Interview with Build
Hi Michael, tell us some about your professional background.
I left college in 1990, worked with/for Trevor Jackson at Bite It!, then at The Designers Republic, with a small stint at Me Company in-between. Interestingly I was at a dinner for the Howard Smith paper awards ‘07 [I was one of the judges], and I was sat next to Mark Farrow and for some reason we got talking about past jobs, I asked if he remembered me coming in for an interview? The interview went well, as far as I can remember I went home waiting for the defininite yes [Mark says he said yes as well], the ‘you can start on this date’ never came so I ended up at tDR, Mark said that as far as he can remember I turned the job down! Basically due to some mix up I never worked at Farrow due to the mix up, how different things could have been! I worked at tDR for a number of years, then decided to quit and go travelling for a year, then we came back and set up Build. Build is Nicky, Brockmann, Betty & I. We work from a nice studio in Walthamstow, 5 minutes walk from home.
Why do you think your work is appreciated by a lot of people?
Is it? I don’t know, it’s nice to be appreciated though. I’ve always just got on with it, believed in what I do, take my own path. I love graphic design, I hope it shows in the work we produce, maybe that’s it?
What do you do to maintain a unique style?
For the most part by ignoring current ‘trends’, not looking at design books, by looking around, thinking differently. Things around me inform the way I think, the way I do things, the things that inspire and influence me. I was never interested in Art History at college, some would say that’s a bit ignorant, but I have always just wanted to do something new, not look to the past. I think that has put me in good stead for the future.
In what ways do your surroundings (location, music, friends, etc.) influence your work?
Music is immensley important to me, we have it on in the studio all the time, I buy new stuff all the time, I can’t stand silence when I am working. Conversation is another thing, dialogue between Nicky & I can spin us off in all sorts of directions. Family, hugely important, family I find really earths a person. Being a Northerner as well, I love going back up North, I think northerners look at things a little differently, I’m practical as well as someone who thinks, I love ‘doing’, I love ‘thinking’.
What do you do to get away from the computer and find other forms of inspiration?
I sit down with Nicola and the cats. I drink. I talk to friends. I read. I walk around. I buy music. I listen to music. I look through old Letraset catalogues. I switch my computer off. I go back up North. I sleep.
Name your favourite 3 projects.
Very tough. Each one has a special part in my heart, for different reasons, some are just key moments in Build history, some because they signify a shift in direction. It’s usually the last projects I do, but here’s a few… On/Off exhibition in NYC [with Maxalot & Commonwealth]. London Electrics – LE:01 CD sleeve. Mono exhibition poster.
Please explain what you usually try to achieve with your work.
Make me happy. Make the client happy.
Future plans?
To keep working, be a good husband, friend, grow a beard, move back up North, build our own house, make an album, design a sans serif font, go into space, the usual really! ;)
Great INterview. Cant wait to see you at Sweet Talk NYC on Saturday
Sans serif!
i love his work
Nice interview.
Build seems like the barometer of cool fonts at the minute. If you see it on Build then you’ll see it everywhere in 3 months.
what cool fonts, helvetica?
Oh please… If modernism never occurred you wouldn’t exist Build. Maybe if you would look into some art history you would realize you’re not doing anything NEW. If there were no art movements there wouldn’t be any graphic movements. I hate to say it but this guy is just becoming more pretentious by the project. I’m not here to hate but I just find if offensive that he is essentially trying to take credit for something Muller-Brockmann was doing in the 60’s.
Maybe I am just jealous because he was able to commercialize it again =p.
That’s what it’s all about isn’t it, recycling. I don’t think any designer today is immune against trends, no matter what they say. I feel it goes against the profession. Sure, you can be an artist and ignore trends, but then people don’t get your work. As a graphic designer your primary role is to communicate a message to a specific public in a way that will make them understand and appreciate that message. Therefore the use of klichés and a well established graphic language is quite useful. The graphic designer must appreciate what works in the paricular situation and use the most appropriate means to convey that message, in many cases this means following a trend. I therefore find it somewhat ignorant to say that you’re not interested in other designers or art history, instead of denying history, one should appreciate it and be inspired by it, not meaning copying old ideas, but making something new out of it. New ideas are essentially old ones combined in a new way.
