DC Book Draft

Internacional Diseño Kultur

Foreword — Jonathan Finch


Contents


North AmericaVancouver, Canada — Working Format

New York City, USA — Established, Studio Lin, Triboro

San Francisco, USA — Manual

Latin AmericaMonterrey, México — Anagrama, Face, Manifiesto Futura, Menosunocerouno

Rio de Janeiro, Brazil — Campo

São Paulo, Brazil — Quadradão

UKGlasgow, Scotland — Berg

Leeds, England — Golden

London, England — Mind, No Days Off

Manchester, England — Teacake

Page 03 World Map — Locations & Studios





AsiaSingapore City, Singapore — Foreign Policy

Hong Kong, China — IdN Magazine

ScandinaviaOslo, Norway — Heydays

Stockholm, Sweden — Stockholm Design Lab

Gothenberg, Sweden — Lundgren & Lindqvist

Helsinki, Finland — Bond, Tsto

OceaniaMelbourne, Australia — Coöp, Fabio Ongarato

Sydney, Australia — Maud, Toko

Central EuropeBarcelona, Spain — Mucho

Paris, France — Helmo

Eindhoven, The Netherlands — Raw Color

Berlin, Germany —‚ Britta Siegmund

Mannheim, Germany — Deutsch & Japaner

Prague, Czech Republic — Anymade


North AmericaVancouver, Canada — Working Format

New York City, USA — Established, Studio Lin, Triboro

San Francisco, USA — Manual

Page 05North America

Working FormatWorking Format is a Vancouver-based design studio

founded by Abi Huynh, Grace Partridge & Ross Milne

specializing in graphic design, art direction and type

design for print and screen. Working Format collaborates

with creative agencies and clients throughout North

America and Europe, producing a diverse body of work

across cultural and commercial fields.

Working Format

1090 Hornby St.

Vancouver, British Columbia

V6Z 1V6, Canada

workingformat.com

[email protected]

+1 604 566 2648

Internacional Diseño KulturM

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Page 07 — Working FormatNorth America — Vancouver, Canada

What’s the story behind your studio name?When we set up on our own, we found it daunting to think that decisions we made early would be with us for 15 or 20 years.Among other things, the name Working Format was a way of avoiding this.

Can you roughly describe a breakdown of your working process? Our name also suggests that everything is in flux, that the studio can and will change direction and that at the core of what we do is a process.

Is there a particular influence or focus that has led you to your current work? I’ve always been interested in the distinction between Italian and French traditions in cooking. In the latter, the chef is the hero, something that has led to an array of methods and complex techniques. Italian cooking on the other hand seems to celebrate the ingredient itself. Our studio mantra — if we have one — is to use good quality ingredients, cooked as little as possible.

Could you describe your studio environment and the impact that the physical space has upon your creativity? We’re very accustomed to working in a variety of environments, though good lighting is a must.

Are you conscious of your geographical location shaping your design practice in any way?This is a tough one. Because we’ve been educated and have worked professionally in foreign countries (Holland and the United States), we are very sensitive of the unique visual culture from one place to the next, though find it difficult to say how Canada’s has influenced our work. We’ll rely on others for that.

How would you describe Canada’s current graphic design scene to somebody who has no experience of it?Canada has an uneasy relationship to its own visual culture. It’s a very large country with few people relative to its size. It often looks to its geography for inspiration and just as the geography varies, so does the visual culture. Young studios are starting to emerge, led largely by those out of Montreal. In Vancouver, a number of strong studios are establishing themselves with an awareness of work being produced elsewhere, be it Montreal or beyond.

Are you particularly influenced or inspired by the design scenes of any other countries?Having spent time in the Netherlands, it’s impossible not to be

Interview conducted via email with one of thefounders of Working Format, Ross Milne.


amazed at the way graphic design is integrated into the county’s identity. French and Japanese design carry a lightheartedness that we find admirable.

Has the internet limited individuality and created a global design scene where geographical position and local culture no longer impact upon the work produced? The internet has helped small studios find each other and break from the traditions of larger, established studios. Because the internet allows you to focus so intensely on what you’re already interested in, it’s easy to neglect the range of ideas, styles and opinions that make international graphic design so diverse. It also makes trends that much more ubiquitous.

Do you consider the work of your studio to have a certain ‘style’? I’m sure it does, though as Working Format is the sum of its parts, we try to let the individual voices carry through.

How would you sum up the attitude and direction of Working Format? Young and beautiful.

By Any Other Name

Page 09 — Working FormatNorth America — Vancouver, Canada

Royal Academy Of Art Type Specimen

The Cheaper Show


EstablishedEstablished was set up in 2005 by Sam O’Donahue

and Becky Jones. A full service boutique agency,

Established offers Architectural, Graphic and

Product design under one roof that merge to create

comprehensive brand identities which are fully

realised over multiple applications.

Established

401 Broadway Suite 800

New York City, New York

10013, USA

establishednyc.com

[email protected]

+1 212 633 0373

Round Hill Music Stationery

Page 11 — EstablishedNorth America — New York City, USA

Laughing Man Stationery & Packaging


Manual Manual is a design and visual communication studio.

Our work strives to uncover the intangible essence of

a brand and express it through unique visual solutions.

