SHOWGUN
NO 01
CHRONICLE
»REKTORS KLUMME
2010
JUNE
KLUMME
»SHOWGUN ISSUE #
n 01 o
»COLOPHON
Showgun er et studiekulturelt magasin og event for vidensdeling, netværk og inspiration for de studerende på Danmarks Design Skole
Publisher The Danish Design School
Målet med Showgun er at fremvise og synliggøre de studerende på Danmarks Design Skole´s resultater, ideér, oplevelser og kreativitet, og styrke den almene vidensdeling og studiekultur. Showgun har som vision at være et fast brændpunkt for social interaktion, inspiration og vidensdeling. Showgun skal krystalisere en samlende kollektiv platform, der styrker og beriger de studerende’s horisont, studiemiljø og læretid på Danmarks Design Skole. Showgun Chronicle er planlagt til at udkomme 3. gange pr. semester, i 6. udgaver over et studieår, ved et fast hyggeligt studiesocialt event, kaldet Showgun Café.
Rektor Anne-Louise Sommer, Maj 2010, Danmarks Design Skole Danmarks Designskole har 135 års erfaring i at være førende inden for udviklingen af dansk design og kunsthåndværk. Vi har en stolt tradition bag os – og vi er på forkant med udviklingen. Og det forpligter!
SHOWGUN CAFé
Både inden for uddannelse, forskning og udvikling bidrager vi løbende til den rivende udvikling og forandring som designbegrebet aktuelt undergår.
11 of JUne 2010 at 15.00 pm THE GLAS HALL
the th
For øjeblikket er forandringsprocessen særlig markant for os internt. Vi kan imødese en fremtidig fusion med Arkitektskolen en gang i 2011 – og inden da en samlokalisering, når vi til februar 2011 åbner dørene op på Holmen, hvor vi bliver en del af det kreative uddannelsesmiljø, der samler flere kulturministerielle institutioner. Her skal vi finde en plads i samspil med de andre fagligheder.
»milano furniture faIR
STUDIETUR
I SHOWGUN kan vi læse om alle de vilde eksperimenter, sjove projekter og skøre ideer, der overrasker og udfordrer vanetænkning og gængse forestillinger. Og gør os alle lidt mere kloge på den mangfoldige virkelighed, der omgiver os – og hvor design i alle afskygninger er et vigtigt omdrejningspunkt. Tag godt imod SHOWGUN – og lad os håbe det bliver et tankevækkende bidrag, der kan styrke dialog og faglig udveksling på Danmarks Design Skole.
/ Anne-Louise Sommer Maj 2010, Rektor Danmarks Design Skole
Et opsumerende indblik i årets Milano Furniture Fair
»AFGANG 2010 August 2010: Danmarks Designskoles modeshow og afgangsudstilling Danmarks Designskole lancerer årets afgangsmodeshow under Copenhagen Fashion Week 2010 i august. Årets store samlede afgangsudstilling 2010 åbner på Carlsberg i København 18. August 2010. Alt det bedste af det nye. Mød de første af 2010’s nyuddannede designere. Profiloversigten vokser frem til sommer 2010, hvor Danmarks Designskole lancerer det samlede afgangsudstilling og -show 2010. Gå på opdagelse i de nye afgangsprofiler og projekter her. Se afgængernes profiler og projekter på
www.dkds.dk/afgangsprojekter
»FOOD FOr thOUGHT ”It isn’t what you have, or who you are, or where you are, or what you are doing that makes you happy or unhappy. It is what you think about.” – Dale Carnegie ”A designer is an emerging synthesis of artist, inventor, mechanic, objective economist and evolutionary strategist.” – R. Buckminster Fuller ”You can make more friends in two months by becoming interested in other people than you can in two years by trying to get other people interested in you.” – Dale Carnegie Hot Link / Food for thought TED - Ideas worth Spreading – www.ted.com Idé & llustration Dennis Nikolai Andersen
»Åben forelæsning
”Rehearsing The future” Ny designudgivelse om at ændre fremtiden. DAIM-innovations- og forskningsprojekt bliver til bog, udgivet på Danmarks Designskoles Forlag.
Juni 2010: Åben forelæsning: Selçuk Artut An Immersed Sonic Experience Den 22. juni 2010 inviterer Danmarks Designskole og The Interaction Design Programme til åben forelæsning med Selçuk Artut under titlen: An Immersed Sonic Experience.
Tid og sted 22. juni 2010, kl. 18-19. Danmarks Designskole Festsalen (A111) Strandboulevarden 47 K-2100 København Ø Se mere på: www.sonicfields.net
Typography Set with NewBaskerville (1988) by Adrian Frutiger & Monoment Narrow Display v.1 (2010) by Thomas Casander Jeppesen & Matthias J.E. Horneman-Thielcke. Design & Concept Thomas Casander Jeppesen Matthias J.E. Horneman-Thielcke Paper provided free-of-charge by Arctic Paper SE, arcticpaper.com (thank you!)
Thank you! Sofie Beier, for your tips on typeface design Adrian Täckman, for your tips on magazine design Peter Gyllan, for your insights on school history & old school-related magazines / news paper publications DKDS’s Print Center, for advice on printing issues Tine Kjølsen, for good guidance
PROJEKT INDSIGT THOMAS CASANDER JEPPESEN MATTHIAS J.E. HORNeMAN-THIELCKE SHOWGUN Chronicle & Café 6. semester Danmarks Design Skole CENTER FOR VISUEL KOMMUNIKATION
Projekt: Visuel identitet til en studiekulturel oplevelsesplatform, der ønsker at bidrage til et bedre studiemiljø på Danmarks Design Skole
Det er skønt at kunne byde velkommen til SHOWGUN, der er et 100-procent studenterdrevet initiativ. Og stor tak for det.
»Nyt fra biblioteket
Contributors Caroline Arvidsson Mathias Weber Dennis Nikolai Andersen Jonas Edward Sine Jensen Ditte Lerche Peter Gyllan Mervyn Kurlansky Anne-Louise Sommer Kristian Rise
Print Litotryk A/S DK, litotryk.dk
»SHOWGUN CHRONICLE
SHOWGUN præsenterer løbende spændende projekter, der udfolder sig i forbindelse med – og i forlængelse af – undervisningen. SHOWGUN giver inspiration fra den store verden med interviews af gæsteforelæsere og -designere. Og SHOWGUN vil rapportere fra forskningens nøglepersoner og innovationsfrontløbere.
