A MAGAZINE FROM Iggesund paperboard ISSUE 40 2012
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QUALITY WITHIN SPORTS The stars and legends who inspire us in our lives today are found in the world of sports. We see it in the business world, where former athletes are recruited
to provide companies with people who demonstrate endurance, can face challenges and won’t fold under pressure. We see it on television, where the number of specialised sports channels keeps growing. We see it in retail, where for every
electronics store that opens there’s also an outdoor or sporting goods store. We see it in fashion, where Stella McCartney designs for Adidas and David Beckham releases a line of underwear for h&m.
And the kids of today don’t worship Madonna or Robbie Williams, but
Usain Bolt, Serena Williams and Lionel Messi.
To find the legends of tomorrow, just take a look at the world of sports today.
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06 BRAND OLYMPICS. “The Look of the Games” is the core graphic identity and thematic essence of the Olympic brand for each Olympiad, seen by 4 billion people.
Contents # THE SPORTS ISSUE
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SPORTS ICON. From the mountains to the sea, the sporting bunch behind the French sunglasses brand want to make every day “a Vuarnet day”. COLUMN BY DAN JONES. The sports columnist and former editor of men’s fashion magazine GQ sees the natural connections between sports and fashion. PROFILE – HELEN FRIEL. From toilet paper tubes and Post-it notes to pop-up books and Babylonian hepatomancy, paper has always been this artist’s material of choice, whatever the project. THE NEW MUSE. We travelled the world to meet with three creatives in London, Stockholm and Shanghai and discuss the link between sport and design. WOW! Futuristic magazine covers, compostable lamps and the newly retired rockers R.E.M. – they’re all part of the fantastic world of paperboard.
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PROFILE – YULIA BRODSKAYA. Once she switched from drawing to paper artwork, she never looked back. This uncompromising approach has made her a design darling for Nokia, Hermès and Oprah. Bobsleigh
THE CHANGING FACE OF SPORTS. Bobsleigh From Puma’s jumping cat to RUN DMC’s Adidas sneakers, the look of sports has changed a lot in the last century, thanks to graphic design, architecture and advertising. PROFILE – WRAP. Imagine a design magazine that could easily be turned into wrapping paper. That’s exactly what Polly Glass and Chris Harrison imagined, created and launched under the name Wrap. A NEW OLYMPIC RECORD. As London gears up for the big summer event, sustainability is at the top of the agenda for organisers in their efforts to reduce the energy and carbon footprint of the Games. FINAL TEN – Q&A WITH SAM HECHT. The founder of the Industrial Facility studio describes the concept behind his latest design project — a cycling shirt.
WHAT’S ON AT IGGESUND? More secrets of the Black Box project revealed.
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Inspire, a source of inspiration, provided by Iggesund Paperboard, home of Invercote and Incada. Address Iggesund Paperboard SE-825 80 Iggesund, Sweden phone: +46 650 280 00
[email protected] www.iggesund.com
editorial It’s the winning that counts
ELISABETH ÖSTLIN Editor in Chief, Iggesund Paperboard
IN THIS ISSUE of Inspire we venture into the world
of sports. Not that we have become sports reporters — rather, we take a look at some of the phenomena surrounding sports. The founder of the modern Olympics, Baron Pierre de Coubertin, once said it is more important to fight well than to conquer. Whether many top-level athletes share that view today is, of course, open to question. In the world of packaging, there is no doubt that the good baron’s words do not apply. It is rarely enough to fight well. It’s the winning, not the taking part, that counts. The product with the striking design, in terms of both function and message, captures the consumer’s eye and can expect to be richly rewarded. Mediocre packaging is left in the pack fighting for leftovers. To continue with the sporting metaphor, it is clear that Invercote from Iggesund is a typical decathlon winner — perhaps not the best in all the disciplines, but good enough to be the winner when the final scores are counted. ■
Publisher Carlo Einarsson (responsible under Swedish press law) Editor in Chief Elisabeth Östlin
[email protected] Editorial committee Winnie Halpin, Lydia Lippmann, Véronique Lafrance, Ian Harris, Staffan Sjöberg, Elisabeth Östlin Publishing Agency OTW Communication PO Box 3265, SE-103 65 Stockholm Editor and project manager Rikard Samuelsson
[email protected] Art Director Karin Löwencrantz Contributors Sam Eichblatt, Tsemaye Opubor Hambraeus, Dan Jones, Anders Modig and Jonna Dagliden, Michael Dee, Henrik Emilson, Cari Simmons, Karin Ström Photos Chris Turner, Anders Modig, Oliver Martin, Daniel Roos, Michael Leznik, Rolf Andersson, Kjell Persson Illustrations Charlie Sheppard, Helen Friel, Sam Brewster Translations Comactiva Prepress Done Printing Strokirk-Landströms, Lidköping, Sweden
CO12001E
Seismografics JK GmbH, Unterschleißheim, Germany (Cover)
A MAGAZINE FROM Iggesund paperboard ISSUE 40 2012
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Illustrated by Charlie Sheppard.
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THE COVER OF Inspire has gleaned inspiration from one of the biggest events in the sporting calendar – the Summer Olympic Games. The cover is scratch-resistant matt laminated, and the offset printed red on the tracks is subsequently screen printed with a soft touch varnish. The white lines are screen printed with a matt structure varnish, while the yellow and blue lines and the Inspire logo are screen printed with a shiny UV relief varnish. The cover is printed on Invercote Creato 260 g/m2.
ISSN 1404-2436 Inspire is printed in English, Chinese, French, German and Swedish
Inspire aims to inform and entertain with stories and photos that are not restricted to the scope of Iggesund's own business. As its name suggests, the idea is to be inspirational and not to infringe on a company's or person's image rights or intellectual property. Products that are made with Invercote, Incada and other paperboard from Iggesund are marked in the text.
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Vuarnet
From the Mountains to the Sea Text SAM EICHBLATT PHOTO CHRIS TURNER ILLUSTRATOR HELEN FRIEL, read more about Helen on page 11.
