A
Publication
A Publication
By Tim Wan
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00 / 01
A Publication
By Tim Wan
Full bleed black & white image
Brief information, what is this book? Design credits production specifications
Full bleed black & white image
Description of book, further information; who is it for, what is the content, what will you get out of it?
Contents
A Publication : 09–10
Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword
09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12
Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword Introduction Forword
09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12 09 - 10 11 - 12
Contents
A Publication : 09–10
04 - 05 Introduction
10 - 28 Production driven design
06 - 07 Forword by Wim Crouwel
01. Studio Emmi 02. Tsto 03. Newwork 04. Tommy Li Workshop
08 - 09 What is A Publication?
46 - 54 Process driven design 01. Biblioteque 02. Biblioteque 03. Biblioteque 04. Biblioteque 04. Biblioteque 55 - 82 Designing for the cultural industry 01. Design Project 02. Design Project 03. Design Project 04. Design Project Interview with Design Project
98 - 105 Bibliography 106 - 114 Further reading - a list of things that may or may not be of interest.
Further reading - a list of things that may or may not be of interest.
29 - 45 Format driven design 01. Studio Emmi 02. Biblioteque 03. Biblioteque 04. Biblioteque 05. Biblioteque 78 - 90 Client driven design 01. Keller Maurer 02. Keller Maurer 03. Keller Maurer 04. Keller Maurer 05. Keller Maurer 06. Keller Maurer 86 - 103 Designing for the creative industry 01. Keller Maurer 02. Keller Maurer 03. Keller Maurer 04. Keller Maurer 05. Keller Maurer
Introduction
A Publication : 09–10
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Format in design
Format in design
25 / 26
FORMAT –noun 1. the shape and size of a book as determined by the number of times the original sheet has been folded to form the leaves. Compare duodecimo, folio ( def. 2 ) , octavo, quarto. 2. the general physical appearance of a book, magazine, or newspaper, such as the typeface, binding, quality of paper, margins, etc. 3. the organization, plan, style, or type of something: The format of the show allowed for topical and controversial gags. 4. Computers . the arrangement of data for computer input or output, such as the number and size of fields in a record or the spacing and punctuation of information in a report.
Toko nyc Newwork ldn 2br ldn Spin au Hunt Studio ldn Biblioteque hk Co.Design sgp Silnt au
Format in design
Format in design
25 / 26
FORMAT
–noun 1. the shape and size of a book as determined by the number of times the original sheet has been folded to form the leaves. Compare duodecimo, folio ( def. 2 ) , octavo, quarto. 2. the general physical appearance of a book, magazine, or newspaper, such as the typeface, binding, quality of paper, margins, etc.
Toko ldn 2br ldn Spin au Hunt Studio ldn Biblioteque hk Co.Design nyc Studio Newwork sgp Silnt au
3. the organization, plan, style, or type of something: The format of the show allowed for topical and controversial gags. 4. Computers . the arrangement of data for computer input or output, such as the number and size of fields in a record or the spacing and punctuation of information in a report.
Format in design
Format in design
Format in design
Format in design
25 / 26
FORMAT – au Toko ldn 2br ldn Spin au Hunt Studio ldn Biblioteque hk Co.Design nyc Studio Newwork sgp Silnt
Format in design
Format in design
A Publication
Format in design
FORMAT
– au Toko ldn 2br ldn Spin au Hunt Studio ldn Biblioteque hk Co.Design nyc Studio Newwork sgp Silnt
25 / 26
A Publication
A Publication
Format in design
98
1. the shape and size of a book as determined by the number of times the original sheet has been folded to form the leaves. Compare duodecimo, folio ( def. 2 ) , octavo, quarto. 2. the general physical appearance of a book, magazine, or newspaper, such as the typeface, binding, quality of paper, margins, etc.
Format:
3. the organization, plan, style, or type of something: The format of the show allowed for topical and controversial gags. 4. Computers . the arrangement of data for computer input or output, such as the number and size of fields in a record or the spacing and punctuation of information in a report.
Toko ldn 2br ldn Spin au Hunt Studio ldn Biblioteque hk Co.Design nyc Studio Newwork sgp Silnt au
Page 06-07 A Publication Format in design
1. the shape and size of a book as determined by the number of times the original sheet has been folded to form the leaves. Compare duodecimo, folio ( def. 2 ) , octavo, quarto. 2. the general physical appearance of a book, magazine, or newspaper, such as the typeface, binding, quality of paper, margins, etc. 3. the organization, plan, style, or type of something: The format of the show allowed for topical and controversial gags. 4. Computers . the arrangement of data for computer input or output, such as the number and size of fields in a record or the spacing and punctuation of information in a report.
3. the organization, plan, style, or type of something: The format of the show allowed for topical and controversial gags. 4. Computers . the arrangement of data for computer input or output, such as the number and size of fields in a record or the spacing and punctuation of information in a report.
Uptat lor susciduipis auguerit atum aliquis modolummy nonulpute dignisit, velis augue dolobor aci euisit lobor alisciliquam vulput utat. Onse verating ex el ulla faccum quat, commy nibh exerat luptat vent dit wismodo odoluptate ex ea augue consectet eugiat, sed modiam, conummy nisit lum zzrilit dolobore feugait lore magna feugiamet volesenit utem quamet alisl iuscincilis nibh etue mod tatum adit lut irilissenis nit aliquismod dipis nostionse facilit ing eraese tet vulla feuguercilit la atueril iquam, core dunt ipsuscil et ad tio esto cortie tis niam in eugue min ulla faccummy nibh etum qui blan ute consed dipismod magnibh etue do corer sumsandre vulputatum vulputpat diam, quat adip eum ip er sum verit lumsan exeros ad dolor sequis nulla consequi blam, quatuerillum velessenim quisis acillametum ing eu feugiamconum zzriliq uismod et digniat. Uptate et, consecte esto consequatie deliquam zzrilisl eugiat.Laoreet, vulputpate exer sent ullam el ullut praesti scilit adipsum modipit la commy nim nos ad magnis etue duipit lor si.Ustrud dolessed magna consequisit wis alis nonum vendreril dolorem dolum quat adiam ipit ut laortin ut prat wis am diamcorpero odiamcon eugiamcon ullan utem inim ilit accum er sustrud tat autat. Im voloreet praessendiam zzrit at. Duiscipit loreetumsan esecte commy nullaor sequi tatem eui erosto odolore mod dolesequip exeros nostrud er irit lamet la faci tio eui blaorper accum augiat. Ilisit alit essissit at ullutpa tuerilla con et lan ut praesed min utat augait dolorper sectet landre duis acilla feuis alis eum quam irit lortis nostrud et, sim quam, sed doloreet essequatie consecte feugiat, sendipisi eugiat. Ming
Tokoau 2brldn Spinldn Hunt Studioau Bibliotequeldn Co.Designhk Studio Newworknyc Silntsgp
FORMAT
et praessendre vero odio odio od tissecte feu feuguercilla feugait etum dolendre consed tem ing eu faccum veros dunt aut aliquat nos doloboreet veros num quipit praesti onsequisi.Magna feugiamet nulput in velit laorem quat nulputpat augue do consectem diatio dolore dolorperos eugue vel inisisl eumsandigna augait wissequipit lor sed miniam velestisit prat augiam, quat, sismolesenis autpat, vendipsummy nulla feugiam consendre volore vent niat. Na feugue con exerit, sum iriliquam vel ilit duisi bla facillam, venim zzrit ullaore dolore tinibh enim diamet ea feugiat nos niam, veros dolorem numsandre magna faccummodiat am velesecte magna feugiam vel ulputat la alis autem zzril utpatio nsequisim veleseq uametummy nit nibh eu faccum vel ullaor illaore esequam corpero et lore mod eriure feum dipisl enit num ilit niat. Ut praessi. Uptat. Iriliquam ilisl in velismo dolorer ostrud ming el ipsum eliqui eu faciduis nit at. Equismodiam ad ea feuguer sissequis erit utatet la feugiat, quisi. Ipit prat velenis adiam ip ex eros alit dolore commy nulla feugiam velesse cor ing ea con ulla am, quisi bla feugiat la augiam, con vel ex elisim inim et vel ipit lum dolorer sectetu ercing ercin er alis nullaore delit nim quamet, si.Rud eugue tio odiamco mmolessi exero consequate
Uptat lor susciduipis auguerit atum aliquis modolummy nonulpute dignisit, velis augue dolobor aci euisit lobor alisciliquam vulput utat.Onse verating ex el ulla faccum quat, commy nibh exerat luptat vent dit wismodo odoluptate ex ea augue consectet eugiat, sed modiam, conummy nisit lum zzrilit dolobore feugait lore magna feugiamet volesenit utem quamet alisl iuscincilis nibh etue mod tatum adit lut irilissenis nit aliquismod dipis nostionse facilit ing eraese tet vulla feuguercilit la atueril iquam, core dunt ipsuscil et ad tio esto cortie tis niam in eugue min ulla faccummy nibh etum qui blan ute consed dipismod magnibh etue do corer sumsandre vulputatum vulputpat diam, quat adip eum ip er sum verit lumsan exeros ad dolor sequis nulla consequi blam, quatuerillum velessenim quisis acillametum ing eu feugiamconum zzriliq uismod et digniat. Uptate et, consecte esto consequatie deliquam zzrilisl eugiat.Laoreet, vulputpate exer sent ullam el ullut praesti scilit adipsum modipit la commy nim nos ad magnis etue duipit lor si.Ustrud dolessed magna consequisit wis alis nonum vendreril dolorem dolum quat adiam ipit ut laortin ut prat wis am diamcorpero odiamcon eugiamcon ullan utem inim ilit accum er sustrud tat autat. Im voloreet praessendiam zzrit at. Duiscipit loreetumsan esecte commy nullaor sequi tatem eui erosto odolore mod dolesequip exeros nostrud er irit lamet la faci tio eui blaorper accum augiat. Ilisit alit essissit at ullutpa tuerilla con et lan ut praesed min utat augait dolorper sectet landre duis acilla feuis alis eum quam irit lortis nostrud et, sim quam, sed doloreet essequatie consecte feugiat, sendipisi eugiat. Ming et praessendre vero odio odio od tissecte feu feuguercilla feugait etum dolendre consed tem ing eu faccum veros dunt aut aliquat nos doloboreet veros num quipit praesti onsequisi. Magna feugiamet nulput in velit laorem quat nulputpat augue do consectem diatio dolore dolorperos eugue vel inisisl eumsandigna augait wissequipit lor sed miniam velestisit prat augiam, quat, sismolesenis autpat, vendipsummy nulla feugiam consendre volore vent niat. Na feugue con exerit, sum iriliquam vel ilit duisi bla facillam, venim zzrit ullaore dolore tinibh enim diamet ea feugiat nos niam, veros dolorem numsandre magna faccummodiat am velesecte magna feugiam vel ulputat la alis autem zzril utpatio nsequisim veleseq uametummy nit nibh eu faccum vel ullaor illaore esequam corpero et lore mod eriure feum dipisl enit num ilit niat. Ut praessi. Uptat. Iriliquam ilisl in velismo dolorer ostrud ming el ipsum eliqui eu faciduis nit at. Equismodiam ad ea feuguer sissequis erit utatet la feugiat, quisi.
