I Used To Be A Design Student PDF

I USED TO BE A DESIGN STUDENT
FRANZ KAFKA MANFRED KRÖPLIN STEVE MALKMUS
Roads grow Without attitude, No more

out of it’s just shuffling absolutes,
travelling them! things around no more
absolutes
TITLE AUTHORS AND EDITORS PUBLISHER PUBLISHER LOGO
I used Frank Philippin and Laurence

to be Billy Kiosoglou King
a design Brighten the Corners Publishing
student London/Darmstadt
United Kingdom/Germany
I used
to be
a design
student
Then Now
CONTENTS PAGE IMPRINT INFORMATION ACKNOWLEDGEMENTS PHOTO CREDITS
See back cover Published in 2013 by First of all, we’d like to thank the Portrait photos on inside flaps,
Laurence King Publishing Ltd Hochschule Darmstadt (Germany), comparative spread pages 22–23 and
361–373 City Road where Frank is a professor, for granting on designer project spreads of António
London EC1V 1LR the sabbatical during which the S. Gomes (then/now) by José
United Kingdom research for this project took place. Albergaria/Pedro Ca, Bernd Hilpert
email: enquiries@laurenceking.com Without this great academic tradition, (then/now) by Eibe Sönnecken,
www.laurenceking.com it would have been impossible to give Danijela Djokic (now) by Tom Ziora,
COPYRIGHT © TEXT AND DESIGN this book the kick-start, time and Emmi Salonen (now) by Jere Salonen,
Frank Philippin & Billy Kiosoglou, 2013 attention it needed. Fons Hickmann (now) by Johannes
This book was produced by Thank you also to the tutors and Bock, Kirsty Carter (now) by Martin
Laurence King Publishing Ltd, designers who were influential during Hartley, Lars Harmsen (now) by Halim
London our studies. At Camberwell College of Dogan, Laurent Lacour (then) by Meike
Arts, London: primarily Andy Long but Lacour, Liza Enebeis by Dennis Koot,
Frank Philippin & Billy Kiosoglou Margaret Calvert (now) by Steven
have asserted their right under also Alex Lumley, Jim Fielding and
Lawrence Zeegen; at the Royal College Speller, Oliver Klimpel (now) by
the Copyright, Designs and Anna Gille and Sebastian Kissel,
Patent Act 1988, to be identified of Art: Margaret Calvert, David Cross,
Dan Fern, Ian Gabb and Alan Kitching; Sascha Lobe (now) by Michael
as the Authors of this Work. Schnabel, Sven Voelker (then/now)
and, of course, all the other people in
All rights reserved. No part of this both places who had an impact on us in by Marcus Meyer/Frederik Busch.
publication may be reproduced one way or another during our studies. Work photos on designer project
or transmitted in any form or by any spreads of Emmi Salonen (now) by
means, electronic or mechanical, For later years, when we were trying
to find our way in the ‘real world’, we Jere Salonen, Kristine Matthews (now)
including photocopy, recording or by Doug Manelski (top and bottom two)
any information storage and have the following people to thank:
Jeremy Myerson at the Helen Hamlyn and Cassie Klingler (central two).
retrieval system, without prior
permission in writing from the Research Centre, Nina Lemmens at the Portrait photos of the authors (page
publisher. DAAD (German Academic Exchange 256) by Tagore Leet (then) and
Service) and all our other clients who Kai von Rabenau (now).
A catalogue record of this book is have enabled us to run a successful
available from the British Library. design studio for the last 13 years.
ISBN Regarding teaching, I (Frank) must
978 1 85669 898 6 greatly thank (or perhaps blame)
AUTHORS & EDITORS Adrian Spaak, for without him I would
Frank Philippin & have never committed to it in the
Billy Kiosoglou way that I have done.
BOOK DESIGN Our thanks also go to everyone at
Brighten the Corners Laurence King Publishing, especially
www.brightenthecorners.com Jo Lightfoot who supported the project
PAPER from the start and Susie May for her
Yulong Pure & Thai Woodfree help in the editorial process.
TYPEFACE Last, and definitely not least, a big
Akzidenz Grotesk Medium thank you goes to all the designers
who took part in this project. Finding
Printed in China the time to patiently answer our
numerous questions and to track down
old student works while running an
established design practice isn’t easy,
so we greatly appreciate their support
and contribution!
We would also like to thank all the
designers who contributed to our
research but whom we were not able
to feature in the final book .
Thank you all!
4
BACKGROUND THE PROCESS THE QUESTIONS
The idea for this project came Realizing that other people’s Being a designer is often a
when we were invited to give work would also offer such vocation, so it’s difficult to split
a talk at our old college, insights, we invited graphic the person from the work. We
Camberwell College of Arts designers to share both a therefore asked contributors to
(London, UK), 12 years student project and a give us feedback not only on
after our graduation. For the professional project with us. their practice and influences,
talk, we presented old student These two works could be but on such incidental things
projects alongside work we similar conceptually or visually, as their weight, favourite food
had done in the ‘professional or share a certain attitude or or their most valued
world’ and looked for approach. They didn’t have to possession, to help get a
connections between them. be the designers’ favourite sense of what the person
Initially, we weren’t sure projects but, rather, behind the work might be like.
how fruitful this comparison memorable projects of which We decided to look at all these
would be, but we quickly they were fond, or which they personal details alongside
realized that the connections considered to be defining in each other, comparing
were there once we started their development as a responses of different people
looking. These were professional. to the same questions, for an
sometimes conceptual, other Our selection of overall ‘portrait’ of the design
times visual, but there was contributors was pretty community (see pages 8–23
also a certain attitude that personal: some we had met and 234–253).
permeated the work. So, during our studies (fellow
without necessarily being able students or tutors), others
TEACHING DESIGN
to say exactly why, the work during our teaching (fellow
Teaching for the past
always felt that it belonged to tutors or students) and others
15 years has made me
the same people. are practising designers whose
very interested in the
The students responded work we have always liked.
different means by
very well to the talk because Between them, the designers
which good design finds
they could relate to the college featured in this book have a
its expression. What I
work and see how it fed into total of 832 years of working often see is that attitude
future projects. We also felt experience and have spent (towards design, and
that it helped bridge the 309½ years studying (see also towards life in
student and professional pages 20–21). general) plays a major
worlds a little, demistifying the The aim of this publication role in the kind of
transition from one to the is to trace the links between solutions one finds,
other, reassuring students that past and present work, and and consequently in the
they needn’t tremble with awe look at each designer’s kind of designer one
at the professional world, but particular methodology and becomes. A better
instead remember that most attitude. We see this book as a description for this is
practising designers used to resource students can use and the German ‘Haltung’,
be design students too. will hopefully learn from, as which describes attitude
And it was also strangely well as something teachers and mindset, as well
reassuring for us to revisit old can use in their practice. as one’s posture –
projects and see that no matter For professionals, the book a person’s stance,
how much our lives and work provides a great opportunity to notional and physical.
may have changed and have a peek at colleagues’ It is the ‘Haltung’ of
developed, there was student work. And for the each contributor that
something there that was still participating designers, it’s an we are looking for in
fundamentally the same. opportunity to get all those this project. What kind
unseen student projects of ‘Haltung’ do different
(brilliant or slightly confused) graphic designers have?
out of the black leather How important is it in
portfolio, and give them a creating a piece of
much-deserved public design? What role does
platform. it play in how one’s
work is received by
others? Is it subject to
change? Is ‘Haltung’
individual or can we
adopt that of another?
And most of all: does
‘Haltung’ visibly
manifest itself in
moments when things
fall into place, when we
realize and understand,
when the penny drops?
– FRANK PHILIPPIN
A certain way
of doing things
Preface
5
QUESTION & ANSWER: COMPARISONS PART I
Wake-up time
Mode of transport
Favourite food
Weight
Exercise
Most valued possession
Student years
Portrait
Then
QUESTION & ANSWER: COMPARISONS PART I
Wake-up time
Mode of transport
Favourite food
Weight
Exercise
Most valued possession
Professional years
Portrait
Now
ANDREAS GNASS ANDREW STEVENS ANNELYS DE VET ANTÓNIO S. GOMES BEN BRANAGAN BERND HILPERT
08:00 08:30– 09:00 10:00 Earlier than 09:00

09:00 I wanted to
BRIAN WEBB CHRISTIAN HEUSSER DANIEL EATOCK DANIJELA DJOKIC EMMI SALONEN ÉRIC & MARIE GASPAR
08:00 07:30 07:00– 08:30– Around 08:00

10:00 12:30 08:00
FONS HICKMANN HANS DIETER REICHERT HOLGER JACOBS HOON KIM HYOUN YOUL JOE ISABELLE SWIDERSKI
12:00 07:00 09:00 10:00 It depended 07:00–

on my daily 07:30
condition and
classes
JAMES GOGGIN JAN WILKER JULIE GAYARD KAI VON RABENAU KEN GARLAND KIRSTY CARTER
09:00 or 10:00– 09:00 09:00 Late 07:30

10:00 11:00
KRISTINE MATTHEWS LARS HARMSEN LAURENT LACOUR LIZA ENEBEIS LUCINDA NOBLE MAKI SUZUKI
08:30ish 06:30 07:00 08:00 08:30 08:00
MARC VAN DER HEIJDE MARGARET CALVERT MARION FINK MARTIN LORENZ MATTHIAS GÖRLICH MICHAEL GEORGIOU
08:00 It varied 09:00– 09:00 Mostly 10:00

09:30 around
08:00
NIKKI GONNISSEN OLIVER KLIMPEL PAUL BARNES PREM KRISHNAMURTHY RENATA GRAW RICHARD WALKER
Around 07:00 07:00 09:00– 07:00 10:00

08:00 11:00
SANDRA HOFFMANN SASCHA LOBE STEFAN SAGMEISTER SVEN VOELKER TIM BALAAM URS LEHNI
Early 09:00 06:00 09:00 07:00– Around

08:00 08:00
YASMIN KHAN YVES FIDALGO AVERAGE / EARLIEST/ LATEST
Stayed up 07:30 (train A 08:46

E 06:00
from night to catch) L 12:30
before
What time did you get up

each morning?
Then
8
07:00 09:30 07:00 06:00– Later than 07:00

08:00 I need to
07:45 08:15 07:00– 07:45 Around 07:00

10:00 08:00
10:00 07:30 09:00 08:00 It depends on 05:30

projects –
usually at
08:30
07:00 07:00– 09:00 09:00 Not so late 07:30

08:30
KRISTINE MATTHEWS LARS HARMSEN LAURENT LACOUR LIZA ENEBEIS LUCINDA NEWTON-DUNN MAKI SUZUKI
06:30ish 06:30 07:00 07:30 06:15 09:00
07:30 It varies 07:30 07:00 08:00 at 07:00

the latest
Around 08:00 05:00– 07:00– I don’t use an 06:30

alarm clock, but
08:00 07:00 09:00 generally I wake
up around 07:30
S. HOFFMANN ROBBIANI SASCHA LOBE STEFAN SAGMEISTER SVEN VOELKER TIM BALAAM URS LEHNI
Very early 06:00 06:00 07:30 07:00 Around

08:00
YASMIN KHAN YVES FIDALGO AVERAGE / EARLIEST/ LATEST
05:30 No rule, A 07:22

E 05:00
I go to work L 10:00
by bike
What time do you get up

each morning?
Now
9
Muscle- Bus Train The tram Driving Car

driven
transport
Train Mountain Walking Train Walking The tube

bike
By foot Car (VW Bicycle Bicycle - Walking

Beetle, (second-
1200cc), bus,
train, tram
hand)
Bicycle or Public Bus Underground - In Brighton, I lived a

stone’s throw away
rail transportation from the university and
walked every morning
along the seafront…
(Full answer, p. 228)
Bus (in 1: Bicycle - Walking Public Bicycle

British 2: Car transport
style)
Bicycle (of Train Bicycle Car or bike Walking Car

course –
being Dutch
and poor)
Bicycle Bicycle Walking, Walking Walking, Walking

running biking
and train
Bicycle Flying Train Bicycle Foot Bicycle
YASMIN KHAN YVES FIDALGO RANKING LIST
Car My red 1 CYCLE

2 WALK
Peugeot 3 TRAIN, CAR
205 GTI
What was your favoured

mode of transport?
Then
10
Transport with Bus Train Imperial Walking Car

no system- Speeder Bike or
forced stop- any other form
overs of individual
transportation
Train Race bike Walking Car and Cycling Le métro

train
By foot Car (Volvo There are Car - Walking

V50), bus, several bicycles
train, tube, to choose from
(mostly new)
plane
Bicycle or Public Bicycle Bicycle - I walk to work every

day – I live really
high-speed transport close to our East
London studio, it’s
rail a ten-minute walk
Car (in 1: Bicycle 2: Walking

3: Train 4: Aeroplane - Walking By foot (but Four
American Cars don’t mean much currently have bicycles
to me. Walking is about
to drive
style) having time
everywhere)
Car; I don’t drive much

but really enjoy it when Train Bicycle Walking Taking the Bicycle
I do. I have a 1976 gold
metallic Mercedes-
train and
Benz 280 SE (it’s a
classic)
walking
Bicycle Walking Walking, Walking Walking, Taxi

running, biking, flying
cycling and across
train oceans
Bicycle and Flying Train Porsche Car Bicycle

train
Car My 1 CYCLE
2 WALK
Cannondale 3 TRAIN
What is your favoured

mode of transport?
Now
11
I didn’t have a Rigatoni - Pasta Bacon Kellogg’s

favourite food Siciliana fredda sandwich Smacks
Chinese Pasta Fruit Fast food Vegetarian Cadbury’s

pesto
Cake German German Korean Korean Good

(Currywurst potato BBQ home-
mit Fritten) pancakes made food
Japanese Anything from - Pasta with Tomato I’ve always kept a very
balanced diet. It makes
the students’ tuna Soup me happy to eat well.
When I had little money,
cafeteria food was…
(Cont. opposite – now)
Pasta Pasta Tafelspitz Marmite Probably Being French and

being a vegetarian
pasta was a national
joke…
Pasta Pasta Hummus, and the

soups and spicy
All kinds Whatever was Spaghetti
available within
sauces of my
a limited budget bolognese
Korean flatmate
Indonesian Cheap Pasta Taco Bell I love all things Indian food
(my mother food, but I am
bean addicted to just
comes from
Indonesia)
burritos one: coffee
Canadian Italian Zürich veal Käsespätzle Bread -

with cream (Thimble
cuisine dumplings
sauce and
made with
mushrooms cheese)
Anything Pasta 1 PASTA

2 CHEAP, CHOCOLATE, KOREAN, VEGETARIAN
that wasn’t 3 ALL OTHER FOOD
dehydrated
What was your

favourite food?
Then
12
Still don’t have a

favourite food. I do
Home- - Spaghetti Rendang Good restaurant
cooked food (typical
like fish, different alle local kitchen –
kinds of pasta and peasant food
good entrecôte and
(pasta, rice)
vongole all over the
lamb though world)
Japanese Anything that Fruit Slow food Vegetarian Le pot-

has been au-feu
prepared in
the oven
Cake Italian (pasta, Anything Japanese,

except for the crab
Korean Seafood, Good
antipasti and brain that my wife’s BBQ Korean and home-
salad) relatives invited me Japanese
to taste once made food
Probably still Anything but - Schnitzel Gambas al …never cut, it was

always my top priority.
Japanese – from the aquillo (giant I perhaps eat out a little
more now. In terms of
or Korean students’ prawns in favourites, it has always
cafeteria garlic) been chocolate
Pasta Home-cooking and

good restaurants.
Tafelspitz Marmite Japanese Fish, still
There is a great food of
Lebanese restaurant various kinds
here in Karlsruhe I
love to go to
Thai food Pasta Pasta and All kinds Whatever is Spaghetti

good wine available bolognese
Indonesian, Japanese Sushi and Chicken I love all things Cheese

home-made food, but I am
Japanese, shawarma addicted to just
bread
French one: coffee
Italian, Japanese Tiny bow Käsespätzle Bread -

Shanghainese (thimble
Ticinese cuisine soup dumplings dumplings
made with
cheese)
Peaches in pie, Pasta 1 JAPANESE

2 PASTA
in cobbler, in 3 KOREAN
anything or just
by themselves
What is your
favourite food?
Now
13
75kg 67kg Same (as 68kg Lighter Approx.

now) (than now) 70kg
60kg 70kg 54kg 10kg less - 64kg/50kg
70kg 66kg 75kg 65kg Approx. 50kg

61kg
70kg 72kg 52kg 75kg 57kg 53kg
58kg Not enough 71kg A bit less 51kg 65kg

(than now)
75kg - - 72kg Too much 70kg
71kg 60kg 65kg 63kg I was 4kg 80kg

lighter than
now
62kg (of which Not 82kg 74kg 60kg 67kg

10kg was
‘Schoggi’ after enough…
moving to
Switzerland…)
YASMIN KHAN YVES FIDALGO AVERAGE /HEAVIEST/LIGHTEST
48kg Can’t A 65KG

H 82KG
remember L 48KG
really
How much did

you weigh?
Then
14
75kg 73kg Same (as 78kg Heavier Approx.

then) (than then) 75kg
73kg 75kg 54kg 10kg more - 64kg/50kg
80kg 77kg 80kg 65kg 66kg 59kg (all

muscle of
course)
80kg 75kg 56kg 80kg 64kg 53kg
61kg A little more, 75kg A bit more 54kg 73 kg

but still not (than then)
enough
80kg - - 75kg Far too 85kg

much
67kg 65kg 75kg 86kg I am 4kg 80kg

heavier
than then
52kg Too 89kg 77kg 70kg 71kg

much…
YASMIN KHAN YVES FIDALGO AVERAGE /HEAVIEST/LIGHTEST
50kg I don’t weigh A 70KG

H 89KG
myself, really. L 50KG
Don’t have
scales at
home…
How much do
you weigh?
Now
15
Skiing, Football Trampolining None Dancing Freeclimbing

skateboarding
Walking Nothing Cycling, Roller-skating, Yoga, None/None

biking, swimming
walking swimming, and running
jogging
None Running, Occasionally Push-ups - Football,

Taekwondo yoga for in dorm strength
stress relief
training
Walking and Very little daily - None Table Tennis

cycling as a exercise,
smoking over tennis
mode of
a pack a day
transport
Not much Cycling, mountain-

biking, swimming,
Windsurfing, - Walking Cycling
mountain-
surfing, skiing,
biking, quickly
cross-country,
sailing… funsports everywhere
I played some Walking None (apart Taekwondo None None

squash; the from cycling
only sport to college)
I enjoy
Basketball Football (very Running None Capoeira Cycling,

rarely) and a walking
lot of walking
Cycling, hiking, Skiing, None None Running Skateboarding

swimming,
wandering, tennis and
water-skiing swimming
Cigarette Not sure 1 NONE

2 CYCLE
breaks 3 WALK
What type of exercise

did you do?
Then
16
Badminton, Football Bicycling my Aikido (but Running -

snowboarding son to school haven’t done
every day any sports since
my daughter’s
birth)
Walking Cycling Cycling, Roller-skating, Yoga and None/

biking,
walking, swimming, climbing Aikido
running jogging
None Running, Cycling, Overall - Track,

swimming jogging exercise at a conditioning,
gym three strength
times a week training
Walking and Tennis in the Kalaripayattu Cycling, Walking Tennis

cycling as a early mornings
during summer swimming,
mode of
transport
season, no more Feldenkrais
smoking
Not much …I just love Jogging, - Yoga Cycling

sport, but I occasionally
would never go snoring
to a gym every night
I have stopped
going to the gym,
Walking Running, Gym Still Cycling
as it gives me cycling nothing
no pleasure – so
currently I am a
lazy bastard
Basketball, Swimming (if Running, None Sometimes I catch

a yoga class, but
Cycling,
rowing, at all) and a swimming, mostly I just move walking
lot of walking gym and the mouse around
the gym cycling
Bird-watching, cross-
country skiing, cycling, Tennis, Running None Not enough Running
gliding, hiking, ice
skiing running and
skating, kayaking,
snowshoeing, strolling, swimming
swimming, wandering,
yoga
Yoga Cycling 1 CYCLE

2 NONE, RUN
3 WALK
What type of exercise

do you do?
Now
17
Bike Sony - At the time No one thing My

Walkman I didn’t care really comes professional
much about to mind equipment
stuff
Books My Mac G4 None My bike, my iMac G3 Camera

pictures and
one piece
of art
- VW Beetle My sketchbooks –
I was pretty poor
Family and one Books Walkman
external hard
1200cc and can’t remember
drive that had
owning anything
else of real value all the data in
my life
My Ricoh My - My Nikon My portable All my Apple products

and I am not ashamed
GR 35mm computer camera radio to admit it. I love my
iPad, iPhone, MacBook
camera Pro. I have had a Mac
since I was 13 years old
My latest My camera - My books My family, my

photos, my Mac
Comic
design and my first (sad but true), my books
ability to see things
project computer in a certain way collection
A German My work Computer Comic - A watch

Perzina piano + Sony collection
from the
1920s
camera
If family is a - - My 4ô5 My camera I had an original

copy of How to
possession, camera Have a Number
my family One the Easy Way
by the KLF
A toolbox with
instruments
Books Silkscreen My most expensive
asset at the time was a Sepak Self-restored
(Swann-Morton equipment Paul Smith suit –
takraw ball Vespa Tourist
actually, it was the first
scalpel, marble,
G3 PowerBook for 150 (1960)
roller, Caran… approx. £4,000
Not sure My comics 1 COMPUTER

2 CAMERA
collection 3 BOOKS
What was your most

valued possession?
Then
18
Family Camper - My young No one thing The studio in

van daughter really comes which I am
to mind a partner
Books My vinyl None My watch, my MacBook Computer

bike, my
collection pictures and Pro
one piece of art
- House, Hand-built Family and four

external hard drives
Books and MacBook
office Italian racing that sync twice a my works Pro (sad,
bicycle day automatically
and still contain all I know)
the data in my life
My Ricoh My health - My Leica My cheap Documenta 5 poster

by Ed Ruscha in 1972 –
GR Digital camera digital it’s my favourite piece
of graphic design. I love
II camera camera that he made type up
out of little ants
My children It’s not a ‘valued

possession’, but my
My kids (but – My books Same as A copy of
oh – I don’t Steal This Book
Finn and family is something then by Abbie
very important to possess
Nell me now, more than
them)
Hoffman
anything else
A Japanese My work My flat Book My art

Yamaha grand
-
piano from the collection collection
1990s
Family, books, Currently my new

shields, ceremonial sofa, otherwise a
- My notebooks My hands I have an original
May ’68 poster. It’s
outfits, bis poles painting by Peter from the past the one with the riot
from the Asmat McDonald and a years policeman holding
few books a baton…
The diamond Books My dad’s My most beautiful

Sepak Wedding
necklace from material thing is a
my husband watch 40-year-old Porsche takraw ball ring
Not sure My bike 1 BOOKS, FAMILY/CHILDREN

2 COMPUTER
3 CAMERA
What is your most

valued possession?
Now
19
4 7 8 5 6 5
6 8 5 8 3 8 (ô2)
6 7 8 7 6 7
6 6 5 6 6 6
6 6½ 6 6 6 7
6 4 7 10 7 5
6 7 4 5½ 6 4
10½ 5 7 6 7 6
YASMIN KHAN YVES FIDALGO AVERAGE /LONGEST/SHORTEST
6 4 A 6¼
L 10½
S 3
How many years

did you study?
Then
20
13 22 12 15 8 15
44 10 13 17 10 10 (ô2)
21 25 15 9 7 16
13 10 13 11 58 9
22 19 16 16 12 11
16 53 13 13 12 19
19 12 19 12 12 15
26 20 23 11 11 13
YASMIN KHAN YVES FIDALGO AVERAGE /LONGEST/SHORTEST
12 9 A 16¾
L 58
S 7
How many years have

you been working?
Now
21
ANDREAS GNASS (’98) ANDREW STEVENS (’94) ANNELYS DE VET (’95) ANTÓNIO S. GOMES (’95) BEN BRANAGAN (’97) BERND HILPERT (’96)
BRIAN WEBB (’68) CHRISTIAN HEUSSER (’99) DANIEL EATOCK (’98) DANIJELA DJOKIC (’98) EMMI SALONEN (’00) ÉRIC & MARIE GASPAR (’99)
FONS HICKMANN (’93) HANS D. REICHERT (’82) HOLGER JACOBS (’97) HOON KIM (’07) HYOUN YOUL JOE (’03) ISABELLE SWIDERSKI (’96)
JAMES GOGGIN (’97) JAN WILKER (’98) JULIE GAYARD (’95) KAI VON RABENAU (’98) KEN GARLAND (’53) KIRSTY CARTER (’93)
KRISTINE MATTHEWS (’96) LARS HARMSEN (’94) LAURENT LACOUR (’00) LIZA ENEBEIS (’96) LUCINDA NOBLE (’99) MAKI SUZUKI (’98)
MARC V. D. HEIJDE (’93) MARGARET CALVERT (’62) MARION FINK (’99) MARTIN LORENZ (’97) MATTHIAS GÖRLICH (’00) MICHAEL GEORGIOU (’84)
NIKKI GONNISSEN (’93) OLIVER KLIMPEL (’96) PAUL BARNES (’92) P. KRISHNAMURTHY (’98) RENATA GRAW (’08) RICHARD WALKER (’96)
SANDRA HOFFMANN (’90) SASCHA LOBE (’90) STEFAN SAGMEISTER (’84) SVEN VOELKER (’99) TIM BALAAM (’98) URS LEHNI (’99)
YASMIN KHAN (’04) YVES FIDALGO (’00)
Portrait
Then
22
ANDREAS GNASS (’09) ANDREW STEVENS (’10) ANNELYS DE VET (’10) ANTÓNIO S. GOMES (’10) BEN BRANAGAN (’10) BERND HILPERT (’10)
BRIAN WEBB (’09) CHRISTIAN HEUSSER (’10) DANIEL EATOCK (’10) DANIJELA DJOKIC (‘10) EMMI SALONEN (’10) ÉRIC & MARIE GASPAR (’10)
FONS HICKMANN (’10) HANS D. REICHERT (’10) HOLGER JACOBS (’10) HOON KIM (’11) HYOUN YOUL JOE (’10) ISABELLE SWIDERSKI (’10)
JAMES GOGGIN (’10) JAN WILKER (’10) JULIE GAYARD (’10) KAI VON RABENAU (’10) KEN GARLAND (’11) KIRSTY CARTER (’11)
KRISTINE MATTHEWS (’10) LARS HARMSEN (’11) LAURENT LACOUR (’10) LIZA ENEBEIS (’11) L. NEWTON-DUNN (’10) MAKI SUZUKI (’10)
MARC V. D. HEIJDE (’10) MARGARET CALVERT (’04) MARION FINK (’10) MARTIN LORENZ (’10) MATTHIAS GÖRLICH (’11) MICHAEL GEORGIOU (’10)
NIKKI GONNISSEN (’10) OLIVER KLIMPEL (’11) PAUL BARNES (’11) P. KRISHNAMURTHY (’10) RENATA GRAW (’11) RICHARD WALKER (’10)
S. HOFFMANN ROBBIANI (’10) SASCHA LOBE (’11) STEFAN SAGMEISTER (’10) SVEN VOELKER (’09) TIM BALAAM (’10) URS LEHNI (’10)
YASMIN KHAN (’10) YVES FIDALGO (’10)
Portrait
Now
23
PAGES 26–29 PAGES 30–33 PAGES 34–37 PAGES 38–41 PAGES 42–45 PAGES 46–49
Andreas Gnass Andrew Stevens Annelys de Vet António S. Gomes Ben Branagan Bernd Hilpert
Hochschule Royal College of Art Hogeschool Faculdade de Belas Kingston University ENSCI Les Ateliers
Darmstadt London voor de Kunsten Artes da London Paris
Germany United Kingdom Utrecht Universidade de United Kingdom France
The Netherlands Lisboa
Portugal
Brian Webb Christian Heusser Daniel Eatock Danijela Djokic Emmi Salonen Éric & Marie Gaspar
Canterbury Hochschule für Royal College of Art Hochschule für University of Central Saint
College of Art Gestaltung und London Gestaltung Brighton Martins College of
United Kingdom Kunst Basel United Kingdom Schwäbisch Gmünd United Kingdom Art & Design
Switzerland Germany London
United Kingdom
Fons Hickmann Hans Dieter Reichert Holger Jacobs Hoon Kim Hyoun Youl Joe Isabelle Swiderski
Fachhochschule Universität- Royal College of Art Rhode Island Dankook University Emily Carr Institute
Düsseldorf Gesamthochschule London School of Design Seoul of Art & Design
Germany Essen United Kingdom Providence South Korea Vancouver
Germany USA Canada
James Goggin Jan Wilker Julie Gayard Kai von Rabenau Ken Garland Kirsty Carter
Royal College of Art Staatliche Akademie Camberwell College Central Saint Central School of University of
London der Bildenen Künste of Arts Martins College of Arts & Crafts Brighton
United Kingdom Stuttgart London Art & Design London United Kingdom
Germany United Kingdom London United Kingdom
United Kingdom
Kristine Matthews Lars Harmsen Laurent Lacour Liza Enebeis Lucinda Noble Maki Suzuki
Royal College of Art Hochschule Hochschule für Royal College of Art Royal College of Art Royal College of Art
London Pforzheim Gestaltung London London London
United Kingdom Germany Offenbach am Main United Kingdom United Kingdom United Kingdom
Germany
Marc van der Heijde Margaret Calvert Marion Fink Martin Lorenz Matthias Görlich Michael Georgiou
Academy of Art and Chelsea Royal College of Art Hochschule Hochschule Vakalo College of
Design St. Joost College of Art London Darmstadt Darmstadt Art & Design
Breda London United Kingdom Germany Germany Athens
The Netherlands United Kingdom Greece
Nikki Gonnissen Oliver Klimpel Paul Barnes Prem Renata Graw Richard Walker
Hogeschool Hochschule University of Krishnamurthy University Camberwell
voor de Kunsten für Grafik und Reading Yale College of Illinois at College of Arts
Utrecht Buchkunst Leipzig United Kingdom New Haven Chicago London
The Netherlands Germany USA USA United Kingdom
Sandra Hoffmann Sascha Lobe Stefan Sagmeister Sven Voelker Tim Balaam Urs Lehni
Schule für Hochschule Universität für Hochschule Camberwell Hochschule
Gestaltung Pforzheim angewandte Kunst für Künste College of Arts Luzern
Basel Germany Wien Bremen London Switzerland
Switzerland Austria Germany United Kingdom
PAGES 218– 221 PAGES 222–225 PAGES 226–231
Yasmin Khan Yves Fidalgo Appendix 1 with additional

information on the
CalArts– California ECAL–Ecole education and further
Institute of the Arts cantonale d’art influences of the
Valencia de Lausanne 50 designers
USA Switzerland
Student work of 50
graphic designers
Projects Then
24
Andreas Gnass Andrew Stevens Annelys de Vet António S. Gomes Ben Branagan Bernd Hilpert
U9 visuelle Allianz Graphic Thought Brussels barbara says... London unit-design
Offenbach am Main Facility (GTF) Belgium Projecto Próprio United Kingdom Frankfurt am Main
Germany London Lisbon Germany
United Kingdom Portugal
Brian Webb Christian Heusser Daniel Eatock Danijela Djokic Emmi Salonen Éric & Marie Gaspar
Webb&Webb Equipo London Projekttriangle Studio Emmi ÉricandMarie
Design Basel United Kingdom Stuttgart London Paris
London Switzerland Germany United Kingdom France
United Kingdom
Fons Hickmann Hans Dieter Reichert Holger Jacobs Hoon Kim Hyoun Youl Joe Isabelle Swiderski
Fons Hickmann m23 HDR Visual Mind Design Why Not Smile Hey Joe Seven25
Berlin Communication London New York Seoul Vancouver
Germany East Malling United Kingdom USA South Korea Canada
United Kingdom
James Goggin Jan Wilker Julie Gayard Kai von Rabenau Ken Garland Kirsty Carter
Museum of karlssonwilker Jutojo mono.graphie London A Practice for
Contemporary Art New York Berlin Berlin United Kingdom Everyday Life
Chicago USA Germany Germany London
USA United Kingdom
Kristine Matthews Lars Harmsen Laurent Lacour Liza Enebeis Lucinda Maki Suzuki
Studio Matthews MAGMA Brand Hauser Lacour Studio Dumbar Newton-Dunn Åbäke
Seattle Design Frankfurt am Main Rotterdam space-to-think London
USA Karlsruhe Germany The Netherlands Los Angeles United Kingdom
Germany USA
Marc van der Heijde Margaret Calvert Marion Fink Martin Lorenz Matthias Görlich Michael Georgiou
Studio Dumbar London Basel TwoPoints.Net Studio Matthias G Design Studio
Rotterdam United Kingdom Switzerland Barcelona Görlich Athens
The Netherlands Spain Darmstadt Greece
Germany
Nikki Gonnissen Oliver Klimpel Paul Barnes Prem Renata Graw Richard Walker
Thonik Büro International London Krishnamurthy Plural KK Outlet/
Amsterdam London United Kingdom Project Projects Chicago Kesselskramer
The Netherlands United Kingdom New York USA London
USA United Kingdom
Sandra Hoffmann Sascha Lobe Stefan Sagmeister Sven Voelker Tim Balaam Urs Lehni
Robbiani L2M3 Sagmeister Inc. Sven Voelker Studio Hyperkit Lehni-Trüb,
Visual Studies Stuttgart New York Berlin London Rollo Press,
Berne Germany USA Germany United Kingdom Corner College
Switzerland Zürich
Switzerland
PAGES 218–221 PAGES 222–225 PAGES 226–231
Yasmin Khan Yves Fidalgo Appendix 1 with additional

information on the
Counterspace Fulguro work experience and
Los Angeles Lausanne further influences of
USA Switzerland the 50 designers
Professional work of 50
graphic designers
Projects Now
25
STUDENT YEARS GERMAN
4 Andreas Gnass
A PIECE OF SOUND ADVICE + A SINGLE WARNING TO A DESIGN STUDENT
Shout out loud when your idea

is good, shut up if not +
Don’t take yourself too
seriously
YEAR OF PROJECT WHY DO YOU LIKE THIS PROJECT?

1999 Because it was a jump in at
STUDENT PROJECT BRIEF
the deep end – I had no
Self-initiated diploma contacts and no ideas about
project to design a business. I like the self-made
fashion publication that aspects and that the project is
had nothing to do with taken beyond the pure design
fashion aspects. The project was
also the starting point of
COLLEGE the collaboration with Brita
Hochschule Darmstadt Wiesbach, which is still
(Germany) ongoing.
TUTOR(S) WHAT DO YOU DISLIKE ABOUT IT?
Prof. Sandra Hoffmann To have worked on the project
Robbiani (see also after our diploma. We only
pp. 194–197) managed a short comeback as
COLLABORATOR(S) a T-shirt warehouse called
Brita Wiesbach (design), ‘sheeg.com’.
Marijan Kojic (text) OUTCOMES
TECHNOLOGY Brief yourself!
Brain FEEDBACK The Hafen 2 project
TIME SPENT It worked – we got the industry developed in a similar
200 hours contacts and realized a nearly way. In the beginning,
‘real’ photoshoot and a printed the client had different
TYPEFACE ideas on how to
Monospace 821, supplement. PROJECT SIMILARITIES
THEN AND NOW establish a new urban
animated Helvetica Our goal was to make place with music/café/
a real-life project as art in Offenbach am
a diploma project, not Main (Germany). But
a fantasy project. there was no clear idea
A fashion magazine of where exactly the
in Darmstadt was a journey would lead.
really absurd idea in Like our diploma
the Darmstadt of 1999. project, the Hafen 2
The aesthetics grew was considered as
FAVOURITE FOOD THEN around the plan of temporary – based in
I didn’t have a connecting with fashion a harbour wasteland,
favourite food people but with nearly the buildings should
no budget to spend. have been demolished
YOUR MOST VALUED
POSSESSION THEN
So at the end there was within a few years.
Bike no style/look that we While searching and
liked because of its specifying its way of
beauty or coolness – being the design grew
it had one story, a basis and changed. It was
and was still fragile and distorted and rebuilt.
searching – not like For me it’s great to
a dogma. The sum of see design as a vivid
elements and media aspect, not as the
made the message. end of a road.
Project Then
26
PROFESSIONAL YEARS OFFENBACH AM MAIN, GERMANY
13 Andreas Gnass (U9 visuelle Allianz)
A VALUABLE QUALITY FOR A DESIGN STUDENT + A DESIGN PROFESSIONAL
Curiosity and a little bit of

modesty + Staying relaxed

2004–ongoing We support this cultural project
PROFESSIONAL PROJECT BRIEF
with special pricing, but have
Corporate identity for a lead position according to
Hafen 2, a non-profit every question of visual
association ‘suesswasser communication. I also like the
e.V. – Art and Culture fact that it is playful.
in Offenbach’s harbour’ OUTCOMES
plus a network of many Expand the briefing!
associated creative minds FEEDBACK
CLIENT The brand is well known and
Hafen 2, Offenbach am highly recognizable while
Main (Germany) being in constant flow.
COLLABORATOR(S)
Brita Wiesbach Gnass,
Sabrina Hahn,
Valerie Rapp
TECHNOLOGY
Brain
TIME SPENT
100 hours
TYPEFACE
OSK, Akzidenz Grotesk
DO YOU TEACH?
Typography – one year
in Darmstadt, three
years at the Free
University of Bolzano.
I stopped in 2010
because I was a little
bit bored of not having
enough time for
designing, and it
FAVOURITE FOOD NOW was a very long way
I still don’t have a to travel between
favourite food. I do like Bolzano (Italy) and
fish, different kinds of Offenbach (Germany).
pasta and good entrecôte IS IT POSSIBLE TO
and lamb, though TEACH DESIGN?
YOUR MOST VALUED

The main aspect in
POSSESSION NOW teaching design is to
Family sensitize the students
to ask the important
questions. The second
point is to give answers
to some basic questions.
That’s all.
Project Now
27
ANDREAS GNASS, 1999
ANDREAS GNASS, 2004–ONGOING U9 VISUELLE ALLIANZ
STUDENT YEARS BRITISH
7 Andrew Stevens
Learn the basics of good type, layout and

colour – it won’t make you a mundane
designer. It will give you a foundation and a
better chance to get a job + Don’t forget
there are students in other departments –
you may find yourself working with them
after college
YEAR OF PROJECT WHY DO YOU LIKE THIS PROJECT? FEEDBACK

1990 I grew up when photographers Some posters fell down during
like Paul Reas, Paul Graham the degree-show exhibition
Invite a speaker to college and Martin Parr were working, and the cleaners binned them,
and design a poster for it. photographing the dusty so I guess that’s a negative
I chose the photographer corners of places, rather than feedback. My peers liked it,
Paul Reas the Henri Cartier-Bresson although I don’t think it has
traditional black-and-white much commercial appeal.
COLLEGE approach to the world, and in
Royal College of Art, that work I could see a Britain
London (United Kingdom) that I recognized. This is
TUTOR(S) something I also try to do with
Margaret Calvert was my work, and that is very much
head of course then, present in this project:
Derek Birdsall was head observation, reference to the
the previous year, but vernacular. I also like the use
mostly I spoke with peers of the typeface Snell
on this project Roundhand – a very unrefined
TECHNOLOGY
vision of refinement.
Litho and silkscreen WHAT DO YOU DISLIKE ABOUT IT?
TIME SPENT
The overprinted typography
2–3 months should dominate more; it
should have been stronger.
TYPEFACE Also, I kept the box white so
Snell Roundhand that the images would read
(an unrefined vision better but that wasn’t
of refinement) necessary, and in retrospect
I see it was a compromise.
I should have left it brown, and
just printed onto it as it was.
FAVOURITE FOOD THEN

Rigatoni Siciliana
YOUR MOST VALUED
POSSESSION THEN
Sony Walkman
PROJECT SIMILARITIES
THEN AND NOW
Physicality, reference
to the vernacular,
mixing rawness with
graphic things.
Project Then
30
PROFESSIONAL YEARS LONDON, UNITED KINGDOM
22 Andrew Stevens (Graphic Thought Facility)
Energy + Clarity
YEAR OF PROJECT WHY DO YOU LIKE THIS PROJECT? clippings. I especially like
1999 It was the first time we were the presence of a News of
given the whole budget for the World clipping for the
Design the prospectus for design and production, and Vehicle Design spread
the Royal College of Art, could really consider a project (not sophisticated, but
working within an existing in its entirety. We were able to important) and the map of
budget and with the change the usual full-colour, the RCA building, essentially
different college coated-paper approach and a scan of the previous
departments instead print the job in a single year’s prospectus.
colour, but use the money WHAT DO YOU DISLIKE ABOUT IT?
CLIENT saved to print on good paper.
Royal College of Art, Nothing really.
Then, full colour came in at
London (United Kingdom) the start of the prospectus, OUTCOMES
COLLABORATOR(S) for the illustrations of Kam We were asked to do

GTF members + Tang, a visual journey of the the prospectus for the
illustrator Kam Tang MA course. I especially like following year.
TECHNOLOGY
the treatment of the imagery FEEDBACK
Offset for each department, as this Good, as we were also asked

can be very tricky when dealing to do it for the following year.
TIME SPENT with different departments I don’t know if it increased or
At least 6 months from within the college with decreased application
TYPEFACE different ideas about the numbers, though.
Futura Bold and a type of images required.
monospace font Instead, we proposed to scan
(I think Souvenir) the college’s press clippings
(of which the RCA has a rich
archive). This was more
relevant as it showed the
scope of the work, but crucially
tied the whole prospectus
together graphically, as every
department was described DO YOU TEACH?
through photocopied press I have been external
examiner at Chelsea
College of Art and
Design, London (UK).
FAVOURITE FOOD NOW More recently at the
Home-cooked peasant National College of Art
food (pasta, rice) and Design (NCAD)
in Dublin (Ireland).
YOUR MOST VALUED
POSSESSION NOW IS IT POSSIBLE TO
Camper van TEACH DESIGN?
It’s not possible to
teach a sensibility,
but by encompassing
creativity, resource-
fulness and originality
you can create the
framework for some-
one to develop.
Project Now
31
ANDREW STEVENS, 1990
ANDREW STEVENS, 1999 GRAPHIC THOUGHT FACILITY
STUDENT YEARS DUTCH
8 Annelys de Vet
Use your own vision and

mentality in order to form
design decisions +
Don’t believe your professor

1995 The image is about pop culture
and the representation of sex.
Make different sequences It’s a still of Madonna’s ‘Like a
within the theme of Virgin’ video clip that has been
‘climax’. I chose to focus repeated only by zooming in.
on the concept of Nothing changes, but the
‘orgasm’. repetition makes the story.
The other image is a remake
COLLEGE with a remake. A sex doll is
Hogeschool voor de photographed from the same
Kunsten (HKU), Utrecht perspective as Madonna in
(The Netherlands) her clip, and that image is
TUTOR(S) screenprinted on tiles, referring
Paul Gofferjé to traditional ‘Delftsblauwe’
TIME SPENT
tiles. Again, the repetition
3 months changes the representation
and makes the vulgar images
safe and normal.
FEEDBACK
Invitation to exhibit it at two
external places.
FAVOURITE FOOD THEN

-
YOUR MOST VALUED
POSSESSION THEN
-
THEN AND NOW
The quality of repetition,
the strength of patterns.
Project Then
34
PROFESSIONAL YEARS BRUSSELS, BELGIUM
12 Annelys de Vet
Same for both: Use your own

vision and mentality in order to
form design decisions

2011 This is a set of 12 tea towels The local people appreciate
that together create a calendar the project a lot; much more
Develop a calendar for a of the Dutch village than they realized before it was
new area in the Dutch Puttershoek. Each towel finished – they never could
village Puttershoek. I represents a local theme or imagine what the full project
designed 12 tea towels, story that is specific for the actually meant. There is also a
one for each month, with month. So in September it website, big monthly banners
regional lists of words that shows the types of apples and in the quarter, a publication for
express the cultural or potatoes that are being picked all new citizens and a website,
botanical characteristics in that month; in October it www.kalenderputtershoek.nl.
of the village. The tea shows the process of making The locals were proud and
towels were produced by sugar in approximately 30 excited that ‘their’ story was
the Textile Museum in words because the village is woven in the towels. At the
Tilburg. famous for its sugar factory. same time, people who are not
The calendar as a whole connected to the village
CLIENT puts the normal at the centre appreciate the set of towels
Binnenmaas (village) and shows how special and for the design and the
& SKOR characteristic that is. The particular stories. I’ve sold
TIME SPENT graphic design is based on more towels to outsiders than
3 years old Dutch tea towels. to insiders. The project was
TYPEFACE
shortlisted for the Dutch
Ceacilia by Design Awards.
Matthias Noordzij
DO YOU TEACH?
FAVOURITE FOOD NOW
- Previously: Design
Academy Eindhoven
YOUR MOST VALUED
(The Netherlands),
POSSESSION NOW
Communication
-
Department
Currently: Head of
Design Department,
Sandberg Instituut
Amsterdam
(The Netherlands).
IS IT POSSIBLE TO
TEACH DESIGN?
Yes.
Project Now
35
ANNELYS DE VET, 1995
ANNELYS DE VET, 2011
STUDENT YEARS PORTUGUESE /SOUTH AFRICAN
5 António Silveira Gomes
Design affects the way we perceive

information. Students must understand
the consequences of their work before
placing a new artefact into the world +
I would like to quote Cedric Price:
‘Technology is the answer, but what
was the question?’
YEAR OF PROJECT TIME SPENT the film involved walking over

