In this blog post, I want to explore the interesting concept of controlled chaos in design, highlighting the innovative approaches of French studio Parallèle Graphique and Thomas Kurppa, co-founder of Stockholm-based agency Kurppa Hosk. These designers skillfully navigate the delicate balance between order and disorder, transforming seemingly chaotic elements into compelling and purposeful designs. Controlled chaos in design involves the intentional arrangement of different elements to create visually striking compositions that may initially appear disorderly, but ultimately achieve a harmonious and coherent result. I’ll explore how both Parallèle Graphique and Thomas Kurppa achieve this balance, infusing their designs with a unique blend of creativity and structure.
Parallèle Graphique
French design studio Parallèle Graphique is known for its captivating approach, often described as “controlled chaos”. The trio – Marceau Truffaut, Chloé Plassart, and Thomas D’Addario – joined forces after collaborating on BimBaam!, and recognizing the challenges of navigating the design industry individually. Their collective approach, established in 2014, has allowed them to tackle diverse projects ranging from brand identities to web design.
A standout project is the redesigned identity for Le Biplan, a small concert hall in Lille, where they ingeniously adapted to a small budget. The resulting global identity, with a custom typeface and monthly updated trifold brochure, showcases purposeful chaos within dense information.
In a different vein, Parallèle Graphique’s work for the Pete the Monkey music festival in Normandy, which supports a Bolivian monkey sanctuary, demonstrates their versatility. The custom font and hand-drawn monkeys, along with silk-screened posters, demonstrate their commitment to high-impact design.
Beyond client projects, their passion for screen printing extends to an online store that offers illustrative screen-printed posters. Each member contributes a unique style, from Truffaut’s heavy metal influences, to Thomas‘ street and pop designs, to Plassart’s feminine touch of ornamentation and stylized lettering.
As the team grows, it is hoped that they will retain their distinctive ability to harmonize disparate elements into purposeful designs and remain calmly centered in the midst of their design storm. This promising trio brings a dynamic and unique perspective to the world of graphic design.1
Thomas Kurppa
Thomas Kurppa, co-founder of Stockholm-based agency Kurppa Hosk, took a unique path to graphic design, first immersing himself in the electronic music scene of the 90s. Kurppa moved from producing electronic music to experimenting with album covers and flyers. This curiosity led him to design school, where he delved into the history of design, especially the modernist influences in underground music.
Now running his own agency, Kurppa’s design philosophy is centered on mathematics and geometry, fascinated by the fundamental role of numbers and codes in nature. The interplay between control and chaos defines his bold work, which is particularly evident in his type-centric designs.
One notable project, „Spread The Sign,“ created in collaboration with Leo Drakenberg, aims to provide a universal platform for sign language. Using a strict geometric system, Kurppa challenges preconceptions about design for the hearing impaired, seeking a playful and unpretentious expression within a solid structure. The design features bold pictograms contrasted with muted information, using a stark black, white and orange palette to create a visually striking and accessible brand for both the target audience and those unfamiliar with hearing impaired culture.
Beyond client projects, Kurppa explores letterforms and type, sharing his experiments on Instagram. This serves as a creative playground, allowing him to stretch ideas without the constraints of formal client briefs. Drawing parallels between letterforms and chair design, Kurppa emphasizes the importance of functionality and the dynamic nature of design. He strives to continually learn and evolve, embracing experimentation as a means of pushing the boundaries of design.2
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