Mohawk Maker Quarterly Issue #13: Disruption
Each issue of the Mohawk Maker Quarterly relies on a single word for its creative framework. In issue thirteen, that word is “disruption.”
Issue thirteen may have been the most challenging issue to date. That’s because the term “disruption” is so commonly used that it’s lost its meaning. Bandied about business culture as the term-du-jour, disruption has earned more than a few eye rolls and for good reason. Despite this troublesome ubiquity, disruption’s essence of exploration, discovery and revolution are successfully recaptured in issue thirteen. To do this, the team at Hybrid Design went looking for thinkers and doers who are upending the world as we know it. These iconoclasts are reframing the way we consider such basic concepts as time, ownership and success. They’re redefining images, spaces and perceptions in radical ways.
“Let’s shed our assumptions about disruption and get back to its fundamental concept: that opportunity often hides in plain sight. Disruption happens when we pay deeper attention to what we think we know,” says Dora Drimalas, Principal of Hybrid Design. “Disruption is sudden and unexpected – that’s what makes it so powerful. And it’s ephemeral – disruptive ideas and products eventually become ordinary, so enmeshed in our culture that we can’t remember life without them.”
For issue thirteen, the team at Hybrid chose a 9.75×13.25” format which is perfect-bound and affixed to a cover/carrier featuring a tear strip which (metaphorically) forces the reader to “disrupt” the cover to gain access to the content. Inside, a pocket holds a one-of-a-kind 9×12” art print along with a small, 5.5×8.5” zine as well as the main book which is tape bound. Each element in this issue could be a stand-alone print and paper demonstration: the cover/carrier features mirror foil and rich, black print along with structural, die cut elements that evoke packaging; the main book is all about conventional offset printing at its finest on Mohawk’s flagship Superfine Eggshell; the zine insert uses three very different types of Mohawk paper along with simple offset printing alongside UV white ink and 4-color printing; and last but not least the 9×12” art print captures printing disruption at its 2017-best using HP Mosaic randomization software to create 20,000 one-of-a-kind, numbered art prints imaged on Superfine Eggshell i-Tone and printed on an HP Indigo 12000 press.
Feature articles include:
- Future Islands by John Dugan
Repurposing America’s dying malls by bringing urbanist thinking to non-urban environments
- Art & Algorithm by Bryn Mooth
Leveraging design and variable-data technology to produce one-of-a-kind art prints
- Give it Away by Patrick Sisson
Can democratized ideation and production become a designers best friend?
- Course Correction by John Capone
How Lou Preston’s family winery evolved to become Preston Farm and Winery
- Chopped and Screwed by Erin Osmon
How groundbreaking innovation (and creative hacks) democratized music making
- Hacking Time by Caleb Kozlowski
Time is more fluid than we all realize – and we may be thinking about it all wrong
- Perfect Imperfection by Jesse Kuhn
Reframing the way we think about food with California-based Imperfect Produce
- The Movement: Look Again
Every issue we celebrate makers of all types, in this issue we chose makers whose work challenges our expectations
- Fat Tire Flyer by Charlie Kelly
The introduction of the mountain bike and how it changed the bicycle industry
Mohawk Maker Quarterly issue thirteen features the following makers:
- Emerging Objects, 3D Printing Studio, San Francisco, CA
- Zero Likes, Visuals created by AI, @zero_likes, Sam Hains, Melbourne, Australia
- J Henry Fair, Photographer, NYC and Berlin
- Gordon Matta Clark, Photographer, New York, NY
- Flavor Paper & UM Project, New York, NY
- KUF studios, Multidisciplinary Design Studio, London, UK
- Kouhei Nakama, Visual Art Director, Tokyo, Japan
- Melissa McCracken, Artist, Kansas City, KS
A commonly used printing technique in which the inked image is transferred from a plate to a rubber blanket, then to the printing surface. When used in combination with the lithographic process, which is based on the repulsion of oil and water, the offset technique employs a flat (planographic) image carrier on which the image to be printed obtains ink from ink rollers, while the non-printing area attracts a water-based film (called "fountain solution"), keeping the non-printing areas ink-free.
The process of making something — method, materials, ingredients, artistry, experience — is the squiggly line between idea and object. In issue 11 of the Mohawk Maker Quarterly, we celebrate makers who take conscious paths to get from Point A to Point B.
We tend to romanticize the mythology of the solo creative genius. However, humanity’s greatest achievements have happened when people—two or two thousand—worked together.