A Publication Format in design
Page 06-07
1. the shape and size of a book as determined by the number of times the original sheet has been folded to form the leaves. Compare duodecimo, folio ( def. 2 ) , octavo, quarto. 2. the general physical appearance of a book, magazine, or newspaper, such as the typeface, binding, quality of paper, margins, etc.
3. the organization, plan, style, or type of something: The format of the show allowed for topical and controversial gags. 4. Computers . the arrangement of data for computer input or output, such as the number and size of fields in a record or the spacing and punctuation of information in a report.
3. the organization, plan, style, or type of something: The format of the show allowed for topical and controversial gags. 4. Computers . the arrangement of data for computer input or output, such as the number and size of fields in a record or the spacing and punctuation of information in a report.
Uptat lor susciduipis auguerit atum aliquis modolummy nonulpute dignisit, velis augue dolobor aci euisit lobor alisciliquam vulput utat. Onse verating ex el ulla faccum quat, commy nibh exerat luptat vent dit wismodo odoluptate ex ea augue consectet eugiat, sed modiam, conummy nisit lum zzrilit dolobore feugait lore magna feugiamet volesenit utem quamet alisl iuscincilis nibh etue mod tatum adit lut irilissenis nit aliquismod dipis nostionse facilit ing eraese tet vulla feuguercilit la atueril iquam, core dunt ipsuscil et ad tio esto cortie tis niam in eugue min ulla faccummy nibh etum qui blan ute consed dipismod magnibh etue do corer sumsandre vulputatum vulputpat diam, quat adip eum ip er sum verit lumsan exeros ad dolor sequis nulla consequi blam, quatuerillum velessenim quisis acillametum ing eu feugiamconum zzriliq uismod et digniat. Uptate et, consecte esto consequatie deliquam zzrilisl eugiat.Laoreet, vulputpate exer sent ullam el ullut praesti scilit adipsum modipit la commy nim nos ad magnis etue duipit lor si.Ustrud dolessed magna consequisit wis alis nonum vendreril dolorem dolum quat adiam ipit ut laortin ut prat wis am diamcorpero odiamcon eugiamcon ullan utem inim ilit accum er sustrud tat autat. Im voloreet praessendiam zzrit at. Duiscipit loreetumsan esecte commy nullaor sequi tatem eui erosto odolore mod dolesequip exeros nostrud er irit lamet la faci tio eui blaorper accum augiat. Ilisit alit essissit at ullutpa tuerilla con et lan ut praesed min utat augait dolorper sectet landre duis acilla feuis alis eum quam irit lortis nostrud et, sim quam, sed doloreet essequatie consecte feugiat, sendipisi eugiat. Ming
Tokoau 2brldn Spinldn Hunt Studioau Bibliotequeldn Co.Designhk Studio Newworknyc Silntsgp
FORMAT
et praessendre vero odio odio od tissecte feu feuguercilla feugait etum dolendre consed tem ing eu faccum veros dunt aut aliquat nos doloboreet veros num quipit praesti onsequisi.Magna feugiamet nulput in velit laorem quat nulputpat augue do consectem diatio dolore dolorperos eugue vel inisisl eumsandigna augait wissequipit lor sed miniam velestisit prat augiam, quat, sismolesenis autpat, vendipsummy nulla feugiam consendre volore vent niat. Na feugue con exerit, sum iriliquam vel ilit duisi bla facillam, venim zzrit ullaore dolore tinibh enim diamet ea feugiat nos niam, veros dolorem numsandre magna faccummodiat am velesecte magna feugiam vel ulputat la alis autem zzril utpatio nsequisim veleseq uametummy nit nibh eu faccum vel ullaor illaore esequam corpero et lore mod eriure feum dipisl enit num ilit niat. Ut praessi. Uptat. Iriliquam ilisl in velismo dolorer ostrud ming el ipsum eliqui eu faciduis nit at. Equismodiam ad ea feuguer sissequis erit utatet la feugiat, quisi. Ipit prat velenis adiam ip ex eros alit dolore commy nulla feugiam velesse cor ing ea con ulla am, quisi bla feugiat la augiam, con vel ex elisim inim et vel ipit lum dolorer sectetu ercing ercin er alis nullaore delit nim quamet, si.Rud eugue tio odiamco mmolessi exero consequate
Uptat lor susciduipis auguerit atum aliquis modolummy nonulpute dignisit, velis augue dolobor aci euisit lobor alisciliquam vulput utat.Onse verating ex el ulla faccum quat, commy nibh exerat luptat vent dit wismodo odoluptate ex ea augue consectet eugiat, sed modiam, conummy nisit lum zzrilit dolobore feugait lore magna feugiamet volesenit utem quamet alisl iuscincilis nibh etue mod tatum adit lut irilissenis nit aliquismod dipis nostionse facilit ing eraese tet vulla feuguercilit la atueril iquam, core dunt ipsuscil et ad tio esto cortie tis niam in eugue min ulla faccummy nibh etum qui blan ute consed dipismod magnibh etue do corer sumsandre vulputatum vulputpat diam, quat adip eum ip er sum verit lumsan exeros ad dolor sequis nulla consequi blam, quatuerillum velessenim quisis acillametum ing eu feugiamconum zzriliq uismod et digniat. Uptate et, consecte esto consequatie deliquam zzrilisl eugiat.Laoreet, vulputpate exer sent ullam el ullut praesti scilit adipsum modipit la commy nim nos ad magnis etue duipit lor si.Ustrud dolessed magna consequisit wis alis nonum vendreril dolorem dolum quat adiam ipit ut laortin ut prat wis am diamcorpero odiamcon eugiamcon ullan utem inim ilit accum er sustrud tat autat. Im voloreet praessendiam zzrit at. Duiscipit loreetumsan esecte commy nullaor sequi tatem eui erosto odolore mod dolesequip exeros nostrud er irit lamet la faci tio eui blaorper accum augiat. Ilisit alit essissit at ullutpa tuerilla con et lan ut praesed min utat augait dolorper sectet landre duis acilla feuis alis eum quam irit lortis nostrud et, sim quam, sed doloreet essequatie consecte feugiat, sendipisi eugiat. Ming et praessendre vero odio odio od tissecte feu feuguercilla feugait etum dolendre consed tem ing eu faccum veros dunt aut aliquat nos doloboreet veros num quipit praesti onsequisi. Magna feugiamet nulput in velit laorem quat nulputpat augue do consectem diatio dolore dolorperos eugue vel inisisl eumsandigna augait wissequipit lor sed miniam velestisit prat augiam, quat, sismolesenis autpat, vendipsummy nulla feugiam consendre volore vent niat. Na feugue con exerit, sum iriliquam vel ilit duisi bla facillam, venim zzrit ullaore dolore tinibh enim diamet ea feugiat nos niam, veros dolorem numsandre magna faccummodiat am velesecte magna feugiam vel ulputat la alis autem zzril utpatio nsequisim veleseq uametummy nit nibh eu faccum vel ullaor illaore esequam corpero et lore mod eriure feum dipisl enit num ilit niat. Ut praessi. Uptat. Iriliquam ilisl in velismo dolorer ostrud ming el ipsum eliqui eu faciduis nit at. Equismodiam ad ea feuguer sissequis erit utatet la feugiat, quisi.
A Publication
A Publication
Format in design
98
1. the shape and size of a book as determined by the number of times the original sheet has been folded to form the leaves. Compare duodecimo, folio ( def. 2 ) , octavo, quarto. 2. the general physical appearance of a book, magazine, or newspaper, such as the typeface, binding, quality of paper, margins, etc.
Format:
3. the organization, plan, style, or type of something: The format of the show allowed for topical and controversial gags. 4. Computers . the arrangement of data for computer input or output, such as the number and size of fields in a record or the spacing and punctuation of information in a report.
Toko ldn 2br ldn Spin au Hunt Studio ldn Biblioteque hk Co.Design nyc Studio Newwork sgp Silnt au
A Publication : 09–10
Process Featured work
Tokoau 2brldn Spinldn Hunt Studioau Bibliotequeldn
11–14 15–18 19–22 23–25 26–29
Interviews with
Co.Designhk 30–31 Studio Newworknyc 32–25 Silntsgp 36–29
A Publication
Format Driven Design
A Publication
Format Driven Design
Page 06-07
3. the organization, plan, style, or type of something: The format of the show allowed for topical and controversial gags. 4. Computers . the arrangement of data for computer input or output, such as the number and size of fields in a record or the spacing and punctuation of information in a report.
