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ISSUE

241

JUNE 2015 DIGITAL EDITION PRINTED IN THE UK

BRANDING WORKSHOP WolffOlinsrevealshowto developinteractivebrand guidelinesforaclient

VIDEO INSIGHTS FROM 2015’S D&AD AWARDS JUDGES

ADVENTURES IN

Discover the secrets of successful characters with advice from TADO, Muxxi and the makers of Adventure Time STAGE AN EXHIBITION IN A WEEK

DON’T SUFFER IN SILENCE

Show off your work when time isn’t on your side with expert advice from Pick Me Up

How to avoid common designer ailments like back pain, RSI, eye strain and more


JUNE 2015

EDITOR’S LETTER OurcoverstarsJakeandFinnwillneednointroductionto manyofyouSinceitspremiereonCartoonNetworkin  PendletonWard’sAdventureTimehasgrownintosomething of a globalcult spawningadizzyingrangeofmerchandise –andit’slargelydowntoitswonderfullysurrealandu erly unmistakablecastofcharacters Theshow’saward-winningcharacterdesignerandstoryboard artist AndyRistainoisjustoneoftheexpertscontributingtothis month’sspecialreportonpagewhichrevealsthesecretsof creatingcommerciallysuccessfulcharacters Juneisthepeakofgraduateshowseasonandformanydesign studentsthatlast-minutepanicofgeingaďŹ nalshowtogetherwill no doubtbeseinginDon’tworrytakeadeep breathandsoak up thewisdomofourexhibitionexpertsonpage  NextmonthweunveiltheresultsofourinauguralUnsungHeroes projectIt’sdesignedtocelebratethepeoplebehindthescenesat thetopdesignstudioswhogoaboveandbeyondtomakeprojects happenbutdon’talwaysgettheirmomentinthelimelightWe’llbe passingonthesecretsoftheirsuccessofcourse Andifyoureadthisintimeyouhaveuntil Junetosubmityour verybestbrandingworktoourBrandImpactAwards–seepage  We’llberevealingthewinnersinSeptember

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PaulaisanAmericangraphic designerpainterandart educatorindesignand theďŹ rstfemaleprincipalat Pentagramwhichshejoined in

Shehasbeenatthe forefrontofgraphicdesign formore thanthreedecades Onpagesherevealsthe processbehindherrecent identityforTheNewSchool wwwpentagramcom

Aergraduatingindesign andworkinginvariousdesign studiosaroundBarcelona VeronicafoundedHey Studioin whichhas sincewonglobalacclaim thankstoitsupliingfusion ofboldshapescoloursand charactersCheckoutour HeyStudioproďŹ leoveron pagetolearnmore wwwheystudioes

WriterandeditorGavin joinedwithCamillaParsons toco-foundOutline Editionsin They launchedOutlineArtists anillustrationagencyand consultancyin  Turnto pageforGavin’spractical adviceonpuingtogether theperfectexhibitionwhen timeisoftheessence wwwoutlineartistscom

GABRIEL WEICHART Gabrielisseniordesignerat globalcreativeconsultancy WolOlinsInthisissue’s videowalkthroughonpage

heexplainshowhe helpedcreateinteractive onlinebrandingguidelines forOrangethatdistilled theessenceofthebrand in under minutes wwwwololinscom

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MIKEYPLEASE Co-founderofParabella StudioMikeyisanalumnus ofboththeRoyalCollege ofArt andtheUniversity ofthe ArtsLondonTurn topage tolearnhow he workedalongside fellow co-founderDan Ojari tobringavibrant world ofteabagtagsto life forTwining’s wwwparabellastudioscom


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ISSUE 241 JUNE 20 15

CULTURE 

TRENDS RobertStoreyreachesneonhighsforaNike installationplusadesignerbikeaccessoriescollection



PEOPLE TaxiStudiotalksupitshireofGlennTutssell andBelgium’sToykyoshowsoitsporcelaincollection



PLACES  FreelanceartdirectorAlanWardleinvites youonacreativetouraroundhisnativeNewcastle



EVENTS JuliaSagarreportsfromthisyear’sD&AD JudgingWeekplusnewsfromPictoplasmaBerlin

SHOWCASE

INSIGHT 

DESIGNYOUROWNCAREER Designprofessor FredDeakinchallengesyoutocrayourowncreative nicheinanincreasinglyfreelancedindustry



GENDER-DEFYINGDESIGN  FutureLaboratory’s JoannaTulejlooksathowgenderuidityisdriving designinthetwenty-ďŹ rstcentury



Ourselectionoftheworld’sbestnew graphicdesignillustrationandmotion graphicswork 

BRITAINISLOSINGITSDESIGNEDGE The RSA’sSevraDavisarguesforbroaderindustryskillsand educationreformstokeepBritaintopofthedesignpile

VIDEO WALKTHROUGH 

DESIGNINTERACTIVEBRANDGUIDELINES  DesignerGabrielWeichertrevealshowWolOlins createdonlinebrandingguidelinesforOrange

NEED TO KNOW 

THEDESIGNER’SGUIDETOSTAYINGHEALTHY Ensureyouhavealonghappyhealthycareerasa designerwiththisessentialguidetostayingwell

COMPUTERARTSCREATIVEBLOQCOM --

PROJECT DIARIES Resolvinginstitutionhierarchies withatypefacecreatinga NewYorkmuralforConverse andanimatingatea-bagtagged worldforTwinings 


D&AD AWARDS: JUDGE INSIGHTS We grab some time with ďŹ ve of the stellar panel at D&AD Judging Week to discover what makes a Pencil-winning project 

Cra in design: Leigh Chandler at Vault

S PECI A L R EP OR T

HORT’s Eike KÜnig judged graphic design

CHARACTER DESIGN SECRETS Looknofurtherfortheinspirationsworkingprocessesandcreativethinking behind the best character-drivencommercialworkintheworldtoday 

SUBSCRIBE AND SAVE UP TO 59% Threegreatwaystosubscribe to theworld’sbestdesignmag Print Digital Both Seepage 

˜

S T U DI O LI FE

IN DUS T RY IS S UE S

HEY STUDIO

STAGE AN EXHIBITION

WetalktotheBarcelona-basedoutďŹ twhose upliingfusionofboldshapescoloursand charactershaswonitglobalacclaim 

Frommaximisingspacetothevirtuesof Velcrohere’showtoputontheperfect showwhentimeisoftheessence  

COMPUTERARTSCREATIVEBLOQCOM --

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T R E NDS CULTUR E

WE LOVE...

VIBRANT BRASHNESS IMAGE CREDIT : Nike Retail Installation designed by Robert Storey for Nike Women with creative direction by Jen Brill, photography by David S Alee

Robert Storey reaches neon highs in his retail installation for Nike Women rawinginspirationdirectlyfromthe NikewomenswearcollectionRobert StoreystudioinfusestheNikeNew Yorkwomenswearretailpop-upwithhighoctanecoloursvibrantlightingandbold geometricdisplayarchitecture  Reflectingtheincreasinglywidespreadconcern forhealthandfitnessasports-inspiredaesthetic hascometoinfluencemuchmoreindesign thanjustapparelBorrowingvisualcuesfrom performancesportswearandhigh-energyfitness classesintenselysaturatedcolourpaleesin combinationwithsleekstreamlinedmaterials createanaestheticthatisdynamicadrenalinefuelledandunapologeticallybrash Blocksofbrightacidcolouraresplicedwith contrastingfluorescentlightingwhichframes doorwaysandwindowsgivingthespaceasense ofplayfulenergyThepaleeofdarkblue bright pinkandlightpurplejuxtaposedwithneon highlightsandseveregeometricscreateayouthinspiredenergeticaestheticthatis reminiscent ofthehigh-techsportsgarbdisplayedwithin  thetwodifferentelementsinteriorandapparel convergeseamlesslybeingofequalimportance in emphasisinganundeniablebrandDNA wwwstoreystudiocom

d

EachmonthourTrendssectioniscuratedby experiencedcreativeconsultancyFranklinTill wwwfranklintillcom


CULTUR E TR EN D S

D E S I G NED FOR LI FE

SUMMER CYCLING SPECIAL As we head into summer, kit yourself out with some of the best cycling accessories out there and hit the road

1 JBG AND EYES JERSEY

from Milltag www.milltag.cc Ifstandingoutontwowheels is yourgoalMilltag’slatestartist collaborationswithJamieBanksGeorgeandSamDunnwill be rightupyourstreetForthe chancetoseeyourownworkon a Milltagjerseyseepage

 each

4 1

2 D’ARCS TRIPLE GLASSES SET

from Madison www.madison.co.uk Withthreeone-piecelenses– tintedforbrightconditionsyellow forovercastdaysandclearforany timeofyear–theD’Arcsboast greatprotectionatabudgetprice

 

3 PATTERN BIKE BELLS

from Poketo www.poketo.com Ensureyou’rebothseenand heardwiththesestylishJapanese bikebellsSportingaselection ofvibrantpaernstheclassic designcreatesacrispsound

 each

3 2 4 RBS PACK ME JACKET

by Polaris www.polaris-bikewear.co.uk RBSstandsfor‘ReallyBrightStu’ –andthelatestinPolaris’hi-vis rangeisexactlythatApackable windproofunisexjacketit’sgreat inchangeableconditions

 

5 PLUME MUDGUARD

by Plume www.plumemudguard.com Plume’ssleekdesignmakes mudguardscoolCoilitaway underyoursaddlewhenyoudon’t needit–butwhenthestreetsare wetsimplyrolloutandrideon



COMPUTERARTSCREATIVEBLOQCOM -12-

6 BOOKMAN ACCESSORIES

by Bookman www.bookman.se Brightenupyoursteedwiththese stickyreectors"#lightweight USBlights" /set#orCurve frontlight" #–justthreeitems fromBookman’sboldnewrange -


9

T R E NDS CULTUR E

Stay one step ahead with our barometer of visual cool

EMERGING Delicateecks ofpaintcreate asubtlehand ďŹ nishedpaerning onstationery and crockery

8

STILL FRESH Waxsealsare beingusedin contemporary brandingechoing thedesireforall thingshandcra ed

6 7 7 LAZER ARGON AR2 SUNGLASSES

from Madison www.madison.co.uk Lazer’shigh-performancehalfframeglassesarecomfortable andversatileandshipwiththree interchangeablelenses

 

8 RAPHA CYCLEWEAR

by Rapha www.rapha.cc Fortop-notchprogearlookno furtherthanRaphaWeloveits BrevetJerseyandGilettop# Women’sClassicWindJacketand men’sDataPrintproteamjersey

  and 

9 SWRVE CAP

by Swrve www.swrve.co.uk Fancingrockingamoretraditional look?TrySwrve’sfour-panelcaps Theycomeinarangeofcolours withreectiveribbonsto choosefrom

upwards

COMPUTERARTSCREATIVEBLOQCOM -13-

MAINSTREAM Gradualgradients ofcontrastingvivid brightscreatea boldbackground texture

ILLUSTRATION: Michael Molfetas, www.michaelmolfetas.com

5


CULTUR E P EO PL E

JUNE 2015

MY STYLE IS...

INSPIRED BY COLOUR AND FUNCTIONALITY Spencer Buck co-founded Taxi Studio inBristol in%%withthe mantra“fearless creativityâ€?Taxi’s variedclientlist includesthelikes ofCarlsberg SmirnoTesco andCadbury

Jack Taylor is a London-based illustrator who uses carefully considered colours and composition to tell his stories. www.jack-taylor.co.uk

Design industry veteran Glenn Tutssel co-founded Brand Unionin $whenhis company Tutsells joined forces with Lambie-Nairn. He le in November %$andnow joins TaxiasECD

FIELD NOTES ItooktheseonatriptoAmericaa fewyearsback TheyďŹ tperfectly inyourpocketsothey’regreatfor impromptudrawingandtheylook coolnowthey’rewornin

N E W VE N TURE S

TAXI FOR TUTSSEL TaxiStudioco-foundersSpencer Buckand Ryan Willshaverecentlyhiredindustryveteran Glenn Tutsselasexecutivecreativedirector avingfoundasharedpassion aerspeakingtogetherat ComputerArts’ veryown ImpactConferencelastyeardesign industryveteranGlennTutsseland Taxi Studio’s SpencerBuckhavenow takentheir collaborationtothenext level Aerhisdepartureasco-founder andchairmanofTheBrandUnion in NovemberTutsselisnowtaking the reinsasTaxiStudio’sexecutive creativedirectoralongsideco-founders BuckandRyanWills Inthisinterview Tutssel discusseswhatinitiallydrew him toTaxiStudiowithBuckexplaining howtheaward-winningcreative’s decadesofexperiencewillhelp shape thestudio’sfuture

Spencer Buck, who I found creatively astute and dynamic. And meeting the other creative partner Ryan, who sold me completely on Taxi’s creative vision.

Whatdoyouthinkyou’llďŹ ndmost challengingabouttherole? GT The team working with me in a dierent way from what they are used to. I expect to learn as much from them as they do from me.

H

MAIDSTONE UNITED SCARF

ILLUSTRATION: James Clapham, www.jamesclapham.com

Theonlygoodthingaboutthe winterinLondonisgeingto wear thisscarfandrepresenting myhometown’steam

PLAID SHIRT It’simportanttomethatmy clothesaregoingtostandthe test oftime Iboughtthisshirt in PhillytwoyearsagoIthink the paernisreallyinteresting andit’sstillstandingstrong

Glenncanyoutalkusthroughwhat yournewroleentails? GT Working with the two creative partners and the team to add spark, and invigorate the creative work with a focus and freshness.

WhatďŹ rstdrewyoutoTaxi? GT Giving a talk on the same stage as COMPUTERARTSCREATIVEBLOQCOM -14-

SpencerwhatwillGlennbringto Taxi fromyourperspective? SB This is the man who was at the inception of the industry as we know it. He’s seen it all. Like Taxi’s founders, Glenn is a working-class lad from a working-class background. He’s gone on to become a multi-D&AD-awardwinning master crasman of a trade that he knows inside out, and is universally respected for it – that alone is worth its weight in gold. He ďŹ ts our culture perfectly and has already made a big impression with our people.

WhatdoesthishiremeanforTaxi? SB In the short-term we’re focusing on integrating Glenn and working with him to help us mentor our internal talent more eectively. We’re really excited about all the future possibilities; having Glenn here to help us build upon the momentum we’ve created and taking us to the next level is an exhilarating prospect... we’re thrilled to have him on board. wwwtaxistudiocouk




  



MY D E SI G N SPA CE I S...

A TALE OF TWO TOYS MultidisciplinarydesignstudioToykyoinvitesyouintoitsBelgium-based creative studiotosharealoveforbeautifulobjectsandallthingsporcelain ometimessurroundingyourself withbeautifulobjectsisn’tenough Ifapieceofparaphernaliahasa storyitcanbecomeessentialwitnessthe hardworkputintoitscreationandasmall toycanbecomeaprizedpossession That’s prey much the aitude of Joeri Steegen and Mathieu Van Damme at the Belgian creative agency Toykyo. They’ve bedecked their creative space with objects created by their sister company Case Studyo – a production oshoot since “We appreciate the dierent artists that created these objects,â€? says Van Damme. “They all have some story as they’re quite labour-intensive and take months to produce, sometimes with trial and error.â€? Their studio space is located in a big complex that houses a bunch of other creative agencies in what Steegen calls “an ecosystem of creativesâ€?. In their eco-niche, additional bits and bobs turn up every week,

s

such as the No Room for Flowers porcelain vase by Mike Perry (1). Oneofmadeit cameaboutfromacollaborationwithCase Studyo“Thispiecewasajourneyintothe magicaltransformationofDintothethird dimensionâ€?saysVanDamme“For years, Mark has been building a visual vocabulary ďŹ lled with colour, shapes, and ideas, and this new, limited-edition handmade vase combines four of his favourite motifs – ladders, eyes, owers and beautiful naked women eating cake and drinking tea.â€? Representing a long relationship with designer Parra, the Vaso Di Culo (2) is another porcelain. “Our partnership goes back to one ofour‘BelgianNipple’ stickerpacksâ€?saysVanDamme“We’ve producedallofhisDsculptures so far and inwe wanted to make a functional object rather then a static sculpture – so decided to produce a sculpture with a function based on Parra’s visual language.â€?

Giving the porcelain a rest for a bit, this cloud-like plastic night lamp (3) is a functional piece of art, “a lamp which brings peace and love,� says Van Damme. A FriendsWithYou design, the lamp “travels around the planet, bringing light to everyone he meets.� Never Too Late (4) is the product of Toykyo reconnecting with HuskMitNavn, having worked with himinon a Mickey Duck sculpture. Inspired by his solo show last year, boozy chat turned into solid plans, and this wooden wall clock was born. Van Damme and Steegen have also adorned their studio with Andy Rementer’s wooden hand-painted characters (5). “The People Blocks limited series features four wooden characters entirely handmade and painted,� explains Steegen. “The pieces are interchangeable, and can be re-assembled and stacked to create custom characters or even abstract sculptures.� A perfect addition to a similarly constructed studio space.

COMPUTERARTSCREATIVEBLOQCOM -15-

Bornfromapassion forcreativityoptimism andoriginalityToykyo isamulti-disciplinary studiofoundedin GhentBelgiumin %%'Overtheyears aloveforbeautiful objectshasledto the launchofitssister initiativesCaseStudyo andToykyoKids


CULTUR E P L A C E S

STREET VIE W

C R E AT I V E QU A R TER S

NEWCASTLE, ENGLAND

ACCESSOUR GOOGLEMAPAT bit.ly/1F2hU9z

Freelance art director, designer and native Geordie Alan Wardle runs streetwear brand AnyForty. Here, he invites you on his far more leisurely Great North Run around The Toon – taking in designer outlets, music venues and watering holes

WHOSIT & WHATSIT

Sandhill whositandwhatsit com FoundedbyNaomiAtkinsonW&W showcasesindependentdesignersfromall overtheworldandensuresdesignerstake

percentofallsalesFurnitureclothing printsmagazineswallpaper–everythingyou seecanbeboughtWaresfromAnyForty JessicaHischeUgmonkandmoreabound

THE BALTIC

GatesheadQuaysSouthShoreRoad www balticmill com TheBalticisavastoldconvertedmillwhich isnowoneofthepremiumlocationsinthe Northforcontemporaryartandevents Muchofthestufftheycall‘art’doesn’texactly floatmyboatbutthere’stheoccasionalgem thebuildingisbeautifulandthetopfloorhas anincredibleviewoftheToon

CAPOLOGY

HighBridgeStreet www capology co uk ThisisNewcastle’spremiumstreetwear stop-off theirselectionofheadwearisunlike anythingelseintheUKandthebuilding interiorcompletewithbasketballcourt flooringandbarbershoponthesecond floorisstunningIfyoulikeyourUSbrands alongsideAnyFortythenit’samustvisit

SAGE GATESHEAD

ILLUSTRATION: Tom Woolley, www.tomwoolley.com

SaintMary’sSquareGatesheadQuays www sagegateshead com Thisincredibleglassandmetalshellhouses amedleyofmusicalentertainmentfromthe EnglishFiddleSymposiumtotheBBC’s  MusicFestivalwhichhasseenthelikesof TheCharlatansandKateTempestperform withinitsmusichallsTurnupmiddayandyou canregularlywatchsoundchecksforfree

DAT BAR

MarketStreet datbar gustouk com dAtbArisavisuallyincredibledrinkingand eatingexperience asparselylitenvironment withincredibleinteriordesignanddetailsby Newcastle’sDirtyHandsCoWithahuge selectionofcrabeersexquisitecoffeeand simpletastyaffordablefoodthereisnothing likedAtbArinNewcastle

NewcastleCollegeofArt&DesigngraduateAlanWardlespentseveralyearsasarteditorofComputer Arts Projectsbeforegoingfreelancein%$$HealsorunsstreetwearbrandAnyForty www.anyforty.com COMPUTERARTSCREATIVEBLOQCOM -16-


CULTUR E EV E N TS KEY INFO LOCATION OldTrumanBreweryLondon wwwdandadorg WHEN  – April  KEY JURY FOREMEN HarrietDevoybranding#* LeighChandlercrasfor design#*EikeKÜniggraphic design#*MaWilleymagazine andnewspaperdesign#* NatalieChungpackaging#* DaljitSinghdigitaldesign#

nSunday Aprilover of theworld’sďŹ nestcreative mindsgatheredatTheOld TrumanBreweryinEastLondonto debatewhoshould–andshouldn’t– receiveahighlycovetedPencilatthe  D&ADProfessionalAwards Judgingweekwasdierentthisyear UnderthedirectionofPresidentMark Bonnertheorganisationalsostaged apackedprogrammeoftalksand workshopsculminatinginanexhibitionof winningworkontheďŹ naldayForanyone withaninterestindesignandadvertising itwasavaluableeventSowhatdidwe learn?Herearefourkeytrends Onetheconvergenceeconomyis heretostayEverywhere–frommedia to retailfashionandtechnology–sectors areconvergingandcollapsingtogether Brandshavetochallengethemselves andexplorenewwaystoexpresswhat theystandforOnewaythey’redoingthis accordingtotrendsforecastingagency TheFutureLaboratoryisthrough‘super synaesthesia’usingsensestotrigger othersenses“It’snolongerenoughto

PHOTOGRAPHY: Courtesy of D&AD

O

E V E NT R EP OR T: D&A D AWARDS JUDGIN G WE E K 2015

FOUR EMERGING TRENDS IN DESIGN From sensory branding to humanised technology, Julia Sagar discovers what the Pencil-winning projects submied to this year’s D&AD Professional Awards reveal about the future of design and advertising COMPUTERARTSCREATIVEBLOQCOM -18-


E V E NT S CULTUR E

Clockwisefrom farle<TheOld TrumanBrewery* Cosmopolitanâ&#x20AC;&#x2122;s Pencil-winning mockcover* work submied to theAwards and beingjudged

VIDEO INSIGHT FIVE D&AD JUDGES REVEAL THE SECRETS OF WORLD-CLASS DESIGN MATT WILLEY NEWYORKTIMES Editorialdesignmaestro WilleyledaMagazine& NewspaperDesignjury thatincludedcreative directorsfromWiredWallpaper*andItâ&#x20AC;&#x2122;sNiceThat

LEIGH CHANDLER VAULT HeadingupCras forDesignChandler wasassistedby illustratorsdesigners andtypographersfromBuildMakingPicturesandmore

EIKE KĂ&#x2013;NIG HORT GraphicDesignisone ofthelargestcategories atD&ADandforeman KĂśnigwasjoinedbythe likesofAnagramaJackRenwickStudioandMucho justsellproductsBrandshavetobefar moretangiblethaneverbeforeâ&#x20AC;?saidart directorJoTulejhighlightingthehotel industryâ&#x20AC;&#x201C;wherecompaniesareusing performancehospitalitytotelltheirstory Twowecanembracetechnology withoutlosingourhumanityAsthe distinctionbetweenmanandmachine blurstheimportanceofbeinghumanis moreimportantthaneverâ&#x20AC;&#x153;Weâ&#x20AC;&#x2122;veseena shitodevicesthatcanprovideuswith muchmoreenrichingfeedbackâ&#x20AC;?saidThe FutureLaboratorycreativedirectorKirsty MinnsreferencingAlvioâ&#x20AC;&#x201C;agamiďŹ ed breathingtrainerandsymptomtracker forasthmaticchildrenwhichwaspopular intheWhitePencilcategoryAlviosees playersblowingintothedevicetohelp a hungryďŹ shďŹ ndfoodItsendsstatistics toparentsandthennotiďŹ esthemofany breathingissues Threepeoplewanttobechallenged â&#x20AC;&#x153;Consumersareadoptingextreme temporaryworldsandbehavioursâ&#x20AC;? saidHannahRobinsonvisualeditorat TheFutureLaboratoryWhetheritâ&#x20AC;&#x2122;s throughdietingmediaconsumptionor

leisuretimeactivitieslikeendurancerace ToughMudderconsumersaretakingan increasinglypolarisedapproachtolife â&#x20AC;&#x153;Peopledonâ&#x20AC;&#x2122;tjustwanttobehappy theywanttoreachdeeperlevels ofemotionâ&#x20AC;?shesaidâ&#x20AC;&#x153;Advertslike GuyCoenâ&#x20AC;&#x2122;sATripOutToSeaare increasinglytakingviewersoncognitive tripsfromanxietythroughtoreliefâ&#x20AC;? Fourbrandsaretappingintolarger socialculturalforcesThisyearthere wereoverdoubletheamountofentries totheWhitePencilcategoryâ&#x20AC;&#x201C;including Cosmopolitanmagazineâ&#x20AC;&#x2122;slimited-edition Februaryissuewhichaddressedthe issueofhonourkillingswithanimage ofawomansuďŹ&#x20AC;ocatinginsideaplastic wraparoundbag â&#x20AC;&#x153;Ifyouwanttoberelevantyouhave tobeabletoexistintheworldthatâ&#x20AC;&#x2122;s happeningaroundyouâ&#x20AC;?concluded GoogleCreativeLabexecutivecreative directorSteveVranakiswhowasonthe WhitePenciljury For more trends that are changing the

face of design and advertising check out

www bit ly/bDfT

DALJIT SINGH HAPPINESS Asforemanofthe DigitalDesigncategory Singhoversawalarge anddiversepanelthat includedR/GAGoogleustwoandDentsuTokyo

