DE VE
Delve: An Insight of The Heretics Published in Asia in 2017 by Page One Publishing Pte Ltd 20 Kaki Bukit View, Kaki Bukit Techpark II, Singapore 415956 Tel: (65) 6742-2088 Fax: (65) 6744-2088 enquiries@pageonegroup.com www.pageonegroup.com Sponsored by Temasek Polytechnic Edited and produced by Temasek Polytechnic School of Design – Communication Design 1415 TD05 Chief Editor: Joslin Ong 1402043B@student.tp.edu.sg www.tp.edu.sg ISBN 978-981-4394-90-1 All rights reserved. No part of this publication may be reproduced, stored in any retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission in writing from the publisher. For information, contact Page One Publishing Pte Ltd. Printed and bound in Singapore
FOR DESIGNERS BY DESIGNERS OF DESIGNERS
INTRODUCTION
Delve is a publication for designers with a into the ingenious minds of heretical top g unconventional designs.
Delve features designers hailing with cont unified by their unusual styles that evokes
Delve deep, delve into, delve beyond and connect through the sensational desig
an unorthodox taste, looking to venture gun designers with a similar desire for
trasting personality and backgrounds, s emotions through their works.
gns of the experimental designers.
FLOW FLOW W W
JUBIL
THROUGH THROUGH THE THE
ALEX TR
WITH WITH THE THE
LANCE
WORKS OF OF E WORKS
ROCHUT
10 | ALEX TROCHUT
barcelona based freelance graphic designer illustrator typographer binary prints
AWARDS
Certificate Type Direc
Art Direct (New York
Selected w Annual 49
Alex Trochut was born in 1981 in Barcelona design at Elisava and is based in Barcelona.
Alex Trochut is an illustrator, designer and ty for his geometrically precise yet fluid, sensua sought after for its ability to elevate a simple a piece of inspiring conceptual art. There is a that occurs between his designs and the view conversation based upon visual metaphor, pu require a cultural viewfinder.
Alex Trochut is renowned for his type creatio attributes his special connection with typogra
BIOGRAPHY | 11
e of Excellence in Type design. ctors Club (New York, 2005)
tors Club Young Guns 6 Winner. k, 2008)
work for the Communication Arts Design 9 (2008)
a, studied Graphic
ypographer known al forms. His work is word or symbol into a dynamic exchange wer, as they engage in a uns and references that
ons and designs. He aphy to his grandfather,
Joan Trochut who was a typographer and creator of a modular typographic and ornament system built in the 40s. Beginning as a freelance designer, Trochut established his Barcelona-based design studio in 2007. Now dividing his time between Brooklyn and Barcelona, his client list includes Coca-Cola, Nike, Pepsi, Adidas, Puma, the Rolling Stones, The New York Times and Absolut. As a speaker, he has travelled worldwide to lecture on various art and design topics. Trochut’s works have appeared in countless publications, and his art has been exhibited
globally, including a past collaboration with the ceramics studio, Apparatu. In 2011, Trochut published his monograph, “More is More,” reflecting his work philosophy that results in his constantly evolving body of illustrations and designs. Showcasing his commercial and personal projects, as well as a statement on his perspective and influences, “More is More” was met with critical acclaim by the art and design community.
12 | ALEX TROCHUT
In this book we find an entire series of sketches and the transformations his ideas undergo from the moment they are conceived until they reach the paper. Alex Trochut’s illustrations, designs and typography take the modern notion of minimalism and flip it on its side. Trochut’s work philosophy is “More is more”. It is rich with elegant, brilliantly detailed executions that simultaneously convey indulgence and careful, restrained control.