Uptat lor susciduipis auguerit atum aliquis modolummy nonulpute dignisit, velis augue dolobor aci euisit lobor alisciliquam vulput utat. Onse verating ex el ulla faccum quat, commy nibh exerat luptat vent dit wismodo odoluptate ex ea augue consectet eugiat, sed modiam, conummy nisit lum zzrilit dolobore feugait lore magna feugiamet volesenit utem quamet alisl iuscincilis nibh etue mod tatum adit lut irilissenis nit aliquismod dipis nostionse facilit ing eraese tet vulla feuguercilit la atueril iquam, core dunt ipsuscil et ad tio esto cortie tis niam in eugue min ulla faccummy nibh etum qui blan ute consed dipismod magnibh etue do corer sumsandre vulputatum vulputpat diam, quat adip eum ip er sum verit lumsan exeros ad dolor sequis nulla consequi blam, quatuerillum velessenim quisis acillametum ing eu feugiamconum zzriliq uismod et digniat. Uptate et, consecte esto consequatie deliquam zzrilisl eugiat.Laoreet, vulputpate exer sent ullam el ullut praesti scilit adipsum modipit la commy nim nos ad magnis etue duipit lor si.Ustrud dolessed magna consequisit wis alis nonum vendreril dolorem dolum quat adiam ipit ut laortin ut prat wis am diamcorpero odiamcon eugiamcon ullan utem inim ilit accum er sustrud tat autat. Im voloreet praessendiam zzrit at. Duiscipit loreetumsan esecte commy nullaor sequi tatem eui erosto odolore mod dolesequip exeros nostrud er irit lamet la faci tio eui blaorper accum augiat. Ilisit alit essissit at ullutpa tuerilla con et lan ut praesed min utat augait dolorper sectet landre duis acilla feuis alis eum quam irit lortis nostrud et, sim quam, sed doloreet essequatie consecte feugiat, sendipisi eugiat. Ming et praessendre vero odio odio od tissecte feu feuguercilla feugait etum dolendre consed tem ing eu faccum veros dunt aut aliquat nos doloboreet veros num quipit praesti onsequisi.Magna feugiamet nulput in velit laorem quat nulputpat augue do consectem diatio dolore dolorperos eugue vel inisisl eumsandigna augait wissequipit lor sed miniam velestisit prat augiam, quat, sismolesenis autpat, vendipsummy nulla feugiam consendre volore vent niat. Na feugue con exerit, sum iriliquam vel ilit duisi bla facillam, venim zzrit ullaore dolore tinibh enim diamet ea feugiat nos niam, veros dolorem numsandre magna faccummodiat am velesecte magna feugiam vel ulputat la alis autem zzril utpatio nsequisim veleseq uametummy nit nibh eu faccum vel ullaor illaore esequam corpero et lore mod eriure feum dipisl enit num ilit niat. Ut praessi. Uptat. Iriliquam ilisl in velismo dolorer ostrud ming el ipsum eliqui eu faciduis nit at. Equismodiam ad ea feuguer sissequis erit utatet la feugiat, quisi. Ipit prat velenis adiam ip ex eros alit dolore commy nulla feugiam velesse cor ing ea con ulla am, quisi bla feugiat la augiam, con vel ex elisim inim et vel ipit lum dolorer sectetu ercing ercin er alis nullaore delit nim quamet, si.Rud eugue tio odiamco mmolessi exero consequate
Uptat lor susciduipis auguerit atum aliquis modolummy nonulpute dignisit, velis augue dolobor aci euisit lobor alisciliquam vulput utat.Onse verating ex el ulla faccum quat, commy nibh exerat luptat vent dit wismodo odoluptate ex ea augue consectet eugiat, sed modiam, conummy nisit lum zzrilit dolobore feugait lore magna feugiamet volesenit utem quamet alisl iuscincilis nibh etue mod tatum adit lut irilissenis nit aliquismod dipis nostionse facilit ing eraese tet vulla feuguercilit la atueril iquam, core dunt ipsuscil et ad tio esto cortie tis niam in eugue min ulla faccummy nibh etum qui blan ute consed dipismod magnibh etue do corer sumsandre vulputatum vulputpat diam, quat adip eum ip er sum verit lumsan exeros ad dolor sequis nulla consequi blam, quatuerillum velessenim quisis acillametum ing eu feugiamconum zzriliq uismod et digniat. Uptate et, consecte esto consequatie deliquam zzrilisl eugiat.Laoreet, vulputpate exer sent ullam el ullut praesti scilit adipsum modipit la commy nim nos ad magnis etue duipit lor si.Ustrud dolessed magna consequisit wis alis nonum vendreril dolorem dolum quat adiam ipit ut laortin ut prat wis am diamcorpero odiamcon eugiamcon ullan utem inim ilit accum er sustrud tat autat. Im voloreet praessendiam zzrit at. Duiscipit loreetumsan esecte commy nullaor sequi tatem eui erosto odolore mod dolesequip exeros nostrud er irit lamet la faci tio eui blaorper accum augiat. Ilisit alit essissit at ullutpa tuerilla con et lan ut praesed min utat augait dolorper sectet landre duis acilla feuis alis eum quam irit lortis nostrud et, sim quam, sed doloreet essequatie consecte feugiat, sendipisi eugiat. Ming et praessendre vero odio odio od tissecte feu feuguercilla feugait etum dolendre consed tem ing eu faccum veros dunt aut aliquat nos doloboreet veros num quipit praesti onsequisi. Magna feugiamet nulput in velit laorem quat nulputpat augue do consectem diatio dolore dolorperos eugue vel inisisl eumsandigna augait wissequipit lor sed miniam velestisit prat augiam, quat, sismolesenis autpat, vendipsummy nulla feugiam consendre volore vent niat. Na feugue con exerit, sum iriliquam vel ilit duisi bla facillam, venim zzrit ullaore dolore tinibh enim diamet ea feugiat nos niam, veros dolorem numsandre magna faccummodiat am velesecte magna feugiam vel ulputat la alis autem zzril utpatio nsequisim veleseq uametummy nit nibh eu faccum vel ullaor illaore esequam corpero et lore mod eriure feum dipisl enit num ilit niat. Ut praessi. Uptat. Iriliquam ilisl in velismo dolorer ostrud ming el ipsum eliqui eu faciduis nit at. Equismodiam ad ea feuguer sissequis erit utatet la feugiat, quisi.
Format Driven Design
A Publication : 09–10
Process Featured work
Tokoau 2brldn Spinldn Hunt Studioau Bibliotequeldn
Interviews with
Co.Designhk Studio Newworknyc Silntsgp
Format Driven Design
A Publication : 09–10
Process Featured work
Toko au 2br ldn Spin ldn Hunt Studio au Biblioteque ldn
Interviews with
Co.Design hk Studio Newwork nyc Silnt sgp
A Publication
By Tim Wan
Tsto Hunt Studio Gestalten Victionary Salutpublic Sundries Artiva Project Projects Studio Newwork This Studio APFEL Jung Wenig Unit Editions Julia Studio EMMI Helmo Von B - C Marque Browns Studio Lic Deryke
Three60 Design Project Keller Maurer IdN Magazine Brogen Averill Njenworks Onlab Silnt Milkxhake Xavier Encinas Umlaut Design Unit Remake Qubik Node
Features
Interviews
A Publication is the resolution of Design Context. A project that I worked on as part of my Final Major Project during my final year studying BA (Hons) Graphic Design at Leeds College of Art.
timwan.co.uk
A Publication
By Tim Wan
Tsto Hunt Studio Gestalten Vict:onary Salutpublic Sundries Artiva Project Projects Studio Newwork This Studio APFEL Jung Wenig Unit Editions Made Thought Julia Studio EMMI Helmo Von B - C Marque Browns Studio Lic Deryke
Three60 Design Project Keller Maurer IdN Magazine Brogen Averill Njenworks Onlab Silnt Milkxhake Xavier Encinas Umlaut Design Unit Remake Qubik Node Ee
Features
Interviews
A Publication
By Tim Wan
A Publication is the resolution of Design Context. A project that I worked on as part of my Final Major Project during my final year studying BA (Hons) Graphic Design at Leeds College of Art.
Tsto Hunt Studio Gestalten Vict:onary Salutpublic Sundries Artiva Project Projects Studio Newwork This Studio APFEL Jung Wenig Unit Editions Made Thought Julia Studio EMMI Helmo Von B - C Marque Browns Studio Lic Deryke
Three60 Design Project Keller Maurer IdN Magazine Brogen Averill Njenworks Onlab Milkxhake Xavier Encinas Umlaut Silnt Design Unit Remake Qubik Node Ee
timwan.co.uk
Features
Interviews
Back of the book
A Publication
A Publication
By Tim Wan
A Publication is the resolution of Design Context. A project that I worked on as part of my Final Major Project during my final year studying BA (Hons) Graphic Design at Leeds College of Art.
Tsto Hunt Studio Gestalten Vict:onary Salutpublic Sundries Artiva Project Projects Studio Newwork This Studio APFEL Jung Wenig Unit Editions Made Thought Julia Studio EMMI Helmo Von B - C Marque Browns Studio Lic Deryke
Three60 Design Project Keller Maurer IdN Magazine Brogen Averill Njenworks Onlab Milkxhake Xavier Encinas Umlaut Silnt Design Unit Remake Qubik Node Ee
timwan.co.uk
Features
Interviews
Interviews
Three60 Design Project Keller Maurer IdN Magazine Brogen Averill Njenworks Onlab Milkxhake Xavier Encinas Umlaut Silnt Design Unit Remake Qubik Node Ee
Features
Tsto Hunt Studio Gestalten Vict:onary Salutpublic Sundries Artiva Project Projects Studio Newwork This Studio APFEL Jung Wenig Unit Editions Made Thought Julia Studio EMMI Helmo Von B - C Marque Browns Studio Lic Deryke
A Publication is the resolution of Design Context. A project that I worked on as part of my Final Major Project during my final year studying BA (Hons) Graphic Design at Leeds College of Art.
A Publication
timwan.co.uk
By Tim Wan
Contents
A Publication : 09–10
04 - 05 Introduction
10 - 28 Production driven design
06 - 07 Forword by Wim Crouwel
01. Studio Emmi 02. Tsto 03. Newwork 04. Tommy Li Workshop
08 - 09 What is A Publication? 98 - 105 Bibliography
46 - 54 Process driven design
106 - 114 Further reading - a list of things that may or may not be of interest.
01. Biblioteque 02. Biblioteque 03. Biblioteque 04. Biblioteque 04. Biblioteque
115 - 116 Acknowledgements Print / design specifications
55 - 82 Designing for the cultural industry 01. Design Project 02. Design Project 03. Design Project 04. Design Project Interviews with Design Project Design Project Design Project Design Project Design Project Design Project
Further reading - a list of things that may or may not be of interest.
