03.18 - 2018-03-12 (Bulletin de Novum)  

Public ISBD [n° ou bulletin]  est un bulletin de Novum   Titre : 03.18 - 2018-03-12 Type de document : texte imprimé Année de publication : 2018 Langues : Allemand (ger) Anglais (eng) Catégories : Aliments -- Conditionnement Arts graphiques -- 21e siècle Arts graphiques -- Mise en page et typographie Arts graphiques -- Tokyo (Japon) Conditionnement Ornements typographiques Produits cosmétiques -- Conditionnement Reliure -- Dorure -- 21e siècle Sculpture en papier Typographie - Design Typographie -- 21e siècle Index. décimale : 766 Arts graphiques Résumé : This issue really pulls out all the stops! A wrap-around cover resplendent in all the colours of the rainbow, fine gold paper and relief varnishing – no point in choosing gold unless you really go for it! Gold is not as easy a choice as you might think, however. It can quickly look over the top, which is why many designers only use it sparingly. But who wants to be modest and sensible all the time? In this issue of novum we thought we´d really push the boat out and go all out for gold. It fills the novum+ section and the cover, too, is a gilded delight. A brand new print and finishing technique inspired the designers at Paperlux to this cover. And we think you’ll agree, the results are amazing. Sophisticated printing technology combined with good design – that is real luxury! novum 03.18 is also available as PDF for only 8,99 Euro To buy the printed issue, please visit our Shop Note de contenu : The Midas touch If you want to make an impression, then you´ve really got to go for it. No half measures. When everybody else is dressed up to the nines, then you don´t want to be the one in jeans and T-shirt. Choosing gold as the theme for this month´s novum+ section was at the same time an obligation – to really shine. With features about great projects and also with the cover – that, too, had to be gold. Not just a little, but a lot! The creatives at Paperlux were certainly on board with this idea. These Hamburg-based designers pulled off a coup for us once before with the 11/11 novum cover, which you could fold in three dimensions. This time, it as a new technique that inspired this latest cover. The cover At the end of 2017 Scodix rolled out its new digital print enhancement press. This enables spot varnishing, unusually high relief varnishes and foil finishes. You can see what´s possible on the new novum cover: It shimmers in all the colours of the rainbow and is a delight to touch. The special thing about this process is that it dispenses with the need for screens or printing plates, it can be printed direct from the computer. In this way you can save costs, proofs are cheaper and designers have more scope. It´s even possible to apply different finishes one after the other, to create brand new effects. For the paper we chose Splendorlux Mirror Oro in 320 gsm from Fedrigoni. This cast coated board is well suited for a wide range of applications and has an attractive gold tone and a reflecting surface. The foil used on the cover came from Kurz, a company that developed a new foil specially for use with the Scodix printing process. It is available in all the colours of the rainbow. In the novum+ section, too, it´s all about gold. Used in the CD for a model agency gold adds sophistication, for a Japanese restaurant, freshness. It turns a six-pack of beer into a wild work of art and adds class to cannabis packaging. These and many other projects show just how diverse the applications are for the colour gold. In the Showroom section, Düsseldorf agency KittoKatsu lives up to its name and Italian designer Monica Lovati shows us CIs with feeling. At Buenaventura from Granada, they love bright and bold, and know just how to blend cultural elements into their work. In Vorarlberg, too, the designers have a knack for fine design: Atelier Hanselwanter shows how to create fantastic design for small clients too. And, last but not least, we visit Ufomammoot in Berlin for our series on New Talents Berlin. These creatives use the latest technologies and test out the limits of the possible. Gilt edging We couldn´t resist and just had to do a gilt edge as well. So ten of the copies of novum 03.18 sport this sophisticated finish. They are randomly distributed among our subscribers and the newsagents, and if you are the lucky recipient of one of them, then you have hit lucky twice: Not only do you have a real collectors´ piece, you also