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Name and Title



Founder & Editor

Marcroy Eccleston Smith

Assistant Editor

Cody Lee Barbour

We thoroughly enjoy making Print Isn’t Dead™ magazine, especially with partners like Hewlett Packard®, Pureprint and Fedrigoni — it’s a dream team and I’m sure you’ll agree.

Design & Art Direction

James Lunn

Element #003

Authors Anna Chayasatit

Hannah Dawson

Lo Parkin

Cara Bray

Marina Pla

Freya Faulkner

Proofreading by

Louisa-Claire Dunnigan

Printed by Pureprint Group

Printed on Fedrigoni papers

Offset Litho (CMYK + 638u + 1504u) and HP® Indigo 7800 Digital Press

Sirio Color in Nero 290g/m2, Arcoprint in Extra White 120g/m2 and Symbol Freelife Satin in Premium White 130g/m2 Patron by Milieu Grotesque


People of Print (In Perpetuum) ISSN 20557167_00_03

Distribution & Sales

Department Store Antenne Books

Print Isn’t Dead


In this issue, we touch on variable data printing with our typographic front covers printed using HP® Indigo technology and Kin’s awesome project for Wallpaper magazine. We get deep and philosophical with Freya’s incredible essay on print culture and we look at the relationship between digital and print with Eike’s clever typographical work. We get ‘hands on’ with Prelogram® and Imprenta Boquerón and we venture into a world of colour and pattern with Hansje van Halem, YEVU Clothing and Peter Judson. All this and many interesting articles on the exciting world of print. Oh and did I mention that we gave Grafik six pages of our magazine — putting them back in print for the first time since they went fully online?! Viva la print. You will notice that coated and uncoated stock is fanned throughout the magazine in 16 page sections: we are using CMYK on the coated stock to make the colourful images bounce off the page into your retinas, and we are using Pantones 638u, 1505u and Black on the uncoated stock so we can play with those beautiful overlays and have some fun — big up our awesome designer James Lunn. This issue is a turning point for us in terms of publishing — we didn’t use a Kickstarter to fund the production and we have increased our print run so that we can put the magazine into distribution rather than selling exclusively via our online shop. We really appreciate your support for the magazine and we do rely on sales to keep the magazine afloat — so thank you so much for purchasing this copy. In the words of Felix Dennis, we like to “swim with the fishes” and we couldn’t do it without you. Enough said — get reading and please share a picture of your cover or favourite spread online using the hashtags #PrintIsntDead #Element003


Marcroy Eccleston Smith


Freya Faulkner (02) Future Library (11) Phil Goss (12) Imprenta Boquerón (14) Hansje van Halem (20) Kin Design (24) Peter Judson (28) DOG­-EAR (32) Prelogram® (34) Further Reading List (37) Eike KÖnig (38) Grafik (42) Jason Evans (48) Mint Never Hinged (52) Marta Veludo (54) YEVU (56) Brixton Brewery (60) Studio Moross (62) Bang! (64) Mainichi Shimbu × Dentsu (70) Hewlett Packard® (72) Letterpress Manufaktur Hamburg (74) Fikra (76) London Graphic Centre (78) People of Print Members (80)

Element #003 Print Isn’t Dead

Why do we put ourselves into the world through print?


For the make-do-and-mend majority, our desire to put ourselves out there comes at a genuine cost. Feeding our enigmatic obsessions translates into financial insecurity, part-time jobs, book-ending our creative endeavours into evenings & weekends. Here lies long hours, low pay, working ad hoc in cafes, on kitchen tables, or monastically cloistered in overflowing rooms that are not fit for purpose, in cities we cannot afford. So why do we bother? Perhaps it is so others can authentically see us; perhaps conversely it is so we can more clearly see ourselves. Through print we can continually affirm and share our ev er -fl u c tu at ing identities by pulling bits of us out of our heads and transposing them onto the page. Words by Freya Faulkner

“I Print therefore I am.�

Coming from deep within us, once realised, our ideas are independent of us and take on a life and agency all of their own. Through this alchemic process we crystallise a slice of our personalities and experiences and launch them into the unknown.


Why Print?


By lovingly, laboriously transfiguring our ideas into print, their existence, and subsequently our own, becomes undeniable. Now you can hold a piece of yourself in your hands and see the tumbling chaos of thought metamorphosed into the beauty and stability of crisp lines and sharp colours. Other people can too. They can inspect it, appreciate it, marvel at it, or hate it, but even if you suddenly ceased to exist, that print, that piece of your self, would remain

Freya Faulkner

The compulsion to get your self out there is akin to throwing a stone in a pond. You consider your spot, select your stone and query the necessary force of your throw to create your desired result. Arching through the air, there is a small surge of joy as you witness a metaphysical thought becoming a physical thing. This is followed by the satisfying sound of the stone hitting the water; you pushed out at the world and the world just pushed back. In the aftermath there is a frisson of excitement as you observe the knock-on effect. Watching the ripples unfurl outward from the point of impact, your unique action has caused a direct reaction, disturbing the surface and leaving it subtly but ever so slightly changed. This is the rush of manifesting mind into matter. One can say:

Element #003 Print Isn’t Dead

Defying the laws of physics, from the printed word to the hand-pulled screen print, our work contracts time and space. It can take us to places we have never been and present us to people we may never meet. Simultaneously multiple fragments of who we are, or were, can exist in many different places at once. Every idea is your own personal Big Bang; spreading outward it creates the universe it comes to occupy. Weaving together a parliament of like-minded people who recognise, recapitulate and redistribute it, a network is formed. In an audience’s act of assimilation, what began as an expression of your What was testimony towards your single identity mushrooms into a happening that individuality transmutes invites others to align their identities with your own. Printed and dispatched, your idea into the firebrand for is a membership card. The key might be the medium itself, in all its glorious complexities, traditions and innovations. It could be your a community. stylisation, your tone or your content.


Perhaps it is your obsession for putting dicks on things.

In open exchange your idea now belongs to many and so begins the perpetuating cycle of idea and identity, object and audience, creator and consumer. “I made that, that is part of who I am,” is comparable to “I bought that, that is part of who I am.” Many distinctly disparate people can all claim that that thing says something about their authentic self. Take this magazine; it is a Venn diagram where we all intersect.

Whether you were part of the creative process or you appreciate its content, an indefatigable human connection has formed. This is a mode of connectivity only possible when we painstakingly harvest our thoughts from the ethereal mulch in our minds and fix them onto the page. Here is the seductive, addictive and universally levelling power of print. It is through printed matter that we can commune mind to mind.


Why Print?

That common denominator means your tribe now sees you, and, through a channel of shared sensibility, you can see them too. The more niche, specific or strange that common idea, the tighter the ties that bind you together.

Freya Faulkner

It doesn’t matter.

Element #003

But in our advanced digital age of hyperconnectivity there are quicker, cheaper, less messy, risky and less stressful ways to see and be seen, to interlink and exchange. It is possible to produce masterful, intricate images or carefully considered statements and upload them straight into the system for immediate mass experience without ever picking up a pen. Now your ideas can be shared instantly, dominoed out through a myriad of platforms, circumnavigating the globe faster than it takes to make a cup of tea. We don’t need to break our backs or our bank accounts to share our artistic ideas and the entire analogue process is effectively redundant, revived and kept alive only by champions of print.

So why do we continue to martyr ourselves for the cause?

Against the one dimensionality of the pixelated page, there is an essential permanency to a physical thing. It is substantial, a quality now made a more significant commodity in our excessively mediated, electronic age.

Unlike a Tweet you can pick up a zine, a poster, or a piece of fabric and appreciate its imperative nature.

Print Isn’t Dead

It is multisensory: you can feel it, run your fingers over it, smell it, wear it, frame it and draw on it. In the same breath, it endures.


Living out here in the real world, it doesn’t need you. Contrasting starkly with the slippery impermanency of what flashes up on screen,

Its presence, moment to moment, isn’t dependent on the life of your battery or the signal on your phone.

Freya Faulkner

a poster stays visible whether you choose to look at it or not.

When you turn out the light, shut the door and leave, it won’t dis a p p



Plus, as obvious as this may sound, your ownership of a material object is fundamental and primary. Shaking off the fog of our mediated and remediated digital experience that warps and fractures our sense of what is real, here is a thing, a line in the sand, that is harder to dispute or deny.

Your ownership can be less contested than the grey area politics of intellectual property. In the having, the question of whether it belongs to you is less abstract than putting a picture of it up on your Pinterest. The credibility of your ownership is ultimately underscored by the fact that you can choose to give it away. Unpacking this beautiful paradox, something is, ironically, most unambiguously yours in the moment you let it go.


Why Print?

Being longer lasting and durable, it is also trickier to erase, corrupt or purloin printed matter than the stuff posted online. Once made it can’t be so easily undone, its destruction or alteration will be a physical event in itself. Therefore changing it requires a commitment from the advocate far higher than casually closing a tab or deleting a feed. It is apparent that the more complicated a thing is to transform, the stronger the conviction needed to affect its change. So even in its final moments, a physical object transmits a person’s personal and political affiliations in a deeper and more meaningful way than the click of a mouse can ever convey.


