Post on 05-Apr-2018
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Ben McKean
Design Context Publication
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DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
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I N T R O
This collection is a contexual publication featuring designers,
studios and theorists which relate to my design pracitice. Exploring
the contcepts, contexts and content in which these people operateand interpreting their critical thinking has enabled me to question
matters relating to my design practice. This has been fundamental
to my development.
The content is alphabetised and can be navigated using the
referance at the bottom of the page. Each entry into this book has
been entered for varying reasons, the key at the top left of the left
hand page indicates why that particular project has been included
and which area of my design practice it relates to.
BEN MCKEAN
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Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,
Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,
Simon
ExperimentalJetset
Heydays
Helfend,
Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,
Kasia
Lineto
08
10
12
14
16
18
20
22
24
26
28
30
32
34
36
38
40
42
44
46
48
50
52
54
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Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
57
59
61
63
65
67
69
71
73
75
77
79
81
83
85
87
89
91
93
95
97
99
101
103
C O NT E N T S
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Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography
/
Layout
Identity
Publication/Editorial
Based
Paris
Designdisciplines
Editorial/Books
TypefaceDesign
FeaturedProjects
Musiquesvolantes
KultOriginal
MarketingLabelNight
Founders
SimonRenaud
JrmieNuel
Founded
2006
A
I S AN A M E
08
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Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,Rick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
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DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
Based
TheHague
Designdisciplines
Books
TypefaceDesign
FeaturedProjects
Prprio
Founders
KaiBernau
SusanaCarvalho
Founded
2005
10
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Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
A C B
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DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
Based
London
Designdisciplines
Exhibition
Identity
Books
FeaturedProjects
PostModernis:StyleandSubversion
Founders
KirstyCarter
EmmaThomas
Founded
2003
12
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Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
A PF E L
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DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
Based
Lille
Designdisciplines
TypefaceDesign
Identity
Exhibition
FeaturedProjects
Tomica
Personnel
StphaneMeurice
SbastienDelobel
XavierMeurice
BaptisteServais
JrmiePerrin
Founded
1998
A T
14
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Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
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DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
Based
Stockholm
Designdisciplines
Books
Editoria
l
Identity
FeaturedProjects
NyaUpplagan
Founders
MarcusGrde
LinnaBachGrde
B A C HG A R D E
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Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,Rick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
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DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
Tips for being a good typographer:
1
Proper understanding of what the different punctuation marks and other special characters do.
2Correct use of spacing. Kerning is important but wordspacing is by far the most important for good
comprehension of text.
3
A clear wayfinding system for titles, subheadings, page numbers etc that doesnt change and then confuse
people.
4
An understanding of the different technologies that the work will be used on.
JONATHAN BARNBROOK
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Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
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Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Based
London
Designdisciplines
Identity
Exhibition
FeaturedProjects
ContemporaryAppliedArts
Founders
JonJeffrey
MasonWells
TimBeard
Founded
2003
B I BT H E
20
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Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,Rick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
L I OQ U E
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Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,Michael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
22
The premise of HBOs hour-long special Talking Funny issimple: invite four top-ranked comedians Ricky Gervais,Jerry Seinfeld, Chris Rock and Louis C.K. turn on thecameras, and let them talk shop for an hour. There arelaughs, of course, but the most interesting parts focuson the technical craft of getting those laughs. This isserious business. Stand up comedy is a high-risk creativeenterprise, executed in real time in front of a criticalaudience. I didnt tune in looking for lessons for designers,but I found seven.
And please note, they have nothing to do with being funny.
Its all about the basics.I love jokes so much, says Jerry Seinfeld towards thebeginning of the show. I love them so much. He lovesthem because theyre the indestructible building blocksof comedy. The others agree. So many of these youngguys think its all attitude, says Chris Rock. But you haveto have jokes under your weird persona, under your crazyglasses, under your crazy voice. Design has basic buildingblocks too: scale, proportion, hierarchy, contrast. Get thoseright first. Or, as Seinfeld concludes: You can put in allkinds of furniture, but you have to have steel in the walls.