Through our process of conceptual design thinking,

we help businesses and organisations articulate their

unique offering, giving them more value and distinction.

Manual Creative

340 Bryant Street, Suite 205

San Francisco, California,

94107, USA

manualcreative.com

[email protected]

+1 415 932 6369

Wo

Hin

g: S

tore

Iden

tity

Page 13 — ManualNorth America — San Francisco, USA

The Slanted Door: Restaurant Branding

Wo H

ing: Stationery


Studio LinStudio Lin’s approach is founded on a desire to explore

new territory through challenging collaborations with

creative visionaries in the fields of architecture,

industrial design, art and fashion. Behind every Studio

Lin design is a highly defined rationale but not a

singular style — a common denominator is a fresh,

modern sensibility.

Studio Lin

11th floor, 164 west 25th Street,

New York City, New York

10001, USA

studiolin.org

[email protected]

+1 646 266 1425

Fab Manifesto Posters

Page 15 — Studio LinNorth America — New York City, USA

American Design Club Gift Fair Poster

2012 Calendar


TriboroTriboro is the husband and wife team of David Heasty

and Stefanie Weigler. Triboro creates design solutions

for clients in publishing, art, fashion, music, lifestyle,

and for cultural institutions. The studio excels both in

building inspiring brands from the ground-up and in

shepherding established brands into new territories.

Triboro Design Solutions

239 Nassau Avenue

Brooklyn, New York

11222, USA

triborodesign.com

[email protected]

+1 718 389 7163

Pos

ter

Of F

ortu

ne

Page 17 — TriboroNorth America — New York City, USA

What’s the story behind your studio name?Triboro is a common identifier in New York affixed to various businesses and locations (literally meaning 3 boroughs). We are based in a post-industrial area of Greenpoint, Brooklyn. Many of the industrial businesses here are called Triboro Floor Tiling, Triboro Custom Shelving, etc. So we thought that since the neighborhood is in the process of transition — from an industrial based economy to a creative economy — it might be interesting to repurpose the term and preserve a link to the past.

Can you roughly describe a breakdown of your working process? First we get briefed by the client. We like this part of the process, observing how they dress, their tastes and inspirations. Then we go back and brainstorm ideas that we think will address the problems/parameters/audience of the project but in a way that is (hopefully) unique. We do a lot of work for start-ups and we like this best because we are starting with a blank slate — helping to build a brand from the ground up is very satisfying and we really enjoy working with entrepreneurs. Usually our ideas come from a strategic place which is helpful when selling the client on the concept. We try to embrace objective reasoning not subjective tastes. When the client understands that the design we are presenting has some rational foundation they are usually confident in accepting the design outright.

Is there a particular influence or focus that has led you to your current work? No, we approach each project with an open mind and try to come up with a solution that surprises us but is appropriate to the client/problem.

Could you describe your studio environment and the impact that the physical space has upon your creativity? We have a combined live/work studio space and love it. There are no boundaries, and life and work are combined in a symbiotic mess of good vibes and creative chaos.

Are you conscious of your geographical location shaping your design practice in any way?Absolutely, we are very inspired by the New York mentality (full speed ahead) and the New York aesthetic (an eclectic visual cha-os) and being here is intensely stimulating. The energy of the people and environment is slightly addictive. We work a lot with start-ups and entrepreneurs are an enthusiastic bunch and there are a lot of new businesses starting all the time. Also New York is home to a wide variety of industries and we enjoy working with as many of them as possible. The opportunities that New

Interview conducted via email with the creative director of Triboro, David Heasty.


York provides we could not replicate in another location. I think to your question, designers should acknowledge the influence location has on their work. Sometimes we don’t notice it but it is always there.

In a city as diverse as New York and a country as vast as the US, is it possible to notice any recent trends in graphic design? It’s hard to generalize about the the rest of the U.S. but it really feels like an “anything goes” atmosphere in New York. Maybe there are companies focusing on a particular style, but we find that clients are generally open to any approach that feels appropriate to their business.

Do you draw inspiration from any certain traditions or aspects of culture or design that is distinctly American? We are inspired by all sorts of things, but probably not anything specifically related to American design history. Certain local vernacular aesthetics we find fascinating, for example the mid-century hand-painted signage that adorns many of the industrial buildings in our neighborhood, or local supermarket posters. But usually we look more to creative output done outside graphic

design. Movies from Kubrick or collections from Alexander McQueen offer much more sustenance in our opinion.

Are you particularly influenced or inspired by the design scenes of any other countries? Not influenced, but we really respect some of the work that comes out of Tokyo. But really there seems to be interesting work coming from everywhere these days.

Has the internet limited individuality and created a global design scene where geographical position and local culture no longer impact upon the work produced? It seems more that everyone is feeding off everyone. We are not so attuned to the trends of the moment but sometimes you see a type treatment done by designers in Berlin or somewhere and then the next week you receive a student portfolio that looks exactly the same. The dissemination of stylistic conceits seems to be somthing that has been around awhile. When we were students we saw it with Carson’s work or Designer’s Republic, now it just happens much faster with the blog/internet culture.