Forskere og professorer fra den nærtstående arkitektog designskole-fusion ser frem til at dele viden på tværs af kompetencer !
Ønsker du at være bidragsyder til Showgun redaktionen, skriv til showgun@dkds.dk.
Creative direction / Editing Thomas Casander Jeppesen Matthias J.E. Horneman-Thielcke
Questions / Want to contribute? showgun@dkds.dk
Der er stor bevågenhed i forhold til design. Både fra politisk hold og fra den brede offentlighed. Design er et buzzword på godt og ondt, og derfor skal vi bidrage til den brede kommunikation, så alle kan blive lidt mere kloge på det komplekse og mangefacettede fænomen, som design er. Den indsigt vi alle har om design på mange niveauer, skal kommunikeres bredt ud. Vi skal dele vores viden. Og den proces starter ’in house’.
»THE SHOWGUN BULLIT
Showgun er hovedsageligt drevet af studerende på Danmarks Design Skole, og er derfor et udtryk for de studerende’s holdninger, projekter, oplevelser og ideér. Bidragsydning til Showgun er dog frit for alle med forbindelse til Danmarks Designskole.
DENMARKS DESIGN SCHOOL
Designbegrebet flytter sig løbende – det er grænsesøgende og grænsesprængende – og design rejser mange og store spørgsmål, der kræver stillingtagen. Spørgsmål der er tæt knyttet til den brede samfundsdebat, til globaliseringsstrategier, til politik, til miljøudfordringer og til drømmen om det gode liv. Spørgsmål fra stort til småt. Som designer tager man aktivt stilling til disse spørgsmål, og design kan gøre en forskel.
Forskerteam på Danmarks Designskole udgiver ny sourcebook til brugerdreven innovation. Udgivelsen afslutter to års praktisk arbejde med innovation i samarbejde med Vestforbrænding, 1508, 3PART, SPIRE Center, Syddansk Universitet og andre partnere. I forskningsprojektet, der går under navnet DAIM (Design Antropologisk Innovations Model), handler innovation om at ‘øve sig på fremtiden’. Den nye udgivelse fra DAIM-holdet og Danmarks Designskole udfolder dette perspektiv støttet af DAIM-projektets nære samarbejde med fem danske og udenlandske designbureauer - gennemillustreret fra projektets samarbejde med Vestforbrænding om affald og bæredygtighed.
»OM SHOWGUN
THANK YOU ARCTIC PAPER for providing free “Munken Rough” paper for the Showgun Chronicle
Det hele startede med et par møder inden afgang. Initiativet kom fra Kulturministeriet og trendforsker Mads Arlien-Søborg som var udpeget til at være vores ”høvding”. 22 elever fra henholdsvis Danmarks Designskole, Arkitektskolen København, Design Skolen Kolding og Arkitektskolen Århus var blevet valgt til at tage med til Milano for at hjælpe danske virksomheder fremme dansk design. Vi skulle i løbet af ugen derfor hjælpe danske virksomheder som Kvadrat, Normann Cph, Dansk Design Center og det danske konsulat i Milano. Opgaverne løb bla. på at hjælpe virksomhederne med deres events, dele kateloger ud, skrive blog indlæg, passe udstillinger og tale med folk om dansk design. Hele byen var spækket af design. I gaderne var opstillet forskellige designskulpturer og nogle gader var pyntet op med kæmpe store lamper. Bydelen Zona Tortona var hjemsted for Dansk Design Centers initiativ showroomet ShowHow, som bestod af bæredygtigt design som trævarer fra Munio, spisebord fra Julien Kyhl, strik fra Gudrun&Gudrun, produkter fra Mater osv. Også Danish Crafts havde showroom her med udstillingen MindCraft hvor bla. Isabel Berglund, Margrethe Odgaard, Astrid Krogh og Ditte Hammerstrøm udstillede værker. Normalt er Zona Tortona hjemsted for fotografer, værksteder og andre kreative, men under Møbelmessen havde de tømt deres lokaler og lejet dem ud til diverse udstillere, hvilket gjorde at hele bydelen var spækket med showrooms, udstillinger m.m. Også bydelen Brera var spækket med udstilllinger – og her holdt Fritz Hansens store 2-etagers showroom også til.
Studio Job. Samt udstillingen Monsters Project i samarbejde med Innofa-Stretch Textiles, der var en serie siddemøbler (små monstre) produceret i strikkede stretch kvaliteter. Kvadrat var også repræsenteret og især i designhallen ude på selve møbelmessen var der ikke det møbel som ikke var beklædt med stof fra Kvadrat. Selv havde virksomheden et kæmpe showroom inde i Milano og torsdag aften da de afholdte event var der da også spækket med designere, pressefolk og andre.
Velkommen til første udgave af Showgun ! Magasinet er resultatet af et 10ugers selvvalgt projekt i december/januar 2009/10, hvor vi har arbejdet med at skabe en kollektiv studiekulturel oplevelsesplatform til Danmarks Design Skole og de studerende. Vi og mange af vores kære medstuderende har tit snakket om der var for langt imellem konkrette sociale studiekulturelle events på skolen. Events, der samler skolen, og lade os få større indsigt i hvad der bliver produceret, lært og oplevet på de forskellige værksteder, centre og moduler. Der florerer allerede gode initiativer for vidensdeling og inspiration, ikke mindst Madeinschool. dk, Dynamo, Tapettet, DE/AR, Copy/Paste Gallery, m.fl. De fleste er dog digitale, lidt upersonlige, og hjælper os ikke til at sætte ansigt på hinanden; og er svære at deltage aktivt i uden noget samlende initiativ og event at se frem imod. Showgun håber at bidrage til de forvejen gode idéer med et ny dynamisk - voksende studenterdrevet magasin kaldet Showgun Chronicle. Magasinet er planlagt til at udkomme ved tre faste events, ShowGun Café, hvert semester. Café - eventet skal skabe ramme for mere social omgang, seriøse og useriøse happenings, workshops, foredrag, udstillinger, fællesorientering m.m.
Showgun Navnet Showgun refererer til platformens oplysende motivation og vision, i henhold til at fremvise, belyse, vidensdele og arkivere den skabende, eksperimenterende og udforskende studiekultur på Danmarks Design Skole. Showgun er et projektil ladet med aktuelt studiekulturelt og designrelevant information og inspiration.