Once youve mastered the basics, make your workyour own.Do you think you have to have a thing? asks RickyGervais.Well, youve gotta figure something out, respondsSeinfeld. Between all the things and somethings, weknow exactly what theyre talking about. Every successfulcomedian is different. The best have an immediatelyidentifiable attitude, whether its Henny Youngman,Demetri Martin, or the four participants in Talking Funny.The best designers are no different. Think of how manyways there are to design something like, say, a VladimirNabokov book cover. A good designer is a problem solver.A great designer can figure out a way to solve a problemthats completely unique. At one point, Seinfeld tells aLouis C.K. joke his way, and asks, Is that how it goes?Louis CK replies, Well, thats a completely Seinfeldedversion. You made it...nice. Its one of my favorite parts ofthe show.
3. Respect your audience.Chris Rock says: A lot of comedians have great jokes,
and theyre like, Why is this not working? Its not workingbecause the audience doesnt understand the premise. IfI set this premise up right, this joke will always work. Thecomics talk about ensuring the audience so demanding,so easily distracted is with them for every joke duringthe act. This doesnt mean talking down or pandering.Rather, its good old-fashioned respect. I sometimes tellstudents that every design needs a welcome mat and adoorknob. The first helps a person realize, Hey, this isfor me. The second gives them a way into the design.Good design, like good comedy, is about surprise. Butsurprise cant happen in a vacuum. It needs a context thatestablishes familiarity. If you respect your audience, youprovide that context.
4. Know your tools.The tools of a stand up comic are words. Some are goodfor every job. Some are more powerful and should be usedsparingly. All of them are potentially crutches. Louis C.K.says that Jerry Seinfeld once told him, The F word is like aCorvette. And I thought, says Louis C.K., that means thatits fast and its cool and its got power and thrust to it. Butthen I thought, wait a minute, this guy grew up on LongIsland and collected Porsches. So to him, a Corvette is apiece of shit, with a Chevy engine, just a flashy bullshit car.Your own favorite tool may be a typeface, or a Photoshopeffect, or a certain color combination. Seinfeld says hestopped using the F word when he realized it had becomea crutch. Of course, one mans crutch is another manssecret weapon. Or, as Louis C.K. observes, Where I grewup, a Corvette is an awesome car.
5. Honor your craft.
One striking running theme of Talking Funny is that eachof the comics works extremely hard, creating challengeswhere they might just as easily coast. Chris Rock reinventshis entire show every year. Louis C.K. regularly takes hisclosing bit the strongest part of his show moves it tothe beginning, and forces himself to create a new showdesigned to top the old climax. Ricky Gervais says, Oh,its not just being funny. Its being proud of your stuff anddoing things that other people couldnt do. Louis C.K. addsthat, for him, Easy laughs, cheap laughs, they dont exist.Chris Rock: How many unfunny comedians have eversustained a career not being funny? Mastery of craft istied to perpetual self-improvement. And, just as in design,
Seven Things Designers Can Learn from Stand Up Comics
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ick
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Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
mere technique is never enough. Louis C.K. is nervouswhen he feels hes relying on technical skill. This bit isworking because I know how to do stand up, not becauseits something thats important to me. Hone your skills, butmake certain they serve ends that are important to you.
6. Dont be afraid of failure.Good comedians experiment constantly. Every time theytest a new joke, they risk bombing. Thats why theyll tryout new material in smaller venues, polishing pieces infront of live audiences: they need to hear whats workingand whats not working. Seinfeld admits that when he wasstarting out, I was hitting 500. I would have a good showand a bad show, a good show and a bad show. His veryfirst show was bad. But success wasnt my objective.He was desperate to simply be on stage, and was willingto risk failure every other night to get there. Designerstake risks for the same reasons. Trying something newmeans not being sure of the outcome. But its the onlyway that anyone working in a creative field can hope tomake progress. Ambition is a strong enough antidote tofear. Louis C.K. remembers how he idolized good comics: Iwanted to be one of them, and I didnt care if I sucked at it.
7. Finally, never forget you have a special gift .Ricky Gervais, in a revealing moment, asks, Dont you everthink, when we make people have this feeling of laughter,
and they pay us money: what if they discover they cando it themselves? The other comics are rather stunnedat this. Seinfeld shouts, But they can do it themselves!Gervais, almost glumly asks, Then why are they payingus? Louis C.K. answers, Were a high octane version of itWere pros. They can play touch football, too. And Seinfeldadds: But that doesnt hurt the NFL. We live at a timewhen the tools of design are more available than everbefore. What client doesnt have a nephew who knowsInDesign, or, better still, a spouse with a newly discoveredenthusiasm for Powerpoint? Graphic design: anyone cando it, right? Well, yes. But the professionals still understandwhat it means to do something well. And that confidencemakes its own statement.