1 Colour New York Subway Map

Page 19 — TriboroNorth America — New York CityB

LK D

enim Identity

Do you consider the work of your studio to have a certain ‘style’? We have a conceptual approach, a way of coming to ideas that seems to create a consistency in our work but we usually hear from others that our work lacks a singular visual style. If true, we are fine with this. Style is overrated. We get bored easily and look for opportunities to try new things and surprise ourselves and our clients. If clients approached us looking for a particular style this would take all the fun out of the creative process.

How would you sum up the attitude and direction of Triboro? Who knows? Categorizing ourselves is not very interesting. We would rather put our work out there and let people judge for themselves.


Latin AmericaMonterrey, México — Anagrama, Face, Manifiesto Futura, Menosunocerouno

Rio de Janeiro, Brazil — Campo

São Paulo, Brazil — Quadradão

Page 21Latin America


AnagramaFounded in 2008, Anagrama is described as a brand

intelligence group that aims to deliver highly a

personalised service. Their set up includes professionals

from a variety of creative backgrounds that combine to

produce work that is incredibly well considered from

every viewpoint.

Francisco Naranjo 224,

Colonia San Pedro,

San Pedro Garza García, Nueva León

66230, México.

anagrama.com

[email protected]

+52 (81) 8336 6666

Theu

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Tho

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Page 23 — AnagramaLatin America — Monterrey, México

Cast aside your preconceptions about Mexican style. The lucha libra costumes, imagery of Dia de los Muertos and tattoo art of Latino street culture have a certain visual flair. But they’ve quickly become clichés and if you look inside México itself you’ll uncover a far more sophisticated design culture evolving. Here, you’ll find Anagrama is a great example – an emerging studio that oozes class and consistency in everything it does. “We do not see design as being reggionally defined. Design must firstly be functional and it must communicate no matter what language you speak,” says designer Miguel ‘Mike’ Herrera. “When we see projects by Stockholm Design Lab or BVD, we think everything should be done that way. We love how history gave Switzerland, Germany, England and France a chance to be innovators in the fields of information design and typography.” Herrera’s comment is a great clue as to what inspires the studio and it always shows throuh in the effusion of wonderful typography that comes out of their work. The other co-founders of Anagrama are Gustavo Muñoz who runs the business and project management side of things and Sebástian Padilla who, like Herrera, is a self-confessed design perfectionist. The trio’s long list of international influences covers everything from Mies van de Rohe to Metallica, Haruki Murakami and Joseph Muller Brockman, with a little Daft Punk, Call of Duty and old calligraphy thrown in for good measure. The studio was founded in 2008 after Muñoz and Padilla had collaborated on a few projects together. They brought in Herrera and set up in a spare bedroom at Muñoz’s house.Three years on and the studio has moved into a new two-storey house in the downtown area of San Pedro Garza Garcia, in the Nuevo León region near Monterrey. During that time they’ve been joined by three more graphic designers, two web developers and an extended team that includes an architect and two industrial designers. Anagrama’s business is small but, as the saying goes, perfectly formed. It enables the team to get right inside projects and offer a service that bigger studios cannot: “Small is not a representation of expertise or success. For us, in part, it is a way of letting our client know that we are comitted to delivering ultra-high-quality work and giving them personalised attention” explains Muñoz. “When evaluating projects, we make sure that we have a connection with our client and that the project will be executed with great results.” The main focus is on brand development and this has three elements – consistency, attention to detail and process. quite new in the Mexican market, but there are still plenty of opportunities in the country for studios that can

Interview extracted from Computer Arts Projects magazine issue 152 (Print Design) pages 46 – 53, Written by Garrick Webster.


achieve high quality brand design. As an agency that recognises this, Anagrama positions itself as part of an emerging culture-shift in Mexican design. However, because Mexico is still a developing country, there are plenty of challenges. Anagrama are involved in exciting new commissions that will see their profile grow within México and internationally. “We hope to become a reference point for Latin American and international design,” says Muñoz. “We’d love to expand into other countries, establishing offices and to keep expanding our multi-disciplinary team, whilst being extremely careful to maintain the quality of our work. We’d love to get involved in airlines, hotels and the Olympics.”

For the love of print:“We greatly appreciate how digital gives us infinate

graphical possibilities, but in the end we feel print

involves much more creativity,” reflects Miguel

Herrera. “Many other variables and parameters must

be considered, such as textures, dimensions, cuts and

finishes. These add depth to the experience and

communication potential of the designed pieces.”

MTLL Architects Branding

Page 25 — AnagramaLatin America — Monterrey, México

La Fabrica Del Taco Menus

Nem

esis Identity


FaceFounded in 2006, Face is an intelligence-driven

supermodernist design studio based in Monterrey,

Mexico whose work range includes, design solutions,

advertising, editorial projects and custom publishing,

corporate identity, web design and brand development.

Face Creative SA de CV

Vasconcelos 204B, Second Floor,

Bosques del Valle 1er Sector,

San Pedro Garza García, Nueva León

México

designbyface.com

[email protected]

+ 52 (81) 8356 1001

Face

, 5 Y

ear

Ann

iver

sary

Page 27 — FaceLatin America — Monterrey, México

What’s the story behind your studio name?Face was the last option we came up with actually, but as soon as we had it, we knew it was the perfect name for us. The story is very basic, we wanted a universal name that wasn’t really obvious about design, but that had something in it that could say something about aesthetics. Face is the most important feature to remember a person, it says a lot of things and it’s the main feature that makes us fall in love with someone. In a metaphorical way, we create those faces for our clients.

