Hipertext

tomato : John Warwicker

tomatowww.tomato.co.uk

Faculdade de Belas-ArtesUniversidade de LisboaDesign de Comunicação// 1º semestreDocente_Pedro Almeida

Lisboa 2009

tomatounderworld

Experimental JetsetKatherine McCoy &

Cranbrook Academy of Arts

Emigré

122028

30

32

8 9


8 9


98

Interview

What prompted you to became a graphic designer?

I don’t know whether I’ve ever thought of myself as a “grephic designer”.

I do remember as a child being fascinated by my grandfather’s mathematical

notebooks and the strange letterforms in it. I’m sure that’s where my love of

typography started. And I do remember at the age of nine or ten

designing my own newspaper in the weekly art classes in junior school.

And like every teenager, music played

a really important part in my cultural definition.

Record sleeves were like flags of allegiance and in the early seventies they symbolized what

“graphic design” was to most of us growing up at that time.

At art school I had the “choice” between fine art and graphic design.

My parents supported me throughout my education, which was quite hard for them. I was

worried that I couldn’t earn enoughmoney from “fine art”, at least in the initial

stages, and I didn’t want to be a further burden on them.

I thought that I would probably earn enough to play my way if I worked as a

“graphic designer”. For me “graphic design”

was a label someone else put on the work.

Looking back, how do you view your design education? Were there things that you

didn’t appreciate at the time, but whicc in retrospect have proved

beneficial?

Not really. My education at Camberwell School of Arts was

comprehensive. I took the attitude, as did many of my peers,

that art school was an opportunity to be fully embraced.

We were very self-motivated and hungry for knowledge.

What were your ambitions at the start of your professional life?

The same as they are now - to do something that I’m not expecting and that

teaches me something about the world and my place in it.

You were involved in music industry design early on in your career. Was this a good

grounding for what came later?

No. i’m afraid it confirmed my suspicions of any creative group that calls itself an “industry”.

You are famous for being a designer who disregards the conventional boundaries of

design. You make books, films, installations and interactive work. You write prose and

you give talks and lectures. Can you talk about this?

What boundaries? It’s my life and I do what I’m interested in or intrigued by. If anyone else is interested, that’s good - maybe there will be a conversation.

Tomato members are celebrated for mixing personal projects with commercial work.

What does this give the individual?

Their individuality!

What is the most important lesson you have learned as a graphic designer?

John Warwicker

John Warwicker graduated from Camberwell School of Arts in London. During the 1980s he was briefly a member of the band Freuer (who later became Underworld); was part of design group da Gama; and was art director of A&M Records. After a slint as head of the “information design company” Vivid, Warwicker formed the creative collective Tomato withSteve Baker, Dirk Van Dooren, Simon Taylor, Graham Wood, Jason Kedgley, Micheal Horsham and Underworld members Richard Smith and Karl Hyde. Tomato works across film, branding, music, television, cinema, commercials, advertising, books, architecture and interactive media. They have exhibited internationally, and lecture and hold workshops widely. Clients include Sony, Nike, Levis, Coca-Cola and the Victoria & Albert Museum. In 2005, Warwicker will publish The Floating World: Ukiyo-e, the first monograph on his work. In it the documents his experiences in an authentic voice, mining the themes, ideas, histories and memories that have informed and influenced him over the past ten years.

www.tomato.co.uk

How to be a graphic designer, without losing your soul How to be a graphic designer, without losing your soul

98

Interview

What prompted you to became a graphic designer?

I don’t know whether I’ve ever thought of myself as a “grephic designer”.

I do remember as a child being fascinated by my grandfather’s mathematical

notebooks and the strange letterforms in it. I’m sure that’s where my love of

typography started. And I do remember at the age of nine or ten

designing my own newspaper in the weekly art classes in junior school.

And like every teenager, music played

a really important part in my cultural definition.

Record sleeves were like flags of allegiance and in the early seventies they symbolized what

“graphic design” was to most of us growing up at that time.

At art school I had the “choice” between fine art and graphic design.

My parents supported me throughout my education, which was quite hard for them. I was

worried that I couldn’t earn enoughmoney from “fine art”, at least in the initial

stages, and I didn’t want to be a further burden on them.