THINK TWICE binary print exhibition
Following the publication of “More is More,” Trochut became interested in the duality that could be represented in one twodimensional work on paper. He invented a process through which two completely separate images could be shown on one surface–– one which appears in light, and one which appears only in the dark. What followed was a collaboration with some of the premiere electronic musicians of our time. Trochut called on James Murphy, Caribou, Four Tet, Damian Lazarus, Acid Pauli, John Talabot, Lucy and others to create a series of portraits that explore the people behind the music. Discussing themes of both visual and auditory natures, Trochut created portraits that reflect the musician’s vision of
more is THINK
s more TWICE
PROJECTS&BOOKS | 13
THINK TWICE EXHIBITED AT New York Paris Milan Barcelona
their own work and identity. These nocturnal portraits “wake up” in the dark, just as the DJs “come alive” at night, as do audiences under the spell of their music. Anyone who has been present at those transcendental moments of communion at a show can attest to the experience as an awakening–– a nighttime rebirth of mind and body. There is a literal translation of the inverted blinking eye, which shows the artists emerging into their nocturnal personas, bringing them into focus, from a anonymous being to an icon of music and sound. Like the experiential discovery inherent in live music, these portraits create layers for the viewers to feel and pull apart, combining the universal with the personal.
14 | ALEX TROCHUT
01
What’s been the biggest influence on your work? The people closest to me. the great masters of american graphic design such as herb lubalin, saul bass, milton glaser and paul rand. mediterranean artists like pablo picasso, joan miró and salvador dalí. wizards of geometry like victor vasarely, carlos cruz-diez, or m. c. escher. and pop artists and like roy lichtenstein, andy warhol, jeff koons, KAWS. I also like very much the work of illustrators rick griffin and jim phillips.
02
How would you describe your work to someone who hasn’t seen it before? My work is expressive. it’s often highly detailed but the overall image is clean. I have a tendency to mix geometric and fluid forms. ambiguity and duality are also recurrent themes in my concepts as are letters, numbers and symbols.
03
Do you think a graphic designer should be able to draw well? It’s not necessary, but it definitely does no harm. in the end, a hand is the most reliable tool you can have, it keeps evolving if you train it, it doesn’t need software updates, works without electricity and it can really define the way you express yourself.
INTERVIEW | 15
04
How did you come to develop the complex style of typography demonstrated in a lot of your work? for me it’s very important to try do same things in terms of images but in different ways or styles, this is sometimes the goal and concept itself. often the most challenging part of the process is to figure out the methodology. I try to get lost, discover happy accidents and break my routines. normally it’s hard to find a client that likes to experiment and take the risks that this process implies, so usually I collect my ‘accidents’ and save them for the right occasion.
05
What has been your most satisfying project to date? binary prints, which is a self-funded personal project that I launched last year. it is a printing technique that I patented, which allows you to print two completely different images on the same surface – one visible in light the other in the dark. it was the first time that I’ve invested so much time and efforts on a personal project, and it has been very rewarding for me, especially the fact that it forced me to step into a zone where I didn’t feel safe and to look at things from a different point of view; one that was less commercial.