Can you roughly describe a breakdown of your working process? We have a method and a formula based in tools, but we’re humans, and the client doesn’t always know what he wants or needs.

Is there a particular influence or focus that has led you to your current work? Yes and no, we are all influenced by everything that the world has to offer, from competitors to teachers to inspiration of all kinds and shapes, we like to admire the basic rules and work that the geniuses did and left for us.

Could you describe your studio environment and the impact that the physical space has upon your creativity? Our studio is inside an old brick building, which is something not that common in Monterrey. We redesigned some of the spaces and designed the desks, added some color and a few more things to make it look and feel comfortable. The environment is very relaxed, we try to have music all day, to chat about projects, things around us, etc. We have whiteboards and blackboards to write stuff and discuss our projects, and we try to have some beers once every week, to unplug for a few minutes or hours and talk about more than design.

Are you conscious of your geographical location shaping your design practice in any way? Yes, but actually I think so far it has been good. Monterrey is an average city, not so bad, not so good, but the people (specifically the designers) are very aspirational, and we like to investigate and asbsorb what the world has to offer. The bad thing is that sometimes it’s hard to have better challenges and projects to design for.

How would you describe Mexico’s current graphic design scene to somebody who has no experience of it? It’s divided into: Monterrey, Mexico City and the rest of the republic. Monterrey has the upper hand here, and it’s not only because we’re there. There at least five or ten amazing and

Interview conducted via email with the creative director of Face, Rik Bracho.


internationally acclaimed studios in this city, and we are kicking Mexico’s ass in a good way.

Do you draw inspiration from any certain traditions or aspects of Mexico’s design history? Not really, I mean, it depends. If the project needs something, we’ll look for the right resources to be inspired. Mexico has a lot of history, tradition and folklore to work with.

Are you particularly influenced or inspired by the design scenes of any other countries? Well, we love Swiss design, but nowadays Swiss design is very international. We love the Bauhaus, Modernism (European and American) and we love Japanese design too.

Has the internet limited individuality and created a global design scene where geographical position and local culture no longer impact upon the work produced? Internet is great. Globalization is amazing these days, you can be anybody anywhere in the world doing amazing things and the world can see your work and you can be reached. But even with this flexibility, where you are is always a very important factor to the things you create and inspire your work.

Do you consider the work of your studio to have a certain ‘style’? We call it supermodernism. But it’s actually based in modernism with a human touch, it’s based in honesty and aesthetics.

How would you sum up the attitude of Face?We are in love with what we do, and we want to do it better everyday.

Page. The Magazine

Page 29 — FaceLatin America — Monterrey, MéxicoP

age. The Magazine

Hardpop C

lub Identity


Manifiesto FuturaThe goal of Manifiesto Futura is to make the best of

Mexican design, to change the shapes, strategies, the

narrative… through clear messages and smart

incentives. Yet to keep the mexican character, wit,

and the charisma intact.

Manifiesto Futura

Col. Obispado

Monterrey, Nueva León.

México

mfutura.mx

[email protected]

+52 (81) 8881 7097

Studio Typography Project

MF

Self

-Pro

mot

ion

Page 31 — Manifiesto FuturaLatin America — Monterrey, México

Manifiesto Futura Identity

Joy Motion G

raphics Branding


MenosunoceruonoFounded in 2006, Face is an intelligence-driven





Menosunocerouno

Pablo, Moncayo 135,

Colinas de San Jerónimo 11O.

Monterrey, Nuevo León,

México

menosunocerouno.com

[email protected]

+ 52 (81) 8478 0513

Chinolatino Restaurant Identity

Chi

nola

tino

Men

us

Page 33 — MenosunocerounoLatin America — Monterrey, MéxicoJust In C

ase. Apocolypse Branding


Founded in 2006, Face is an intelligence-driven





CampoR/ Minas Gerais, 364 sala 4

Higienópolis SP

Rio de Janeiro

01244-010, Brazil

nocampo.com.br

[email protected]

+ 55 (11) 2478 1772

Grupo Vegas Business Cards

Page 35 — CampoLatin America — Rio de Janeiro, BrazilC

ampo P

oster SeriesVerm

elho Gallery Identity


Established in 2008, Quadradão was founded by three

university colleagues in São Paulo, Brazil. They claim

to be able to design anything from a poster to a chair

and act as a one-stop shop for everything from materials

to the execution.

QuadradãoRua Frei Caneca, 667, casa 6

Consolação

São Paulo, SP

Brazil

.quadradao.com.br

[email protected]

+ (55) 11 2501 3180

Bra

zilli

an M

useu

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oste

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ompe

titio

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Page 37 — QuadradãoLatin America — São Paulo, BrazilP

oster Module Series

Latin American Contemporary Music Meeting






Page 39UK






Berg StudioBerg are an independent design and ideas studio that

work across a wide range of interdisciplinary media

from brand identity to environemental design. They also

set up their own online shop - ‘Editions of 100’ where

they sell non-commercial projects, in the form of

posters, to the public.