No disrespect to Fedrik but the interview is the same as countless others out there with the same questions. You could practically answer those questions yourself by reading his excerpt from Michael’s website. How are we young “aspiring” designers suppose to strengthen our work without look ing at the history of graphic design? It is hard not to look at old work from Paul Rand or Ken Garland. New and better design is looking at how the old can be made or produced better. Now because we live in 2007, we can using many different diverse techniques to capture something new. In somewhat, the role of the graphic designer is looking at the trends, but also puting in some self expression to make it look original. In Michael’s case, he hasn’t duplicated Brockmann’s work but Brockmann laid the foundations to Grid Systems and by producing the books that he had, he wanted us to continue those principles to our own work. Just ask Ken Garland, he told a student just to copy the work and make it better.
I just find it really annoying how so many established designers keep blabbing crap. Sorry I have to be honest because I’m sitting here and I want to find out specific things like the design process he goes through. Yet Michael and countless others have wishy-washy comments like “Is it?” I mean of course it is, certainly he knows that. Sometimes designers should just shout out and be arrogant for once and say, “Yes I do love it and why people like it is because of this and that.”
I also find it hard that he does not look at design books. How could you not? It’s not to copy the work in those magazines because at colleges, lecturers and tutors want their students to read them. When your older, how are you suppose to keep up? Design books are suppose to make you more inspired to make your work stronger. If Michael made a monologue book, should we not buy it and look at it?
Sadly the interview does not address anything to help young designers. Ok, we know he’s doing great what about us? He should have said how he or people can help young growing designers.
Hello Mike/Peter –
With regards the ‘Unique style’ question.
When i was at college [carrying on into my early working career] it was a decision I took, now maybe a part of it was due to there not being this incredible research tool ‘the internet’ available at the time, I certainly couldn’t afford design books/magazines, I immersed myself in what I was into, experimenting in design. It’s an honest answer to a question asked.
-
I’m sorry if this came across as arogant, that was not my intention.
Michael.
Mike: I can agree with you that the questions are pretty standard/A4. Maybe we should extend the interview with more questions and give it more depth, and let Michael explain more.
But why shall he tell you how YOU can grow as a designer? It´s not his responsibility just because he´s successful, and I don´t think it´s an answer to that. We all work in different ways and use different methods.
Isn´t it pretty obvious though? If you love what you are doing, have the passion for it and being ambitious, you will get better. Not everybody is born with his talent, creativty and skills though. And I don´t think you can teach that, that´s something you have or you don´t.
Hey everyone.
I can agree with different parts of each comments.
Just wanna let you know that this wasn’t meant to be a deep researching interview. The idea was more to ask everyday questions, that most of us deal with on a daily basis.
I can see now how it would be better to do a more detailed interview, to answer questions many of you obviously seem to have.
This is something currently being worked on. We are planning to add a separate section for interviews and articles.
Anyways, happy to see people using the revolutionary comment function!
“If modernism never occurred…”
It still occurs.
“…you’re not doing anything NEW.”
Nobody is, mon chérie.
“Maybe I am just jealous…”
Q.E.D.
“New ideas are essentially old ones combined in a new way.”
Relativity is essentially old gravity combined in a new way.
“As a graphic designer your primary role is to communicate a message to a specific public…”
As a graphic designer your primary role is to change the world for the better.
“… I don’t think any designer today is immune against trends”
You are confusing culture with trends.
“Design books are suppose(d) to make you more inspired to make your work stronger.”
Design books are supposed to make money, and rarely they do. Inspiration can and should come from other sources: literature, cinematography, mathematics, games, biology, maps, pets, love.