29 - 45 Format driven design 01. Studio Emmi 02. Biblioteque 03. Biblioteque 04. Biblioteque 05. Biblioteque 78 - 90 Client driven design 01. Keller Maurer 02. Keller Maurer 03. Keller Maurer 04. Keller Maurer 05. Keller Maurer 06. Keller Maurer 86 - 103 Designing for the creative industry 01. Keller Maurer 02. Keller Maurer 03. Keller Maurer 04. Keller Maurer 05. Keller Maurer
Contents
A Publication : 09–10
04 - 05 Introduction
10 - 28 Production driven design
06 - 07 Forword by Wim Crouwel
01. Studio Emmi 02. Tsto 03. Newwork 04. Tommy Li Workshop
08 - 09 What is A Publication? 98 - 105 Bibliography
46 - 54 Process driven design
106 - 114 Further reading - a list of things that may or may not be of interest.
01. Biblioteque 02. Biblioteque 03. Biblioteque 04. Biblioteque 04. Biblioteque
115 - 116 Acknowledgements Print / design specifications
55 - 82 Designing for the cultural industry 01. Design Project 02. Design Project 03. Design Project 04. Design Project Interviews with Design Project Design Project Design Project Design Project Design Project Design Project
Further reading - a list of things that may or may not be of interest.
29 - 45 Format driven design 01. Studio Emmi 02. Biblioteque 03. Biblioteque 04. Biblioteque 05. Biblioteque 78 - 90 Client driven design 01. Keller Maurer 02. Keller Maurer 03. Keller Maurer 04. Keller Maurer 05. Keller Maurer 06. Keller Maurer 86 - 103 Designing for the creative industry 01. Keller Maurer 02. Keller Maurer 03. Keller Maurer 04. Keller Maurer 05. Keller Maurer
A Publication
Format Driven Design
A Publication
Format Driven Design
3. the organization, plan, style, or type of something: The format of the show allowed for topical and controversial gags.
Uptat lor susciduipis auguerit atum aliquis modolummy nonulpute dignisit, velis augue dolobor aci euisit lobor alisciliquam vulput utat.
4. Computers . the arrangement of data for computer input or output, such as the number and size of fields in a record or the spacing and punctuation of information in a report.
Onse verating ex el ulla faccum quat, commy nibh exerat luptat vent dit wismodo odoluptate ex ea augue consectet eugiat, sed modiam, conummy nisit lum zzrilit dolobore feugait lore magna feugiamet volesenit utem quamet alisl iuscincilis nibh etue mod tatum adit lut irilissenis nit aliquismod dipis nostionse facilit ing eraese tet vulla feuguercilit la atueril iquam, core dunt ipsuscil et ad tio esto cortie tis niam in eugue min ulla faccummy nibh etum qui blan ute consed dipismod magnibh etue do corer sumsandre vulputatum vulputpat diam, quat adip eum ip er sum verit lumsan exeros ad dolor sequis nulla consequi blam, quatuerillum velessenim quisis acillametum ing eu feugiamconum zzriliq uismod et digniat. Uptate et, consecte esto consequatie deliquam zzrilisl eugiat.Laoreet, vulputpate exer sent ullam el ullut praesti scilit adipsum modipit la commy nim nos ad magnis etue duipit lor si.Ustrud dolessed magna consequisit wis alis nonum vendreril dolorem dolum quat adiam ipit ut laortin ut prat wis am diamcorpero odiamcon eugiamcon ullan utem inim ilit accum er sustrud tat autat. Im voloreet praessendiam zzrit at. Duiscipit loreetumsan esecte commy nullaor sequi tatem eui erosto odolore mod dolesequip exeros nostrud er irit lamet la faci tio eui blaorper accum augiat. Ilisit alit essissit at ullutpa tuerilla con et lan ut praesed min utat augait dolorper sectet landre duis acilla feuis alis eum quam irit lortis nostrud et, sim quam, sed doloreet essequatie consecte feugiat, sendipisi eugiat. Ming et praessendre vero odio odio od tissecte feu feuguercilla feugait etum dolendre consed tem ing eu faccum veros dunt aut aliquat nos doloboreet veros num quipit praesti onsequisi.Magna feugiamet nulput in velit laorem quat nulputpat augue do consectem diatio dolore dolorperos eugue vel inisisl eumsandigna augait wissequipit lor sed miniam velestisit prat augiam, quat, sismolesenis autpat, vendipsummy nulla feugiam consendre volore vent niat. Na feugue con exerit, sum iriliquam vel ilit duisi bla facillam, venim zzrit ullaore dolore tinibh enim diamet ea feugiat nos niam, veros dolorem numsandre magna faccummodiat am velesecte magna feugiam vel ulputat la alis autem zzril utpatio nsequisim veleseq uametummy nit nibh eu faccum vel ullaor illaore esequam corpero et lore mod eriure feum dipisl enit num ilit niat. Ut praessi.
Page 06-07
Uptat lor susciduipis auguerit atum aliquis modolummy nonulpute dignisit, velis augue dolobor aci euisit lobor alisciliquam vulput utat.Onse verating ex el ulla faccum quat, commy nibh exerat luptat vent dit wismodo odoluptate ex ea augue consectet eugiat, sed modiam, conummy nisit lum zzrilit dolobore feugait lore magna feugiamet volesenit utem quamet alisl iuscincilis nibh etue mod tatum adit lut irilissenis nit aliquismod dipis nostionse facilit ing eraese tet vulla feuguercilit la atueril iquam, core dunt ipsuscil et ad tio esto cortie tis niam in eugue min ulla faccummy nibh etum qui blan ute consed dipismod magnibh etue do corer sumsandre vulputatum vulputpat diam, quat adip eum ip er sum verit lumsan exeros ad dolor sequis nulla consequi blam, quatuerillum velessenim quisis acillametum ing eu feugiamconum zzriliq uismod et digniat. Uptate et, consecte esto consequatie deliquam zzrilisl eugiat.Laoreet, vulputpate exer sent ullam el ullut praesti scilit adipsum modipit la commy nim nos ad magnis etue duipit lor si.Ustrud dolessed magna consequisit wis alis nonum vendreril dolorem dolum quat adiam ipit ut laortin ut prat wis am diamcorpero odiamcon eugiamcon ullan utem inim ilit accum er sustrud tat autat. Im voloreet praessendiam zzrit at. Duiscipit loreetumsan esecte commy nullaor sequi tatem eui erosto odolore mod dolesequip exeros nostrud er irit lamet la faci tio eui blaorper accum augiat. Ilisit alit essissit at ullutpa tuerilla con et lan ut praesed min utat augait dolorper sectet landre duis acilla feuis alis eum quam irit lortis nostrud et, sim quam, sed doloreet essequatie consecte feugiat, sendipisi eugiat. Ming et praessendre vero odio odio od tissecte feu feuguercilla feugait etum dolendre consed tem ing eu faccum veros dunt aut aliquat nos doloboreet veros num quipit praesti onsequisi. Magna feugiamet nulput in velit laorem quat nulputpat augue do consectem diatio dolore dolorperos eugue vel inisisl eumsandigna augait wissequipit lor sed miniam velestisit prat augiam, quat, sismolesenis autpat, vendipsummy nulla feugiam consendre volore vent niat.
A Publication
Format Driven Design
What is the design process of your studio when tackling a new project? I think our process is, broadly speaking, fairly consistent from project to project, and fairly typical. First, we always meet with our clients to discuss their objectives, their thoughts, their audience, and their content. We try to do this in as much depth as possible. We then often focus on independent research and information-gathering to augment the discussions with our client. Once this is complete we begin design ideation and sketching, which is usually a very broad, iterative process, resulting in many directions. We then begin to narrow down the best ideas and refine them further until we have something that is resolved enough to present. This process of taking rough ideas and working on them, over and over, is usually the most demanding, time-consuming, and rewarding. About half the time we later make adjustments to the presented design after reviewing it with our client, and, finally, we implement and produce the work. What do you think is the most important aspect of design, particularly with publication designs? There is no single formal aspect that can be isolated and deemed most important - they are totally interdependent and their prominence in a given hierarchy would change somewhat on each project. That the design is developed by people who are intelligent, that the content is good and sound, and that the relationship with the client is a productive one and for a good, common goal - these are the the fundamentals that are most important. Which project do you feel represents your practice and what Remake is about most? I don’t think any one project necessarily represents Remake more clearly than the others - I think the practice is more about the aggregate body of work. Although I do feel some projects are simply better than others. The 2010 Design Awards program that we designed for the American Institute of Architects was a strong, systematic piece of work, for example.
Could you briefly describe the brief, design/ thought process and solution towards this particular project? This was the second time that we designed this prestigious architectural award program’s visual identity, print materials, and exhibition system. The key was in developing a conceptually relevant visual language that was both flexible and identifiable across many varied applications. It had to be very scalable, and feel purposeful in many different contexts. The design addressed this by placing typography in a dimensional space suggested by a framework of thin lines. The lines were meant to connote building as a process, scaffolding, or perhaps architectural sketches of planes and junctions. The typography fitted into this linear framework in a way that could be different on every single piece, but was always instantly recognizable. Exploiting the production processes of each application also helped to underscore the materiality of the design. So on print pieces we often used a tinted spot varnish to heighten the quality of spatial depth, and we correspondingly specified a high-gloss paint to contrast with a matte paint in the exhibition. The exhibition translated the linear graphic as a physically extruded system where the lines became “shelves” into which project boards were inserted. Arriving at this solution was a constant process of refinement and of knowing when to say when, and when to push thing further. What do you think is the most important attribute for a successful design team? Again, I find it very difficult to isolate a single trait. In terms of a team, paradoxically, the single most important element might be diversity. Your website showcases a strong breadth of fresh and interesting design work with a various range, materials and disciplines. Who would you say your main type clients are? How do you think working for different clients affect the design process and ultimately the finish design solution(s)? Remake really works with all scales and types of clients, and this broad scope is part of what keeps the work interesting. We do tend to work with a number of architects and arts organizations, for example, but we also work with fashion clients, manufacturing clients, retail clients, etc and I’d prefer to keep it a heterogeneous mix. Our process does have to adapt a little from client to client, but I try to keep the basic
Interview with Mike Dyer
Remake
steps of the process as consistent as possible. The inputs (client, audience, content, objectives, etc) are where the real variety is introduced. The process is and should be the process.