Om Showguns format Patricia Urquiola var også repræsenteret rigtig mange steder i Milano, både ude på messen og i byens showrooms. Bla. med møbler fra Morosso, store tæpper fra GAN og med udsmykning af en hel bil i Kvadrats Showroom. På messen var trendområdet Satellite et spændende sted at besøge. Her var mindre udstillingsrum og det var primært upcoming designere og studerende der viste produkter. Der var stor fokus på lamper i alle afskygninger og det var spændende at se så mange forskellige former.
Showgun er et magasin i stort format, og er et mix af avis, magasin og plakat. Hver enkelt ark kan fungere selvstændigt som plakat eller samlet i ark som magasin / avis. Ideén er at holde funktionen åben for muligheder, og gøre magasinet fleksibelt i forhold til mængden af indhold.
Om Showguns typelogo & identitetsskrift Showgun Display / Monoment Narrow’s bogsta-
ver (typer) er specialtegnet som Showguns egen identitetsskrift. med henblik på at signalere en stærk identitet, med subtile signaler/reference til journalistik, design og historie. Linierne og arkitekturen i display skriften er baseret på gamle plakat og avis skrifter med deres karakteristiske udtryk og tætte ordbilleder. Typerne er konstrueret ud fra rene linier, og specielt formgivet til at fungere som Display/ Headline skrift. Monoment Narrow er en væsentlig bidragyder til at skabe et karakteristisk og genkendeligt udtryk til magasinets visuelle udtryk. Som identitetsskrift fungerer Monoment som primær typografi. Den bruges til overskrifter, trumpetter m.m.. ITC NEW BASKERVILLE STD anvendes som supplerende typografi til Monoment Narrow. Den er valgt udfra sin læsevenlighed og anvendelighed i små typer, og anvendes som brødtekst. Den er en antikva skrift med fødder (seriffer) og er velegnet til brevkorrespondance og større, tunge tekstmængder. ITC NewBaskerville skriftfamilien er baseret på design af skrift legenden John Baskerville (UK) i
1724. Skriften er genoptegnet i 1978 af John Quaranda, og er siden blevet optimeret og udgivet af ITC - International Type Corporation igennem LinoType TypeFoundry.
Om Showguns layout Layout er tilrettelagt med en simpel struktur, til at lette planlægning og produktion. Det er en målsætning at designprincipperne forenkler tilrettelæggelsen af magasinet, og at en lille redaktion kan redigere den uden en alt for krævende layoutmæssig proces. Showgun Chronicle’s sider er opbygget med et enkelt symmetrisk modulært grid (layout net), som kan underdeles med i 2, 4, 6, 8, 12 og 16. Har du lyst til at blive en del af redaktionen, eller bidragsyder, skriv til showgun@dkds.dk. / Thomas Casander Jeppesen Matthias J.E. Horneman-Thielcke
Det kan klart anbefales at tage et smut til Milano under møbelmessen. Hele byen summer, der er masser af se, både for de møbel, rum og tekstil interesserede men også for den designstuderende som gerne vil inspireres og følge med. Der er masser af former, strukturer, silluetter og mønstre man kan lade sig forføre af. Og husk på Milano er en skøn by i april! Se billeder og mere på blogs.denmark.dk/lerche. / Ditte Lerche
I år var der kommet et nyt spændende hollandsk område hvor studerende og hollandske designere havde grupperet sig med showrooms. Faktisk var Holland godt repræsenteret bla. ved designeren Pieke Bergmans som havde flere projekter med på forskellige udstillinger i byen. Hun udstillede bla. projektet Wonder Lamp, som var en serie meget skulpturelle og eventyrlige lamper med stemninger fra Aladdin, som var et samarbejde med
The quick brown fox jumps over the lazy SNOOP dogGY DOG 1234567890 @ MONOMENT NARROW ABCDEFGHIJKLMNOPQRSTUVWXYZÆØÅ SHOWGUN CHRONICLE / no 01
01/04
SHOWGUN
CHRONICLE
NO 01
2010
JUNE
»DrAw Drew DrAWN
INTERVIEW
Mervyn Kurlansky Mervyn Kurlansky was educated at the Central School of Arts and Crafts, London 1960. Director of the design consultancy service of Knoll International 1961. Partner Crosby/Fletcher/ Forbes 1999. Co-founder Pentagram 1972. Founder Mervyn Kurlansky Design 1994. Clients include Multinational corporations, cultural establishments and educational institutions worldwide. Awards include a bronze medal Brno Biennale, silver awards Designers and Art Directors Association and New York Art Directors Club, gold awards Package Designers Council and Japan’s Minister of Trade and Industry, Gustav Klimt prize 1995, Danish IG design prize 1996.
Illustration / billedkommunikation v/ Annemette Lichtenberg 5 ugers redskabsmodul, forårsemesteret 2010. Se bøgerne og illustrationerne på en ny blog
His work is in the permanent collection of MOMA New York and has been featured in publications and exhibitions worldwide. He conceived and designed the books, Watching My Name Go By, the first documentation of New York graffiti, and Masters of the 20th Century celebrating the work of the 107 speakers of Icograda London Design Seminars 1974-1999, co-author of four books about Pentagram. He is active in design education, lectures extensively and serves on design juries internationally. In 2006 he was inducted into the South African Design Hall of Fame. He is a Past President of Icograda (the International Council of Graphic Design Associations), a Fellow of the Chartered Society of Designers, the International Society of Typographic Designers and the Royal Society of Arts and Commerce,. He is a member of Alliance Graphique Internationale and the Danish Design Association.
»A CASUAL WORD WITH MERVYN KURLANSKY Showgun met Mervin Kurlansky, while teaching a poster design workshop at the Danish Design School What is your background? I went to art school in London in the 60´s. Back then it was called the Central School of Arts and Crafts. It later combined with St. Martins School of Art and is now called Central St. Martins. I only attended the school for about eighteen months during which time I felt that I had learned as much as I could. My teachers agreed with me and supported my early departure. I was born in South Africa, and as a teenager I was interested in music and art. At the age of eighteen, after taking my university entrance examination, I was faced with several career choices; a university degree in fine art, or music, a technical collage training in commercial art and advertising, (there were no art or design schools in Sout h Africa at that time - this would have been 1954) or I could look for a job. I decided on the latter and took to the city streets, knocking on doors, asking people how I could use my talent in the business world. The description graphic design or visual communication did not exist then. Our profession was simply known as commercial art.
we were all stars, so we settled for Pentagram. But we avoided the obvious; we didn’t use the symbol.
