. I noticed that the guy in the
adjacent seat was trying to get my attention, but
I didnt understand what he was saying until
he put his hands together and arched both arms,
then pointed out the window at an enormous
rainbow. It was good.

www.chrissieabbott.co.uk

View Viewpoint 80
New Website Online Now
www.grafikmag.com
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 84
Exhibition
Less and More
the Design Ethos
of Dieter Rams
reviewed by
Kerry William
Purcell

88
Six Books
The latest
design books
under fire

90
Exhibition
92
Slash: Paper
Exhibition
under the Knife
Without
reviewed by
Thought,
Amber Bravo
Volume 10
reviewed by
Dan Honey

94
Book
Francis
Baudevin:
Miscellaneous
Abstract
reviewed by
Angharad
Lewis

96
Exhibition
Robert
Urquhart
reports from the
Rotterdam
Designprijs 98
ceremony Magazine
Kalina,
Gym Class
and No.Zine
magazines
by resident
mag man
Michael
Bojkowski

Review
Review Exhibition

Design Museum, London

The Design Ethos

Less and More
Kerry William

of Dieter Rams
Until 7 March
Reviewed by
Purcell

When walking around an exhibition, one can undergo KF 20 coffee machine, for
Braun, 1972. Photograph by
innumerable impressions. They may be inconsequential,
Koichi Okuwaki
bizarre, fleeting or trivial. Often, such thoughts are
instantly forgotten, but occasionally an image can
endure. For example, when visiting the Design Muse-
ums retrospective exhibition on the work of Dieter
Rams, entitled Less and More The Design Ethos of
Dieter Rams, I started to think about Terry Gilliams
1981 fantasy film Time Bandits. More specifically, I
recalled the scene in which the parents of the main
character, a young boy named Kevin, are sitting down
to dinner. While the mother is making fruit juice in a
blender, we see behind her a large array of white elec-
tronic kitchen utensils and gadgets (mixers, electric
knives and coffeemakers). While preparing the food,
the mother recounts the story of a friend whose own
electronic utensils were all destroyed because of a
blown fuse. The father retorts smugly: She should have
bought German. The overall implication of this scene
is clear. Kevins parents are transfixed (simplisti-
cally so) by a form of obsessive consumerism, forever
chasing after the latest time-saving device (earlier
in the film the mother boasts how a new kitchen can
turn a block of ice into a beef bourguignon in eight
seconds). Set in the early 1980s, the scene captures a
time when these newly fashioned electric consumables
still had the aura of something unique. Not yet gath-
ering dust under the kitchen sink, they sit proudly on
the shelf, bestowing a level of distinction and status
on their owner.

Unfairly or not, this scene came to mind when I was walking around the
Rams exhibition. Seeing people standing reverentially before a Braun
Multipractic Kitchen machine or the Braun Blow Dryer P 500, I was struck
by the corresponding encounter (albeit in a less rarefied environment)
many people would have had with these items in their homes throughout
the 1970s and 1980s. Yet, while in working-class homes many of these new
devices would have been valued for their ability to cut down on manual
labour (and the prestige of owning such an item), as is stated in one
of the exhibition captions, many Braun products were [originally] con-
ceived to appear in middle-class homes without being conspicuous for
their modernity. The restrained simplicity of Ramss designs made mod-
ern technological devices acceptable to a middle-class audience who did
not wish to be associated with the brash consumerism of the post-war
period. It was an approach echoed by Dr Fritz Eichler, who was respon-
sible for Brauns design and communication from 1956, who noted that
Braun designs were for people who do not consider their flats as stages
for their unfulfilled wishes and dreams, but as places that are simple,
tasteful and practical.

Review Exhibition 84
Review Exhibition 85
Review Exhibition 86
 Perhaps it is this inconspicuous quality of Ramss designs that makes them appear rather
anonymous. Yet such simplicity is notoriously hard to achieve. It is a discreet and unas-
suming approach that does not clamour for attention. As Rams famously declared in his
much-quoted Ten Commandments on Design, good design is unobtrusive. Products designed
in this way are neither decorative objects nor works of art. Their design should always
be neutral, they must not be seen, they must underline their usefulness. The consequence
of this reductive approach is most apparent in the hi-fi units and record players designed
by Rams. Unlike the shavers, hairdryers and various kitchen utensils, hi-fi audio sys-
tems often feature a rather complex array of switches, dials and buttons that communicate
information on radio frequencies and audio quality, along with the obvious stop/start, for-
ward/rewind and on/off functions of the different formats (tape, record player etc). With
clear and easy-to-understand product graphics, operating elements and switches arranged
in a logical order, Ramss hi-fi systems were perfectly formed devices whose function was
intuitive for the user. They are one of the highlights of this show.