It’s hardly surprising that the men be hind sporty French brand Vuarnet are a similarly sporting bunch. Jean Vuarnet, patriarch and company founder, won the gold medal in 1960 for Olympic downhill skiing — a discipline that involves the highest speeds, and greatest risk, of any Alpine event. Still, it wasn’t fast enough for Vuarnet. To become more aerodynamic, he had developed the profile d’un oeuf or “egg position”, to which he attributed the win. A year later he launched the first highperformance Vuarnet sunglasses, followed
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in short order by the outdoorsy, masculine products that established the brand glo bally — watches, yacht- and skiwear, footwear, pens and sports luggage. His sons followed in his footsteps, with the eldest, Alain, eventually becoming Vuarnet’s CEO. In recognition of Jean Vuarnet’s lifetime commitment to skiing, on the 50th anniversary of the day he took the gold, his Alpine home town of Morzine-Avoriaz unveiled a 4.5-metre sculpture by Gilles Chabrier depicting the famous egg position. ■
☞
invercote Brushprint (gold) 240+47 g/m2, Invercote Metalprint. Incada Exel + HD PE Black 240+20 g/m2
FACTBOX •The company slogan, “It’s a Vuarnet day today,” was coined in the 1970s by a Californian weatherman forecasting sunny skies, after the brand become fashionable stateside. •The brand is particularly big in Brazil, where it has a range of flagship stores and boutiques. •2005 it launched Vuarnet Femme, its first range for women, which was created by young Brazilian designers.
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THE MAKING OF
BRAND O L Y M P I C S TEXT TSEMAYE OPUBOR HAMBRAEUS
Imagine a project that involves the world’s largest sporting event – a project estimated to be seen by 4 billion people that must bear the weight of expectation to “inspire and engage with a global audience”. That is the starting point for developing the brand identity for each Olympic and Paralympic Games.
It’s not every day that a graphic design-
er gets the chance to contribute to the development of an iconic brand that encompasses an ideal, an emblem, a symbol, a logo and national identity all in the same product. The graphic identity project for the Olympic and Paralympic Games is also unique because the brand has to live for several years before the actual sporting events take place. The core graphic identity and thematic essentials of the Olympic brand for each Olympiad contribute to what is known as ”the Look of the Games”. The London 2012 Olympics and Paralympics brand and vision were launched in 2007, signalling the start of the creation of 2012’s Look of the Games. Wolff Olins, the agency responsible for creating the London 2012 brand and graphic identity, gave the Olympic Games and Paralympic Games a unified look and a new approach. For the first time, the em-
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Wolff Olins, the agency responsible for creating the London 2012 brand and graphic identity, gave the Olympic Games and Paralympic Games a unified look.
50,000 Britons signed a “Change the London 2012 Logo” petition in an online campaign to demand a change of logo. As they put it, “It is an embarrassment and portrays our country in the worst possible way.” Since then, public dislike has quieted, the logo is unchanged, and at the London 2012 Opening Ceremony it will be displayed in its many forms. Ben Hulse was the design manager
blems for both Games are based on the same core shape — a highly stylised number 2012 displaying the Olympic Rings and the name of the host city, London. “The brand we created will shape the experience of 2012,” Wolff Olins says. “It will take the Games beyond sport, creating wider interest and even greater inspiration. It will create an event for everyone.” The 2007 launch of the London 2012 brand did generate wider interest in graphic design, but not without controversy. Nearly
for the 2010 Winter Olympics held in Vancouver, Canada. The 32-year-old creative director, multidisciplinary designer, photographer and musician worked for three years on the Vancouver 2010 brand identity project prior to the start of the Games. He has been watching the development of the London 2012 Look of the Games with interest. “The Olympic Look of the Games is considered by many to be one of the most Ò
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Ben Hulse and his colleagues on the Vancouver 2010 creative team embraced regional and national ico nography “with a playful twist” in their work to create the Look of the Games identity system. The work to develop the brand identity for Vancouver 2010 took three and a half years.
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The challenge in the work for Vancouver 2010 was how to present Canada’s unique inter section of urban and natural environments, the diversity of its citizens and the aesthetics of the West Coast of North America. This image (cropped) was made by Ben Hulse for the Olympic poster concept.
Ò complex branding exercises in the world,” Hulse says. ”It tells a unique story about the host region and requires applications of incredible proportions.” The London 2012 creative team is approaching the branding exercise from a different starting point than was used in Vancouver, he says. “In the design work for London, it appears that they wanted to shed cliché or preconceived notions about the country by developing a more abstract, progressive identity,” Hulse says. The challenge in the work for Vancouver 2010 was how to present Canada’s unique intersection of urban and natural environments, the diversity of its citizens and the aesthetics of the West Coast of North America. “We are by comparison a new country,” Hulse says. “We were looking to help shape and create an identity for Canada with our branding work.” The process to determine how to represent Canada had already begun in 2004, well before Hulse joined the team. “When I came on board in 2007 a number of things were in place, such as the emblem, which was based on a Canadian Inuit symbol,” he says. ”It set the dna for our project and was a backdrop for the work ahead.
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It was a good time to join.” “I had no previous Games experience, and many on the creative team hadn’t been involved in earlier Games either,” Hulse says. ”We needed to develop a graphic system which would tell our story with a consistent yet flexible aesthetic for countless applications and mediums.” Hulse and his colleagues on the Vancouver 2010 creative team embraced regional and national iconography “with a playful twist” in their work to create the Look of the Games identity system. ”We were given an overwhelming but strong creative brief from Ali Gardiner, the director of the brand, and Leo Obstbaum, our design director, and we started from there. It was a very interesting process.” Development began with ethnographic field trips, library research and consultation with former Olympic design directors. HULSe SAyS THe BRIefS prompted the
team to “explore history while remembering that we are representing a specific time and place, pull from influences that will make the work feel fresh and current, and strive to balance a youthful approach with a timeless view of Canada”. The 2010 Look of the Games was apparent throughout Vancouver on banners,
fences and buildings, as well as the Olympic venues. The brand was featured on everything from pens, posters, apparel and sporting equipment to airplanes, ferries and thousands of vehicles. There were also applications for a new media generation, with the Look of the Games translated to small-screen handheld devices, as well as television and the Web. The size of the creative department varied at different stages in the project. “We went from a small group of 10 people — six designers, two product designers and a small video team — to around 30 people at our largest,” Hulse says. “Most of the other members who joined us were involved with project management, which gives an idea of the scale of this process.” The team worked on thousands of unique “dockets” created to organize and track the immense workload in the computer system. Apart from delivering on key games icons
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including the Olympic medals, podiums, torch and mascots, the creative team was used as an in-house agency servicing 50 different departments within the organisation. Because of the size of the operation and the different layers of approval, Hulse and his colleagues “challenged each other a lot” to make sure they approached solutions from conceptual, aesthetic and practical perspectives before presenting ideas to senior management. THe WORk TO deveLOP the brand iden-
tity took three and a half years. Hulse says it also involved “a very long graphic standards manual” that was to be followed to the letter. “The manual was almost too long and complicated to use,” he says. “It needed to be adhered to by so many different types of users — partners, producers and so on.” Most of the brand identity work was carried out as group work.
