Studio/Designer NamexxxxDate establishedxx/xx/xxlocationxxxx

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Lorem ipsum dolor sit amet, consectetur adipiscing elit. Quisque et ipsum euismod leo tempus molestie mollis a mi. Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia Curae; Pellen-tesque quam libero, accumsan id pharetra ut, congue eu sapien. Phasellus lectus massa, adipiscing id iaculis a, lobortis vel tortor. Suspendisse sem lectus, tincidunt vitae pretium ut, tristique vitae eros. Fusce euismod eros mauris, sed scelerisque justo. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Aenean in lectus sapien. Donec imper-diet elementum nibh ac malesuada. Donec posuere malesuada lorem. Aliquam erat volutpat. Phasellus sed nisi a eros accumsan varius. In faucibus dolor eget tellus aliquam rutrum. Nullam nec dui lectus, sit amet porta odio. Etiam leo odio, mattis ac sodales ut, tempor id nibh.

Ut luctus dignissim dapibus. Pellentesque feugiat volutpat venenatis. Cras id neque arcu. Phasellus suscipit tempor dui nec vestibulum. Fusce convallis interdum ligula, sed interdum sapien dictum sed. Nulla fringilla ipsum rutrum sem laoreet nec venenatis est laoreet. Fusce iaculis, felis nec faucibus iaculis, turpis risus cursus velit, eget malesuada eros nibh ut orci. Ut massa neque, pretium ut sagittis non, consectetur at sapien. Pellentesque ac lectus a leo hendrerit aliquam. Etiam nunc dolor, hendrerit quis interdum id, pulvinar in lacus. Cras nibh justo, scelerisque quis pharetra eu, placerat quis enim. Donec molestie augue in elit fringilla non posuere dolor mattis. Cras lacus enim, condimen-tum dapibus pretium sed, convallis eget ante.

In hac habitasse platea dictumst. Vestibulum risus sa-pien, tempus vel consectetur id, blandit sit amet lorem. Mauris facilisis interdum eros, nec rhoncus augue porta in. Phasellus sem metus, lobortis eu malesuada vitae, fermentum quis mi. Donec porta rhoncus rhoncus. Mauris fermentum diam vel enim luctus tempus. Sed volutpat bibendum semper. In laoreet posuere risus a tincidunt. In rhoncus orci quis felis ultrices vel malesua-da dui dictum. Morbi dapibus augue eu sem dapibus semper. Duis ac ante purus, dapibus sollicitudin mi.

Sed vel risus et nisl ultricies accumsan. Fusce diam erat, lacinia sollicitudin rhoncus sed, fermentum quis metus. Aliquam vestibulum porttitor metus, in varius massa placerat vel. Maecenas luctus vehicula ipsum vitae gravida.

Pellentesque non cursus sem. Maecenas pharetra molestie mattis. Vivamus laoreet turpis ante, sit amet consequat est. Etiam tristique, massa et viverra fermen-tum, dui orci cursus metus, eu ornare leo ante eget est. Aliquam a urna a magna adipiscing porttitor. Aenean condimentum urna ut justo viverra sit amet mattis augue congue. Cras condimentum aliquet libero ut vulputate. Vivamus hendrerit ultrices nunc, ut rutrum arcu com-modo non. Integer vitae felis sed risus eleifend volutpat. Vestibulum vitae mollis justo. Curabitur a est ipsum, a adipiscing est. Vivamus porta volutpat hendrerit. Curabitur id nisl vel ligula pellentesque tincidunt. Ut ac nunc felis, quis porta elit. Praesent semper, tellus eget feugiat eleifend, ligula sapien porta dui, ac pharetra ligula nisl ut elit.