 In these hi-fi systems, the housings were often made of steel, with alu-
minium front plates and screws integrated discreetly into the design
process. The overall effect was one of understated elegance. It is in
these designs that one can detect the source of inspiration that has
influenced so many of todays contemporary designers. This link is rec-
ognised towards the end of the exhibition with a small glass cabinet
featuring objects by designers who have acknowledged their debt to Rams.
Alongside such figures as Jasper Morrison, Sam Hecht and Naoto Fuka-
sawa, the individual one thinks of most when looking at Ramss designs
is Apples Jonathan Ives. It is quite easy to play the game when walk-
ing around the show of spotting the embryonic Apple product. A handheld
radio that looks like an iPod, or a speaker that resembles an iMac in
materials and product graphics the influence is clear.

Yet, as much as Ives has declared his debt to Rams, in

Top: TP1 portable radio-
phono combination, 1959
Bottom: ET 66 control
calculator for Braun, 1987
the design of this exhibition the admiration appears
to be reciprocal. One of the overriding impressions
of the show is that of visiting a rather exclusive
department store or, to be more accurate, an Apple
Store. As in the aforementioned outlet, Ramss prod-
ucts are placed on long white tables, grouped by type
and with each product neatly set apart from its neigh-
bour. It is an approach that is, at times, too reveren-
tial and lacks a much-needed critical dimension. From
the very beginning, the contextualisation of Ramss
work is brief. Walking into the space, we see a few
pictures of key influences on Ramss early develop-
ment (a Mondrian painting, the cover of the magazine
from the Hochschule fr Gestaltung in Ulm, a work by
Lissitzky). It feels all too brief, almost perfunc-
tory. Unlike in a retail store, when visiting an exhi-
bition you look for a sense of historical context. A
better use of drawings, plans and associated design
paraphernalia would have certainly given the show
greater critical authority, which is no less than
Ramss work deserves.

On the evening I attended this show, Rams himself gave a brief talk before the exhibition
opened. While he spoke the chimes and bleeps of various mobile devices echoed around the
entrance to the museum. I considered how the design of many of these devices was probably
indebted to the man who stood before me. Yet, in fifty years time, will these products look
as beautiful as the ones featured in this show?

Review Exhibition 87
Review Six Books

Published by Mark

Glitch: Designing
Batty, 24.95

Imperfection

In normal circumstances, your Mac crashing or discov-

ering you have a virus might be tedious (at best) or
disastrous (at worst), but perhaps theres a hidden
benefit. At least thats what this book is all about
the glitches, errors and fuck-ups that end up being
part your work. For some designers and artists, those
things that seem a problem for most of us actually
form the basis of what they do. Problems are seen as
rebellions and, in turn, a refreshing way of visualis-
Published by Thames

ing the world. Malfunctions become a way of expressing

and Hudson, 24.95

Signage Systems +

yourself. This book is a homage to the digital hic-

Andreas Uebele

cup and the people who utilise it in creative work.

Authors Imam Moradi, Ant Scott, Joe Gilmore and Chris-
Information
Graphics by

topher Murphy have compiled a detailed compendium of

visual glitches from the internet and also informa-
tive interviews of the people behind them. Good read-
ing for glitch geeks.

This excellent source book, according to Uebele in his introduction, will

appeal to architects, interior designers and communications designers.
Putting the junction between typography and architecture under the
microscope, Uebele makes clear the need for typography to be integral:
an ally. With examples spanning roughly the last decade, but also with
a couple of projects dating back to the 1980s, the upbeat and contempo-
by Frank Hlsbmer
Gestalten, 37.50

rary selection is laden with mostly German references but brings in a

couple of Dutch and American examples to even up the field slightly. The
Published by

The Fiction of

examples are each taken apart, broken down into graphic components and
then reviewed in consideration to building use and material construc-
Science

tion. The book would be a good addition to any library, even for the lay
person who may just be interested in retuning to look at their graphic
surroundings with fresh eyes.

