Category: Design

  • Studio Visit: Ex Industria Argentina

    Studio Visit: Ex Industria Argentina

    Carolina Fernández is the founder of Ex Industria Argentina, a letterpress business in the Abasto neighbourhood in Buenos Aires. Carolina’s studio and workshop are located in her home, a 1930s building that she shares with her painter husband. Our contributing photographer, Andrea Fernández, visited Ex Industria Argentina on her last trip to Buenos Aires and interviewed Carolina about her love for letterpress, the equipment she uses and how her space influences her work.

    www.facebook.com/ex-industria-argentina

    Photos & Interview by Andrea Fernández.

    What is the concept behind Ex Industria Argentina?

    From the first day, my goal was to bring back an appreciation for the traditional technique of typography printing or letterpress, the composition using wood or metal types, the impression the type leaves on paper, the time and the dedication the process requires. The name of the project echoes this idea: a way of working that has been left behind, which I’m trying to highlight by bringing a touch of design to.

    What is your creative background in and how did you get involved with letterpress?

    I was a product designer at a paper house producing lots of different kinds of paper goods. We would make paper by hand on a paper mill and had a workshop specialising in bookbinding and serigraphy, an art gallery and a typography printing studio. It was here that I deeply connected with the art and design world, and got close to printing.

    What was the space before you transformed it into your studio & home? How was the renovation process?

    The house dates back to the 1930s and is both mine and my husband’s studios, as well as our home. He is a visual artist and did the remodelling of the space to originally house his big art pieces. My studio is on the middle floor, which used to be the open air sun terrace.

    Tell us about the equipment and machinery you use and its history.

    I print using two antique letterpress machines, known as Minerva’s. They are both from German origin but I don’t have the specific details about them. The smallest one is a Hogenforst that dates back to the 1920s. I bought it from a printer in the San Telmo neighbourhood that used it to print religious cards. I also have a bigger one that is more sturdy and strong.

    What do you enjoy the most about working in this space? Does it have a direct impact on your work?

    My favourite aspect of my workspace is that it is also my home, which means I have an immense flexibility on my work hours and incorporating it into my daily routines. I love the light I get in this space, infiltrating through the ceiling and reflecting off the tin walls. I feel very connected with the outside world; if it’s overcast my studio is grey, if the sun comes out the space just shines.

  • Openhouse Magazine

    Openhouse Magazine

    Founded by Andrew Trotter and Mari Luz Vidal, Openhouse is a biannual magazine dedicated to creative people around the world that open their homes or private spaces to the public to organise different events and activities related to gastronomy, art and design.

    We chatted with Andrew about the beginnings of the magazine, opening his house to other people and how Openhouse is bringing like-minded creatives together.

    www.openhouse-magazine.com

    Photos by Yanina Shevchenko

    What made you start Openhouse?

    Openhouse, the magazine, grew from our project in Barcelona. We started to open our home as a gallery of photography to share our work in a more intimate way. With our flatmate Nobu Kawagoe, we started making dinner and sushi parties, then concerts and talks. We became quite the talk of the town. Over the three years that we were open, more that 4,500 people passed through our doors.

    We met so many wonderful people, some became new friends, and we started to learn about more people around the world with similar projects so we decided to put it down on paper.

    The magazine is in English but each article is also written in a different language, depending on the location of the spaces and people you feature. How did you come up with this unique idea and what were the reasons behind it?

    I’m English and Mari Luz is Spanish, and we talk with a mix of these languages, sometimes even in one sentence. But we realised people talk easier and open up more when then talk in their own language, so we decided we should always find a writer to interview in the first language of the subject. This way the stories become more intimate and more close, real feelings come out.

    How has the magazine evolved since its first issue?

    We actually hope the magazine isn’t evolving too much. We don’t want to change, we hope to always talk about these amazing people around the world who humbly share their homes and lives with others. The only change is that it is getting easier and easier for us each day. We have now launched issue No.7 and we are getting used to the business and logistics of having a company.

    What do you hope people experience when they read Openhouse?

    Openhouse acts as a guide to these people, whether they are in your town or in a place you are visiting. We are so connected in these days by our telephones, that we have lost sense of our community and rarely meet new people. We talk about people who have a love for bringing people together and sharing ideas.

    Do you have any plans or projects for the upcoming months that you’d like to share with us?

    We will soon open our second house here in Barcelona. A space where we can hold intimate gatherings, talk to people and welcome visitors to stay with us. We are also launching a new web that will make it easier for you to find these people around the world. There will be more stories and local guides.