Element #003

Similarly, the way in which a material thing connects and ties two people together is most unequivocal, visceral and visible in the moment that object exchanges hands. Hanging as it does between giver and receiver, this chain link is inherent, it is straightforward and less accidental. Lying beyond the reach of its hazy digitally connecting counterparts, the given gift operates outside the web. The seemingly infinite and limitless character of the Internet is brought into question when we hit its dimensional edge. The printed object and the relationships it generates exist out here in the slow, substantial, concrete world far away from the flickering of the main frame. Out here the materialised idea abides and so do the networks it forms. Here where it is stable, people can take time to engage with it on their own terms, they can agree with it or ignore it, they can glorify or deface it, they can have it and give it, but most importantly they can experience it in an essential way more vital than anything the Internet can induce.

Print Isn’t Dead

There is one more way the earthly temporal speed and actual physical existence of a printed thing seeps into its form, increasing its value and reinforcing the connections it figures. Through a Marxist lens, the made object is a manifestation of the maker’s time. In this light, a screen print is the distillation of hours spent thinking, drawing, colouring, scanning, tweaking, separating, stripping, cleaning, coating, exposing, washing, mixing, fixing, printing, bodging and sweating to bring it into life. Its worth turns on the time and effort put into its production. And perhaps this is why hand-printed work is so emphatic: there is room for mishap, mistake and smudge, stamping the printer’s time more evidently into every print pulled. Every one is unique, even in a large edition print run, and in those small imperfections we can glimpse the man or woman behind the mark. You are literally selling a piece of your self but in a sincere way. A sense of this is true even for the mass-produced print. It is a less coherent or direct correlation, but what it loses in intensity it gains in volume. A magazine becomes a hieroglyph for writers, contributors, photographers, editors, graphic designers, the production manager, the print factory technician, the binder and trimmer, right through to the facilitator, dispatcher and courier that delivers it to your door. That one thing signifies the many minds bent to the same purpose, the many hands it passes through and the time each person has invested into making it happen.


And here, now, at the end of that line, there is you. You are the destination for all the work of those many minds and hands. By buying Element #003 you have invested in it in both literal and abstract ways. You have encouraged its creators to pick up their pens, giving them a platform for which to write. You have asked the printers, designers and photographers to keep doing what they do by giving them someone to show their work to. You have helped pay for the paper it is printed on and the time that has been spent by all the people involved. This magazine belongs to you in a profound way as much as it does to any of us. Those of you standing in front of its pages are no less significant than those of us standing behind.

This is your membership card; this is our tribe.

We want you to join us. Come immortalize a part of yourself.

We are collectively self more definitively into the fray, the noise and exchange of the tribe. In doing so you shoring up, become an actual indisputable part of the magazine’s history and similarly we become sharing and defining a more discernable part of yours. You may be more disposed to share the magazine with our identities through friends, to show them what you did. Perhaps you will be more inclined to keep it and value its existence it in a less disposable way. This is a mutually beneficial exchange that satisfies, entertains and and enriches us all, creators and readers, through an intersecting singular act. our common passion Give us a bit more of your time, attention and headspace for print. Through this magazine’s pages throw your

Freya Faulkner

in formulating, writing and requesting your cover and on the flipside we can give you more of our time, attention and headspace processing, laying out and rendering your words. That way we are better and more permanently connected. There is more passion and time invested here than a thumbs up on Facebook.

What is more, here in Element #003, we have invited you to further strengthen your bond to this publication and to our tribe by commissioning you to blazen a bit of yourself across the cover.


Why Print?

We are simultaneously investigating, Keep expanding putting and yourself redefining into our identities the through its dialogue medium as we look and to push the the horizons medium of what will we know. keep putting itself back into you.

Future Library

In Oslo, Norway a thousand trees have been planted in Nordmarka, a forest just outside the city. Providing the basis for the concept fundamentals, in one hundred years, time the trees will supply the paper for a very special collection of printed books. Within this time frame, each year a text will be contributed by a selected writer, the words being held in trust and lying unpublished until the printing date in 2114. The manuscripts will be kept in a specially designed room in the New Deichmanske Public Library, which will open in 2018 in Bjorvika, Oslo. Designed by the artist in collaboration with Lund Hagem Architects and Atelier Oslo, the room will be lined with wood from the forest, intended to be a space of thought and contemplation. Although the authors’ names and titles of works will be on display, none of the texts will be available for reading until the publication is printed in one hundred years’ time.

shifted so fast to one of a virtual basis, that before we realise it paper is a thing of the past? Perhaps there will become a need to preserve such traditional methods of communication, that like many printing techniques could become redundant. Assigning each text directly to its own tree emphasises and demonstrates the fact that this tangible product will have come from something as real as nature itself. The City of Oslo will support and protect this one-hundred-year-long artwork, working with the artist and Future Library Trust to ensure the safety and longevity of the forest and manuscripts until 2114. The project is one of four public artworks produced for Slow Space, a programme of public artworks commissioned by Bjorvika Utvikling. Project manager Anne Beate Hovind praises the piece, “Future Library is beyond what we could ever imagine or hope for. The longevity of this artwork will make it resonate with the people of Oslo for the next one hundred years and it holds a treasure for future generations to enjoy”.

by Cara Bray



Kate Pearson talks about the length of the project: the timescale is one hundred years, not vast in cosmic terms. However, in many ways the human timescale of one hundred years is more confronting. It is beyond many of our current lifespans, but close enough for us to come face to face with it, to comprehend and relativise it, so much can change in a short space of time, let alone a century. Will the world around us have

Future Library

‘Future Library’ or Framtidsbiblioteket (if you speak Norwegian), is the brainchild of Scottish artist Katie Paterson, an ambitiously planned project spanning the next 100 years.

Print Isn’t Dead

Element #003

Phil Goss

We first met Phil Goss last Spring, after Betsy Dadd recommended that we go to see the walls of his canal boat, that are delightfully patterned in his screen-printed wallpaper. We invited ourselves along to sit up on the deck, look through his sketchbooks and eat chilli. This Spring we caught up with Phil to ask him a couple of questions about his inspirations, illustrations and his hypnotic staircase.

Cody Lee Barbour

Phil Goss

Your custom-made work often takes form on a usable surface? What are your thoughts about people walking along and sitting on your illustrations?

I’m not that precious about my stuff. I guess that questions the hierarchy between functional design and fine art. I think work is either good or it’s not, regardless if it’s on canvas, paper, textiles, floor boards or wallpaper. As long as the design is good and interesting, so: that’s the important thing. I don’t see any difference between fine art and applied art. The staircase and floor pieces I’ve done because I’m attracted to the scale of the project, where the viewer has to move around and walk through it to fully experience it. The [Alex Eagle Store] staircase project was over three floors and created its own total environment.

What inspired the pattern you screen printed for the staircase panels and wallpaper, and why the lovely orange colour?

The pattern comes from the bottom of an old Adidas trainer. I was doing a project that involved depicting water. I was thinking up ways of doing this when I noticed my trainer had these wavy lines on the bottom. So I painted it up and stood on some paper. The distortions in pattern come from where the tread has worn out. The colour is taken from those old Soviet posters from the 1920s and 1930s that were originally printed in red but the colour has faded over time. It becomes this sort of coral orange that I have always liked.

Was it your own carpentry skills that constructed the staircase?

No way! My friend who runs Gilded Spanner did all the installation with me. We worked night and day to get it done. It was great to do a project that merged illustration, printmaking and carpentry to form a singular work of art. 


by Cody Lee Barbour

Phil Goss

I did a show in a gallery where myself and another artist, Jamie Jenkinson, made a hotel room. This was good as I could go a bit more nuts with the design. It had faces hidden in a jungle alongside stuff I don’t think people would want in their homes, but in the hotel room it worked.

Do all of your works originate as illustrations?

Yea it all starts as drawing, that’s the most important thing for me. Then, when I have an image I like I think about how it could operate on different surfaces and forms. That is the great thing about drawing, being able to displace an image or narrative onto different materials and forms. All my designs, even though they are one-off pieces like chairs or wallpaper, come from bigger projects that I am working on.

What are your top inspirations?

For me Paul Klee is the greatest. I look a lot at design on functional objects like ceramics, tiles, clothes, rugs etc. I don’t really go to the contemporary gallery scene that much, as I don’t like the rhetoric that goes with it. In London you don’t have to go far to notice great design work. Lately I’ve been looking at lamp posts, there are so many different designs in town, all different shapes with amazing iron-work on them. 

What can you see out of the studio?

I can see Highbury and Islington Overground station.



Where is the favourite place that your wallpaper has been wallpapered?

Element #003 Print Isn’t Dead

Imprenta Boquerón has been running for over 40 years, founded by its current owner, Alberto Profilo and his father, Vicente Profilo.