It seems someones been left in a badly lit room with a lot of time to play around with
paper, a guillotine, cutting mat, a few mirrors and coloured elastic bands and managed
to get a book deal out of it. This frankly strange book by photographer Frank Hlsbmer
mainly comprises large-scale photographs of his mildly diverting sculptural compositions,
created, apparently, in a flood of inspiration between 2006 and 2008. The work professes a
deeper meaning exploring myths of the world of science but how whimsical arrangements
of paper and elastic bands do this has, unfortunately, evaded us.

Review Six Books 88

 Design school ECAL has a fantastic reputation and dont they know it. The foreword to this
book is by Pierre Keller, director of ECAL, and is evangelical and self-aggrandising in
the extreme. Keller is not a shy man. Nor need he be this mother of all prospectuses is
as great as he says it is. As youd expect, its a handsome tome with some snazzy shots of
the star output. French with an English translation, it provides an in-depth review of the
philosophy, teaching and output since Keller took the reins in 1995. If you are the kind of
person that would buy an ECAL prospectus, or are perhaps a sentimental past student, or
are even thinking of setting up your own European design school, then this ones for you.

Its difficult to imagine your brain being wired in a totally different

Published by JRP
ECAL:

Ringier, 25.00
A Success Story
in Art and Design
way but this book opens the door to understanding the obsessive tenden-
cies of the autistic mind. It brings together artwork created by autis-
tic people of all ages, accompanied by Q&As in which the artists reveal
something of their reasons for expressing themselves visually and the
inspiration behind particular pieces of work. The range of talent is
massive, from zero to accomplished, so dont expect genius-like quali-
ties throughout. But if youre a practising or aspiring art therapist,
this book is essential reading and it also offers the casual reader an
insight into this curious strand of outsider art.

Only in Japan could we imagine the amazing phenom-

Published by
Mark Batty, 25.00
by Jill Mullin
Drawing Autism
enon of face food taking off. A cultural amalgama-
tion of character design and bento boxes, face food
started as Japanese mums and dads attempting to make
their kids lunchboxes more interesting by sculpt-
ing the food into popular comic and cartoon charac-
ters. With a little help from digital photography and
social networking sites, it is now a fully fledged
movement and the bento box creations from rice, ham,
egg and nori have reached staggering heights of crea-
tivity. This little book by Western face food enthu-
siast Christopher D. Salyas (his second volume on the
subject) is a how to book, with sketches and photos
of prime examples of face food, with ingredients and
instructions on how to make set pieces or come up with
your own little culinary tableaux. Our favourite is a
rendition of the famous Velvet Underground and Nico
banana sleeve by Andy Warhol, reshaped in sticky
rice, omelette and nori. Weirdly appetising.
Published by
by Christopher

Mark Batty, 9.95

Face Food Recipes

D. Salyas

Review Six Books 89

Review Exhibition

(MAD), New York

under the Knife

Amber Bravo

Museum of Art
Until 4 April

Slash: Paper
Reviewed by

and Design

The interior lobby of the new Museum of Art and Design Paperwork #701G (in the
beginning), by Andreas
(MAD) looks as if its been hit by a tempestuous paper-
Kocks, 2007. Photography
shredder, as the entire ceiling is consumed by Andrea by Christoph Knoch
Mastrovitos depiction of a storm seizing Christopher
Columbuss ship (as well as our attention). Mastro-
vitos paper maelstrom is just one of many impressive
pieces in the museums latest show, Slash: Paper under
the Knife, a multifaceted exhibition whose material
limitation belies its expansive vision.

Organised by MADs chief curator, David Revere McFadden, Slash is the

third instalment of the museums Materials and Process series, which
previously included Radical Lace and Subversive Knitting in 2007 and
last years Pricked: Extreme Embroidery. As McFadden explains, Slash
showcases artists whose works surprise for their complexity and content,
and not just for their technical virtuosity although almost all of
the works exhibit some level of virtuosity, whether it be Andrew Scott
Rosss elaborate mural/vignette Stones & Rocks & Bones, which suggests
the scale and breadth of human ingenuity and destruction, or Olafur
Eliassons Your House, which diagrams a house in section encased in
a book. Rosss sweeping, gestural strokes give way to painstakingly
detailed silhouettes, whereas Eliassons concept (the book itself was
designed by Michael Heinman) calls for architectural rigour with its
precisely drawn and cut sections.

