ISSUE 43 - Iggesund

A MAGAZINE FROM Iggesund paperboard ISSUE 43 2013
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# 43
editorial
STAFFAN SJÖBERG Public Relations Manager,
Iggesund Paperboard
Making a difference
Basic marketing teaches us how important it is that our
offering differs from the competition. The more we adapt to the
industry’s midfield, the more likely it is that the only remaining
competitive tool will be price. Of course there are companies that
have succeeded by being cheaper, but this only lasts until an even
cheaper competitor comes along.
When personal computer sales were booming in the late
1980s, nearly all manufacturers offered ibm-compatible products.
All computers were grey, or possibly beige, and they all came in
brown cardboard boxes. “A typical box-shuffling business,” the
analysts called it.
Apple broke the trend without being ibm-compatible: first
by offering computers in colours other than technical grey, and
later by reproducing the design in images on quality paperboard
laminated onto the containerboard surface. The company chose
a more expensive packaging as a way to profile its product. Apple
must have been on to something, because today hardly a single
computer manufac­turer delivers its products in bare containerboard.
Standing out from the crowd can pay real dividends, and
moving away from a square box is one way to do it. Most people
can rec­ognise a Coca-Cola bottle even in the dark, and not many
consumers fail to associate triangular chocolate packaging with
Toblerone.
Going beyond conventional square packaging can offer many
possibilities – provided you know enough about paperboard, have
courage and are prepared to take a risk to become a winner. ■
THE COVER.The theme “Don't be a square” was the inspiration for the
angled cut pages. The cover is printed on Invercote Creato 240 g/m² in fourcolour offset with a fifth colour (PMS 2975 C). The Inspire logo and one of
Jessica Hische’s illustrated fonts are UV-spot varnished.
3
www.iggesund.com
Inspire, a source of inspiration,
provided by Iggesund Paperboard,
home of Invercote and Incada.
Address
Iggesund Paperboard
SE-825 80 Iggesund, Sweden
phone: +46 650 280 00
[email protected]
www.iggesund.com
Publisher
Carlo Einarsson
(responsible under Swedish press law)
Editor in Chief
Elisabeth Östlin
[email protected]
Editorial committee
Véronique Lafrance, Lydia Lippmann,
Winnie Halpin, Wouter Hendrikse,
Ian Huskinson, Frederique Rosenauer
Staffan Sjöberg, Elisabeth Östlin,
Publishing Agency
OTW Communication
PO Box 3265, SE-103 65 Stockholm
Editor and project manager
Anna-Lena Ahlberg Jansen,
[email protected]
Art Director
Karin Löwencrantz
Contributors
Isabelle Kliger, Anders Modig, Ivan
Carvalho, Sam Eichblatt, Michael Dee,
Emma Holmqvist, Le Cool
Photos and illustrations
Rodrigo Diaz Wichmann, Jann Lipka,
Emily Andrews, Oliver Martin, Rolf
Andersson, Folch Studio
Translations
Comactiva
Prepress
Done
Printing
Strokirk-Landströms, Lidköping, Sweden
ISSN
1404-2436
Inspire is printed in English, Chinese,
French, German, Japanese and Swedish
Inspire aims to inform and entertain
with stories and photos that are not
restricted to the scope of Iggesund's
own business. As its name suggests,
the idea is to be inspirational and not
to infringe on a company's or person's
image rights or intellectual property.
Products that are made with Invercote,
Incada and other paperboard from
Iggesund are marked in the text.
Their goal is to
do what they
love and do it
well, say René
Lönngren (right)
and Llibert Figueras at Le Cool.
An agency
less
ordinary
PORTFOLIO
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and feel, Ling
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human, real
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and intimate
portrait of all
of Vueling’s
dest
100 pages, pu inations. Ling contained
blished mon
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y.
www.iggesund.com
4
When René Lönngren started Le Cool in 2003, it was little more than
a hobby – a weekly email magazine that provided a “one-stop, eclectic
destination guide” to the vibrant Catalan capital of Barcelona. Today,
Le Cool Magazine has more than 300,000 subscribers across nine
European cities. TEXT Isabelle Kliger PHOTO Rodrigo Diaz Wichmannnn
Barcelona-based publisher and content
agency Le Cool decided from the start to focus on
authenticity rather than trendiness, and customers
now turn to it when they want something fun,
funky and real. “Because we started out doing
what we really cared about, that has spread
naturally into the rest of our work,” says René
Lönngren, the Swedish native who founded the
company.
“Clients generally ask us to help them create
books or marketing material because they’ve
seen our guidebooks and want something similar
– authentic content that will create commitment
and add value to their customers,” he says.
Over the years, Le Cool has worked on a
diverse range of projects. No matter whether
they are creating an entirely new in-flight magazine concept for the Spanish airline Vueling, delivering content for The Observer’s weekly travel
supplement Escape or designing a press kit for
the launch of Nina Ricci’s Ricci Ricci perfume,
Lönngren and project manager Llibert Figueras
believe that authenticity and usefulness are key.
“If the content isn’t worth your while, you can
make it as pretty as you like, but it’s still useless,”
says Figueras. “It has to tell you something you
didn’t know, otherwise it has no value.”
This does not mean that design is unimportant
to Le Cool. On the contrary, each one of its
productions has a very distinct look and feel.
