Ben McKean Context

7/31/2019 Ben McKean Context

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Ben McKean

Design Context Publication


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DesignPhilosophy

TypefaceProdduction

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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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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

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Monika

Munari,Bruno

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Rams,Dieter

Remake

Rumors

SalutPublic

Shaughnessy,A

drian

Spiekermann,Erik

Spin

StudioLauckeSiebein

Toko

TomSharp

Useful

WoodMcGrath

WorkingFormat

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C O NT E N T S


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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


Based

Paris

Designdisciplines

Editorial/Books

TypefaceDesign

FeaturedProjects

Musiquesvolantes

KultOriginal

MarketingLabelNight

Founders

SimonRenaud

JrmieNuel

Founded

2006

A

I S AN A M E

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Munari,Bruno

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Rams,Dieter

Remake

Rumors

SalutPublic

Shaughnessy,A

drian

Spiekermann,Erik

Spin

StudioLauckeSiebein

Toko

TomSharp

Useful

WoodMcGrath

WorkingFormat


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Typography/Layout

Identity


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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Lupton,Ellen

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Munari,Bruno

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Rams,Dieter

Remake

Rumors

SalutPublic

Shaughnessy,A

drian

Spiekermann,Erik

Spin

StudioLauckeSiebein

Toko

TomSharp

Useful

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WorkingFormat

A C B


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TypefaceProdduction

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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

Based

London

Designdisciplines

Exhibition

Identity

Books

FeaturedProjects

PostModernis:StyleandSubversion

Founders

KirstyCarter

EmmaThomas

Founded

2003

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Munari,Bruno

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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

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Identity


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

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Rams,Dieter

Remake

Rumors

SalutPublic

Shaughnessy,A

drian

Spiekermann,Erik

Spin

StudioLauckeSiebein

Toko

TomSharp

Useful

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WorkingFormat


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DesignPhilosophy

TypefaceProdduction

Typography/Layout

Identity


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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Munari,Bruno

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R2

Rams,Dieter

Remake

Rumors

SalutPublic

Shaughnessy,A

drian

Spiekermann,Erik

Spin

StudioLauckeSiebein

Toko

TomSharp

Useful

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WorkingFormat


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DesignPhilosophy

TypefaceProdduction

Typography/Layout

Identity


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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Aisaname

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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


Based

London

Designdisciplines

Identity

Exhibition

FeaturedProjects

ContemporaryAppliedArts

Founders

JonJeffrey

MasonWells

TimBeard

Founded

2003

B I BT H E

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Munari,Bruno

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Rams,Dieter

Remake

Rumors

SalutPublic

Shaughnessy,A

drian

Spiekermann,Erik

Spin

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TomSharp

Useful

WoodMcGrath

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L I OQ U E


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AtelierTlescopique

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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


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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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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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


Based

Oslo

Designdisciplines

Identity

ArtDirection

Exhibition

FeaturedProjects

AkerBrygge

Founders

SveinHaakonLia

DagSolhaungLaska

Founded

2000

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Monika

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Rams,Dieter

Remake

Rumors

SalutPublic

Shaughnessy,A

drian

Spiekermann,Erik

Spin

StudioLauckeSiebein

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TomSharp

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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

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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


Based

Brighton

Designdisciplines

TypefaceDesign

FeaturedProjects

CentralAvenueSpecimen

ApercuSpecimen

Founders

AnthonySheret

EddHarrington

Founded

###

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Rams,Dieter

Remake

Rumors

SalutPublic

Shaughnessy,A

drian

Spiekermann,Erik

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StudioLauckeSiebein

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TomSharp

Useful

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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


Based

Australia

Designdisciplines

Identity

Editorial/Book

Exhibition

FeaturedProjects

StateofDesignFestival

DesktopMagazine

Fontanel

Founders

PaulMarcusFuog

Founded

2004

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Lupton,Ellen

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Munari,Bruno

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ick

R2

Rams,Dieter

Remake

Rumors

SalutPublic

Shaughnessy,A

drian

Spiekermann,Erik

Spin

StudioLauckeSiebein

Toko

TomSharp

Useful

WoodMcGrath

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C O P


28/104

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


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

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Rams,Dieter

Remake

Rumors

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drian

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Toko

TomSharp

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DesignPhilosophy

TypefaceProdduction

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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


Based

London

Founded

1991

Designdisciplines

TypefaceDesign

FeaturedProjects

NokiaPure

Founders

BrunoMaag

LizDalton

D A

M A

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Remake

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SalutPublic

Shaughnessy,A

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TomSharp

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L T O N

A G


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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


Based

Ljubljana

Designdisciplines

Print/Book

Publication

Website

Featured

Projects

Glej

E e

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Lupton,Ellen

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Monika

Munari,Bruno

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Rams,Dieter

Remake

Rumors

SalutPublic

Shaughnessy,A

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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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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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Based

Oslo

Designdisciplines

Digital

Editorial

Identity

FeaturedProjects

Snitt

Westerdals

Founders

MathiasHaddalHovet

LarsKjelsnes

MartinSanneKristia

nsen

ThomasLein

SteinHenrikHaugen

Founded

2008

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H E Y

D A Y S


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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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Berlin

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Environment

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CalleUnderground

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EikeKnig

Founded

1994

H O R T

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Berlin

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Klint

Chino

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HannesvonDhren

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2005

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Based

London

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Books

TypefaceDesign

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RoyalCollegeofArtAnnual

Wallpaper*

Founders

ValerioDiLucente

ErwanLhuissier

HugoTimm

Founded

2008

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J U L I A


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MunichRe

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MartinaKeller

MarcusMaurer

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2002

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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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Akkurat

Founders

CornelWindlin

StephanMller

Founded

1993

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L I NE T O


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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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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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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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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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Berlin/Oslo

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AndersHofgaard

SergeRompza

Founded

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N

F


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Domus

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NicolasBourquin

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2001

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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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SelectedClients

ColecoSemT

tulo

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LizDefossezRama

lho

ArturRebelo

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Good design means as little design as possible.

Dieter Rams

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ArtinGeneral

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MichaelDyer

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R U M O R


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Bidoun

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S A L U T


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TomSharp

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Based

Brussels/Paris

Founded

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Website

SelectedCLients

QuaiBranlyMuseum

CartierInternational

CreativeDirector

RenaudHuberlant

PascaleOnraet

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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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London

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Founders

TonyBrook

PatriciaFinegan

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T U D I O

U C K E

E B E I N

Based

Amsterdam

Berlin

Founded

2000

Designdisciplines

Print

Book

FeaturedProjects

Circa1986

Founders

DirkLaucke

JohannaSiebein

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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

WorkingFor

Documents

Ben McKean Context