Attention to detail is just one of the exhibitions prevalent motifs, and many of the pieces
included are as much about ideas as they are about form. Take, for example, conceptual art-
ist Nina Katchadourians Finlands Unnamed Islands. Katchadourian treats these geological
no-names as if they were biological specimens and encases each in a microscope slide for
display. The detail and precision required to physically render and display the tiny forms
is just as compelling as the overall concept.

Although some pieces are firmly rooted in a fine/con-

ceptual art realm, there are many that tread a line
between illustration, decoration and fine art. Andrea
Dezs illustrative shadow-boxes and Beatrice Corons
tyvek screens are fine examples of this, as both cre-
ate whimsical figurative narratives. And, of course,
the exhibitions few Kara Walkers display a reverence
for her work and her influence in the medium. Clio
Braga and Ferry Staverman unsurprisingly both Dutch
create work that can be appreciated both as decora-
tion and as art. Bragas elaborate installations are
almost more like decorative screens and Stavermans
cardboard sculptures capture the spirit of old fold-
ing Christmas ornaments.

Review Exhibition 90
 One of the most striking features of Slash, however, is its refusal to view paper as a two-
dimensional object (both figuratively and literally). The sheer architectural scale of
some of the paper installations is staggering; Mia Pearlmans work, for example, exhibits
a level of dynamism and force that is somewhat unexpected in such a humble material. And
one of the most enjoyable pieces in the show is Rob Carters Stone on Stone. Carters seven-
minute-forty-four-second stop animation projection reconstructs the imaginary coevolu-
tion of two houses of worship, the Cathedral Church of Saint John the Divine in Manhattan
(which is nicknamed St. John the Unfinished and The White Elephant of the Upper West Side
for its constant state of disrepair) and Le Corbusiers Sainte Marie de La Tourette in Lyon,
France. The piece displays a wit and virtuosity that both complements and eclipses many of
the other pieces in the show. As with any collection, some works are more compelling and
successful than others, but Slash undoubtedly proves that works with paper deserve as much
attention as those on it. If youre looking for a diverse, inspiring collection of art to
view this winter, this paper exhibition should surely make the cut.

Review Exhibition 91
Review Exhibition

Tokyo, 23 October

Without Thought,
23 November
Dan Honey
Reviewed by

Volume 10
I stumbled upon Without Thought by accident when stop- Top: Rubber band box by
ping for lunch at the fancy Gyre complex in Omotesando Hiroki Nishii, Panasonic
Corporation
Hills. A small robot made from cardboard boxes beck-
oned me to the third floor. Standing before the works, Bottom: Shoe box by Aya
I was like a kid in a candy store. So much to look at. Masuda, Ricoh Company Ltd

Should I go left? Or right? Or directly to that piece

in the corner? Slight panic. Heart palpitations... I
decided on a fast circulate and then a second lap for
slow consumption.

The exhibition is the outcome of the 10th DMN Design Workshop directed by
Naoto Fukasawa. In these workshops, Fukasawa encourages a new guard of
Japanese designers, from varying fields and disciplines, to interrogate
his own design philosophy, Without Thought. In this regard, Fukasawas
design approach is an ongoing study of how humans unconsciously inter-
act with their environment. With this awareness, his designs are natural
responses to basic human needs resulting in optimum forms that have the
ability to improve everyday living.

The workshops begin with a three-day winter camp where participants work through prepared
exercises and case studies that prompt them to observe the quotidian and capture uncon-
scious yet shared human behaviour. Based on the findings, new design ideas are shared and
for several months after the camp, supported by ongoing review, the designers verify their
concepts through fast prototyping and model creation.

The theme for this workshop/exhibition was box an

object seen, used and reused on a regular basis. The
exhibition presented forty-four experimental pack-
aging designs that collectively commented on how
we live our lives, giving new possibilities for our
well-being.

