Imprint information – I Used to Be a Design Student

IMPRINT INFORMATION

Published in 2013 by

Laurence King Publishing Ltd

361–373 City Road

London EC1V 1LR

United Kingdom

email: enquiries@laurenceking.com

www.laurenceking.com

COPYRIGHT © TEXT AND DESIGN

Frank Philippin & Billy Kiosoglou, 2013

This book was produced by

Laurence King Publishing Ltd,

London

Frank Philippin & Billy Kiosoglou have asserted their right under the Copyright, Designs and Patent Act 1988, to be identified as the Authors of this Work.

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without prior permission in writing from the publisher.

A catalogue record of this book is available from the British Library.

ISBN

978 1 85669 898 6

AUTHORS & EDITORS

Frank Philippin &

Billy Kiosoglou

BOOK DESIGN

Brighten the Corners

www.brightenthecorners.com

PAPER

Yulong Pure & Thai Woodfree

TYPEFACE

Akzidenz Grotesk Medium

Printed in China

ACKNOWLEDGEMENTS

First of all, we’d like to thank the Hochschule Darmstadt (Germany), where Frank is a professor, for granting the sabbatical during which the research for this project took place. Without this great academic tradition, it would have been impossible to give this book the kick-start, time and attention it needed.

Thank you also to the tutors and designers who were influential during our studies. At Camberwell College of Arts, London: primarily Andy Long but also Alex Lumley, Jim Fielding and Lawrence Zeegen; at the Royal College of Art: Margaret Calvert, David Cross, Dan Fern, Ian Gabb and Alan Kitching; and, of course, all the other people in both places who had an impact on us in one way or another during our studies.

For later years, when we were trying to find our way in the ‘real world’, we have the following people to thank: Jeremy Myerson at the Helen Hamlyn Research Centre, Nina Lemmens at the DAAD (German Academic Exchange Service) and all our other clients who have enabled us to run a successful design studio for the last 13 years.

Regarding teaching, I (Frank) must greatly thank (or perhaps blame) Adrian Spaak, for without him I would have never committed to it in the way that I have done.

Our thanks also go to everyone at Laurence King Publishing, especially Jo Lightfoot who supported the project from the start and Susie May for her help in the editorial process.

Last, and definitely not least, a big thank you goes to all the designers who took part in this project. Finding the time to patiently answer our numerous questions and to track down old student works while running an established design practice isn’t easy, so we greatly appreciate their support and contribution!

We would also like to thank all the designers who contributed to our research but whom we were not able to feature in the final book.

 

Thank you all!

PHOTO CREDITS

Portrait photos on inside flaps, comparative spread pages 22–23 and on designer project spreads of António S. Gomes (then/now) by José Albergaria/Pedro Ca, Bernd Hilpert (then/now) by Eibe Sönnecken, Danijela Djokic (now) by Tom Ziora, Emmi Salonen (now) by Jere Salonen, Fons Hickmann (now) by Johannes Bock, Kirsty Carter (now) by Martin Hartley, Lars Harmsen (now) by Halim Dogan, Laurent Lacour (then) by Meike Lacour, Liza Enebeis by Dennis Koot, Margaret Calvert (now) by Steven Speller, Oliver Klimpel (now) by Anna Gille and Sebastian Kissel, Sascha Lobe (now) by Michael Schnabel, Sven Voelker (then/now) by Marcus Meyer/Frederik Busch.

Work photos on designer project spreads of Emmi Salonen (now) by Jere Salonen, Kristine Matthews (now) by Doug Manelski (top and bottom two) and Cassie Klingler (central two).

Portrait photos of the authors (page 256) by Tagore Leet (then) and Kai von Rabenau (now).