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Carte Blanche: Fermin Guerrero – Studio Hausen
(Poster Number 19)

This month’s contribution to form magazine’s limited edition poster series comes from a young industrial designer and typographer from Uruguay and a precocious pair of product designers from Berlin.
Jörg Höltje and Joscha Brose founded their design firm Studio Hausen during their second year at college when they began experimenting together with innovative technologies ad traditional production methods. Before they graduated they had already exhibited twice at the Salone del Mobile in Milan and had their first industrial commissions under their belts. Höltje worked for a while in Patricia Urquiola’s studio and Brose for Tom Dixon. Their clients include Camper, Ligne Roset and de la Espada. Höltje is based in Berlin, where he teaches at the UdK, and Brose is currently working in London.
Fermin Guerrero was born in Uruguay and now lives in Geneva where he studies Visual Communication at the Haute École d’Art et de Design (HEAD). He trained initially as an industrial designer but is now making a name for himself as a typographer and graphic designer. His work has been featured in Étapes, TYPO, Novum and on the cover of the 2013 New York Time Out guide. Guerrero’s Manifesta font family, published last year, was also featured in form #243.
The three designers, based in three different cities, developed their concept together via Skype and email, drawing inspiration from the likes of Paul Jackson, AG Fronzoni (see form #245, p. 70), Joseph Albees and others. “Right from the beginning”, says Guerrero, “we all agreed that we wanted to do something minimalist and strong, that allowed for interaction to occur”.
The result is a poster that requires input from the end-user to become complete. It represents the relationship between designer, producer and user and the shift in emphasis in this relationship exacerbated by the omnipresence of communication media. form magazine’s tagline ‘The Making of Design’ delivered the inspiring impulse, say the designers: “The design process is always a sensual experience of materiality and we wanted to transform that into an experience with our poster. You take the paper in your hands and actually make something out of it rather than just look at it. Design is not sacrosanct; design makes things for using”.
“‘The Making of Design’”, say Studio Hausen, “could be understood today, in the age of do-it-yourself and the maker movement, as an appeal. We are great supporters of this new independence in design creation whereby the designer is not reliant upon the know-how of a company but has a direct dialogue with his or her customer. In this respect the point is not about relaying goods but strategies that empower them to make them themselves. The sentences ‘V is for Vision’ and ‘A is for Action’ on the poster that the reader has to complete themselves can be understood as representative of this new relationship between designer and ‘user’”. 

Carte Blanche: Apfel Zet – Arabeschi di Latte
(Poster Nummer 18)

For the ‘Hospitality’ issue, form magazine’s limited edition poster series continues with a collaboration between the Italian food event designers Arabeschi di Latte and Berlin-based illustrator Roman Bittner from Apfel Zet.
Arabeschi di Latte is an experimental food design collective founded by Francesca Sarti in 2001. They “blur the boundaries between food and design” and “use food as tool to communicate”. They have created and exhibited a variety of food-related projects such as pop up cafés, special dinners and workshops around the world including the interactive installation ‘Pasta Herbarium’ for De Etende Mens exhibition at Designhuis in Eindhoven and the M25 Luncheon pop up café at the Studio Toogood Backroom project in London during
100% Design last year (see form 244).
Husband and wife team Julia and Roman Bittner set up their graphic studio Apfel Zet together with Jarek Sierpinski after leaving the Stuttgart Academy of Art in 1997. As children of the late ‘70s and early ‘80s
they see themselves as “eclecticists and modernism critics who are not afraid to tackle and incorporate the plethora of styles that the world of graphic design has to offer”. They are particularly fond of heavily decorative and overladen fl oral motifs but also cite constructivism, the Ulm School and Swiss typography amongst their influences. Clients include Penguin Books, Die Zeit and Bauwelt.
This issue’s collaboration was not an obvious combination of partners: thoroughly postmodernist illustrators meet a food happening collective. We were not at all sure what the result would be. Strangely enough the way they ended up working together was in a fairly traditional branding exercise – albeit with a rather large twist.
Francesca Sarti suggested an adventurous starting idea of a nocturnal feast in a baroque setting like the impressive Joanina library in the University of Coimbra in Portugal. It was a mythical vision with strange
food-related customs and rituals, complete with creatures of the night, such as bats and creepy crawlies. Roman Bittner took up the baton and turned her vision into a set of alternative packaging designs for ‘Nocturno Dining’ gourmands, or in Sarti’s words: “Four coloured boxes, four different recipes, one brand, and an imagined ‘Nocturno Dining’ deli label, promoting mysterious and intriguing delicacies for unexpected
night-time snacks”. A surprising, but somehow rather satisfying synergy. 