UNKNOWING UNKNOWING
CONFU
DAVID C
THROUGH THROUGH THE TH
GLY GLY FALL FALL INTO INTO
USION
CARSON
E WORKS HE WORKS OF OF
18 | DAVID CARSON
AWARDS Best Ove Cover of Award of Designer Designer Master o The most London C One of th history o AIGA me
america based graphic designer art director grunge typographer david carson design
Carson was born in Corpus Christ San Diego State with a Bachelor Carson’s first co was in 1980 at th na during a two taught by Jackso to 1987, Carson Torrey Pines Hig California. Durin
BIOGRAPHY | 19
S erall Design, Society of Publication Designers (New York) f the Year, Society of Publication Designers (New York) f Best Use of Photography in Graphic Design r of the Year 1998, International Center of Photography r of the Year 1999, International Center of Photography of Typography, Graphics magazine (NY) t famous graphic designer on the planet, April 2004 – Creative Review magazine (London) he 30 most influential Macintosh users over the 30-year of the computer – Apple Inc. (January 2014) edal – 2014
n on September 8, 1954 ti, Texas. He attended University, graduating of Arts in Sociology. ontact with graphic design he University of Arizoweek graphics course, on Boelts. From 1982 worked as a teacher in gh School in San Diego, ng that time, he was also
a professional surfer, and in 1989 he was ranked as the 9th best surfer in the world. In 1983, Carson started to experiment with graphic design and found himself immersed in the artistic and bohemian culture of Southern California. He attended the Oregon College of Commercial Art. That year, he went to Switzerland to attend a three-week workshop in graphic design as part of his degree. The teacher of the workshop, Hans-Rudolf Lutz, became his first great influence. Although Carson has produced everything from books and ad campaigns to videos, magazines were the crucible of his style. The big, cheap pages and open-ended seriality of the magazine offered an ideal arena for experimentation over time. His first gig as an art director was for Transworld Skateboarding (1984–1987), followed by Transworld Snowboarding and the surfing magazine, Beach Culture. When publisher Marvin Scott Jarrett launched Ray Gun in 1992, he invited Carson to be the founding art director—the magazine became more famous as a platform for Carson’s visual voice than for its music content.
From 1995 to 2003, Carson ran his own studio in New York City, working with diverse clients in the worlds of fashion, entertainment and beyond, including Nike, Toyota, Quiksilver and MTV. Since then, he has served in a variety of positions, including creative director for the Bose Corporation. His legendary disregard for readerly conventions has made him a hero to some and an agent of ugliness to others. Carson forged graphic design into a cultural force and a medium with its own shape and direction. Although design swims in the stream of commerce, it lives there, in Carson’s work, as its own strange animal. Recognized for breaking the rules, nearly untethering legibility from communication and inspiring a generation of young designers with his bold understanding of cultural style.
20 | DAVID CARSON
“ray gun had no grid, formula or format, letting the music and individual articles dictate the direction of the design and layout. every page was an entirely new design assignment, making it a lot more work than most magazines, but also a lot more fun, and I believe with more effective results”
While the contents of its pages were not related to graphic design, Ray Gun magazine proved to be an exploration of typography, layout and visual storytelling that would shift the approach of many graphic designers. The magazine was founded in 1992 and led by the work of David Carson, who served as its art director for the first three years of its career, which lasted 7 years and over 70 issues. Carson’s style of typographic experimentation influenced the development of the deconstruction style of design and a whole new generation of designers. The experiments by Carson and other Ray Gun designers were chaotic, abstract and distinctive, but sometimes illegible. The magazine’s radical subject matter often related to music and pop culture icons and the magazine became a reliable source for the prediction of up-andcoming stars.