You are among other things known for your work with typography. What is it that makes typography so special to you? I don’t know why typography became so special for me, but I think it has to do with some kind of interest in mathematics. Geometric forms, numbers and calculations fascinate me and typography is like that. When I use type I use it in a kind of diagrammatic, mathematical way such as the logo I did for the Museum of Modern Art. I think there might be a connection there. The other thing is that when I was in the army I joined the Signals, so communication seemed natural to me, and somehow there is that link in terms of communicating with language, codes and symbols. I am fascinated by these strange forms, which mean nothing on their own yet can be put together in such a way as to create poetry. Eric Gill is reputed to have said that letters are meaningless symbols for meaningful words.
Well, no, as a child I just used to draw and play music but I didn’t know about design. In fact the word was not part of the vocabulary of society then as it is today.
You were part of the founders of Pentagram. What was it you wanted to achieve? I think that what we wanted to achieve was excellence in work. We wanted to break the rules and break new ground, to be innovative. And it was a time when that was possible. We were just lucky to be in the right place at the right time.. It was the swinging sixties in London and we were part of that cultural revolution. People were ready for something new, including the business and financial institutions.
Why the name Pentagram? When I was invited to join the group, which was one of the first design groups in Britain, they were called Crosby/Fletcher/Forbes. Three graphic designers, friends from art school, and an architect. They were looking for new partners to grow the firm. They wanted to find young people who were up and coming designers and who could be the next generation for them. I was the first to be approached and they invited me to join them. They said they did not want to change the name of the firm. They wanted to keep the name of the founders and anyone else joining them would have to accept that. They didn’t want to go the route of advertising agencies or law firms, who kept adding names every time they took on a new partner, so I accepted that. I thought that it wouldn´t be a problem for me, but the next partner who was invited didn’t like the idea. He didn’t want to lose his name. So I suggested that we find an umbrella name. We all looked for words and names and we asked our friends and we came up with hundreds of names, and one of the names that Alan Fletcher found in a book of mystical symbols, was Pentagram - a five-pointed star, a very mystical geometric figure with all sorts of associations. There were five of us, and we were arrogant enough to think
Do you discuss your work with others designers?
Yes, there are several designers who I admire, and I think my favourite is Joseph Müller Brockman, And my second was Saul Bass. When I saw his film posters and his film titles they where extraordinary breakthroughs. No one had done anything like that before, and if you know the original film Psycho you will recall his use of graphic horizontal lines that move from the right and left sides of the screen towards the centre and interlace with titles in the lines, and in his final image, the graphic lines change to venetian blinds, and if I remember accurately, he camera goes through the blinds to show the inside of a hotel room where a couple are having an affair. And now it’s commonplace to have exciting film titles. So he was a pioneer and an extraordinary man. An airline approached him once to do a campaign for them, and asked if he could do something really outstanding, and he said, I can do something outstanding, can your company live up to it?
I discussed work with my partners when I was in Pentagram which was part of our policy. But we had one simple rule, that one partner was responsible for the project and would make the ultimate decision. A partner would get input from the others, but it was up to him to decide what advice to take. We met every Monday afternoon to discuss projects. That feedback is very important because without it you just rely on what you know and may repeat yourself. Discussion with others, challenges you. In fact that’s what raises the standard. But now I tend to rest on my laurels. Design is really easy and comfortable for me now and I don’t have to effort at it.
So that’s from the past, but there are many younger designers whose work I admire. One guy attended one of the workshops I gave, he was a sociologist, and he was interested in design, so he attended my workshop and did terrible stuff because he had no training in design. And he ended up influencing a whole generation of designers, David Carson. Pioneering work. After the workshop he first art directed a skateboard magazine and he would send me the layouts, and they were terrible compared to what we were doing, such a mess. But I saw that the guy was onto something unique, and I encouraged him . He wasn’t thinking about design, he was thinking about how to communicate with the audience he was trying to reach, and that’s what he did. He reached kids who wouldn’t normally read and got them to read his magazines.
You are teaching a class at Denmark Design School right now. Do you like teaching? Yes I’m running a poster workshop right now and I do like teaching, but only in running weak-long workshops. I wouldn’t like to be a teacher as a permanent job, get up every morning to go and teach.
What do you think will be graphic/design trends in the future? To produce design that works for society as a whole, not just for the business and financial sectors. To design with responsibility is key. If graphic design doesn’t do that, it fails to meet the real needs of the people. Community work could become more important. And also because we’re talking about graphic design in particular, I guess the trend will be towards making communication of real benefit to people. If you take areas like the national health system there’s a huge job to be done. To take design and make it more than just a piece of graphic decoration or bland information, to design in such a way as to make a real difference to patients. There’s a huge opportunity there. It is difficult because we’re not the decision makers, but if we can begin to do things so that people understand and respect that we have a skill they don’t have, and that computer programs won’t do it. In fact it is time for designers to become leaders, and have an influence at the level of decision-making. Not all designers may have these qualities, and skilful decoration will always be needed, provided it is under the direction of creative and innovative thinkers, but for those who actually have the intelligence and the ability to lead, design schools will need to provide the appropriate education that nurture and develops these qualities.
« Left
Mervin Kurlansky, poster “Design, Technology and the global brain”
My first job was for a window dressing firm, hand painting posters for shop windows. After a short time I realised that was not what I wanted to do with my professional life. Someone suggested that I try the commercial art department in a printing firm. So I tried that and I learned how to set lead type and how to design orange box labels, wine labels and milk cartons. These were very basic skills, which I benefited from, but the work was fairly shallow and I had no real understanding of what design was about. So at the age of 22, I left South Africa, inspired by the typography of Joseph Müller Brockman, in a 1955/56 Graphis Annual. When I arrived in England, I thought I would easily get work experience, but no one would employ me, because I had this terrible portfolio of South African work, which was about a hundred years behind the time. Somebody suggested I should go to art school, and so I did, and it changed my life.
When you were a child, did you want to be a designer?
Is there any designer; person, from the past you really appreciate?
Second left
Mervin Kurlansky, poster “Homage to Frida Kahlo and Diego Rivera - 100 years since her birth - 50 years since his death”
What would you say you are best known for? Well, naturally for the work I’ve done as a graphic designer, but also for what I’ve written or spoken about. For inspiring others to grow, I would be very pleased if that was so.
If you had the chance, what would you like to design?
Which font do you prefer and why? At one stage I preferred the font Helvetica, which I came across in the sixties and it was fantastic. Then I came across the work of American/Italian designer Massimo Vignelli, who always used two typefaces, Helvetica and Bodoni, and sometimes he combined them. So I thought, I have got to find an alternative to Helvetica, I found it when I began to do the work for the Museum of Modern Art. I used Futura, and fell in love with it and I still use it very often. So, I guess Futura has become my signature. Although I still love Helvetica.
