Kate Moross’ debut book ‘Make Your Own Luck’ is a chronological zip wire through Moross’ career, beginning on foundation course (Wimbledon School of Arts) with hand-drawn posters & random doodles through to her recent work for Jessie Ware and setting up Studio Moross. Designed by Praline, edited by Gavin Lucas, and with a foreword by Neville Brody …it promises big things.
Posts by Emma:
Our transient economy and lifestyles lend anything genuinely old an air of fascination, and none more so than whacking great machinery worked by hand. Having a trade seems an almost whimsical notion these days, but there’s no doubt that as creatives and designers we are seduced by the honest, tactile nature of things made by an expert hand. Catherine Perrott got in touch to share this video made about about her Dad Steve, a fourth generation traditional printer. Worth a watch for an endearing peek into a shrinking craft.
The BBC are also currently running a series featuring family businesses that have been passed down through multiple generations — an interesting example of tenacity, diplomacy and taking great pride in your everyday work.
Alex Hunting is a designer / art director based in London. As well as lots of editorial, he’s worked on some familiar projects for YCN Studio, including the latest ‘You Can Now (Get Lost)’ which has been doing the rounds of late.
Brand new shizzle from the affable Sean Rees. Now available for freelance — get it while it’s hot.
Shoot Advisory is a new service thought up by professional photographer & designer Nahim Afzal, as an alternative to pricey studio shoots for creative agencies. In a nutshell, they come into your studio and not only recommend the right equipment for your needs and budget, but also spend two days teaching the team how to use it. Covering lighting and technical issues as well as art direction, this could pay for itself quite quickly taking into consideration staff portraits, environment shots and of course, keeping the portfolio up to date. Plus, much more fun than spending 3 days on Photoshop jiggery pokery! Check them out here.
Beautiful and interesting work from London based photographer Tina Hillier.
We were blown away when we saw FFF’s Sean Rees and Purpose colleague Nathan Webb present their work for speech therapy course the McGuire Programme at London’s Point conference. From Sean’s very personal story of recovering from a stutter, to the creative and business challenges of working with a global not-for-profit organisation, we met up with them to find out why the project meant so much, and how they pulled it off.
We caught up with Nick Couch, creator of Open Studio Club and ex-Creative Director at Figtree to pick his brains about the increasing flux in our industry, the impact of freelance, and what it all means for the future of graphic design.
Philographics is a project that uses graphic design to elucidate philosophical concepts. A series of 95 cards, each one explaining a philosophy ‘ism’, using simple colors and shapes, it’ll also be made into hard back book. The project is currently on Kickstarter where it’s done very well and has just a couple of days to go.
According to designer Genis Carreras, Philographics aims to explain complex ideas in the simplest way possible. “I started the project 2 years ago with the intention to merge the world of philosophy and graphic design… In the beginning it was a set 24 posters, explaining philosophical theories like Dualism, Free Will, Existentialism or Idealism using only shapes and colour. But so many important ‘isms’ were left out that I decided to add more designs to the collection.”
A nice set of work from freelancer Pascal Barry, with strong typographic bias. I particularly like his Cephalonia font, inspired by Greek engravings. He’s also the creator of iconoci — a set of simple royalty-free icons.
Oxford and Brighton based Oak have a nice range of work on their new site, including branding/identity, editorial and lots of lovely art direction.
We hopped over to Dublin last weekend for Offset 2013; three days of talks and debates from a line-up of inspiring creatives. Even at first glance Offset feels a bit different from other design festivals. Its bold identity smacks you in the face challenging you to get stuck in, enthusiastically flouting the usually restrained style used for design events.
Based on this design aesthetic one could be forgiven for expecting a slightly chaotic event, but Offset is one of the best-organised events of its kind we’ve been to. On top of the seamless organisation and euphoric lack of queuing, it was fun, laid back and friendly. But above all, it felt tangibly creative. It’s easy to indulge in a bit of middle class navel gazing at these events, but this one didn’t allow any of that. It had a young, interesting buzz. It felt exciting. And the venue of the Bord Gáis Energy Theatre, sitting on the Grand Canal Dock, is an architectural feast that looks different from every angle. Gorgeous inside and out, the venue itself added to the inspirational atmosphere.
There were two things about Offset that really stood out for me and enhanced my enjoyment of the overall event. The first was that the second room — rather than being used for the less well known speakers, was a discussion room. This created a great breathing space from the main stage, and added pace to the day.
The second thing was the variety of styles, disciplines and personalities of the speakers butting up against each other, creating great juxtapositions. As the content and style of each presentation was quite different, it brought fresh perspectives on familiar themes.
There weren’t as many big names on the bill as in previous years, but there were some serious heavyweights, including Bob Gill, Ben Boss, Vaughan Oliver, Oliviero Toscani and Louise Fili. Our highlights from this year are as follows:
Ireland’s Laureate for children’s literature Niamh Sharkey talked passionately about the fight to get to a place worth going, gave fascinating insight into character development from a simple hand drawn line through to a 3D TV character and inspired the importance of respecting, and working for, your audience. Read more
Pick me up is back at Somerset House next week, for an 11-day feast of graphic art, design and illustration. The festival of contemporary graphic arts features loads of great artists, illustrators and designers, across a broad range of styles, processes and materials. As well as the chance to peruse and purchase original and limited edition prints, there’s a schedule bursting with cool ways to get involved too, such as live printing, talks and workshops.
Studio Aardman will be hosting a Shaun the Sheep model-making workshop, Alan Kitching a letterpress workshop, and Print Club London will be taking up residency in the studio, inviting a jaw dropping list of collaborators to create original pieces and co-create on a handmade wallpaper design. Bob Gill, Genevieve Gauckler, Pure Evil, James Joyce, Margot Bowman, Serge Seidlitz, Fred Butler, Rose Stallard, Maggie Li & Hattie Stewart will be joining them, so keep you eyes peeled to see them live at work or even better, get stuck in.
Pick Me Up runs at Somerset House from 18 – 28 April 2013. It’s Open daily 10.00-18.00 with late nights on Thursdays and entry is £8 (concessions £6) or a festival pass sets you back £15, if you’re planning on seeing lots of talks. For full info see here or for the event listings click here or list of contributors here
Emily Evans is an illustrator with a dark side. Specialising in medical illustration and teaching human dissection at Cambridge, she’s started to put her anatomical expertise to more creative use by designing products that are beautifully odd (and just a bit creepy). From her Mexican Day of the Dead wallpaper (gold ink on matt black — don’t mind if I do) to plates which feature blown up slides of human tissue, what makes this stuff interesting is the juxtaposition of art, design and science.
As well as adding layers of meaning to anatomically accurate scale drawings, she also experiments with materials, for example the Resident Evil 6 promo she screen printed in real human blood (that of the Creative Director apparently). It’s weird alright, but it’s also pretty wonderful.