A Practice for Everyday Life
The more you hold
the more you see,
the more you see
the more you hold
– Graphic Design for Art
Entrance is free,
seats are limited
© Carol Sachs
The more you hold the more you see, the more you see the more you hold – Graphic Design for Art
A Practice for Everyday Life working with contemporary art and artists working with APFEL.
A lecture exploring the multiple avenues of overlap between graphic design and art, from publishing to exhibition design and digital. Kirsty Carter and Emma Thomas, founders of London-based graphic design studio A Practice for Everyday Life, will introduce their work by talking through the stories behind a selection of projects including visual identities, type design and book design.
A Practice for Everyday Life (APFEL) is a London-based graphic design studio founded by Kirsty Carter and Emma Thomas in 2003. Their work includes visual identities, books, exhibitions, art direction, type design, signage, packaging, and digital design. APFEL works across cultural and commercial worlds with a research-led approach to design that results in thoughtful and original work. Their clients include Tate, V&A, Barbican, Lisson Gallery, Phaidon, Sternberg, Marian Goodman Gallery, Bloomsbury, and Camper.
Their work is held in collections at The Art Institute of Chicago, the V&A Museum Archive, the Bibliothèque National des Livres Rares, Paris, the Royal College of Art Library, and the Tate Library.
APFEL projects include the recent visual identity and campaign for Kettle’s Yard, Cambridge; visual identity, signage and type design for The Hepworth Wakefield; exhibition and book design for Basquiat: Boom for Real at the Barbican; and books for artists David Hockney, David Noonan, Oscar Murillo, Leonor Antunes and Douglas Coupland.
Observe, Collect, Draw: Documenting the world using data
Observe, Collect, Draw: Documenting the world using data
As a designer and artist, I use data-gathering and data-visualisation as a design process, taking seemingly ‘cold’ data and using it to communicate warmer, more subjective messages.
I’ll highlight the various esoteric and ‘outsider’ data collection processes and data visualisations that have inspired me to see observation as a form of making/creating, exploring how it both influences my creative practice and also functions as a starting point for making the concept of data more accessible to a wider audience, showing how in an era of ever-increasing data, we all can – through channelling our inner 'anoraks’ – start to view data through a warmer, more human-focused lens.
is a designer and artist for whom data is her favoured material, with projects ranging from data visualization, book design, and information design to artworks. Her work has been exhibited at the MoMA (New York), CCBB (Rio de Janeiro), the Centre Pompidou (Paris), the V&A, the Design Museum, and Somerset House (London), and is held in the permanent collection of the MoMA. Her books (co-authored with Giorgia Lupi) include Dear Data and their new journal Observe, Collect, Draw!
“Recently organising the things in my archive, I found a letter I’d written to myself on the plane back from New York to Seoul. I’d heard about this special service that sends letters you write on the airplane, and I decided to try it out. That kind of thing happens sometimes, where I have a weird curiosity and put it into practice. I’d forgotten all about it, and then I found the letter.
You know how when you write a letter to yourself, you tend to write some pretty embarrassing things, like in a diary? I thought it would be like that, but it wasn’t. (...)”
worked as a graphic designer at the very heart of the small-scale but prolific design studios that became an established trend in Seoul from the mid 2000s. And as an artist, she’s taken part in numerous exhibitions at major art museums and galleries in her home country. Boldly yet naturally crossing the boundary between design and art, she’s provided young Korean creators with a new role model.
After studying industrial and visual design in Korea, Kim left to study in the Netherlands at Werkplaats Typografie, where she produced experimental works of design, such as her independent magazine umool umool. She was also chief editor and art director of another magazine in Amsterdam, called Graphic, which is still mentioned today as a kind of textbook for many designers. Returning to Seoul in 2012, Kim expanded the scope of her avant-garde activities, deploying original style like a weapon.
She founded Table Union, a design studio also serving as a new creative platform. At the same time, she has continuously worked as a graphic designer collaborating with various artists and institutions, as an art director crafting spaces for different brands, and as a teacher of university students. Recently she has been presenting different variations with her ‘SET’ wall art series, taking as her reference the book SET, a collection of design elements from the artist’s work.
