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subscribe to Computer arts today – PAGE 42



ISSUE 256 AUGUST 2016 Digital Edition printed in the UK

Adrian Shaughnessy gives industry newcomers a reality check


Revealed: 2016’s brightest new stars of design SHARPEN YOUR TYPE SKILLS

Master the typographic fundamentals with the ISTD’s four-part guide


Should you relocate, re-skill or just sell yourself harder? Find out inside



Making the cover


For the last three years, Computer Arts has run a contest in partnership with D&AD New Blood for students and recent graduates to design the cover of our New Talent special. For this year’s brief, our finishing partner Celloglas offered up an extra-special finish for the entrants to get creative with: pearlescent varnish. The winning design came from University of Leeds graduate Krystina Chapman, who employed a two-level metaphor in her design, which depicts the main coverline as a constellation in the night sky. “This not only refers to the obvious suggested theme of ‘rising stars’, but also alludes to the phrase ‘written in the stars’ – as if the new bloods’ passion for design is in their destiny,” explains Chapman. The cover has a blue pearlescent varnish applied over the sky, and the stars are blocked with a diffuser foil. Watch the full making-of video, plus several of our other special covers being finished, at

KRYSTINA CHAPMAN Krystina is a graphic designer and recent graduate from the University of Leeds, where she studied Graphic & Communication Design. She has a curious love of toadstools, although the link is purely for portfolio purposes!

2014 WINNER Our first winner, Falmouth Uni graduate Paddy O’Hara, had his ‘lemonade among lemons’ concept brought to life with a zesty ‘fragrance burst’ finish.

2015 WINNER The following year, Julia Frances – a second-year at Glasgow Clyde College – created a ‘talent terrarium’ that shone under a transparent glitter foil. c o mputera rts.creati -4-

2016 WINNER You’re holding this year’s winning entry in your hands. Krystina Chapman’s cosmic creation has a blue pearlescent varnish sky, and diffuser foil stars.


august 2016


Editor’s letter Graduate show season is over for another year, and it’s been an extremely hectic, but inspiring, month here at Computer Arts. We’ve also been busy with our friends at D&AD New Blood, both judging the best of show and also presenting our curated highlights of the best motion and animation work at the festival. You’ll find some of our top picks from there, and around the country, in our special report – starting on page 50. This year’s Brand Impact Awards also came to a head, with over 160 entries from all over the world. The shortlist is chosen, and the winning and highly commended projects will be revealed in September – but until then, you can garner some valuable insights from the judging panel in our BIA video special on page 76. You may also notice a few changes in the magazine this month. There are couple of new features, some existing features have been enhanced and expanded, and some are just cleaner, fresher and easier to read. We hope you like it, and would love to hear your feedback. Next month, you’ll find an in-depth guide to how to deal with nightmare clients, courtesy of the good people at Clients From Hell – plus a useful buyer’s guide for anyone starting or expanding a design studio. Unmissable. nick carson Editor

The winner of our New Talent cover competition, Krystina is a recent graduate from the University of Leeds, where she studied graphic and communication design. Passionate about print and illustration, she particularly likes exploring the contrast between digital and handmade media.

Jonathan Doney FISTD An award winning typographer and educator, Jonathan is Chair of the International Society of Typographic Designers. Starting on page 68, he takes you through the elements of typography in the first instalment of our Back to Basics series.

Tony Brook Tony is the creative director of awardwinning multi-disciplinary design studio Spin, and co-founder of United Editions with Adrian Shaughnessy. On page 98, he reflects on the aesthetics of invitations, and how the right design can save an invite from the waste bin.

Rose Scanlon-Jones Rose is a recent graduate from Norwich University of the Arts. She posts and curates social media channels for SheSays, an organisation that runs free mentorship and events to women in the creative industry – and reflects on the latest industry salary report on page 44.

Lisa HasselL Lisa is the director of Inkygoodness, a platform for new talent to showcase work alongside established artists. On page 24, she talks about how her decision to organise creative meetup Glug in Birmingham made her more engaged with the local creative community.

