The-Art-Form is a limited edition publication about art and artists and is the brainchild of UK based designer Andy Townsend. Each issue features six artists who have completed a form about art, answering the 13 questions set them in their own unique way, giving an insight into their work and working practice. Some of the artists have created drawings, paintings and sketches, in response to the questions. Issue 1 features: Ian Davenport, Paul Insect, Dan Baldwin, Peter Liversidge, Rana Begum and Michael Reisch.
EF International language schools celebrates their 50th anniversary with the 8th instalment of the ‘Live the language’ film series.
Instead of following a student in a specific city we travel through time from 1964 until today. London in the 60’s, Paris in the 70’s, Barcelona in the 80’s, California in the 90’s and Sydney in present time. Director Gustav Johansson and D.O.P Evan Prosofsky decided to shoot the film with the techniques that are true to each era. From real film to Hi8 to full HD. The typography by Albin Holmqvist does not only relate to the geographical location but also the time period at hand.
John Owens, Creative Director at Instruct Studio, has been in touch to let us know about Design Manchester 14, which builds on the promising start of last year’s inaugural event.
There’s over 18 events across the city including headline talks from Build, Tony Brook, Andy Nicholson (Gravity the Film) and installations from fashion designer Helen Storey MBE, not to mention something fun from Adidas.
This year’s Design Manchester takes the theme of ‘The Science of Imagination’ and, according to host Malcolm Garrett, ‘taps into Manchester’s prolific legacy in innovation and technology’.
The festival takes place next month, for more info check out this piece on Design Week.
The ever inspiring Glasgow designer Kerr Vernon has created a beautiful A2 print inspired by the Morrissey / Marr composition ‘There is a light that never goes out’. It’s a superb visual—aptly and luxuriously screen-printed in gold ink and which will surely look even more stunning in real life.
It’s a Limited edition print run of 50 so don’t hang about if you’ve got the place to hang it up!
Following the success of last year’s event, The Modern Magazine day returns on 19th September (as part of the London Design Festival) as a one-day conference, staged by magCulture and co-hosted by Jeremy Leslie and Liv Siddall. The 2014 edition focuses on the future of publishing, with guest speakers from across the world gathering to discuss their take on what happens next as the publishing industry continues to work out its future.
“We’ll hear from Adam Moss, editor of iconic US magazine New York about balancing print and digital, from David Moretti, design director of Wired Italia about designing for print and iPad, and from Jeremy Langmead about content marketing. The people behind some fo the best independent magazines will be discussing their role in the wider context of magazine publishing.”
I caught up with TMM organiser and all round magazine guru and good-guy Jeremy Leslie to find out more…
The Modern Magazine conference is back (just as we hoped it would be!) What was it that made you want to put on another conference of this sort? The original event was intended as a one-off to celebrate publication of my book of the same name. And it would have remained a one-off if we hadn’t had such a positive reaction to the day. Every review, the speakers and the audience responded so well that it was on my mind from the next day that we needed to consider an annual event. And you wrote exactly that in your review. There are plenty of design-orientated conferences and talks in London, and there are many business-orientated publishing events. I believe there’s space for an event that covers editorial design in detail and across both mainstream and independent sectors. So having succeeded with it last year we’re seeing if we can make it annual. So far it appears to be a ‘yes’!
How is it different from last years? We learned a lot from last year’s first event in terms of planning, set-up, costs and content. That knowledge gives the team a sound starting point for this year.But the focus is different – last year was all about the book and I felt it needed me as the frontman on that basis. This year we’ll follow a similar format for the day but look more at the imminent future of magazines and editorial design. We’ve invited Liv Sidall from It’s Nice That to co-host, she shares my love of magazines, so I can be more directly involved in the day. For example I’ll be live interviewing Adam Moss, the inspirational editor of New York magazine about how he’s reshaping this iconic magazine for the future.The other big change is the location. We’ve moved to the London College of Communication to make it a little more intimate. Last year’s venue was spectacular but almost daunting! And LCC was where I studied (back when it was still called LCP) so there’s a satisfying element of return to that choice too.
