__MAIN_TEXT__
feature-image

Page 1

sAVE 20% oN adobe software! subscribe to Ca today – see PAGE 38

FLOURISH AS AN

ISSUE 258 OCTOBER 2016 £6 • US$16.99 printed in the UK

ILLUSTRATOR

Pro advice to navigate your way to illustration success

best BRANDING The world’s

2016’s Brand Impact Award winners share the secrets of their success Featuring

Hulse & Durrell johnson banks NB North Purpose SB SomeOne The Partners Turner Duckworth And many more world-class studios...

improve your tYPOGRAPhy

Part three of our exclusive ISTD series reveals how to master US$16.99 tracking, kerning and spacing PRINTED IN THE UK


a b o u t t h e c ov e r

OCTOBER 2016

Now in their third year, Computer Arts’ very own Brand Impact Awards celebrate the very best branding from around the world. This issue’s cover feature reveals the winning and highly commended projects, and the secrets of their success. The four projects featured on the cover are all winners this year, and represent a broad range of different clients and market sectors – the common factor being, of course, that they are all world-class pieces of branding craft. Dear World... Yours, Cambridge (01) was victorious in the Education category, while SomeOne’s rebrand for skincare specialist D.Thomas (02) triumphed in Professional Services. In Culture, SB’s work for The Brutalist Playground (03) was praised by the judges, and North’s much-discussed rebrand of Co-op (04) picked up a coveted trophy in Retail. Full coverage of all the winners starts on page 47. Computer Arts regularly experiments with special finishes, with past covers featuring ‘scratch and sniff’ lemons, heat- and light-reactive ink, pearlescent varnish, transparent glitter foil and more. To see a selection of videos about these innovative treatments being applied at our print finishing partner Celloglas, visit www.bit.ly/ca-printfinishes

01

02

03

04 c o mputera rts.creati vebloq.com -3-


W EL C OM E

october 2016

Featuring

Editor’s letter

bruce duckworth

How do you measure your success as a designer? There’s no set answer to this, although the feeling of delivering a project that exceeds all expectations and delights both the client and its target audience speaks for itself. For some, surviving and thriving through tough times and growing a business in the face of adversity might be the ultimate achievement, or if you’re a freelancer, balancing a steady cash flow with work you love is no mean feat. But for many studios, design awards are one of the best benchmarks to put a stamp of approval on a strong year’s work. In 2016, our very own Brand Impact Awards enters its third year and the core of this issue is dedicated to the projects that rose to the surface. It all starts on page 47, where we explore all the shortlisted, winning and highly commended projects. Elsewhere, we pay a visit to johnson banks, one of the most consistently successful agencies at the BIAs – and this year’s best of show – to explore the exhaustively thorough (and self-confessedly “ferocious”) creative process that produces such compelling work time and time again. The highlights from our video interviews start on page 76. Of course, some of the best-respected agencies choose not to enter awards on principle. Next month, we present another way to measure success, as the results of our thirdannual UK Studio Rankings are revealed. Following an extensive nationwide survey of 75 creative directors, our top 30 list is entirely based on peer reputation. It makes for an essential guide to the very best companies in the country, and as ever makes for an unmissable issue. See you then! nick carson Editor nick.carson@futurenet.com

tony pritchard Tony is a member of the ISTD and is course leader of the postgraduate certificate and diploma Design for Visual Communication courses at London College of Communications. He shares his wisdom on spacing in part three of our typography series on page 70. www.arts.ac.uk/lcc

sara Barnes Sara is a freelance writer specialising in arts, crafts and DIY. She has an MFA in Illustration Practice and documents the latest and greatest in the field via her blog. On page 40, Sara discovers how to succeed in illustration at ICON9. www.brwnpaperbag.com

lee young Lee is a digital designer, developer and producer currently based in Auckland, New Zealand. In his column on page 24, he explains why he thinks young creatives should follow his lead and up sticks and move abroad. www.leeyoung.co.nz

michael boswell

Keep in touch with…

@computerarts

Bruce is founder and joint creative director of Turner Duckworth. As of 22 September, he is the new president of D&AD, and on page 18, he shares the story of how design has moved up the agenda, and why he thinks now is a great time to be a designer. www.turnerduckworth.com

/computerarts

/computerarts

c o mputera rts.creati vebloq.com -4-

Michael is an artist and designer currently living in Brooklyn, New York. He explains how he created a geographic-inspired identity for electronic musician Bonobo’s new Outlier project on page 82. www.michael-boswell.com


meet t h e t e am

october 2016

Colophon Editorial

Nick Carson

Advertising

Nick Carson Editor nick.carson@futurenet.com Jo Gulliver Art editor jo.gulliver@futurenet.com Rosie Hilder Operations editor rosie.hilder@futurenet.com Peter Gray and Gareth Jones Video producers peter.gray@futurenet.com gareth.jones@futurenet.com

Creative Bloq

Sasha Mcgregor Ad manager sasha.mcgregor@futurenet.com

editor After an enjoyable afternoon at johnson banks, Nick spent a long weekend camping in Cornwall to eke the last out of the summer sun. He also took his final British Sign Language exams, results pending.