Near the end of the show, Chris Rock talks about whata pleasure it is to watch anyone do anything really well,even a great truck driver. I just saw this guy park an18-wheeler into this narrow space, he says. And I saidI guarantee you theres heart surgery thats not as hardas what this guy just did. Louis agreed. I watched a guypull into a loading dock, and I stopped and said, That wasamazing. And he was like, Yeah, I know, I know. If youre adesigner, its easy to forget that what you do is, in so manyways, amazing. Appreciate that gift in yourself. Appreciatethe gifts of others. And look for lessons wherever you canfind them.
MICHAEL BIERUT
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Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Based
Oslo
Designdisciplines
Identity
ArtDirection
Exhibition
FeaturedProjects
AkerBrygge
Founders
SveinHaakonLia
DagSolhaungLaska
Founded
2000
24
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Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
1Be different
2
Take chances
3Share ideas
4Have fun
5Believe the hype
BLEED MANIFESTO
6Move in different directions
7
Be nice
8Keep learning
9Collaborate
10Bleed for the revolution!
B L E E D
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Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Based
Brighton
Designdisciplines
TypefaceDesign
FeaturedProjects
CentralAvenueSpecimen
ApercuSpecimen
Founders
AnthonySheret
EddHarrington
Founded
###
26
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Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
C O L OP H O N
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Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Based
Australia
Designdisciplines
Identity
Editorial/Book
Exhibition
FeaturedProjects
StateofDesignFestival
DesktopMagazine
Fontanel
Founders
PaulMarcusFuog
Founded
2004
28
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Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
C O P
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Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
The use of grids in graphic design was more or less developed by the Swiss designers -
Max Bill, Karl Gerstner and, of course, Josef Mller-Brockmann, who wrote a book on the
subject of grids. They influenced me a lot. The grid is a way to structure typography, and I
couldnt work without one. Even today, with the latest book I have designed, I designed the
grid after carefully considering the text, and the illustrations, the number of pages, and so
on. For me, a catalogue or a book is a kind of three-dimensional grid. Everything thats on acertain page relates to something on another page. So, a grid is a method to bring structure
into your work, and its just a question of lines that follow the typographic system, and the
point system that you want to use. For instance, for the Stedelijk Museum, I always used
8-point type with 4-point line space. So you place your typography within this grid. You have
the possibility of two columns, three columns or five solumns. This means that you could be
very flexible so that one catalogue is not like another, but you could see they are a family,
and related to each other. Especially when you use the same typeface, and your illustrations
fit into the grid, which relates to sizes within the grid, either the height or the width.
WIM CROUWEL
30
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Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
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DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Based
London
Founded
1991
Designdisciplines
TypefaceDesign
FeaturedProjects
NokiaPure
Founders
BrunoMaag
LizDalton
D A
M A
32
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Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,Rick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
L T O N
A G
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ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Based
Ljubljana
Designdisciplines
Print/Book
Publication
Website
Featured
Projects
Glej
E e
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Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
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TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
Is graphic design important?
Above a certain Plimsoll line of survivability it becomes special, enriching,
engaging and can be fun. Below that line, its one of the things that could go
really, isnt it? Even information design; everybody can get a bit of chalk and
mark and arrow on a wall - mammoths this way, tigers that way, you know.
SIMON ESTERTON
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Lupton,Ellen
Maag,Bruno
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Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
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ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
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Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
There are many reasons why we use Helvetica. Each is very different and sometimes
seemingly contradictory, and they slowly but constantly change. Some of these reasons
may be hard to follow, but we like to believe that it is exactly the complicated nature of ourreasoning that, paradoxically, makes our designs so practical and clear.
One of these reasons involves Helveticas neutrality. Of course, we fully realise that no
typeface is neutral, and that Helveticas objectivity is a myth. But it is exactly this myth
that turned Helvetica into one of the most widely used typefaces in the first place. So it
is fair to speak of a myth that created its own reality. In that sense, Helveticas neutrality
resembles a self-fulfulling prophecy. This neutrality, real or imagined, enablesus and the
user to fully focus on the design as a whole, neutralising the typographic layer as a way to
keep the concept clear and pure as possible. There are cases, however, where for specific
reasons, the concept demands a less neutral typographic layer. In those cases we never
hesitate to use other typefaces. But those cases are rare.