I thought that I would probably earn enough to play my way if I worked as a

“graphic designer”. For me “graphic design”

was a label someone else put on the work.

Looking back, how do you view your design education? Were there things that you

didn’t appreciate at the time, but whicc in retrospect have proved

beneficial?

Not really. My education at Camberwell School of Arts was

comprehensive. I took the attitude, as did many of my peers,

that art school was an opportunity to be fully embraced.

We were very self-motivated and hungry for knowledge.

What were your ambitions at the start of your professional life?

The same as they are now - to do something that I’m not expecting and that

teaches me something about the world and my place in it.

You were involved in music industry design early on in your career. Was this a good

grounding for what came later?

No. i’m afraid it confirmed my suspicions of any creative group that calls itself an “industry”.

You are famous for being a designer who disregards the conventional boundaries of

design. You make books, films, installations and interactive work. You write prose and

you give talks and lectures. Can you talk about this?

What boundaries? It’s my life and I do what I’m interested in or intrigued by. If anyone else is interested, that’s good - maybe there will be a conversation.

Tomato members are celebrated for mixing personal projects with commercial work.

What does this give the individual?

Their individuality!

What is the most important lesson you have learned as a graphic designer?

John Warwicker

John Warwicker graduated from Camberwell School of Arts in London. During the 1980s he was briefly a member of the band Freuer (who later became Underworld); was part of design group da Gama; and was art director of A&M Records. After a slint as head of the “information design company” Vivid, Warwicker formed the creative collective Tomato withSteve Baker, Dirk Van Dooren, Simon Taylor, Graham Wood, Jason Kedgley, Micheal Horsham and Underworld members Richard Smith and Karl Hyde. Tomato works across film, branding, music, television, cinema, commercials, advertising, books, architecture and interactive media. They have exhibited internationally, and lecture and hold workshops widely. Clients include Sony, Nike, Levis, Coca-Cola and the Victoria & Albert Museum. In 2005, Warwicker will publish The Floating World: Ukiyo-e, the first monograph on his work. In it the documents his experiences in an authentic voice, mining the themes, ideas, histories and memories that have informed and influenced him over the past ten years.

www.tomato.co.uk

How to be a graphic designer, without losing your soul How to be a graphic designer, without losing your soul

10

That there’s no such thing as “graphic design”.

Only lots of books on it and an assumption that it exists.

And that the world likes to “commodify”.

What advice would you give to a designer starting out today?

Find your own voice. And find out what motivates others.

I read an interview in which you said: “Tell your clients when they are wrong.

Because sometimes they are”. Is this good advice for a young designer? Shouldn’t they

be doing what they are told?

No. They should think about what is being

proposed and see if they agree with it . And if they don’t agree, they should say so in a

quiet and reasonable way. Ask “why?” of both yourself and the client. If you don’t, you won’t learn and neither will the client. What’s important is to built a portfolio that does

not have to be qualified. It should speak for itself.

I know this through bitter experience. In the 1980s I won awards and the

“industry” liked my work. I gave a talk at St. Martins and this very large guy with a

goatee and woolly hat approached me afterwards.

He said that he really enjoyed what I said, but thought my work was “crap”.

He was right. And that’s how I met Graham (Wood) who I later

formed Tomato with. I made a mental note to throw away ten years of work, but it took me several years to completely

let go. You have to pull yourself up every day and erase

old habits. I’ve never been satisfied with any of the “commercial” work that I’ve ever done.

What is good about the young designers yousee, and what, if anything, is lacking?

The good oens have energy. The not-so-good ones lack discipline,

knowledge, selfcriticism and are too reliant on technology.

But I think this is true for every designer, no matter what age.

How to be a graphic designer, without losing your soul

tomato

10

That there’s no such thing as “graphic design”.

Only lots of books on it and an assumption that it exists.

And that the world likes to “commodify”.

What advice would you give to a designer starting out today?

Find your own voice. And find out what motivates others.

I read an interview in which you said: “Tell your clients when they are wrong.

Because sometimes they are”. Is this good advice for a young designer? Shouldn’t they

be doing what they are told?