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“When I was contributing art direction on the Olympic Torch, there were three people in the room with me, each adding something to the process, it was very collaborative” Hulse says. “Projects have become much more interdisciplinary in general, and this was certainly the case with Vancouver 2010.” One of the only solo pieces of work by Ben Hulse during the Vancouver 2010 branding process was the creation of the official Olympic poster. An InTeRnAL deSIgn competition for the
Olympic poster concept was held with the director of design and judges from internal senior management and licensing. It was one of the few times that the design team did not work collaboratively. “I pitched my idea for the poster, and it was selected as the winning concept,” Hulse says. “I had done my sketches 100 percent digitally, and our late design director Leo Obstbaum, who was from Spain, told me that he needed to ’smell the ink’ – that the poster concept was right, but it needed to feel more like a Warhol, like it had lived in the world before being reproduced.” Over several weeks, Hulse stencilled and inked each element of the design by hand at a 1:1 ratio (61 mm x 91 mm) before digital assembly of the piece.
“It was a long process,” he says. “I’m really grateful Leo suggested doing the work by hand, because the final result became so much better as a result.” Hulse says the best Olympic designs are ones that are executed in a timeless and restrained manner. For him, simplicity in communicating is essential. “The London 2012 emblem is very clean, with everything in one mark and nothing hanging out,” he says. “From a functional point of view, this simplicity will make things easier in multiple applications.” As the final touches are being put in place for London 2012, graphic designers around the world will be watching with interest to see which design elements from this Olympics will stand the test of time. “Overall, I feel like the key pieces we did for Vancouver 2010 are very good and will retain an element of iconic timelessness,” Hulse says. “The medals, the Olympic Torch, the podiums and the official poster all took elements from the Look of the Games and expanded on them. I think these particular pieces will age gracefully.” ■
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S
cOLUMN BY Dan Jones
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an Jones is a sports columnist and former D editor at GQ, a men’s fashion and style magazine.
port and fashion have not always seemed like natural wardrobe-mates, and their meetings have sometimes produced some real disasters — think footballer bling, golfers’ trousers or hooligan hoodies. But sport and fashion are growing closer, sharing influences, technologies and personnel. Iconic sporting garments are now staples of fashion. Ralph Lauren Polo shirts and Barbour jackets have moved from the country club to urban streetwear. Every big sports line has a fashion connection, and vice versa. Stella McCartney designs for Adidas, and Alexander McQueen designed for Puma. Prada and Gucci have sporty lines. The North Face, which began as functional outdoor sports brand, has become virtually a fashion label. And then there’s the tech: Japanese brands like Uniqlo increasingly carry everyday clothes made from fibres and fabrics developed for sportswear: sweatwicking T-shirts, odour-resistant socks and ultra-lightweight synthetic fibre parkas. Flick through the pages of a magazine and you’ll see everyone from Usain Bolt to Uma Thurman advertising expensive Swiss watches designed for motor racing (tag Heuer), sailing (iwc) or diving (Omega). But their brilliant engineering and precision make them desirable fashion items. As sport and fashion become mature, globalised industries, it is only natural that they should start to share their resources. Most obviously, it is sports figures who are adopted as the faces of fashion brands. The world leader in the field is David Beckham, a sportsman who has been embraced by the fashion world. Beckham earns four times as much every year endorsing products in America, Europe and the Far East as he does playing football. His sponsors have included Armani and Police sunglasses. He has his own range of aftershave, and in early 2012 he will release a line of underwear with the global fashion giant h&m. What values, then, do sport and fashion share? The first is the pre-eminence of aesthetics. The greatest sportsmen have always understood that sport, like haute couture, is a branch of the arts. There is a pure beauty to a Rafael Nadal forehand or a Cristiano Ronaldo goal that is almost impossible to define but is intoxicating to millions. No surprise, then, that Armani has used Nadal and Ronaldo as its last two underwear models. There is also the matter of physique. As fashion moves slowly away from the size-zero aesthetic, a generation of supermodels like Rosie Huntington-Whitely, Bar Rafaeli and Adriana Lima are celebrated for a more athletic body shape, rather than the starvation look of their 1990s counterparts. David Gandy, currently the world’s biggest male model, looks more like a rugby player than a heroin addict. The sporting scene attracts as many fashionistas as the catwalk front row draws athletes. Whether you’re courtside at an la Lakers game, in the front row at a Milanese menswear show or in the pit lane during a Grand Prix weekend, many of the same faces will crop up. Sport and fashion are two of the world’s biggest industries. They contain some of the world’s best-loved brands. As globalisation marches on, these two once-disparate worlds will move ever closer. May it be a long and happy marriage. ■
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“The world leader in the field is David Beckham, a sportsman who has been embraced by the fashion world.”
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Helen Friel
Text SAM EICHBLATT photo LOUISE HALL, chris turner
Name: Helen Friel. Age: 25. Profession: Paper engineer. Based in: London. Brands on CV: Vanity Fair, Harrods Magazine, Tatler UK, Tatler Asia, Stylist Magazine, Nicole Farhi, Boodles Jewellery. Years in profession: 2. Education: BA in graphic design, specialising in illustration, Central St Martins College of Art & Design, 2009. Web: www.helenfriel.com
For paper engineer and illustrator Helen Friel, it all began with her childhood pop-up books. “I had a lot of them, and I always loved making things,” she says. “My mum used to have a big box of toilet paper tubes and card board, and if we were bored she’d put it on the table and I’d make models out of it.” After graduating, she spent a year at a greeting card company designing (natu rally) pop-up cards, before the freelance world beckoned with a first commission from Tatler. Today, she freelances for a range of clients from her studio at the Papered www.iggesund.com
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Parlour in south London, an art space inhabited by a group of like-minded artists and designers. Friel’s personal book projects play with our relationship with everyday paper. For example, The Imp of the Perverse requires its readers to tear and fold pages to reveal sections of the text — the things you were always told not to do to a book. Her most recent, For Matters of Life and Death, is a well-designed series of cashier’s dockets and entry tickets for surreal situations. “I like the precision of working with pa
One of Friel's personal projects, in collaboration with photographer Chris Turner, is a series of im ages exploring the art of hepatomancy — predict ing the future by studying animal entrails — first prac tised by the Babylonians over 4,000 years ago.