Words by Marina Pla

My friend was launching his feature film, so we decided to call up Imprenta Boquerón to print posters for it. I instantly realised that we were unusual customers for Alberto, since we insisted on visiting the workshop and seeing a proof of the job before they printed the whole run. Alberto was very reluctant initially. The typesetting was particularly challenging for him since the text was in English, so he had to do it letter by letter. On top of that, we asked for a few changes and adjustments, which made Alberto slightly grumpy. However, he was amused and honoured to be printing a job that would travel abroad, so we finally earned his trust and friendship.

Imprenta Boquerón

After returning to Argentina after studying in London for four years, I spotted Alberto’s posters in downtown Buenos Aires, advertising music clubs and gigs in Lanús. Massive wooden typefaces on bright colour gradients, signed in a smaller print, which read ‘Imprenta Boquerón —4209 2155’.

The following year I went back to Alberto’s to print more posters, as the film was touring around a few festivals and I sent the prints out by post. In 2006, a friend in London, Richard Ardagh, now partner at New North Press, wanted to print a limited edition of an abridged Isaac Watts poem used by Joseph Merrick – aka the ‘Elephant Man’. I organised the printing of these posters and sent them to London, where they were for sale during London Design Festival.



Last year I finally printed posters for a personal project with Alberto for the first time. Art.41 is a series of posters created by myself and Melina Scioli, with messages on sustainability and the environment, inspired by article number 41 of the Argentinian Constitution, which states that all inhabitants are entitled to a healthy, balanced environment that is fit for human development and productive activities to meet present needs without compromising those of future generations.

Element #003 Print Isn’t Dead

“I still remember the pain in my hands from working with those tools all day”

“Some letters do have names, but I don’t remember”


Alberto’s childhood dream was to become a football player. He was never good at school and after failing to pass grade and being humiliated by a calligraphy teacher, he gave up school. He attended evening classes to finish his studies, and his father got him a job at the printing business that he worked for, which is how Alberto started learning the craft at the age of 16. In the meantime, Alberto continued to pursue his football career, eventually getting an offer to join Club Atlético Independiente, a fairly important Argentinian football team. Two days after, he was appointed to join the military service, “the most terrible news at the worst possible time,” he said. It was compulsory, so he had no option but to join, and was sent to Bariloche in Patagonia where he served for 18 months. When he returned he no longer had the offer at the football club so he had to take back the job at the printers with his father, where he then worked for over 10 years. With money borrowed from his uncle, Alberto and his father, Vicente, purchased their first printing machine, leaving them little money left to buy any typefaces. One of Alberto’s younger brothers was quite good at drawing so would trace letters from posters Alberto brought home from the printers he worked at and Alberto would carve them out of wood himself. “I still remember the pain in my hands from working with those tools all day,” said Alberto. He still has the tools he used to make the wooden letters. Later on they brought smaller size letters from churches and other printers as they shut down. Alberto is now 69 years old and is practically retired. He has trained his son, Cristian, over the years, who is now in charge of the business. However, Alberto confesses that if he doesn’t work he goes crazy, and as he lives in the front part of the house where the printer is, he keeps working. Imprenta Boquerón have two flat letterpress printing machines, which work with two formats, 74 x 110cm and 74 x 55cm. They print on newsprint, unless the customer provides a different paper, “which almost never happens.” Alberto doesn’t know the exact name of the machines that they own.

The machine they use the most has a plate that reads ‘Werk Augsburg maschinenfabrik Augsburg – Nürnberg A.G. / Curt Berger y Cia, Buenos Aires’. Curt Berger was a German immigrant who came to Argentina in 1890, hired by the National House of Currency, who later founded his own business Curt Berger & Cia [Curt Berger & CO], which represented and distributed letterpress and typewriting machines, as well as inks.

Alberto says he doesn’t have a favourite colour combination or letters to print with. He doesn’t have a favourite print either. He actually never keeps copies of the jobs he prints, unless a customer doesn’t pick them up, but even then, he says, he throws them away. When I asked Alberto about the future of print he said that his son has been looking into the possibility of getting an offset machine, because he has the impression that there is more work for that type of printing, but Alberto is sceptical about it, and since he is practically retired he says it is something for his son to decide. Cristian is now in his mid-thirties and says he is wondering how to sustain and develop the business for the next 50 years. He is considering studying Graphic Design, as he has no formal education and wishes to have a broader training around the craft.


Alberto says he doesn’t really know the names of the typefaces he has. “Some letters do have names, but I don’t remember,” He actually never uses the word ‘typeface’ at all, just simply ‘letters’. He knows the letter sizes perfectly, and he differentiates the wooden from metal, and the fat ones from the tall ones, but he does not use names to refer to them. Many of his drawers are actually arranged by size, mixing different types of letters together. When Alberto sets the type for a poster, he takes into account the importance of the different parts of the text which have been highlighted by the customer, and after so many years of experience, he says he instinctively knows where to break the lines and what size of letters to pick. Watching Alberto set text feels almost like watching someone solving a puzzle they know by heart.

Imprenta Boquerón

Alberto recalls the times when he and his father first started Imprenta Boquerón, and since they had no telephone, customers would have to drop by in person to order a job. Customers can now phone up and dictate the text content for the poster, indicating which parts are most important. Alberto asks which colour to use for their text and background, which he writes down on a piece of paper. He then lets them know when they will be ready, which is usually within 48 hours. Customers either drop by or send a car to collect the package of wrapped posters and pay. The smaller format costs 230 Argentinian Pesos, around £17.50 for 100 posters, which is the minimum amount they print. The larger format costs 260 Argentinian Pesos, around £19.70 for 100. Nowadays, and since Cristian is in charge, most of this is done by email, but still, there is no stage of proofing or signing off, the choice of typefaces and layout is not discussed with the client at any stage of the process.

They use black and red ink for text, and they pre-print coloured backgrounds on the letterpress machines, in light blue, yellow, green, orange, pink, and red, often creating gradients. Customers can choose between the colour backgrounds they have pre-printed at the time of ordering. Alberto says that clients rarely want a custom coloured background so they hardly ever do it, especially as it takes more time. He also says that in times of economic crisis, which are sadly frequent in Argentina, he stops doing plain coloured backgrounds as they need more ink, so tends to do more white backgrounds or simpler one colour gradients with white in the middle.



Print Isn’t Dead

Element #003

Imprenta Boquer贸n



Element #003 Print Isn’t Dead

Hansje van Halem is a graphic designer, creating letters, textures and patterns both digitally and manually.

by Cody Lee Barbour

In Element 001 we interviewed Nicole Martens; she was the first in our continuing feature that creates a chain of recommendations. Nicole tagged in Michiel Schuurman, who we showcased in Element 002. For this issue, Michiel has tagged in the wonderful Hansje. Here is a collection of her trippy patterns and beautiful endpapers.

Hansje van Halem



Element #003 Print Isn’t Dead

Kin is an awardwinning research and design studio based in an old warehouse in Farringdon, London, comprised of a workshop, sound design area and two design studios.

by Hannah Dawson

Kin work primarily with interactive design, producing digital solutions and installations for clients which include Adidas, Science Museum London, D&AD, London College of Fashion, ITV and Nokia amongst many others. Technology is at the forefront of Kin’s creative solutions while exploring the relationship between technology, society and culture is an important aspect of their work. Their team of designers and developers aspire to produce results which are meaningful and valuable to both the client and the end user, challenging technology and its ability to bring the creative industry together. Kin Design

It was Kin’s project in collaboration with Wallpaper* magazine back in 2010 which brought digital technology and publishing together that caught our eye in particular. There is a strong correlation between the ‘Handmade Issue’ project and the personalised cover options and focus running throughout this issue of Print Isn’t Dead™. Having been commissioned to design and programme an application for Wallpaper*, Kin were able to develop a system using variable data which allowed the subscribers of Wallpaper* to create their own custom-made front cover online using a variety of readymade elements. Wallpaper* hand selected a group of illustrators, designers and photographers, including Anthony Burrill, James Joyce, Hort, Kam Tang and Nigel Robinson, to produce a series of shapes, patterns and images for a specific use. The subscriber could then operate the system features to construct their own magazine covers in a collage-like process. The subscriber could modify colours as well as mix and match the imagery created by the artists, alongside some elements of the magazine cover which had to remain in a set position, such as the magazine header.

By facilitating the reader, providing them with the opportunity to be involved and to print what they want to see, value is added. But there is a difference between customisation and personalisation which can be distinguished by looking at the production process of the Wallpaper* magazine and the magazine which you are currently reading.



Kin had also come up with a solution for those subscribers who didn’t customise their own version: a cover was generated from the system options using random selection ensuring no two covers were printed the same. Each cover is valuable as it is an exclusive edition of one.

Although the Handmade Issue is no longer available for print you can still visit the Wallpaper* website and explore the playful Kin application to compose your own front cover which will then be added to the online gallery, and it’s also accessible to browse all of the diverse covers created.