No. They should think about what is being

proposed and see if they agree with it . And if they don’t agree, they should say so in a

quiet and reasonable way. Ask “why?” of both yourself and the client. If you don’t, you won’t learn and neither will the client. What’s important is to built a portfolio that does

not have to be qualified. It should speak for itself.

I know this through bitter experience. In the 1980s I won awards and the

“industry” liked my work. I gave a talk at St. Martins and this very large guy with a

goatee and woolly hat approached me afterwards.

He said that he really enjoyed what I said, but thought my work was “crap”.

He was right. And that’s how I met Graham (Wood) who I later

formed Tomato with. I made a mental note to throw away ten years of work, but it took me several years to completely

let go. You have to pull yourself up every day and erase

old habits. I’ve never been satisfied with any of the “commercial” work that I’ve ever done.

What is good about the young designers yousee, and what, if anything, is lacking?

The good oens have energy. The not-so-good ones lack discipline,

knowledge, selfcriticism and are too reliant on technology.

But I think this is true for every designer, no matter what age.

How to be a graphic designer, without losing your soul

tomato

tomato was founded in 1991 as a collective of artists, designers,

musicians and writers. each one of the creatives involved is

essentially independent, choosing to work

and collaborate with the wider group whenever appropriate.

currently there are eight active members in the collective

but many others have played important roles during the ongoing

development of tomato.for the past seventeen years tomato

has recorded successes with hosting workshops, publishing, exhibiting,

live performances

and public speaking as well as working with clients in the areas of

advertising, architecture,

fashion, public installations,

music, tv & film

and graphic design.

the future will...

tomato

12 13

tomato was founded in 1991 as a collective of artists, designers,

musicians and writers. each one of the creatives involved is

essentially independent, choosing to work

and collaborate with the wider group whenever appropriate.

currently there are eight active members in the collective

but many others have played important roles during the ongoing

development of tomato.for the past seventeen years tomato

has recorded successes with hosting workshops, publishing, exhibiting,

live performances

and public speaking as well as working with clients in the areas of

advertising, architecture,

fashion, public installations,

music, tv & film

and graphic design.

the future will...

tomato

12 13

“we are all on journey”

“ l i k e m u c h r e c e n t g r a p h i c d e s i g n , t o m a t o ´ s w o r k s e e m s t o a s p i r e t o t h e c o n d i t i o n o f f i l m — o r i f n o t f i l m e x a c t l y , t h e n s o m e s t i l l m o r e p l a s -t i c a n d p e r m e a b l e s y n t h e s i s o f m e d i a . W a r w i c k e r c u t h i s t e e t h d i r e c t -i n g p r o m o s f o r r o c k s t a r s a t A & M r e c o r d s . T a y l o r a n d V a n D o o r e n a l s o h a v e p r o j e c t s o n t h e s h o w r e e l . I t i s W o o d , t h o u g h , w h o h a s e m e r g e d i n t h e l a s t y e a r s a s a r g u a b l y t h e m o s t o r i g i n a l a n d Z e i t g e i s t - a t t u n e d t y -p o g r a p h e r w o r k i n g f o r b r i t i s h a d v e r t i s i n g , w i t h c o m m e r c i a l f o r t h e g u a r d i a n , n i k e a n d m t v a n d a s t r i n g o f o t h e r m o v i n g - i m a g e p r o j e c t s ”

“tomato recognise the existence of the categories, but they waste no time wondering where they fit.

´to categorise something is to put it in the box,´says Wood, ´to build barriers, walls.

process is about evolution and development. categories and process are anathema to each other”

Design without boundaries, visual communication in transition, Rick Poynor

14

Design without boundaries, visual communication in transition,

Rick Poynor

tomato

15

tomato

“we are all on journey”

