There are moments, when leafing through the pages of Gestalten’s latest opus Pretty Ugly, that you’ll feel a little perplexed. Not by the stretched and layered type that practitioners of the New Ugly graphics movement use to obscure the messages contained in their work, nor by the fact that brands and organizations are trying to sell themselves with these deliberately obtuse images. What you’ll find so confusing, rather, is just how beautiful most of the projects appear, despite their creators’ best attempts at visual rebellion — a fact acknowledged by the book’s editors, Lupi Asensio and Martin Lorenz of the Barcelona-based firm twopoints.net, in its oxymoronic title. There are two reasons for this, Lorenz revealed when Sight Unseen sat down to interview him about the project: The first and most obvious is that we’re closer to the end of the New Ugly movement than the beginning, which is precisely what made the couple feel the time was ripe for a retrospective. Steven Heller has written about it, Urban Outfitters has embraced it, and we’ve gotten increasingly used to it — and desensitized to its shock value — ever since Mike Meiré used it to redesign 032c magazine in 2007. The second reason, and the one your editors found particularly compelling, is that somewhere along the line the New Ugly actually became less about rule-breaking and more about documenting process, with designers creating works that aim to expose the mechanics behind their boundary-pushing techniques. Read a full interview with Martin Lorenz about the Pretty Ugly here.