JAMES BULL MOVINGBRANDS MovingBrandscofounderBulljoined representativesfrom AppleLandorNB Studioandmoretojudgethisyearâ&#x20AC;&#x2122;sBrandingcategory

WATCHHERE

www.bit.ly/ca241-dandad

COMPUTERARTSCREATIVEBLOQCOM -19-


CULTUR E EV E N TS

ClockwisefromleTADOworkstheaudience* ItalianillustratorStefanoColferaiintroduces hischaracters*mainexhibitionhallworkby YomsnilphotobyVerenaNunn*paleesof exhibitsphotobyAdamClarke*mixedmedia artistYvesGeleyn*andtheStickyMonsterLab

E V E NT R EP OR T: P I CTOP LASMA

CHARACTER DESIGN WITH EMPATHY Inkygoodness director Lisa Hassell examines the progress of Pictoplasma, with a new format focused on speaker talks and industry engagement KEY INFO LOCATION BerlinGermany berlinpicto plasmacom WHEN  Aprilâ&#x20AC;&#x201C; May KEY SPEAKERS TADOBirdo AkinoriOishi Animalitoland Brosmind StefanoColferai HikariShimoda

owinitseleventhyearthe annualconferenceandfestival ofcharacterdesigninBerlin has evolvedfromaheadymixof entertainingcharactermash-upstoa rathermoregrown-upaďŹ&#x20AC;airwithless emphasisonplayandmorefocuson speakertalksandgroupshows DuringthepastdecadeBerlinhasseen radicalchangestothecitylandscapeand alackofavailablepartneringspacesand gallerieshasbroughtanabruptendtoone ofthekeyďŹ xturesofthefestivalas  sawthelastCharacterWalkInitsplace alargegroupshowatare-discovered formercrematorySilentGreenItoďŹ&#x20AC;ers adecentselectionofaďŹ&#x20AC;ordableartfrom limitededitionprintstooriginalworksâ&#x20AC;&#x201C; manyexclusivetothefestival Highlightsincludedpolishedresin skullsbyMrKathauntingchildportraits fromJapaneseartistHikariShimodaand aminaturekineticwoodensculptureby SheďŹ&#x192;eldcreativeduoTADOcreated

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incollaborationwithwoodcarverNick HunterItalianillustratorStefanoColferai alsoimpressedwithhisuniquetake onplasticinedisplayingacollectionof adorablehandmadecharactersYet despitethequalityoftheworkondisplay thegalleryspacecouldhavebeenutilised onagranderscalefailingtodeliver enoughâ&#x20AC;&#x2DC;wowâ&#x20AC;&#x2122;factortocompensatefor theabsenceoftheCharacterWalk OveratBabylonKINOthefocus turnedtospeakertalksandthisyear Pictoplasmapresented creativeseach withtheirownuniquetakeoncharacter-

â&#x20AC;&#x153;THE TECHNIQUE AND THE CRAFT SHOULD ALWAYS SERVE THE STORYâ&#x20AC;? YVES GELEYN, ART DIRECTOR

COMPUTERARTSCREATIVEBLOQCOM -20-

drivenvisualsAhigh-energyperformance byBrosmindkickedoďŹ&#x20AC;thefestivalwithan entertainingtalkdeliveredusinghandmadewristkeyboardsInjectingfunand playfulhumourintothedayBrosmind entertainedwithstoriesfromadolescence andtheirbestprojectspunctuatedby pop-upGIFsandatributetoJuanâ&#x20AC;&#x2122;shair Captivatingtheaudiencewitha passionforstorytellingwasFrench directorYvesGeleynwhoreďŹ&#x201A;ectedon his -yearcareertodatehighlightinghis recentholidayspotforJohnLewisduring Christmas asacareer-deďŹ ning momentTakingaconsideredapproach toeachprojecttheemphasisforhimis in storytellingâ&#x20AC;&#x153;Formethetechniqueand thecrashouldalwaysservethestoryâ&#x20AC;? RepresentedbyHornetGeleyndelivered themostengagingtalkoftheconference Apromisingadditiontothe  programmewastheintroductionofThe CharacterForumâ&#x20AC;&#x201C;aplatformcreatedfor emergingtalenttopresenttheirportfolio


E V E NT S CULTUR E

E V E NT RE PO RT: C O L L AB O L O G Y

a new design education Fresh from experimental educational initative Collabology, Julia Sagar relates lessons she learned from Fred Deakin about how to tool up and tackle a rapidly evolving creative industry fyoucouldgivethenext generationofcreative trailblazersoneskilltoturbochargetheircareerswhatwoulditbe? InJunethousandsofstudentswill graduateintotherealworldafastpacedcross-disciplinaryenvironment characterisedbytwocertaintiesrapid innovationandavolatilejobmarket ForcreativeveteranFredDeakinthat skillwouldbecollaborationInAprilhe ledanintensivetwo-weekworkshop CollabologyinwhichUniversityofthe ArtsLondonstudentsfromarangeof disciplinesworkedtogethertoconceive anddeliveracross-mediaprojectaimed at creatingpositivechangeinsociety AfurtherstudentsfromFalmouth UniversityandManchesterSchoolofArt alsoparticipatedintheinitiativelinking remotelytotheLondonhubâ&#x20AC;&#x201C;wherethey couldparticipateinlecturesandcritical sessionsâ&#x20AC;&#x201C;usingcuing-edgecollaborative toolslikevideoconferencingserviceFuze FundedthroughUALâ&#x20AC;&#x2122;sUniversity Chairsprojectand CreativeSkillset the experimentaleducationinitiativeseeksto revolutionisehowdesignistaughtand beerprepareparticipantsforindustry HereDeakinexplainswhatâ&#x20AC;&#x2122;swrong withdesigneducationinUKâ&#x20AC;&#x201C;andwhat everyonecanlearnfromtheworkshop

I

andcharacter-basedprojectstoapanel of leadingprofessionalsincludingdirectors fromHornetLEGOandDisneyFramed asanâ&#x20AC;&#x2DC;exclusiveaccess-all-areasâ&#x20AC;&#x2122;aďŹ&#x20AC;airand setintheintimatesurroundingsofthe VolksbĂźhneeachparticipanthadjust sixminutestopitchtheirideasâ&#x20AC;&#x153;Itsbeen ausefulexperimentthataddsanextra layerofreal-worldfeedbacktoartistsâ&#x20AC;? reďŹ&#x201A;ectedartistNathanJureviciuswho co-ledthesessionalongsidefellowartist andfacilitatorRillaAlexander Theideaofgeingproducersand directorstogetherwithemergingtalent isanobviousoneyetmuchmoreneeds tobedonetoencouragethislevelof engagementamongstaendeesDirector ofHornetandregularPictoplasma aendeeMichaelFederspoedthe potentialearlyonâ&#x20AC;&#x153;Formepersonally IcanmeetnewtalentwhichisgreatI expectedtheforumtobeveryPicto-like casualandhonestâ&#x20AC;&#x201C;itâ&#x20AC;&#x2122;sbeenapositive experiencewithroomtogrowâ&#x20AC;? 

COMPUTERARTSCREATIVEBLOQCOM -21-

 Collaborationskillscanbridgethe gulfbetweenacademiaandindustry â&#x20AC;&#x153;TraditionallyeducationintheUKhas beenabouttheindividualâ&#x20AC;?saysDeakin â&#x20AC;&#x153;Thatdoesnâ&#x20AC;&#x2122;tnecessarilyservegraduates wellintheworkplaceThecomplexityof projectsandpaceofinnovationmeans youcanonlyachieveexcellencewitha cross-disciplinaryteamâ&#x20AC;?  Entrepreneurshipisalastingskill â&#x20AC;&#x153;OneoftheotheraimsofCollabology is entrepreneurialismâ&#x20AC;?Deakincontinues â&#x20AC;&#x153;Studentsareanexploitableresourceby less-than-scrupulousemployersButif you cangiveatasteofstart-upculture and bootstrappingthentheygetitâ&#x20AC;?  Youâ&#x20AC;&#x2122;remorepowerfulthanyouthink â&#x20AC;&#x153;Iwantstudentstorealisethatifthey cometogetherwiththeirpeerstheycan tackletheproblemstheyseearound themandgeneratecareersfromtheir visionandtheirtalenttogetherTheydonâ&#x20AC;&#x2122;t needanyoneelsetogivethemahandâ&#x20AC;?  Startsmallandscaleyouridea â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;sgoodtostartonafocusedmarketand thenscaleyouridealikeFacebookdidâ&#x20AC;? headdsâ&#x20AC;&#x153;Donâ&#x20AC;&#x2122;twaitRealisehowstrong youarewithyourpeersandlookforstuďŹ&#x20AC; youcareaboutthatneedsdoingâ&#x20AC;?


CULTUR E EV E N TS

W H AT â&#x20AC;&#x2122;S ON

dates for your diary Grad show season is already in full swing, but thereâ&#x20AC;&#x2122;s plenty more to get your creative juices ďŹ&#x201A;owing, including design weeks in Barcelona and SheďŹ&#x192;eld, plus Cannt â&#x20AC;&#x201C; Londonâ&#x20AC;&#x2122;s answer to Cannes

MAKING MUSIC MODERN: DESIGN FOR EAR AND EYE NOW - 01 NOVEMBER MuseumofModernArt NewYork wwwmomaorg/visit/ calendar/exhibitions DrawnfromtheMoMAâ&#x20AC;&#x2122;sarchives thisexhibitioncollectsdesigns forauditoriumsinstruments recordsleevessheetmusicand animationfromthroughoutthe twentiethcenturyCelebratingthe connectionbetweendesignand themusicindustryMakingMusic Modernexamineshowdesign shapedtheâ&#x20AC;&#x2DC;coolâ&#x20AC;&#x2122;aestheticof mid-centuryjazzandhi-ďŹ delity cultureaswellasitsrollin counterculturemusicscenes from poptopunk

KERNING INTERNATIONAL CONFERENCE ON TYPOGRAPHY 03-05 JUNE FaenzaItaly hp"//#$%'kerningit Italyâ&#x20AC;&#x2122;sďŹ rstinternationalconference dedicatedtotypographyFor theďŹ rsttwodaysexpectarange ofworkshopsandthenunite foran all-dayconferenceon  Junewithtop-notchspeakers fromtheworldofdigitaland webtypographyincludingIndra KupferschmidTobiasFrereJonesNicholasFeltonandLaura Woringtonto namebutafew

SEGD CONFERENCE EXPERIENCE 04-06 JUNE SheratonTowers ($%EastNorthWater St Chicago hps"//segdorg Chicagoâ&#x20AC;&#x2122;sthree-daygraphic designeventgivesyouachance torebootgetinspiredand networkTheSEGDConference isamultidisciplinarycommunity ofdesignerscreatingexperiences thatconnectwithpeoplein experimentalgraphicdesign andthisyearfeaturestalksfrom

thelikesofMichaelShaubDana ArneDesponaMacrisDawn HancockandAlisaWolfson

BARCELONA DESIGN WEEK 08-14 JUNE BarcelonaCentredeDisseny Pl delesGlòriesCatalanes wwwbarcelonadesignweekcom Theannualmeetingofdesign innovationandbusinessoďŹ&#x20AC;ers workshopspresentationstalks andexhibitionsSince  the week-longfestivitieshave broughtnewtrendsknowledge andnetworkingtothesunny seingofBarcelona

SHEFFIELD DESIGN WEEK

yearsofdiscoveringemerging designatLondonâ&#x20AC;&#x2122;sBusiness DesignCentreTheannualexhibit showcasesoverofthe mostpromisinggraduatetalents fromallovertheUKgivingyouthe opportunitytobuynewproducts beinspiredanddiscovernew designerstocommissionorrecruit

FREE RANGE (ART & DESIGN) 25-29 JUNE (PART ONE) 02-06 JULY (PART TWO) OldTrumanBreweryLondon wwwfree-rangeorguk ThebiggestplatformfortheUKâ&#x20AC;&#x2122;s up-and-comingcreativetalent FreeRangeshowcasesnew graduateswiththeopportunity

13-21 JUNE SheďŹ&#x192;eldvariousvenues wwwsheďŹ&#x192;elddesignweekcouk Acity-widecelebrationof architectureproductsfashion interiorandgraphicdesign Events includeconferences design trailsďŹ lmscreenings exhibitionsevents andtalks

CANNT FESTIVAL 22-26 JUNE Londonvariousvenues wwwcanntorg â&#x20AC;&#x2DC;YoueitherCannesoryouCanntâ&#x20AC;&#x2122; jokesCannesâ&#x20AC;&#x2122;cheekyLondon alternativeCanntnowinits fourthyearisafuninclusiveand inspirationalfewdaysthatthis yearwillâ&#x20AC;&#x153;takeyouoďŹ&#x20AC;thebeaten trackandintoallthingsabitmore curiousâ&#x20AC;?Foralltheâ&#x20AC;&#x153;lilebusy beeswhomakeallthecreative awesomenesshappenâ&#x20AC;?whoneeds theFrenchRivierawhenyouâ&#x20AC;&#x2122;ve got theThames?

NEW DESIGNERS 24-27 JUNE 2015 PART 1 01-04 JULY 2015 PART 2 BusinessDesignCentreLondon wwwnewdesignerscom In NewDesignerscelebrates COMPUTERARTSCREATIVEBLOQCOM -22-

toexhibittheirworkonan internationallevelTheplaceto spotthelatesttrendsandtalent

D&AD NEW BLOOD 30 JUNE - 02 JULY OldSpitalďŹ eldsMarket ShoreditchLondon wwwdandadorg/en/new-blood Hundredsofdesigngraduates showcasetheirworklookingfor theopportunitythatwilllaunch theircareerandatD&ADthey cametotherightplaceThisisthe chanceforstudiosandagencies scoutingfortalenttocherry-pick thebestofthebunchďŹ ndpeers tonetworkwithandbeinspired


Strong opinion and analysis from across the global design industry THIS MONTH FREDDEAKIN LECTURERANDDESIGNER www.freddeak.in

JOANNATULEJ ARTDIRECTORFUTURELABORATORY www.thefuturelaboratory.com

SEVRADAVIS MANAGERRSASTUDENTDESIGNAWARDS sda.thersa.org

REGULAR WRITERS BRUNOMAAG FOUNDER DALTONMAAG

MARKBONNER PRESIDENT D&AD

SABRINASMELKO ILLUSTRATORAND ARTDIRECTOR

BENTALLON FREELANCE DESIGNER

CRAIGWARD DESIGNERAND ART DIRECTOR

LOUISESLOPER HEADOFDESIGN CHI&PARTNERS

DESIGN YOUR OWN CAREER You’re a native of the digital landscape, so don’t simply settle for freelancing – craft the perfe creative role in your own image, argues Fred Deakin


FRE D DE A K I N INSIGHT

ABOUTTHEWRITER FredDeakinisaprofessoratUniversity oftheArtsLondonHerunsFred& Companyspecialisingininteractiveart projectsPreviouslyheco-foundedthe award-winningdesigncompanyAirside whichachievedBAFTAsD&ADPencils andaWebbybeforeshuingitsdoors in  aer yearsofsuccess wwwfreddeakin

ou now have three choices â&#x20AC;&#x201C; four if you count a life of crime or living off your parents until you turn grey, neither of which will end well, believe me. Firstly, you could go and get a job (or more likely, letâ&#x20AC;&#x2122;s face it, an unpaid internship). Understand that finding this job will almost certainly take you a long time. I spent the first nine months after my graduation going to more than 40 face-to-face interviews looking for my first design job before I got lucky, and that was when such jobs existed in reasonable quantities. These days, many unscrupulous companies create their whole business model around the endless resource of talented graduates who will work for free, tossing their broken interns out on the scrap heap as soon as they falter and replacing them with the next eager victim. Just consider that you could sack everyone in the creative industries and replace them all with the latest wave of art school graduates â&#x20AC;&#x201C; thatâ&#x20AC;&#x2122;s every year. You are a tiny part of a tsunami of talent looking for their first break, so you had better be a good surfer. Secondly, you could set yourself up as a freelancer. If youâ&#x20AC;&#x2122;re good you might get yourself represented by an agency, if youâ&#x20AC;&#x2122;re not, youâ&#x20AC;&#x2122;re better oďŹ&#x20AC; handing out your business cards to friends and family at parties, hoping that Uncle Tommyâ&#x20AC;&#x2122;s start-up takes oďŹ&#x20AC; and your logo goes global. Some people love freelancing â&#x20AC;&#x201C; sure, thereâ&#x20AC;&#x2122;s variety and freedom involved â&#x20AC;&#x201C; but for me the lack of self-agency is an obstacle to creative growth; not only that, it can be pretty lonely. I think the third option is a better way, and that is to do it yourself. Make your own job. Create your own agency, social enterprise, digital start-up, fashion brand â&#x20AC;&#x201C; whatever it is that you are dreaming of. Crucially though, do it with your peers. Your generation is one of the ďŹ rst to be truly digitally native. You have an incredible opportunity to create your own careers by engaging with this ridiculously fertile new cultural landscape that you have grown up with; to produce your own art and manifest the kind of world you want to live in. However, itâ&#x20AC;&#x2122;s tough to do this on your own â&#x20AC;&#x201C; and not just psychologically: when it comes to delivering todayâ&#x20AC;&#x2122;s multi-platform projects, you will do far better working within a tight team of talented friends who share the same values and goals as each other but have very diďŹ&#x20AC;erent skills. This will maximise the range and power of the projects you can work on, whether they are self-initiated or not, plus youâ&#x20AC;&#x2122;ll enjoy yourself a lot more in the process.

Y

When Nat, Alex and I set up our groundbreaking design studio Airside back in 1998 we had all freelanced and worked for other people for a while, and to be frank, we were fed up with it. We found a cheap studio space, sublet desks to our mates and started doing our freelance work there while we pitched for bigger projects. And, slowly but surely, Airside emerged. The early years involved long hours, little income and â&#x20AC;&#x201C; guess what? â&#x20AC;&#x201C; a whole lot of fun. That fun expressed itself in our work, the world started paying attention and we hit it big. It wasnâ&#x20AC;&#x2122;t easy â&#x20AC;&#x201C; nothing good ever is â&#x20AC;&#x201C; but the support and respect we gave each other alongside the diversity of the talent that was gathered together in our studio made it all possible.

â&#x20AC;&#x153;WHEN IT COMES TO DELIVERING TODAYâ&#x20AC;&#x2122;S MULTI-PLATFORM PROJECTS, YOU WILL DO FAR BETTER WORKING WITHIN A TIGHT TEAM OF TALENTED FRIENDSâ&#x20AC;?

When I hear students talking about which companies theyâ&#x20AC;&#x2122;d most like to intern for, my heart sinks. You all know more about the current cultural and digital landscape than anyone who will be employing you, by virtue of the fact that a) you are continually immersed in it, and b) you helped to create it, brick by digital brick. Know your power, class of 2015! Itâ&#x20AC;&#x2122;s your time â&#x20AC;&#x201C; donâ&#x20AC;&#x2122;t waste it making somebody else rich(er) or sitting around waiting for someone to do you a favour. Instead, make the world the way you want it to be and share the experience with people you care about. Youâ&#x20AC;&#x2122;ll grow in the process and end up being a whole lot more employable, whichever way you choose to go next. Now go get â&#x20AC;&#x2DC;em! Do you agree with Fred Deakinâ&#x20AC;&#x2122;s advice? Tweet your thoughts to @ComputerArts using #DesignMatters

COMPUTERARTSCREATIVEBLOQCOM -25-


INSIGHT D E SI G N M AT TER S

â&#x20AC;&#x153;WHAT MAKES FOR A MEMORABLE CHARACTER DESIGN?â&#x20AC;?

DA R R E N D U B I C K I DESIGNER&DIRECTORAARDMANANIMATIONS wwwaardmancom

â&#x20AC;&#x153;Many ingredients make a character memorable, but a strong sense of personality and emotional depth are integral to make them engaging. A drastic change in their behaviour can also be intriguing, as is an ability to surprise or shock the audience.â&#x20AC;?

S E RG I O S A L E H CREATIVEDIRECTORLUMBRE wwwlumbretv â&#x20AC;&#x153;I feel the secret to memorable character design is conďŹ&#x201A;ict. There needs to be some sort of excitement in the broadest sense of the word that comes from a contradiction or conďŹ&#x201A;ict within the character. This can be generated from an internal source like their personality/motivation or from an external source. Loving monsters and childlike adults are examples. Itâ&#x20AC;&#x2122;s exciting to watch animals behave like humans and vice versa. Itâ&#x20AC;&#x2122;s interesting to see something we think of as dangerous acting clumsy or idiotic. Itâ&#x20AC;&#x2122;s compelling when you are surprised by a character that doesnâ&#x20AC;&#x2122;t do what you thought they would. Contradictions are within each of us and when we can identify with the contradiction in a character, that character becomes truly memorable. â&#x20AC;?

LUCIANA L OP E Z DI A Z DESIGNERANDILLUSTRATOR wwwmusa-imcom

â&#x20AC;&#x153;I think it comes from the heart: itâ&#x20AC;&#x2122;s a dream, a little illusion, however itâ&#x20AC;&#x2122;s also the process, the sketching, the mistakes and successes, the time invested that provide the character design full of personality. With a little luck itâ&#x20AC;&#x2122;ll be special, and not only for the person who made it.â&#x20AC;?

YOUR VIEWS Comment on Facebook, or tweet @ComputerArts with your thoughts using #DesignMatters

RACHELALDERSON Contrastshapesandensureyour characterconveysanemotioninthe personviewingitâ&#x20AC;&#x201C;preferablythe emotionyouintendedtoportray!

@CARLTONJ Aboveallamemorablecharacter designrequiresanexperienced and observantcharacterdesigner

COMPUTERARTSCREATIVEBLOQCOM -26-

THAPELOGRIMMZKEETILE Obviouslymakeyourcharacter visuallyappealingbutmost importantlymakethemgothrough experiencesMemorableexperiences


DESIG N M AT T E R S INSIGHT

R I L L A A L E X A N DE R GRAPHICDESIGNER&ILLUSTRATOR wwwbyrillacom

â&#x20AC;&#x153;My favourite characters are those whose very reason for being comes from the inside out â&#x20AC;&#x201C; drawn from the creatorâ&#x20AC;&#x2122;s own life, experiences, family and friends. What the character does and the story they tell is most important.â&#x20AC;?

E M M Y L I N C OL N POPSURREALISTARTIST wwwitchysoulse

â&#x20AC;&#x153;The characters that stick with me have deeply human traits that evoke an emotional response, good or bad. They also have some surprise quality to their design that blows your mind a bit, like Totoroâ&#x20AC;&#x2122;s gigantic smile (bit.ly/totorosmile).â&#x20AC;?

@ARCUSSTUDIOS Personality!Proportionpostureand poseshouldallcomplementand reinforcecharactersâ&#x20AC;&#x2122;innerselves and theirroleinthestory

BARRYLLAMAPHISHSELLERS Sometimesthedetailsmakea characterâ&#x20AC;&#x201C;thewayaneyebrow archesforinstanceSometimesthe lackofdetailsthethingsleunsaid butimplied"makeitwork

JAC Q U E L I N E BISSETT FASHIONILLUSTRATOR wwwjacquelinebissecom â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve come into branding and character design from a roundabout way, having arrived from a fashion design, then a fashion illustration background. So Iâ&#x20AC;&#x2122;ve found my own way of answering a brief along these lines. I think my biggest and most successful character is â&#x20AC;&#x2DC;Luzyâ&#x20AC;&#x2122; for Thomas Sabo Charm Club, which Iâ&#x20AC;&#x2122;ve been working on for over ďŹ ve years now. The ďŹ rst thing to consider is the audience (their age and gender) and to work towards something that has lasting appeal. The end result, in my work, is a strong statement in black-and-white stripes, and a mid-tone of tumbling hair, using diďŹ&#x20AC;ering line weights, coming from another strong, solid block. The ďŹ nal touch is a bright pop of red.â&#x20AC;?

