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Championing creativity

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Work / Graphic Design

Badesaison – the Swiss design studio that can handle everything from Dada to music

Words by Lucy Bourton, Friday 26 August 2016

Earlier this year graphic design studio Badesaison created an advertising campaign for “Perlaton”, an annual music festival held in Zurich. The studio’s approach to design is ideal for the event – unbiased in genre or taste – and in many ways the studio shares values that represent the festival as a whole. For this campaign the studio reference a number of typefaces that could be related to any genre of music, a gothic style balanced against graffiti typography. Their ability of combining and contrasting elements doesn’t stop there. Black and white layouts are mixed with highly saturated still life photography which sit comfortably on the page they’ve designed for it.

Back in May the studio created the official program for Festspiele Zurich 2016 dedicated to the anniversary of Dadaism. “This machine we created is a collage from a very old tool catalogue, we found in a thrift shop” the duo explain, “Our inspiration was the french dadaist Francis Picabia and his imaginitive blue prints. It works a flow chart, that guides the reader to a certain event of his interest.”

More recently Badesaison designed Wir Sind Da a publication for the masters degree of fine arts for the University of Arts Lucerne. For the brief they shot a “photographic portrait of the city” where the exhibition took place. “The individual characteristics of the City, with its huge factories and construction sites is reflected in our design as well as in the artworks of the students,” say the designers.

www.badesaison.ch

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Work / Graphic Design Graphic design studio Pa-i-ka always purposefully changes its creative output

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Lucy Bourton — 19 November 2018
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“Chinese character design systems are totally different to Western character design systems because we have such a large number of characters”, says graphic designer, Mak Kai Hang. In Chinese typography, “each character has a unique personality” resulting in tens of thousands of logograms, though most of them are minor graphic variations exclusively seen in historical texts. The written language is the oldest, continuously used system of writing in the world dating back to the second millennium BC, and presents wholly different design challenges for those designing for a Chinese demographic.

Jyni Ong — 19 November 2018
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Jyni Ong — 14 November 2018

Work / Graphic Design Graphic design studio Pa-i-ka always purposefully changes its creative output

For Pa-i-ka, a graphic design studio based in Seoul, the act of designing revolves around tapping into certain themes. Noting “culture, art and social attention” as its driving forces, Pa-i-ka embeds itself within these topics, working with cultural institutions and for various exhibitions too. This process of working has led the studio to think of “design as another voice,” to artistic conversations that are already happening.

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Ruby Boddington — 19 November 2018
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Unlike most creatives for whom concepts chop and change but means of communication often stay the same, London-based visual artist Rhea Dillon chooses her medium after she has solidified an idea. “I could write a poem that actually evolves into a film or a photography series that then acts as research for a future piece,” she tells It’s Nice That. Whether it’s photography, film, casting or even writing, Rhea’s holistic approach to creativity stems from a love of storytelling; uncovering pertinent, personal and collective narratives.

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The art of animation, with its infinite possibilities of visual expression, has become a go-to medium for exploring difficult subjects. An example of this approach is Ooze, a newly released short which narrates the loneliness the director felt while working as an elevator boy at a nightclub in Hamburg. Kilian Vilim, Ooze’s director explains how his previous job led to “a mental breakdown where I knew I had to make some changes,” the animator tells It’s Nice That. “I decided to follow my inner wish to study animation and use the storyline of the elevator boy to draw a line between myself and the past.”

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Work / Film Set designer Sharon Samuels talks us through her work on Steve McQueen's Widows

Steve McQueen’s recently-released Widows is a late contender for the film of the year. A taut, stylish heist movie, it’s one of those rare pictures which sits as happily in a multiplex as it does the independent arthouse venue you know you should frequent a little more than you actually do.

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Lucy Bourton — 16 November 2018
Work / Digital Jenny Jiao Hsia's game designs are as delightfully weird as they are weirdly delightful

“I think I’ve always wanted to make games more than I’ve wanted to play them," says games designer Jenny Jiao Hsia. "Growing up, I watched my dad and younger brother play a lot of Guild Wars and Age of Mythology together. Their pastime drove my mom nuts: sometimes she would threaten to break their computers because they would stay up late to play the game. So that’s how I saw video games for a long time – as a waste of time.”