1995 1 month it, shooting one continuous
STUDENT PROJECT BRIEF TYPEFACE
take, and dubbing live music
To make a short Letraset, hand-lettering from tapes and doing sound
documentary film to (mostly scrawl), system effects like a bad Kung Fu
be presented in a class font (probably Arial) movie. We had to shoot the
critique simulating a film more than once to get it
WHY DO YOU LIKE THIS PROJECT? right, so in a way it was like
festival ambience, for Our response to the brief
which we also had to choreography. It was a
was inadvertently closer to the physically tiring project and we PROJECT SIMILARITIES
design a poster and mockumentary form, which THEN AND NOW
a booklet felt a certain satisfaction when
made the whole experience we managed to get it right. The contexts were very
COLLEGE more interesting as a learning Making the scenery – a 4ú2- different, but there were
Faculdade de Belas device – playing with narrative metre illustrated chart – and nonetheless natural
Artes da Universidade de to reach a critical understanding similarities between
then walking all over it as
Lisboa, Lisbon (Portugal) of an artist’s work, in this the projects. The student
we filmed also put us in a
case, that of the artist Bob project is about a body
TUTOR(S) destructive relationship with
Flanagan. of work that spreads
Aurelindo Ceia our own work, echoing
over 20 years of
WHAT DO YOU DISLIKE ABOUT IT? Flanagan’s sadomasochism.
COLLABORATOR(S) suffering; the
José Albergaria (co- Nothing. We never had any particular professional one is a
author) Pedro Correia OUTCOMES
fondness for Flanagan’s moment in time where
(voice dubbing and The storyline for the film was performance work, yet as we two communities
translations) a fake (five-minute) biopic delved deeper into his writings mingle and celebrate
constructed around the artist we encountered an incredible over a thousand years
TITLE OF PROJECT consistency in his thought.
and poet Bob Flanagan in an of difference. Both
b.b.w: The Life and Times
attempt to understand the FEEDBACK challenge us as
of Bill Burst Williams
relationship between his art There were some negative designers to represent
TECHNOLOGY and the excruciating pain he responses, given the brutality problems of identity:
Hi8 amateur camcorder, felt during his performances. of Flanagan’s work. Still, the an artist with a chronic
Polaroid Sx70 film, We first traced his identity film was later chosen for an disease and the identity
Letraset, photocopied (under a fictitious name) and experimental video festival and he constructs through
images, Rotring artpen, then cross-examined his work it now belongs to the Lisbon his work; the autonomy
Indian ink, Tipp-Ex, sticky through the eyes of four Municipal Videotheque of a Gypsy community
tape, watercolours, stereotypical art-scene archives. We never got to that bought land in a
paintbrushes, a PC and characters. Due to technical send the film to Bob Flanagan European country and
an overused Epson jet restrictions, the film was shot because he passed away began to settle. Each
printer, scenery paper soon after, in 1996. problem is addressed
in one take. We designed a
and glue. in both projects through
huge map/collage to be the
a mapping device:
main scenery and making
a family tree, a street
map or an imaginary
cartography functions
FAVOURITE FOOD THEN as scenery. And both
Pasta fredda projects were made
YOUR MOST VALUED with minimal costs in
POSSESSION THEN resources such as fonts
At the time I didn’t care and paper output.
much about stuff In the case of the
Baralha project, we
worked not-for-profit.
Project Then
38
PROFESSIONAL YEARS LISBON, PORTUGAL
15 António Silveira Gomes

(barbara says… Projecto Próprio)
To approach any exercise with a serious

attitude even in the simulated scenarios
that are common in design schools +
To be able to listen even if you feel you
know what a client is about to say
YEAR OF PROJECT WHY DO YOU LIKE THIS PROJECT? OUTCOMES

2010 The fact that the book The performance comprised
embodied a powerful visual a series of documentary videos
To design a book, map, statement for the identity of and live shows with actors,
website and signage for this particular Gypsy family: musicians and choreographers.
a street performance their need for territorial These were made within the
festival that took place autonomy as a sedentary gypsy dwellings and in the
within a Gypsy family group, going against their surrounding woods. Some
commune natural nomadic heritage. were the result of workshops
We as Europeans become with the community and others
CLIENT more nomadic as the Gypsy were interviews. I visited the
Marco Martins community becomes camp before our work on the
(film director and DO YOU TEACH?
sedentary. We designed book started and quickly Currently guest lecturer
scenographer) a tree showing the 70 family realized that the context wasn’t at the Universidade de
COLLABORATOR(S) members and shaped it to about performance but about Coimbra – Faculty of
Claudia Castelo (art resemble the official flag of understanding and interacting Computer Sciences
direction and production) this ethnic Gypsy group. with an incredibly autonomous (Portugal). Lecturing
Alexandre Castro (web WHAT DO YOU DISLIKE ABOUT IT?
culture. The project opened Design III (studio
and graphic design), A few insignificant technical my mind towards the complex practice).
Patrícia Maya (graphic details in the binding and issues regarding Gypsy
IS IT POSSIBLE TO
design), Maiadouro layout. integration in Portugal, to their TEACH DESIGN?
(printing) semantic and cultural codes Yes. I am a teacher.
TITLE OF PROJECT
(the Portuguese word for As a design student,
Baralha ‘gypsy’ is quite demeaning) I learned how to
and their social organization appreciate design
TECHNOLOGY as a tribe. thinking as an
2 iMacs, laser printer,
FEEDBACK autonomous discipline,
desktop publishing
Most responses to defend my work
software: CS3, reasonably and
Fontographer, Google were positive.
respectfully, accepting
Earth an honest critique from
TIME SPENT my tutors, distinguishing
3 months between good and
TYPEFACE
bad ideas, working on
developing an idea
Gentium + 2 custom fonts
through creative
(Cristiana, Deus Viveaqi),
speculation, working
hand-lettering sampled
and sharing ideas
from the walls of the
collaboratively. I also
Gypsy dwellings
mastered drawing (even
though I don’t practise
it much). Apart from
FAVOURITE FOOD NOW this, a copious amount
Spaghetti alle vongole of theory solidified my
YOUR MOST VALUED understanding of
POSSESSION NOW philosophy and history.
My young daughter Nevertheless, I still feel
I should have learned
more practical skills
in school.
Project Now
39
ANTÓNIO SILVEIRA GOMES, 1995
ANTÓNIO SILVEIRA GOMES, 2010 BARBARA SAYS… PROJECTO PRÓPRIO
6 Ben Branagan
Enjoy yourself +
Don’t do what you
think your tutor
wants to see

1997 This is one of the first pieces
of graphic design I made as
Produce a typographic a student – I was doing my
poster using one of a foundation at the time. It has
selection of poems a loose and casual feel, largely
inspired by not knowing what
COLLEGE I was doing, which I like a lot.
Kingston University, I had a lot of fun in the print
London (United Kingdom) workshop making the
TUTOR(S) backgrounds – I still like PROJECT SIMILARITIES
experimenting with different THEN AND NOW
Chris Draper
materials and processes in There are lots of
TECHNOLOGY similarities between
Letterpress proofing both my professional and
personal work today. the two – a limited
printer, photocopier, Mac colour palette, use of
WHAT DO YOU DISLIKE ABOUT IT? overprinting and
TIME SPENT
1 day The way the typography reads processes – these are
across the page needs a lot of things that crop up
TYPEFACE work, and I am not keen on quite a lot in my work.
Impact Impact as a font. Despite this visual
overlap they are, for
me, emblematic of two
different areas of my
practice as a designer.
The one from my
student days is more
indicative of personal
motivations and
interests in my work
that extend beyond a
professional context;
an outlook on design
and communication
that really began
during my time at art
school. The later one is
FAVOURITE FOOD THEN typical of lots of the
Bacon sandwich work I have done while
YOUR MOST VALUED running a small, one-
POSSESSION THEN man studio; it’s not one
No one thing really of the big or more
comes to mind involving projects that
I would naturally refer
back to when thinking
about my work. It’s a
smaller, more everyday
project that, while much
more practical than the
first, shares a common
outlook.
Project Then
42
8 Ben Branagan
Openness +
Resilience
YEAR OF PROJECT WHY DO YOU LIKE THIS PROJECT? WHAT DO YOU DISLIKE ABOUT IT?
2010 This was a small project I The intention for the project
undertook alongside some was to produce a template or
Design of template and teaching I was doing on the system that would allow
initial poster for a series design communication course posters to be produced at
of talks organized by the at Epsom. I originally suggested short notice for upcoming
Graphic Design a different solution for the talks. Exploiting the positioning
Department at Epsom posters, which at the time I felt and the colour of the
University was far more interesting and overprinted section would give
exciting graphically. However, each poster an individual
CLIENT for one reason or another that quality while creating a set of
UCA Epsom Graphic one didn’t make it and this posters that worked as a
Design Department solution emerged in a kind of family. Due to complications,
TECHNOLOGY ad-hoc manner after further the subsequent series never
Mac, offset litho discussions with staff at the happened, so I was left with
TIME SPENT
college. I like solutions that a single poster rather than the
2 days emerge in this organic way. multiple configurations and
Looking back at it now, I think versions I had in mind when
TYPEFACE it works a lot better than the designing it.
Franklin Gothic original proposal I submitted.
As a simple typographic piece,
it’s something I am very DO YOU TEACH?
pleased with. Design Communication,
Bachelor & Master of
Arts, Chelsea College
of Art & Design (UK);
Graphic Design
Bachelor of Arts, UCA
Epsom (UK).
IS IT POSSIBLE TO
TEACH DESIGN?
You can teach design,
certainly the technical
aspects; the creative
side of it is harder.
I learned a lot at college,
FAVOURITE FOOD NOW but I have also learned
Rendang a lot since – I don’t see
YOUR MOST VALUED them as two really
POSSESSION NOW distinct periods but
No one thing really part of the same
comes to mind development. The most
important thing to take
from college is an
understanding of your
own practice, under-
standing the type of
work you want to be
involved in and how you
will approach it.
Project Now
43
BEN BRANAGAN, 1997
BEN BRANAGAN, 2010
5 Bernd Hilpert
Be sure that your work is

relevant + Never think you
are the benchmark of the
things you do

1996 The most important part of the
project was to look into a
We often had very open subject: to reflect the
briefs that dealt with background, to discuss the
essential questions of statement, to answer the
our daily life – tools or question. During my student
spaces. The brief for time, we were pushed to open
this project was ‘thinking our minds and to look for
about the future way of solutions that were not
housing and living’. obvious. Today this is still the
basis of my work.
COLLEGE
WHAT DO YOU DISLIKE ABOUT IT?
ENSCI Les Ateliers,
Paris (France) Nothing. But the result depends
on the time of its origin. It
TUTOR(S) reflects your personal back-
Prof. Marc Bertier ground and experience, but is
COLLABORATOR(S) also influenced by trends and
The student team and the general spirit of the time.
my professor (see above) OUTCOMES
TECHNOLOGY A new level of experience.
The most important tool Each project is a step forwards
was my fineliner (today regardless of whether you
the Penxacta). Besides think that the result is OK.
that, it was the Mac with FEEDBACK
its software (Mac LC III) The students’ work was shown
TIME SPENT on several occasions, but only
6 months, as one of two in the context of the college.
projects (and without
really finishing it)
FAVOURITE FOOD THEN

Kellogg’s Smacks
YOUR MOST VALUED
POSSESSION THEN
My professional
equipment
THEN AND NOW
Apart from an approach
that was similar, both
projects deal with
space, perception and
context.
Project Then
46
PROFESSIONAL YEARS FRANKFURT AM MAIN, GERMANY
15 Bernd Hilpert (unit-design)
To have your own idea +

To have your own idea and
to be able to realize it
YEAR OF PROJECT TECHNOLOGY WHY DO YOU LIKE THIS PROJECT?

2009 The most important tool is my For this project, the main
Penxacta. Besides that, it is question was to find a design
Design of a visitor the Mac with its software expression that suits the
information system for a (Powerbook G4). Interestingly, sensitive and serious context
Nazi concentration camp. I still use software I learned of the site. To bring together all
to use during my time as a dimensions of design to a well-
CLIENT student – with the old serial balanced and appropriate
Mahn- und Gedenkstätte version. setting; the product and its
Ravensbrück (The making, the positioning, colour,
TIME SPENT
Ravensbrück National surface, type and the graphic
Memorial) 6 months; as one of
15 projects layout.
COLLABORATOR(S) WHAT DO YOU DISLIKE ABOUT IT?
TYPEFACE
The team in the studio See answer opposite (then).
and the project partners, FF Unit
OUTCOMES
the client and the architect
(Wolfgang Lorch + Niko See answer opposite (then).
Hirsch), other specialized FEEDBACK
designers and – not to Besides the feedback within
forget – the people who the team, from colleagues or
did the production. in the specialized press,
The idea of co-operation I know that each day there is
is essential to my work somebody using or reflecting
as a designer. the design products I realized
(without getting the reaction
of the recipients in most
cases…).
FAVOURITE FOOD NOW

Good restaurant food
(typical local kitchen –
all over the world)
DO YOU TEACH?
YOUR MOST VALUED
POSSESSION NOW
No.
The studio in which IS IT POSSIBLE TO
I am a partner TEACH DESIGN?
Yes, it’s possible and
necessary. The designer
has to be formed on
different levels:
personally, technically
and culturally.
Project Now
47
BERND HILPERT, 1996
BERND HILPERT, 2009 UNIT-DESIGN
6 Brian Webb
Don’t ever apologize

for a job + If you’re not
enjoying it, don’t do it
YEAR OF PROJECT WHY DO YOU LIKE THIS PROJECT? A friend at college had an old
1966 My student piece isn’t one of portable TV. There was a
the best things I did at college, lunchtime news programme;
Design a poster for a but it is memorable for several I wanted a face and Harold
lecture reasons. It was designed in Wilson (the prime minister at
1966. It’s a poster for a lecture the time) appeared on the
COLLEGE by Arnold Schwartzman, who screen and I took two quick
Canterbury College had been at college a few years shots. The negatives were very
of Art (United Kingdom) before me. He was working at thin when I processed them,
TUTOR(S) ATV television at the time and but enough to get an image –
Stanley Hickson, went on to win an Oscar for his now I could do it easily on a
Head of College Los Angeles Olympics film. computer. As I looked at it,
TECHNOLOGY
The reason it’s memorable for I thought the prime minister
5ô4 negative and me is that it was about that should be announcing the
photographic print, time I discovered ideas rather lecture in a TV-screen-shaped
Letraset type than decorating the surface. speech bubble. In close up the
The lecture was going to be image was pretty crude. I had
TIME SPENT on TV graphics. I thought if thought of putting the type
2 weeks thinking, I photographed a TV screen between the lines. As a large
2 days doing (ideally with an image of poster you could read the face;
TYPEFACE Schwartzman on it), enlarged close up you could read the
Cooper Black Italic it to poster size and called it type, and the image at 425
Between the Lines, that it lines per inch became a
would make an interesting pattern. I began to like design
poster. First problem: I didn’t with several layers of meaning.
own a TV set. The photo- OUTCOMES
graphing of TV screens was Design is more than surface
hit and miss with a 5ô4 plate decoration.
camera and I only had a
couple of sheets of film. FEEDBACK
Arnold liked it.
ANYTHING ELSE
Most of the projects I did
at college were typeset and
printed letterpress.
FAVOURITE FOOD THEN

Chinese
YOUR MOST VALUED
POSSESSION THEN
Books PROJECT SIMILARITIES
THEN AND NOW
An idea doesn’t have to
be instant; it can sneak
up and tap you on the
shoulder.
Project Then
50
44 Brian Webb (Webb& Webb Design)
Insatiable curiosity +
See above plus a bit of
diplomacy

2009 As then (see answer opposite)
– using type elements to add
Design a piece to a layer of meaning.
illustrate a lost or OUTCOMES
forgotten word Using letterpress to solve
CLIENT
a plegnic (adjective: acting
The Art of Lost Words by a blow, striking like a
(The National Literacy hammer) process.
Trust) FEEDBACK
TECHNOLOGY
A couple of magazines
Letterpress/inkjet reproduced it.
ANYTHING ELSE
TIME SPENT
2 weeks thinking, After 30 years of using
2 days doing computer type, I now use
letterpress and computers.
TYPEFACE
Wood Letter Grotesque,
Gill Sans Bold
DO YOU TEACH?
Visiting Professor at
University of the Arts
London (UK), Honorary
Fellow at University
College of the Creative
FAVOURITE FOOD NOW Arts London (UK) and
Japanese lectures, assessing, etc.
YOUR MOST VALUED IS IT POSSIBLE TO
POSSESSION NOW TEACH DESIGN?
Books Yes, if you’re lucky. It
took me five years to
meet a tutor (Edward
Hughes) who talked
about ideas and
problem analysis.
Project Now
51
BRIAN WEBB, 1966
BRIAN WEBB, 2009 WEBB & WEBB DESIGN
STUDENT YEARS SWISS
8 Christian Heusser
Try as many disciplines as the

school offers, especially those
that do not seem to fit your
tastes at first glance, and
be bold + The first idea isn’t
always the best one

1999 It was my first poster.
I like the size of it.
To translate an object of WHAT DO YOU DISLIKE ABOUT IT?
choice only in black and The influence of the school is
white. After that, design too visible. Nowadays I would
an F4 poster for the certainly design it differently.
chosen object on a freely OUTCOMES
chosen topic. The most important thing
COLLEGE was to learn that the sketches
Hochschule für had to match the end result
Gestaltung und Kunst in size in order to get a feeling
Basel (Switzerland) for the proportions.
TUTOR(S) FEEDBACK
Michael Renner At the time, a fellow student
TECHNOLOGY
asked me if I had won a
At first drawing by hand, contest with that poster.
then using Illustrator I had to admit that I hadn’t
sent it in.
TIME SPENT
2 days a week over one
semester
TYPEFACE
Frutiger
FAVOURITE FOOD THEN

Pasta pesto
YOUR MOST VALUED
POSSESSION THEN PROJECT SIMILARITIES
My Mac G4 THEN AND NOW
Both posters deal
with contemporary
expressions of art,
music and dance.
The way the type has
been used is similar.
The main message
is big and not set
horizontally.
Project Then
54
PROFESSIONAL YEARS BASEL, SWITZERLAND
10 Christian Heusser (Equipo)
The drive to explore and solve

problems – to want to discover
something new + The ability to
throw a good idea overboard
and start afresh, even when
pressed for time

2010 The colours, the silence and
the space.
Design the visual concept WHAT DO YOU DISLIKE ABOUT IT?
for the Contemporary Unfortunately, the picture does
Dance Festival in not capture the essence of the
Neuchâtel. Elaborate a movement of the dancers.
low-cost concept, OUTCOMES
adaptable to several Working with a client you get
formats, in this case F4. along with – amusing,
CLIENT entertaining – is sometimes
ADN Neuchâtel worth more than making lots
COLLABORATOR(S)
of money.
I discussed the sketches FEEDBACK
with my partners at The client still likes it.
Equipo (Roman Schnyder
and Dirk Koy).
Photography: Anja
Fonseka.
TECHNOLOGY
Photography, Photoshop,
Illustrator, InDesign
TIME SPENT
3 days
TYPEFACE
DIN
DO YOU TEACH?
Hochschule für
Gestaltung und Kunst
Basel, Hochschule für
Technik Rapperswil,
Universität Basel
(both Switzerland):
FAVOURITE FOOD NOW a seminar in visual
Anything that has been communication in the
prepared in the oven degree programme of
Human Computer
YOUR MOST VALUED
POSSESSION NOW
Interaction Design.
My vinyl collection IS IT POSSIBLE TO
TEACH DESIGN?
I believe it is possible to
sensitize students to
topics such as type,
form, space, images, etc.
Then they’ll need some
time to ‘exercise’
designing.
Project Now
55
CHRISTIAN HEUSSER, 1999
CHRISTIAN HEUSSER, 2010 EQUIPO
5 Daniel Eatock
Explore, invent +
Scalpels are very sharp

1998 Sculpture as a punchline.
STUDENT PROJECT BRIEF OUTCOMES
Self-initiated Life affirmation.
COLLEGE FEEDBACK
Royal College of Art, Smile.
London (United Kingdom)
TUTOR(S)
No tutor
TECHNOLOGY
Brain & hands
TIME SPENT
5 minutes
FAVOURITE FOOD THEN

Fruit
YOUR MOST VALUED
POSSESSION NOW
None
THEN AND NOW
Both responses
to givens.
Project Then
58
13 Daniel Eatock
For both: curiosity
YEAR OF PROJECT WHY DO YOU LIKE THIS PROJECT

2010 Sculpture as a punchline.
PROFESSIONAL PROJECT BRIEF OUTCOMES
Self-initiated Life affirmation.
CLIENT FEEDBACK
Made for Book Show at Smile.
Eastside Projects
TECHNOLOGY
Brain & hands
TIME SPENT
5 hours
FAVOURITE FOOD NOW

Fruit
YOUR MOST VALUED
POSSESSION NOW
None
DO YOU TEACH?
Yes, at many places.
IS IT POSSIBLE TO
TEACH DESIGN?
50% possible.
Project Now
59
DANIEL EATOCK, 1998
DANIEL EATOCK, 2010
STUDENT YEARS ORIGINALLY YUGOSLAVIAN, GERMAN FOR 11 YEARS
8 Danijela Djokic
Do everything with passion +

Don’t be lazy

1998 The simplexity: the simplicity
of the visualization and the
Design a new information complexity of the information;
system the design, that I made it alone,
that there are no unexplained
COLLEGE questions.
Hochschule für
Gestaltung Schwäbisch
Gmünd (Germany) Nothing.
OUTCOMES
TUTOR(S)
Prof. Frank Zebner I discovered my profession.
FEEDBACK
TECHNOLOGY
Director Diploma grade 1,0.
TIME SPENT
4 months
TYPEFACE
Arial
FAVOURITE FOOD THEN

Fast food PROJECT SIMILARITIES
THEN AND NOW
YOUR MOST VALUED
POSSESSION THEN
The challenge to present
My bike, my pictures and highly complex themes
one piece of art simply, in terms of
visualization and
content; to maintain a
subtly playful approach;
to make the information
architecture clear.
The enthusiasm the
applications evoke
in the user.
Project Then
62
PROFESSIONAL YEARS STUTTGART, GERMANY
17 Danijela Djokic (Projekttriangle)
Ambition and passion +

See above and business sense

2010 The fun in using it, the easy
way of explaining complex
Design a multi-touch table data, the collaboration between
with 5 applications designer, programmer, sound
designer, conceptual designer,
CLIENT client, etc.
Milla & Partner GmbH and
WHAT DO YOU DISLIKE ABOUT IT
E.ON Kraftwerke GmbH
The colour, but it is the
COLLABORATOR(S) brand colour…
Freelancer: Florian
OUTCOMES
Streckenbach
I learned new skills.
TECHNOLOGY
FEEDBACK
Flash
Red Dot Award ‘Best of the
TIME SPENT Best’ 2010, iF Award 2011,
4 months Designpreis Deutschland
TYPEFACE 2012 nomination.
Polo
DO YOU TEACH?
Yes, at Fachhochschule
Potsdam (Germany),
FAVOURITE FOOD NOW Interface Design,
Slow food Information Architecture
and Visualization.
YOUR MOST VALUED
POSSESSION NOW IS IT POSSIBLE TO
My watch, my bike, TEACH DESIGN?
my pictures and The basis of all is to
one piece of art learn the basics. This is
what you can teach.
To get another point of
view is what students
can learn. But creativity
and an aesthetic feeling
is something you
can’t learn.
Project Now
63
DANIJELA DJOKIC, 1998
DANIJELA DJOKIC, 2010 PROJEKTTRIANGLE
STUDENT YEARS FINNISH
3 Emmi Salonen
Avoid automatically applying your

‘style’ to a project – let each
assignment influence you, your
approach and the way you work +
Be nice to people, be respectful

2000 I like the simplicity of the
outcome. It also talks about
Editorial design: design the same issue that is at the
a front cover for Baseline core of my practice over a
magazine, for a feature decade later: environment and
on a chosen subject. sustainability.
Mine was excessive WHAT DO YOU DISLIKE ABOUT IT?
packaging. I don’t like the lack of attention
COLLEGE
to detail on the student work.
University of But I suppose I didn’t know
Brighton (United what to look for. Now I would
Kingdom) remake the label and shoot the
image, not scan it and do the
TUTOR(S) work in Photoshop.
Lawrence Zeegen
OUTCOMES
TECHNOLOGY I learned something.
QuarkXPress
FEEDBACK
I can’t remember.
THEN AND NOW
I like that both of
FAVOURITE FOOD THEN the designs have an
Vegetarian idea behind them,
a reasoning. Both
YOUR MOST VALUED
POSSESSION THEN
editorial design briefs,
iMac G3 that required a captive
cover design. Neither
has decorative trims
added to the final
layout, playing with
core elements and
simplicity. Both deal
with environmental
and sustainability
issues.
Project Then
66
10 Emmi Salonen (Studio Emmi)
For both: listening and

a willingness to learn

2008 Because it is an example of
current work that I like style-
Year Book conveying wise, and it’s designed with
information about the past the environment in mind;
and future of the Finnish printed with vegetable-based
Institute in London (United inks on recycled stock, with
Kingdom) minimum print. In fact, there
is no print at all on the cover.
CLIENT
OUTCOMES
The Finnish Institute
in London (United I learned something and
Kingdom) got paid.
FEEDBACK
TECHNOLOGY
InDesign People seem to like the
simplicity of the solution.
DO YOU TEACH?
Yes. I lecture in graphic
design at various
universities, including
Nottingham Trent,
Ravensbourne and
FAVOURITE FOOD NOW Brighton (all UK).
Vegetarian IS IT POSSIBLE TO
YOUR MOST VALUED TEACH DESIGN?
POSSESSION NOW Of course you can teach
MacBook Pro design. It helps if one
wants to learn it. There
is no real right or wrong
way of designing,
but you can help with
pointing out what to
look for as a tutor, in
order to make things
look good or look a
certain way.
Project Now
67
EMMI SALONEN, 2000
EMMI SALONEN, 2008 STUDIO EMMI
STUDENT YEARS FRENCH
8 (ô2) Éric & Marie Gaspar
Try all the techniques you can

while you are at college; try not to
be afraid of design solutions that
look bizarre and weird and don’t
match the surrounding visual
landscape + Don’t forget humour
and fantasy in your work

1999 We like the way the objects,
printed scale 1, are very simply
To design the degree displayed on the page. Objects
show catalogue of are juxtaposed without any
the graphic design commentary. The viewer is
department engaged to think his own
narration.
COLLEGE
Central Saint Martins
College of Art & Design, The cover of the inside
London (United Kingdom) brochure is weak.
OUTCOMES
TUTOR(S)
Geoff Fowle It was basically our first printed
project, so we learned a lot
COLLABORATOR(S) while conceiving it. It
Holly Mackenzie and eventually figured in the
Tomako Takasu for D&AD annual the year after.
the photographs
FEEDBACK
TECHNOLOGY ‘We don’t see the work of the
Offset printing and students so this catalogue is
die-cutting useless.’
TIME SPENT
5 months
TYPEFACE
Officina
THEN AND NOW
FAVOURITE FOOD THEN On both projects,
Cadbury’s objects are displayed
YOUR MOST VALUED on the pages in a very
POSSESSION THEN simple way. Texts
Camera concerning those
pictures are placed
at the end of the
publications to allow
pictures a wider life.
The chronology of
the work of the
Bouroullecs is erased,
the property of the
students’ objects also.
Project Then
70
PROFESSIONAL YEARS PARIS, FRANCE
10 (ô2) Éric & Marie Gaspar (ÉricandMarie)
Openness – students shouldn’t

wear the graphic designer jacket +
Punctuality, reliability

2008 Similarly (see answer
opposite – then), we like the
To design a catalogue dialogue we built between
for an exhibition about drawings and photographs.
two designers WHAT DO YOU DISLIKE ABOUT IT?
CLIENT
The photoengraving is
Ronan& Erwan not optimal.
Bouroullec OUTCOMES
COLLABORATOR(S)
We got a better comprehension
Ronan& Erwan of the two designers.
Bouroullec FEEDBACK
TECHNOLOGY
‘What have you done for this
Offset printing project, really?’
TIME SPENT
3 months
TYPEFACE
Century Schoolbook,
Monotype Grotesk
DO YOU TEACH?
No.
IS IT POSSIBLE TO
TEACH DESIGN?
FAVOURITE FOOD NOW The best tutors we had
Le pot-au-feu in the two colleges we
YOUR MOST VALUED attended were not
POSSESSION NOW practitioners. What they
Computer taught was about ideas
and concepts. They told
us how to re-question
a brief and how to
structure an idea. If we
had to teach, we would
follow this. How a
project finally looks is
the student’s concern,
not really the tutor’s.
Project Now
71
ÉRIC & MARIE GASPAR, 1999
ÉRIC & MARIE GASPAR, 2008 ÉRICANDMARIE
6 Fons Hickmann
Be curious + Be afraid but

go for it nonetheless

1993 Because of its complexity.
STUDENT PROJECT BRIEF WHAT DO YOU DISLIKE ABOUT IT?
Create a poster on the The bad printing. We didn’t
theme of ‘ideology and have enough money and had
planning concepts to squeegee it ourselves.
before and after 1945’ OUTCOMES
COLLEGE A poster.
Fachhochschule FEEDBACK
Düsseldorf (Germany) Uwe Loesch said,
TUTOR(S) ‘Ah, you did that!’
Can’t remember ANYTHING ELSE
COLLABORATOR(S) I am using the question to
Oliver Iserloh, say that nuclear energy isn’t
Stefan Nowak a good idea.
TECHNOLOGY
Screenprinting
TIME SPENT
4 weeks
TYPEFACE
Typewriter
FAVOURITE FOOD THEN

Cake
YOUR MOST VALUED
POSSESSION THEN
-
THEN AND NOW
Birds
Project Then
74
PROFESSIONAL YEARS BERLIN, GERMANY
21 Fons Hickmann (Fons Hickmann m23)
Curiosity + Curiosity

2010 Because of its simplicity.
PROFESSIONAL PROJECT BRIEF WHAT DO YOU DISLIKE ABOUT IT?
Create a poster on the The uncertainty whether it is
theme of ‘search for brilliant or banal.
freedom and hunt it OUTCOMES
down!’ A poster.
CLIENT
FEEDBACK
Labor für Soziale und Thorsten Nolting said
Ästhetische Entwicklung ‘Thanks’, Lena said ‘Burner!’
(Laboratory for Social and and Uma said ‘Oha’.
Aesthetic Development)
ANYTHING ELSE
TECHNOLOGY
See answer opposite.
Screenprinting
TIME SPENT
1 day
TYPEFACE
Helvetica
DO YOU TEACH?
Professor at the
University for Applied
Arts Vienna (Austria)
until 2007. Since
FAVOURITE FOOD NOW 2007, Professor at
Cake Universität der Künste
Berlin (Germany) in
YOUR MOST VALUED
POSSESSION NOW Graphic Design.
- IS IT POSSIBLE TO
TEACH DESIGN?
It’s not possible to
teach someone how to
be talented, but one
can encourage students
to explore new paths
and show them where
the entrances to those
paths might be.
Project Now
75
FONS HICKMANN, 1993
FONS HICKMANN, 2010 FONS HICKMANN M23
7 Hans Dieter Reichert
Sometimes it’s hard, but hang in there; be

true to yourself; earn less money but do
better work; think about your responsibility
within society + ‘Anyone who has never
made a mistake has never tried anything
new’ and ‘Only a life lived for others is a
life worthwhile’ (Albert Einstein)

1983 Designing, experimenting,
thinking, creating.
Type studies OUTCOMES
COLLEGE
Learning a skill, self-esteem.
Universität- FEEDBACK
Gesamthochschule Encouraging remarks and
Essen (Germany) constructive critique,
TUTOR(S)
good mark.
Hans Nienheysen,
Lazló Lakner, products. The reason
Willy Fleckhaus I publish Baseline
magazine and related
TECHNOLOGY items in printed and
Paste-up, photocopy, PROJECT SIMILARITIES in electronic form is
PMT darkroom, Letraset, THEN AND NOW that I believe in
photo composition In my view, there are communicating and
TIME SPENT similarities or traces sharing views, thoughts,
Forgot in my approach between experiences and, if you
1983 and 2011: then, like, philosophies.
TYPEFACE
I drew my freehand Although that deeper
Hand-rendered constructed letterforms thought, the moral
in an analytical style. purpose of publishing,
I tried to understand, was not apparent to me
tried to make the infor- when I was studying, it
mation transparent and just led towards it later
tried to communicate on in my professional
my thoughts. I still work life. It is a bit like
this way today. There ‘one follows one’s
are also similarities or inner voice’. Also life
traces in my attitude ‘suggests’ the way one
towards design. In the takes! It seems to me
abstraction exercise that I approach graphic
‘Life, death, eternity’, design from a point of
it is the aim of designing view that relates more
something that has to ‘thinking/calculating,
FAVOURITE FOOD THEN moral undertones, analyzing, reducing,
German (Currywurst even philosophical simplifying, structuring,
mit Fritten) tendencies, and to be planning’, rather than
YOUR MOST VALUED honest and straight. emotional graphic
POSSESSION THEN In terms of style, there design. Its roots might
VW Beetle 1200cc are similarities between be in my cultural
then and now too – the upbringing – but in the
use of a crafted (striving field of graphic design
for perfection) linear, I have a tendency to
straight, reductionist, approach graphic
clean design – ‘almost solution mostly with
Calvinistic’. I do like typography/photography
engineered, electronic rather than illustration
and hand-produced and painting.
Project Then
78
PROFESSIONAL YEARS EAST MALLING, UNITED KINGDOM
25 Hans Dieter Reichert

(HDR Visual Communication)
Idealism, motivation, perseverance, talent,

honesty, curiosity + Communication skills,
open-mindedness, willingness to learn,
ability to see one’s place and responsibility
within society and to provide a good
service as well as explaining it

2011 Interaction between author,
designer, printer and
Design of a magazine distributor. Learning about the
(Baseline) various subjects. Baseline
discussions (subject: editorial
CLIENT contents and its visual
Bradbourne Publishing Ltd. interpretation/design among
COLLABORATOR(S) members of staff). Educational
Clients, office staff, purpose. Knowledge transfer
authors, printers, and how to communicate in
programmers. (Designer: a visually effective and
Johnathon Hunt; design purposeful way.
assistants: Peter Barnes, OUTCOMES
Luke Borgust, Chloe Pleasure, intellectual
Wooldridge; contributing exchange.
editor: Arnold
FEEDBACK
Schwartzman) DO YOU TEACH?
Compliments, increased sales
TECHNOLOGY and invitations to guest I taught Visual
Apple Mac, programming lectures, professional Communication at:
recognition in the academic Bath Spa University
TIME SPENT
and professional world. (UK), 1989–99; Reading
Several days/weeks
University (UK), 1999–
per issue
2005; assessor at
TYPEFACE Northampton University
Various – mainly (UK), 2000–05; guest
Akkurat (sans serif) and lectures in the UK,
Kingfisher (serif) USA, Switzerland and
Gerrmany.
IS IT POSSIBLE TO
TEACH DESIGN?
Yes, you can teach
various elements of
design: discipline,
how to see things
differently, how to
FAVOURITE FOOD NOW develop responsibility
Italian (pasta, antipasti in communication,
and salad) how to develop
YOUR MOST VALUED personality. I teach
POSSESSION NOW students to become
House, office self-motivated and see
design as a valuable
profession/service
to society. I teach
them to see design
as holistic, and
encourage them to
be curious about
everything.
Project Now
79
HANS DIETER REICHERT, 1983
HANS DIETER REICHERT, 2011 HDR VISUAL COMMUNICATION
8 Holger Jacobs
Learn the basics of typography, punctuation

and printing. Experiment and don’t rush
into producing ‘professional’-looking work.
If you are committed, hard-working and
love what you do, things will happen +
Never follow a particular style just because
it seems popular

1997 It was a simple project (but
had a complex meaning).
Self-initiated OUTCOMES
COLLEGE
It was the last project I did in
Royal College of Art, college and somehow marks
London (United Kingdom) the end of a journey exploring
the relationship between
TUTOR(S) content and form.
Russell Warren-Fisher
FEEDBACK
COLLABORATOR(S) The fashion chain Whistles
Matthew Rudd was my showed my work in their shop
first-year ‘assistant’ at the windows.
college and he helped
me a great deal
TECHNOLOGY
Laser-cut vinyl letters on
painted wooden blocks
TIME SPENT
Just a few days
TYPEFACE
Helvetica
THEN AND NOW
Both projects deal with
materiality. In Splitwords
FAVOURITE FOOD THEN I was curious to explore
German potato pancakes the ‘physical’ aspect
YOUR MOST VALUED of words and how their
POSSESSION THEN meaning can change.
My sketchbooks – I was For the Paramount
pretty poor and can’t signage, we printed
remember owning patterns on the front of
anything else of real value thick blocks of clear
acrylic while the actual
information went on
the back. Depending
on the angle of view,
this information is more
or less obstructed.
Project Then
82
15 Holger Jacobs (Mind Design)
Never, ever think it’s

‘cool’ being a designer +
Willingness to take risks

2008 It was a complex project (but
had a simple meaning).
Identity and signage for OUTCOMES
a club and restaurant The design for Paramount DO YOU TEACH?
occupying the top three was our first attempt to Currently Visiting
floors of a London develop a visual identity that Professor for Typography
skyscraper was not based on a singular at Fachhochschule
CLIENT
logo. Instead we developed Düsseldorf (Germany).
Paramount a flexible system of abstract
IS IT POSSIBLE TO
patterns that express the TEACH DESIGN?
COLLABORATOR(S) height of the building.
My colleague Craig My college education
Sinnamon FEEDBACK was not very systematic.
The project was published in In Germany I started
TECHNOLOGY several books and magazines. studying illustration
Screenprinting on acrylic because graphic design
ANYTHING ELSE
TIME SPENT seemed very technical
As in college, I am still
About 3 months and boring to me at the
suspicious of the idea of
time. It was only when
TYPEFACE a fixed ‘meaning’. Working
I came to England that
Futura mostly on identity projects, I became interested in
I often reject concepts that typography, because it
aim to be a visual translation was taught in a more
of ‘brand values’ and look experimental way as a
for a certain honesty and form of self-expression.
directness in form. Actually, it was not
The Paramount identity taught at all; our tutors
is a good example, as it just encouraged us to
relates to architecture and mess around with type
certain features of the on the photocopier.
building. It was difficult to During my MA, I focused
explain this to the client, more on ideas than on
who originally wanted to put style and used the time
more emphasis on ‘exclusivity’ to teach myself the
and communicate a certain typographic basics
‘up-market feel’. I rejected so much in
FAVOURITE FOOD NOW Germany. Looking back
Anything Japanese, at my education, I think
except for the crab brain it is very important to
that my wife’s relatives teach the basics of
once invited me to taste typography and go
YOUR MOST VALUED
through simple exercises
POSSESSION NOW of ‘form finding’. This
Hand-built Italian might be boring and
racing bicycle hard work, but many
ideas develop through
experimentation with
form, not just through
concept development
and research.
Project Now
83
HOLGER JACOBS, 1997
HOLGER JACOBS, 2008 MIND DESIGN
STUDENT YEARS KOREAN
7 Hoon Kim
Build up broad possibilities for

your future, but those possibilities
and goals should be specific +
Everyone changes every single
second – your thoughts may
change as you grow

2006 Digital print, hand binding, etc. School projects always
STUDENT PROJECT BRIEF TIME SPENT
encourage an experimental
‘I am the place where 4 months approach, which enables the
I am’ – a map of designer to think and act
TYPEFACE more deeply and more
Providence onto which Univers Mono and Courier –
are transposed the broadly with enough time.
Univers Mono is a customized
symbols of aural typeface for Wire, a British WHAT DO YOU DISLIKE ABOUT IT?
memories of places. magazine I worked on as a If I had had a bigger fund,
This project explores the designer. James Goggin (see I would have spread the
possibilities of bridging also pages 98–101) was map books out throughout
the gap between public an art director for the public places for free to
space and personal magazine and my boss at encourage citizens to linger
space. This map provides his studio (Practise). and engage in public spaces.
subjective representations OUTCOMES
of personal memories I learned how spaces, people
of places, inviting users and sounds are related and
to visit them, to revisit interact with each other.
the artist’s memories, Also, how to represent the
and experience their topic in print media with paper
own auditory sense of quality – size, weight,
the area. thickness, texture and sound.
COLLEGE
Rhode Island School of
Design, Providence (USA)
TUTOR(S) PROJECT SIMILARITIES
David Reinfurt THEN AND NOW
Both projects are
firmly related to the
relationships between
real spaces and spaces
of graphic media.
I believe designing
graphic media is
comparable to
FAVOURITE FOOD THEN constructing and
Korean BBQ composing architectonic
elements. A piece of
YOUR MOST VALUED
POSSESSION THEN
paper, an interactive
Family and one external and scrollable browser,
hard drive that had all the or a transforming
data in my life print format is a space
given to designers.
To get the essence
of an idea, the designer
must guide the audience
to explore and
experience the
surrounding spaces.
Project Then
86
PROFESSIONAL YEARS NEW YORK, USA
9 Hoon Kim (Why Not Smile)
Curiosity + Punctuality

2011 Offset print, etc. Projects with real clients
PROFESSIONAL PROJECT BRIEF TIME SPENT
require a logical approach
A Sustainable Future 3 months through specific processes
for the Exumas – and methodology, which leads
TYPEFACE to the best result within a
Environmental Pin – a typeface that Why
Management, Design, given timeline.
Not Smile has been working
and Planning is an on for many months; 15 WHAT DO YOU DISLIKE ABOUT IT?
international conference weights in its family will be We preferred a specific print
addressing both current published soon. It is inspired skill for gradation colours, but
strategies and future by Pinball, a classic typeface couldn’t find any printer to do
possibilities for the found in an old Letraset it in the States. Consequently,
Exumas. The event was catalogue. the print quality was not that
held by the Ministry good. Now for the book, which
of the Environment of is the last part of the project, DO YOU TEACH?
the Commonwealth of we are trying to find better Pratt Institute, New York
the Bahamas in ways to represent gradations (USA), Graduate Visual
conjunction with the by mixing PMS and CMYK. Communication Design
Bahamas National Department, Graduate
OUTCOMES
Trust and the Harvard Thesis, and Harvard
How to visualize space
University Graduate University, Cambridge
within various media is still
School of Design. (USA), Graduate School
something I am learning.
of Design, Portfolio and
CLIENT I have thought a lot about how
Graphic Design.
Harvard University features can illustrate the real
Graduate School of space: a minimal identity, print IS IT POSSIBLE TO
TEACH DESIGN?
Design, Cambridge (USA) media with multiple pages that
reflect the dimension of time, I always encourage
COLLABORATOR(S) students to be critical
Two senior designers, one a website requiring various
thinkers, focusing on
developer and one intern interaction and kinetic
design philosophy and
hierarchy, etc.
methodology, as well as
design authorship, as
I learned at school.
Graphic design is not
only about visual
substances. It meets a
FAVOURITE FOOD NOW wide variety of studies
Korean BBQ and fields such as
YOUR MOST VALUED technology, new media,
POSSESSION NOW public environments,
Family and four external language, literature,
hard drives that sync philosophy, psychology
twice a day automatically and architecture. Hence,
and still contain all the in courses, students
data in my life need an organized
curriculum focusing on
how to analyze and
establish correlations
judiciously as an author
and director.
Project Now
87
HOON KIM, 2006
HOON KIM, 2011 WHY NOT SMILE
STUDENT YEARS SOUTH KOREAN
6 Hyoun Youl Joe
Be generous in experimentation
and have confidence +
Be honest about your work
YEAR OF PROJECT COLLABORATOR(S) WHY DO YOU LIKE THIS PROJECT?

2003 Mostly classmates I was totally into the Korean
STUDENT PROJECT BRIEF TECHNOLOGY
typography system at that time.
A research project about Offset print for the poster and I wrote a B.F.A. thesis entitled
Hanguel’s each-phoneme book The Possibility of Each-
system. For the project, Phoneme System of Hanguel.
TIME SPENT I also designed a Korean
I designed a new font Approx. 3 months as a
based on the typeface that typeface – Kim-Do-Bong,
research project which has a different
Kim-Do-Bong designed as
a proposal for the each- TYPEFACE typographic system. I spent a
phoneme writing system. Kim-Do-Bong Bold. I designed lot of time writing the research
the font and, based on that, paper and designing the font.
COLLEGE
have since proposed a new WHAT DO YOU DISLIKE ABOUT IT?
Dankook University, Korean typeface system.
Seoul (South Korea) This was very time-consuming
and I feel that it needs even
TUTOR(S) more research to support the
Professors at the college point I was trying to make.
and classmates of mine
OUTCOMES
Understanding Korean
typography – its character,
structure, system and history.
FEEDBACK
Positive: modernity, simplicity,
dryness. Negative: simplicity,
dryness, lack of function.
FAVOURITE FOOD THEN

Korean
YOUR MOST VALUED
POSSESSION THEN
Books
THEN AND NOW
Formal approach of
dealing with typography.
Project Then
90
PROFESSIONAL YEARS SEOUL, SOUTH KOREA
7 Hyoun Youl Joe (Hey Joe)
Confidence and experimentation +

Understanding co-workers’ needs
and thoughts (clients, editors,
curators, artists, etc. …)
YEAR OF PROJECT COLLABORATOR(S) WHY DO YOU LIKE THIS PROJECT?