Figueras explains that a great deal of time goes
into selecting every­thing from typography to
colours and paper.
“The product has to reflect the city, the client
and the people for whom it’s been made. Sometimes we spend a week just choosing the paper.
Most people might not realise this, but when
they touch it, they go ‘Wow!’” he says.
Le Cool’s ideal way of working is to receive
a clear brief and then to be given the time and
space to be creative.
“We show the customer a concept and, once
it’s been approved, we go away and do our
thing,” Figueras explains. “If our clients know
Le Cool, they understand our attitude. It means
they’re looking for something different, some­
thing fun and funky.” ■
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5
www.iggesund.com
The man
behind Le Cool
Who: René Lönngren.
What: Founder of Le Cool, the Barcelonabased content agency.
Where: “I moved to Barcelona in 2000,
from Gothenburg, Sweden. Le Cool is
all about connecting with a city, and
Barcelona has the perfect laid-back vibe
for that. If you’re too stressed, it will eventually affect your creativity.”
Why: “The vision that guides everything
Le Cool does is something we like to call
‘Knowledge for Better Living’. This means
that we try to make people’s lives more
interesting by enabling them to enjoy
unique experiences, both at home and
abroad.”
How: “We want to produce content that
is worthy of your time, by which I mean
that it needs to be authentic, useful and
positive. Our core in-house team is very
small, but working with a global network
of talented writers and designers enables
us to look at each unique assignment and
pick the best team for the job.”
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lecool.com
a tale of
Barcelona
Every doublepage spread in
the guidebook
has its own style
and layout.
The original Weird and Wonderful Guide to Barcelona, published in 2004, was
Le Cool’s first city guidebook. In 2010, it was revised to make a visit to this
multifaceted city even more captivating.
For the new edition of their Barcelona guide­
book, the team at Le Cool wanted something
contemporary yet stylish and truly “Barcelonian”,
so they asked Albert Folch of Folch Studio to
design it.
“The Le Cool guides are for people who
have moved beyond the tourist trail – people
like us,” Folch says. “That made this a really
fun project to work on.”
Le Cool is able to hand-pick its team for
every assignment, as it has a small, experi­
enced in-house group and maintains a
global network of talented writers, editors,
photographers, illustrators and designers.
“It’s easy to work with Le Cool because
their people really understand the design
process,” Folch says. “Having said that, this project was quite
challenging because we wanted every double-page spread to be
different, using a variety of colours and types.”
The Weird and Wonderful Guide to Barcelona is arranged hour by
hour, starting at sunrise and ending at 5:30 am. Each spread tells
its own story, representing a particular moment in the life of this
bustling city.
“What we have is 140 unique layouts,
each in its own style, yet with a 360degree sense of continuity,” Folch says.
Don’t miss!
“It took six months to get there and
Le Cool’s
we didn’t always agree, but I’m happy
design tips for
Barcelona on
with the end result. I love the paper, the
page 27
fabric – and it’s not heavy, so it’s perfect
to carry around with you.” ■
www.iggesund.com
www.iggesund.com
6
6
Tea for who?
Lady Gaga’s unconventional wardrobe and fondness for
tea inspired design student Nathalie Hallman to portray
the artist as a tea box, a commentary on the pop star’s
own creation of her personal brand as commercial art.
TEXT Anders Modig photo Nathalie Hallman
Why did you make this tea box?
“It was made as a work sample to get into the
graphic design and illustration programme at the
Art University of Stockholm. I didn’t get in, but I
reused it, together with other samples, when I ap­
plied for visual communication at Beckmans College
of Design, where I am now doing my first year of a
three-year ba programme. The brief was to portray
an idol or a role model, and I chose to make an
unconventional portrait of Lady Gaga.”
Why Lady Gaga, and why tea?
“She is a multitalented artist, and a product of
our times. She has consciously transformed herself
and her personal brand into a commercial piece of
art, and this I find fascinating and inspiring. The
variety of teas is enormous, and so is Lady Gaga’s
wardrobe. And she is famous for being a notorious
tea drinker.”
Why do you like working with paperboard and
paper?
“I always wanted to make something physical
from my creative ideas, and paperboard is a great
material that can be bent, folded, creased and
constructed. It is flat from the beginning but
has infinite possibilities to become something
fantastic in three dimensions.”
What do you think of packaging design?
“If you are given free rein, it is really possible
to think outside the box.” ■
nathaliehallman.com
Design
competition
Fun&
games
7
7
www.iggesund.com
www.iggesund.com
Design Inspire’s cover
We are now giving you the chance to design the cover for
the next issue of Inspire. Each cover has a unique design relating
to the content in the magazine. In the June issue we will be
writing about everything from playful design to children’s
books and games, so unleash your creativity on the theme of
Fun & Games.
Send us your suggested cover by 5 April 2013. The winner will
receive an iPad, their design on the cover, printed on
Invercote Creato 240 g/m², a brief presentation in Inspire and
20 copies of the printed magazine.
The runners-up will receive Graphics Handbook – Paperboard
the Iggesund Way and will be presented at iggesund.com.
Go to iggesund.com/inspirecover for rules and a registration
form.
OUT OF THE ORDINARY Sustainable
products are gaining a higher profile
around the globe as designers and
in­ventors come up with ever more creative
­approaches to reusing everyday materials
in surprising ways.