Berg

Southblock Studio 107

60 Osborne Street

Glasgow G1 5QH

UK

bergstudio.co.uk

[email protected]

+44 (0) 1412 714 707

Alpha Mensewear Retail Packaging

Editi

ons

of 1

00 E

xhib

ition

Page 41 — Berg StudioUK — Glasgow, ScotlandEditions of 100 Identity

Alpha Mensewear Window Display


GoldenNo Days Off is a design consultancy based in

London. We deliver creative solutions and intelligent

ideas to clients big and small: arts organizations, fashion

brands, record labels, advertising agencies, royal palaces

and interesting individuals. and interesting individuals.

and interesting individuals.

Mind Design

Unit 33A, Regents Studios

8 Andrews Road

London, E8 4QN

UK

minddesign.co.uk

[email protected]

+44 (0)20 7254 2114

Art I

n U

nusu

al S

pace

s Id

entit

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Page 43 — GoldenUK — Leeds, EnglandG

olden: Self Prom

otion


MindNo Days Off is a design consultancy based in




and interesting individuals. and interesting individuals.


Mind Design

Unit 33A, Regents Studios

8 Andrews Road

London, E8 4QN

UK

minddesign.co.uk

[email protected]

+44 (0)20 7254 2114

The

Col

lect

ion:

Res

taur

ant M

enu

Paramount Club Interior

Page 45 — MindUK — London, EnglandR

estaurant Signage

Paramount Club Menu & Drinks List


No Days OffNo Days Off is a design consultancy based in





No Days Off

Unit B107, Lighthouse Studios

89a Shacklewell Lane

London E8 2EB

UK

nodaysoff.com

[email protected]

+44 20 7275 8962

Cog

gles

Pre

ss B

ook

Page 47 — No Days OffUK — London, England

What’s the story behind your studio name?No Days Off is a lyric from the song Twenty Four Hour Party People by Happy Mondays. I got these three words tattooed onto my arm in 2003. When I was struggling to think of a name for my new company in 2006, my friend suggested using No Days Off. At the time, I liked the fact that the original meaning of the words - staying up all night, every night — would now be read as relating to being diligent and working hard.

Can you roughly describe a breakdown of your working process? My personal working process is usually based more around words than images. I scribble a lot of ideas into my notebook, along with some very basic thumb-nails. It usually ends up as a dialogue with myself as I work the idea through, looking at it from different perspectives. When I’m satisfied that the idea works, then I start putting it into practice, in whatever medium is appropriate. I tend to find more inspiration in books and songs than I do in still images or films, and my working process reflects this obsession with words. Luckily, Teo, my partner at No Days Off, is very much a visual thinker, so it all balances out nicely.

Are you conscious of your geographical location shaping your design practice in any way? I’m not conscious of it, but it’s a good question. We work for clients in Europe and the US as well as in the UK, so I don’t think we have a purely English outlook. But there is definitely an English sense of wit (I hope) in some of our work — we like to be a bit cheeky when we can.

How would you describe the UK’s current graphic design scene to somebody who has no experience of it?I wouldn’t bother describing it, there are magazines and blogs out there for that.

Do you draw inspiration from any certain traditions or aspects of culture or design that is distinctly British?We don’t really draw much inspiration from design, to be honest. Our inspiration tends to come from other aspects of culture — literature, music, art — and from our own personal lives.

Are you particularly influenced or inspired by the design scenes of any other countries?I’m not interested in any design ‘scene’.

Has the internet limited individuality and created a global design scene where geographical position and local

Interview conducted via email with founding partner of No Days Off, Patrick Duffy.


culture no longer impact upon the work produced?The internet will only limit your individuality if you allow it to be limited. It’s definitely much much easier now to make something look ‘designed’ there are millions of images available online to copy. That’s why I think it’s better not to be involved too much in any design ‘scene’. Much better to sit in your room on your own and figure stuff out for yourself – you’ve got more chance of getting it wrong if you do it yourself, and once you’ve got it wrong, you can figure out your own way to make it right.

Do you consider the work of your studio to have a certain ‘style’?No. Having style is important; having a style is not.

How would you sum up the attitude and direction of No Days Off?Bad; sideways.

Jean Machine SS ‘12 Collection

Page 49 — No Days OffUK — London, England

Jean Machine Packaging

Nonpareil Exhibition C

atalogue


TeacakeTeacake is something quintessentially British, inventive &

conscientious. They are a creative partnership specialising

in brand identity, typography and editorial design. We love

visual organisation, people, places and the idea of creating

a tangible interaction with those who see our work.

Teacake Design

Studio 4 – 3rd Floor

8 Lower Ormond Street

Manchester, M1 5QF

UK

teacakedesign.com

[email protected]

+44 (0) 7834 483 898

Kar

ina

Lax

Stat

ione

ry

Prom Prom Prom Seaside Promotion

Page 51 — TeacakeUK — Manchester, EnglandK

arina Lax Identity

Internacional Diseño KulturFo

togr

af H

olie

n M

o

Page 53 — HeydaysScandinavia — Oslo, Norway

HeydaysHeydays is an Oslo-based design studio that creates

strong visual concepts that trigger curiosity, create

excitement and show ambition. We work across a variety

of media and fields, ranging from identity design to art

directing photographies. We listen, research and

challenge. We remove noise to add value.