Aya Masuda, an emerging product designer for Ricoh, addressed the irri-
tating and puzzle-like task of returning stilettos to their box by
creating a contoured version where the shoe fits perfectly. Aki Kanai, a
designer of office supplies, created a mischievous family of wig boxes,
giving vitality to normally inanimate and rather awkward receptacles.
Mayumi Seki, a creator who shares my own desires, designed a single-
slice mirrored cake box that reflects to give the illusion of an entire
cake with eight perfectly plump, delectable slices.

Most appealing was the delightful miniature mandarin box, designed by Kai Tamura. With
fresh memories of slimy squashed fruit in the bottom of my bag, I couldnt help but think
how much better my general existence would be if the fruit I purchased for my lunch came
individually packaged for my enjoyment in Tamuras box.

The wonderful work exhibited in Without Thought, Vol-

ume 10 supports my proposition that the Japanese are
the most intuitive designers in the world. The With-
out Thought initiative fosters the continuation of
Japanese design traditions and Fukasawas long-term
direction of the DMN Design Workshops is an interest-
ing case study of how non-traditional education and
hands-on mentorship can play a vital role in develop-
ing localised creative strengths.

Review Exhibition 92
Review Exhibition 93
Review Book

by Francis Baudevin
Angharad Lewis

Miscellaneous
Published by
JRP Ringier
Reviewed by

Abstract
While millions of graphic designers around the world ABM by Francis Baudevin, acrylic
on canvas, 211 x 171 cm, 2000
are busy making designs for the sides of packaging
boxes for products from pharmaceuticals to choco-
lates to records artist Francis Baudevin is busy
taking those designs apart and turning them into
paintings. Hes been at it since the late 1980s and has
a substantial oeuvre behind him, which is celebrated
in this new JRP Ringier title.

Im always keen to see what this publisher does next, partly because
its editorial remit is so interesting, but also because it always
has great designers working on its books. Miscellaneous Abstract by
Baudevin, designed by Swiss duo Gavillet & Rust, does not fail to deliver
on either front.

Baudevins aesthetic, as well as his technique, appears narrowly prescribed. Put simply, he
takes items from his collection of products and packaging, isolates the graphics on one
surface and reproduces it, removed of any text, as a hand-painted canvas or wall painting
scaled up ten times from the original size. If there are small printing errors or imper-
fections on the surface of the particular packet he is painting, these are included in the
final work. Baudevins paintings, then, are a curious cross between reproduction and still
life, injected with the conceptual decision to remove all text. It is the last that gives us
the key to his work.

It is remarkable to have an artist scrutinise so

closely the end results of graphic design, and to ele-
vate them into one-off artworks for galleries the
tables have turned; its perhaps more often graphic
designers who look to artists work for inspira-
tion. But Baudevin might be at the apotheosis of this
patchy, intimate relationship. That is, with him it is
no longer (never has been) something that is up for
question hierarchical concerns are inconsequential
to Baudevin. Packaging and the designs thereon is
simply matter in the world that interests him because
of its geometric properties (he cites Mondrian more
than once as an influence in the interview in this
book) and the oscillation between two and three
dimensions packaging is designed as a flat net,
folded into three dimensions, reduced again to a flat
surface by the artist who then turns in into a new
object a painted canvas in the physical world. A
complex response to Mondrians process of reduction.

Other comparisons float to the surface. Is Baudevin furthering Warholian narratives about
consumerism? Bob Nicklas, in his introduction, thinks this is a blind alley. It would be a
mistake, he says, to see Baudevins project as critical or ironic, as a commentary on the
culture of consumption (or self-medication) and distraction. His interest, like that of the
graphic and packaging designers who produced the logos and album covers, is simply visual
communication.

Review Book 94
  would add that Baudevins project obfuscates and toys with our visual communication
I
receptors. Without the lettering of the original designs, our faculty for reading the work
relies totally on the visual contextualising these particular combinations of shape,
colour and composition rests agonisingly on the tip of your tongue, inciting you to scru-
tinise the logo whose meaning you would subconsciously read and process in a millisecond
in its original context on the side of a packet of painkillers. But here Baudevin lays bare
the crux of what graphic design is the amalgamation of text and image to convey a mes-
sage and how it works, by its deconstruction.