TEXT ivan carvalho and anna-lena ahlberg
Living-room
cruise
Those looking for high fidelity
wrapped in an innovative shape
will do well to pick the speakers
from Hangar Design Forge. Created for TAU Audio by Andrej Cverha,
the sound unit bears a shape that recalls the
exhaust funnels on passenger ships. Pieces are
made from stacked layers of recycled corrugated cardboard and paper finished in a white
glaze with an epoxy finish. andrejcverha.com
Seats from pleats
Tokyo-based design studio Nendo
took layers of pleated paper, a by-product from making Issey Miyake’s signature
pleated fabrics, and came up with the Cabbage
chair. The piece has no internal structure, nails or screws
– the material gets extra strength from added resins.
It comes in a compact roll, which you simply slice
open and peel back the layers like an onion to
create the seat. nendo.jp
Portraits in tape
Artist Erika Simmons creates amaz­ing
artworks out of common mater­ials
like cassette tapes and old film
reels. Most of the material has
been discarded, and Simmons
reinvents it into portraits of
people associated with the items.
Her first portrait, of Jimi Hendrix,
was born when she watched
cassette ribbons curl up – just like
the fa­bled musician’s crazy hair.
iri5.com
www.iggesund.com
8
Leather graffiti
Serbian design studio Peter Gregson takes the
normally dull, monochromatic cardboard boxes
and gives them an urban edginess. For leather
goods maker The Manual Company, the graphic
team used old school-blackboard-style images on
the sides of packages and added white chalk-like
graffiti script. petergregson.com
Let there
be light
American designer Victor Vetterlein has come up with a clever
solution for night owls who
want to enjoy the printed word.
His Trash Me light, produced
by Copen­hagen-based design
brand &Tradition, is made from
paper pulp spread over a cast
iron and aluminium mould and
left to dry. andtradition.com
Cycling and
recycling
Israeli inventor and cycling enthusiast Izhar Gafni, backed by the
financial firm ERB, has engineered a low-cost solution for lovers of
two-wheeled transport. His Alfa bike is built from treated cardboard,
save for the brakes, chain and tyres. A special organic resin makes the
frame waterproof, while a final coat of lacquer is added to give it a
smart appearance. erb.co.il
Four legs
to dine on
For Spanish design duo El Ultimo Grito,
composed of Roberto Feo and Rosario
Hurtado, their dining tables take on
an organic, animal-like form similar to
a cow, with the furniture’s legs forged
from resin-coated cardboard. On top,
the surface is smooth and seems almost
tempting for one wishing to enjoy a
steak. eugstudio.com
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www.iggesund.com
Cape Town, South Africa’s cultural headquarters, was recently
named the World Design Capital for 2014. But its creative talent has been on the global radar for some time, thanks in part
to Cape Town’s legendary Design Indaba design conference,
now in its 17th year. Central to this has been the development
of a recognisable style that is at once local and outward looking in its approach. TEXT sam eichblatt
South Africa
Coming of Age
For an inside look at South Africa’s world
of packaging and graphic design, Inspire
spoke to Richard Hart, a Durban-­based
designer, illustrator and artist. He formed
his studio, Disturbance, with his sister
Susie in 1997, working on posters, publications and packaging for clients around
the world.
Why should the world pay attention to South
African design now?
“In the last few years, South African design
has really found its voice. It felt to me that before that we were either trying too hard to define a South African identity, or we were overly
smitten with an international style. Recently we
have relaxed into ourselves, and the results are
more authentic and more exciting.”
How does the cultural heritage of South Africa
influence your work?
“I have always been wary of trying to shoehorn a South African look into my design work,
preferring to create work that comes naturally.
Having said that, I believe that what we put out
is shaped by what we take in, so it’s impossible
not to express something of your environment
in the work you do. But to me this seems nat­
ural and unforced, which I think is okay.”
Describe your approach to design.
“I think of myself very much as a problem
solver, looking to answer each brief on its own
terms. I also try very hard not to repeat myself,
so a house style is definitely not my thing. That
being said, like any designer I have motifs and
thought processes that I return to.”
What are the forces shaping your design
industry?
“There is a confidence in our own worth
and an acknowledgement of the richness of our
heritage. We are finding inspiration on our own
doorstep, and it is refreshingly distanced from
the cliché of Africa that the world is so familiar
with.” ■
Richard Hart
➊ Spread from a publica-
tion showcasing the work of
a local printer.
➋ Proposed CD cover for a
music compilation of football anthems, created for
the 2010 FIFA World Cup.
➌ CD packaging for a
compilation of East African
music.
➍ Dust jacket for Where It's
At/Here, a book Hart edited
and designed for Design
Indaba, which was intended
as a snapshot of South
African design. The dust
jacket can be removed and
unfolded to reveal a large
map of Africa.
➎ Poster advertising a mini
conference covering topics
like sustainable design and
sustainable transport.
➏ One of a series of pos-
ters for the Durban International Film Festival.
See more of Hart's portfolio
at disturbance.co.za
www.iggesund.com
10
➋
➊
➌
➍
➍
➎
11
www.iggesund.com
➏
➊
➋ ➋
➎
MORE
DESIGNERS
to watch
➊ Studio Muti. The
distinct style of Studio
Muti’s beautifully
crafted illustration, typography and design
is the work of two illustrators, Clinton Campbell and Miné Jonker.
studiomuti.co.za
➋ Gustav Greffrath.
