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06 COMPuTEr arTS: The essenTIal read For The Modern desIGner

InsIde eVery Issue welcome to this exclusive sampler of Computer Arts magazine – the essential read for the modern designer. Every month in the magazine you’ll find a plethora of inspiration, creative software skills and industry advice, all aimed at making you a better – and more successful – designer. Our Output section brings you the world’s best design work, and our new section,The design manual, is your essential desk companion – a collection of advice, tips and opinion that will help you complete your real-world, daily design challenges in double-quick time. We also bring you exclusive video tuition from our tutorial writers and Studio Life – a series of HD short films going behind the scenes at the world’s biggest agencies. If you like what you see, you can subscribe to the magazine at a very special rate – 50% off in fact. Flick over to page 14 for details. Cheers! rob Carney Editor, Computer Arts

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Exclusive designer profiles every issue, including large studios and freelancers

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Studio Life. Every issue – on our free disc – we bring you a unique behind-the-scenes video at one of the world’s leading design studios, revealing what it’s like to work there and how the company comes up with its ideas

Computer arts Exclusive sampler www.computerarts.co.uk

Every issue includes new bespoke video tuition from the industry’s leading pros.in issue 191: Photoshop – Stylised gradients using channels illustrator – Refine colour palettes inDesign – Smarter typography after Effects – Master Expressions Flash – Flash Builder essentials

Free with issue 191: Four weights of Akko – a beautiful, versatile sans serif typeface designed by Akira Kobayashi worth £220!


07 Issue 191 onContents sale Thursday 28Th July Issue 191

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Output brings you the latest cutting-edge design projects, going behind the scenes at the world’s top print, illustration, motion graphics and mobile design studios

The design manual is a packed section of tips, techniques and features on how to conquer your daily design challenges

Creative skills is all you need to hone your software skills in Photoshop, Illustrator, InDesign, After Effects, Flash and more, and includes video tutorials from industry experts

Searching for a designer or illustrator to work with, or want to size up the competition? Check out the industry’s newest talent in our Exposure section

Every month we feature comment and opinion from across the industry – discussing the issues that matter to you

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06 computer arts: ThE EssENTIaL REaD FOR ThE mODERN DEsIGNER

Output

highlights this MONth YCN FOR FEDRIGONI

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bOwIE-ThEmED REsTauRaNT

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shOTOpOp vs jwT shaNGhaI

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LwL70 EXhIbITION

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paTRICk CLaIR

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The agency’s stunning new take on the traditional swatch book

Designer Tobias hall reveals the secrets behind his incredible large-scale illustrations for Zizzi’s beckenham restaurant

how the creatives won two bronze Lions for their spectacular shoe box-inspired cardboard cut-outs siggi Eggertsson, Ian wright and a host of iconic illustrators take part in The Church Of London’s shoreditch exhibition The creative goes behind the scenes on his latest animated infographic project, Stuxnet:Anatomy of a Computer Virus

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07 IssuE 191 ONcontents saLE ThuRsDaY 28Th juLY issue 191

01 YCN’s unique swatch book for Italian paper supplier Fedrigoni took five months to execute, and was named after a piece of opera written by handel, ‘eternal source of Light Divine’

everY Issue prOjEct Of see the thE MONth INDustrY’s best New work!

02-03 “They wanted a bit more pizzazz than is traditionally the case,” explains alex Ostrowski. “Fedrigoni paper is special stuff, so we decided to dramatise this truth to its extreme.”

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DIvINE pROmO DEsIGN cLIeNt Fedrigoni aGeNcY YcN www.ycnonline.com YCN’s latest print project for Italian paper supplier Fedrigoni is a fresh new take on the traditional swatch book. asked to create an imaginative piece of print to showcase 10 of Fedrigoni’s fine-quality white papers, the London-based creative agency conceived a powerful photographic narrative that plays out across the different stocks with operatic splendour. The story is told over 26 spreads without words, and set in a fictional print house.“we looked at lots of things to help us conjure the drama we wanted,” explains head of design alex Ostrowski.“stanley kubrick’s 2001: A Space Odyssey was aN influence, and we also did a lot of research into Italian operas to develop a taste for the grandeur they evoke.Typographically, we wanted to give the piece an almost historical austerity, achieved using a hoefler & Frere-jones typeface called Requiem.” YCN worked with photographer Nick ballon and designer and performer Nelly ben hayoun on the project. “The most challenging part of the project was the shoot, which we did at pureprint in Essex. It went on for two days and nights, fuelled by crisps and fruit, but we managed to get everything we were after. we’re happy that the shots came out as dramatically as they did,” Ostrowski explains.

