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design and visual culture

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design and visual culture

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MASTHEAD Publisher & Design Director Michel Chanaud mchanaud@pyramyd.fr Editorial Coordinator Caroline Bouige cbouige@pyramyd.fr Editorial Coordinator Isabelle Moisy imoisy@pyramyd.fr Editorial Coordinator UK Liz Farrelly Editorial assistant and Coordination Maud Schweblin mschweblin@pyramyd.fr Artistic Director Michel Chanaud Jean loup Fusz jeanloup@pyramyd.fr Graphic Design Marion Lavedeau mlavedeau@pyramyd.fr Graphic and layout design © PYRAMYD Contributors Eve Chabanon (intern), Pierre Fresnault-Deruelle, Jean-Baptiste Levée, Sébastien Morlighem, John O’Reilly, Morgan Prudhomme, Romuald Roudier Theron, Robert Urquhart, Michel Wlassikoff Translation Lucian Comoy, Paul Jones, John Lee Sub Editor Pamela Hargreaves Advertising Anne-Sophie Petroff aspetroff@pyramyd.fr Subscriptions Laurent Robic subscriptions@etapes.com Web Sébastien Augereau saugereau@pyramyd.fr Benjamin Bonnet bbonnet@pyramyd.fr Technologies and digital media Juan Estupinan iphone@etapes.com Digital and Mobile Applications Editor Cyril Petroff cpetroff@pyramyd.fr Editorial assistant and community manager Charles Loyer cloyer@pyramyd.fr Magazine Co-founder / Former Editor Patrick Morin ISSN: 1767-47-51 © ADAGP Paris 1999 for its members’ works Printer Deux-Ponts 5, des Condamines 38320 Bresson, France Contact UK contact@designflux.com Designflux Limited c/ o CCFGB Lincoln House, 300 High Holborn London WC1V 7JH UK is published by PYRAMYD ntcv, an SAS (company limited by shares) with capital of 110,000 whose main shareholder is Michel Chanaud. R.C.S. Paris B 351 996 509

WINTER 2009

Antoine & MAnuel

GrAffiti in BoGotá

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design and visual culture

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n° 28 EDITORIAL

PLEASE MAKE SENSE A lack of direction, a mad rush to include content devoid of meaning, without understanding, without a critical filter. Putting together a coherent overall project takes time, which is news to no one. Frequently, the fast pace at which we live makes us forget our initial intentions and wipe out the orientation we had established. And this enterprise – be it social, human or professional in nature – can, as a result, fall apart even implode, because of a lack of detachment. What form should we give to a graphic, publishing, artistic or cultural project? What importance should be given to this or that element? Why is it justifiable to use one choice rather than another? How might we explain its relationship to the parameters that condition it? There are many possible ways to lead a project forward in a meaningful direction. Chance sometimes makes things work out well, but that’s a rare occurrence. The simplicity and speed with which we gain access to information, and to content generally, have increased exponentially with the Internet. And when a piece of information, a work or a subject retain our attention in this excess of proposals, what is it that actually captures us and makes us question ourselves or our certainties? It is the why, how and with what that this item is made. The requirement of the reader, listener or visitor today is precisely that. It is in this context that pauses are recreated, that the time given to the understanding of a creative process increases, and that the choices are appreciated and justified. Some bearings are sketched out and it becomes essential to dissect the links between each element and establish new ones. The participation of the individual is exponential. The brains are ticking along. Phew. Travelling from one festival to another, we aimed to discover fresh research, projects and visual works: the International Poster and Graphic Design Festival, Une Saison graphique (A graphic season) at Le Havre, and the Festival international de mode et de photographie (International Festival of Fashion and Photography) at Villa Noailles. It has been a pleasure to note that high-quality initiatives, installations and exhibitions are being created that are coherent and meaningful in terms of graphic design. We had no doubt about this beforehand but we were reassured nevertheless. The changing of the guard of graphic design is assured. Caroline Bouige and Isabelle Moisy

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IMAGES & QUICK HITS

P10

CRAIG REDMAN

P12

INA JANG

P14

JESSICA EATON

P16

BREA SOUDERS

P18

MARTA ANTONIAK

P20 NEO NEO P21

THE SHELF COMPANY

P22

LES GRAPHIQUANTS

P24

DINA SILANTEVA

P26 HEY STUDIO P27

n° 28 DESIGN STUDIOS

P28

BY CAROLINE BOUIGE

Caroline Bouige is a journalist on the editorial staff of étapes: magazine.

Romuald Roudier Theron is an independent exhibition curator and cultural project manager.

P56

BY ISABELLE MOISY

Isabelle Moisy is editorial coordinator of étapes: magazine.

& HAN

LUNA

NIBAL

P36

P64

JEAN WIDMER & ALEX DALMAU

BY ISABELLE MOISY

Isabelle Moisy is editorial coordinator of étapes: magazine.

BY CAROLINE BOUIGE

Caroline Bouige is a journalist on the editorial staff of étapes: magazine.

AUDREY

CORREGAN

MAURER P50 BYISABELLE MOISY Isabelle Moisy is editorial coordinator of étapes: magazine.