Creative director at
global communications agency Trigger
Isobar working for
clients including Nike
and Disney. twitter @
GustavGreffrath
➊
➌ Jordan Metcalf.
The Cape Town-based
designer and artist has
a love of typography
and black and white,
working on a range of
freelance projects, and
collaboratively with
three other designers/
illustrators under the
name Only Today.
jordan-metcalf.com
➋
➍
➍ Love and Hate
studio. Richard Hart
de­scribes Love and Hate
as “the most original and
out-there illustration
team in South Africa.”
Started in 2004 by
three young artists,
the studio focuses on
experimenting with the
traditional techniques
of character-based art,
street art, illustration,
muralism and design.
loveandhatestudio.com
➌
Bison. The young
studio uses a mixture
of fine art and graphic
design to produce posters and identity work
that is mature beyond
their years.
behance.net/BISON
➍
www.iggesund.com
12
That
drop
cap
girl
Font designer and illustrator Jessica Hische felt
she needed to do something distinctive when
she left a graphic design studio to go freelance.
She decided to produce a daily decorative drop
cap and make her creations available online.
Now, a dozen alphabets later, her name is known
around the world. TEXT Sam Eichblatt photo emily andrews
13
www.iggesund.com
Jessica Hische works on her trademark
precise, curly handmade fonts and illustrations
in a huge old industrial building in Brooklyn, New
York, surrounded by a low hum of like-minded
designers, many of them friends. She tweets
constantly, describing herself as a “classic oversharer”. Her work has appeared everywhere
from wine labels to Barnes & Noble book
covers, and she’s forging global connections,
thanks to a deceptively simple idea.
When she left her day job with the New
York-based graphic design firm Louise Fili to
go freelance in late 2009, Hische decided she
needed a side project. She came up with the
Daily Drop Cap. Every working day, she would
hand-draw one new letter, a decorative drop
cap, until she had 12 complete alphabets in all.
After a brainstorming session with friends, she
decided to make each letter available for use
online – “for the beautification of blog posts
everywhere”.
The simple idea turned out to be a stroke of
genius when it came to self-promotion. Within
days of its launch, the site had received an
enormous amount of traffic, and within months
it had been featured on hundreds of design
blogs. “I didn’t know at the time that my little
pet project would be what really catapulted me
onto the design scene, that it would be how
most clients were originally introduced to my
work, and that it would forever brand me with
the nickname ‘that drop cap girl’,” says Hische.
Two years later, the alphabets are finished,
but they remain online and free to use. Hische
has traveled the world speaking on design, and
has released two commercial typefaces, But-
termilk and Snowflake. She works on a wide
range of identity and book design projects, and
her illustrations have appeared in The Wall Street
Journal, The New York Times and Entertainment
Weekly, as well as many major design publications in America and abroad. She also recently
designed film titles for the latest Wes Anderson
film, Moonrise Kingdom.
Hische, who was in her early 20s when she
started the Daily Drop Cap, says the project
encouraged potential clients to overlook her
youth. “It was a hindrance at first, being young,”
she says. “But I got so much exposure that
people took me seriously, as well as taking it
as an inspiration for how quickly you can do
things.”
And she is quick. It can take her a couple of
hours to draw a new typeface, though her first
commercial font, Buttermilk, was three months
in development. She uses Illustrator rather than
FontLab because she likes a bit of wonkiness.
“I don’t want it to look too mathematical or
perfect, or for my work to look like it can be
made by anyone,” she says. “Before I started
the project I was already pretty fast, but any
practice makes you faster. There’s a lot of finetuning that happens.”
The key to the project’s popularity was
making it interactive. “I’ve had unbelievable
amounts of feedback,” she says. “Months later,
people are still sending me stuff, and I get so
much traffic because of people posting about
it on different blogs. What I thought would be
a side project has been helpful for my other
projects as well.” ■
Hische’s favourite
contemporary
type designers
H&FJ, typography.com
Commercial Type, commercialtype.com
Kris Sowersby, klim.co.nz
House Industries, houseind.com
Okay Type, okaytype.com
Josh Darden, dardenstudio.com
Mark Simonson, marksimonson.com
Hannes von Döhren, hvdfonts.com
Type Together, type-together.com
Mark van Bronkhorst, mvbfonts.com
Ale Paul, alepaul.com
Underware, underware.nl
“I don’t want it to look too mathematical or perfect,
or for my work to look like it can be made by anyone”
www.iggesund.com
14
In her studio in Brooklyn, Hische
works on a wide range of identity
and book design projects. See
more at dailydropcap.com
“As a letterer,
when I’m hired
to draw the
word ‘holiday’
I don’t first
draw the entire
alphabet in the
style I wish, then
position the
letters to spell
out the word,"
explains Jessica
Hische. “I draw
the word as a
unique image.”
15
www.iggesund.com
Browsing
made easy
■ The European paper merchant Papyrus has
a presentation kit that allows you to browse
its core paper and paperboard range. The
first compartment is dedicated to coatings
and finishing options. It offers choices for
covers that include spectacular varieties such
as furry, mirrorlike and scratch and sniff. The
second compartment, for paper identity,
reminds you of the tactile benefits of a having
a consistent feel to your paper. The third, for
paper types, contains 19 folders with products
ranging from matt to shiny paperboard.