per,” Friel says. “My process varies job to job, but generally I have to see a finished product in my head before I can start anything.” She sketches on Post-it notes and moves them around to build up her images. For editorial work she also collaborates regularly with photographer Chris Turner. “A lot of my stuff doesn’t really ‘exist’ until it’s photographed,” she says. “Things like lighting are really important. By the time I see it in a magazine, it’s quite surreal because it’s so glossy and removed from the time I’ve spent in a studio cutting up paper.” ■
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muse THE NEW
TexT ANDERS MODIG AND JONNA DAGLIDEN PHOTO ANDERS MODIG, OLIVER MARTIN, DANIEL ROOS
What’s the link between sport and design? To find out, Inspire travelled around the world to catch up with three creatives in London, Stockholm and Shanghai. We wanted to find out why their work wouldn’t be the same if it weren’t for sport, but we didn’t realise just how important sport is in their daily lives. The people we met are not extreme athletes, but their interest in sport is extreme. It turns out sport involves a lot more than just letting off steam and clearing your head. It is, it seems, the new muse of design.
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shanghai
“When I go swimming I think of different pictures” “I love the feeling of floating in the water,” says illustrator and graphic designer Duck Power. “Everything is lighter. Fallen leaves and rubber ducks are floating, fishes swim by – it is an energizing world of freedom that gives me inspiration.” Inspire met Duck in the happening, gallery-packed, Shanghai quarter of Moganshan 50, where she works for Ray International Cultural Communication, a communications agency involved in fashion and brand building. “Design is not only about looks, but also about tactility,” she says. “Therefore, the expression through different papers is extremely important. You have to find the right texture. I love smooth and shiny paper for fashion-related projects, and for artistic expression a soft and elegant paper is often the best choice. Different metals and plastics are also interesting to work with. “I come from a very athletic family with several professional athletes. When my mother realized I like water, she took me to the Shanghai synchronised swimming team, but in the end it became only a hobby. When I go swimming I think of different pictures — the look of dissolving, floating people. Sometimes I use these shapes in my work.” Does swimming make you a better designer? “Oh, yes, and it is also good for my health!” Duck Power, illustrator and graphic designer at Ray International Cultural Communication, www.rayicc.com
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“The packaging has to be pared down, reduced and clean. It can’t scream with pictures.”
london
“Even the packaging derives from cycling”
Graeme Raeburn always thought of his bicycle as a “ticket to freedom” when he lived in the English countryside. Today he lives and breathes that freedom in London, working as a product designer at Rapha, the cycling accessories company that produces everything from jerseys and jackets to luggage, caps and skincare. “They come wrapped in pink tissue paper, which is a reference to the pink jersey in the Giro d’Italia race,” he says. In the 2012 collection, even the packaging derives from cycling – the product will come in a musette bag similar to the ones cyclists used to receive during a race, so it will have a lifespan way beyond just holding the product. “We are inspired by the classic days and national cycling heroes,” he says. “Our clothes are for more extreme races but also for cycling in the city.” This urban look can also be seen in your Paul Smith range? “Yes, Paul Smith has a really big passion for cycling, and he was able to give us his sharp style input and attention to details, from the dimensions of cuffs to the finish of a button.” What is the best part about your job? “There is nothing better than going to races in Europe, riding with customers. I really have a dream job.” Graeme Raeburn, designer at Rapha, www.rapha.cc
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sToCKholM
“Form follows performance”
When Stefan Ytterborn accepted that he was not going to be the new Ingemar Stenmark, he decided that skiing was not for him. Instead, Stefan parked his skis and turned to design and marketing. In 2005, after working with the likes of Ikea, Iittala and Saab, he started poc,, a Swedish company with a global mission: to save lives and reduce injuries in action gravity sports. The idea for this niche came, naturally, from skiing. “When I went back to the ski slopes with my two sons I could see that the sport had become more dangerous, which meant that people needed more protection,” he says. “At the same time, I saw the trend across society where security was, and still is, at the top of the agenda. “The natural physical laws determine the design solutions. Our protection must perform at its maximum all the time.” This is also reflected in the clean and crisp aesthetics of poc products. “Lots of our research is done in the lab. We work with material specialists, industrial and graphic designers, neurologists and back specialists. This has to be conveyed in the products we sell. We can’t just say they are well made – it has to be built in to the expression.” drawing from this, how would you package the sport? “The packaging has to be pared down, reduced and clean. It can’t scream with pictures. The packaging is our stage where we can reinforce the message that we can’t activate directly in the actual product.” How has your career benefited from skiing? “I have learnt lots from skiing: the importance of establishing a clear goal and understanding this goal. When I want to achieve something I invest time, training and thought into it. I want to add meaning to the products I develop. To me, this is equal to performance in sports – those little moments of excellence.”
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Stefan Ytterborn, founder and CEO of POC, www.pocsports.com
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from Iggesund
Wow!
Have you designed or made exciting packaging or a graphic design product using material from Iggesund Paperboard? Or perhaps you have some tips for these pages? Don’t hesitate to contact us with samples and information: Inspire, Iggesund Paperboard, SE825 80, Sweden.