What can attendees expect from the day, and who should come? We try to create a balance between design and editorial, with both creative inspiration and solid discussion of issues facing the industry included. People already attending include working designers and editors form the UK and Europe, junior editorial staff and students. Editorial design in its broadest sense is increasingly relevant to all graphic designers as content becomes more central to our practice. There’s also a strong entrepreneurial element to independent publishing that is relevant to graphic design in the wider sense. Come and be inspired!
Obviously you can’t pick a favourite speaker (that would just be rude) but is there anything specific you’re particularly looking forward to this year? Everyone’s been invited on merit so I can’t highlight single speakers. It’s more about the overall combination of participants; we set up the day as a live magazine, with different lengths and styles of presentation to avoid repetition. I’m just finalising the running order and am relishing the potential scheduling juxtapositions. One in particular is amusing me – it sums up the scope of what editorial design is. But I’m not letting on!
Adam Moss, editor, New York magazine. Kai Brach, founder, Offscreen. Veronica Ditting, art director, The Gentlewoman. Peter Houston, blogger and man behind the Magazine Diaries. Jeremy Langmead, Head of content, Christies. Simon Lyle, editor of Hot Rum Cow and new magazine Poppy.
Danny Miller, founder of Little White Lies, revealing his new magazine. David Moretti, design director of Wired Italia. Rob Orchard, founder, Delayed Gratification. Danielle Pender, editor, Riposte. Elana Schlenker, founder, Gratuitous Type. Pekka Toivenen, ‘art dictator’, FAT. Steve Watson, Stack Magazines.
London College of Communication, Friday 19th September 2014.
Tickets cost £140 (£75 students), including lunch and refreshments throughout the day and drinks at the close, and are available from shop.magCulture.com. See you there!
This pixel art by Australian animator Paul Robertson will wake up your eyeballs this monday morning!
Frames is an experiment in storytelling through the collaboration of design and literature. Each edition explores the symbiotic relationship between written word, visual design, and the experience they create. I stumbled over the second edition titled ‘One to see, one to kill’ by Kyle Keen and Grayden Poper, which is worth your time reading!
Two months ago Royal Copenhagen started to make a tribute to the colours black and blue by collaborating with four artists including a musician, a dancer, a photographer and a writer. The fruits of the collaboration were two films, which the 339 year old renowned porcelain company are delighted with.
Credits: Agency: Liquidminds Creative director: Olga Bastian Producer: Rune Hørslev Projectmanager: Mia Skovgaard Sørensen Photographer: Kim Wendt 2. Photographer: David Bauer Stylist: Emilie Dresler Makeup: Mette M Dancers: Patricia Seron Pawlik, Edhem Jesenkovic, Sofia Karlsson Words artist: Claus Ankersen Visual effects: Sacha Wechselmann
Super-slick Swiss type foundry Grilli Type (purveyors of fine fonts such as GT Walsheim and GT Haptik) are already looking forward to autumn — along with new weights and extended character sets they’re also releasing two new typefaces: GT Cinetype and GT Eesti. Roll on crispy leaves and fresh .ttf files…
A little from Noël & Thierry on their new releases: GT Cinetype is based on an engineer’s type design for a movie subtitles typeface from the 35mm era. The brute force design is void of any curves — because really, who needs curves anyway? GT Eesti is a revival of Estonia’s most popular typeface from the Soviet era. It oozes with tons of personality. Just look how happy those kids are about the typeface!
Regular Bold Italic is a collaboration between Jeff Schreiber and Timo Kuilder. Two Dutch graphic designers who set up their own type-foundry offering fonts with character for little money, so that everybody can enjoy them. Check out their tasty website when you have a chance!
This has been doing the rounds on Twitter but’s it’s too good/creepy not to share here again! Omote is a real-time face tracking and projection mapping experiment by Nobumichi Asai. Full credits here.