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Imagining photographer Luke Boland perched atop gigantic and populated environments with his camera in hand is a nice image. Viewers can easily imagine this – not that he features in the photographs himself – but because of the vast expanse captured in his photographs and the numerous locations his work sees him journey to. From Nevada’s Hoover Dam to Hong Kong’s residential area of Lai King, Luke’s photographs show us the world at face value but also communicate how it logistically functions. Though his lens, the photographer manages to encompass manufacturing, shipping, energy, housing and how populations generally spend their time day-to-day.

Lucy Bourton — 16 November 2018
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During the beginning of Mahaneela’s talk at October’s Nicer Tuesdays, the multidisciplinary creative showed a slide listing all of the job titles she’s adopted over the years. “Photographer, director, writer, digital strategist, consultant, communications manager, event curator, music manager, producer, project manager, make up artist, stylist, public speaker,” it read, and the rest of Mahaneela’s talk went on to prove how being a jack of all trades may be the best way to put a foot forward in the creative industry.

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Lucy Bourton — 15 November 2018
Work / Publication Azeema – the magazine empowering women of colour – is bolder and more beautiful than ever

Sometimes publications just hit the nail on the head; their pages filled with stories that resonate and speak to audiences. They manage to highlight important issues but tackle them in beautiful and challenging ways. Azeema is one of those publications. Created by founding editor and art director Jameela Elfaki, deputy editor Noor Alabdulbaqi and senior editor Sunayah Arshad, with new additions culture editor Evar Hussayni and fashion editor at large Ella Lucia, Azeema is an independent title exploring strength and femininity within Middle Eastern, North African and South Asian women and women of colour.

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Work / Art “The beauty of abstraction”: Christoph Niemann on his new mural for a Berlin train station

Illustrator and artist Christoph Niemann was in the Berlin suburb of Wannsee yesterday afternoon unveiling a colourful tiled mural in a pedestrian tunnel. Two 40-metre works run along the walls of the tunnel, which leads into the local train station, and depict scenes from Wannsee’s past and present.

Matt Alagiah — 15 November 2018
Work / Exhibition Seulgi Lee’s textiles artwork acts as a means of anthropological theory

Seulgi Lee’s new solo exhibition opens today (15 November 2018) at Seoul’s Gallery Hyundai. With a practice that focuses on textiles and installation, the Paris-based artist creates a visual examination of anthropological theories through the intricately engineered pieces. She applies new meanings to banal objects such as blankets which utilise traditional Korean hand-quilting techniques, Nubi. The use of Nubi emphasises the importance of Korean oral culture in Seulgi’s work. Historic Korean proverbs, which are expressed verbally, are translated into geometric textile patterns that tie into the artist’s interest in the origins of colour; particularly within the artist’s native culture.

Jyni Ong — 15 November 2018
Work / Graphic Design Kristine Kawakubo’s handmade books focus on typographic experimentation

For many of us graphic design enthusiasts, there can be a disconnect between the design process and the bookbinding. For the graphic designer Kristine Kawakubo, the art of handmade bookbinding is at the centre of her design process from conception to completion. Experimentation is the key to Kristine’s beautifully hand-bound books as the type and imagery interact to create unique compositions. Speaking to It’s Nice That, she discusses how “when you actually experience the whole process of book making, you are inspired by the tactility of materials and the book’s structure”, which enhances an understanding of the entire design process.

Jyni Ong — 15 November 2018
Work / Publication Early Russian colour photography and Spaghetti Westerns collide in new book from S_U_N

Bill Sullivan’s Pure Country is an exploration of the history of colour image-making, told via Sergey Prokudin-Gorskii’s early colour photography, “remixed and recast” by Bill; representing “the Russian landscape in the manner of a Spaghetti Western… transposing the look and feel of the United States with that of 20th Century Russia”. It’s a complex set up, with two poles, dual histories of both places and colour image-making. “It all started when I first came across the images of The Russian photographer and colour scientist, Sergei Produkin Gorskii, about eight years ago – they just stopped me in my tracks”, Bill tells It’s Nice That.