Invercote G 260 g/m2 + Metalprint 29 g/m2
novum October 2010 issue Company: Stiebner Verlag/novum Magazine Design: Christin Bacher Material: Invercote G 260 g/m2 + Metalprint 29 g/m2 Print technique: UVoffset hybrid Printer: Kessler Druck + Medien novum November 2011 issue
Invercote Creato 280 g/m2
Company: Stiebner Verlag/ novum Magazine Idea and design: Paperlux (Hamburg), Carolin Rauen and Max Kuehne Material: Invercote Creato 280 g/m2 Print technique: Offset and diecut Printer: Printarena – Eurodruck Lamination: EMAG Papierverede lungs GmbH Die-cut mold: Jürgen Jeurink Stanzformtechnik
Keep on fascinating ■ Each month the highly regarded and innovative German design magazine novum uses a different material or unusual finishing technique for its cover. The October 2010 issue saw a foldout cover printed on Invercote Metalprint. “Metalprint was ideal for a foldout cover,” says Bettina Schulz, novum’s editor in chief. “It is easy to process, and the colours give a superbly brilliant finish. The material is like a chameleon — it blends in perfectly with the design and fits in with all kinds of graphic design solu tions.” For the Novem ber 2011 issue, novum pushed the boundaries of imagination even further with a cover
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inspired by the American designer, inventor and futurist Buckminster Fuller. “We always try to touch people with our cover,” Schulz says. “It should not only look nice, it should also be something you can feel and play with. We think this last cover is a wonderful example of the fact that paperboard can be much more than a flat thing.” The magazine needed a flexible yet stable paperboard to be able to do the diecuts in such a way that the material didn’t break. The editorial team and designers made a “makingof” video of the creation of the cover to document the process. “It’s amazing — 184,000 people have seen the video so far,” Schulz says. “The only conclusion we can draw from this is that despite all the digital things in life, paper and paperboard still fascinate people.” See the video here: vimeo.com
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TEXT HENRIK EMILSON photo kjell persson
The hottest
ticket in town
■ The Canadian Film Centre is Canada’s leading institution for advanced training in film, television and new media. A pioneer in the rapidly changing entertainment landscape, the centre promises students an innovative education, creative industry partnerships and cutting-edge production experience. The invitation for a fundraising gala dinner and auction in February naturally took its inspiration from the cinema world, combining a strip of film and a red theatre curtain with the word “Filmology” cut out on the cover.
Invercote Creato 240 g/m2
Customer: Canadian Film Centre Material: Invercote Creato 240 g/m2 Printing technique: Four-colour process, specially mixed metallic red ink, matte dispersion varnish and offline gloss spot UV varnish Printer: C.J. Graphics, Canada Sponsor: Iggesund Paperboard
■ “To our Fans and Friends: As R.E.M., and as lifelong friends and coconspir ators, we have decided to call it a day as a band.” On September 21, 2011, the successful band announced their retirement after a 31-year career. Fans and friends who want to remember the band can turn to Norwegian photographer Øyvind Svele’s blackand-white pictures of Michael Stipe, the colourful lead singer. Packaged in a set of six, the R.E.M. postcards show the importance of choosing quality paperboard to get an impressive print result. The pictures can now be seen at the Rock and Roll Hall of Fame, the world’s biggest rock museum, in Cleveland, Ohio.
Photographs: Øyvind Svele Design: Ensign, Norway; Platzer, USA; and Øyvind Svele Material: Invercote Albato 350 g/m2 Printing technique: Offset with faderesistant ink, dispersion varnish Printer: Haugaland Offset, Norway
Let there be light ■ With inspiration from the furniture fair in Milan, Japa nese origami and a deep-rooted respect for the environ ment, Swedish art director and designer Olof Nauclér has created a series of lamps made out of paperboard and LED lamps. Not only does the paperboard make the Urbanero lamps lighter in weight, but since it’s a local resource from Iggesund it also means fewer emissions from transportation. “The LED lamps need a minimum of electricity and have an extremely long durability,” Nauclér says. “And if someone, for whatever reason, wants to discard the lamp, the paperboard can be com posted.”
Invercote 350 g/m2
Shiny happy postcards
Invercote 350 g/m2
Company: Urbanero Design: Olof Nauclér White lamp material: Invercote G, from 350 g/m2 Lamp packaging material: Invercote Duo 670 g/m2 Production technique: Paperboard is punched and embossed with logo in relief and glued with LED lamp wire Production: Elitha Kartong and Urbanero Stockholm Invercote Albato 350 g/m2
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Text Anders Modig PHOTO Michael Leznik
Name: Yulia Brodskaya. Age: 28. Profession: Illustrator and artist. Based in: London. Brands on CV: New York Times, Wired, Washington Post, Starbucks, Nokia, Hermès, Cadbury, Penguin Press. About packaging: I don’t throw away good packaging. I always try to find another use for it. I give it a second life. Web: www.artyulia.com
The image is cropped.
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Yulia Brodskaya
DollarHead was made in 2011 for ESPN magazine.
Oprah loves her. So does Nokia. And Hermès. Yulia Brodskaya’s “paper graphic” technique fits hand-in-glove with the experi mental paper trend that has swept the globe in the past few years. What is, in fact, an adaptation of an upper-class ladies’ pastime dating from the late 1800s has, in Yulia’s hands, become a professional expression of contemporary typography and graphic design — in three dimensions. “I always had a special fascination with paper, but this technique really felt like me when I started to shape the paper strips,” she
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says. “I used it for the first time in 2008, and ever since that moment I have completely switched from drawing to paper artwork. I never looked back.” So how does she do it? Initially, Yulia pencils a sketch of the motif, which she transfers onto firm paperboard. This is followed by gluing strips of heavy paper (250–350 gsm), thus creating the image. Sometimes the strips form an outline in a straightforward way, but most of the time they are used in a more mosaic or curly fashion. A logical next step, it seems, is to
apply this technique to packaging. “Sure, why not?” she says. “I am just wait ing for a perfect brief. I am discussing some packaging projects for 2012, but everything is still at an early stage.” Yulia also collects different kinds of paper. “It is extremely difficult to explain why you love something you love. Paper is so diverse, so versatile, and so flexible yet firm. I sup pose it is an obsession of mine. Paper allows an endless number of treatments, and you can use it for an infinite number of things. Paper is just amazing!” ■ www.iggesund.com
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1979 Sportsmen have been a constant theme in sports wear advertising. In 1979 Puma took another route, by making their famous logo come alive, thereby emphasising the strength of their products. /Courtesy of Puma
T r o P S F o e FAc G N I G N A H THE C
L DEE TexT MICHAE
s that truly span t n e m in a rt te n of e t the one form b u o d t u r the Olympics. o o h it g w in c ra e n O Sport is rmula nsit’s football, Fo r e th e h ry, thanks to tra w tu , n e e b c lo st a p the g e th lot in architecture. has changed a d rt n o a sp g f in o is k rt o e lo v d e Th gn, a ar, graphic desi e sw rt o sp in s n formatio www.iggesund.com