EXPERIMENTAL JETSET
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APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Based
Oslo
Designdisciplines
Digital
Editorial
Identity
FeaturedProjects
Snitt
Westerdals
Founders
MathiasHaddalHovet
LarsKjelsnes
MartinSanneKristia
nsen
ThomasLein
SteinHenrikHaugen
Founded
2008
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Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
H E Y
D A Y S
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TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
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Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
Graphic design is the most ubiquitous of all the arts. It responds to needs at once personal
and public, embraces concerns both economic and ergonomic, and is informed by many
disciplines, including art and architecture, philosophy and ethics, literature and language,
science and politics and performance.
Graphic design is everywhere, touching everything we do, everything we see, everything
we buy: we see it on billboards and in Bibles, on taxi receipts and on websites, on birth
certificates and on gift certificates, on the folded circulars inside jars of aspirin and on the
thick pages of childrens chubby board books.
Graphic design is the boldly directional arrows on street signs and the blurred, frenetic
typography on the title sequence to E.R. It is the bright green logo for the New York Jets and
the monochromatic front page of the Wall Street Journal. It is hang-tags in clothing stores,
postage stamps and food packaging, fascist propaganda posters and brainless junk mail.
Graphic design is complex combinations of words and pictures, numbers and charts,
photographs and illustrations that, in order to succeed, demands the clear thinking of a
particularly thoughtful individual who can orchestrate these elements so they all add up
to something distinctive, or useful, or playful, or surprising, or subversive or somehow
memorable.
Graphic design is a popular art and a practical art, an applied art and an ancient art. Simply
put, it is the art of visualizing ideas.
JESSICA HELFEND
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ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Based
Berlin
Designdisciplines
Environment
Identity
FeaturedProjects
CalleUnderground
Founders
EikeKnig
Founded
1994
H O R T
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Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
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Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Based
Berlin
Designdisciplines
TypefaceDesign
FeaturedProjects
Brandon
Klint
Chino
Founders
HannesvonDhren
Founded
2005
H V D
F O N T S
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Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
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TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
Based
London
Designdisciplines
Books
TypefaceDesign
Exhibition
Identity
FeaturedProjects
RoyalCollegeofArtAnnual
Wallpaper*
Founders
ValerioDiLucente
ErwanLhuissier
HugoTimm
Founded
2008
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Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,Rick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
J U L I A
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ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Based
Munich
Designdisciplines
Identity
TypefaceDesign
Editorial
Website
FeaturedProjects
MunichRe
Founders
MartinaKeller
MarcusMaurer
Founded
2002
K M D
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Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
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TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
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Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,R
ick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
One should construct design just as nature constructs a plant. It should be adapted
accordingly since it is living and growing to the needs of the moment and of the place.
KASIA KORCZAK
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AtelierTlescopique
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Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Based
Switzerland
Designdisciplines
TypefaceDesign
FeaturedProjects
Akkurat
Founders
CornelWindlin
StephanMller
Founded
1993
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Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
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Non-Format
Onlab
Poynor,Rick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
L I NE T O
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AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Theres something indescribably wonderful about asmart, beautifully designed printed publication that hassomething to say and says it well. No matter how excitingthe iPads potential for storytelling might be, there isstill value in the bound experience of magazines whenassembled by thoughtful editors and talented designers.For them magazines are a labor of love, and for theirreaders a pleasure to behold. Here to champion thoseefforts is Andrew Losowsky, an editor and journalist whosepassion for publications can be summed up by the titles
of his books We Love Magazines (2007) and We MakeMagazines (2009). With Stack Americaa subscription-based service that delivers a care package of creative,independent magazines and related ephemera six times ayearLosowsky is using an old-fashioned model in a novelway to bring unique print experiences to audiences. Theformer editorial director of Le Cool, in-the-know guidesto cultural events in European cities; the co-curator ofColophon, the independent magazine biennale; and theauthor of the blog Magtastic Blogsplosion, Losowsky isuniquely qualified for the job. He recently answered somequestions about what makes for a meaningful magazineexperience, whether magazines can be sustainable andhow the internet is good for print.
How did the idea for Stack America come about?
Stack began in London in December 2008, as a wayto introduce independent magazines to new audiences.[Founder] Steven Watson was originally inspired to startStack by a T-shirt subscription service run by momimomi.I got to know Steven at the Colophon Biennale in 2009.We stayed in touch, and he mentioned that he had comeacross many interesting American publications that hecouldnt feature, because the shipping costs were justtoo highalso, the cost of sending Stack to Americansubscribers was expensive. So we started to talk aboutsetting up an American edition. Stack America launched inDecember 2009, and so far weve sent out eight differentmagazines in four bimonthly mailings.