What influences/inspires you as a design studio? nces for me personally are interesting thinkers, writers, artists, and architects. I am less interested in graphic design, but there is, of course, some excellent graphic design being done, especially in Germany and Switzerland. These are all positive influences; there are negative influences as well. The relative disorder of everyday life encourages me to seek ordered design solutions, in order to introduce that back into the world around me - even if just a drop. The cheapness and disposability of much design encourages me to resist transient or fashionable solutions that will date quickly or last for only a limited amount of time. Your entire life is an influence on your work, of both positive and negative factors; it’s this way with everyone.
Key words that you would use to define the practice of Remake? Critical. Process. Rigor. Refinement. Clarity. How do you see the impact on printed publications with the influence of new technology such as the ipad and ebooks? I think that the influence, in terms of what these formats have done to books, has been profound and incredibly negative. I fall into the category of people who find iPads, ebooks, and other similar devices rather pointless and unsatisfying when it comes to experiencing books. Beyond this there is a more general cultural critique involved. Much of what is wrong with our world can be attributed, in a very broad sense, to the alienation between us (people) and that which we create and consume. This goes for the food we eat, the cars we drive, the cellphones we talk on, and the energy sources upon which we are totally reliant. We are alienated both physically and psychologically from most objects (even when they are spatially near), their meaning, their lifespans, their value, their utility, and their consequences. Digitizing books adds to this problem by alienating us from books and the experiences they transmit - the quality of the experience suffers, but the relationship with the physical object, with the author and his or her thoughts, is affected too. At all levels alienations should be resisted. Books are too important to allow to die digitization reduces them to a cold, alienated shadow of what they once were. Understanding physical objects and their places in our lives is part of curing the state of things, and books have been one of the few objects that we, as a civilization, have created that have done more good than harm in the long run. For that fact alone they should be defended.
A Publication | 06-07
Interview with Mike Dyer
Remake
Interview with Mike Dyer
What is the design process of your studio when tackling a new project? I think our process is, broadly speaking, fairly consistent from project to project, and fairly typical. First, we always meet with our clients to discuss their objectives, their thoughts, their audience, and their content. We try to do this in as much depth as possible. We then often focus on independent research and information-gathering to augment the discussions with our client. Once this is complete we begin design ideation and sketching, which is usually a very broad, iterative process, resulting in many directions. We then begin to narrow down the best ideas and refine them further until we have something that is resolved enough to present. This process of taking rough ideas and working on them, over and over, is usually the most demanding, time-consuming, and rewarding. About half the time we later make adjustments to the presented design after reviewing it with our client, and, finally, we implement and produce the work.
Could you briefly describe the brief, design/ thought process and solution towards this particular project? This was the second time that we designed this prestigious architectural award program’s visual identity, print materials, and exhibition system. The key was in developing a conceptually relevant visual language that was both flexible and identifiable across many varied applications. It had to be very scalable, and feel purposeful in many different contexts. The design addressed this by placing typography in a dimensional space suggested by a framework of thin lines. The lines were meant to connote building as a process, scaffolding, or perhaps architectural sketches of planes and junctions. The typography fitted into this linear framework in a way that could be different on every single piece, but was always instantly recognizable. Exploiting the production processes of each application also helped to underscore the materiality of the design. So on print pieces we often used a tinted spot varnish to heighten the quality of spatial depth, and we correspondingly specified a high-gloss paint to contrast with a matte paint in the exhibition. The exhibition translated the linear graphic as a physically extruded system where the lines became “shelves” into which project boards were inserted. Arriving at this solution was a constant process of refinement and of knowing when to say when, and when to push thing further.
Key words that you would use to define the practice of Remake? Critical. Process. Rigor. Refinement. Clarity.
What do you think is the most important aspect of design, particularly with publication designs? There is no single formal aspect that can be isolated and deemed most important - they are totally interdependent and their prominence in a given hierarchy would change somewhat on each project. That the design is developed by people who are intelligent, that the content is good and sound, and that the relationship with the client is a productive one and for a good, common goal - these are the the fundamentals that are most important. Which project do you feel represents your practice and what Remake is about most? I don’t think any one project necessarily represents Remake more clearly than the others - I think the practice is more about the aggregate body of work. Although I do feel some projects are simply better than others. The 2010 Design Awards program that we designed for the American Institute of Architects was a strong, systematic piece of work, for example.
What do you think is the most important attribute for a successful design team? Again, I find it very difficult to isolate a single trait. In terms of a team, paradoxically, the single most important element might be diversity. Your website showcases a strong breadth of fresh and interesting design work with a various range, materials and disciplines. Who would you say your main type clients are? How do you think working for different clients affect the design process and ultimately the finish design solution(s)? Remake really works with all scales and types of clients, and this broad scope is part of what keeps the work interesting. We do tend to work with a number of architects and arts organizations, for example, but we also work with fashion clients, manufacturing clients, retail clients, etc and I’d prefer to keep it a heterogeneous mix. Our process does have to adapt a little from client to client, but I try to keep the basic steps of the process as consistent as possible. The inputs (client, audience, content, objectives, etc) are where the real variety is introduced. The process is and should be the process.
How do you see the impact on printed publications with the influence of new technology such as the ipad and ebooks? I think that the influence, in terms of what these formats have done to books, has been profound and incredibly negative. I fall into the category of people who find iPads, ebooks, and other similar devices rather pointless and unsatisfying when it comes to experiencing books. Beyond this there is a more general cultural critique involved. Much of what is wrong with our world can be attributed, in a very broad sense, to the alienation between us (people) and that which we create and consume. This goes for the food we eat, the cars we drive, the cellphones we talk on, and the energy sources upon which we are totally reliant. We are alienated both physically and psychologically from most objects (even when they are spatially near), their meaning, their lifespans, their value, their utility, and their consequences. Digitizing books adds to this problem by alienating us from books and the experiences they transmit - the quality of the experience suffers, but the relationship with the physical object, with the author and his or her thoughts, is affected too. At all levels alienations should be resisted. Books are too important to allow to die digitization reduces them to a cold, alienated shadow of what they once were. Understanding physical objects and their places in our lives is part of curing the state of things, and books have been one of the few objects that we, as a civilization, have created that have done more good than harm in the long run. For that fact alone they should be defended. What influences/inspires you as a design studio? ---- for me personally are interesting thinkers, writers, artists, and architects. I am less interested in graphic design, but there is, of course, some excellent graphic design being done, especially in Germany and Switzerland. These are all positive influences; there are negative influences as well. The relative disorder of everyday life encourages me to seek ordered design solutions, in order to introduce that back into the world around me - even if just a drop. The cheapness and disposability of much design encourages me to resist transient or fashionable solutions that will date quickly or last for only a limited amount of time. Your entire life is an influence on your work, of both positive and negative factors; it’s this way with everyone.
Remake
Interview with Mike Dyer
Remake
What is the design process of your studio when tackling a new project? I think our process is, broadly speaking, fairly consistent from project to project, and fairly typical. First, we always meet with our clients to discuss their objectives, their thoughts, their audience, and their content. We try to do this in as much depth as possible. We then often focus on independent research and information-gathering to augment the discussions with our client. Once this is complete we begin design ideation and sketching, which is usually a very broad, iterative process, resulting in many directions. We then begin to narrow down the best ideas and refine them further until we have something that is resolved enough to present. This process of taking rough ideas and working on them, over and over, is usually the most demanding, time-consuming, and rewarding. About half the time we later make adjustments to the presented design after reviewing it with our client, and, finally, we implement and produce the work. What do you think is the most important aspect of design, particularly with publication designs? There is no single formal aspect that can be isolated and deemed most important - they are totally interdependent and their prominence in a given hierarchy would change somewhat on each project. That the design is developed by people who are intelligent, that the content is good and sound, and that the relationship with the client is a productive one and for a good, common goal - these are the the fundamentals that are most important. Which project do you feel represents your practice and what Remake is about most? I don’t think any one project necessarily represents Remake more clearly than the others - I think the practice is more about the aggregate body of work. Although I do feel some projects are simply better than others. The 2010 Design Awards program that we designed for the American Institute of Architects was a strong, systematic piece of work, for example. Could you briefly describe the brief, design/ thought process and solution towards this particular project? This was the second time that we designed this prestigious architectural award program’s visual identity, print materials, and exhibition system. The key was in developing a conceptually relevant visual language that was both flexible and identifiable across many varied applications. It had to be very scalable, and feel purposeful in many different contexts. The design addressed this by placing typography in a dimensional space suggested by a framework of thin lines. The lines were meant to connote building as a process, scaffolding, or perhaps architectural sketches of planes and junctions. The typography fitted into this linear framework in a way that could be different on every single piece, but was always instantly recognizable. Exploiting the production processes of each application also helped to underscore the materiality of the design. So on print pieces we often used a tinted spot varnish to heighten the quality of spatial depth, and we correspondingly specified a highgloss paint to contrast with a matte paint in the exhibition. The exhibition translated the linear graphic as a physically extruded system where the lines became “shelves” into which project boards were inserted. Arriving at this solution was a constant process of refinement and of knowing when to say when, and when to push thing further. What do you think is the most important attribute for a successful design team? Again, I find it very difficult to isolate a single trait. In terms of a team, paradoxically, the single most important element might be diversity. Your website showcases a strong breadth of fresh and interesting design work with a various range, materials and disciplines. Who would you say your main type clients are? How do you think working for different clients affect the design process and ultimately
Interview with Mike Dyer
Remake
the finish design solution(s)? Remake really works with all scales and types of clients, and this broad scope is part of what keeps the work interesting. We do tend to work with a number of architects and arts organizations, for example, but we also work with fashion clients, manufacturing clients, retail clients, etc and I’d prefer to keep it a heterogeneous mix. Our process does have to adapt a little from client to client, but I try to keep the basic steps of the process as consistent as possible. The inputs (client, audience, content, objectives, etc) are where the real variety is introduced. The process is and should be the process. Key words that you would use to define the practice of Remake? Critical. Process. Rigor. Refinement. Clarity. How do you see the impact on printed publications with the influence of new technology such as the ipad and ebooks? I think that the influence, in terms of what these formats have done to books, has been profound and incredibly negative. I fall into the category of people who find iPads, ebooks, and other similar devices rather pointless and unsatisfying when it comes to experiencing books. Beyond this there is a more general cultural critique involved. Much of what is wrong with our world can be attributed, in a very broad sense, to the alienation between us (people) and that which we create and consume. This goes for the food we eat, the cars we drive, the cellphones we talk on, and the energy sources upon which we are totally reliant. We are alienated both physically and psychologically from most objects (even when they are spatially near), their meaning, their lifespans, their value, their utility, and their consequences. Digitizing books adds to this problem by alienating us from books and the experiences they transmit - the quality of the experience suffers, but the relationship with the physical object, with the author and his or her thoughts, is affected too. At all levels alienations should be resisted. Books are too important to allow to die - digitization reduces them to a cold, alienated shadow of what they once were. Understanding physical objects and their places in our lives is part of curing the state of things, and books have been one of the few objects that we, as a civilization, have created that have done more good than harm in the long run. For that fact alone they should be defended. What influences/inspires you as a design studio? ---- for me personally are interesting thinkers, writers, artists, and architects. I am less interested in graphic design, but there is, of course, some excellent graphic design being done, especially in Germany and Switzerland. These are all positive influences; there are negative influences as well. The relative disorder of everyday life encourages me to seek ordered design solutions, in order to introduce that back into the world around me - even if just a drop. The cheapness and disposability of much design encourages me to resist transient or fashionable solutions that will date quickly or last for only a limited amount of time. Your entire life is an influence on your work, of both positive and negative factors; it’s this way with everyone.