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1900 There wasn’t even a post er made when the first modern Olympics were held in Athens in 1896. The French, who were masters at poster design, made up for it four years later when the games were held in Paris. The city was plastered with posters showing fencing, rowing, cycling and gym nastics. / Courtesy of International Olympic Committee
A HUndRed yeARS ago or so, the design element in sport was pretty minimal by today’s standards. Clubs had logos, but the designs that were most prominent were the posters for the Olympics. The first Olympics in modern times were held in 1896 in Athens and didn’t even have an official poster. Four years later, the games were held in Paris and the French, masters of poster design, created several posters portraying fencing, gymnastics, rowing and cycling. As the posters show, sportswear and
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kit were often basic, not to say cumbersome. That began to change in 1920s when a number of newly established manufacturers, among them Adidas and Puma, rethought and redesigned sportswear for greater performance and comfort. The new style wasn’t limited to the arenas but had a profound effect on high and mainstream fashion as sport became an increasingly popular leisure activity. Quite simply, sport signaled modernity, and it gained even more visibility through the
explosion of picture magazines in the mid 1920s, says photography historian Gerry Badger. He explains why the magazines had such an impact. “In France there was Vu magazine, in Germany Berliner Illustrierte Zeitung,” he says. “The magazines were enormously popular, and sports were a major part of their content. The editors hired a new generation of photographers such as Martin Muncasi, who had fresh ideas and made use of the new handheld cameras that made it possible to capture the excitement in their photographs.” This had no small part in the sportsmen becoming folk heroes, and their style was widely imitated. The French tennis player René Lacoste set up his own clothing company in 1933. His tennis shirt with its embroidered alligator was all the rage and has become a design classic. www.iggesund.com
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1980
1930 Cover of the French picture magazine Vu from 1930, showing the cyclist Leducq nursing his wounds after a gruelling stage of the Tour de France.
Sportswear gained an even higher profile in the 1980s thanks to rap and hip hop, where the artists embraced sportswear as their fashion of choice. None more so than Run DMC, who even penned an anthem to their favourite shoes, “My Adidas”. This later led to a Run DMC/Adidas clothing range with shoes, track suits, hats and Tshirts. /Courtesy of Adidas
1958 A trawl through the archives of Puma, show ing advertisements from 1958 and 1979 (see page 19). Following the design revolution of the 1980s that took in everything from furniture to style magazines, sports adver tising became ever more styleconscious. /Courtesy of Puma
Lacoste’s matches were filmed along with other important sporting events included in newsreels shown at the cinema, but the approach rarely conveyed the excitement of sport. It took a genius to capture sport on film. Leni Riefenstahl remains a controversial name but “Olympia”, her film of the 1936 Berlin Olympics, set a new standard for capturing sport on film, by combining sequences of tension, excitement and beauty to dramatic effect. THe 1936 gAmeS were highly embroiled in international politics, and sport increasingly came to be seen as a way of promoting the national profile, leading governments to allocate ever higher budgets to promote it. After World War Two, money poured in from another source, commercial sponsorships, and the visibility of brands increased drastically with the advent of television. The 1970s have been described by author Tracey Turner and others as “the decade that style forgot”. The sports advertising and
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graphic design of that era seems not only quaint but somehow in its own sphere and untouched by outside impulses. THAT WOULd cHAnge in the 1980s. The decade was swept up in a design revolution and a new wave of sport. Skating, freestyle skiing and extreme sports made their presence felt and brought in a visual sensibility and design. In music, rap culture embraced sportswear as its fashion of choice, with Run dmc penning an anthem “My Adidas” to their favourite sneakers. Rap swept the music charts, resulting in even higher visibility for sportswear. Gradually the world of high fashion took note, says Ligaya Salazar. She curated the exhibition “Fashion vs Sport” at the Victoria and Albert Museum in London in 2008. “Towards the end of the 1990s the strict divisions that had existed between high fashion, sportswear and street style began to break down,” she says. “Leading fashion designers such as Marc Jacobs and Stella McCartney have designed sportswear
collections, and increasingly there have been cross-fertilisations between high fashion, sportswear brands and street style. The late Alexander McQueen designed a shoe collection for Puma, and the company’s new creative director is none other than Hussein Chalayan, acclaimed for his avant-garde designs.” Street style designers have found ever Ò
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2006 Sports is big business, and the leading players spend enormous amounts of money on ever more sophisticated advertising and marketing. But the look of sport is also chang ing through the efforts of the fans. Rouleur is an independently published cycling magazine based in London. Although it has a small print run of 6,000 copies, it has set a new standard for cycling magazines through exquisite design and hiring the best photogra phers around. /Courtesy of Rouleur
Ò newer ways to transform and customise sportswear. Dr. Romanelli, whose firm cannibalises existing sportswear to make new garments, might take the sleeves from one jacket and combine them with the front and back from another. IndePendenT PUBLISHIng IS flourishing as well. The London-based cycling magazine Rouleur was founded by fans who were fed up with what they saw as pedestrian mainstream cycling magazines. Rouleur has a print run of 6,000 copies but has set a new standard through exquisite design and hiring the best photographers around. Others choose to publish on the Web, and www.extreme.com is one of many sites that continue to explore new ways of conveying excitement through design. Sports advertising, more than a little conservative in the past, is moving forward as well. The British advertising photographer David Clerihew, who originally trained
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as a painter, specialises in sports campaigns for leading brands such as Adidas, Nike and Red Bull. His images are never less than spectacular, and they signify a complete break with the way sportsmen were depicted in advertising in the past. In a campaign for Nike he photographed Juventus, Celtic, Barcelona and Inter Milan in their new kit. The images are full of drama, as in history paintings. “The idea was basically to combine the Italian Baroque painter Caravaggio’s style, dramatic, almost 3-D compositions and light and shadow effects, with Russian Constructivism from the 1920s,” he says. “The Constructivists used text to dramatic effect in their designs, and I have done the same in these images with the teams’ names,” he says. In one of most dramatic images, Inter Milan are seen walking through the corridor up to the arena, and you can almost hear the roar of the crowd.