What is important in a design process? I think understanding the problem. Our philosophy at Pentagram was that the solution to a design problem lies within the problem. Really understand the problem and the solution unfolds.
What inspires / motivates you in your work with graphic design? What more than motivates me is to communicate, I have a powerful desire to communicate, a wish to teach, to influence, to stimulate thinking in others, to share.
Which period in graphic design are you most inspired by? – Why? Oh, the sixties and the seventies because at that time anything was possible, there was such optimism. The business world was hungry for new ideas. So we were treated with great respect as people who understood and knew how to communicate. And how to do things, how to make things. Nobody else knew that. Now with computers that world has changed, suddenly everybody can be a designer. It raises interesting questions about what the designer can offer. Because it’s easy for anybody to use design programs, and in a way the computer has democratized design. It’s no longer in the hands of an elite few. That’s a challenge. What will designers contribute?
That’s not me. I think that the idea of bringing outside people in to run workshops, with different, fresh influences, is very beneficial for the students.
When you made the logo for Danmarks Design School, what approach did you take on this assignment’ ? There was already an identity, but people wouldn’t use it, the school wasn’t using it. The Rector asked me if I’d look into the problem, and give my advice. So I began the process of research and analysis. I interviewed all the teachers and a few students, and I found out that somehow there was dissatisfaction with the identity. It was a nice design but it just wasn’t working. The new school was a combination of different schools that had come together and although they wanted to be a modern design school, there was a strong tradition of craft. The fact that they called themselves Danmarks Designskole, which is very arrogant and unusual, was almost a claim that it was the only school of design in Denmark, ”the national school”. I thought that was special. So, in my report I recommended a redesign. They asked me if I’d do it and I said yes and I would build a team of students to work with on the project. Now what intrigued was the name, and you know how you say, it’s DENMARK’S design school, with the emphasis on Denmark, but it’s specifically a DESIGN school, with focus on design, and then it’s not just a design organisation but it’s a SCHOOL, so these three facets intrigued me and that’s why I repeated the name three times., once for every word of focus. Then of course there was the question of how to realise this idea, and I took my inspiration from Scandinavian runes. These stone carvings, thousands of years old, by the Vikings, are simply awesome. With the help of the students, in particular Masoud Alevi, (who is now creative director at Danmarks Radio), we created a contemporary alphabet, which carried associations with the elongated letterforms the Vikings had carved. We combined male and female energy with a round outside and a square inside to each letter.
I’ve always wanted to design the brand identity of an airline, but nobody has ever asked me to, but I think it’s a difficult question because right now I’m more interested in going back to art and I want to start sculpting. I feel I’ve made my contribution to design but if I wanted to do anything I think I’d want to be part of a team of people, doing something with companies, helping them become better citizens, being more responsible and making sure that they are not just there to make money, but that it’s about them contributing in a more responsible and ethical way to society. And it wouldn’t matter which company. I’ve touched on this idea with Sappi, a paper company I worked with to develop a programme of financial support for the design community in designing for social good. But it never went as far as I would have liked.
What type of project has given you the most satisfaction? There was a time when designing diagrams gave me the most satisfaction. I had two great projects for Roche Pharmaceuticals in 1972, one was going around the world taking photographs, and that was an extraordinary gift you don’t come by easily these days, and the other was designing a medical book on anxiety: Roche would commission a different top designer each year to design a calendar, for them, promoting a sleeping pill. Their main competition produced scenic calendars, which were very popular with doctors who were their main target audience and Roche repeatedly requested a scenic calendar but every designer manage to avoid this and persuade Roche to accept an alternative and more innovative idea, such as ancient remedies for sleep or abstract paintings on the theme of sleep. When they commissioned me for the project, I decided to accept the challenge. I had been inspired by a book called: “Architecture without architects”. It featured examples of indigenous dwellings such as Eskimo igloos, Bedouin tents, and so on, and I thought that could make an extraordinary calendar. To promote the idea of sleep, I decided to photograph the 12 locations I had chosen, at sunset. On my return from the seven-week journey around the world I began the second project for Roche which was this book on the latest medical
I forårssemesteret 2010 blev der afholdt en femugers illustrationsworkshop på Danmarks Design Skole. Den blev afholdt for 30 studerende i et lille proppet lokale i D-bygningen. Annemette Lichtenberg var underviser og opgaven var at bruge to uger på øvelser, der skulle bidrage til spontan ufiltreret tegning, inden vi i de tre sidste uger af workshoppen, gik i gang med den individuelle opgave der lød: Lav en bog, der illustrerer tre visuelle universer med udgangspunkt i ti forfatteres fortællinger om ti fantasiverdener. Ilustrator Ib Kjeldsmark var med til ferniseringen af bøgerne, for at give konstruktiv input og en god potion emotionel feedback. Se et udvalg af vores bøger og illustrationer fra workshoppen på bloggen: drawdrewdrawn.posterous.com. God fornøjelse! / Caroline Arvidsson
research on anxiety and this involved the design of some 15 diagrams. Taking very complex information and trying to make it very interesting and understandable was so rewarding. Another design project that gave me great satisfaction was for the Museum of Modern Art, Oxford, because that was a subject dear to my heart.
Please describe your style/method as a good friend of yours would. Maybe my spending much time on research before I design. I avoid going to the computer, or to paper until I’ve sorted out all the facts. Then I focus, I go to sleep or go for a walk, have a scotch, and then think about it, and then my mind sorts it out and it all manifests. So, I think that’s what my friends would describe my method as. Also for trying to do it differently, to be witty, to be innovative. In fact, I am compelled to be different generally.
Do you have any advice for the young aspiring designers?
What is the most important in a publication?
There is a feeling that everything’s been done, but I think there is new territory, which is a new emphasis. Before it was; how do we achieve economic stability, and then we became so greedy that we created economic instability, and environmental degradation, so we’ve got to get back to a more stable economic situation, and a healthier planet - we can’t ignore that. But it’s got to be a new kind of economic stability, and new thinking about how we consume. Not about a few taking as much as they can get but about creating well being for everyone, that’s the new challenge. So I think that’s something new. Don’t confuse design with style, design is just a plan to make something, and the rest is whatever we add to that. So there is a new design opportunity because there is a new goal, a new intention. We need a new plan now.
Appropriateness.