books by david carson
PROJECTS&BOOKS | 21
2nd Sight 1997
sequal to End of Print exploration of creative processes
The End of Print 1995
features work from the magazines where Carson first made his mark
trek 2000 FOTOGRAFIKS 1999
exploration of the synergy between design and photography
a collection of Carson’s most evocative photographs
2
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18 | DAVID CARSON
3
1
H so ow de urc do sig es yo n ha u It’ be ve th m sm in in ink e a ho m de g o pr flue on ea mo ra ev od n lin sie g bl er uc ced e d r t eni e, l yth ed t es o ze es in fo d s u g to he ign rg th n le da gr et e w iqu ss , w o e ex y? ap rehi ith rk an pe c d r o les v le im e s i ra ss en m ll ef ta pa an fe l, l ct d m cti es . ad ve. i s e i ts t
fr o in w c m lf pe ks A m tis om olin e, a as d over y fi lut rim hop lso ind s he ue spe g. I nd esi ing rst z w ent in my ed ea co ld w ov c’i ha bas gni th job as al s rly ur a er ng d t ic ng e fi , o hu w i a s x n s g o a t a e l e e s y l N – rs rt b pe fig y t ska ld o ly m ely de wo o , ur ha te f id ow sig rk ard wr e o t b bo gr ont ge eas ada ni ed s f itin ut ec ar ap hs y go ttin at s I ng , a o g e am d hi o g c . on alo p nc us nd r p ins ver e rin tr yt m es ng ro e f ua o y f te uc hin th . t gre or lly rs, tio g at he ss th w o ho ns fe n ive e s rk el I g ly a w on th o m me on ha e m ba o t nu nd o r c os k e e pic me t e an xp o ro ffe d fi eri r p us ct ne me ro ive t n je . un tal ct, in as gt I he or e. ni a
5 W he ha ar t’s d? th M e y be ex d st lea per ad pi pr rn ien onc ec ob ed ce e e t a s o – of bl om ‘i ld Sa y f u ad m e w l wo th yo e vi – hat Bas rth ing u’d th ce w s a y wh , it ei t w try h ou o yo i n t ile wa he ha u to ch do ce ’. ha s r la tev fo I th , d to ve llo o on ld ug er w ug ’t m h t ed he to ht ca e ‘ or th wa re jus is s or t k da gr fo ee y. eat llo p ad w doi vic the ng e a cr nd itic sti s.’ ll
3 INTERVIEW | 19
4
FEEL FEEL THE THE DE DE
UNEAS
THROUGH THROUGH THE TH
STEFAN SA
EPTHS EPTHS OF OF
SINESS
E WORKS HE WORKS OF OF
AGMEISTER
26 | STEFAN SAGMEISTER
Stefan Sagmeister studied graphic design at the University of Applied Arts Vienna. He later received a Fulbright scholarship to study at the Pratt Institute in New York. He began his design career at the age of 15 at Alphorn, an Austrian youth magazine, which is named after the traditional Alpine musical instrument. In 1991 he moved to Hong Kong to work in Leo Burnett’s Hong Kong Design Group. In 1993, he returned to New York to work at Tibor Kalman’s M&Co design company. His tenure there was short-lived, as Kalman soon decided to retire from the design business to edit Colorsmagazine for the Benetton Group in Rome. This led Sagmeister, in 1993, to form New York-based Sagmeister Inc. That company has since delivered branding, graphics, and packaging for clients as diverse as the Rolling Stones, HBO, the Guggenheim Museum, and Time Warner. Past employees of Sagmeister Inc. include Martin Woodtli, and also Hjalti Karlsson and Jan Wilker, who later formed Karlssonwilker. Stefan Sagmeister is a long-standing artistic collaborator with musicians David Byrne and Lou Reed. He is the author of several books. Solo exhibitions of Sagmeister’s work have been mounted in Zurich, Vienna, New York, Berlin, Osaka, Prague, Cologne, and Seoul. He teaches in the graduate department of the School of Visual Arts in New York and has been appointed as the Frank Stanton Chair at the Cooper Union School of Art, New York. Sagmeister is the recepient of a 2013 AIGA Medal.
His motto is: “D the creator and guts in the final
Sagmeister takes proximately eve he does not take spends the year personal work a s a designer.
AWARDS Grammy Awar Special Limited category for a Lifetime box s
Grammy Awar David Byrne a Everything Th Today in the G Recording Pac
National Desig Communicatio Cooper-Hewit Design Museu
s a year-long sabbatical apery seven years, during which e work from clients. He experimenting with and refreshing himself a
rd in the Best Boxed or d Edition Package art directing Once in a set by Talking Heads (2005)
rd for his design of the and Brian Eno album hat Happens Will Happen Grammy Award for Best ckage category (2010)
gn Award for ons from the tt National um.