“ l i k e m u c h r e c e n t g r a p h i c d e s i g n , t o m a t o ´ s w o r k s e e m s t o a s p i r e t o t h e c o n d i t i o n o f f i l m — o r i f n o t f i l m e x a c t l y , t h e n s o m e s t i l l m o r e p l a s -t i c a n d p e r m e a b l e s y n t h e s i s o f m e d i a . W a r w i c k e r c u t h i s t e e t h d i r e c t -i n g p r o m o s f o r r o c k s t a r s a t A & M r e c o r d s . T a y l o r a n d V a n D o o r e n a l s o h a v e p r o j e c t s o n t h e s h o w r e e l . I t i s W o o d , t h o u g h , w h o h a s e m e r g e d i n t h e l a s t y e a r s a s a r g u a b l y t h e m o s t o r i g i n a l a n d Z e i t g e i s t - a t t u n e d t y -p o g r a p h e r w o r k i n g f o r b r i t i s h a d v e r t i s i n g , w i t h c o m m e r c i a l f o r t h e g u a r d i a n , n i k e a n d m t v a n d a s t r i n g o f o t h e r m o v i n g - i m a g e p r o j e c t s ”

“tomato recognise the existence of the categories, but they waste no time wondering where they fit.

´to categorise something is to put it in the box,´says Wood, ´to build barriers, walls.

process is about evolution and development. categories and process are anathema to each other”

Design without boundaries, visual communication in transition, Rick Poynor

14


Rick Poynor

tomato

15

tomato

the approaches within tomato are not about design in any traditional sense. instead, tomato makes work which may be adapted to people´s differing needs and contexts. drawing from their own experiences and personal work, members of tomato each bring a singular sensibility to a variety of media including film, music, photography, print, sculpture, sound, typography and conceptual writing - and these varied creations and perspectives combine to extraordinary effect.

see the series tomato projectsprocess; a tomato projectbareback; a tomato project

tomatotomato

tomato is a system, a structure anda framework fostering a variety ofapproaches to work; this work reflects andis formed by the state ofcreative flux between its members andthe outside world.



16 17

the approaches within tomato are not about design in any traditional sense. instead, tomato makes work which may be adapted to people´s differing needs and contexts. drawing from their own experiences and personal work, members of tomato each bring a singular sensibility to a variety of media including film, music, photography, print, sculpture, sound, typography and conceptual writing - and these varied creations and perspectives combine to extraordinary effect.

see the series tomato projectsprocess; a tomato projectbareback; a tomato project

tomatotomato




16 17

1716

&tomato

1716

&tomato

. Karl Hyde . Rick Smith . John

Warwicker

underworld underworld& tomato & tomato

underworld, since 1989

karl hyde is a founder member of both underworld and tomato.the publication of “mmm...skyscraper, i love you” coincided with the release of underworld´s first album “dubnobasswithmyheadman”.mmm...skyscraper, i love you is the work of karl hyde and john warwicker, members of creative group tomato. it formed part of the development process of the underworld album, dubnobasswithmyheadman.the album was released in england to universal acclaim in january 1994. the name called it the best british album since primial scream´s ´sreamadelica´. melody maker stated, “underworld are the future, the most important group since the stone roses”.

mmm...skyscraper, i love you

by. Karl Hyde and John Warwicker

20 21

. Karl Hyde . Rick Smith . John

Warwicker

underworld underworld& tomato & tomato

underworld, since 1989

karl hyde is a founder member of both underworld and tomato.the publication of “mmm...skyscraper, i love you” coincided with the release of underworld´s first album “dubnobasswithmyheadman”.mmm...skyscraper, i love you is the work of karl hyde and john warwicker, members of creative group tomato. it formed part of the development process of the underworld album, dubnobasswithmyheadman.the album was released in england to universal acclaim in january 1994. the name called it the best british album since primial scream´s ´sreamadelica´. melody maker stated, “underworld are the future, the most important group since the stone roses”.

mmm...skyscraper, i love you

by. Karl Hyde and John Warwicker

20 21

underworld& tomato

underworldunderworld& tomato

in these days of endless band

reformations, avalanches of reissues

and shamelessly repetitious ‘creativity’,

too many artists are willing to sign

away their soul for a little extra time

on the career clock.

too many of them see artistic

expression not as an end in itself,

but as a shortcut to celebrity and are

obsessed with their destination,

rather than engaged by the journey.

too few of them, frankly, are like

Underworld.

an incredible 27 years after their birth

in Romford, Essex as a trio and 15 years

after they pressed up their debut sin-

gle (500 copies of the Balearic twofer,

‘Mother Earth’/‘The Hump’),

Rick Smith and Karl Hyde are

still enjoying the ride, grinning like

kids as new vistas unfold before them.