2010 Curator: Jihye Kim; co- I could somewhat understand
ordinators: Yoonyoung Kim, how hard Vietnamese people’s
To design a poster, Hayoung Lee; photo and life is in Korea as foreigners,
a postcard and the documentation: Jihye Ahn; because I studied in the USA.
exhibition graphics for artists: Kyungmi Kim, Sunmi The exhibition The Letter from
the exhibition The Letter Kim, Soorin Kim, Jisu Kim, Huynh Mai communicates not
from Huynh Mai. Jin Kim, Junghyun Park, only a Korean bias towards
This exhibition was Hyewon Park, Jangmi Beak, strangers, but also the political-
created to remember Yurim Song, Hyejung Shim, social tension between Korea
the Vietnamese woman Hyesook Yong, Jinsuk Kim, and Vietnam.
Huynh Mai, who was Gahyun Yoon, Woonyung Ja, WHAT DO YOU DISLIKE ABOUT IT?
killed by her Korean Jangeun Cho, Nguyen Thi After completing this project,
husband. Chau Giang, Inkyung Huh I visited Vietnam for another
CLIENT
TECHNOLOGY related project. The work was
The independent curator Offset printing for the book done without having visited/
Jihye Kim and poster, copperplate stamp experienced Vietnam before.
for the postcard, rubber stamp Now that I have been there,
for the exhibition design I would totally redesign it all.
TIME SPENT OUTCOMES
Approx. 1 month An understanding of how
TYPEFACE
to work/collaborate with
SM Gung Seo Regular, others (curators, artists,
Courier Regular photographers, clients).
FEEDBACK DO YOU TEACH?
Simplicity, symbolic meaning. Graphic Design and
Editorial Design at
Dankook University and
Kookmin University,
Seoul (South Korea).
IS IT POSSIBLE TO
TEACH DESIGN?
Most Korean students
studying graphic design
have great difficulty in
FAVOURITE FOOD NOW solving problems by
Seafood, Korean and themselves, since their
Japanese attitude to learning is
YOUR MOST VALUED a passive one. I quite
POSSESSION NOW often see beautifully
Books and my works executed results, but
the causal relationship
between process and
outcome is unclear and
insufficient. As a tutor at
college, I try to create an
active environment
through diverse
discussions.
Project Now
91
HYOUN YOUL JOE, 2003
HYOUN YOUL JOE, 2010 HEY JOE
STUDENT YEARS CANADIAN/FRENCH
7 Isabelle Swiderski
Sketch, sketch, sketch +

Don’t fall in love with your ideas

1996 I still think the concept
is strong.
As part of a year-long WHAT DO YOU DISLIKE ABOUT IT?
graduation project, we I would design it differently.
were meant to identify OUTCOMES
a need or issue and It is one of the most
propose a solution. memorable ‘aha!’ moments
The brief I set for myself of my student life. I would
was to shed some light say I learned the meaning of
on the reasons behind concept while working on
the impending collapse that project. What you might
of wild salmon stocks call the ‘penny dropping’.
on the western coast of
Canada. Title of work: FEEDBACK
Spirit in the Water. Mostly positive due to the use

of technology and the ties
COLLEGE
between native folklore and
Emily Carr Institute of scientific reality.
Art & Design, Vancouver
(Canada)
TUTOR(S)
Deborah Shackleton
TECHNOLOGY
Pen and paper,
Macromedia Director
TIME SPENT
No idea
TYPEFACE
Officina
THEN AND NOW
Both display a desire
to balance concept/idea
and craft/materials.
FAVOURITE FOOD THEN I still believe that strong
Good home-made food ideas can be rendered
YOUR MOST VALUED beautifully and that this
POSSESSION THEN combination is the most
Walkman desirable. This is not
an original thought,
but nevertheless it’s
one that fuels my
approach to design.
When I further develop
my processes and
technical abilities, the
work steadily improves
and remains fulfilling.
Project Then
94
PROFESSIONAL YEARS VANCOUVER, CANADA
16 Isabelle Swiderski (Seven25)
Curiosity + Tact

2010 The cover works nicely
by subtly underlining the
To design a functional theme of the conference.
programme for the CPA’s WHAT DO YOU DISLIKE ABOUT IT?
biennial conference There are always details I wish
CLIENT
to tweak after the fact.
Canadian Payments OUTCOMES
Association That having clients who trust
TECHNOLOGY
you and value your work leads
Pen and paper, CS4 to more enjoyable and better
work.
TIME SPENT
FEEDBACK
About 45 hours
Positive feedback for use of
TYPEFACE materials and usability.
Akkurat
DO YOU TEACH?
Varied course at Emily
Carr University of Art &
Design (Canada).
Currently 4th year of
BA, Advanced Print
Publications.
IS IT POSSIBLE TO
TEACH DESIGN?
It is possible to teach
the principles of design
as well as its history and
evolution in context.
A student only becomes
a designer when they
internalize the principles
and connect them to
their own life experience
FAVOURITE FOOD NOW and approach to develop
Good home-made food their own voice. But
YOUR MOST VALUED that’s only my opinion.
POSSESSION NOW I happen to teach design
MacBook Pro and try to balance
(sad, I know) technical apprenticeship
with idea development
methodologies. I’ve
observed that there
seems to be no time
for formal client-
management tips.
Perhaps that’s for
the best?
Project Now
95
ISABELLE SWIDERSKI, 1996
ISABELLE SWIDERSKI, 2010 SEVEN25
STUDENT YEARS BRITISH (BORN AUSTRALIAN)
6 James Goggin
Keep studying + Beware of

graphic design
YEAR OF PROJECT COLLEGE OUTCOMES

1998 Royal College of Art, London An appreciation for letterpress,
(United Kingdom) and the basic act of actually
Open brief, edition of 5ô50 TUTOR(S)
printing the work you’ve
postcards printed during Alan Kitching typeset as a designer. The
letterpress classes at RCA project was one of several
TECHNOLOGY I made at the RCA that
with Alan Kitching. My idea Letterpress
was to take the grid of a connected printed matter to
revolving postcard rack (5 TIME SPENT a conceptually logical spatial
columns by 10 rows = 50 2 weeks (approx.) situation: here, a revolving
cards) and place it over a map TYPEFACE
postcard rack, suggesting a
of the world. From each grid Helvetica spinning globe.
square, a major city or body WHY DO YOU LIKE THIS PROJECT?
FEEDBACK
of water was chosen. Each This is a project I could still No negative feedback.
name was typeset letter- imagine doing today; there is
press – cities printed with red, nothing I would change.
waters with blue. Five sets of A lot of my work relies on
50 postcards were produced, serendipity and chance. Here
and then set out geographically it involved coming across an
onto the rack, top to bottom old postcard rack in the
(north to south) and around Holborn area of London,
the five columns, east to west. outside a pharmacy that had
A 51st card was also printed, closed down. I eventually
titled In Transit. This was the pulled it in to my studio at the
name of the project, but also RCA, and it sat there for many been the fact that the set of
documented the unseen transit months before I came up with Helvetica lead type contained
of a postcard navigating a project to make use of it. enough characters for me
its way from the sender to The postcard project involved to set up all 50 postcards
the recipient. many themes that recur in my without having to take the
work: the postcard as a valid settings apart for different
medium, alternative carto- place names. The two colours
graphic representations of of red for cities and blue for
the world, attempts at making PROJECT SIMILARITIES seas were borrowed from
graphic manifestations of a THEN AND NOW general map and atlas colour
sense of place, and at making There is a certain consistent palettes. For Interstate, the
the intangible visible (the logic in typeface choice, road signage of the USA and
transitional state of a postcard which you can find in a lot The Netherlands dictated
between dispatch and of my projects. For In Transit, type choice without having
delivery). I wanted the postcards to to really think about it. The
feel generic, the idea of the colours were an admittedly
postcard as a touristic proof obvious combination of stars
of location (‘I was really and stripes, Dutch flag and
FAVOURITE FOOD THEN here’) distilled to its logical a slight De Stijl reference
Japanese graphic conclusion: just a with the yellow. Again, these
YOUR MOST VALUED place name printed on a self-determined parameters
POSSESSION THEN blank card, no picture set up a rational system
My Ricoh GR necessary. Helvetica Bold that allowed me to avoid
35mm camera worked for this, and, if worrying about such design
I recall correctly, the main distractions as typeface and
reason could well have colour choice.
Project Then
98
PROFESSIONAL YEARS CHICAGO, USA
13 James Goggin (Museum of Contemporary Art Chicago)
For both: Studiousness
YEAR OF PROJECT The typeface (actually the FHWA was only in my last days of
2010 Series fonts, aka ‘Highway living in The Netherlands that
Gothic’ developed by the I was finally able to print a
Self-published postcard, United States Federal Highway project with them. I asked
announcing my studio Administration in the 1940s) Joyce, the resident printing
and family move from Arnhem is one that I grew up with when expert, a lot of questions about
to Chicago, printed on a Ricoh visiting the USA, and from my stencil printers, inks and
colour stencil duplicator at early years in Australia and comparisons between Ricoh
Knust in Nijmegen, The New Zealand, where the font and Riso models (the two main
Netherlands, on my very last is also used for road signage. Japanese companies that
day before leaving for the USA. In its contemporary Hoefler & manufacture stencil printers).
Frere-Jones redrawn format, As a result, I hired a new Riso
CLIENT the font was overused (UK MZ 1090U – one of my first IS IT POSSIBLE TO
Myself supermarket chain Sainsbury acts as Director of Design, TEACH DESIGN?
TECHNOLOGY has plastered its branches with Publishing and New Media I think there has to be
Ricoh Priport JP8500 it for years) and is therefore upon arriving at the Museum of something to start with,
Digital Duplicator not one I would ever really use Contemporary Art Chicago. a certain instinct, motivation
myself. But given that the font and interest. A lot of what
TIME SPENT FEEDBACK I consider to be good design
1 day (approx.) is also used on Dutch road No negative feedback.
signage, it seemed appropriate involves a capacity for
TYPEFACE to acknowledge this little- reading, critical thought,
Interstate writing and research. And a
known Dutch–American
wide-ranging knowledge of
WHY DO YOU LIKE THIS PROJECT? design connection. Hence
design and art history,
I’ll take any chance I can get the postcard’s title:
history in general, politics,
to make more postcards, Arnhem–Chicago Interstate.
philosophy, critical theory,
and it is of course a logical WHAT DO YOU DISLIKE ABOUT IT? cultural studies, literature,
format for a moving card. The Ricoh’s yellow ink is slightly film, etc. I’m still trying to
Since high school, the typefaces too bright, making ‘Chicago’ catch up in this regard, and
I have most appreciated have a bit difficult to read. think that a much more
been vernacular, engineered rounded liberal arts
(rather than necessarily OUTCOMES programme should be taught
‘designed’) specimens. Having I was finally able to spend some DO YOU TEACH?
as a fundamental part of any
moved around a lot growing time at Knust, the stencil- Intermittent and itinerant
graphic design programme.
up, the subtle differences in printing part of Extrapool, an visiting critic and lecturing.
It is possible to teach
commonplace typographies experimental art/sound/print Most recently: CalArts typography, however, and
like road signage and car arts and residency centre in (California Institute of the I’m amazed how many
licence plates drew my Nijmegen. It was a place I’d Arts), Valencia (USA); contemporary graphic design
attention as the first indicators admired from afar, and then Elam School of Fine Arts, courses seem to leave this
of cultural difference when visited a few times with Auckland (NZ); Konstfack, part out. In the same way
arriving in a new country. Werkplaats students. But it Stockholm (SE); ISIA that I think graphic design
(Istituto Superiore Industrie study should involve all of
Artistiche), Urbino (Italy); the aforementioned fields,
Werkplaats Typografie, I also think typography
FAVOURITE FOOD NOW Arnhem (NL); ArTEZ Institute should be taught across
Probably still Japanese – of the Arts, Arnhem (NL); all other fields: in art,
or Korean ECAL (Ecole cantonale d’art architecture, English
YOUR MOST VALUED de Lausanne), Lausanne (CH). literature, law, science, etc.
POSSESSION NOW Lecturing about typography, It’s the foundation of written
My Ricoh GR Digital II graphic design, contemporary language, crucial for
camera art, design history and everyone to have a good
theory, and architecture. understanding of.
Project Now
99
JAMES GOGGIN, 1998
JAMES GOGGIN, 2010 MUSEUM OF CONTEMPORARY ART CHICAGO
6 Jan Wilker
You suck – use this status

wisely, then it’s only temporary +
It’s a long-distance run,
not a sprint

1998 Other than a faint romantic
feeling for my first cover
Create a magazine, with design assignment in school,
cover and interior spreads nothing.
OUTCOMES
COLLEGE
Staatliche Akademie der I remember that specific little
Bildenen Künste Stuttgart rush one gets when creating.
(Germany) FEEDBACK
TUTOR(S)
Nothing in particular.
Prof. Pospischil
TECHNOLOGY
Freehand/Photoshop
TIME SPENT
1 week
TYPEFACE
Handwriting in Freehand
with Wacom tablet
FAVOURITE FOOD THEN

Anything from the
students’ cafeteria
YOUR MOST VALUED
My computer THEN AND NOW
Obviously the reduced
colour palette, with
mainly black type on
white, as well as a
generally very playful
approach. I am still not
good with colours,
it seems.
Project Then
102
10 Jan Wilker (karlssonwilker)
Curiosity and openness +

Staying open and curious

2006 This is still one of my favourite
projects, due to the complete
Catalogue design for the lack of intellectual construct
Guggenheim’s biannual in its creation.
Hugo Boss Art Prize OUTCOMES
CLIENT
See opposite page (then),
The Guggenheim only stronger.
Foundation FEEDBACK
TECHNOLOGY
Positive throughout.
Illustrator/InDesign
TIME SPENT
3 months, on and off
TYPEFACE
Akzidenz Grotesk
FAVOURITE FOOD NOW

Anything but from the
students’ cafeteria DO YOU TEACH?
I teach at Parsons
YOUR MOST VALUED
School of Design in
POSSESSION NOW
New York (USA),
My health
a class about ‘process’,
and I frequently hold
workshops, also on
‘process’.
IS IT POSSIBLE TO
TEACH DESIGN?
Yes, but I can’t offer
any proof yet.
Project Now
103
JAN WILKER, 1998
JAN WILKER, 2006 KARLSSONWILKER
STUDENT YEARS GERMAN-FRENCH
5 Julie Gayard
Have fun with the projects and

your fellow students +
Take the fun seriously

1994 The directness of it. I took
the brief literally, with a twist:
Describe your journey I let the journey describe
to college through itself through typography:
typography the movements of the tube
itself are drawing the lines of
COLLEGE the letters; my hand is just
Camberwell College holding the pen.
of Arts, London (United
Kingdom)
Why is it just a big page
TUTOR(S) full of sketches? Why didn’t
Darren Lago I turn it into a font?
TECHNOLOGY OUTCOMES
Pen on paper, photocopier I remember enjoying the
TIME SPENT looseness of the lines, and the
2 weeks fact that I was not controlling
TYPEFACE
the pen but the shakings of
No particular fonts – the tube was. It felt childish
photocopied fonts, drawn but good. Maybe it felt
fonts, handwriting, refreshing compared to other
typewriter (no computer projects that were usually
yet)… more idea-based.
FEEDBACK
My friend Ed Gill, also a
student at Camberwell and
a graffiti artist, really liked an
‘F’ of it. I enlarged it.
ANYTHING ELSE
Sometimes the pressures
of a deadline force you to be
intuitively effective with
minimum effort and time!
FAVOURITE FOOD THEN

-
YOUR MOST VALUED
POSSESSION THEN
- PROJECT SIMILARITIES
THEN AND NOW
Obviously the hand-
drawn type, both small
doodles blown up
much bigger. But also:
the stripped-bare
looseness and lightness
of both of them,
the childish style.
Project Then
106
13 Julie Gayard (Jutojo)
For both: Enthusiasm

2008 The lightness of it. And the fact
that I did it almost absent-
Design record sleeves mindedly, like a doodle, and
for a series of 12-inches they liked it instantly.
called Based On WHAT DO YOU DISLIKE ABOUT IT?
Misunderstandings – with The fact that the three covers
a crafty feel and cheap from the series are all slightly
production different on the back. I don’t
CLIENT
remember why; I think the
Sonar Kollektiv Records artist wanted slight changes,
or it was cheaper to not
COLLABORATOR(S) print the whole back solidly?
Jutojo Partners Toby I wonder…
Cornish and Johannes
OUTCOMES
Braun
Finding that I should draw
TECHNOLOGY more often and that it is
Pen on paper, scanner, refreshing to do something
Photoshop and InDesign, very intuitive and quick,
press plant for record effortless yet effective.
sleeves
FEEDBACK
TIME SPENT It’s unreadable! But that’s
2 weeks the point (‘based on misunder- DO YOU TEACH?
TYPEFACE standings’) – so it’s OK. No.
Avenir, Akzidenz Grotesk, ANYTHING ELSE IS IT POSSIBLE TO
Century Gothic… See answer opposite (then). TEACH DESIGN?
I think teaching design
should be a mix of
design theory, technical
and craft skills, and
learning how to develop
ideas. At Camberwell
College I learned to
think of graphic design
in a wider sense – that
FAVOURITE FOOD NOW it is not just layout and
- typography, but also
YOUR MOST VALUED an idea, which can be
POSSESSION NOW communicated through
- a performance, a song,
a photo, a film… which
was mind-opening, but
also confusing some-
times. I think I got lost
in all the possibilities
sometimes and probably
that’s why my projects
never came to an actual
final stage!
Project Now
107
JULIE GAYARD, 1994
JULIE GAYARD, 2008 JUTOJO
6 Kai von Rabenau
Follow your own path +

Don’t do it for the money or
glamour – neither will
come true
YEAR OF PROJECT WHY DO YOU LIKE THIS PROJECT? Desperate for some sort of
1998 I like the simplicity of it, which solution, I went through my
works well with the music it is archives of photographs and
The visualization of music, meant to capture; the bowls came across this image,
taking three different were photographed in a which I’d taken on a spur of
genres (pop, jazz, staircase in Prague, where the moment, and I realized
classical); this work they were placed to catch that this photograph had
represents the album raindrops leaking through the everything that I’d wanted to
Tabula Rasa by Arvo Pärt ceiling – in the last piece of recreate in the studio. In short,
Tabula Rasa is a passage it was perfect, and I learned
COLLEGE that is very reminiscent of that sometimes you have to
Central Saint Martins dripping water. discard all your previous ideas
College of Art & Design, and let life take over to find
London (United Kingdom) a solution to a project. I also
I would probably change the
TUTOR(S) typography a little now, but on believe that it was this image PROJECT SIMILARITIES
THEN AND NOW
Chris Corr the whole, I still like it very that got me accepted to the
MA course at the RCA, since Visually, they definitely
TECHNOLOGY much. share a certain aesthetic
35mm black-and-white the head of the course back
OUTCOMES that is reduced and
photography and then was a huge fan of the
I learned that you can’t control controlled, but also very
screenprint album by Arvo Pärt and could
everything: I had gone through graphic and composed.
obviously relate to my
TIME SPENT a long and tedious process Even though I was a
interpretation.
1 month of setting up an image that I student in graphic
had had in my mind to capture FEEDBACK design, I quickly
TYPEFACE The image was part of the discovered that I was
If only I could the mood of the music; it was
a staged studio shot that finally visual aspect of my BA thesis more interested in the
remember… on the visualization of sound; image-making side
maybe Times? felt lifeless and contrived and
had very little in common with it received very good feedback of design – namely
the recording I tried to from my tutors, as far as photography – than in
I can remember. typography or layout.
visualize, which has a certain
At college, I still wanted
lightness and depth hard to
to learn as much as
put into two dimensions.
possible about
At the end of the album, if you
everything, so I tried to
listen very carefully, you can
combine photography
hear the musicians leave the with other areas, such
room one by one – it was that as typography and
FAVOURITE FOOD THEN sort of ‘reality’ that was screenprinting in this
Pasta with tuna missing. example. Later you learn
YOUR MOST VALUED that you need to focus
POSSESSION THEN to go further, deeper,
My Nikon camera so I eventually decided
to concentrate on
photography. But I think
that my background in
graphic design is still
very visible in the work
that I produce today,
even though I do not
consider myself to be
a designer anymore.
Project Then
110
11 Kai von Rabenau (mono.graphie)
Insistence and
genuineness +
Insistence and
detachment

2010 I like the simplicity of it, where The image hasn’t really
you rely simply and purely been exhibited yet, so there’s
One image from the on your subject, without any been little feedback so far.
self-initiated portraits additional effects or tricks; ANYTHING ELSE
series Typologies 03: the distanced posture of the Funnily enough, with
The Nameless – Iran photographer versus the mono.kultur, we just finished
Orphans, which obvious humanity of the our latest issue on ECM
assembles portraits portrayed. records, who published the
according to varying OUTCOMES Tabula Rasa album. So another
parameters This image and this series circle comes to an end.
CLIENT
made me change my mind
Self-initiated about where I want to go with
my photography; after working
TECHNOLOGY for ten years in mainly editorial
Medium-format colour photography, which is very
photography close to graphic design in
TIME SPENT terms of working to a given
3 weeks brief, finding the best possible
solution to a problem within
a given set of circumstances,
this series made me want to
work in a different environment
to have more freedom to
produce images that will
stand on their own.
DO YOU TEACH?
No – only individual
workshops, mainly at
Bezalel Academy in
Jerusalem (Israel).
IS IT POSSIBLE TO
TEACH DESIGN?
Yes, I do. I learned a
lot at college, namely
to sharpen a sense
FAVOURITE FOOD NOW for aesthetics and
Schnitzel composition, but also
YOUR MOST VALUED how to develop and
POSSESSION NOW edit ideas, to find my
My Leica camera own personal approach.
I think design teaching
needs to maintain an
individual approach,
to let students build
their own style and
creative process. And
to develop a sense for
quality – what is good
and what isn’t.
Project Now
111
KAI VON RABENAU, 1998
KAI VON RABENAU, 2010 MONO.GRAPHIE
6 Ken Garland
Acquire skills +
No warning

1953 Because I like making
creatures out of anything.
Experimental typography WHAT DO YOU DISLIKE ABOUT IT?
project using found items Nothing, I love it.
of letterpress FEEDBACK
COLLEGE Edward Wright, who ran the
Central School of Arts & project, loved it.
Crafts, London (United ANYTHING ELSE
Kingdom) I have always seen monsters
TUTOR(S) (and I’m sure I’m not the only
Edward Wright one) in the most mundane of
TECHNOLOGY
materials. In 1953 it was spare
Letterpress bits of type matter; in 2009
it was fire hydrants.
TIME SPENT
3 hours
FAVOURITE FOOD THEN

Tomato soup
YOUR MOST VALUED
POSSESSION THEN
My portable radio
THEN AND NOW
Monsters.
Project Then
114
58 Ken Garland
For both: An open mind

2009 The Jewish fire hydrant
excited me particularly,
I set my own brief. as it had ‘chutzpah’.
Wherever I go in the FEEDBACK
world, I look out for fire People email me about
hydrants that excite me the book to tell me they
CLIENT
love it.
Self-initiated
TECHNOLOGY
Photography
TIME SPENT
3 months
FAVOURITE FOOD NOW

Gambas al aquillo
(giant prawns in garlic)
YOUR MOST VALUED
DO YOU TEACH?
POSSESSION NOW
Currently at University
My cheap digital camera
of Brighton (UK),
Visiting Professor in
Graphic Design. Overall
53 years as a teacher.
IS IT POSSIBLE TO
TEACH DESIGN?
Skills and relations
between arts.
Project Now
115
KEN GARLAND, 1953
KEN GARLAND, 2009
STUDENT YEARS ENGLISH
6 Kirsty Carter
None
YEAR OF PROJECT STUDENT PROJECT BRIEF CONT. WHY DO YOU LIKE THIS PROJECT?
2001 What if Tufte chose to express This was the beginning of
a visual analysis using many projects in my last year
This project was set to Duchamp and vice versa? at Brighton University where
choose an example of My study of the two artists I was exploring my interest
rationalist graphic suggests that my previous in conceptual art, reading,
communication and a perception of them as gaining knowledge about
contrasted example of its extremes was an over- contemporary art. This was
‘irrational’ counterpart. simplification. They share a very positive time.
I chose Tufte/Duchamp, similar methods of creativity. WHAT DO YOU DISLIKE ABOUT IT?
Duchamp/Tufte, Esoteric/ COLLEGE The visual language of this
Exoteric. Edward Tufte University of Brighton project is very pragmatic, dry
(author of Visual (United Kingdom) and lacks real feeling; the
Explanations) represents TUTOR(S)
visualization of the design
for me the extreme of the Daniel Eatock (see also pp. was not my top priority. It was
scientific analysis of visual 58–61), Frank Philippin (see an exercise in research and
problems. He intends also p. 256), Lawrence Zeegen dealing with information.
a clarity of expression, Of course now, both the
an immediacy of TECHNOLOGY concept and visualization
communication. Marcel Freehand, QuarkXpress of my projects fit better PROJECT SIMILARITIES
Duchamp intended his TYPEFACE together, I am more confident THEN AND NOW
Large Glass to reveal its Helvetica Neue Bold, designing. My last year at The strongest similarity
secrets through slow Helvetica Neue Medium Brighton was a lot about is of course the subject
release with a deliberate experiments and research matter. I never wanted
obscurity of expression. and why I wanted to continue our studio or myself
His analysis of visual my education and go straight to develop a distinct
problems was highly into postgraduate studies, visual style; the project
personal, even eccentric. as it was clear to me I was is born from research
still developing, and my very and content that
particular way of being a determines its form.
designer, bringing together For example, each
my interests. of the projects are
approached typograph-
ically in very different
FAVOURITE FOOD THEN
ways, a justified sans-
I’ve always kept a very serif compared with a
balanced diet. It makes sans-serif left-aligned
me happy to eat well. book and that is just the
beginning. People work
When I had little money,
with us because of our
food was…
approach, not because
they want a particular
YOUR MOST VALUED visual style. Every
POSSESSION THEN
project ends up looking
All my Apple products and so different because
I am not ashamed to they are often very
admit it. I love my iPad, different projects. More
iPhone, MacBook Pro. importantly, the book
I have had a Mac since feels more confident
I was 13 years old and uses colour!
Project Then
118
PROFESSIONAL YEARS LONDON, ENGLAND
9 Kirsty Carter (A Practice for Everyday Life)
To explore +
To keep exploring
YEAR OF PROJECT TECHNOLOGY

2010/11 Adobe InDesign, Photoshop
PROFESSIONAL PROJECT BRIEF TYPEFACE
Exhibition Histories book Adobe Garamond Regular,
series. To produce 15 Adobe Garamond Italic,
books, each dedicated to Neuzeit Office Bold,
a contemporary art Neuzeit Office Italic,
exhibition since 1955, Neuzeit Office Regular
publishing 3 books per WHY DO YOU LIKE THIS PROJECT?
year and feeling like a This was one of my favourite DO YOU TEACH?
book series with a target projects we produced in I have never had a
audience of academics, 2010 – the series seems to regular teaching IS IT POSSIBLE TO
curators and students. sum up our passion, love and position at any college, TEACH DESIGN?
CLIENT interest in contemporary art. but I have been a Of course! I think it is
Lucy Steeds, Teresa The research/history and our visiting lecturer and an incredible education,
Gleadsowe, Pablo growing knowledge of this lectured at many. One a design education.
Lafuente, Charles Esche subject is what perhaps makes or two years into A It was time to evolve,
(Afterall Books) our studio somewhat specialist Practice for Everyday experiment, research,
in this field. This is one of the Life, we were regularly collect, investigate and
COLLABORATOR(S)
first publications we have asked to teach, but we learn. Some of my
A Practice For Everyday
designed that is now printing (Emma Thomas and I) teaching was quite
Life (the whole studio was both felt we weren’t formal; we learned
involved in some shape its 2nd edition; I am sure that
is a sign of success! ready to teach then and typography formally at
or form) how much knowledge Brighton in workshops
we could really pass on about ‘Typographic
at that point. Now it’s detailing’ but also had
perhaps a different time to just explore my
story. We did and still concepts. At the Royal
do often teach in the College I had access
capacity of lecturing to an incredible library
and workshops. I have of books and periodicals
taught at many different and other designers’
institutions and different archives. I would have
kinds of students all never had this without
FAVOURITE FOOD NOW over the world. We love a design education.
…never cut, it was always this way of teaching, Throughout my educa-
my top priority. I perhaps where you can set work- tion I had conversations,
eat out a little more now. shops, give a huge dialogues and critiques
In terms of favourites, it amount of enthusiasum with some of the most
and input into a brief to inspiring design
has always been
get the students practitioners, which
chocolate
thinking; it makes us I learned a lot from,
YOUR MOST VALUED excited to see what both what I wanted to
POSSESSION NOW they will produce. The be and want I didn’t
Documenta 5 poster only trouble is that we want to be. But most
by Ed Ruscha in 1972 – never build up a relation- importantly, I was
it’s my favourite piece ship with any of the taught by the great
of graphic design. students, which I am people around me – the
I love that he made type sure is where the real fellow design students
up out of little ants joy begins! I was at college with.
Project Now
119
KIRSTY CARTER, 2001
KIRSTY CARTER, 2010/11 A PRACTICE FOR EVERYDAY LIFE
STUDENT YEARS AMERICAN
6 Kristine Matthews
a: To American students in particular:

Travel the world. Live in another country
b: Take risks. Now is the time to do it +
Don’t let your fears get in the way of
admitting what you really want –
then go after that thing
YEAR OF PROJECT COLLABORATOR(S) WHAT DO YOU DISLIKE ABOUT IT?

1996 My collaborators were the I'd probably change the title of
100 people I sent cards Now Here This. Then again…
A self-initiated project. A brief to (especially the ones who maybe not.
to myself. Coming out of a responded…) OUTCOMES
more commercial design TECHNOLOGY Good fodder for some
background and entering grad Postcards printed letterpress. handwriting analysis.
school, I was interested in the Book cover printed letterpress, FEEDBACK
idea of introducing chance/ inside pages printed offset Positive: I think people were
luck/randomness to my work. (printing donated by the White pleasantly surprised to find
I wanted to create a project to Dove Press) that if they made the effort to
let loose in the world and see TIME SPENT fill in and send back the card,
what came back. (Also, other Oh goodness, I can’t remember. they eventually got a book in
people have more interesting It lasted at least three or four return. Negative: Some friends
ideas than I do, so I thought months altogether, I think. of my parents accused me of
I would ask lots of people (Long, pleasant hours in the incorrect spelling (in the title).
to send me theirs.) letterpress studio making the It's supposed to be word-play,
COLLEGE cards and cover / Happy times referring to where you are
Royal College of Art, at the postbox collecting (not what you hear). Makes PROJECT SIMILARITIES
London (United Kingdom) replies as they trickled in / me wonder how many other THEN AND NOW
Forever trying to make the people silently pity my spelling Both feature content
TUTOR(S)
handwriting look good in the faux pas. collected from the
Siobhan Keaney, Margaret audience of the project
Calvert, Richard Bonner- book before hitting on the idea ANYTHING ELSE
of translating handwriting to its itself. Maybe it’s
Morgan, Russell Warren-Fisher Looking at Now Here This laziness, but I always
(I can’t remember if one in typeset equivalent.) and the subsequent global find that if you ask the
particular was offering TYPEFACE onslaught of email, social right question of your
significant critique on this Helvetica Compressed (title), media, blah blah, I lament the audience, you will get
project…; they each tutored Bell Gothic (body) rapid decline of the postal unexpected results
me at various times at the WHY DO YOU LIKE THIS PROJECT?
service and the personal letter. that are much more
Royal College) I like that the book is now all The variety of stamps that interesting than what
around the world, tucked onto I received on the replies to you would come up with
various people’s bookshelves. Now Here This could have yourself, even if you
Even for non-designers, people merited their own project. stared hard at a blank
tend to remember it, as the Some students of mine sheet of paper for days
content is so personal. recently did a project on on end. Now Here This
this subject, which I love: certainly proved that to
www.positivepost.org me, and I have returned
Long live the stamp! to the idea for various
professional projects.
There is nothing better
than crafting the right
FAVOURITE FOOD THEN
question (and by that
Pasta I mean, not too specific,
YOUR MOST VALUED but not too general),
POSSESSION THEN then waiting to see
My latest design project what people come up
with. I never cease to
be entertained and
inspired.
Project Then
122
PROFESSIONAL YEARS SEATTLE, USA
22 Kristine Matthews (Studio Matthews)
Willingness to work hard and

at the same time take risks +
Ability to read people well

2010 Title sign (‘IDEA’) is made up It was one of those nice
of wood blocks laser-etched situations where the client
The SCIDpda (Seattle with written replies that were has been pummelled into low
Chinatown International collected using photocopied expectations by previous
District Preservation & response cards. The rest of the projects. They are used to
Development Authority) interior was a combo of wood working in poor facilities
wanted to create a resource and caster structures, IKEA without much of a public ‘face’.
centre for the neighbourhood, curtain rails used for the display The Idea Space gives them
which includes Chinese, system, paper posters and a showpiece. We did it for
Japanese and Korean some yellow vinyl graphics. a pittance, but their gratitude
communities. It would become The oversize flipable map is and excitement makes all
the go-to spot for business printed direct to substrate, the difference. I went in the
owners and residents to find two-sided on an eco other day to see how it’s
out about local programmes corrugated board. faring over a year later and
and resources. In line with TIME SPENT
they had updated posters DO YOU TEACH?
SCIDpda’s mission, it would Start to finish, about six months up and it was neat as a pin. I am an Assistant
work to improve the local for the whole space. (Several Very gratifying. Professor in Visual
neighbourhood and build long months trying to figure OUTCOMES Communication Design
cross-cultural communities. out what the client needed the See answer opposite (then). at the University of
space to be and to do; another Washington, Seattle
CLIENT FEEDBACK
month to work out the design (USA) and teach
SCIDpda Positive: The client loved it and
for the space, including Exhibition Design,
we got great feedback from
COLLABORATOR(S) collecting the responses for Design Foundations,
Cassie Klingler, designer at the community at the opening.
the IDEA title; then high-speed Graduate Seminars,
Studio Matthews. And the Who can resist having their
build-out in a few weeks to Visualizations, etc.
client Joyce Pisnanont was ideas burned into wood?
meet with their grant deadline!) IS IT POSSIBLE TO
great in collecting lots of TEACH DESIGN?
TYPEFACE
responses from the local I think you can certainly
community for the ‘IDEA’ wall. Various handwriting for block
teach the basic tenets
signage. Helvetica throughout
of design; good typog-
space (the client needed to be
raphy, what makes a
able to use templates of ours
photograph compelling,
to create new posters, etc., but
blah blah. But though
they work on PCs with a bare- I am a university design
bones font list. So Helvetica/ professor (aside from
Arial was the safest bet). my studio), I am still
uncomfortable in the
role of saying what
is ‘right’ and what is
‘wrong’ in design.
Who am I to say? This
FAVOURITE FOOD NOW
probably makes me not
Pasta as strong a teacher as
YOUR MOST VALUED I should be. I prefer
POSSESSION NOW showing my own design
My children Finn and Nell work and leaving it for
the audience to decide
whether it is ‘good’ in
their book.
Project Now
123
KRISTINE MATTHEWS, 1996
KRISTINE MATTHEWS, 2010 STUDIO MATTHEWS
6½ Lars Harmsen
Work awake + Get out of

the dogma house
YEAR OF PROJECT TIME SPENT

1992 4 months
STUDENT PROJECT BRIEF TYPEFACE
Self-initiated diploma Chicago, DIN and a bunch of
thesis: creating custom-made fonts
experimental typography WHY DO YOU LIKE THIS PROJECT?
with the help of self-built Was done during the time of
printing machines transition between analogue
COLLEGE and digital. It was a very
Hochschule Pforzheim intense project done in a very
(Germany) short time, completed with no
TUTOR(S)
diversions.
Prof. Manfred Schmalriede OUTCOMES
and Prof. Thomas Ochs Great satisfaction and the
TECHNOLOGY
love of working on both self-
The printing machines commissioned projects
were built out of wood and assigned ones.
and steel. The typesetting FEEDBACK
was done on a Macintosh ‘Best Graphic Design diploma
SE and printed on a 300 thesis of the year’.
dpi laser printer. Photog-
raphy and typography
were then collaged page
by page and colour-
copied on a Canon colour
copy machine. A book
documents the process,
the machines and the
final prints.
FAVOURITE FOOD THEN

Pasta
YOUR MOST VALUED
POSSESSION THEN
My camera and my
first computer
THEN AND NOW
Both are self-
commissioned work
and have handmade
as well as digital
elements.
Project Then
126
PROFESSIONAL YEARS KARLSRUHE, GERMANY
19 Lars Harmsen (MAGMA Brand Design)
Curiosity + Intelligence

2010 It was a great opportunity to
visit Senegal and meet
Design an exhibition extraordinary people. It was
about identity at the a very intense project carried
Goethe Institute in Dakar, out in a very short time,
Senegal with no diversions.
CLIENT
Goethe-Institut Dakar, A few more weeks would DO YOU TEACH?
Senegal have been good to work with Professor of Typography
more local artists. and Design at
COLLABORATOR(S)
OUTCOMES Fachhochschule
André Rösler (illustration),
Inspiration. And a small book Dortmund (Germany).
Christian Ernst (photog-
raphy) and a local sign- presenting text from Muhsana IS IT POSSIBLE TO
painter using stencils Ali and Amadou Kane-Sy, TEACH DESIGN?
both from Senegal (‘A cause Design is about seeing
TECHNOLOGY de mon histoire personnelle, and putting together,
Black-and-white laser je n’ai pas d’attachement organizing. I encourage
prints on wood board, oil à une seule identité’) and students to check all
on canvas, photo prints, showing our work. kinds of path. They have
wall paintings to discover the world
FEEDBACK
TIME SPENT and themselves.
The ambassador of Germany Nowadays a lot of
2 weeks in Dakar bought four pieces students are imprisoned
TYPEFACE of work. in a shelter of wealth.
Helvetica and custom- Everything seems to
made fonts (e.g. stencil be accessible, easy,
typefaces from the sign- cool. I hate that. I want
painter we worked with) them to jump off the
cliff and learn to fall,
not to be perfect,
not to be safe, not to
think it’s over before it
starts. They have to
walk on glass. New is
dead, long live new.
The happy accident is
FAVOURITE FOOD NOW
a hook. To teach design
Home-cooking and good
you have to bring
restaurants. There is a
people to reflect on
great Lebanese restaurant what they are doing and
here in Karlsruhe that why they are doing it.
I love to go to Design is not about
YOUR MOST VALUED making things nice.
POSSESSION NOW A designer is not a
It’s not a ‘valued hairdresser. A designer
possession’, but my family should be able to see,
is something very hear, smell and taste
important to me now, more than others in
more than anything else order to reflect and act.
Project Now
127
LARS HARMSEN, 1992
LARS HARMSEN, 2010 MAGMA BRAND DESIGN
6 Laurent Lacour
Think big + Don’t think small

2000 The deep and thorough
research we conducted into
1: Development of Südraum meant that the
art/design projects to project was relevant to and
establish an identity for was well received by the
Südraum, a region south local population and official
of Leipzig (Germany). bodies. The aesthetic decisions
2: Photographic (visual) we made on the project
and contextual research were also informed by the
on the development research we had carried out.
(history and heritage) The implementation of the
of Südraum with project was based on a multi-
interviews, etc. disciplinary communication
design approach, and drew
COLLEGE on other areas of expertise
Hochschule für as well (see Collaborators).
Gestaltung Offenbach
OUTCOMES
am Main (Germany)
Knowledge.
TUTOR(S)
FEEDBACK
Prof. Ruedi Baur
Very positive feedback and
COLLABORATOR(S) reactions, especially in the
Many people from the local press.
region: politicians, land-
scape architects, cultural
organizations, etc.
TECHNOLOGY
Digital imaging, video,
photography, graphic
design, sound recordings,
product design, modelling
(mixed materials), etc.
TIME SPENT
1 year
TYPEFACE
Not relevant
FAVOURITE FOOD THEN

Tafelspitz
YOUR MOST VALUED
POSSESSION THEN
- THEN AND NOW
The interdisciplinary
approach and the depth
of research.
Project Then
130
PROFESSIONAL YEARS FRANKFURT AM MAIN, GERMANY
16 Laurent Lacour (Hauser Lacour)
Good conceptual thinking, quick

in bringing ideas to paper (or any
other media) and open to any
kind of culture + See above, plus
very good at managing discourse
with clients

2009 It was an exciting inter-
disciplinary project with the
Development of a fair focus on teamwork. Very
(consumer electronics and interesting interactive exhibits
home appliances – IFA and a good symbiosis between
2009) identity for Siemens architecture and design.
CLIENT
Siemens Elektrogeräte The client, who didn’t stick
GmbH, Ulrich Twiehaus with us afterwards despite
our good work.
COLLABORATOR(S)
FEEDBACK
Meso: digital imaging;
Franken Architekten: Very positive feedback/
architecture, exhibition reaction, awards, etc.
stand construction, etc.
TECHNOLOGY
Digital imaging, video,
photography, graphic
design, sound recordings,
architectural design,
interactive design and
programming
TIME SPENT
6 months
TYPEFACE
Not relevant
DO YOU TEACH?
Professor of Corporate
Design at Fachhoch-
schule Düsseldorf
FAVOURITE FOOD NOW (Germany).
Tafelspitz
IS IT POSSIBLE TO
YOUR MOST VALUED TEACH DESIGN?
POSSESSION NOW Yes it is: but it is more
My kids (but – oh – I don’t about teaching a kind of
possess them) thinking and discourse
than teaching visual
skills.
Project Now
131
LAURENT LACOUR, 2000
LAURENT LACOUR, 2009 HAUSER LACOUR
STUDENT YEARS BRITISH-AMERICAN-WELSH-GREEK
6 Liza Enebeis
Whatever you do, explore the

extremes, and don’t lose your
sense of humour + If there is
something else you want to do
apart from design then do
something else

1996 Because of its roughness.
The project was mapping points
The project was of view on the definition of
specifically designed for the book.
the Work in Progress WHAT DO YOU DISLIKE ABOUT IT?
Show just before our I wish I hadn’t sliced it into
graduation 15 pieces – I am still not sure
COLLEGE
what I was thinking.
Royal College of Art, OUTCOMES
London (United Kingdom) An insight about the nature
TUTOR(S)
of the book.
Liz Leyland FEEDBACK
TECHNOLOGY
It was generally liked, with
A mix between hand- comments such as ‘it’s
drawing and a typewriter typically Dutch’ (which I found
strange at the time).
TIME SPENT
2 months
TYPEFACE
Typewriter
FAVOURITE FOOD THEN

Marmite THEN AND NOW
YOUR MOST VALUED There are more

POSSESSION THEN similarities in the
My books concepts than in
the visual style.
Both projects map
information, one
in words and the
other with images,
although the starting
point to both was
the same: in-depth
research.
Project Then
134
PROFESSIONAL YEARS ROTTERDAM, THE NETHERLANDS
16 Liza Enebeis (Studio Dumbar)
Curiosity + A sense of humour

2010 I like the concept of creating
a universe for a University, and
Redesign the identity for enjoyed collaborating with the
the University of Twente designers in the studio to
(The Netherlands) create the map that was the
basis for the identity.
CLIENT
University of Twente
(The Netherlands) Nothing yet.
OUTCOMES
COLLABORATOR(S)
For this particular project Everything is possible.
we were a fixed team of FEEDBACK
DO YOU TEACH?
three at Studio Dumbar The project received a lot
No.
and another eight people of reactions as it was
on and off depending on not the usual approach for IS IT POSSIBLE TO
TEACH DESIGN?
the phase a university identity.
I think it’s possible to
TECHNOLOGY teach design. At college
Hand-drawings redrawn I learned my most
in Illustrator important lesson:
TIME SPENT ‘staying foreign’. The
1 year more comfortable you
are in a situation, the
TYPEFACE more likely you are
Univers to let things go by
unnoticed. Travel to a
foreign country, and
suddenly you notice
different sounds, smells,
colours, temperatures,
structures, behaviours…
For the locals these
things go by unnoticed;
locals are immune to
their surroundings.
As designers, photog-
FAVOURITE FOOD NOW raphers and creatives,
Marmite we are constantly
YOUR MOST VALUED seeking to be in a non-
POSSESSION NOW immunized state, to be
My books able to look at the same
question and always
solve it in a different
way. Immunity is our
worst enemy. If we learn
to remain foreign we
will always see what
goes by unnoticed.
This is what I would
like to teach.
Project Now
135
LIZA ENEBEIS, 1996
LIZA ENEBEIS, 2010 STUDIO DUMBAR
6 Lucinda Noble
Make the most of your time, facilities

and access to people and resources.
And enjoy! + Foresee the challenges
in the professional world and start
considering how you will incorporate
them into your design vision
YEAR OF PROJECT WHY DO YOU LIKE THIS PROJECT? ANYTHING ELSE

1999 I loved making something The polystyrene relief piece
three-dimensional by hand, is perhaps a strange example
Self-initiated project. and I’m surprised to find that from my student work. It was
A series of wall-mounted I still think they’re beautiful a small, insignificant project
relief pieces based on a objects! At the time, I mounted (in terms of my overall
collection of original them around the Stevens portfolio), but having thought
pieces of polystyrene Building at the Royal College about it, it emphasizes to me
packaging. of Art and they blended in how important those sketchy
beautifully with the moulding little pieces can be, and how
COLLEGE on the walls, which I loved. important I still find it to make
Royal College of Art, time simply to follow an
London (United Kingdom) inspired creative urge to make
I would have liked to cast
TUTOR(S) them in plaster. something out of those
Richard Bonner-Morgan, seemingly meaningless little
OUTCOMES ideas that pop into my head!
Margaret Calvert (see also
pp. 150–153), Lol Sargent Apart from slicing my finger
with my scalpel blade working
TECHNOLOGY late one night(!), I got a lot of
Scalpel knife, ruler, foam satisfaction out of constructing
board and paint – the something with my hands.
pieces were constructed It was a ‘seed’ project that led
by eye to many other ideas.
TIME SPENT FEEDBACK
1 week I think the pieces went pretty
much unnoticed!
THEN AND NOW
I am still very much
following my own lead.
From my experience,
my strongest work
comes from those
projects that are self-
initiated or that I have
FAVOURITE FOOD THEN most freedom to play
Probably pasta around with. I am still
YOUR MOST VALUED fascinated by detail,
POSSESSION THEN bringing attention to
My family, my photos, the everyday, and the
my Mac (sad but true), juxtaposition of function
my ability to see things and beauty. Also, I
in a certain way continue to enjoy how
things can be interpreted
by the viewer/user in
multiple ways.
Project Then
138
PROFESSIONAL YEARS LOS ANGELES, USA
12 Lucinda Newton-Dunn (space-to-think)
To be self-motivated, passionate and

proactive + To be passionate, believe
in your approach but remain open to
changes – communicate clearly
YEAR OF PROJECT TIME SPENT