Mircea.
“As a graphic designer your primary role is to change the world for the better.”
No it isn’t. Of course everyone has their personal objective, but change the world for the better?
Your personal objective might be to change the world, mine isn’t, and I am still a graphic designer. Your primary role is, like it or not, to communicate a message, even if that is “let’s make a better world” or “buy this album”. In the end, it’s still just another profession, albeit a damn good one.
“Relativity is essentially old gravity combined in a new way.”
Thank you for pointing that out. Einstein surely looked at previous ideas regarding gravity before coming up with his own theory.
“You are confusing culture with trends.”
No I am not. When a certain, let’s say font, becomes very popular there’s a reason for it, the reason? People adapt it to keep up with the competition. I am not saying everyone does or everyone should, but many do, that’s a fact. That is because if they don’t their work might feel dated and not command as much attention as the next persons. I am just saying, we must at least acknowledge the ongoing trends, even if we choose not to adapt them. We might choose to do the opposite to get noticed, but that is still a reaction to a trend isn’t it?
“Design books are supposed to make money, and rarely they do. Inspiration can and should come from other sources: literature, cinematography, mathematics, games, biology, maps, pets, love.”
Of course, but that’s not the point is it? Inspiration comes from everywhere, including design books. The point is that design books shouldn’t be neglected as a form of inspiration just for the sake of it.
@marcel,
Babyteeth, Frankfurter, etc
Good interview i thought, down to earth, inspiring and original.
Peter,
Re: The role of the graphic designer
It is not the place, nor the point, to engage here in semantic arguments over the role/definition of the graphic designer, a basterdized enough topic in so many other forums/blogs/books/magazines etc. However, I find very sad that designers (and may I add, all creative “prefessions”), of any level, look at themselves as a mere service provider, enslaving to questionable client goals, fulfilling tasks with minimum questioning, all in the name of “communicating a message”. If they can succeed even at that in the first place… Well, at least my idea of design goes way beyond that. When we are creating a design product, we are not just communicating someone’s need but actually interfering (on whatever scale) with a broader fabric of cultural artefacts, therefore you are making a small contributuion in adding something to a world-wide pandemonium of messages/ideas/emotions - and hopefully, for the better. The ultimate goal of any body of work should be that. The fact that you helped you client along the way it’s part of the ecuation sure, but it’s not the sole factor.
I would like to think that if you design a logo, you are taking into account not only your client’s needs, but also it’s value to the world of graphic design, and of course it’s value to you, as a person and a designer that expressed itself in this work (this triad of values is known in some circles as the O’Connor Razor). Case in point, I believe the work of Michael C. Place passes the O’Connor razor with flying colors. Moreover, I feel that any body of work with such a high level of quality and consistency should be respected, independently of our personal views over the role of the graphic designer.
Re: Culture and trends
My point was that a good designer must absorb all cultural influences available to him possible, while showing indifference to trends. Aware of them, yes. Indifferent, definately. I think this only becomes possible with a certain level of maturity and a a certain confidence in yourself, your skills and your inner voice. With the risk of sounding like a lne from a martial-arts movie, a true designer probably spends his time consuming any other source of inspiration BUT trendy design work. Bluntly put, these are the designers that get copied and set trends, not the ones that copy. Case in point, I believe that Michael’s body of work is one of the most unique, refreshing, powerful but also followed and copied bodies of work out there.
Re: Fonts as a measure of trends
As I’m sure you know, a good typeface never goes out of style. You will probably notice that most respected designers employ throughout their entire work-folio a very small set of typefaces (less than 10), some of which they actually designed themselves. I think there’s a big distinction between using a stylish typeface and using a typeface with style. I think we should be more interested in the second alternative, since we already established that we would be using a good typeface in the first place. ;)
One love,
m.
i like
build
Build’s work makes me smile. I can tell he loves doing it and knows what he’s doing.