@ALEXANDRADAVEY Formewhatmakesacharacter is an instantlyintriguingbackstory throughposingandexpression Also â&#x20AC;&#x2DC;coolguyposeâ&#x20AC;&#x2122;isnaďŹ&#x20AC;!

COMPUTERARTSCREATIVEBLOQCOM -27-

SATISHSHEWHORAK Strongsilhoueesstorytellingthrough appearanceanddistinctivecolour schemesworktogethertogive a charactercharacter


I N SI GH T J O A N N A TU L E J

ABOUTTHEWRITER JoannaTulejisanartdirector atTheFutureLaboratory whichsheoriginallyjoinedas atrendsresearcherin  Shenowoverseesvisual outputanddesignanalysis whilepredictingthefuture wwwthefuturelaboratorycom

Gender-defying design With societyâ&#x20AC;&#x2122;s growing acceptance of neutral culture and the â&#x20AC;&#x2DC;Mxâ&#x20AC;&#x2122; honoriďŹ c, Joanna Tulej looks at how gender ďŹ&#x201A;uidity is driving design in the twenty-ďŹ r century

s a trend forecaster and art director, I am fascinated by the symbiotic relationship between culture and creativity. A January 2015 poll by media company Fusion found that among Americans aged 18â&#x20AC;&#x201C;34, 50 per cent believe gender exists on a spectrum, while just 46 per cent believe there are only two genders. As we wait to see if the open-ended honoriďŹ c â&#x20AC;&#x2DC;Mxâ&#x20AC;&#x2122; will enter the Oxford English Dictionary, what might be the design implications of transgenderism for design? From the catwalks of New York and Paris to Cape Town, gender ďŹ&#x201A;uidity is inspiring design. Vivienne Westwood created a unisex collection for autumn/ winter 2015â&#x20AC;&#x201C;2016 as did Alexander Blanc, whose male and female models even swapped clothes on the runway during Cape Town Fashion Week in 2014. London-based Toogood design unisex outerwear that transcends season and gender; more recently we saw the launch of New York brand 69 Worldwide, â&#x20AC;&#x2DC;a non-gender, non-demographic clothing lineâ&#x20AC;&#x2122;. So what does this mean for design? In fashion, itâ&#x20AC;&#x2122;s manifested in oversized silhouettes and a utility-style aesthetic, but we are seeing it inďŹ ltrate other sectors too. Selfridges explored what it could mean for interior design with its Agender pop-up. The space is divided into zones, with genderless sculptures in situ, steel mesh frameworks and neutral colour palettes, housing the garments in â&#x20AC;&#x2DC;pared-down, uniform packagingâ&#x20AC;&#x2122; in order â&#x20AC;&#x2DC;to free them from the preconceptions that would ordinarily colour such purchasesâ&#x20AC;&#x2122;.

a

Design aimed at children has also attempted to break gender stereotypes over the past few years. Harrods now groups its toys by theme rather than by male or female, while the â&#x20AC;&#x2DC;shrink it and pink itâ&#x20AC;&#x2122; rhetoric as a way to target females is outdated. There are still some practical considerations such as size and functionality when it comes to designing gender-neutral products. Wearable tech gadgets fuse functionality with style, blending in with outďŹ ts rather than standing out. The Apple Watch was designed to be personalised to suit the individual, though it has come under criticism for its apps which seem to focus on targeting the 40-year-old white male, while many believe the size of the watch itself will turn oďŹ&#x20AC; female technophiles. What an exciting yet terrifying time for marketers used to working with age- and gender-based demographics. In future, brands will increasingly target consumers through psychographics â&#x20AC;&#x201C; their interests, attitudes and opinions. We live in a society where consumers â&#x20AC;&#x2DC;shardâ&#x20AC;&#x2122; identities on and offline depending on how they feel and to whom they are talking. Neutral design acts as a blank canvas upon which discerning and empowered consumers can explore their identities and curate diďŹ&#x20AC;erent versions of self-actualisation, which is why we expect this trend to continue to grow in the coming decade. How else is androgyny aďŹ&#x20AC;ecting design? Tweet your thoughts to @ComputerArts using #DesignMatters

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I N SI GH T SEV R A D AV I S

2015

ABOUTTHEWRITER SevraDavisisthemanager oftheRSAStudentDesign AwardsShehasconsulted ondesigneducationand socialinnovationfora varietyofinternational governmentclients sdathersaorg

Britain is losing its design edge Only by broadening indu ry skills and reforming education can Britain save itself from its own mode y and the loss of its atus as a global superpower of design, argues the RSA’s Sevra Davis

ritain is excellent at design. From the Clifton Suspension Bridge to the internet, we’re exceptionally adept at creating new, top-end, creative stuff. The value of British design endures abroad too. Last year, the University of the Arts London attracted 7,700 international students. Celebrated British designers (such as Sir Jonathan Ive, Thomas Heatherwick and many more) and design agencies (including Pentagram, Wolff Olins and The Partners) shine bright on the world stage. Computer Arts’ list of the top 50 UK design agencies last year highlighted that 25 per cent of them have international offices. And yet I fear that, unless the industry starts to make some changes, we’ll fall behind. From the RSA’s perspective, that would be a tragedy, both culturally and economically. Part of the answer must lie in a better understanding of markets abroad. How should products and services be adapted internationally? How can we use this knowledge to get the edge on our competitors? For me though, before we look out, we need to look in. First, upskilling is key. Industry needs have changed: businesses want creative polymaths as well as people with specific technical skills. We still hear lots about T-shaped designers and for good reason – we need people with deep expertise in a particular discipline, alongside experience working in multiple contexts. Second, British design education needs dramatic improvement. A recent Warwick Commission report

B

highlighted that in secondary schools, design and technology has 11 per cent fewer teachers and hours of teaching than in 2010, while the number of art teachers has dropped by 11 per cent too. And creative courses at universities need help securing the best students. Higher tuition fees mean parents and undergraduates are choosing ‘safer’ subjects, like business or law – when the reality is that the creative economy is the fastest-growing and can be just as personally lucrative. Finally, designers need to be more assertive about promoting our skills in top-level global commercial and policy debates. The potential for problem-solving global issues through design are numerous, from developing smarter cities to tackling climate change. A serious, committed, intelligent designer or design studio must be at the table in the planning stage of major projects. British design can be big and bold or subtle and clever – our range makes us special. Design quality has been an important element in the construction of our national identity and our international competitiveness since the World’s Fair. British design has a canny ability to look forward, to see what’s coming next. This is nothing to be modest about. And in a globalised world, where everyone is vying for attention, we can’t afford to be modest. We must celebrate our talents, or risk falling behind. Does the UK risk falling behind  on the global design scene? Tweet @ComputerArts using #DesignMatters

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Computer Arts selects the hoest new design, illustration and motion work from the global design scene

MYGENERATION ZLINEXHIBITION by OKOLO wwwokolowebcz

â&#x20AC;&#x153;WewereaskedbyZlinDesignWeekâ&#x20AC;&#x201C;aninitiativeofthe facultyofmarketingcommunicationatUniverzitaTomĂĄĹĄe BativeZlĂ­nÄ&#x203A;â&#x20AC;&#x201C;tocurateanexhibitionintheroomsofthe Zlin chateauâ&#x20AC;?explainsOKOLOco-founderAdamĹ tÄ&#x203A;ch Flippingstackingandchoppingtablesresultedina wonderfulplatformshowcasingmorethan young designersandstudioswhohavebeenincrediblyactiveon thecontemporaryCzechdesignsceneoverthepast  yearsâ&#x20AC;&#x153;Itwasdividedintosixchaptersincludingfurniture designglassporcelainlightingproductdesignand interiorobjectsThewholeinstallationwasconstructed fromtheseriesofLacktablesfromIKEAâ&#x20AC;?continuesĹ tÄ&#x203A;ch Theexhibitionitselftookplaceinanoldchateauwhich providedpartoftheinďŹ&#x201A;uenceforthepresentationâ&#x20AC;&#x153;We wantedtomaketheinstallationassimpleaspossibleto contrasthistoricalspacesâ&#x20AC;?saysĹ tÄ&#x203A;châ&#x20AC;&#x153;Ilikedthatwe summarisedourgenerationofdesignersinoneplace for theÂ ďŹ rsttimeinthepast yearsâ&#x20AC;?Displayingmore than 

 projectsĹ tÄ&#x203A;chsaysthemostdiďŹ&#x192;cultpartofthe projectwascuratingandborrowingthematerialsfromthe extensiverangeofartiststhisisdeďŹ nitelyoneofthemost uniqueusesofIKEAfurnitureweâ&#x20AC;&#x2122;veevercomeacross

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TH E VERY B E ST NE W DE SI G N

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 AtjusteachtheIKEALacktablesusedinthe installationcertainlydidnâ&#x20AC;&#x2122;tbreakthebank  TheteamwantedtoshowcasethecreativeinďŹ&#x201A;uence oftheyoungCzechdesigncommunity   OKOLOwasformedbackin

byAdamĹ tÄ&#x203A;ch JakubĹ tÄ&#x203A;chMatÄ&#x203A;jÄ&#x152;inÄ?eraandJanKloss     OKOLOhasalsoproducedexhibitionsinPrague BratislavaLodzLondonStockholmandMilan Generaceranfrom â&#x20AC;&#x201C;April 

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TH E VERY B E ST NE W DE SI G N

THE REST OF THE INDUSTRY SAYSâ&#x20AC;Ś CRAIGOLDHAM Designer and creative consultant, The OďŹ&#x192;ce Of Craig Oldham www.craigoldham.co.uk

â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s a good exercise for both the mind and money to take one element and see how far you can run with it. Taking a line for a walk as they say. And this installation is certainly that, manipulating the IKEA Lack table. Used for display, curation and navigation, it takes what is a modular element but makes it feel interesting, succeeding against the risk of monotony â&#x20AC;&#x201C; and very well.â&#x20AC;?

TOMMYTAYLOR Graphic designer, Alpabetical www.alphabeticalstudio.com

â&#x20AC;&#x153;The â&#x20AC;&#x2DC;Lackâ&#x20AC;&#x2122; table is the equivalent of $per unit, so the exhibition system seems both economically resourceful and time eďŹ&#x192;cient. â&#x20AC;&#x153;Extending the shelving framework to information panels is also really smart. Info panels are oen a more recessive element of an exhibition. But having the tables emerging from the ďŹ&#x201A;oor at angles makes the link between â&#x20AC;&#x2DC;exhibitionâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;informationâ&#x20AC;&#x2122; seamless. There is no photo of the captions but utilising the leover cardboard or polystyrene would be an interesting idea. â&#x20AC;&#x153;Great project, I only hope itâ&#x20AC;&#x2122;s not a travelling exhibition â&#x20AC;&#x201C; we all know IKEA furniture is never quite the same aer a move.â&#x20AC;? COMPUTERARTSCREATIVEBLOQCOM -35-


— PRINT HIGHLIGHT — MUSEUMARCADE AMUSEUMMAGAZINE by Pencil Pusher Graphic Arts Ltd www.amuseummag.com

Conceivingauniqueideaforaprintmagazineisnoeasytaskbutplayfulpublication Amuseum trulyseesthingsdifferently“It’sfunandengagingwithagreatsenseofhumour” explainscreativedirectorandeditorDanielStaffordwhoisquicktostresstheimportance of printinadigitalage“Itwasessentialthatwecreatedsomethingthatwouldreflectthat contemporaryprintconsumersreadmagazines–somethingfortheeasilydistracted” ShowcasingcontentthatwillentertainyouforfiveminutesontheTubeaswellasengross youduringathree-hourflightStafforddescribesthemaglike“akids’summerannualbutfor adults”Packedfullofillustrativeaributestheteamwantedtocreatesomethingwith“visual ‘a-ha!’moments”thatexcitethereaderand“drawthemintosubjectmaertheymayotherwise havebeennonchalantaboutlikeastrophysicsanthropologyorGermanhistory”addsStafford

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TH E VERY B E ST NE W DE SI G N

POSTALSERVICE STAMPDESIGNS

byBoglárkaNádi wwwfbcom/bigibogidesign

ForherBAdegreeprojectHungary-baseddesigner BoglárkaNádicreatedastampseriesbasedonher favouriteHungarianfolktales“Ilovethesetalesso muchandInoticedthatthereweresomestamps madewiththiskindofthemeinHungary”sheexplains “Howevertherewasnoseriesmadewithanemphasis ononlyHungarianfolktales” DedicatingfourstampstoeachfolktaleNádi’s maingoalwastomakethestampcollectionasfun as possible“Somestampsareintheformofsheets or blocksthatarepartofa‘puzzle’sobycollecting

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all individualpiecesyoucanseethefullpicture”Keen togivetheclassicbeautyofstampdesignamodern twistNádidrewtheinitialsketcheswitha mechanical pencilontracingpapertracedthefinalartworkwith a drawingpenandthenscannedthedrawings– addingcolourandtypographydigitally “InHungaryfewcompaniescanperforate becausetheyareafraidofcounterfeitingstamps” remarksNádi“Ihadtousemyownhandstoproduce copiesforthepresentationItriedasewingmachine andaleatherpunchbutbothweretoocumbersome”


SOMETHINGFISHY SUSHI&COBRANDING by Bond wwwbond-agencycom

Helsinki-andAbuDhabi-basedagencyBondwasassignedwithcreatingagraphic identityandconceptforSushi&CoanewlyopenedrestaurantlocatedontheBaltic cruiseshipSiljaLineâ&#x20AC;&#x153;Theidentityneededtobeappealingandeasilyapproachable to allcruisevisitorsandalsotothosewhoarenâ&#x20AC;&#x2122;ttoofamiliarwithsushiâ&#x20AC;?explains Toni HurmeDesignedbyHurmeandproducedbyPiiaSuhonenthenewâ&#x20AC;&#x2DC;&â&#x20AC;&#x2122;sign impliesaÂ ďŹ shaswellasSushi&Coâ&#x20AC;&#x2122;sextensivemenuâ&#x20AC;&#x153;ThenewidentityisamĂŠlange of Scandinavianelementsandoceanicsymbolsâ&#x20AC;?Hurmecontinuesâ&#x20AC;&#x153;Thesophisticated colourschemeconsistsofarice-inspiredwhitesalmonredandapowerfulblackthe centralpartoftheidentityisthewavepaernthatindicatestheoceanicenvironment oftheďŹ shandtherestaurantâ&#x20AC;? Findingawaytomaketheidentitysimpleyetsophisticatedwasthetoughest part Theteamworkedfrommorninguntillateatnighttoshowcasetherestuarantâ&#x20AC;&#x2122;s extensivemenuâ&#x20AC;&#x153;Theidentitycouldnâ&#x20AC;&#x2122;tbetoofocusedonsushiâ&#x20AC;?saysHurmeâ&#x20AC;&#x153;The time schedulewasreallytighttooâ&#x20AC;&#x201C;aboutamonthfromconcepttocompletionâ&#x20AC;?

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TH E VERY B E ST NE W DE SI G N

— MOTION HIGHLIGHT —

PRECARIOUSPORTAL DINOSIGNING by Max Litvinov wwwkcloggtumblrcom

Focusingontheweirdandwonderfuldesigner illustratorandanimatorMaxLitvinovcreates animatedshortsthatgetyouthinkingShunning the straightforwardDinosigningisadelightfully deliriousexplosionofcoloursandsketchesthatis as originalastheycome“Idecidedthatitwasgoing tobeananimatedshortaboutagirlmouldingand colouringsmalldinosaursusingasystemofstrange devices”heexplains“Whenallthedevicesare set everythingcycles”Describingtheanimation’s

aestheticascleanminimalistyettactileLitvinovsays hismaininfluenceintermsofstylecomesfromearly  thcenturyabstractart HavingdrawnandanimatedDinosigningentirely inFlashusingaWacomCintiqgraphictabletLitvinov explainsthatit’sassemblingallthepartsthat’sthe trickiestbit“Ihavetoensureeverythinggoesina singlerhythm”hesays“Myfavouritepartsarealways thefirstandlastsections–thinkinguphoweverything isgoingtobesketchingandmakingsounds”

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PULLINGSHAPES FOLDEDSHAPES by Kevin Olberg www.kevinolberg.com

Tryingoutapersonalprojectjustforfuncan oenleadtosomeofyourbestworkâ&#x20AC;&#x201C;justlike thisFoldedShapesseriesbySwedishgraphic designerandartistKevinOlbergâ&#x20AC;&#x153;Myfriend andIhavesomethingwecallâ&#x20AC;&#x2DC;Personal Tuesdaysâ&#x20AC;&#x2122;wherewestaylateattheoďŹ&#x192;ce doingpersonalstuďŹ&#x20AC;â&#x20AC;?heexplainsâ&#x20AC;&#x153;Thiswas createdduringtwosuchTuesdayeveningsâ&#x20AC;? Embarkingontheprojecttoexperiment withnewtechniquesandsowareOlberg sayshis fascinationwithminimalisticposters andgeometricdesigninďŹ&#x201A;uencedtheseries â&#x20AC;&#x153;ThegreatOlleBaertlingisapersonal favouriteâ&#x20AC;?heexplainsâ&#x20AC;&#x153;Ihavetriedcreating

geometricpostersbeforebutďŹ ndithardto besatisďŹ edwithsomethingthatiscreatedso easilyâ&#x20AC;&#x201C;apurpletriangleonlytakesseconds tocreateThefoldingeďŹ&#x20AC;ectgavemea challengeanda twistâ&#x20AC;? UsingIllustratorforthetexturesandmotifs andthenCinema DforthefoldingeďŹ&#x20AC;ect Olberginitiallyhadnoideahowtocreatethe eďŹ&#x20AC;ecthavingonlyusedthesowareahandful oftimesDescribingtheprojectasâ&#x20AC;&#x153;simpleand graphicalwithakitschytwistâ&#x20AC;?hemade  or  diďŹ&#x20AC;erentdesignsbeforeselingonhis favouriteďŹ veâ&#x20AC;&#x153;Ilikethefakeanddigitallook plastichypnoticandfunâ&#x20AC;?hesmiles

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â&#x20AC;&#x201D; FEATURED SHOWREEL â&#x20AC;&#x201D;

TECHNICOLOURTREAT PERSONALSHOWREEL by Florian Bartl wwwflorianbartlcom

â&#x20AC;&#x153;Iaimedtopresentawiderangeofmyworkinthe shortestamountoftimepossibleâ&#x20AC;?explainsGermanybasedmotiongraphicdesignerandartdirector FlorianBartlâ&#x20AC;&#x153;Iliketotoyaroundandhaveagowith newstylestechniquesandcombinationsâ&#x20AC;?Clockingin atjustunder  Bartlâ&#x20AC;&#x2122;sshowreelisanexplosionof geometricanimalstitlesequencesandillustrated delightsthatexpertlyshowoďŹ&#x20AC;hismotiondesignskills â&#x20AC;&#x153;Ireallyliketheintroanditsplayfulcharacterâ&#x20AC;?he continuesâ&#x20AC;&#x153;Yeteveryprojecthasitsveryownspecial valuetometheyâ&#x20AC;&#x2122;reallaresultofpassionsweatand gallonsofespressoâ&#x20AC;? Havingcreatedtitlesequencesforanumber of conferencesBartlhasbeenabletomakeeach one uniqueyetinspiringwithhisownďŹ&#x201A;airasshown throughoutthereelâ&#x20AC;&#x153;Thechallengewithpuing this showreeltogetherwascombiningtwoapparent oppositesâ&#x20AC;?hesaysâ&#x20AC;&#x153;Ontheonehandyouhavetobe verystricttobeabletoreduceanentireprojecttoa fewessentialsecondsOntheotherhandyouhaveto broadenyourmindtoďŹ ndthecommondenominator forabunchofverydiďŹ&#x20AC;erentprojectsandarrange themtobecomeonehomogenousreelâ&#x20AC;?

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Look no further for the inspirations and creative thinking behind the best characterdriven commercial work in the world today WORDS: LisaHassell ILLUSTRATION: WongPing nowhynowhycom

C

arving a niche for yourself as a ‘character designer’ may sound like a rather narrow aspiration given the fast-evolving nature of the creative industry. Character design is perhaps best viewed as a skill rather than a vocation, although one that can open up boundless commercial possibilities when twinned with specialist skills in illustration or motion graphics. This marriage reflects the interdisciplinary nature of modern-day practice, and the frequent cross-over of animation, illustration, typography, digital media and everything in-between. Building your skills in any one of these areas is a valuable asset for any creative

career, since the realm of character design is an enduring field that has disseminated on a global scale. Developing an understanding of how to construct a successful character and bring together the components required to execute it commercially is a hard-won skill, but with this expertise comes a wealth of opportunity for those with the passion, drive and imagination to pursue it. “Character design has a magic that captivates you,” says Katie Tang, who together with partner Mike Doney, launched TADO in 2001 while studying. “Our work has always been character-driven; even as kids growing up in totally different surroundings, both of us would make


comics and draw strange creatures or hedgehogs with robotic limbs and lasers.” The pair, who live and work in Sheffield, apply their talents to a vast range of creative projects, from fashion to advertising, and their artwork has been exhibited worldwide. Everything they do is the result of collaboration between the two of them, and their clients include MTV, Nike, Kidrobot, Gola, Vodafone, Microsoft and Virgin. Despite having no formal teaching in animation or character design, the duo have charmed audiences the world over with their darkly adorable characters, which take inspiration from animation, comic books and toys. “We think our output very much reflects the processes and thinking behind it,” adds Tang. “It’s a very natural thing. We like to create characters that will make people smile or laugh, and it’s very hard not to do the same when you’re drawing them.”

LYRICAL CHARACTERS In their 2013 Varoom Illustration report on Pictoplasma, festival founders Lars Denicke and Peter Thaler wax lyrical on the culture of character design: “Contemporary artists continuously twist, morph, combine, remix and de-contextualise the visual standards of character creation, applying them to varying

media, utilising them for commercial campaigns, fine art installations or personal projects,” they observe. Whilst it seems impossible to determine one overall direction or current trend in character design, its origins in pop culture, video games, comics and animated films surround us, as illustrator Jambonbon reflects: “Characters can lighten the mood, entertain, sell products and also teach us. Characters can embody all the virtues and consequently make very good messengers.” Constructing a character with enduring appeal presents a unique set of challenges, and for those interested in developing skills in this field there are no short cuts. To become truly great at crafting character, illustrators need to invest the time in developing their own visual language at the most basic level – by drawing every day. “There’s no science or secret behind developing a style,” states Muxxi, an illustrator and character designer from Guatemala, whose ‘magical creatures’ (with names like Boongo, Margui and Zazuka) have been commissioned by Chattyfeet, Blik and Roboto. “I take my sketchbook with me everywhere I go, and incorporate what I see and feel into my creations every day.” TADO 

TADO: HELLO KITTY tado.co.uk “Weknewitwastheperfectchanceforusto tryoutstopmotionanimation”sayTADO’s MikeDoneyandKatieTangoftheiranimated piececommissionedbySanrioandthe JapaneseAmericanNationalMuseumto celebrateHelloKiy’s%thAnniversary “It wasalsoanabsolutedreamprojectforus –beingletlooseonacharacterwhoisatrue iconinournerdylileworld”Handlingthe entireproductionprocessfromsketching to fabricatingthepuppets^setbuilding shootingandeditingthepairworked gruelling$]-hourdaysfortwomonthsto makethefilmscreenedaspartofamassive eventinLosAngeleslastyear“It’sthemost satisfyingprojectwe’veeverdoneThe momentyouhitplayandseetheinanimate objectscometolifeandmoveispuremagic” 

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CH AR ACTE R DE SI G N SE C R E T S

 FilmsetforHelloKiy %thAnniversary ProjectďŹ lmshoot Characterheads carvedbyNickHunter - Behindthescenes for TADOâ&#x20AC;&#x2122;sHello Kiy %thAnniversary ProjectďŹ lmshoot 





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Being stylish means not following any trend or reference, says Ping, who was selected as one of the Saatchi & Saatchi 2013 new directors and whose works have been internationally screened and exhibited. â&#x20AC;&#x153;You know youâ&#x20AC;&#x2122;ve got it when people can tell the work is yours without knowing it.â&#x20AC;?