get a free one-day ticket to our Creative Paper Conference 2018! The content novum+ Bibliothèque (GBR) Happycentro (ITA) Pavement (USA) Brighhead Studio (RUS) Knoed (USA) Mind Design (GBR) The Bakery (RUS) Toolbox (CAN) Paperlux (GER) Showroom KittoKatsu (GER) Monica Lovati (ITA) Buenaventura (ESP) Haselwanter Grafik_und Design (AUT) Ufomammoot (GER) Das Cover Design: Paperlux (GER) Papier: Splendorlux Mirror Oro, 320 g/qm Fedrigoni Druck & Veredelung Cover: Mediadruckwerk Folien: Kurz Fotos: Tobias Holzmann Goldschnitt: 10 Exemplare wurden zudem von der Firma Steinbrenner mit einem Goldschnitt versehen, novum 03.18 Gold En ligne : https://novum.graphics/en/magazine/magazine-detail/detail/novum-0318/ [n° ou bulletin]  est un bulletin de Novum   03.18 - 2018-03-12 [texte imprimé] . - 2018. Langues : Allemand (ger) Anglais (eng) Catégories : Aliments -- Conditionnement Arts graphiques -- 21e siècle Arts graphiques -- Mise en page et typographie Arts graphiques -- Tokyo (Japon) Conditionnement Ornements typographiques Produits cosmétiques -- Conditionnement Reliure -- Dorure -- 21e siècle Sculpture en papier Typographie - Design Typographie -- 21e siècle Index. décimale : 766 Arts graphiques Résumé : This issue really pulls out all the stops! A wrap-around cover resplendent in all the colours of the rainbow, fine gold paper and relief varnishing – no point in choosing gold unless you really go for it! Gold is not as easy a choice as you might think, however. It can quickly look over the top, which is why many designers only use it sparingly. But who wants to be modest and sensible all the time? In this issue of novum we thought we´d really push the boat out and go all out for gold. It fills the novum+ section and the cover, too, is a gilded delight. A brand new print and finishing technique inspired the designers at Paperlux to this cover. And we think you’ll agree, the results are amazing. Sophisticated printing technology combined with good design – that is real luxury! novum 03.18 is also available as PDF for only 8,99 Euro To buy the printed issue, please visit our Shop Note de contenu : The Midas touch If you want to make an impression, then you´ve really got to go for it. No half measures. When everybody else is dressed up to the nines, then you don´t want to be the one in jeans and T-shirt. Choosing gold as the theme for this month´s novum+ section was at the same time an obligation – to really shine. With features about great projects and also with the cover – that, too, had to be gold. Not just a little, but a lot! The creatives at Paperlux were certainly on board with this idea. These Hamburg-based designers pulled off a coup for us once before with the 11/11 novum cover, which you could fold in three dimensions. This time, it as a new technique that inspired this latest cover. The cover At the end of 2017 Scodix rolled out its new digital print enhancement press. This enables spot varnishing, unusually high relief varnishes and foil finishes. You can see what´s possible on the new novum cover: It shimmers in all the colours of the rainbow and is a delight to touch. The special thing about this process is that it dispenses with the need for screens or printing plates, it can be printed direct from the computer. In this way you can save costs, proofs are cheaper and designers have more scope. It´s even possible to apply different finishes one after the other, to create brand new effects. For the paper we chose Splendorlux Mirror Oro in 320 gsm from Fedrigoni. This cast coated board is well suited for a wide range of applications and has an attractive gold tone and a reflecting surface. The foil used on the cover came from Kurz, a company that developed a new foil specially for use with the Scodix printing process. It is available in all the colours of the rainbow. In the novum+ section, too, it´s all about gold. Used in the CD for a model agency gold adds sophistication, for a Japanese restaurant, freshness. It turns a six-pack of beer into a wild work of art and adds class to cannabis packaging. These and many other projects show just how diverse the applications are for the colour gold. In the Showroom section, Düsseldorf agency KittoKatsu lives up to its name and Italian designer Monica Lovati shows us CIs with feeling. At Buenaventura from Granada, they love bright and bold, and know just how to blend cultural elements into their work. In Vorarlberg, too, the designers have a knack for fine