Phasellus quis placerat odio. Sed eget blandit sem. Vivamus aliquet tortor ac lorem tempor ornare. Etiam arcu erat, feugiat at cursus sit amet, sollicitudin id diam. Praesent in erat ut ligula commodo vehicula. Nunc auc-tor metus at lorem malesuada facilisis. Duis odio dui, dignissim at aliquam et, molestie sit amet sem. Vivamus nunc erat, ultricies in tincidunt id, elementum sed sapien. Sed eros felis, tincidunt at varius a, vestibu-lum at velit. Nulla in dui purus. Nulla vitae semper elit. Fusce mollis vestibulum dolor at fermentum. Nullam id erat massa. Suspendisse imperdiet est sit amet massa dictum mattis. Nulla ullamcorper, mauris eget cursus iaculis, sem justo dapibus diam, vulputate sodales eros ipsum non eros. Phasellus non odio nulla. Praesent luctus, augue rutrum accumsan mollis, eros ipsum luctus turpis, quis gravida mauris tortor eget felis. Cras et ullamcorper nulla. Sed sit amet dapibus velit.

Studio/Designer NamexxxxDate establishedxx/xx/xxlocationxxxx

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Monthly Quote

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09

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January 2012 12/type Carl Holderness

Studio/Designer NameNon-FormatDate established2000locationOslo, Norwayinspired projectThe chapwebsitecontact

Quote, Designer

Useful Website 1Useful Website 2Useful Website 3Useful Website 4Useful Website 5

Typeface of the month

Type foundry of the month

Non-Format is one of the most exciting studios working today. Comprised of Kjell Ekhorn (Nor-wegian) and Jon Forss (British), Non-Format is known for an exceptionally innovative approach to typography and a fresh, boundary-smashing graphic style. Clients such as Nike, Coca Cola and The New York Times have all tapped the studio’s award winning and internationally acclaimed design talent. Operating on two con-tinents, Non-Format is based in Oslo, Norway and Minneapolis, USA.

One of my first assignments at design school was to bring in some books that I found inspiring. As I had just started the program, I didn’t really have much to show for myself, and I distinctly remember arriving that day to see that around 3/4 of the class had all brought the same book: Non-Format’s Love Song. The extent of their influence on the field of design became immediately clear to me. Since then I’ve kept a close watch on the studio and am always excited to see what they’ve been working on. Recently I had the privilege of interviewing Jon and Kjell and our exchange is after the jump.

What were your goals/aspirations when you all started Non-Format in 2000?

We’d been working together for a year or so before we set up Non-Format, so we knew we were compatible as a design team, but the decision to make things more official came about because we were offered the chance to art direct the monthly music magazine The Wire. We hoped we’d be able to use that project as a solid platform from which to build a small design firm. We weren’t too sure what kind of clients we would attract, but we’d been working for a couple of small independent record labels so we hoped this might lead to more music packaging work, perhaps for major labels and, if we did a good enough job with The Wire, perhaps we’d be offered the chance to design other magazines too. We really had no idea where this was all leading, just that we thought it was an exciting new development for our careers.

Art direction and Complete Redesign of The Wire

What are you working on now? Anything com-

ing up in the future that you are really excited about?

We’re working on a mixture of projects, as usu-al: some music packaging that should see the light of day quite soon; we’ve just completed some advertising image work for a well-known information technology company; we’re working on a typeface that’ll become our very first com-mercial font release; and we’re finally starting to explore moving image/typography with a couple of interesting projects in the early stages.

How has your perception of your own work evolved over time?

We’ve slowed the pace of change down quite a lot from what it was when we first started. Whereas we once felt the need to reinvent with each new project we now take the time to slowly evolve and develop a line of visual enquiry or approach so that it’s allowed the time to mature. It tends to lend our work a more recognisable texture than it ever had before. We certainly don’t regard our approach as a ‘house style’ by any means, but we can recog-nise that clients come to us with an expectation of a visual approach as much as a conceptual approach.

Stateless | EP packaging

Describe a typical day at Non-Format (if there is such a thing).

Well, Non-Format’s day is very long. It starts at around 9am Oslo-time and doesn’t end until around 8pm Central US time. That’s a typical working day of around 18 straight hours but, of course, we split that between a studio in Oslo and one in Minneapolis. Kjell works alone until I log in during his afternoon. We have a few hours when we can discuss our projects together, get our emails sorted and perhaps even Skype each other. Then, once Kjell has finished his day, I carry on with things for a few more hours. The workload changes all the time, so there’s rarely a typical day.

What is one of the biggest mistakes you’ve made in your career and what did you take away from it?

ing up in the future that you are really excited about?