Interview with Mike Dyer
Remake
What is the design process of your studio when tackling a new project? I think our process is, broadly speaking, fairly consistent from project to project, and fairly typical. First, we always meet with our clients to discuss their objectives, their thoughts, their audience, and their content. We try to do this in as much depth as possible. We then often focus on independent research and information-gathering to augment the discussions with our client. Once this is complete we begin design ideation and sketching, which is usually a very broad, iterative process, resulting in many directions. We then begin to narrow down the best ideas and refine them further until we have something that is resolved enough to present. This process of taking rough ideas and working on them, over and over, is usually the most demanding, time-consuming, and rewarding. About half the time we later make adjustments to the presented design after reviewing it with our client, and, finally, we implement and produce the work. What do you think is the most important aspect of design, particularly with publication designs? There is no single formal aspect that can be isolated and deemed most important - they are totally interdependent and their prominence in a given hierarchy would change somewhat on each project. That the design is developed by people who are intelligent, that the content is good and sound, and that the relationship with the client is a productive one and for a good, common goal - these are the the fundamentals that are most important. Which project do you feel represents your practice and what Remake is about most? I don’t think any one project necessarily represents Remake more clearly than the others - I think the practice is more about the aggregate body of work. Although I do feel some projects are simply better than others. The 2010 Design Awards program that we designed for the American Institute of Architects was a strong, systematic piece of work, for example. Could you briefly describe the brief, design/ thought process and solution towards this particular project? This was the second time that we designed this prestigious architectural award program’s visual identity, print materials, and exhibition system. The key was in developing a conceptually relevant visual language that was both flexible and identifiable across many varied applications. It had to be very scalable, and feel purposeful in many different contexts. The design addressed this by placing typography in a dimensional space suggested by a framework of thin lines. The lines were meant to connote building as a process, scaffolding, or perhaps architectural sketches of planes and junctions. The typography fitted into this linear framework in a way that could be different on every single piece, but was always instantly recognizable. Exploiting the production processes of each application also helped to underscore the materiality of the design. So on print pieces we often used a tinted spot varnish to heighten the quality of spatial depth, and we correspondingly specified a high-gloss paint to contrast with a matte paint in the exhibition. The exhibition translated the linear graphic as a physically extruded system where the lines became “shelves” into which project boards were inserted. Arriving at this solution was a constant process of refinement and of knowing when to say when, and when to push thing further. What do you think is the most important attribute for a successful design team? Again, I find it very difficult to isolate a single trait. In terms of a team, paradoxically, the single most important element might be diversity.
Interview with Mike Dyer
Remake
Your website showcases a strong breadth of fresh and interesting design work with a various range, materials and disciplines. Who would you say your main type clients are? How do you think working for different clients affect the design process and ultimately the finish design solution(s)? Remake really works with all scales and types of clients, and this broad scope is part of what keeps the work interesting. We do tend to work with a number of architects and arts organizations, for example, but we also work with fashion clients, manufacturing clients, retail clients, etc and I’d prefer to keep it a heterogeneous mix. Our process does have to adapt a little from client to client, but I try to keep the basic steps of the process as consistent as possible. The inputs (client, audience, content, objectives, etc) are where the real variety is introduced. The process is and should be the process. Key words that you would use to define the practice of Remake? Critical. Process. Rigor. Refinement. Clarity. How do you see the impact on printed publications with the influence of new technology such as the ipad and ebooks? I think that the influence, in terms of what these formats have done to books, has been profound and incredibly negative. I fall into the category of people who find iPads, ebooks, and other similar devices rather pointless and unsatisfying when it comes to experiencing books. Beyond this there is a more general cultural critique involved. Much of what is wrong with our world can be attributed, in a very broad sense, to the alienation between us (people) and that which we create and consume. This goes for the food we eat, the cars we drive, the cellphones we talk on, and the energy sources upon which we are totally reliant. We are alienated both physically and psychologically from most objects (even when they are spatially near), their meaning, their lifespans, their value, their utility, and their consequences. Digitizing books adds to this problem by alienating us from books and the experiences they transmit - the quality of the experience suffers, but the relationship with the physical object, with the author and his or her thoughts, is affected too. At all levels alienations should be resisted. Books are too important to allow to die - digitization reduces them to a cold, alienated shadow of what they once were. Understanding physical objects and their places in our lives is part of curing the state of things, and books have been one of the few objects that we, as a civilization, have created that have done more good than harm in the long run. For that fact alone they should be defended. What influences/inspires you as a design studio? ---- for me personally are interesting thinkers, writers, artists, and architects. I am less interested in graphic design, but there is, of course, some excellent graphic design being done, especially in Germany and Switzerland. These are all positive influences; there are negative influences as well. The relative disorder of everyday life encourages me to seek ordered design solutions, in order to introduce that back into the world around me - even if just a drop. The cheapness and disposability of much design encourages me to resist transient or fashionable solutions that will date quickly or last for only a limited amount of time. Your entire life is an influence on your work, of both positive and negative factors; it’s this way with everyone.
Interview with Mike Dyer
Remake
Interview with Mike Dyer
Remake
What is the design process of your studio when tackling a new project? I think our process is, broadly speaking, fairly consistent from project to project, and fairly typical. First, we always meet with our clients to discuss their objectives, their thoughts, their audience, and their content. We try to do this in as much depth as possible. We then often focus on independent research and information-gathering to augment the discussions with our client. Once this is complete we begin design ideation and sketching, which is usually a very broad, iterative process, resulting in many directions. We then begin to narrow down the best ideas and refine them further until we have something that is resolved enough to present. This process of taking rough ideas and working on them, over and over, is usually the most demanding, time-consuming, and rewarding. About half the time we later make adjustments to the presented design after reviewing it with our client, and, finally, we implement and produce the work.
This was the second time that we designed this prestigious architectural award program’s visual identity, print materials, and exhibition system. The key was in developing a conceptually relevant visual language that was both flexible and identifiable across many varied applications. It had to be very scalable, and feel purposeful in many different contexts. The design addressed this by placing typography in a dimensional space suggested by a framework of thin lines. The lines were meant to connote building as a process, scaffolding, or perhaps architectural sketches of planes and junctions. The typography fitted into this linear framework in a way that could be different on every single piece, but was always instantly recognizable. Exploiting the production processes of each application also helped to underscore the materiality of the design. So on print pieces we often used a tinted spot varnish to heighten the quality of spatial depth, and we correspondingly specified a highgloss paint to contrast with a matte paint in the exhibition. The exhibition translated the linear graphic as a physically extruded system where the lines became “shelves” into which project boards were inserted. Arriving at this solution was a constant process of refinement and of knowing when to say when, and when to push thing further.
the basic steps of the process as consistent as possible. The inputs (client, audience, content, objectives, etc) are where the real variety is introduced. The process is and should be the process.
What influences/inspires you as a design studio? ---- for me personally are interesting thinkers, writers, artists, and architects. I am less interested in graphic design, but there is, of course, some excellent graphic design being done, especially in Germany and Switzerland. These are all positive influences; there are negative influences as well. The relative disorder of everyday life encourages me to seek ordered design solutions, in order to introduce that back into the world around me - even if just a drop. The cheapness and disposability of much design encourages me to resist transient or fashionable solutions that will date quickly or last for only a limited amount of time. Your entire life is an influence on your work, of both positive and negative factors; it’s this way with everyone.
What do you think is the most important aspect of design, particularly with publication designs? There is no single formal aspect that can be isolated and deemed most important - they are totally interdependent and their prominence in a given hierarchy would change somewhat on each project. That the design is developed by people who are intelligent, that the content is good and sound, and that the relationship with the client is a productive one and for a good, common goal - these are the the fundamentals that are most important. Which project do you feel represents your practice and what Remake is about most? I don’t think any one project necessarily represents Remake more clearly than the others - I think the practice is more about the aggregate body of work. Although I do feel some projects are simply better than others. The 2010 Design Awards program that we designed for the American Institute of Architects was a strong, systematic piece of work, for example. Could you briefly describe the brief, design/ thought process and solution towards this particular project?