design: Atelier Hanselwanter shows how to create fantastic design for small clients too. And, last but not least, we visit Ufomammoot in Berlin for our series on New Talents Berlin. These creatives use the latest technologies and test out the limits of the possible. Gilt edging We couldn´t resist and just had to do a gilt edge as well. So ten of the copies of novum 03.18 sport this sophisticated finish. They are randomly distributed among our subscribers and the newsagents, and if you are the lucky recipient of one of them, then you have hit lucky twice: Not only do you have a real collectors´ piece, you also get a free one-day ticket to our Creative Paper Conference 2018! The content novum+ Bibliothèque (GBR) Happycentro (ITA) Pavement (USA) Brighhead Studio (RUS) Knoed (USA) Mind Design (GBR) The Bakery (RUS) Toolbox (CAN) Paperlux (GER) Showroom KittoKatsu (GER) Monica Lovati (ITA) Buenaventura (ESP) Haselwanter Grafik_und Design (AUT) Ufomammoot (GER) Das Cover Design: Paperlux (GER) Papier: Splendorlux Mirror Oro, 320 g/qm Fedrigoni Druck & Veredelung Cover: Mediadruckwerk Folien: Kurz Fotos: Tobias Holzmann Goldschnitt: 10 Exemplare wurden zudem von der Firma Steinbrenner mit einem Goldschnitt versehen, novum 03.18 Gold En ligne : https://novum.graphics/en/magazine/magazine-detail/detail/novum-0318/

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11.18 - 2018-11-12 (Bulletin de Novum)    

Public ISBD [n° ou bulletin]  est un bulletin de Novum   Titre : 11.18 - 2018-11-12 Type de document : texte imprimé Année de publication : 2018 Langues : Allemand (ger) Anglais (eng) Catégories : Arts graphiques Livres -- Mise en page Mise en page et typographie Sculpture en papier Travail du papier -- 21e siècle Typographie - Design Index. décimale : 766 Arts graphiques Résumé : Our November issue plays with perception: Is it embossed or some kind of optical illusion? A brand new way of dealing with hot foil stamping is the secret behind this visual trick – conjuring up a 3D impression for the eyes this respresents an exciting new addition to the print toolkit. And it´s a perfect introduction to our focus theme this month: creative paper! Note de contenu : A trick of the eye When the first samples of Trustseal SFX arrived in our editorial office we were immediately enthusiastic – the optical illusion of a 3D element is simply fascinating and it shows once more that we have by no means explored all the possibilities of print. This is amply demonstrated in the world tour that we take you on in this issue focusing on »Creative Paper«: Intricate design work from the Czech Republic, elegance from France and a touch of the experimental from Brazil, as well as haptic support for a luxury brand from Austria and quality business papers from Taiwan! Laser-cutting, pop-up elements, fine papers and a cornucopia of print finishes, plus lot of creative sensitivity – all await discovery in this month’s novum. We also bring you an interview with print specialist Frank Denninghoff (Gräfe Druckveredelung), who reveals the latest trends and possibilities in finishing. The Showroom section in novum 11.18 is also packed with interest: To start with there’s an interview with Peter Mussfeldt, who emigrated from Germany to Ecuador many years ago and is now regarded there as a pioneer of design. Then we look behind the scenes at the much talked about studio APFEL in London and, in conversation with the Spanish bureau Esiete, we learn that design agencies can have a very different philosophy. Another designer who very much does things his own way is Victor Balko – his editorial design projects were an immediate hit with us here at novum. The cover A few years ago Studio Twopoints.net produced a cover for us that caused a real stir with its thermosensitive surface – an image of a sunbather turned red when the cover was exposed to UV light (novum 08.13). For the art work for this November’s cover, the team from Hamburg created a graphic-geometric solution to really do justice to and highlight the special hot foil technique and it’s 3D effect. Twopoints: »›Form is the body of colour – colour is the soul of form‹ – so wrote graphic designer and artist Karl Gerstner, who died last year. We owe a great debt of thanks to Gerstner. His approach to design problems has had a strong influence on us. For this cover of novum we captured the soul of autumn in a flexible visual system. The form system comes from investigations carried out for a book about the design of flexible visual systems that we are currently working on.