INTUITING CHARACTER

agrees: â&#x20AC;&#x153;We donâ&#x20AC;&#x2122;t really use any magical formula or ritual, it just comes from many hours of playing around with ideas and things that we like.â&#x20AC;? Indeed, many artists get stuck on the idea of building their own unique â&#x20AC;&#x2DC;styleâ&#x20AC;&#x2122;, which can often hinder rather than help creative development. Paulo Muppet, studio director at Brazilian animation house Birdo, notes: â&#x20AC;&#x153;Style can be a big thing for most artists, and both myself and Luciana [Eguti, Birdo co-founder] certainly have preferences in the way we draw, but equally we love trying something completely new visually from one project to the other.â&#x20AC;? For self-taught Hong Kong-based animator Wong Ping, a lack of technical skills helped deďŹ ne his style early on. â&#x20AC;&#x153;With no traditional training, everything I learned came from experimenting. My early work was kind of cute and minimal, and from there it just randomly evolved.â&#x20AC;? Mixing topics such as teenage lust, shame and sexual suppression with a surprisingly fresh and luscious colour palette, narrative is the anchor by which his characters interact and connect with one another, informing how the characters look, feel and sound. â&#x20AC;&#x153;Once the story is 50 per cent done in my head, I will then start designing the main characters and environment in order to set the mood of the piece.â&#x20AC;?

LUCAS ZANOTTO YATATOY DRAWNIMAL www.yatatoy.com ProductdesignerLucasZanoocreated hisÂ ďŹ rstkidsappDrawnimalaerplayingwith anorigamibookwithhisdaughterâ&#x20AC;&#x153;Iwanted tobringasimilaranalogtactileandfunny learningexperiencetoourdailydigital devicesâ&#x20AC;?AlongsideUlrichTroyer_sound` and NielsHoďŹ&#x20AC;mann_development`Lucas haslaunchedtwohighqualityappsunder theirYatatoybrandwhichincorporatemostly handcraedanimationsandanaloguesounds

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The process by which a character is crafted can be rather subjective, often drawn intuitively. â&#x20AC;&#x153;We tend to do whatever our gut feeling or inclination is at the time,â&#x20AC;? say the TADO duo, who have a global following for their unique blend of cute and nasty. â&#x20AC;&#x153;It often depends on whether we have a brief to work to or whether itâ&#x20AC;&#x2122;s a purely personal project. Our personal stuďŹ&#x20AC; tends to be a bit more warped.â&#x20AC;? For TADO, taking inspiration from the real world helps fuel their ideas, and the practice of real-world observation can be endlessly fascinating. â&#x20AC;&#x153;Just by observing the mechanics of a character or animal and how they aďŹ&#x20AC;ect the way it moves and the gestures it can make can be a real source of inspiration,â&#x20AC;? says Tang. â&#x20AC;&#x153;Our work tends not to reference too many things literally â&#x20AC;&#x201C; we try to imagine how weâ&#x20AC;&#x2122;d like it to be instead, and then use the stuďŹ&#x20AC; weâ&#x20AC;&#x2122;ve noted and observed to add to the characters and the environments they inhabit.â&#x20AC;? Whimsical watercolours and over-the-edge, multicoloured magic are the trademark of the DĂźsseldorf-based illustrator Nadine Redlich. She believes that to give your characters personality, all that really matters is placing the pupils inside the eyeballs, as â&#x20AC;&#x153;this is where the magic lies.â&#x20AC;? There is a sense, then, that good character design needs to feel familiar, but at the same time bring something unexpected to the viewer, as Muppet argues. â&#x20AC;&#x153;A good design can communicate a lot about the character, but it also needs to leave enough room for the viewerâ&#x20AC;&#x2122;s imagination. Much of the character is revealed by its behaviour, not by how it


CH AR ACTE R DE SI G N SE C R E T S  Castofcharacters from theAdventure Time seriesfeaturing the mainprotagonists Finn andJake

 AdventureTime characterscreatedfor anonlinecompetitionon Ristainoâ&#x20AC;&#x2122;sblogSkronked

 Ristainoâ&#x20AC;&#x2122;sworkon AdventureTimewonhim anEmmyAwardwinforhis characterdesignsforthe ďŹ hseasonepisode Puhoy





ANDY RISTAINO: ADVENTURE TIME skronked.tumblr.com www.cartoonnetwork.co.uk/show/adventure-time â&#x20AC;&#x153;Thegoalofacharacterdesigneristomakethemain charactersasappealingaspossibleinassimpleawayas possibleâ&#x20AC;?saysAdventureTimeleaddesignerAndyRistaino Acartoonaboutthe lasthumanboyFinnandashapechangingdognamedJakeAdventureTimeisabouttheir journeyinthepost-apocalypticworldcalledOoo â&#x20AC;&#x153;Ithink thatchallengeiswhataractedme tocharacterdesignâ&#x20AC;? OriginallycreatedforayoungeraudienceAdventure Timehasgrownandmaturedintosomethingthatappeals to adultsandchildrenalike â&#x20AC;&#x153;Theshowhascontinuityand theactionsanddecisionsthecharactersmakehavelasting repercussionsâ&#x20AC;?saysRistainowhostartedworkingonthe showin%$%Takinginspirationfromnatureandhis surroundingsitâ&#x20AC;&#x2122;saprocessthatcanâ&#x20AC;&#x2122;tberushed â&#x20AC;&#x153;Experimentingwithshapeandformandjusttaking the timetoletyourmindwonderisgreatforcharacter developmentâ&#x20AC;?Advisingbuddingdesignerstokeep drawing he concludesXâ&#x20AC;&#x153;IttakestimepracticeeďŹ&#x20AC;ort and  a lotofexplorationbutifyoukeepdiggingyouâ&#x20AC;&#x2122;ll eventuallyďŹ ndaplacethatistotallyyourownâ&#x20AC;? 

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looks.” In fact, when it comes to capturing the essence of great character design, TADO insists that a definitive set of ‘tick the box’ characteristics doesn’t really exist, nor should it. “There are certainly formulas for making things cute, intimidating, passive and so on, but we think the really fun characters are usually the ones that bypass these rules.” Luciana Eguti and Paulo Muppet founded Birdo with two computers and a fax machine back in 2005. At that time the animation industry in Brazil was small and mostly focused on motion graphics, and after meeting at a web agency and becoming work partners, the opportunity was too

“A GOOD DESIGN CAN COMMUNICATE A LOT ABOUT THE CHARACTER, BUT IT ALSO NEEDS TO LEAVE ENOUGH ROOM FOR THE VIEWER’S IMAGINATION” P A U L O M U P P ET

good to pass up. “I have always loved animation ever since I was a kid, from Disney (of course) to NFB shorts that were luckily on air here in Brazil.” Says Eguti, producer and director at Birdo. “I could never have guessed it at the time, but it has been a great foundation for my work.” As directors, the duo have worked on more than 80 projects, including six feature films, 17 short films and music videos, and dozens of commercials for clients such as FIAT, Google and Unilever, and many other diverse projects from social games to theatre plays. Most recently, Birdo created the Olympic and Paralympic Mascots for Rio 2016 (see case study), a project that Muppet describes humbly as “pretty big.”

In recent years they have been shifting their focus to creating and producing original content, such as their animation on Caveirão, a short directed by Guilherme Marcondes which features animated sequences laid over live action footage filmed in São Paulo. Inspired by the darker side of Brazilian pop culture, the film crosses genres and techniques, mixing live action, animation and 3D visual effects. “We are lucky to be involved in projects with a lot of creative freedom and each new film at Birdo becomes personal for us in lots of ways,” explains Muppet. “We try to incorporate a certain amount of experimentation in every commercial project we’re involved in and we try not to think in terms of commercial versus personal projects.”

ENCHANTED WORLDS From dynamic cities, landscapes and fast-moving characters, to the more relaxed, enchanted worlds of sinister characters performing strange ceremonies, TADO’s playful output is a reflection of how much fun the duo have working together. This is especially evident in their ongoing collaboration with Sheffield-based wood carver Nick Hunter. “The most challenging projects are usually the ones we set ourselves,” says Tang, referencing their ongoing side project Panda Otaku, a yet-to-be-written, darkly humorous graphic novel that combines their love of comics, otaku-culture, things with wheels and food. TADO’s wooden Panda Otaku figures have been sold in limited runs at events like ToyCon, which helped secure a special commission from Sanrio last October (see case study). It makes a strong case for the power of the passion project. “Making time to do your own stuff is incredibly important, especially from a commercial point of view,” says Tang. “It’s a great way to learn new tricks and often leads to fresh avenues and opportunities. It might just lead to your dream commission.”

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MUXXI MAGICAL CREATURES www.muxxi.me Characterisedby multicoloured kaleidoscopiclandscapesand‘magical creatures’theworkofGuatemalanartist Muxxitakesinspirationfromthepaerns natureandcolourofherhomecountry “My ideasalwayscomefrommysketchbook whereIdraweverythingthatcrossesmy mind”shesaysofherworkingprocess AgraduateofSanCarlosofGuatemala theillustratorandcharacterdesignerhas appliedheruniquevisualstyletowalls productsandapparelcreatingdesigns for interiorsandbrands“IlovetheKawaii movementwithallthesecuteandadorable characterswithbigeyesandpeculiarshapes andcolours”addsMuxxiwhoserecent projectsincludearecentcollaborationwith PortuguesesockbrandChayFeet“Ithas beenalongandinterestingjourney^Ican see everyyearthatmystyleisevolving dependingonmytastesandIlikethat There’s notmuchscienceorsecretbehind my styleIjustkeepincorporatingwhat I see andfeeleverydayandthingskeep changingandgeingbeer”


CH AR ACTE R DE SI G N SE C R E T S

  Illustrationfor Society'â&#x20AC;&#x2122;szine Lost Timewhichis still in production

 Personalcommission foranindoormural duringatripround Germanythisyear

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 KlossTheClowna designcreatedfor ChayFeetin%



 



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 Muxxiusesher sketchbooksto exploreideasand createcharacters


Play is an essential component in character development, and a process through which many of our designers create their most exciting work. There is a childlike joy evident in the work of Guatemalan illustrator Muxxi, whose love of the Japanese Kawaii movement is revealed in her colourful drawings of ‘magical creatures’, commissioned by ChattyFeet socks, decal brand Blik and Venezuelan band Roboto, amongst others. “Big eyes, peculiar shapes and colours. I draw everything that crosses my mind,” she reveals. “Everything comes very naturally to me now. I can go as far as I want, be spontaneous and I never know how it’s going to end.” Her highly detailed, surreal illustrations invite the viewer to immerse themselves in a landscape of wonder and invention, riding on candy-coloured carousels with masked characters who dance amongst the stars.

ANALOGUE AND DIGITAL Muxxi’s approach is in direct contrast to Italian designer Lucas Zanatto, who prefers a rather more minimalist approach. A graduate from the Istituto Europeo di Design Milan, Zanatto has a background in motion graphics and product design, and likes to combine analogue and digital media, playing around and exploring new ways of creating animations. “Mostly I try to use less and approach projects in the simplest way – to show and express

BIRDO STUDIO OLYMPIC AND PARALYMPIC MASCOTS www.birdo.com.br “Wetriednottothinkaboutthe‘client’orthe competitionandinsteadfocusedonwhich characterswewouldwanttobethemascots” saysdirectorPauloMuppetonBirdoStudio’s winningpitchfortheRio%$'Olympicand ParalympicmascotsExploringtheenormous diversitybothinnatureandcultureinthe studio’scountryfuelledtheconceptX“We havepeopleinBrazilwithsomanydifferent backgroundsandit’sthismixturethatmakes thecountrysuchacoolplace”Theresulting charactersfortheOlympicmascot_Vinicius` andtheParalympicmascot_Tom`areformed outofamixofBraziliananimalsandplants

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messages and emotions. Characters have for a long time been part of my work and they always fascinate me.” In 2012 he also set up Yatatoy, which makes simple apps for kids using a combination of handcrafted animations and analogue sounds. His app Drawnimal expands the frame of the digital screen to incorporate objects or drawings located outside, into the creation of animals – an idea born from playing with an origami book with his daughter. He advises creating a set of rules for characters that define their graphical elements: “In this way, you build a family,” Zanatto explains. “After that you have a lot more freedom to play with the sizes and proportions of these elements to create different characters that form part of this family.” Similarly, illustrator James Wilson, who goes under the moniker of Jambonbon, aspires to convey personality and feeling in the most immediate way, with the use of bold, simple shapes that cut clean silhouettes. With a degree in graphic design and animation under his belt, an interest in character design came with the territory. “I almost always design my characters with animation at the back of my mind, even if they don’t end up being animated,” says Wilson, whose first job was creating character turnarounds and props in flash for a 2D series at A Productions in Bristol, shortly after graduating. “If I can imagine them moving, it means I can pose them,” continues Wilson. “I love a good GIF.”

VISUAL CULTURE For Wilson, characters have always been present, and it’s this exposure from such a young age that has had a lasting impact on him. “My mother is Japanese so I guess the visual culture of Japan has been a big influence on me,” reflects Wilson. “They have an anthropomorphised mascot to represent just about anything out there. I just love seeing faces on things that shouldn’t generally have a face.”


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JAMBONBON: CHARACTER PARADE jambonbon.com Developedduringaspeedcharacterdesign experimentJambonbonâ&#x20AC;&#x2122;scharacterparadewas inspiredbytheideatoveryquicklydrawarange of simpleformsandusethemasstartingpointsfor bodyshapesâ&#x20AC;&#x153;Istartedbyaddingveryquickfacial featureslimbsandpropsandendedupwithalile paradeofcharactersâ&#x20AC;?saysJamesWilsonHewas theninvitedbyPictoplasmatosubmitsomework for theirCharacterCompendiumfromwhichthey pickedtheirďŹ vefavouritesâ&#x20AC;&#x153;Someofthemevengot embossedontothewhiteleathercoverâ&#x20AC;?







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Itâ&#x20AC;&#x2122;s a sentiment shared by Zanatto, who likes to roam the Finnish countryside armed with a pair of disembodied eyes, transforming inanimate objects and the natural landscape into his own collection of characters, documented on a dedicated Tumblr page. Titled Have A Face, the website provides an online platform for Zanatto to explore and experiment creatively away from his commercial work. For Birdo, animation is a â&#x20AC;&#x2DC;playgroundâ&#x20AC;&#x2122; that leads to creative output thatâ&#x20AC;&#x2122;s colourful, high energy and a joy to watch â&#x20AC;&#x201C; yet each piece is stylistically very diďŹ&#x20AC;erent. Was this variation a conscious decision or something that naturally evolved over time? â&#x20AC;&#x153;I guess this reďŹ&#x201A;ects what we like to do in animation and fun certainly takes the top spot,â&#x20AC;? smiles

Muppet. â&#x20AC;&#x153;Ultimately, we believe that fun is the quickest route to keeping the audience entertained.â&#x20AC;? Interestingly, the biggest hurdle that Birdo has faced has been applying its abundance of skill and experience to a more controlled environment. â&#x20AC;&#x153;I think we are going through the most challenging stage of our professional lives,â&#x20AC;? says Muppet, who together with Eguti and a small team are involved in the design and production of seven animated series. â&#x20AC;&#x153;Trying to condense what we learned from the chaotic, short format ďŹ lms we have been used to has been an eye-opening experience.â&#x20AC;? For TADO, there isnâ&#x20AC;&#x2122;t much of a boundary between working in a physical sense and working in a digital/2D way.

CHARACTER DEVELOPMENT TIPS From everyday observation skills to expressing even the most ridiculous idea, hereâ&#x20AC;&#x2122;s some practical character design advice

CreateasetofrulesDeďŹ nethegraphical elementspresentineachcharacterand apply thistodevelopingacharacterfamily Playwithsizeandproportiontocreate diďŹ&#x20AC;erentcharacterswithinthisfamily Trytoincorporatealileexperimentation into everyprojectMakeeverythingyoucreate personalandyouwillnaturallyinvestmorein developingyourskillsateveryopportunity ObservationiskeyBeawareofyour surroundingsandwatchhowpeople interact witheachotherandhowthis aďŹ&#x20AC;ects thingslike bodylanguageand expressionTrytocapturethesethings on paperwhendevelopingcharactersâ&#x20AC;&#x201C; it can leadtouniqueandunusualresults Donâ&#x20AC;&#x2122;twaitforyourdreamprojecttoland at yourfeetCreateself-initiatedworkthat crossesoverbetweenthestuďŹ&#x20AC;youreally want tobedoinganddevelopinginyour personalworkwithaclientbriefâ&#x20AC;&#x201C;evenif itâ&#x20AC;&#x2122;s oneyouâ&#x20AC;&#x2122;vewrienforyourself

â&#x20AC;&#x153;We tend to think in 3D regardless of what weâ&#x20AC;&#x2122;re doing, so when we draw a character ďŹ&#x201A;at on the screen we tend to have a pretty good idea of how it will work in a 3D sense or what the back view of the character would look like regardless of whether it will ever be used in that way.â&#x20AC;? Advocating the use of humour and personality as key components in their character development, TADO say that they tend not to reference too many things literally, but instead try to imagine how theyâ&#x20AC;&#x2122;d like it to be, using observations to add to the characters and environments that they inhabit. â&#x20AC;&#x153;Most important is transmitting the characterâ&#x20AC;&#x2122;s personality to the audience, but itâ&#x20AC;&#x2122;s more fun if you can do that by going against the norm.â&#x20AC;?

Next month: Why you should look outside your comfort zone when choosing a typeface for your next design project â&#x20AC;&#x201C; and all the small type foundries you should know about.

ThinkinthreedimensionsDrawacharacter andconsiderhowitwouldlookfromtheside thebackandthefrontâ&#x20AC;&#x201C;notjustďŹ&#x201A;atonthe screenSketchdiďŹ&#x20AC;erentperspectives TakeadeeplookinthemirrorTrytodistill the essenceofyourappearanceandsoul Take apenbringittopaperThisis fundamentaltodevelopingyourstyle Astrongpersonalityassuresacharacterâ&#x20AC;&#x2122;s longevityEverythingfromtheeyesandthe proportionstothewayacharactermoves and gesturesneedscarefulconsideration Trustyourintuitionandletyourstyleevolve naturallyovertime Donâ&#x20AC;&#x2122;tbeafraidofridiculousideasThereâ&#x20AC;&#x2122;s no suchthingasabaddrawingTrytohave fun withyourownworkandgiveyourself the freedomtoplay MaketimeforďŹ eldtripsInspirationcan come fromthemostunexpectedplaces

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WONG PING: DOGGY LOVE nowhynowhy.com CommissionedbyNownessforValentineâ&#x20AC;&#x2122;s DayDoggyLoveisananimatedshortthat tellsthestoryofateenageboyâ&#x20AC;&#x2122;sďŹ xation with aclassmateboastingbreastsonher backâ&#x20AC;&#x153;Theconceptissimplyaboutteenage loveandlustâ&#x20AC;?revealsHongKong-based animatorWongPingwhowasgivenfreereign ontheprojecttocreatehisdarklyhumorous taleâ&#x20AC;&#x153;TheďŹ lmquestionswhyloveisoen representedbytheheartshapedsymbolâ&#x20AC;? Theresultisratherluridandentertaining concludingwithatouchingsentimentâ&#x20AC;&#x153;Asa teenagerwealldostupidtricksorplaymean jokesongirlstogettheiraentionAswe growupwehavemoreselfcontrolIguess thevideoisatributetothatperiodintimeâ&#x20AC;?


CH AR ACTE R DE SI G N SE C R E T S

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MAKING HEY Barcelona-based Hey Studio may have humble origins, but its uplifting fusion of bold shapes, colours and characters has won it global acclaim

AT A GL ANCE: HE Y D A T E F O U N D E D : %% N U M B E R O F S T A F F :  L O C A T I O N : BarcelonaSpain D I S C I P L I N E S : Brandidentityeditorialdesignandillustration F E A T U R E D P R O J E C T S : SanMiguelArtFad U R L : wwwheystudioes


WORDS: LisaHassell PHOTOGRAPHY:Hey/RocCanals wwwroccanalscom


H

eyisanaitudenotjustaparticularstyleof design or illustrationThe studioâ&#x20AC;&#x2122;sworktransmits positivitythatrunslikeathreadthroughoutits eye-catchingportfolioSpecialisinginbrandidentity editorialdesignandillustrationitsoutputisdeďŹ nedby cleveruseofgeometrytogetherwithcleantypography andalively colourpaleesummedupbystudiofounder VerònicaFuerteasâ&#x20AC;&#x2DC;worksthattransformideasinto communicativegraphicsâ&#x20AC;&#x2122; Fuertesetupthestudioin%%aerseveral years spentasapost-graduateworkingforavariety of designstudiosinBarcelonaWithinayearshewas joined byfellow ElisavagraduateandHeyStudio partner RicardoJorgeandtogethertheybuiltHey intothe multi-disciplinarystudiothatitistoday ComplementingFuerteâ&#x20AC;&#x2122;sextensivedesignskillswith Jorgeâ&#x20AC;&#x2122;sillustrativeďŹ&#x201A;airthepairquicklyestablisheda footholdintheSpanish designindustrycreatingwork for GandulesArtFadandMonocle magazine â&#x20AC;&#x153;Wewereonlytwoforaverylongtimeâ&#x20AC;?says Fuerte â&#x20AC;&#x153;Initiallyweonlyhadafewclientsâ&#x20AC;&#x201C;mostof themwerefriendsWeworkedalottogethertohave abigportfolioanddevelopHeyâ&#x20AC;&#x2122;sstyleInternational clientsalsocameandovertimewestartedtohavea lotmoreprojectsâ&#x20AC;?NowthestudioisďŹ vestrongwith designerand typographerMikelRomeroEvaVesikansa whojoined asastudentin%$>andcreativemanager Paula SĂĄnchezwhojoinedearlierthis year Situatedinthehistoricalneighbourhood ofBarrio GĂłticoinBarcelonaHeyworksoutofa shared workspaceâ&#x20AC;&#x153;Ourlocationisveryinspirationalâ&#x20AC;? continuesFuerteâ&#x20AC;&#x153;Beforearrivingtothestudiowe pass throughtheatresshopsgalleriesinstitutional buildingsandsoonandseepeopleanddailyscenes that giveusideasforprojectsâ&#x20AC;?

Thesizeoftheteamandclose-knitworking environmentnaturallyleadstohigh-energyconversations andbrainstormingsessionswheretheycaneachbounce ideasoďŹ&#x20AC;eachother^producingconsistentlyimpressive boldandcolourfuldesignsforclientslikeAppleMonocle NokiaMicrosoTheWallStreetJournalandmoreIn %$Heywasalsochosenasoneofthe$â&#x20AC;&#x2DC;up-andcomingâ&#x20AC;&#x2122;artistsforPickMeUpLondon Whenanewbriefcomesintheprocessisalways thesameâ&#x20AC;&#x153;Weresearchobserveworkthingsupina groupandthenseleonideasâ&#x20AC;?saysFuertewhoactively encouragesacollaborativeapproachwithlilehierarchy â&#x20AC;&#x153;Wearefourdesignersâ&#x20AC;&#x201C;eachofuscanresolveanideain anaestheticallydiďŹ&#x20AC;erentwayItâ&#x20AC;&#x2122;sgoodfortheclienttosee amultitudeofsolutionsâ&#x20AC;?Theirmarkedstylesmeanthatthe formalprocessisfasterthoughthisvariesforillustration commissionsduetotheoentightdeadlinesâ&#x20AC;&#x153;Wedonâ&#x20AC;&#x2122;t havetimetocreatediďŹ&#x20AC;erentsolutionsinthesecasesâ&#x20AC;?says Fuerteâ&#x20AC;&#x153;TheďŹ rstideaneedstobeagoodoneâ&#x20AC;?

