tat* by Andy Altmann

Some people collect wine or classic cars; others collect coins or stamps. Andy Altmann collects graphic ephemera – or what he calls ‘tat’. Altmann developed his interest in scraps during his career at Why Not Associates, the multidisciplinary studio he founded upon graduating from the Royal College of Art over three decades ago. Now, the graphic designer has compiled his collection in a singular, self-designed publication. Here, Altmann speaks to LUX about how the book mirrors his design evolution, and why brash design need not be devoid of beauty

1. Of all the things you might collect, you chose ‘tat’. Why?

It’s hard for me to explain exactly why I collect tat*. When I was a young boy, my mother noticed me sitting at the kitchen table, carefully studying the label on an HP Sauce bottle. When she enquired why, I apparently replied, ‘someone must have to design this’. I was instinctively attracted by the lettering, the colours and the illustration of the Houses of Parliament on what is still my favourite condiment. It’s a classic example of what was once known as ‘commercial art’. It did its job and pulled me in.

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However, I didn’t start collecting any graphic ephemera until I was studying graphic design at St Martins School of Art in the early 1980’s. We were encouraged to keep sketchbooks, where we could practice our drawing and put our creative thoughts down on paper. I wasn’t as gifted as some of my peers at drawing, so I started to turn these sketchbooks into idea notebooks where I would also stick in any relevant piece of graphic ephemera. With time, these developed into pure scrapbooks with more and more tat* lovingly glued into their pages. There is a great nostalgic attraction to the particular era that the ephemera has been produced in. But it is also my fundamental fascination with popular culture, including the history of Pop Art, which was and still is a huge influence on me – where the everyday is embraced and celebrated.

2. tat* emphasises the disposability of graphic ephemera even while immortalising it in book form. What fascinates you about that interplay?

These ephemeral pieces of tat* were not designed to survive for a long time. They had a job to do and, in the majority of cases, they end up in the bin. There is certainly irony in me celebrating what some may see as poor graphic design, destined for the trash, ending up in a fancy hardback coffee table book. But I hope people can also see the beauty in the ugly. The cheap production values of much tat* means that the printing is often poor and mis-registered – but to me, this only adds to their aesthetic attraction. I don’t know why this should be: maybe it’s like a stamp collector who is looking for a printing mistake, which makes a stamp much rarer. I think it may however be that they just feel more human, less perfect.

tat* by Andy Altmann

3. You frequently extrapolate memories from the graphic scraps reproduced in tat* – of your upbringing in Warrington, or sitting and watching World of Sport with your grandfather. Could we call it a diary of sorts?

I guess it is a kind of diary, as it illustrates moments through my life in association with printed pieces of ephemera. They can evoke various memories of where I may have found them, who gave it to me or a subject that is dear to me. A good friend of mine, on reading a copy of the book, described it as now being his ‘favourite autobiography’. I really like that description. It was a revelation to me, as I had not thought of it in that context, but it’s a really interesting way of viewing it.

As a graphic designer, it is rare for me to be asked to write about anything. I consider myself more of a visual person, so I was hesitant to include any written words in the book. But I was encouraged by friends to have a go at including relevant stories after recounting some of them when showing them work-in-progress spreads. In the end, I found the writing a really enjoyable and rewarding experience, and it turned the final book into a much more interesting piece of work.

Read more: Pioneering Artist Michael Craig Martin on Colour & Style

4. Much of that depicted in tat* is brash, erroneous, or what might be considered ‘bad’ graphic design. What value is there to be derived from this kind of design?

Having a collection of graphic ephemera can be useful to any practicing graphic designer. It’s a library of visual thoughts. Some may be deemed naff or crude but any piece could spark an idea, illustrate a great colour palette, inspire a typographic layout or choice of font. It doesn’t really matter that it may be considered ‘bad design’ – there may well be something that could be taken to start a tract of creative thought.

I was a co-founder of the multidisciplinary design practice Why Not Associates. I used to keep all my scrapbooks of tat* in the cupboard next to my desk. If a designer was having a creative block I used to encourage them to flick through some of the scrapbook pages in the hope that they may spark an idea or just freshen the mind. Some of our best ideas started from a thought inspired by a piece of tat*.

tat* by Andy Altmann

5. tat* is clearly fascinated with vintage or retro design. Would you say that any one period inspires you most as an artist and, if so, which one?

