Belgium based design studio Toykyo launched their brand new website today. I love the Beatles influenced artwork they did for Dutch rapper Ares.
TOTEM, a new Manchester based creative company have designed and built an interactive ‘polymer zone’ to help develop the scientists and engineers of tomorrow, and to celebrate Victrex’s 21st birthday.
Some really fun illustrations and animations in the games here from TOTEM, who also made the exctellent Art Map Project. Looking forward to seeing what they come up with next.
Remember art school? Beer, lectures, procrastination, inspiration, late nights in the studio, pure creative freedom…
Dutch film and design trio From Form nailed the highs and lows of student life in a recent short for Rotterdam-based art academy Willem de Kooning. Briefed to create an online commercial that would motivate new students, From Form’s Jurjen Versteeg, Ashley Govers and Wouter Keijzer took a “lean and mean” approach with a punchy narrative and fresh, colourful set design. Whether you’re looking for inspiration or just fancy a quick trip back to your uni days, it’s worth a look.
“We’re following the creative process of a design student – from excitedly starting a project to postponing it a few days later, insecurities, working late, failing and starting over,” explains Versteeg. “The guiding voiceover in the film doubles as a role of a mentor and the students creative consciousness.”
The art academy hosts a variety of different courses, so the film needed to be as broad as possible. By focusing on the bare essentials of each course and cutting out any additional clutter, FromForm were able to highlight the complete spectrum of courses – from graphic design to fashion, digital programming, illustration and more – without diluting the overall message of motivation.
To capture the table-top shot running throughout the piece, the studio built a DIY rigging system hanging from the ceiling. The trio then shot the piece in two days on a Canon 5D Mark III with Magic Lantern (“So we could get the full raw potential of the camera”).
Their favourite part of the project? “We’re really happy how the final edit turned out,” says Versteeg. “But it’s always fun to smash a laptop when you get the chance!”
Handsome Frank have released a great little film interviewing Jean Julien while he fills a bare white room with illustrations.
Makeshift is part of a new breed of magazines passionate about their content, form, and community. A field guide to hidden creativity if you like. From homemade aircraft in Nigeria, drug smugglers in Mexico to Haitian communities pushing back against marginalisation, Makeshift uncovers creative solutions from the economic fringe.
Graphic design studio Rifle designed the magazine when it was launched in 2011 and now had the challenge or re-working their own designs to give Makeshift a new look and feel. Looks like they’ve done a damn fine job!
Roll up, roll up, it’s time for the second of our new Studio Series insights! This week we’re travelling to the capital of Russia, Moscow! for an insight into one of the countries most exciting up and coming studios, The Bakery!
We got on our imaginary EasyJet flight (also known as GMail) to chat to Ivan from the studio about why they do what they do, and what’s going on in Russia these days…
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How did the Bakery come together?
I was about to find a job in Moscow, but was feeling uninspired by the interviews I was going through. I didn’t feel any relation to their creative output and thought they were lagging behind.
Anna (my partner & wife) suggested we’d try to go on our own and establish a practice with different attitude towards work and studio culture. We wanted to do contemporary stuff, try new things, work with materials and print — things that are still not that popular in Russia.
Did you both have a bit of business knowledge before setting thing up?
We thought we did :) From what we’ve experienced at previous jobs we had some basic knowledge of how a studio operates, but when we started we had to sort lots of legal stuff, find a space, set up accounts and all of this was completely new to us. We also had to manage clients ourselves, take care of billing and payments, etc. There are lots of things I’d have done differently if I had the knowledge I have now.
How do you two split the business side against the creative side?
Luckily there are two of us, so Anna manages the business side, while I manage things related to design and we also contribute to each other’s duties. But still there are routine tasks I have to carry out on my own and they take a lot of time, so I try to work from home, either at breakfast or before I go to bed.
I recently caught up with fellow FFF’er Luke Tonge to find out about Issue 1 of new typography magazine The Recorder which he designed and art-directed this Summer. The mag itself is 120 pages of typographic goodness, with a stunning gold foil masthead that continues onto the back cover, multiple throw-out pages, spot colours and a very pleasing sewn binding. Contained within: Jamie Murphy of The Salvage Press, Design educator Harry Leeson, Illustrator David Doran, Pentagram’s Abbott Miller, The Herb Lubalin Study Center, Design legend Alan Kitching, Ghostsigns expert Sam Roberts, Design writer Angela Riechers, Ingo Italic and Bärbel Bold, Illustrator Neasden Control Centre, New York designer Jessica Svendsen and Type designer Gunnar Vilhjálmsson. Buy it online here, and read on to check out the interview and see how you can get a free copy courtesy of FFF…
Tell me a bit about the magazine & how you got involved?
Sure. Basically it’s a new revival of a very old magazine and its an absolute dream project. Type company Monotype first published ‘The Monotype Recorder‘ way back in 1902 and continued to do so sporadically for the next 90 or so years. It has incredible heritage with amongst others the amazing Beatrice Warde a former editor (appointed in 1927) and Eric Gill involved. As Monotype has been enjoying a public renaissance over the past couple of decades and moved into wider areas of type they put out a brief to reinvent the mag for a modern audience – not as a sales tool – but as a celebration of typography. I pitched in spring and over the past few months have been working very closely with Emma Tucker who is The Recorders editor (& unflappable mastermind), to put together the first (re)issue. It’s been quite a year for Monotype, they’ve added both Mark Boulton Design and Erik Spiekermann’s FontShop to their ranks, which cemented in my mind i’d made the right decision as they’re clearly a company as passionate about excellent typography now as in the days of Warde and Gill.