Where do you work on your design projects? The thinking can be anywhere, on an aeroplane,
“...Getting to the essence, really understanding, what is the need here, who am I communicating to. What am I communicating and who for. then you dress it up, AND NOW it’s ONLY a question of fashion and style and other things...”
going for a walk, going to the gym, swimming, sleeping. The physical work gets done in my studio. I used to have a studio in Pilestræde, which I shared with Kim Paulsen, who used to be the head of the Danish Design Association, and was instrumental in bringing about the merger between the different disciplines. And then I took my studio to the farm. So I work on the farm, which is wonderful.
You speak of sustainability, in which areas in his/her work; can a visual designer contribute to a better environment? I think we need to learn to design for a sustainable future, and people are beginning to find out how to, like Cradle-to-Cradle, and many other architects and product designers. So how does visual design do that? Well, we’re the communicators of that, so we have to begin to find opportunities to communicate this new approach to the world. That’s the challenge. We could be concerned by what materials we use, what inks we use, are they sustainable, are they poisonous? I mean the little things, and of course we can be aware of that in our daily life, but in terms of the discipline we have, we can use our powers of communication to influence everyone to behave more ethically, and more responsibly towards society as a whole and towards the environment.
What is your opinion on “the grid system” which seems to be the invisible D.N.A. of modern graphic design? If you look at anything in nature, there is a structure, so why shouldn’t there be a structure in design? Even if we break it, I mean if you look at a tree, every tree looks different from the others, yet they all share a basic structure. As long as the grid doesn’t run us and makes us loose the capacity to look outside of that, grids are necessary. But the idea of having structure is to make a more challenging structure or a new structure.
THANK YOU ARCTIC PAPER for providing free “Munken Rough” paper for the Showgun Chronicle
The industrialization has brought modern society a lot of similar products. As designers we try to bond creative ideas with industry mass production. Is this a constricting or contributing restraint? I would say a contributing constraint. I think that the constraints of mass production can result in design solutions that are both creative and appropriate, and often unique. A low cost unit may have more constraints than an expensive item yet the design solution may be just as creative. Perhaps the reason we have similar products has to do with the trend towards meeting what the consumer wants and maybe they all want more or less the same thing.
*****************************************************
If we say “Helvetica”, what is your reply?
*****************************************************
SHOWGUN appreciates
Made In School | madeinschool.dk We’ve already settled that, haven’t we?
Spot On: Textiles
| spotontextiles.wordpress.com
*****************************************************
Spot On: Furniture | spotonfurniture.wordpress.com / Caroline Arvidsson Images of work provided by Mervyn Kurlansky
*****************************************************
Dansk Dynamit | danskdynamit.com *****************************************************
LinkUp Copenhagen | linkup-cph.dk
Which publications have you been a part of creating?
*****************************************************
A magazine for a Belgium publisher, which was mainly for English speaking people living and working in Brussels, Catalogues for Image Bank, a photo library, over a period of eight
»
Mervin Kurlansky, poster
“Masters of The 20th Century The Icograda Design Hall of fame 1974-19”
What is in your opinion on good design? It’s basically design that works and there are several levels to this. Design is a plan to make something. If the plan works then the product (not the design) can be considered appropriate or truthful or functional, and that is good, If the plan demands aesthetic standards and it works, then the product is beautiful or elegant or whatever, and that is good, If the plan is to make something that was not there before, and it works, then the designer who is concerned with that process, is creative, and that is good. So if it works it’s good. In the last century we established three main criteria that we considered as responsible design: Meeting the needs of the client, the needs of society, and the needs of the designer? Today we would say; the needs of the economy, the needs of society, and the needs of the environment.
What is your opinion on Modernism vs. post-modern design? I don’t have an opinion on this, really. If it’s working in society there’s no judgement to be made. It´s a matter of style and taste but I would say that a lot of design has become shallow and lacks content. With the advent of computer technology, style took over from meaning and context, whereas Modernism was all about that. Form follows function was the maxim then – not anymore!
What are your main concerns regarding the future? I’m an optimist, so I don’t fear the future. I think we’ve got some serious issues and challenges, but what’s important is how we conduct ourselves individually through it. The world is just the way the world is. There’s nothing good or bad, it just is. It is how we deal with that. It’s about personal growth for me, and I suppose I move into the realm of spiritual thinking on that level. It’s more important that I conduct myself with ethical standards and do good in the context of all this stuff that’s going on. So I see it as a challenge.
How can a designer make the world a better place? In the 60´s we made the world a better place by helping businesses to generate wealth and by designing products that contributed to peoples well being. That contributed to the advanced consumer society, which is now having a detrimental effect on the planet. So now in order to make the world a better place, designers are having to find new solutions to creating products, buildings, etc, that nourishes the planet instead of depleting it. We have a new responsibility, to design for a sustainable future and as visual communicators we can play our part in helping to rally the population to support this new way of living.
years, Books and brochures for most of my clients, the first ever book on the outbreak of the New York graffiti in new York in 1972, a 25th anniversary book on the work of 107 designers who spoke at the Icograda London Design Seminars 1974-1999, and several books about Pentagram.
What is the key/the most important thing in the process of making of a publication? I think it’s the same as designing anything. Knowing what the purpose is, what is this for, what are you trying to do with this publication, what’s its reason for being? And again it’s about knowing the market, and therefore the design should be appropriate to that. Who do you want to reach, whom would you want to read this? You should be innovative. If design doesn’t push above people’s limitations, you design for the common knowledge, which means that the publication is only as good as the lowest common denominator. But you can’t be too far above your audience, or you’ll miss them. So you have to design at a level to which they aspire.
How can you make a publication stand out from other publications? By being different, that’s really the only way. The subject or content also matters, if it is different. But if you are competing with similar subjects then you have to design something that is more appealing.
What do you think the users of modern visual design expect / demand? I think that they expect something that they can recognize, that is comfortable for them that perhaps inspires them and pushes them to reach their aspirations. A lot of people want convenience. They want entertainment. They want distraction. People have lost something, haven’t they? Religion is no longer powerful, we have lost our spirituality, and sold out to materialism, so people are looking for something physical to identify with. Maybe people are just looking to belong. Millions of people live in apartments separated from others. Parents with one or two kids on their own, not really in a community anymore. So we turn to TV programmes, like X Factor and join the nation in participating in a communal decision-making process, or the news, and share in the dramas occurring all over the world. And then there are lifestyle magazines and of course, the Internet, which give people the opportunity to be able to belong to a tribe. All over the world we can connect to like-minded people without having them on our doorstep. Maybe that’s the key; maybe the expectation is that visual design can help us to belong.