GR APHICS FOR GANDULES EveryyearHeyhandlesthedesignoftheCCCBâ&#x20AC;&#x2122;sopen-air cinemaseasonGandulesinBarcelonaEachseasonthere isadiďŹ&#x20AC;erenttopicandtheteamworkscollaborativelyto produceadesignorillustrationwhichcanbeappliedtothe GandulesprogammesForits%$%identityHeyillustrated anewdawntorepresentthecinemaseasonthemeof â&#x20AC;&#x2DC;Action!â&#x20AC;&#x2122;andhowcrisisgeneratesnewapproachesand possibilitiesMorerecentlythethemeofâ&#x20AC;&#x2DC;Awayfrom

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TheapproachofHey Studiooeninvolves novelexperiments withcolour


HE Y ST UDI O

PROJECT FOCUS SAN MIGUEL ‘A PL ACE CALLED THE WORLD’ Amapoftheworldwastheseingforthiselaborateillustration WhenHeyStudiowasapproachedby SanMiguelandAthleticBilbaofootball clubitprovidedtheidealplatformto playwithcharacter TocreateitHeyStudio’sdesigners tookdirectinspirationfromtheteam’s fansor‘basques’asthey’reknownin SpainnamedaertheBasqueCountry wheretheteamresideCommissioned by advertisingagencySCPF*basedin Barcelona+fortheSpanishbeerbrand in questionHey’sstartingpointwasa conceptofaworldinvasionillustrated on amapshowingfootballfansplaying thefoolandactingoutclichesfromthe Basquetradition “Thecharactersfeaturedinthe illustrationare‘AthleticdeBilbao’

supporters”saysFuerteanddepictsthe fanscompetingwithlocalsinfunnyand exaggeratedposes“Basquesareknown toberoughandbragaboutbeingthe bestateverything wedecidedtocreate characterswhichexpressedthisaitude” Manyoftheiconicbuildingsofthe cityarealsorepresentedturningthe worldintoastrangemapofthecityof BilbaoThefinalillustrationwasdesigned tositinsideasportsnewspaperandeach elementhadtobeorganisedwithina stronggeometryinordertotranslate the ideawithoutgeinglostinthedetail “Wedesignedacharactermodelwith the leastamountofdetailwecould” says Veronica“Thisallowedustoadd moresceneswithinabusylayout”

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Homeâ&#x20AC;&#x2122;waschosenfor%$withthestudiocreatinga seriesofboldgeometricillustrationsthatdepictaďŹ&#x201A;agand theseawhichFuertedescribesasâ&#x20AC;&#x153;afrontierbetween countriesandculturesâ&#x20AC;? WhenquestionedaboutwhathasbeenHeyâ&#x20AC;&#x2122;s mostexperimentalworktodateFuertereferencesthe studioâ&#x20AC;&#x2122;sbrandidentityfortheFilmCommissionChile^ an organisationsetuptopromoteChileasamovie productiondestinationandassistproductionteamson choosingdestinationsâ&#x20AC;&#x153;Itwasquiteambitiousandthey got intouchwithusdirectlyâ&#x20AC;?FuertesaysTheteam grabbedtheopportunitytoapplyitsownsignature style to thebrandingprojecttakinginspirationfrom duct/gaďŹ&#x20AC;ertapeâ&#x20AC;&#x153;Thetapeisomnipresentintheworld ofmovieproductionTapesunitejoinmarkholdpoint remindandhelptoworkâ&#x20AC;?explainsFuerteIllustrationsof thetaperesembletheclassicmoviecelluloidďŹ lmandasa conceptthetapeservestospeakaboutthelinkingmissions oftheFCChâ&#x20AC;&#x153;TheimageisdrawnupindiďŹ&#x20AC;erentdirections withvariationsinthecolourpaleecreatedtorepresent thediversityoflandscapeswecanďŹ ndintheChilean territoryâ&#x20AC;?Togetherallelementscombinetocompose a uniqueimagewithawell-deďŹ nedpersonality

AlmostallofHeyStudioâ&#x20AC;&#x2122;sclientbaseis international Thestudiomadeanappearanceat BCN/MCRin%$>asoneofthemostinnovative and cuing-edgeBarcelonaâ&#x20AC;&#x201C;baseddesignagencies alongsideLamoscaLoSientoMayĂşsculaandMucho curatedbyManchester-basedfreelancedesignerDave Sedgwickas a cultureexchangebetweenthetwocities

COLOUR IN CONTE X T Followingonfromnumerousspeakerengagements GFSmithtogetherwithItâ&#x20AC;&#x2122;sNiceThatinvitedHey Studio to takepartintheirâ&#x20AC;&#x2DC;ColourinContextâ&#x20AC;&#x2122;event in EdinburghlastyearalongsidephotographerJess BonmanandartdirectorSarahMayFuertetookthe stagetodiscusshowHeyusescolourreferencingan early projectfortheSpanishLausDesignAwardsin %$% â&#x20AC;&#x153;Itwasarealchallengeforustodesignsomething thatwasfordesignersâ&#x20AC;&#x201C;alltheeyeswouldbeonthe executionâ&#x20AC;?CreatinganabstractcampaignthatreďŹ&#x201A;ects thepassingoftimetheâ&#x20AC;&#x2DC;Lâ&#x20AC;&#x2122;â&#x20AC;&#x201C;standingforLausâ&#x20AC;&#x201C;was representedindiďŹ&#x20AC;erentcolour papersheetsintheshape ofadieItwasalaunchpadforacollaborationwithArtFad thatstillendurestoday_seethecasestudyopposite` Perhapsoneofthestudioâ&#x20AC;&#x2122;smosthigh-proďŹ le projectstodatehasbeenitsworkwithMonoclemagazine whichcoversglobalaďŹ&#x20AC;airsbusinessculturedesignand moreHeyâ&#x20AC;&#x2122;sinitialcommissionfromtheclientbackin %$%wastodesignanillustratedcoveronthesubjectof re-imaginingtheworkingdayThiswasinfactoneofthe

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Apersonal illustrationproject/ everydayHey postedaniconof popularculture on Instagram


HE Y ST UDI O

PROJECT FOCUS ARTFAD CONTEMPOR ARY ART AND CR AF T AWARDS IDENTIT Y Tactileprocessesandmaterialsinspire this annualbrandingproject WhenArtFadapproachedHeyStudiointocreate the identityforits annualawardsli ledideithersideknow that it wouldbethebeginningoflastingcollaboration Conceivingaconceptthatcenteredaroundtheleerâ&#x20AC;&#x2DC;Aâ&#x20AC;&#x2122; Hey StudioadoptedahandmadeaesthetictoreďŹ&#x201A;ectthecra elementoftheaward EveryyearHeyStudioturnstoadiďŹ&#x20AC;erenttechniqueto representthe â&#x20AC;&#x2DC;Aâ&#x20AC;&#x2122;utilisingdiďŹ&#x20AC;erenthandmadeprocessesand over thelastfewyearshasrenderedtheidentityinlinocut ribbon colouredpaperstockandadhesivevinylcreatingan on-goingseriesofâ&#x20AC;&#x2DC;collectableâ&#x20AC;&#x2122;designs Thetwokeyfactorsthatdeterminethestudioâ&#x20AC;&#x2122;schoiceof materialsintheprojectarethenecessityforaquickturnaround andbasicaďŹ&#x20AC;ordabilityâ&#x20AC;&#x153;Everythingwedoishandmadejustso that wecancreatesomethinguniquespecialanddiďŹ&#x20AC;erentâ&#x20AC;? says Fuerteâ&#x20AC;&#x153;Wedeliberatelykeeptherulessimpletogive us the freedomtoexperimentâ&#x20AC;? Forthe incarnationtheideawastorepresenta geometricalAoutlineasalayoutandthenaddcolourpaernsor materialsTheinvitationsweremadeusingMaxoncomicpaerns andtheonlymachineprocessinvolvedwastheprintingofthetext andlinesThestudiopurchased diďŹ&#x20AC;erentpaernsthatwere appliedbyhandonebyonetocreateuniqueinvitations Witheachyearcomesanewchallengeâ&#x20AC;&#x153;Thesolutionsthat weÂ ďŹ ndaremorediďŹ&#x192;culttodobyourselvesâ&#x20AC;?saysFuerteâ&#x20AC;&#x153;It meansmorehoursRushhoursItisexcitingatthebeginning doing somethingbyhandandnocomputerButwhenyouare doingitsolidfortwoweeksitcanbehardâ&#x20AC;?

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studioâ&#x20AC;&#x2122;sďŹ rstforaysintocharacterdesignhoweverithas sinceledtoalastingworkingrelationshipwiththeLondonbasedpublicationâ&#x20AC;&#x153;Monoclemagazineisknownworldwide andthepublicationhasanextensivenetworkofdesigners andcollaboratorssotheďŹ rsttimetheycontacteduswas anamazingmomentâ&#x20AC;?saysFuerte ComplementingHeyStudioâ&#x20AC;&#x2122;screativeoutput self-initiatedprojectsprovidefurtheropportunityfor creativeexplorationdescribedbyFuerteasvitaltothe studioâ&#x20AC;&#x153;inordertoexploreinnovateandmoveforwardâ&#x20AC;? Heyâ&#x20AC;&#x2122;s%$>soloexhibitionatLondonâ&#x20AC;&#x2122;sKemistryGallery promptedafurtherexplorationofcharacterdesign â&#x20AC;&#x201C;acheekyreimaginingofancientGreekgodsâ&#x20AC;&#x201C;each withtheir ownpowersweaknessesandbackstory ForHey itâ&#x20AC;&#x2122;s clearthatpersonalprojectsarealmostas importantasitscommercialworksâ&#x20AC;&#x153;Wealwaystryto makeourwork reachawideaudienceandbesimple tounderstandâ&#x20AC;?saysFuerteâ&#x20AC;&#x153;Playingaroundwiththis synthesisyoucomeuponsolutionsthatarequitebasic and obviousandwhichmanypeopleusuallylikeâ&#x20AC;?

HE Y INSTAGR AM! Ridingthewaveofitsnewfoundinterestincharacter designthestudioconceivedâ&#x20AC;&#x2DC;EveryHeyâ&#x20AC;&#x2122;â&#x20AC;&#x201C;aproject that explodedonInstagramlastyearIllustratinganicon frompopcultureandpostingiteverydaythededicated accounthasamassedover%%%followerssinceits inceptionbecomingthestudioâ&#x20AC;&#x2122;smostwell-knownpersonal projectâ&#x20AC;&#x201C;notbadforsomethingthatsimplybeganasabit

offunâ&#x20AC;&#x153;Sideprojectsgiveusthespacetopushourcreative boundariesanddevelopapassionthatistheninjectedinto clientsâ&#x20AC;&#x2122;workâ&#x20AC;?Theprojectalsoinspiredtheproductionof thelimitededitionHeyCharactersXABookforFriends whichthestudiosentouttoclientsandfriendsinorderto showcaseâ&#x20AC;&#x153;literarycharactersdesignedthewaywelikeâ&#x20AC;? Fuelledbyaneedtoshareitspassionfor typographyillustrationandboldgraphicsthestudio hasnowbranchedoutintoonlineretailonthebackofa successfulpop-upatOFFFFestivalinBarcelonalastyear Itâ&#x20AC;&#x2122;snaturaltowonderifthisentrepreneurialbehaviour ledtomoreclientworkorifsellingworkbecameagoalin itselfFuerteanswersXâ&#x20AC;&#x153;SellingworkisdeďŹ nitelysomething weaspiretodoOurshopistrulywhatHeyisSothehigh purchasesaresynonymousofoursuccessasdesignersand creatorsWeareverygladpeoplelikewhatwedoâ&#x20AC;? Asthestudiogrowscharacterdesigncontinues toenrichitscreativeoutput^fromcoverillustrationfor quarterlydesignpublicationProcessJournaltoarecent StudioDBDandTwentyTwentyTwogallerycollaboration furtherevidencingthestudioâ&#x20AC;&#x2122;sversatilityHeyillustrated abooktitledGol!featuringcharactersofindividualstar playersfromall>diďŹ&#x20AC;erentteamsInadditiontothis Hey alsorecentlydesignedtwostampsfortheJuneissue ofVanityFairreferencingafewcharactersfromavery famousâ&#x20AC;&#x201C;asyet undisclosedâ&#x20AC;&#x201C;ďŹ lm ArguablyoneofthemostinnovativeBarcelonabaseddesignagenciesHeyStudioisclearlyonetowatch Nurturingcloserelationshipswithmanyofitsclientson aninternationallevelyetretainingabalancebetween commercialworkandexperimentalprojectsitenjoysa leveloffreedommanycanonlydreamofâ&#x20AC;&#x153;Itdoesnâ&#x20AC;&#x2122;tmaer iftheprojectislargeorsmallprestigiousorfrivolousâ&#x20AC;? concludesFuerteâ&#x20AC;&#x153;Whenbothsidestrusteachotheryou cantakethingsupalevelanddosomethingreallyexcitingâ&#x20AC;?

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CREATE TH E P E R F E C T E XHI B I T I ON

CREATE THE PERFECT EXHIBITION IN A WEEK FrommaximisingspacetothevirtuesofVelcrohereâ&#x20AC;&#x2122;show to putontheperfectshowwhentimeisnâ&#x20AC;&#x2122;tonyourside WORDS: Anne Wollenberg ILLUSTRATION: Peter Judson peterjudson.com

uinganexhibitiontogethercanbearaceagainst timewhetheryouâ&#x20AC;&#x2122;repolishingyourďŹ nal-year projectsorjugglingcommercialcommissions  Forexhibitorspreparingforthisyearâ&#x20AC;&#x2122;sPickMeUp graphicsfestivalthingsgotevenmorehecticwhen the venuewasevacuatedfollowinganelectricalďŹ re at a nearbytubestationandthousandsofpeoplehad to leave thewholearea PickMeUpopenedontimeinspiteoftheearlier disruptionNowintoitssixthyearthefestivalregularly featuresthebestemergingandestablishedartistsand designersWhilemostexhibitionsarenâ&#x20AC;&#x2122;thinderedby electricalďŹ restherearestillplentyofpracticalitiesto considerGetthebasicscoveredandyouâ&#x20AC;&#x2122;llbebeer preparedtocopeifsomethingdoesgoawry Fromgraduateshowstocommercialgalleries the underlyingprinciplesarethesameâ&#x20AC;&#x153;Simplegood ideasdisplayedwellThatâ&#x20AC;&#x2122;sthemostimportantthingyou candoâ&#x20AC;?saysMikeRadcliďŹ&#x20AC;emanagingdirectorofdesign recruitmentagencyRepresentâ&#x20AC;&#x153;Showthekindofworkyou wanttodoandthekindofcompanyyouwanttoworkforâ&#x20AC;?

G AV I NLU C A S C O - F O U N D E R  O U T L I N E ARTISTS WriterandeditorGavinjoinedwith CamillaParsonstoco-foundOutline Editionsin

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C H A R L I E HOOD C O - F O U N D E R  B E ACHLON D O N Charlieco-ownsBeachLondon a gallerycafĂŠandbookshopin Londonâ&#x20AC;&#x2122;sShoreditchexhibiting everythingfromvintagearcade machinestolapelpinbadges

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ExhibitionsexistinaphysicalspaceThatsounds obviousweknowbutitâ&#x20AC;&#x2122;sworthproperlyconsideringwhat thatmeansâ&#x20AC;&#x153;Anyonecanhaveawebsiteandshowtheir workonlineâ&#x20AC;?saysGavinLucasco-founderofillustration agencyOutlineArtistsâ&#x20AC;&#x153;Thephysicalityofanexhibition theactualpotentialtomeetpeopleisvitallyimportant Youcanwatchthemreacttoyourworkeavesdropon conversationsoďŹ&#x20AC;erthingsforsaleandseewhatworksâ&#x20AC;? Thisofcoursemeansnottreatingyourshowlikeitâ&#x20AC;&#x2122;s anextensionofyourInstagramfeedâ&#x20AC;&#x153;Peoplearetooused tobeingbombardedwithdesignandillustrationthrough socialmediaâ&#x20AC;?saysCharlieHoodco-founderofgallery andcreativeagencyBeachLondonâ&#x20AC;&#x153;Youneedastrong conceptoratleastaconsistentaestheticOtherwiseyou canalmostseepeopletreatingitliketheyâ&#x20AC;&#x2122;restaringata screenandscrollingdownawebpageâ&#x20AC;?Whatmaers aboveallhesaysistheexperiencethatâ&#x20AC;&#x2122;sdeliveredâ&#x20AC;&#x201C;be thisphysicalemotionalorperceptual â&#x20AC;&#x153;Withoutaclearthemeshowscanendupbeinga bitofajumblesaleâ&#x20AC;?agreessculptorWilfridWoodSohe saysheusedâ&#x20AC;&#x153;adead-simplesubjectâ&#x20AC;?forDogshismost

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wwwhandsomefrankcom

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S A R A H M AYCO C K F R E E L A N C E I L LU ST R ATO R Aerstudyingillustrationand animationatKingstonUniversity SarahlandedaspotatPickMeUp Selectsin whereshecaughtthe aentionofagencyHandsomeFrank  wwwsarahmaycockcouk


TIP-TOP TAKE-AWAYS Whatmakesthebestbusinesscardorfreebie? Thesetipsensureyourtake-awayisnâ&#x20AC;&#x2122;tthrownaway EXHIBITIONESSENTIALS TheďŹ rstruleoftake-aways<theyâ&#x20AC;&#x2122;renotoptionalâ&#x20AC;&#x153;Donâ&#x20AC;&#x2122;tthinkforoneminute thatscribblingyourmobilenumberonanapkinwilldoItwonâ&#x20AC;&#x2122;tâ&#x20AC;?warns ProfessorLawrenceZeeganattheLondonCollegeofCommunication BOLDIMAGE â&#x20AC;&#x153;Thesimplestandbestway<haveanimageonthefrontandyournameemail andnumberonthebackâ&#x20AC;?saysOutlineArtistsâ&#x20AC;&#x2122;GavinLucasâ&#x20AC;&#x153;Chooseoneof yourboldestimagesIfacardjusthassomecontactdetailsIenduptryingto scribbledowndescriptionsofthework onthebackâ&#x20AC;? ACCURATEINFO MakesureyouincludeallrelevantcontactdetailsYestoyouremailphone numberwebsiteandactiveblogsorsocialmediaaccountsNotomisspelt linksortweet-lessTwieraccountsGetsomeoneelsetoproofreadTwice DONâ&#x20AC;&#x2122;TBREAKTHEBANK Yourtake-awayneednâ&#x20AC;&#x2122;tbeanythingtooextravagantorexpensivesaysJon CockleyatHandsomeFrankâ&#x20AC;&#x153;Afreerisographprintpinbadgeorevenjust a cleverbusinesscardwillmakesurepeoplerememberyouaertheshowâ&#x20AC;? STAYRELEVANT â&#x20AC;&#x153;Themostmemorabletake-awayIhadwasare-skinnedKit-Katâ&#x20AC;?saysOli Bussellâ&#x20AC;&#x153;Allthecontactdetailswereonthewrapperâ&#x20AC;?herecallsâ&#x20AC;&#x153;Butitâ&#x20AC;&#x2122;snot worthdoingsomethingquirkyjustforthesakeofbeingquirkyIfyouâ&#x20AC;&#x2122;redoing businesscardsortake-awaystheyshouldrelatetoyourworkâ&#x20AC;? AIDTOMEMORY â&#x20AC;&#x153;Itneedstojogpeopleâ&#x20AC;&#x2122;smemoriesOtherwisetheyâ&#x20AC;&#x2122;lllookatitonemonthlater andnotknowwhoyouareâ&#x20AC;?saysOliBussellâ&#x20AC;&#x153;HaveaselectionofdiďŹ&#x20AC;erent cardsandaskpeopletochoosetheonethatspeakstothemmostBymaking achoicetheyâ&#x20AC;&#x2122;reinvolvedintheprocessandmorelikelytorememberyouâ&#x20AC;? SUPPLYANDDEMAND Donâ&#x20AC;&#x2122;tbankruptyourselfwithaprintrunofthousandsYoudonâ&#x20AC;&#x2122;twanttorun outtooquicklyeithersodonâ&#x20AC;&#x2122;tputthemalloutatonceâ&#x20AC;&#x153;Rationyourbusiness cardsâ&#x20AC;?advisesillustratorSarahMaycockâ&#x20AC;&#x153;Otherwisetheyâ&#x20AC;&#x2122;llgotheďŹ rstdayâ&#x20AC;?

recentexhibitionatBeachLondonWoodoďŹ&#x20AC;ersthis vital pieceofwisdom<â&#x20AC;&#x153;Iwanttheambiguitytobein the individualpiecesnotwhatconnectsthemâ&#x20AC;? â&#x20AC;&#x153;Reallythinkabouthowyouâ&#x20AC;&#x2122;reusingthespaceâ&#x20AC;? saysOutlineâ&#x20AC;&#x2122;sGavinLucasâ&#x20AC;&#x153;Itâ&#x20AC;&#x2122;sareallypowerfulthingto makesurepeopleseeyourworkasstand-outonitsown withoutfeelinglikeitâ&#x20AC;&#x2122;smashedintoawallfullofother stuďŹ&#x20AC; Youâ&#x20AC;&#x2122;realwayslookingforsomebodywhosework youâ&#x20AC;&#x2122;dwanttohangonyourwallbutthereâ&#x20AC;&#x2122;sabalance betweenthatimmediacyand anabilitytotellstoriesâ&#x20AC;?

BE OUTSTANDING Justthinkaboutthevolumeofworkthattheaverage visitorseesduringgraduateshowseasonsaysJon Cockleyco-founderofillustrationagencyHandsome Frankâ&#x20AC;&#x153;Itâ&#x20AC;&#x2122;sreallyimportantnottoblendintoone generic waveWhatcanyoushowthatwillmakepeople thinklaughand whipouttheirphonetopostapicture on Instagram?â&#x20AC;? Andwhattoavoid?â&#x20AC;&#x153;Toomuchvarietyinthe contextofoneshowâ&#x20AC;?advisesCockleyâ&#x20AC;&#x153;Itâ&#x20AC;&#x2122;simportant to showdiversitybutyoucandothatwithsubject maer sizeandcompositionWhenitcomestostyle and techniquebesuretoshowyoucandoonething well Thisisnâ&#x20AC;&#x2122;tthetimetoshowyoutriedyourhandat lino cuingbeforemovingontocharcoalsandthen selingonaCinemaDapproachâ&#x20AC;? IllustratorSarahMaycockthoroughlyimpressed CockleyatPickMeUpSelectsin â&#x20AC;&#x153;Wesawher now-infamousBearprintwhichwasthebest-sellingprint atPickMeUpthatyearanddecidedtosignheronthe spotâ&#x20AC;?CockleyremembersWhatclinchedit?â&#x20AC;&#x153;Herwork wassodiďŹ&#x20AC;erenttoeverythingelseonshowItconsisted of reallystrippedbackminimalmark-makingbuther paintingsconveyedsomuchpersonalityinjustafew strokesâ&#x20AC;?HandsomeFranksignedherlaterthat year and theyâ&#x20AC;&#x2122;vebeenworkingtogethereversince

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CREATE TH E P E R F E C T E XHI B I T I ON

SarahMaycockexhibitedatPickMeUpthree BeachLondonâ&#x20AC;&#x2122;sCharlieHoodâ&#x20AC;&#x153;Someartistshaveavery years runningandtest-droveherďŹ rstdrawingworkshop strictapproach<thisiswhatIâ&#x20AC;&#x2122;mshowingandwhereIâ&#x20AC;&#x2122;m therein Shesaysitplayedamajorroleinthe goingtoputitThatdoesnâ&#x20AC;&#x2122;tworkWehaveabeer transitionfrombeingagraduatetoworkinginthe understandingofourspacewhatworksinitandhow industry â&#x20AC;&#x153;Togetthechancetobeseenbythatmany peopleengagewithitâ&#x20AC;? studentstutorsdesignerscollectorscuratorsyou â&#x20AC;&#x153;Thewayworkispresentedframedandtitled name itwasjustamazing reallyspeaksvolumesaboutthepersonwhoputthe â&#x20AC;&#x153;MostofmyďŹ rstbigjobscamedirectly show togetherâ&#x20AC;?saysJonCockleyâ&#x20AC;&#x153;Agentsarelooking from Pick MeUpItâ&#x20AC;&#x2122;stheperfect for illustratorswhotakepride opportunitytogetoutofthe in theirworkandareshowing studioandgetworkoďŹ&#x20AC;thescreen signsthattheycareaboutitand andontoawallâ&#x20AC;?Heradvicefor willpresentitinthebestlight geingitright?â&#x20AC;&#x153;Youcanâ&#x20AC;&#x2122;t possibleâ&#x20AC;?SarahMaycocksays second-guesswhatpeoplewill preparingforthePickMeUp wantatexhibitionsbutyoucan exhibitionforcedhertoconsider certainlyconsiderthecontextand thelogisticsofframingwork surroundingsYouwanttostand producingandpostingprints outbutthatdoesnâ&#x20AC;&#x2122;tnecessarily â&#x20AC;&#x153;whichhassetmeupforlifeLots meanshoutingPeopleappreciate ofthingswentwrongand Iwasted somevisualcalmandspaceâ&#x20AC;? moneyandtimeonunsuitable â&#x20AC;&#x153;Keepyourexhibitsuccinct thingsbutnowIâ&#x20AC;&#x2122;vebuilta strong andto thepointâ&#x20AC;?agrees networkofgo-topeopleâ&#x20AC;? ProfessorLawrenceZeegen Thattrustedteammay D&ADtrusteeanddeanofthe includespecialistssuchas LAWRENCE ZEEGEN, DEAN OF THE SCHOOL OF DESIGN AT THE LCC schoolofdesignattheLondon printersframersandart handlers CollegeofCommunications â&#x20AC;&#x153;Allthethingsyou probably â&#x20AC;&#x153;Knowwhatyouwantyourwork werenâ&#x20AC;&#x2122;ttaughtatuniversityâ&#x20AC;? tosayandwhoyouwanttosayit says photographerLukeEvans toâ&#x20AC;?Showtheworkwellanditwillspeakforitselfhesays Thebiggestmistakehesaysishangingworktoohigh â&#x20AC;&#x153;Butremember<greatpresentationofapoorideawonâ&#x20AC;&#x2122;t He recommendsstickingtoâ&#x20AC;&#x2DC;galleryheightâ&#x20AC;&#x2122;â&#x20AC;&#x201C;wherethe saveyouâ&#x20AC;?Itâ&#x20AC;&#x2122;salsoimportanttobeconďŹ dentbutnot centreismountedatinchesâ&#x20AC;&#x201C;andpackanexhibition cockyheaddsâ&#x20AC;&#x153;Youneedtodemonstratethatyou survivalkitâ&#x20AC;&#x153;Therearealwayspeopleaskingforstring know yourstuďŹ&#x20AC;butthatyoualsoknowyouhavealot gaďŹ&#x20AC;ertapetapemeasuresandmaskingtapesobe moretolearnâ&#x20AC;? sure to stockuponthoseâ&#x20AC;? Beforeyounaildownyourselectiontalktothe CharlieHoodswearsbyVelcrowhichcanhold otherpeoplewithastakeinthespaceâ&#x20AC;&#x153;Itâ&#x20AC;&#x2122;salwaysgoodto up to kilosâ&#x20AC;&#x153;Weâ&#x20AC;&#x2122;vedonecompleteshowswithitbefore getanalternateopiniononwhatshouldgowhereâ&#x20AC;?says Agooddrillisalsoimportantâ&#x20AC;&#x201C;Ipreferonesthatplug

â&#x20AC;&#x153;KNOW WHAT YOU WANT YOUR WORK TO SAY, AND WHO YOU WANT TO SAY IT TO. BUT REMEMBER: GREAT PRESENTATION OF A POOR IDEA WONâ&#x20AC;&#x2122;T SAVE YOUâ&#x20AC;?

