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Your Friends
www.yourfriends.no
Your Friends is an Oslo-
based graphic design
studio, founded by Carl
Gürgens and Henrik
Fjeldberg. Henrik and
Carl studied together at
Central Saint Martins
College of Art and
Design in London, and
have worked together
with various clients ever
since. Carl moved back
to Oslo after enrolling at
Kunsthøgskolen i Oslo,
KHiO (Oslo National
Academy of the Arts).
Henrik graduated with
a BA (Hons) Graphic
Design degree from
Central Saint Martins,
and worked this last
year at Uniform. They
work in different areas
of graphic design and
develop solutions for
identities, posters, music
packaging, book design,
editorial design, and
typefaces. Your Friends
work close with other
designers, illustrators,
programmers and
photographers, and with
a wide range of clients,
both in the cultural and
commercial fields.
Your Friends 311
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971 THE PRINTER IS YOUR MASTER. Always
challenge your master. Some printers
only want to use standard techniques and
approaches to the process. If they don’t
enjoy experimenting, fi nd someone else.
972 Y
OUR FRIENDS ARE THERE FOR A
REASON. Make sure you always have some
contacts at hand, and don’t be afraid to
use them. Showing sketches and explaining
concepts to your non-design friends may be
surprisingly helpful. Your client is rarely a
designer himself.
973 P
RODUCTION FOLLOW-UP IS ESSENTIAL.
Be critical, use a magnifying glass and
make sure the printers understand your
requests. Bookbinders are often open for
some last minute changes, which might give
the project that little extra edge.
974 B
E ENTHUSIASTIC. A combination
of excellent work, your enthusiasm for
the brief, and your eagerness to produce
great design always makes people talk,
and improves the chances of getting new
requests in the future. Enthusiasm also
builds friendship.
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980
T
HERE IS NO SUCH THING AS A BORING
BRIEF. Everything has the potential
of ending up as a great piece of
design, or can also turn out to be the
start of new business relations. Try
to develop the brief, challenge the
clients’ wishes, and don’t be afraid
of getting involved to a greater
extent.
975 NEVER FORGET TO GET READY FOR A
PROJECT. Research should always be ongoing.
There are always new fi elds to explore, and
several ways to improve your concept and
design.
976 Y
OUR CONCEPT IS KEY. Without a good
concept your design may end up as pure
decoration. If the concept isn’t accepted
by your client at fi rst, improve it and make
it more visible—do more sketches. When
presenting a good concept, the client tends
to reach out further in production costs in
order to maintain the overall idea.
977 T
HE WHOLE IS MORE THAN THE SUM OF ITS
PARTS. All aspects of design are equally as
important.
978 T
EXTURE. A print design is
something that should always have focus
on tactility, and it should feel good. Never
accept printing on standard paper stocks.
Take your time when deciding the desired
paper, It should feel right in a rational way.
Perfection is always a good thing!
979 D
OCUMENT YOURSELF. Good
documentation in all aspects of the process
may be very helpful. Especially if you’re
being asked to be featured in a book like
this.
D
esigners
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981 IDEAS CAN SPRING UP EVERYWHERE.
An idea can come up immediately, in an
instant. I was at a meeting with a client; we
sat at a table in a café and discussed the
New Year gifts. In a couple of words the
client described a calendar brief and an
idea fl ashed across my mind—“matches!”
(editor’s note: be sure to check out my
award-winning calendar made of matches
on the website).
982 W
RITE WHAT YOU HAVE IN MIND. I fi rst
describe the idea in words, only afterwards
I start designing.
983 M
USIC HELPS. When I work there
is almost always music is playing—totally
different music. Sometimes it is a particular
album over and over again; sometimes it is
all the music that I have in my computer.
984 T
RY TO KEEP IT ORDERLY. Usually I like
it when my work place is in order but it’s
rare. Whenever I work for an hour, my table
resembles a huge dump.
985 G
ET CLIENTS FROM EVERYWHERE. Some
of the clients fi nd you; but it’s also good to
send business proposals; then there are the
regulars.
314 1,000 Ideas by 100 Graphic Designers
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990
W
ORK ON YOUR ATTITUDE TOWARDS CLIENTS.
I prefer to be open at a meeting
with a client. I’m neither serious nor
friendly; I try to understand a client
and help.
986 WORK ON YOUR LOOKS. I prefer the
clothes that make you feel comfortable and
confi dent. Although there are meetings to
which you need to wear something special.
987 C
HOOSE YOUR FONTS WISELY. I spend a
lot of time on choosing a font. As to Roman
(English) letters I’m quite satisfi ed with the
majority of them, but most Cyrillic fonts look
horrible.
988 V
ARY YOUR TECHNIQUES. I prefer
working with simple graphic forms and silk-
screening. Simple forms allow focusing on
ideas thus eliminating distracting excessive
decoration. Silkscreen printing allows for a
hand-made feel for small circulations.
989 P
RESENT A PRINTED PORTFOLIO. I often
present my portfolio during a personal
meeting with a client. Most of my works are
worth seeing live, as photos will not tell
even half of their stories.
Yurko Gutsulyak 315
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