座落在美麗瑞士蘇黎世的個人工作坊 studio marcus kraft，創辦人Marcus跟我們分享了在他生命中非常重要的三個專案：蘇黎世觀光識別設計、社會設計展覽視覺、以及Don't Eat the Yellow Snow這本書打開工作室知名度的過程。
JT: Design Weekly interviewer
MK: Marcus Kraft (Studio Marcus Kraft founder)
JT: You’ve done a cover for the prestigious and iconic magazine in Germany called novum.
MK: Yes. The novum magazine is like a really old German design magazine, I don’t know how old it is, probably 100 years old.
JT: That old? From their cover and form, I though they are one of the newest magazines.
MK: They have a couple of rebrands over the decades. So, it has a lot of history. And what’s interesting now is that they also work for every issue with a new designer for the cover. So, for one issue, I was invited. Basically, they gave me a wild card, which means you can do whatever you want under the topic of printing process. So, I asked a local printing company in Zurich, Wolfensberger, who is also an old printing house with a long tradition, that if we could do that together, because I knew they were quite open to experiment on the printing machine, to push the boundaries a bit.
So, we made this plan to create 12,000 unique copies each one with a slightly different cover. And to achieve that, it was actually quite a bit stressful. Because when you print these magazines, I’m sure a lot of you might know, they go really fast. We were three people doing different interferences on the printing machine. For instance, one guy would put water on the printing machine by hand, which you would never do, because you would be creating an error. But I thought it would be quite interesting to add too much water in the machine to see what would happen. Sometimes we would even stop the machine and I would put the chemicals onto the printing plate and erase some stuffs, and then move on and erase again.
The most important thing we did was we added colors on top of the printing machine quite randomly and colors started to mix to created new gradients.
It was somehow an intuitive process, because you also couldn’t predict the outcome, see what happens, or see what the machine does. It’s nice to use the machine in a way that is not meant to be.
JT: How the readers responded to the cover you designed?
MK: When the magazine went out, on the kiosk, or to the people who subscribed to the magazine, people even posted them on Instagram. It was funny to see all those variations of the magazine because I’ve never seen before since the printing process happened so fast on the machine, you couldn’t really get a glimpse of every one of them.
JT: How would you describe your studio?
MK: If it has to be in one word, it has to be simple. I like to keep things simple. And also, I think that design is always an applied art, so it always has to have a purpose; if it doesn’t, then it’s just art. And I also think that graphic design should make people’s lives simpler. That is also what I think us as graphic designers should do: to enrich people’s lives, to make it more beautiful, but also simpler, because life itself is already complicated.
See interview video here