We’re working on a mixture of projects, as usu-al: some music packaging that should see the light of day quite soon; we’ve just completed some advertising image work for a well-known information technology company; we’re working on a typeface that’ll become our very first com-mercial font release; and we’re finally starting to explore moving image/typography with a couple of interesting projects in the early stages.

How has your perception of your own work evolved over time?

We’ve slowed the pace of change down quite a lot from what it was when we first started. Whereas we once felt the need to reinvent with each new project we now take the time to slowly evolve and develop a line of visual enquiry or approach so that it’s allowed the time to mature. It tends to lend our work a more recognisable texture than it ever had before. We certainly don’t regard our approach as a ‘house style’ by any means, but we can recog-nise that clients come to us with an expectation of a visual approach as much as a conceptual approach.

Stateless | EP packaging

Describe a typical day at Non-Format (if there is such a thing).

Well, Non-Format’s day is very long. It starts at around 9am Oslo-time and doesn’t end until around 8pm Central US time. That’s a typical working day of around 18 straight hours but, of course, we split that between a studio in Oslo and one in Minneapolis. Kjell works alone until I log in during his afternoon. We have a few hours when we can discuss our projects together, get our emails sorted and perhaps even Skype each other. Then, once Kjell has finished his day, I carry on with things for a few more hours. The workload changes all the time, so there’s rarely a typical day.

What is one of the biggest mistakes you’ve made in your career and what did you take away from it?

01

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02/12 2012 Point 12 Carl Holderness

Studio/Designer NameNon-FormatDate established2000locationOslo, Norwayinspired projectThe chapwebsitecontact

Quote, Designer

Useful Website 1Useful Website 2Useful Website 3Useful Website 4Useful Website 5

Typeface of the month

Type foundry of the month

F E

AUR

B

R Y

January MMXII 12/type Carl Holderness

Studio/Designer NameNon-FormatDate established2000locationOslo, Norwayinspired projectThe chapwebsitecontact

Quote, Designer

Useful Website 1Useful Website 2Useful Website 3Useful Website 4Useful Website 5

Typeface of the month

Type foundry of the month

Notes________________________________________________________________________ ________________________________________________________________________________________________________________________________________________

F

PAUL BARNEShttp://www.moderntypography.com/index.html

THIS IS CATALOGUE

http://www.volcano-type.de/fonts/categories/modulargeo-metric/geomi/geomi

Geometrics. Porn. “Deals with fonts and styles, the base geo-metric shapes such as square, circle and triangle as a basis have. In portraits, type essays, photo galleries, the heading

J

dentity and support material for Chunky Move’s latest dance performance Black Marrow, including outdoor advertisements, flyers and programs. Two young stars of European dance, Ema Omarsdottir & Damien Jalet, teamed up with Chunky Move for this highly

anticipated new work. In a place where civilization has not quite arrived, or has ceased to exist long ago, Black Marrow explores extreme and opposite states, looking for the more undefined aspects of human identity.

S

http://www.the-entente.org/THE ENTETIE - COLOPHON FOUNDRYhttp://www.colophon-foundry.org

January 2012 12/type Carl Holderness

Shapes of InfluenceAs observers who obsess over the details, we are often inspired by the smallest of things. Within type design this could be a word, letterform, serif, but as visual people the one thing we see are shapes.

This calendar documents a selection of 12 type designers whom have influenced the development of my design practice and informed my personal development and ambitions post-degree. This document contains a selection of interviews and case studys of a variety of different type designers/studios discussing their own practice and views on the subject of type design.

non-formatdesign projectnous vousworkshoprawnon-formatdesign projectnous vousrawnon-formatdesign projectnous vousraw

Bibliographyfurther readingacknowledgementsprint/design spec

Dhttp://www.emilkozak.com/studio/

Non-Format is one of the most exciting studios working today. Comprised of Kjell Ekhorn (Nor-wegian) and Jon Forss (British), Non-Format is known for an exceptionally innovative approach to typography and a fresh, boundary-smashing graphic style. Clients such as Nike, Coca Cola and The New York Times have all tapped the studio’s award winning and internationally acclaimed design talent. Operating on two con-tinents, Non-Format is based in Oslo, Norway and Minneapolis, USA.