Kin Design Article

All images credtited to Stephen Lenthal

Element #003 Print Isn’t Dead

Peter Judson is an illustrator and printmaker taking the creative world by storm. We’ve been obsessing over his portfolio for quite some time now and never failing to impress, his recent work is truly blowing our minds. Teaming up with Print All Over Me (think Moo for translating your own designs into clothes) Peter has dropped a selection of all-over printed garms plastered with his signature bold graphic imagery.

by Lo Parkin

Element #003

I caught up with Peter Judson to find out more about his inspiration, process and thoughts on taking a contemporary approach to making print happen quick.

Lo Parkin

Peter Judson

Please can you tell us a little about your process – how did you go about approaching the project?

I actually got the brief around September last year and I could see all the angry parents dragging their even angrier kids to school. In hindsight, education gives you so much opportunity to fail, which is such a luxury when you don’t have bills to pay. So the project is kind of a salute to simpler times.

How did you find out about ‘Print Over Me’ and can you tell us a little about working with them?

I actually e-mailed Kate Moross on a whim as she did a series of t-shirts with Topshop, not really expecting anything from it as she’s an incredibly busy lady but she pointed me in their direction, so thanks Kate! It really cemented the advice that if you don’t ask you don’t get.

Print Isn’t Dead

But really the collaboration came out of nowhere. I tried uploading a design and it came out all fuzzy so I emailed them to see what had gone wrong. They e-mailed back saying they liked my work and wanted to do a collaboration which was less expected than Kate’s reply! Print Over Me were great to work with and basically just said “You do the designs, we’ll make the t-shirts.” So a big shout out to Hayley, Jesse and Barbara for making it happen. How was it going through a more contemporary internet-based approach to create your work in contrast to traditional print studios?

It’s a mixed bag. I can’t help but feel conflicted with a background in print but I don’t think it’s possible to deny the convenience of working online. I designed the patterns in London, they orchestrated the project from New York and the clothes were made in Shanghai, which is amazing. On the other side I’ve only talked to Hayley and Jesse over the phone and via e-mail, and I only learnt about the sublimation printing process they applied via Google and still don’t have a grasp of how the clothes were actually produced. In a way it feels like you’re the audience at a magic show, but the joy of taking the traditional route is you actually learn how to do the magic trick.

Would you go down a similar avenue again in terms of production?

It’s definitely a great resource, there’s no doubt about that. To get industry-standard products produced in such small numbers is basically unheard of, I can’t shout their praises enough. It simply felt like an opportunity I couldn’t turn down but not necessarily a direction I want to fully pursue, although that might change!


I think it was more the 3D aspect than an urge to make clothes. Most of my work up until now has been 2D so it felt like an accessible baby step into a 3D world. My main ambition is to design a building, so I’m going to need many more baby steps before I’m doing a Rocky and punching the air on top of the Lincoln memorial.

Was this the first time you’ve dabbled in clothing and how did you find seeing your illustrations in a new medium?

I used to be pretty mean on a sewing machine. The first thing I made was a hoodie on my nan’s hand-wound Singer, which sadly All Saints have reinvented as wallpaper. But I always wanted to make clothes out of my own fabric and this felt like a great way to professionally fulfill that youthful dream. However I’m not cut out to be a fashion designer, excuse the pun.

Was there a particular fashion house or designer that made you want to translate your illustrations into clothing, or was it just a natural progression to see your work in a new format?

The first name that comes to mind is DavidDavid who makes incredible graphic patterns that translate beautifully into clothing. Also a good friend of mine, Harry Newman, recently completed an amazing capsule collection for Dr Martins which really made me want to take my designs off the screen and see how they fared in the real world.

Can you tell us a little about the inspiration behind your illustrations?

I think my main interest lies in turning incredibly mundane things into something more interesting. At the moment I’m exploring image making but I’d love to work on much larger projects that positively affect peoples lives. I think I’d describe what I’m doing at the moment as research.

Can we expect to see more of this from you in the future?

I honestly couldn’t tell you. I’m not even two years out of university, so every day I’m learning new things and tomorrow I might discover something that really takes my fancy. For now it’s just trying to learn as much as I possibly can and hopefully make some people smile.



What made you want to make clothes, and not just your average graphic t-shirt but such a wide variety of clothing?

Peter Judson

“I think my main interest lies in turning incredibly mundane things into something more interesting.”

Element #003


I came across DOG-EAR, the magazine that is also a bookmark, at KK Outlet. Its pastel-coloured paper and admirable collection of writing made for a winning find. A wonderful balance between the worlds of www. and print, each issue exists and grows online first before a printed version is realised. DOG-EAR is definitely a website to bookmark and a magazine to look out for.

Joe Hedinger

Hello Joe, how and when did DOG-EAR start?

Pete, who’s a graphic designer, had the very first inklings for what would later become DOG-EAR while he was wandering around Berlin. He was having a browse in Motto, and happened to stumble across a couple of publications which took unusual shapes. When he got back to London, he started noodling around with this spark of inspiration and set himself the challenge of playing with the basic concept of a magazine – exploring, for example, what could be done if you changed one aspect, or gave yourself different restrictions like only printing on a single piece of paper. What must have been a few weeks later, I happened to walk past Pete’s desk – we were working at the same agency at the time – just as he was tweaking some early designs for his one-page zine. The purity of the concept and the long thin columns just grabbed me. We started chatting, I promptly became over-excited, and – having only just recently finished an English Literature degree – suggested to Pete that poetry and short prose, gathered from friends and acquaintances, would fit the format perfectly and compliment the charming pictures. Pete nodded. I nodded. We went for a pint later that day and by the next week, DOG-EAR as we know it was born.

Print Isn’t Dead

Cody Lee Barbour


by Cody Lee Barbour

How do you curate the content?

Once the content is with us, we can easily sort through and publish whatever takes our fancy. I suppose the one key element we’re looking for is passion, and an evident, palpable delight in the world of imagination. We normally wait until we’ve got around 30-40 pieces published under an issue colour on the website before considering a new print run. We let the flow of submissions decide when the next issue pops out. And when it’s time for an issue, it’s a simple process of meeting for a coffee or beer with a print out of the website and a big marker pen to circle our nine favourites for that issue. Our DOG-EAR teams in other countries follow the exact same process. This works nicely around our day jobs, means DOG-EAR is always a pleasure and never a chore, and gives each issue a unique character precisely because it’s printed only when it’s ready.

What printers do you use?

Tangent on Demand T/OD.

DOG-EAR is free?

DOG-EAR was always simply a hobby – there was never any intention to monetise the project. Over time, we have come to realise that the little magazine’s format makes it rather special. The small size of the columns – and the restriction this places on the submissions – seems to inspire and facilitate ideas, rather than smother them. We think the tiny format makes writers block or The Big Blank Page seem surmountable. It makes being creative a little less daunting, and the world of art a little less intimidating. With this in mind, we really want to make sure DOG-EAR stays free – we want to use it to spark an idea in as many people as possible, and reckon even just a 50p price tag would hinder that slightly. With a bit of charm and grit, we’ve managed to keep the printing costs low, as well as somehow bagging some wonderful sponsors who share our vision for distributing the bookmark magazine far and wide (so there’s a healthy dose of luck to thank, too).



The project started out merely as a collection of scribbles and scrawls from close friends (who we pestered to put pen to paper). But from the start we had a website with a submit feature – we always knew that we had to make it easy for people to get involved, plus we didn’t want to lose an opportunity to celebrate all of the great and beautiful ideas that miraculously found their way to us (knowing that we couldn’t fit everyone on the printed version). When some creative press got wind of DOG-EAR, and submissions started rolling in from all over the place, the online aspect really took over as our main source of content – particularly when we expanded overseas. Twitter and Facebook are also handy – we make sure to craft a post about every submission, which is then shared by the original contributor, leading to more content finding its way to us. Our great stockists – the brilliant people manning libraries and bookshops around the world – also play a big role in inspiring people to submit their ideas.


How do you collect the content?