After inheriting the logo four years ago the Glasgow-based design studio went on to shape every aspect of the Games brand identity. Early projects included Pictograms, an official typeface, a set of sub-brand logos and the interior graphics for the Organising Committee headquarters. They didn’t stop there, the total of 500 projects also included the Official Ticketing and Spectator Guide. As well as art-directing the TV graphics, and developing the creative strategy for the ‘Look of Games’ – the venue dressing, city dressing and sports equipment at Games-time.
With just under a week to go, momentum is building for the first outing of Glug Birmingham on Thursday 21st August. Titled MIDLAND MASTERS, an event curated by Created in Birmingham and Inkygoodness, in association with (the newly rebranded) Glug, is hosted at Fazeley Studios. Riso print programmes for the night have been printed by Hato Press, the poster inside designed by headline speaker Alex Fowkes, with the programme itself designed by Kerry Leslie. We’re looking forward to being there, it promises to be a great night!
PROVIDE (Matt Nation) Starting from the bottom (and we’ll probably be here a while) Hero of Switzerland & FRUKT (Dan Button) Doing a Hobby for a Living Waste Studio (Norm Hayes) Apple P Cuppa Tea Studio Output (Alun Edwards & Chris Allwood) New Challenges Well Made Studio (Gemma Germains) No Friends in Business Alex Fowkes Process is Just as Important as Product
Nine stalls in our pop-up market: Codswallop Collective (Art prints), Brothers of the Stripe (Prints & originals), Working Clasp (Jewellery), Mike Stimpson (Photography), Hero of Switzerland (Art prints), LizzLizz (Comics), PROVIDE (Clothing & Accessories), Bethany Thompson (Art prints), Sam Pierpoint (Handpainted shoes).
Live drawing from Brothers of the Stripe, taking place in the Fazeley Studios courtyard (where you’ll find the BBQ too). Live t-shirt silk-screen printing from Waste Studio. AMMO Magazine special edition launch party. FREE screen print, designed by Alex Fowkes, printed by Whiteduck Screenprint (for the first 100 guests to sign in!) as well as tasty treats from Paisley Immy.
All of this will be taking place at Fazeley Studios, 6pm-11pm. To finish, there’s an after-party at Spot*Light, 10pm-1am.
Tickets are available on eventbrite, priced £7.50 (+ free drink)
A further two events are planned for 20th November (Illustration – speakers include Studio Binky and Florence Blanchard) and 12th March (Digital / Innovation – speakers include Gavin Strange and Jonny Costello).
This week I came across a website that offered one of the most immersive interactive experiences I have witnessed online this far. The Omnisense website markets an imaginary product called O+ and will guide you through the calibration process and initial test of the product. It makes use of your smartphone as a second screen and controller to guide you through a slightly gruesome scenario in the not to distant future.
I thought it might be a hoax site for a big budget movie but it turned out to be a final year student project. Intrigued I spoke to Florian Morel about Omnisense to find out more…
Hi Florian, would you mind telling us a little more about the Omnisense project?
Sure, Omnisense emerged from a general theme; The perception of our world and the enhancement of our senses.
We use our senses to gather informations from our world, but little by little we contribute to the birth of a new world. A digital world, containing information about everything: locations (like google maps), what you like (pinterest), who your friends are (facebook), where you work (linkedin), what you know (wikipedia), what you don’t know (wikileaks). It is becoming more and more a duplicate of our world. This digital environment grows more and more each day but we’re not equipped to interact with it.
However we use some devices such as smartphones which become kind of a body extension, allowing us to access this digital world.
What if you could access these data without the need for such a device ? What if we could get a new sense suited for this digital world? With this background in mind, how would all this personal data affect our life and our judgement?
In the end, it’s all about current problems (personal data on the web) and how to talk about a serious topic in a engaging and immersive way.
Some references that inspired us were: Google Glass, Trask and Weyland Industries, Black Mirror, The Wolf Among Us, transhumanism & body hacking (“L’Humanité augmentée” – Augmented humanity, by Eric Sadin, and “L’être et l’écran” – The being and the screen, by Stéphane Vial).
I’ve seen some pretty great design work come out of Portugal recently. Another Collective for example are producing some clean and considered branding for local businesses and are worth keeping an eye on.