And all those different magazines do readersknow what theyre going to receive or is it alwaysa surprise?
Think of it like a curated magazine club: in each mailing
Stack America sends out at least one piece of remarkable,independent publishing, along with other unusual magazine-related ephemera. The hope is that, if you love one of themagazines, youll subscribe, spread the word and help keepgreat independent magazines alive. Each envelope is asurprise, containing fresh perspectives and new ways ofstorytelling.
We also include in each mailing an exclusive print from ourDesigners Series. Prominent magazine designers, editors,typographers and illustrators create an image available onlyfor our subscribers, reflecting on the medium of magazines.Participants so far include Robert Newman (Fortune, RealSimple, New York), Jeremy Leslie (Time Out, John Brown
Media, magculture.com) and Cyrus Highsmith (typographerfor Martha Stewart Living, Rolling Stone, Wall StreetJournal).
What are some of the magazines you carry and whatmakes them Stack-worthy?
We look for magazines that are at least as good as, if notbetter than, the mainstream in their design and journalism.These are the bleeding edge of publishing, created bypassionate people who arent afraid to experiment, to pushthe boundaries of whats possible in print. The slogan forStack is Magazines that matterand for anyone in thecreative industries, thats exactly what they are. No magazine
pays to be sent out as part of Stackin fact, we pay forevery copy, direct from the publisher. Our reputation hasbeen built upon our independence and the quality of ourselection.
Already sent out have been Pin-Up (architecturalentertainment), Meatpaper (documenting the fleischgeist),Megawords (a non-commercial record of place and humanexperience), d[x]i from Spain (culture and post-design),a mini magazine from Little White Lies in the U.K. (gettingunder the skin of cinema), an infographic sheet from GOODmagazine, and, in our latest mailing, Embrocation (theessence of cycling) and Put A Egg On It (tasty zine).
We also guarantee not to repeat a title for at least a year.There are thousands of unusual magazines out there, andwere dedicated to rooting out the best and sharing themwith an audience hungry for fresh inspiration.
Andrew Losowsky:Interview on Magazines
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Monika
Munari,Bruno
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R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
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TomSharp
Useful
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How do you deal with unpredictable publication
schedules and the growing death rate of magazinestoday?
Were only sending out a single issue of a magazine eachtime, so it hasnt been a problem. So far, all the publicationsStack America has sent out are still in businessperhapswere a good-luck charm!
Are there any differences youve noticed in Europeansubscribers versus American ones?
One difference is the distances involved. In much ofEurope, the majority of people live within reach of amajor cosmopolitan city, whereas population centers in
the United States and Canada are far more spread out.However, theres definitely a similar hunger for creativityand inspiration in print on both sides of the Atlanticwhichis why, coupled with the magic and mystery of a curatedservice, our subscribers eagerly await every mailing.
Waiting is such a foreign concept today. Why shouldpeople still be interested in magazines when we canget an almost-constant stream of information andvisual stimulation online?
Today we all consume a mix of media, both digital andphysical, and I dont see that changing, at least for a while.The best magazines that choose to stay in print are those
that do so for a reasonto have a physical presence in ourlives, to make the most of being a curated object, to makesomething that readers will keep and return to, to createsomething that will sit boldly on the coffee table.
Digital magazines can add audio, animation and video,however they lose in other areas: touch, smell, weight areall sensations that digital magazines dont have control of . Inthe very best magazines, these are carefully curated as partof the story.
Do you have any theories on the iPad, whether its agood or bad thing for the creators and consumers ofmagazines?
Were still in the very early stages of understanding what amagazine can and cant do on tablet computers. Its only agood thing for readersnew media, new possibilities, andavailable anywhere with an internet connection, rather thanhaving to rely on whatever the local newsstand has in stock.
Publishers, however, are having to rethink how they make
money, how digital fits into their workflow, and how tocommission pieces with two concurrent media in mind.New technology isnt ever inherently bad or gooditsalways about how an affected industry reacts to it. At first,the web was seen as a bad thing, until publishers realizedthat it was probably the best subscription tool ever invente
As for tablets, right now its too early to say for sure whatthe impact on conventional publishing will be. Interestingtimes, though.