What do you think is the most important attribute for a successful design team? Again, I find it very difficult to isolate a single trait. In terms of a team, paradoxically, the single most important element might be diversity. Your website showcases a strong breadth of fresh and interesting design work with a various range, materials and disciplines. Who would you say your main type clients are? How do you think working for different clients affect the design process and ultimately the finish design solution(s)? Remake really works with all scales and types of clients, and this broad scope is part of what keeps the work interesting. We do tend to work with a number of architects and arts organizations, for example, but we also work with fashion clients, manufacturing clients, retail clients, etc and I’d prefer to keep it a heterogeneous mix. Our process does have to adapt a little from client to client, but I try to keep
Key words that you would use to define the practice of Remake? Critical. Process. Rigor. Refinement. Clarity. How do you see the impact on printed publications with the influence of new technology such as the ipad and ebooks? I think that the influence, in terms of what these formats have done to books, has been profound and incredibly negative. I fall into the category of people who find iPads, ebooks, and other similar devices rather pointless and unsatisfying when it comes to experiencing books. Beyond this there is a more general cultural critique involved. Much of what is wrong with our world can be attributed, in a very broad sense, to the alienation between us (people) and that which we create and consume. This goes for the food we eat, the cars we drive, the cellphones we talk on, and the energy sources upon which we are totally reliant. We are alienated both physically and psychologically from most objects (even when they are spatially near), their meaning, their lifespans, their value, their utility, and their consequences. Digitizing books adds to this problem by alienating us from books and the experiences they transmit - the quality of the experience suffers, but the relationship with the physical object, with the author and his or her thoughts, is affected too. At all levels alienations should be resisted. Books are too important to allow to die - digitization reduces them to a cold, alienated shadow of what they once were. Understanding physical objects and their places in our lives is part of curing the state of things, and books have been one of the few objects that we, as a civilization, have created that have done more good than harm in the long run. For that fact alone they should be defended.
Interview with Mike Dyer
Remake
Interview with Mike Dyer
What is the design process of your studio when tackling a new project? I think our process is, broadly speaking, fairly consistent from project to project, and fairly typical. First, we always meet with our clients to discuss their objectives, their thoughts, their audience, and their content. We try to do this in as much depth as possible. We then often focus on independent research and informationgathering to augment the discussions with our client. Once this is complete we begin design ideation and sketching, which is usually a very broad, iterative process, resulting in many directions. We then begin to narrow down the best ideas and refine them further until we have something that is resolved enough to present. This process of taking rough ideas and working on them, over and over, is usually the most demanding, time-consuming, and rewarding. About half the time we later make adjustments to the presented design after reviewing it with our client, and, finally, we implement and produce the work.
Could you briefly describe the brief, design/ thought process and solution towards this particular project? This was the second time that we designed this prestigious architectural award program’s visual identity, print materials, and exhibition system. The key was in developing a conceptually relevant visual language that was both flexible and identifiable across many varied applications. It had to be very scalable, and feel purposeful in many different contexts. The design addressed this by placing typography in a dimensional space suggested by a framework of thin lines. The lines were meant to connote building as a process, scaffolding, or perhaps architectural sketches of planes and junctions. The typography fitted into this linear framework in a way that could be different on every single piece, but was always instantly recognizable. Exploiting the production processes of each application also helped to underscore the materiality of the design. So on print pieces we often used a tinted spot varnish to heighten the quality of spatial depth, and we correspondingly specified a high-gloss paint to contrast with a matte paint in the exhibition. The exhibition translated the linear graphic as a physically extruded system where the lines became “shelves” into which project boards were inserted. Arriving at this solution was a constant process of refinement and of knowing when to say when, and when to push thing further.
work interesting. We do tend to work with a number of architects and arts organizations, for example, but we also work with fashion clients, manufacturing clients, retail clients, etc and I’d prefer to keep it a heterogeneous mix. Our process does have to adapt a little from client to client, but I try to keep the basic steps of the process as consistent as possible. The inputs (client, audience, content, objectives, etc) are where the real variety is introduced. The process is and should be the process.
What do you think is the most important aspect of design, particularly with publication designs? There is no single formal aspect that can be isolated and deemed most important - they are totally interdependent and their prominence in a given hierarchy would change somewhat on each project. That the design is developed by people who are intelligent, that the content is good and sound, and that the relationship with the client is a productive one and for a good, common goal - these are the the fundamentals that are most important. Which project do you feel represents your practice and what Remake is about most? I don’t think any one project necessarily represents Remake more clearly than the others - I think the practice is more about the aggregate body of work. Although I do feel some projects are simply better than others. The 2010 Design Awards program that we designed for the American Institute of Architects was a strong, systematic piece of work, for example.
What do you think is the most important attribute for a successful design team? Again, I find it very difficult to isolate a single trait. In terms of a team, paradoxically, the single most important element might be diversity. Your website showcases a strong breadth of fresh and interesting design work with a various range, materials and disciplines. Who would you say your main type clients are? How do you think working for different clients affect the design process and ultimately the finish design solution(s)? Remake really works with all scales and types of clients, and this broad scope is part of what keeps the
Remake
be resisted. Books are too important to allow to die digitization reduces them to a cold, alienated shadow of what they once were. Understanding physical objects and their places in our lives is part of curing the state of things, and books have been one of the few objects that we, as a civilization, have created that have done more good than harm in the long run. For that fact alone they should be defended. What influences/inspires you as a design studio? ---- for me personally are interesting thinkers, writers, artists, and architects. I am less interested in Key words that you would use to define the graphic design, but there is, of course, some excellent practice of Remake? graphic design being done, especially in Germany and Critical. Process. Rigor. Refinement. Clarity. Switzerland. These are all positive influences; there are negative influences as well. The relative disorder How do you see the impact on printed publications of everyday life encourages me to seek ordered design with the influence of new technology such as the solutions, in order to introduce that back into the world ipad and ebooks? around me - even if just a drop. The cheapness and I think that the influence, in terms of what these disposability of much design encourages me to resist formats have done to books, has been profound and transient or fashionable solutions that will date quickly incredibly negative. I fall into the category of people or last for only a limited amount of time. Your entire who find iPads, ebooks, and other similar devices life is an influence on your work, of both positive and rather pointless and unsatisfying when it comes to negative factors; it’s this way with everyone. experiencing books. Beyond this there is a more general cultural critique involved. Much of what is wrong with our world can be attributed, in a very broad sense, to the alienation between us (people) and that which we create and consume. This goes for the food we eat, the cars we drive, the cellphones we talk on, and the energy sources upon which we are totally reliant. We are alienated both physically and psychologically from most objects (even when they are spatially near), their meaning, their lifespans, their value, their utility, and their consequences. Digitizing books adds to this problem by alienating us from books and the experiences they transmit - the quality of the experience suffers, but the relationship with the physical object, with the author and his or her thoughts, is affected too. At all levels alienations should
Interview carried out by email 17. 03. 2011
www.remake.co.uk
New York CIty
Interview with Mike Dyer Remake
Interview with Mike Dyer
Remake - NYC
Interview with Mike Dyer
Remake
Interview with Mike Dyer Remake - NYC
www.remake.co.uk
New York CIty
Interview carried out by email
17. 03. 2011
Interview with Mike Dyer
Remake
Remake Design shapes the world around us and mediates our experience of that world. Good graphic design is a powerful factor in improving the quality of communication and the visual environment in general. It can meaningfully influence how a corporation builds its image, how a nonprofit connects with its constituency, or how a person navigates a city. Successful design eschews the ephemeral and the trite; it connects with people in a fundamental way. We believe in clear, inspiring design with integrity and substance. We aspire to timeless design that is rooted in critical thinking and context, but that is also the product of an engaged dialogue—a dialogue with our clients, and, ultimately, with their audiences.
Interview with Mike Dyer
www.remake.co.uk New York City Interview carried out by email 17. 03. 2011
Remake Design shapes the world around us and mediates our experience of that world. Good graphic design is a powerful factor in improving the quality of communication and the visual environment in general. It can meaningfully influence how a corporation builds its image, how a nonprofit connects with its constituency, or how a person navigates a city. Successful design eschews the ephemeral and the trite; it connects with people in a fundamental way. We believe in clear, inspiring design with integrity and substance. We aspire to timeless design that is rooted in critical thinking and context, but that is also the product of an engaged dialogue—a dialogue with our clients, and ultimately, with their audiences.
Interview with Mike Dyer
www.remake.co.uk New York City Interview carried out by email 17. 03. 2011
Interview with Mike Dyer
Remake
Design Project Design Project have a history of creating distinctive visual communications that deliver outstanding results for clients in industry, the service sector, media and the arts. Across brand identity, print and digital media, our multi-disciplinary approach ensures that every project, regardless of scale or budget, results in a functional, effective and crafted solution that fulfils the communication objectives of the client.
Interview with James Littlewoord
www.designproject.co.uk Leeds. UK Interview in person 29. 02. 2011
James Littlewood
Design Project
What is the design process of your studio when tackling a new project? I think our process is, broadly speaking, fairly consistent from project to project, and fairly typical. First, we always meet with our clients to discuss their objectives, their thoughts, their audience, and their content. We try to do this in as much depth as possible. We then often focus on independent research and information-gathering to augment the discussions with our client. Once this is complete we begin design ideation and sketching, which is usually a very broad, iterative process, resulting in many directions. We then begin to narrow down the best ideas and refine them further until we have something that is resolved enough to present. This process of taking rough ideas and working on them, over and over, is usually the most demanding, time-consuming, and rewarding. About half the time we later make adjustments to the presented design after reviewing it with our client, and, finally, we implement and produce the work.
to be very scalable, and feel purposeful in many different contexts. The design addressed this by placing typography in a dimensional space suggested by a framework of thin lines. The lines were meant to connote building as a process, scaffolding, or perhaps architectural sketches of planes and junctions. The typography fitted into this linear framework in a way that could be different on every single piece, but was always instantly recognizable. Exploiting the production processes of each application also helped to underscore the materiality of the design. So on print pieces we often used a tinted spot varnish to heighten the quality of spatial depth, and we correspondingly specified a highgloss paint to contrast with a matte paint in the exhibition. The exhibition translated the linear graphic as a physically extruded system where the lines became “shelves” into which project boards were inserted. Arriving at this solution was a constant process of refinement and of knowing when to say when, and when to push thing further.