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06 CoMpUTeR aRTs: The essenTIal reaD For The MoDern DesIGner

aLL YoU NeeD To sUCCeeD IN YoUR DaILY DesIgN WoRK

Stretches to do at your desk

Make sure you keep limber in the studio…

By alex Menezes,physiotherapist at The royce Clinic www.royceclinic.co.uk

pectoral stretch Interlink your fingers, then place your palms on the back of your head. next tilt your pelvis forward, push your chest towards your desk and pull your elbows back. hold for 30 seconds. repeat every 30 minutes.

Illustrations: David Buisán, www.buisanart.com

Latissimus dorsi stretch Keep your fingers interlinked from your pectoral stretch and straighten your arms so your palms move to face the ceiling. now lean to your left and then right: you should feel a gentle stretch down the opposite side to which you are leaning. hold each side for 20 to 30 seconds and repeat every 30 minutes.

Neck range of movement To prevent neck stiffness, turn your head to the left, right, up and down in a slow, controlled movement until you feel a gentle stretch. repeat every 10 to 20 minutes. avoid rolling your neck as this can upset the small joints in your spine.

Rule29’s annual report for LIA.The estimated savings from using green print processes includes 2,180lb of wood,3,182 gallons of water and eight days of power

Re-evaluate your print Why it’s important to take stock of your stock Going green shouldn’t be an option – it should be a primary consideration when starting your projects. According to Justin Ahrens,creative director at Rule29,there are three main issues to consider when evaluating your print processes to make them greener:“We start by thinking about the lifespan of the piece – how can we make it last longer?” he says. “Then there’s the paper we’ve chosen:is it FSC certified and does it contain post-consumer recycled content? Get familiar with the various paper and materials that have high PCW (post-consumer waste) content and are made in a way that is positive for the environment. And do the same when it comes to local print partners. Find printers that are holding themselves to high standards, in both their work processes and certification.Work with your printer throughout the project to help size your piece in the most efficient way.” www.rule29.com

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07 Issue 191 onContents sale ThursDay 28Th July Issue 191

14 pages of pRo TIps To WoRK fasTeR aND sMaRTeR

How to set up folded brochures

Four types of fold for your design projects By Jo Gulliver,art editor,Computer Arts,www.computerarts.co.uk

•••• Barrel fold

Also known as a letter fold, tri-fold, C-fold, spiral fold or roll fold, this brochure style consists of two or more parallel folds and six or more panels. Each panel folds in the same direction and they nest inside one another. When creating a template, always make sure that you set each panel to be slightly bigger than the previous one, to accommodate the thickness of the paper when folded.The most common example of a barrel fold is an 8.5x11-inch letter folded into an envelope.

•••• Z-fold

Also known as a zig-zag fold or an accordion fold, this brochure style is made up of two or more parallel folds, each of which folds in the opposite direction to the previous one. All the panels can have the same measurements, because, unlike with a barrel fold, there’s no requirement for them to nest inside one another.

•••• Closed gate fold

This fold consists of three parallel folds, with the two edges folded in towards the middle to meet in the centre. It’s then folded again through the middle.The two outside panels are slightly smaller than the inside panels to allow for the paper thickness. An open-gate fold works in the same way but without the addition of the final fold through the middle.

•••• Two parallel fold

Also known as a double fold, double parallel fold or parallel centre fold, a two parallel fold consists of three parallel folds, with the paper folded in half and then in half again.The panels on the inside need to be smaller than the other panels to allow for proper nesting.