Print Isn’t Dead

Element #003


rescued the UK’s largest collection of historic printing machinery from being sold for scrap.

by Marcroy Smith

The equipment is now used to create limitededition prints, greetings cards and other print products. Type is set by hand or cast from metal on the last of the operational Linotype machines. Impressions are created individually using traditional platen presses. Images and typography have a beautiful definition and texture. Products are created using artistry and skill – the Prelogram print room is a world away from the ‘industrial photocopying’ of modern print. Prelogram ®



Prelogram 速

Element #003

One Hundred Forty Print your tweet

The Itinerant Printer Modern tramp printer

ARTHR Newspaper layout tool

Phillip David Stearns An independent designer exploring the realm of digital and analog

The Little Printer by Berg The delightful web-connected printer

Block Shop Textiles Hand block printed textile company

Pick Me Up An annual graphic arts festival pick-me-up-2015

The Long Good Read The long-form journalism from the Guardian and Observer

Blue Crow Media Independent publisher dedicated to creating apps and maps

Present Correct A graphic design influenced stationery shop

The Print Space The ultimate print and framing service run by creatives

Campus London A platform created for collaboration, mentorship, and networking

Print All Over Me A creative/fashion community of people turning ideas into real world objects

Creative Pool The creative industry network

Printed Matter The world’s leading non-profit organisation dedicated to print and publications

The Sketchbook Project A Brooklyn-based company that organise and promote collaborative art projects

Gym Class Magazine A magazine about magazines Kuvva A marketplace to discover the best of illustration

Lumi A photographic printing process for textiles Meet the Makers The craft fair and workshop

Seb Lester London-based type designer and typographic illustrator Secret 7� An annual event that combines music and art Square Eye Printing A series of documentaries about the work of printmakers and printers

UAL Futures A platform exploring digital futures of art, design, media Vlisco Authentic Dutch Wax fabrics that influence the African fashion landscape What Design Can Do An international event about the global impact of design Zig Zag Zurich A new lifestyle fashion brand Zines of the Zone A traveling library dedicated to self-published, photography related publications



Lost My Name A personalised book for young children

Printout An event dedicated to magazine makers/lovers

Further Reading List

Further Reading List

Eike KĂ–nig is the Element #003

founder of Berlin-

Print Isn’t Dead

based design studio HORT.

by Marcroy Smith

Celebrating their vicennial in 2014, Hort is renowned for being an unconventional working environment. Eike is also the Professor of Graphic Design and Illustration at the HfG University of Arts, Offenbach, Germany.

Eike KĂ–nig Feature

Print Isn’t Dead

Element #003

Eike KĂ–nig



Element #003

Type Tales Hidden behind the flick of an ascender or the curve of a bowl, nearly every typeface has a story. Designer Vincent Connare kept a copy of Batman: The Dark Knight Returns on his desk at Microsoft while designing the now infamous Comic Sans, looking to the handdrawn letters in Frank Miller’s masterpiece for inspiration. When designing his eponymous typeface, Adrian Frutiger developed forms that looked clear and concise when placed on illuminated boards and could be read at an angle, because its final destination was to be the signage around Roissy Airport in France, which later became Charles de Gaulle. Even Patron, the striking Milieu Grotesque-designed typeface emblazoned on the front of this issue is an attempt to unite the contradictory approaches of type designers Günther Gerhard Lange and Roger Excoffon. To celebrate Element 003’s typographic cover and the exciting narratives embedded in the way letters look, Grafik introduces you to five new typefaces steeped in stories.


Words by Laura Snoad

Skin — Jamie Reid

!"#$%&()* 0654: @?>¤¢ SKINHEADS! ©®1980-89

Skin’s bold, sharpened shapes were inspired by a headline font from a 1980s Penthouse article highlighting extremism within the skinhead community. “The aggressive letterforms, its impact and density really captured my imagination,” says Reid. “I also liked that the typeface didn’t feel as DIY as a lot of material included in the book.”


ABC BC Grafik in Print

One of the challenges of redrawing the Penthouse typeface – but also a huge part of the appeal – was that Reid only had the word ‘SKINHEADS’ to go from, meaning Reid had to channel the flavour of these eight letters and interpret how the others would look. “Like with most font design, once you have a few letters designed and get going, you can piece together the rest,” says Reid. “I also looked to other Swiss and German headline typefaces for some extra inspiration.” The result is a font composed of an upper case alphabet and digits, punctuation glyphs, as well as a number of hidden treasures in the form of icons from the book.

Type Tales

This typeface by Jamie Reid was designed for Skinhead: An Archive, a book published by Ditto Press that brought together a huge volume of printed ephemera from the subculture collected by Toby Mott.


HT Sütterlinschrift — Studio Hato


Element #003


no stone is left unturned when it comes to the archives of iconic designers. But when the team at Studio Hato were researching Stumbling across a little-known type specimen captioned “Sütterline-Schrift, German a model for children’s handwriting for use in Germany in the early 1920s”, they were typographer keen to pay homage by reinventing it for modern times. Paul Renner On discovering the typeface, Studio Hato (who designed the had been immediately struck by its pleasing shapes. “Renner’s proposals and details ubiquitous Futura), to the style are beautiful: the squared bottom on the ‘t’, the ‘R’ has a beautiful they balance and is easy to mimic. While the ‘Q’ offers a rather ‘rude’ point of view,” made an says co-founder Ken Kirton. exciting The idea behind the original Sütterline-Schrift was that the typeface would work as a discovery.

school primer lettering system that children could copy when learning how to write. After doing a bit of digging, Studio Hato discovered it was proposal Renner had made to the German government to replace the existing handwriting set. His suggestion was declined and the letters lay forgotten, that is until Hato reimagined it as HT Sütterlinschrift.


UT Protocol — Marcus Leis Allion

Type Tales


It was inspired by IBM’s light pen, a computer input device designed in 1968 – a bit like today’s tablet pens but used directly on screen. In promotional photos for this futuristic device, you can see a computer with the words “Keep ahead of the crowd” drawn onto its screen, each letter constructed individually using the light pen.

UT Protocol by Marcus Leis Allion is part of a collection of typefaces that look at ruptures, breaks, and transformations in visual representation and seek to position them in a wider socio-historical context.

Not only was the pen and the letterforms it created intriguing, Leis Allion was also struck by the poignance of the slogan, considering the worldwide escalation of political and social protest that occurred in 1968. “As such, the statement can be read as: ‘Remain in control of the public, by using the networked computing power of business machines to gather their data and limit their actions,’ says Leis Allion.

Grafik in Print

k ee p a he a d o f t he While the letterforms were very basic, getting the proportions right while redrawing the typeface was trickier than Leis Allion had anticipated. “I was working at quite a remove from the original, a digital scan of a printed page of a photograph of letterforms on a curved monitor screen at an angle,” he explains.



Element #003

Glasgow International — Kellenberger–White Nominated for the Design Museum’s Designs of the Year 2015, the identity for the biennial art festival Glasgow International was inspired by lettering on ships and warehouses in Glasgow’s docks, and graffiti painted on ships by Greenpeace The ships not only provided aesthetic and nuclear inspiration, but a fascinating and unusual construction process too. When studying disarmament the lettering on some of the ships, Kellenberger–White saw that the activists campaigners at had daubed “No Whales” on to one’s hull with a roller. Realising that the roller process Faslane, was a quick and expressive communication tool, the pair decided to develop their own a permanent typeface in a similar way that would have a peace fun, energetic feel fitting for the critical but accessible nature of the festival. camp sited Kellenberger–White painted the typeface alongside by hand on to B1 sheets of paper, letting the width of the roller influence the Faslane Naval thickness of the strokes. These forms, including their rough edges, were then base in digitised and reduced, ready for use on the festival’s promotional material. The “No Argyll and Bute, Whales” slogan was not the only inspiration– if you look closely you can also see the Scotland. influence of Glasgow’s son Charles Rennie Mackintosh, especially in the high waists of the ‘e’ and ‘a’.


Liaison — Craig Oldham

Grafik in Print

Working with Aaron Skipper, Oldham created Liaison by redrawing slogans from placards made by the Liaison Committee For The Defence Of The Trade Union (LCDTU), which featured bold and extremely graphic type. “The placards gave so much cut-through in the sea of protest, and were so effective as a result,” explains Oldham. “I wanted to not only celebrate that in the book, but borrow it also.”

Type Tales

“I wanted to use things for a reason, not simply a whim,” says designer Craig Oldham of the typefaces he used in book In Loving Memory of Work, a collection of some of the graphic design created during the miners’ strike between 1984 and 1985.

Particularly fond of the crossbar of the H and the kick on the K, Oldham felt by referencing the blunt, industrial, almost gothic feel of this type he could give the book an identity that felt fresh but was rooted in the history of its origins. “Because the typeface was originally designed for high-visibility on placards, it really helped structure the categories of the book, allowing us to create the big dividing spreads and really structure the book around that framework,” explains Oldham. “And I think it also has a reason for being, it’s not just another font that we thought looked nice.”


Element #003

Jason Evans is a photographer. The Daily Nice

Print Isn’t Dead

is one of his

online projects.

Jason Evans



Element #003

I have been a visitor of The Daily Nice for some time, often set as my browsers home page. It is always enjoyable awaiting the photograph, especially knowing that it is to last for just that day.

Cody Lee Barbour

Jason Evans

How long has The Daily Nice been running and how did it get started?

TDN started in October 2004. The internet was getting faster/ easier to access and it seemed stupid not to utilise this as a more affordable way to broadly disseminate images/ideas with autonomy. Basically it offers an alternative platform to magazines and galleries. It’s about putting good news out there, celebrating the small stuff and pointing at things which are their own reward. It’s good practice to be aware of what’s happening around you. I look for ‘good’ when we’re constantly bombarded with negativity. Contrary to what the media would have you believe our world is a beautiful, amazing place. Miserable, scared people consume more so it’s in the establishment’s interest to keep you miserable and scared... In a small way TDN is a riposte to that.

