STUDIO CHRISTOPHER WEST

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<h4 style='display: none;'>Prata!</h4><p>Poster for Prata! events organized during 2014 by <a href='http://www.svenskatecknare.se' target='_blank'>Svenska Tecknare</a>.<br />
Design for, and in collaboration with, <a href='http://www.martinfrostner.se' target='_blank'>Martin Frostner Studio</a>.</p>

<p>Publisher, year: <a href='http://www.svenskatecknare.se' target='_blank'>Svenska Tecknare</a>, 2014</p>

<p>Keywords: Prata!, Svenska Tecknare, Martin Frostner, collaboration, 2014<br />
</p><div class='color-0'></div><h4 style='display: none;'>Arena 93–13</h4><p>110 × 178 mm, 496 pages, printed offset, <br />
printed black & white, with three-colour cover.<br />
Edition: 5000</p>

<p>Publisher, year: <a href='http://www.bokforlagetatlas.se' target='_blank'>Bokförlaget Atlas</a>, 2013<br />
Editor: Malena Rydell<br />
<a href='http://www.adlibris.com/se/bok/arena-texter-93-13-9789173890281' target='_blank'>Buy Here</a> ISBN: 978-91-73890-28-1</p>

<p>Printed by Scandbook AB, Falun </p>

<p>Keywords: Arena, books, 2013</p><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><h4 style='display: none;'>OEI #62<br />On Paper</h4><p>195 × 297 mm, 464 pages, printed offset, monochrome (black). <br />
Printed on ten different paper stock, bound in 16-page sections alternating paper between each section.<br />
Edition: 800</p>

<p>Publisher, year: <a href='http://www.oei.nu' target='_blank'>OEI</a>, 2013<br />
Author/editor: Jonas (J) Magnusson, Cecilia Grönberg<br />
<a href='http://www.adlibris.com/se/bok/oei62-2013-on-paper-9789185905607' target='_blank'>Buy Here</a> ISBN: 978-91-85905-60-7</p>

<p>Printed by <a href='http://www.elanders.se' target='_blank'>Elanders</a><br />
Paper from <a href='http://www.antalis.se' target='_blank'>Antalis</a> (thank you Signe!) </p>

<p>Keywords: OEI, magazine, 2013</p><div class='color-0'></div><h4 style='display: none;'>Eytys</h4><p>Website and shop built on custom CMS.<br />
Designed for computers, tablets, and smartphones.<br />
Available at <a href='http://www.eytys.com' target='_blank'>www.eytys.com</a></p>

<p>Publisher, year: <a href='http://www.eytys.com' target='_blank'>Eytys</a>, 2013</p>

<p>With webdesign and programming by <a href='http://www.dennybackhaus.com' target='_blank'>Denny Backhaus</a> and programming and backend development by Vilhelm Belius.<br />
Eytys is Max Schiller & Jonathan Hirschfeldt</p>

<p>Keywords: Eytys, website, 2013<br />
</p><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><h4 style='display: none;'>Bebodda Platser</h4><p>150 × 225 mm, 319 pages, printed offset, <br />
printed black & white, with two-colour cover.<br />
Edition: 800</p>

<p>Publisher, year: <a href='http://webbshop.arkitektur.se' target='_blank'>Arkitektur Förlag</a>, 2013<br />
Author/editor: Håkan Forsell<br />
<a href='http://webbshop.arkitektur.se/shop/product/bebodda-platser--hakan-forsell?tm=' target='_blank'>Buy Here</a> ISBN: 978-91-86050-83-2</p>

<p>Printed by Elanders </p>

<p>Keywords: Arkitektur, books, 2013</p><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><h4 style='display: none;'>OEI #60–61</h4><p>195 × 297 mm, 512 pages, printed offset, <br />
full colour. <br />
Edition: 800</p>

<p>Publisher, year: <a href='http://www.oei.nu' target='_blank'>OEI</a>, 2013<br />
Author/editor: Jonas (J) Magnusson, Cecilia Grönberg<br />
<a href='http://www.adlibris.com/se/bok/oei60-612013-extra-disciplinary-spaces-and-de-disciplinizing-moments-in-and-out-of-the-30th-bienal-de-sao-paulo-9789185905546' target='_blank'>Buy Here</a> ISBN: 978-91-85905-54-6</p>

<p>Printed by Elanders </p>

<p>Keywords: OEI, magazine, 2013</p><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><h4 style='display: none;'>Samling</h4><p>310 × 310 mm, gatefold, printed offset, full colour<br />
Edition: 500 <br />
(vinyl)</p>

<p>140 × 125 mm, jewelcase, printed offset, full colour<br />
Edition: 2000<br />
(CD)</p>

<p>Publisher, year: <a href='http://www.sony.se' target='_blank'>Sony Music Entertainment Sweden AB</a>, 2013<br />
Artist: <a href='http://www.samlingmusic' target='_blank'>Samling</a></p>

<p><a href='http://cdon.se/musik/samling/annanstans-22693889' target='_blank'>Buy Here</a> </p>

<p>Keywords: Samling, Recordcover, vinyl, 2013</p><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><h4 style='display: none;'>OEI<br />Undersökningar II</h4><p>Title: <i>Differentiell poetik</i></p>

<p>130 × 200 mm, 512 pages, printed offset, <br />
Black & white. Cover printed black on coloured paper stock with white hot foil stamping.<br />
Edition: 800</p>

<p>Publisher, year: <a href='http://www.oei.nu' target='_blank'>OEI editör</a>, 2013<br />
Author/editor: Marjorie perloff. Editor, translator: Jonas (J) Magnusson, Anders Lundberg. Translator: Jesper Olsson.<br />
<a href='http://www.adlibris.com/se/product.aspx?isbn=918590550X&r=1' target='_blank'>Buy Here</a> ISBN: 978-91-85905-50-8</p>

<p>Printed by Elanders </p>

<p>Keywords: OEI, OEI editör, books, 2013</p><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><h4 style='display: none;'>OEI<br />Undersökningar I</h4><p>Title: <i>En privatdetektiv och grammatiker i Tanger</i></p>

<p>130 × 200 mm, 208 pages, printed offset, <br />
Black & white. Cover printed black on coloured paper stock with white hot foil stamping.<br />
Edition: 800</p>

<p>Publisher, year: <a href='http://www.oei.nu' target='_blank'>OEI editör</a>, 2013<br />
Author/editor: Emmanuel Hocquard. Editor, translator: Jonas (J) Magnusson<br />
<a href='http://www.adlibris.com/se/product.aspx?isbn=9185905496' target='_blank'>Buy Here</a> ISBN: 978-91-85905-49-2</p>

<p>Printed by Elanders </p>

<p>Keywords: OEI, OEI editör, books, 2013</p><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><h4 style='display: none;'>OEI #56–57<br />The Magazine</h4><p>195 × 297 mm, 480 pages, printed offset, <br />
black & white. Cover printed in a two colour, non rasterised, iris-print in offset. <br />
Edition: 800</p>

<p>Publisher, year: <a href='http://www.oei.nu' target='_blank'>OEI</a>, 2012<br />
Author/editor: Jonas (J) Magnusson<br />
<a href='http://www.adlibris.com/se/product.aspx?isbn=9185905437' target='_blank'>Buy Here</a> ISBN: 978–91–85905–35–5</p>

<p>Printed by Elanders </p>

<p>Keywords: OEI, magazine, 2012, irisprint</p><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><h4 style='display: none;'>Form Us With Love<br /><i>Website</i></h4><p>Website built on the <a href='http://wordpress.org/' target='_blank'>WordPress</a> CMS<br />
Available at <a href='http://www.formuswithlove.se' target='_blank'>www.formuswithlove.se</a></p>

<p>Publisher, year: <a href='http://www.formuswithlove.se' target='_blank'>Form Us With Love</a>, 2012<br />
Creative director: Petrus Palmér, FUWL<br />
In collaboration with <a href='http://www.dennybackhaus.com' target='_blank'>Denny Backhaus</a> (design & programming) & FUWL</p>

<p>The typeface Circular, designed by <a href='http://www.laurenzbrunner.com/' target='_blank'>Laurenz Brunner</a>, is licensed exclusively from <a href='http://www.lineto.com' target='_blank'>Lineto</a></p>