One of my first assignments at design school was to bring in some books that I found inspiring. As I had just started the program, I didn’t really have much to show for myself, and I distinctly remember arriving that day to see that around 3/4 of the class had all brought the same book: Non-Format’s Love Song. The extent of their influence on the field of design became immediately clear to me. Since then I’ve kept a close watch on the studio and am always excited to see what they’ve been working on. Recently I had the privilege of interviewing Jon and Kjell and our exchange is after the jump.

What were your goals/aspirations when you all started Non-Format in 2000?

We’d been working together for a year or so before we set up Non-Format, so we knew we were compatible as a design team, but the decision to make things more official came about because we were offered the chance to art direct the monthly music magazine The Wire. We hoped we’d be able to use that project as a solid platform from which to build a small design firm. We weren’t too sure what kind of clients we would attract, but we’d been working for a couple of small independent record labels so we hoped this might lead to more music packaging work, perhaps for major labels and, if we did a good enough job with The Wire, perhaps we’d be offered the chance to design other magazines too. We really had no idea where this was all leading, just that we thought it was an exciting new development for our careers.

Art direction and Complete Redesign of The Wire

What are you working on now? Anything com-

ing up in the future that you are really excited about?

We’re working on a mixture of projects, as usu-al: some music packaging that should see the light of day quite soon; we’ve just completed some advertising image work for a well-known information technology company; we’re working on a typeface that’ll become our very first com-mercial font release; and we’re finally starting to explore moving image/typography with a couple of interesting projects in the early stages.

How has your perception of your own work evolved over time?

We’ve slowed the pace of change down quite a lot from what it was when we first started. Whereas we once felt the need to reinvent with each new project we now take the time to slowly evolve and develop a line of visual enquiry or approach so that it’s allowed the time to mature. It tends to lend our work a more recognisable texture than it ever had before. We certainly don’t regard our approach as a ‘house style’ by any means, but we can recog-nise that clients come to us with an expectation of a visual approach as much as a conceptual approach.

Stateless | EP packaging

Describe a typical day at Non-Format (if there is such a thing).

Well, Non-Format’s day is very long. It starts at around 9am Oslo-time and doesn’t end until around 8pm Central US time. That’s a typical working day of around 18 straight hours but, of course, we split that between a studio in Oslo and one in Minneapolis. Kjell works alone until I log in during his afternoon. We have a few hours when we can discuss our projects together, get our emails sorted and perhaps even Skype each other. Then, once Kjell has finished his day, I carry on with things for a few more hours. The workload changes all the time, so there’s rarely a typical day.

What is one of the biggest mistakes you’ve made in your career and what did you take away from it?

ing up in the future that you are really excited about?

We’re working on a mixture of projects, as usu-al: some music packaging that should see the light of day quite soon; we’ve just completed some advertising image work for a well-known information technology company; we’re working on a typeface that’ll become our very first com-mercial font release; and we’re finally starting to explore moving image/typography with a couple of interesting projects in the early stages.

How has your perception of your own work evolved over time?

We’ve slowed the pace of change down quite a lot from what it was when we first started. Whereas we once felt the need to reinvent with each new project we now take the time to slowly evolve and develop a line of visual enquiry or approach so that it’s allowed the time to mature. It tends to lend our work a more recognisable texture than it ever had before. We certainly don’t regard our approach as a ‘house style’ by any means, but we can recog-nise that clients come to us with an expectation of a visual approach as much as a conceptual approach.

Stateless | EP packaging

Describe a typical day at Non-Format (if there is such a thing).

Well, Non-Format’s day is very long. It starts at around 9am Oslo-time and doesn’t end until around 8pm Central US time. That’s a typical working day of around 18 straight hours but, of course, we split that between a studio in Oslo and one in Minneapolis. Kjell works alone until I log in during his afternoon. We have a few hours when we can discuss our projects together, get our emails sorted and perhaps even Skype each other. Then, once Kjell has finished his day, I carry on with things for a few more hours. The workload changes all the time, so there’s rarely a typical day.

What is one of the biggest mistakes you’ve made in your career and what did you take away from it?