2010/11 A year (from conceptualizing
to production and sales, etc.)
Design a print for a TYPEFACE
furoshiki (Japanese Handwritten
wrapping cloth) 90ô90cm WHY DO YOU LIKE THIS PROJECT?
based on the concept of It is something tangible, useful,
folding and wrapping. beautiful and sustainable.
This project also involved
developing the identity WHAT DO YOU DISLIKE ABOUT IT?
of the brand and I would have produced it at

marketing it. less expense and got someone
else to do the marketing!
CLIENT
Link, Tokyo OUTCOMES
I learned a lot about working
COLLABORATOR(S)
long-distance and about many
Kyoko Bowskill, aspects of business in the
Hennie Haworth product world.
TECHNOLOGY
FEEDBACK
Artwork produced from There has been some
a process involving bewilderment over what this
photography, drawing product is! People are
by hand, and finally output amazingly intimidated by the foresight personally to
in Illustrator on the Mac. introduction of a very simple pursue an adequate
Printed on 100% cotton but ‘new’ concept into the amount of research in
by a traditional Japanese the more technical and
Western market. However, we
furoshiki printer in Tokyo – business-orientated side
are discovering ways to make DO YOU TEACH?
a type of screenprinting of design. Tutors didn’t
it more accessible and there No.
process. really push that either.
have been many great reviews
IS IT POSSIBLE TO So I came away from
on the blogosphere and in
TEACH DESIGN? college conceptually
particular, compliments on the I think you can certainly strong, but lacking the
quality of the product (high teach aspects of design. more structural,
Japanese production quality). I wish I had been taught workmanship skills of
more of the fundamentals design. It’s quite hard as
in terms of layout, colour a student to know what
theory, typography, to focus on during your
business, etc. In the time at college and
British design education guidance can be quite
FAVOURITE FOOD NOW system (at least whereI vague. Time is limited and
Japanese food of studied) it seems that it is the opportune
various kinds most focus is put on moment to experiment
YOUR MOST VALUED concept development. with ideas and media, but
POSSESSION NOW At the time I was happy it is also a great time to
Same as then developing the conceptual learn some of the nitty-
side of things but being gritty. More design theory
young and inexperienced should be encouraged and
(I came straight through internships should be
the school and college made a compulsory part
system), I didn’t have the of a design course.
Project Now
139
LUCINDA NOBLE, 1999
LUCINDA NEWTON-DUNN, 2010/11 SPACE-TO-THINK
STUDENT YEARS FRENCH
7 Maki Suzuki
Try everything + Don’t read,

watch, look at design compilation
books or blogs
1998 It is very difficult to remember Too late. Definitely the
the whole process, but the ugliest thing.
Express your given colour idea was that Nicole had OUTCOMES
in a way that makes us chosen red and I, blue. To Mixed feelings about
see it as if for the first design a compromise of our disappointing a teacher I
time. Nicole Udry got collaboration, we printed out a admired (see Feedback) and
purple and I got turquoise. very ugly drawing of the same feeling guilty that I should
dog in red on one side and have tried to please her.
COLLEGE blue on the other on a wooden
Royal College of Art, This has followed me since.
stick. On the day of the A client, a commissioner or a
London (United Kingdom) presentation we turned the collaborator is not someone
TUTOR(S) stick in our hands so the dog to please or ‘service’.
Margaret Calvert (see also would somehow be purple.
I like my own uncertainty of FEEDBACK
pp.150–153)
such a work. It somehow made Margaret Calvert:
COLLABORATOR(S) ‘I am so disappointed’.
Nicole Udry, classmate sense (why a dog at all? why
that dog?). What is perhaps PROJECT SIMILARITIES
TECHNOLOGY THEN AND NOW
most likely is that it gave me
Digital inkjet printout, In both projects we
the hope that I could work
wood and foam board acknowledge they are
towards something not only
not logical-conceptual,
TIME SPENT that people could find
a tautological idea
1 week, among other challenging but that I also leading to one, often
projects would consider an eyesore. single, ‘solution’.
At the time Nicole was also The design decisions
on a similar quest, perhaps are rather convoluted
even more so as she did and spiral out of our
study graphics in Switzerland. own comfort zone.
Of course once we get
there we need to go
further as comfort
installs itself almost
immediately. They also
have in common that
they force handlers,
FAVOURITE FOOD THEN
readers, receivers to
Being French and being a
wonder about them as
vegetarian was a national
performative objects.
joke… Studying at the
Obviously a book is
Royal College of Art always also an object,
(London, UK), where many but in this case, I
cosmopolitan truths remember the slight
collide, I met Glaswegian shame at spinning the
and Swedish non-meat dog in front of the
eaters who proved me class or seeing people
wrong and I have been discard the book as
pescetarian since a piece of trash they
YOUR MOST VALUED cannot throw away but
POSSESSION THEN would never put next to
Comic books collection a ‘real’ publication.
Project Then
142
11 Maki Suzuki (Åbäke)
For both: Try everything
2010 The text was a meta-fiction Too late. Definitely the
of a person who could possibly ugliest thing.
Design a short text by try to contact someone in a OUTCOMES
artist Eline McGeorge democratic country. To design A client, a commissioner or
it, we felt it needed to bring out a collaborator is not someone
CLIENT the world in which it would
Hollybush Gardens to please or ‘service’.
have been written, namely
(gallery) a fictitious totalitarian regime. FEEDBACK
COLLABORATOR(S) This led us to design a whole Eline McGeorge on her return

Åbäke members ‘computer manual’ around the from an exhibition in Oslo,
text to camouflage it from ‘the where the booklets were
TECHNOLOGY stacked as a sculpture people
Offset printing, thought police’. There is an
overall fascination for vernacular could take parts from: ‘Nobody
staple-binding took one; they thought it was
design, but it usually is in the
TIME SPENT safe area of the just-vintage. a computer manual’.
3 weeks from idea For this publication, we used
to production the most contemporary
TYPEFACE manuals as models, resulting
Chicago, New York in a rather revolting result in
and Arial terms of our own tastes.
DO YOU TEACH?
Tutor at the Royal
College of Art,
London (UK) from
2004 to 2010.
IS IT POSSIBLE TO
TEACH DESIGN?
FAVOURITE FOOD NOW
Yes, education is part
Fish, still
of our practice. We
YOUR MOST VALUED have never given the
POSSESSION NOW same brief twice,
A copy of Steal This Book which makes it difficult
by Abbie Hoffman to test the validity of a
method, but we believe
in experimentation as
a principle of education,
which implies lots of
errors lived together
with students. We have
never taught at BA
level regularly, so it is
difficult to say.
Project Now
143
MAKI SUZUKI, 1998
MAKI SUZUKI, 2010 ÅBÄKE
STUDENT YEARS DUTCH
6 Marc van der Heijde
Search for your personal quality,

the strength that defines you – and
develop that further + No tutor
knows the answer
YEAR OF PROJECT COLLEGE WHY DO YOU LIKE THIS PROJECT?

1993 Academy of Art and Design I have selected one of the
St. Joost, Breda sketches for Spem In Alium,
Self-initiated project: six (The Netherlands) because I find it more
images for three classical TUTOR(S)
interesting than the final piece.
music pieces. On the Team of tutors, among them I didn’t crop or manipulate it;
following spread is sketch Henk Cornelissen, Hartmut it shows the honest set-up,
material for one of the Kowalke and Jaap van Triest which I like. In the end, the
six images only; a design design used limited elements;
TECHNOLOGY text in colour foil, two light
to fit a Renaissance piece Staged photography,
called Spem In Alium sources and a camera. But the
no use of the computer way they come together
by Thomas Tallis. It is a
very particular piece, TIME SPENT visualizes to my mind exactly
composed for 40 singers 6 months the aural essence of the piece
without accompaniment. TYPEFACE
as I heard it.
At places, all 40 singers Gill WHAT DO YOU DISLIKE ABOUT IT?
simultaneously have Looking back, I dislike some
their own part; texts are of the images because they
interwoven at the cost just feel too random. Although
of audibility to form not a necessity, I now think
something extremely it could have been interesting
complex and beautiful. to make them into more of a PROJECT SIMILARITIES
collection; that the images THEN AND NOW
dealing with music from various It was Eric Gill who said:
periods still share something, ‘I think that if you look
or make a collection. Logically, after goodness and
I now see many more truth, beauty will take
possibilities than back then. care of itself.’ I like the
idea of a restraint on
OUTCOMES
elements, interesting
Another six months at the
enough for the process
academy to try something else!
to lead to strong images
FEEDBACK that feel right. The truth
I can’t remember any particular in both projects is the
reactions from that time, but I fact that you take the
am sure my mother liked them. essence of a piece
(interwoven texts) or an
organization (singing
texts) and stay close to
it. Although ‘right’
seems to be a subjective
connotation, the
FAVOURITE FOOD THEN
reception of the Dutch
Pasta Chamber Choir’s
YOUR MOST VALUED identity validates the
POSSESSION THEN approach. The challenge
A German Perzina piano is to get your client to
from the 1920s recognize himself – but
in a way that surprises
him and others.
Project Then
146
PROFESSIONAL YEARS ROTTERDAM, THE NETHERLANDS
16 Marc van der Heijde (Studio Dumbar)
Curiosity + Curiosity (hey, I used to

be a design student too)
YEAR OF PROJECT Starting with the textual content, through animation and the
2006/2007 we adjusted letterforms by response was overwhelming.
breaking open their closed Choir members even suggested
A new visual identity for shapes. This led to a unique using the techniques in every
the Dutch Chamber Choir typeface that is the core of the single performance. And we
(Nederlands Kamerkoor) to identity: any text set in that still get very good reactions
suit the world-renowned font immediately refers to the whenever the identity and
ensemble choir, both visually and in the animation are shown to
character of their ‘product’. students, designers and
CLIENT potential clients.
Nederlands Kamerkoor; Leo
Samama (general manager) We made one series of ANYTHING ELSE
and Anne Douqué (business posters. We had to work with This project gave me a chance
manager) an overload of information to work with Paul van der Laan,
that greatly diminished their a Dutch type designer educated
COLLABORATOR(S) impact. The graphic style’s at the Royal Academy in
Daniel Markides, Ties Alfrink relative lightness does The Hague. The orginal
(graphic designers), Simon require clear choices. typeface, Franklin Gothic, was
Scheiber (motion designer), adapted for the purpose of
OUTCOMES
Paul van der Laan (type opening up letterforms, and
designer) The identity won a Red Dot
Award and the corporate the resultant NKK Gothic font
TECHNOLOGY animation was awarded a was designed in three different
Graphic design and type European Design Merit. weights. Great care has also
design, with ubiquitous use Over time, it hasn’t lost its been given to the typography DO YOU TEACH?
of the computer of the programme listings, at No.
initial appeal at all; I still
TIME SPENT respond to the freshness of the top of the right pages. IS IT POSSIBLE TO
6 months this unique and fitting design. Single text lines almost always TEACH DESIGN?
The animation can be seen bring together the composer’s The most important
TYPEFACE name, when he lived, the name thing I learned at the
Franklin Gothic (as basis for online: http://vimeo.com/
of the piece and when it was Academy was to
NKK Gothic) and Eureka studiodumbar
written. The Eureka typeface look. Drawing is a
FEEDBACK has some very sharp fundamental stage;
WHY DO YOU LIKE THIS PROJECT?
The choir always performs text- It was a genuine pleasure characteristics and we spent it releases you from
based material. That is, let’s getting feedback from quite some time looking for what you (think you)
say, the tangible part. But music the members of the choir the right font size, spacing, etc. know, and forces you
is ephemeral; the moment the when they saw the end result. to bring harmony to its to concentrate on
text is sung and music made, These people are very appearance. what you actually see.
it is gone. We set out to do committed to the group and The next step is
something paradoxical: to their work, and so were critical interpretation, but now
capture in form this fleeting and demanding. We presented in a conscious manner.
the concept of the identity If I were a tutor, I would
character of music.
teach typography.
That requires the same
FAVOURITE FOOD NOW
kind of looking. I like
Thai food the idea of studying
YOUR MOST VALUED ‘historic’ examples,
POSSESSION NOW principles, etc. and
A Japanese Yamaha grand then letting the students
piano from the 1990s think to what extent
they want to get away
from that.
Project Now
147
MARC VAN DER HEIJDE, 1993
MARC VAN DER HEIJDE, 2006/2007 STUDIO DUMBAR
STUDENT YEARS BRITISH, BORN IN SOUTH AFRICA
4 Margaret Calvert
Enjoy + Don’t waste time

1956 Discovering that I could draw.
Life drawing in pen An ability to be totally
and ink obsessed with the project
COLLEGE
in hand.
Chelsea College of Art,
London (United Kingdom)
TUTOR(S)
Leonard Rosoman
TECHNOLOGY
Pen and ink
TIME SPENT
A morning
FAVOURITE FOOD THEN

Pasta
YOUR MOST VALUED
POSSESSION THEN
My work
THEN AND NOW
Appropriating the
discipline of drawing for
a particular purpose.
Project Then
150
53 Margaret Calvert
Energy, enthusiasm and

imagination + An ability to
communicate and initiate
great ideas

2008 Simply because it is unique
(almost a self-portrait), in that
Painting depicting it relates to the Man at Work
Woman at Work for the roadworks pictogram that
Royal Academy of Art I designed in the 1960s.
2008 Summer Exhibition I liked the idea of substituting
the image of a woman for the
CLIENT workman, in the context of
Humphrey Ocean, work usually considered
Curator of the Royal appropriate only for men.
Academy of Art 2008 I also was attracted to the idea
Summer Exhibition of painting over a slightly rusted
TECHNOLOGY old sign found lying abandoned
Acrylic paint on top of in the street; thus giving it an
a metal Roadworks sign added value once exhibited
that I designed in the in the Royal Academy.
1960s. FEEDBACK
TIME SPENT Someone wanted to buy
4 days the painting.
DO YOU TEACH?
Initially invited to teach
Royal College of Art,
London (UK) Industrial
FAVOURITE FOOD NOW Design students
Pasta typography. Taught
part-time in the Graphic
YOUR MOST VALUED
Design Department
POSSESSION NOW
from 1966. Eventually
My work
retired as a senior
tutor in 2001. Head of
Graphic Design from
1987 to 1991.
IS IT POSSIBLE TO
TEACH DESIGN?
Yes. It’s possible to
teach an ability to draw
and communication.
Project Now
151
MARGARET CALVERT, 1956
MARGARET CALVERT, 2008
7 Marion Fink
Keep it simple + Don’t mix ideas

1999 The simplicity of framing a
space, leading the viewer’s
Self-initiated moving- eye and adding iconic value.
image studies OUTCOMES
COLLEGE
Learning by doing.
Royal College of Art, ANYTHING ELSE
London (United Kingdom) Ideas come more easily
TUTOR(S)
without a concrete brief in
Margaret Calvert your mind.
(see pp. 150–153)
COLLABORATOR(S)
Ben Duckett
TECHNOLOGY
Sony Mini DV handycam
TIME SPENT
1 month
FAVOURITE FOOD THEN

Hummus, and the soups
and spicy sauces of my
Korean flatmate
YOUR MOST VALUED
Computer + Sony camera THEN AND NOW
The conceptual and
formal approach of the
frame (as described
above) as a cultural
symbol for giving
something a meaning or
even calling it art.
Project Then
154
PROFESSIONAL YEARS BASEL, SWITZERLAND
13 Marion Fink (at the time of this project

in 2004: KMS Team, Munich)
Curiosity and persistence +

Curiosity and persistence plus using
your resources in a sustainable way

2004 Same answer as
opposite (then).
Indentity and opening WHAT DO YOU DISLIKE ABOUT IT?
campaign for the Museum The font!
of Modern Art Munich OUTCOMES
(Pinakothek der Moderne) Doing and still learning.
CLIENT
ANYTHING ELSE
Pinakothek der Moderne, Same answer as
Munich opposite (then).
COLLABORATOR(S)
KMS Team (Marc Ziegler,
Xuyen Dam)
TECHNOLOGY
Super 8, 35mm slides
(Nikon), 6 * 4.5 cm
(Hasselblad), the usual
Mac software: Adobe
Photoshop, Adobe
Illustrator…
TIME SPENT
2 years
TYPEFACE
FF DIN
DO YOU TEACH?
Professor of typography
and information design
at Hochschule für
Gestaltung und Kunst,
Basel (Switzerland).
IS IT POSSIBLE TO
TEACH DESIGN?
I learned at college to
FAVOURITE FOOD NOW bounce ideas around,
Pasta and good wine but often I felt the
YOUR MOST VALUED tutors/school wanted
POSSESSION NOW to force a certain style
My flat upon the students.
In teaching today,
I try to strengthen the
students’ strong points
and weaken their weak
points. They should
find their own voice
and attitude rather
than copying someone
else’s.
Project Now
155
MARION FINK, 1999
MARION FINK, 2004 KMS TEAM, MUNICH
10 Martin Lorenz
Learn to learn +
Don’t be arrogant

1997 I like the strength of the
drawing. As the animals were
Draw the animals in constantly moving, one only
the zoo had the time to draw the most
essential things, but this
COLLEGE makes you think about what is
Hochschule Darmstadt important to draw and what
(Germany) isn’t. You need to memorize
TUTOR(S) the shades and forms you
Prof. Osterwalder have seen because in the next
TECHNOLOGY
second the animals will have
Charcoal moved to a different position.
It was fun, because I wasn’t
TIME SPENT doing anything else than
1 afternoon drawing in those years and my
hand was fluent. I draw much
worse these days.
OUTCOMES
It made me grow.
FEEDBACK
Prof. Osterwalder: ‘Man
erkennt die Schweizer Schule’
(One does recognise the
Swiss school).
FAVOURITE FOOD THEN
THEN AND NOW
All kinds Both projects only
YOUR MOST VALUED use what is needed,
POSSESSION THEN not more, not less.
Comic collection Even though they
appear visually
playful, they are
highly minimalistic.
Project Then
158
PROFESSIONAL YEARS BARCELONA, SPAIN
13 Martin Lorenz (TwoPoints.Net)
For both: Be autodidactic
YEAR OF PROJECT CLIENT OUTCOMES

2010 Sitra, the Finnish It made me grow.
Innovation Fund FEEDBACK
Develop a visual identity COLLABORATOR(S) ‘The work from Two Points for
for the Helsinki Design Lupi Asensio our Helsinki Design Lab visual
Lab, which defines itself TECHNOLOGY
identity captures the spirit of
as follows: ‘We believe Acrylic paint and our endeavour: it’s systematic,
that the scale and computer nimble, and founded in really
complexity of today’s sharp thinking about the
challenges are more TIME SPENT various mediums that the
effectively addressed 2 months identity needs to suit. In this
when design is a leading TYPEFACE way, the visual identity of our
voice co-ordinating many, Univers & Minion Helsinki Design Lab is similar
rather than a service WHY DO YOU LIKE THIS PROJECT?
to how Sitra sees a role for
applied to pre-defined The driving idea of the visual strategic design operating as
problems. With a identity is drawn from the part of the solution to today’s
specialized ability to bring ‘space’ occupied by the large-scale challenges: a
synthesis to complex strategic framework of the reflexive capability responding
problems, to work from HDL, which draws together intelligently to real-world
conception to implemen- a diverse group of actors and needs. We at Sitra are very
tation, and to visualize entities from various fields. pleased with the work from
complex relationships, These actors, each one Two Points and are constantly
the strategic designer a specialist in his field, receiving compliments on the
plays a lead role in contributes a unique point of uniqueness and attention to
addressing the issues view within a group that can detail that our visual identity
faced by contemporary offer a more holistic definition embodies.’ (Bryan Boyer,
society. Helsinki Design of the problem, thereby Design Lead at Sitra, the
Lab (HDL), a project creating the opportunity for Finnish Innovation Fund.)
initiated by Sitra – the a more effective range of DO YOU TEACH?
Finnish Innovation Fund – solutions. The Strategic I am co-director of the
fosters state-of-the-art Designer acts as an enzyme, Postgraduate Degree of
knowledge, capability and co-ordinating the process. Applied Typography at
achievement in the area The visual identity is coherent the private design
of strategic design in with the idea of the institution. school ELISAVA in
order to improve global It is highly flexible without Barcelona (Spain).
supply of this essential losing recognizability. I teach mostly flexible
21st-century problem-
visual systems.
solving skill.’
IS IT POSSIBLE TO
TEACH DESIGN?
No, design cannot be
taught, but a teacher
FAVOURITE FOOD NOW
can help the student to
All kinds develop rational and
YOUR MOST VALUED emotional design
POSSESSION NOW methodology and train
Book collection his eye for visual
communication, which
involves studying design
history as well.
Project Now
159
MARTIN LORENZ, 1997
MARTIN LORENZ, 2010 TWOPOINTS.NET
7 Matthias Görlich
Find it out for yourself +

There are easier ways to
earn money, honestly

2000 What I like most about the Our posters got destroyed
project is that the original after the presentation (don’t
Design a series of posters briefing was quite strict but know whether that’s a positive
and a programme for an that we found some flexible or negative sign); maybe it was
imaginary theatre parts in it. So in the end we pure coincidence. In general,
were not designing posters we received a positive reaction,
COLLEGE to announce a play for an I think mainly because we
Hochschule Darmstadt imaginative theatre, but we were ‘rethinking the brief’ a bit
(Germany) took the play directly onto more drastically than expected
TUTOR(S) the streets by the means and the project was executed
Prof. Sandra Hoffmann of posters. in the city. I once received a
(see also pp. 194–197) WHAT DO YOU DISLIKE ABOUT IT?
drastic (but very honest and
COLLABORATOR(S) This project was one of the true) reply from one of the
Florian Walzel most physically exhausting Swiss superstar designers,
projects I ever did; this saying that the choice of the
TECHNOLOGY form and technique was purely
Silkscreen-printing and came out of a great lack of
experience paired with a lot a formal one. Things would
stamps on existing have been a lot easier to
surfaces (posters, the of ambition. Looking back, PROJECT SIMILARITIES
this physical/psychological produce in a different technique,
street, houses, etc.) and THEN AND NOW
‘borderline’ experience turned which would have led to a
for the programme we One of the links
out to be a key ingredient different visual outcome.
used Xerox machines between both projects
in all the projects I really like. He was right. might be the strategy
TIME SPENT Paradoxically, now, running of ‘rethinking the
6 months a design studio, I try to avoid brief’. With the Cologne
TYPEFACE those moments of total project, we tried to
Trade Gothic exhaustion as much as look at a spatial
possible. strategy differently
(at least for me as a
graphic designer and
most certainly also
for the audience, who
were expecting an
architectural proposal
for a new building).
With the other project
FAVOURITE FOOD THEN we did this by not
Whatever was available designing posters that
within a limited budget announce theatre
YOUR MOST VALUED
plays but by using the
POSSESSION THEN posters to start the play
- on the street. The other
aspect that links both
projects is that they
both deal with our
physical environment.
The places we live in
were objects of design,
of interventions by
simple means.
Project Then
162
PROFESSIONAL YEARS DARMSTADT, GERMANY
12 Matthias Görlich (Studio Matthias Görlich)
Curiosity and being excitable +

Curiosity and scepticism, in
constant conflict with one another

2007 A guide was produced in I think re-reading the city by
offset printing (2c), which was the means of graphic design
To come up with a distributed as part of a local and maps played an important
proposal for a spatial magazine. Sites of interventions role in the project. And maps
strategy for an art were marked with little and diagrams became a major
institution that (at that stickers. The works by the interest for me for the DO YOU TEACH?
time) did not have a artists were done using very following projects. I think there I taught at Hochschule
physical presence. diverse techniques. is some power within the Wiesbaden (Germany),
In this case, one of the TIME SPENT
visualization of space, and this Hochschule Darmstadt
concepts was applied 3 months can be an interesting domain (Germany) and in Zurich
to an exhibition in the for graphic design. (Switzerland). I often
TYPEFACE
city of Cologne. FEEDBACK conduct workshops and
Modified version of do lectures in various
CLIENT Schulbuch Grotesk I think in general the project
was well received, although cities e.g. Paris, Aachen,
Curator Nicolaus Mumbai and Lucerne.
Schafhausen and Vanessa it was part of a bigger project
that was seriously discussed Currently I am working
Joan Müller of European as a researcher at
Kunsthalle Cologne. within Cologne’s cultural
scene. In the end we delivered Universität Stuttgart
They commissioned a (Germany), Institute
research project titled the framework and the works
by the artists were up for for Urban Planning,
Spaces of Production concentrating on the
from architects Nikolaus discussion.
visual representation of
Hirsch, Philipp Misselwitz, urban space and at the
Markus Miessen and me. Institute for Design
COLLABORATOR(S) research, Design2-
Architects Nikolaus context, in Zurich
Hirsch, Philipp Misselwitz (Switzerland).
and Markus Miessen. IS IT POSSIBLE TO
The design was done in TEACH DESIGN?
collaboration with To answer this question
Miriam Rösch. one might first need to
define the word ‘design’
a bit more. If we are
talking about teaching
the invention of visual
FAVOURITE FOOD NOW form, then I think
Whatever is available certain aspects of this
YOUR MOST VALUED can be taught (such as
POSSESSION NOW cognition theory, certain
- aspects of typography,
etc.). But what I think
can’t be taught (or at
least has to be taught a
lot earlier) is the ability
to walk with open eyes;
to identify visual
phenomena that can
then be transformed
into new things.
Project Now
163
MATTHIAS GÖRLICH, 2000
MATTHIAS GÖRLICH, 2007 STUDIO MATTHIAS GÖRLICH
STUDENT YEARS GREEK
5 Michael Georgiou
Do as much research as
you can + Never copy,
only get influenced

1984 Because of the process.
Design a poster for Through this student project
a circus I realized that in order to
COLLEGE
visualize a concept by hand
Vakalo College of Art and a great deal of effort was
Design, Athens (Greece) needed.
TUTOR(S)
George Pavlopoulos
(visual artist)
TECHNOLOGY
Paper, colour markers,
self-adhesive film
TIME SPENT
2 weeks
TYPEFACE
Trade Gothic Condensed
FAVOURITE FOOD THEN

Spaghetti bolognese
YOUR MOST VALUED
POSSESSION THEN
A watch
THEN AND NOW
Simplicity.
Project Then
166
PROFESSIONAL YEARS ATHENS, GREECE
19 Michael Georgiou (G Design Studio)
A diverse background +
Integrity

2008 Because of the concept.
PROFESSIONAL PROJECT BRIEF OUTCOMES
Design a poster for the A strong concept was
exhibition Mapping visualized easily due to
(Europe), a co-production technology.
of Apeiron Photos and
the photography agency
Corbis
CLIENT
Apeiron-Corbis
COLLABORATOR(S)
Alexandros Gavrilakis
TECHNOLOGY
Laser-cut Forex ® and
digital print
TIME SPENT
3 days
TYPEFACE
Helvetica
FAVOURITE FOOD NOW

Spaghetti bolognese DO YOU TEACH?
Vakalo College of Art
YOUR MOST VALUED
POSSESSION NOW
and Design (Greece),
My art collection Graphic Design.
IS IT POSSIBLE TO
TEACH DESIGN?
I have been a graphic
design tutor since 1992.
The thing I try to pass on
is the importance of
conducting research
before starting to
design.
Project Now
167
MICHAEL GEORGIOU, 1984
MICHAEL GEORGIOU, 2008 G DESIGN STUDIO
STUDENT YEARS DUTCH
6 Nikki Gonnissen
Set some goals and try to reach

them + No warnings

1993 It was a private project, and
I therefore created my own to make a new advertising
The Knee was my final private world. campaign, and we did, but
exam project. It was a WHAT DO YOU DISLIKE ABOUT IT? for us it was important also
self-initiated project Certain spreads didn’t come to rebrand all forms of
out so well. communication – business
COLLEGE
cards, commercials, the
Hogeschool voor de OUTCOMES
newspaper itself, radio spots,
Kunsten Utrecht It was very difficult to get the Internet, etc.
(The Netherlands) my own thoughts clear.
PROJECT SIMILARITIES There is a similarity in content
TUTOR(S) FEEDBACK THEN AND NOW between the two projects
Wim Wal I got my diploma. I think it starts with ambition. also. I have read this news-
TECHNOLOGY Both projects are very paper for years now, so I was
Silkscreen printing ambitious. In 1993 there already personally engaged.
were no colour printers, It publishes news in an
TIME SPENT
and I wanted to make a real independent but critical way,
6 months publication, not one with it is forward-looking, it
TYPEFACE sticky Letraset type. So approaches people not as
Joanna I made a big effort to silk- consumers but as citizens
screen the book. I found with their own opinions.
a publisher who sponsored Its subjects are social and
the project. Like all students, political. We decided to use
I wanted to show my the news in order to advertise
complete self within this the newspaper itself. So, for
book. I would never try this example, we featured a
again; it was horrible. photo of the pope and
Now when I look back at accompanied it with the
the project I think I already word: ‘truth?’ So nrc is
identified with social issues. announcing and commenting
The whole ‘knee’ book is on the news of the day
about falling, being over- through an advertisement
thrown, being a failure. in its own newspaper.
It’s about hierarchy, and So another similarity is the
I had a deep sympathy for engagement within the
the fallen person and the approach.
FAVOURITE FOOD THEN lower social classes. I used Also important is changing
Indonesian (my mother pictures and texts from the context, and therefore
comes from Indonesia) books and newspapers, also changing the form
and made some myself, or altering the content.
YOUR MOST VALUED
of workmen on their knees, Stylistically there are
POSSESSION THEN
praying men, pilgrims, a similarities too, such as
If family is a possession,
shot-down man, wounded the use of pictures and
my family
people, etc. contrasting simple signs.
The nrc (professional) project In the case of the ‘knee’
was ambitious because book, a hinge above a
we approached it from a pilgrim woman kneeling.
designer’s and not an In the case of nrc, the
advertisement agency’s ‘guillemet’ alongside a
perspective. The brief was picture of the pope.
Project Then
170
PROFESSIONAL YEARS AMSTERDAM, THE NETHERLANDS
19 Nikki Gonnissen (Thonik)
Being able to focus and collaborate,

being ambitious, interested,
communicative + Being able to
focus and collaborate, being
ambitious, interested, practical,
realistic, communicative but also
having an experimental attitude

2010 This is a project in the midst
of society. We developed a new
To create a new brand: nrc, along with a new
advertising campaign theme, ‘ik denk nrc’ (I think
for Holland’s most nrc). nrc now has different
intellectual newspaper products: nrc Handelsblad, nrc
company next and nrc.nl. In the design
for the brand, the ‘guillemet’
CLIENT (angle quote) has the lead.
nrc Media
OUTCOMES
COLLABORATOR(S) It was very exciting to work
Thonik studio staff for a newspaper that I had
TECHNOLOGY been reading myself for years.
Cross media We shared many values.
TIME SPENT FEEDBACK
6 months The project was very
TYPEFACE
successful; we had a lot of
Lexicon positive reactions. But we
also had some negative ones –
those came from the
advertising scene, mostly on
blogs. I think we came, as
graphic designers, too close
to their area of expertise.
FAVOURITE FOOD NOW

Indonesian, Japanese,
French
DO YOU TEACH?
YOUR MOST VALUED
At the moment I teach
POSSESSION NOW
on the Masters course
Family, books, shields,
in Graphic Design at the
ceremonial outfits,
Academy of Art and
bis poles from
Design, St. Joost, Breda
the Asmat
(The Netherlands).
IS IT POSSIBLE TO
TEACH DESIGN?
It is very hard for
students to focus.
Project Now
171
NIKKI GONNISSEN, 1993
NIKKI GONNISSEN, 2010 THONIK
7 Oliver Klimpel
More courage –
who dares wins +
Think about it

1996 Its design was very much at It was nice to bring a different
odds with what was taught at idea of visual communication
Design posters for a series the college and what graphics to the announcement for a
of student exhibitions for looked like in Leipzig. It was college show. I’ve done more
one class in the photo- fun – and looked nice inside projects with that photography
graphy department of the college building on the neo- class and am working, as we
the Leipzig art college. classical columns. I enjoyed speak, on a book for the
Title: Fin Sans using Molli, the typeface, photographer who ran that unit
because it seemed such at the time, Timm Rautert.
COLLEGE a weird/‘vernacular’ choice FEEDBACK
Hochschule für Grafik und at the time…
Buchkunst Leipzig ‘Not legible, too confusing,
(Germany) WHAT DO YOU DISLIKE ABOUT IT? not respectful enough…’
It is very much of its time and
TUTOR(S) doesn’t look that special today.
Prof. Rolf Felix Müller It might have only worked in
(Klasse Illustration) the very specific context of the
COLLABORATOR(S) college. I had the idea at the
The photography students time to have the diagonal line
involved going back and forth like a
TECHNOLOGY
metronome from one show to
Inkjet and laser printout, the next to the next. There
manual cropping were not enough shows to
make that clear…
TYPEFACE
Molli, a display typeface
by Typoart, the former
type foundry of East
Germany, and Helvetica
Extended
FAVOURITE FOOD THEN

Cheap
YOUR MOST VALUED
POSSESSION THEN
-
THEN AND NOW
I basically selected
the pieces because
they are quite different.
But they share a
leaning towards the
typographic.
Project Then
174
12 Oliver Klimpel (Büro International)
Being self-motivated and

brave, cheeky, not risk-averse +
Able to foresee the consequences
and results of processes plus
generosity

2003 I like it for its proportional pun
and deadpan fun. However,
Design of promotional/ I like to think there’s a chance
recruitment poster for the of profundity in it. But I selected
newly started Masters this poster because of its quite
course at Central Saint different idea of a poster to
Martins College of Art & the one done in 1996.
Design: MA Creative WHAT DO YOU DISLIKE ABOUT IT?
Practice for Narrative The weak spot of the project is
Environments. To be sent probably the distribution of the
out to other colleges and posters and the dependence
other institutions. on people of putting the
CLIENT
posters up on message boards
Tricia Austin, Course where there is stiff competition
Leader, MA Creative for space. I do know from
Practice for Narrative friends, though, that posters
Environments at Central did hang at least in some
Saint Martins College UK colleges.
of Art & Design OUTCOMES
TECHNOLOGY
I did more work for the course
Offset litho, 2 colours and came in as a visiting tutor
a few times.
TYPEFACE
FEEDBACK
Times New Roman
‘Not catchy enough, no image,
too discreet.’ ‘Nice and simple.’
FAVOURITE FOOD NOW DO YOU TEACH?

Japanese I am a Professor for
System-Design at the
YOUR MOST VALUED
POSSESSION NOW
Hochschule für Grafik
Currently my new sofa, und Buchkunst Leipzig
otherwise a painting by (Germany).
Peter McDonald and IS IT POSSIBLE TO
a few books TEACH DESIGN?
Yes: Craft. Techniques
and camaraderie.
Fairness. Thoroughness
and being critical.
‘Doubt, Delight and
Change’ (Cedric Price).
Project Now
175
OLIVER KLIMPEL, 1996
OLIVER KLIMPEL, 2003 BÜRO INTERNATIONAL
4 Paul Barnes
Look at the books in the

library + Don’t expect to get
your way at all times

1992 For the enjoyment of
manufacturing something
A type specimen made at using all the technology; from
the University of Reading working by hand, to hand-
setting, to using the Macintosh
COLLEGE and creating something
University of Reading physical from many materials.
(United Kingdom)
OUTCOMES
TUTOR(S) It crystallized a way of thinking
Paul Stiff and aesthetic I had been
TECHNOLOGY practising when at college;
Hand rendering, letterpress it reached its end conclusion
type, photocopying (B&W/ in this project. It was the end
colour), painting, laser- of being a student.
printed type from Apple FEEDBACK
Macintosh using It seemed well received.
Pagemaker software
ANYTHING ELSE
TIME SPENT In most of the work you do,
3 weeks you almost always feel it could
TYPEFACE be better or done differently.
Akzidenz Grotesk, Bauer With both of these projects
Bodoni, Kuenstler Schrift, (student and professional
Caslon, Caslon Black, shown overleaf) they are
Futura Black, Futura, exactly as I envisaged them
Monotype Garamond, and I am proud of them.
Wilhelm Klingspor Schrift,
Caslon Ornaments, Kilmer,
Optima, Palace, Univers,
Van Dijck, Venus
FAVOURITE FOOD THEN

Pasta
YOUR MOST VALUED
POSSESSION THEN
-
THEN AND NOW
Both have their roots
in the handmade and
the past and how the
past can inform the
future.
Project Then
178
19 Paul Barnes
Curiosity + Curiosity and patience

1997– 2010 Having an idea and taking
it to its conclusion and doing
Self-initiated typeface it to the best of one’s level
design (Dala Floda) of craft.
CLIENT
Self-initiated The length of time it took
to design.
COLLABORATOR(S)
OUTCOMES
Commercial Type
(Christian Schwartz and Finally learning and under-
Berton Hasebe) standing how to make
a typeface from an idea.
TECHNOLOGY
FEEDBACK
Apple Macintosh,
Illustrator, Fontographer It seemed to be well
and Fontlab software received.
TIME SPENT
13 years on and off
TYPEFACE
It is a font – Dala Floda
DO YOU TEACH?
No
IS IT POSSIBLE TO
TEACH DESIGN?
I think if we accept that
design is in part
technical or craft, then
it’s possible to teach
people the craft and
technics of design.
The problem is how we
FAVOURITE FOOD NOW teach the ‘creative’ part
Sushi and home- of design. That seems
made bread to be more elusive.
YOUR MOST VALUED I think also that the
POSSESSION NOW history of design is also
- teachable, and probably
in my opinion a vital
thing for design
education. Certainly
at the University of
Reading, I learned the
technical, craft and
historical aspects
of typography.
Project Now
179
PAUL BARNES, 1992
PAUL BARNES, 1997– 2010 PAUL BARNES AND COMMERCIAL TYPE
Dala Floda Roman

Dala Floda Dala Floda Italic
Dala Floda Roman No. 2
Dala Floda Italic No. 2
Dala Floda Medium
Dala Floda Medium Italic
Dala Floda Bold
Dala Floda Bold Italic
Dala Floda has its roots in the typefaces of Dala Floda Black
the Renaissance but adds the twist of being
a stencil letterform. Originally inspired by Dala Floda Black Italic
worn gravestone lettering and lettering on Dala Floda Fat
shipping crates, the elegance of the forms Dala Floda Fat Italic
belies their everyday origins.
PUBLISHED
2010
First designed in 1997 for a logotype, Dala Floda eventually
became the headline typeface for the art magazine frieze in
DESIGNED BY
PAUL BARNES 2005. Since then the family has grown considerably, with the
16 STYLES
addition of an italic and a range of heavier weights, all the
8 WEIGHTS W/ ITALICS way up to a fat weight. Its stencil form makes it well suited
FEATURES for headline use and especially for logotypes.
PROPORTIONAL OLDSTYLE FIGURES
PROPORTIONAL LINING FIGURES
SMALL CAPS (ROMAN)
FRACTIONS
SWASH CAPITALS
DISCRETIONARY LIGATURES
Sesquicentennials
DALA FLODA ROMAN, 60 PT
Officiation
Autobiographical
DALA FLODA ROMAN NO. 2, 60 PT
Photojournalsm
KVITSØY
DALA FLODA MEDIUM, 60 PT
Grindavíkurbær
DALA FLODA BOLD, 60 PT [SWASH r]
Distinctive
DALA FLODA ROMAN, 100 PT [ALTERNATE Y, DISCRETIONARY ct LIGATURE]
Decompensates
DALA FLODA BLACK, 60 PT
Setzmaschinen
Contributes
DALA FLODA FAT, 60 PT
ANTIQUE
Bichromatic
DALA FLODA ITALIC, 100 PT [SWASH A Q]
5½ Prem Krishnamurthy
Pay close attention to the things

you like and why + Don’t be lazy in
your work, thinking or actions in
the world. Always seek to
overperform
1998 First, one major outcome of The typography and design of
the project was that I received the posters within the posters.
Create a series of movie the assignment at random to OUTCOMES
posters for screenings watch at least three films by This was the first time that
of three films by a single David Lynch. Having barely I had tried to combine my
filmmaker (who was seen his work before, I took interests in photography and
assigned randomly) the opportunity to watch nearly design in a conscious and
all of his films before deciding compact manner. I also
COLLEGE which ones to make posters
Yale College, realized that graphic design
for. His films made a great could become spatialized and
New Haven (USA) impression on me then, in the inhabit real contexts; this
TUTOR(S) way that they uniformly found interest in the particularities
Michael Rock pockets of deep strangeness and specificity of spaces
TECHNOLOGY
and uncanny activity within the continued to grow over the
Illustrator, Nikon 35mm contours of everyday American years.
camera, Photoshop life. So the brief itself proved to
be a learning experience. FEEDBACK
TIME SPENT Over the course of developing When these posters were
2–3 weeks the poster concept, I came to shown in an undergraduate
TYPEFACE the solution of actually creating end-of-semester art show,
Agenda three posters (in one case, a graduate design student
a still image on a DVD), which remarked that they were the
I would insert into locations best pieces in the show,
that possessed the weirdness which was quite flattering.
intrinsic to Lynch’s films; the
final step would be photo-
graphing them to create the PROJECT SIMILARITIES
finished posters. This approach THEN AND NOW
seemed natural enough to me, Although I see the two
as it combined my existing projects as quite
interest in photographing different in essential
interiors with a self-referential approach, I find them
approach to design. And it to have a common
turned out, back then, to be the interest in situating
perfect method of making a set graphic design within
FAVOURITE FOOD THEN of graphic posters for these real spaces and also
Taco Bell bean burritos very particular films. allowing design to
spread in unusual ways.
YOUR MOST VALUED
POSSESSION THEN
Both projects collapse
My 4ô5 camera representation and
presentation in different
ways. Also, for me, the
earlier project presages
my later deep engage-
ment with exhibitions
and physical spaces
that nevertheless
demonstrate a certain
self-awareness.
Project Then
182
12 Prem Krishnamurthy (Project Projects)
Desire + Resolve

2008 After Neurath: The Global Polis This was the first exhibition
was an exhibition in The Hague, I had designed where I had not
Design an exhibition The Netherlands, in 2008. visited the exhibition space
on the city planning and Without delving too much into previously; as such, this was
radical thinking on the content of the show [more a useful learning experience
urbanism and space information on the show is in visualizing a space through
of Otto Neurath here: http://bit.ly/hWVGZ6], virtual models only, and then
the exhibition served as an adjusting the installation to
CLIENT interesting opportunity to test match the actual space.
Stroom Den Haag out several ideas in exhibition FEEDBACK
(The Netherlands) design, which again came
(Curator: Nader The exhibition was very well
directly from the subject matter received in the architecture
Vossoughian) itself. Given Otto Neurath’s and design press, and in
COLLABORATOR(S) forward-thinking ideas about general by the public. The
Adam Michaels, ‘mass-produced exhibitions’, take-away posters ran out DO YOU TEACH?
Chris Wu we decided to create a set of before the show’s end – Generally yes, though
TECHNOLOGY
posters for the show that also a good sign. currently no. Past
Adobe InDesign, would present the wall texts teaching includes:
Illustrator, Photoshop within the exhibition while also University of
functioning as take-aways that Connecticut (USA),
TIME SPENT could serve as a secondary, advanced design, senior
2 months portable mini-exhibition in thesis. Parsons The
TYPEFACE the home of the visitor or in New School for Design
Neutraface 2 Display, other contexts. (USA), senior thesis.
FF Bau, Plantin WHAT DO YOU DISLIKE ABOUT IT?
Rhode Island School of
The typography of the posters, Design (USA), graduate
perhaps. elective course.
University of the Arts
Bremen (Germany),
visiting designer
workshop.
IS IT POSSIBLE TO
TEACH DESIGN?
Yes, otherwise I wouldn’t
teach! Though in college,
FAVOURITE FOOD NOW I actually learned not so
Chicken shawarma much about design –
YOUR MOST VALUED apart from good typog-
POSSESSION NOW raphy, which is one
My notebooks from thing you can teach that
the past years is essential! – but,
rather, about how to
think about design.
And I happened to have
enough self-awareness
to know what things
I was very weak in,
and to work very hard
to get better at them.
Project Now
183
PREM KRISHNAMURTHY 1998
PREM KRISHNAMURTHY, 2008 PROJECT PROJECTS
STUDENT YEARS BRAZILIAN/AMERICAN
6 Renata Graw
One can never say something

won’t work until they have done it +
Don’t be afraid to fail
YEAR OF PROJECT COLLEGE OUTCOMES