What about from a sustainability perspective?There are costs (environmental, financial)associated with printing and shipping, and often
theres a lot of waste in magazine production. Issustainability something you consider in both yourbusiness model and in your choice of magazines(for instance, are you looking at publishers usingsoy-based inks, recycled paper, etc.)?
There are indeed environmental and fiscal costs associatewith any product, including digital, where the environmentacosts associated with the generation of electricity to poweserver hosting and the recharging of electric devices, aswell as biodegradability of computer parts, should also betaken into account.
We firmly believe in alternative, less impactful materials
including soy-based inks and recycled paper; we used partrecycled, sustainably sourced paper for all our materials.However, we havent as yet refused a publisher because othe materials it uses.
Environmental impact in every aspect of our lives shouldalways be minimized. Ultimately, however, society in itscurrent form is predicated on making and selling things.Our belief is that, if something is going to be made andsold, there is always an environmental costand so, inorder to be worth that cost, every product should aim to besomething different, something original, with the potential tchange the viewers perspective, even to improve their lifein some way. Thats what we look for in our magazines, and
thats the philosophy we try to project in what we send out
There is nothing more offensively wasteful, in aplanet of limited resources, than insipid, thoughtless,copycat creation.
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Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Graphic design is art people use.
Graphic design is the spit and polish but not the shoe.
Graphic design is a tool.Graphic design is production.
Graphic design is what communication looks like.
Graphic design is what you make of it.
Graphic design is the art and business of making content readable.
Graphic design is helping people find the information they want.
Graphic is challenge peoples minds.
Graphic design is pollution.
Graphic design is pandemic.
ELLEN LUPTON
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Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,Rick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
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Publication/Editorial
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
Bruno Maag is so enraged by Helvetica that he hasdesigned a typeface aimed specifically at wiping it off theface of the planet. He explains his hatred in the latest ofSEAs Naturalis booklets.
Helvetica may be the worlds most popular typeface butone man is having none of it. Type designer Bruno Maagof Dalton Maag, views Helveticas popularity with a mixtureof bemusement and irritation. So he has decided to dosomething about it. With the Dalton Maag team, he hascreated Aktiv Grotesk, a typeface designed to provide an
alternative (and, he hopes, improvement) to Helvetica.
Maag discussed the project and his feelings aboutHelvetica in a conversation with CR editor PatrickBurgoyne which is published in Naturalis x 7, the latest ofGF Smiths promotional booklets for its Naturalis paperrange, designed by SEA and set in Aktiv Grotesk (shownhere). Here is what he had to say:Bruno, where does your deep-seated hatredof Helvetica come from? Isnt hating Helveticapointless? Its like air or vanilla ice cream, its justthere
Thats the point, it is vanilla ice cream. In my whole careerin typography, starting with my apprenticeship, I have neverused Helvetica. Being a Swiss typographer, its alwaysbeen Univers. Even in my apprenticeship we didnt haveHelvetica in the printshop. Then I went to Basel schoolof design and of course in Weingarts workshop it wasUnivers, never Helvetica. Then I come to England andtheres all these designers using Helvetica! The Macintoshhad just come out and Helvetica was on every singlemachine. Everyone was so fascinated with it I neverunderstood that.
Do you think it was an outsiders impression of theSwiss style? Almost in the way that a tourist forms
an idea of a country that is different from reality?
I think thats describing it quite nicely. My Swisscolleagues always thought of Univers as Swiss typography.It was the American advertisers of the 60s that weassociated Helvetica with.
Bruno Maag Hates HelveticaBut wasnt its popularity in America due to theinfluence of European migrs?The thing is that Univers was released in 1956 byDeberny & Peignot, a small French foundry. Helvetica wasreleased a year later with the full might of the Linotypemarketing machine behind it. Linotype stuck it on everysingle typesetting machine they could and took it roundthe market, particularly around the New York advertisingscene. And there was little Deberny & Peignot with nomarketing budget. Its a fluke of marketing that Helveticanow is this incredibly popular typeface.
What galled me most in the movie [Gary HustwitsHelvetica] was when Massimo Vignelli said that Helveticawas a Modernist typeface No! No! Helvetica is anythingbut Modernist, Clearly it has its roots in Akzidenz Groteskand that was designed in 1899, which is Victorian as faras I am concerned. Akzidenz is a fantastic font but its notModernist, its got a really antique feel about it, which againshows that Max Miedinger [Helveticas designer] didnthave a clue about type design. He was the salesman at[foundry] Haassche Schriftgieerei for Christs sake.