Keep in touch with…



/computerarts c o mputera rts.creati -4-

meet t h e t e am

august 2016

Colophon Editorial

Meet the team

Nick Carson Editor Jo Gulliver Art editor Tim Hardwick Acting operations editor Peter Gray Video producer

Creative Bloq


Tony Brook, Tom Dennis, Jonathan Doney, FranklinTill, Krystina Chapman, Nicky Gotobed, Lisa Hassell, Nicholas Little, Freddie Öst, Louise Pomeroy, Dave Sedgwick, Adrian Shaughnessy, Anne Wollenberg Future Publishing Ltd, Quay House, The Ambury, Bath,BA1 1UA +44 (0) 1225 442 244

Art editor In a month powered mostly by music and gin, Jo took in gigs by Sigur Rós and Rudimental. She also quickly regretted her choice of shoes for D&AD New Blood, having developed blisters before 9am.


Charlotte Lloyd-Williams Campaign manager


jo gulliver

Printing: William Gibbons & Sons Ltd Finishing partner: Celloglas Distribution: Seymour Distribution, 2 East Poultry Avenue, London EC1A 9PT. Tel: 0207 429 4000 Overseas distribution: Seymour International

Craig Stewart Managing editor

Dom Carter Staff writer

Nick has had a busy month. As well as judging and presenting at D&AD New Blood, he’s also toured the London graduate shows, chaired the Brand Impact Awards, and finally completed on his house sale!

Vivienne Calvert Production controller Mark Constance Production manager

Juliette Winyard Trade marketing manager: 07551 150 984

Kerrie Hughes Content manager


Chris Mitchell Matt Bailey George Lucas Account directors

Dan Oliver Global editor-in-chief


Nick Carson


Sasha Mcgregor Ad manager


UK readers: 0844 848 2852 Overseas readers: +44 (0)1604 251045 Online enquiries:

Contributors peter gray video producer


After filming some gems of wisdom from the esteemed Brand Impact Award judges in London (page 76), Peter was off to Celloglas in Leicester to meet our New Talent cover contest winner, and see her design getting a special print finish.

Matt Ellis Senior licensing and syndication manager Tel: +44 (0)1225 442244 Fax: +44 (0)1225 732275


Nial Ferguson Content director, Media Joe McEvoy Managing director, Magazines Matt Pierce Head of content & marketing, Photography, Creative & Design, Games Rodney Dive Group art director, Photography, Creative & Design, Games

julia sagar contributor-at-large Amsterdam was the first stop in Julia’s new career as a professional roamer (freelance design writer). She was blown away by the speakers she saw at What Design Can Do – if anyone wants a ‘design for good’ story covered, get in touch @JuliaSagar.

Next issue on sale 19 August 2016

Want to work for Future? Visit

tim hardwick acting operations editor

Future is an award-winning international media group and leading digital business. We reach more than 49 million international consumers a month and create world-class content and advertising solutions for passionate consumers online, on tablet and smartphone, and in print.

Former CA operations editor Tim returned to help out with subbing duties during a hectic few weeks for the team. He’ll be replaced next month by CA’s newest recruit, operations editor Rosie Hilder.

Chief executive Zillah Byng-Thorne Non-executive chairman Peter Allen Chief financial officer Penny Ladkin-Brand Tel +44 (0)207 042 4000 (London) Tel +44 (0)1225 442 244 (Bath)

Future plc is a public company quotes on the London Stock Exchange (symbol: FUTR).

All contents copyright © 2016 Future Publishing Limited or published under licence. All  rights reserved. No part of this magazine may be reproduced, stored, transmitted or used in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price and other details of products or services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any changes or updates to them. If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.

Production notes printers


Silver diffuser foil and iriodin 221 rutile fine blue pearlescent varnish by

t ypefaces

text and cover CMYK by William Gibbons We are committed to only using magazine paper which is derived from well managed, certified forestry and chlorine-free manufacture. Future Publishing and its paper suppliers have been independently certified in accordance with the rules of the FSC (Forest Stewardship Council).