Here, one can discover many insights into an artist who obsessively collects pretty things from the world around her, categorises them, and mixes them back together to build her own unique language.
(Text by Jae Seok Kim)
Anton & Irene
Getting Personal Projects Made
Getting Personal Projects Made
Nearly every designer after a few years of working for a studio, begins to think about starting his or her own business. Wouldn’t it be nice to have a fancy office, work only on the projects that you like, without having to sell your soul to the devilish client and compromise with amending designs? But reality is often times more complex and definitely less romantic.
Irene Pereyra of the Brooklyn-based design studio "Anton & Irene" will talk about transforming a small studio into a project (the studio is treated more like a "project" rather than a "business") and will share her experiences including all the successes and failures they went through along the way.
is the co-founder of the interaction design studio "Anton & Irene". She has created the interactive experiences for many large scale clients and projects, including the redesign of USAToday.com and Metmuseum.org. The studio also spends 3 months a year on self-initiated design projects.
Rejane Dal Bello
I don't know
I don't know
Rejane Dal Bello will be talking about her career path: how she began from Brazil and continued her journey through New York, Rotterdam and London, where she is based now and runs her studio. She will also talk about her passion for bold typographical work, focusing on branding/visual identity projects. She will explain how she balances between paid clients and social projects, with a highlight at her latest personal project Dr. Giraffe.
Studio Rejane Dal Bello
We are a graphic design studio, based in London. We specialize in brand identity, illustration, and editorial for national and international clients focusing on the Corporate, Cultural & Non-Profit sectors. Our studio works with ongoing collaborations to best suit each project we work on. Founded by Rejane Dal Bello, an awarded winning Graphic Designer & Illustrator with a great range of iconic design case studies.
Originally from Brazil, she began her career working for renowned branding & design agencies over the world, Studio Dumbar (NL) and Wolff Olins (UK). Rejane Dal Bello is regularly featured in international publications and as well as giving workshops and lectures around the world as well as creative editor of UPO magazine (FR).
Live with Joy
Live with Joy
Graphic artist, print-maker and designer will talk about his approach to life and work. Sharing insights into his creative process alongside describing key projects in his career.
is known for his persuasive, up-beat style of communication. His work is held in the permanent collections of the Victoria and Albert Museum in London, the Cooper-Hewitt National Design Museum, New York and has been exhibited in galleries around the world including the Barbican Art Gallery, the Walker Art Center and the Design Museum, London.
Words and language are an important part of Burrill’s output and he has developed a distinctive voice that is sought after not only by collectors of his prints but also by clients including Apple, Google, Hermés, the British Council, London Underground and the Design Museum. Burrill is perhaps best known for his typographic, text-based compositions, including the now-famous “Work Hard and Be Nice to People”, which has become a mantra for the design community and beyond.
Burrill was born in Littleborough, Lancashire. After studying Graphic Design at Leeds Polytechnic he completed an MA in Graphic Design at the Royal College of Art, London. He now lives and works on the Isle of Oxney, Kent.
More Matter, With Less Art — Designing books for the digital age
More Matter, With Less Art
Designing books for the digital age
In this age of a super-abundance of information, on the Internet, for example, there is a need of formats that can clearly present enormous quantities of information and subsequently make it manageable. The atlas is a good example of such a format. The work of Studio Joost Grootens explores the atlas format, its meaning in the digital age and its application to disclose maps and non-cartographic subjects.
Is a graphic designer with a background in architecture. His studio SJG designs books, maps, typefaces, spatial installations and digital information environments for publishers like Lars Müller Publishers, nai010, Park Books, Phaidon; educational and research institutions like ETH Zürich, Future Cities Laboratory Singapore, KADK Copenhagen; and museums like Boijmans Van Beuningen Museum Rotterdam, Stedelijk Museum Amsterdam, Van Abbemuseum Eindhoven.
Grootens leads the master Information Design at Design Academy Eindhoven. He is PhD candidate at Leiden University. His research addresses the transformation of the fields and practices of graphic design and map design resulting from technological changes in tools to record, create, edit, produce and distribute visual information.