A CASUAL WORD WITH MERVYN KURLANSKY Q & A - Interview Interview by Thomas Casander Jeppesen and Matthias J. E. Horneman-Thielcke Transcription / Text by Caroline Arvidsson Images of work provided by Mervyn Kurlansky
SHOWGUN CHRONICLE / no 01
02/04
SHOWGUN
CHRONICLE
NO 01
2010
JUNE
»HOBBYMOR
PROJEKT INDSIGT SINE JENSEN HOBBYMOR 6. semester Danmarks Design Skole Center for VISUEL KOMMUNIKATION FOTOGRAFi Emil Thomsen Schmidt
Projekt: Visuel identitet til comedy rockbandet Hobbymor Som indledning til et selvformuleret 10 ugers projekt på Danmarks Designskole mødtes jeg i november 2009 med bandet HobbyMor på Rytmisk Musikkonservatorium i København. Formålet med mødet var, at jeg de næste 10 uger skulle arbejde på et lp- samt cdcover til gruppens debutalbum, som de ønskede at udgive i løbet af foråret 2010. Mit udgangspunkt for opgaven var, at jeg ønskede at prøve at arbejde med større flader, end jeg hidtil havde gjort og prøve at arbejde med udsmykning og fotografering af et rum. I mine tidligere projekter har jeg primært beskæftiget mig med illustration og er ofte endt med at bruge meget lang tid på efterarbejde på computeren. Jeg kunne godt tænke mig at prøve en anden arbejdsproces, og i dette projekt ønskede jeg derfor at arbejde mere rumligt og med væsentligt større flader. Derfor ville jeg prøve at udsmykke et rum, der skulle fungere som forside til albummet, i hvilket bandet skulle optræde i kostumer.
»IN-CASE TABLE Projekt: Bæredygtighed er et flydende begreb, der kræver en definition Bæredygtigt design handler om at skabe produkter, hvis produktion og daglige brug belaster miljøet mindst muligt. Det er designerens rolle at bruge de eksisterende materialer til at skabe nye muligheder, der berettiger produktets egenskaber ved minimalt materialeforbrug og en enkel samt effektiv produktionsproces”.
Transport og produktion er områder, hvor designeren gennem bevidste valg kan minimere miljøbelastningen. IN-CASE er konstrueret uden brug af metalskruer. Bordbenene og bordpladen udgør samlingsprincippet, der med få limflader sikrer bordets stabilitet og gør det let at samle helt uden brug af værktøj.
IN-CASE
IN-CASE består af en bordplade, en kasse og et sæt ben. Produktionen er simpel, fordi alle bordets elemen- ter kan skæres i lige snit på en bordsav uden brug af andre maskiner.
Det funktionelle arbejdsbord med mulighed for opbevaring og let adgang til dine tegneredskaber, din favoritbog eller den daglige borddækning. Når bordet skal ryddes eller du mangler plads så er IN-CASE omdrejningspunkt for dine kreative udfoldelser og din koncentration. Bordet giver dig overblik og forenkler din hverdag, alt lige ved hånden - i kassen!
Materialespildet er reduceret til savklingens bredde og fragten af bordets enkle plade-konstruktion minimeres, idet alle bordets elementer kan samles i en kasse på 40x20x170. / Mathias Weber Jonas Edward Nielsen
PROJEKT INDSIGT Mathias Weber Jonas EDWARD NIELSEN IN-CASE TABLE 6. semester Danmarks Design Skole Center for Møbel & Rum
»
IN/CASE TABLE
I brug og i proces
Dette rum kunne jeg godt tænke mig at dekorere med grafiske mønstre og figurer, som jeg ville klippe ud eller folde i farvet papir og karton. HobbyMor beskæftiger sig med musik indenfor genren eksperimenterende/comedy/rock, som de selv beskriver det. Bandet består af seks medlemmer, der udfra en rimelig ens opfattelse af, hvem de er som band også har mange forskellige holdinger til, hvordan det visuelle udtryk på deres album skal være. Derfor gav de mig rimelig frie tøjler til at finde dette udtryk udfra de forskellige ønsker, de kom med. Der var dog en klar enighed i bandet om, at de ønskede et farverigt cover og muligheden for selv at optræde både udenpå og indeni coveret. Bandet er i sig selv en rimelig farverig gruppe og optræder gerne udklædt, hvilket de også ønskede skulle gå igen på coveret. Det gjaldt altså for mig om at finde et udtryk, der så vidt muligt gjorde alle glade, og som kunne illustrere deres musik. Min problemformulering kom derfor til at lyde således:
Hvordan laver jeg et albumcover, der illustrerer Hobbymors musik og lever op til bandets ønsker? I løbet af de næste 10 uger fik jeg travlt med at skære op imod 1000 trekanter ud i forskelligt farvet karton, samt få syet kostumer og lavet hatte og lignende til bandet. Det hele endte ud i en hel dags fotosession i bl.a. skolens fotostudie, hvor drengene hver især lå på gulvet og poserede til billederne, der skulle være i bookletten til henholdsvis lp- og cd-coveret. Sidste fase af projektet var ren og skær opsætning i InDesign, hvilket var lidt af en kamp for mig, da jeg aldrig havde arbejdet med layout og opsætning af albumcovers før. Dette skulle dog vise sig at være meget lærerigt, da det har givet mig nogle gode værktøjer til mit arbejde fremover.
Side A 1. Transport Love Digest 2. Fuck the Indians 3. Death Sadness 4. Leatherboy 5. My Window
Side B 6. The Shit 7. Woopau 8. Motherfucking Tea 9. Ali’s Firm 10. Motherjob
All lyrics by Laurits Emanuel. All songs arranged by HobbyMor - Laurits Emanuel, Søren Pendrup Jørgensen, Daniel Kardyb Feldballe, Mikkel Gomard, Kristian Lund and Rune Lohse Sørensen. Produced and mixed by Frederik Thaae. Recorded at Kronprinssessen by Thomas Banke Brenneche, Denmark. Mixed at Black Tornado, Denmark. Mastered at Master & Servant by Tom Meyer, Germany. Produced by Jacob Anderskov, HobbyMor og Thomas Banke Brenneche. © 2009 HobbyMor - All rights reserved.