2008 University of Illinois Besides the tangible product,
at Chicago (USA) both Café 4102 and Lumpen
Café 4102: Our friend and TUTOR(S)
Magazine served as platforms
colleague Phillip Matesic Phillip Matesic to explore and experiment with
approached us during our (client and friend) what we knew, skills and
final thesis semester as otherwise, and what we were
COLLABORATOR(S) interested in/studying at the
he had decided to change Jeremiah Chiu,
the format of his thesis time. I think we were fortunate
Phillip Matesic in both projects to work with
paper from a theoretical
paper to a small book. TECHNOLOGY great collaborators who really
The book would capture Hands, photography, allowed us and the projects to
the essence and ‘dialogue’ computers realize their full potential (well,
of his café project and TIME SPENT
as full as could happen within
remain as a document of 1 week one week). With Café 4102
an ephemeral installation. we gained the experience of
TYPEFACE working together outside of
As Phillip said, ‘I have one Nimbus Condensed
week to develop a sample a school assignment, which,
Rounded and Scala Serif in a way, led to us starting our
version and have no skills
with a layout program. WHY DO YOU LIKE THIS PROJECT? own studio practice.
I have been working in This project was really the first FEEDBACK
Word just to get a feel in-school, but self-initiated, Phillip and his colleagues were
for the image + text project Jeremiah and I (now pleased with the outcome and
relationship and will now Plural) collaborated on fully we like to think it served as
work with real photos and from start to finish. We enjoyed a successful documentation
cut-out text. Would you the opportunity to create a real, of his project.
or anyone you know tangible piece, we liked the
in the Graphic Design fact that it felt like a real, client-
programme be willing to based project, where we were
help me lay out the book?’ in charge of all aspects from
Though it was an intense designing and editing to
time for all of us, we gladly printing and producing.
accepted the project.
THEN AND NOW
Both projects were
fun; labours of love.
FAVOURITE FOOD THEN The opportunity to
I love all things food, but… collaborate with
(Cont. opposite – now) artists and makers to
YOUR MOST VALUED explore and experiment
POSSESSION THEN with new ways of
My camera experiencing the world
is why we do what
we do.
Project Then
186
PROFESSIONAL YEARS CHICAGO, USA
12 Renata Graw (Plural)
For both: Curiosity,

experimentation, patience

2010 We took this project on as With Lumpen Magazine,
a challenge, but also to create we received quite a bit of
Lumpen Magazine: a piece that would showcase recogni-tion from our peers
Ed Marszewski, founder what we were capable of, and the professional field
and overlord of Public as we were, and still are, alike (see feedback).
Media Institute, contacted interested in creating/ With the recognition, we
us about redesigning designing publications. have been fortunate to gain
Lumpen Magazine to We liked the challenge of a few new clients who are
begin its 18th year. As creating something that tested interested in collaborating on
the scheduling had been our limits, both in time and meaningful projects. Lumpen
revised, there was very skill, resulting in something continues to serve as a project
little time left before the meaningful. What we liked where we can explore our
issue was to be released the most was working with current ideas and constantly
to print. With only one Ed, who really understood the collaborate with a variety
week ahead of us, we relationship between client of artists, writers, etc.…
were to rethink every and designer, and valued our FEEDBACK
aspect of the magazine insight and research, which Ed and his readers/community
from the logo/masthead ultimately allowed us to push were thrilled with the new
and format to the ourselves further and try out redesign, as it created a
typesetting and layout. things we had never tried new experience that was
before. bold, fresh and engaging.
CLIENT
Ed Marszewski (Public WHAT DO YOU DISLIKE ABOUT IT? Since then, Lumpen has
Media Institute) Nothing. Design decisions are received recognition from
made with the knowledge and Communication Arts, PRINT
COLLABORATOR(S) experience you have at the Magazine, Taiwan DPI and
Jeremiah Chiu, time. Lumpen is an ongoing the Type Directors Club.
Ed Marszewski project, it has been evolving ANYTHING ELSE
TECHNOLOGY from one issue to the next. Because this project now and
Hands, photography, We enjoy that. For us, it serves the project then were very fast
computers as a document of the time; projects, we didn’t have time
TIME SPENT
one that we can go back to and to doubt our decisions. There
1 week (a very remember the decisions, was time to develop only one DO YOU TEACH?
intense week) preferences, ideas, revolutions idea, so we had to focus on University of Illinois at
of that moment. the task at hand.
TYPEFACE Chicago (USA), Graphic
Golden Type, Bodoni, Design and Typography.
Univers among others – IS IT POSSIBLE TO
a lot of drawn type too TEACH DESIGN?
Yes. I believe it is
possible to teach design
technique. It is important
FAVOURITE FOOD NOW to learn the rules so you
… I am addicted to just can break them, and to
one: coffee learn the history so you
YOUR MOST VALUED can understand your
POSSESSION NOW role in it. More important
My hands is to teach how to see
and think critically and
creatively.
Project Now
187
RENATA GRAW, 2008
RENATA GRAW, 2010 PLURAL
4 Richard Walker
Always finish your work +

Don’t feel obliged to have
an opinion on everything.
If you don’t know,
say you don’t know

1996 I liked the sense of urgency.
I liked the fact you could make
I think the college brief an attention-grabbing poster
was a one-day project run with a lot of words.
by Scott King. Something WHAT DO YOU DISLIKE ABOUT IT?
about ‘breaking the rules I was going for a ‘Pushpin’
of communication’. look, but got it a bit wrong.
COLLEGE FEEDBACK
Camberwell College of Scott King dismissed the
Arts, London (United work as ‘a bit old’, but was
Kingdom) impressed I managed to
TUTOR(S)
finish it in one day.
Scott King ANYTHING ELSE
COLLABORATOR(S)
The rule, ‘Too many words are
Stewart, the printmaking counter-productive if you want
technician at Camberwell to grab public attention’ is from
College of Arts a list of rules written by Bill
Drummond in the manual
TECHNOLOGY How to Have a Number One
Silkscreen the Easy Way by The KLF.
TIME SPENT It was a rule they applied to
1 day making pop records. I was
TYPEFACE
seeing if the same rule applied
Looks like Gill Sans visually. I thought I was being
extra bold clever at the time, but looking
at it again I think it’s a bit naff. PROJECT SIMILARITIES
THEN AND NOW
They were both made
at Camberwell College
of Arts. I know someone
who knows someone
who works in the
letterpress room, and he
did me a favour.
FAVOURITE FOOD THEN
They are both playing
Indian food
with words and type.
YOUR MOST VALUED They both state the
POSSESSION THEN literal obvious and are
I had an original copy a bit ironic. They both
of How to Have a used traditional
Number One the Easy techniques – silkscreen
Way by the KLF and letterpress. They
both took a similar
amount of time to make.
They both have similar
influences from 1960s
collectives – namely
Pushpin and Fluxus.
Project Then
190
15 Richard Walker (KK Outlet/KesselsKramer)
Develop a thick skin +

Be punctual and polite

2010 I’ve always liked the finger-
pointing icon; I think it’s quite
Poster for an exhibition at rude.
KK Outlet. The exhibition WHAT DO YOU DISLIKE ABOUT IT?
was called We’re All Art I like it as it is.
Directors. Erik Kessels OUTCOMES
asked all the art directors A sense of completion.
from KesselsKramer to Jobs tend to drag on in
show their personal work. advertising. I’ve worked on
I was just asked to make campaigns that have literally
something to go on a taken two years to make
sandwich board outside four posters.
the gallery.
FEEDBACK
CLIENT
The finger-pointing poster
KK Outlet/KesselsKramer, is the biggest-selling poster
London (United Kingdom) in our shop at KK Outlet.
COLLABORATOR(S)
ANYTHING ELSE
The letterpress technician I think I prefer the finger-
at Camberwell College pointing poster in relation
of Arts to the work then.
TECHNOLOGY
Letterpress
TIME SPENT
1 day
TYPEFACE
Grot something or other DO YOU TEACH?
(it was the biggest font No.
they had) IS IT POSSIBLE TO
TEACH DESIGN?
My tutor used to point
me in the direction
of what books to have a
look at, what exhibitions
FAVOURITE FOOD NOW
to go and see and let
Cheese
me get on with it and
YOUR MOST VALUED then hassle me to
POSSESSION NOW finish what I’d started.
I have an original May ’68 There is an art to being
poster. It’s the one with a teacher; just because
the riot policeman holding you work as a designer
a baton. I love it, but it has does not mean you
a big SS symbol on the have the ability to teach,
shield. My wife won’t have and vice versa – I’m
it in the house. I’ve tried not going to pretend
explaining that it’s actually I have the ability to
very anti-fascist, but teach a class of 30
I see her point art students.
Project Now
191
RICHARD WALKER, 1996
RICHARD WALKER, 2010 KK OUTLET/KESSELSKRAMER
STUDENT YEARS CANADIAN/SWISS
10½ Sandra Hoffmann
Difficult to answer here
YEAR OF PROJECT TUTOR(S) OUTCOMES

1990 Moritz Zwimpfer (project Lovely painting moments
initiated in a class with Armin overlooking the Rhine. It was
Colour class: Colour Hofmann, Brissago 1986) often sunny. Interesting
compositions of ‘my TECHNOLOGY
dialogue with the instructor.
coloured days – 7 from Plaka, water, paper, paintbrush FEEDBACK
126 compositions’. TIME SPENT
It was difficult to exactly pin-
Visualization exploration 1 year of Friday afternoons point the colours of the days.
searching for the Although they were in
corresponding colour WHY DO YOU LIKE THIS PROJECT? my mind, getting them on
combination of my mental For the investigation between the paper was not easy.
imagery of the words the interaction of colour and I didn’t know then that not
‘Monday to Sunday’. form. Colours in relationship everyone has specific colour
to other colours through correspondences for their
COLLEGE
change in proportions. days of the week.
Schule für Gestaltung, Refinement and enrichment
Basel (Switzerland) of a personal colour vocabulary
(SfG-Basics). ‘Making’ the
colour compositions was very
satisfying, as well as the joy
of ‘seeing’ my day colours
come to life.
FAVOURITE FOOD THEN
Canadian WHAT DO YOU DISLIKE ABOUT IT?
I was not aware that ‘my
YOUR MOST VALUED
POSSESSION THEN
coloured days’ are slightly
A toolbox with instruments different depending on
(Swann-Morton scalpel, the language. I would have
marble, roller, Caran d’Ache to make variations in
pens and pencils, Racher English and in German.
typometre, calculating
scale, Falzbein, Cementit,
Kern compasses, mink
paintbrushes, loupe, Juwel THEN AND NOW
stapler, Prismacolor pencil The similarity between
crayons, Gedess pencil the projects lies in the
sharpener, bulldog clips, content, the topic of
magnets, Omega Reiss- synaesthesia. At the
nagel drawing-pins, hole time of the intitial
punch, stamp pad and project, it was unknown
letter stamps, technograph to me that not everyone
777 pencils, gyro compass, experiences this way of
burnisher, green masking ‘seeing’, or possibly is
tape, brown paper tape, not aware of it. I am
Post-its, Minox, coloured convinced that this way
stones, Klebeband from of ‘seeing’ influences
EPA, Pelikan plaka, not only everyday life,
sketchbooks from but also the way of
Rebetez, Knetgummi, designing and decision-
Ilford canisters…) making.
Project Then
194
PROFESSIONAL YEARS BERNE, SWITZERLAND
26 Sandra Hoffmann Robbiani

(Visual Studies)
Sight and insight, self-initiative +

As above plus the ability
to focus, persistence, vigorousness,
a thick skin, boldness
YEAR OF PROJECT CLIENT OUTCOMES

2011 Hessische Hochschulen This small piece accompanies
research grant a larger theoretical
Designerly research: TECHNOLOGY
investigation. A productive
Compendium of Computer-generated balance between ‘making’ and
Typographic Synaesthesia. ‘thinking and writing’.
TIME SPENT
Inventory of Aspects. 3 months FEEDBACK
A booklet accompanying This research project
a workshop to increase TYPEFACE investigates the phenomenon,
the awareness of Times New Roman, but the reaction of disbelief
synaesthesia. The aim Letter Gothic or astonishment still
of this study is to initiate WHY DO YOU LIKE THIS PROJECT? accompanies the work.
visual evidence of the Through the interaction
synaesthetic phenomenon between design and science,
that has recently been new knowledge can be gained
made verifiable through about the phenomenon of
neuroscientific research. synaesthesia.
The investigation develops WHAT DO YOU DISLIKE ABOUT IT?
a design-specific metho- The terminology is diffuse.
dology for synaesthetic I am trying to define and
research, which will develop a precise vocabulary
provide insight into to accompany the topic.
synaesthesia from a The rendering skills could
designer’s point of view. be better.
FAVOURITE FOOD NOW

Italian, Ticinese
YOUR MOST VALUED
POSSESSION NOW
The diamond necklace
from my husband
DO YOU TEACH?
Professor at the
Hochschule Darmstadt,
Faculty of Design,
Darmstadt (Germany).
IS IT POSSIBLE TO
TEACH DESIGN?
I try.
Project Now
195
SANDRA HOFFMANN, 1990
SANDRA HOFFMANN ROBBIANI, 2011 VISUAL STUDIES
5 Sascha Lobe
Be fast, but don’t trip over your

own feet + Never stop!
YEAR OF PROJECT TIME SPENT WHY DO YOU LIKE THIS PROJECT?

1990– 97 I always spent the time that Both projects (then and now)
I felt was necessary for each are pieces of work in which
Development of an open particular job and that it a visual image evolved over
flexible corporate image took until I was satisfied – a period of several years and
that continues to work despite tight deadlines. that had to (and was allowed
over a longer period TYPEFACE
to) do without any set rules –
and that always offers Over the course of time, I have that’s great fun and lets us
new solutions for posters experimented with various experiment and try things out.
and flyers fonts, starting with Kabel. Of course, you learn most from
Interestingly, it was created this kind of work. Unfortunately,
COLLEGE these are small projects,
Hochschule Pforzheim by Rudolf Koch, who worked
at HfG Offenbach from 1921, both in terms of budget and
(Germany) print run, etc.
the school where I teach
TUTOR(S) typography – which is a nice FEEDBACK
Self-initiated project for coincidence. Later I used The works for Kupferdächle
Kupferdächle Pforzheim, Metro (William Addison mostly met with positive
a youth club. The project Dwiggins) and various fronts reactions. As a student, of
began before I was a by Emigre (e.g. Base). course, it was great that the
student, and I worked works were also published
on it until after I had by various specialist
graduated. magazines.
TECHNOLOGY
Apple Macintosh,
Photoshop, QuarkXPress,
offset printing, silkscreen
printing
FAVOURITE FOOD THEN

Italian cuisine
YOUR MOST VALUED
POSSESSION THEN
Books
THEN AND NOW
Both projects work
with typographical
modifications and with
layering; those are
probably the stylistic
devices that suit
me best.
Project Then
198
PROFESSIONAL YEARS STUTTGART, GERMANY
20 Sascha Lobe (L2M3)
An open mind towards the world.

Self-confidence; recognizing one’s own
skills and weaknesses. Good communication.
The ability to distinguish between and
to integrate concept and styling +
Professionals need to be a bit better at figures
perhaps, but, besides that, all as above
YEAR OF PROJECT TIME SPENT WHY DO YOU LIKE THIS PROJECT?

2006– ongoing We usually work between See answer opposite (then).
three and five days on a poster FEEDBACK
Development of an open for the Württembergischer We generally get very positive
flexible corporate image Kunstverein. Often, this is very feedback from graphic artists
that continues to work difficult due to lack of time. and designers (and from
over a longer period and Nevertheless, the yardstick Iris Dressler and Hans Christ
that always offers new is generally not time but the at Württembergischer
solutions for posters quality achieved and Kunstverein, the client, too,
and flyers satisfaction with it. thank goodness). With artists,
CLIENT
TYPEFACE it varies a lot; some accept the
Württembergischer I have stuck to sans serif fact that the designer is an
Kunstverein, Stuttgart fonts, and I still switch fonts, author himself; others would
(Germany) too – at least in this project. rather do their own posters.
From poster to poster,
COLLABORATOR(S) Monotype Grotesque is
Ina Bauer, a staff member accompanied by a font that
at L2M3 suits the particular topic.
TECHNOLOGY
Apple Macintosh,
Photoshop, InDesign,
offset printing
DO YOU TEACH?
I have been Professor
of Typography at the
Hochschule für
Gestaltung Offenbach
(Germany) since 2010
and taught at various
colleges before that.
FAVOURITE FOOD NOW
IS IT POSSIBLE TO
Japanese cuisine TEACH DESIGN?
YOUR MOST VALUED That’s a very difficult
POSSESSION NOW question. I think you
Books can create a certain
atmosphere in which
students work and you
can ask the right or
wrong questions. And
you can offer them a
sphere that deals with
technical aspects and
reflection on the media.
The rest is hope…
Project Now
199
SASCHA LOBE, 1990–97
SASCHA LOBE, 2006– ONGOING L2M3
STUDENT YEARS AUSTRIAN
7 Stefan Sagmeister
Work your ass off +

Don’t be an asshole

1984 It was a fun process to be able
to come up with 20 different
To save a historic posters for the same theatre,
theatre from destruction and, as a student, it was such
by bringing it back to a thrill that the project was
the attention of the ‘real’, i.e., that parts of it
Viennese public got produced and were hung
all over Vienna.
COLLEGE
Universität für angewandte
Kunst Wien (Austria) I would take the form more
seriously.
TUTOR(S)
OUTCOMES
Prof. Kurt Schwarz
That was one of only two ‘real’
COLLABORATOR(S) projects in my portfolio that
Thomas Sandri I was happy with at the time.
(manufacturer)
FEEDBACK
TECHNOLOGY It worked; the theatre was
Various media saved, and is now one of the
TIME SPENT leading theatres in Vienna.
6 months
TYPEFACE
Custom font
FAVOURITE FOOD THEN

Zürich veal with cream
sauce and mushrooms
YOUR MOST VALUED
POSSESSION THEN
Silkscreen equipment
THEN AND NOW
Variatons on a theme.
Project Then
202
23 Stefan Sagmeister (Sagmeister Inc.)
Tenacity + Curiosity

2008 It’s a good example of a
changing identity really
To create a visual identity working for the client’s
for a music centre in interest. Our goal was to show
Portugal the many different kinds of
music performed in one house.
CLIENT Depending on the music it is
Guta Muera Guedes, filled with, the house changes
Casa da Musica its character and works dice-
COLLABORATOR(S) like by displaying different
Matthias Ernstberger, views and facets of music.
Quentin Walesh, A Casa da Musica logo
Ralph Ammer generator was developed –
TECHNOLOGY
a custom piece of software
Various media connected to a scanner that
turns any image into an
TIME SPENT animated and still image
10 months Casa da Musica logo within
TYPEFACE a fraction of a second.
Custom font WHAT DO YOU DISLIKE ABOUT IT?
I would stay involved longer
than two years.
OUTCOMES
We receive many client calls
about identities, saying that
they saw Casa da Musica.
FEEDBACK
The identity received a lot of
press in design circles and is
still properly used even after
the marketing director
changed.
FAVOURITE FOOD NOW

Tiny bow Shanghainese
soup dumplings DO YOU TEACH?
Graduate Design,
YOUR MOST VALUED
School of Visual
POSSESSION NOW
Arts, New York (USA).
My dad’s watch
Course name: Is it
possible to touch
someone’s heart
with design?
IS IT POSSIBLE TO
TEACH DESIGN?
I learned the most
from my classmates.
Project Now
203
STEFAN SAGMEISTER, 1984
STEFAN SAGMEISTER, 2008 SAGMEISTER INC.
6 Sven Voelker
The years of studying are nice but

afterwards it gets even better – it’s
worth it to finish + If it’s at all possible,
don’t work so much in bars or driving
taxis; use the time for studying –
it’s better brief but intense

1998 It was a mad idea in the The Profile Intermedia
first place. That was long developed into a wonderful
Self-initiated project – before design conferences conference series over the
programme for a Profile were a common thing at art years. Many other students
Intermedia conference at schools. Back then, designers have worked in the organizing
the Hochschule für went to professional teams together with Peter Rea
Künste Bremen conferences like the Typo over the years. There was
Berlin. We wanted to offer an much positive feedback,
COLLEGE alternative, a Woodstock sort but I have to say that the
Hochschule für Künste of thing. It was a wonderful credits go to a very big group
Bremen (Germany) thing to see how we, a small of individuals. Though I must
COLLABORATOR(S) group of students, were able say, nobody after us probably
Peter Rea (tutor), to accomplish a huge ever had the chance to walk
Thomas Weiling and conference with 1,300 visitors. with Peter Greenaway and
Dorthe Meinhardt WHAT DO YOU DISLIKE ABOUT IT?
Laurie Makela through heavy
(fellow students) I wouldn’t change anything. snow at midnight.
TIME SPENT OUTCOMES PROJECT SIMILARITIES
18 months This project was very important THEN AND NOW
TYPEFACE to me. I met many people I think the two projects
Helvetica during this project who I am are very similiar. In
still friends with today: John terms of concept, they
Warwicker (Tomato, UK), Laurie are nearly identical.
Makela (Los Angeles, USA), I like to set up a surface
Michael Schirner (Germany) on which many people
but also a lot of journalists and can place something.
other people within our small You can call it a platform
world of graphic design. or a project, but it is
always something that
involves others. This
FAVOURITE FOOD THEN was my way of studying
Käsespätzle (thimble and it is the way I teach.
dumplings made with Besides this conceptual
cheese) similarity, both are also
very similar in their look.
YOUR MOST VALUED
POSSESSION THEN
I like Grotesk typefaces
My most expensive asset and I find it difficult to
at the time was a Paul decide whether I prefer
Smith suit. Actually, not Helvetica, Arial or,
right – it was the first G3 now, Francois Rappo’s
PowerBook for approx. Theinhardt. I am not
£4,000 good at making ‘rich’
layouts; I prefer it if
everything is simple and
honest. Sometimes that
looks boring, but then
you have to make
the story even more
exciting.
Project Then
206
11 Sven Voelker (Sven Voelker Studio)
A student should learn to develop his own

projects – seminars are OK, self-initiated
projects are better + A designer should
learn to develop his own projects – clients
are OK, self-initiated projects are better

2010 The students put together It is the motor of all my
a great new magazine in an activities at the art school.
Self-initiated project – amazingly short period of But it is only a motor; what is
the concept, research and time. While doing that, maybe really interesting is where it
design of a magazine without intention, they created can take us. Again it has made
made by students at the an exceptional platform for all clear that graphic design is DO YOU TEACH?
Burg Giebichenstein our activities. The magazine nice, but a good story is much Professor at the
Kunsthochschule Halle is not the final product; it is the more. I want designers to Hochschule für
(Germany) beginning of new things. We work like artists and authors. Gestaltung Karlsruhe
are able to involve companies I don’t want them to talk about (Germany) from 2004
CLIENT like smart or ABSOLUT, type sizes, but about words
Burg Giebichenstein to 2010 and since 2010
artists like Lawrence Weiner, and sentences. A designer Professor at the Burg
Kunsthochschule Halle Apparatjik and Luc Tuymans who talks about typefaces all Giebichenstein
COLLABORATOR(S) or journalists like Hendrik the time is like a photographer Kunsthochschule
A group of students Lakeberg and Max Dax in who talks and talks about Halle (Germany).
(Juliane Hohlbaum, our work at the art school. his Nikon or a drummer who
Rafaela Lorenz, keeps throwing his mind IS IT POSSIBLE TO
WHAT DO YOU DISLIKE ABOUT IT? TEACH DESIGN?
Ulrike Schuckmann) It is a lot of work. Making and money at the latest gear.
It’s definitely possible
a magazine looks easy in the A good camera has never
TIME SPENT to teach design. In my
1 semester first place, but if you are not made a good photographer,
experience, this is only
a professional journalist, a good drum kit never made a
TYPEFACE possible if the studies
everything is very hard work good drummer, and using are based on a series of
Various a good typeface will not make
(except the graphic design projects. A college is a
at the end). you a good designer. relatively free space
FEEDBACK for students to develop
It is a good project and it has their own projects, with
received good feedback. enough people around
But because being successful who help, advise,
is not the most important thing criticize and eventually
at art schools, we have to compliment them on
make it more risky. The theme their work. If you do
of our next issue will be ‘error’. this throughout the five
Hopefully we will be able to years of studies, they
FAVOURITE FOOD NOW
make mistakes. learn enough to main-
Käsespätzle (thimble tain this outside college
dumplings made with too. I disagree with a
cheese) more school-based
YOUR MOST VALUED approach, as I don’t
POSSESSION NOW think that works. I think
My most beautiful material I have done a good job
thing is a 40-year-old as a professor if my
Porsche students recognize and
set their own targets
and reach them. I am
looking to educate
strong personalities
who understand
themselves as design
entrepreneurs.
Project Now
207
SVEN VOELKER, 1998
SVEN VOELKER, 2010 KUNSTHOSCHSCHULE BURG GIEBICHENSTEIN HALLE
7 Tim Balaam
Personally experience as
much art, design and
architecture as possible +
Having considered this
question for some time,
I don’t have any

1998 The simplicity of the project
process.
Self-initiated project for OUTCOMES
graduation show It was the first time I outsourced
COLLEGE
the production of a project.
Camberwell College of FEEDBACK
Arts, London (United It had a positive impact on
Kingdom) my final grade.
TUTOR(S) ANYTHING ELSE
Darren Lago It was enjoyable to work on
COLLABORATOR(S)
at the time.
Photographic processing
lab
TECHNOLOGY
SLR camera
TIME SPENT
4 weeks
FAVOURITE FOOD THEN

Bread
YOUR MOST VALUED
POSSESSION THEN
Sepak takraw ball
THEN AND NOW
Both projects simply
tell a story.
Project Then
210
11 Tim Balaam (Hyperkit)
Open-mindedness +
Have an understanding of
how things are made

2010 The opportunity to consider
something in its entirety.
Identity and interior for WHAT DO YOU DISLIKE ABOUT IT?
contemporary men’s I think that there are always
barbershop. things that you would like
CLIENT
to change about a project once
Joe and Co. the dust has settled. In this
particular instance, we would
COLLABORATOR(S) change the front of the shop
Four other studio so that it could be opened/
members, client, furniture- rolled up like a garage door,
maker, lighting contractor, so that in the summer months
lithographic printer, it would become more
website developer, connected to its urban
signmaker, enameller surroundings.
TECHNOLOGY OUTCOMES
Apple iMac Pleasure in seeing designs
TIME SPENT realized on a larger scale.
1 year FEEDBACK
TYPEFACE To date, there have been
Custom typeface and no negative reactions, only
Akkurat really positive feedback, which
I hope will only grow with
time as the shop and services
establish themselves.
ANYTHING ELSE
It was enjoyable to work
on at the time.
DO YOU TEACH?
I taught Graphic Design
2001– 04 at the Kent
Institute of Art and
Design (UK) and the
FAVOURITE FOOD NOW University of
Bread Portsmouth (UK).
YOUR MOST VALUED IS IT POSSIBLE TO
POSSESSION NOW TEACH DESIGN?
Sepak takraw ball Yes, I believe the
technical skills required
of a designer can be
taught to anyone, but
whether those skills are
applied successfully or
not depends upon the
individual’s creative
instinct, something that
cannot be taught.
Project Now
211
TIM BALAAM, 1998
TIM BALAAM, 2010 HYPERKIT
STUDENT YEARS SWISS
6 Urs Lehni
‘Design is a lot of work’ (Cornel Windlin) +

Don’t be late (again)

1999 See answer opposite (now).
Self-initiated diploma As Transport was conceived
project – Transport in the context of college
COLLEGE
diploma work, the project
Hochschule Luzern reached a much smaller
(Switzerland) public than Corner College
(project opposite) does now.
COLLABORATOR(S) Conceptually though, the
Rafael Koch, Markus outcome is the same in both
Wohlhüter, Peter Körner cases: a public space.
TECHNOLOGY FEEDBACK
Running a public space Feedback mostly came from
TIME SPENT fellow students and some
Approx. 5 months teachers. It was entirely
TYPEFACE
positive, but maybe more
Various based on the fact that we had
done something different than
for the actual outcome.
THEN AND NOW
Both projects are
basically the same;
Transport (1999) could
be considered as some-
thing like a preliminary
version of Corner
College. Both projects
involve the conception,
management and
production of a public
space that is somewhat
focusing on the topic of
design in the broadest
sense. Transport did this
FAVOURITE FOOD THEN in a rather naive way as,
- back then, we knew
YOUR MOST VALUED little about both the
POSSESSION THEN form and the content
Self-restored Vespa of such a venture.
Tourist 150 (1960) Corner College now
tries to take on the
same idea in a more
serious way. Also, it’s
somewhat more profes-
sionally led; it receives
funding and provides
a more ordered
programme.
Then
214
PROFESSIONAL YEARS ZÜRICH, SWITZERLAND
13 Urs Lehni (Lehni-Trüb, Rollo Press, Corner College)
For both: Curiosity

2008– ongoing I didn’t think much more about
Transport (1999) until I started
Self-initiated project – to show Corner College in some
Corner College of my talks. Then I realized that
Transport was a kind of beta
CLIENT version or study for Corner
Self-initiated College. All the essential
COLLABORATOR(S) components were already there.
http://www.corner-college. It just took me some years to
com/Kollaborateure realize that this is something
TECHNOLOGY
that I really enjoy doing.
Running a public space OUTCOMES
TIME SPENT
Same as then (see opposite).
2¾ years so far… FEEDBACK
TYPEFACE
In Zürich there’s a big crowd
Various of art-and-design-savvy
people, so the feedback is
delivered on a more objective
level. One thing we hear a lot
in Zürich is that people really
appreciate the intimacy and
the simplicity of both our
space and the events.
DO YOU TEACH?
I teach in the
Communications
Design department at
the Staatliche
Hochschule für
Gestaltung Karlsruhe
(Germany).
IS IT POSSIBLE TO
TEACH DESIGN?
I think it’s possible
FAVOURITE FOOD NOW as a teacher to trigger
- some kind of thinking
YOUR MOST VALUED that is related to design
POSSESSION NOW in the broadest sense.
Wedding ring During my education,
this impulse came
mainly through
frustration with the
lack of any curriculum
whatsoever, which
resulted in us taking
the initiative and
coming up with our
own projects.
Now
215
URS LEHNI, 1999
URS LEHNI, 2008– ONGOING CORNER COLLEGE
6 Yasmin Khan
Follow your ideas beyond

what you know how to assess +
Don’t rush to get out into the ‘real
world’ – you’re already in it

2004 I entered graduate school with
an interest and background in
MFA thesis project – typography and publication
a study in speculative design. I didn’t have much skill
design: artefacts of or experience as an image-
national identity were maker. This is because I have
designed for three questionable taste, and at the
imaginary nation-states time, I had no clue how to
(stamps, currency, flag turn that into an asset.
and travel poster). The WHAT DO YOU DISLIKE ABOUT IT?
character of each nation- I would make things stranger,
state was based on less familiar, less polite.
current social, economic OUTCOMES
and scientific trends. A space to explore my interest
COLLEGE in speculative design: what
California Institute of the it looks like, what its role is,
Arts, CalArts (USA) how it might live in a
TUTOR(S)
professional practice.
Lorraine Wild, Michael FEEDBACK
Worthington, Ed Fella, I was too exhausted to
Jeff Keedy remember much about thesis
TECHNOLOGY
presentation… Although I do
Adobe CS3 + various remember someone said the
imagemaking techniques work was beautiful…
including hand-drawing,
photography, digital
collage
TYPEFACE
OCR
THEN AND NOW
There was a similar
interest in representing
imaginary worlds.
The thesis project did
it literally, and the
Bulletin metaphorically
FAVOURITE FOOD THEN through student
Anything that wasn’t portraits that depicted
dehydrated the student’s internal
YOUR MOST VALUED world. There’s also a
POSSESSION THEN similar interest in
Not sure experimenting with
materials and collage,
and a consistent
interest in and heavy
use of bright colour.
Project Then
218
PROFESSIONAL YEARS LOS ANGELES, USA
12 Yasmin Khan (Counterspace)
For both: Scepticism

2009 I think the Bulletin represents
the fullness and intensity and
CalArts Bulletin 2009– exuberance of the programme
2011 – design a catalogue at CalArts, as well as the
for CalArts that visually bohemian spirit that still
distinguishes it from peer pervades the Institute. I think
institutions. The Bulletin it is beautiful and fussy and
must be comprised of loud, and most importantly,
one overview booklet it feels committed.
and a set of individual WHAT DO YOU DISLIKE ABOUT IT?
booklets to be used by I would make things subtly
each of the schools within stranger, less familiar,
the Institute. A limited less polite.
edition of all books OUTCOMES
stitched together was A space to make a print object
also produced. DO YOU TEACH?
that was full and dense and Yes. Senior Lecturer,
CLIENT detailed, and to play out my Otis College of Art and
California Institute of the interests in imaginary worlds, Design, Los Angeles
Arts, CalArts (USA) trompe l’oeil and other forms (USA). BFA programme:
COLLABORATOR(S)
of fake 3D. Also provided a curriculum co-ordinator
Michael Worthington way to explore print ‘special for graphic design +
(Counterspace), Erin effects’ – use of speciality instructor for typography,
Hauber, Randy Nakamura, bindings, inks, materials and senior project studio,
Cassandra Chae. formats that distinguish print visual language. MFA
Photography: Scott from screen experience. programme: course in
Groller, Steven Gunther FEEDBACK Social Responsibility.
TECHNOLOGY
Feedback was mixed. IS IT POSSIBLE TO
Adobe CS5 and various Designers responded TEACH DESIGN?
imagemaking techniques, positively. Evidently some It better be. That’s my
including photography people found it confusing. day job. What I learned
and digital collage at college and what
I teach now: I learned
TYPEFACE
to trust the process, to
Rolleta be curious and sceptical,
and how to view my
deficiencies (bad taste)
as an asset (a particular
sensibility). I learned
FAVOURITE FOOD NOW
that the difference
Peaches in pie, in cobbler,
between nerdy and
in anything or just by badass is level of
themselves commitment. I learned
YOUR MOST VALUED to like working from
POSSESSION NOW a place that is uncom-
Not sure fortable and unfamiliar.
I also developed a very
thick skin. I teach the
same thing.
Now
219
YASMIN KHAN, 2004
YASMIN KHAN, 2009 COUNTERSPACE
STUDENT YEARS SWISS/SPANISH
4 Yves Fidalgo
Work hard + Don’t work too much

2000 The process (going to Spain
with my father, following him
Design the annual poster on a hunting day).
presenting our school WHAT DO YOU DISLIKE ABOUT IT?
(competition) The vector drawings.
COLLEGE OUTCOMES
Ecole cantonale d’art No money.
de Lausanne (ECAL) FEEDBACK
(Switzerland) Vector drawings on the
TUTOR(S) pictures weren’t necessary.
On my own for this project
TECHNOLOGY
Photography (Ekta),
computer vector design,
offset printing
TIME SPENT
1 week
TYPEFACE
Akzidenz Grotesk
FAVOURITE FOOD THEN

Pasta
YOUR MOST VALUED
POSSESSION THEN
My comics collection
THEN AND NOW
The process.
Project Then
222
PROFESSIONAL YEARS LAUSANNE, SWITZERLAND
9 Yves Fidalgo (Fulguro)
For both: be hard-working

2010 The process (going to 20
artists’ studios to take their
Design the communication picture, meeting them,
for a charitable exhibition getting to know them).
about breast cancer OUTCOMES
CLIENT
Money.
Ligue Vaudoise contre FEEDBACK
le Cancer Good feedback in general.
COLLABORATOR(S)
Cédric Decroux, my
colleague at Fulguro
TECHNOLOGY
Photography (digital),
paper, pens, computer,
offset printing
TIME SPENT
6 months
TYPEFACE
Futura
FAVOURITE FOOD NOW DO YOU TEACH?