ANAGRAMA

PAM & JENNY P72

STUDIO

WILL :

BY ROMUALD ROUDIER THÉRON

HVASS

Cover: Art Direction & design for the Spring / Summer advertising campaign for Aizone, a luxury department store in the Middle East. Models were body painted in typographic sentences “Forget Regret” “The Time is Now” and “Talk Less Say More”. Printed in newspapers, magazines, and billboards throughout Lebanon. Creative Direction: Stefan Sagmeister. Direction & Art Design: Jessica Walsh. Photography: Henry Hargreaves Body Painting: Anastasia Durasova. Model: Marina Ponomareva / Red Model Management. Hair Stylist: Gregory Alan. Retouching: Lutz & Schmitt.

8

P42

BY MORGAN PRUDHOMME

Morgan Prudhomme is a graphic design student at the École régionale des Beaux-Arts, Valence.

MY NAME IS

WENDY


SPECIAL FEATURE: TYPOGRAPHY

OPINION

P80 BYMICHEL WLASSIKOFF

P94 BYJEAN-BAPTISTE LEVÉE

P116

Michel Wlassikoff is a historian, researcher and exhibition curator.

Jean-Baptiste Levée is a font designer and founder member of the Bureau des Affaires Tyographiques.

Robert Urquhart is a journalist, publisher and lecturer in the fields of art, advertising and design.

BY ROBERT URQUHART

GARA TYPO

MOND

PIERRE P130 BYFRESNAULT-DERUELLE An image analyst now retired from the Sorbonne, Fresnault-Deruelle specializes in art, the science of art, aesthetics and cultural mediation.

HIS

GRAPHIC

INTERVIEWS

MASTER’S

TYPE IN

SPACE

P122 BYCAROLINE BOUIGE

SÉBASTIEN P90 BYMORLIGHEM Sébastien Morlighem teaches graphic arts and typography at the École supérieure d’Art et de Design, Amiens.

Caroline Bouige is a journalist on the editorial staff of étapes: magazine.

JEAN-BAPTISTE LEVÉE

BRUNO BERNARD PATRICK PALETA CHRISTOPHE BADANI

VOICE

P135

John O’Reilly is a freelance journalist and editor/contributor for the British illustration magazine, Varoom.

PLAY

TIME P140

DAMIEN GAUTIER

BY JOHN O’REILLY

BOOKS

MATTHIEU CORTAT

JONATHAN PEREZ

WWW.ETAPES.COM/ENGLISH

MALOU VERLOMME

CHAMP

FLEURY

2.0

ÉMILIE RIGAUD

JACK USINE

LAURENT BOURCELLIER

Headings set in Neutraface and Stag designed by Christian Schwartz; text in Oranda by Gerard Unger.

JESSICA HISCHE :9


10

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Darcel in Paris Member of the Rinzen design collective, the New York-based, Australian artist Craig Redman enjoys putting his avatar Darcel in the colourful universe that reflects his everyday life. This one-eyed character with simplified features and a monocle is the star of an exhibition entitled “And a miserable day to you, too�, at the Parisian concept store, Colette. Specially for the occasion, Redman has created several new series of illustrations attesting to his distinctive slant on artists, designers and other big names from the world of art, culture and fashion. IM www.darceldisappoints.com / www.colette.fr

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Enigmatic identity The visual identity of the 27th International Festival of Fashion and Photography, held in Hyères this April, was designed by Ina Jang, one of the photographers shortlisted for last year’s edition. Commissioned by the festival, the Korean photographer’s images of the collections submitted by the ten fashion designers in this year’s contest reveal her playful and poetic approach. Jang herself describes her work as “rigorously physical”, often requiring lengthy sessions of cutting, gluing and pasting all sorts of materials. IM www.inaphotography.com / www.villanoailles-hyeres.com

Outfit by the Canadian fashion designer Steven Tai, Prix Chloé 2012 © Ina Jang, Festival International de mode et de la photographie à Hyères, 2012

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Outfit by the Swiss fashion designer Jasmina Barshovi © Ina Jang, Festival International de mode et de la photographie à Hyères, 2012

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Exploring colour Winner of the Hyères 2012 International Festival of Fashion and Photography Grand Prize, Jessica Eaton explores the possibilities of manipulating time, space, perception and the additive system of colour. After graduating from the Emily Carr Institute in Vancouver, the Canadian photographer began her in-depth experiments with colour hues, exhibiting her series “Cubes for Albers and LeWitt” in 2011. Each image is constructed on 4 x 5 inch sheet film. The subject is monochromatic, either a set of cubes or grounds painted white, two tones of grey and black. The colour hues are obtained by exposing the film several times to the additive primaries (red, green and blue). The reflective value of the cubes determines the value of the final hue, whereas black is used as a reflective mask, holding potential on the film for other exposures. The end result is impressive: disconcerting works with instant pulling power. IM www.jessicaeaton.tumblr.com

14

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© Jessica Eaton, Festival International de mode et de la photographie à Hyères, 2012

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Globetrotting Brea! One of the photographers shortlisted for the 27th International Festival of Fashion and Photography, American-born Brea Souders presents “Sunburn in Naples”, a series in which she explores places in Europe where her ancestors came from or which have influenced her: feelings and desires related to a place or an occurrence (getting sunburnt), a family tradition, or an image (e.g. a postcard). Shifting between bright light and a play of transparency, Brea Souders uses global forms to create a world full of delicacy. IM www.breasouders.com

© Brea Souders, French Postcard, “Sunburn in Naples” series

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© Brea Souders, Sunburn in Naples, “Sunburn in Naples” series, Italy, 2010

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Design and visual culture

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