Billie Muraben — 14 November 2018
Regulars / Nicer Tuesdays Illustrator Grace Helmer on protecting her work life balance

Illustrator Grace Helmer joined us from her south London studio for Nicer Tuesdays October, discussing how keeping her practice personal has encouraged herself, and her client base, to grow.

It's Nice That — 14 November 2018
Work / Publication Music, experimental typesetting and Buckfast: Left Alone Zine returns

Run by Alex Gross and Ashton Holland, east London club night Left Alone has garnered a healthy – and loyal – group of attendees who come to nod their heads to whichever under-the-radar DJ or artist the duo has decided to champion. In July of 2017, Alex and Ashton released the Left Alone Zine, an outlet to produce something physical from these basements nights, and the second issue has just followed.

Ruby Boddington — 14 November 2018

Work / Art Take a look inside John Booth’s exuberant and chaotic dream bedroom

In The Artist’s Bedroom, John Booth has fulfilled the pretty much universal dream of creating the bedroom of his teenage dreams. The immersive installation represents the variety of expressions and forms integral to John’s multidisciplinary practice – layers of colour, patterns and floral displays – and takes them a step further. There are portrait vases and prints, printed cushion covers and woollen floor rugs, mirrors, ceramic side tables, a desk and a hand-painted bed, as well as an embroidered sweatshirt draped over the artist’s chair, espresso cups, and a ceramic pencil holder. And all of it is for sale.

Billie Muraben — 14 November 2018
Work / Film Greg Barth directs Easy Life’s new music video about nightmares

The director Greg Barth is known for his live action videos full of animated colours and crisp visual content. From adverts for MailChimp about a black hole, to surreal self-initiated films, Greg’s director’s vision is candidly punchy and rich with expressive narratives. His latest endeavour releases today and involves the music video for the up-and-coming band Easy Life. The track, titled Nightmares, debuted on Jools Holland last month and shortly after, Greg agreed to direct the music video in his personal aesthetic approach.

Jyni Ong — 14 November 2018
Work / Miscellaneous PlayLab, Inc. says it doesn't “want to do the same thing twice” in its practice

PlayLab, Inc. is a creative studio working across the disciplines of art, architecture and graphic design to bring innovative ideas and experiences to life. With a portfolio of over 240 projects executed since the studio’s inception in 2009, the New-York based practice takes on a variety of projects. From architectural branding to a compilation of all the times Joaquin Phoenix has walked in his films titled Walking Phoenix, this multidisciplinary studio is centred around strong concepts and intriguing visuals.

Jyni Ong — 14 November 2018
Work / Photography Cornelius de Bill Baboul's latest project is "like Baudelaire in the age of McDonalds"

Cornelius de Bill Baboul’s latest project sees the Berlin-based artist ask and answer a simple question. What, he wondered, would happen if you let white flowers sit and stew in half-filled bottles of the sort of lurid energy drinks that men with seriously swollen arms clutch to their heavily-developed chests at the gym?

Josh Baines — 14 November 2018
Work / Film Palestine Underground shines a light on the West Bank’s underground music scene  

Palestine Underground is a 25 minute documentary released by Boiler Room today. The film documents the flourishing underground music scene in Occupied Palestinian Territory, the West Bank. Shot last June, the film follows alternative Palestinian music collectives, including techno DJs, hip-hop producers and rappers, over a week in the lead up to Boiler Room’s first party in Ramallah.
 
The Palestinian artists are blossoming in their creativity despite enforced constraints from the Israeli government; and although their movements are restricted and there is a midnight curfew, the Palestinian music scene refuses to dwindle, as seen in the film’s interviewees, who are brimming with musical passion and freedom of expression.
 