The box
Design and production: Carton Ideen GmbH,
Pfyn Material inside: Corrugated board Material
outside: Invercote G 350 g/m2 Printing technique:
Three-colour offset printing Printer: Schlaefli &
Maurer AG, Uetendorf
The booklets
Design and production: Eibert AG, Eschenbach
Material: Invercote Duo 490 g/m2 Printing
technique: Three-colour offset printing Finishing
technique: Glossy lamination Printer: Schlaefli &
Maurer AG, Uetendorf
Love
for sale
■ The Lovetub puddings with luscious
sauces are meant to provide a big warm
serving of pleasure for a night at home.
Since they go from the fridge to the microwave to the TV couch, the packaging must be durable and able to stand a
wide range of temperatures. The solution: Invercote coated with PET.
Company: Lovetub Design: Ziggurat Brand
Consultants Ltd Graphic designer: John
Bailey Material: Invercote G 220 g/m² +
45 g/m² PET Printing technique: Offset
litho Finishing techniques: Four special
colours, matt varnish and spot UV for the
heart detail Printer: SP Containers
Bubbles for
celebration
■ There is a new kid on the block for printed
3D effects – lens effect 3D. Unlike previous
printed 3D products, this finishing option is
flat and smooth. The world’s first company
to use it is the French Champagne house
Taittinger. The bubbles on the Taittinger
Rosé lens box seem so real that you have
to touch the box to realize they are only an
illusion. No wonder the jury of Pro Carton/
ECMA Awards named the foldable package
Carton of the Year 2012. More recognition
came at Luxepack in Monaco, where the box
received the Prix Formes de Luxe 2012. The
stunning hologram-like effect is achieved by
an embossing operation made directly in the
PET. Only six months passed from idea to
product.
Company: Taittinger Production: VG Angoulême,
the premium packaging division of Van Genechten
Packaging Material: Incada Exel 255 g/m2 Printing
technique: Four-colour offset Finishing options:
Fresnel lens effect 3D Printer: API Graphic
www.iggesund.com
16
Sky-high cuisine
■ Let’s agree on one thing: unless you
fly business class, airline food is not
normally something to write home
about. But if you have breakfast on a
Malmö Aviation flight, it’s a different
story. The region­al airline’s new
Invercote box made by converter
Omikron and caterer Picknick not
only keeps the food fresh and is
less harmful to the environment, it
has also changed the workflow for
flight attendants.
“It was a real challenge,” says
Annika Melin, marketing and sales
manager at Picknick. “The airline
wanted us to make a packaging
solution that could carry the
same amount of food, but the
packaging should be better,
cheaper and smaller. They also
wanted to reduce environmen­­
tal impact, improve ergonom­
ics and heighten the quality
experience for the guests.”
After 15 months of development
in collaboration with Omikron, which
holds half a dozen patents in the
packaging industry, the box was
ready. Making it more environmentally
friendly was easy, since virgin-fibrebased Invercote is certified compostable to European standards.
Tony Norén, Omikron’s CEO, explains
the concept. “We wanted two parts,
in order to flow-pack the fresh food
on an inner tray with a modified
atmosphere in an anti-fog film to
keep it as fresh as possible,” he says.
“The tray is coated with bioplastic.
Normally plastic isn’t compostable,
but this biopolymer granule melted to
a film is.”
Thus the tray, the box and the food
scraps can all be sent directly to an
anaerobic digestion plant to produce
biogas without the need for prior
sorting.
By reducing the size of each breakfast box by two millimetres, Omikron
can produce 50 percent more boxes
from each sheet of Invercote. And
now the flight attendants can load
nearly twice as many portions on
their trolleys. So in the end, the
investment in new boxes is saving
a lot of time and money.
TEXT ANDERS MODIG photo JANN LIPKA
Company: Omikron Design: Omikron Graphic design: Valentin & Byhr
Material: Invercote G 300 g/m2 + 23 g/m2 bio coating Production
techniques: Rampunching, die-cutting, perforation Printing techniques:
Four-colour offset, glossy protective varnish Printer: Omikron
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17
www.iggesund.com
s
some tip
The next
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3D Systems was founded in 1986 by Charles
”Chuck” Hull, known as
the Father of 3D Print­
ing. Today, the company prints everything
from pro­sthetics for
the medical industry to
guitars.
www.iggesund.com
18
lution
The rapidly growing field of 3D printing offers a way to make an
exact replica of virtually any solid object. Some experts think the
technology could have as big an impact on our lives as home
computers did.
TEXT michael dee photo INITION, 3D Systems
Anyone in the design industries will tell you that
3d printing is the next big thing. The technology,
initially developed as a convenient way of making
prototypes, has taken on a life of its own. A growing
number of designers see 3d printing as a way of
bypassing manufacturers altogether and producing
small runs of anything from vases to chairs.
Ron Arad was one of the first big-name designers to experiment with the technology. In 2000 he
made a collection called “Not Made By Hand” which
consisted of jewellery and vases, each object produced
with stereolithography, the first 3d printing process.