Carte Blanche: Build – #Build140
(Poster Nummer 17)

For the Sharing issue, form magazine’s limited edition poster series continues with a collaboration between the London-based design firm Build and their Twitter followers.
Michael and Nicky Place’s graphic design studio Build (see form 244, p. 78) specialise in brand identity, film, digital and printed communications. They are perhaps best known for their identity and packaging designs for Gary Hustwitt’s design documentary trilogy Helvetica, Objectified and Urbanised.
Since this issue is concerned with sharing, the 245 Carte Blanche brief to Build was: “to collaborate with your social network and generate a local swarm-designed poster”. How they did this was left up to them, they should just give up a degree of control with the design and thus open themselves up for interesting developments. The network medium they chose to collaborate through was Twitter, an online social networking service founded in 2006 that now has reportedly over 50 million users generating over 340 million active tweets per day.
Twitter spreads everything from gossip to hard news and intelligence at lightning speed and, globally but it can also play a local, inclusive, community role as well: “We thought it would be great to enlist the help of our followers on Twitter” explains Michael Place, “so we posted a message asking for people’s favourite English or German word (mine is skyscraper)”. Build collected the first 140 words that their followers came up with – the number 140 representing the maximum number of characters, or units that can make up an individual tweet. They then asked the copywriter Nick Asbury to write a 14 line sonnet using words they collected, which they then illustrated: “The illustration is based on at least one word from each line of the sonnet” says Place.
Brainstorming with colleagues and partners is a powerful creative tool in that it addresses a problem using a multitude of minds with a range of attitudes and experiences with the aim of reaching innovative solutions. One of the key features of the social (and commercial) network systems on the World Wide Web is that for some reason millions of individuals are more than happy to take the time to share their ideas for free. The success of social networks lies in the fact that they seem to satisfy a powerful, ultimately altruistic human desire to share personal and intellectual non-material property. The reward is a sense of belonging, to feel part of a group, community or tribe – even when total strangers are the ones who ultimately profi t, fi nancially, creatively, or otherwise. 

Carte Blanche: William Morris – Ludovic Balland
(Poster Number 16)

Our chosen duo for this issue are a deceased English designer, poet, artist, visionary and libertarian socialist and a rather radical Swiss typographer, teacher and editorial designer who is still very much in his prime.
Best known as a founding father of the Arts and Crafts Movement and designer of ornate patterns for both paper and fabric, William Morris (1834–1896) may have been born almost two centuries ago but the English middle classes still love to decorate their homes with his distinctive designs.
Ludovic Balland (born 1973) studied visual communication at the University of Art and Design in Basel before specializing in typography, typesetting and book conception.
By way of a brief, form gave Balland a copy of a lecture by William Morris entitled: “The Lesser Arts” given to the Arts & Crafts Exhibition Society in London in 1889. In it Morris calls for a greater appreciation of the value of the “decorative arts” in improving every day life in the industrial age and for a more comprehensive education of the “craftsman”. For his poster design Balland picked out the quote: “ … designing cannot be taught at all in a school” and presented it as a political challenge regarding the learning of the design process in colleges. “I find this statement very apt in terms of the current teaching of graphic design and the general Bologna Process problems in higher education”, he says, and goes on: “I think that the teaching situation and the agenda in our design schools is no longer up-todate. In most cases design is not taught as a profession so much as a creative position, which is of course important but often turns out to be useless as a point of reference when one is confronted with the real world. Schools today should learn to impart a far stronger personal position towards content. Generic design should be abolished. The graphic designer / designer is co-designer of our society and as such an important protagonist and politician within it as well. This role is seldom recognised in schools.” 