And there are a lot of things wrong in the design ofHelvetica once you start going in to the detail. I can
appreciate why a lot of designers like Helvetica comparedto Univers Univers has a starkness about it, its cold.Maybe because of the antique-ness of Helvetica it has acertain charm that Univers lacks and at the same time hasthis neutrality, so I can see why people go for it, but if youstart analysing it and going into the nitty gritty it is quite ahorrendous font. Its quite poorly crafted and has becomecompletely overused. People go on about Arial and howawful it is, and Comic Sans, what an atrocity that is, whynot the same about Helvetica? Its often used wrongly too.
How can you use it wrongly?
Ive seen it in books. It has no place there, it has no place
in body copy, it is not a hardcore reading font. Being agrotesk font, inherently, it is not very legible. Going back toVignelli and using it on the New York Subway that goesagainst every principle of legibiltiy. For signage you want tohave something condensed so that you can have a higherletter count and you want to have character forms that arenot ambiguous. Some of the character forms in Helvetica
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are very ambiguous because they are so uniform. In themovie, [Erik] Spiekermann says it very well, that they arelike soldiers on parade and that is detrimental to legibility.People just use Helvetica because they have heard of it,its on everyones computer and everyone else uses it.
Is it almost a non-choice to use it?
Its very much like that, a bit like Julia Roberts prettyenough but
So all this combines to deeply upset you about it?
Yes and a certain amount of commercial jealousy! But I dofind it an inferior typeface. I would choose Univers everytime its crafted better, the proportions are better, it is amodern typeface that doesnt pretend to be something itisnt which Helvetica does. What upsets me even more isthe ignorance that people have in using it. Once I had along debate with Hamish Muir on a round table discussionat the RCA. He said I just use Helvetica for everything.We were almost at each others throats over that. I saidHow can you? He said Ive always used it, Ive set up mycore kerning pairs Well, thats not an argument! Youuse a typeface that is appropriate to the job. You dont
have to have 5000 fonts on your machine but you use theone that speaks in the right voice, that conveys the rightfunctionality for the job.
A lot of designers feel uncomfortable with showingexpressing emotion in their work. Particularly inthe UK there is this concensus over what gooddesign is this watered down Swiss style, letsnot frighten anyone, lets just tidy it all up. Keep itclean. Helvetica appeals to that
Youre right, it does fit into that grid thinking. A lot ofgraphic designers are really scared of the organic shape,the thing they cant control just let it go. And with
Helvetica, because everyone else uses it you can justify itto your client.
So lets talk about Aktiv, Dalton Maags newHelvetica killer. Can you design a typeface inopposition to something? Is that what you set outto do or were you just trying to create as good a
grotesk as you could for general use?It was two-pronged really. One was the fact that wewere looking at our font library and felt that we weremissing a pure grotesk in a Univers style, purely as acommercial entity. It has been at the back of our mindsto do this for the last three or four years now. We wantedto have a grotesk font positioned somewhere betweenHelvetica and Univers not as icy cold as Univers butdevoid of all the quirks of Helvetica. To have a font that isbeautifully crafted, spaced well, with not a chink in a curveor anything perfectly drawn but hopefully with a bit of
personality. We wanted to create something that could beused in a corporate environment but that has that bit ofwarmth that Univers doesnt have.
Clearly, because we are competing aganst Univers,Akzidenz and Helvetica there are a lot of close similarities.The x height is fractionally higher than Helvetica but therounds have a little bit of squareness about them thatHelveticas dont have. The differences are really subtle bugive it just that bit of personality.Do you always need those idiosyncracies intypefaces?
You do, otherwise whats the point? Why use this or that?When people choose a typeface its not a rational decisionits completely emotional. They home in on details and sayI love that, thats why Im going to use it. But then theywant a rational explanation to tell their client. Were hopingwith this that people will react positively to it and that itcan do everything that Helvetica isnt doing and in theprocess I get very very rich!
So success for Aktiv would be to see Helveticadriven from the face of the earth?
Yes! When I do lectures I always have a little rant aboutHelvetica and at the end I say if everyone in the world
used Univers instead from now on Id happily retire, but itaint going to happen.
When this is out can you let Helvetica go? Haveyou exorcised the demon?
Yes, its catharsis. Its done now.
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The space were in
We are surrounded by brands, celebrities, products and patented packaging.
We read our world fast. We know the names we like and the ones we dont.