Finally, Gavillet & Rust, in its editorial design, gives an answering call
to the artists enterprise. The text of the book, including titles and a
long interview between Baudevin and Rainer Michael Mason, is set (in the
font Antique) with deliberate spaces in unexpected places it is made
to look like there are letters missing, when there are not. We are asked
to fall into step with a new way of reading the words textual touch
to the deconstruction of visual reading at work in Baudevins painting.

Review Book 95
Review Exhibition

Museum Van Boijmans

Sunday 29 November
Robert Urquhart

Designprijs 2009
Reviewed by

Rotterdam
Beuningen

A Sunday afternoon in late November, the chill exacer- Atlases by Joost Grootens,
winner of the Rotterdam
bated by the murderous suburban mansion-block feel of
Designprijs 2009
the museum, home to the biennial the king of Dutch
design prizes the Rotterdam Designprijs.

Im at the prize-giving ceremony and weve got serious business to do.

This is a serious prize. We are here to contemplate promises.

The Rotterdam Design Prize, played out every other year since 1993, was last won by Amster-
dam-based graphic design agency Thonik, which set the natural course for a non-graphic
design-based selection this time round. Indeed, adding to speculation, only two of the ten
nominees shortlisted Gorilla and Studio Joost Grootens are strictly graphic design
ventures. A lecture and debate prior to the announcement also adds fuel. Headed by Alice
Rawsthorn, who is joined by designers Sylvain Willenz and Clemens Weisshaar, the debate is
riddled with product- and industrial-based issues and buzz words (sustainability, anyone?).
It is left to design critic Gert Staal to attempt to vocalise how Dutch design is currently
viewed by the rest of the world in short, excellent graphic design, not so sure about
manufacturing and other design platforms.

A short break in proceedings offers the opportunity to

head down to the gallery to check out what the prize
nominees were promising. The exhibition for the prize
ran for several months prior to tonights announce-
ment and is proof that its sometimes harder than
expected to show work that was not destined for tra-
ditional gallery curation.

Studio Joost Grootenss delicate work on the Four Atlas book collection
is lost behind a glass case, while the Gorilla project (a two-year series
of graphic interventions in a national newspaper see Grafik issue 180)
shines. But then this is not just an exhibition, this is a prize that has
decided to shift the focus away from the individual product and onto the
designers artistic vision.

Back upstairs its time to announce the winner. Peter van Ingen, chairman of the interna-
tional panel of judges, in a wonderful Eurovision moment, chooses to perform his duties
via a pre-recorded television piece to camera, only handing over at the last minute to Raw-
sthorn to announce the two winners, one receiving the big prize of 15,000 euros and also one
public winner, voted for online (no euros, just kudos).

Review Exhibition 96
 Rawsthorn puts an end to all the speculation its a clean sweep for graphic design, with
Studio Joost Grootens picking up the euros and Gorilla picking up the kudos. Speaking to
Joost Grootens after the event, he muses: I really did not expect to win, especially after
Thonik won in 2007. We all thought that a graphic designer couldnt possibly win. Im very
pleased that I came this afternoon.

 In the citation that Studio Joost Grootens received, the jury remarked:
Grootenss design practice can or at least should provide a new direc-
tion for the future of design.

The surprise should be no surprise at all. Dutch

graphic design continues in the vanguard. Its not
about style over substance, and promises are continu-
ally being kept. With Grootenss design practice the
new benchmark other graphic design teams will have
a tough call in 2011.

Review Exhibition 97
Review Magazine

Kalina, Gym Class and

Michael Bojkowski

No.Zine magazines
Reviewed by
I was going to use this months column to attempt to
invent a term for magazines and zines that are pro-
duced by small teams to high standards and that term
was going to be micropublishing you know, like
microfinance and microbrewery. Then I looked it up
and found a rather disparaging definition that used
words such as low mass appeal and marketing. The
whole thing started to sound a bit vanity publishing.
Truth is, these days you could easily argue that the
main difference between micro- and mass-market pub-
lishing is more a matter of distribution than quality.

Take Gym Class Magazine, for example. Okay, so Im not entirely unbiased, Cover, Kalina magazine,
having written for the mag a couple of times, but this has given me a issue one

peek into the publications inner workings. There is no massive edito- www.kalinamagazine.com
rial team here, no Gym Class office, no bean counters constantly check- www.gymclassmagazine.com
ing budgets. Its put together by jobbing designer Steven Gregor and www.nozine.com

features a random assortment of articles on popular and visual culture

written in a charming yet rigorous manner by a ragbag bunch of contribu-
tors from the realms of blogging, illustration and editorial design. The
design is slick and never seems limited by having to be in one colour.