<p>Keywords: fuwl, website, 2012, collaboration, Denny Backhaus </p><div class='color-1'>Website for the Swedish design studio Form Us With Love. This was a collaboration between myself (handling art direction & design), <a href='http://www.dennybackhaus.com' target='_blank'>Denny Backhaus</a> (doing design and programming) and <a href='http://www.formuswithlove.se' target='_blank'>FUWL</a> (as creative directors).</div><div class='color-1'>FUWL.se uses the same design principle as this site: its one page divided into different sections, functioning like 'apps'. The visitor never leaves the page while surfing the site. Shown here is the project overview; a grid of thumbnails that turn to full-colour if you hover with the cursor..</div><div class='color-1'>Once you click a thumbnail, you are taken to a fullscreen slideshow. Text-slides and image-slides are separated, to focus the viewer on the content. The typeface used on FUWL.se is an exclusive license of the yet unpublished <i>Circular</i> designed by <a href='http://www.laurenzbrunner.com' target='_blank'>Laurenz Brunner</a> and distributed by <a href='http://www.lineto.com' target='_blank'>Lineto</a>.</div><div class='color-1'>The beautiful <i>Form Pendants</i>, photographed by <a href='http://www.jonaslindstrom.se/' target='_blank'>Jonas Lindström</a>.<br />FUWL has a catalogue of very nice photos (almost all taken by mr. Lindström), and it was obvious to me that the website should be centered around these.</div><div class='color-1'>Each section of the website has its own background colour, to further illustrate and emphasize them.<br />Shown here is the Producers-section, were the collaboration between FUWL and their most noteworthy clients is in focus.</div><div class='color-1'>Shown here is the About us-section, were you can read more about the company and its history.<br />Each section is given its own navigation, here the menu is on top.</div><div class='color-1'>The News-section is the most complex part of the website. It hosts a news-part, were new products or events are highlighted (you can also browse through the news-archive and catch up).<br />The News-section also contains a Instagram-feed and a Twitter-feed.</div><h4 style='display: none;'>Alla kungens hästar</h4><p>120 × 180 mm, 80 pages, printed offset, <br />
black & white, monochrome cover. Edition: 600<br />
Publisher, year: <a href='http://www.oei.nu' target='_blank'>OEI editör</a>, 2012<br />
Author: Michèle Bernstein<br />
Translated by: Kim West & Jonas (J) Magnusson<br />
<a href='http://www.adlibris.com/se/product.aspx?isbn=9185905364' target='_blank'>Buy Here</a> ISBN: 978–91–85905–36–2<br />
Keywords: oei, books, fonts, 2012 </p><div class='color-0'><i>Tous les chevaux du roi</i> by Michèle Bernstein, translated by Kim West & Jonas (J) Magnusson.<br />More pictures shortly!</div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><div class='color-0'></div><h4 style='display: none;'>OEI #55<br />On Tape</h4><p>195 × 297 mm, 264 pages, printed offset, <br />
black & white. Edition: 800.<br />
Publisher, year: <a href='http://www.oei.nu' target='_blank'>OEI</a>, 2012<br />
Author/editor: Jesper Olsson, Patrik Sjöberg (guest editor)<br />
<a href='http://www.adlibris.com/se/product.aspx?isbn=9185905356' target='_blank'>Buy Here</a> ISBN: 978–91–85905–35–5<br />
Keywords: oei, magazine, fonts, 2012 </p><div class='color-0'>OEI #55 On Tape deals with magnetic media, focusing (for instance) on sound poetry and art, the home video and super-8 films. With tape as a medium, I instantly think of <i>distortion</i>. The cover of OEI#55 was made by printing the design on a desktop laser-printer, then scanning the print and printing it again. By repeating this a number of times, overlapping rasters create moiré patterns in a spiral of destruction.</div><div class='color-0'>The title page went through one cycle of printing-scanning. The distortion is not so visible.</div><div class='color-0'>This magazine is set in <i>Ionic no. 5</i>, designed by C.H. Griffith in 1925, after a design called <i>Ionic 156-J</i> by Tolbert Lanston from 1913. Griffiths' version revolutionized newsprint in terms of legibility and economy. Its also one of the best names for a typeface I've encountered. </div><div class='color-0'>This issue of OEI is set entirely in a one-column layout, with footnotes place on the top of the page (by definition becoming head-notes). Paragraphs are marked by a thick black stroke; a tape.</div><div class='color-0'>The last spread of the magazine</div><div class='color-0'>The back cover shows the same design as the front cover, only this has only gone thru one print and scan-cycle. I'm really happy with the design of this, and I almost regret 'destroying' it on the front cover. Ah, well, what one doesn't do for <i>the concept</i>.</div><h4 style='display: none;'>OEI #53–54<br />DDDD</h4><p>195 × 297 mm, 1280 pages, printed offset, <br />
black & white. Edition: 800. Weight: 3,8kg<br />
Publisher, year: <a href='http://www.oei.nu' target='_blank'>OEI</a>, 2011<br />
Author/editor: Jonas (J) Magnusson (editor in chief), Cecilia Grönberg (editor)<br />
Graphic design by Martin Högström and Christopher West<br />
<a href='http://www.adlibris.com/se/product.aspx?isbn=9185905305' target='_blank'>Buy Here</a> ISBN: 978–91–85905–30–0<br />
Keywords: oei, magazine, fonts, 2011 </p><div class='color-0'>The four D's stand for Dokument, Dispositiv, Deskription, Diskurs. The enormous double issue of OEI magazine has 1280 pages and weights 3,8 kg. Due to the amounts of material, OEI# 53–54 was designed by myself and Martin Högström, spitting the material in-between us.</div><div class='color-0'>This rather odd way of collaborating with another designer meant that we actually didn't collaborate, we designed half of the magazine each without knowing much about what the other designer did.</div><div class='color-0'>I set my 'half' of this issue entirely in <i>Univers</i> designed by Adrian Frutiger in the early 1950's. Further, I set up a rather strict layout to be able to be as time-efficient as possible when producing this issue.</div><div class='color-0'>For most of the articles I used this two-cloumn layout, as it proved to be the most flexible and could swallow lots of text.</div><div class='color-0'>Even if the design of this issue was indeed time-efficient in the making, there are always this sort of bumps in the road: This spread took me and entire day to lay out. I'm really happy with it though.</div><div class='color-0'>This is the last article in the issue, titled Solid Mechanics [material fatigue] (my translation)<br />by Lennart Josefsson</div><h4 style='display: none;'>Att Låna Äger</h4><p>125 × 190 mm, digital print, edition 200<br />
Publisher, year: <a href='http://www.forfattarforbundet.se/' target='_blank'>Sveriges Författarförbund</a>, 2011<br />
Author/editor: Martin Högström/Sveriges Författarförbund<br />
Keywords: campaign, 2011 </p><div class='color-1'><i>Att Låna Äger</i> is a campaign against the privatization of public libraries in Sweden, initiated by <a href='http://www.forfattarforbundet.se/'>Sveriges Författarförbund</a> (The Swedish Writers’ Union). These postcards were distributed to visitors of the <a href='http://www.bok-bibliotek.se/en/the-book-fair/welcome/'>Göteborg Book Fair</a> in September 2011.</div><div class='color-1'>The campaign consists of two postcards and pins. The first reads “Att Låna Äger”,<br />freely translated to “Lending Owns”. The second slogan (shown here) translates to<br />“The Loans Make The Literature”.</div><div class='color-1'>The cards’ backside has a short text stating that the sender of this card opposes the privatization.<br />Every card is addressed to the Swedish Minister of Culture, Lena Adelsohn-Liljeroth, of the conservative party Nya Moderaterna.</div><div class='color-1'>We also made pins!<br />The slogans and the exclamation mark are set in Paul Renner’s Futura Black. I wanted a loud, bold, stenciled look for this project. The text and address is set in Futura Medium. The screaming red is chosen for its obvious political connotations. And <i>yes</i>, I fully support the campaign!</div><h4 style='display: none;'>Youth</h4><p>420 × 594 mm (A2) Printed offset and silkscreen<br />
Edition 500 (silkscreen poster ed. 40)<br />
Publisher, year: <a href='http://youthsthlm.tumblr.com/' target='_blank'>Youth</a>/<a href='http://www.debaser.se/' target='_blank'>Debaser</a>, 2011<br />
Author/editor: Christopher West<br />
Silkscreen poster in collaboration with <a href='http://www.hijackyourlife.com/' target='_blank'>Kalle Mattsson</a><br />
Keywords: posters, collaboration, 2011 </p><div class='color-0'>Since 2008, Anna Danielsson & Isabella Tedhammar have built a solid reputation as DJs under the name <i>Youth</i>. They have played most of the notable venues in the Stockholm party scene, and hosted monthly club nights at <a href='http://www.bondenbar.se/'>Bonden Bar</a>, <a href='http://landet.nu/'>Landet</a> and at their current location <a href='http://www.debaser.se/'>Debaser</a>.</div><div class='color-1'>This poster was designed for Youth's second season (AW 2011) at Debaser Slussen. The first season poster, with hand-drawn type, is seen in the previous slide. For this version I redesigned the typography and added a gloss to the lips, going for a wet kiss look.</div><div class='color-1'>This hand printed poster was made specifically for the <a href='http://www.wolfpeople.co.uk/'>Wolf People</a> concert in April 2011. I collaborated with illustrator extraordinaire <a href='http://www.hijackyourlife.com/'>Kalle Mattsson</a>, with the ambition to make a <i>really nice</i> poster.<br />This is the outcome.</div><h4 style='display: none;'>Arnhem<br />Mode<br />Biennale<br /><i>Print</i></h4><p>Various formats, printed offset (cover) headset (booklet), <br />
monochrome, edition: 50.000<br />
Art Direction: <a href='http://www.laurenzbrunner.com' target='_blank'>Laurenz Brunner</a> & <a href='http://www.juliaborn.com' target='_blank'>Julia Born</a>. <br />
Program book designed by <a href='http://www.aes.info/' target='_blank'>Alexander Shoukas</a>.<br />
Publisher, year: <a href='http://www.arnhemmodebiennale.com/' target='_blank'>Arnhem Mode Biennale</a>, 2011<br />
Keywords: amb, collaboration, fashion, 2011</p>