It’s been a long and exhilarating trip –

and it’s not over yet.

“in Wood´s video for the Underworld dancetrack “Cowgirl” there is less information and higher degree of repetition, with the words on screen sometimes supplementing or contradicting what is said. a metallic voice signs éverything, everything, everything...´

Wood expands it withWittgenstein´s ´the world is all that in the case.´the voice signs ´ i´m invisible´. Wood amends it to ´ indivisible´ — as good description as any of this own method. cutting words and phrases to the beat and echoing, or not quite echoing, sensation. the effect is compelling”


Rick Poynor.

22 23

underworld& tomato

underworldunderworld& tomato

in these days of endless band

reformations, avalanches of reissues

and shamelessly repetitious ‘creativity’,

too many artists are willing to sign

away their soul for a little extra time

on the career clock.

too many of them see artistic

expression not as an end in itself,

but as a shortcut to celebrity and are

obsessed with their destination,

rather than engaged by the journey.

too few of them, frankly, are like

Underworld.

an incredible 27 years after their birth

in Romford, Essex as a trio and 15 years

after they pressed up their debut sin-

gle (500 copies of the Balearic twofer,

‘Mother Earth’/‘The Hump’),

Rick Smith and Karl Hyde are

still enjoying the ride, grinning like

kids as new vistas unfold before them.

It’s been a long and exhilarating trip –

and it’s not over yet.

“in Wood´s video for the Underworld dancetrack “Cowgirl” there is less information and higher degree of repetition, with the words on screen sometimes supplementing or contradicting what is said. a metallic voice signs éverything, everything, everything...´

Wood expands it withWittgenstein´s ´the world is all that in the case.´the voice signs ´ i´m invisible´. Wood amends it to ´ indivisible´ — as good description as any of this own method. cutting words and phrases to the beat and echoing, or not quite echoing, sensation. the effect is compelling”


Rick Poynor.

22 23

underworld& tomato

underworld& tomato

a banddoing

imageso r

doingarts

(...)where graphic elements provide the interfece between the electronic world and the physical environment.

24 25

underworld& tomato

underworld& tomato

a banddoing

imageso r

doingarts

(...)where graphic elements provide the interfece between the electronic world and the physical environment.

24 25

2524

tomato experimental jetset

Katherine McCoy &cranbrook academy of art.emigré

as collective

2524

tomato experimental jetset

Katherine McCoy &cranbrook academy of art.emigré

as collective

tomatoexperimental jetsetas collective

tomatoexperimental jetset

as collective

Experimental Jetset is an Amsterdam graphic design unit founded in 1997 by Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and installation work and inspired by modernism and rock culture, Experimental Jetset has done work for clients such as the Amsterdam Stedelijk Museum (SMCS), Purple Institute,Centre Pompidou, Colette, Dutch Post Group (TPG), Réunion des Musées Nationaux (RMN), Le Cent Quatre (104), De Theatercompagnie and t-shirt label 2K/Gingham. Since being formed, Experimental Jetset has emerged as one of the most respected studios in Europe.

so, what is this site about? We aren’t exactly sure ourselves. What we do know is that this isn’t a typical portfolio site, displaying case studies to attract potential clients. This site would sooner scare clients away than attract them. We see this site more as a collection of tiny ‘The Making Of...’ documentaries, or as one of these extra DVD features, where you can hear the director talking over his/her own movie. Information only intended for the small group of people really interested in our work. Who are these people? Mainly students sending us questionnaires, classes wanting to visit us in our studio, and people requesting specific information about specific projects. It has been our wish for quite some time to have all the background information written out, in an easy accessible format, so that we’d never have to repeat it again, sounding like a broken record-player.Added to that, we thought it also might be an interesting process, describing our own work. Whether you call it re-evaluation, post-rationalizing or simply navel-gazing, we feel we can gain some insight through it. We can easily imagine that some of you are quite allergic to this kind of outpouring. If you are, you should leave this site immediately, as it will be pure torture for you. As we already wrote, we intended this for a small group of people anyway; it’s an acquired taste.As for the specific way in which we show our work on this site (the whole “this is the given problem, and this is our solution” rhetoric), we’d like to mention that we were quite influenced by Bob Gill.As students at the Gerrit Rietveld Academy (Amsterdam), we discovered in the library a dusty copy of ‘Forget All The Rules You Ever Learned About Graphic Design – including the ones in this book’. This book had an immediate impact on us. What impressed us most was its consistent use of the ‘problem/solution’ model. It’s a dialectical model that some might find outdated, rigid, one-dimensional, didactic, archaic. To us, the problem/solution model is most of all beautiful. Of course, it has a tragic side, as every solution only brings forth more problems; and besides, we all know there is no such thing as an objective solution, let alone one perfect solution. But it is exactly this inherent tragic dimension which makes this model so beautiful to us. (In a way, the ‘problem/solution’ model reminds us of a quote from Jorge Borges: “Nothing is built on stone. All is built on sand, but we must build as if the sand were stone”. We think this perfectly sums up our view on design in general: building on sand, as if it were stone).