That period would be the 1960’s and 1970’s because, as with many people, I think I am most strongly drawn to the period of my childhood. It is where we form our fundamental characteristics and loves that stay with us for life. I guess it’s the basic human desire for nostalgia for our youth. One only has to watch contemporary television to see the many shows dedicated to salvaging objects from peoples childhoods or early adulthood.

Read more: Big Boy Blue: In the Studio with Idris Khan

6. You ran a design studio, Why Not Associates, for 33 years before you decided to embark on more personal projects like tat*. How have you ensured that your designs stay inventive and surprising throughout your career?

I co-founded Why Not Associates with two fellow students on leaving the Royal College of Art in 1987. We never worked for another design company, and I think because of this direct transition we maintained the spirit for experimentation and surprise that we had developed as students. We left the RCA with just three drawing boards, but we were among the first design groups to buy an Apple Mac. We were not scared of the change, unlike many of our contemporaries, and we embraced the technology which led us to be one of the first multidisciplinary design groups. An open mind to change, collaborating with people of all ages and not taking yourself too seriously help to keep new, inventive and surprising ideas flowing.

I don’t think my approach to solving a creative problem has basically changed over the years. I am a curious person who loves researching the background to a project and this always forms the platform to relevant and strong ideas. However, you still need that child-like mind to embrace the unexpected. Look at it upside down and back to front. What at first may seem to be a daft notion or irrelevant idea could turn it into a thought provoking concept.

Find out more: circa.press

A dining room interior by SKIN. Image by Andrew Miller Photography

Founded by interior designer Lauren Lozano Ziol and graphic designer Michelle Jolas, SKIN is a luxury interior design studio that offers its clients the opportunity to accompany designers to furniture markets, design shows and antique shops. Ahead of the studio’s London launch, we speak to Lauren Lozano Ziol about the business concept, her inspirations and designing spaces to promote positivity

Lauren Lozano Ziol (right) with Michelle Jolas

LUX: How did the concept for SKIN first evolve and who’s your target customer?
Lauren Lozano Ziol: Since Michelle and I first met over a decade ago, we have succeeded in pushing each other out of our respective comfort zones of graphic design and history of art, allowing us to continually challenge style boundaries. When we founded SKIN in 2017, we bonded over our love for materials that can be used in design. There are so many exciting and interesting ways to use materials such as cowhides, shagreen, snakeskin, leather, fabrics, veneer and so much more. Wallpaper is another critical consideration for us, in the past, we contemplated creating a wallpaper line, and the name ‘SKIN’ was a fun play on all of the above. As we considered what SKIN as a company meant, we realised the meaning is profound – it’s your outer layer, what you show to the world, it’s inner and outer beauty, it’s diversity – this led us to name our website skinyourworld.com.

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Our target customer is a discerning client who appreciates the beauty of high-end, quality interiors and materials, with a shared interest in art and furniture history, who isn’t afraid of mixing period pieces and jumping out of their comfort zone to create unique, elegant and sophisticated interiors. Also, a client that likes to have fun with the process.

LUX: What’s your creative process when you start on a new interiors project?
Lauren Lozano Ziol: Firstly, we learn about the client, who they are, what they like and what inspires them in their daily lives so that we can understand their needs. The creative juices then start flowing. We create vision boards, art collection ideas and materials. We lay out the floor plans and make sure the scale is perfect, we then select potential furniture, sketch ideas and pull it all together with renderings to show the client. We love being in the client’s space with all the materials. Colour and texture, lighting and luxurious material all play a synchronised role in the complete design. When we present to a client, we love to collaborate with them, it sparks creativity and new ideas.

A private residence project by SKIN. Image by Andrew Miller

LUX: In terms of the design side of the business, is it important to have a style that’s recognisably yours?
Lauren Lozano Ziol: Yes, and no. Yes, in terms of being refined, elegant, timeless, classic and chic – whether the interior is modern or traditional. However, every client is different, so we like to explore what that means to the project and not box ourselves into one look. We want each project to be unique.

Read more: Two new buildings offer contemporary Alpine living in Andermatt

LUX: Is there a design era that you’re particularly drawn to or inspired by?
Lauren Lozano Ziol: French 40s and Art Deco in terms of style and materials. We also adore Maison Jansen.

Library design by SKIN. Image by Andrew Miller

LUX: How much of a consideration is sustainability?
Lauren Lozano Ziol: Very much so, our environment has never been more important, so we work together with architects and contractors to bring the right materials that are long-lasting and good for the planet. Now more than ever the need for healthy communities, clean air and non-toxic environments is paramount.