Hey days AS

Vibes gate 17

0356 Oslo

Norway

heydays.no

[email protected]

(+47) 905 19 260

Heydays: Self Branding

Heydays Stationery


Scandinavia Page 55

ScandinaviaOslo, Norway — Heydays

Stockholm, Sweden — Stockholm Design Lab

Gothenberg, Sweden — Lundgren & Lindqvist

Helsinki, Finland — Bond, Tsto

Internacional Diseño KulturM

oder

na M

usee

t Sto

ckho

ln

The Venice Biennale Identity

Page 57 — Stockholm Design LabScandinavia — Stockholm, Sweden

Stockholm Design LabStockholm Design Lab is a multidisciplinary design

agency. We create brand identities and solutions that

build strong customer relationships. We don’t

differentiate between design, architecture, digital and

other forms of communication. The perception of a

brand is dependent on its slightest components.

Stockholm Design Lab

Sturegatan 11

114 36 Stockholm,

Sweden

stockholmdesignlab.se

[email protected]

+46 (0) 8 5555 1900

Moderna M

useet Stockholn

The Venice Biennale Programmes

Internacional Diseño KulturO

skar

Kul

land

er Id

entit

y

Page 59 — Lundgren & LindqvistScandinavia — Gothenberg, Sweden

Lundgren & LindqvistLundgren & Lindqvist is a Swedish design and

development bureau offering services within branding,

design for print and digital, illustration and art direction.

We believe that good design is more than ink or pixels on

a surface; it is understanding how a message is received

and experienced.

Lundgren & Lindqvist

Sockerbruket 17, Floor 06

SE-414 51 Gothenburg

Sweden

lundgrenlindqvist.se

[email protected]

+46 (0) 31 757 11 00

S.C.J Interiors Identity

Internacional Diseño KulturP

INO

Ret

ail D

esig

n &

Sta

tione

ry

Page 61 — Bond AgencyScandinavia — Helsinki, Finland

Bond AgencyWe are a creative agency focused on branding and

design. We create and renew brands. Bond is founded

and run by designers. We work for clients who value

creative and practical ideas. We demonstrate our

expertise through our work rather than talking, because

design is, first and foremost, a craft for us.

Bond Creative Agency Oy

PL 176

00101 Helsinki

Finland

bondagency.com

[email protected]

+ 358 40 556 0247

PIN

O B

rand Identity

Åhléns Signage Design

Internacional Diseño KulturFl

ow F

estiv

alE

vent

Pro

gram

me

We Are Helsinki Magazine

Page 63 — TstoScandinavia — Helsinki, Finland

TstoTsto is a creative agency founded by six designers,

specialised in coming up with ideas and visualising them

to help our clients define and communicate their identity

and message. We tackle an assignment by first taking it

apart to its bare essentials, and then building it in a new

way that best serves the client.

Tsto

Laivanvarustajankatu 9 C 54

FI-00140 Helsinki,

Finland

tsto.org

[email protected]

+358 207 490 430

Flow Festival 2011


Page 65Central Europe

Central EuropeBarcelona, Spain — Mucho

Paris, France — Helmo

Eindhoven, The Netherlands — Raw Color

Berlin, Germany —‚ Britta Siegmund

Mannheim, Germany — Deutsch & Japaner

Prague, Czech Republic — Anymade


MuchoNo Days Off is a design consultancy based in





No Days Off



London E8 2EB

UK

nodaysoff.com

[email protected]

+44 20 7275 8962

Page 67 — MuchoCentral Europe — Barcelona, Spain


HelmoNo Days Off is a design consultancy based in





No Days Off



London E8 2EB

UK

nodaysoff.com

[email protected]

+44 20 7275 8962

Page 69 — HelmoCentral Europe — Paris, France


Raw ColorNo Days Off is a design consultancy based in





No Days Off



London E8 2EB

UK

nodaysoff.com

[email protected]

+44 20 7275 8962

Raw

Col

or 1

Page 71 — Raw ColorCentral Europe — Eindhoven, The Netherlands

Interview extracted from IdN Magazine (Volume 8 No.4) Mono-graphics Issue: Colour Toning, pages 17-20.

When Daniera ter Haar and Christoph Brach came together and decided to form a studio, their first project involved research on natural pigments originating from vegetables. Use of these raw materials gave them the idea of calling their company Raw Color. Since day one, their work has reflected a sophisticated treatment of materials and colours in the fields of graphic design and photography. Through research and experimentation, they have gradually built a unique visual language for themselves. “We don’t use the word ‘craft’ in connection with our work, though we do have a fascination with materials and haptics. For us, the quality of the paper, and of the colour, is very important: coated, uncoated, matte or glossy, we love it all. There is a great silk-screen workshop in Eindhoven, called Daglicht, where many graphic designers and artists bring their work. We have done quite a few projects there, which has probably given us a more direct approach to print making. We don’t print a lot of things ourselves, but it does give us a feel for the process. Arriving at the required quality of colours we use can be quite a physical activity. We like to think with our hands. We very much like the aesthetics of mono/duotone images, but our use of them has grown out of necessity in many cases. Since we are working for many cultural clients, budgets for publications are mostly small. So you try to make a nice book within the budget, which means saving money by reducing print layers – one or two colours are cheaper to print than four. We always see this limitation as a challenge that can really help to instil a strong structure into a book. It brings a certain logic that dictates the outcome. Even if the images we have to work with are of limited quality, a monotone can actually lift them, even if they’re only snapshots, and enrich them. Full-colour is not always better.

