OUGD502 - Creative Report - Dafi Kuhne Research - 'True Print' + Double Dagger

Dafi is known for mixing analogue and digital techniques to produce his distinctive work, using a massive array of tools – from the computer to a pantograph. “Never afraid of getting his hands dirty in his creative workshop, Dafi Kühne embraces the labour involved in the entire process of creating a poster, from initial idea to finished product,” says the publisher. “Fusing modern means with the century-old tradition of letterpress, he forms a new vocabulary for how to communicate through type and form in a truly contemporary way."

I admire what Kuhne is doing, exploring an unfinished medium and using digital as a tool to aid the analogue printing process, ultimately creating contemporary compositions using traditional methods.

TRUE PRINT
Lars Muller Publishers

True Print is the first published monograph from Dafi Kuhne which showcases his typographical posters and provides supporting texts from Rudolf Barmettler and David Shields. This will provide me with further knowledge about Kuhne and his practice which I can then relate to in my questions.

Double Dagger 

Dafi Kuhne features in Double Dagger:

Published, edited & printed by Pat Randle from The Whittington Press, Summer 2016. Double Dagger, which has been printed letterpress on a 1970’s Heidelberg Cylinder SBB entirely from hot-metal, wood and laser-cut type, is a 12 printed page newspaper examining the role of letterpress printing in todays digital world.

Dafi Kuhne features in the broadsheet so I analysed his article in order to gain a better understanding of his practice which can inform my questions:

• Zurich - Diploma project 'Woodtype Now!' (2009) explored the possibilities of letterpress.
• The laser cutter was a useful tool - However after time he thought it was too easy and was like pressing 'command p'. 
• Realised that reproducing type was a lot of work - but very much do-able
• Introduced new production tools to woodtype 
• Different kinds of wood - Beach, maple, lime, box, cherry, pear
• Pear is the traditional material used in Switzerland however it is very expensive - Tries to save money.
• What's your favourite? Why?
• Digital age is fast paced 
• 2009 - 2012 he worked with more traditional methods - avoiding the laser cutter
• PANTOGRAPH - Direct 
• 'Picas' - The pica is a typographic unit of measure corresponding to approximately 1⁄6 of an inch, or 1⁄72 of a foot. One pica is further divided into 12 points.
• 2014 - Got his first batch of steamed pear wood. Steaming the wood prevents it from warping. 
• Fabricates replacement characters for missing type.
• Anolog method of manipulating the type is fast and direct.

Potential Interview Questions:

What is a typical day at your studio babyinktwice?

Do you have a style?

You mentioned once woodytype has warped it is deemed pretty much useless - Do you think their is a way to give these forms a new purpose?

What is your favourite way to manipulate type? 

Do you aim to take advantage of the imperfections of print?

Digital age is fast and always changing - Do you think an experimental approach to analogue encourages 

You mentioned in Double Dagger that you would like to experiment with transforming the letters - What progress have you made?

Looked into Kuhne's dissertation project in order to see how he applied his passion and experimentation into an academic context.

Woodtype Now!
http://www.woodtype-now.ch/

Kuhne's dissertation seeks to transform traditional mechanical production methods into the 21st century by revolutionising the way that prints are designed and produced by incorporating new peripheral hardware (i.e. lasercutter). The project is displayed in a website which documents the design-principles and techniques which have been acquired through extensive practical tests.

Experiments with:

Shape

Surface

Pressure

Shimming

Methods of experimentation and presentation of the findings:

Laser Cutter:

The catalogue of 9 posters folded together is meant to show a broad range of possibilities in a contemporary context without trying to be conclusive, rather inviting further experimentation and interpretation.

It has been really inspiring to look at Kuhne's University project as it has clearly informed his practice and provided him with skills and knowledge that he has transferred into his Babyinktwice. I would like to explore and experiment with materials and processes which could be a potential dissertation topic.

Typographic Summer Program with Dafi Kühnehttps://vimeo.com/188620577

Autonomous - having the freedom to act independently.

Takes advantage of both analogue and digital techniques
Final outcome is always analogue






Inspiration
I am intrigued as to where Kuhne draws his inspiration from. During an interview, Kuhne says he is dependable on the client to inform the copy, however they allow creative freedom to present it. - How does he achieve this role?

Where do you find the inspiration for your designs? Do you let the process inform the outcome?
Who/What is you biggest inspiration?

Do you have a favourite typeface?

How long do you spend on a poster?

How do you get the clientele that allows you to use such an autonomous approach?

What is the smallest type size for a poster?

Does print media

How would you encourage young designers to get into traditional print?




Contact Details located from his studio website, BabyInkTwice

Dafi Kühne,
Bergstrasse 118*
8032 Zürich
Switzerland

+41 79 545 21 02

hello@babyinktwice.ch

In order to get in contact with Kuhne and find out more about his practice, I created an email draft:

Dafi Kuhne,

Congratulations for the release of 'True Print'! I have found great pleasure in reading about your practice and creative journey as you explore the possibilities of letterpress in the digital age. 

As a design student, I have always had an attraction to traditional processes and the raw, physical qualities of print media which I try to embed in my practice. I admire how you are exploring an unfinished medium and combining it with digital as another tool to aid the analog printing process which I have found really inspiring, particularly in an occupation that is dominated by the digital age. 

I would be really grateful if you could answer some questions I have about you, your studio and your relationship with analog and digital techniques. I have left my contact details enclosed.

Thanks a lot for your time!

James Green

Keep the note book, I hope you find it useful!

Potential warmup questions:

What’s the best advice you ever received?

What is your biggest accomplishment?

Who was your biggest inspiration during your degree? Has that changed and evolved with your practice since you have graduated?

What did you find the hardest challenge once you graduated from Zurich? 

What is the smallest type size for a poster?

What clients do you find the most challenging to work for?

As you have established Babyinktwice, how do you find your clientele? What is your relationship with them? 

Where do you take you inspiration from?

Notes:

If you are available to answer some questions that I have 

Considering your 

It would be a great if I could ask you some questions on your practice, considering the material that I have read about you. I have particularly enjoyed your videos 

opportunity to learn from your practice 

It would be ....  if we could organise an interview over 

physical qualities of design and I believe it is important to keep exploring the possibilities of print media and the tangible features of it. 

As a leading creative in

The importance of tangible design

Throughout my creative journey, I have always been influenced by 

I have been inspired by your posters designs and techniques and processes that you use in order to keep print media. It would be great to have a discussion with you about the resurgence of analog processes in the digital age.

I understand you are a busy man but it would be an incredibly beneficial experience for me to