<p></p><div class='color-1'>In May 2011 I was commissioned by <a href='http://www.laurenzbrunner.com'>Laurenz Brunner</a> & <a href='http://www.juliaborn.com'>Julia Born</a> to work on the graphic design for <a href='http://www.arnhemmodebiennale.com/'>Arnhem Mode Biennale</a>, a project they had been developing since the beginning of the year, and that was one month from opening.</div><div class='color-1'>I was assigned to work on the maps for the exhibition: a floor plan (shown here, as printed on the inside cover of the exhibition-catalogue) and a map of the city of Arnhem.</div><div class='color-1'>The challenge with the city map was its scale. The location of exhibition spaces and events was spread out over the city, which called for a rather small-scale map, but there were also a great many details that needed to fit in the city-centre, and that called for a larger scale map</div><div class='color-1'>For previous exhibitions the map was divided in two, one map showing the entire city, and another bigger scale map showing the city-centre. I wanted to avoid this scenario, giving the visitors overview <i>and</i> detail.</div><div class='color-1'>The city map was also printed in the program booklet.</div><h4 style='display: none;'>Arnhem<br />Mode<br />Biennale<br /><i>Signage</i></h4><p>Various format signs, vinyl stencils on PVC board / Paint<br />
Art Direction: <a href='http://www.laurenzbrunner.com' target='_blank'>Laurenz Brunner</a> & <a href='http://www.juliaborn.com' target='_blank'>Julia Born</a>. <br />
Publisher, year: <a href='http://www.arnhemmodebiennale.com/' target='_blank'>Arnhem Mode Biennale</a>, 2011<br />
Keywords: amb, collaboration, signage, fashion, 2011</p><div class='color-0'>After finishing work on the maps, I was tasked to design the signage for the exhibition. The signage was divided into different categories. Shown here (and next slide) are outdoor signs.</div><div class='color-0'></div><div class='color-0'>This is the entrance to the show. There was a series of boards hanging in the hallway,<br />welcoming the visitor to the exhibition.</div><div class='color-0'>These A0 signs were placed at the entrance of the different sections of the exhibition,<br />offering a short introduction to the theme.</div><div class='color-0'></div><div class='color-0'>There were also many of these directional signs, required to guide visitors around the huge factory were the exhibition was held. </div><div class='color-0'></div><div class='color-0'></div><div class='color-0'>These pictures were taken on the day before the exhibition shut.<br />Some signs had a nice patina. </div><div class='color-0'></div><div class='color-0'>The name of the designer and a number corresponding to the floor-plan in the catalogue was painted on the floor close to each installation.</div><div class='color-0'>The number also corresponded to the article in the catalogue.</div><div class='color-0'>It took a team of painters and assistants to get these signs ready in time for the opening. </div><div class='color-0'>The way the typography is distorted by the roughness of the floor is amazing. </div><div class='color-0'>Some spots were almost impossible to paint on. This is some sort of oil-stain. </div><div class='color-0'>Another close-up of the nicely distorted typography.</div><h4 style='display: none;'>Vita Kuben</h4><p>130 × 200 mm, 64 pages<br />
Printed offset, black & white, edition 300<br />
Publisher, year: UKW Förlag, 2011<br />
Author/editor: <a href='http://www.ullawest.com' target='_blank'>Ulla West</a><br />
ISBN: 978–91–979414–0–2<br />
Keywords: books, fonts, UKWförlag, 2011 </p><div class='color-1'>Vita Kuben [the white cube] was an artist-curated exhibition space located in the entrance of <a href='http://www.norrlandsoperan.se'>Norrlandsoperan</a> in Umeå, Sweden.</div><div class='color-1'>This book was made on the occasion of the final exhibition period in the fall of 2010, curated by <a href='http://www.ullawest.com'>Ulla West</a> and including shows by herself, Emily Sundblad/<a href='http://reenaspaulings.com/'>Reena Spauling Fine Arts</a>, and <a href='http://www.linaselander.com/'>Lina Selander</a>.</div><div class='color-1'>The name Vita Kuben is an obvious reference to the typical white-walled fine art gallery, but Vita Kuben <i>is</i> in fact a white cube hanging in the ceiling of the entrance of Norrlandsoperan.</div><div class='color-1'>The layout of the book is based on the two-dimensional cube: the square. The type area is made up of a square divided between the spreads. </div><div class='color-1'>The typeface used for page numbers and titles is a revised version of a font I designed called Ettore.<br />This version is named Mobile. </div><div class='color-1'>During the final exhibition period there was also a temporary artists' books library, situated at the entrance of the exhibition space. The book contains short presentations of the publishers as well as a list of the books presented.</div><div class='color-1'>Images were consequently separated from the texts and used as contextual breaks in the book’s narrative.</div><div class='color-1'><i>Vita Kuben</i> includes an introductory essay by Tina Eriksson-Fredriksson (artistic director of Vita Kuben), several essays by Ulla West, and interviews with participating artists Emily Sundblad and Lina Selander.</div><h4 style='display: none;'>OEI #51<br />Mary Ellen Solt</h4><p>195 × 297 mm, 448 pages, printed offset, <br />
black & white, 16 p. full color insert. Edition: 800<br />
Publisher, year: <a href='http://www.oei.nu' target='_blank'>OEI</a>, 2010<br />
Author/editor: Antonio Sergio Bessa (guest editor) <br />
Jonas (J) Magnusson & Jesper Olsson (editors in chief)<br />
<a href='http://www.adlibris.com/se/product.aspx?isbn=9185905186' target='_blank'>Buy Here</a> ISBN: 978–91–85905–18–8<br />
Keywords: oei, magazine, fonts, 2010 </p><div class='color-0'>This is the second issue of OEI magazine that I designed.<br />The font used on the front cover is made specially for this publication and is called <i>America</i></div><div class='color-0'>Mary Ellen Solt was an American poet and author, best known for “Concrete Poetry – A World Movement”, the first extensive anthology on the international concrete poetry movement, published in 1970.</div><div class='color-1'>OEI #51 contains revised articles from “Concrete Poetry – A World Movement”, reproductions of poetry by Mary Ellen Solt, and numerous essays.</div><div class='color-1'>The issue is guest-edited by Antonio Sergio Bessa, and contains forewords and introductions by Bessa, Kenneth Goldsmith, and Marjorie Perloff.</div><div class='color-1'>I began the design process by dividing the contents into different categories, such as editorial material, essays, reproductions, poetry, and appendices.</div><div class='color-1'>Each category was designed separately, but with one theme that bound the issue’s design together: American Typography. It may sound strange to design this issue – which revolves around an international poetry movement – with a concept based on nationality.</div><div class='color-1'>But since Solt was an American author mapping an international movement, it seemed fitting that I, as a Swedish designer based in Amsterdam, gave this issue an “American” feel.</div><div class='color-1'>The design of the essays was based on the proportions of the American letter-format. The appendix section (shown here) was designed with reference to the typesetting of the <a href='http://www.newyorker.com/'>New Yorker</a> magazine. </div><div class='color-1'>Image captions were set in an IBM typewriter font called Script, described in a specimen as the font for a “personal” feeling, which was perfect since the images were mostly personal snapshots of Solt.<br />Poems and introductions (shown here) were set in Franklin Gothic.</div><div class='color-1'>OEI magazine is heavy on footnotes; I learned that working on issue #48–49–50. The handling of footnotes can be a tricky business, since MS Word and InDesign interlock in a knot of “automatization”, making any sort of typographic design virtually impossible. With #51 I decided to take full control and do all notation by hand, coming up with an elaborate system of very visible dots and numbers.</div><div class='color-1'>It was time consuming, but worked fine when I tested it. I was in the middle of production when I found out that the guest editor was notoriously picky with notations, resulting in articles of around 20 pages containing over 200 footnotes. The pages were quickly filled with black dots.</div><div class='color-1'>OEI #51 also contains a 16-page color section...</div><div class='color-1'>...with reproductions of Solt's amazing <i>People Mover</i> publication.</div><div class='color-1'>The rectangle peace sign on the back cover of this issue comes from <i>People Mover</i>.</div><div class='color-0'></div><h4 style='display: none;'>Lost & Found</h4><p>125 × 190mm, printed offset, PMS 426U & 8U<br />
Edition 1000 (4 × 250)<br />
Publisher, year: Julia van Mourik/<a href='http://www.lost.nl' target='_blank'>Lost & Found</a>, 2010<br />
Author/editor: Christopher West, Julia van Mourik<br />
Keywords: invitation, 2010<br />