Produced by Boiler Room’s Anaïs Brémond and directed by BBC and Channel 4 documentary filmmaker Jess Kelly, Palestine Underground “connects the dots between club culture and cinema to stretch the boundaries of what a film experience can be”, recording a musical subculture that is little known in the West. The director Jess tells It’s Nice That that “this was exactly the kind of project I was looking for.” The filmmaker and journalist explains: “I’d been doing a lot of current affairs documentaries and I was keen to make a film where I could have more artistic freedom and the scenes breathe.”
 
Jess is a freelance documentary maker who made a career in filmmaking after studying Arabic at university. “Documentaries are a good way of mixing the language with my interest in what’s going on in the Middle East as well as visual creativity”, says Jess. Having made numerous films in the Arab-speaking world, Palestine Underground continues the director’s legacy of “challenging the stereotypes that we have in the West about this part of the world.”
 
The film seamlessly represents differing depictions of the complex environment of the West Bank. The unlawful Israeli raids are intertwined with segments of the booming music scene to accurately convey the disturbing sociopolitical tones that the West Bank’s artists endure. Of the filming process, Jess explains, “I’ve filmed in the West Bank and Gaza so it wasn’t a big shock, but the reality of that separation wall and the heavy Israeli military prescience is not something you could ever get used to.” For Jess and the rest of the production crew, one of the most significant scenes that was essential to execute accurately, is the road trip scene with Jazr crew from Haifa to the West Bank. “As Palestinians with Israeli passports, they have the privilege of being able to travel freely from Israel into the West Bank, but people in the West Bank can’t do the reverse. To even leave the West Bank they have to apply to the Israeli authorities for a permit, and it’s often denied”, the director explains. “It was really important to me to capture their mood during that trip, which was a mix of excitement and anger or unease at the fact that they have to cross that separation wall to get to their friends. It makes them feel like outsiders.”
 
From our privileged, European positions in front of the TV, we are presented with a media angle that focuses on Palestine’s destroyed areas of Gaza. However Jess describes the West Bank as “incredibly beautiful and peaceful.” The discovery of the music scene immediately evoked the “tight knit community of people” that are a part of Ramallah’s music scene, “and as a Londoner, I really envy that”.
 
Members of the production team spent a year getting to know some of the artists online before going out to the West Bank as a lot of the musicians are rightfully suspicious of the Western media misrepresenting the complicated political situation. The level of trust between the film crew and the artists is evident, particularly in the opening scene where the DJ Oddz jumps the separation wall into Israel. The intimate footage throughout the film similarly interweaves between the devotion to music and the brutal political tensions demonstrated by the handheld camera footage of Oddz crossing the wall. While going over it, he says: “you can’t build a wall and say you can’t go and do this, it’s music, it’s a right for everyone”. For Jess, this quote and the physical action of crossing the wall “sums it up”. The artists risk their lives for their right to musical expression.
 
Although Palestinian musicians face multiple restrictions on a daily basis which “rile up” Jess and the rest of the production team; it induces inspiration for what these artists have achieved and their musical talents. Finally, when asked about the future for the communities in the West Bank, Jess adds: “sadly, I don’t think the future looks bright in terms of the political situation for people in the West Bank, especially now under the Trump administration. But there’s still a lot we can do as individuals. One of the best things we can do is visit the West Bank. It’s not a ‘danger zone’ like the Israeli authorities refer to, it’s a beautiful place to visit. There’s an incredible underground music scene to discover, too.”

Jyni Ong — 13 November 2018
Work / Graphic Design “How does an identity express itself in 3D?”: Common Name on design for environments

For New York-based graphic design studio Common Name, working in exhibition design – or design for an environment – offers the opportunity to work with the otherwise elusive third dimension. “Most design applications in the print or digital space exist in two dimensions or, at least, are displayed on a 2D surface. Working in the environment allows us to think about how physical scale and perspective shift a viewer’s understanding or experience of content” co-founders Yoonjai Choi and Ken Meier tell It’s Nice That.

Billie Muraben — 13 November 2018

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