Lovely to see young studio Supple Studio have launched a shiny new website showcasing some of their latest work — can’t wait to see more!
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We caught up with Ross about the studio, and their latest project, ‘Hungry Worms’– a social book sharing initiative for those living with dementia.
“Being at home suffering from the widespread condition can be a pretty lonely experience so reading and getting absorbed by a good book is something that ends up being really important. Hungry Worms also helps raise awareness of the ever increasing condition by connecting those living with dementia directly to people in the local community in a meaningful way.”
“Book donations are made by the public at sharing hubs in a number of local coffee shops in London and the number is growing every month. Hungry Worms then uses existing networks of carers to bring donated books into peoples homes. Books are returned and borrowed again and it’s that journey of a book that was important to highlight.”
“Readers’ first experience of Hungry Worms is to get their own bookmark, featuring a series of characters representing all of the broad genres, such as comedy, thriller or a good old tear jerker.”
“The logotype represents a title of a book or a chapter heading and all typography is set in Plantin, the classic book typeface. The journey of the book is reinforced with a hole punch, each hole representing a reader.”
— Lovely stuff guys! Best of luck with the new venture – one to keep an eye on for sure!
LongLunch has teamed up once again with The Design Museum in London to host a rare chance to see the elusive, multi-awarded in-house agency 4Creative speak about their work and process. Known for consistently creating some of the most challenging, powerful and creative work across advertising, brand identity and graphic design, this is one not to miss.
Like always LongLunch have worked with their speaker to produce a limited run of posters, this time in collaboration with a new sponsor, Print Club London, hand-pulled by their Head Printer Marco Lawrence. Posters are given away on the night, so first come first served!
Tickets are on sale via Design Museum. Adults £12 / Students £9 / Members £6. 27 October 2014.
See you there!
Why Comic Sans? For the love of God, why?! Please explain yourselves. We are sorry… I’m sure you wished it was ‘Helvetica against Hernias’ or ‘Gotham for Gonorrhea’ but alas that would probably be to easy. This was meant to be a challenge. If a designer can make Comic Sans look good then they can do anything.
Seriously we noticed that no one was celebrating the 20th anniversary of Comic Sans. Everyone had celebrated Helvetica’s 50th birthday but on one seemed to be celebrate the most ‘talked about font in the world’ 20th birthday.
As designers & friends we wanted to do a project with a difference – which is how Comic Sans for Cancer started. We all know people who have been affected by cancer, so we decided we wanted to do something that was fun and quirky to raise money for Cancer research while at the same time celebrate the 20th year of Comic Sans.
Everyone love to hate Comic Sans. So why not take the font the everyone loves to hate and put it to good use. As a designer I despise Comic Sans and thats the fun of it. Using something that’s perceived as being a little bit unloved for good and plus “Comic Sans for Cancer” just has a good ring to it.
We really wanted the project to be fun and not take itself too seriously. “This may be the first time we publicly admit to having used Comic Sans. We apologise in advance to the design gods for the design sins we are about to commit. Please have mercy on our souls.”
9 out of ten people have heard of Comic Sans. So there is a lot of public interest in it and everyone seems to have a view or it (good or bad). As Vincent Connare said “If you love it, you don’t know much about typography and if you hate it, you really don’t know much about typography, either”.
And it feels like its the right time for Comic Sans to make its come back. and we thought it would be quite fun to have Vincent Connare and Ban Comic Sans posters in the same room.
You’ve had over 500 submissions. Was it difficult creating a shortlist to exhibit? How did you chose? (surely they all look awful!?)
It was one of the hardest shortlist to ever make, since all the entries were worthy to be in the exhibition. We’ve tried to create a selection that will turn heads, evoke debate, make us laugh and/or are also just pretty to look at. We spent an afternoon going through each entry on a projector, and if the submission got 2+ votes, it went through to the next round. Bit like Designer X-Factor. Can’t wait for everyone to see them all!
Can you tell us about the show? What can we expect? You know the ‘guy’ nobody likes but everyone knows throws a killer party? Comic Sans is this guy. Without giving much away, we are celebrating a birthday here remember, so expect the best birthday party in the arts community.
There will be a huge selection of both heartfelt/serious and humorous/silly posters – ensuring there’s something for everyone. Expect giant installations, ironic little things, and of course the proof of the blood, sweat and tears from the artists who designed against their morals to raise money for Cancer Research Uk.
Anything you’d like to add? Come with an open mind, designers sold their souls for this for a good cause There are few chances in the design community to come together, have a bit of fun and raise money. This was a fairly open brief and we can’t wait to see everyones reactions to this truly global selection of work. Come along, have a laugh, donate, and spread the word.
Exhibition is at The Proud Archivist from Aug 20th – 24th 2014. A limited number of posters will be available to purchase at the exhibition and online.
Whether you love it or loathe it, you can’t avoid the FIFA World Cup coming back every fourth summer. London agency Cog Design have chosen to embrace the occasion by inviting clients, peers and other members of the design community to join in their 2014 sweepstake (including us).