Back then, 3d printers and the software were extremely expensive. Now some printers can be bought
for as little as $1,500. Chris Anderson, the editor of Wired
magazine, has predicted that 3d printing will cause a
seismic shift in the way we live and work as big as the one
that started with home computers and desktop publishing.
Many 3d printer manufacturers speak with an almost missionary zeal. Take Bre Pettis, co-founder of MakerBot, which
recently launched The Replicator 2, priced at $2,200. “We are
bringing the factory back to the individual,” Pettis says.
“Soon 3d printers will be as common in the home as ink
printers. Kids will once again be making stuff, but instead of
making it by hand, they will design it on their computers and
print it out.”
In Shoreditch in East London, I met up with Robert
Jeffries, a 3d technical specialist at Inition, a studio that does 3d
printing and also sells the printers and the software.
“There’s a tremendous buzz, even hype, around 3d
19
www.iggesund.com
printing at the moment, and it worries me a little,” Jeffries says.
“The technology is also known as Rapid Prototyping, so when
people realize that it can take 12 hours to print a coffee mug they
tend to get disappointed.”
Jeffries shows some of the beautiful objects his studio has
printed, including exquisite architectural models, a jawbone,
chain mail and jewellery.
Besides the time involved in replicating an object, there is
another reason why we shouldn’t get too carried away, says
Jeffries.
“The technology does have its limitations. Mainly it’s the
materials. 3d printers print from powders: metals, ceramics,
nylon and resin polymers. Most machines will only print one
material at the time, and there is also an issue with sunlight. If
the object is thin and you put it outside, it continues to harden
and may crack and discolour.”
Jeffries stresses that 3d printing is still in its infancy.
“The prospects are however extremely exciting. With 3d
printing you can print objects, extremely complex ones, that
you couldn’t possibly produce with traditional manufacturing
methods.”
3d printing could revolutionize traditional industry, says
Jeffries.
“As any manufacturer will tell you, keeping stock is expensive. Just imagine a future where you had warehouses all over
town, with 100 to 200 3d printers in each, printing what was
needed on demand.” ■
More on 3D printing u
Park necklace by
Pekka Salokannel.
beyond
proto
types
Since its founding in 2000, Freedom of
Creation has been at the forefront of
using 3D printing as a manufacturing
process. TEXT michael dee
Filament Colors
Table Light by
Janne Kyttanen.
The product design
company Freedom of
Creation was started
in Amsterdam by the
­Finnish designer Janne
Kyttanen.
“I studied at the Gerrit
Rietveld Acad­emy here
in Amsterdam,” Kyttanen Janne Kyttanen
says. “It was during my studies that I began
to work with 3D printing, and I realized that
it could be used for more than just making
prototypes – that it would be possible to print
products that could be sold in the marketplace. I saw a future where products were
essentially computer data, and distributing
them would be as easy as downloading music
from the Internet, so that they could be print­
ed out in 3D.”
Kyttanen has designed and produced a
series of exquisite products, including the
Filament Colors Table Light.
“The lamps are a tribute to the inventors of
the 19th century who created the first electric
light bulbs made with carbon and tungsten
filaments,” he says.
Far bigger, in fact the biggest item Kyttanen has printed so far, is his Trabecula Bench.
“It’s inspired by the inner side and lowdensity part of a bird bone,” he says. “The
structure is very lightweight, but the threedimensional structure makes it extremely
strong.”
Amongst the other designers are Fredrik
Roije and Alan Nguyen, who recently
launched the Light Nest Wall Light.
“The design is inspired by the beauty of
nature and its unique shapes,” Roije says.
“The wall lampshape brings to mind a group
of soft mushrooms growing on a tree.”
No less poetic is Pekka Salokannel’s Park
necklace.
“The design is inspired by the concept of
parks incorporating two separate and distinct styles, manmade and natural scenery,”
Salokannel says. “The double-faced necklace
has two distinctly unique sides that allow the
wearer to express a different mood for diff­e­r­
ent occasions.” ■
Gaudi chair, designed
by Bram Geenen and
sold by Freedom of
Creation.
www.iggesund.com
20
A call
to arms
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TEXT michael
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th
storage.” ■
Paperboard toy
designed by Studio
Carlo Giovani.
21
www.iggesund.com
Preserving
THE deserving
While some artists shudder at the mere mention of the word
teamwork, others thrive in the company of a well-matched creative
companion. Hannah Plumb and James Russell belong to the latter
camp, and their brainchild JamesPlumb is a collaborative force.
TEXT Emma Holmqvist photo Oliver Martin
www.iggesund.com
22
The first fruits of JamesPlumb’s labours
materialized in 2007 in the shape of Sampson
the Dog Light, a handcrafted hound made
from reclaimed wood, a set of old wheels and
a light from a vintage pub sign. The fourlegged creature was discovered in a shop
window by the American master photog­
rapher Bruce Weber, who was immediately
smitten. Since the piece had been designed
as a one-off, Weber had to go to some length
to persuade the brains behind the invention – Hannah Plumb and James Russell
– to make him another one. Later, the duo
agreed to create a whole pack of different
breeds for their client.