« Available in the colours gold and silver, you can do quite a lot with »Trustseal SFX«, the latest development from Kurz. But one or two key points must be observed. All of them are explained in this current issue of novum. As for the material – the choice is wide: As ever, for hot foil stamping smooth, coated papers are good, ones that support a sharp printed image. In the range from Munken (available from: Papyrus) we came across Munken Pure (300 g/qm) in cream white, a variant with a natural surface that is neither extremely smooth nor extremely rough – it has a pleasant feel and the foil contrasts well with it. The whole series of these design papers is available in a wide range of grammages (from 80 to 400 g/qm), and in 1.13 to 1.3 volume. The product family encompasses Kristall, Polar, Lynx and Pure, in colours from brilliant white to high and natural white, as well as cream white – each in a smooth or rougher surface. For stiffer weights there are four papers in »rough« quality, with 1.4 volume and a distinctive surface feel. novum+ Davilla (AUT) Sion Hsu (TWN) Aline HD (FRA) Greco Design (BRA) Porigami (CZE) Trends in print finishing (Gräfe Druckveredelung) Makerie Studio (GBR) Showroom: Peter Mussfeldt (ECU) Victor Balko (GER) Here Design (GBR) Esiete (ESP) APFEL (GBR) Cover: Design: Twopoints.net Papier: Munken Pure, Cremeweiß, 300 g/qm von Papyrus Offset-Druck: f&w Heißfolie: Kurz Heißfolienprägung: Gräfe Druckveredelung Fotos: Tobias Holzmann En ligne : https://novum.graphics/en/magazine/magazine-detail/detail/novum-1118/ [n° ou bulletin]  est un bulletin de Novum   11.18 - 2018-11-12 [texte imprimé] . - 2018. Langues : Allemand (ger) Anglais (eng) Catégories : Arts graphiques Livres -- Mise en page Mise en page et typographie Sculpture en papier Travail du papier -- 21e siècle Typographie - Design Index. décimale : 766 Arts graphiques Résumé : Our November issue plays with perception: Is it embossed or some kind of optical illusion? A brand new way of dealing with hot foil stamping is the secret behind this visual trick – conjuring up a 3D impression for the eyes this respresents an exciting new addition to the print toolkit. And it´s a perfect introduction to our focus theme this month: creative paper! Note de contenu : A trick of the eye When the first samples of Trustseal SFX arrived in our editorial office we were immediately enthusiastic – the optical illusion of a 3D element is simply fascinating and it shows once more that we have by no means explored all the possibilities of print. This is amply demonstrated in the world tour that we take you on in this issue focusing on »Creative Paper«: Intricate design work from the Czech Republic, elegance from France and a touch of the experimental from Brazil, as well as haptic support for a luxury brand from Austria and quality business papers from Taiwan! Laser-cutting, pop-up elements, fine papers and a cornucopia of print finishes, plus lot of creative sensitivity – all await discovery in this month’s novum. We also bring you an interview with print specialist Frank Denninghoff (Gräfe Druckveredelung), who reveals the latest trends and possibilities in finishing. The Showroom section in novum 11.18 is also packed with interest: To start with there’s an interview with Peter Mussfeldt, who emigrated from Germany to Ecuador many years ago and is now regarded there as a pioneer of design. Then we look behind the scenes at the much talked about studio APFEL in London and, in conversation with the Spanish bureau Esiete, we learn that design agencies can have a very different philosophy. Another designer who very much does things his own way is Victor Balko – his editorial design projects were an immediate hit with us here at novum. The cover A few years ago Studio Twopoints.net produced a cover for us that caused a real stir with its thermosensitive surface – an image of a sunbather turned red when the cover was exposed to UV light (novum 08.13). For the art work for this November’s cover, the team from Hamburg created a graphic-geometric solution to really do justice to and highlight the special hot foil technique and it’s 3D effect. Twopoints: »›Form is the body of colour – colour is the soul of form‹ – so wrote graphic designer and artist Karl Gerstner, who died last year. We owe a great debt of thanks to Gerstner. His approach to design problems has had a strong influence on us. For this cover of novum we captured the soul of autumn in a flexible visual system. The form system comes from investigations carried out for a book about the design of flexible visual systems that we are currently working on.