Pasta Workshops in France
(Lyon) for graphic and
YOUR MOST VALUED
POSSESSION NOW
product design
My bike students.
IS IT POSSIBLE TO
TEACH DESIGN?
If such things as design
schools exist, it must be
that design is taught in
them. But if I remember
correctly, you don’t learn
to be a designer at
school.
Project Now
223
YVES FIDALGO, 2000
YVES FIDALGO, 2010 FULGURO
APPENDIX 1
ANDREAS GNASS Sea Design, Thomas.Matthews (Visual Designer FH) ARE YOU ÉRIC & MARIE GASPAR
(U9 VISUELLE ALLIANZ) MUSICIANS/ALBUMS THAT INFLUENCED EMPLOYED OR SELF-EMPLOYED?: Self- (ÉRICANDMARIE)
EDUCATION: Darmstadt (D), Hochschule YOU THEN/NOW: Can (Tago Mago) / employed in my own design studio with EDUCATION: Lyon (F) (both), Martinière-
Darmstadt, Diplom (Dipl.-Des. FH), Robert Waytt, Bill Drummond (45) ANY my partners Roman Schnyder and Dirk Terreaux, BTS (Brevet de Technicien
Kommunikations-Design ARE YOU OTHER INFLUENCES THEN/NOW: Idle Koy PREVIOUS EMPLOYMENT : Büro für Supérieur), Visual Communication /
EMPLOYED OR SELF-EMPLOYED?: Self- afternoons with my friends Owen and Kommunikationsdesign, Basel Paris (F) (Marie only), ESAG (Ecole
employed PREVIOUS EMPLOYMENT: Dan, Tutors: Frank Philipin (see also ARCHITECTS/BUILDINGS THAT supérieure de design, d’art graphique et
None ARCHITECTS/BUILDINGS THAT p. 256), Daniel Eatock (see also INFLUENCED YOU THEN/NOW: Mies d’architecture intérieure), Foundation /
INFLUENCED YOU THEN/ NOW: Mies pp. 58–61), David Crowley, Andrzej van der Rohe / Ted Mosby MUSICIANS/ Paris (F) (Eric only), Olivier de Serres,
van der Rohe / Hanns Malte Meyer Klimowski / Going to the park DID YOU ALBUMS THAT INFLUENCED YOU DSAA (Diplôme Supérieur en Arts
MUSICIANS/ALBUMS THAT INFLUENCED OWN ANY SORT OF COLLECTION THEN/NOW: Massive Attack (Unfinished Appliqués) / London (UK) (both),
YOU THEN/NOW: Uncountable ANY THEN/NOW?: Records / Books Sympathy) / Idris Muhammad (Could Central Saint Martins College of Art &
OTHER INFLUENCES THEN/NOW: Heaven Ever Be Like This) ANY OTHER Design, Bachelor of Arts (B. A.), Graphic
Travelling DID YOU OWN ANY SORT OF BERND HILPERT INFLUENCES THEN/NOW: Gregory Design / London (UK) (both), Royal
COLLECTION THEN/NOW?: Vinyl / Vinyl (UNIT-DESIGN) Vines, one of the best teachers I ever College of Art, Master of Arts (M. A.),
and some pieces of art had / Other designers around me, in Communication Art & Design ARE YOU
EDUCATION: Darmstadt (D), Hochschule my own studio or from different small
Darmstadt, Diplom (Dipl.-Des. FH) / EMPLOYED OR SELF-EMPLOYED?: Self-
studios in Basel DID YOU OWN ANY employed PREVIOUS EMPLOYMENT:
ANDREW STEVENS Paris (F), ENSCI Les Ateliers, year SORT OF COLLECTION THEN/NOW?: None ARCHITECTS/BUILDINGS THAT
(GRAPHIC THOUGHT FACILITY) studying abroad ARE YOU EMPLOYED Records (vinyl) / Many more records INFLUENCED YOU THEN/NOW: Herzog
EDUCATION: Sheffield (UK), Sheffield OR SELF-EMPLOYED?: Managing WHAT DO YOU DISLIKE ABOUT
director/partner in my own limited & de Meuron / Alvaro Siza MUSICIANS/
College, Bachelor of Technology (B.Tech), WORKING AS A DESIGNER?: That my ALBUMS THAT INFLUENCED YOU
Graphic Design / Leeds (UK), Leeds company PREVIOUS EMPLOYMENT: own ego still gets in the way when
One employment and different engage- THEN/NOW: The American minimalists
Polytechnic, Bachelor of Arts (B.A.), dealing with clients – it is difficult not to of the 1970s (Philip Glass, Meredith
Graphic Design / London (UK), Royal ments as freelancer ARCHITECTS/ consider the project as one’s own
BUILDINGS THAT INFLUENCED YOU Monk, John Cage…) / Late 19th-century
College of Art, Master of Arts (M. A.), artistic expression, instead having to French composers (Debussy, Ravel,
Graphic Design ARE YOU EMPLOYED THEN/NOW: Architecture always inspired put the clients’ considerations first –
me most. Archigram, Jean Nouvel, Satie…) ANY OTHER INFLUENCES
OR SELF-EMPLOYED?: Self-employed in the problem of sometimes being more THEN: Geoff Fowle, Al Rees
own company PREVIOUS EMPLOYMENT: Frei Otto, Dominique Perrault, Bernard of an artist than a provider of services
Always GTF DID YOU OWN ANY SORT Tschumi, Herzog & de Meuron,
OF COLLECTION THEN/NOW?: No Ingenhoven, OMA (Rem Koolhaas), FONS HICKMANN
DANIEL EATOCK
MVRDV, Sanaa, Wandel Hoefer Lorch, (FONS HICKMANN M23)
Meixner Schlüter Wendt and many EDUCATION: Ravensbourne (UK),
ANNELYS DE VET EDUCATION: Düsseldorf (D), Fachhoch-
others. MUSICIANS/ALBUMS THAT Ravensbourne College of Design and
schule Düsseldorf, Photography and
EDUCATION: Utrecht (NL), HKU Hoge- INFLUENCED YOU THEN/NOW: Communication, Bachelor of Arts (B. A.)
Communication Design / Wuppertal (D),
school voor de Kunsten, Bachelor of Electronic music, still ANY OTHER Graphic Design / London (UK), Royal
Heinrich Heine Universität, Aesthetics
Arts (B. A.), Graphic Design / Amsterdam INFLUENCES THEN/NOW: I admire College of Art, Master of Arts (M. A.),
and Media Theory ARE YOU EMPLOYED
(NL), Sandberg Instituut, Master of Arts the perfection and clearness I find in Graphic Design ARE YOU EMPLOYED
OR SELF-EMPLOYED?: Self-employed
(M.A.), Design and Fine Arts / Melbourne nature’s work DID YOU OWN ANY OR SELF-EMPLOYED?: Self-employed
and employed (Professor at Universität
(AU), RMIT, Sculpture department, artist SORT OF COLLECTION THEN/NOW?: PREVIOUS EMPLOYMENT: Walker Art
der Künste Berlin, (D)) ARCHITECTS/
in residence ARE YOU EMPLOYED OR A collection of different design pieces / Center, Minneapolis (USA) ARCHITECTS/
BUILDINGS THAT INFLUENCED YOU
SELF-EMPLOYED?: Self-employed Collections on several issues – my BUILDINGS THAT INFLUENCED YOU
THEN/NOW: Football pitches / Parking
source for research and inspiration THEN/NOW: Bedsit flat / Lacaton &
lots MUSICIANS/ALBUMS THAT
ANTÓNIO SILVEIRA GOMES PIECES OF DESIGN THAT INFLUENCE Vassal MUSICIANS/ALBUMS THAT
INFLUENCED YOU THEN/NOW: Beatles
(BARBARA SAYS…PROJECTO PRÓPRIO) YOU NOW: Every day I see designs that INFLUENCED YOU THEN/NOW: Nirvana,
(White Album) / Archives DID YOU OWN
have an effect on my projects. Now, I’m Camper Van Beethoven ANY OTHER
EDUCATION: Lisbon (PT), Faculdade ANY SORT OF COLLECTION THEN/
influenced by everyday objects, like INFLUENCES THEN/NOW: Rupert
de Belas Artes da Universidade de NOW?: Slips / Eggcups
an old wooden camping table from Bassett / Richard Torchia DID YOU
Lisboa (FBAUL), Communication Romania (which can be packed very OWN ANY SORT OF COLLECTION
Design / Lisbon (PT), Faculdade de small!), a ceramic vase found in a THEN/NOW?: Books / Books HANS DIETER REICHERT
Arquitectura Universidade Técnica de ‘brocante’ in France, a Japanese lacquer (HDR VISUAL COMMUNICATION)
Lisboa, Post-graduate in Design, painting, my old Caran d’Ache fixpencil,
Communication Design ARE YOU DANIJELA DJOKIC EDUCATION: Iserlohn Letmathe (D),
French tourist maps of the early 1930s (PROJEKTTRIANGLE) apprenticeship as a compositor /
EMPLOYED OR SELF-EMPLOYED?: Self- (printed as lithography), a stone with a
employed ARCHITECTS/BUILDINGS EDUCATION: Schwäbisch Gmünd (D), Dortmund (D), Fachhochschule für
wonderful decor of lichens, …) Gestaltung / Essen (D), Universität-
THAT INFLUENCED YOU THEN/NOW: Hochschule für Gestaltung, Diplom-
Superstudio (Continuous Monument), Designer (Dipl.-Des), Communication Gesamthochschule Essen and
Archizoom (mostly sci-fi architecture) / BRIAN WEBB
Design ARE YOU EMPLOYED OR SELF- Wuppertal, Communication Design,
R. Buckminster Fuller (Dymaxion House (WEBB & WEBB DESIGN)
EMPLOYED?: Self-employed and
Vor-Diplom / Basel (CH), Allgemeine
and ‘Bucky Balls’), Didier Fiuza Faustino EDUCATION: Liverpool (UK) , Liverpool employed (Professor at Fachhochschule Gewerbeschule Basel, Grafik Design /
(One Square Meter House and Stairway College of Art, Intermediate Technical Potsdam (D)) ARCHITECTS/BUILDINGS London (UK), University of the Arts,
to Heaven) MUSICIANS/ALBUMS THAT Illustration, Pre Diploma / Canterbury THAT INFLUENCED YOU THEN/NOW:
London College of Communication,
INFLUENCED YOU THEN/NOW: John (UK), Canterbury College of Art, Dip. AD Tadao Ando / Erhardt+Bottega, Peter Media and Production Design, Bachelor
Zorn, Sprung aus den Wolken, His Name ARE YOU EMPLOYED OR SELF- Zumthor MUSICIANS/ALBUMS THAT of Arts (B.A.) / London (UK), University
is Alive / John Cage, Gyorgy Ligeti, EMPLOYED?: Self-employed PREVIOUS INFLUENCED YOU THEN/NOW:
for the Creative Arts (UCA), Visual
Karlheinz Stockhausen, Memorize The EMPLOYMENT: Trickett and Webb Grandmaster Flash, Prince, George Communication, Master of Arts (M.A.
Sky, Les Troubadours du roi Baudouin 1971– 2003, Derek Forsyth Partnership Clinton, etc. / The same now ANY Honorary Degree) ARE YOU EMPLOYED
– Missa Luba, The Books – The Lemon 1969–71, Michael Tucker4 and OTHER INFLUENCES THEN/NOW: Prof. OR SELF-EMPLOYED?: Self-employed
of Pink ANY OTHER INFLUENCES THEN/ Associates 1967–69 ARCHITECTS/ Peter Vogt, Prof. Frank Zebner / Prof. PREVIOUS EMPLOYMENT: Total Design
NOW: Robin Fior (Graphic designer, BUILDINGS THAT INFLUENCED YOU Boris Müller, Prof. Frank Heidmann DID bv. (Amsterdam), BRS maatschap van
teacher and critic of Portuguese graphic THEN/NOW: Frank Lloyd Wright, I. K. YOU OWN ANY SORT OF COLLECTION vormgevers bv (Amsterdam), Banks
design), Rigo 23 (Portuguese-born Brunel MUSICIANS/ALBUMS THAT THEN/NOW?: No / Colors magazine and Miles (London, Hamburg, Brussels),
American artist), Paulo Ramalho (graphic INFLUENCED YOU THEN/NOW: 1930s
Consultant to UCA (University for the
designer and colleague teacher) DID Blues singers, Bob Dylan ANY OTHER Creative Arts) ARCHITECTS/BUILDINGS
EMMI SALONEN
YOU OWN ANY SORT OF COLLECTION INFLUENCES THEN/NOW: Edward THAT INFLUENCED YOU THEN/NOW:
(STUDIO EMMI)
THEN/NOW?: No / Rare books, ency- Hughes at Canterbury, who introduced Walter Gropius, Mart Stam, Max Bill,
clopedias and dictionaries of all sorts design as a problem-solving process / EDUCATION: Brighton (UK), University Frank Lloyd Wright, Alvar Aalto, Mies
Lynn Trickett, we worked and argued of Brighton, Bachelor of Arts (B. A.), van der Rohe, Le Corbusier / Norman
together for 30 years DID YOU OWN Graphic Design ARE YOU EMPLOYED Foster, Renzo Piano, Shigeru Ban,
BEN BRANAGAN
ANY SORT OF COLLECTION THEN/ OR SELF-EMPLOYED?: Self-employed Tony Fretton, Michael Hopkins, Peter
EDUCATION: Kingston (UK), Kingston PREVIOUS EMPLOYMENT: None Zumthor, Bernard Tschumi, Will Alsop,
NOW?: Ephemera, printed stuff, books /
University, Foundation Studies, Art & More expensive versions of the same ARCHITECTS/BUILDINGS THAT Herzog & de Meuron MUSICIANS/
Design / Brighton (UK), University of INFLUENCED YOU THEN/NOW: Tadao ALBUMS THAT INFLUENCED YOU
Brighton, Bachelor of Arts (B. A. Hons) Ando MUSICIANS/ALBUMS THAT THEN/NOW: Hannes Wader, Konstantin
CHRISTIAN HEUSSER
Graphic Design / London (UK), Royal INFLUENCED YOU THEN/NOW: Le Wecker, Marius Müller-Westernhagen,
(EQUIPO)
College of Art, Master of Arts (M. A.), Tigre, Gossip & The Locust / Gladiators, Santana, Randy Crawford, Eric Clapton,
Communication Art & Design ARE YOU EDUCATION: Basel (CH), Hochschule Gyptian & others DID YOU OWN ANY Leonard Cohen, Neil Young, Bob Dylan,
EMPLOYED OR SELF-EMPLOYED?: Self- für Gestaltung und Kunst Basel, Visual SORT OF COLLECTION THEN/NOW?: Bob Marley, Deep Purple, Black Sabbath,
employed PREVIOUS EMPLOYMENT: Communication, Visueller Gestalter FH Notebooks Kraftwerk, UFO / Coldplay, Lonnie
226
APPENDIX 1
Donegan, Keith Jarrett, Lee Morgan, A more personal and random approach ISABELLE SWIDERSKI Tauba Auerbach, Simon Starling,
Ry Cooder, Gorillaz, Jackson Browne, may scare the client, but often (SEVEN25) Martin Boyce, Goshka Macuga,
James Taylor, Company Segundo, produces more original results EDUCATION: Ottawa (CA), La Cité John Baldessari, Wallace Berman,
Sarod Maestro Amjad Ali Khan, Al di Collégiale, Foundation, Graphic Design / Michelangelo Pistoletto
Meola, George Benson, Weather Report, HOON KIM Vancouver (CA), Emily Carr Institute of
Joni Mitchell, Astrud Gilberto, Stan Getz, (WHY NOT SMILE) Art + Design, Bachelor of Arts (B. A.), JAN WILKER
Ali Farka Touré, B. B. King, Thelonious Communication Design / London (UK), (KARLSSONWILKER)
EDUCATION: Providence (USA), Rhode
Monk, John Coltrane, Charlie Parker, Royal College of Art, Master of Arts
Island School of Design, Master of Fine EDUCATION: Stuttgart (D), Staatliche
Louis Armstrong, Youssou N’Dour, (M. A.), Communication Design ARE
Arts (M.F.A), Graphic Design / Seoul Akademie der Bildenen Künste, Diplom,
Tinariwen, Errol Garner, Lou Reed,
(KR), Seoul National University, Bachelor YOU EMPLOYED OR SELF-EMPLOYED?: Graphic-Design ARE YOU EMPLOYED
Capercaillie (Scottish Gaelic folk Employed by my own studio (with two
of Fine Arts (B. F. A.), Visual Communica- OR SELF-EMPLOYED?: Self-employed
music), Dubliners ANY OTHER other employees) ARCHITECTS/
tion Design / Providence (USA), Brown PREVIOUS EMPLOYMENT: Two intern-
INFLUENCES THEN/NOW: Music,
University, Teaching Certificate ARE YOU BUILDINGS THAT INFLUENCED YOU ships during design school (Jung von
nature, Dutch and English design, THEN/NOW: Not so much / Rem
EMPLOYED OR SELF-EMPLOYED?: Self- Matt, Sagmeister Inc. (see also pp. 202–
Willy Fleckhaus, fellow students, Brian Koolhaas, Zaha Hadid MUSICIANS/
employed PREVIOUS EMPLOY MENT: 205), no other previous employment
Grimbley, Anthony Froshaug, Günter
Museum of Modern Art – MoMA (New ALBUMS THAT INFLUENCED YOU THEN/ MUSICIANS/ ALBUMS THAT INFLUENCED
Gerhard Lange, Adrain Frutiger, 8vo / NOW: ABBA to Yazz, Madonna to Danny
York, USA), Practise (London, UK) (see YOU THEN/NOW: Putte & Edgar, Queens
Nature, music, film, environment, Tenaglia with a dash of jazz / Armin
also pp. 98–101), Crosspoint (Seoul, of the Stone Age / Caribou, DJ Koze
Internet, Michael Twyman, Alan Fletcher Van Buuren to Beethoven, 2Pac to The
KR), Imagedrome (Seoul, KR), Samsung ANY OTHER INFLUENCES THEN/NOW:
DID YOU OWN ANY SORT OF Script to Gaga ANY OTHER INFLUENCES
Design Membership (Seoul, KR) The people who are close to me
COLLECTION THEN/NOW?: Magazines, THEN/NOW: My somewhat culturally
ARCHITECTS/BUILDINGS THAT
music tapes and records / Music CDs, mixed childhood (Canada and France) /
INFLUENCED YOU THEN/NOW: Maya JULIE GAYARD
books, printed ephemera, posters, Teaching design & studying film DID
Lin / Yoshiharu Tsukamoto and (JUTOJO)
prints, tools DESIGNERS THAT
Momoyo Kaijima (Atelier Bow-Wow), YOU OWN ANY SORT OF COLLECTION
INFLUENCE YOU NOW: Jan Tschichold, THEN/NOW?: Music CDs / Cameras EDUCATION: London (UK), Chelsea
Brooklyn Bridge DID YOU OWN ANY
Dieter Rams, Anthony Froshaug, Otl (analogue) College Of Art, Foundation Studies, Art
SORT OF COLLECTION THEN/NOW?:
Aicher, Helmut Schmid, Derek Birdsall, & Design / London (UK), Camberwell
I collected flight sick bags and still do /
Irma Boom, North, Harry Beck, Paul College Of Arts, Bachelor of Arts (B. A.),
I like to pick up random small pieces of JAMES GOGGIN
Lohse, Wolfgang Schmidt, Paul Rand, Visual Communication / London (UK),
paper making patterns on the street HOW (PRACTISE)
Jost Hochuli Royal College Of Art, Master of Arts
DID/DO YOU DEVELOP/RESEARCH AN
EDUCATION: Pontypridd (UK), Mid (M. A.), Grapic Design, not completed
IDEA THEN/NOW?: I used to research
Glamorgan Centre for Art & Design, ARE YOU EMPLOYED OR SELF-
HOLGER JACOBS related fields to gain a good under-
Diploma in Foundation Studies, Art & EMPLOYED?: Self-employed PREVIOUS
(MIND DESIGN) standing between those and graphic
Design) / London (UK), Ravensbourne EMPLOYMENT: None ARCHITECTS/
design. In addition, both the positive
EDUCATION: Cologne (D), Universität College of Design & Communication, BUILDINGS THAT INFLUENCED YOU
and negative feedback of colleagues
Köln, Linguistics and Philosophy / Bachelor of Arts (B. A. Hons), Visual THEN/NOW: Archigram / Treehouses
and teachers was always helpful to
Essen (D), University of Essen, Pre- Communication / London (UK), Royal MUSICIANS/ALBUMS THAT INFLUENCED
keep on the right track. How to screen
Diploma, Communication Design / College of Art, Master of Arts (M. A.), YOU THEN/NOW: Massive Attack,
a lot of information is up to the student’s
London (UK), Central Saint Martins Graphic Design ARE YOU EMPLOYED Portishead, Mo’ Wax Records, Beastie
ability – I have learned that through
College of Art & Design, Bachelor of OR SELF-EMPLOYED?: Self-employed Boys, Sonic Youth, Stereolab (all for the
various projects / Basically, clients and
Arts (B. A. Hons), Graphic Design / (1999–2010), employed (2009–2012). music AND the artwork) and many
co-workers develop an idea together.
London (UK), Royal College of Art, Currently Design Director at Museum of more / Sonic Youth, Stereolab, Honest
I still study related disciplines by
Master of Arts (M. A.), Graphic Design Contemporary Art, Chicago (USA) Johns Records (for the music AND the
reading books and Googling to avoid
ARE YOU EMPLOYED OR SELF- PREVIOUS EMPLOYMENT: Werkplaats artwork), Moondog and many more ANY
assumptions that might lead to
EMPLOYED?: Self-employed and Typografie (Arnhem, NL), ECAL – Ecole OTHER INFLUENCES THEN/ NOW:
nonsense outcomes
employed (Visiting Professor of Typo- cantonale d’art de Lausanne (CH) Friends who were studying with me
graphy at the Fachhochschule ARCHITECTS/BUILDINGS THAT (Ed Gill, Vassilis Marmatakis, Christina
HYOUN YOUL JOE
Düsseldorf (D)) PREVIOUS EMPLOY - INFLUENCED YOU THEN/NOW: Rem Christoforou, Clare Shilland, Dana Levy,
(HEY JOE)
MENT: Art director at a publishing Koolhaas (OMA), Foreign Office Will Bankhead) and some of their
company in Tokyo (JP) ARCHITECTS/ EDUCATION: Seoul (KR), Dankook Architects, Caruso St. John, Archigram / influences (skateboarding and graffiti),
BUILDINGS THAT INFLUENCED YOU University, B. F. A., Visual Communication Louis Kahn, Alison & Peter Smithson, my father Patrice Gayard (art director in
THEN/NOW: Modernist buildings / Design / New Haven (USA), Yale Denys Lasdun, James Stirling, David the 1970s in Paris), tutor Scott King /
Art Deco buildings MUSICIANS/ University, M. F. A., Graphic Design ARE Kohn, Cedric Price, 6a Architects, Still the same as then and some
ALBUMS THAT INFLUENCED YOU YOU EMPLOYED OR SELF-EMPLOYED?: SANAA, Walter Netsch, Tony Fretton, contemporaries and studios in Berlin,
THEN/NOW: Sex Pistols ANY OTHER Self-employed PREVIOUS EMPLOY - Sergison Bates MUSICIANS/ALBUMS London, Holland DID YOU OWN ANY
INFLUENCES THEN/NOW: I was MENT: None DID YOU OWN ANY SORT THAT INFLUENCED YOU THEN/NOW: SORT OF COLLECTION THEN/NOW?:
reading a lot about linguistics and post- OF COLLECTION THEN/NOW?: Graphic Kraftwerk, Yo La Tengo, Pavement, Records HOW DO YOU RESEARCH/
structuralism. Japan, the culture and the designers’ works / Flyers, cards, product St. Etienne, Wu-Tang Clan, Pan Sonic, DEVELOP AN IDEA NOW?: Talking to the
writing system became a big influence packages, and lots of graphic design Carsten Nicolai, Ryoji Ikeda, The Pastels, client about the product and its context.
even though I did not visit the country stuff that I found on the street. WOULD among others / The above, plus labels Writing, drawing in a sketchbook,
until after graduation / Our client Tom YOU STILL HAVE BECOME A DESIGNER more than specific musicians: Stones researching on the Internet. Trying out
Dixon inspired me to explore different IF YOU KNEW WHAT YOU KNOW NOW?: Throw, Häpna, Kranky, Rune Grammofon, typefaces. Talking to the printer about
materials and to consider the production Yes, I am enjoying what I am doing now. Geographic, Hyperdub, R&S, Wax Trax, unusual ways of making things – within
process as an essential part of the Actually, I wanted to be an artist and among others ANY OTHER INFLUENCES the restrictions of the budget
design DID YOU OWN ANY SORT still have a desire to be an artist since THEN/NOW: Cultural studies,
OF COLLECTION THEN/NOW?: Fonts artists have their own voice, while most anthropology, Japan, colour theory,
KAI VON RABENAU
(I printed a specs sheet for every font of a graphic designer’s job focuses on cartography / Politics, critical theory,
(MONO.GRAPHIE)
I had on my computer), cassette tapes form and creating the container for environmentalism DID YOU OWN ANY
from the 1980s / Still fonts (but I lost contents than on creating their own SORT OF COLLECTION THEN/NOW?: EDUCATION: London (UK), Camberwell
the overview), ridiculously cute Japanese voice. Nonetheless, I feel that I enjoy Stencils, snowglobes / Stencils, books, College of Arts, Foundation / London
stationery, rare bicycle parts HOW DO/ making form, no matter what the form art WHAT WOULD YOU DO TODAY IF (UK), Central Saint Martins, Bachelor of
DID YOU DEVELOP/RESEARCH AN is for DESIGNERS THAT INFLUENCED YOU STOPPED DESIGNING?: I would Arts (B. A.), Graphic Design / London
IDEA THEN/NOW?: I spent a lot of time YOU THEN/NOW: Anh Graphics, Doosup just read all day. I don’t think I’ll stop (UK), Royal College of Art, Master of
in the library while in college. Projects Kim, Helmut Schmid, Hong Design, designing, but I often think about Arts (M. A.), Communication, Art &
were long and complex and research Image & Imagination, Kohei Sugiura, finding a different system in which to Design ARE YOU EMPLOYED OR SELF-
was everything. I even got my first (and Matsuda Yukimasa, Sangsoo Ahn, operate as a designer, outside of the EMPLOYED?: Self-employed PREVIOUS
only) job when I met the publisher of S/O Project, Strike-Communication, studio/client/designer model. My move EMPLOYMENT: Always self-employed
one of the books I used a lot in my Sulki & Min, Vi-nyl, Wolfgang Weingart, to a museum is one step in this quest. ARCHITECTS/BUILDINGS THAT
research / I still do research but more Workroom / Antoni Muntadas, Daniel DESIGNERS WHO INFLUENCED YOU INFLUENCED YOU THEN/NOW:
sporadically and there is no systematic Eatock (see pp. 58–61), Daniel Harding & THEN: Charles & Ray Eames, Michael Herzog & de Meuron, Peter Zumthor
approach or strategy behind it. I learned Tomas Celizna, Daniel van der Velden, Marriott, Karel Martens, Graphic Thought MUSICIANS/ALBUMS THAT INFLUENCED
to trust sudden inspiration that can Experimental Jetset, Hans Gremmen, Facility (see also pp. 30–33), Ettore YOU THEN/NOW: Autechre, Nine Inch
come from anywhere. Usually I walk Helmut Smits, Lehni-Trüb (see pp. Sottsass, Mevis & Van Deursen, Ikko Nails, Radiohead / Carsten Nicolai, Talk
around with the brief in my head for a 214–217), Mevis en Van Deursen, Na Tanaka, Scott King ARTISTS/WORKS Talk, Nine Inch Nails ANY OTHER
while and see what happens. I do not Kim, Min Oh, Julia Born, Karel Martens, OF ART THAT INFLUENCE YOU NOW: INFLUENCES THEN/NOW: Travel DID
believe that there is only one best Paul Elliman, Sara De Bondt, Sheila See then (p. 242), plus a seemingly YOU OWN ANY SORT OF COLLECTION
‘solution’ to a brief that evolves as Levrant de Bretteville, Sulki & Min, infinite list that could include Nathan THEN/NOW?: No / Magazines and
a logical conclusion from research. Roel Wouters, Workroom Coley, Dora García, Leonor Antunes, photography books
227
APPENDIX 1
KEN GARLAND sorts tucked away in boxes or on my Matthew Herbert, The Dodos, and I still (London, UK) ARCHITECTS/BUILDINGS
EDUCATION: London (UK), John Cass shelves. Though I must say, I am not a listen to Yo La Tengo, Pavement and THAT INFLUENCED YOU THEN/NOW:
College, National Diploma Art & Design hoarder – the people in my studio get a Bell Helicopter ANY OTHER INFLUENCES Luis Barragan, Le Corbusier, Zaha Hadid,
(NDAD) / London (UK), Central School little annoyed with me, as I am always THEN/NOW: Living in London, on a Rem Koolhaas, Peter Zumthor ANY
of Arts & Crafts, National Diploma Art & trying to chuck things out. I don’t like course with 25 students from 18 OTHER INFLUENCES THEN/NOW:
Design (NDAD), Central Dipl. ARE YOU mess or chaos and things can even- different countries / Teaching design Everything and everyone DID YOU OWN
EMPLOYED OR SELF-EMPLOYED?: Self- tually weigh you down. I don’t own many at a university with faculties from all ANY SORT OF COLLECTION THEN/
employed PREVIOUS EMPLOYMENT: possessions; what I do own is carefully different backgrounds NOW?: Yes – I collect books on all
Too many to list ARCHITECTS/ considered. This has always been the sorts of topics: bibles, Snoopy, flower-
BUILDINGS THAT INFLUENCED YOU same YOUR FAVOURED MODE OF LARS HARMSEN arranging, street maps, atlases, primitive
THEN/NOW: Royal Festival Hall TRANSPORT THEN: In Brighton, I lived a (MAGMA BRAND DESIGN) art, design, photography, etiquette.
MUSICIANS/ALBUMS THAT INFLUENCED stone’s throw away from the university And I still keep my old discontinued
where I studied, and I walked every EDUCATION: Saarbrücken (D), Werbe- collections from my childhood such
YOU THEN/NOW: Rolling Stones ANY agentur M&D, Vocational Training in
OTHER INFLUENCES THEN/NOW: Jesse morning along the seafront. I couldn’t as sugar bags, rocks, match boxes,
think of a nicer place to study; it was Prepress Repro / Basel (CH), Kunst- stamps, coins, stationery, napkins,
Collins and Anthony Froshaug gewerbeschule Basel, I left the college
such a perfect place to study and a lot erasers, pencils, stuffed animals
of fun. During my studies at the Royal before the end of the first year /
KIRSTY CARTER Pforzheim (D), Hochschule Pforzheim,
College, I lived in East London and
(A PRACTICE FOR EVERYDAY LIFE) Diplom-Designer (Dipl.-Des.), Graphic LUCINDA NEWTON-DUNN
cycled 6 miles every day across central
Design ARE YOU EMPLOYED OR SELF- (SPACE-TO-THINK)
EDUCATION: Cambridge (UK), London, day in, day out, in all weathers;
Cambridge Regional College, I can’t say I enjoyed it. I love cycling EMPLOYED?: Self-employed and EDUCATION: London (UK), London
Foundation Diploma, Art & Design / and it is always my first chosen form of employed (Professor at Fachhoch- Guildhall University, Sir John Cass
Brighton (UK), College: University of transport, but that journey was hard schule Dortmund (D)) ARCHITECTS/ Faculty of Arts, BTEC Diploma
Brighton, Bachelor of Arts (B. A. Hons), WOULD YOU STILL HAVE BECOME A BUILDINGS THAT INFLUENCED YOU Foundation Studies, Art & Design /
Graphic Design / Nagoya (JP), Nagoya DESIGNER IF YOU KNEW WHAT YOU THEN/NOW: Frank Gehry / Peter London (UK), Camberwell College of
University of Arts (NUA), 6-month KNOW NOW?: Yes! I love being a Zumthor MUSICIANS/ALBUMS THAT Arts, Bachelor of Arts Joint Honours
scholarship during University of designer; anyway, I am not very good INFLUENCED YOU THEN/NOW: David Degree (B. A. Hons), Graphics/Fine Art
Brighton, Graphic Design / London at anything else, other subjects at Bowie, Pavement, Primal Scream, / London (UK), Royal College of Art,
(UK), Royal College of Art, Master of school were quite a struggle; art and Style Council, Jane’s Addiction, Prince, Master of Arts (M. A.), Graphic Design
Arts (M. A.), Communication Art & Design design were subjects I was very good some heavy metal… / Coldplay, Moby, ARE YOU EMPLOYED OR SELF-
ARE YOU EMPLOYED OR SELF- at at school. My parents are not in electronic stuff,… and all the music EMPLOYED?: Self-employed PREVIOUS
EMPLOYED?: Self-employed PREVIOUS creative industries, but their interest I loved to hear when I was a student EMPLOYMENT: I have worked freelance
EMPLOYMENT: Only ever worked for grew when they realized they had a ANY OTHER INFLUENCES THEN/NOW: pretty much ever since college, starting
myself, started A Practice for Everyday little aspiring artist as their daughter Travelling DID YOU OWN ANY SORT OF at Ralph Appelbaum Associates (London,
Life straight after college GENERAL and took me to museums and galleries COLLECTION THEN/NOW?: Old keys / UK), then continuing to work in graphic
COMMENT ON ALL THE QUESTIONS from an early age HOURS SPENT Passports and identities WHAT DO YOU design, photography, moving image
ABOUT INFLUENCES: Writing down DESIGNING PER DAY THEN/NOW: I think LIKE ABOUT WORKING AS A DESIGNER?: and printed textiles, for various clients
influences is very difficult, as there about design and our projects all the Working with the people in my studio; in England, Tokyo and the USA
are so many influences over time and time, it’s an enormous part of my life, I am very happy to have such great ARCHITECTS/BUILDINGS THAT
things/people that I read/saw/or which I am sure is the case for most partners – Uli Weiß and Florian Gaertner. INFLUENCED YOU THEN/NOW: Tadao
listened to many years ago that still designers. In terms of physical brain- Making things happen, having ideas Ando / Japanese traditional architecture,
influence me now. I tried to choose just storming, making, meetings and and trying to make them work, that’s modernist and mid-century modern
one person/thing per question to keep managing the studio, I would say I what we do all day WOULD YOU STILL architecture MUSICIANS/ALBUMS
my answers short, but endless books, work 65 hours a week. The way I work HAVE BECOME A DESIGNER IF YOU THAT INFLUENCED YOU THEN/NOW:
writers, buildings, artists and musicians hasn’t changed since I was a student – KNEW WHAT YOU KNOW NOW?: No, Interested in some more experimental
influence me ARCHITECTS/BUILDINGS I was very dedicated and hard-working, I don’t think so. My dream was to be a ideas from artists such as John Cage.
THAT INFLUENCED YOU THEN/NOW: I worked similar hours HOW DID/DO bush pilot. Seriously. But at that time Various classical music and Ninja
Eames House (Case Study House No. 8) YOU DEVELOP/RESEARCH AN IDEA you had to go into the army to be a pilot. Tunes, Bjork, The Cardigans / I don’t
by Charles & Ray Eames / The Hepworth THEN/NOW?: Research is key to a I did my civilian service – I was and am make much time for music these days.
Wakefield by David Chipperfield. It’s successful project or idea; we spend still a militant anti-militarist. Now I am I mostly listen to radio programmes on
difficult to think of any other building a great deal of time doing it, whether a designer, I love to travel, looking for KCRW/public radio, and still enjoy a bit
that has influenced our studio so much it’s a trip to the British Library or a the unexpected. I hate to make plans of classical and the choice selection of
(we even drew a typeface for it!); he visit to the Barbara Hepworth Garden in when I travel music I hear my husband play ANY
was a client and is also a fantastic St. Ives, time and research is absolutely OTHER INFLUENCES THEN/NOW: My
architect MUSICIANS/ALBUMS THAT essential. This hasn’t changed since LAURENT LACOUR family, friends, some tutors, environ-
INFLUENCED YOU THEN/NOW: Blur I was a student; I feel my design process (HAUSER LACOUR) ments, museums / Being a parent, my
(The Universal) and Pulp (Common has been exactly the same for 13 years EDUCATION: Offenbach am Main (D), husband, children’s play and toys such
People). I was a teenager growing up in (since starting my degree); the only Hochschule für Gestaltung (HFG), as Naef and Galt (1970s) etc., Japanese
England in the 1990s; these are the two thing that has changed is that there is Diploma (Dipl.-Designer), Visual culture, fashion, design blogs, environ-
most influential bands of my generation. a client now Communication ARE YOU EMPLOYED ments, interiors, mid-century modern
These two songs would make it into OR SELF-EMPLOYED?: Self-employed furniture DID YOU OWN ANY SORT OF
my eight Desert Island Discs (Desert by my own studio and employed COLLECTION THEN/NOW?: Collections
KRISTINE MATTHEWS
Island Discs is a long-running BBC (Professor at Fachhochschule of found objects usually off the street,
(STUDIO MATTHEWS)
Radio 4 programme, first broadcast on Düsseldorf (D)) PREVIOUS EMPLOY - collections of my photos and small
29 January 1942. Each week, a guest, EDUCATION: Seattle (USA), University MENT: Freelance for Intégral Ruedi Baur sketchbooks / Collections of paper off-
or ‘castaway’, is asked to choose eight of Washington, Bachelor of Fine Arts (CH/D/F), Heine/Lenz/Zizka (D), cuts, small plastic objects, fabrics,
pieces of music, a book and a luxury (B.F. A), Graphic Design / London (UK), Surface (D) ARCHITECTS/ BUILDINGS tenugui (printed Japanese cotton towels),
item for their imaginary stay on the Royal College of Art, Master of Arts THAT INFLUENCED YOU THEN/NOW: a catalogue of endless photos I shoot
island, while discussing their lives and (M. A.), Communication Design ARE Herzog & de Meuron / Alvar Aalto from day to day. No art or design
the reasons for their choices. In the YOU EMPLOYED OR SELF-EMPLOYED?: MUSICIANS/ALBUMS THAT INFLUENCED collection yet, apart from many art and
studio, the six members of A Practice Self-employed and employed (Assistant YOU THEN/NOW: J. S. Bach / Chilly design books and magazines and a few
for Everyday Life prepared their own Professor in Visual Communication Gonzales ANY OTHER INFLUENCES interesting posters WHAT DO YOU LIKE
‘Desert Island Discs’). I spend a lot of Design, University of Washington, Seattle THEN/NOW: Brazilian culture / Modern ABOUT WORKING AS A DESIGNER?:
time in Gothenburg in Sweden, and (USA)) PREVIOUS EMPLOYMENT: artists like Tobias Rehberger, Thomas I truly love what I do and it comes from
Fever Ray’s (aka Karin Drejer Andersoon) thomas.matthews (London, UK) – Zipp DID YOU OWN ANY SORT OF the core, so the fact that I have the
music is part of this city. I went to see founder and joint-director, Royal COLLECTION THEN/NOW?: Stickers, sea opportunity to express myself and make
her at a concert in Brixton last year. College of Art (London, UK), The Traver shells, gemstones (all then, as a child) beautiful things is amazing. I love the
That might have been the best concert Company (Seattle, USA), Edquist explorative process and I love that I can
I have ever been to – incredible stage Design (Seattle USA) ARCHITECTS/ take things I notice in everyday life and
LIZA ENEBEIS
set, lights and odd lyrics. ANY OTHER BUILDINGS THAT INFLUENCED YOU filter them into my work. I enjoy balancing
(STUDIO DUMBAR)
INFLUENCES THEN/NOW: Emma THEN/NOW: Charles & Ray Eames, working within design boundaries and
Thomas (fellow student) at the Royal Herzog & de Meuron / Tom Kundig, EDUCATION: Paris (F), Parsons School the challenge of answering a brief, with
College / Emma Thomas (my partner in Alan Kitching (Olson Kundig Architects), of Design, Bachelor of Arts (B. A.), work that retains a certain amount of
A Practice for Everyday Life) – she is Rem Koolhaas, Weiss/Manfredi (land- Communication Design / London (UK), creative freedom. This is where I sit on
and will always be my biggest influence scape architects of Seattle’s Olympic Royal College of Art, Master of Arts the fence between being an artist and
DID YOU OWN ANY SORT OF COLLECTION Sculpture Park), Oskar Shindler, Neutra (M. A.), Graphic Design ARE YOU being a designer WHAT DO YOU DISLIKE
THEN/NOW?: I think every designer is a MUSICIANS/ALBUMS THAT INFLUENCED EMPLOYED OR SELF-EMPLOYED?: Both ABOUT WORKING AS A DESIGNER?:
collector; I have lots of collections of YOU THEN/NOW: Liz Phair, Pixies, Cake / PREVIOUS EMPLOYMENT: Pentagram I dislike that I cannot easily separate
228
APPENDIX 1
my work from my day-to-day life, which ARCHITECTS/BUILDINGS THAT (M. A.), Graphic Design ARE YOU MATTHIAS GÖRLICH
can be an emotional strain. Design is INFLUENCED YOU THEN/NOW: Frank EMPLOYED OR SELF-EMPLOYED?: (STUDIO MATTHIAS GÖRLICH)
often undervalued and generally badly Lloyd Wright, The Jewish Museum in Employed (Professor at Basel School of EDUCATION: Darmstadt (D), Hochschule
paid. Also working on the more ‘arty’ Berlin by Daniel Libeskind MUSICIANS/ Design, CH) with temporary additional Darmstadt, Diplom Kommunikations
side of design doesn’t pay off business- ALBUMS THAT INFLUENCED YOU THEN/ freelance projects PREVIOUS EMPLOY - designer (Dipl.-Des. FH), Visual
wise! HOW DID/DO YOU DEVELOP/ NOW: Richard Strauss (Vier letzte MENT: Pentagram (London, UK),
Communication / Zurich (CH), Zürcher
RESEARCH AN IDEA?: Pretty much the Lieder), Jessye Norman, Nick Drake Meta Design (Berlin, D), KMS Team Hochschule der Künste (ZHdK),
same process creatively then and now (Five Leaves Left) ANY OTHER (Munich, D) MUSICIANS/ALBUMS THAT Institute for Design Research
– it varies from project to project, but INFLUENCES THEN/NOW: Close friends INFLUENCED YOU THEN/NOW: Philip
(Design2context), Master of Advanced
basically I strip a brief down to the and colleagues have always been the Glass, Depeche Mode, Nightmares on
Studies (M. A.), Design Research ARE
basics, look up literal meanings, try to biggest influence on me – logically, as Wax, Archive, Urbs, Nouvelle Vague,
YOU EMPLOYED OR SELF-EMPLOYED?:
view something from a different angle. these are the people you spend most of Coco Rosie, Ryuichi Sakamoto
Self-employed and employed as a
Write notes and diagrams, go off on your time with. But also because the
researcher (Design2 context, Zurich
tangents and come back again. Try to things we discuss really matter, they go
MARTIN LORENZ (CH)) PREVIOUS EMPLOY MENT:
move away from the computer and get deep DID YOU OWN ANY SORT OF
(TWOPOINTS.NET) Kram/Weisshaar (Stockholm, SE) and
hands-on with things (recently with COLLECTION THEN/NOW?: During my
EDUCATION: Darmstadt (D), Hoch-
as a freelancer for unit-design
drawing and using collage), even when studies, I started a classical music
schule Darmstadt, Diplom-Designer (Offenbach, D), Ade Hauser Lacour
it takes me back to a digital output. collection that has become quite
(Dipl.-Des. FH), Visual Communication) / (Frankfurt am Main, D), Eclat (Zurich,
I take lots of photos and go through my extensive over the years. It now covers
The Hague (NL), Royal Academy of Arts, CH) among others. But basically I
catalogue of photographs for inspiration, a range of nine centuries of music.
Bachelor of Arts (B. A.), Graphic- and started my own practice while studying
colour and composition references. I also love books about typography and
lettering HOW DID/DO YOU DEVELOP/ Typographic Design / Barcelona (ES), design ARCHITECTS/ BUILDINGS THAT
Now I am more aware of working with
Universitat de Barcelona, Master of Arts INFLUENCED YOU THEN/NOW: Most of
the client and their needs and making RESEARCH AN IDEA?: There is no one
way. You might want to approach an (M. A.), Design ARE YOU EMPLOYED my friends at that time were architecture
compromises, so a lot of development
idea from a visual angle, or very much OR SELF-EMPLOYED?: Self-employed students and I was influenced by
comes from dicussion. More research
from a textual one (to deliberately avoid CURRENT AND/OR PREVIOUS discussions about the contemporary
is required now into production – how,
starting with images). In the end, the EMPLOY MENT: Partner at Constructing Swiss and Dutch architecture scene.
where and cost, etc. DESIGNERS THAT
way you start is not even the most Communication (Barcelona, ES), lecturer I was especially intrigued by Rem
INFLUENCED YOU THEN: No particular
important issue. Keeping an open mind at Elisava Design School (Barcelona, Koolhaas’ work with OMA as it pushed
influences. I’ve always been inspired
throughout is much more the key to ES), editor at The One Weekend Book the boundaries of architecture and also
by a general mixture of styles and
good development or research. Mind- Series (Barcelona, ES), guest lecturer integrated design / I am very interested
approaches. Names that come to mind:
Josef Müller-Brockmann, John Maeda, mapping can provide some structure, at Hochschule für Künste Bremen (D), in all the DIY building concepts from
Graphic Thought Facility (see also pp. without the danger of restrictions guest lecturer at Willem de Kooning the 1970s. But also contemporary
30–33) PIECES OF DESIGN THAT INFLUENCED Academie (Rotterdam, NL), lecturer at work by people like Jesko Fezer, Arno
YOU: Within the context of the student IED Barcelona (ES), lecturer at IDEP Brandlhuber et al. MUSICIANS/ALBUMS
work (see p. 148) I have selected the Institut Superior de Disseny (Barcelona, THAT INFLUENCED YOU THEN/NOW:
MAKI SUZUKI
(ÅBÄKE) typographical posters of Ton Homburg ES), creative director at Hort (Berlin, D) I can’t really tell if music has any impact
(Opera) for the Apollohuis Eindhoven. GENERAL COMMENT ON ALL THE or influence on my work. I like listening
EDUCATION: Paris (F), École supérieure to music, but very rarely while working.
Two examples of his work are part of QUESTIONS WITHIN THE BOOK ABOUT
d’arts graphiques et d’architecture Maybe music is too much of a personal
the collection of the Museum of Modern INFLUENCES: I never really thought
intérieure (ESAG), Foundation course / thing for me to escape to, instead of
Art, New York. Not his best pieces any designer was THE influence for me,
Paris (F), École nationale supérieure having it around me while working
I think, but it is difficult to find better but it would be dumb to say that there
des Arts Décoratifs (EnsAD), Bachelor ANY OTHER INFLUENCES THEN/NOW:
images from that period. That’s a aren’t any influences. Growing as a
of Arts (B. A.) / London (UK), Royal For me there is no then/now here.
shame, because he made beautiful designer means a daily struggle with
College of Art, Master of Arts (M. A.), People like Prof. Dr. Uli Bohnen, former
stuff that captured experimental music rules and ideas – the rules established
Communication Art & Design ARE YOU Professor of Design History at the
in typography by others and yourself. During studying,
EMPLOYED OR SELF-EMPLOYED?: Self- Hochschule Darmstad, certainly
the strongest influences are teachers
employed as part of a partnership of influenced me a lot because he was
MARGARET CALVERT and colleagues, who are influenced
4 people ARCHITECTS/BUILDINGS never talking about ‘design history’ but
by others too. In the pre-Internet era,
THAT INFLUENCED YOU THEN/NOW: EDUCATION: London (UK), Chelsea always painting a bigger picture where
during which I studied, local design
Archigram, Tadao Ando / R&sie College of Art, National Design Diploma design plays a role in society and
tradition still played an important role.
MUSICIANS/ALBUMS THAT INFLUENCED (NDD), Illustration ARE YOU EMPLOYED where it has responsibilities. Travelling
So I guess I am pretty much influenced
YOU THEN/NOW: Pretty Hate Machine, OR SELF-EMPLOYED?: Self-employed now is a big influence; meeting people
by the post-Ulm, post-Basel and
Trent Reznor / Kurt Cobain, still ANY PREVIOUS EMPLOYMENT: Joined Jock with a different cultural background and
contemporary Dutch design, instead of
OTHER INFLUENCES THEN/NOW: Kinneir (London, UK) immediately after experience often opens my eyes to new
being influenced by any particular
I can’t remember / Andy Kaufman, completing my NDD course at Chelsea things DID YOU OWN ANY SORT OF
designer, piece of design, book, artist,
Thor Heyerdahl, Emile Ajar, David School of Art, in the late 1950s. Worked COLLECTION THEN/NOW?: Visual stuff
architect, film, TV, director, musician or
Attenborough, Subcomandante on the signing system for Britain’s I came across when travelling / The
album. ARCHITECTS/BUILDINGS
Marcos DID YOU OWN ANY SORT OF new motorways, soon to be followed by collection continued and was enhanced
THAT INFLUENCED YOU THEN/NOW:
COLLECTION THEN/NOW?: Records, the entire network. The partnership by a collection of historic design books
Mies van der Rohe / Hannes Meyer
comics, art ephemera / Tautological continued through the 1960s, focusing WHAT WOULD YOU DO TODAY IF YOU
MUSICIANS/ALBUMS THAT INFLUENCED
objects or things that are errors or on more signing systems and corporate STOPPED DESIGNING?: I would most
YOU THEN/NOW: Camp Lo / Gonja Sufi
aberrations YOUR FAVOURITE FOOD identities. Kinneir Calvert Tuhill was probably do something like selling
ANY OTHER INFLUENCES THEN/NOW:
THEN: Being French and being a formed in 1971. Since Jock Kinneir’s books (although my problem is that
Sandra Hoffmann (see pp. 194–197),
vegetarian was a national joke… retirement, I have worked independently I would rather keep them than sell
Christian Pfestorf, Petr van Blokland,
Studying at the Royal College of Art ARCHITECTS/BUILDINGS THAT them). But after working with Urban
Peter Verheul, Michel Hoogervoorst,…
(London, UK) where many cosmopolitan INFLUENCED YOU THEN/NOW: Pirelli Planners for the last few years, I became
I am sure I am forgetting many DID
truths collide, I met Glaswegian and Building, Milan, I (Gio Ponti) / St Pancras really interested in their understanding
YOU OWN ANY SORT OF COLLECTION
Swedish non-meat eaters who proved London, UK (Gilbert Scott) DID YOU of design, so maybe I would work in a
THEN/NOW?: Comic and vinyl collection/
me wrong and I have been pescetarian OWN ANY SORT OF COLLECTION different field of design instead of
Comic, book and vinyl collection WHAT
since ARTISTS/ WORKS OF ART THAT THEN/NOW?: Only memories and stopping designing HOW DID/DO YOU
DO YOU LIKE ABOUT WORKING AS
INFLUENCE YOU: Today the people objects relating to them HOW DO YOU DEVELOP/RESEARCH AN IDEA?: Then
A DESIGNER?: There is no clear
we work with influence us: Aurélien DEVELOP/RESEARCH AN IDEA?: I start and now is pretty much the same
definition of what a designer does, so
Froment, Ryan Gander, Benoit Maire, with the idea, then follow through with process. I like to rethink the process,
everyone can find their own approach,
Johanna Billing. Someone we have research, if applicable; usually within for example by starting with something
which means one can create his/her
not worked with but shared a residency my own head, depending on the project. purely visual and developing the idea
own profession within the boundaries
with and understood the brilliance of: Eventually however, I check something around that, or by doing it the other
of the needs of the market of visual
Jean-Luc Moulène out; it could be the meaning of a word, way around, or I might only work on a
communication WHAT DO YOU DISLIKE
an image in a book, or information project in the evening, or on the road.
ABOUT WORKING AS A DESIGNER?:
MARC VAN DER HEIJDE on the Internet The tempo of the process is a lot
There is no clear definition of what a
(STUDIO DUMBAR) faster now, though DESIGNERS THAT
designer does, so nearly everyone can
MARION FINK
EDUCATION: Breda (NL), Academy of work as a designer. Designers selling INFLUENCE YOU NOW: There are some
Art and Design St. Joost, Bachelor of EDUCATION: Würzburg (D) Fachhoch- themselves under what they are worth designers who I respect for their
Arts (B. A.), Graphic Design ARE YOU schule Würzburg, Architecture (1 year) / and offering visual make-up instead of approach e.g. Urs Lehni for rethinking
EMPLOYED OR SELF-EMPLOYED?: Schwäbisch Gmünd (D), Hochschule communication mislead about what the idea of a cultural institution or David
Employed PREVIOUS EMPLOYMENT: für Gestaltung, Visual Communication, society generally expects of design and Reinfurt for extending the field of
Barlock (The Hague, NL), Total Design Diploma (Dipl.-Designer) / London (UK), a designer. I often wish designers and design and Enzo Mari’s approach to
(Brussels, BE), NS Design (Utrecht, NL) Royal College of Art, Master of Arts society would be more demanding do-it-yourself design, etc.
229
APPENDIX 1
AUTHORS/BOOKS THAT INFLUENCE Art and Design ARE YOU EMPLOYED SORT OF COLLECTION THEN/NOW?: Crouwel, Emil Ruder, Pierre Mendell,
YOU: Certainly Tomás Maldonado OR SELF-EMPLOYED?: Self-employed Books / Still books, particularly Insel Max Bill, Paul Rand, Saul Bass, Paula
(Umwelt und Revolte) and some other and employed (Professor at Hochschule Verlag (now Suhrkamp Verlag) Scher, Cassandre, Karl Gerstner,
more theoretical books that deal with für Grafik und Buchkunst Leipzig (D)) DESIGNERS THAT INFLUENCED YOU Michael C. Place & The Designers
a broader understanding of design. PREVIOUS EMPLOYMENT: None THEN: Jan Tschichold, Charles Collett, Republic / Ludovic Balland, Daniel
Strangely, today the books that I really ARCHITECTS/BUILDINGS THAT Robert and George Stephenson, Eatock (see also p. 58–61), James
like to flip through are mostly INFLUENCED YOU THEN/NOW: Coop Isambard Kingdom Brunel, Paul Rand, Goggin (see also p. 98–101), Armand
photography books, e.g. Peter Menzel Himmelblau, John Hejduk, Le Corbusier / Max Bill, Hermann Eidenbenz, Peter Mevis, Maureen Mooren, Leonardo
(Material World, The Family of Man) – Lina Bo Bardi, Cedric Price MUSICIANS/ Saville and my tutor, Paul Stiff. Too Sonnoli, Willi Kunz, Geoff McFetridge,
awfully designed, but the content is ALBUMS THAT INFLUENCED YOU many to mention, really Non-Format, Laszlo Moholy-Nagy,
extremely interesting THEN/NOW: Tortoise, Stereolab, German Dexter Sinister, Sonnenzimmer, Cybu
electronica = music for graphic PREM KRISHNAMURTHY Richli + Fabienne Burri, the list goes
MICHAEL GEORGIOU designers + Flaming Lips, etc. / Music (PROJECT PROJECTS) on… PIECES OF DESIGN THAT
(G DESIGN STUDIO) for more mature graphic designer + INFLUENCED YOU THEN: I remember
EDUCATION: New Haven (USA),
Brian Ferry + Japan + Animal Collective, the moment I decided to go back and
EDUCATION: Athens (GR), Vakalo Yale College, Bachelor of Arts (B. A.),
etc. ANY OTHER INFLUENCES THEN/ study graphic design for my Masters.
College of Art & Design, Graphic Design / Fine Arts – concentration on Graphic
NOW: Four teachers I’m very happy to I was in Switzerland taking a workshop
London (UK), London College of Design and photography / Berlin (D),
have met. Gabriele Kreutzmann, my with Weingart for the summer of 2005
Printing, Higher National Diploma Freie Universität, semester abroad,
German teacher at A-levels (Gymnasium) and he showed us a book by one of his
(HND), Typographic studies ARE YOU Comparative Literature and Philosophy /
who brought real thinking and debate students – Philip Burton. That one book
EMPLOYED OR SELF-EMPLOYED?: Dresden (D), Hochschule für Technik
to the subject of language, literature changed my whole perspective on what
Both self-employed and employed und Wirtschaft Dresden and Technische
and ideas – an eye-opener. Hildegard design could be. At that moment in my
(lecturer at Vakalo College of Art & Universität Dresden, Performance
Korger, tutor for Lettering at Hochschule life I learned graphic design is really a
Design, Athens) ANY OTHER Studies and Industrial Design History,
für Grafik und Buchkunst Leipzig: an platform to express the world visually.
INFLUENCES THEN/NOW: Folk art, Art Fulbright Fellowship ARE YOU
amazingly meticulous and inspirational We, as designers, have the opportunity
Deco, Bauhaus / Folk art, MNP, Sara EMPLOYED OR SELF-EMPLOYED?:
craftswoman! Günter Bose, tutor for to create new images, and new forms
Fanelli, Adrian Shaughnessy DID YOU Self-employed PREVIOUS EMPLOYMENT:
Typography at Hochschule für Grafik of presenting and interpreting the world
OWN ANY SORT OF COLLECTION Leonardi.Wollein, Berlin (D), New York
und Buchkunst Leipzig, who introduced
THEN/NOW?: Rubbers / Ducks Times Magazine, New York (USA),
me to the idea of discourse within
O-R-G, Inc., New York (USA) RICHARD WALKER
typography and graphic design. Al Rees,
NIKKI GONNISSEN ARCHITECTS/BUILDINGS THAT (KK OUTLET/KESSELSKRAMER)
researcher/tutor in Film at the Royal
(THONIK) INFLUENCED YOU THEN/NOW:
College of Art, London (UK) – not so EDUCATION: Cambridge (UK), Regional
Paul Rudolph, Daniel Libeskind, Rem
EDUCATION: Utrecht (NL), Hogeschool much of a direct influence as a teacher College, Foundation / London (UK),
Koolhaas / Peter Zumthor, Herzog & de
voor de Kunsten Utrecht, Bachelor of or confidante but someone who Camberwell College of Arts, Bachelor of
Meuron, WORKac MUSICIANS/ALBUMS
Art (B.A.), Graphic Design ARE YOU brought a previously unknown world Arts (B. A. Hons), Graphic Design ARE
THAT INFLUENCED YOU THEN/NOW:
EMPLOYED OR SELF-EMPLOYED?: Self- (structural filmmaking) to my attention YOU EMPLOYED OR SELF-EMPLOYED?:
Radiohead, John Coltrane, Tricky, Björk,
employed PREVIOUS EMPLOYMENT: DID YOU OWN ANY SORT OF Employed PREVIOUS EMPLOYMENT:
Bill Evans / Vampire Weekend, Dirty
None ARCHITECTS/BUILDINGS THAT COLLECTION THEN/ NOW?: This is Red Square editing (London, UK),
Projectors, Van Morrison, Cookies,
INFLUENCED YOU THEN/NOW: Le touching a nerve: 1) Besides a traditional I.D magazine (London, UK), Simple
Sleigh Bells ANY OTHER INFLUENCES
Corbusier: (Ronchamps) / MVRDV: idea of collecting meaningful finds and Productions (London, UK), Mother
THEN/NOW: Paul Elliman, John Gambell,
Wozoko’s (we commissioned MVRDV to inspirational material it has become (London, UK), KesselsKramer
Matthew Carter, Rita Jules, Randall Hoyt,
build our studio in 2000), John more common in recent years also for (Amsterdam, NL), Fallon (London, UK),
Tamara Sussman / My business partners
Kormeling (eccentric and radical) graphic designers to work with a model Weiden and Kennedy (London, UK),
(Adam Michaels & Rob Giampietro)
MUSICIANS/ALBUMS THAT INFLUENCED of the archive as a system for storing Weiden and Kennedy (Amsterdam, NL)
and our employees (Chris Wu, Chris
YOU THEN/NOW: I don’t know where to their own and foreign material and ARCHITECTS/BUILDINGS THAT
McCaddon, Marina Kitchen) DID YOU
start / Different genres ANY OTHER using it methodically 2) But: all the INFLUENCED YOU THEN/NOW: Not
OWN ANY SORT OF COLLECTION
INFLUENCES THEN/NOW: Asmat, work I had done throughout my college sure how a building can influence you.
THEN/NOW?: Stamped US pennies
Papua New Guinea. I went there for education and had kept, and many The job centre in Peckham was
from tourist locations / Only my books
three months in 1996 / Still as then books and magazines, were lost in the influential in getting me a place on a
WHAT DO YOU LIKE ABOUT WORKING severe flooding of 2002 in Dresden (D), QuarkXpress evening course / I like
RENATA GRAW
AS A DESIGNER?: The fact that I can since I had stored it in the basement of The Gherkin (London, UK) by Norman
(PLURAL)
go deeply into a specific subject for my parents’ house. I tend not to be Foster MUSICIANS/ALBUMS THAT
a relatively short period of time. The sentimental, but it is moments like this – EDUCATION: Chicago, University of INFLUENCED YOU THEN/NOW: Having
whole proces from listening, analyzing, when asked about college stuff and Illinois at Chicago, Master of Fine Arts an opinion about music at college was
concepualizing, design, implementation collections – that I wish that at least a (M. F. A.), Graphic Design / Rio de very important. Finding bands that
and getting it into the world. To engage few things had survived… Therefore Janeiro, Pontificia Universidade Católica were new and good really mattered.
with certain projects. It is about sharing I didn’t have too many works I had done (PUC-RIO), Bachelor of Fine Arts (B. F.A), The actual music was a bit secondary.
values. Content and context are as a student to choose from… HOW DO Industrial Design ARE YOU EMPLOYED I used to like a band called The Makeup
important to me ARTISTS/WORKS YOU DEVELOP/RESEARCH AN IDEA OR SELF-EMPLOYED?: Self-employed at college. I also sided with Blur during
OF ART THAT INFLUENCED YOU NOW?: I’ve recently tried to do more PREVIOUS EMPLOYMENT: Freelance, the Oasis vs. Blur question / These
THEN/NOW: Claes Oldenburg (his speculative work and read more, pursue Brand Image (Chicago, USA) / McMillan days I listen to whatever gets played at
giant objects and soft sculptures like less result-driven things. That’s what my Associates (USA) / Ana Couto Design work. Edward Sharpe and the Magnetic
hamburgers, but also knees as teaching post seems to suggest and (BR) ARCHITECTS/BUILDINGS THAT Zeros are worth a listen ANY OTHER
statues); Wim T. Schippers (Going To allows me to do now. At least I think so. INFLUENCED YOU THEN/NOW: Oscar INFLUENCES THEN/NOW: Scott King
The Dogs – a play with only dogs in it; Before it was just project after project. Niemeyer, Tadao Ando, Renzo Piano, was my tutor at Camberwell College.
people were watching dogs barking We become victims of our moderate Herzog & de Meuron, OMA, Mies van I still see him and still rate him as one
and peeing for two hours); Jan Hoet success quickly: you get more work and der Rohe, Eero Saarinen, Buckminster of the more relevant artists of our
(Chambres d’Amis – the first exhibition have more projects to juggle and less Fuller MUSICIANS/ALBUMS THAT generation / The people who influence
of art in people’s homes in Gent (BE)); time for looking and playing around INFLUENCED YOU THEN/NOW: Brazilian me now are the people I work with DID
John Baldessari for his use of photos music: Jõao Gilberto, Caetano Veloso, YOU OWN ANY SORT OF COLLECTION
and signs, playing with context; Gilberto Gil, Os Mutantes, mixed in THEN/NOW?: I have a massive record
PAUL BARNES
Yayoi Kusama (1960s, happenings, with: Jimi Hendrix, Janis Joplin, Miles collection YOUR MOST VALUED
orgies, performances, comments on EDUCATION: Reading (UK), University Davis, Wynton Marsalis, Sonny Rollins POSSESSION NOW: I have an original
society), Sol LeWitt for his conceptional of Reading, Bachelor of Arts (B.A. Hons), and others. Although we pretty much May ’68 poster. It’s the one with the riot
form follows function; Piplotti Rist; Typography & Graphic Communication listen to all kinds of music in the studio policeman holding a baton. I love it but
Emily Kngwarreye ARE YOU EMPLOYED OR SELF- now, from African beats to classical it has a big SS symbol on the shield.
EMPLOYED?: Self-employed PREVIOUS ANY OTHER INFLUENCES THEN/NOW: My wife won’t have it in the house. I’ve
EMPLOYMENT: Roger Black Inc. (New My uncle Ricardo Bacha; he was a tried explaining that it’s actually very
OLIVER KLIMPEL
York, USA), Spin magazine (New York, psychiatrist and amateur photographer anti-fascist, but I see her point HOW
(BUERO INTERNATIONAL LONDON)
USA) ARCHITECTS/BUILDINGS THAT in Brazil. He used to show me art books OLD WERE YOU WHEN YOU FIRST
EDUCATION: Leipzig (D), Hochschule INFLUENCED YOU THEN/NOW: Rietveld and we discussed art and philosophy THOUGHT OF BECOMING A DESIGNER?:
für Grafik und Buchkunst, Diploma (Dipl.- Schröder House, Utrecht (NL) by Gerrit during family gatherings DID YOU OWN I was 24 – I bumped into an old college
Designer), Graphic & Book-Design / Rietveld / Georgian architecture and ANY SORT OF COLLECTION THEN/NOW?: friend of mine who was wearing a suit
London (UK), Central Saint Martins industrial architecture MUSICIANS/ I have never had a collection, although I and carrying a portfolio. It looked like
College of Art & Design, Post-graduate ALBUMS THAT INFLUENCED YOU THEN/ have a lot of books DESIGNERS THAT he was doing very well. He was in fact
Diploma (PgDip), Graphic Design / NOW: The Sound of Young Scotland, INFLUENCED YOU THEN/NOW: Tibor coming back from an interview at an ad
London (UK), Royal College of Art, Kraftwerk, David Bowie, Joy Division Kalman, Wolfgang Weingart, Piet Zwart, agency. He didn’t get the job but we
Master of Arts (M. A.), Communication and many others DID YOU OWN ANY Stefan Sagmeister, Karel Martens, Wim got talking and he explained that it was
230
APPENDIX 1
easier to get the sort of job he was blackbirds (Amsel) ANY OTHER Mies van der Rohe, Giò Ponti, Carlo THAT INFLUENCED YOU THEN/NOW:
after if he was in a creative team. INFLUENCES THEN/NOW: Flight YOUR Scarpa / David Chipperfield, SANAA, Beastie Boys / Squarepusher ANY
He suggested we started working MOST VALUED POSSESSION THEN: Valerio Olgiati, Herzog & de Meuron OTHER INFLUENCES THEN/NOW: Any-
together and we started arguing over A toolbox with instruments (Swann- MUSICIANS/ALBUMS THAT thing and everything / Kate, my wife
who would be the copywriter and who Morton scalpel, marble, roller, Caran INFLUENCED YOU THEN/NOW: Mozart, and Hyperkit co-founder DID YOU OWN
would be the art director. I won the d’Ache pens and pencils, Racher Miles Davis, Pixies, Tom Waits, Portis- ANY SORT OF COLLECTION THEN/NOW?:
argument and that’s when I got the typometre, calculating scale, Falzbein, head, Beastie Boys, Beck / Bach, Examples of information graphics /
official label. before that I wanted to Cementit, Kern compasses, mink Andreas Scholl, Françoise Hardy, Helge Digital photographs of construction site
be a film director. Before that I was a paintbrushes, loupe, Juwel stapler, Schneider, The White Stripes, Adele, furniture HOW DO YOU DEVELOP/
trainee butcher with Dewhurst’s in Prismacolor pencil crayons, Gedess The Avett Brothers, Ezra Furman – RESEARCH AN IDEA NOW?: Research and
Royston DESIGNERS THAT INFLUENCED pencil sharpener, bulldog clips, music is too fast, ask me tomorrow and development is an ongoing process and
YOU THEN/NOW: I think the biggest magnets, Omega Reissnagel drawing- I’ll write down different ones… ANY everything we have seen, read and
influences were the people I used to pins, hole punch, stamp pad and letter OTHER INFLUENCES THEN/NOW: My experienced dictates how we want to
hang out with or share a flat with. stamps, technograph 777 pencils, gyro girlfriend / My wife DID YOU OWN ANY design as a studio. This is combined with
Record covers have always been a compass, burnisher, green masking SORT OF COLLECTION THEN/NOW?: straightforward research into subjects
great influence too. As I got a bit more tape, brown paper tape, Post-its, Minox, Music, books / Books, music that are relevant to particular projects
interested in design I started buying coloured stones, Klebeband from EPA,
record sleeves for the designers and Pelikan plaka, sketchbooks from STEFAN SAGMEISTER URS LEHNI
not really the music. I’ve never been a Rebetez, Knetgummi, Ilford canisters…) (SAGMEISTER INC.) (LEHNI-TRÜB, ROLLO PRESS,
fan of New Order but I am a fan of HOW OLD WERE YOU WHEN YOU FIRST CORNER COLLEGE)
Peter Saville and began looking at the THOUGHT OF BECOMING A DESIGNER?: EDUCATION: Vienna (AT), Universität
other work he made. That got me into 7 – it was then when I locked myself in für angewandte Kunst Wien, Bachelor EDUCATION: Lucerne (CH), Hochschule
other music, which got me into other the bathroom until my mother promised of Art (B. A.) / New York (USA), Pratt Luzern, Bachelor of Art (B. A.) /
designers, and so on. When I was at to drive me across the scary intersection Institute, Master of Arts (M. A.) ARE YOU Maastricht (NL), Jan van Eyck Academie,
college I was a fan of Fluxus. I liked the to an afternoon drawing class EMPLOYED OR SELF-EMPLOYED?: Post-graduate studies ARE YOU
fact that there was a concept in the DESIGNERS THAT INFLUENCED YOU Self-employed ARCHITECTS/BUILDINGS EMPLOYED OR SELF-EMPLOYED?: Self-
design and it was always quite funny. THEN: Hans Arp, H.C. Berann, Donald THAT INFLUENCED YOU THEN/NOW: employed and employed (Professor,
They demystified art and I liked the fact Wills Douglas, W. A. Dwiggins, Karl Guenther Domenig / Herzog & de Staatliche Hochschule für Gestaltung
that it was a collective. I also thought Gerstner, April Greiman, Kurt Hauert, Meuron MUSICIANS/ALBUMS THAT Karlsruhe (D)) HOW DO YOU DEVELOP/
that Tomato were really cool. They felt John Heartfield, Ernst Heinkel, Josef INFLUENCED YOU THEN/NOW: King RESEARCH AN IDEA NOW?: The
culturally relevant, as they had just Hoffmann, Armin Hofmann, Howard Crimson / Sigur Rós conception of a situation within which
done the title sequence for the film Hughes, Eduard Imhof, Edward design can happen is very close to the
Trainspotting. My knowledge of graphic Johnston, Otto Lilienthal, Hans-Rudolf SVEN VOELKER modes with which I also like to work
design up until then was quite traditional Lutz, Herbert Matter, Willy Messerschmitt, (SVEN VOELKER STUDIO) in more recent projects: scores,
and clean. Tomato looked like they got Reginald Joseph Mitchell, Stanley restrictions, processes, etc.
EDUCATION: Bremen (D), Hochschule
their hands dirty / These days my Morison, Bruno Munari, Paul Rand, für Künste, Diplom-Designer (Dipl.-
influences haven’t really changed – Paul Renner, Niklaus Stoecklin, Ladislav YASMIN KHAN
Designer) / London (UK), Middlesex
I think you form an opinion about art Sutnar, Jan Tschichold, Wolfgang (COUNTERSPACE)
University, Master of Arts (M.A.) ARE
and music and stuff very early on. Weingart, Piet Zwart, et al. AUTHORS/ YOU EMPLOYED OR SELF-EMPLOYED?: EDUCATION: Los Angleles, CA (USA),
Those are the things that help shape BOOKS THAT INFLUENCED YOU Self-employed and employed (Professor University of California, UCLA, Bachelor
your taste, which in turn forms your THEN/NOW: Hugo Ball, Simone de at Kunsthochschule Halle (D)) PREVIOUS of Arts (B. A.), Fine Art / Pasadena, CA
visual personality and design outlook Beauvoir, John Berger, Friedrich EMPLOYMENT: Imagination (London, (USA), Art Center College of Design,
on life. You then take what you like Duerrenmatt, Eugen Gomringer, James UK), Plex (Berlin (D)), Professor at Bachelor of Fine Arts (B. F. A.), Graphic
from the world that fits into those taste Joyce, Birgit Kempker, R.D. Laing, Louis Hochschule für Gestaltung Karlsruhe Design / Valencia, CA (USA), California
parameters. The parameters just get L’Amour, Edgar Allan Poe, Antoine de (D) ARCHITECTS/BUILDINGS THAT Institute of the Arts (CalArts), Master of
bigger ARTISTS/WORKS OF ART THAT Saint-Exupèry, Susan Sontag, Gertrude INFLUENCED YOU THEN/NOW: Tadao Fine Arts (M. F. A.), Graphic Design, ARE
INFLUENCED YOU: The South London Stein / John Langshaw Austin, Simon Ando, Rem Koolhaas / SANAA YOU EMPLOYED OR SELF-EMPLOYED?:
Gallery was next to college so I got to Baron-Cohen, Lewis Carroll, Emily Carr, MUSICIANS/ALBUMS THAT INFLUENCED Both employed (senior lecturer at Otis
see a lot of Young British Artists. I think Angela Carter, Michel Foucault, Martin YOU THEN/NOW: Metalheadz, Under- College of Art and Design) and self-
I was fascinated by how much some of Heidegger, Maurice Merleau-Ponty, world, Björk / Manu Katche, Maximo employed MUSICIANS/ALBUMS THAT
this work was being sold for. Before Dieter Mersch, Laurie Petrou, V.S. Park, Underworld DID YOU OWN ANY INFLUENCED YOU THEN/NOW: Dungen,
I went to college my sense of modern Ramachandran, Eva Schuermann, Mary SORT OF COLLECTION THEN/NOW?: MIA / Sixto Rodriguez, MIA ANY OTHER
art came from books like The Shock of Wollstonecraft, Ludwig Wittgenstein A matchbox car collection / I have a INFLUENCES THEN/NOW: Mentor, then:
the New – all very much out of reach. FILMS/DIRECTORS THAT INFLUENCE beautiful collection of posters by the Denise Gonzales Crisp DID YOU OWN
At Camberwell College, at that time, you YOU NOW: Das gefrorene Herz (Xavier New York artist Lawrence Weiner. Apart ANY SORT OF COLLECTION THEN/
could go to the pub and see artists that Koller), Hoehenfeuer (Fredi M. Murer), from that I own a strange but large NOW?: Books
were making waves in the art world Women without Men (Shirin Neshat), collection of pictures and objects from
propping up the bar. It became within Beresina oder Die letzten Tage der various and very different epochs for YVES FIDALGO
your reach, which for an art student Schweiz (Daniel Schmid), My Life which I haven’t found a curatorial (FULGURO)
was very inspiring Without Me (Isabel Coixet), My Winnipeg thread yet WHAT DO YOU DISLIKE
(Guy Maddin), films by Michael Haneke ABOUT WORKING AS A DESIGNER?: EDUCATION: Lausanne (CH), ECAL –
It’s very difficult to enter the hermetically Ecole cantonale d’art de Lausanne,
SANDRA HOFFMANN ROBBIANI
sealed area of art. I don’t mean to design Bachelor of Arts (B.A.), Industrial
(VISUAL STUDIES) SASCHA LOBE
the catalogues or posters for museums Design ARE YOU EMPLOYED OR SELF-
(L2M3)
EDUCATION: Vancouver (CAN), Capilano or galleries, that’s boring, but for a EMPLOYED?: Self-employed PREVIOUS
College, Diploma, Graphic Arts / EDUCATION: Hochschule Pforzheim designer who is the author of his own EMPLOYMENT: None ARCHITECTS/
Basel (CH), Schule für Gestaltung, (Germany), Diplom-Designer (Dipl.-Des.), work to publish, exhibit or sell art. Art BUILDINGS THAT INFLUENCED YOU
post-graduate, Graphic Design / Graphic Design ARE YOU EMPLOYED for me is as interesting as big corporate THEN/NOW: Herzog & de Meuron (Tate
Zurich (CH), Hochschule der Künste, OR SELF-EMPLOYED?: Self-employed companies for whom I worked. To com- Modern, Prada Shop Tokyo, Basel
Executive Masters, Cultural Studies in and employed (Professor at Hochschule bine these two areas of practice with- Station Building), Diller and Scofidio
Art, Design and Media / Zürich (CH), für Gestaltung Offenbach (D)) PREVIOUS out using a pseudonym isn’t easy at all (Cloud in Yverdon for Expo02 and other
Hochschule der Künste/Plymouth EMPLOYMENT: None GENERAL COMMENT works), Jean Nouvel (Congress Building
University (UK), PhD (Candidate), ON ALL THE ANSWERS GIVEN ON THE in Luzern, Monolith in Morat, Expo 2002)
TIM BALAAM
Z-Node Planetary Collegium, Institute SUBJECT OF INFLUENCES THEN/NOW MUSICIANS/ALBUMS THAT INFLUENCED
(HYPERKIT)
of Cultural Studies in the Arts (in WITHIN THIS BOOK: Everything I like YOU THEN/NOW: Johnny Cash, Emily
progress) ARE YOU EMPLOYED OR influences me. Everything I don’t like EDUCATION: Ipswich (UK), Suffolk Jane White, Sigur Rós, The Clash,
SELF-EMPLOYED?: Self-employed and doesn’t influence me. But it’s difficult to College, B-Tech, General Art and Damien Jurado, Jose Gonzales, Moriarty,
employed (Professor of Typography distinguish between things that motivate Design / London (UK), Camberwell Kraftwerk, Arcade Fire, God Machine,
at Hochschule Darmstadt (D) you and influence your thoughts, and College of Arts, Bachelor of Arts (B. A. Elliott Smith DID YOU OWN ANY SORT
ARCHITECTS/ BUILDINGS THAT things that are formal, stylistic influences. Hons), Graphic Design / London (UK), OF COLLECTION THEN/ NOW?: Comics
INFLUENCED YOU THEN/NOW: Tadao So in that respect I can’t really distinguish Royal College of Art, Master of Arts DESIGNERS THAT INFLUENCED YOU
Ando, Atelier 5, B.C. Binning, A. Erickson, between things that have fundamentally (M. A.), Graphic Design ARE YOU THEN: Ronan Bouroullec, Olivier Sidet,
Buckminster Fuller, Frank Gehry, Zaha changed my work and things that merely EMPLOYED OR SELF-EMPLOYED?: Florence Doléac (all our teachers
Hadid, Herzog & de Meuron, Karl Moser, reflect my interests. All of the names Director of own company CURRENT at college). Also Jean Prouvé. And
Luigi Snozzi, Livio Vacchini / Various that I give here were/are points of AND/OR PREVIOUS EMPLOYMENT: Castiglioni. And Charles and Ray
MUSICIANS/ALBUMS THAT INFLUENCED reference for me and ‘cut to the core’ of None ARCHITECTS/BUILDINGS THAT Eames. And all the Droog stuff.
YOU THEN/NOW: Barbara, my Baroque- my interests ARCHITECTS/ BUILDINGS INFLUENCED YOU THEN/NOW: Rem Marti Guixé. Richard Hutten,
oboe-playing roommate / Ousel THAT INFLUENCED YOU THEN/NOW: Koolhaas / MVRDV MUSICIANS/ALBUMS Fernando and Humberto Campana
231
QUESTION & ANSWER: COMPARISONS PART 2
Plan B
Age of first design career thought
Hours spent designing
Idea development and research
Influential designers
Influential design pieces
Influential authors and books
Influential artists
Influential directors and films
Likes about working as a designer (only now)
Then
QUESTION & ANSWER: COMPARISONS PART 2
Plan B (hypothetical)
Would one do a design career all over again
Hours spent designing
Idea development and research
Influential designers
Influential design pieces
Influential authors and books
Influential artists
Influential directors and films
Dislikes about working as a designer
Now
I was always really