“Monographics can have a stong impact in the

structuring, for example, of a book. It can form a

unity with the type that can be harmonised with

shades or contrasted.”

We have always like the quality of the monotone since it can become a very pure, somewhat reduced, image. You can use it in a stronger sense for composing; surprisingly, black fonts and full-colour imagery can often create a somehow grey-ish overall appearance. We like the brighter palette, it somehow reminds us of the light spectrum. Nostalgia is inevitably implied since printing was less accessiblein the past, and out of neccessity, there were fewer colour levels involved. But for us, monographics is not so much linked with nostalgia; rather, we


regard it as a tool to our message, or aesthetic, across. It might feel minimalist, but as I’ve said, it can be richer than full-colour. It is a very sensitive approach, since you can use all shades in combinationto emphasise the colour itself. Think about flesh colour with blue-ish green – that already puts you in a certain mood.

“It is an absolute myth that full-colour is always

richer, or better, which is not to say that we don’t

ever employ a full colour style.”

Interview answered by Christoph Brach.

Raw Color Agenda 2011

Page 73 — Raw ColorCentral Europe — Eindhoven, The Netherlands

This Is Basic: Books & Poster

Raw

Color A

genda 2011


Page 75 — Britta SiegmundCentral Europe — Berlin, Germany

BrittaSiegmundTsto is a creative agency founded by six designers,






Tsto


FI-00140 Helsinki,

Finland

tsto.org

[email protected]

+358 207 490 430


Page 78 — Deutsche & JapanerCentral Europe — Mannheim, Germany

Deutsche& JapanerTsto is a creative agency founded by six designers,






Tsto


FI-00140 Helsinki,

Finland

tsto.org

[email protected]

+358 207 490 430


Page 81 — AnymadeCentral Europe — Prague, Czech Republic

AnymadeTsto is a creative agency founded by six designers,






Tsto


FI-00140 Helsinki,

Finland

tsto.org

[email protected]

+358 207 490 430


Asia Page 83

AsiaSingapore City, Singapore — Foreign Policy

Hong Kong, China — IdN Magazine


What’s the story behind your studio name?What better foreign policy to connect with the world than design. ;-) The name came about from our experience in New York - having worked with the different people of different culture and school of thoughts, we want to continue to be able to learn, exchange and inspire ideas from the various ways of lives and system of thinking. This is also a constant reminder for us not to be stuck with inward thinking.

Can you roughly describe a breakdown of your working process? I am always trying to understand as much as possible about the project or the client in what we called a Discovery session. For lack of a better term, I would like to say we “co-create” with our clients, they are very much part of the process. Their input are very important as points of reference or source of inspiration to help put together thought process and creative vision for that project, usually a collection of words or images to start with. Idea incubation then ensues to generate stories/concepts that the project would be based on. Then I start building some kind of a visual language and move onwards to the design development. My approach is possibly very research-focused compared to most graphic designers, but I find it valuable and important to have a strong base of communication to support the visual. In that way, the design would be more endearing and enduring. Of course, sometimes, the idea just hits and I’ll be stuck to the chair working till the design is matured. And yes, I still use my pencil and I sketch a lot.

Is there a particular influence or focus that has led you to your current work?The Japanese immaculate detail to attention is something that I respect a lot. Over the years, I have been conscientiously working in this manner.

Could you describe your studio environment and the impact that the physical space has upon your creativity?We have an open space at the studio where all the designers work from one big desk. This promotes a lot of interaction and exchanges of ideas. The studio is kept fairly friendly and chill, without looking intimidating by over designing it with super sleek furnitures or furnishing. Very much true to our gut we are always intrigued and inspired by raw materials - the studio has some “rawness” in certain areas. Thus, the space allows us to speak our own voice; there’s nothing contrived about it or predictable about it.

Interview conducted via email with the creative directorof Foreign Policy, Yah-Leng Yu.

Page 85 — Foreign PolicyAsia — Singapore City, Singapore

Foreign PolicyForeign Policy are a small team of idea makers

and story tellers who help craft, realize and evolve

brands with creative and strategic deployment of

ideas narrated by various appropriate media.

Foreign Policy Design Group

78 Yong Siak Street, #01-04

Singapore 163078

foreignpolicydesign.com

[email protected]

+65 6222 0878

Wanderlust B

randing


Are you conscious of your geographical location shaping your design practice in any way? Yes, very good question. Singapore being a very tiny market, does have its challenges and influence in our evolution. We are made constantly thinking on our feet about how to innovate or do it differently. When we were working in NYC, we were a pure digital agency what only served fashion clients. This is really impossible in Singapore - we expanded our services to beyond digital and included a wider roster of clientele.