« Available in the colours gold and silver, you can do quite a lot with »Trustseal SFX«, the latest development from Kurz. But one or two key points must be observed. All of them are explained in this current issue of novum. As for the material – the choice is wide: As ever, for hot foil stamping smooth, coated papers are good, ones that support a sharp printed image. In the range from Munken (available from: Papyrus) we came across Munken Pure (300 g/qm) in cream white, a variant with a natural surface that is neither extremely smooth nor extremely rough – it has a pleasant feel and the foil contrasts well with it. The whole series of these design papers is available in a wide range of grammages (from 80 to 400 g/qm), and in 1.13 to 1.3 volume. The product family encompasses Kristall, Polar, Lynx and Pure, in colours from brilliant white to high and natural white, as well as cream white – each in a smooth or rougher surface. For stiffer weights there are four papers in »rough« quality, with 1.4 volume and a distinctive surface feel. novum+ Davilla (AUT) Sion Hsu (TWN) Aline HD (FRA) Greco Design (BRA) Porigami (CZE) Trends in print finishing (Gräfe Druckveredelung) Makerie Studio (GBR) Showroom: Peter Mussfeldt (ECU) Victor Balko (GER) Here Design (GBR) Esiete (ESP) APFEL (GBR) Cover: Design: Twopoints.net Papier: Munken Pure, Cremeweiß, 300 g/qm von Papyrus Offset-Druck: f&w Heißfolie: Kurz Heißfolienprägung: Gräfe Druckveredelung Fotos: Tobias Holzmann En ligne : https://novum.graphics/en/magazine/magazine-detail/detail/novum-1118/

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08.15 - 2015-08-12 (Bulletin de Novum)  

Public ISBD [n° ou bulletin]  est un bulletin de Novum   Titre : 08.15 - 2015-08-12 Type de document : texte imprimé Année de publication : 2015 Langues : Allemand (ger) Anglais (eng) Catégories : Arts graphiques Communication en design Design Livres d'artistes Papier - Fabrication Tourisme Typographie - Design Index. décimale : 766 Arts graphiques Résumé : A tough call – but a necessary one, in a world where too often good ideas, launched to serve society, somehow degenerate into constructs that benefit the few at the expense of the many. What started out innocently as »couch surfing« – not just a cheap form of accommodation for low-budget travellers, but also a real opportunity to experience local life, away from the standardised international hotels – turned into Airbnb. That in itself is not reprehensible – why shouldn’t someone who sets up a functioning platform also pursue his own commercial ends? So far, so good: a win-win situation for both sides. But, living space being famously in short supply in the top destinations, some locals have no qualms about offering even cellar rooms for maximum profit. So, what better than to go for this kind of practical rental arrangement: Why let out a 30 m2 apartment in Munich for only 800 euros a month, when you can get 50 euros per day from passing travellers? The inevitable result: even less affordable accommodation available to locals. That’s got as much to do with social cohesion as subsidising coal at the same time as switching over to clean energy. But this too is a natural reflex: Many complain about rising rents and how long it takes to find a flat, but when looking to save a few euros on the next city break, they book on Airbnb while at the same time calling indignantly for a cap on rent rises. The hype surrounding sharing platforms on the web is also fascinating. At first sight it seems very sensible from an economic and ecological point of view: Nobody needs to buy all that stuff. When it comes to small items it all works very well – like when neighbours share a lawnmower they got together to buy. Now, as we know, humankind has never managed to get a truly »social« society to work – history tells us that much. It just doesn’t seem to be in our DNA. So, with these sharesites, too, there’s an unequal balance: The idealism of one group is sadly often torpedoed by the self-serving actions of a few. The feeling of freedom on the part of those who don’t want to »burden themselves« with material things, i.e. don’t have any possessions (or don’t want to pay for them), is supported by the goodwill