The arenas and stadiums have themselves become stars, due in no small part to the international avant-garde of architecture. For the 2008 Olympics in Beijing, China enlisted the Swiss architects Herzog & de Meuron, who were well known for their conceptual approach to architecture, to design the main stadium. The result was spectacular. The design of Olympic stadium, often called “The Bird’s Nest”, originated from a study of Chinese ceramics and caused a sensation around the world, resulting in an ocean of publicity. THe 2012 LOndOn Olympics will be no less spectacular architecturally. Among the wonders is the London Aquatics Centre, designed by Zaha Hadid, along with Herzog & de Meuron one of the world’s leading “starchitects”. It is shaped like a sensual wave that seems to defy gravity — a symbol of how far sport has come. ■
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3
Wrap
TexT HENRIk EMILSON
Names: Polly Glass and Chris Harrison. Ages: 27 and 32. Profession: Editors in chief. Based: Between Oxford and London, UK. Background: Various roles within the design industry. The pair met whilst working as fashion jewellery designers at Simon Harrison Ltd in London. Years in production: Wrap was first published during London Design Festival 2010. Availability: Wrap is on sale in the UK, Sweden, Germany, Italy, France, Singapore, Australia, USA, Canada and Lebanon. Web: www.thewrappaper.com
HOW
PEOPLE USE WRAP “Lots of people talk of framing the prints from Wrap and putting them up on their walls, which is a great idea, and we’ve even done this ourselves. Other people have talked about using the prints to make cards, and to cover notebooks, but mainly they either save the magazine as a whole or use it for wrapping paper.”
Read, wrap — wrap and read. Wrap both showcases new de sign talents and can be used as wrapping paper. It’s published three times a year and each copy is numbered by hand.
When desIgner polly glass and her boyfriend Chris Harrison wanted to create a platform for other designers to show case their material, they hit on the idea of a magazine without staples or stitching that can immediately be recycled into beautiful wrapping paper. “We knew we wanted to work on a project together that harnessed our design skills, and one that offered others the chance to have their work published and out in shops being seen and used by other people,” Glass says. Having completed design degrees at university and gone on to work for other people in the industry, the couple saw how www.iggesund.com
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hard it is to get one’s own work on display. “We thought how cool it would be to create something where designers’ and illus trators’ work was published on a really large scale, so they could really show off their skills and talent,” Glass says. “The idea of a magazine that could be used as wrapping paper seemed like a good way to combine all these ideas — a product with a double purpose, read and wrap, and one that high lights great design and illustration.” In each issue, a handful of designers or illustrators are described on one side of a sheet of paper. When you turn the page, their artwork is showcased on the other side.
“Some of the people we have showcased have gone on to get new work and projects through having been seen in Wrap,” Glass says. “So that, as well as being seen by read ers around the world, is certainly a bonus for them.” The duo would like to further the “Wrap experience” and have begun to work on other products. Reactions to the magazine have been very positive so far. “We hope lots of people go on to use it as wrapping paper, but some have said it seems too good to take it all apart and use it — in which case we suggest it might be a good idea to buy two copies,” Glass says. ■
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Topical
from Iggesund
A NEW Olympic
record
Ensuring that no waste ends up in landfills is just one of the sustainability objectives of the London 2012 Olympic Games. TEXT CARI SIMMONS illustration SAM BREWSTER
Sports and athletes are not the only
focus of the London 2012 Games. As the city gears up for the big summer event, sustainability is at the top of the agenda for organisers in their efforts to reduce the energy and carbon footprint of the games. All aspects of sustainability are
being taken into consideration, including climate change, waste, biodiversity, healthy living and inclusion. Inclusion aims to, among other things, involve diverse groups from local communities. Many targets have already been achieved. For example, more than 90 percent of the construction waste has been diverted from landfills and has been either reused or recycled. There has also been a 50 percent carbon footprint reduction for construction of the park. Additionally, the Olympics has
led to the regeneration of economically disadvantaged East London, where the games are being held, and to a much improved local employment situation as half of all employees come from the neighbourhood. Shaun McCarthy is chair of the Commission for a Sustainable London 2012, an independent body that reports to the Olympic board. He says the biggest hurdle to overcome is not related to cost or technology, but rather a willingness to do things differently. “What this Olympics has already demonstrated is that you can deliver sustainable solutions at lower cost, but changing people’s behaviours is the biggest challenge,” says McCarthy. The sustainability push has prompted suppliers to find new solutions, a trend that McCarthy sees continuing. “Using a global
event like London 2012 to showcase what can be done gives sponsors the brand recognition they desire, and it provides an opportunity to show what can be done from a sustainable point of view,” he says. For example, no waste is to be sent to landfill. To achieve this target, all products and packaging must be reusable, recyclable or recovered, and material coming into and out of the park is controlled. An estimated 3,300 tonnes of packaging waste will be generated over the 17-day period, according to the London 2012 Organising Committee. “We are looking into all kinds of packaging, from pvc bottles for recycling to compostable packaging which doesn’t need to be segregated,” McCarthy says. “Six and a half million people will be fed in a short period of time. Only war is a bigger logistical challenge!” Compostable packaging that is used
on site will be processed through anaerobic digestion and turned into renewable energy. Whether for composting or recycling, McCarthy says paperboard is the most sustainable packaging material. “Paper and paperboard are the best possible examples of compostable materials that can be used,” he says. “They are natural products and particularly good as they come from recyclable resources.” ■
What does it mean?
Carefree paperboard All of Iggesund's products are fibre-based and have a high recycling value, are compostable and work for all types of disposal as men tioned in the EU Directive on Packaging and Packaging Waste (EC 94/62). “This is a really good packaging material because it enables you to choose the waste-handling route you want,” says Jonas Adler, business development manager at Iggesund Paperboard. “You can recycle, compost or incinerate it for fuel. Pa perboard gives you all of these options, while metal or glass only cover one or two of these options. Paperboard is a carefree solution. “In order to maintain high standards of food
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Reuse: Where products, materials or packag
ing can be used for a second or subsequent Iggesund
safety, it’s best to use virgin fibre paperboard for food packaging, rather than recycled board with the risk of migration, Adler says. “People sometimes wonder why recycled paperboard isn’t used more in our food packaging, but in addition to the food safety aspect, virgin fibre packaging acts as much-needed raw material, supplying a steady stream of virgin fibres to the recycling industry. “After use, recycling is the best option for clean paperboard," says Adler, ”but for paper board that is contaminated with food, composting is the better option.”
time for the same or similar purpose without requiring any reprocessing. Recycling: The reprocessing, in a production process, of waste materials. This occurs at the point at which the materials are put back into productive use. Recovery: Includes recycling, energy from waste recovery and composting. Composting: Process by which waste is bio degraded by micro-organisms.