http://www.experimentaljetset.nl/misc/about.html

28 29

tomatoexperimental jetsetas collective

tomatoexperimental jetset

as collective

Experimental Jetset is an Amsterdam graphic design unit founded in 1997 by Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and installation work and inspired by modernism and rock culture, Experimental Jetset has done work for clients such as the Amsterdam Stedelijk Museum (SMCS), Purple Institute,Centre Pompidou, Colette, Dutch Post Group (TPG), Réunion des Musées Nationaux (RMN), Le Cent Quatre (104), De Theatercompagnie and t-shirt label 2K/Gingham. Since being formed, Experimental Jetset has emerged as one of the most respected studios in Europe.

so, what is this site about? We aren’t exactly sure ourselves. What we do know is that this isn’t a typical portfolio site, displaying case studies to attract potential clients. This site would sooner scare clients away than attract them. We see this site more as a collection of tiny ‘The Making Of...’ documentaries, or as one of these extra DVD features, where you can hear the director talking over his/her own movie. Information only intended for the small group of people really interested in our work. Who are these people? Mainly students sending us questionnaires, classes wanting to visit us in our studio, and people requesting specific information about specific projects. It has been our wish for quite some time to have all the background information written out, in an easy accessible format, so that we’d never have to repeat it again, sounding like a broken record-player.Added to that, we thought it also might be an interesting process, describing our own work. Whether you call it re-evaluation, post-rationalizing or simply navel-gazing, we feel we can gain some insight through it. We can easily imagine that some of you are quite allergic to this kind of outpouring. If you are, you should leave this site immediately, as it will be pure torture for you. As we already wrote, we intended this for a small group of people anyway; it’s an acquired taste.As for the specific way in which we show our work on this site (the whole “this is the given problem, and this is our solution” rhetoric), we’d like to mention that we were quite influenced by Bob Gill.As students at the Gerrit Rietveld Academy (Amsterdam), we discovered in the library a dusty copy of ‘Forget All The Rules You Ever Learned About Graphic Design – including the ones in this book’. This book had an immediate impact on us. What impressed us most was its consistent use of the ‘problem/solution’ model. It’s a dialectical model that some might find outdated, rigid, one-dimensional, didactic, archaic. To us, the problem/solution model is most of all beautiful. Of course, it has a tragic side, as every solution only brings forth more problems; and besides, we all know there is no such thing as an objective solution, let alone one perfect solution. But it is exactly this inherent tragic dimension which makes this model so beautiful to us. (In a way, the ‘problem/solution’ model reminds us of a quote from Jorge Borges: “Nothing is built on stone. All is built on sand, but we must build as if the sand were stone”. We think this perfectly sums up our view on design in general: building on sand, as if it were stone).