As far as what he thinks about things or his reasons for doing what he does… it’s neat to read about, but I’m not interested in judging him. He doesn’t owe anything to me. Differing views about how history and culture play their roles in graphic design are really not that important. There is no value in critizing anyone and trying to force your theory on them.
Mircea,
“Design books are suppose(d) to make you more inspired to make your work stronger.”
Design books are supposed to make money, and rarely they do. Inspiration can and should come from other sources: literature, cinematography, mathematics, games, biology, maps, pets, love.”
What I really wanted to try and say on this point I made previously was looking and old and certain design books that can change or give you another dimension to how you can perceive your ideas. I’m not referring to those trendy design books but those that are old. Books like Brockmann’s Grid Systems, Design: Vigelli or something as simple as Bob Gill. I don’t read commericalised design books or magazines but there are a few number that are good. They are not to copy but for you to look at things a different way and somehow you can come up something new. Michael’s work was featured in Grafik, how would I suppose to know who he is without picking the publication up?
Also you are taking it too literally with the role of being a graphic designer. Can you say it’s not true that as a graphic designer that we are trying to communicate a message? That is what you first learn at college or university. When you are designing a logo, of course you are looking further ahead. You are looking at the culture of that business and what you can do it and what it can contribute to the broader social graphic culture. I think you are taking it a bit too far ahead because young designers have not experience something or know the extent of what you know.
“My point was that a good designer must absorb all cultural influences available to him possible, while showing indifference to trends. Aware of them, yes. Indifferent, definately. I think this only becomes possible with a certain level of maturity and a a certain confidence in yourself, your skills and your inner voice. With the risk of sounding like a lne from a martial-arts movie, a true designer probably spends his time consuming any other source of inspiration BUT trendy design work.”
You have just say what I believe in. No one is actually denying what you have just said.
I would also like to say I want to step back with my intial comments. I just really want established designers to be given the opportunity to speak about the more important design issues. I have nothing against the showcase of personal work but things like the design process would be appreciated. I think it is fair to say most people who would read an interview are young designers looking for insight.
The role of design books how good or bad they are is to give information and insight about peoples’ work, not to copy. If someone decides to copy work from those books than they will define how successful they will from doing that and we know how far that person will get. It’s just interesting because I’m reading Graphic Design as a Second Language right now by Bob Gill and he says design is neither good or bad but if you make it bad it will be. Design books will always be a source of inspiration and it’s up to the individual to decide which ones are worth reading but might I comment that how can someone be interested in graphic design without looking at one of these? Can you deny that once you were young, you copied ideas from well known designers? It’s a long process and in time, you grow to mature and do your own thing or how else you are going to survive in the industry? As I said, how am I suppose to know who the hell Michael C Place is without buying a design book?
Mike,
What is Grafik?
PS: You sound like you’re on the right path.
m.
Blah blah blah…
Idiots. Both of you.
Tell me this Mircea, how did you find out about Michael & Build? How did you find this website?
You yourself are using B-FUQ/01 on your holding page and 45° lines… hahahahaha
N… I am also using Valicenti’s Infinity and Schiavi’s Sys. ;)
hypocrites.
[…] An interview can be seen here with some rather heated discussions about his work and design in general in the comments section. […]
Build is totally radabad dudical. Who gives a shit about design books, websites, the internet, culture, or the internet? Not me.
Newstoday,
“It’s a shame we live on different continents. A shame of many.”
Michael C. Place is dope… stop the hate, this guy works harder than 99% of the designers out there, he loves what he does, his attention to detail, work ethic, vision, concepts, style intellect and attitude is light years ahead of most creative professionals.
Young, jealous, and lazy aspiring designers can only hate… your negative comments towards him are pathetic.
Michael C. Place has shelves full of books at his office. Many of his designs are from this book ‘Neubau Welt’ (neubauwelt.com).