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All Access by Stefan Bucher

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Job no:
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Dept : D
Job no:81378-5 Title : RP_All Access (New PB Verdions) Client : Pro-vision
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175 Size : 203.2(w)254(h)mm Co : M6 (mac J)
Dept : DTP D/O : 22.10.05 (Job no:000000 D/O : 00.00.04 Co: CM0)
p170
5th Black
Magazine design has, for the moment, turned its back
on the mid-’90s explosion of Carsonic typography
and is moving, at best, toward a safely simplistic modern style,
and at worst, toward the graphic hodge-podge of “lad mags” in the vein of Blender or FHM.
With their work for the British magazine The Wire, Non-Format, the Anglo-Scandinavian team
of Norwegian Kjell Ekhorn and Brit Jon Forss, is forging a third way that combines clean,
dramatic layouts with intricate details that reward the reader’s attention.
2003.
The Wire, cover and spreads.
Non-Format’s work for The Wire.
shows their greatest strength.
of marrying classic layouts.
with modern photography and.
dramatic ornamentation.
KJELL
EKHORN
FORSS
JON
22
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Job no:81378-5 Title : RP_All Access (New PB Verdions) Client : Pro-vision
Scn :
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175 Size : 203.2(w)254(h)mm Co : M6 (mac J)
Dept : DTP D/O : 22.10.05 (Job no:000000 D/O : 00.00.04 Co: CM0)
5th Black
p171
171
F
oundations of virgin modernism are conquered by graphic
wildlife. Like vines taking over a Frank Lloyd Wright
building, delicate lines grow from bold magazine headlines.
Massive numerals catch the wind and blow away as a mass
of leaves and flower petals. And a minimalist magazine cover
faces slow invasion by the encroaching underbrush of
flash Internet style.
Both men were raised by artistic families. Says Forss, “My father
is a furniture designer/maker, sculptor, and craftsman. Kjell’s
father used to be an architect. So our respective parents were
a strong influence from a very early age. Both of us recall chan-
neling our energies into art studies, and we have a common love
of pop art, fashion photography, and Modernist architecture.”
The early years of Ekhorn and Forss’s careers are surprisingly
similar but entirely separate. Both started their professional lives
in advertising but were soon frustrated and left to pursue a
better life in graphic design. “Kjell and I started out in graphics
by working in advertising, but we both left that field at about
the same time. We both then got into designing for the publishing
industry—book jackets. We spent quite a few years pursuing
this—in my case nearly a decade. We both really wanted to be
doing something else.” A mutual friend finally introduced them
in the late ’90s. “We quickly realized we had a similar approach
to design. We enjoyed the same kinds of idea-based work.”
They joined forces almost immediately and decided to seek work
in the music industry. Forss had already designed CDs for Jon
Tye’s Lo Recordings and Tony Morley’s Leaf Label. “I wanted
Kjell to be involved straight away. We started working together
on music packaging, then set up EkhornForss.” Assignments for
EMI, Mute Records, The Leaf Label, and Lo Recordings
followed, as did book covers for Granta, Orion, and Random
House. In 2001, EkhornForss gave themselves a new name:
Non-Format.
,
m
All_Access_154-208-10-13-05-M6.qxd 10/25/05 11:10 AM Page 171

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