Carte Blanche: June14 – Heimann und Schwantes
(Poster Number 15)

As much as the new editorship of form will seek to strengthen the magazine’s traditional role as a platform for design criticism, discourse and innovation in the future, we also believe we have a responsibility to encourage creative interdisciplinary collaboration. Therefore we have decided to give our regular poster series a new role. For each issue we will select and invite two outstanding protagonists from differing design, or design-related, disciplines and give them Carte Blanche to work together in the creation of a poster concept, which will be published alongside the magazine in a limited edition.
The protagonists may work together or separately, expanding or deconstructing each other’s work, using both sides, or just one. They may generate whatever they like – the only constraint is the A2 format. The idea is that a creative dialogue will arise as they respond to each other’s work and method: pushing themselves, their boundaries and therefore, hopefully, our boundaries in the process.
To kick off the new form poster series we asked the American architect Sam Chermayeff, scion of a renowned design dynasty and cofounder of the Berlin / New York practice June14, to collaborate with the German graphic designer Hendrik Schwantes from the Berlinbased studio Heimann und Schwantes.
June14 and Heimann und Schwantes’ collaborative poster design is about transition between spaces, or the border at which their disciplines meet. Hendrik Schwantes explains: “A starting point was a text by June14 called ‘Negotiating Boundaries’ which we liked very much. Michael and I appreciated their interest in seeing architecture as a starting point for shared living and not just as a solution for a given task. We wanted the poster to have a similar spirit, so we decided on an open, non-software based process for the design”. So they came up with a very analogue visual response that was made “with a piece of glass on a scanner, like an architectural model”. The dialogue developed into an expression of the transitions between verbal and visual communication.  

 

A View from Above

Sun City means: town for retirees. Sun City, Arizona sprang up almost overnight in 1960, around 440 kilometres from Las Vega-s, in the middle of the dessert. But before the first houses were built, there were already streets, golf courses, water features and shopping centers to be found here. The planned city already had 40,000 inhabitants in 2010 – the minimum age being 55. David Hanauer turned the city’s circular layout – characteristic of an American planned city, a concrete jungle dotted with grassy areas and bodies of water – into a kaleidoscopic carpet. The Karlsruhe design student uses high-resolution screenshots from Google Earth as the basis for his digital photo collages. Since 2008, he has created countless pictures – with particular attention to detail – featuring streets in Los Angeles and Las Vegas. In their base structure they all adhere to classic models from the Orient – symmetrical compositions, grids, borders and medallions. In the process, the young designer is drawn towards raising the erroneous models of these American planned cities to the heights of the illusory. 

Poster No. 12: Deadly Design

Belgian graphic designer Elzo Durt is renowned for his provocative, surrealist landscapes and portraits; in them he moves gracefully between worlds and epochs, between life and death. He produces his strident illustrations for posters and CD covers as digital compositions at the computer. To this end, Durt, who was born in Brussels in 1980, draws on a stock of hundreds of small historical images. Turn to page 82 for a portrait of the man. For the motif for the poster “Supernatural” (it glows at night!) Durt made use of illustrations from old text books, magazines and medical charts to stage a bizarre arena in which mutant insect monsters fight. Between the rampant ancient plants any number of costumed insects buzz. He then proceeded to dye them all in brash colors, such that the entire scene no longer looks so appalling.

elzodurt.be

Printed by burger)(druck
 

Poster No. 11: My Heroes of Everyday Life

Graphic shapes and distinct lines meet blurry gray values, and colorful characters take over pale photographs. In many of her illustrations Sharmila Banerjee creates stunning scenarios, each one telling a story of its own. The series “My Heroes of Everyday Life” was first created for a special edition of „Landjäger“ magazine. A hymn to the everyday heroes breakfast-coffee, eraser, spaghetti and the cartoon character George Sprott.

sharmilabanerjee.de

Printed by burger)(druck 

Poster No. 10: Marvelous Moirés.