28 29

Os Experimental Jetset ficaram conotados, desde os seus primeiros anos, com o uso

extensivo do tipo de letra Helvetica, e com a sua idiossincrática reinterpretação da herança

modernista no design gráfico. Através do uso deste superlativo símbolo do “estilo interna-

cional” pretenderam, especialmente no início dos anos 90 – altura em que dominavam as

correntes pós-modernas e radicais lideradas por nomes como Neville Brody, David Carson

e Katherine McCoy –, afirmar a sua identificação com a herança moderna, socialdemocra-

ta, liberal e progressista que construiu o Estado holandês, com o qual se identificavam e

onde gostavam de viver. Katherine McCoy &cranbrook academy of art

Katherine McCoy &cranbrook academy of art

Katherine McCoy was born in Decatur, Illinois,

in 1945. She studied industrial design at Michigan

State University before joining Unimark International

in 1967. She went on to work at Chrysler

Corporation and Omnigraphics Inc. In 1971, McCoy

became co-chair, with her husband Mike McCoy, of

the design department at Cranbrook Academy of

Art, which they continued to direct until 1995.

By the 1980s, their sometimes controversial

programme had established itself as one of the

most innovative in American design education, producing a stream of graduates who have

gone on to make their own mark in the profession.

“designers at cranbrook expressed this áttitude´ in formal experiments (visual and verbal) that played

with conventions of reading, and in projects that used theory as a direct source of content by

collaging together quotations from various sources. Theory thus provided both an intellectual

background for abstract expression and a subject for research”

“The complexity I’m interested in is complexity of meaning. I’m not so much interested in the layers of form as the layers of meaning”

“If design is about life, why shouldn´t it have all the complexity, variety, contradiction, and sublimity of life?”

“The work of alumn shown here bears witness to their continuing grouth and the

application of the experiment in the world”

Eye Magazine: http://www.eyemagazine.com/feature.php?id=47&fid?56

Graphic design theory, readings from the field, Hellen Armstrong, com Elllen Lupton_pág 82

http://www.highgrounddesign.com/mccoy/kmccoy.htm

Design Writing Research - Writing on Graphic design, Ellen Lupton; Abbott Miller

30 31

Os Experimental Jetset ficaram conotados, desde os seus primeiros anos, com o uso

extensivo do tipo de letra Helvetica, e com a sua idiossincrática reinterpretação da herança

modernista no design gráfico. Através do uso deste superlativo símbolo do “estilo interna-

cional” pretenderam, especialmente no início dos anos 90 – altura em que dominavam as

correntes pós-modernas e radicais lideradas por nomes como Neville Brody, David Carson

e Katherine McCoy –, afirmar a sua identificação com a herança moderna, socialdemocra-

ta, liberal e progressista que construiu o Estado holandês, com o qual se identificavam e

onde gostavam de viver. Katherine McCoy &cranbrook academy of art

Katherine McCoy &cranbrook academy of art

Katherine McCoy was born in Decatur, Illinois,

in 1945. She studied industrial design at Michigan

State University before joining Unimark International

in 1967. She went on to work at Chrysler

Corporation and Omnigraphics Inc. In 1971, McCoy

became co-chair, with her husband Mike McCoy, of

the design department at Cranbrook Academy of

Art, which they continued to direct until 1995.

By the 1980s, their sometimes controversial

programme had established itself as one of the

most innovative in American design education, producing a stream of graduates who have

gone on to make their own mark in the profession.

“designers at cranbrook expressed this áttitude´ in formal experiments (visual and verbal) that played

with conventions of reading, and in projects that used theory as a direct source of content by

collaging together quotations from various sources. Theory thus provided both an intellectual

background for abstract expression and a subject for research”

“The complexity I’m interested in is complexity of meaning. I’m not so much interested in the layers of form as the layers of meaning”

“If design is about life, why shouldn´t it have all the complexity, variety, contradiction, and sublimity of life?”

“The work of alumn shown here bears witness to their continuing grouth and the

application of the experiment in the world”

Eye Magazine: http://www.eyemagazine.com/feature.php?id=47&fid?56

Graphic design theory, readings from the field, Hellen Armstrong, com Elllen Lupton_pág 82

http://www.highgrounddesign.com/mccoy/kmccoy.htm

Design Writing Research - Writing on Graphic design, Ellen Lupton; Abbott Miller

30 31

emigré emigré

Rudy Vanderlans and Zuzana Licko

T h e f i r s t e i g h t i s s u e s a l s o i n c o r p o r a t e d a d y n a m i c a e s t h e t i c t h a t c a u g h t t h e a t t e n t i o n o f d e s i g n e r s a n d l e d t o t h e n e x t s t a g e i n t h e m a g a z i n e ´ s e v o l u t i o n .