</p><div class='color-1'><a href='http://www.lost.nl'>Lost & Found</a> has hosted over 70 sessions since 1997. Artists are invited to “show material which doesn't<br />fit comfortably into regular gallery contexts; work which demands more concentration than the usual walk-by.” (quote from <a href='http://www.lost.nl'>www.lost.nl</a>)</div><div class='color-1'>Most designers I know working in Amsterdam have made a Lost & Found invite at some point in their career – one of the reasons why I was so excited when Julia van Mourik offered me the commission.</div><div class='color-1'>During our first meeting I had the idea of working with camouflage patterns, but I was sure that it would have already been done. Much to my surprise, it turned out that I was wrong, and I started visiting scary military websites.</div><div class='color-1'>The four cards I designed feature different camo-patterns that were designed for urban use, but which failed miserably in every test. Since camouflage patterns don’t have a direction, I set the type on the backside of the cards facing all four directions, to encourage the viewer to turn the card.</div><h4 style='display: none;'>Oreda</h4><p>420 × 594mm, printed silkscreen/mimeograph, <br />
two color prints, edition 40<br />
Publisher/client, year: Robert Brodén (<a href='http://hornstullstrand.se/' target='_blank'>Strand</a>), 2010<br />
Author/editor: Christopher West<br />
Keywords: Posters, fonts, 2010</p><div class='color-1'>Oreda was a musical happening orchestrated on a monthly basis by Robert Brodén at Strand. “Oreda” means “disorder”. Robert's idea was to create a place were you could hear any kind of music, taken completely out of its context, and preferably put in a strange mix.<br />The graphic language of the Oreda-posters are based on the construction of the word: taking out the “O-” leaves “REDA” (just as removing “DIS-” leaves “ORDER” in english). </div><div class='color-1'>The posters are dual in nature, mixing strict clarity and playful chaos. In addition, every Oreda-event had a theme, shown here is the Kakofoni [Cacophony] poster: The remnants of the “O” (prominent in the poster on the previous slide) transform into sound waves.</div><div class='color-1'>Yrsel [Dizzyness] was the theme for the third Oreda. Nothing is straight in this poster – not even the<br />red colourplate.</div><div class='color-1'>The fourth Oreda poster is on the theme Villervalla [loosely translated as Confusion].</div><div class='color-1'>For the final Oreda night I made an invitation instead of a hand-printed silkscreen poster, stencil printed in two colors at the Stencilkelder, Amsterdam. Things had gotten so out of hand by this point, that the theme of the night was Ute på travbanan [Out on the racetrack].</div><h4 style='display: none;'>Daydream Nation</h4><p>420 × 594 mm (A1), Silkscreen, <br />
monochrome/duotone, edition: 40<br />
Publisher, year: Daydream Nation/<a href='http://hornstullstrand.se/' target='_blank'>Strand</a>, 2009<br />
Author/editor: Christopher West <br />
Keywords: posters, 2009</p><div class='color-0'>Daydream Nation was a club night at <a href='http://hornstullstrand.se/'>Strand</a> organized by Robert Brodén and Kalle Josephson. I made two posters for DN, the first shown here (printed on both sides). My idea was to only use snapshots from my cell phone for these posters. But as things go sometimes, the club changed name and direction shortly after I made the second poster.</div><div class='color-0'>This is one of my favorite poster designs, and sadly it only got printed once, in <i>Regular Graphic Design Today</i>, a graphic design portfolio-book published by <a href='http://www.gestalten.com/'>Gestalten Verlag</a> in 2010.<br />Daydream Nation used it as a digital flyer.</div><h4 style='display: none;'>O#X<br />Den Obönhörliga</h4><p>130 × 200 mm, 140 pages<br />
Printed offset, black & white, edition 500<br />
Publisher, year: <a href='http://www.axlbooks.com/' target='_blank'>Axl Books</a>, 2010<br />
Author/editor: <a href='http://www.ullawest.com/' target='_blank'>Ulla West</a><br />
<a href='http://www.adlibris.com/se/product.aspx?isbn=919785980X' target='_blank'>Buy here</a> ISBN: 978–91–978598–0–6<br />
Keywords: books, Axl Books, 2010 </p><div class='color-1'><i>O#X Den Obönhörliga</i> is an artist-book about an interactive robot. This moving sculpture started as a humanoid, a sort of beggar following people around in the gallery space, playing recorded messages of beggars from the streets of Stockholm when it was close to a person.</div><div class='color-1'>Over the course of more than five years, the robot passed through many shapes. At one point the human-like torso was removed, turning it into a little wagon moving around seemingly at random. Then you could SMS it, and it would read your message out loud wherever it was. In its latest incarnation, the robot would draw its path on the floor with a marker, like an obnoxious child.</div><div class='color-1'>The robot was always an annoying little figure, always calling for attention, and always disrupting the peace. I thought it was important to capture this in the book about the robot. </div><div class='color-1'>The design incorporates the documentation of the artwork – a longer text by the artist, pictures, an essay, and an English translation – with traces of the robot's final performance:</div><div class='color-1'>the black lines of a marker tracing the robot's path across each spread of the book.</div><h4 style='display: none;'>Your Message Here<br /><i>T-Shirts</i></h4><p>Medium size T-shirts, silkscreened, duotone<br />
Every T-shirt is a unicum<br />
Publisher, year: Selfinitiated/-published, 2008–9<br />
Author/editor: Christopher West<br />
Photography: <a href='http://semuelsouhuwat.com/' target='_blank'>Semuel Souhuwat</a><br />
Keywords: tshirts, endexam, selfpublished, 2009<br />
</p><div class='color-0'>In October 2008 I opened a store on <a href='http://www.ebay.com'>e-Bay</a>, called Your Message Here.<br />Every week I started one auction in this store, for sale was the space on my white T-shirt.</div><div class='color-0'>The person that won the auction was obliged to send me a design within 24 hours. I would then print this design on a T-shirt and wear that T-shirt every day for one week.</div><div class='color-0'>There were no restrictions, you were welcome to say anything you wanted on my T-shirts.<br />I turned myself into a “sandwich-man”, a walking billboard for peoples’ thoughts and opinions. All you had to do was win an auction and pay the fee – and in the beginning it was cheap. </div><div class='color-0'>I ran one auction per week for 29 consecutive weeks.</div><div class='color-0'>I had all sorts of designs printed, from personal messages to protest-slogans or advertising from PR-agencies. I had people from all over the world winning auctions: Sweden, The Netherlands, UK, USA, India, among others. </div><div class='color-0'>To prove to my buyers that I actually wore the T-shirt, I sent them a Polaroid picture of me in the T-shirt. If they requested other documentation of my week in “their” design, I did my best to oblige.</div><div class='color-0'>Your Message Here was mentioned in design blogs from around the world and various magazines, for example <a href='http://www.blend.nl/'>Blend</a> (NL), <a href='http://capdesign.idg.se/'>Cap&Design</a> (online edition, SE), <a href='http://www.wallpaper.com/'>Wallpaper</a> (UK), and <a href='http://www.grafikmag.com/'>Grafik</a> (UK).</div><div class='color-0'>After more than 20 weeks of auctioning and printing T-shirts I was lacking a purpose with the messages<br />I was wearing. There was a disconnection between the sender, me as the bearer of the message,<br />and the recipients.</div><div class='color-0'>With the drama around the proposed relocation of the Rietveld Academie, that all changed. I became the poster-boy for the <a href='http://www.rietveldforrietveld.org/english'>protest campaign</a>. The messages on my tees now had a clear purpose, directed at everyone at the school. Things became really interesting when I was in meetings with the headmaster – the person behind the idea of the relocation...</div><h4 style='display: none;'>Your Message Here<br /><i>Catalogue</i></h4><p>184 × 280 mm, 32 pages<br />
Photocopy, laser-print (insert), mimeography (cover)<br />
Edition 100<br />
Publisher, year: Self published, 2009<br />
Author/editor: Christopher West<br />
Copies still available! <a href='mailto:studio@christopherwest.se'>E-mail</a> for further info.<br />
Keywords: books, selfpublished, 2009 </p><div class='color-1'>This auction catalogue was made for the conclusion of Your Message Here: the live auction in which I sold the entire collection of T-shirts. Shown here (and next slide) are the four different covers I made for the catalogue</div><div class='color-1'>The cover(s) were printed by the best stencil-printer I know of: <a href='http://www.extrapool.nl/'>Extrapool/KNUST</a> in Nijmegen,<br />The Netherlands. The rest of the catalogue was photocopied, with a laser-printed insert.</div><div class='color-1'>Apart from its direct purpose – an auction catalogue – this publication would be the only remnant of my project once all the T-shirts were sold.</div><div class='color-1'>Every T-shirt was auctioned starting on the price that they sold for in the online auction.</div><div class='color-1'>Most of the tees sold for more than they started at, with the exception of the last few, since they started at around €100. They sold for far less than that.</div><div class='color-1'>Shown here is one page of the four-page insert, with snapshots from the 29 weeks of T-shirt wearing.</div><div class='color-1'>The catalogue’s narrow format was determined by the pictures, taken by <a href='http://semuelsouhuwat.com/'>Semuel Souhuwat</a>.</div><div class='color-1'>Shown here is the most expensive T-shirt (no.28) that sold for $107.50. It was also the third and last T-shirt made by the Rietveld Preservation Society.</div><div class='color-0'></div><h4 style='display: none;'>Your Message Here<br /><i>Auction</i></h4><p>Various formats, silkscreen, monochrome<br />
Edition 40/100<br />
Publisher, year: Selfinitiated/published, 2009<br />