Print Isn’t Dead

I also wanted a way/place to keep my street photography going. The kind of ‘snap shot’ type images that aren’t really part of a finite body of work and don’t needed to be published but are an end in themselves. Do you take all of the photographs yourself or are they sometimes found images?

I take the pictures that are on the site. Occasionally my picture might include someone else’s work, for example a garden, a hairstyle, a building, a drawing, whatever... I’m not claiming ownership of the content just showing what’s nice around me.

Are the photographs on TDN 100% exclusive to that day?

The images appear on The Daily Nice first. Now I have this back catalogue of pictures and I occasionally re-use or refer to them in other contexts.

How is the decision made on what photograph to publish each day?

Depends on my mood, what’s exciting at the time... what I saw the day before...

What becomes of the photographs after appearing on The Daily Nice?

I made some postcards and gave them away for free... at the 10th anniversary there was talk of a book. There was a show at the Kunsthaus in Essen where the images were made into prints and given away in the hope that they might be exhibited informally elsewhere. I want to be part of a participatory, processdriven culture rather than one where the dialogue is closed.


Jason Evans

What camera do you use?

Sony Cybershot.

You have other collections of photographs alongside The Daily Nice; NYLPT and PFLA. What are the differences between them?

Different work comes from different impulses. It takes me at least 5 years to work through a feeling until it has been resolved. I don’t imagine a project and then set about illustrating that idea. NYPT stands for New York London Paris Tokyo. These are the cities where street photography established itself, the cities I was working in. These are places which have a visual reputation that I could work around. As an experiment I made pictures in Los Angeles too, which has had less street photography practice due to the impact of the car. I left LA out of the title to confuse people, leave them wondering where they were looking at.

The Daily Nice is my place to share things I’ve been happy about. PFLA stants for Pictures For Looking At. PFLA is for looking, mine and yours. I don’t want to talk about it. It is not an academic exercise. Do you have an overall favourite photograph?

I like my pictures when they surprise me. I invite different kinds of chaos into the process to see what will happen. Sometimes I get contact sheets back and they look how I expected, other times there’s a bit of magic there, then I’m happy.



NYLPT is about received images, particularly in street photography. I was in these cities that seemed familiar because of my Media experience. It was like being nostalgic for something I’d never known. It made me less sure about what I was actually seeing. I decided to go with this experience and just layer up all the compulsive images regardless of if they felt like mine or someone else’s. The resulting pictures feel like a nudge in another direction. They are all happy accidents. I had no idea what was being re-exposed over what. I was fortunate to work with Michael Mack on a book and an app of NYLPT which take the ideas to a conclusion, something I seldom do.


Print Isn’t Dead

Element #003

Mint Never Hinged



Print Isn’t Dead

Element #003

Marta Veludo

Marta Veludo is a multidisciplinary designer, combining graphic design, art direction and illustration to bring her experimental and conceptual ideas to life through tangible print for a variety of outputs from fashion editorials and visual identities to set design.

Hannah Dawson

Marta Veludo

Can you tell us a little about your background and where your passion for print stemmed from?

My background is sculpture and graphic design. My work is as well a mix of the two, but graphic/print related is definitely the one that stands more out. So on these two disciplines it lives the fact that you can touch and feel textures. You can play and manipulate. You smell the art of making.

What are the main influences on your work?

I have a few beloved art heroes, Mike Kelly, Matisse, Lawrence Weiner, Anna Lomax, Yokoland, John Baldessari, Toilet Paper, and my girly side likes Arvida Byström, amongst others. Regarding cultural influences, by travelling and living in a few different cities, unconsciously I gain a bit of each one, to make a tutti frutti of what exists in those places. My inspirations also come from the internet (of course), my buddies in the studio, my nights out, walks in the market, in drama, love and in chance. Well, it seems they come from everywhere.

How do you approach new projects? What is your thought and production process?

My approach to new projects can be diverse, according to the brief. When it’s an abstract brief I intend to approach it by working first with aesthetics or experimenting with some techniques that I never dared to before. If it’s a well done brief I work the conceptual & production sides at the same time. Analysing one helps the other to evolve and so on. I feel that then production has to be as good as the design, to reach a good end.

What was it about the Department Store that made you want to be a part of it and sell your lovely prints/products?

I really value people and organisations that enhance the love for print.

by Hannah Dawson

The production process of Marta’s work is just as important to her as the end product, viewing print as an experience of the senses and exploring visual systems while making her designs accessible and unique. As Marta is currently one of many vendors on our online Department Store I decided to find out more about her engaging products and prints, how her love for print has developed, why she chose to become a part of our Department Store, and reveal what really makes her tick.

I think what engages people with print is the fact that it becomes an experience with all the senses. And it lasts. I love print and I love digital, but I still get more turned up when I can touch and feel rather with just having a digital experience.

As you know this issue of Print Isn’t Dead is focused around the themes of customisation and instantaneous print processes– how do you think your work links to this? And if it doesn’t would you consider adding these elements to your work?

Oh yes my work is definitely up to customisation (in a managed way) and instantaneous print processes. I always try to find a solution to make the object/print identities more appealing and unique. By working with visual systems or ways of printing that can be cheap and accessible by doing one object of a kind.

What do you think is the most exciting thing/trend happening within the print based scene right now?

For me the most exciting thing happening (not so new) is Risoprint. Its been a while in the scene, but still an affordable and exciting technique to experiment and go unique and special!

If you could only pick one word to go on the front cover of our Element #003 magazine, what would it be and why?

LOVE ME... because all printed objects should be loved and cared.

Outside of the design based work what do you love doing?

Well, there isn’t always time for it but there is some things I like to do. I like to discover stuff on the floor, places, objects. I love to play football, I love to eat and sometimes I really love to procrastinate.


Marta Veludo

In your opinion what is it about print that engages the audience/consumer?

Department Sotre

Department Store is an affordable and curated online space for selected creatives to showcase and sell their print-based products to our extensive international audience efficiently and effortlessly. If you are interested in becoming a vendor please go to

Element #003 Print Isn’t Dead

YEVU is an Australian fashion brand where contemporary design is attractively melted within the seams of a forgotten ethnic legacy.

A truly transcontinental fashion label. Founded by Anna Robertson in late 2013 under the Accra’s tropical savanna climate. Yevu has been creating a range of colourful garments with an aim to undermine a continuous narrative about social and cultural differences. The label offers a wide range of eye-catching print garments, manufactured by local seamstresses and tailors in Ghana. The name ‘Yevu’ derives itself from the local ‘Ewe language’ meaning ‘White Woman’ – the word that Anna heard everyday when she spent 12 months cruising down the streets of Accra. Here, we had a chat with Anna about how she has successfully showcased traditional textiles, all while making rare African wax prints more accessible to the grasping eyes of the international market.

by Anna Chayasatit




Anna K. Chayasatit

Anna Robertson

What were your first impressions of Accra, Ghana? And how has the city been invigorating you and changed the way you think about your work/profession?

Sprawling, insane, chaos. The smells, sounds and energy of a West African city are so unique, it can be quite overwhelming on the senses – there’s never a dull moment, but I miss it now when I’m not there, and it’s become all too familiar. It took months to learn how to get around, I once ended up in a different city (Tema) by accident!

Print Isn’t Dead

Element #003

Living in an environment that has its daily challenges, like constant power and water cuts, hours of traffic and no urban planning, tests you on a personal and professional level. You become so incredibly patient, and aware. Its all relative though, living in a fairly safe capital city, with a decent income doesn’t really put me in a position to talk about the real challenges of daily living. On a professional level, working in Ghana initially in a local think tank on the 2012 election was incredible – politics in these parts of the world are fascinating and gave me incredible insight into government funded aid projects as well as the psyche of the Ghanaian people. I was thrown in the deep end, and it paid off. What did you study and what did you do before you moved to Ghana?

I completed my Honours in Political Economy at The University of Sydney, and was working at a Sydney based NGO that focused on health and education projects in Uganda and Nepal. Immediately before I got the job in Ghana, I was unemployed for months, came out of a long-term relationship and moved back to my parents house – so needless to say, Ghana was the perfect escape.

The brand has an interesting history. Can you briefly tell us about it?

It’s an unconventional birth of a fashion label, especially considering my zero experience in design. The prints and textiles of Ghana blew my mind – I’d never seen anything like them before. So incredibly contemporary and Aussie summer appropriate, I couldn’t help but explore how people would respond to them back home. It was that, combined with the desire to partner with small businesses in Ghana. There is so much potential, a desire to work, and a skill set to match, but not a lot of government support, financial support, or access to income. Put those factors together, and YEVU was born.

What about the fashion and textile industries in Australia at the moment?

I don’t follow fashion too closely to be honest. But it’s a real shame that a lot of incredible independent Australian-based designers are struggling because of the inability to compete with cheaply manufactured clothing flooding the market. There are a lot of great Aussie labels that aren’t afraid of colour and prints – Romance Was Born, Jenny Kee and Desert Designs immediately come to mind.