of those who do invest in these things and then share them. A truly sharing system only works when everyone makes a contribution to it, and not, as some do, tries to live out their own personal philosophy of life on the backs of others, all the time accusing those others of wasting resources. Ergo: If you criticise your friends for owning a car in a city (how unnecessary!), then don’t ask those friends for a lift the next time they are going to Ikea … A truly responsible lifestyle in today’s world should in my eyes go beyond just ecological and economic aspects: It needs the added dimension of community spirit. It’s not enough to live out one’s own personal sustainability program, ignoring the consequences for other people: That way lies only egoism, even though this may not have been the original intention. I hope you are having a wonderful summer, Bettina Schulz En ligne : http://www.novumnet.de/en/world-of-novum/current-issue/082015/first/editorial.ht [...] [n° ou bulletin]  est un bulletin de Novum   08.15 - 2015-08-12 [texte imprimé] . - 2015. Langues : Allemand (ger) Anglais (eng) Catégories : Arts graphiques Communication en design Design Livres d'artistes Papier - Fabrication Tourisme Typographie - Design Index. décimale : 766 Arts graphiques Résumé : A tough call – but a necessary one, in a world where too often good ideas, launched to serve society, somehow degenerate into constructs that benefit the few at the expense of the many. What started out innocently as »couch surfing« – not just a cheap form of accommodation for low-budget travellers, but also a real opportunity to experience local life, away from the standardised international hotels – turned into Airbnb. That in itself is not reprehensible – why shouldn’t someone who sets up a functioning platform also pursue his own commercial ends? So far, so good: a win-win situation for both sides. But, living space being famously in short supply in the top destinations, some locals have no qualms about offering even cellar rooms for maximum profit. So, what better than to go for this kind of practical rental arrangement: Why let out a 30 m2 apartment in Munich for only 800 euros a month, when you can get 50 euros per day from passing travellers? The inevitable result: even less affordable accommodation available to locals. That’s got as much to do with social cohesion as subsidising coal at the same time as switching over to clean energy. But this too is a natural reflex: Many complain about rising rents and how long it takes to find a flat, but when looking to save a few euros on the next city break, they book on Airbnb while at the same time calling indignantly for a cap on rent rises. The hype surrounding sharing platforms on the web is also fascinating. At first sight it seems very sensible from an economic and ecological point of view: Nobody needs to buy all that stuff. When it comes to small items it all works very well – like when neighbours share a lawnmower they got together to buy. Now, as we know, humankind has never managed to get a truly »social« society to work – history tells us that much. It just doesn’t seem to be in our DNA. So, with these sharesites, too, there’s an unequal balance: The idealism of one group is sadly often torpedoed by the self-serving actions of a few. The feeling of freedom on the part of those who don’t want to »burden themselves« with material things, i.e. don’t have any possessions (or don’t want to pay for them), is supported by the goodwill of those who do invest in these things and then share them. A truly sharing system only works when everyone makes a contribution to it, and not, as some do, tries to live out their own personal philosophy of life on the backs of others, all the time accusing those others of wasting resources. Ergo: If you criticise your friends for owning a car in a city (how unnecessary!), then don’t ask those friends for a lift the next time they are going to Ikea … A truly responsible lifestyle in today’s world should in my eyes go beyond just ecological and economic aspects: It needs the added dimension of community spirit. It’s not enough to live out one’s own personal sustainability program, ignoring the consequences for other people: That way lies only egoism, even though this may not have been the original intention. I hope you are having a wonderful summer, Bettina Schulz En ligne : http://www.novumnet.de/en/world-of-novum/current-issue/082015/first/editorial.ht [...]

