Tino Nyman

FUTURE FORMAT

EXHIBITION ▪ VISUAL IDENTITY (2017)

Projects is done in collaboration with Tytti Halonen


The Future Format project started from our interest towards print publishing’s future and from frustration of the discussion surrounding the “death” of print. As young designers we have entered the field at a turning point of the media, during which schools taught us about the importance of digital publishing and different medias wrote about the inevitable death of prints.
  We didn’t strive to find concrete solutions but to provide a platform for discussion, inspiration, and questioning. We composed a manifest of five theses, the background work for the project, on the basis of the discussions related to the topic and the questions that formed from those discussions.
  Our goal was to stir discussion about this subject. We wanted to shake the people, to wake them up: we wanted the readers to demand better reading experiences, the designers to think about the differences between prints and digital designs, and to inspire the people working with reading technology of the possibilities of the future.
  The final execution of the project was a combination of an exhibition and a release Manifest for Post-Digital Publications. Future Format exhibition was held during the Helsinki Design Week 8.9 – 11.9.2017. The five different theses of the manifest were presented in the form of visual installations in the showroom. They questioned the current situation of the publishing platforms, played with their possibilities from the point of view of both different senses and sustainable development, and emphasised the characteristic features of prints and the digital world.
Visuality of the project — it is implemented to exhibition, web, manifest as well for installations.
  Visual language represents clash of the print and digital world — where pixelated technologic graphic meets fragile paper.



Five Theses

This manifest is based on our values and opinions as young graphic designers studying and working in the field of printed material in the post-digital era. Its soul purpose is to express the frustration towards the discussion around “the death of print” and unsatisfying solutions the publication field has had to offer so far.
  We do not have the perfect solution to offer, instead we want to express our fantasies about the future format of publications, our fears of forgetting what is important and unique about printed matter and possibilities of different materials, platforms and technologies.


1/5 — IT FEELS GOOD!

installation, 2017
satin (1300 x 3000mm)
polystyrene

From the viewpoint of sustainability improving the user experience of digital platforms is important so that we don’t waste our scarce natural resources on unnecessary printing.
  In Europe over 600 companies produce more than 90 million tonnes of paper and more than 36 million tonnes of pulp a year according to the CEPI Sustainability Report. With a recycling rate of roughly 75% there is still roughly 1,500 square kilometers of forest felling every year in Finland alone.
  How could we minimize our usage of these delicate resources? Instead of digitising everything, how can we focus on designing user- friendly platforms that allow us to minimize unnecessary printing?


2/5 — IS THIS NECESSARY?

installation, 2017
print (560 x 430mm)

Print is something that we can experience with other senses than just sight. The relationship of our bodies to a printed object compared to its relationship to words on a screen is different. The feeling of paper in your hands, the actual turning of pages, the smell of paper and ink as well the physical presence of the object are sensations that get lost in the realm of code. How can we utilise these senses in digital spaces so that the user experience doesn’t rely solely on sight?


3/5 — WHITE NOISE

installation, 2017
engraved acrylic (850 x 1500mm)

There is a reason why people still decide to print out documents which could be read from the screen. Reading from a backlit device is tiring for the eyes. But this is not the only thing that decreases readability on screens. The main obstacle of designing typography for screens is its necessity to work on all kinds of different platforms and screen sizes. Because of the multitude of shapes that text can take in the digital realm, the typographic design will never be as intricate and planned out than on paper.
  Today digital publications are being read from laptops or tablets, which are not designed for reading only but for other functions as well. In this sense the biggest advantage of screens, its capability to be many things at once becomes a disadvantage for readers. The constant temptation to drift away into the voids of the internet creates layers of distractions that are hard to ignore whereas a book will always be just a book.
  We live in the post-digital era where information is easily accessible from digital platforms but instead of the digital version we still prefer the printed artifact instead.
  Does reading from digital devices affect our ability to learn and absorb information? What about the effects of screen light to our health? Can technology solve the problem of bad typography?


4/5 — RELOAD

video installation, 2017
3d animation by Jenni Pasanen

To correct something that is already printed means to print out a new edition of the artifact whereas an error or a typo in digital publication is open for corrections.
  The different features digital platforms have are a character that should be utilised for spreading information and learning. Search engines, hyperlinks and bookmarks allow for a fast and easy access to information. Copying is free and the internet allows for information to spread without spatial boundaries.
  Can we incorporate some of these ideas into the world of print? What kind of technology do we need to develop for this to happen?


5/5 — NICHE

book, 2017
mirror acryl (210 x 300mm),
munken polar

The value of printed publication has always been a play between its content and its material presence. With the arrival of digital text and the infinite shareability that comes with it, the value of printed object changed as well. As there is less of a focus on the content, design, collectability and scarcity of resources create a new focus on the artefact. Magazines turn into booklike publications with fewer editions and books turn from information containers to design objects with aesthetic value.
  What will be the status of printed books in the future? Is printing becoming something that is luxurious for us?