Chris Mitchell chris.mitchell@futurenet.com Matt Bailey matt.bailey@futurenet.com George Lucas george.lucas@futurenet.com Account directors

Production & DISTRIBUTION

Vivienne Calvert Production controller Mark Constance Production 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

Art editor As well as finally finishing decorating her bedroom, Jo also went to Rotterdam, watched Baz Luhrmann’s Romeo + Juliet at an outdoor cinema and saw The Rolling Stones exhibition in London.

Circulation

Dan Oliver Global editor-in-chief dan.oliver@futurenet.com Craig Stewart Managing editor craig.stewart@futurenet.com Kerrie Hughes Content manager kerrie.hughes@futurenet.com Dom Carter Staff writer dominic.carter@futurenet.com

Contributors

Sara Barnes, Andrew Cottle, Bruce Duckworth, Ian Evenden, FranklinTill, Freddie Öst, Louise Pomeroy, Tony Pritchard, Laura Snoad, Kai Wood, Lee Young

Contact

Meet the team

Future Publishing Ltd, Quay House, The Ambury, Bath,BA1 1UA +44 (0) 1225 442 244 hello@computerarts.co.uk computerarts.creativebloq.com

Juliette Winyard Trade marketing manager: 07551 150 984

SUBSCRIPTIONS

Charlotte Lloyd-Williams Campaign manager charlotte.lloyd-williams@futurenet.com

rosie hilder operations editor

UK readers: 0844 848 2852 Overseas readers: +44 (0)1604 251045 Online enquiries: www.myfavouritemagazines.co.uk computerarts@myfavouritemagazines.co.uk

This month, Rosie has entertained an almost constant stream of visitors. She’s now gearing herself up for the next set of guests, her boyfriend’s mother and brother, who are visiting from Argentina.

Licensing

Matt Ellis Head of International Licensing matt.ellis@futurenet.com Tel: +44 (0)1225 442244 Fax: +44 (0)1225 732275

MANAGEMENT

Joe McEvoy Managing director, Magazines Matt Pierce Head of content & marketing, Photography, Creative & Design and Games Rodney Dive Group art director, Photography, Creative & Design and Games Sascha Kimmel Marketing director

Contributors peter gray video producer

Next issue on sale

Pete took his family on holiday to Cornwall this month, so while Gareth Jones was filming at johnson banks, he was cycling on the Camel Trail. He arrived back to work just in time for the edit.

14 October 2016

Want to work for Future? Visit www.futurenet.com/jobs

andrew cottle

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.

freelance art editor Andrew has enjoyed being taught full-contact trampoline by his godson, somehow missing out on the synchro garden Olympic gold. He has also been delving into the family history with Mr C senior.

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). www.futureplc.com

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

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).

text and cover CMYK, plus pantone 877 metallic silver and 185 red by William Gibbons PRINT FINISHING PARTNER

com putera rts.creati vebloq.com -6-

paper

cover Precision Special Gloss FSC 250gsm P3–74: Ultra Mag Plus Gloss 90gsm P75–98: GraphoInvent 70gsm

t ypefaces

Trump Gothic West, Akkurat, Simplo, Kondola and Calluna


Contents

ISSUE 258 Oc t ober 20 16

Culture

Insight

18

10

Trends The potential of human hair as a design resource is tapped, along with primary colours and strong diagonals

14

my design space We take a look at the bold and bright Montreal space of graffiti-inspired design duo Scien and Klor, aka 123KLAN

15

new ventures Gavin Strange opens up about the shop he now runs with his jewellery designer wife

16

Designed for life Pantone’s new app puts a river of colours at your fingertips, enabling a whole spectrum of colour play

Projects

 why design is important Incoming D&AD president Bruce Duckworth talks about design’s journey to the top of the agenda

20

 Design matters How do you judge your success as a designer?

22

 Rebrand focus A trio of perspectives on the recent rebranding of Subway

24

 why you should fly the nest Digital designer Lee Young tells us how now is the perfect time to try working abroad

 snaskified Snask gives advice on how to get ahead as an illustrator

98

 design icon Non-Format’s Jon Forss fondly recalls his family car from the 70s

 Outlier identity Michael Boswell explains how he created an identity reflecting the experimental nature of Outlier, Bonobo’s latest project

89

 Animate in After Effects Sara Barnes shares tips from Richard Borge’s icoN9 workshop, where she learned to animate in AE

92

 INKS pINball app State of Play’s new app with an artistic twist sees players create unique splat art while playing pinball