You’re no stranger to collaborating over distance, was this the case again with The Recorder as Monotype’s UK base is in London? How did it come together alongside your day-job?
It’s worked really smoothly for a number of reasons (and that isn’t always the case for distance projects as involved as a magazine relaunch) the biggest reason is how Monotype have been as a ‘client’ – they afforded me a huge amount of freedom to shape the magazine visually as I saw fit – and trusted me to find the balance of honouring their past while hopefully bringing the Recorder bang up to date. That ownership extended to spec’ing paper, determining the size and format, print finishing etc. Much credit has to go to Emma, she was a dream partner and we’ve developed a very complementary working relationship. As ever working at distance allows for a back and forth dialogue with big enough gaps to really digest and progress a design and our schedule allowed for that. The second big reason it worked as well as it did was because of the fine folk at LIFE Agency where I spend my days – they know i’m a magaholic AND a huge type nerd – so they understood this was a rare opportunity and a passion project I just couldn’t pass by, so they all generously supported me in going for it.
Our paths first met while you were out in Detroit working on that issue of Boat Mag, and I had just finished Issue 1 of Kinfolk, what is it about the magazine community that draws you back to it? Didn’t you fancy a break after Boat Mag?
I’ve always loved magazines and print, so for me they’ve always been the purest of canvas for design work – I love many aspects of digital but when it comes to consuming and owning a collection of stories or articles I just can’t get past the physicality and tactility of ink on paper. There’s so many words that come to mind when I think about printed magazines – craft, pace, artefact, feel, smell, substance, keepsake, etc – and they just don’t when I think about their digital counterparts. Boat was a great season for me and really opened my eyes to the indie magazine community – Jeremy Leslie aka Magculture, Steve at Stack, Dan at Magpile, Matt, Kuchar & Betty at Port, yourself at Kinfolk, Rosa at Cereal, Alec at Intern, Holly & Simon at Eye etc. There’s obviously loads more besides doing great work, but its a really open, unpretentious and enthusiastic microcosm to be a part of. Working in magazines is also a great opportunity to commission talented friends! I’m so stoked that in this relaunch issue we have brilliant illustrations by Neasden Control Centre and David Doran alongside great articles and photography, plus we were delighted to partner with the brilliant Mohawk Paper (shout out to Chris Harold for his help)
San Francisco’s Manual Creative launched their new website at the beginning of the month. It’s taken me this long to stop staring at it and post it on FFF, that’s how great it is!
Mark Bloom sent us an email about 3 recent projects that are worth a feature, including a new Identity for Landscape Architect Mark Tessier and an ad campaign concept to promote Beats by Dre’s ‘Win the Game Before the Game’ custom World Cup country inspired headphones (both in collaboration with Hype Type.
T-shirt company FCKH8′s F-Bombs for Feminism ad has been generating buzz and controversy in equal measure this week.
On one hand they’re accused of being an exploitative, opportunistic start up which aims to build their brand by capitalising on legitimate equality issues, such as feminism, LGBT rights and racism. While others argue that regardless of FCK8′s motives, the fact remains the issues they raise are valid and the means are justified in highlighting the ongoing struggle for equality.
So, a provocatively effective fight against inequality or cynical exploitation to sell t-shirts? Check out the video and decide for yourselves.
Hansje van Halem’s work was linked here way back in 2009.
Hansje has been very busy since then by the looks of it – so worth checking out again (her work is brilliant).
I’ve just watched this 5 times in a row! Director Leonardo Dalessandri traveled over than 3500 km in 20 days to film this short film capturing the landscapes, colors and people of Turkey. Perfect on so many levels!
Check out The Man Who Grows Objects, which is a lovely little bit of event promotion for German design conference Frisches Design who are basing this years event around the theme “Design and Efficiency”. The three day event takes place in Nuremberg between November 7 – 9, and will feature representatives from the fields of philosophy, architecture, product and industrial design.
The objective is to provide an insight into the design process and give information about when efficiency actually begins: in the production, in the process itself or in the application.
If you’re interested in attending the event, visit Frisches Design event page for full details.
Anthony Peters of Look & Yes got in touch about a documentary they are producing about the UK graphic arts in the digital age. The film features interviews with many FFF regulars including Anthony Burrill, Ian Stevenson, Kate Moross, Adrian Johnson, Pete Fowler and many others.
Made You Look will be a film about the UK DIY graphic arts scene of the 21st century. Via candid interviews with top British creatives, publishers and agency owners Look & Yes hope to explore the fact that more people than ever seem to be turning to analogue means of creating things, even though we are living at the height of the digital era.
The film is due for release in 2015 but requires a bit of help to get there. Check out the trailer and then go an support this great project on Kickstarter!
With a £442 billion ($717 billion) Sovereign Wealth fund accrued over fifty years from their vast offshore oil fields and owning an estimated 1% of the world’s stocks and shares, it’s common knowledge Norway is one of the richest countries in the world.
Now not only do they have lots of money, it’s also potentially going to look great.
Seven agencies have this week submitted their design proposals to The Central Bank of Norway for the country’s new legal tender. Our personal favourite designs are those by Snøhetta and The Metric System, however you can view submissions from all the entrants here.