Who’s your main target audience?

It’s pretty broad, I’ve realised. I get to meet a lot of our customers through all the pop ups we do (which I’m generally manning), and there’s so many different people who are into the brand for different reasons. For lack of a better word, we attract a lot of hipsters, young creatives, mums, people who care about buying sustainably, and people who have grown up with Fresh Prince.


What is the design and production process like? How often do you have to travel to Ghana?

We do most of the design work and preproduction in Sydney, with the help of freelance designers, pattern makers and graders. All the fabrics and hardware we can’t get in Ghana we take with us. We make sure our team in Ghana is ready to go (as its usually a couple month’s full time work for each range), brief them, provide some technical training and oversee the sampling process. For the most part it’s a lot of time spent at the wholesale markets sourcing new prints, looking for old ones and buying yardage by the hundred (it’s a hot sweaty and labour intensive process!). Everything is made at our workshop in Accra – generally each tailor or seamstress will specialise in a certain style, so there’s consistency (which can be a challenge) and ownership. At the moment we seem to be doing 2 ranges a year, so two trips to Ghana a year. I’d like to make it more frequent and make production and income generation more sustainable.

We tend to think of African wax print only in terms of colour and design. So besides these stimulating visual qualities, what else do you think are the most unique features of these wax prints?

They’re durable – designed to withstand Sub-Saharan climates, they are breathable and everlasting. Ubiquitous in the streets of Accra, and worn to work on Fridays, inspiration is all around you in Ghana. Pirated prints that are being imported tax free from Asian countries are becoming a problem when trying to buy Ghanaian made prints. The imported prints are now donning the labels and names of Ghanaian textile manufacturers (which is totally illegal), are much cheaper, and that’s reflected in the quality. Its becoming harder to buy authentic Ghanaian made prints, and the local textile industry is suffering as a result.

The wax prints are part of a nonverbal method of communication amongst African women. They also serve as a social message carrier. So what are your favourite messages?

Funeral prints always carry messages that warn against the nature of humanity. My favourite is a print that has a repeated motif of mouth and teeth, and text in Twi that translates to ‘I may be smiling at you, but I hate you on the inside’.

And final question, besides integrating sustainability in your brand values and strategy, can you tell us what the other plans you have for YEVU Clothing for the future are?

Developing the social enterprise model so we see greater impact in Ghana, especially in terms of income generation, financial management and women’s empowerment. In order to do that, we need to continue to create a product that people want! Refining our designs, keeping it simple but innovative and exploring other textiles from the region, such as kente (a handwoven Ashanti textile) and mudprints from the North of Ghana.



Its all about the print. If the print is right, they’ll make any piece work! And people seem to be aware of the story behind YEVU and are into the fact that’s its all Ghanaian sourced and made.


Do people tend to know what they are looking for when they buy an item from YEVU, or do they just buy a shirt/jacket without really knowing what it is?

Print Isn’t Dead

Brixton Brewery was founded in 2013 by two local couples, Jez & Libby and Mike & Xochitl


by Marcroy Smith

We were thrilled to have Brixton Brewery at the launch party of Element 002 back in February, supplying us all with cups of delicious Electric I.P.A. to toast the new issue. All their beers are hand crafted in small batches, drawing on traditional techniques, flavours and ingredients and wonderful prints designed by Emma Scott-Child.

Brixton Brewery


Print Isn’t Dead

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Studio Moross


Studio Moross is the innovative creation of London-based designer and illustrator Kate Moross. As the director of Studio Moross, Kate works alongside a very talented, multidisciplinary team, with a combined passion to ‘make music look good’ through the notions of art direction, branding, print and moving image. They have generated copious striking designs and visual productions for prolific clients from the music industry such as Jessie Ware, Disclosure, Tala and Banks to name just a few. Studio Moross embrace both analogue and digital design processes, using them in conjunction to customise their client’s visual identity and create conceptual imagery which is reactive to the music, enhancing the viewer’s experience.

by Hannah Dawson

Ollie Chapman

Why do you value print? How does it tie in with the work that you create?

It is always pleasing to have something tangible to appreciate. We spend so much of our time working in a digital medium. Print is a completely different world. It’s physicality triggers that extra sense, the touch that you simply can’t experience through computer screens.

What do you think allowing our customers to personalise their cover adds to the experience and the overall outcome of the project?

People always love owning custom pieces. It is an opportunity to express themselves and obtain something unique and truly personal. Customisation is widely noticeable in fashion, in electronic products and various other consumables. Rarely does it traverse into the publishing world, and hopefully we’ll see it more!

Have you worked with HP Indigo printing? What are your thoughts on the future of digital printing?

We are always keen to experiment and experience new print techniques. Whenever a client gives us the opportunity we’re like kids in a candy shop. Every time a new print process is introduced it seems like the bar is raised. Just when you think technology has reached its capacity something new comes along. With so many processes and technologies available the real challenge is identifying where one is more appropriate than the other, and how they can be used and combined to fulfil your desired outcome.

Name three books we should read and why?

Seasons by Blexbolex A hardback book, filled cover to cover with beautiful illustration on creamy matte paper stock. Even a fabric cloth spine. What more could you want!

Studio Moross

Hannah Dawson

Bill Daniel’s Mostly True April 1908 There is so much to look at and and read about in what is actually quite a small book. As much thought has gone into the production as the content, which combine to create a truly immersive publication.

Tag someone in, who should we talk to next and why?

Studio Operative. They’re a small publishers in South East London who produce the bi-annual Limner Journal amongst others. The value of print and aesthetics is always at the forefront of their output. They also produce the majority of their publications in-house which is always a big appeal.



Surfer’s Blood by Patrick Trepz I couldn’t leave this out. I surf, but you don’t have to be a surfer to appreciate Patrick Trepz’s incredible photographs. As many photos of culture, water and portraits as there are of surfing. A really comprehensive and carefully considered documentation of surf culture.

Element #003 Print Isn’t Dead

BANG! is a dark and saturated, surreal and cinematic visual narrative of sexuality at one of its most pivotal points in history. The fantasy of the female at its climax.

by Marcroy and Anna



It is a showcase of explicit photographic imagery by Jonathan Leder which is accompanied by captivating writing courtesy of Jacq Frances. We spoke to Amy Hood about her inspiration and how she came up with the idea to create this bond of sensuality and sexuality in the scenic route of vintage adult cinema.


Published by Imperial Pictures Publications, Bang! offers the cinematic feel of 70s and 80s heritage. Art director Amy Hood has managed to change the way we perceive female self-articulated nudity and the publication undoubtedly brings into question feminine beauty & vulnerability.

Amy Hood

Can you tell us a bit about Bang!?

BANG! is a creative collaboration between myself and Jonathan Leder. We wanted to create something that was a bit more over the top and really over saturated. It includes original writing by Jacq Frances. A woman who traveled the world for two years as a stripper, and lived to write about her fantastic experiences.

How did you find inspiration for the story and art direction?

We had been wanting to do a color publication for a while, but with a separate identity from Fetishisms, a different vibe altogether. We were very inspired by these super saturated, Sports Illustrated type photos from the late 1970s and early 1980s, which was a sort of pivotal point in terms of sexuality as well, decadent really, and staged. So we had that inspiration in mind and developed it with our ideas and aesthetic, this over the top sort of sexuality, dark, vibrant and theatrical whilst communicating a sort of story, a narrative, and within these elements the publication is very cinematic, something we enjoy and feel is a part of the BANG! personality.

The publication seems very 70s and 80s inspired. Is that the period you enjoy most?

That is one of the brightest, shiniest, most decadent time periods in recent history, while still maintaining some level of human depth and honest sexuality, and its bright make-up, hairstyles, and almost gawdy clothing was ideally suited to the cinematic, surreal, sort of theatrical effect we wanted this publication to be about.

Tell us about your collaboration with Jonathan Leder and Jacq Frances. What was the most challenging part in the process of creating this publication?

Jonathan and I are long term collaborators, and we agree on many creative aspects and inspire one another so it is a very mutually beneficial, motivated relationship. Jacq was originally cast to model in the publication (she is featured inside) and after speaking with her we found out she was a writer and how interesting her story was. It was obvious we wanted her to contribute and ended up filling the entire booklet with her crazy experiences, which I believe are mostly true.

Print Isn’t Dead

Element #003

Anna Chayasatit

I’d say the challenging part is all of the little details and organization that need to go in before (and after) you can have a finished product in hand. How would you market Bang? Who’s your target audience?


We market most of our work as vintage or retro, abundant in the quality and charms of yesteryear. We approach it on multiple levels, design, photography and the models, and the writing, so that any of these elements could be striking enough to breed a fan and while we don’t create with the audience in mind, those with a taste for uniqueness and innovation, quality, retro and vintage aesthetics and beautiful women in all of their glorious seductiveness are sure to find our work very appealing.

What about the setting and the location for the shooting?

The shoots took place in various houses here in Woodstock, there were also a couple sets we built, with the backdrop, decorations and carpets, it was very fun!