     

  • The Future of UK’s Independent Ceramic Industry

    The Future of UK’s Independent Ceramic Industry

    The UK has always been associated with ceramics and pottery and, over the past few years, the country’s ceramic industry has gone through a revival thanks to independent makers and designers celebrating craftsmanship and using social media to connect with their customers. According to data, the sector grew 45% between 2009 and 2013, and since 2013 the employment in this industry has kept on increasing.

    To find out about the current situation and what’s next, we chatted with 4 ceramicists and potters across the country to hear their views and predictions.

    Olivia Fiddes

    Olivia Fiddes is a Scottish ceramic artist based in London that creates homeware and objects using hand building techniques. When asked about why ceramics have become so popular over the past years Olivia says “There’s clearly been a shift away from ‘fast-fashion’ and consumption to more support for local, ethical and traditional businesses. Even if you aren’t able to be a ‘maker’ yourself you can be involved in that lifestyle by supporting makers and by having these goods in your home. I think shops and businesses definitely see this and have looked to sourcing products from artists, designers and craftspeople who value quality and self-expression. As a customer there is nothing more special than a one-off or limited run product, which handmade ceramics tend to be.“


    Photo by Olivia Fiddes

    For Olivia, this shift in the way we consume products is also influenced by the current financial situation, “We’re spending rather than saving our money more because houses and families are more distant. We’re willing to spend money enjoying our everyday and living in the present, whether that is on special tableware, a holiday or going out for meals.“


    Photo by Johanna Tagada / Photo by Association

    Ana Abellán

    Spanish ceramicist Ana Abellán started working with ceramics 5 years ago after moving to Edinburgh and attending an evening course for adults. Ana agrees with Olivia when it comes to the value of owning something special, “We all want to have unique things, things that have a meaning – I really believe in quality over quantity. I don’t want to have ten cups made with a machine somewhere in China, I’d rather have one handmade cup that has some kind of special energy“. The way we live right now has also influenced how we interact with things around us and Ana thinks that “Society has lost the connection with nature and beauty. I think we need to relearn how to slow down and appreciate the beauty inherent in simple things we have around us, although I am the first one on that list – I am always rushing everywhere trying to get too many things done.“


    Photo by David Guillen

    When asked about what ceramic artists need to do to supply customer needs in the near future Ana says that “Ceramic artists have done a great job over the last few years, promoting themselves, sharing more and making ceramics more attractive. Getting in touch with customers and listening to them is important, as well as being affordable but valued.“


    Photo by David Guillen

    Home Thrown Studio

    Gem Mordle from Home Thrown Studio also got interested in ceramics after taking up an evening class when she moved to Dorset 8 years ago. For Gem, the recession has had a positive impact on consumer behaviour, “I’ve definitely seen a rise in appreciation for ceramics and everything and anything hand crafted over the last couple of years. People want to spend their money on objects or clothing that are hand made and have a sense of authenticity about them. Lots of my customers seem to really appreciate the personality of my wares and the fact they are all original and have a story. It’s also really nice to be able to meet customers face to face at local markets, as so much shopping is done online these days.“


    Photo by Home Thrown Studio

    Despite oversees manufacturing and the easy access to cheap homeware, Gem feels positive about the current situation of the industry and its future, “I feel over the past years that ceramicists and potters are being put back on the map. There has been a bit of a revival with the Great British Throw Down, the Kickstarter campaign for The Clay College in Stoke and a handful of universities are starting up their ceramic courses again so I think we can be hopeful. I am inspired daily by the ceramic community on Instagram, and feel that social media is a great platform for contemporary potters to exhibit their work and keep in touch with their customers.“


    Photo by Home Thrown Studio

    Natalie J Wood

    Scottish designer Natalie J Wood studied at Gray’s School of Art and felt attracted to ceramics due to its complexity and flexibility. For Natalie, social media has played a key role in the development of her businesses and educating customers about what’s behind a product, “It has helped me connect to new audiences. To promote events I’m linked with. I feel as a designer/maker Instagram has been a great platform for visual based work. You can instantly gauge what about your work people connect to the most. It challenges you in a way to create a larger story with your work. Now people want to understand more about behind the scenes and how making is a part of your life. In turn that gives the work more value because people can understand it on more than just a visual level.“


    Photo by Sean Dooley

    Natalie considers function an important factor for current and future customers, “I think the industry is becoming more about micro manufacturing and independent brands. People are becoming more concerned about where the products they buy are coming from and having a story behind a piece makes it something special. I also think that in a backlash to throwaway culture our society is less about the ornate and there is a rise in the beauty of function. Objects that have purpose but also become decoration. I know I sell water carafes but a large number of people use them as vases, which I think is great! I’ve been a long time advocate of the William Morris quote ‘Have nothing in your house that you do not know to be useful, or believe to be beautiful.’ But I think now that use and beauty are becoming one and the same.“


    Photo by Sean Dooley

  • Newspaper Club, Print’s Not Dead

    Newspaper Club, Print’s Not Dead

    Since 2009, Glasgow-based printing company Newspaper Club has been helping people self-publish their work on newsprint. Inspired by newspapers’ history and tradition, the team behind Newspaper Club decided to open the industry up for non-traditional publishers in order to see how this medium adapts to the 21st century.