“We know that the World Cup isn’t a big occasion for many of our clients, so our challenge was to do something creative enough to engage the non-football fans amongst them as much as the ones that would be following the competition anyway.”
Rather than simply allocating their entrants to a nation and forgetting all about it until the final in July, Cog have created their own competition to run in parallel with the main event. In ‘Cog’s sweepstake the organisations involved are referred to as ‘teams’ in themselves, and an overarching early-twentieth-century aesthetic has been created to give the competition it’s own look and feel.
A cursory glance at the in-game Twitter commentary or fixtures & results posted on the , national teams appear to have been disregarded entirely – a closer look at the series of short, black & white films on Cog’s account reveal the draw and team allocation ‘as it happened’ – selecting numbered balls from a velvet bag and chalking-up the pairings on to a board – all to a catchy, Brazilian soundtrack.
32 ‘collectable captain cards’ were introduced during the draw to form the key visual hook of the campaign. Reminiscent of early cigarette cards, they include all of the period features you’d expect – hand painted kits, graduated background tints and, of course, a de-saturated mug-shot of the ‘player’. Some are even embellished with outrageous hairstyles, beards and ‘taches, based on infamous styles of players past and present. A ‘reverse-side’ to the cards also feature on the , profiling the entrant in a light-hearted, football-related manner. Cog have also used ‘referee cards’ throughout the campaign, as a way of introducing their team members to the project.
“We ran a similar sweepstake for the 2010 World Cup, and it proved to be very popular. We’ve really expanded on what we did four-years ago, the introduction of lots of hand-rendered elements have added a real charm to the project, and the period-style does a great job of making it all feel different to the coverage of the ‘real’ competition that will saturate the market elsewhere.”
Additional to the prize for overall winner, a spinkling of others are keeping everyone interested – there’s a spot the ball competition, best goal celebration and a prize for the most ‘supporters’ who can join by clicking a button on the appropriate profile page. Cog have even started to allocate the knocked-out ‘captains’ to the ones that are still in the competition, keen to keep as many players as possible still in the running.
“In early 2013 we set about planning a series of not-for-profit projects that challenge the norm. Like most agencies our business is built on collaboration, and this forms the foundation of our first project.
100/100 is a live collaborative experiment between the public and a carefully selected group of 100 artists, illustrators, designers and writers whose work we admire.
Our friends at The Liverpool Craft Beer Co. have brewed us our very own beer. A beautifully balanced 5% wheat beer, made from blood oranges, coriander seeds, Belgium candy and a variety of hops.
In December we asked the public to help name our beer. Out of 1,000 entries we have shortlisted 100 names from our online naming tool and now 100 collaborators are creating 100 unique labels for each.
100 bottles, 100 names, 100 collaborators, 100 unique identities.”
A much anticipated and fully responsive new website for Mark Bloom, also known as Mash Creative. With 4 new projects including this inspired collaboration with Hype Type Studio for uBear® as well as a comprehensive archive section, it was worth the wait.
Web development: Stewart Ritchie @ Powered by Coffee
Measuring just over A4 in size, each beechwood sheet contains 18 precision-cut Typeflakes – asterisks taken from the glyph families of different typefaces. From designer favourites like Helvetica Neue and Gill Sans to more obscure finds, each sheet displays a set of Typeflakes at increasing sizes, echoing type-specimen sheets and rub-down lettering of the 1980′s.
It’s hoped that the project could grow beyond these first 5 initial designs with typeface suggestions from designers and non-designers alike welcome for further editions in the future.
Tim from The Allotment got in touch to tell us about their recent rebranding and campaign for The Donkey Sanctuary – taking them from a tired charity fund raising scheme to “a memorable experience that creates lasting relationships”. The campaign aims to create a strong emotional connection by portraying the adopted donkey as “part of the family”.
An free app called ‘Memory Maker’ was created, allowing users to drop a donkey into any shot and send them to friends and family.
The Allotment says that unlike with many other animal adoption schemes, Donkey Sanctuary donors often create real relationships with their chosen donkeys, and participate in their lives. The consultancy developed the central idea of a ‘lifetime of memories’, which aims to position the donkey as a ‘cherished family member’. The adoption pack was redesigned as a picture-frame box while all the donkeys available for adoption were photographed by Jonathan Oakes.
For more information on this project, read more here
To mark their 10th anniversery, brand consultancy Heavenly have refreshed their own brand identity, along with a shiny new website which houses an updated portfolio of ‘honest’ and ‘sexy’ work.
Inside Out SF is a curated exhibition and silent auction of original posters by some of the most influential SF Bay Area and international creatives, revealing their personal impressions of San Francisco.
Seriously, the list of contributors involved is nothing short of mouth-watering, here’s a sneak peek of just a few to wet our whistle.
New website, projects and showreel by London based brand design agency, KentLyons.
New website for global product, strategy and design firm, Frog.