Is there anything in particular you look for when searching for a model and what to look for in the model’s portfolio?

We like unique-looking girls, with good personalities, of all shapes and sizes but with very classically feminine features, button nose, full lips, nice bone structure, something of a body and a gleam in their eye. We find them through Instagram, model agencies and sometimes Model Mayhem, so we have a nice little cocktail of ladies for the reader to taste.

You seem to be doing well and enjoying both print and time-based media. How would you describe your experience across a range of different mediums?

I really love print, and am glad it’s a medium that is flourishing despite technology. As an Art Director it is always so much more rewarding to be able to smell and feel and see the work in person. It’s also interesting to see how design translates from the computer screen to the paper or textile.

Besides film and print publications, do you have any other creative outlets?

Does cooking count? There are a few ideas on the brain but nothing that has actually been produced... as of yet!

What can we expect for the second issue of Bang!? When is it coming out?

This year for sure, specifically when has yet to be determined, but we will certainly have other publications coming out in the meantime.



It arises from inspiration, within thoughts, photography, literature, film, history and then a theme begins to form itself. One thinks about what they want to communicate with this great medium of having a publication in order to best express this idea. Then put it all together as aesthetically sophisticated, eloquent, innovative and, of course, as provocative as possible. It’s certainly a process, but well worth it to create this embodiment of glamor, a reflection of a time and mindset that doesn’t really exist any more, and what that means in today’s world. Hmm... while I wouldn’t call it weird per se, we did have one of our models pose with a dildo, not very standard for a beauty shoot.


What was the weirdest thing you had to do to get the right shot?


Print Isn’t Dead

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Element #003

The Mainichi Shimbu teamed up with advertising agency Dentsu to help rediscover the value of printed news.

by Cara Bray

Following the success of this particular campaign, Mainichi wanted to use this method again but this time to inspire action for global causes. Introducing the Donation Bottle, the idea was to replace the outer packaging with articles that covered one of five major issues including; environmental preservation of Mount Fuji, HIV infected orphans in Cambodia, destruction caused by a typhoon in the Phillippines, protecting Kenyan mountains and areas of Japan affected by the Great East Earthquake.

Mainichi Ă— Dentsu

By displaying daily news on an object people regularly buy, a popular mineral water becomes an informative yet functional news medium. A simple, yet refreshing idea allowing for hassle free headlines to be integrated into the consumers daily life. Turning the packaging of the bottles into mini newsboards, Mainchini are able to communicate the latest stories onto a compact surface area. Evolving the standard plastic water bottle into a innovative platform to advertise on, Dentsu also incorporated AR technology meaning updates were also able to be read through the customer’s phone.

Consumers could buy the bottle for the problem they wished to support, with proceeds from the purchase being donated towards that particular cause. In addition to educating themselves about the topic, with a short relevant article making up part of the packaging. The campaign resulted in the sale of 30,000 bottles in a month which was 30 times larger than that of the year before.



Hewlett Packard ®

Pureprint and HP® Indigo printing

Element #003 of Print Isn’t Dead™ uses a printing technology that may be the biggest advance in printed communication since Guttenberg. In Renaissance Europe, Guttenberg’s invention of mechanical movable type printing led to the era of mass communication, which would permanently alter the structure of society.

Hewlett Packard ®

HP® Indigo printing technology creates digital presses with the ability to print without films and plates. This enables the use of variable data like text or images in publications such as personalized books, direct mail applications or photo albums, which are usually printed in copies of one. Digital presses also make short-run, just-in-time printing cost-effective. In this way, digital presses have changed the economic models of print. In the HP® Indigo printing process, a laser creates the image on a dynamic imaging foil (called a PIP). Proprietary ink (called ElectroInk) adheres to the plate and is transferred to a heated blanket, before being printed on a substrate. The small size of the particles ensures that the printed image does not mask the underlying surface roughness or gloss of the paper, making Indigo printing closer in appearance to conventional offset lithography, with semi-transparent inks that adapt to the surfaceof the substrate. Each Indigo press has up to seven colour stations, which can use cyan, magenta, yellow, black and a variety of special and spot colour inks, such as white and transparent.  


Hewlett Packard ®


Hewlett Packard ®

HP® provides the option for users to mix their own ink colours to match Pantone references. This is common with non-digital offset litho presses, and is one of the features that distinguishes the HP Indigo process. Users can also order special pre-mixed colours from HP® Indigo – for example fluorescent pink. HP® Indigo presses are available in configurations supporting four, five, six or seven. Under the ownership of HP®, Indigo has developed and grown to become a world leader in the digital printing industry.   Pureprint is one of the leading printers of creative communications in the UK and has won over seventy awards for the quality of their work, including Fine Art Printer and Book Printer of the Year for four of the last five years. Today, in addition to their modern litho presses, they have one of the biggest HP® Indigo installations (with five machines) and are the only printer in the UK with two of the larger B2 presses.   Richard Owers, Marketing Director at Pureprint, has seen the impact the HP® Presses have had on creativity. “When we met Marcroy and discussed Print Isn’t Dead, we loved the irony. As the world continues to disappear into online quicksand, a new era of enlightenment is using print again. At the heart of this are two things. The first is a realisation that there is a collection of processes, substrates, sizes and designs available when print is the medium, which connect with our senses in a way online communication never will. The second is the totally new options that are available by using HP® Indigo printing technology. Never before has it been possible to produce printing of such high quality with complete freedom to make every copy different. The opportunities to produce creative and personal pieces of communication are amazing.”

Element #003 Print Isn’t Dead

Letterpress Manufaktur Hamburg is a small but mighty letterpress and commercial printers.


Letterpress Manufaktur Hamburg



In the north of Hamburg, Germany you’ll find Letterpress Manufaktur Hamburg, who are part of dynamik druck GmbH. They perfectly combine the best of digital and analog techniques when producing work for people all over the world, from as far afield as Mexico, Hawaii and even ourselves here in London. We worked with Letterpress Manufaktur Hamburg and designer Jennie Clark to make our amazing triplex business cards, printed using their Heidelberg Windmill 1971 onto luxuriously thick cotton paper.

Fikra is an Arabic word meaning idea or concept, or more accurately translated as the idea after the processes of cerebration. This multi-disciplinary design studio specialises in providing bilingual design solutions in print and new media, using both Arabic and English. Their team consists of designers and developers in the United Arab Emirates and New York.

Print Isn’t Dead

Element #003


Afkar Fikra is the educational element of the studio. Afkar is the plural form of Fikra, and Afkar Fikra literally translates into “the ideas of Fikra”, or “the ideas of the idea”. Afkar Fikra was created as a platform that allows for the production and initiation of independent projects to research, investigate, and explore current regional topics through design.


by Marcroy Smith


Fikra Article


The two initial launches (Element #001 and Element #002) of Print Isn’t Dead™ at London Graphic Centre saw hundreds of people from various creative communities throughout London itching to get a closer look at our magazine. Hidden amongst the vibrant streets and mid-market retail outlets of Covent Garden is the UK’s leading supplier of arts and graphic materials. Its location serves as the perfect precursor to an evening event which allows us to make valuable contacts, discuss ideas, affirm friendships, and network alongside fellow creatives over the tones of inspiring chatter and delicious tunes and beverages.

Print Isn’t Dead

Element #003

London Graphic Centre


by Anna Chayasatit

London Graphic Centre

For half a century and more, the London Graphic Centre has been recognised for its extensive range of art and crafts materials, graphic supplies, office products and stationery. People of Print were more than grateful for the amazing opportunities to connect with such an established company in order to host such a fitting event for our audience to soak up the creative environment.


London Graphic Centre

We live in an age where the nature of products is increasingly becoming digital. People of Print would like to revive the tactile experiences that have been pushed aside in lieu of our love for technological supremacy. No matter how advanced technology has become, artists and designers still embrace the need to source the right material. London Graphic Centre has a versatile facility which is ideal for small to medium-sized social gatherings. And for this reason the location is, without doubt, the essential spot for both sides of the spectrum, everybody from juniors to professionals, to come and influence the drive that will help the process of making and designing evolve whilst maintaining its core value.

People of Print


A massive thank you goes out to everybody who has supported us in bringing Element 003 to fruition, especially our People of Print members...

Allan MacDougall Ansis Egle Beth Wyatt Christopher Chew Douglas Brull Ellen Bills Eve Gray Francisco Caamano Grace Hougthon Greg Lang Joshua Speer Joshua Stewart Karsten Soerensen Katharine LiBretto Mateusz Biel

Matt Coles Ned Drew Nikos Panayiotopoulos Paul Copeman Paul Sin Pepper Spray Press Pieter De Kegel Post Utility Rachel Holden Rebecca Harrison Richard Morgan Salem Al-Qassimi Scott Lyon Shannon McKinnon Theo Pettaras

Name and Title



Print Isn’t Dead


Element #003

11.06.15 @peopleofprint


#printisntdead #printspotters

Print Isn't Dead™ Element 003