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MAKE THE MOST OF YOUR GRADUATE SHOW Donâ&#x20AC;&#x2122;tbeafraidoffailuresaysNevilleBrody founder ofBrodyAssociatesanddeanoftheschool of communicationattheRoyalCollegeofArt PUBLICENGAGEMENT Youdonâ&#x20AC;&#x2122;tworkinavacuumPeoplearegoingtolookatwhatyoudo Learningtonavigateandnegotiatethatcurationexperienceiscrucial â&#x20AC;&#x201C; itâ&#x20AC;&#x2122;s aboutunderstandingthattouchpointofengagement EMBRACEFAILURE Atutorâ&#x20AC;&#x2122;sadviceisjustthatYoucouldgrowmorebynotfollowingadvice andlearningfromamistakeItâ&#x20AC;&#x2122;sďŹ neifyoutrysomethingthatdoesnâ&#x20AC;&#x2122;twork Failureisaveryimportantpartofthisprocess SHOWSARENâ&#x20AC;&#x2122;TEXAMS AshowandanexamaretwodiďŹ&#x20AC;erentthingsWithashowyouwonâ&#x20AC;&#x2122;tbe doingthesameintroductionandexplanationforeverypasser-byIthasa verydiďŹ&#x20AC;erentfunction POWERFULPRESENCE BeingbyyourworkisasmallsacriďŹ cethatmakesabigdiďŹ&#x20AC;erenceIf someonewantstodiscussitandyouâ&#x20AC;&#x2122;renotthereyoumayjustget forgoenWetellourstudentstobewiththeirworkasmuchaspossible OVERALLENVIRONMENT Ashowisalsoaninstallationsothinkofthewholeenvironmentaspart of yourpresentationPeoplehardlyeverreadcaptionsTheymaylookfor yournamebutmostarenâ&#x20AC;&#x2122;tinterestedbeyondthatTake-awaysarefar moreimportant CHANGETHINGSAROUND Itcanbedemoralisingifpeopledonâ&#x20AC;&#x2122;tstopatyourworkButthereâ&#x20AC;&#x2122;sno rightorwrongwaytodothissoexperimentwithitIencouragepeopleto changetheworkorinstallationduringtheshowtoseeifsomethingelse worksbeer SELF-DISCOVERY Ihaveemployedpeoplefromshowsbeforebutitâ&#x20AC;&#x2122;sthefollow-upmeeting thatâ&#x20AC;&#x2122;sreallyimportantthereMorethananythingashowisanopportunity tolearnmoreaboutyourownwork

intothewallasitâ&#x20AC;&#x2122;sannoyingtorunoutofpowerâ&#x20AC;?Alsoon Hoodâ&#x20AC;&#x2122;smust-havelist<hammerscrewsandaspiritlevel Onceyouâ&#x20AC;&#x2122;vegotyourdisplaysortedthereâ&#x20AC;&#x2122;sstill plentyletothinkaboutâ&#x20AC;&#x153;Thethingpeoplegetwrong most?Notleavingacardâ&#x20AC;?saysGavinLucasâ&#x20AC;&#x153;Whenyouâ&#x20AC;&#x2122;re doingashowyouwantpeopletotakenoticeIfyouâ&#x20AC;&#x2122;re seriousthenyouneedtwothings<abusinesscardwith yourcontactdetailsandawebsiteâ&#x20AC;?Sometimesstudents clubtogetherformacollectiveandbuildawebsitehe notesâ&#x20AC;&#x153;Thatâ&#x20AC;&#x2122;sareallypowerfultoolAtanexhibitionyou lookatworkandideasThenextthingyoudoislook peopleuponlinetoseemoreoftheirworkâ&#x20AC;? Makethatasnappymemorablewebaddress says CharlieHoodHealsorecommendstakingasmany picturesoftheeventaspossibleâ&#x20AC;&#x153;Itâ&#x20AC;&#x2122;salwaysworthgeing aprofessionalinâ&#x20AC;&#x201C;donâ&#x20AC;&#x2122;tjusttakelow-resolutioncamera phonepicturesWeâ&#x20AC;&#x2122;realsopushingtheboatoutabitby doingmorewithvideographersatBeachLondonForthe WilfridWoodâ&#x20AC;&#x2122;sDogsshowforexamplewedidaBring YourOwnDogdrawingspecialandmadeavideowhere wehadloadsofdogsinthegalleryâ&#x20AC;? Hoodsaysvisitornumberstendtospikeataround pmâ&#x20AC;&#x153;Itâ&#x20AC;&#x2122;sarunningjokethatourbeeralwaysrunsoutat  pmhowevermanywegetâ&#x20AC;?hesaysItâ&#x20AC;&#x2122;salwaysworth providingfoodanddrinkâ&#x20AC;&#x201C;itimprovestheexperienceand peoplewonâ&#x20AC;&#x2122;tbesoquicktoleavewithadrinkintheir handâ&#x20AC;&#x153;Speaktolocalorsmallbreweriesâ&#x20AC;?Hoodsuggests â&#x20AC;&#x153;WedoalotwithCamdenTownBrewerybecausetheir founderreallylikesdesignandillustrationâ&#x20AC;?

PUT YOURSELF ON SHOW Onceyouâ&#x20AC;&#x2122;rereadytoopenitâ&#x20AC;&#x2122;stemptingtohideawayand lettheexhibitiondothetalkingButifBrinleyClarkhad donethathewouldnâ&#x20AC;&#x2122;thavelandedhisjobatThePartners HemetcreativedirectorNickClarkattheNewDesigners showinLondonâ&#x20AC;&#x201C;hewasshowingaprojectbasedona briefwiththethemeoffakerywhichusedtypographic

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CREATE TH E P E R F E C T E XHI B I T I ON

postersforBritishtanningsalonsâ&#x20AC;&#x153;TheďŹ rstthingIwanted todowascatchpeopleâ&#x20AC;&#x2122;saentionwithbigbrightworkâ&#x20AC;? hesaysâ&#x20AC;&#x153;Iwantedtomakesurethatwhenanyonewalked inmyworkwastheďŹ rstthingtheysawâ&#x20AC;? NickClarkwasheadofthejudgingpanelâ&#x20AC;&#x153;He approachedmeandsaidâ&#x20AC;&#x2DC;Explainyourworktomeâ&#x20AC;&#x2122;Iwas brutallyhonestâ&#x20AC;?remembersBrinleyâ&#x20AC;&#x153;Itoldhimhow passionateIwasandhowmuchIwantedtoworkforThe Partnersâ&#x20AC;?Inhiscasethiswastrueâ&#x20AC;&#x201C;heevenwrotehis dissertationonASmileInTheMindbyThePartners founderDavidStuartâ&#x20AC;&#x153;Butitâ&#x20AC;&#x2122;slikebeingquestioned by thepoliceâ&#x20AC;?hewarnsâ&#x20AC;&#x153;Ifyoulieitwillcomeoutâ&#x20AC;?

AertheshowhefollowedupbysendingNicka bookhehaddesignedAmonthlaterthephonerangwith ajoboďŹ&#x20AC;erButexhibitionsarenâ&#x20AC;&#x2122;tjustaboutseekinginstant success<â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;seasytofallintothetrapofseeingsuccess purelyintermsofsalesâ&#x20AC;?saysWilfridWoodâ&#x20AC;&#x153;Obviously I wanttosellworkbutmostofthemoneyI earnisfrom commissionsnotshowsTheworkIputtogetherfora showisexactlywhatIwantittobewithnointerference fromartdirectorssopeoplecanseewhatIdonaturallyâ&#x20AC;? Youshouldstilltrytominglewhateveryour ambitionsâ&#x20AC;&#x153;Itcanbeanawkwardthingtodoâ&#x20AC;?saysGavin Lucasâ&#x20AC;&#x153;Butyoudonâ&#x20AC;&#x2122;thavetodothehardsellIfpeople

INSIDER INSIGHTS FROM PICK ME UP Threeofthisyearâ&#x20AC;&#x2122;sexhibitorsreďŹ&#x201A;ectonwhatworkedforthemattheannualgraphicarts festivalheldatSomersetHouseontheStrandforthesixthyearrunning HATTIENEWMAN SETDESIGNERANDIMAGEMAKER â&#x20AC;&#x153;Itwasimportanttoshowreal Dmodelsinmyareabecause all ofmyimagesarephotographsof DsetsIwishIhadshown moremodelsaspeoplerespondedreallywelltothemandthey helppeopleunderstandhowmy Dimagesaremade â&#x20AC;&#x153;MymodelhouseonstiltshadanLEDďŹ reďŹ&#x201A;ickeringinsidebut thebaeryranouthalfwaythroughanditwasdiďŹ&#x192;culttochange itInhindsightIshouldhavehadtheLEDsconnectedtothe mainsMakesureyouplanaheadIwasinarushtogetmyprints framedbytheend#andkeepframingsimpleandconsistentâ&#x20AC;? wwwhaienewmancouk MIKALATAI DIRECTOROFSUPERGRAPH â&#x20AC;&#x153;WecreatedacardboardtepeetohouseourDesignTarotanew productthatwemadeincollaborationwithTheDesignKidsthis yearOurfriendsatAllOfThisinMelbournehelpeddesignthe tepeeItwasamassivehitatSupergraphinMelbournethisyear sowecouldnâ&#x20AC;&#x2122;twaittobringittoLondonIthinkitâ&#x20AC;&#x2122;sbeena successbecauseitissointeractiveandplayfulSometimes

designcanberatherseriousandthismakesitalilemore approachableIfyouhadtoldmelastyearthatwewouldowna travellingcardboardtepeeIwouldnâ&#x20AC;&#x2122;thavebelievedyouBut sometimesyouhavetoridethatcreativetangentoutandsee whereitendsupâ&#x20AC;? wwwsupergraphcomau SARAHMAYCOCK ILLUSTRATOR â&#x20AC;&#x153;WithPickMeUpyouareexhibitingalongsidehundredsand hundredsofimageswithnorunningthemeandeverycolour shapeandsizeyoucanimagineButIhopepeoplecansense whensomeoneistryingtobebraveandsincere â&#x20AC;&#x153;WhilepreparingtosellsomeprintsinthePickMeUpâ&#x20AC;&#x2122; shopItrippeduponthefactthatthebankholidayweekend meantIhadlesstimethanIthoughtsothecustomtubesdidnâ&#x20AC;&#x2122;t arriveontimeIkeepawhiteboardcalendarsoIcanstayontop ofdeadlineswhichstopsmefromhavingtrulymadpanicsâ&#x20AC;&#x201C;orat leastkeepsthemtoaminimum!â&#x20AC;? wwwsarahmaycockcouk

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seeminterestedinyourworkoryouseethempickingup yourcardjustsayhelloSomewillbehappytotalkand somewilljusttakeyourcardandmoveonbutyoucanâ&#x20AC;&#x2122;t underestimatethepowerofbeingthereIfsomebody showsaglimmerofinterestfollowthatupâ&#x20AC;? ThePartnersdesignerOliBussellaendsgraduate showsinsearchoffreshtalentâ&#x20AC;&#x153;Iâ&#x20AC;&#x2122;vebeentoshowswhere no-onepullsyouinandyouhoveraboutâ&#x20AC;?hesays â&#x20AC;&#x153;Somethinghastocaptureyouraentiontostartwith Sometimesthatcanbethepersonratherthanthework as itâ&#x20AC;&#x2122;shardtomakeyourstuďŹ&#x20AC;shoutâ&#x20AC;? Thebestgraduateshowshesaysâ&#x20AC;&#x153;havehadthe studentstherewiththeworkandtheyâ&#x20AC;&#x2122;vegrabbedyou out ofthecrowdandgivenyoudirectionâ&#x20AC;?Ifthatsounds dauntingRepresentâ&#x20AC;&#x2122;sMikeRadcliďŹ&#x20AC;ehasafewpointerson whattosay<â&#x20AC;&#x153;Justchattalkaboutdesignasktheiropinion onyourworkIalwayssaydonâ&#x20AC;&#x2122;taskforajobâ&#x20AC;&#x201C;askfora meetinginsteadItâ&#x20AC;&#x2122;smuchharderforpeopletosaynoâ&#x20AC;? â&#x20AC;&#x153;Gototheprivateviewandgototheexhibitionfor afewdayssoyoucanmeetandtalktopeopleâ&#x20AC;?saysSarah Maycockâ&#x20AC;&#x153;YouneverknowwhatmighthappenItcanbe a lonelyjobsomakethemostofmeetingpeopleâ&#x20AC;?she addsâ&#x20AC;&#x153;Iâ&#x20AC;&#x2122;vereceivedemailssometimesyearslaterfrom designerssayingtheypoppedmyworkinaďŹ lehoping for a futureprojectwheremytalentswouldberelevant andnowitâ&#x20AC;&#x2122;scomealongâ&#x20AC;? NextmonthWe celebrate the people at the beating heart

of the design industry who rarely get the same recognition

as their creative director in our inauguralUnsung Heroes

Awards â&#x20AC;&#x201C; and discover the secrets of their success

CASE STUDY: LUKE EVANS LukeEvansscoredaSaatchi exhibitionduringhissecondyear at universityandexhibitedinthis yearâ&#x20AC;&#x2122;sPickMeUpSelects Duringhissecondyearstudyinggraphicdesignandphotography at KingstonUniversityLukeEvansreceivedalife-changingemail It wasfromtheSaatchiGalleryThegallerymanagersawhis Forge seriesâ&#x20AC;&#x201C;miniaturelandscapesmadefromhouseholdobjects â&#x20AC;&#x201C;onItâ&#x20AC;&#x2122;sNiceThatandEvansbelieveshispreviousprojectwhich involvedswallowingcameraďŹ lmalsocaughttheiraention â&#x20AC;&#x153;Peopleliketoseeacontinuousproductionofworkâ&#x20AC;?hesays TheyaskedtoseehisportfolioOneproblem<hedidnâ&#x20AC;&#x2122;thave oneâ&#x20AC;&#x153;ItwasaroundChristmasastrangetimeforstudentsasyouâ&#x20AC;&#x2122;re partwaythroughtheyearIscrambledaroundridiculouslyforthe nextfewweeksâ&#x20AC;?ThemeetingwasasuccessandSaatchisnapped upForgeforitsNewOrderIII<BritishArtTodayexhibition EvansalsoappearedinPickMeUpSelects â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;sagraphic artfair*IwasreachingpeopleIprobablywouldnâ&#x20AC;&#x2122;totherwisereach ImadesuretheworkIputinwassuitableâ&#x20AC;?hesaysâ&#x20AC;&#x153;Ithinkitâ&#x20AC;&#x2122;sa lot morematurethantheworkIdidtwoyearsagoâ&#x20AC;?NextEvans is doingâ&#x20AC;&#x153;somethingwithexplosivesâ&#x20AC;?butcanâ&#x20AC;&#x2122;trevealwhatatthe timeofgoingtopress#andisabouttoreleasehisďŹ rstartbook â&#x20AC;&#x153;IalwaysthinkaboutwhoIwanttoseemyworkâ&#x20AC;?hesays â&#x20AC;&#x153;Wherearegalleriesandcommissioningeditorslooking?Find out whatblogstheyâ&#x20AC;&#x2122;rereadingandgetyourworkinthereâ&#x20AC;&#x201C;youâ&#x20AC;&#x2122;ll reachsomanymorepeoplewithoutbeingpushyâ&#x20AC;? Thesedaysheknowspeoplearefollowingwhathedoes â&#x20AC;&#x153;So thatâ&#x20AC;&#x2122;salwaysinthebackofmymindâ&#x20AC;?hesaysâ&#x20AC;&#x153;University can beabitinward-facingbecauseyoumakeworkforyour course toimpressyourpeersortutorsBeingasoutward-facing as possibleisoneofthemostimportantthingstolearnâ&#x20AC;?

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THE NEW SCHOOL: DISRUPTION AND ORDER How Pentagram created an identity for NYC’s New School using a typographic approach that expressed both formal hierarchy and revolutionary spirit 76

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THE NEW SCHOOL: AN IDENTITY AT A STRETCH When The New School approached Pentagramâ&#x20AC;&#x2122;s Paula Scher to help resolve its unique visual identity challenges, she didnâ&#x20AC;&#x2122;t think she would end up designing a whole new typeface

PROJECT FACTFILE BRIEF TheNewSchoolapproachedPaula Schertohelpwiththenamingofits NewYorkinstitutionandtoresolve hierarchywithinthevisualidentityand comeupwithanewlogosystem AGENCIES Pentagram wwwpentagramcom Typotheque wwwtypothequecom PROJECT DURATION Oneyear LIVE DATE March 

THE DESIGN BRIEF Paula Scher

PAULASCHER PARTNERPENTAGRAM PaulaScherisanAmericangraphic designerpainterandarteducator indesignandtheďŹ rstfemale principalatPentagramwhich shejoinedin

Shehasbeen attheforefrontofgraphicdesign formore thanthreedecadesand currentlyworksoutofPentagramâ&#x20AC;&#x2122;s NewYorkoďŹ&#x192;ce

The New School was founded in 1919. Itâ&#x20AC;&#x2122;s a progressive institution in New York City with a mandate to be inventive and solve problems that aďŹ&#x20AC;ect society. It still has the same mandate today. Over the years, donations or acquisitions helped to form diďŹ&#x20AC;erent parts of the school, housing diďŹ&#x20AC;erent institutions, such as Mannes, the classical music college; Lang, the college for liberal arts; and Parsons school of design. Over the years, it had become confusing which programmes belonged to which schools. For example the jazz programme wasnâ&#x20AC;&#x2122;t part of Mannes, and classical music, dance and drama were not located in a performing arts school. The New School had attempted rebranding a number of times and the last identity by Siegel+Gale tried to connect all the schools through language. Parsons became Parsons: The New School for Design, COMPUTERARTSCREATIVEBLOQCOM -76-

Lang became Lang: The New School for Liberal Arts. However this became even more confusing. The school did some research that found it was in a unique position to leverage its historic values and foster innovation. It could do this by oďŹ&#x20AC;ering students the ability to cross schools and design their own curriculum. The project they came to me with was â&#x20AC;&#x2DC;namingâ&#x20AC;&#x2122;; helping them resolve the hierarchy and mission with that research, and to end up with a logo system. We knew that we had to create an identity where it didnâ&#x20AC;&#x2122;t matter if you saw The New School and it had a listing for Parsons or Mannes, or a listing of â&#x20AC;&#x2DC;liberal artsâ&#x20AC;&#x2122;, â&#x20AC;&#x2DC;performing artsâ&#x20AC;&#x2122; or â&#x20AC;&#x2DC;designâ&#x20AC;&#x2122;. It had to be completely recognisable, no matter how the schools were listed; this would allow the curriculum to evolve as the years went by. It all had to be ďŹ&#x201A;exible, without being generic.


DI A R Y˚ 1 : P E NTA G R A M

PROJECT AT A GLANCE PaulaScherbreaksdowntheprocessofcreatingthenewlogosystemforTheNewSchool

1 Defining hierarchy

2 A nod to buildings

3 Schools with personality

Thefirstpartoftheprojectinvolvedaconsideration ofhierarchy–itwasafairlytypicalprocessThe identityhadtobeflexibleIthadtotalkofParsons forexampleaspartofTheNewSchoolbutbe separateaswellandithadtobepersonalised for eachschoolwithinthiswhole

ForsomevisualinspirationIwenttothearchitecture oftheoldJosephUrbanbuildingandthenew buildingbySOMTheybothfeaturestripeswhich areverydistinctiveinthearchitectureThatis where thetwolinesonthelogocomefromIt’s basicallyanodtothebuildings

Onelogicalwaytocreatehierarchyisjustwhat UAL did–totakeHelveticaoranycleantypeface andtoorderthetypographysoitsitsinacolumn Theproblemisit’svery‘un-NewSchool’Also the schools–ParsonsorMannes–havereal personalitiesandareindividualistic

4 Extending the line

5 Customisation

6 Classical and extreme

ThetypeontheSOMbuildingIrmawasdesigned byPeterBil’akWedidatestofwhatwouldhappen if weusedthisfont<westackeditandcreateda hierarchyThenweconnectedtheschoolsextending thelogo’slineandpuingallthenamesbelowwhich workedverynicely

ButTheNewSchoolismeanttobealilebit ground-breakingsoitneededsomecustomisation Webeganextendingleerformsandrealisedthat if youhadthreeleerforms–oneverywideone regularandoneinthemiddle–youcouldcreate a syncopatedrhythmwithtypography

ThisisthebasisfortheNeuetypefaceWerealised thatyoucoulddrawafontthatwasacombination of threewidthsatonceIfyouprogrammedthose widthsyou’dinventasyncopationandcolour that I haven’tseenanybodydo–someofitlooks classicalandsomelooksextreme

7 Rebalancing the letters

8 Custom Pantone

9 The website

WewenttoBil’aktodrawandprogrammethe typefaceHemadesomecorrectionstoour drawings andrebalancedtheleersThehardest thingwhendevelopingdifferentwidthsiswhat happenstothecornersofthingsthathaveangles likeZsorWsHedidabeautifuljob

TheNewSchoolalwayshadaParsonsRedbutwe gavethemacustomPantonecolourandthewhole schoolcanuseitTheNewSchoolisblackand white withatouchofredParsonsismostlyred and everythingelseusestheirowncombination of whiteblackandred

Myfavouriteiterationofthenewidentityhasto be thewebsitewhichTheNewSchooldidin-house Itlooksgreatanditwillalsobeevolvinginthenear futureSomeoftheothercollateralisdoneby The NewSchoolartdepartmentThat’swhatit was builtfor–TheNewSchool

COMPUTERARTSCREATIVEBLOQCOM -77-


PETERBIL’AK TYPEDESIGNER TYPOTHEQUE Graphicandtypedesigner Peter Bil’akisbasedintheHague andworksineditorialgraphicand typedesignIn

hefounded theTypothequetypefoundry*he alsolauncheddesignjournalDot DotDotandsetuptheIndian Type Foundry

WORK IN PROGRESS Paula Scher The first part of the project was hierarchical – figuring out how to list things. There was a committee that was deeply involved in everything I did. It included the dean of Parsons, Joel Towers; fashion designer Kay Unger; and Fred Dust of Ideo. It was very strange to have visual people as clients. We agreed that The New School is essentially an umbrella for listing lots of things. We had to find a way to make everything connected and customised at the same time. We knew we had to take a typographic approach to the design, but I didn’t want to take a regimented font like Helvetica and make Parsons red and Lang blue. Once we created hierarchy, we made order; but The New School is also about challenging and disrupting that order, so we needed to express the independent revolutionary spirit of the school and still have it function as understandable hierarchy. Whatever informed the look of the identity had to be something that had historic significance for the institution or was part of The New School DNA. I drew inspiration from the architecture of the old Joseph Urban building and the new building by SOM. Both have stripes which are very distinctive – that’s where the two lines on the logo come from.  The new building also had an interesting type system by Peter Bil’ak, called Irma, which we thought we could use. We soon realised, however, that once you started stacking it, it looks like any other identity. We began extending letterforms, and it started to get interesting. The first thing I did was widen the P on Parsons to make it look more like a logo. Then somebody pointed out it needed something at the end, so I widened the N. Then they said The New School looked ordinary, and the Os looked too round, so we should widen them too. Then they were too wide, so we needed something in the middle. That’s literally how it happened.