Video Insight

76

REGUL ARS

96

82

c o mputera rts.creati vebloq.com -8-

 johnson banks We visit this year’s Brand Impact Awards best of show winner to discuss the power of copywriting, and why it pays to take your time in design


c o n te n ts

Industry Issues

Special Report

40 Illustration secrets  A career in illustration isn’t just about drawing. Sara Barnes talks to industry professionals about the secrets to freelance success

back to basics

47 Brand impact awardS

 he world’s best branding is revealed as the winners of Computer Arts’ very T own Brand Impact Awards share insights into their working processes

Showcase

A Series of Visual Conversations 12 December 2012 10:00 – 18:00

26

 the best new design work This month’s showcase includes Anagrama’s rebranding of a beauty supply company, and illustrative musings on the fear of flying

SUBSCRIBE AND SAVE UP TO 47% Three great ways to subscribe to the world’s best design mag! PRINT • DIGITAL • OR BOTH – see page 38 for great offers Or join Computer Arts Pro – see page 88 for details

c o mputera rts.creati vebloq.com -9-

Main Lecture Theatre London College of Communication

Hong Chong Ip Chao Sioleong Helmut Schmid Kenya Hara Phillipe Apeloig April Greiman David McCandless Edward Tufte

70 typography focus To book email: t.pritchard@lcc.arts.ac.uk

 Tony Pritchard from the London College of Communication shares his advice on tracking and kerning

PLUS! Save an incredible 20% on the Adobe CC Photography Pack when you subscribe


CULTURE

TR EN DS : Em er g i n g

hair raising:

Trends

While the world's finite resources rapidly dwindle, designers look to the ultimate renewable material

People Events

arth Overshoot Day – the date when humanity exhausted nature’s 'budget' for the year – fell on 8 August this year. As the Earth’s finite resources continue to deplete, designers are increasingly turning to the abundance of waste materials in order to reinvent them, creating new precious artefacts and useful products. One such waste material proving to be an extraordinary resource is human hair. With the population expected to exceed nine billion by 2050, hair is one of the few materials that is increasing globally. Hair Highway by Studio Swine explores hair as a natural composite. By combining hair with natural resin, Studio Swine has created beautiful solid surfaces with an aesthetic evoking tortoiseshell palettes and a grain resembling exotic hardwoods. Growing at a rate sixteen times faster than the trees used for tropical hardwood, which can take up to 300 years to reach maturity, Asian hair generates the fastest. And with the planet’s natural resources diminished by relentless deforestation, hair holds the potential to

E

become a sustainable alternative to the paper and hardwood industries. It's no longer being used in design simply for its shock factor, either. Not only are the traditional aesthetics of hair being challenged to create new solid surfaces, patterns and textiles, designers are also harnessing the potential of its tensile strength, lightweight and recyclable qualities to produce innovative and useful products. Hair has also been used as a visual tool to create type. In Hair Typography by Monique Goossens, for instance, characters are formed using hair's natural curl and springiness. The New Age of Trichology by Material Futures graduate Sanne Visser (featured here) explores the potential of human hair as a design resource, utilising the inherent properties of the material to create an array of utilitarian products such as rope, bungee cord and netting. By using hair instead of more traditional non-renewable materials, Visser relieves the pressure on the world's finite resources and reduces the levels of harmful waste entering the environment. www.sannevisser.com

INSPIRATION Each month, our Trends section is curated by experienced creative consultancy FranklinTill www.franklintill.com


cu lt u r e

october 2016

TREN DS : st i ll f res h

Primary PALETTES se of colour in packaging and branding has been widely simplified to the most basic colours on the colour wheel – red, yellow and blue. Primary colours have long been used to attract attention and create impact, and as they are traditionally used in children’s toys, these colours create a sense of play, familiarity and honesty.

U

Cannes Lion Survival Kit by Phoenix (www.phoenix.cool/project-cannes-lions)

Hernesaaren Ranta by Werklig (www.werklig.com/solutions/hernesaaren-ranta)

Mercht branding by Robot Food (www.robot-food.com/work/mercht)

TRE N D S: M A IN STRE A M

Diagonal DIVIDES he use of diagonal colour in packaging, styling and still life photography brings a fresh, bold and clean aesthetic to graphic communication. The kinetic energy and apparent movement of a diagonal divide creates a sense of action and excitement, and gives brands a dynamic and modern look and feel.

T

Elements branding by dn&co (www.dnco.com)

Amperian branding by Büro Ufho (www.ufho.com/work#/amperian)

Timeless graphic design and branding by Laura Gordon (www.time-less.org)

c o mputera rts.creati vebloq.com - 12 -


Profile for Future PLC

Computer Arts 258 (Sampler)  

You can subscribe to this magazine @ www.myfavouritemagazines.co.uk

Computer Arts 258 (Sampler)  

You can subscribe to this magazine @ www.myfavouritemagazines.co.uk

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded