Sommaire pour March 2016 de Computer Arts

For the cover of our 20th anniversary issue, we wanted a design that reflected Computer Arts’ two-decade history. And who better to create it than Non-Format, featured prominently in our pages this issue and throughout the last 20 years? The forms of the digits in the big ‘20’ that Non-Format’s Kjell Ekhorn and Jon Forss designed for the cover are a subtle homage to a style that was very much in vogue when Issue 1 of Computer Arts was published, at the end of 1995. “We thought that the broken line and semi-random quality to the strokes was vaguely reminiscent of the kind of deconstructed typography that was popular during the mid-90s,” comment the duo. The design also has its roots in history in another way: it began life as…

JULIA SAGAR AC TING CO-EDITOR Julia is still recovering from Christmas in the supposedly hot Middle Eastern desert, which experienced over a year’s worth of rain on Christmas day. At least homesickness wasn’t a problem. JIM THACKER AC TING CO-EDITOR Jim has been discovering that the difference between editing websites and editing magazines is that you can’t cut holes in the covers of websites. Or at least, not in such an aesthetically satisfying way. JO GULLIVER ART EDITOR Vegetarian Jo is going the extra mile by shunning all animal products for Veganuary. Thankfully, the ‘accidentally vegan’ food list is making the experience more palatable. Jammie Dodger, anyone? CAT ELLIS OPERATIONS EDITOR Cat has broken in her new trail shoes in her first off-road race of 2016. There’s nothing quite as…

ROYAL VICTORIA PARK Bath, BA1 2LZ www.bit.ly/ca250-victoriapark My day starts with a cycle or walk to work, the last leg of which is through Victoria Park. It’s a good time to think about the day ahead and a reminder of what a beautiful city I live and work in. THE STAR INN 23 Vineyards, Bath, BA1 5NA www.bit.ly/ca250-starrinn This 16th century pub has no jukebox, no fancy food, no hipster ‘taches and not even a hint of Farrow & Ball. It’s simply a good old fashioned boozer with a great selection of ales, open fires, and a diverse and friendly clientele. MAGALLERIA 22A Broad Street, Bath, BA1 5LN www.magalleria.co.uk This little shop on Broad Street offers a wide selection of indie magazines and publications covering everything from design to gardening,…

PENGUIN RANDOM HOUSE UK DESIGN AWARD Closing date : 09 March www.bit.ly/penguinrhdesign If you’re studying art or design, the Penguin Random House UK Design Award is an opportunity to experience a real brief by designing a cover for one of the publisher’s best-selling titles. The books for 2016 are A Clockwork Orange by Anthony Burgess, How To Be A Woman by Caitlin Moran, and Emil And The Detectives by Erich Kästner. The winner in each category will embark on a work placement in the Penguin Random House Design Studios and receive £1,000 in prize money. Non-UK entrants are welcome. GLUG BIRMINGHAM #4 CRAFT & GRAFT 10 MARCH Birmingham, UK www.glugevents.com For its fourth outing, Glug Birmingham is hosting a set of talks by agencies, publishers, small studios and freelancers –…

@KIDDOTCO I would like Apple to give indie developers a level playing field in the App Store. @ALANWARDLE For studios/designers to finally realise being successful is not about how many hours you work but how efficiently you work. @SOURBONES The anonymous and disrespectful job application process. Every application deserves some form of response, even if copy/pasted. @JASONHCREATIVE Some recognition that design is a craft, not a job for anyone with Adobe Illustrator. @MIKEHARMAN For more freelancers to form co-ops to promote each other, share and collaborate on projects, bypassing isolation and agencies. @PAULSTAYT More integration of design professionals into education, helping students fully prepare for professional practice and freelance life. @BRENDAN_KEARNS For more designers to cross the line and take on multidisciplinary briefs, giving rise to solving problems with greater…

This year, Computer Arts is celebrating 20 years on the newsstand. To mark our milestone 250th issue, we set out to determine which designers and illustrators have most shaped the industry during the two decades the magazine has been in existence. We didn’t simply want to create a textbook list of the great and good of graphic design. Instead, with the help of the Computer Arts community, we wanted to name the creatives who have had the greatest influence on the industry during the magazine’s lifetime. What you’ll find over the following pages is a snapshot of the game-changers who define the creative world. To create this list, we asked a carefully selected group of our favourite contributors and collaborators (including some of the industry’s leading practitioners – meet the…

NOMINATIONS ROB GONZALEZ, SAWDUST The most influential designers in the last 20 years for me would have to be Jon Forss and Kjell Ekhorn of Non-Format. The duo completely changed the game when it came to innovative, expressive typography and imagemaking. Their work for The Wire magazine alone is untouchable. It’s like they picked graphic design up and shook it wildly until everyone’s head was spinning with excitement. I honestly don’t think I’ve seen any other studio be as uncompromising as they are when it comes to the quality of the work: they’re simply unrivalled. Design heroes. POMME CHAN, ILLUSTRATOR, Non-Format have had so much influence on my life as an artist. I collaborated with them for the first time after I graduated. They gave me the chance to design…

3D PRINTERS/FABRICATORS Jonathan Ford, Pearlfisher I think the future of everything physical will be governed by affordable, quick, individualised 3D printing – from houses and impossible gold jewellery to food, human organs, packaging and so much more. SMARTPHONES Dan Greene, Wolff Olins The smartphone has changed my approach to design. Not only does a mobile-first mindset force designers to think of the user first, it strips away anything superfluous in the design. EMAIL Fredrik Öst, Snask Email is a huge part of our daily communication with each other, our clients and other work-related contacts. GOOGLE IMAGES Good Wives and Warriors Google Images and picture-sharing platforms like Pinterest are the greatest addition to working as a commercial illustrator, enabling quick research of visual content. PEN AND PAPER Mads Jakob Poulsen, creative…

Tibor Kalman Tibor Kalman is my all-time design hero – a man full of brilliant ideas that were portrayed in the simplest form. Sometimes all it took was a single image or word to convey his message. He had the unique ability of using humour to put across poignant messages. I met him in person in 1995. But I couldn’t say anything – I just stared and smiled continuously. I was such an idiot! Liza Enebeis, Studio Dumbar Milton Glaser Milton Glaser’s rich and varied body of work made me realise that creativity isn’t tied to a particular genre of work – that a creative can be an illustrator, designer and art director. He’s now much like the creative community’s own philosopher. His insightful musings keep him both a delightful…

Jessica Walsh Stay persistent. Coming up with a good idea is only a small part of the process – you need the passion and persistence to sell the idea and see it through. Adhemas Batista Humble up to learn. You don’t know much, and you will never know enough. Open your mind to constant learning and success will follow. Jon Burgerman Don’t copy what seems to be popular now, because everything moves on and then you’ll just be behind the times. Also, your peers will bitch about you behind your back! Learn from what’s around you, but put your own spin on it. Jeremyville It’s a long journey, but do it for the reason that you want to be great, not to be famous or for quick money. That will…

1. Do set the goals and then get out of the way. 2. Don’t meddle. Yes, you’re passionate about design and about your business, but nothing undermines staff more than having their boss pull the rug out from under them each time they find something challenging. 3. Do determine before you delegate what success will look like, and communicate that to the individual or team. 4. Don’t ever feel as though delegating something and supporting the person doing that task isn’t proper work. Delegation and managing people is a valid and valuable use of your time. 5. Do take the time to give a clear and proper brief, and agree when and how the work will be reviewed. 6. Don’t become a back-seat designer. 7. Do accept that people will…

LINOTYPE With over a century’s experience creating typefaces, Linotype is the granddaddy of font foundries. www.linotype.com/7151/font-distribution.html FONT BUREAU One of the most influential independent font foundries, Font Bureau accepts submissions on an ongoing basis. www.fontbureau.com/submissions YOUWORKFORTHEM The original marketplace for creatives, YouWorkForThem was founded in 2002 by designers, for designers, and 15 years later it remains 100 per cent independent. www.youworkforthem.com/submissions MYFONTS Want your creation to be part of the world’s largest collection of fonts? This giant font retailer offers you the chance to reach millions of potential customers. https://foundry.myfonts.com/guides HYPEFORTYPE Showcasing the very best in today’s typographic talent, HypeForType serves as a platform for keen-eyed creatives to discover unique, hand-crafted fonts. www.hypefortype.com/submissions MONOTYPE With a long tradition of creating and distributing fonts, Monotype aims to increase your revenues by…

ARDUOUS RESEARCH The first step was to observe the kind of packaging we were designing in its natural environment. This involved many liquor store visits and purchases for research purposes. We also had to carry out some competitor analysis – looking for trends that have developed in the market so we could avoid them. MOOD-BOARDING Before we begin designing anything, we always start our creative process with some serious mood-boarding and brand visioning work. We make sure we share these boards with clients before we show them any layouts to ensure we have buy-in to the concept before we commit to any specific designs. DIY ETHIC The client approved a conceptual direction that took its lead from the anti-design aesthetic of the early 90s, itself based on a DIY 70s…

Welcome to the landmark 250th issue of Computer Arts. It’s also our 20th birthday – no small achievement in the fast-paced world of magazines – so we’re celebrating twice as hard, starting with our stunning die-cut covers, designed by phenomenally talented duo Non-Format. I say ‘covers’, because – for the first time in our history – we’ve created 20 beautiful versions of our cover design to collect, with a little help from paper specialist G . F Smith and finishing firm Celloglas. You can read more about our 20th anniversary edition cover on page 3. We’re proud to have been championing design for two decades. A lot’s changed since our first issue, so this month we polled the world’s leading creative lights to find out which designers and illustrators have…

Arthur Foliard is a French designer currently working at Moving Brands. He likes to illustrate in his free time, for fun and for friends. www.arthurfoliard.com MY RINGS I wear a ring on each hand, but the left-hand one is made up of five tiny rings. I bought the right one in New York at the tender age of 13. MY TATTOO I designed my tat the day before I left San Francisco. I had an image of a wave of emotions, all of which I had felt during my time there. MY BAG My beige J.Crew messenger bag was a birthday present. I’ve worn it every day I’ve been out for the last two years now. I love it to bits.…

KEY INFO LOCATION Somerset House and University of the Arts, London www.modual.org WHEN 5-15 January 2016 HOSTED BY Fred Deakin INDUSTRY EXPERTS Bethnal Green Ventures, Makerversity, Daniel Charny, Will Hudson Getting 2016 off to a dynamic start, 60 students from various creative disciplines at University of the Arts London (UAL) spent the first two weeks of January immersed in a workshop designed to equip them with the digital, entrepreneurial and collaborative skills needed to thrive after graduation. Fred Deakin, chair of interactive digital arts at UAL and co-founder of creative agency Airside, developed this third iteration of his workshop to explore what is possible in a ‘blended’ virtual learning environment by giving students a taster of the cutting-edge digital tools that are being used in the industry today. Students were…

ABOUT THE WRITER Adrian Shaughnessy is a graphic designer and writer. In 1989 he co-founded design company Intro. Today he runs ShaughnessyWorks and is also founding partner of Unit Editions, producing books on design and visual culture. www.uniteditions.com When Computer Arts launched in late 1995, graphic designers were entering one of the discipline’s periodic growth spurts. It was the era of the dot.com boom and anyone who could design a webpage was instantly employable. Running a studio back then, I was hounded by clients begging me to build websites for them – “If we offered you more money, could you fit us in?” What none of us knew was that the dot.com kebab was about to be barbecued to a cinder. Nothing typified the collapse more graphically than the fall…

NOMINATIONS JAN WILKER, CO-FOUNDER, KARLSSONWILKER Apart from having interned with Stefan back in 1999, and him eventually becoming the godfather – or matchmaker – of karlssonwilker, his impact on me has been big. I was mesmerised by his work from afar before working with him, but experiencing his dedication and attitude towards design up close changed a lot for me. Back then he showed a way that a two-man studio could produce kick-ass, global, relevant work, unrivalled by agencies. GAUTE TENOLD AASE, ASSOCIATE CREATIVE DIRECTOR, ANTI Not nominating Stefan in this poll would be like not nominating Michael Jackson in the ‘greatest pop artists of all time’ poll. In my mind he’s the greatest. He has a unique way of creating visuals. Whether it’s typography, art direction or even his…

THE INTERNET Fred Deakin, designer The internet led to an increase in speed, distraction, competition and innovation. And don’t think we’ve arrived – the changes are only just beginning. THE COMPUTER Tony Brook, Spin When I started, I was painting type on acetate with gouache. Each change took an age. It’s much better now, of course! INDUSTRY GROWTH Sunita Yeomans, SSHY Creative The recent Design Economy Report from the Design Council was a delight to read, especially finding out that design is now creating jobs at three times the national average. CREATIVE AGENCIES Jonathan Ford, Pearlfisher The biggest change is the generation of creative agencies at all sizes, everywhere, and in different forms. Also the reluctant enforced march of traditional advertising into the design space, which is one of the…

www.hort.org.uk NOMINATIONS SARAH MAZZETTI ILLUSTRATOR He uses design and typography in an extremely clever, ironic and provocative way. When I saw his posters I was blown away, MADS JAKOB POULSEN, CREATIVE DIRECTOR Eike König’s work is refreshingly different and confident: strong type with glitches and flaws makes for memorable designs. His work for Nike stands out in particular. In fifth place is Eike König, who in 1994 set up HORT, a “graphic design playground” in Berlin where creatives could collaborate on client briefs alongside experimental, self-initiated ideas. Widely acclaimed for his fresh design thinking and free-spirited approach, König believes in relationships and credits the success of his studio to the people he works with. “HORT isn’t me; HORT is the people and a feeling,” he explains. “Everything you see now…

GAUTE TENOLD AASE ANTI ww.anti.as DAVID AIREY Graphic designer www.davidairey.com MIKE ALDERSON ManvsMachine www.manvsmachine.co.uk GREIG ANDERSON Freytag Anderson www.freytaganderson.com BROGEN AVERILL Brogen Averill Studio www.brogenaverill.com ANDERS BAKKEN Designer www.andersbakken.com RUSSELL BARRETT BBY www.bartleboglehegarty.com ANJA BAUER MINKARA BRANDOCTOR www.brandoctor.com TIM BEARD BIBLIOTHÈQUE www.bibliothequedesign.com JONAS BERGSTRAND Illustrator and graphic designer www.jonasbergstrand.com ADY BIBBY True North www.thisistruenorth.co.uk CONNIE BIRDSALL Lippincott www.lippincott.com STEVE BITTAN ustwo www.ustwo.com STEVEN BONNER Graphic designer and illustrator www.stevenbonner.com BEN BOS Designer www.bit.ly/panel-benbos ANRICK BREGMAN UNIT 9 www.unit9.com SPENCER BUCK Taxi Studio www.taxistudio.co.uk JIM BULL Moving Brands www.movingbrands.com KIRSTY CARTER/EMMA THOMAS AP FEL apracticeforeverydaylife.com LEANDRO CASTELAO Illustrator www.leandrocastelao.com POMME CHAN Illustrator www.pommechan.com FRED DEAKIN Designer and teacher www.freddeak.in ESTEBAN DIÁCONO Designer portfolio.estebandiacono.tv ALEX DONNE-JOHNSON/DAZZLE SHIP TEAM Dazzle Ship www.dazzleship.com ALAN DYE/NICK FINNEY NB Studio www.nbstudio.co.uk VANESSA ECKSTEIN Blok Design www.blokdesign.com…

Running a small studio is fantastic. You get to do a bit of everything – tackling briefs, coming up with solutions, doing great design work, updating the portfolio, and a little invoicing and IT now and again. But when your studio grows, things change. You’ll be taking on bigger projects, employing people to do the additional work, and that bit of invoicing and IT turns into finance, systems and business development. Suddenly, doing a little of everything isn’t sustainable for you as one of the leaders in the studio, and you need to delegate. For many in the industry, that’s one of the toughest nuts to crack. Why do creatives often have problems delegating? “In many cases a design business starts with two or three friends working together, then a…

Positive, negative, positive is often the mantra when it comes to giving feedback. Start by talking about all the things that are effective about the work, then detail the areas that need improvement and, crucially, discuss how these weak spots can be tackled and what support you can give in order for this to happen. Then reiterate the strengths the person has demonstrated and how you would like to see them extended into the weaker areas. Honesty and balance are both critical here, says Jack Renwick. “I’m Glaswegian and have been brought up to speak directly and honestly about what I think. I’ve had to learn that being honest has to come with some diplomacy and that’s not always easy, especially when you’re running out of time.” Don’t overdo the…

MULTIPLE WEIGHTS AND STYLES All fonts come with regular and bold versions, but you can expand your font’s appeal further by also including multiple weights beyond those basic options. GLYPHS With obvious exceptions such as symbol fonts, all fonts should have complete glyph sets including accented letters and characters such as straight and curly quotes, currency signs and punctuation symbols. ALTERNATE CHARACTERS Your fonts should ideally have features that allow them to be adapted in different ways, including ligatures, stylistic alternates, small caps and so on. SPACING The spacing between your letters should be neither too small, nor too large, both of which will make text difficult to read. Play around with your design to ensure that you find the best, most proportionate spacing possible. FUNCTIONALITY No matter how beautiful…

1 Be true to yourself Ian Anderson: “It’s kind of idealistic and it’s kind of a cliché, but it’s still relevant. It’s very easy to say, ‘Oh, don’t take the first job,’ or whatever. But if you believe in yourself – which you should do, by the time you leave university – then you should know yourself as a designer. If you don’t understand yourself, it’s very difficult to understand other people, like clients.” 2 Embrace failure as much as success David Bailey: “I was in a lot of turmoil about whether I should leave [tDR] because I had responsibilities – I had a young family at the time, I’d just bought a house, all that sort of thing – and I met somebody on holiday who’d set up a…

1 Grid reference We used the concept of the grid as the central principle in developing the new design and typeface. To create the grid we took inspiration from both the floor plan of the museum and the city grid of Chicago itself. Once the grid was in place, we used it to create a custom, unit-based typeface. 2 Fundamental flexibility Although the grid was key to the development of a systematic identity, the aim was not to create a rigid system. Instead, the grid is scalable and flexible, and can evolve and change over time as the museum uses it to tell the multidisciplinary stories about contemporary art and artists. 3 Segmented type The new typeface is constructed of combined rectangles that create each distinctive letterform. The more rectangles,…

LOST IN THE DREAM BY THE WAR ON DRUGS One of the best releases of 2014, this brilliant album by indie rock band The War on Drugs got repeated plays in the studio while we were working on the new MCA identity. It’s got a very 1980s, Dire Straits vibe. SOUND & COLOR BY AL ABAMA SHAKES Alabama Shakes is good for breaking rules. Even when it goes off at slightly weird directions, such as this album’s title track, it still has that authentic feel, and singer Brittany Howard’s amazing voice pulls it all together. BOBBY DIGITAL IN STEREO BY RZA Recording artist and record producer RZA is best known for being part of East Coast hip hop group Wu-Tang Clan. This solo debut studio album got played a lot…

All projects for me start with from a strategic and research foundation. I need to understand why we’re doing what we’re doing, and it’s a habit (or pathological need) of mine to question every assumption in a brief. Then, before I put pen to sketchbook, I’ll mood-board the hell out of things. Often this mood-boarding is in the form of stills or motion. This helps me define and understand the visual world I’m working within, and we often share our ideas with the client at this point. Then I put on my headphones, grab a pen and spend some quality time filling sketchbooks with indecipherable scribbles while Googling whatever comes to mind and flicking through photography and art books – basically trying to fill my head with as many contradictory…

Shooting in water is a particularly complicated thing to do. To overcome the big problem of water refraction and to give us the freedom to pollute water with (safe) special effects, we created four bespoke tanks with glass that was over five inches thick. We would set up in one tank, release effects, shoot as much we could, then move onto the next tank while simultaneously cleaning the last and so on.…

NON-FORMAT This month’s special die-cut cover was designed by Kjell Ekhorn and Jon Forss, aka Non-Format. The pair, who recently joined forces with Scandinavian design giant ANTI , used their expertise in typography to create a design reminiscent of the trends when Computer Arts launched in the mid-90s. www.non-format.com ADRIAN SHAUGHNESSY The founder of ShaughnessyWorks and Unit Editions, Adrian shares his thoughts on the last 20 years of graphic design on page 21. What challenges has the industry faced, where will it go from here, and what can you do to succeed in a new, fast-moving world? www.uniteditions.com STEFAN SAGMEISTER New York-based graphic designer Stefan took time out of his Christmas break to tell us why he’s been buying so much vinyl recently. On page 106, he explains why the…

The smart Geo bookmarks by British studio Dowse are part of a larger collection of prints and jewellery inspired by a trip to Miami. The range takes inspiration not only from the city’s Art Deco and modernist architecture, but also the counter cultures of graffiti culture and street art. The studio’s founder Susannah Dowse believes that part of an object’s beauty comes from how it’s made, and by whom. Her bookmarks are crafted from etched steel (pictured) and brass, which suit very fine etching, putting fewer restrictions on her designs than softer metals. “I design in Adobe Illustrator, then the files are sent to be photo-etched into the metal by a company in the Midlands, who traditionally make engineering and machine parts,” she explains. “I think they are a satisfyingly…

1 AMY LORD AND REBEKAH WHITNEY CREATIVE DIRECTORS www.lordwhitney.co.uk We’d love to see the industry develop a better understanding of working with designers using physical processes alongside computerbased ones. Technology and digital design have developed so rapidly, but the crossover between digital and physical artwork still has some way to go. As with a lot of things now, immediacy is expected. We’d like to see things slow down a little and for people to take stock of people power alongside the power of technology. 2 HELEN FRIEL PAPER ENGINEER AND ILLUSTRATOR www.helenfriel.com When speaking to students I often find that although they have a huge passion for their subject, very few of them know how to turn that passion into a successful business. It’s something I know art schools have…

MATTHIAS WINCKELMANN Head of 3D, ManvsMachine www.manvsmachine.co.uk “Zeitguised’s newest piece, geist.xyz, is a mesmerising collage of beautiful randomness. An algorithm-driven animation, it goes beyond comforting entertainment and creates artistic dialogue. Using visual reference to contemporary textile art, performance and installation art, it feels like a blend of curious design decisions and intellectual discourse – an experiment that is less concerned with its outcome, but more with an exploration of possibilities. As with most of Zeitguised’s work, geist.xyz isn’t trying to please a mainstream audience, but to captivate the viewer by the sheer boundless creativity and never-boring inventiveness of its makers.” ALEX DONNE-JOHNSON Creative director, Dazzle Ship www.dazzleship.com “It’s not for everyone, but I think this is a beautiful way to showcase the output of a process-driven approach. It must have…

1 KNOW YOUR NICHE Mads Jakob Poulsen, creative director Think about what you can contribute to the world of design. What’s your niche? What’s your special secret weapon? Don’t be like everyone else – do what you think is fun. 2 HAVE A SINGULAR VISION Tony Brook, Spin If you make things the way you think they ought to be, they’re more likely to be what you’ll be asked to make going forward. It took me a long time to fully understand this. 3 STAY TRUE TO YOUR PASSION Rob Gonzalez, Sawdust Stay true to what you’re passionate about. It will give you longevity, which is what you need to gain people’s trust and respect. 4 BE VERSATILE Sebastian Padilla, Anagrama A designer needs to be versatile, like a Swiss…

NOMINATIONS GAVIN LUCAS, OUTLINE ARTISTS I first met Kate Moross back in 2007. She was still an undergraduate at Camberwell College of Arts but had already produced work for clients such as Sony and Cadbury, provided illustrations for magazines including Vice, Dazed & Confused, SuperSuper and FACT, and produced innumerable flyers for London club nights. She’d also art directed a book for an architecture firm, started a record label and was about to launch a range of clothing at Topshop. Now she and her studio have created visuals for touring music acts, directed music videos, and art directed album sleeves and related campaigns. For Kate, the word ‘can’t’ simply doesn’t exist. If there’s something she wants to do, she works out what she needs to do, how to do it…

3D PRINTERS/FABRICATORS Jonathan Ford, Pearlfisher I think the future of everything physical will be governed by affordable, quick, individualised 3D printing – from houses and impossible gold jewellery to food, human organs, packaging and so much more. SMARTPHONES Dan Greene, Wolff Olins The smartphone has changed my approach to design. Not only does a mobile-first mindset force designers to think of the user first, it strips away anything superfluous in the design. EMAIL Fredrik Öst, Snask Email is a huge part of our daily communication with each other, our clients and other work-related contacts. GOOGLE IMAGES Good Wives and Warriors Google Images and picture-sharing platforms like Pinterest are the greatest addition to working as a commercial illustrator, enabling quick research of visual content. PEN AND PAPER Mads Jakob Poulsen, creative…

1 WORKING WITHIN FAST TURNAROUNDS Kirsty Carter and Emma Thomas, APFEL Communication is constantly speeding up, and we are becoming more and more connected with one another. One of the [consequences] is that we come to expect more immediate answers, and likewise design solutions. We need to find new ways to work within accelerated turnarounds. Creativity and innovation allow us to save time on certain things, and this can buy us more time to slow down on others – for example, for research, reflection and investigation. Challenges create friction and this often provokes creativity, so the biggest challenge could actually [elicit] even better work from the design and creative industries. 2 BALANCING THINKING WITH DOING Heather Stern, Lippincott The pervasiveness of ‘design thinking’ at the C-suite level is as exciting…