Kalina magazine is another good example of a low-to-no-budget publication whose only lim-
its seem to be the amount of time photographer and editor Noah Kalina can dedicate to it.
Kalina, the maga/zine, benefits from being available via Hewlett-Packards Print-on-Demand
venture known as MagaCloud. This means all printing and distribution is already taken care
of and top editorial designer pal Jeffrey Docherty (currently art director for I.D. maga-
zine) can bring the whole publication together with minimal fuss and bother. The first two
issues were primarily folio pieces for Mr Kalina, each on a particular subject. Issue three
is really fun as it sees his photography getting remixed by a whole host of creatives such
as Andy Miller, Nicholas Felton and designers Toko.

Ex-Sleazenation designer Patrick Frys follow-up to

Full Moon Empty Sportsbag entitled No.Zine is also
worth a look for its combination of zine aesthetics
and suitably elegant production qualities.

After looking at these publications, I was left with the question Were
these zines or magazines? The independent bods who put them together
and their total unreliance on advertising says zine yet the quality of
their design and content combined with their decreasingly lo-fi pro-
duction values suggests magazine. See, this is where the term micro-
publishing would come it handy in helping define the genre. Because
this is a sector that is just going to keep growing and growing. HP has
recognised this already with its MagCloud venture, as has Issuu by mak-
ing magazines from all levels of the industry available digitally to
all-comers.

So lets reclaim the term micropublishing from the doom-mongers and nay-sayers and cele-
brate their independent spirit. After all, its these pocket-sized mini-mavericks that will
help keep magazines alive and well, now and into the future.

Review Magazine 98
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hot-stamping, die-cutting, customers and UK quality
embossing, binding, sewing, standards
spot UV and box making
packaging, boxes, books,
great savings; 30% to 50% shopping bags, catalogues,
less than domestic price folders, greeting cards Phone /Fax / Web
+44 0-113 272 4800
low minimum quantity; as FSC accredited +44 0-113 272 4801
low as 500 pieces team-impression.com
30% to 50% savings Team Impression
Fusion House
Email websales@directprintinghk.com 1Lockwood Close
Web www.directprintinghk.com Leeds LS115UU

Creative Resources Print & Packaging 104

Creative Resources Software & Services

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Creative Resources Software & Services 105

 PRINTING

Team Impression
+44 (0)113 272 4800
www.team-impression.com

EDITORIAL
PAPER
Publisher and Editor-in-Chief
Caroline Roberts Arctic Volume by
caroline@grafikmag.com DESIGN Arctic Paper
www.arcticpaper.com

Editor Designer and Art Director

Supplied by
Angharad Lewis Matilda Saxow
angharad@grafikmag.com matilda@grafikmag.com Howard Smith Paper
www.hspg.com

Senior Reporter Design Assistant

TYPEFACES
Robert Urquhart Ann-kristina simon
robert@grafikmag.com ann@grafikmag.com
Neuzeit and Lettera
www.linotype.com
Sub-Editor www.lineto.com
Robert Shore

Studio Assistant
Thomas Mould
thomas@grafikmag.com Grafik Magazine
Third Floor
104 Great Portland Street
London W1W 6PE, UK
+44 (0) 20 7637 5900
hello@grafikmag.com
www.grafikmag.com

COMMERCIAL

Sales Director
Stefan Ketelsen
stefan@grafikmag.com
+44 (0)7876 798 762

Marketing Manager DISTRIBUTION

Nicole Townsin
nicole@grafikmag.com Adam Long
+44 (0)20 7637 5900 +44 (0)7961 007 139
PRODUCTION / WEB

Production Manager
and Deputy Web Editor
Dan Rolfe Johnson
dan@grafikmag.com

SUBSCRIBE

+44 (0)1635 588 498

grafik@circdata.com
www.grafikmag.com
PUBLISHING
BUY
Grafik is published twelve
Grafik is sold on times a year by Adventures
newsstands worldwide and in Publishing Ltd
in your local branch of ISSN no. 1479-7534
WH Smith, Borders,
Waterstones, Barnes & Noble
and other good retailers
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