Compostable packaging: Includes natural fibres, such as plain paperboard and paper, or timber and timber-derived materials that are free of preservatives, paint and other non-compostable layers.
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News
from Iggesund
With a thorough Lust FOr LiFe The Iggesund campaign “Invercote your design” invites top designers to fill a little black box with a unique idea. In response, Sebastian Onufszak, a 33-year-old graphic designer in germany, made a surrealistic short movie about creativity, life and death. SeBASTIAn OnUfSZAk mAde his first
countries: the Polish lust for life and the German Gründlichkeit, or thoroughness. Graphic design is my passion, and my goal is to continue with the same excitement I felt about graphic design as a kid, to create new styles and keep pushing forward.”
“The Black Box Project is a fantastic idea that allows designers to expand their horizons and create something really unique,” he says. “Nowadays graphic design is not only print, it's much more. New media like the Internet and interactive installations have brought a lot of changes for commercial artists, and I tried to combine all these media: print, motion and installation.” ■
design attempts in 1989 as an 11-year-old boy sitting in front of his Commodore Amiga 500, pushing pixels around on the screen SeBASTIAn’S BLAck BOx PROJecT idea in Deluxe Paint. Today is a surrealistic short movie called “Still Life he works in his home studio in Augsburg, in a Circle” about the renaissance of creaGermany, on an Apple iMac, two MacBook tivity — about hope and desperation, life and Pros, additional displays, a Wacom tablet death, light and darkness, and the history of and an iPad, surrounded by design books, a Iggesund. TexT kARIN STRÖM PHOTO ROLF ANdERSSON Darth Vader mask and neat stacks of paper. His work has been featured in numerous exhibitions and design publications worldwide, The Black Box Project is a stage on which Iggesund presented contributions by New York and his clients include companies such as designers can perform their art with no based Marc Benhamou and Italian design bureau aBOut THE BLACK BOX Adidas, Audi, Ray-Ban, Bacardi and bmw. limitations apart from the size of the box and Brunazzi & Associati in Torino.PROJECT On November 15, use my of Invercote. first two Black Box Sebastian Onufszak’s film was presented at “At the time I wasthe born, dad wasThe study– The Black Box Project is a stage on which Iggesund presented contributions by New York Projects, created by Dutch designer Frans van an event at the Prototyp Museum in Hamburg. designers can perform their art with no based Marc Benhamou and Italian design bureau ing applied arts at the Academy of Breslau Heertum in Tilburg and Parisbased design Further events are planned in 2012. limitations apart from the size of the box and Brunazzi & Associati in Torino. On November 15, in Poland, and I always knew I wanted to bureau Landor, were introduced in 2010. In 2011 the use of Invercote. The first two Black Box Sebastian Onufszak’s film was presented at become a graphic designer,” Sebastian says. Projects, created by Dutch designer Frans van an event at the Prototyp Museum in Hamburg. “When I was three years old my parents Heertum in Tilburg and Parisbased design Further events are planned in 2012. bureau Landor, were introduced in 2010. In 2011 moved from Poland to Germany, providing me with attitudes from both
Iggesund supports sports clubs
When you think of Olympic sport, what automatically comes to mind is probably this summer’s Olympics in London. But a couple of sportsmen with links to Iggesund are already focused on the 2014 Winter Olympics in Sochi, on Russia’s Black Sea coast.
Daniel Richardsson from Iggesund, an established skier on the Swedish national team, helped Sweden take gold in the ski relay in Vancouver 2010. During the winter season 2011, Daniel man aged to come third in the overall Cross Country World Cup. Over the years Iggesund has supported Daniel’s club, Hudiksvalls IF, with contributions both to sports facilities and to youth activities.
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Another Swedish medallist at the Vancouver Olympics was slalom specialist André Myhrer, who took the bronze in the Men’s Slalom. His club, BergjsöHassela Alpina, has also received support for both investments and activities. Two funds linked to Iggesund Paperboard have been set up to support societies and clubs in the area around the mill in Iggesund. Some 2 million Swedish kronor (225,000 euros) is awarded from the funds each year to clubs and youth societies. Clubs focusing on everything from rabbit jumping and ice hockey to downhill and crosscountry skiing receive muchneeded support in their efforts to foster meaningful lei sure time. Based on this ongoing support, Iggesund is hoping for new medals in winter 2014. ■
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FINAL TEN WITH...
Sam Hecht ...
TexT MICHAEL DEE
Sam Hecht and his partner Kim Colin founded the studio Industrial Facility in 2002 to explore the junction between industrial design and the world around us. The duo are respected throughout the design world for their thoughtful, elegant yet rigorous approach to design, whether it be furniture, a cycling shirt or a hard drive.
1What’s your favourite sport or outdoor activity? 2 What’s the concept behind the cycle shirt?
“I cycle every day, and I’m a very keen squash player.”
“It’s a shirt for urban cycling, with pockets on the back for maps, diaries, mobile phones and such.”
3describe your design philosophy.
“Design that is simple and doesn’t frustrate you. That has character and is transcendental so that it lasts.”
4 do you get involved in the packaging of your products? “Packaging has an important role, but it’s not one I’m an expert at.”
5 What’s your favourite form of packaging?
“Packaging that is light, very limited and can be recycled easily — like Muji’s.”
6 Your least favourite?
“I dislike packaging for toys. It has as much plastic as the toys themselves.”
You and Kim Colin recently published a book titled 7 usefulness in small Th ings: Items from the under a Fiver Collection . What’s it about? “
” “It’s about low-cost and mass-produced items from around the world — toothbrushes, gloves, sweets — showcasing innovative design.”
8What are the most important issues in the design world today? “There is too much choice and no real commitment to values. We need to get back to the idea of creating things that are in equilibrium, within themselves and with the world they are going into.”
9What are you working on at the moment?
“More projects for Muji and furniture for Herman Miller and a few projects I can’t discuss, I’m afraid.”
10 Your dream project?
“Something to do with cycling or transport would be very exciting.” www.iggesund.com
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28 CO12001E