JEREMYVILLE Issue 123, June 2006 I wanted to make sure my cover design had a strong central character that was arresting on the newsstand. Once you have that, you can place anything else around it, really. At that time I was drawing lots of furry creatures, and this one became my ‘Stay Furry’ icon. ADHEMAS BATISTA Issue 124, July 2006 In Brazil I was trained with tight deadlines and few revisions. We would normally deliver only one option to the client because of time pressure, always working on the last day. Suddenly I was presented with a new reality, working on international projects with abundant time and organised schedules. The flip side was that I had to present more options and work on so many revisions. It was a great…

JIM SUTHERLAND FOUNDER, STUDIO SUTHERL& Jim co-founded multidisciplinary studio hat-trick design and grew it to a team of 10 before leaving to set up Studio Sutherl& in London, specialising in branding and identity. www.studio-sutherland.co.uk SPENCER BUCK CREATIVE PARTNER AND C O-FOUNDER, TAXI STUDIO One of three equal shareholders of Bristol-based creative agency Taxi Studio, Spencer Buck has over 20 years’ experience in design and branding, and runs a team of 16 creatives. www.taxistudio.co.uk JACK RENWICK CREATIVE DIRECTOR, JACK RENWICK STUDIO Formerly a creative director with The Partners, multi-award-winning designer Jack set up her own design studio four years ago and now manages a team of eight. www.jackrenwickstudio.com DAVID PARRISH MANAGEMENT CONSU LTANT AND A DVISER David is a management consultant, keynote speaker and author who works with creative and digital…

Online font marketplace HypeForType is about to get a brand new look. Almost two years in the making, the new HypeForType site will be home to 30,000 desktop fonts and an additional 20,000 web fonts, to fit any conceivable design brief. To help you navigate such a huge range of top-quality content, the site will feature ingenious ways to interact with the huge selection of typefaces on offer, including a gallery of current bestsellers and regularly updated pages showing new stock and current bargains. According to HypeForType founder Alex Haigh: “We’ve gone all out to make sure the site isn’t just a shop but an interactive experience for the design community. Visitors are invited to upload their own projects that utilise HypeForType fonts so we can see what everyone’s up…

1 Keep spotting new talent Matt Pyke: “Look at the next generation, who have grown up with technology. If you can’t beat them, join them. Embrace new graduates and really make the most of their uninhibited, fresh way of thinking.” 2 Look in unexpected places David Bailey: “Look in unexpected places, too – at people you wouldn’t consider to be designers. They live in a more ‘design-y’ world, and could have ideas that you can harness and craft into something. There can be hidden gems in all walks of life.” 3 You don’t have to learn everything Nick Bax: “We’ll carry on with what we’ve been doing, which is being drawn to things that appeal to us. As new things happen, certain things resonate and you want to find out…

One idea was to use a different font for each part of the museum, but our efforts are focused on the museum as a single entity, and using individual cuts of the typeface seems contrary to that goal. We also considered reversing everything for the museum’s theatre, where events take place mostly during the evenings, but again we felt this would separate the two areas too much rather than uniting them. Another idea was to use the two-unit font for future exhibitions, then as the date came closer, the font would become more legible, but in practice it created an unnecessary layer that could cloud a visitor’s experience.…

PROJECT FACTFILE BRIEF The Feral Brewing Company wanted to grow its market to attract more of the mainstream craft beer audience. To do this, it needed to make its packaging more appealing to retailers and hospitality managers, without alienating its core fanbase. STUDIO Block Branding www.blockbranding.com DURATION Two months LIVE DATE Ongoing MARK BRADDOCK CREATIVE DIRECTOR Mark, alongside his business and life partner Tanya Sim, founded multi-disciplinary agency Block Branding in 2002 in Perth, Australia, after a decade spent working in the UK and the US . THE DESIGN BRIEF Mark Braddock The Feral Brewing Company has established a huge reputation among what could kindly be described as beer nerds – the guys (and some girls) who follow beer like others follow football, and with as much passion. Brendan Varis,…

1 IT’S ALL ABOUT TRUST On a complex and challenging shoot like this, it’s vital to create trust. That goes for me, my team, the client, the film director and everyone involved on the project. It isn’t possible unless you all believe in the idea and are moving in the same direction. 2 WORK WITH THE BEST PEOPLE Always endeavour to work with people who are ‘talented and nice’ (a Bernbach mantra). From the performers of Cirque du Soleil to director Saam Farahmand, to Rogue and The Mill, we were unbelievably blessed with wonderful, talented people on this project. 3 BRAVERY IS ESSENTIAL Be brave. Be ambitious. It would have been impossible to have pulled off a production as ground-breaking as this without invoking both of these qualities. But whatever…