Fine-tune your baseline grids

Three ways to make sure your InDesign layouts are brilliant, every time… By Jo Gulliver

■■■ Baseline grids are used to maintain consistency in the positioning of body text in a text-heavy document.The leading measurement of a baseline grid should match that of your body copy.To align copy to the baseline grid,select your text and,in the Paragraph panel or Control panel, click ‘Align to Baseline Grid’. ■■■ Try using multiples of the leading value of your baseline grid for headings and subheadings, and aligning them to your baseline grid. For example, set your subheading to sit on every other line of your baseline by doubling the size of the body copy leading. ■■■ ‘Only Align First Line to Grid’ is useful when you’re working with a smaller point text size and leading than is applied to the baseline grid. With ‘Align to Baseline Grid’ selected, highlight the paragraphs you want to align and then select ‘Only Align First Line to Grid’ from either the Paragraph panel or the Control panel.

Studio heads Can you guess the designer from the haircut? Illustrations by Christina Christoforou www.christinachristoforou.com Three design legends,three legendary haircuts. Can you guess who these barnets belong to? Answers on page 64

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Photography: Reynard Li, www.reynardli.com

06 computer arts: The essenTiaL Read foR The modeRn designeR

see an exclusive excerpt from our studio Life documentary at http://www.computerarts.co.uk/studiolife


07 issue 191 oncontents saLe ThuRsday 28Th JuLy Issue 191

After working for several creative companies in New York and a stint at MTV, Mike Joyce decided to take the leap and set up on his own as Stereotype Design. In the early years he created album covers and posters for indie bands that he was friends with, which eventually led to work with developing labels and,later down the line,big record companies like Sony, Capitol, Columbia and others. Stereotype has also licensed designs to 2K By Gingham for a T-shirt range.Joyce has been an ADC Young Gun, and has judged for Art Directors Club and Type Directors Club events. He teaches typography at the School of Visual Arts in New York. www.stereotype-design.com

every Issue reaD eXcLusIve DesIGNer INtervIeWs!

mike Joyce has built a stellar reputation designing for the music industry.The CD might be on the way out,but his company,Stereotype Design,continues to make some amazing music packaging “I grew up a huge fan of Iggy pop,so it was a blast to go meet him.He called me ‘Stereo-opticon’ and I still don’t really know what that means. But I’m really happy with the work I did for him – it came out great.” Mike Joyce is the founder of one-man New York studio Stereotype Design, and he’s thinking back to the 2003 album cover he designed for the iconic American singer. It’s a project he says his 15-year-old self would be proud to have worked on, and in just a few minutes he’s also mentioned Aretha Franklin,Katy Perry, The Lemonheads and even the bizarre new supergroup New Kids on the Backstreet Boys.They’re just a small selection of the artists that Joyce has worked with since launching the studio back in 1995.

Creating packaging, branding and posters for the music industry is Stereotype’s speciality. Despite the massive shift towards download seen in the last five years, the packaging side of things is still keeping Joyce busy.“Every year I feel like,‘Well, I’ll probably do less CDs and less vinyl this year.’ Who knows? It’s a strange thing but I still end up doing five packages a month.” Music packaging is often seen as a dying sector, but opportunities continue to open up for Joyce. Sony Music Entertainment’s catalogue division,Legacy Recordings, is one new client. Legacy repackages and re-issues music, often with deluxe extras thrown in for fans who still go to the trouble of purchasing CDs or vinyl. According to Joyce, this makes for dream projects.Pete Yorn’s hit debut album Musicforthemorningafter is an excellent example.The re-packaged product included designs for a vinyl LP cover, a double-disc CD/DVD case, poster interior and a 24-page book containing expanded liner notes.

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06 COmpuTER ARTS: The essenTial read for The modern designer

DISCOVER NEW DESIGN & SOFTWARE SKILLS

Computer Arts Exclusive sampler www.computerarts.co.uk


07 issue 191 onContents sale Thursday 28Th July Issue 191

Photoshop Cs3 or later

01

Set up a new Photoshop document with Resolution set to 300dpi (for print). Go to Edit>Fill and colour the background – I’ve chosen a mid-grey – then select Filter>Lens Blur, ensuring the Noise setting is low. Place the file main element.png from the disc, and duplicate it (Image> Duplicate). Next, create a new group of layers by clicking the ‘Create a new group’ folder icon at the bottom of the Layers dialog, and name it ‘Exercises’. Drag the duplicate file into this group.