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07.15 - 2015-07-12 (Bulletin de Novum)  

Public ISBD [n° ou bulletin]  est un bulletin de Novum   Titre : 07.15 - 2015-07-12 Type de document : texte imprimé Année de publication : 2015 Langues : Allemand (ger) Anglais (eng) Catégories : Arts graphiques Conditionnement Design Société de consommation -- Critique Typographie - Design Index. décimale : 766 Arts graphiques Résumé : I am a great fan of beautiful and clever packaging – the sort that delights the eye, sets the product off in the right way and tempts you to buy. In the food sector you see this less and less, because all the regulatory information on content and nutrition, origin and processing, environmental symbols and codes, leaves precious little space for design. And, as if all that visual chaos on such a small space were not enough, the manufacturers then invent their own seals to add to the general confusion. All kinds of claims are made, including the much flaunted »locally produced« label. Legally and in actual fact this has absolutely no relevance and truth about it at all: a milk can be labelled »from our region« even if only the closure on the Tetra Pak was fitted on locally! Suspicions should arise latest when you see a pack of coconut milk being described as »regional« … Studies that have found that consumers, given two identical jams to try, like the taste of the one claiming to be »regional«, and would be happy to pay more for it! So the label alone can enhance the taste experience – an uncomfortable fact and renewed proof that the critical consumer isn’t perhaps as critical as he likes to think he is. The design world makes good use of this knowledge: The regional link is communicated, megaphone-style, with words like »country«, »natural«, »regional«, »local«, implying that anything coming from elsewhere has got to have something wrong with it. A curly handwriting-style font is a popular choice for these messages, as if the produce had just come out of grandma’s kitchen. Sometimes the »advantages« are pronounced in aggressive capitals, followed by an exclamation mark, for those who haven’t yet got it. Often it’s all in green and with such a dilettante look that you are tempted to believe that Farmer Huber himself got all creative after finishing the milking. The products from the big manufacturers are particularly noticeable: Like preserves-producer Schwartau, with its »Farmhouse marmalade« … a little bit of bucolic heaven for all the SUV drivers who can’t make it to one of the real farm shops (which do indeed exist!). Schwartau had to delete the »local fruit« claim from the label of one of its jams, because the fruit came from Poland, the Baltic States and Southeastern Europe, as the consumer magazine Öko-Test uncovered. But it’s not only marketing that has discovered the lure of local and regional. The far right, too, are attracted by these associations. A while ago, for ­example, the neo-Nazi NPD party published a campaign called »Buy German products!« The ominous historic echoes of this exhortation were enough to awaken an appetite in me – and many others – for Italian strawberries and Spanish tomatoes. To be fair, we mustn’t let these things deter us – it is indeed a good and ­sensible thing to buy local or regional. But the manufacturers in turn should only use these words when the ingredients do in fact come from local or regional sources. All this fudging of facts on labels will sooner or later completely undermine this USP. And what about the designer? Perhaps s/he could draw the attention of producers of non-regional products to other qualities – because when everything else is wrapping itself in »regional« laurels, then maybe a thirst for the exotic will develop. Enjoy the summer! Bettina Schulz En ligne : http://www.novumnet.de/en/world-of-novum/current-issue/072015/first/editorial.ht [...] [n° ou bulletin]  est un bulletin de Novum   07.15 - 2015-07-12 [texte imprimé] . - 2015. Langues : Allemand (ger) Anglais (eng) Catégories : Arts graphiques Conditionnement Design Société de consommation -- Critique Typographie - Design Index. décimale : 766 Arts graphiques Résumé : I am a great fan of beautiful and clever packaging – the sort that delights the eye, sets the product off in the right way and tempts you to buy. In the food sector you see this less and less, because all the regulatory information on content and nutrition, origin and processing, environmental symbols and codes, leaves precious little space for design. And, as