BIOGRAPHY
new york based graphic designer lettering artist sagmeister & walsh inc
Design that needed guts from still carries the ghost of these execution.�
27
STEFANSAGMEISTER
28 | STEFAN SAGMEISTER
THE HA HA THE books by stefan sagmeister
Sagmeiste Book Abo & Sales M 2011
an exploration of all works by
Made You 2001
publication of w done by Sagme Walsh
Things I H In My Life 2008
a visual diary o Sagmeister, his designs & proje
PROJECTS&BOOKS | 29
APPY SHOW SHOW EXHIBITION EXHIBITION APPY
er: Another out Promotion Material
and compilation y Stefan Sagmeister
Look
works eister &
Have Learned e So Far
of Stefan s thoughts, ects
illing the Institute of Contemporary Art’s (ICA) entire second-floor F galleries and ramp, and activating the in-between spaces of the museum, The Happy Show offers visitors the experience of walking into Stefan Sagmeister’s mind as he attempts to increase his happiness via mediation, cognitive therapy, and mood-altering pharmaceuticals.
30 | STEFAN SAGMEISTER
Have you ever had doubts about what you wanted to do, or about whether or not you were good at it? Yes. Especially during school. I knew I wanted to become a designer (not many doubts there) but very much doubted the quality of the work. Had constant doubts in Hong Kong. Wanted to quit every week. What do you think design students should be focused on? They should concentrate to try out as many directions, possibilities and techniques as possible. Even though this can be frustrating in the short term (as few masterpieces will be developed), the freedom to be able to utilize a whole array of strategies will be incredibly helpful as a professional. While in school, I dont think its helpful to use ones time to develop an original formal language, this can all be done later on.
also appreci elaborate ab
Somebody sm the outside o of style/form saying style= notion anym make the del pay attention own style on surface stylist styles develop
How do you tell a good d does it chan
You’ve talked before about not having style, but
Good design delights peop
INTERVIEW | 31
iating the need for style. Can you bout that here?
marter than me described style/form as of a concept, and the concept the inside m. We used to have a sign in the studio =fart, but I am not so sure about this more. I found that attention to style can livery of good content easier, so why not n to it. I also found that by changing our n every project we stayed much on the tically and were in danger of ripping off ped by other people.
u define “good design”? How can we design, what are the criteria? How nge over the years?
n is design that either helps people or ple.
Step-by-step, please describe any method of coming up with ideas you find useful. Here is the method from James Webb Young: 1. Think about a project from any possible point of view. From yours, from your moms, from the clients, from a color, from a form etc.etc. point of view. 2. Write every thought down on its own index card. Fill as many cards as possible. 3. Gather them all on a big table. Try to find relationships between the different thoughts. 4. Forget about it. 5. Idea will strike you when you don’t expect it.
index
references references for for the the imagery imagery and and content content used used for for th t
ALEX TROCHUT Biography http://en.wikipedia.org/wiki/Alex_Trochut http://jackywinter.com/artists/alex-trochut/ Binary Prints http://www.binary-prints.com Interview http://www.designboom.com/design/alex-trochut-interview-12-23-2013/ Works http://www.behance.net/trochut DAVID CARSON
Biography http://en.wikipedia.org/wiki/David_Carson_(graphic_designer) http://www.aiga.org/medalist-david-carson/ Interview http://www.designboom.com/design/interview-with-graphic-designer-david-carson-09-22-2 Works http://www.davidcarsondesign.com STEFAN SAGMEISER Biography http://www.designersandbooks.com/designer/bio/stefan-sagmeister http://en.wikipedia.org/wiki/Stefan_Sagmeister Interview http://www.sagmeisterwalsh.com/answers/ Works http://www.sagmeisterwalsh.com
he production the production of of this this publication publication
2013/
Acknowledgements
We would like to acknowledge designers for their generous co concepts. We are very grateful names do not appear on the cr assistance and support. Thanks worked hard on the book and p Without you all, the creation an book would not have been pos your innovation and creativity w
e our gratitude to the artists and ontributions of images, ideas and l to many other people whose redits but who provided s also go to people who have put ungrudging efforts into it. nd on going development of this ssible and thank you for sharing with all our readers.