We dont have time. Creators strive to get known. Get the work rolling in. Be
accepted. Its good sense: a need to survive. But what if we could slow it right
down for a little while, find ourselves time to ponder, space for suspense?
Isnt there something wonderful in the not immediately recognisable?
An unknown quantity
Monika is an arts journal that does away with bylines. As respite from the
exhaustive branding of conventional media, contributors adopt a disguise that
enables them to experiment with new material or style, to bypass expectation
and to play. By placing the quality of her content over the marketability of her
contributors, Monika invites readers to decode identities, unravel mysteries
and embrace the unfamiliar.
Telling tales
Through visual arts and the written word, Monika shares engaging ideas
and observations. Each themed issue is designed to entertain readers with
originality, wit, and sensitivity to the everyday. Combining imagination and
experience, criticism and curios, Monikas content is handpicked for its ability
to render the unknown, unputdownable.
MONIKA MAGAZINE MANIFESTO
M
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O N I K A
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He (the designer) gives the right weight to each part of the project in hand, and he
knows that the ultimate form of the object is psychologically vital when the potential
buyer is making up his mind. He therefore tries to give it a form as appropriate aspossible to its fuction, a form that one might say arises spontaneously from the
function, from the mechanical part (when there is one), from the most appropriate
material, from the most up-to-date production techniques, from a calculation of costs,
and from other psychological and aesthetic factors.
Bruno Munari
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N OD E
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Type is saying things to us all the time. Typefaces express a
mood, an atmosphere. They give words a certain coloring.
RICK POYNOR
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Good design means as little design as possible.
Dieter Rams
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Graphic design has been likened to a wine glass. When we drink wine we
barely notice the glass its served in. It wouldnt be true to say that we dont
care what glass we drink out of we wouldnt choose to drink a rare vintage
out of a Tupperware mug, for example but its the wine that matters, not the
vessel it comes in.
ADRIAN SHAUGHNESSY
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As a designer, I like the future.
After centuries of being dominated by technology from cutting wood to
printing negatives, from baking mud bricks to reinforcing concrete designers
of all disciplines now have the tools to present and make anything imagin-
able. There is no excuse for not coming up with new concepts. Designers andarchitects can no longer blame their shortcomings on the limits of technology.
There will always be clients to blame that has not changed since the Pope
asked Michelangelo to paint the ceiling of that little chapel in the Vatican.
The best thing, however, is the fact that we are beginning to realize some-
thing else: we have talents that go beyond making things work well and look
good. We can also take apart ideas, look at them, throw away what is not
needed and put them back together again. Designers can redesign thinking.
And we need to, because nobody else will.
ERIK SPIEKERMANN
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87/104
Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,Rick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
89
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88/104
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
7/31/2019 Ben McKean Context
89/104
Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,Rick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
Based
London
Founded
1992
Designdisciplines
Identity
ArtDirection
Exhibitions
Editorial
FeaturedProjects
WimCrouwelExhibition
Founders
TonyBrook
PatriciaFinegan
S P I N
91
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90/104
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
S
L A
S I
7/31/2019 Ben McKean Context
91/104
Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,Rick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFormat
T U D I O
U C K E
E B E I N
Based
Amsterdam
Berlin
Founded
2000
Designdisciplines
Book
FeaturedProjects
Circa1986
Founders
DirkLaucke
JohannaSiebein
93
7/31/2019 Ben McKean Context
92/104
Aisaname
ACB
APFEL
AtelierTlescopique
BacheGarde
Barnbrook,Jonathan
Bibliotheque
Bierut,M
ichael
Bleed
Colophon
Coop
Crouwel,Wim
DaltonMaag
Ee
Esterton,Simon
ExperimentalJetset
Heydays
Helfend,Jessica
Hort
HVDFonts
Julia
KellerMaurerDesign
Korczak,Kasia
Lineto
DesignPhilosophy
TypefaceProdduction
Typography/Layout
Identity
Publication/Editorial
7/31/2019 Ben McKean Context
93/104
Losowsky,Andrew
Lupton,Ellen
Maag,Bruno
MainStudio
Monika
Munari,Bruno
Node
Non-Format
Onlab
Poynor,Rick
R2
Rams,Dieter
Remake
Rumors
SalutPublic
Shaughnessy,A
drian
Spiekermann,Erik
Spin
StudioLauckeSiebein
Toko
TomSharp
Useful
WoodMcGrath
WorkingFor