if all that visual chaos on such a small space were not enough, the manufacturers then invent their own seals to add to the general confusion. All kinds of claims are made, including the much flaunted »locally produced« label. Legally and in actual fact this has absolutely no relevance and truth about it at all: a milk can be labelled »from our region« even if only the closure on the Tetra Pak was fitted on locally! Suspicions should arise latest when you see a pack of coconut milk being described as »regional« … Studies that have found that consumers, given two identical jams to try, like the taste of the one claiming to be »regional«, and would be happy to pay more for it! So the label alone can enhance the taste experience – an uncomfortable fact and renewed proof that the critical consumer isn’t perhaps as critical as he likes to think he is. The design world makes good use of this knowledge: The regional link is communicated, megaphone-style, with words like »country«, »natural«, »regional«, »local«, implying that anything coming from elsewhere has got to have something wrong with it. A curly handwriting-style font is a popular choice for these messages, as if the produce had just come out of grandma’s kitchen. Sometimes the »advantages« are pronounced in aggressive capitals, followed by an exclamation mark, for those who haven’t yet got it. Often it’s all in green and with such a dilettante look that you are tempted to believe that Farmer Huber himself got all creative after finishing the milking. The products from the big manufacturers are particularly noticeable: Like preserves-producer Schwartau, with its »Farmhouse marmalade« … a little bit of bucolic heaven for all the SUV drivers who can’t make it to one of the real farm shops (which do indeed exist!). Schwartau had to delete the »local fruit« claim from the label of one of its jams, because the fruit came from Poland, the Baltic States and Southeastern Europe, as the consumer magazine Öko-Test uncovered. But it’s not only marketing that has discovered the lure of local and regional. The far right, too, are attracted by these associations. A while ago, for ­example, the neo-Nazi NPD party published a campaign called »Buy German products!« The ominous historic echoes of this exhortation were enough to awaken an appetite in me – and many others – for Italian strawberries and Spanish tomatoes. To be fair, we mustn’t let these things deter us – it is indeed a good and ­sensible thing to buy local or regional. But the manufacturers in turn should only use these words when the ingredients do in fact come from local or regional sources. All this fudging of facts on labels will sooner or later completely undermine this USP. And what about the designer? Perhaps s/he could draw the attention of producers of non-regional products to other qualities – because when everything else is wrapping itself in »regional« laurels, then maybe a thirst for the exotic will develop. Enjoy the summer! Bettina Schulz En ligne : http://www.novumnet.de/en/world-of-novum/current-issue/072015/first/editorial.ht [...]

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09.15 - 2015-09-12 (Bulletin de Novum)

Public ISBD [n° ou bulletin]  est un bulletin de Novum   Titre : 09.15 - 2015-09-12 Type de document : texte imprimé Année de publication : 2015 Langues : Allemand (ger) Anglais (eng) Catégories : Arts graphiques Design Typographie - Design Index. décimale : 766 Arts graphiques Résumé : Our next issue will be different. We experimented with text, typography, white space and large images and we are presenting designers who also leave the trodden paths. The topic of our September issue is »design & society« and we hope it will be just as inspiring and multifaceted as our society is. The cover too picks up the notion of diversity and comes in 16 different varieties. [n° ou bulletin]  est un bulletin de Novum   09.15 - 2015-09-12 [texte imprimé] . - 2015. Langues : Allemand (ger) Anglais (eng) Catégories : Arts graphiques Design Typographie - Design Index. décimale : 766 Arts graphiques Résumé : Our next issue will be different. We experimented with text, typography, white space and large images and we are presenting designers who also leave the trodden paths. The topic of our September issue is »design & society« and we hope it will be just as inspiring and multifaceted as our society is. The cover too picks up the notion of diversity and comes in 16 different varieties.

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