No plan B, No plan B Study I remember
planning to do an into drawing and
Architecture
sorry maths intensive casino making things and
croupier course knew I wanted to
while I was trying to do something
think of plan B related to this
Didn’t know No plan B Racing-car Researcher Photo- No plan B

it then but a driver at the MIT graphy
design
historian
If I had been
Porn actor - There never was a
plan B but looking something like
Pilot, doctor, Amazingly
mathematician to me now,
back I might have colour-blind, I
enjoyed being a would have become a criminal
carpenter a dentist
lawyer
Artist, Architect, There was Acting My teachers thought

I would have a career
A writer – I also love
making books, so if
architect or scuba-diving no plan B in English literature I were not designing
or history – I loved them anymore then
hip-hop teacher writing, and I still write I could have authored
producer a lot in my work them
Astronomy My dream Architecture There was To be honest Being a designer

(distant was to be a no plan B I didn’t really was my second
have a plan B choice –
second) bush pilot I studied
marketing
There was no - Psychology There was no Plan B was Interior

plan B – I am second choice, to go into
still working or since I was 16 –
marketing – designer
before I could
my butt off for languages have imagined thank god this
plan A being a cook didn’t happen
There was no plan I had applied to

B – I always felt study journalism
Historian Artist, then Graphic My cousin got me a job
as a runner in a small
that there had to be too. I’m glad I got curator design is editing company –
if I had stuck with it
a balance between into the course in
design, art and art school, so much my plan B I would have been
an editor
society better this way!
First choice: I wanted to study

electrical engineering Had none - Professional I didn’t really have
one and my parents
fighter pilot and become an athlete also didn’t force
engineer – that would
me to come up
have been the
alternative to design with one
and architecture
Writing Engineer 1 NONE

2 ARCHITECT
3 PILOT, WRITER
What was your second choice

of career, your plan B?
Then
234
Start to be I realize I’m not going

to become a profes-
I couldn’t – even if
I were to do different
Probably start teaching
full-time with the risk Swimming Something
bored sional footballer… if I
didn’t have to earn any
things I would still
approach them as a
of becoming removed
from reality and tired
in the sea simple
money, I’d still do designer; my métier is of hearing my own
design, just without that of graphic design voice – if I was braver
the dull bits I’d take up farming
Write more Be unemployed –

on second thoughts
Play, walk, Become a Set up a Anything
books I would wish I could run, make, writer shop we can do
earn a living by
becoming a cook
musician
Playing Teaching Go on a Run a gallery Well, maybe I can

do something
Make films
with the design, very long and curate related to design:
talking about exhibitions book store, café,
children design
cycling trip pub, editor,
publisher, etc…
I would just read More Photography, I would What I am doing

Reading
all day. I don’t now: be a photo-
music and play music become a grapher – but a and writing
think I’ll stop photographer in a
designing… teaching father design context
Get Travel, sail, see Never There is Work in some kind of

research/documentary
Cook, start a record
label, museum,
friends all over
depressed the world and thought no plan B -making, or do some
kind of work towards
magazine, write a
TV series, become
work outside about it environmental issues
a director, etc.
Pursue a career in
my other passion:
Paint Open a café I would I would most
probably do
Curating
promoting classical or write a paint something like
music through book selling books –
every means although my…
conceivable (Full answer, p. 229)
I don’t know… I would try to Travel and Curate or run I would probably I lie awake
write more, go have to become an
changing bake bread a museum or artist or just a world at night
the world in to another open a bar traveller (can’t hurt pondering
country and try to dream!)
some way to grow a beard this question
Go hiking Can’t stop. Make - Sculptor I have the romantic

idea of working with
in the Alps If I did stop, documentary wood, being a cabinet-
maker or something
I’d probably movies similar – but I never
just be lazy really gave it a try
Write, teach Open a 1 OPEN BAR / CAFÉ / SHOP, TEACH,

TRAVEL, WRITE
and cook restaurant 2 MAKE ART, COOK

3 CURATE, READ
or bar
What would you do today if

you stopped designing?
Now
235
18 16 15 19 As a 19, but
teenager without a
clear idea of
what it was
14/15 Around 15 Young 18 19 14/17
- 17 Probably around 5
or 6 when I started
15 20 16
to draw, although
I didn’t know what a
designer was then
Around 12 I think I was 12 13 17 13 – I was designing

all my homework in
around 22, right ClarisWorks and Photo-
after I started shop on my Macintosh
studying Performa; suddenly I
was a graphic designer
architecture
9 Around 16 I must have 18–20. Having had

a very creative 17
been very young
22/23 because I can’t
upbringing, I’d known
I wanted to do
remember something artistic ever
since I was tiny, though
Consciously, 20 16 12 – I loved to draw, but

did not have the balls
Around 22 – 20
that would to choose the life of an after some
artist – it took 10 years
have been to love the profession internships
around 16 of being a designer
Around 20 Around 18 – I went to

evening classes at the 14 17, 24. I had studied
industrial design
I was 24 –
Art Academy Dresden;
apart from life drawing
perhaps before I ever thought I bumped…
of becoming a (Full answer, p. 230)
we had an introduction
to typography – an graphic designer
exciting moment
7 – it was 16 14 Around 18 18 15
then when
I locked…
YASMIN KHAN YVES FIDALGO AVERAGE/ YOUNGEST/OLDEST
25 18 A 16¾
Y 7
O 25
How old were you when you first thought

of becoming a designer?
Then
236
Yes Yeah, I Yes Yes – there is Probably Yes, but there

think so so much I still are times
don’t know when I have
doubts
Yes I guess so No Maybe Yes Yes
No Yes Yes Yes I would Yes, I am Yes

enjoying
what…
Maybe not Yes Maybe I would

have concentrated
Ah, that’s a Absolutely Yes! I love
on photography difficult without being a
instead – or a question… designer, …
musical instrument
I don’t know
question (Full answer, p. 228)
Absolutely No, I don’t No Yes, Yes, although I

remain somewhere
Yes
think so without a between being
(Full answer, p. 228) a designer and
doubt an artist
Yes – but I still Yes Yes Yes, Yes Certainly

wish I had
known then definitely
what I know
now!
Yes Yes, it’s a Not sure Probably I would probably Actually,

have become a
pretty good designer sooner I’m an art
choice director…
Why not? Absolutely Yes I would Yes I guess so,

although maybe
probably combined with
do it again another
profession
YASMIN KHAN YVES FIDALGO YES/NO/PERHAPS
Yes Yep Y 39
N 3
P 8
Would you still have become a designer

if you knew what you know now?
Now
237
4 14 24 When the Not 8

deadlines were
tight I worked enough
all night
12, really 10 0.3 6–16 4–5 9

maybe
more
12 10 About 10 12 Over 12 6–10
Waking 3 (but much 4 (the rest 10 4–12 I think about design

and our projects all the
hours more talking I was in the time, it’s an emormous
part of my life, which
about it) canteen, café I am sure is the case
or bar) for most designers…
Too many 5 6–12 I didn’t/don’t 7–10 10 – except

have a set
(around 11) schedule or weekends
time limit,…
4 (on About 5 8–10 14 (of Certainly 8

average) unfocused more than
sketching) today
A lot 7 7 4–6 Too many As long as

it takes
Ooofff! 24 16 Probably always Not sure, design Approx. 8

more than 8 only made up
hours, often a small part of
until deep into what I did at
the night college
YASMIN KHAN YVES FIDALGO AVERAGE/ MOST/ FEWEST
12+ Let’s say 9 – but

do I count in the
A 9½+
M 24
F 3
hours spent
drinking beer trying
to be inspired?
How many hours did you spend

designing each day?
Then
238
5 9 24 A lot fewer Not 10

than I would enough
like to
6, really 12 0.2 2 8–10 9

rather
fewer
7 12–14 About 12 8 It depends on 0 to 12

(if admin and projects –
paperwork approx. 6 to 8
count as
designing…)
4 (the rest I am
Waking 5 (plus another 5
of non-design and writing mails,
10 7 See
hours office stuff, like making calls, opposite
reading, talking, calculating prices
eating, writing, or sitting in a café) (then)
meeting, etc.)
Does teaching design 2–3 of design Designing: 0.3; …I only know that I 0–8, it varies – It depends on the
count and running a like to start at 09:30 definition – going to
design business? If so: of 8–10 of thinking, juggling being a
and keep going till a talk, exhibition or
7 before kids’ bedtime,
work concepts: 4; 19:00, 21:00, 24:00, mother and trip informs the
2 after (if only actually managing: rest working from
designing, about half 02:00… work or becomes
an hour) home the work, so 24/7
8 (designing Between 5 None – 2 (of focused Marginal – work has

become more admin 4
or having to and 10 talking design and meetings; some-
times I try to take
do with the execution)
process of it)
about it: 8 a day off to only do
design work
A lot but different –

now it’s more
3 4–12 8–12 Not enough As long as
thinking of solutions, it takes
strategies,
approach, etc.
Ooofff! 24 8 6.5 (but more 4 Less than 2

on the days I
teach)
YASMIN KHAN YVES FIDALGO AVERAGE/ MOST/ FEWEST
Varies, Around 9 – A 7-
M 24
anywhere less beer, F 0
from 0–12+ more design
How many hours do you spend

designing each day?
Now
239
With a piece Discussions Listening, talking, Thinking, reading,

By living Ideas usually came
during the process drawing, making, discussing, writing,
of paper and a with peers of making or reading, writing, sketching, again
pen or taking working with a going to places – it and again…
a shower certain medium depended on the
nature of the project
Collect I simply started Intuition Back to zero. Start At college I would look
at other people’s work
We spent a lot of time
in libraries collecting
with an idea and from zero with
information, every new project. much more, and try to images – we stuck
analyze, developed it Find the basic learn about their way of them in sketchbooks
from there thinking, how to get to and eventually we
problem and try…
synthesize (Cont. opposite – now)
the solution found ideas from them
I took a Library and I spent a lot of time in

the library while in
I used to research
into related fields to
From the Mostly through
words, bouncing
discussions environment
shower college – projects were
complex and research
have a good
around me and
ideas off fellow
with fellow was everything…
understanding students, feedback
between those… based on my from tutors, library
students (Full answer, p. 227)
(Full answer, p. 227) experience
Wholeheartedly, I consciously tried Writing, drawing I spent hours in the I tended to hoard Research is key to
as many avenues as library, researching a images and sooner a successful project
and excitedly in a sketchbook, topic – then I would
possible – I looked or later they formed or idea; I/we spend
at everything as researching start drawing sketches a coherent group a great deal of…
within books and outlines, focusing
if it were a brain in on a solution
exercise
Brainstorm, Books and Visual research, I always Pretty much the Usually, there are
magazines, thinking, start writing; same process ideas around and
then chase creatively then and they are constantly
up interesting public and discussing, I describe all the now – it varies of developed as
university searching images that course from … a reaction to a
leads libraries (teamwork) I will create (Cont. opposite – now) situation
There is no one e.g. Walked around Just observing,

way. You might supermarkets looking Intuitively Then and now is Books
at packaging, having playing around, pretty much the
want to approach
an idea from a been given a talking to same process. I
packaging brief for people like to rethink …
visual angle… spices
(Cont. opposite – now) (Cont. opposite – now)
Engage, listen, - I think life is one long Read books, I learned that you I used to go and
research project. All can never predict
research, the time you are being isolate myself have a look at
that something will
analyze, focus inspired by the world… as much as not work unless you what the others
(Cont. opposite – now) possible, write were doing
actually begin doing
Horizontally laid-out ‘TDS’:

piles of sketches
Talk to I did a lot of research
to get to know the
Independent and
project-specific
I guess back in school
we already had
and notes, Thinking, client subject and the research such as established similar
problem – at the time, attending a talk, working methods to
snapshots… doing…
(Cont. opposite – now) (Cont. opposite – now) extensively without real Internet
and without Google,
visiting a museum/
exhibition or reading
the ones we’re using
now – just in a very
this was real work in the library naive way
YASMIN KHAN YVES FIDALGO
Lots of visual research,

identifying specific Taking a
formal and/or
conceptual inspiration,
shower
lots of making,
assessing, reworking
How did you develop/research

an idea?
Then
240
With a piece Discussion with Listening, talking, Thinking, reading,

colleagues and also
By living Now the idea is
mostly a cognitive drawing, making, discussing, writing,
of paper and a
the web – not for reaction to research, reading, writing, sketching, again
pen or taking ideas, but things be it open research going to places – and again…
a shower that make the ideas on the net or it depends on the
manifest bibliographic nature of the project
Collect We team-discuss first I tend to find out as It is a bit more

ideas, develop them, Intuition …to get to the
bottom of it. Focus much as I can difficult to do it like
information, talk again and on the essential about the client and then – deadlines
reconsider the various
analyze, sketches – then we
and simple things. let the inspiration are very tight and
Challenge the come from their we lack time
synthesize decide upon a strategy
established stories
to follow
I take a Internet, library, I still do research

but more
Basically, clients
and co-workers
From the Lots of ugly sketches +
words, travelling,
experience, environment
bath conversations in
sporadically and develop an idea
around me and
walking around,
bouncing ideas off
there is no together. I still
family and based on my collaborators and
systematic… study related… colleagues, Internet +
among staff (Full answer, p. 227) (Full answer, p. 227) experience library + life
Wholeheartedly, It’s all very Talking to the client No time for all this (see Same as then plus …time doing it –
about the product opposite) – now when for client work I rely whether it’s a trip
and excitedly ‘organic’ in our I get a job deadlines are
and its context. on them showing to the British
studio, there’s Writing, drawing in a very tight, so I need to
me as much as Library or a visit
no one set start on the final piece
sketchbook,… without being able to possible of their to Barbara…
process (Full answer, p. 227) research/develop much material (Full answer, p. 228)
Brainstorm with Web, books, Visual research, I always start …project to project Same as then
employees, then thinking, writing; I but basically I strip plus we also go
have them chase magazines, a brief down to the
up interesting interviews discussing, describe all the basics, look up to a residency
leads – repeat searching images that literal meanings … once per year
(teamwork) I will create (Full answer, pp. 228–229)
…or very much I start with the idea, Same as then

from a textual one then follow through
Intuitively …the process, Brainstorm,
with more time for example by looking
(to deliberately with research, if
avoid starting… applicable. Usually pressure and starting with around,
(Full answer, p. 229) within my own… less playful something …
(Full answer, p. 229) (Full answer, p. 229) books
Engage, listen, analyze, I’ve recently tried to …around – you jot Read books, …it, and it’s in
focus, use different do more speculative it down on a piece the moment of
I still do
isolate myself
strategies, make use
of experience, use of
work and read of paper or file it in
as much as
creation that you (see then)
more – less result- your mind and then then discover
different strengths by possible, write
collaborating
driven things… let it grow new understanding,
(Full answer, p. 230) new meaning
…Post-its, …seeing, Talk to These days I do a Research and The conception of a

lot of research development is an situation within which
but nothing thinking,
recurring or client independently from
projects. I know which
ongoing process design can happen
is very close to the
doing, and everything we
systematically
seeing…
extensively subjects interest me
and I develop projects have seen, read…
modes with which
I also like to work in…
organized based on that (Full answer, p. 231) (Full answer, p. 231)
Tapping into ongoing See then,

visual research and
long-standing interests; hasn’t
lots of making, assess-
ing and reworking; changed
also collaboration, much…
discussion with peers
How do you develop/research

an idea?
Now
241
The straight lines of Peter Saville, Neville

Dieter Rams, the clear Brody, Saul Bass, - Ed Fella, Vaughan
Oliver, Neville
Amongst others: My teachers (mainly
Heinz Habermann,
thoughts of Wolfgang Margaret Calvert (pp. Bruce Mau,
Brody, David Horst Brüning and
Weingart, the 150–153), Derek Carson, Sebastião Ken Garland Marc Bertier)
conceptual thoughts Birdsall, Herb Lubalin (pp. 114–117)
of Bauhaus, the… Rodrigues
John Gorham, Wolfgang

Push Pin Studios,
Adrian Otl Aicher, Herbert
W. Kapitzki, Richard
I really couldn’t list
designers who have Alan
Weingart, Mary
US advertising,
Vieira, Georg Newey Saul Wurman, influenced me. Except
Mike Mills, whom I
Fletcher
Dada, Edward Tufte,
Staehelin have much respect…
H. N. Werkman Marcello Zuffo, etc. (Cont. opposite – now)
Uwe Willy Fleckhaus, Emil

Ruder, Wim Crouwel,
I was more
influenced by visual
Karel Martens, Anh Graphics, Doosup
Kim, Helmut Schmid,
April Greiman,
David Reinfurt, Neville Brody
Loesch Wolfgang Weingart,
Alexey Brodovitch, Hans
poets such as Franz
James Goggin
Hong Design, Image
and Imagination,
Mon and Eugen
Nienheysen, Josef (pp. 98–101), Kohei Sugiura,
Müller-Brockmann
Gomringer Matsuda Yukimasa,…
Paul Elliman (Full answer, p. 227)
Charles and Ray Otl Aicher, Max Bill, Josef Müller-

Eames, Graphic Wim Crouwel, Tibor Brockmann, Max
Vaughan Hans Josef
Thought Facility Kalman, Stefan Bill, Mike Mills, Oliver Schleger Müller-
(pp. 30–33), Sagmeister (pp. Julian House
Ettore Sottsass… 202–205) Brockmann
(Full answer p. 227)
Tibor Kalman, Sophie Neville Brody, Lars Müller, Tibor Kalman – I admire No particular influences. M/M Paris,
Thomas, Holger Jacobs him for his sense of I’ve always been
(pp. 82–85), Graphic David Carson, Ruedi Baur, humour and unconven- inspired by a general Bless, Daft
Thought Facility (pp.
Vaughan Wolfgang tional observations – mixture of styles and Punk, Maison
30–33), Alan Kitching, his approach to design approaches. Names Martin Margiela
Saul Bass, Josef Müller- Oliver Weingart still lives on that come to…
Brockmann (Full answer, p. 229)
Amongst Hans Schleger and

Jock Kinneir – two Otl Aicher, Friedrich We had our ‘heroes’ Neville Brody,
(all the Swiss and
many: Piet designers who gave
Wolfgang Forssman Dutch), but I can’t Paul Rand,
me an insight into
Zwart, Neville name anyone in Alan Fletcher,
Brody
graphic design, while
I was on the Illustration
Weingart particular
Milton Glaser
course at Chelsea
Piet Zwart, Willem Otl Aicher, Jan Tschichold, Robin Kinross Tibor Kalman, Wolfgang I think the biggest
Sandberg, Neville Wolfgang Weingart, Charles Collett, (Design/Writing/ Weingart, Piet Zwart, influences were the
Brody, Malcolm Garrett, Peter Saville, Hard Robert and George Research), Stefan Sagmeister (pp. people I used to
Tibor Kalman, Tomato, 202–205), Wim Crouwel,
Werken, Mevis and Stephenson… Tibor Kalman, hang out with/
8vo, Gert Dumbar, Karel Martens…
Wim Crouwel, Pierre van Deursen (Full answer, p. 230) Jan Tschichold (Full answer, p. 230)
share a flat with…
Bernard (Full answer, pp. 230–231)
Hans Arp, H.C. Bauhaus, Ott+Stein,

Berann, Donald Vaughan Oliver, Storm Tibor Nobody in Cornel
Wills Douglas, Neville Brody, Max Bill,
Bruno Munari, Charles
Thorgerson Kalman particular Windlin
W.A. Dwiggins,
and Ray Eames,
Karl Gerstner… Rei Kawakubo
Metahaven, Ronan Bouroullec, 1 NEVILLE BRODY, WOLFGANG WEINGART

Superstudio, Olivier Sidet, Florence 2 TIBOR KALMAN
Doléac (all our tutors at 3 JOSEF MÜLLER-BROCKMANN, MAX BILL
Genevieve
college). Also Jean
Gauckler, Antoine +
Prouvé. And Achille
Manuel, Droog Castiglioni. And…
Which designers
influenced you?
Then
242
…‘insistence’ of Sandra Karl Gerstner,

Hoffmann (pp. 194– - - Bruno My project partners
(Peter Eckart, Michel
Victor Palla,
197) and the playful-
ness of Achille Paulo Cantos, Munari de Boer, Ahn Sang
Soo, Roland Lambrette,
Castiglioni. Today Lust, Vincent Vincent van Baar, Zou
this is all in my head Zhengfang, Elodie
like in a big stew Perrottet Boyer and many others)
Everybody, Jan Tschichold, Enzo Mari John …for. Then and now.
I’m more influenced by Alan
Richard Paul
Dada, H. N. Lohse, Ruedi Maeda people making things
in general than just
Fletcher
Werkman Baur certain designers
David Jan Tschichold,

Dieter Rams, Anthony
I try to avoid specific
influences but respect Rei Antoni Muntadas, Daniel
Harding and Tomas Swiss
Lynch Froshaug, Otl Aicher,
Helmut Schmid, Derek
Alan Fletcher, Karel
Martens, Tibor Kalman,
Kawakubo, Celizna, Daniel Eatock
(pp. 58–61), Lehni-Trüb
Modernists
Birdsall, Irma Boom,
North, Harry Beck…
Lance Wyman, Graphic
Kenya Hara (pp. 214–217)…
(Full answer, p. 227) 30–33) a lot
See then, plus David Oreilly, Max Bill, Josef Müller-

Bruno Munari, Sori Elliott Earls, Norm, Brockmann, Mike Mills, Mike Meiré Piero della Derek
Yanagi, Enzo Mari, Experimental Julian House and
Dutch designers:
Francesca Birdsall
W. A. Dwiggins and Jetset
Metahaven,
countless others Experimental Jetset
See then + Rosa Loves,

We Are What We Do,
Droog, Sennep, Hyperkit
- A lot Recent extremely
talented graduates
from The Hague and
See then + names that
come to mind now:
Eley Kishimoto, Lena
The people who
influence us today are
people we work with:
(pp. 210–213), Non- Rotterdam Academy – Corwin, Marimekko, Alex Rich, Yuri Suzuki,
Format, Cassie Klingler, I am hoping they will Bauhaus, Anni Albers, Martino Gamper,
Brighten the Corners be the next ones to Charles and Ray Eames Fabien Cappello
(p. 256) influence all of us
Amongst Adrian Frutiger for

his passion and Maison Kurt There are designers
whom I respect
Alan Fletcher, Paul Rand,
Fons Hickmann (pp. 74–
many: commitment, and
Martin Schwitters for their approach e.g. 77), KesselsKramer
Thomas Heatherwick Urs Lehni (pp. 214–217) (pp. 190–193), Graphic
Lex Reitsma,
Piet Gerards
for his originality and
sense of fun
Margiela for rethinking…
30–33)
Wim Crouwel, Memphis style, Probably the Anthony Froshaug, Ludovic Balland, Daniel These days my
Jurgen Bey, De Barney Bubbles, Norman Potter, Eatock (pp. 58–61), influences haven’t
Designpolitie, Pierre Rei Kawakubo, same as then, Klaus Wittkugel, James Goggin (pp. really changed –
98–101), Armand Mevis,
di Sciullo, Catherine Bart de Baets, but even Will Burtin
Maureen Mooren…
I think you form
Zask, Paul Cox, Stewart Bailey an opinion…
Metahaven, etc. more (Full answer, p. 230)
(Full answer, pp. 230–231)
Wolf Hirth and ‘Inspired’ rather than