Large, simple, small
and complicated drawings
Large, simple, small and complicated drawings
Type design is full of contradictions. Or is it? Cyrus Highsmith will discuss this and his obsessions with shape, repetition, and different kinds of drawing.
is a letter drawer, teacher, author, and graphic artist. His type foundry, Occupant Fonts, includes dozens of his original typefaces. He teaches type design at Rhode Island School of Design. He wrote and illustrated the acclaimed primer, Inside Paragraphs: Typographic Fundamentals.
In 2015, he received the Gerrit Noordzij Prize for extraordinary contributions to the fields of type design, typography, and type education. In 2017, he became Creative Director for Latin Type Development at Morisawa USA.
Gasket Unicase Font
A talk by Mucho
A talk by Mucho
As part of Mucho’s 15th Anniversary. Its 5 partners will get together for the first time to give a talk in the city of Barcelona.
Each partner will talk about a project that changed their lives, a current project, and their dream project for the future.
We create design with meaning.
Great design speaks to your head, and your heart. It makes you feel different, and think differently. It makes you remember, and respond.
That’s what we aim for: to go from insight to ideas to design that connects. To craft things with intelligence, sensitivity and precision.
It doesn’t happen in isolation. That’s why we work collaboratively with our clients, and with each other. As an international collective, we take a global outlook. We’re open. We share. We learn.
The result: intelligent, effective design that makes a lasting impression.
Graphic artist Patrick Thomas (Liverpool, UK) talked about discovering design through music, his education at Central Saint Martins and the Royal College of Art, and how his work subsequently led him on a journey via Barcelona to Berlin where he is currently based.
He talked about working freelance from a pension on Carrer Sant Pau in Barcelona, founding Studio laVista, working commercially — with specific reference to his work for the International Press — and his decision to stop accepting commissions a decade ago in order to concentrate on his own work.
He talked about the epiphanic moment he discovered printmaking as a student in Liverpool, exhibiting worldwide, the importance of 'reach' in his work and his ongoing fascination with the Victorian multimedia artist and visionary William Morris. He will also talk about his work with Klasse Thomas, his visual communication class at State Academy of Art & Design Stuttgart.
Is a graphic artist, author and educator. He studied at Central Saint Martins School of Art and the Royal College of Art in London before relocating to Barcelona in 1991 where he founded the multidisciplinary studio ‘laVista’. In 2005 he published ‘Black & White’ a compilation of his work for the International Press. In 2011 Laurence King Publishing, London, published his second book ‘Protest Stencil Toolkit’.
He is currently working on the follow-up, due to be released in 2018. In 2007 he established his first silkscreen press in Barcelona and decided to concentrate on releasing personal, uncommissioned work. Since then he has exhibited his limited-editions across five continents, where many are now held in private and public collections. He set up a second silkscreen press in Berlin in 2016.
He has given talks about his practice and held workshops worldwide, extensively in the UK, Spain and Germany. Since October 2013 he is a professor of visual communication at the Stuttgart State Academy of Art and Design (Klasse Thomas). Since 2011 he is based in Berlin. He works between there, London, Barcelona and Stuttgart. He is a member of AGI (Alliance Graphique Internationale).
A talk about Concrete graphic design, about a style, a typeface, the form that doesn’t necessarily follow the function, about our beginning, our love for systems, for the fails of systems, about basic ideas, about the limits of all this and the future of things.
Is Paris-based graphic design studio founded in 2014 by Hugo Anglade, Thomas Petitjean et Antoine Stevenot. Then, Julia Andréone, photographer, Thomas Petit and Manon Bruet, graphic designers, joined the team. Combining graphic design, art direction and photography, Spassky Fischer mainly works in artistic and cultural fields.
Since 2014, the studio is in charge of the whole communication and identity of the MAC VAL museum (Musée d’art contemporain du Val-de-Marne) and the Mucem (Musée des civilisations de l’Europe et de la Méditerranée) in Marseille, since 2016.