How would you describe Singapore’s current graphic design scene to somebody who has no experience of it?I would describe Singapore as a toddler in terms of design maturity, when compared to Europe or America. The last two/three years had been an interesting one where we have started to feel and see a bubbling vibrant scene happening. There’s an interesting entrepreneurship trend - people opening up interesting cafes/restaurants, book stores, design-centric accessories stores etc. These new entrepreneurs understand and value design, so in a big way, they have been the patrons of design and we see interesting branding work coming out

from design studios. The government from its economic point of view, also has an interest to push the design education and industry. All in all, I think for someone visiting Singapore, it’d be refreshing and probably rejuvenating. For us, this is encouraging and positive.

Do you draw inspiration from any certain traditions or aspects of local culture or design?Yes. Depending on the brief and context of the project, we study and consider that particular aspect very thoroughly so that we would know how to apply design with it.

Are you particularly influenced or inspired by the design scenes of any other countries?Tokyo and Copenhagen are two of my favorite cities in the world. Whenever I am there, I feel I live in design. So very much, these are the two places that inspires me. Just by hitting the streets in these two cities, it is design all around. As for design scenes - the New York design scene definitely has a much greater influence and inspiration on me since I was based for a very long time.

Wanderlust Collateral

Page 88 — Foreign PolicyAsia — Singapore City, Singapore

Has the internet limited individuality and created a global design scene where geographical position and local culture no longer impact upon the work produced?Good question. I think the internet has such powerful impact on design - no longer we need to travel from our armchair to notice what are the new designs across the continent. Inspirations and knowledge come fast at a click. However, the over-reliant on this sort of, what i called “armchair travel” has made some designers lazy to go out there to get involved in the tactile world. Design is telling a story; it is really just communication. I feel it is prohibiting and challenging to fully communicate about a certain object if I cannot understand how it feels like or how it actually works in front of me.

Do you consider the work of your studio to have a certain ‘style’?I think our consistent style is that all of our work has a story to tell and that we tend to use very basic typography on some kind of interesting material to convey the context of the story.

How would you sum up the attitude and direction of Foreign Policy?We are idea makers and story tellers.

Table No.1 B

randing


How did IdN magazine get started and what are its main aims? It started in 1992 as a desktop publishing magazine informing readers of things such as color separations for the graphic art industries.

What do you think is the most important attribute of IdN Magazine? It’s content. Good publication design accentuates the work of artists and creators.

What do you look for when sourcing content for the magazine? Someone who is genuinely good at what they do, whatever that may be.

IdN is well known for combining multiple stocks and finishes into its production which are generally considered too expensive by other magazines – How do you achieve this?Staying independent is one reason why we can keep doing this. We care more about the product than the profits we make.

You often include features on the design scenes of specific cities or countries – why is this of particular interest? “Creative City” is a column where we look beyond art & design, but people and cultures, where local influences impact upon their work.

From sourcing and curating content for those features, do you notice geographic location influencing any particular aspects of work that is produced? Yes.

Has the internet limited individuality through creating a global design scene where geographic location and local culture no longer impact upon the work produced? The internet is one of the reasons that geographic locations are slowing diminishing in today’s day and age. But it hasn’t limited individuality, it has in fact embraced individuality.

What are your future aspirations for the magazine?IdN digital version perhaps.

Interview conducted via email with the renowned design publication — IdN Magazine.

V18 No.4 Monographics Issue: Colour Toning

Page 91 — IdN MagazineAsia — Hong Kong, China

IdN MagazineIdN is an international publication for creative

people on a mission to amplify and unify the design

community. It is devoted to bringing designers

from around the globe together to communicate

with, learn from and inspire one another. It has

truly become what the initials of its title proclaim

it to be — an international designers’ network.

Systems Design Ltd)

4th Floor, Jonsim Place

228 Queen’s Road East

Wanchai, Hong Kong

idnworld.com

[email protected]

+852 2528 5744


Page 93Oceania

OceaniaMelbourne, Australia — Coöp, Fabio Ongarato

Sydney, Australia — Maud, Toko


Page 95 — CoöpOceania — Melbourne, Australia





to the execution.

Rua Frei Caneca, 667, casa 6

Consolação

São Paulo, SP

Brazil

Coöp.quadradao.com.br

[email protected]

+ (55) 11 2501 3180


Page 98 — Fabio OngaratoOceania — Melbourne, Australia





to the execution.

Rua Frei Caneca, 667, casa 6

Consolação

São Paulo, SP

Brazil

Fabio Ongarato.quadradao.com.br

[email protected]

+ (55) 11 2501 3180


Page 101 — MaudOceania — Melbourne, Australia





to the execution.

MaudRua Frei Caneca, 667, casa 6

Consolação

São Paulo, SP

Brazil.

quadradao.com.br

[email protected]

+ (55) 11 2501 3180


Page 103 — TokoOceania — Melbourne, Australia





to the execution.

TokoRua Frei Caneca, 667, casa 6

Consolação

São Paulo, SP

Brazil.

quadradao.com.br

[email protected]

+ (55) 11 2501 3180


Page 105Acknowledgements


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