A riddle named Rantanen. The bear, looking furtive and in the process of tearing a lamp post out of the meadow, does not go unnoticed: A bearded detectiv-e looks from the tops of the trees opposite through a telescope and follows the scene with interest. The sky, lit up by flashes of light, offers a view of Nessie, a peaceful version of the Loch Ness monster with doll-like button eyes. Photographs, drawings, papers all on top of one another, together form a new world in which things and crea-tures exist independently of one another and yet relate to one another in an irritating way. A typical piece by Finnish illustrator Mikko Rantanen, whom we portray from page 70 onwards. He is a silent fellow, but this poster only goes to prove: It is a good thing he does not reveal much of himself and his ideas. Thus, his marvelously imaginative collages can whisk you away into strange and unique fantasy worlds – even if the job is commissioned, as in this case by the British branding agency Fold 7.

mikkorantanen.com/unseenagency.co.uk/fold7.com

Printed by burger)(druck 

Poster No. 9: Marvelous Moirés.

Marbled fabric textures, erroneous multi-color raster prints or image output that has been given too fine a grid – the moiré effect is a byproduct no one wants. However, the superimposition of regular raster grids can definitely have an aesthetic appeal, as our poster shows. For the image, our graphic artists used materials from the “Moiré Index” Carsten Nicolai has just brought out with Gestalten Verlag. Following the “Grid Index,” this is the second lexicon that the artist and musician has produced, analyzing and documenting fundamental structures that arise when you visualize data. Intended as a reference work for designers, architects, researchers, mathematicians and scientists, it includes 580 moiré effects that arise when you superimpose or rotate line grids. And the object is not just there to be gazed at: The CD enclosed with the book contains a total of no less than 1400 files, including moirés as vector graphics and elements that can be used to design new superimpositions. For our poster we made use of one of them in which the dots flow together to form squares. We then multiplied this vector file across three levels, which we respectively rotated slightly. They were then printed in red, green and blue (13K, 53K and 47K) from the HKS color range.

Printed by burger-druck.de 

Poster No. 8: Careful - Control!

“We all live in a Google submarine.” Wired. Networked. Observed. Our current poster motif was created in the Amsterdam office of Lesley Moore, which is not the name of a designer but is a sort of pseudonym: After studying at the Arnhem Academy of the Arts, Karin van den Brandt from the Netherlands and Alex Clay from Norway joined forces in 2004. Since then, the two graphic designers have had a real penchant for designing posters and magazines, but also exhibitions, books and TV trailers. “Surveillance” was part of their creative debate at the Berlin Festival of History with the turning point of 1989, namely, the fall of the Berlin Wall. 89 designers worked on posters which dealt with the shift in the meaning of words, for an exhibition in the public space. According to Lesley Moore, surveillance by the state and the security forces of the former GDR before German reunification was permanently present, but afterwards the control and manipulation did not cease: Many borders fell with the creation of the Internet – but at the same time Google and Co. started up with their very own data collection frenzy. And even more striking: today Google strongly determines our concept of information, and thus our view of the world.

lesley-moore.nl 

Poster No. 7: Beware of the bear!

No other city in Germany attracts creative minds as does Berlin. In our large Capital Special in this issue (233) we present countless designers, both established and lesser known names, who have relocated to the metropolis. One of them is Oliver Wiegner, who designed our poster for us. His Ice Cream For Free studio is lodged in the Aqua Careé creative building in Kreuzberg. He originally came up with the theme of the Berlin Bear resplendent in sun glasses for a show entitled “What Makes Berlin Addictive?” held back in 2006 as part of the Shanghai Design Biennial. In Oliver Wiegner’s eyes, chewing gum machines, bicycles, cars, construction site fencing, and dirt are all key characteristics of the face of Berlin. Yet for him, even dirt is only ugly and superficial at first sight, for he believes that all these elements are symbols of the city’s constant change; indeed, for him the streets of Berlin are a veritable source of inspiration. Wiegner reworked and updated the design for the form poster edition. After all, Berlin never stands still!