Author/editor: Christopher West<br />
Keywords: tshirts, endexam, posters, invitations, 2009<br />
</p><div class='color-1'>To further promote the final auction I made this A1 poster, printed in two colors…</div><div class='color-1'>…as well as this invitation card, which also functioned as a bidding card during the auction (every number on the back was unique).</div><div class='color-0'>Here is the collection of T-shirts as exhibited during the end-exam show. In this picture I am preparing the auction that is just minutes away.</div><div class='color-0'>Auctioneer was the fabulous Tania Theodorou, founder of <a href='http://www.deaddarlings.nl/'>Dead Darlings</a>.</div><div class='color-0'>With the help of Tania, the auction was a success. The entire collection was sold, leaving me with lots of empty hangers and enough money to cover my expenses.</div><div class='color-0'>Minutes after the auction was over, I received my diploma and left school.</div><h4 style='display: none;'>The Growler</h4><p>Measurements: 1000 × 1000 × 2000 mm<br />
Material: wood, metal, drumskin, rubberbands<br />
In collaboration with <a href='http://www.philbaber.com/' target='_blank'>Philip Baber</a><br />
Keywords: intonarumori, philipbaber, endexam, collaboration, 2009<br />
</p><div class='color-1'>The Growler is a musical instrument – a reincarnation of Luigi Russolo’s Intonarumori [Noise Intoner] from 1910. It was constructed from blueprints of the original instruments, all of which were destroyed during WWII.</div><div class='color-0'>Russolo’s original intoners were never recorded, so the only way to hear the sound of an Intonarumori is to reconstruct it. There are numerous pictures and accounts of these instruments, as well as blueprints of their construction. This material also formed the foundation of Bröl, the second part of our project.</div><div class='color-0'>This collaborative project with <a href='http://www.philbaber.com/'>Philip Baber</a> dealt with the tracing and recording of sounds, and was part of our end-exam at the <a href='http://www.rietveldacademie.nl/'>Gerrit Rietveld Academie</a> in 2009. The Growler is constructed from discarded materials (scrapmetal, a broom-handle, painting boards, cupboards) salvaged from within the academy.</div><h4 style='display: none;'>Brööl</h4><p>240 × 328 mm, 47 pages<br />
Mimeographed, edition 100<br />
Publisher, year: Self published, 2009<br />
Author/editor: <a href='http://www.philbaber.com/' target='_blank'>Philip Baber</a> & Christopher West<br />
Copies still available! <a href='mailto:studio@christopherwest.se'>E-mail</a> for further info.<br />
Keywords: books, fonts, philipbaber, selfpublished, collaboration, 2009 </p><div class='color-1'><i>Brööl</i> is a manuscript for a radio broadcast on “lost sounds”. Much of the content was discovered while researching the Intonarumori.</div><div class='color-1'>There were simply too many amazing stories about fantastic inventions or extraordinary characters for us to not make something out of this material.</div><div class='color-1'>Each pink page of <i>Brööl</i> marks the beginning of an article.</div><div class='color-1'>At the bottom of each page are the two first words of the next page, so that the person reading the manuscript out loud during broadcast won’t have to pause to turn the page.</div><div class='color-1'>Each page of <i>Brööl</i> represents approx. 60 seconds of broadcast. The images are also placed in the flow of the manuscript. If an image is too far down on one page, it is simply cropped and continued on the next.</div><div class='color-1'>Texts set in uppercase are instructions to the narrator, or cues. Paragraphs marked with ((( are meant to be read out loud (the triple parentheses mimicking soundwaves). The lines are broken where there are natural breaks in the reading.</div><div class='color-1'>The script was broadcast once but not recorded, thus itself becoming “lost”.</div><h4 style='display: none;'>Rietveld Final Show</h4><p>841 x 1189 mm (A0), woodcut printing/silkscreen, selection of 10 PMS colors. <br />
Edition 350, every poster is a unicum<br />
Publisher, year: <a href='http://rietveldacademie.nl' target='_blank'>Gerrit Rietveld Academie</a>, 2009<br />
Author/editor: <a href='http://www.albanschelbert.com' target='_blank'>Alban Schelbert</a> & Christopher West,<br />
Keywords: woodcuts, posters, albanschelbert, collaboration, endexam, 2009<br />
</p><div class='color-0'>We were assigned to make the posters for the end exam show at the Rietveld Academie, 2009. The commission was to produce 350 posters that would be placed in Amsterdam, and in art academies and universities throughout The Netherlands. We also made invitations, ads for magazines, e-flyers, banners, and tote bags.</div><div class='color-0'>Drawing on experience gained in the Wood Cut project, we based the entire campaign on woodcut printing. Shown here is the arsenal of shapes we cut for the creation of the 350 hand-printed, unique posters.</div><div class='color-0'>We had all the sheets silkscreen-printed with the essential information (the text on the bottom of the poster), leaving us with the freedom to print every poster as we saw fit.</div><div class='color-0'>In addition to our arsenal of wooded shapes we ordered 10 different hues of printing ink, so that we wouldn’t have to waste precious time mixing colours.</div><div class='color-0'>Over the course of eight days we printed all the posters. Most posters have two layers of print, but some have only one, and some many more.</div><div class='color-0'>We designed every poster on the printing press, deciding of colors and layout on the spot. </div><div class='color-0'>Making the layout on press, every poster became a unique piece. Looking to centuries of poster art, we tried to capture the playful creativity inherent in an art academy.</div><div class='color-0'>The previous five slides showed the posters we exhibited in the end exam show. Shown here (and next slide) are a few of the posters that were distributed in the city.</div><div class='color-0'>This project was one of the most creative and rewarding I’ve worked on as a designer.</div><div class='color-0'>Here is the invitation card. Every student that graduated was given five copies of this invitation to send to family and friends.</div><div class='color-0'>This is the VIP invitation. It’s printed in black and gold.</div><div class='color-0'>These tote bags were sold at the exhibition for €2. The communication with the printer producing these bags was an extremely annoying and time-consuming process. But the bags turned out great!</div><div class='color-1'></div><h4 style='display: none;'>Woodcut Prints</h4><p>Various formats, woodcut printing, various colors<br />
Every print is a unicum<br />
Publisher, year: Selfinitiated/published, 2008–9<br />
Author/editor: <a href='http://www.albanschelbert.com' target='_blank'>Alban Schelbert</a> & Christopher West<br />
Keywords: woodcuts, posters, collaboration, albanschelbert, endexam, 2008, 2009<br />
</p><div class='color-0'>Before being commissioned to do the posters for the Rietveld Final Show, Alban and I spent one year experimenting with the oldest reproductive printing technique: woodcut printing.</div><div class='color-0'>We were investigating our own skills and limitations, but also what was possible with the facilities at our school. This trial-by-error approach produced a series of posters and prints.</div><div class='color-0'>Shown here is a poster constructed out of 24 wooden rectangles, the grain of the wood at different directions on every rectangle, creating a rotating effect. By the end, we ran out of rectangles with the correct grain direction and started to turn the rectangle itself.</div><div class='color-1'>We were commissioned by <a href='http://www.philbaber.com/'>Philip Baber</a> to make a signature for the first issue of his <a href='http://www.cannonmagazine.com/'>Canon Magazine</a>.</div><div class='color-1'>The word printed over these spreads is “the only word in the Martian language is written phonetically…</div><div class='color-1'>…it means whatever you want it to mean”…</div><div class='color-1'>…quote from Blaise Cendrars’ Moravagine, 1926.</div><div class='color-1'>There is no room for softness.</div><h4 style='display: none;'>Ultra Bold</h4><p>148 × 210 mm (A5), 84 pages<br />
Laserprint, full-color, edition: 15<br />
Publisher, year: Selfpublished, 2007<br />
Author/editor: <a href='http://www.albanschelbert.com/' target='_blank'>Alban Schelbert</a> & Christopher West<br />
Keywords: books, selfpublished, albanschelbert, collaboration, 2007<br />
</p><div class='color-1'><i>Ultra Bold</i> is the outcome of an assignment in typography given by <a href='http://laurenzbrunner.com/'>Laurenz Brunner</a> and <a href='http://www.radimpesko.com/'>Radim Pesko</a> during our second year at the <a href='http://rietveldacademie.nl/'>Gerrit Rietveld Academie</a>. </div><div class='color-1'>Our task was to make “a typographic intervention in public space”. We took this task quite literally.</div><div class='color-1'><i>Ultra Bold</i> is a book about urban typography. We committed the worst crime possible in graffiti culture: we crossed out another person’s painting…</div><div class='color-1'>…by writing what was already written, only “clarifying” it a little by mimicking the typeface Gill Sans Ultra Bold. We did not use any stencils – all our painting was done freehand.</div><div class='color-1'>We didn’t use paint when we crossed the pieces, but snow spray meant for Christmas decorations. Our ambition was never to destroy any graffiti, and since the project was made around Christmas time, the snow spray presented itself as a viable option.</div>