“For me, like many others galvanised by graphic design during Emigre’s heyday, the magazine was the most consistently interesting design publication produced anywhere by anyone.”

“Emigre is now a priceless historical document that is valuable because it defines an epoch,

propagates a process, and encourages alternatives.”

Emigre’s development from its early bitmap design days in the late 1980s through to the experimental layouts that defined the so called “Legibility Wars” of the late 1990s, to the critical design writing of the early 2000s

Rick Poynorhttp://www.emigre.com/EB.php?id=125

Ellen Luptonhttp://www.emigre.com/EB.php?id=125

32 33

emigré emigré

Rudy Vanderlans and Zuzana Licko

T h e f i r s t e i g h t i s s u e s a l s o i n c o r p o r a t e d a d y n a m i c a e s t h e t i c t h a t c a u g h t t h e a t t e n t i o n o f d e s i g n e r s a n d l e d t o t h e n e x t s t a g e i n t h e m a g a z i n e ´ s e v o l u t i o n .

“For me, like many others galvanised by graphic design during Emigre’s heyday, the magazine was the most consistently interesting design publication produced anywhere by anyone.”

“Emigre is now a priceless historical document that is valuable because it defines an epoch,

propagates a process, and encourages alternatives.”

Emigre’s development from its early bitmap design days in the late 1980s through to the experimental layouts that defined the so called “Legibility Wars” of the late 1990s, to the critical design writing of the early 2000s

Rick Poynorhttp://www.emigre.com/EB.php?id=125

Ellen Luptonhttp://www.emigre.com/EB.php?id=125

32 33

bibliografia

LUPTON, Ellen e Abbott Miller (1996); Design Writing Research - Writing on Graphic design; London:

Phaidon.

POYNOR, Rick (2003) ; No More Rules ; Graphic Design and

Postmodernism; London : Laurence King.

POYNOR, Rick (1998) ; Design without boundaries: visual communication in transition; London: Booth

- Cliborn.

SHAUGHNESSY, Adrian (2005); How to be a graphic design, without

losing your soul; London: Laurence King Publishing.

Referências online

http://www.highgrounddesign.com/mccoy/kmccoy.htm.

http://www.underworldlive.com/home

http://www.eyemagazine.com/feature.php?id=47&fid=56

www.tomato.co.uk

http://www.phofa.net/blog/john/

http://www.cranbrookart.edu/index7.html

http://www.ghtv.jp/video/ukpop003

http://www.inframe.tv/filmproject.aspx?id=15

http://training.sessions.edu/resources/interviews/interviews/john_warwicker.asp


http://www.aisleone.net/2008/intervista/intervista-experimental-jetset/

http://www.myspace.com/underworld

http://www.emigre.com/EB.php?id=125

Design by Júnia Lie

Typography //FrutigerFutura

Helvetica

Photography//Júnia LieTomato

bibliografia

LUPTON, Ellen e Abbott Miller (1996); Design Writing Research - Writing on Graphic design; London:

Phaidon.

POYNOR, Rick (2003) ; No More Rules ; Graphic Design and

Postmodernism; London : Laurence King.

POYNOR, Rick (1998) ; Design without boundaries: visual communication in transition; London: Booth

- Cliborn.

SHAUGHNESSY, Adrian (2005); How to be a graphic design, without

losing your soul; London: Laurence King Publishing.

Referências online

http://www.highgrounddesign.com/mccoy/kmccoy.htm.

http://www.underworldlive.com/home

http://www.eyemagazine.com/feature.php?id=47&fid=56

www.tomato.co.uk

http://www.phofa.net/blog/john/

http://www.cranbrookart.edu/index7.html

http://www.ghtv.jp/video/ukpop003

http://www.inframe.tv/filmproject.aspx?id=15

http://training.sessions.edu/resources/interviews/interviews/john_warwicker.asp


http://www.aisleone.net/2008/intervista/intervista-experimental-jetset/

http://www.myspace.com/underworld

http://www.emigre.com/EB.php?id=125

Design by Júnia Lie

Typography //FrutigerFutura

Helvetica

Photography//Júnia LieTomato

tomato : John Warwicker

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