icecreamforfree.com

 

Poster No. 6: Sugar is sweet

A “sugar shack” is a traditional type of hut primarily found in Quebec in which maple syrup is made. Commonly, they are family-owned businesses that become a meeting point for the owners and friends during the high season in spring – social venues where visitors celebrate and enjoy all kinds of delicacies made using maple syrup, even sausages boiled in it! In connection with a song of the same name by the US band Phish, Alex Trochut, who we present in our current issue (form 232), has created an illustration of such a “sugar shack.” It comes with the limited special edition box of the new Phish album “Joy.” In this “Joy box” it is one of ten posters specially designed for this edition. In form, the illustration features in its own right. And thanks to a special treatment with HKS colors, Iriodin and varnish, the sugar-sweet color cubes not only tumble out of the cottage even more cheerfully, but also come into their own.

alextrochut.com
phish.com
 

Poster No. 5: Space for Fantasy

The French trio Akatre has given their fantasy a free rein. As their works show, it pays off. The designers created the poster motif “Space for Fantasy” for an art exhibition of the same title which will run at Galerie des Galeries (at the Galeries Lafayette) in Paris from March 24 to May 22. Valentin Abad, Julien Dhivert and Sebastie-n Riveron have known each other since university. After each of them had gained some practical experience – at Philippe Apeloig, Intégral Ruedi Baur, Pyramyd Editions, Michel Bouvet and Aer Studio among others – their paths crossed again and they founded their own studio. Why they call themselves “We are four”? Their explanation: “There are only three of us in the office. The fourth person is always the one we collaborate with: a client, an artist, you …” Akatre does not only leave room for inspiration and ideas by a third party but also for interpretations – and, above all, for a lot of enjoyment of their work.

akatre.com

Printed with Pantone 300 C (mypantone.com) on Chromolux by M-real Zanders. For more information, you can visit chromolux.de or call us under +49 2202 15-0. 

Poster No. 4: Multicultural Inspiration

This time it is Carlos Otalora who has designed the form poster. Graphic designer and artist, Otalora was born in 1971 in Bogotá (Columbia), where he studied graphic design, developed countless trailers for TV channels, and acted as art director for countless music videos. He worked in Leipzig from 2007 to summer 2009, but has since returned to his home country. For some years now he has focused on the outlook on the world and medicines of the different cultures of his native Columbia. And they influence Carlos Otalora’s work in terms of the choice of colors, the opulence and the themes – which reference indigenous, Spanish and African elements. Our poster shows his “Madre Cielo” (Mother Heaven) motif. A Website with his work is under construction. Otalora is represented in Europe by Magrit Jütte 

Poster No. 3: The Swiss Typographers

Ten years ago, Manuel Krebs and Dimitri Bruni co-founded their design office NORM in Zurich. For more than 3 years now, they also work closely together with Ludovic Varone. Books are a major focus of their work but so are fonts. Among other things they designed the corporate lettering for the Cologne-Bonn Airport and the corporate typeface for the Swiss watch brand Omega. The two men have no interest in churning out fonts non-stop but take their time: They worked almost four years on their latest font Replica. “Some typographers spend the entire day just designing fonts, but we aren’t like that,“ says Manuel Krebs, “we are graphic artists, who also create fonts.” Replica is available in seven different font styles from www.lineto.com. You can read more about NORM and Replica in form 228.

SORRY, ONLY FOLDED POSTERS LEFT!

norm.to
lineto.com 

Poster No. 2: Bizarre Scenarios

A graduate of the École Cantonale d’Art de Lausanne, Philippe Jarrigeon reveals unusual aspects of everyday life. He might - be inspired by artists like Olaf Breuning, Fischli & Weiss or Erwin Wurm, but creates truly unique, original scenarios, sometimes as tongue-in-cheek homages to neo-surrealistic 80ies record covers of Pink Floyd.

Jarrigeon lives and works in Paris, his clients include architects as well as industrial and fashion designers such as Adrien Rovero, Stéphane Barbier-Bouvet and Martin Margiela.

mikroshow.com