Use actions to create organic imagery

Illustrator Cristian Boian demonstrates how to produce striking imagery using automated techniques and mathematical curves In this tutorial we’ll look at how to generate organiclooking imagery using actions and a variety of different tools in photoshop. From start to finish, I’ll guide you through my process of producing an abstract, balanced composition with a natural feel. We’ll use the Transform and Colour Adjustment options as well as a selection of filters to reproduce the piece used entitled ‘Attempts 6’, but, once mastered, these techniques can be used to add increased interest to both your personal and client work.

EVERY ISSuE 23 pAGES OF EXpERT TECHNIQuE!

Cristian Boian Cristian has been passionate about using new technology to create images since discovering the power of visual communication during his degree. See more of his work at:www.behance. net/boiancristian

On the disc You’ll find the full size screengrabs for each step of this project, along with the main element .png starter file in the Resources section of the DVD

02

Now, using the Elliptical Marquee tool, we’ll create a series of new items that are variations of our main element but have different thicknesses. We want some to be thin and elegant, and others a little wider. Play with the colours of the new elements (Image Adjustment> Colour Balance) but make sure that the main element layer has a duplicate before you cut it.

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Using Edit>Free Transform on our new elements, we can compose interesting decorative forms. Use numerical values along the vertical (H) scale and horizontal (W) scale along the toolbar. I now create and work in a new group I name ‘Exercise T’.

Time needed 6-7 hours Skills Use actions creatively Increase your understanding of form and composition

04

Now we will create a new group called ‘simple line’. Using the Line tool at just 1 or 2 pixels thickness, go to Filter>Distort and select Twirl and Shear until you have smooth curves. Use some in your artwork as they are, and with others generate new elements.

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06 ComputEr ArtS: The essenTial read for The modern designer

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07 issue 191 onContents sale Thursday 28Th July Issue 191

illustrator and Photoshop Cs3 or later

01

Start by sketching a few rough layouts with a pencil. Pay close attention to how the layers interact, as this is where you’ll build up the shape of the object you’re illustrating. Even if you think you’ve hit on the perfect image early in the process, keep sketching as you might find that new ideas come to you as you go.

Papercut aesthetics with vectors

Steven Bonner shows you how to digitally replicate a 3D papercut style

I’ve always been drawn towards craft-led techniques, and like to find ways to recreate them in a digital environment. I often add some traditional airbrushing into my shading work with Photoshop and a Wacom tablet, for instance. I was recently asked to produce my own take on Diesel’s Only The Brave Eau de Toilette bottle, and decided to emulate a papercut aesthetic to create a fluid and abstract design that would be distinctive and have a sense of depth. Using a juice bottle as a subject, I’ll show you how to digitally produce a papercut look and integrate it with the style of type that you might find on advertising posters or print adverts, for example.

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EVErY ISSuE 23 pAGES oF EXpErt tECHNIQuES!

Steven Bonner Based in Stirling, Scotland, Steven is a multi-disciplined designer and illustrator who has worked for clients including Harper Collins, Cadbury and Diesel. www. stevenbonner.com

time needed 3-4 hours on the disc You’ll find the full size screengrabs for each step of this project in the Resources section of the DVD

Skills Understand how to layer an image Use basic layer effects Increase relevance with colour

When you’re happy with your design, open Illustrator and create a new document. Select the Pen tool (P) and begin drawing one side of your bottle image.

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Once complete, copy the shape (Ctrl/Cmd+C) and paste it in front (Ctrl/Cmd+F). Next, select the Reflect tool (O), hold down Shift to constrain the proportions and flip the shape horizontally.This will give you the other side of your bottle. Position it an appropriate distance away from the original, experimenting until you’re happy with the width of the silhouette.

Using the Pen tool again, extend the lines off the page and connect them to form two solid shapes.Take care to keep the lines smooth, and allow space for your headline elements.

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COMputEr ArtS: THE ESSEnTIAl rEAd For THE ModErn dESIGnEr 10 minute time-savers

Video tutorial After Effects CS3 or later

Expressions tomakelife easier James Wignall shows you that with the use of some extremely simple expressions you can save yourself a bucket-load of time

new software skills you can learn in your lunch hour

01

The first thing you need to do is create a new project and Composition (Ctrl/Cmd+N), and select Pal Widescreen from the Preset menu. Next, make a new adjustment layer (Ctrl/Cmd+Alt/Opt+y) and add a drop shadow (Effects> Perspective>Drop Shadow).