JamesPlumb has developed a lot since
then, blending Hannah Plumb’s instinctive
approach and James Russell’s more analyt­
ical perspective. The use of found objects,
whether entire pieces of furniture or mere
fragments, is still at the heart of the artists’
work, as their love of “looking again at the
overlooked” is seemingly undying. Russell
and Plumb, who met in 1998 while studying
fine art sculpture at Wimbledon School of
Art, search for cast-offs and antiques at car
boot sales, flea markets and rubbish bins. “We
hoard a lot of things,” admits Russell. “But
we don’t set out to collect certain items that
we think might work together. Rather, we
play around and couple objects together, and
sometimes we find a use for an item that we
have had for a very long time. We love marrying components that speak to each other.”
James Russell and
Hannah Plumb play
around and couple
objects together that
speak to each other.
23
www.iggesund.com
Careful deliberation is behind each
artefact signed JamesPlumb, yet some assemblages look curiously natural – almost as if
the combined items actually belong together.
This quality gives certain wares a somewhat
uncanny feel, which can be both mildly unsettling and humorous at the same time.
While the sculptural vision of the duo
always shines through, the major part of
JamesPlumb’s work is intended for domestic
use. The artists work hard to strike a balance
between practicality and aesthetic value. “A
found object such as a broken old chair is so
fragile and quite redundant in itself, but by
uniting it with a block of concrete or pew
panel, it becomes useful while its natural
beauty remains intact,” Plumb says. “If we
were to upholster the chair, we would hide
so much of the character that attracted us to
the piece in the first place.”
Creating one-off assemblages by hand is
a labour-intensive process, but even during
busy periods the pair insists on seeing every
design through to the end as a team. “We
produce under one name, putting both our
voices into a singular one,” Plumb says. “The
creative teamwork is ongoing and continues
until the product is finished. That is why
we insist on working together from start to
finish, even during busy times when jug­gling
more than one project. Once the piece is
finished, most clients see that our working
method brings a more thorough result.”
In 2010, the pair were sought out to
mastermind the interior concept for the
east London menswear store Hostem.
When setting foot in the dimly lit shopping
environment, one gets the feeling of enter­
ing a Dickensian dreamscape. Plumb and
Russell achieved this distinctive atmosphere
by incorporating elements such as rustic
floorboards and hand-painted hessian walls,
and the aesthetic has inspired pockets of the
retail industry.
While Hostem serves as something of a
JamesPlumb showcase, further works were
recently unveiled at a solo exhibition held
during the Frieze Festival in London in October 2012. Among the many noteworthy assemblages was the “Reading Room”, a poetic
invention designed using the back sections
of pew seats and the bottom half of an oak
pulpit. The towering piece of furniture offers
privacy and allows the person nestling within
to focus entirely on a book or steal a moment
of tranquillity. ■
23
the ultimate
The 14 “chapters” depicting the ultimate
road trip and the shop concept invite you to
explore the brand’s value in a playful way.
You can open miniature lockers. There’s a
backlit movie theatre, and flicking through
the book you will find folders with the nittygritty of the interior concept, including furniture module measurements. The whole idea
of presenting it as a road trip is also part of
the interior concept, where the customer is
meant to explore the space.
“Today when you want to present a shop
concept there are two ways to go,” says Saskia
Raidlo of Langebartels & Jürgens, the printing
company. “Either you go very 2-d and create
something digital that can be used on an iPad,
or you go very 3-d and make a pop-up.”
lush rain forests, factory locker rooms, dere­
lict warehouses, corrugated iron sheds,
bus stops in Malawi, three-day-stubbled
models and fashion shop interiors – all this
in a highly loaded pop-up paperboard book
that weighs in at 3.8 kilograms, integrated
media player included.
The Roadside Concept from the German
life­style brand Camel Active is nothing short
of a massive experience. But the handmade
collaboration between Donkey Communication, Langebartels & Jürgens and pop-up
artist Jonas Schenk is not just a mood board
deluxe, crafted to describe the new interior
concept at the 110 shop-in-shops created for
the casual menswear brand by interior design­
ers Halfmann Mennickheim. It is also a sales
kit meant to expand the number of stores.
Tropical beaches, ragged mountains,
TEXT ANDERS MODIG PHOTO JANN LIPKA
A pop-up volume from lifestyle brand
Camel Active is so thoroughly handcrafted that it took four months to
fashion 110 copies. The result is a
multimedia melange that takes you
around the world while presenting
a new interior-design shop concept
for casual menswear.
See
See the film of the making
of the pop-up book in your phone.
Download the app Aurasma.
From the menu, search
for "Iggesund" and choose follow.
Hold the phone over
this photo and the film
will start playing.
the film
www.iggesund.com
24
road trip
25
www.iggesund.com
“The hardest was try to transform fantasy
to reality – but hey, that’s our job!” ■
What was the biggest challenge working
with pop-up?
“It is very durable and stable. There are
many, many pieces in this book, and none
must break.”
Why did you use Invercote Creato?
The pop-up book
from lifestyle brand
Camel Active was
crafted to describe
the new interior concept at the 110 shopin-shops. It is also
a sales kit meant to
expand the number
of stores.
“The stamping tools must be very accurate
and you must work very exactly, since you
must eliminate all mistakes before you start.
You can never go back.”
What should you think of when you work
with pop-up?
“Pop-up has more possibilities, more feel­
ing and is more fun than anything I worked
on. In this project we really worked with the
tactile experience, especially on the cover,
which has a rough foil that feels like asphalt.