Martin Schempp, ‘influenced’: 2⫻4, Spin, Tibor Allen Ruppersberg, Otl
Aicher, John Warwicker, Charles Bruno
Bertrand Piccard Fanette Mellier,
Pam&Jenny, Phillipe
Kalman Bruno Munari, Anton
Stankowski, Helmut
and Ray Munari
Apeloig, Droog, Ronan
and Erwan Bouroullec
Smits, Daniel Eatock
and so many more…
Eames
Paperrad, Beige, As you go along, your 1 BRUNO MUNARI, DANIEL VAN DER VELDEN (METAHAVEN)
2 ALAN FLETCHER, CHARLES AND RAY EAMES, DANIEL EATOCK, EXPERIMENTAL
influences are not so
Metahaven, definite – there are so JETSET, GRAPHIC THOUGHT FACILITY, JAN TSCHICHOLD, PAUL RAND
Hella Jongerius, many that I really find it 3 ANTHONY FROSHAUG, ENZO MARI, KAREL MARTENS, MAX BILL,
wrong to name one RICHARD PAUL LOHSE, TIBOR KALMAN, URS LEHNI (LEHNI-TRÜB)
Keiichi Tanaami over another
Which designers
influence you?
Now
243
Everyday Gastrotypograph-
icalassemblage
- Mo’ Wax CD The record Every day I saw design
that had an effect on
packaging, cover to TNT
products by Lou Dorfsman
Vladimir
my projects. Then,
more objects were
and Herb Lubalin by Tortoise classified as ‘design’
(1966) Mayakovsky (For
the Voice, 1923)
‘Found’ lettering, xtre-em poster Post-it note Victor The book The Valentine
graphics and by Georg Graphic typewriter for
type specimens Staehelin (1997) Vasarely Olivetti by Ettore
Agitation (Liz
drawings McQuiston)
Sottsass (1969)
Dildos Twen (magazine) and

book covers (Surkamp
The poem ‘silence’
or ‘silencio’ (Eugen
A British poster, - -
Verlag) by Willy Fleck- Keep Calm and
Gomringer) and
haus and books Typo-
kitschy Japanese Carry On,
graphy (Emil Ruder), various Dutch
ypography Today’ magazines
(Helmut Schmid) design
Olivetti Valentine Whatever the Film by Hans 4AD record - Common Worship
typewriter, designers that for the Church of
Richter: covers England designed
Ettore Sottsass are mentioned Rhythm 23 by Derek Birdsall
on the spread
before did
Anything by Tibor The early Transfer I was in love I can’t

Kalman (esp. office the PIL
campaigns for (book by Lars with Florent by remember any
map for studio tours),
anything by Charles Benetton by Tibor Kalman pieces that record,
Müller
and Ray Eames (esp.
House of Cards and
Oliviero Toscani
Publishers)
for a long time inspired me in Album
Power of Ten) particular
Within the context

of my student work - Work for the Olympic
Games 1972 by Otl
TC 100 by - -
(p. 148): the typo- Aicher and Swiss Hans (Nick)
graphical posters
of Ton Homburg
poster design from the Roericht
1960s/1970s by Armin
(Opera) for the…
Hofmann
- The posters - Too many I remember I’ve always liked

designed by the moment I functional design
Wolfgang to name decided to go e. g. audience
Weingart back and… survey maps
Avro (Aero, Anson,

Lancaster), Schiff
Nefertiti King Crimson Apple Lego -
album cover for
nach Europa, bust In the Court of PowerBook
Solar Impulse
(Thutmose) the Crimson
King
Sealand The design

identity spirit of
Droog
Which pieces of design

influenced you?
Then
244
Everyday None - XTC’s GO TO - Every day I see

design that has an
album cover,
products Whole Earth
effect on my
projects. Now, more
Catalogue the things of daily…
‘Found’ lettering, La cinémathèque

Post-it note Generative I tend to look Five Tyres
graphics and française: Projected Remoulded
guidance system in and Design at notebooks
type specimens the museum of and stationery by Richard
plus everything cinematography in Pritt Stick in general
Hamilton (1972)
I can’t do Bercy, Paris (F)
UFOs Tractatus Logico-

Philosophicus (Ludwig
’68 Olympics Fashion design, - -
Wittgenstein), Bible, identity architecture,
Die Neue Typography
(Lance novels are more
(Jan Tschichold), inspiring than
Typography (Otl Aicher) Wymans) graphic design
Formosa per- Whatever the Best wishes 032c and - Monty Python
petual calendar, designers that postcards from Catalogues
Enzo Mari for are mentioned Josef and Anni Brand Eins designed by
Danese on the spread Albers magazines Derek Birdsall
before did
The Reverse - Established & Although I still love

Tibor Kalman’s work,
The beautiful, The Kon-
Ark by Future Sons (product simple graphics
I am not only drawn to
one piece of work printed on Tiki raft
Farmers and and graphic by one person, it can Japanese
Lego design) be anything I see
vegetable boxes
around me
Within the context of

my professional work - - Fröbelgaben - -
(p. 149): I love the (Friedrich
animation Phillippe
Apeloig made for the Fröbel)
Mois du graphisme
d’Echirolles
’68 Olympics identity Ringier Annual

(Lance Wymans) – Report designed by
- Too many - I like Boris
a mix between
psychedelic design
Fischli & Weiss and to name bikes
The Prisoner (film
of that time and old
Mexican designs series) by Patrick
(local/global mix) McGoohan
Hardoy Premier Seed iPhone Algues by -

Butterfly case (AG Magazine Ronan and
Chair, Gordon Erwan
Smith House
Franzoni) Bouroullec
OZ magazine, Maybe Jean

Salvador Dalí’s
Les Diners de Prouvé’s
Gala cookbook pieces
Which pieces of design

influence you?
Now
245
e.g. Jon Savage Isabelle Allende,

Connie Palmen,
Marshall McLuhan
(Understanding
Italo Calvino I never
(If on a Winter’s
Marshall (England’s J.D. Salinger, Media), Gillo Dorfles
(As Oscilações do Night a read very
Sigmund Freud,
McLuhan Dreaming) Paulo Coelho,
Gosto), William Gibson
(Neuromancer),
Traveller), Arthur much…
Don DeLillo Douglas Coupland C. Clarke (2001)
Harper Lee (To Kill

a Mockingbird),
Ulf Lucy R. Lippard
(Six Years: the
Marshall Sociology Christopher
Herbert Spencer Poschardt dematerialization McLuhan books Alexander
(Pioneers of Modern of the art object) (A Pattern
Typography) (DJ Culture) Language)
Mikhail Herman Hesse, Max

Frisch, Max Bense,
Junichiro Georges Perec, Seigo Matsuoka (The
Editorial Engineering of
Jeanette
Tanizaki (In Haruki Winterson,
Bulgakov Umberto Eco,
Murakami,
Knowledge), Matsuda
Yukimasa (Code, Zero, Baudelaire,
Walter Benjamin, Praise of Designscape), John
James Joyce, Norman Potter Balzac, Voltaire
Norman Potter Shadows) Berger, Philip B. Meggs
Georges Perec, Lucy Franz Kafka

Lippard, Marc Augé, (Kurzgeschichten),
- Graham Greene, Evelyn Waugh Georges
Salman Rushdie, (Decline and
Zygmunt Bauman,
Paul Auster, Haruki
Arthur Schnitzler
Max Frisch Perec
Murakami, David
(Der Weg ins Freie, Fall)
Mitchell, J.D. Salinger
Traumnovelle)
J.D. Salinger (Raise Neville Brody (The Lars Müller, Marshall McLuhan John Pawson
High the Roof Beam, Graphic Language), (Understanding Media), (Minimum), Edward
Irvine
Carpenters and Nine Emigre, Face, Ruedi Baur, John Berger (Ways of Tufte, Haruki Welsh
Stories), Paul Auster, Seeing), Harold Evans
Tempo, Wiener Wolfgang Murakami, Paul
Chuck Palahniuk (Fight
Club), Donna Tartt (all magazines)
Weingart
(Pictures on a Page)
Auster (Filth)
(The Secret History)
Oscar Wilde - Jean Baudrillard, Douglas Adams Probably all the coffee-
table books from Die
George Orwell
Marshall McLuhan, (Hitchhiker’s (1984), George
(The Picture Charles and Ray Gestalten Verlag
of Dorian Eames (The Powers Guide to the (Berlin) but also some Seferis, Oscar
Galaxy) of the older Swiss Wilde
of Ten)
Gray) design books for the
visuals
Claes Oldenburg Jean Baudrillard, Jan Tschichold Robin Kinross, Italo Robert Venturi I haven’t /
(Notes in Hand), Jan José Antonio (Typographische Calvino, Georges (Learning from
Brand (Words and Gestaltung), Karl Perec, John Berger, don’t read
the images), Ovid Muñoz & Carlos Gerstner (Designing Martin Heidegger Las Vegas) much…
(Metamorphoses) Sampayo, Paul Programmes) (Cont. opposite – now)
Scherbarth
Hugo Ball, Robert M. Pirsig,

Tom Wolfe Salman Rushdie Le Corbusier Friedrich
Simone de Roland Barthes, (Haroun and the (Towards
Beauvoir, John
Paul Virilio,
Sea of Stories) Glauser
Wolfgang Welsch, a New
Berger… Marcel Proust
(Full answer, p. 231) Architecture)
Miranda Don’t 1 MARSHALL MCLUHAN

2 GEORGES PEREC, JOHN BERGER
July, MFK remember 3 HARUKI MURAKAMI, PAUL AUSTER, J. D. SALINGER
Fisher
Which authors/books
influenced you?
Then
246
e.g. Wolf None Rüdiger Safranski,

Alain Badiou, Peter
Friedrich Kittler
(Gramophone, Film,
Italo Calvino I never
(Mr Palomar),
Lotter Sloterdijk, Octavio Paz,
Mahmoud Darwish,
Typewriter), Neal
Stephenson (Snow Salman Rushdie read very
Bas Heijne, Anna
Tilroe, Roland Barthes,
Crash), Hakim Bey
(Temporary
(Midnight’s much…
Paul Virilio Autonomous Zones) Children)
Harper Lee (To Kill John Irving

a Mockingbird),
All books John Sociology Fernando
Herbert Spencer (Hotel New Maeda books Pessoa (The
(Pioneers of Modern Hampshire) Book of
Typography)
Disquiet)
Graham Harding
Matthias Marshall McLuhan,
Vilém Flusser, and Paul Walton
Georges Perec, George Kubler (The
Shape of Time), Jan van
Muriel Barbery,
Haruki Michael
Feldbacken William of Ockham, (The Bluffer’s Guide
Murakami,
Toorn (Design beyond
Design), C. Danto (After Cunningham,
Ludwig Wittgenstein to Marketing) –
Norman Potter the End of Art), Suksan Daniel Pennac
for very practical Tak (Korean National-
reasons ism, Korean Identity)
Brian Holmes,
Owen Hatherley,
David - David Foster
Wallace, John le
Cormac Eric Gill
Hari Kunzru, Tom Foster Carré, Leo Tolstoy, McCarthy (Essay on
(The Road) Typography)
McCarthy, Boris McSweeney’s
Groys, Hito Steyerl, Wallace (Journal)
Vladimir Nabokov
Richard Scarry All the hundreds of Illustrated

(What Do People Do magazines and
A lot Recently I read
Andy Warhol (From children’s books
Romain Gary
All Day?), Truman books we receive A to B and Back (1940s–80s) and (The Roots of
Capote (In Cold monthly because of Again). I am not photography books Heaven)
Blood) our blog and sure if it influenced such as those of
magazine, Slanted me but I enjoyed it Rinko Kawauchi
Herman Herbert Spencer Karl Gerstner, Karl Gerstner Certainly Tomas

Maldonado (Umwelt
Steven
(Pioneers of Horst (Programme
Hesse Modern Bredekamp,
und Revolte) and Heller
Gestalten) some other more
(Siddharta) Typography) Gottfried Böhm theoretical books …
At the moment David Simon, Jan Tschichold Vikram Chandra, Paul Rand …but I have a
I read Elias Canetti F. Scott (Typographische Orhan Pamuk, (Conversations with great bookshelf,
(Crowds and Gestaltung), Robin W.G. Sebald, Bruno Students), Michael
Power) and I love Fitzgerald, Kinross (Modern Latour, Boris Groys, Beirut (Seventy- which is full of
to read novels Stephen Bayley Typography) Michael Pollan nine Short Essays books I bought
on Design) by the metre
John Langshaw Dick Francis,

Christian Kracht,
Jonathan Derek Kenya Hara Italo
Austin, Simon
Baron-Cohen,
Ian McEwan, Franzen Jarman (Designing Calvino
Haruki Murakami,
Lewis Carroll… Jason Starr (Chroma) Design)
Jennifer Jorn Riel 1 BORIS GROYS, DAVID FOSTER WALLACE,

HERBERT SPENCER, HARUKI MURAKAMI,
Egan ITALO CALVINO, KARL GERSTNER

2 ALL OTHERS MENTIONED ONCE
Which authors/books
influence you?
Now
247
Lienhard von Photographers Gilbert and George, Gary Hill (Tall Ships), Bernd and Hilla Many – as a
Fluxus, Daan van John Baldessari (The Becher, Raymond
Monkiewitsch, Paul Reas, Golden, H.N. Werkman, Back of all the Trucks), part of daily
Pettibon, Michael
Kasimir Paul Graham, Barbara Kruger, Fischli Chuck Close (Portraits),
Landy (Breakdown) awareness –
Malewitsch,… Martin Parr and Weiss, Willem Gerhard Richter but no specific
Sandberg, Tracey (Abstract Paintings),
(Cont. opposite – now) Emin, Pippilotti Rist Tony Oursler (Eyes) influences
Pop artists, Nam June Ed Ruscha Herbert W. Street art Richard

Peter Blake, Paik Kapitzki Hamilton
Ron Kitaj
- Max Bill, Paul Lohse,

Karl Gerstner, Josef
Bruce Sol LeWitt,
Richard Serra,
- Picasso,
Albers, Hannah Nauman Bruno Munari, Degas, Rodin,
Höch, Piet Mondrian, Max Neuhaus, Annie
Kurt Schwitters, Ryoji Ikeda,
John Heartfield Casten Nicolai Leibovitz
Francis Alÿs, David Marcel Broodthaers Douglas

On Kawara, (Atlas), Sol LeWitt
William Marcel
Hockney Brothers,
Gabriel Orozco, (Variations of
Paolo Roversi, Turner Duchamp
Alighiero e Boetti, an Incomplete
Olafur Eliasson Open Cube), Andreas Gursky
John Baldessari
David Shrigley, Damien Hirst, Nick

Roman The James Turrell, Mark Yves Klein, Piero
Night, Jean-Michel Dion, Ben Nicholson, Manzoni, Joseph
Justin Knowles,
Fluxus artists,
Basquiat, Jean Signer Chapman Andy Goldsworthy,
Ellsworth Kelly, Piero
Kosuth, Gordon Matta-
Clark, Jeff Koons,
Tinguely, Robert
Andy Warhol Rauschenberg, brothers Manzoni, Cornelia
Parker, ‘Thinking Aloud’
Marcel Duchamp but
mostly Édouard Manet
Marcel Duchamp (Richard Wentworth)
Jan Dibbets Fred Brill, Anish Pablo Concrete Art, Karl

Gerstner, Richard
Andy Warhol,
Leonard Paul Klee,
Rosamund and Kapoor, Picasso Paul Lohse, Charlotte
Posenenske, Mark
David
Brian Robb Tacita Dean Lombardi, George
Maciunas Hockney
Claes Oldenburg Fischli and

(giant objects and
Too many Chauncey Hare, There are so
many…: Donald
The South London
Gallery was next to
Weiss, Lyonel Eugene Atget,
soft sculptures like to mention Gregory
Judd, Dan Flavin, college so I got to
hamburgers, etc.… Feininger, Sol LeWitt, Marina see a lot of ‘young
(Full answer, p. 230) Crewdson, Abramovitz… British artists’…
Mike Kelley Eleanor Antin (Cont. opposite – now) (Full answer, p. 231)
Monika Dillier, Blinky Palermo,

General Idea, Lawrence Weiner, Vienna Peter Dan Martin
Monique Jacot, Bernd and Hilla
Actionists Greenaway Graham Kippenberger
Frans Masereel Becher, Jenny Holzer,
Donald Judd, Felix
plus in part see Gonzalez-Torres
answer p. 242
Matt Barney, Things between then

and now have got
1 FLUXUS (GEORGE MACIUNAS) , MARCEL DUCHAMP, SOL LEWITT
2 ANDREAS GURSKY, ANDY WARHOL, ANISH KAPOOR, BERND & HILLA BECHER,
Kara Walker mixed up; I can’t DAMIEN HIRST, DONALD JUDD, DAVID HOCKNEY, FISCHLI & WEISS,
really separate them: JOHN BALDESSARI, KURT SCHWITTERS, KARL GERSTNER, MARTIN PARR,
Damien Hirst, Wolfgang OLAFUR ELIASSON, PIERO MANZONI, PABLO PICASSO
Tillmans… 3 ALL THE OTHER ARTISTS LISTED
Which artists/works of art

influenced you?
Then
248
…Kurt - Lawrence Weiner, John Pavel Pepperstein, John

- Many – as a
Cage, Barbara Kruger, Stezaker (Collages),
Schwitters, Hans Haacke, Jenny Karl Gerstner (Color part of daily
Eadweard Holzer, Atlas Group, Sound), Janet Cardiff awareness –
Muybridge Khaled Hourani, Peter (Forty-Part Motet), but no specific
Friedle, Ai Weiwei, Allan Ruppersberg
Francis Alÿs (The Singing Posters) influences
Paul Nash Jean- Anders Sol LeWitt Elsa Marcel

Michel Jakobsen Salonen Duchamp
Basquiat
- Joseph Beuys,
Gerhard Richter,
Victor Alexander - Wolfgang Tillmans,
Rachel Whiteread,
Henry Moore, Vasarely McQueen, Louise Bourgeois,
Antony Gormley, Yoshitomo Roni Horn,
Barbara Hepworth, Jenny Holzer
Ben Nicholson Nara
See then, plus a

seemingly infinite
- Same as then plus the
work of Josef + Anni
Mark Borthwick, Piero de la Marcel
Albers. And Line James Turrell, Francesca, Duchamp –
list that could
include Nathan Describing a Cone by Ryan McGinley Anish Kapoor I find endless
Anthony McCall joy and discovery
Coley, Dora García…
(Full answer, p. 227) in his work
See then, plus Clare Andreas Donald Judd,

Patey (curator/artist), Olafur The Chapman Today the people
we work with
Gursky, brothers and Ellsworth Kelly,
Future Farmers, Tom
Heatherwick, Antony
Eliasson recently I am in Bernd and
influence us:
Gormley, Rachel Santiago Aurélien Froment…
awe of Miro’s Hilla Becher (Full answer, p. 229)
Whiteread, Banksy Sierra engravings
Anish Henri Matisse, Thomas Pablo Situationist movement

and how it has
I see many different
things and I get
Piet Mondrian Demand,
Kapoor and Andy Picasso developed since its
death, Haroun Farocki,
influenced by a
Olafur Raqs Media Collective
piece of art or a
Warhol detail in it
Eliasson
John Baldessari for John Baldessari, Too many to Amie Siegel, …Carl Andre, Ilya I like Stanley
his use of photos Helmut Smits, Christian Marclay, Kabakov, Wassily Spencer and
and signs, playing mention Joachim Koester, Kandinsky, Marcel
with context… Joseph Grigely, (even more…) Matthew Duchamp, Robert Francis Bacon
(Full answer, p. 230) Lucy McKenzie Buckingham Smithson and so on now – both dead
Della Robbia, Kirsten Joseph Beuys, Roni

Johannsen, Ferdinand Horn, Ed Ruscha,
Jenny Max Bill, Derek
Jarman, Lawrence
Donald Triin Tamm
Hodler, Alex Hanimann,
Shirin Neshat, Ursula
John Baldessari, Holzer Weiner, Wolfgang Judd
Marina Abramovic, Tillmans
Stalder, Eduard
Spelterini, Kara Walker, Dieter Roth
Rémy Zaugg
Olafur …Andreas Gursky,

Anish Kapoor,
1 JOHN BALDESSARI, OLAFUR ELIASSON
2 ANISH KAPOOR, JENNY HOLZER, MARCEL DUCHAMP, WOLFGANG TILLMANS
Eliasson, Olaf Breuning, Olafur 3 ANTONY GORMLEY, ANDREAS GURSKY, ANDY WARHOL, DONALD JUDD,
Eliasson, Thomas FRANCIS ALŸS, JOSEPH BEUYS, LAWRENCE WEINER, RACHEL WHITEREAD,
Sophie Calle Demand, William RONI HORN, SOL LEWITT, THOMAS DEMAND
Eggleston, Martin Parr,
Pierrick Sorin
Which artists/works of art

influence you?
Now
249
Coen Blade Runner

(Ridley Scott),
- The Falls, A Walk
Through H (Peter La Haine David
Brothers, 2001– A Space Greenaway), O Anjo
(Mathieu Lynch
Exterminador, The
David Lynch Odyssey (Stanley
Kubrick), Brazil
Discreet Charm of
the Bourgeoisie
Kassovitz)
(Terry Gilliam) (Luis Buñuel)
Some Like Björk’s music Stan Seven Twin Peaks Stan Brakhage,
video – All is Full Brakhage, Ernie Gehr,
it Hot (Billy of Love (Chris (David (David Peter Kubelka,
Andy Warhol
Wilder) Cunningham) Fincher) Lynch) Jonas Mekas
Jean-Luc Jacques Tati Stalker (Andrei - - NYPD Blue,

(films by and Tarkovsky) ER, Louis
Godard with), Mephisto Malle, Pedro
with Gustaf
Gründgens Almodóvar
Jim Jarmusch, The Matrix Jean-Luc Wim Wenders, Citizen Kane

Aki Kaurismäki,
Jacques
Wong Kar-Wai, (Wachowski Godard, John Brothers (Orson Tati
Patrick Keiller, Brothers), Cassavetes Quay, Peter Welles)
among others
South Park Greenaway
Blade Runner (Ridley Werner Herzog, Roman In the Mood for Many of the films Al
Scott), Koyaanisqatsi Rees (lecturer at Royal Twin Peaks
Wim Wenders, Signer, Fischli Love (Wong Kar-
(Godfrey Reggio),
Strictly Ballroom Francis Ford Wai), The Pillow
College of Art, London,
UK) used to show in
(David
and Weiss
(Baz Luhrmann),
Breakfast at Tiffany’s
Coppola Book (Peter his film seminars –
experimental clips,
Lynch)
(Blake Edwards) Greenaway) short films, etc.
Films by - Koyaanisqatsi Being John - Fantasia and Mary

Poppins (Walt Disney),
Tim Burton (Godfrey Malkovich Ingmar Bergman,
Luchino Visconti,
(still now) Reggio) (Spike Jonze) Pedro Almodóvar,
B&W Greek movies
The Dear Hunter Lars von Trier, - David Lynch, Luis Buñuel, Star Wars
(Michael Cimino), Eric Rohmer, Wong Kar-Wai Jacques Tati, (George Lucas),
Federico Fellini Werner Orson Welles old Laurel and
Hardy films
Herzog
The Adjuster (Atom

Egoyan), The Hockey
All of Stanley The African Peter Star Wars Twin Peaks
Sweater (Sheldon Kubrick’s Queen (John Greenaway (George (David
Cohen), Naked Lunch
films Huston)
(David Cronenberg),
Jacques Tati
Lucas) Lynch)
- David Lynch, Quentin

Tarantino, François
1 DAVID LYNCH (TWIN PEAKS)
2 JACQUES TATI
Truffaut, Marco Ferreri, 3 PETER GREENAWAY
Jacques Tati, Nick Park,
Paul Thomas Anderson
Which films/directors
influenced you?
Then
250
It’s rather the beauty or

energy of some scenes - - The Flicker
(Tony Conrad),
Curb Your -
(e.g. Paris, Texas; Encyclopedia Enthusiasm
Bullitt; Fargo; 2001)
than specific
Britannica (Larry David)
directors/films
(John Latham)
Some Like Lost in Shane Avatar Deadwood Joâo César

it Hot (Billy Translation Meadows (James (David Monteiro,
(Sofia Andrei
Wilder) Coppola)
Cameron) Milch) Tarkovski
Lars von 2001 (Stanley Kubrick),

Little Fockers (Paul
My Neighbour - - John Cassavetes,
Terence Malick,
Totoro
Trier Weitz), Taxi Driver
(Martin Scorsese), The (Japanese
Krzysztof Kieslowski,
The West Wing (Aaron
Mission (Roland Joffé), animation by Sorkin) and anything
The Deer Hunter else written by him
(Michael Cimino) Studio Ghibli)
Patrick Keiller, Valhalla Rising Gus Van Christoph No Country John Smith –
Adam Curtis, David (Nicolas very funny and
Simon, Michael Sant, Agnès Hochhäusler, for Old Men
Haneke, Lynne Winding Refn), Varda David Simon, (Coen brilliant
Ramsay, among Breaking Bad filmmaker
others (Vince Gilligan) Miranda July Brothers)
The Royal
Tenenbaums (Wes
Coen Spike Jonze, Zabriskie Documentary The Wire
Anderson), Matt Brothers David Lynch Point and short (David
Harding, The Wire (Michelangelo films
(David Simon),
Antonioni)
Simon)
Everynone
Films by Mike Leigh

because of their
- Match Point The Life Aquatic - Mike Leigh
honesty and films (Woody Allen) with Steve
by the Coen Zissou (Wes
Brothers because Anderson)
of their weirdness
Dogville John Smith, - Jean-Luc Michel I thought the

Helmuth Godard, Amie Gondry, Kite Runner
(Lars von (Marc Forster)
Costard, Siegel Godfrey
Trier) Patrick Keiller Reggio
was quite good
Das gefrorene Herz

(Xavier Koller),
All of Stanley Adaptation Alfred Playtime The Wire
Hoehenfeuer (Fredi Kubrick’s (Spike Hitchcock (Jacques (David
M. Murer), Women films
without Men… Jonze) Tati) Simon)
- Federico Fellini, Jean-

Pierre Jeunet, Wes
1 DAVID SIMON (THE WIRE)
2 COEN BROTHERS
Anderson, John Ford, 3 STANLEY KUBRICK
Alfred Hitchcock,
Sidney Lumet, Stanley
Kubrick, Coen Brothers
Which films/directors
influence you?
Now
251
Dealing with Challenging problems, Being able to Making things Making things, You have the
different themes nice clients and subject work. The jack-of- chance to follow
matter. A chance to act within the researching
and interacting with all-trades quality your interests and
different characters find out about other power fields that and I like inventing subjects, you can bring in
artists and designers. shift our social working for
on every project Hard job to complain tools (ideas) your personal ideas
about really structures myself
No two days/ With every new

The idea The variety of How I keep Independence
jobs are the project you have to interesting
same and
find new ways to
subjects and the learning
tackle the different
solving the problems that arise permanent
problem learning process
Almost Creating and

helping to
The variety – I am not
interested in a specific
Being Making typefaces,
dealing with type,
Every project is
creative and an opportunity
everything communicate, subject, so I enjoy
working on different
systemizing & editing
contents, working with to learn on so
helping to explain
challenges for clients visionary artists, photographers,
contents visually, to getting my head curators & editors
many different
serving society around them levels
How it The openness – to be

able to steadily invent
To communicate some-
thing visually and the
Being flexible, being
my own boss, working Everything The very
involves so your own area of work, craft side of it like creatively & visually, talented people
much that to create in seemingly going to the printers & meeting a lot of people I work with
unlimited situations & discussing ways of + the variety of work
isn’t design environments making things I get to do
It is what I would do Working with the people Freedom I can research so I truly love what The constant need
in my spare time in my studio; I am very many different to help destroy the
happy to have such (sometimes), I do and it
anyway, but I get to fields that are not service-related role
make a living at it great partners –
creative directly linked to comes from of the designer
Uli Weiß and Florian the core…
design
Gaertner… approach (Full answer, p. 228)
The fact that every job

puts you in a different The Work is life There is no clear
definition of what a
I like to produce
something useful
The diversity
situation, poses new
process and life is designer does, so where there was of the
questions and makes everyone can find their nothing existing projects
you think again work own approach…
before
The fact that I can Many possibilities and The freedom The combination of I love the ‘making’ Coming to work in an
go deep into a the flexibility – the links multiple tasks, part of being a inspiring place, working
specific subject for to many other fields and the bodies of designer – it is with other people,
and that you don’t need solving problems &
a relatively short
a big set-up in order to restrictions knowledge, both scary and
striving to make my
period of time… run a design studio
contexts, people exhilarating clients famous
The variability of Putting my own ideas That it is an One can deal with The process of The definition of what
projects, contents, into practice & still a lot of different you’re supposed to do
being able to integrate incredibly wide convincing the as a designer is very
challenges, things, be
outcomes, forms, overarching processes. field, with lots of independent and client to go with blurry, so you can
Being able to ‘play to’ come up with your own
colours all of the senses –
opportunity for get very, very rich our proposed definition
including the brain change solution
Practice can Up to now we have

never been bored
change as by any project –
interests that’s something
very valuable
change
What do you like about

working as a designer?
Now
252
The relationship Emailing, Too many Proofreading – Projects that Sometimes

between money organizing hours spent then again it don’t happen, personal
and time and planning behind the can be fun managing other involvement can
sometimes people’s be too great
computer expectations
Dealing That my own ego

still stands in the
The brief Permanently
starting from zero,
The time Resistance of
with money way when dealing the exhausting spent materials, and
with clients… mental brainwork more sadly –
(Full answer, p. 226) and sitting in front sitting still clients
of a computer
The name Deadlines,

misunderstanding
When clients (or their
marketing departments)
Being Obsession Having to deal with
people who either don’t
of the the work of a are trying to control sensitive and like their job or don’t
every small step of a respect others. Having
designer meticulous
profession project and ask for
constant PDF updates
to constantly explain
the value of design
The lack of Its preference of Sitting in front of the

computer all day, being
I hate long working
hours, financial Nothing -
experiences
trust over knowledge
only an operator to a
client, having to
insecurity, many of the
jobs I have to do plus
persuade clients and having to network and
having to find new jobs promote myself
Worrying that Email sucks, I am Poorly paying, - That I cannot easily

Nothing
my work could not made for long separate my work
meetings, I hate to idiotic clients from my day-to-day
be better if spoil so much life- life, which can be…
I could push time on a computer (Full answer, p. 228)
myself harder
Nothing is Meetings and Work is life There is no clear

definition of what a
Some of the Training
administration working habits
ever good and life is designer does, so
that I have clients
nearly everyone can
enough work work as a designer adopted
Projects were it is too The self-centredness, Too much The narrow I personally Nothing
difficult to come to the the idea that constant
essence because of networking might be time spent in focus of much dislike having really –
difficult hierarchical necessary, finding new
front of of the to ‘sell’ design meetings can
structures within clients plus sometimes: profession and
organization the hard work computers many clients drag on a bit
Objectification,
waste production,
The pay Badly It’s very difficult
to enter the
The process of That designers
convincing the often complain
consumption organized hermetically sealed
client to go with about being
endorsement area of art. I don’t
clients mean to design… our proposed designers
(Full answer, p. 231) solution
Being The commercial

part of it
underpaid
What do you dislike about

working as a designer?
Now
253
APPENDIX 2
ANDREAS GNASS CHRISTIAN HEUSSER HOLGER JACOBS JULIE GAYARD

U9 VISUELLE ALLIANZ EQUIPO MIND DESIGN JUTOJO
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www.fonshickmann.com Chicago IL 60611 Germany
design@webbandwebb.co.uk
Mariannenplatz 23 USA T +49 (0)721 824 8580
www.webbandwebb.co.uk
10997 Berlin T +1 312 397 4071
16H Perseverance Works LAURENT LACOUR
38 Kingsland Road T +49 (0)30 6951 8501 JAN WILKER
HAUSER LACOUR
KARLSSONWILKER
London E2 8DD HANS DIETER REICHERT info@hauserlacour.de
HDR VISUAL COMMUNICATION tellmewhy@karlssonwilker.com
United Kingdom www.hauserlacour.de
hans@baselinemagazine.com www.karlssonwilker.com
T +44 (0)207 739 7895 Westendstraße 84
www.baselinemagazine.com 536 6th avenue
60325 Frankfurt am Main
Bradbourne House New York City, NY 10011
Germany
East Malling USA
T +49 (0)69 8090 9990
Kent ME19 6DZ T +1 212 929 8064
United Kingdom
T +44 (0)173 287 5200
Adresses and contact

information
Now
254
APPENDIX 2
LIZA ENEBEIS MARTIN LORENZ PREM KRISHNAMURTHY TIM BALAAM

STUDIO DUMBAR/TYPERADIO TWOPOINTS.NET PROJECT PROJECTS HYPERKIT
info@studiodumbar.com info@twopoints.net project@projectprojects.com info@hyperkit.co.uk
www.studiodumbar.com www.twopoints.net www.projectprojects.com www.hyperkit.co.uk
dj@typeradio.org Via Laietana 37 161 Bowery, 2nd Floor 822 Parkhall
www.typeradio.org 4ª Planta / Despacho 32 New York, NY 10002 40 Marcell Road
Studio Dumbar 08003 Barcelona USA London SE21 8EN
Lloydstraat 21 Spain T +1 212 509 0636 United Kingdom
3024 EA Rotterdam T +34 (0)93 318 5372 RENATA GRAW T +44 (0)20 7407 8982
The Netherlands MATTHIAS GÖRLICH PLURAL URS LEHNI
T +31 (0)10 448 22 22 STUDIO MATTHIAS GÖRLICH hello@weareplural.com LEHNI-TRÜB / ROLLO PRESS /
Typeradio studio@mgoerlich.com www.weareplural.com CORNER COLLEGE
Groenewegje 137 www.mgoerlich.com 1310 N Clybourn Ave office@lehni-trueb.ch
2515 LR Den Haag Soderstraße 16a Second Floor www.lehni-trueb.ch
The Netherlands 64283 Darmstadt Chicago, IL 60610 www.rollo-press.com
T +31 (0)70 427 8115 Germany USA www.corner-college.com
LUCINDA NEWTON-DUNN T +49 (0)6151 785 9780 T +1 312 804 4020 Gasometerstraße 32
SPACE-TO-THINK MICHAEL GEORGIOU RICHARD WALKER
8005 Zürich
lucinda@space-to-think.com G DESIGN STUDIO KK OUTLET/KESSELSKRAMER Switzerland
www.space-to-think.com g@georgiougavrilakis.com info@kkoutlet.com T +41 44 272 95 42
MAKI SUZUKI
www.georgiougavrilakis.com www.kkoutlet.com YASMIN KHAN
Miaouli 6, Monastiraki 42 Hoxton Square COUNTERSPACE
ÅBÄKE
abakesemail@gmail.com 105 54, Athens London N1 6PB yasmin@counterspace.net
www.abake.fr Greece United Kingdom counterspace.net
Unit 73b, Regents Studios T +30 (0)210 322 3636 T +44 (0)20 7033 7680 99 N. Hill St.
8 Andrews Road NIKKI GONNISSEN SANDRA HOFFMANN ROBBIANI
Los Angeles, CA 90019
London E8 4QN THONIK VISUAL STUDIES USA
United Kingdom studio@thonik.nl s.e.hoffmann@bluewin.ch YVES FIDALGO
www.thonik.nl www.otherwords.ch FULGURO
MARC VAN DER HEIJDE
STUDIO DUMBAR Vijzelstraat 72, 4.52 Wasserwerkgasse 7 www.fulguro.ch
info@studiodumbar.com 1017 HL Amsterdam 3011 Berne info@fulguro.ch
www.studiodumbar.com The Netherlands Switzerland Rue du Maupas 28
Lloydstraat 21 T +31 (0)20 468 3525 T +41 (0)76 316 25 45 1004 Lausanne
3024 EA Rotterdam OLIVER KLIMPEL SASCHA LOBE
Switzerland
The Netherlands BÜRO INTERNATIONAL L2M3 T +41 (0)21 646 7558
T +31 (0)10 448 22 22 info@burointernational.co.uk info@L2M3.com
www.burointernational.co.uk www.L2M3.com
MARGARET CALVERT
34 Brougham Road Hoelderlinstrasse 57
http://en.wikipedia.org/wiki/
London E8 4PD 70193 Stuttgart
Margaret_Calvert
United Kingdom Germany
MARION FINK T +44 (0)20 7241 6323 T + 49 (0)711 99 33 91 60
marion.fink@fhnw.ch STEFAN SAGMEISTER
PAUL BARNES
www.fhnw.ch paul@moderntypography.com SAGMEISTER INC.
Fachhochschule info@commercialtype.com info@sagmeister.com
Nordwestschweiz, Hochschule www.moderntypography.com www.sagmeister.com
für Gestaltung und Kunst, www.commercialtype.com 206 West 23rd Street, 4th floor
Institut Visuelle 45 Benbow Road New York, NY 10011
Kommunikation London, W6 0AU USA
Vogelsangstraße 15 United Kingdom T +1 212 647 1789
4058 Basel T +44 (0)20 8563 1228 SVEN VOELKER
Switzerland SVEN VOELKER STUDIO
T +41 (0)61 695 6751 studio@svenvoelker.com
www.svenvoelker.com
Steinstraße 37
10119 Berlin
Germany
T +49 (0)30 23 45 57 86
255
FRANK PHILIPPIN BILLY KIOSOGLOU BRIGHTEN THE CORNERS HOCHSCHULE DARMSTADT
Frank was born in Stuttgart, Billy was born in Athens, During their studies Frank Frank has been teaching since
Germany, in 1967. He first Greece, in 1973. He first and Billy worked together on 1998, when he started as a
thought of becoming a graphic thought of becoming a several projects, including an visiting lecturer at North East
designer during a 20-month- designer while making covers installation in their own house Worcestershire College in
long civil service stint at a local for compilation tapes on his and three handmade, (very) Redditch, where he met Adrian
magazine, where he tried to bedroom floor. In 1992 Billy limited-edition books by Spaak (see also acknowledge-
mimic the style of Neville Brody moved to the UK for a Franz Kafka, Albert Camus ments, page 4). Further work as
and David Carson. In 1994, after Foundation Course at and Marguerite Duras. visiting lecturer followed, in
repeated rejections from the Kingston University, where In 1998 they proudly gave most cases for a period of up to
German education system, he discovered the books their copy of The New York two years, at Maidstone College,
Frank travelled to London and of Franz Masereel and lino- Trilogy to Paul Auster and Kingston University and the
took a Bachelor of Arts (Hons) cut printing. In 1993 he Fahrenheit 451 to Ray University of Brighton (all in
course in Graphic Design at enrolled on a Bachelor of Bradbury, who complimented the UK) and the Merz Akademie
Camberwell College of Arts, Arts (Hons) course in Graphic them on a ‘beautiful book, in Stuttgart (Germany). Since
London (UK). There, he Design at Bath College of which opens like a butterfly’. 2006 Frank has been a
discovered (German) modernism Higher Education (UK), where He also politely reminded them professor of Communication
and the work of Jan Tschichold. he started illustrating and that it is he who holds the Design at the Faculy of
He also discovered a less binding his own books. After copyright for his text… Design at the Hochschule
Germanic, quirkier approach a year in Bath, Billy moved to In 1999 Frank and Billy Darmstadt (Germany).
to design. Camberwell College of Arts brought their faith in their In his courses, Frank
During his studies he made in London (UK) in 1995. acquired design skills to their stresses the importance of
an installation about silence, During his course he current practice, Brighten the concept-driven design to his
carried out a photographic used a scalpel, an A3 type- Corners. Over the years, they students, but is also interested
experiment in Trafalgar Square writer and his flatmate have worked on several in getting them to develop
and involved his peers’ mothers Frank to teach himself the projects, large and small, genuine responses to subject
in his degree show. Each day, fundamentals of design. switching between the public matter rather than formulaic
Frank woke up at 09:30, walked Each day, Billy got up at sector, the corporate sector ones. His students are therefore
to college, spent about six hours 11:00, walked to college, spent and cultural environments. encouraged to follow their
a day designing and for dinner about two hours designing, Clients include Anish Kapoor, personal observations and
often cooked lasagne, which and usually cooked Pastitsio the British Council, Goethe- thoughts, ask questions, use
he ate with a tomato and with a tomato and feta Institut, Italian Cultural their sense of humour, and not
mozzarella salad. He weighed salad. He weighed 69 kilos Institute, German Post Office, dismiss more poetic or abstract
74 kilos and did no exercise. and did no exercise. His most Fraunhofer-Institut, Laurence paths to a graphic solution.
His most valued possessions valued possession was his King Publishing, Skira Editore, As he likes to say, ‘Design
were his (cheap) fold-down double cassette player. Frieze, and Bolles + Wilson isn’t just a discipline, it is
table and a collection of tapes, In 1997 Billy went to architects. For more something done for people by
which were sent to him regularly Greece to complete his information please visit people and, as such, is (or
by his friend Rainer. military service and, after www.brightenthecorners.com. should be) deeply humane.’
In 1997 Frank began a Master two years of staring at the Today, Frank is based in
of Arts course in Graphic Design walls of an underground the Odenwald region near
BRIGHTEN THE CORNERS
at the Royal College of Art in army bunker on a Greek Darmstadt with his wife Sybille
london@brightenthecorners.com
London, where he worked on a island, he returned to and two children Emil and Juno. darmstadt@brightenthecorners.com
film about the colour green and London for a Master of Arts He frequently visits London to www.brightenthecorners.com
an installation about the colour course in Communication meet Billy, and Stuttgart for
white. He also designed his Art and Design at the some Maultaschen and music HOCHSCHULE DARMSTADT
graduating year’s (manifesto) Royal College of Art (UK) in from Rainer’s second-hand FACULTY OF DESIGN
poster, was shortlisted for the 1999. There he produced record shop. If Frank ever frank.philippin@h-da.de
Millennium Stamp and won the a giant sheet of writing stopped designing, he’d take www.fbg.h-da.de
Colonel Varley Memorial Award. paper, designed his year- up gardening.
After graduating, Frank group’s catalogue and was Billy is based in London,
completed a one-year research selected to design a frequently visiting Germany for
project on ‘small print’ at the publication for the college’s work, and Greece for some
Helen Hamlyn Centre in London. own imprint, Salvo. At his sun and deep-fried calamari.
degree show he was awarded If Billy ever stopped designing,
the Oberon Book Award. he’d write stories.
Authors Then Authors Now
256

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I USED TO BE A DESIGN STUDENT

FRANZ KAFKA MANFRED KRÖPLIN STEVE MALKMUS

Roads grow Without attitude, No more

I used Frank Philippin and Laurence

Thank you all!

08:00 08:30– 09:00 10:00 Earlier than 09:00

08:00 07:30 07:00– 08:30– Around 08:00

12:00 07:00 09:00 10:00 It depended 07:00–

09:00 or 10:00– 09:00 09:00 Late 07:30

08:30ish 06:30 07:00 08:00 08:30 08:00

08:00 It varied 09:00– 09:00 Mostly 10:00

Around 07:00 07:00 09:00– 07:00 10:00

Early 09:00 06:00 09:00 07:00– Around

YASMIN KHAN YVES FIDALGO AVERAGE / EARLIEST/ LATEST

Stayed up 07:30 (train A 08:46

from night to catch) L 12:30

What time did you get up

07:00 09:30 07:00 06:00– Later than 07:00

07:45 08:15 07:00– 07:45 Around 07:00

10:00 07:30 09:00 08:00 It depends on 05:30

07:00 07:00– 09:00 09:00 Not so late 07:30

06:30ish 06:30 07:00 07:30 06:15 09:00

07:30 It varies 07:30 07:00 08:00 at 07:00

Around 08:00 05:00– 07:00– I don’t use an 06:30

Very early 06:00 06:00 07:30 07:00 Around

YASMIN KHAN YVES FIDALGO AVERAGE / EARLIEST/ LATEST

05:30 No rule, A 07:22

What time do you get up

Muscle- Bus Train The tram Driving Car

Train Mountain Walking Train Walking The tube

By foot Car (VW Bicycle Bicycle - Walking

Bicycle or Public Bus Underground - In Brighton, I lived a

Bus (in 1: Bicycle - Walking Public Bicycle

Bicycle (of Train Bicycle Car or bike Walking Car

Bicycle Bicycle Walking, Walking Walking, Walking

Bicycle Flying Train Bicycle Foot Bicycle

YASMIN KHAN YVES FIDALGO RANKING LIST

Car My red 1 CYCLE

Peugeot 3 TRAIN, CAR

What was your favoured

Transport with Bus Train Imperial Walking Car

Train Race bike Walking Car and Cycling Le métro

By foot Car (Volvo There are Car - Walking

Bicycle or Public Bicycle Bicycle - I walk to work every

Car (in 1: Bicycle 2: Walking

Car; I don’t drive much

Bicycle Walking Walking, Walking Walking, Taxi

Bicycle and Flying Train Porsche Car Bicycle

YASMIN KHAN YVES FIDALGO RANKING LIST

What is your favoured

I didn’t have a Rigatoni - Pasta Bacon Kellogg’s

Chinese Pasta Fruit Fast food Vegetarian Cadbury’s

Cake German German Korean Korean Good

Pasta Pasta Tafelspitz Marmite Probably Being French and

Pasta Pasta Hummus, and the

Canadian Italian Zürich veal Käsespätzle Bread -

Anything Pasta 1 PASTA

that wasn’t 3 ALL OTHER FOOD

What was your

Still don’t have a

Japanese Anything that Fruit Slow food Vegetarian Le pot-

Cake Italian (pasta, Anything Japanese,

Probably still Anything but - Schnitzel Gambas al …never cut, it was