02

Next import the Photoshop file Barry.psd on your disc by pressing Ctrl/Cmd+I. Drag the artwork onto your timeline and again apply a drop shadow.

Have you ever had one of those days when nothing seems to go right,and you have a client breathing down your neck with changes to your project and an ever-encroaching deadline? I know I have, and it doesn’t help matters if you have to change the same effect over and over again across hundreds of layers.With this handy and easy expression you can change effects across many layers or even over different compositions. With a little bit of setting up, we’ll show you how to avoid a lot of headaches and late nights.

03

Select both the FX Master Control layer and Barry.psd layer and press E to show the effects. Now expand all effect properties on both layers by clicking the triangles. On the Barry.psd layer, hold down Alt/Opt and click the stopwatch icon, now pick whip the corresponding properties from the FX Master Control Layer.

James Wignall James works as a director and animator in London. Under his super villain guise, Mutanthands, he’s worked alongside MTV, Nickelodeon, Sony,VH1 and Nike to name but a few clients. He’s also had his work shown at events such as Pictoplasma and onedotzero www. mutanthands.com

On the disc you’ll find the video and files accompanying this walkthrough in the Creative Skills section of the DVD time needed 10 mins

04

Now open your artwork layer so it reads all the properties from the FX Master Control layer. Let’s duplicate the layer a few times to see it control multiple layers. Select Barry.psd layer and press Ctrl/Cmd+D a few times, then move the new layers so they’re overlapping a little.

Skills Use the Pick Whip tool Set up an Effect Control layer

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EVEry iSSuE WE FEAturE ExCLuSiVE VidEO trAininG FrOM tHE induStry’S tOp prOFESSiOnALS


ISSUE 191 on SAlE THUrSdAy 28TH JUly

MyDESIGN CLASSIC

Ott+Stein’s Edition RZCD covers In a revived series, we celebrate the world’s most timeless pieces of design.This month, Adrian Shaughnessy selects his favourite

Adrian Shaughnessy

Graphic designer and writer Adrian heads up design consultancy ShaughnessyWorks and is a founding partner in publishing company Unit Editions. His books include How to be a Graphic Designer Without Losing Your Soul. www.shaughnessy works.com

ExpErt induStry OpiniOn

01 01-02 German design firm Ott+Stein was founded in 1978 by Nicolaus Ott and Bernard Stein.The agency is also known for its branding work for countless museums and cultural institutions

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For most people, minimalism means a white sofa in a white room, with perhaps a white rug on the floor. But real minimalism entails an element of austerity and, well, discomfort.The geometric concrete buildings of a true minimalist, such as the Japanese architect Tadao Ando, could not be called ‘comfortable’. When John Pawson designed his famous Monastery of Our Lady of Novy Dvur in the Czech Republic in 2004, he was making a statement that had nothing to do with comfort or interior decoration fads – it was about living a genuinely uncluttered life. In graphic design lots of work is called ‘minimalist’, but it’s rare to find designers (and clients) brave enough to

work without the usual props of seductive imagery and harmonious colour. Most graphic design is selling us something or persuading us to do something we might not otherwise do. Most graphic design is about seduction, and therefore it’s rarely austere or ‘uncomfortable’. Some of my favourite examples of genuinely minimalist graphic design are the CD covers of the German experimental music label Edition RZ. These austere covers are designed by Berlin-based studio Ott+Stein.They rely only on typography and occasional typographic hieroglyphics.This is not ‘buy me’ graphic design – this is ‘dare you to listen’ graphic design. It’s the sort of design that those people with

conventional taste might label with the terms ‘cold’ and ‘simplistic’. But that’s the thing about minimalism, it looks easy, but of course it’s not. Edition RZ covers could only be done by designers who possess a sure-footed sense of what can be omitted from a design as much as what is included, and could only be commissioned by a client that doesn’t feel cheated because it doesn’t get the sort of wall-to-wall design that fizzes with seductive tropes. www.ott-stein.de

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