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cover Precision Special Gloss FSC 250gsm P3–74: Ultra Mag Plus Gloss 90gsm P75–98: GraphoInvent 70gsm Trump Gothic West, Akkurat, Simplo, Kondola and Calluna


ISSUE 256 augus t 20 16




Trends: The fictional brand movement emerging in fashion design, plus the growing trend for neon green and iridescent finishes


my design space: We take a wander around MOO’s distinctive new Farringdon offices, featuring a 60-metre-long ceiling paper installation


 new ventures: Alex Haigh reveals how personal experimentation with type led him to create a new kind of online font foundry


 E vents: Julia Sagar reports from What Design Can Do in Amsterdam



 five design truths: Adrian Shaughnessy reveals what new graduates need to know about the modern design industry


record results: Design agency Music explains how it created a flexible new identity for Universal Music Catalogue


design matters: With fewer entry-level roles than ever in the industry, what skills will make graduates stand out?


s  unshine state: How illustrator Josh McKenna used giant layered postcards to decorate Debenhams Oxford Street’s window display


the art of networking: Lisa Hassell explains why engaging with the local creative community can bring much more than new clients


p  laying with light: Found Studio combines live-action filming and holographic projection to create a stunning promo film for Fujitsu


rebrand FOCUS: In a new feature slot for our Insight section, creatives offer contrasting opinions of North’s rebrand of the Tate

Video Insight




 SnaskIfied: Snask explains why being dirty gets you ahead in the creative industry


Design icon: Spin creative director Tony Brook describes how the design of an invite can save it from the waste bin

c o mputera rts.creati -8-

 world class branding: Six members of the Brand Impact Awards judging panel discuss what defines great branding in the modern marketplace

c o n te n ts

Special Report

Industry Issues

44 evolve and thrive

 We delve into Creativepool’s annual industry salary report and find some surprising results, and explore how designers can take advantage of the latest market trends

back to basics


 As graduate show season draws to a close for another year, we present our edited highlights of the best design, illustration and motion graduates from across the UK



 under the same sun OK-RM’s striking graphic identity for a Latin American art exhibition at the South London Gallery

SUBSCRIBE AND SAVE UP TO 54% Three great ways to subscribe to the world’s best design mag! PRINT • DIGITAL • OR BOTH – see page 42 for great offers Or join Computer Arts Pro – see page 73 for details

c o mputera rts.creati -9-

68 typography focus

 In this new series, award winning typographer and chair of ISTD Jonathan Doney explores the aesthetic dimension of type to see how it serves and enhances design

PLUS! Save an incredible 15% on Adobe Creative Cloud when you subscribe today!






Each month, our Trends section is curated by experienced creative consultancy FranklinTill


Fictional Brands As corporations appropriate culture, culture makers are appropriating corporations

ajor corporations have inundated today’s youth with branded messaging, logos, colour palettes and heritage stories since they were born. Most young people would admit that branded narratives shape their own identities. It should come as no surprise then that a visual counter-culture is emerging that turns our relationship with brands on its head. Young artists and designers are satirizing and appropriating the language of marketing for their own use by creating fictional brands that tease out the inauthenticity of branded imagery. Repurposed stock photos, product renderings and drop shadows are among the visual tropes that connote corporate branding. Wellness, a Madrid-based fashion brand, has championed the fictional brand movement, launching an alternative look-book disguised as a campaign for Dubai+ fitness water. Though Dubai+ is a fictional product, the campaign for it spans an entire website with slogans like ‘Ready 2 Work Out’, while models wearing pieces from Wellness’ actual clothing line gulp Dubai+. Dubai Water by Wellness:


august 2016 TR EN DS : S till f res h

NEON GREEN lat colour used together with typography in a monochrome palette has been one of the biggest trends in graphic design. Keeping this trend fresh is the introduction of eye-catching blocks of neon in a bid to stand out from more muted colour palettes. This clean, colourful look is characterised by slabs of neon green combined with oversized typography and areas of white space.


Bond Agency: Design for book about renowned furniture designer Eero Aarnio (

Ramin Nasibov: Branding for VR company Reality Lab (

Studio Marcus Kraft: Identity for interior and product design company studio Gessaga (


IRIDESCENT FINISHES esigners are playing with the interplay between colour, light and materials to give the impression of movement and depth on flat surfaces. By using surfaces treated with holographic foils, pearlescent papers and soft gradients of colour, light appears to dance across surfaces and colours metamorphose before the eye in mesmerizing patterns of metalised candy shades.


Michael Thorsby: Branding for Mumbai fashion store Bombay Electric (

Studio South: Visual identity for graphic design agency Studio South (

Believe In: Product range identity for global door-sealing system manufacturer Lorient (

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Computer Arts 256 (Sampler)