Prata!

Prata! SvenskaTecknare Martin Frostner collaboration 2014
Prata! Prata! SvenskaTecknare Martin Frostner collaboration 2014

Arena 93–13

Arena books 2013
Arena 93–13 Arena books 2013
Arena 93–13 Arena books 2013
Arena 93–13 Arena books 2013
Arena 93–13 Arena books 2013

OEI #62
On Paper

OEI magazine 2013
OEI #62 On Paper OEI magazine 2013

Eytys

Eytys website 2013
Eytys Eytys website 2013
Eytys Eytys website 2013
Eytys Eytys website 2013
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Eytys Eytys website 2013
Eytys Eytys website 2013
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Eytys Eytys website 2013

Bebodda Platser

Arkitektur books 2013
Bebodda Platser Arkitektur books 2013
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Bebodda Platser Arkitektur books 2013
Bebodda Platser Arkitektur books 2013

OEI #60–61

OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013
OEI #60–61 Brazil OEI magazine 2013

Samling

Samling Recordcover vinyl CD 2013
Samling Samling Recordcover vinyl CD 2013
Samling Samling Recordcover vinyl CD 2013
Samling Samling Recordcover vinyl CD 2013
Samling Samling Recordcover vinyl CD 2013
Samling Samling Recordcover vinyl CD 2013

OEI Under-
sökningar II

OEI editör books 2013
OEI Undersökningar II Marjorie Perloff OEI editör books 2013
OEI Undersökningar II Marjorie Perloff OEI editör books 2013
OEI Undersökningar II Marjorie Perloff OEI editör books 2013
OEI Undersökningar II Marjorie Perloff OEI editör books 2013
OEI Undersökningar II Marjorie Perloff OEI editör books 2013

OEI Under-
sökningar I

OEI books 2013
OEI Undersökningar I Emmanuel Hocquard OEI books 2013
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OEI #56–57
The Magazine

oei, magazine, 2012, irisprint
OEI #56–57 The Magazine oei, magazine, 2012, irisprint
OEI #56–57 The Magazine oei, magazine, 2012, irisprint
OEI #56–57 The Magazine oei, magazine, 2012, irisprint
OEI #56–57 The Magazine oei, magazine, 2012, irisprint
OEI #56–57 The Magazine oei, magazine, 2012, irisprint
OEI #56–57 The Magazine oei, magazine, 2012, irisprint
OEI #56–57 The Magazine oei, magazine, 2012, irisprint
OEI #56–57 The Magazine oei, magazine, 2012, irisprint
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FUWL
Website

FUWL website collaboration Denny Backhaus 2012
FUWL Website FUWL website collaboration Denny Backhaus 2012
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FUWL Website FUWL website collaboration Denny Backhaus 2012
FUWL Website FUWL website collaboration Denny Backhaus 2012
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FUWL Website FUWL website collaboration Denny Backhaus 2012

Alla kungens hästar

oei books 2012 fonts
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OEI #55
On Tape

oei magazine fonts 2012
OEI #55 On Tape oei magazine fonts 2012
OEI #55 On Tape oei magazine fonts 2012
OEI #55 On Tape oei magazine fonts 2012
OEI #55 On Tape oei magazine fonts 2012
OEI #55 On Tape oei magazine fonts 2012
OEI #55 On Tape oei magazine fonts 2012

OEI #53–54
DDDD

oei magazine 2011
OEI #53–54 DDDD oei magazine 2011
OEI #53–54 DDDD oei magazine 2011
OEI #53–54 DDDD oei magazine 2011
OEI #53–54 DDDD oei magazine 2011
OEI #53–54 DDDD oei magazine 2011
OEI #53–54 DDDD oei magazine 2011

Att Låna Äger

campaign 2011
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Youth

posters collaboration 2011
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Arnhem
Mode
Biennale
Print

amb collaboration fashion 2011
Arnhem Mode Biennale Print amb collaboration fashion 2011
Arnhem Mode Biennale Print amb collaboration fashion 2011
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Arnhem Mode Biennale Print amb collaboration fashion 2011
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Arnhem
Mode
Biennale
Signage

amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011
Arnhem Mode Biennale Signage amb collaboration signage fashion 2011

Vita Kuben

books fonts UKWförlag 2011
Vita Kuben books fonts UKWförlag 2011
Vita Kuben books fonts UKWförlag 2011
Vita Kuben books fonts UKWförlag 2011
Vita Kuben books fonts UKWförlag 2011
Vita Kuben books fonts UKWförlag 2011
Vita Kuben books fonts UKWförlag 2011
Vita Kuben books fonts UKWförlag 2011
Vita Kuben books fonts UKWförlag 2011

OEI #51
Mary Ellen Solt

oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010
OEI #51 Mary Ellen Solt oei magazine fonts 2010

Lost & Found

invitation 2010
Lost & Found invitation 2010
Lost & Found invitation 2010
Lost & Found invitation 2010
Lost & Found invitation 2010

Oreda

posters fonts 2010
Oreda posters fonts 2010
Oreda posters fonts 2010
Oreda posters fonts 2010
Oreda posters fonts 2010
Oreda posters fonts 2010

Daydream Nation

posters 2009
Daydream Nation posters 2009
Daydream Nation posters 2009

O#X
Den Obönhörliga

books axlbooks 2010
O#X Den Obönhörliga books axlbooks 2010
O#X Den Obönhörliga books axlbooks 2010
O#X Den Obönhörliga books axlbooks 2010
O#X Den Obönhörliga books axlbooks 2010
O#X Den Obönhörliga books axlbooks 2010

Your Message Here
T-Shirts

tshirts endexam selfpublished 2009
Your Message Here T-Shirts tshirts endexam selfpublished 2009
Your Message Here T-Shirts tshirts endexam selfpublished 2009
Your Message Here T-Shirts tshirts endexam selfpublished 2009
Your Message Here T-Shirts tshirts endexam selfpublished 2009
Your Message Here T-Shirts tshirts endexam selfpublished 2009
Your Message Here T-Shirts tshirts endexam selfpublished 2009
Your Message Here T-Shirts tshirts endexam selfpublished 2009
Your Message Here T-Shirts tshirts endexam selfpublished 2009
Your Message Here T-Shirts tshirts endexam selfpublished 2009