INITIAL CONCEPTS TWOIDEASTHAT DIDN’TMAKEIT THROUGH

ThefirsttaskwasfiguringouthowtocreateahierarchyforTheNewSchoolanditsdivisions

Itwasclearthattheidentityneeded tohaveatypographicapproach

TheNewSchoolhasrebrandedanumberoftimesovertheyears

TheidentityevolvedbyexperimentingwiththeIrmatypefaceextendingleerformsforamorerecognisablelook

Weoriginallywent intoastudyofwhat wouldhappenifwe usedtheIrmafont Westackeditand createdahierarchyIt workednicelybutwe realisedweneeded todosomethingtoit* itneededsomekind ofcustomisation

COMPUTERARTSCREATIVEBLOQCOM -78-

Wehadmanyideasfor thetypographicapproach Oneusedasquaretype fromtheJosephUrban buildingwhichhalfof uslovedThepresident didn’tlikeitbecausehe thoughtitlookedlikea throw-backandhewas rightIt wasbeautifulbut it was definitelydated 


DI A R Y˚ 1 : P E NTA G R A M

WIDENING THE TYPE WITH MATHS PETERBIL’AKEXPLAINSHOWHE WORKEDWITHPENTAGRAMTOCREATE DIFFERENTTYPEFACEDIMENSIONS Pentagramwantedtoplaywithdifferentwidthsofmy IrmatypefaceItookthatideaforwardandmadeitabit moreextrememakingthewidefontwiderforexample Wethenredrewalloftheglyphstofollowthesame kindoflogicastheoriginaltypefaceAnygeometric characterssuchasHsandEsareverysimpletostretch Howevercharacterswithdiagonals–AsKsorWsfor example–tendtobemoreproblematicTheyarenot aseasytostretchsowelooked atdifferentwaystodo thisWetriedtofindabalanceofhowsophisticatedor straightforwardthisstretchingshouldbe*intheendwe decidedsomewhereinthemiddle Iproposedanalgorithmthatwouldcontrolthelogicof howthewidthswouldbeapplied–Idon’tliketheideaof itbeingarbitrarilychosenWiththehelpofKarstenLücke whowrotethescriptwecreatedanalgorithmthatcycles throughtheavailablewidthsmakingsurethattwoofthe samewidthsarenevernexttoeachother Thisispuremathematicsbutthemathsalonewill neverlookfantasticWerealisedthereweresome undesirablecombinationssoweoverruledthealgorithm insomeinstancesThelaststagewaslookingathowthe fontcouldbemaintainedonthewebInayearortwo the webbrowserswillcatchupwithitsbuilt-infeatures

PeterBil’akcreatedanalgorithmtocontrolthe logicofhowthethreedifferentwidthsofall leerformswouldbeapplied

OneofthebiggestchallengesincreatingtheNeuetypefacewascharacterswithdiagonals

Leerssuchas‘W’arenotaseasytostretchandtheteamtrieddifferentapproaches

ThetypefaceisalsobuilttoworkonlinecurrentlyworkingbeeronbrowserssuchasChrome

COMPUTERARTSCREATIVEBLOQCOM -79-


DI A R Y˚ 1 : P E NTA G R A M

WIDENING THE TYPE WITH MATHS PETERBIL’AKEXPLAINSHOWHE WORKEDWITHPENTAGRAMTOCREATE DIFFERENTTYPEFACEDIMENSIONS Pentagramwantedtoplaywithdifferentwidthsofmy IrmatypefaceItookthatideaforwardandmadeitabit moreextrememakingthewidefontwiderforexample Wethenredrewalloftheglyphstofollowthesame kindoflogicastheoriginaltypefaceAnygeometric characterssuchasHsandEsareverysimpletostretch Howevercharacterswithdiagonals–AsKsorWsfor example–tendtobemoreproblematicTheyarenot aseasytostretchsowelooked atdifferentwaystodo thisWetriedtofindabalanceofhowsophisticatedor straightforwardthisstretchingshouldbe*intheendwe decidedsomewhereinthemiddle Iproposedanalgorithmthatwouldcontrolthelogicof howthewidthswouldbeapplied–Idon’tliketheideaof itbeingarbitrarilychosenWiththehelpofKarstenLücke whowrotethescriptwecreatedanalgorithmthatcycles throughtheavailablewidthsmakingsurethattwoofthe samewidthsarenevernexttoeachother Thisispuremathematicsbutthemathsalonewill neverlookfantasticWerealisedthereweresome undesirablecombinationssoweoverruledthealgorithm insomeinstancesThelaststagewaslookingathowthe fontcouldbemaintainedonthewebInayearortwo the webbrowserswillcatchupwithitsbuilt-infeatures

PeterBil’akcreatedanalgorithmtocontrolthe logicofhowthethreedifferentwidthsofall leerformswouldbeapplied

OneofthebiggestchallengesincreatingtheNeuetypefacewascharacterswithdiagonals

Leerssuchas‘W’arenotaseasytostretchandtheteamtrieddifferentapproaches

ThetypefaceisalsobuilttoworkonlinecurrentlyworkingbeeronbrowserssuchasChrome

COMPUTERARTSCREATIVEBLOQCOM -79-


JUNE 2015

TheNewSchoolcolourschemeisred andblackalthoughdifferentdivisions canplayfreelywithcoloursforevents andspecialprojectsasusedictates

CONCLUSION Paula Scher I realised that if you had three letterforms – a very wide one, a regular one and one in the middle – then you could create this syncopated rhythm with typography. We customised every school name such as Parsons or Mannes as well as design, performing arts, liberal arts and so on. We then began customising each word, so they all had their own distinctive look together, as well as when on their own. We ended up asking Bil’ak to redraw his font and create the three weights, and also programme an algorithm that would dictate how different widths can or cannot work next to each other. This was crucial; for example, two different Os next to each other look cock-eyed, so the programme ensures they never end up next to each other.  There was a point where I thought I was going to have to resign this project – if in a normal client meeting somebody says you have to make a letter wider, you don’t. But in this instance, somehow it made sense. We didn’t want to make something that was expected. As things have gone up on Fifth Avenue, you can’t help but notice it. And what I really like about the new website, which was designed by The New School in-house team, is that it’s a very successful application of the new design. If you scroll down the home page, for example, you know where you are without having to see the top of the page – it’s so recognisable that you don’t need a logo at the top of a page. The colour system is red and black for the whole school, but the schools can do what they want. And it’s really the type that holds the identity together. There are three different ways The New School can be configured for varying solutions, but in the future they can change the positioning of what’s wide or narrow within the body. They can add as many schools as they need, change names whenever they want – it is a completely evolving programme.

PROJECT SOUNDTRACK PAULASCHERDOESN’T LISTENTOMUSICWHEN DESIGNINGPREFERING THESOUNDSOFTHE STUDIOINSTEAD

“ If the client says you have to make a letter wider, you don’t. But in this instance, it made sense”

GEORGECARLIN SEVENDIRTYWORDS Ialsooccasionallylistentothe lateGeorgeCarlin_anAmerican comediansocialcriticactor andauthor`HisSevenDirty Wordsroutine_whichhe firstperformedin$inhis monologue‘SevenWordsYou CanNeverSayonTelevision’` is apersonalfavourite

COMPUTERARTSCREATIVEBLOQCOM -80-


Submit your best branding to the Brand Impact Awards Computer Artsâ&#x20AC;&#x2122; very own Brand Impact Awards are judged by market sector, with categories including entertainment, culture, technology, not-for-proďŹ t and fashion Between them, the judging panel have helped shape leading brands such as Coca-Cola, Mars, Tesco, Virgin and adidas. They include: CHRIS MOODY Creative director, Wolff Olins

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WATCHTHEVIDEO ATbitly/CA#0%-wolďŹ&#x20AC;olins OR IN OUR iPADEDITION See page0#

Senior designer Gabriel Weichert reveals how WolďŹ&#x20AC; Olins created interactive, online branding guidelines for Orange that communicated the basics of the brand in less than 20 minutes

WOLFFOLINS WolďŹ&#x20AC;Olinsisaglobalcreative consultancywithoďŹ&#x192;cesin LondonNewYorkDubaiand SanFranciscoItactsasacreative partnerforleaderswhowantto actontheopportunitiesthat maerItsclientsareleadersinall categoriesincludingtechnology cultureandmedia

PROJECT FACTFILE BRIEF Some yearsaercreatingtheoriginalbrandingforUKtelecommunications providerOrangeWolďŹ&#x20AC;Olinswonthepitchtoreinventthebrandoncemore At theendofthetwo-yearprojecttheagencyfacedanewchallenge<to conveythenewbrandingrulestoOrangeâ&#x20AC;&#x2122;s  employeesina straightforwardengagingway

AGENCY WolďŹ&#x20AC;Olins wwwwolďŹ&#x20AC;olinscom DESIGNER GabrielWeichert

7CADIH9F5FHGÄ&#x2014;7F95H=J96@CEÄ&#x2014;7CA -83-

STUDIO SKILLS Â&#x2DC;Ä?G]ad`]ZmÄ?Wcad`YlÄ?VfUbX]b[Ä?fi`YgÄ?UbXÄ?YghUV`]g\Ä?\]YfUfW\m Â&#x2DC;Ä?DfchchmdYÄ?]bhYfUWh]jYÄ?VfUbXÄ?[i]XY`]bYgÄ?ig]b[Ä?=bJ]g]cb Â&#x2DC;Ä?7caaib]WUhYÄ?_YmÄ?ZYUhifYgÄ?cZÄ?h\YÄ?VfUbXÄ?ig]b[Ä?Ub]aUh]cb Â&#x2DC;Ä?5W\]YjYÄ?Wcbg]ghYbWmÄ?UbXÄ?W`Uf]hmÄ?UWfcggÄ?U``Ä?h\YÄ?[i]XY`]bYg


2015

GABRIELWEICHERT SENIORDESIGNER Gabrielisseniordesigneratcreative Wcbgi`hUbWmďKc` ďC`]bgėďDf]cfďhcďh\Uhď \Yď[U]bYXďYldYf]YbWYďUhďXYg][bďghiX]cď NorthandstudiedintheUKand GermanyHeenjoysworkingacross disciplines*fromvisualcommunication hcďX][]hU`ďXYg][bďUbXďYldYf]YbWYĖď changingthewayorganisationsand brandslookandbehave

1 Collect and collate FirstofallwecollectedeverythingwehaddesignedforOrangeacrossall touch-pointsforprintdigitalandspacesWeprintedeverythingwecould find togetanicebroadoverviewandagoodideaofthevolume

DESIGN TASK We had been working with Orange for nearly two years and created a new strategy and brand expression. We created a large body of work and now had to explain it to 170,000 employees and everyone else working for the company. With a limited amount of time we decided to design some online guidelines to avoid the classic 200-page document, and offer a more helpful and engaging tool instead. But what was truly special about the project was the way we worked. With people from Wolff Olins, Orange and their digital agency E3 in one room, we had intense discussions, made difficult decisions and had some late nights over a six-week period. That meant we could react faster if something was going the wrong way; we could find new solutions straight away. The outcome is a set of guidelines based on 10 video lessons that explain the basics of the brand in one or two minutes each. Examples are shown, and specifications and templates are available to download. This way, everyone should be able to understand the basics of the new brand in less than 20 minutes.

4 InDesign grid H\Yď=b8Yg][bďXcWiaYbhďkUgďĄăąćdlďk]XYďk]h\ďU凉ȨWc`iabď[f]XďUbXďUďĄădlď VUgY`]bYď[f]XėďēAUf[]bĘćądlĖď;iȜYfĘąădlĔėď:fcaďh\]gďXcWiaYbhďkYďYldcfhYXď >D9;gȧk\]W\ďkYfYďh\YbďigYXďhcďWfYUhYďUďg]ad`YďdfchchmdYė

7 Setting the style Alltheartworkforthewebsite’sdiagramswerecreatedinIllustratorusing asetstyleforbackgroundsandlinestomaintainconsistencybetweenweb pagesandinteractiveelements InitialorganisationofonlineelementsforOrange’sbrandingguidelineswebsite

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VIDEO WAL KTH R OUG H: W OLF F OLI NS

2 Sketching a structure

3 Initial concepts

KYÄ?XfUČ&#x152;YXÄ?fi`YgÄ?cbÄ?DcghȨ=hÄ?bchYgÄ?UbXÄ?[fcidYXÄ?h\YaÄ?VmÄ?VfUbXÄ?Y`YaYbhgÄ&#x2014;Ä?KYÄ? printedabasicstructureforeachsectiononlargebanners<alistofprinciples YlUad`YgÄ&#x2013;Ä?fi`YgÄ?UbXÄ?k\UhÄ?UggYhgÄ?kci`XÄ?VYÄ?bYYXYXÄ&#x2013;Ä?ZcfÄ?WfcggȨfYZYfYbW]b[Ä&#x2014;

Oncethedrasetofruleswasagreedwestartedtoworkonthebrand g]hYÄ?]hgY`ZÄ&#x2014;Ä?H\YÄ?]b]h]U`Ä?WcbWYdhgÄ?kYfYÄ?XYg][bYXÄ?]bÄ?=b8Yg][bÄ&#x2014;Ä?=ZÄ?mciÄ?UfYÄ?igYXÄ? to workinginInDesignitâ&#x20AC;&#x2122;saquickwaytovisualiseconceptsandideas

5 Envisioning a prototype

6 Video lessons

KYÄ?igYXÄ?cb`]bYÄ?hcc`Ä?=bJ]g]cbÄ?ZcfÄ?h\YÄ?dfchchmdYÄ&#x2014;Ä?H\]gÄ?kUgÄ?igYZi`Ä?hcÄ?g\UfYÄ?]XYUgÄ? withtheteamandclientandgetanideahowtheďŹ nalsitemightlookWethen workedwiththedigitalagencytoreďŹ neideasandactuallybuildthesite

Atthisstageoftheprocesswebegantocreatethevideolessonsforthemost importantaspectsofeachbrandelementthatwouldappearonthewebsite H\YgYÄ?kYfYÄ?ghcfmVcUfXYXÄ?UbXÄ?Ub]aUhYXÄ?]bÄ?5Č&#x152;YfÄ?9Â YWhgÄ&#x2014;Ä?

8 Photoshop action

9 Refining the site

9UW\Ä?=``ighfUhcfÄ?Ă&#x2018;`YÄ?WcbhU]bYXÄ?U``Ä?cZÄ?h\YÄ?fi`YgÄ?ZcfÄ?cbYÄ?cZÄ?h\YÄ?VfUbXÄ?Y`YaYbhgÄ&#x2014;Ä? KYÄ?YldcfhYXÄ?h\YÄ?UfhVcUfXgÄ?hcÄ?g]b[`YÄ?Ă&#x2018;`YgÄ?UbXÄ?h\YbÄ?gUjYXÄ?h\YaÄ?ZcfÄ?kYVÄ?k]h\Ä? UȧD\chcg\cdÄ?UWh]cbÄ&#x2014;

H\YÄ?Ă&#x2018;bU`Ä?ghYdÄ?kUgÄ?hcÄ?fYj]YkÄ?WcbhYbhÄ?cbWYÄ?h\YÄ?g]hYÄ?kUgÄ?dcdi`UhYXÄ&#x2013;Ä?aU_]b[Ä? gifYȧj]XYcÄ&#x2013;Ä?X]U[fUagÄ?UbXÄ?YlUad`YgÄ?kYfYÄ?Wcbg]ghYbhÄ&#x2014;Ä?H\YbÄ?kYÄ?hYghYXÄ?UbXÄ? reďŹ nedthesitetogetherwiththedigitalagencyandclient

Watch the video now on our YouTube channel: www.bit.ly/ca241-wolffolins 7CADIH9F5FHGÄ&#x2014;7F95H=J96@CEÄ&#x2014;7CA -85-


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DIARYË&#x161; 2 : M A G O DOV J E NKO

CONVERSE: SCALING IT UP IN BROOKLYN NYC Russian-born designer Mago Dovjenko always wanted to paint a mural, so when Converse asked him for an idea for its Made By You campaign, he got his chance, and headed to New York

PROJECT FACTFILE BRIEF ConverseaskedMagoDovjenko to createalarge-scaleeight-bynine-metresmural CREATIVES MagoDovjenko wwwmagodovjenkocom BWGTBLD wwwbwgtbldde OverallMuralsNY wwwoverallmuralscom PROJECT DURATION days LIVE DATE February 

MAGODOVJENKO GRAPHICARTIST Mago Dovjenko is a Russian-born, self-taught artist and designer, who has been working in the ďŹ elds of fashion, graphics, illustration and art direction for more than seven years. Heâ&#x20AC;&#x2122;s worked with brands such as Nike, Ministry of Sound, Diesel and Sony. COMPUTERARTSCREATIVEBLOQCOM -87-


THE DESIGN BRIEF Mago Dovjenko Iâ&#x20AC;&#x2122;ve had a long-standing relationship with Nike, which owns Converse. I was the youngest designer to ever work with the company, having done my ďŹ rst design for them at 14. I had just taken part in the Converse â&#x20AC;&#x2DC;Made by Youâ&#x20AC;&#x2122; campaign, when Converse ďŹ&#x201A;ew me to the HQ in Berlin. They said they wanted to do something else with me and asked me for ideas. I wanted to do a mural in New York. It was always a dream to go there, so they said they would think about it and let me know. Two months later, they called and asked me to do a design, as I would be ďŹ&#x201A;ying to New York in a week. Quite short notice! The brief was to go freestyle. They told me: â&#x20AC;&#x2DC;Itâ&#x20AC;&#x2122;s your project, you can do it the way you want.â&#x20AC;&#x2122; I always say my style is aggressive and detailed. I put a lot of eďŹ&#x20AC;ort into details because I want people to see new things if they look at my artwork for longer. Sometimes, I put in some hidden messages. Converse just had some restrictions. For example, in the â&#x20AC;&#x2DC;making ofâ&#x20AC;&#x2122; video, if there was a shot where I wore, for example, Dr Martens and you saw them clearly, they asked the production company to cut that out, but otherwise they were pretty cool about everything.

PROJECT EVOLUTION MAGODOVJENKOBREAKS DOWNTHEPROCESS THATLEDTOTHEFINISHED â&#x20AC;&#x2DC;MADEBYYOUâ&#x20AC;&#x2122;MURAL

STAGEONEIusuallystartbyfreestylingtomusicusingIllustrator

STAGETWOIswitchtoPhotoshopandbacktoaddmoretexture

STAGEFIVEOnceyoustartpuingthecolourinitbecomeseasier

TRIPPY BEGINNINGS

PSYCHEDELIC LANDSCAPE

WALL AMENDS

When I started the artwork I listened to Travis Sco, a rap hip hop artist whose beats feel trippy. Thatâ&#x20AC;&#x2122;s why thereâ&#x20AC;&#x2122;s so much colour and psychedelic elements in the artwork. I started with Illustrator and then switched to Photoshop, because it has eďŹ&#x20AC;ects that you canâ&#x20AC;&#x2122;t do in Illustrator, like adding textures.

At ďŹ rst I created a face, then I built elements and shapes around it, to create a psychedelic landscape. At some point I got tired of the face, so I switched it for a Virgin Mary. I didnâ&#x20AC;&#x2122;t have much notice to create the artwork, so I did it in seven hours. I then had to send it to Converse and everyone had to approve it.

Aer it had been approved, the owner of the building that we had rented for the mural said they didnâ&#x20AC;&#x2122;t want religious signage on the wall, so I had to change it back to the face. I was a bit mad, as it looked beer with the Maria. I also had some branding in the artwork, but Converse said IÂ should get rid of it too.

COMPUTERARTSCREATIVEBLOQCOM -88-


DIARYË&#x161; 2 : M A G O DOV J E NKO

HOW I WORK MAGODOVJENKOTELLS HOWABRIEFBECOMESA MUSIC-INSPIREDMURAL

STAGETHREEFollowingfeedbackImadesomeamendstothe artworkeventuallygeingridoftheMariaandthebranding

STAGESIXItwasahardjobinsub-zerotemperaturesIttook us daystoďŹ nish

STAGEFOURYoustartamuralbydrawingtheoutlines ontotheblankwallinpencil

STAGESEVENTheďŹ nalpiecelookedexactlylikethedigitalone We mightdoanotherinthesummer

I start designing my artwork by freestyling. I use the$-inch Wacom Cintiq tablet, connected to my Mac, and work in Illustrator and Photoshop, going back and forth between the two. I also scan in things that I draw by hand, just to mix it up and add another dimension and a new vibe. I can draw well, but Iâ&#x20AC;&#x2122;m never sure that when I draw things I might mess it up; so I mainly do things digitally. Most of the time â&#x20AC;&#x201C; when I work for Nike, for example â&#x20AC;&#x201C; the client comes to me with a brief. They tell me what they want me to draw and usually give me a sketch of theirs. I then freestyle it in my own style. Typically, what inspires me the most is music. I listen to a lot of rap, hip hop, electro and stuďŹ&#x20AC; like that. When I start working, I put music on and then just let it ďŹ&#x201A;ow and allow the music to dictate the mood of my artworks. So if itâ&#x20AC;&#x2122;s hard hip hop, for example, the work will be kind of grungy and dark, and then you have trippy music, which produces work very much like the Converse mural â&#x20AC;&#x201C; very colourful.

MURAL VIRGIN

BEGINNING WITH COLOUR

BAGGED AND TAGGED

TAKING TIME

I didnâ&#x20AC;&#x2122;t know how to create a mural at all. We worked with a mural agency, and those guys had to teach me how to do it. You have to divide the image into a grid and then size it up. Then you paint that on the wall. We ďŹ rst drew the outlines onto the wall with pencil, which was such a pain. You can barely see what youâ&#x20AC;&#x2122;re doing.

Once the outlines are done, you can put the colour in. You have to start with the colour, and then put the black on aerwards. When you have a bit of colour on the painting you know where everythingâ&#x20AC;&#x2122;s placed â&#x20AC;&#x201C; although youâ&#x20AC;&#x2122;re still confused as the black comes at the end, so the colour still goes a bit beyond the stroke.

Aer three days, some graďŹ&#x192;ti artist tagged his name over the mural. It took us ages to clean it up the next day. We found him on Instagram and sent a note, but he came again and drew an even bigger tag. We said it was a commercial project; we didnâ&#x20AC;&#x2122;t mean disrespect. Later, his friends apologised and he didnâ&#x20AC;&#x2122;t do it again.

I never knew the process of creating a mural was so hard. We were there for seven days; then the weather got so bad that we asked Converse for more time.Westayed$daysintotal andďŹ nisheditin$%Ididnâ&#x20AC;&#x2122;tthinkit wouldcomeouttheway it did. But the ďŹ nal piece looked just like the digital one â&#x20AC;&#x201C; I couldnâ&#x20AC;&#x2122;t believe it.

