9 December 2016

New Edition

The Practice of Everyday Life

We’ve launched a new edition of prints in the APFEL shop this month—a set of six typographic arrangements based on the book that inspired our studio’s name, The Practice of Everyday Life by Michel de Certeau. We selected passages from the text that particularly resonated with our own thinking, and set each in a playful typographic arrangement. The prints are presented in a screen-printed folder and are available in an edition of 40 from the APFEL Shop. Get your copy here.

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9 November 2016

Permanent Collection

We’ve been working this year with curators Mariah Nielson and Fanny Singer on the identity and packaging for Permanent Collection, their new line of women’s clothing, accessories and objects. Permanent Collection is inspired by the approach to acquisition taken by museums of international renown, and presents a range of elegant, minimal and versatile products based on historical designs.

Alongside their first collections, Mariah and Fanny have also produced a printed art journal called Works on Paper, which we designed. It offers them the opportunity to commission writing and criticism on the subject of both art and design—for this first issue, they asked contributors to consider the theme of collecting and collections.

Permanent Collection is holding a special launch this weekend at Spree in Paris. Coincidentally, the venue’s beautiful Le Corbusier facade bears more than a passing resemblance to the debossed type on the cover of Works on Paper issue 1!

permanentcollection.com

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26 October 2016

The Happy Hypocrite 9

The latest issue of The Happy Hypocrite, #ACCUMULATOR_PLUS, launches next month with a special performance and broadcast by guest editor Hannah Sawtell and producer Jlin.

This issue of the journal explores the interplay between writing, reading and sound. The recurring Archive feature focuses this time on the work of Colin Faver, a pioneering acid house DJ, live music promoter and graphic designer who helped shape the UK techno scene. The cover design we created is adapted from a flyer from Faver’s Shoom Club night in Southwark, shown here.

The launch event, commissioned by publisher Book Works, will take the form of an aural transmission of #ACCUMULATOR_PLUS and feature sound samples by other contributors to The Happy Hypocrite. It will be held at 32 Ormside Street, London, on 10 November 2016—for more information and tickets, click here.

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21 September 2016

Abstract Expressionism exhibition at the Royal Academy

Opening this week at the Royal Academy in London, Abstract Expressionism is the first major survey since 1959 of this dynamic period in American Art.

We designed the exhibition, working with architects Carmody Groarke. The interpretation texts and captions display a quiet simplicity, with type set in a geometric German sans serif, and captions printed onto heavily textured Japanese Takeo card stock.

Incorporating works by Pollock, Rothko, Still, de Kooning, Newman, Kline, Smith, Guston and Gorky, the exhibition takes over the galleries of the Royal Academy, and celebrates the movement’s scale, vitality and impact. Alongside painting, the exhibition also includes photography and sculpture, and acknowledges the lesser-known figures who contributed to the development of the movement.

Abstract Expressionism opens to the public on 24 September 2016 and runs until 2 January 2017. For visitor information, click here.

The exhibition has received five-star reviews from both the Times and the Telegraph.

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14 September 2016

Kheyameya at Bert & May

The Kheyameya we designed for Rotate Editions are being unveiled next week, at a special exhibition for London Design Festival 2016.

The exhibition is open from 17-25 September at Bert & May on Vyner Street, E2, and also includes designs by Anthony Burrill, Damien Poulain and Rhonda Drakeford. The private view is on Thursday 22 September, and a limited edition of eleven of each of the designs will be available to order.

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8 September 2016

Laus Award Winners

The results of this year’s Laus awards have been announced, and we are delighted to have been awarded two prizes: our design for the Linder publication for Ridinghouse and Modern Art Stuart Shave won a Gold Award, and we also won a Bronze Award for Douglas Coupland: Bit Rot for Witte de With Center for Contemporary Art. Both projects will also be added to the collection of the Barcelona Design Museum. We are very excited that our projects were selected—thank you!

Laus Award Winners

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22 June 2016

Vote remain!

The EU referendum is almost upon us, and we will be voting ‘in’.

Campaigning ahead of the vote has reached fever pitch, and there are clearly a lot of issues at stake and strong opinions on both sides. For us, the decision was a simple one. We are proud of Britain’s creative and cultural heritage, and its position as a leading creative force in the world—a position that would be under serious threat if we leave the EU. We’re also proud to be a part of this diverse group of countries working together, and believe leaving would be a serious step backwards.

Isolating ourselves from our neighbours is never the answer: we are stronger when we work together. Let’s maintain that collaborative spirit.

The polls will be opening tomorrow at 7am and stay open till 10pm, and hopefully the whole country will be out to have their say. Don’t forget to get out and vote!

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12 May 2016

Ducksoup Cookbook:

The Wisdom of Simple Cooking

We’ve just designed our first cookbook! Published this month, The Wisdom of Simple Cooking is the first book by Claire Lattin and Tom Hill, founders of the tiny Soho-based neighbourhood restaurant Ducksoup. We were commissioned by publishers Square Peg to design the book, working in close collaboration with Claire, Tom and photographer Kristin Perers.

The food at Ducksoup is both simple and beautiful, with the very best of ingredients thoughtfully combined and sensitively presented—an approach we wanted to echo in the book’s design, with folded chapter openers offering a peek at the beautiful photography overleaf, and putty-coloured paper sections for the essays scattered amongst the recipes. Ducksoup Cookbook: The Wisdom of Simple Cooking is out now, you can buy a copy of the book here

Photograph opposite by
Kristin Perers

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21 April 2016

D&AD Awards and the Design Week Awards

This week is an important one in the world of design awards — judging is underway for both the D&AD Awards and the Design Week Awards. We were very pleased to be invited onto the jury for both. Emma has been at the Old Truman Brewery, judging the Craft for Design category for D&AD and Kirsty is at the Design Week offices judging their Print Communications submissions.

We’ll have to wait until the ceremonies later in the spring to find out the results, but in the meantime here’s a sneak peek of the D&AD entries laid out for inspection at the Truman Brewery earlier this week (we judged the awards without knowing who the designer was, they remain anonymous, this was one of our favourites)

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23 March 2016

Papermaking at James Cropper Mill

We travelled to the Lake District last week for a visit to the James Cropper paper mill with GF Smith, whose Colorplan paper range is one of the many papers produced at the mill. The Burneside Mill has been home to James Cropper PLC since 1845; some of the machinery within is over one hundred years old and still in operation.

We witnessed the paper making process from start to finish, beginning in the laboratory, where new shades are analysed by spectrometer and reproduced as single-sheet paper samples. The technicians explained the colour development process and the impact of metamerism, whereby colours look identical under one kind of light but drastically different in another; an effect we’d experienced many times when matching papers, Pantones or checking proofs in poor light!

Later, we were led to the heart of the action inside the mill itself, and watched as the bales of pulp were mashed and dyed in enormous vats, before being strained, dried, pressed and wound onto spools. It was fascinating to see the raw materials being transformed and to witness the heat, humidity, noise and activity of the colossal machinery at work. Thankyou to GF Smith and James Cropper for such an interesting day out— we will never look at paper quite the same way again.

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