Your Message Here
Catalogue

books selfpublished 2009
Your Message Here Catalogue books selfpublished 2009
Your Message Here Catalogue books selfpublished 2009
Your Message Here Catalogue books selfpublished 2009
Your Message Here Catalogue books selfpublished 2009
Your Message Here Catalogue books selfpublished 2009
Your Message Here Catalogue books selfpublished 2009
Your Message Here Catalogue books selfpublished 2009
Your Message Here Catalogue books selfpublished 2009
Your Message Here Catalogue books selfpublished 2009

Your Message Here
Auction

tshirts endexam posters invitations 2009
Your Message Here Auction tshirts endexam posters invitations 2009
Your Message Here Auction tshirts endexam posters invitations 2009
Your Message Here Auction tshirts endexam posters invitations 2009
Your Message Here Auction tshirts endexam posters invitations 2009
Your Message Here Auction tshirts endexam posters invitations 2009
Your Message Here Auction tshirts endexam posters invitations 2009

The Growler

intonarumori endexam collaboration philipbaber 2009
The Growler intonarumori endexam collaboration philipbaber 2009
The Growler intonarumori endexam collaboration philipbaber 2009
The Growler intonarumori endexam collaboration philipbaber 2009

Brööl

books fonts philipbaber self published collaboration 2009
Brööl books fonts philipbaber self published collaboration 2009
Brööl books fonts philipbaber self published collaboration 2009
Brööl books fonts philipbaber self published collaboration 2009
Brööl books fonts philipbaber self published collaboration 2009
Brööl books fonts philipbaber self published collaboration 2009
Brööl books fonts philipbaber self published collaboration 2009
Brööl books fonts philipbaber self published collaboration 2009

Rietveld Final Show

woodcuts posters albanschelbert collaboration endexam 2009
Rietveld Final Show woodcuts posters albanschelbert collaboration endexam 2009
Rietveld Final Show woodcuts posters albanschelbert collaboration endexam 2009
Rietveld Final Show woodcuts posters albanschelbert collaboration endexam 2009
Rietveld Final Show woodcuts posters albanschelbert collaboration endexam 2009
Rietveld Final Show woodcuts posters albanschelbert collaboration endexam 2009
Rietveld Final Show woodcuts posters albanschelbert collaboration endexam 2009
Rietveld Final Show woodcuts posters albanschelbert collaboration endexam 2009
Rietveld Final Show woodcuts posters albanschelbert collaboration endexam 2009
Rietveld Final Show woodcuts posters albanschelbert collaboration endexam 2009
Rietveld Final Show woodcuts posters albanschelbert collaboration endexam 2009
Rietveld Final Show woodcuts posters albanschelbert collaboration endexam 2009
Rietveld Final Show woodcuts posters albanschelbert collaboration endexam 2009
Rietveld Final Show woodcuts posters albanschelbert collaboration endexam 2009

Woodcut Prints

woodcuts posters collaboration endexam 2008 2009
Woodcut Prints woodcuts posters collaboration endexam 2008 2009
Woodcut Prints woodcuts posters collaboration endexam 2008 2009
Woodcut Prints woodcuts posters collaboration endexam 2008 2009
Woodcut Prints woodcuts posters collaboration endexam 2008 2009
Woodcut Prints woodcuts posters collaboration endexam 2008 2009
Woodcut Prints woodcuts posters collaboration endexam 2008 2009
Woodcut Prints woodcuts posters collaboration endexam 2008 2009
Woodcut Prints woodcuts posters collaboration endexam 2008 2009

Ultra Bold

books selfpublished albanschelbert collaboration 2007
Ultra Bold books selfpublished albanschelbert collaboration 2007
Ultra Bold books selfpublished albanschelbert collaboration 2007
Ultra Bold books selfpublished albanschelbert collaboration 2007
Ultra Bold books selfpublished albanschelbert collaboration 2007
Ultra Bold books selfpublished albanschelbert collaboration 2007

ABOUT

Studio Christopher West was founded in 2009 in Amsterdam, and offers graphic design and art direction for digital and printed media. The studio delivers strong concepts, typographic precision and graphic playfulness. Curiosity, innovation and experimentation combined with deep knowledge in design, art and popular history are essential for the studio's practise.

The aim is to make every new project the best yet.

The clientele is mainly found in the cultural field: art, literature, critique, music, fashion, and architecture. Studio CW designs books, record sleeves, posters, websites, graphic identities, and logos, amongst other things.

The studio puts great emphasis on the creative collaboration with its clients, as well as with printers, bookbinders, paper manufacturers, programmers and so forth.

The creative discussion is key to all successful design!

ESSAYS

GRAFISK FORMGIVNING ÄR EN SMUTSIG VERKSAMHET.
DEN BÄR ALLTID SPÅR AV NÅGOT ANNAT.
DEN ÄR ALDRIG HELT SIG SJÄLV.

EXEMPEL 1 (konceptet): FORTUITY

I samband med formgivningen av OEI 48–49–50 2010 (ludOEI – lek, spel, leksaker) tecknade Christopher West typsnittet Fortuity. I numrets förord kan man läsa en kort beskrivning:

”varje streck i varje bokstav har två tjocklekar: tunn eller tjock. Valet av tjocklek för varje streck slumpas fram med hjälp av ett specialskrivet skript för Scriptographer […] Resultatet är ett typsnitt vars bokstäver konstrueras på nytt vid varje användning, men eftersom valmöjligheten är så pass begränsad blir resultatet på samma gång förutsägbart och slumpartat. Förutom konstruktionen av varje bokstav finns det även en funktion som slumpvis väljer färg på varje streck, utifrån ett på förhand gjort urval.”

Fortuitys bokstavsformer är inte i första hand estetiskt betingade. Inte heller är de underordnade typografins traditionella krav på läsbarhet. De genereras i en process som är låst vid vissa givna ramar och som samtidigt är öppen för vilka förändringar som helst inom dessa ramar (oavsett estetiska eller typografiska [d]effekter). Fortuity är ett konceptuellt orienterat muterande verk som genom variation och begränsning skriver sig loss från sin upphovsman. Christopher West får rollen av övervakare snarare än typograf då han sätter igång en maskin som producerar tecken vars estetiska utförande han inte kontrollerar i detalj. På sätt och vis är allt som vanligt i den typografiska verkstaden – tillämpningen av ett typsnitt befinner sig ju utom typsnittstecknarens kontroll från det ögonblick då det används av någon annan än denne. Fortuity kan därför sägas fungera som en metafor för typsnittens livsvillkor. Men där den traditionelle typsnittstecknaren arbetar minutiöst med att förutsäga och förekomma sitt typsnitts ”liv” i diverse tänkta miljöer, släpper Christopher West ifrån sig verket tidigare. Det skenar iväg. Och de effekter det ger upphov till är inte alltid typografiska.

Fortuity kontemplerar sin egen tillkomst.

Inom litteraturen finns många exempel på liknande tillvägagångssätt. Man kan nämna poesikonstellationer som OULIPO med sina kreativa begränsningar, algoritmer, lipogram, osv. Eller kanske ännu hellre A.L.A.M.O. som redan från starten 1982 använde datorer för att skapa automatiskt framställda litterära texter. Fortuity anknyter även till den konceptuella poesi som snarare intresserar sig för verkets utgångspunkter än för dess estetiska effekter. Men så har ju också Fortuity tecknats för en poesitidskrift som ägnar sig åt ”konceptuella operationer och estetiska teknologier”. Det är fråga om ett typografiskt bidrag som griper in i själva motorn till tidskriftens verksamhet. Om den typografiska hanteringen av litteratur traditionellt syftar till att lyfta fram och tillgängliggöra den litteraära textens ”innehåll” så intar Fortuity ett annat, mer konceptuellt integrerat förhållande till sitt objekt. Fortuity är resultatet av ett typografiskt arbete som tar sin utgångspunkt i en poetisk metodik där formgivaren frigörs från sitt verk. På samma sätt frikopplas den generativa processen från sina estetiska mål, och bokstaven från typografin.