This enhances the feeling of a road trip.”
What is the best thing about working with
pop-up?
“The brief was very simple and to the
point: represent the space, show the new design and work in 3d.”
What kind of brief did you get from Camel
Active?
When the pop-up artist had done his part,
Langebartels & Jürgens hooked up a plotter
and stamping tools to a computer. But that
still left a lot of handwork, since all bending,
binding, page separation and quality control
must be done by hand. “In the beginning it
took one person one full week to build one
single spread,” Raidlo says. “This kind of
qual­ity, this exactness and accuracy you don’t
get in China. Handmade with love in Eur­
ope – you just can’t beat that, but this is also
the only downside. It is hard to make large
quantities since they take so long to make.”
After three months of planning, the creation of 110 books took four months – which
explains the price tag of 600 euros on each
book. “It’s worth it,” Raidlo says. “A pop-up
book is very interesting and has a lot more
personality than digital stuff. There are also
statistics showing that physical products like
campaign mailings and catalogues are getting
better response than emails and usb sticks.”
Backlight!
Flicking through the book, you
find a backlit movie theatre and
folders with the nitty-gritty of
the interior concept, including
furniture module measurements.
The book is made of Invcercote
Creato 260 g/m² and 350g/m².
The highly loaded popup book weighs 3.8
kilograms, integrated
media player included.
It took four months to
create 110 books.
Media
player
included!
What was your inspiration for the Black Box?
Big
cities
in a
small
box
Swedish photographer and film director Jens
Assur is the creator behind the latest Black Box
design. His box, containing tributes to some
of the world’s most influential megacities, was
unveiled in Moscow on December 6, 2012.
TEXT Cari Simmons photo ROLF ANDERSSON
“It came from the fact that we are under­going
a huge migration to the world’s cities. They are
growing by approximately 8 million people per
month.”
You work with films and photos. Isn’t work­ing
with paper quite a departure for you?
“Not at all. I love paper, cards, boxes, books
and magazines. I love physical things that combine intellectual ideas and beautiful design.”
How was it working with Iggesund’s Invercote?
Did it achieve what you wanted it to?
“Yes, I am very pleased with the result and a
little surprised that there are no limits to technical
implementation.”
What has been the most interesting part of the
Black Box project?
“To be able to show some of the world’s
greatest cities and capture their grandness and
diversity in a small box.”
What is your next project?
“In April I open a new art exhibition titled
‘Africa is a Great Country’ at Liljevalch’s Art Gallery in Stockholm. I will also produce and direct
a new film.”
Do you think you will you work with paperboard
again?
“Of course I will! In connection with the exhibition next year, I will produce a unique art book
that will push the envelope even further.” ■
www.iggesund.com
26
Le Cool’s
design guide
to Barcelona
Some people travel with an empty suitcase for the objects
they find along the way. Inspiration also needs space. Empty
out your mental scrapbook and let the selections below
jump-start your visual imagination.
TEXT & GRAphICS Le COOL & FOLCH studio
Pavelló Mies Van
der Rohe
Cold but warming,
green but grey,
old but always
modern. Extrava­
gant materials —
travertine, mar­­ble,
red onyx — and
the iconic Barcelona chair. The
silence sounds
different here. How
photogenic can a
building can be?
Where? Av.
Francesc Ferrer i
Guardia, 7
miesbcn.com
27
Santa Eulalia
This classic Catalan tailor shop was
recently rede­
signed by William
Sofield, the king
of material purism.
The result is a
perfect blend of
high-end fashion,
art, historical furniture and textures.
If Santa Eulalia had
to be defined in
three terms, they
would be: art deco,
classicism and
orange blossom.
Where? Passeig de
Gràcia, 93
santaeulalia.com
www.iggesund.com
Monvinic
The Wall Street
Journal won­dered:
“Best wine bar
in the world?”
Probably. Tablet
browsing and 60
selections by the
glass. Don’t miss
the reference
library with its impressive collection
of books, magazines and auction
catalogues.
Where?
Diputació, 249
monvinic.com
Mutt
A cutting-edge
bookshop and
art gallery: graffiti and essays,
cult fanzines and
skate photographs,
all in a friendly
and hypnotizing
atmosphere. Juanjo is the restless
figure behind it,
and the place
serves as a hub
for Barcelona’s
creative set.
Where? Comerç, 15
mutt.es
Doméstico Shop
Local design that’s
worth knowing:
BD, Gandia Blasco,
Marset and Santa
& Cole. This furni­
ture boutique
knows everything
about that tricky,
biblical thing called light.
Where? Plaça Sant
Agustí Vell, 16
domesticoshop.
com
Pati del Convent
de Sant Agustí
Have a drink in the
courtyard of this
former convent,
now a historic
building in solid
condition. Wait
until sundown,
when the entrance
automatically
activates the light
installation by
the sensory artist
James Turrell.
Where? Comerç,
36
bcn.cat/centrecivicsantagusti
Delishop
A delicatessen
supermarket with
local and international organic
products selected
for excellence. The
edgy packaging
— clear, elegant,
functional — has
won numerous
design awards.
Cooking courses,
gastro events and
conferences on the
calendar.
Where? Passeig de
Sant Joan, 13
delishop.es
CO13001E
www.iggesund.com
28