LUX: Why do you think lifestyle services have become more desirable in recent years?
Lauren Lozano Ziol: We firmly believe that environments influence how you feel. They have the potential to promote creativity and help make you your best. If you like the space you’re in, you feel happier amidst the disruption of Covid-19. The well-being achieved from a well-thought-out, organised home can have long-term positive effects on the whole family.

Read more: Three top gallerists on how the art world is changing

LUX: Are your excursions designed to inspire or educate, or both?
Lauren Lozano Ziol: Both! We make a list, head off to explore and see what catches our eye. We love talking about the history of pieces when we go on an excursion, but ultimately, we settle on what speaks to us and inspires our project goals. The day can end very differently to what we set out to accomplish because there are always hidden gems and treasures to find along the way.

LUX: Should good design last forever?
Lauren Lozano Ziol: Yes, our philosophy is “timeless, classic, chic with an edge” which allows us to create an ageless design yet pushes us to look for new and exciting trends.

LUX: What’s next for you?
Lauren Lozano Ziol: Our London launch, which we are so excited about. We are ready to meet new and interesting clients and breathe life into amazing projects. Again, our environments have never been more critical, and we are ready to take on our new adventure.

Find out more: skinyourworld.com

Photogenic Painting, Untitled 75/31, Barbara Kasten. Copyright & courtesy the artist

Barbara Kasten is one of the most intriguing and influential photographic artists of the past 50 years. Born in the US before the second world war and initially influenced by the Bauhaus movement of the 1930s, her work seems to meld two dimensions into three and defy easy categorisation. In a rare interview, she speaks to Millie Walton about some of her techniques ahead of her postponed solo show at Kunstmuseum Wolfsburg in Germany

“I do not think of my work as abstract photography. My abstraction is a search for a fleeting moment in time when a nondescript, real thing is transformed and perceived in another state of being. By definition a photograph records reality. I use photography to capture a unique abstraction of perception which can only happen with the interaction of light. It’s about how materials interact with light and how light is so essential to the way that we look at the world.

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“Normally, my interest is in the material that I’m using and its properties so there’s a lot of controlling and experimentation, and that’s the initiating point for me. I make shapes out of these materials that have no representational value; they are basic geometric shapes, building blocks, which is where the relationship to architecture comes in. Everything that I build in front of the camera is not held together, it’s balanced on each other. I’m building something that looks like an object, but I don’t want it to look like an object so I cancel it with what happens when the light hits and the shadows create other objects that are fleeting. The shadows also become building blocks, but they’re not there so it creates this contrast between the real and the unreal.

Architectural Site 19, July 19, 1989, Barbara Kasten. Copyright & courtesy the artist

Architectural Site 17, August 29, 1988, Barbara Kasten. Copyright & courtesy the artist

Architectural Site 15, Whitney, 1989, installation shot with the artist. Copyright and courtesy the artist

Read more: In the studio with the radical New-York based artist Mickalene Thomas

“All of my work is in the studio so I can move the light to achieve a different perspective of the object, but I don’t move the camera. I build in front of it and because [the viewer] is large, I can look at it as I might look at a painting where if a shape is not in a compositional relationship to another shape that I like then I can go in and change it by moving the object or the light. In that way, it’s a very painterly organisation and composition that I create, but then there’s also the three-dimensionality of the sculpture that is a different experience to the three-dimensionality as it is translated to the flat surface. I think that’s one of the reasons why more recently I’ve been taking what I call the set-ups in front of the camera and treating them more like standalone sculptures. I don’t make a photograph, I just use the same kind of material elements and I allow the audience to see what I see before I go to the back of the camera because once I’m looking through the camera, it’s my point of view and it’s frozen in the moment. Now, I’m more interested in how I can broaden this experience so that other people see the discovery for themselves.”

Crown Hall, Artist City, 2018, Barbara Kasten. Copyright and courtesy the artist

Due to Covid-19, the artist’s solo exhibition ‘Works: Barbara Kasten’ at Kunstmuseum Wolfsburg has been postponed, and is expected to open later this year. For updates, visit: kunstmuseum-wolfsburg.de

View the artist’s full portfolio of work: barbarakasten.net

This article will also be published in the Summer 2020 Issue, hitting newsstands in May 2020.