EXEMPEL 2 (praktiken): OEI 53–54 2011

OEI 53–54 2011 (dokument, dispositiv, deskription, diskurs) är med sina 1280 sidor och nästan 4 kg sannolikt det mest omfattande poesitidskriftsnummer som gjorts. För att kunna realisera själva materialiserandet av dess minst sagt heterogena innehåll bestående av visuell poesi, essäer, fotomontage, osv. anlitades två grafiska formgivare: Christopher West och jag själv. Vi kom att arbeta parallellt med detta dubbelnummer – utan att arbeta tillsammans. Sida vid sida (eller rygg mot rygg vilket numrets omslag visualiserar där vi bokstavligen gjort varsin halva) konstruerade vi varsitt grafiskt och typografiskt mallsystem. Dessa båda organismer saxades, flätades in i det aktuella numret efter redaktörernas önskemål och instruktioner. OEI 53–54 består således av två grafiska system som inte egentligen är medvetna om varandra. Det handlar om två strukturer som erkänner varandras existens som något absolut annat, som något okänt vars integritet respekterats till fullo. Det utbyte som i samband med en grafisk produktion ofta äger rum i ateljén eller på kontoret tog här plats direkt i själva tidskriften, på dess sidor. Det var naturligtvis inte fråga om att ignorera varandras arbeten. Det var ett erkännande av det faktum att där alltid kommer att finnas en främling vid sidan, någon med lika stora anspråk, som delar det utrymme jag nu är i färd med att definiera. Vi lutade oss mot detta främmande, mot varandra.

OEI 53–54 2011 utgör två suveräna system som är öppna för det som stör.

Det handlar om att dela ett rum vars gränser man inte ser.

De båda malluppsättningarna, som av olika skäl är funktionellt besläktade med varandra trots att de skiljer sig åt typografiskt, förenas i utgångspunkten att rent estetiska ställningstaganden är ointressanta. Det är trevligt när något är fint. Men hur kan så många olika bidrag i ett nummer av OEI som är 1280 sidor förväntas bli fina på samma sätt, i samma fina kostym? Det vore att bortse från varje bidrags inneboende särskildhet. Det skulle innebära att göra avkall på deras obönhörliga integritet. Formgivningen av OEI 53–54 2011 har lämnat det totala anspråket.

Martin Högström

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GRAPHIC DESIGN IS A DIRTY ACTIVITY.
IT ALWAYS CARRIES A TRACE OF SOMETHING ELSE.
IT’S NEVER ENTIRELY IT SELF.

EXAMPLE 1 (the concept): FORTUITY

While working on the design for OEI 48-49-50, 2010 (lud OEI – games, play, toys), Christopher West designed the typeface Fortuity. In the preface to the issue there is a short description:

“Every line in every letter has two widths: thin or thick. The width of each line is chosen at random by a script specially written for Scriptographer […]. The result is a typeface with letters that are reconstructed with every use, but since the possibilities of choice are so limited, the result is both predictable and random. Besides the construction of each letter, there is also a function that randomly chooses the colour of each line from a selection made in advance.”

 
Fortuity’s letterforms are not primarily aesthetically defined or subordinate to traditional typographic demands of readability; they are generated in a process that is locked to certain frames, which, at the same time, is open to any possible change within these (regardless of aesthetic or typographic effects/defects). Fortuity is a mutating work that, through variation and limitation, ”dewrites” itself from its creator. Christopher West assumes the role of the surveyor rather than the constructor, starting a machine that produces signs whose aesthetic execution he does not control in detail. In some ways, it’s business as usual in the typographic workshop – the application of a typeface lies outside the type designer’s control. Fortuity thus functions as a metaphor for the life condition of a typeface. But if the traditional type designer works attentively to predict and foresee the ”life” of his typeface in various possible environments, Christopher West lets go of his work earlier. It runs away. And the effects that it gives rise to are not always typographic.

Fortuity can be said to contemplate its own creation.

In literature there are many examples of similar approaches. You may mention poetry constellations such as OULIPO with its creative limitations and algorithms, or A.L.A.M.O. who already from their start in 1982 used computers to create automatically designed literary texts. Fortuity links up to a conceptual poetry interested in the preconditions of the work rather than its aesthetic effects. But then again, Fortuity has been designed for a poetry magazine (in a broad sense); it is a typographic work with a point of departure in a poetical methodology. As a result of a potent inhibition, the designer is released from his work and the generative process is disconnected from its typographic and aesthetic ends. The letter is released from typography. Fortuity is never completed. But in a magazine, nothing has to be final – there will soon (hopefully) be a new issue. Fortuity carries an image of the conditions of the magazine.

EXAMPLE 2 (the practice): OEI 53–54

OEI 53–54 (document, dispositif, description, discourse, 2011) is, at 1280 pages and almost 4 kilograms, probably the most extensive issue of a poetry magazine ever made. In order to realise the materialisation of its – to say the least – heterogeneous content, two graphic designers were engaged: Christopher West and myself. We worked parallel, without working together. Side by side we each constructed a graphic and typographic system. These were crossed and interwoven into the issue with regards to the wishes and instructions of the editors. OEI 53–54 consists of two graphic systems that are not really aware of each other. We have two structures that acknowledge each other’s existence as something other, something unknown whose integrity is fully respected. The exchange that, in a graphic production, would typically take place in the studio or at the office, took place directly in the magazine itself, on its pages. It was not, of course, a question of ignoring each other. It was rather the expression of the knowledge that there will always be a stranger by your side, somebody with just as big claims, who shares the space you are about to define. We leaned against this strangeness, against each other.

OEI 53–54 consists of two sovereign systems that are open to disturbance.

It’s a question of sharing a space with borders that you can’t see.

Purely aesthetic standpoints are irrelevant here. It’s nice when something is good looking. But how can so many contributions in one issue of OEI that holds 1280 pages expect to be ”good looking” in the same way, in the same suit? That would be to disregard the contributions’ inherent distinctive character. That would be to renounce their implacable integrity.

Martin Högström

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CURRICULUM VITAE

Paul David Christopher West, born 1982 in Stockholm, Sweden


EDUCATION
• Bachelor degree in Graphic Design, Gerrit Rietveld Academie. 2006–2009
• Art Foundation Studies, Konst- skolan Basis, Stockholm. 2005–2006


CLIENTS (selection)
Stockholm Design LabArenaEytysFörlaget ArkitekturSony Music Entertainment SwedenForm Us With LoveSveriges FörfattarförbundOEI / OEI editörLaurenz BrunnerJulia BornArnhem Mode BiennaleDebaserUKW FörlagMount Analogue


GRANTS & AWARDS
• Ettårigt arbetsstipendium from Konstnärsnämnden
• Nomination for Kolla! 2014 award for best webdesign, for the Eytys website.
• Nomination for Kolla! 2013 award for best webdesign, for the Form Us With Love website.
• Stockholm stads kulturstipendium 2013
• Startstipendium, Fonds BKVB (The Netherlands Foundation for Visual Arts, Design and Architecture)


EXHIBITIONS, TALKS, PERFORMANCES
• Presentation at the launch of OEI #53–54 at Galleri Index, Stockholm. October 2011.
• Presentation at the launch of Häftad Serie. January 2011.
• Presentation at the launch of [NOORD] at Rönnells, Stockholm. December 2010.
• Presentation at the launch of OEI #48–49–50 at Weld, Stockholm. April 2010.
• Participatition in Graphic Design Festival Breda. May 2010
• Talk at Zefir7 “Class of 2009” at Theatre Zeebelt, Den Haag. September 2009
• Talk at BNO Spellbound, Pakhuis de Zwijger, Amsterdam. September 2009
• Live auction and talk. Your Message Here – The Final Acution, at Gerrit Rietveld Academie, Amsterdam. July 2009
• Participation in But Don't Do It Again. I.c.w. Philip Baber, Scott Joseph, Koit Randamäe. July 2009
• Talk at Mediamatic. Presenting the project Mygrave, in context of a planned exhibition on online self-representation. I.c.w. Aline Weyel. November 2007
• Participation in the 10th International Istanbul Biennial. The movie Spectation was screened in the Nightcomers section, where films were projected on façades in Istanbul during the night. September – November 2007


PUBLICITY
• Trend Portfolio in Cap&Design no. 5/2012
Wallpaper magazine “2010 Graduate Directory” (print and online edition). Showcase of Your Message Here. January 2010
Regular Graphic Design Today (Gestalten Verlag). Various projects. January 2010.
Grafik issue 177. Article and interview on Your Message Here. September 2009
Blend issue 41. Article on Your Message Here. May 2009
Field Guide: How To Be A Graphic Designer (MaoMao Publications). Various projects and interview. November 2008

CONTACT

STUDIO
CHRISTOPHER WEST

Graphic & Typographic Design

+46 (0) 739 476570
www.christopherwest.se
studio@christopherwest.se

COLOPHON

Graphic design & Art Direction: Christopher West
Design & Programming: Denny Backhaus
Built on the Indexhibit engine

Photography (unless otherwise stated): Christopher West
Texts (unless otherwise stated): Christopher West
Text editing: Philip Baber
All work by Christopher West ©2013.

The creation of this website was made possible with
the support of Fonds BKVB
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Thank you: Denny!; Anna; Phil; Martin; Julia, Céline & Julie

Christopher West © 2014