What do you think is the most important aspect of design, particularly with publication designs? There is no single formal aspect that can be isolated and deemed most important - they are totally interdependent and their prominence in a given hierarchy would change somewhat on each project. That the design is developed by people who are intelligent, that the content is good and sound, and that the relationship with the client is a productive one and for a good, common goal - these are the the fundamentals that are most important. Which project do you feel represents your practice and what Remake is about most? I don’t think any one project necessarily represents Remake more clearly than the others - I think the practice is more about the aggregate body of work. Although I do feel some projects are simply better than others. The 2010 Design Awards program that we designed for the American Institute of Architects was a strong, systematic piece of work, for example. Could you briefly describe the brief, design/ thought process and solution towards this particular project? This was the second time that we designed this prestigious architectural award program’s visual identity, print materials, and exhibition system. The key was in developing a conceptually relevant visual language that was both flexible and identifiable across many varied applications. It had
What do you think is the most important attribute for a successful design team? Again, I find it very difficult to isolate a single trait. In terms of a team, paradoxically, the single most important element might be diversity. Your website showcases a strong breadth of fresh and interesting design work with a various range, materials and disciplines. Who would you say your main type clients are? How do you think working for different clients affect the design process and ultimately the finish design solution(s)? Remake really works with all scales and types of clients, and this broad scope is part of what keeps the work interesting. We do tend to work with a number of architects and arts organizations, for example, but we also work with fashion clients, manufacturing clients, retail clients, etc and I’d prefer to keep it a heterogeneous mix. Our process does have to adapt a little from client to client, but I try to keep the basic steps of the process as consistent as possible. The inputs (client, audience, content, objectives, etc) are where the real variety is introduced. The process is and should be the process. Key words that you would use to define the practice of Remake? Critical. Process. Rigor. Refinement. Clarity.
Interview with Mike Dyer James Littlewood
How do you see the impact on printed publications with the influence of new technology such as the ipad and ebooks? I think that the influence, in terms of what these formats have done to books, has been profound and incredibly negative. I fall into the category of people who find iPads, ebooks, and other similar devices rather pointless and unsatisfying when it comes to experiencing books. Beyond this there is a more general cultural critique involved. Much of what is wrong with our world can be attributed, in a very broad sense, to the alienation between us (people) and that which we create and consume. This goes for the food we eat, the cars we drive, the cellphones we talk on, and the energy sources upon which we are totally reliant. We are alienated both physically and psychologically from most objects (even when they are spatially near), their meaning, their lifespans, their value, their utility, and their consequences. Digitizing books adds to this problem by alienating us from books and the experiences they transmit - the quality of the experience suffers, but the relationship with the physical object, with the author and his or her thoughts, is affected too. At all levels alienations should be resisted. Books are too important to allow to die - digitization reduces them to a cold, alienated shadow of what they once were. Understanding physical objects and their places in our lives is part of curing the state of things, and books have been one of the few objects that we, as a civilization, have created that have done more good than harm in the long run. For that fact alone they should be defended. What influences/inspires you as a design studio? ---- for me personally are interesting thinkers, writers, artists, and architects. I am less interested in graphic design, but there is, of course, some excellent graphic design being done, especially in Germany and Switzerland. These are all positive influences; there are negative influences as well. The relative disorder of everyday life encourages me to seek ordered design solutions, in order to introduce that back into the world around me - even if just a drop. The cheapness and disposability of much design encourages me to resist transient or fashionable solutions that will date quickly or last for only a limited amount of time. Your entire life is an influence on your work, of both positive and negative factors; it’s this way with everyone.
Remake Design Project
Design Project Dio odolor ipit lorercilla consequipit, sim vulputat ulla con hent la facipit nullupt atincip ex et, quatue doluptat la faccumsan hent ut eum iniam in hent lum delis am quis nulpute tumsan vendipsum il iuscin venit, conulla faciniam ilit ipsum vent velisi. Si. Pisci bla feu feum iure faciduis delismolor summy nulpute eum incinisim el dipsuscil irilismodip elesse er iniamet, vent alit illamconsed mod tie consed tat, consenit ea
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25 / 26 James Littlewood
Design Project
What is the design process of your studio when tackling a new project? I think our process is, broadly speaking, fairly consistent from project to project, and fairly typical. First, we always meet with our clients to discuss their objectives, their thoughts, their audience, and their content. We try to do this in as much depth as possible. We then often focus on independent research and information-gathering to augment the discussions with our client. Once this is complete we begin design ideation and sketching, which is usually a very broad, iterative process, resulting in many directions. We then begin to narrow down the best ideas and refine them further until we have something that is resolved enough to present. This process of taking rough ideas and working on them, over and over, is usually the most demanding, time-consuming, and rewarding. About half the time we later make adjustments to the presented design after reviewing it with our client, and, finally, we implement and produce the work.
to be very scalable, and feel purposeful in many different contexts. The design addressed this by placing typography in a dimensional space suggested by a framework of thin lines. The lines were meant to connote building as a process, scaffolding, or perhaps architectural sketches of planes and junctions. The typography fitted into this linear framework in a way that could be different on every single piece, but was always instantly recognizable. Exploiting the production processes of each application also helped to underscore the materiality of the design. So on print pieces we often used a tinted spot varnish to heighten the quality of spatial depth, and we correspondingly specified a highgloss paint to contrast with a matte paint in the exhibition. The exhibition translated the linear graphic as a physically extruded system where the lines became “shelves” into which project boards were inserted. Arriving at this solution was a constant process of refinement and of knowing when to say when, and when to push thing further.
What do you think is the most important aspect of design, particularly with publication designs? There is no single formal aspect that can be isolated and deemed most important - they are totally interdependent and their prominence in a given hierarchy would change somewhat on each project. That the design is developed by people who are intelligent, that the content is good and sound, and that the relationship with the client is a productive one and for a good, common goal - these are the the fundamentals that are most important. Which project do you feel represents your practice and what Remake is about most? I don’t think any one project necessarily represents Remake more clearly than the others - I think the practice is more about the aggregate body of work. Although I do feel some projects are simply better than others. The 2010 Design Awards program that we designed for the American Institute of Architects was a strong, systematic piece of work, for example. Could you briefly describe the brief, design/ thought process and solution towards this particular project? This was the second time that we designed this prestigious architectural award program’s visual identity, print materials, and exhibition system. The key was in developing a conceptually relevant visual language that was both flexible and identifiable across many varied applications. It had
What do you think is the most important attribute for a successful design team? Again, I find it very difficult to isolate a single trait. In terms of a team, paradoxically, the single most important element might be diversity. Your website showcases a strong breadth of fresh and interesting design work with a various range, materials and disciplines. Who would you say your main type clients are? How do you think working for different clients affect the design process and ultimately the finish design solution(s)? Remake really works with all scales and types of clients, and this broad scope is part of what keeps the work interesting. We do tend to work with a number of architects and arts organizations, for example, but we also work with fashion clients, manufacturing clients, retail clients, etc and I’d prefer to keep it a heterogeneous mix. Our process does have to adapt a little from client to client, but I try to keep the basic steps of the process as consistent as possible. The inputs (client, audience, content, objectives, etc) are where the real variety is introduced. The process is and should be the process. Key words that you would use to define the practice of Remake? Critical. Process. Rigor. Refinement. Clarity.
James Littlewood
How do you see the impact on printed publications with the influence of new technology such as the ipad and ebooks? I think that the influence, in terms of what these formats have done to books, has been profound and incredibly negative. I fall into the category of people who find iPads, ebooks, and other similar devices rather pointless and unsatisfying when it comes to experiencing books. Beyond this there is a more general cultural critique involved. Much of what is wrong with our world can be attributed, in a very broad sense, to the alienation between us (people) and that which we create and consume. This goes for the food we eat, the cars we drive, the cellphones we talk on, and the energy sources upon which we are totally reliant. We are alienated both physically and psychologically from most objects (even when they are spatially near), their meaning, their lifespans, their value, their utility, and their consequences. Digitizing books adds to this problem by alienating us from books and the experiences they transmit - the quality of the experience suffers, but the relationship with the physical object, with the author and his or her thoughts, is affected too. At all levels alienations should be resisted. Books are too important to allow to die - digitization reduces them to a cold, alienated shadow of what they once were. Understanding physical objects and their places in our lives is part of curing the state of things, and books have been one of the few objects that we, as a civilization, have created that have done more good than harm in the long run. For that fact alone they should be defended. What influences/inspires you as a design studio? ---- for me personally are interesting thinkers, writers, artists, and architects. I am less interested in graphic design, but there is, of course, some excellent graphic design being done, especially in Germany and Switzerland. These are all positive influences; there are negative influences as well. The relative disorder of everyday life encourages me to seek ordered design solutions, in order to introduce that back into the world around me - even if just a drop. The cheapness and disposability of much design encourages me to resist transient or fashionable solutions that will date quickly or last for only a limited amount of time. Your entire life is an influence on your work, of both positive and negative factors; it’s this way with everyone.
Design Project
Design Project Dio odolor ipit lorercilla consequipit, sim vulputat ulla con hent la facipit nullupt atincip ex et, quatue doluptat la faccumsan hent ut eum iniam in hent lum delis am quis nulpute tumsan vendipsum il iuscin venit, conulla faciniam ilit ipsum vent velisi. Si. Pisci bla feu feum iure faciduis delismolor summy nulpute eum incinisim el dipsuscil irilismodip elesse er iniamet, vent alit illamconsed mod tie consed tat, consenit ea
25 / 26 James Littlewood
Design Project
James Littlewood
Design Project
Design by Remake
AIA New York
Design Awards Architecture Interiors Urban Design Un-built Work
2010 Design Awards 18
Architecture Honor
Knut Hamsun Center Hamarøy, Norway
Nordland Fylkeskommune Steven Holl Architects With Guy Nordenson and Associates, Landskapsfabrikken, L’Observatoire International, LY Arkitekter, Rambøll Norge, Skanska Norge AS, and Veidekke AS
Schedule
05 Feb 2010
6:00pm
Submission Deadline (Fees and full online submission due)
01 Mar 2010
6:00pm
Winners Announced at Design Awards Jury Symposium
14 Apr 2010
11:30am
Design Awards Luncheon at Cipriani Wall Street
15 Apr 2010
6:00pm
Design Awards Exhibition Opening For submission instructions and more information, visit www.aiany.org/awards