Manifest for Post-Digital Publications

The final execution of the project was a combination of an exhibition and a release Manifest for Post-Digital Publications. The written part explains the research behind the project. Publication was created based on the discussions between the designers and the questions that emerged during the project. It was released in print as well a digital form. ↻ More about the project here.


Collaborators of the project:

Aleksi Tikkala Photography / Jenni Pasanen 3d models & animation

CASE STUDY CREDITS:

JENNI PASANEN ANIMATIONS / Aleksi Tikkala & Tiina Eronen Photogrpahy


Future Format Imagery
Art Direction: Photography, 2017
Manifest for Post-Digital Publications
publication, 2017
New Play Anthology
publication, 2018
This is Temporary
visual identity, 2016

IMAGE VOL. 250 (publication, 2017)


Close

Hello. My name is Tino Nyman b. 1990 – Libra. I’m a Helsinki based graphic designer currently working as a CEO and a creative in one man’s studio by me.
  My practices move between the commercial and artistic world – with a great passion for working within the cultural field. As a designer, I’m specialised in print publications, and creative direction in the fields of branding, visual identities, exhibition design, editorial and imagery concepts. Versatile usage of typography and contemporary photography are strongly visible in my work. Besides that I have a adaptive approach to branding, with a up-to-date thinking about brand’s tone of voice and it’s core values.
  Even though my one man’s studio might seem small with the staff of only one person, I have been an active social butterfly: my wide and diverse network enables me to provide a comprehensive and varied service across different medias.
  I’m always eager to do interesting projects and collaborations with the nice people and talents.
  Get in touch via email: info@tinonyman.com



SERVICES:
Art Direction / Brand Identity /
Concept Design / Creative Direction /
Editorial Design / Graphic Design /
Imagery Concepts / Packaging Design /
Publications / Set Design /
Styling / Typography /
Visual Identity / Web Design



WORK EXPERIENCE:
  ↳ (2019 – present)
Tino Nyman – C’est moi!
  ↳ (2016 – 2019)
Creative at WERKLIG (FI)
  ↳ (2015 – 2016)
Graphic designer at BOND (FI)
* five month internship in 2015


EDUCATION:
  ↳ (2011 – 2016)
LAHTI INSTITUTE OF DESIGN (FI)
Barchelor of Arts – Graphic Design


FEATURED & INTERVIEWS:
  ↳ VISUAL JOURNAL
Valta, Module & Senja (Werklig)
  ↳ MINDSPARKLE MAG
Module (Werklig)
  ↳ SLANTED MAGAZINE
Slanted #29 Helsinki Issue
  ↳ BRUTALIST WEB SITE
Twelve Essentials featured
and interviewed with Matilda Diletta
  ↳ BACK CATALOQUE
This is Temporary & Rivo
  ↳ TRENDLIST
This is Temporary, Rivo,
KOE15 Fashion show, Pråud Skandi,
Kemet newspaper & Totally Drunk
  ↳ GRAFIA MAGAZINE
“Tino Nyman” personal interview


AWARDS & RECOGNITIES:
  ↳ (2019)
SILVER IN IMAGE CATEGORY
Grafia Vuoden Huiput, The Best of Finnish Advertising and Design 2018
  ↳ (2019)
SILVER IN VISUAL IDENTITY CATEGORY (Werklig)
Grafia Vuoden Huiput, The Best of Finnish Advertising and Design 2018
  ↳ (2019)
NOMINEE IN PUBLICATION DESIGN CATEGORY
Grafia Vuoden Huiput, The Best of Finnish Advertising and Design 2018
  ↳ (2019)
MEMBER OF THE JURY – GRAPHIG DESIGNER OF THE YEAR 2020
Grafia, Association of Visual Communication Designers in Finland
  ↳ (2018)
SILVER IN PUBLICATION DESIGN CATEGORY
Grafia Vuoden Huiput, The Best of Finnish Advertising and Design 2017
  ↳ (2018)
NOMINEE IN YOUNG CREATIVES CATEGORY
Grafia Vuoden Huiput, The Best of Finnish Advertising and Design 2017
  ↳ (2017)
MEMBER OF THE JURY IN PUBLICATION DESIGN SERIES
Grafia Vuoden Huiput, The Best of Finnish Advertising and Design 2016
  ↳ (2017)
NOMINEE IN YOUNG CREATIVES CATEGORY
Grafia Vuoden Huiput, The Best of Finnish Advertising and Design 2016
  ↳ (2016)
REPRESENTATIVE OF FINLAND YOUNG CREATIVES
ADC*E – Art Directors Club of Europe 2016
  ↳ (2016)
GOLD IN PUBLICATION DESIGN CATEGORY
Grafia Vuoden Huiput, The Best of Finnish Advertising and Design 2015
  ↳ (2016)
NOMINEE IN YOUNG CREATIVES CATEGORY
Grafia Vuoden Huiput, The Best of Finnish Advertising and Design 2015