    Working with all types of clients – from students and photographers to tech companies like Facebook and MailChimp – Newspaper Club has printed more than 12 million newspapers for thousands of customers all around the world.

    We chatted with Newspaper Club’s CEO Anne Ward and the rest of the team to find out more about their services and they’re also offering 20% off the first order (up to a discount of £100 and until 30 November 2017) to all our readers using the code FUTURE20 at checkout.

    www.newspaperclub.com

    Photos by Newspaper Club.

    When and how did your love for print begin?

    In childhood! Most of us are old enough to have grown up in a pre-digital world, surrounded by books, newspapers, notebooks and all kinds of printed goodness. It’s a medium with an evocative feel and a rich heritage. We want to help print have a bright future too.

    Can you tell us about what made you start Newspaper Club?

    Yes, we felt that rumours of print’s death had been greatly exaggerated. When we used the slogan ‘Print’s Not Dead’ it really resonated with people and it became clear there were a lot of people who were keen to print their own newspapers.

    Our first newspaper was a design project (which won Design of the Year in 2010). Getting this printed proved how difficult it was for small designers and publishers to get a newspaper printed. There’s a lot of technical knowledge required, which can be intimidating and many big printers won’t take on small jobs. We wanted to make newsprint accessible to everyone and have worked ever since to make newspaper printing easier.

    Can you tell us about the different services you offer at Newspaper Club?

    Our main service is printing newspapers to order. You design ’em, we print ’em! You can use software like InDesign, or our own free design software to make your newspaper.

    You can print one copy or thousands, and choose from three handy formats: minis, tabloids and broadsheets. Our business is totally online so you can order 24/7 and we’ll ship just about anywhere in the world. We offer clear guidance and friendly support, so we’re always here to help.

    You’ve worked with some big names in the digital industry like Facebook and MailChimp, how can print support or enrich digital content?

    A few years ago Wired said Newspaper Club is “what happens when the internet gets hold of a printing press.” We think digital and print can work really well together, and it’s exciting to see customers experiment with that dynamic.

    MailChimp use The Chimpington Post as a recruiting tool. It’s a friendly format that lends itself well to MailChimp’s voice, and they clearly had a lot of fun with the design. As a piece of print, it still feels very of the web.

    We printed a lovely broadsheet for Zendesk when they launched their rebrand last year. It was a great way to showcase their playful new visuals in a big format, something that people could flip through and interact with off the screen.

    And then there’s a project like Printed Web, which is literally bits of the internet turned into a newspaper by designer and teacher Paul Soulellis. He’s published 5 issues with contributions from hundreds of artists – the newspapers are moving into the MoMA Library later this year!

    What are your plans for the upcoming months?

    The good news is our business is booming at the moment! We’re expanding our team, looking at some new products and generally thinking about how we can help more people get their first newspaper off to print.

  • Easle, find the best creative freelancers

    Easle, find the best creative freelancers

    Finding work when you are an independent creative can be a struggle. That’s why after hearing stories from their creative friends, Scott Wooden and Nick Law decided to start Easle, a new online platform allowing freelancers to showcase their work and clients to discover and hire the best creators and artists.

    Scott and Nick state that “Easle is specifically for the creative arts. The focus for us is on quality across the platform, rather than super low price point, and we’re taking the vetting process seriously for creators and clients alike. We have also built a unique system for handling incoming work, allowing both sides to seamlessly negotiate a proposal through conversation and have it paid for within minutes.”

    At the moment, Easle focuses on showcasing the work of some of the best illustrators across the world although Scott and Nick have received applications from creatives working in all types of fields and they’ve noticed “corners of creativity that felt lost online without a true place for them to show off their work with the opportunity to get hired. There’s no reason why Easle can’t support more niche creative outlets.”

    Easle is currently comprised of an initial group of 50 illustrators. Scott and Nick have intentionally decided to keep strict limits on numbers with the idea that every illustrator on the platform should be seeing a significant amount of work coming through on a monthly basis.

    Easle is open for applications, free to use and takes 10% of the negotiated fee.

    www.easle.co