/ Sine Jensen
»De sort/ hvide 60’ers psykedeliske metamorfose I overgangen mellem 1950’ernes borgerligt prægede efterkrigstid og 1960’erne, årtiet, hvor ungdomskulturen kom så markant til orde, at ”tressergeneration”er blevet til et begreb, var det billedkunstnere, der viste vej mod radikalt nye visuelle udtryksformer. Den tidlige begyndelse på det nye kunne i virkeligheden allerede ses i den ”action painting”, som den første ægte, originale amerikanske maler Jackson Pollock kom frem med sidst i 40’erne. Senere blev denne malemåde dog forkastet og overhalet af 1960’ernes ultrarealistiske kunstformer. Men den abstrakte ekspressionisme er gået ind i både grafisk- og modedesign som en dekorativ stil, der med jævne mellemrum ses anvendt i arbejdet med 2-D flader. En anderledes abstrakt-geometrisk måde at dekorere på var ”Op(tical) Art”, en stil, der hovedsaglig skabtes af Victor Vasarely (1906-1997), som havde en fortid i reklamebranchen. I ”the swinging sixties” manifesterede den sig i Bridget Riley’s optisk hallucinatoriske og kæmpestore sort-hvide malerier, hvorfra stilen hurtigt spredte sig t-shirts og anden beklædning. De nye modesager, og mange andre slags brugskunst blev solgt i Londons efterhånden vidt berømte Carnaby Street, for ikke at tale om storbyernes mange musikforretninger, hvor kontrastfuld sort-hvid grafik prydede The Beatles, The Rolling Stones og T-Rex’s pladecovers. Især The Beatles var trendskabende i både musik- og mode og gruppen kom i det hele taget til at markere ungdommens respektløse omvæltning af den vestlige verdens sociale rangorden. Kom mmen i de europæiske og nordamerikanske lande i de år blev relativt mere velstillet rent økonomisk. Måske fik påvirkningen fra den nye popmusik, beatleshåret og moden også på langt sigt en indvirkning på ungdommen i det Sovjetdominerede Central- og østeuropa som til sidst kom til at bidrage til de totalitære regimers fald.
I sammenligning med den parallelt eksisterende stramme internationale ”corporate” designstil, var de toneangivende amerikanske, engelske samt visse sydeuropæiske grafiske designere betydelig mere illustrative og til en hvis grad retrospektive i deres inspiration fra art nouveau. Dette gjaldt f.eks. Push Pin Studios i New York, Pentagram i London, den franske art director Massin, og i særdeleshed de hippie plakattegnere på USAs vestkyst med Peter Max i spidsen. Det var også sidstnævnte blomsterbørn, der forårsagede 1960’ernes metamorfose fra ”black and white” til den psykedeliske ”flower power”, der fra ca. 1968 spredte sig ud over al visuel kommunikation. Typisk for perioden var, at afstanden mellem grafisk design og reklame ikke var ret stor, så mange af de kreative personligheder arbejdede med begge dele. Selvfølgelig ramte den canadiske litteraturprofessor Marshall McLuhan’s (19111980) konstatering af at ”the medium is the message” reklamebranchen mest direkte, men virkningen af den åbenbaring var altomfattende. Storpolitik prægede 1960’erne i form af den vedvarende kolde krig og Vietnamkrigens eskalering. Frustrationer og spændinger voksede og årtiet kulminerede med, at ungdommen gik på barrikaderne i bl.a. Paris, Prag og Warszawa. Dette opbrud satte sig også spor i form af nye og spændende grafiske udtryksformer i propagandamateriale m.m. fremstillet i skjul og distribueret illegalt. Introduktion til kapitel 6, i Peter Gyllans kommende kompendie i ”Grafisk designhistorie” / Peter Gyllan
I USA og England kom materialismens sejr til at sætte et tydelig præg på kunsten med ”pop art” som resultat af holdninger der enten var beundrende/ tilbedende eller udpræget kritisk/ironiske. Den mediebevidste og manipulerende vinduesdekoratør og reklametegner Andy Warhol er ikke alene blevet berømt på sine afbildninger af USAs mest udbredte mærkevarer som Coca Cola og Cambell’s dåsesupper, men også på masseproduktionen af kunst. Ud over de serigraferede societyportrætter, bemærkelsesværdige pladecovers og halvdokumentariske film, er det proklamationen: ”I fremtiden vil alle blive berømte i 15 minutter”, der har givet Warhol status som 1960’ernes store ikon. Den britiske kunstner Richard Hamilton (f. 1922) formulerede allerede i 1957 en slags manifest, hvor ”popart” erklæredes som: Populær (dvs. rettet mod massepublikum), flygtig, undværlig, billig, masseproduceret, ungdomsrelateret, vittig, sexet, smart, glamourøs og ”big business”. Dette virker stadig som en rammende beskrivelse af den tids kunst og design.
SHOWGUN CHRONICLE / no 01
03/04
SHOWGUN
CHRONICLE
»SILO
NO 01
2010
TYPOBERLIN 2010
International DesignKonFERENCE
JUNE
Studietur til Berlin d. 19-24 maj 2010
Showgun | SILO
Billederne er fra TypoBerlin studietur-modulet, forårssemesteret 2010. Årets TypoBerlin med temaet “PASSION” bød på David Carson (US), Erik Spiekermann (DE), Candy Chang (US), House Industries (US), Studio Dumbar (NL), KesselsKramer (NL). Konferencen blev afholdt på “Haus der Kulturen des Welt” ved Tiergarten i det centrale Berlin, og varede tre dage med et tæt program fra kl. 10.00 om morgen til 21.00 om aftenen. Holdet boede på et hyggeligt hostel, 36rooms, i bydelen Kreuzberg.
Silo plakaten er en fast billedreportage i hver udgave af SHOWGUN, der stiller skarpt på et specifikt projekt, modul eller event på Danmarks Design Skole. Har du et forslag til næste Silo, skriv til showgun.dkds.dk
Holdet fra TypoBerlin 2010 har leveret billederne til denne udgave af Showgun | Silo. Tak til Jón Ingi Hallgrimsson, Thomas Casander Jeppesen, Katrine Bælum, Kalle Heijekenskjold, Sofie Højgaard Thybo, Rasmus Fly Filbert, Morten Steinbach, Tue Frier Mogensen, Matthias J. E. HornemanThielcke, Marie Boye Thomsen, Rasmus Lund Mathisen, Ida Marie Lunden Kjeldsen, Mathias Weber, Morten Noer Andersen, Remi Mosko. Se flere billeder fra TypoBerlin2010-Turen på : www.typiskberlin.blogspot.com.
Comic Sans walks into a bar and the barman says, “We don’t serve your type here.” – Hørt på TypoBerlin 2010
SHOWGUN CHRONICLE / no 01
04/04