COMPUTERARTSCREATIVEBLOQCOM -89-


TWININGS TEA: BAGS OF FUN IN A FANTASY WORLD Inspired by the era of multi-plane mastery, animation duo Parabella Studio pushed the possibilities of pixilation â&#x20AC;&#x201C; and tea tag origami â&#x20AC;&#x201C; to conjure a charming ode to Twinings

PROJECT FACTFILE BRIEF Thebriefbyadvertisingagency AMVBBDOchallengedParabella Studiotocreateanadinwhich thecentralcharacterwakesupto amagicalfantasyworldcreated entirelyoutofTwiningsâ&#x20AC;&#x2122;multicolouredteabagtags CREATIVES ParabellaStudio wwwparabellastudioscom Blinkink wwwblinkinkcouk Stripeland wwwstripelandcouk RobHunter wwwrobertfrankhuntercom PROJECT DURATION Fourmonths LIVE DATE February 

THE DESIGN BRIEF Dan Ojari We were approached with a brief by London-based advertising agency AMV BBDO to pitch for a Twinings ad campaign. They wanted a character to wake up to a magical fantasy world that was made entirely out of Twiningsâ&#x20AC;&#x2122; rainbow-coloured tea bag tags. We really like briefs in which you have clear limitations â&#x20AC;&#x201C; it was quite a fun project, since we had to think about how to make all these things out of one element. Initially, it was meant to be a lot more two-dimensional, almost as if it was COMPUTERARTSCREATIVEBLOQCOM -90-

happening on a wall behind the character. But when we got to the test stage, we experimented with it being a bit more three-dimensional. For the pitch, instead of simply talking about how we would create the campaign and showing reference pictures, we produced a test example to show how we could use all these tags to make up a world and a have a person interacting with it. We achieved that in three weeks, and they really liked it.


DIARYË&#x161;3: PA R A B E LLA ST UDI O

DANOJARI COFOUNDER PARABELLASTUDIO Anaward-winninganimationdirectorDan predominatelyusesstop-motionanimation andscalemodelswithinhisworkHeloves totellstoriescratinyworldsandgenerally createthingsthatshouldnâ&#x20AC;&#x2122;tnormallyexist

MIKEYPLEASE COFOUNDER PARABELLASTUDIO AnalumnusofPriorParkCollegeTheRoyal CollegeofArtandtheUniversityoftheArts LondonMikeyhasmadeseveralmusicvideos andshortďŹ lmsâ&#x20AC;&#x201C;includinghisBAFTA-winning RCAgraduationďŹ lmTheEaglemanStag

WORK IN PR0GRESS Dan Ojari

ThroughinitialsketchesParabelladevelopedtheideaofanimmersiveworldmadeofteabagtags

TheďŹ nalmodelsetfeaturedhundredsofwaysofusingteatagstocreatediďŹ&#x20AC;erenttextures

PROBLEM SOLVED MIKEYPLEASE DESCRIBESTHE INSPIRATIONAND RIGGINGUSEDIN THEPROJECT

WetriedďŹ ndingreferenceswithďŹ&#x201A;uent movementsandpixilationbutitwas reallydiďŹ&#x192;culttoďŹ ndanythatdidnâ&#x20AC;&#x2122;t involvepeoplelyingdownontheďŹ&#x201A;oor ActressLydiaLarsonreallygotonboard withtheprojectWedevelopedsome riggingtosupportherbodywhenshe jumpsintheairWheresheâ&#x20AC;&#x2122;satthetop ofaleapsheâ&#x20AC;&#x2122;sholdingherpositionfor fourorďŹ veminutesIâ&#x20AC;&#x2122;veneverseenthe Dperformancerealismthatanimator AndyBiddleandLydiamanagedtoget

COMPUTERARTSCREATIVEBLOQCOM -91-

The initial brief was quite clear, but simplistic. Once we took it on, we pushed it and made it a lot more immersive. We started storyboarding and working with the scripts â&#x20AC;&#x201C; this was an important stage, as we were also looking at music. We wanted the animation to be in sync with a track, almost like it was a musical dance piece that the character was imagining in her head. The starting point was the visual language of multi-plane animation. We liked the idea of using the two-dimensional tea tags and layering them up. As the project progressed however, we began to realise we could make three-dimensional sets, but still keep some of that visual language. We then developed that into quite a detailed animatic, essentially a rough version of the ďŹ lm. Usually this is done through sketches put in a timeline, but we did quite a lot more than that. We worked with fantastic illustrator Rob Hunter. He worked up our sketches and storyboards to create a more reďŹ ned look for this animatic. We also developed a Photoshop â&#x20AC;&#x2DC;tagâ&#x20AC;&#x2122; brush, which managed to create quite good representations of what the ďŹ nal models would look like. Once the animatic was signed oďŹ&#x20AC;, we started working with our art department Stripeland, who created a pre-vis of each shot. But because weâ&#x20AC;&#x2122;re very hands-on in the way we approach our work, we also built white card models of each set, and put a camera in front of those so that we could play around with physical models. We had about 100 diďŹ&#x20AC;erent ways of using the tea tags to make diďŹ&#x20AC;erent textures; for example, we had ďŹ ve or six diďŹ&#x20AC;erent brick textures and loads of diďŹ&#x20AC;erent foliage arrangements. We had samples of all of them and could drop them over the white card models to visualise the eďŹ&#x20AC;ects. We also had to do a lot of technical rigging of some mechanical contraptions to help with scenes, such as the puddle splash.


’Thedreadedshotfour’–themostcomplicatedoftheproduction

Thesequenceofthewallopeningontotheteatagtownhadtobeshotbackwards

The fourth shot in the ad, where the actor pushes the wall and it turns into a little town, took a lot of energy to achieve. It became known as ‘the dreaded shot four’. It was insane trying to figure out the maths behind it. When we did it for real, we shot it backwards. We made the whole town. There were two or three 3D objects on eight different panes, and then we would push them all closer to the camera. And as they push towards the camera, we destroy them and merge them back into the concentric rings. So when you play it forward it looks like the rings are pushed out as they transform. The other key challenge was the pixilation, casting the right character.

“The shot where the actor pushes the wall and it turns into a little town, took a lot of energy to achieve” Somesceneswerecreatedathumanscale

CONCLUSION Dan Ojari The model makers really were the powerhouses of the project. A wall, for example, was made out of 100 tea tags, each individually scored and stuck on. The complexity behind it was incredible. More than 100,000 tea tags were used with 50 different paper folding styles. The crazy thing is, as a lot of the shots pass by, you focus on the character, but every square centimetre of screen you’re looking at, everything in it was an individual tag at some point. It was a great project to work on. It was quite a long project because we spent a lot of time in development, but it was incredible. Theteamhadtoriganumberofmechanical contraptionstohelpincertainshots

LESSONS LEARNED MIKEYPLEASEON WHATTHETWININGS PROJECTTAUGHT THETEAM

PUT THEORY INTO PRACTICE Don’t spend all your time just theorising about what something could look like, just get in there and try it out. For the pitch, we did a test to show the client how the ad would work. You don’t always have the time, but if you do, go for it.

Themodelmakersused differentpaperfoldingstyles

PICK YOUR TEAM WISELY Make sure you set up a really great team. Then a lot of the elements you thought were going to be an issue are solved instantly. Puing care into who will work on a project, and what level of expertise they will bring right from the beginning, is crucial.

COMPUTERARTSCREATIVEBLOQCOM -92-

CULTIVATE A TEAM ETHIC A lot of animators, because of the nature of the form, are far more used to working by themselves or a small group of people. When you’re working with a big team, you have to be organised and ensure everyone is pulling in the right direction.


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NEED TO KNOW WORDS: GaryMarshall ILLUSTRATION: BeccaAllen wwwbeccaallencouk

THEDESIGNERâ&#x20AC;&#x2122;SGUIDE TOSTAYINGHEALTHY How to ensure you have a long, happy and healthy creative career tepawayfromthestylusand getbackfromthatMacbeing adesignercanbehazardousto yourhealth Thejobyoulovecouldbe doingseriousdamagetoyourbody and toyourbrain  SomeofyoualreadyknowthisWe usedsocialmediatoďŹ ndouthowreaders felttheirjobshadaďŹ&#x20AC;ectedtheirhealth

percentreportedbackproblems  percentheadachesandmigraines  percenteyeproblemsand

percent repetitivestraininjuriessuchascarpal tunnelsyndrome  percentreported obesityandpercentcirculation problemsTherewereotherserious issuestoo 0percentofyoureported psychosocialissuessuchasstressand depression percentsleepproblems and0percentrelationshipproblems Sowhatâ&#x20AC;&#x2122;sgoingonâ&#x20AC;&#x201C;andmore importantlywhatcanwedoaboutit?

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DrGailKinmanisprofessorof occupationalhealthpsychologyand directoroftheResearchCentrefor AppliedPsychologyattheUniversity of Bedfordshire sheâ&#x20AC;&#x2122;sstudiedtheeďŹ&#x20AC;ect workhasonourphysicalandmental healthAssheexplainscreativepeople areatriskofcertainconditionsbecause welikewhatwedoâ&#x20AC;&#x153;Itâ&#x20AC;&#x2122;sallaboutjob involvementâ&#x20AC;?shesaysâ&#x20AC;&#x153;Peoplewho do thistypeofworkbreatheitâ&#x20AC;? AsDrKinmanpointsouttheďŹ&#x201A;ow thatcreativesexperienceâ&#x20AC;&#x201C;â&#x20AC;&#x153;whenyou arecompletelyanduerlyabsorbedin whatyouâ&#x20AC;&#x2122;redoingwhenthedemands ofwhatyouâ&#x20AC;&#x2122;redoingareslightlybeyond yourcapabilitiesâ&#x20AC;?isgoodforyourwellbeingbutitcanbebadforyourhealth â&#x20AC;&#x153;Youâ&#x20AC;&#x2122;renotawareoftimepassingyouâ&#x20AC;&#x2122;re notawareyouâ&#x20AC;&#x2122;rehungryyouâ&#x20AC;&#x2122;renot awarethatyouâ&#x20AC;&#x2122;resiingawkwardlyâ&#x20AC;?If youâ&#x20AC;&#x2122;resiingwithpoorpostureandpoor

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ergonomicsforlongperiodsoftimeback painandrepetitivestraininjuriesare likelytosayhellosoonerratherthanlater YoucanwardoďŹ&#x20AC;manyinjurieswith abitofaentionâ&#x20AC;&#x201C;agoodsupportive chairandanergonomicallyarranged deskgoodlightingacomfortable mouseandaposturethatkeepsyou uprightwithyourarmsandlegsatright anglesâ&#x20AC;&#x201C;butoneofthemajorthreatsto designersislackofexerciseIfyouâ&#x20AC;&#x2122;resolo orpartofarelativelysmallteamthen thecombinationoftightdeadlinesand longhourscanmakeitdiďŹ&#x192;culttoďŹ nd thetimeorthemotivationtoeatwell andexerciseregularlyâ&#x20AC;&#x201C;andthatcanbe fatalespeciallyifwhenyougohomeyou relaxinfrontofanotherscreeninstead ofdoingsomethingforyourďŹ tnessThe long-termconsequencesofpoordiet andlackofexerciseincludeobesity typeIIdiabetescirculationproblems


HOW YOUR EMPLOYER SHOULD PROTECT YOU Rememberthatyouhavealegal right toasafeandhealthyworkplace

backandneckproblemsheartdisease and increasedriskofsomecancers Somecreativeshavedecidedthat thebestwaytoaddressthatisto exercisewhiletheyworkoratleastto abandonthechairandworkstanding upProponentsofstandingdesksand treadmilldesksâ&#x20AC;&#x201C;whichareexactlywhat theysoundlike desksaachedtothe kindoftreadmillyouâ&#x20AC;&#x2122;dďŹ ndinagymâ&#x20AC;&#x201C;say theyhelpburncaloriesandhelpyoulive longerbutcriticspointoutthatstanding alldaycancausearterialdiseaseand varicoseveinsandifyourpostureisnâ&#x20AC;&#x2122;t perfecttheycancontributetoback problemsandrepetitivestraininjuries Youâ&#x20AC;&#x2122;rebeeroďŹ&#x20AC;takingregularwalksâ&#x20AC;&#x201C; especiallyiftheyinvolvemeetingupwith peopleâ&#x20AC;&#x153;Iâ&#x20AC;&#x2122;dsaydosomethingphysically diďŹ&#x20AC;erentfrombeingatworkespeciallyif yourplaceofworkisalsoyourplaceof leisureâ&#x20AC;?DrKinmanrecommends

Whiletheâ&#x20AC;&#x2DC;geniusisclosetomadnessâ&#x20AC;&#x2122; clichĂŠhasnowbeencomprehensively debunkedthenatureofcreativework isnâ&#x20AC;&#x2122;talwaysgoodforyourmentalhealth Tightdeadlinestoughrequirements jobinsecurityandthestressandstrains ofgeingpaidcanmakelifemiserable Itâ&#x20AC;&#x2122;sparticularlypronouncedifyouwork fromhomeorremotelywhereyoudonâ&#x20AC;&#x2122;t havetheinteractionsyouâ&#x20AC;&#x2122;dhavewith colleaguesintheoďŹ&#x192;ce â&#x20AC;&#x153;Thereisaveryprominentmodel of jobstressthatisbasedonhigh demandlowcontrolandsocialisolationâ&#x20AC;? DrKinmansaysTogetherthosefactors havebeenlinkedwithseriousillnesses includingcoronaryheartdiseaseand depressionbutyoudonâ&#x20AC;&#x2122;tneedto changeallthreetomakeyourworkless stressfulItâ&#x20AC;&#x2122;sthecombinationofallthree thathurtssoforexampleyoumight bejugglingmajordeadlinesworking

Bylawemployersmustensurethatworkplaces are safe Inlow-riskworkplacessuchasagencies thatâ&#x20AC;&#x2122;slargelyopentointerpretationâ&#x20AC;&#x201C;thelaw saysyouremployermustdowhatâ&#x20AC;&#x2122;sâ&#x20AC;&#x2DC;reasonably practicableâ&#x20AC;&#x2122;toensureemployeesafetyâ&#x20AC;&#x201C;but theHealthandSafetyExecutivesaysthat theemployermustprovidegoodventilation areasonableworkingtemperaturesuitable lighting fortheworkbeingcarriedoutand â&#x20AC;&#x2DC;suitableworkstationsandseatingâ&#x20AC;&#x2122; TherearespeciďŹ cregulationsabouttheuseof computersandtabletsundertheHealthandSafety DisplayScreenEquipment#Regulations

Your employermustassessallworkstationstoensure theymeetthelegalrequirementsplanworkso therearebreaksorchangesofactivityandprovide eyetestingandcorrectiveglassesifnecessaryThe WorkingTimeDirectivelimitstheworkingweekto  hoursbutmanyemployersoptout StressisabitmorecomplicatedWhileonein ďŹ veUKworkershassuďŹ&#x20AC;eredworkplacestress thereisnâ&#x20AC;&#x2122;taspeciďŹ clawtoaddressthatItâ&#x20AC;&#x2122;s coveredunderthebasichealthandsafetyduties whereemployersneedtoensurethehealth safetyandwelfareoftheiremployeesIfyouâ&#x20AC;&#x2122;re suďŹ&#x20AC;eringyouhavetherighttorequestďŹ&#x201A;exible workingalthoughtheemployercanrefuse#and toinvokethecompanyâ&#x20AC;&#x2122;sgrievanceprocessbut legallyyoucanâ&#x20AC;&#x2122;tclaimagainstanemployerunless youcandemonstratethatworkplacestressis solelyresponsibleforaseriousconditionsuch asdepressionthatthestresswasduetoyour employerâ&#x20AC;&#x2122;snegligenceandthatyoumadeyour employerawareofyourworseningcondition

COMPUTERARTSCREATIVEBLOQCOM -95-


BETTER LIVING THROUGH TECH Productsthatpromisetomake yourlifebeerasadesigner GriďŹ&#x192;nElevatorStand Ifyouâ&#x20AC;&#x2122;realaptopuserweâ&#x20AC;&#x2122;dstronglyadviseastand whenyouâ&#x20AC;&#x2122;reintheoďŹ&#x192;ce<itraisesthescreentoa levelthatwonâ&#x20AC;&#x2122;tleaveyouwithasoreneckandhas thehappyside-eďŹ&#x20AC;ectofkeepingyourhardware cooltooTheGriďŹ&#x192;ncostsaround{

â&#x20AC;&#x153;BEING A DESIGNER IS HARDLY ONE OF THE MOST DANGEROUS JOBS, BUT ITâ&#x20AC;&#x2122;S A GOOD IDEA TO LOOK AT WHAT YOU DO, WHEN YOU DO IT AND HOW LONG YOU DO IT FORâ&#x20AC;? allthehoursGodsendsandmissing your friendsorlovedones â&#x20AC;&#x153;Socialsupportisoneofthemost importantfactorsâ&#x20AC;?DrKinmansays â&#x20AC;&#x153;Whatweneedtodoistoreplenish ourselvesandsocialsupportisavery importantpartofthatâ&#x20AC;?Thesupport mightbelisteningtoyouventortaking yourmindoďŹ&#x20AC;thingsorpracticalsupport Allofithelps Canyougetthesamesupportfrom socialmedia?DrKinmanisnâ&#x20AC;&#x2122;tconvinced â&#x20AC;&#x153;Socialsupportforcreativepeople canbestrangeâ&#x20AC;?shelaughsâ&#x20AC;&#x153;Youwant peoplewhenyouneedthembutyou wantthembackintheirboxwhenthey startinterferingwithyourworkSocial mediaisverygoodforthatbecauseyou candothatmanagementButofcourse thatmeansyouwonâ&#x20AC;&#x2122;thavethedeep socialinteractionthatyouneedâ&#x20AC;? AsKinmanpointsoutthereâ&#x20AC;&#x2122;sa diďŹ&#x20AC;erencebetweenseriousstressand depressionandhavingafewbaddaysor

feelingoverwhelmedbyaclientfromhell â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;saboutknowingyourbodyandyour mindandlisteningtothesignalsâ&#x20AC;?she saysâ&#x20AC;&#x153;Depressionandpre-depression canhaveakindofďŹ&#x201A;aeningeďŹ&#x20AC;ect Therearefeelingsoflowself-esteem a lackofenjoymentofeverydayactivitya lackofconcentrationItâ&#x20AC;&#x2122;slikeanarrowing ofyourďŹ eldofvisionSometimesthe peopleclosesttoyouarebeerthan spoingitthanyouareyourselfâ&#x20AC;? Beingadesignerishardlyoneofthe worldâ&#x20AC;&#x2122;smostdangerousjobsbutitâ&#x20AC;&#x2122;sa goodideatolookatwhatyoudowhen youdoitandhowlongyoudoitforto makesurethatyourworkinglifeisnâ&#x20AC;&#x2122;t goingtohurtyourheartoryourhead Inthewordsofrenownedworkplace healthandsafetyexpertIceCube youâ&#x20AC;&#x2122;dbeercheckyourselfbefore you wreckyourself NextmonthEverything you need to

know about accessibility in design COMPUTERARTSCREATIVEBLOQCOM -96-

AppleWatch StilltryingtojustifysplashingoutonAppleâ&#x20AC;&#x2122;s wearable?Itcannagyoutogetupeveryhour tracksthestepsyoutakeandstairsyouclimb and canhelpyousetmonitorandachieveyour ďŹ tnesstargetsPlusitlooksnice Standingdesk Ifyouâ&#x20AC;&#x2122;reconvincedthatastandingdeskisa good ideabutstillliketositfromtimetotime the adjustableRebelDeskrangesupportsarange ofconďŹ gurationsincludingdualmonitorsetups andcanbesetashighoraslowasyoulikeExpect topayaround|

Ifyouâ&#x20AC;&#x2122;renotintheUSIKEA hasalsojoinedthestandingdeskbandwagonIts Bekantrangeraisesfromâ&#x20AC;&#x201C;cmatthetouch of abuonTherangestartsat{risingto { forcornerdesks LogitechWirelessPerformanceMouseMX Logitechâ&#x20AC;&#x2122;sMXmicearewellknownfortheir exceptionallycomfortableshapeandsuperb scroll wheelsTheyarenâ&#x20AC;&#x2122;tcheapâ&#x20AC;&#x201C;atthetime of writingsomeshopswant{-plusâ&#x20AC;&#x201C;butifyou shoparoundyoucanďŹ ndsomeforaround{  HermanMillerMirra Weâ&#x20AC;&#x2122;vebeenusingoneoftheseformorethan adecadeandthoroughlyrecommenditItâ&#x20AC;&#x2122;sa cheaperbutnolesscomfortablechairfromthe makersoftheAeronandwhileitâ&#x20AC;&#x2122;spriceyat around { youâ&#x20AC;&#x2122;llďŹ ndusedandrefurbished ones oneBayforlessthanhalfofthat


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oyouâ&#x20AC;&#x2122;velearnedallaboutdesigning charactersthisissue Myquestionis howhaveyoudevelopedyourown characterinreallife?Doyouevenhaveone? Wellletâ&#x20AC;&#x2122;stestthatbyexploringthetraitof generosity Whenyouâ&#x20AC;&#x2122;reouthavingdinner withfriendsareyoutheonewhowants to splitthebillorthetypewhocalculates exactly whatyouhadandwhohadthat extra glassofwine?Ifitâ&#x20AC;&#x2122;sthelaerand youâ&#x20AC;&#x2122;re notevenpoorshameonyou! Youlackcharacterifyoustarttodivide your lifeandactivitiesaroundacurrencyWhat youâ&#x20AC;&#x2122;redoingisturningfriendshipintocurrency bydiďŹ&#x20AC;erentiatingyourselffromsomeoneelse ThesamegoesforbuyingroundsofbeersJust doitanddonâ&#x20AC;&#x2122;tthinkaboutlosingmoneyAer allattheendoftheyearyouâ&#x20AC;&#x2122;llonlyhavegained orlostabout$Believeinkarmaorsomething similarThemainprincipleofpayingitforward â&#x20AC;&#x201C;moneyahelpinghandorwhateverâ&#x20AC;&#x201C;isthatit alwayspaysitselfbacksomehow Thisbringsustotheissueofgenerosityin thecreativeindustryDonâ&#x20AC;&#x2122;tsitonyourbu andcoveryoursketchbookDonâ&#x20AC;&#x2122;tsitsilent

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inbrainstormingmeetingsShareyourideas conceptsanddesignsThatâ&#x20AC;&#x2122;spreciselyhow you excelDonâ&#x20AC;&#x2122;tturnyourcharacterintoa closedpersonbecauseofsomefearofpeople snaďŹ&#x201E;ingyourworkThatshithappensanyway no maerhowyoudoit SpeakingofsnaďŹ&#x201E;ingweâ&#x20AC;&#x2122;veseenourfairshare Searchonlineforâ&#x20AC;&#x2DC;KingsdayFestivalâ&#x20AC;&#x2122;and compareittoourMalmĂśfestivalen%piece Neverbeforehavesofewchangesbeenmade andallfortheworse2aclearcaseofahighly commercialmusicfestivalbeingâ&#x20AC;&#x2DC;inspiredbyâ&#x20AC;&#x2122; workforatax-ďŹ nancedculturefestival

SNASKOFF!

SnaskiďŹ ed is a recurring column by Snask, the internationally renowned creative agency, that strives to challenge the industry by doing things diďŹ&#x20AC;erently. They worship unconventional ideas, charming smiles and real emotions, and see the old conservative world as extremely tedious and as the worldâ&#x20AC;&#x2122;s biggest enemy.

Fredrik Ă&#x2013;st wwwsnaskcom

OnSaturdayMayweâ&#x20AC;&#x2122;reheadliningOFFF andtheFridaybeforeâ&#x20AC;&#x201C;thedaythisissuegoes onsaleâ&#x20AC;&#x201C;weâ&#x20AC;&#x2122;llbemakingthebestFridayparty youâ&#x20AC;&#x2122;veevervisitedinabreweryinBarcelona inpartnershipwithComputerArtsWeâ&#x20AC;&#x2122;llhave OFFFspeakersbehindthedecksandthesweet boysfromStateInteractivepresenttogiveout freehugsYouâ&#x20AC;&#x2122;llbeabletobuySnaskbeersin milkbolesbythelitreandsomethingtellsme CAwillhavesomegreatsubsoďŹ&#x20AC;erstheretoo

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COMPUTERARTSCREATIVEBLOQCOM -98-

Peoplewhostandupin theplaneassoonasitlandsand tackletheirwaytotheexitjust tomeetupattheluggage collectionNeedless!


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