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a a r d m a n e xc lu s i v e !

b eh i n d t h e s c e n es at t h e i c o n ic stud io

design masterclass



may 2018 £6.99 • US$16.99 printed in the UK

how to craft better branding Define an authentic visual identity using handmade typography

elevate your portfolio with our expert advice

with pro insight from: Pentagra m BMB Johnson Banks Superunion


may 2018

Making the cover The unique nature of our cover feature – expert insights into crafting a killer portfolio from industry experts – was difficult to execute as an instantly readable cover image. So we recruited illustrator Thomas Burden to make an image that communicated the idea of a portfolio, allowing readers to instantly recognise the theme. At first, Thomas experimented with abstract models of 2D icons and some interesting geometric shapes, but in the name of clarity we gradually honed down the essential elements of the piece for a quieter, simpler image that would let the beauty of the render shine. There was some extensive back-and-forth with the ever-patient Thomas as we jiggled with iPad pens and portfolios and debated the merit of plastic cups vs. cups with handles (steam, or no steam?). Our operations editor Rosie then had a light bulb moment — almost literally — when she suggested we render the word ‘transform’ in neon. This provided a welcome flourish of fun, plus a more legible coverline that really stands out on the page. You can check out more of Thomas’ amazing work at

Describing the cover as “a fairly simple piece,” Thomas skipped the sketching stage and built up a rough composition with basic shapes in Cinema 4D. Once we had signed off the composition, he modelled the finer details and added the textures and lighting with V-Ray. The final rendered image was then touched up in Photoshop, with minor lighting and colour adjustments.

Thomas Burden Thomas is fast becoming a CA favourite; he rendered the beautiful neon illustration for Quit Your Job in CA 275. His client list includes The New Yorker, Esquire and Facebook.

PORTFOLIOS 2016 With a quirky cover by London-based illustrator Michael Driver, issue 251 challenged timestrapped readers to put a killer folio together quickly and effectively.

PORTFOLIOS 2017 Last year’s portfolio issue (CA 265) focused on standing out from the crowd. The cover featured a blind emboss, silver foil and soft touch finish. c o mputera rts.creati -3-

PORTFOLIOS 2018 This year’s cover is all about elevating your portfolio, with Thomas Burden’s render taking centre stage. A metallic gold Pantone adds to the elegant feel.


may 2018

Editor’s letter


Authenticity. It’s at the heart of everything we do. And it’s a theme that runs through this issue from start to finish. It’s a key starting point, for example, in Emily Gosling’s article on how to use hand-lettering in branding. She notes how some huge companies have harnessed the handcrafted trend to present themselves as local and artisanal when they’re actually anything but. Yet in practice, consumers are not so easily fooled. Authenticity may not be something you can measure or even consciously identify, but when it’s absent, your work just won’t connect with people in the way you want it to. Emily’s special report is full of insider knowledge about the right way to do it. There are different ways of achieving authenticity, but increasingly we’re seeing studios build it into the design process from the very start. You’ll find a great example on page 82, where Superunion describes how, as The Partners, it took a deep dive into the history of London’s Shakespeare’s Globe theatre. The team then drew heavily on this research to create a new visual identity that roots itself in past and present, in fascinating and unusual ways. Of course, the need for authenticity isn’t just about client work; it applies to your ‘personal brand’ too. For our cover feature on page 42, we spoke to four industry leaders about what they want to see from your design portfolio — and they were all keen to impress on us one thing. Whether you’re a junior, midweight or senior designer, recruiters want to see ‘the real you’ shine through your portfolio; not a fake version you want others to believe in. Their advice on how to achieve this in practice is truly invaluable. Finally, a reminder that our Brand Impact Awards are still open for entries. We’re keen for a diverse range of work to be represented in the Awards, but you’ve got to be in it to win it, as they say. So please submit your best branding now at – good luck!

Katie Cadwallader Katie is a designer at Supple Studio in Bath, and received the Rising Star Award at last year’s Design Week Awards. On page 23, she explains what she’s learned from plunging into cinematic history.

MATTHEW TWEDDLE Matthew is the co-founder and creative director of Manchester branding agency Only. On page 20, he argues that redefining what success means to you is key to a better work-life balance.

EMILY GOSLING Emily is a London-based art and design journalist. She is a senior editor at AIGA’s Eye on Design and editor of Type Notes. On page 58, she explains how to craft an authentic brand using bespoke type.

DAVID BICKNELL David is the co-founder of Brown&co, a ‘new kind of design agency’ launched in 2017. On page 98, he describes how his passion for a 1975 Kawasaki motorcycle has inspired his work in branding.

ANNA HIGGIE An Australian illustrator living in Bristol, Anna regularly illustrates the headshots for the Insight section of this magazine. On page 88, she shares her process for turning photographs into portraits.

TOM MAY Acting editor

Keep in touch with…





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may 2018

Future Publishing Ltd Quay House, The Ambury, Bath,BA1 1UA

Editorial Tom May Acting editor


Computer Arts is available for licensing. Contact the International department to discuss partnership opportunities. Matt Ellis International licensing director

Meet the team tom may acting editor


Tom has been taking the reins of the mag following the departure of long-time editor Nick Carson. Much of his time has been spent dispensing tea, sympathy and copious amounts of Kleenex to his bereft colleagues.

Email: UK order line and enquiries: 0344 848 2852 International: +44 (0) 344 848 2852 Online: Sharon Todd Head of subscriptions

Mark Wynne Art editor Rosie Hilder Operations editor


Tim Mathers Head of newstrade

Gareth Jones Video producer

mark wynne Art editor


Heartbroken at the the departure of his soul-brother/ editor Nick, Mark trawled Shoreditch coffee shops, gently weeping into an endless supply of overpriced cappuccinos as he searched in vain for his lost bud.

Mark Constance Head of production, US/UK Clare Scott Production project manager Joanne Crosby Advertising project manager Jason Hudson Digital editions controller Steve Wright Digital edition coordinator Vivienne Calvert Production manager

Creative Bloq Kerrie Hughes Editor Ruth Hamilton Associate editor


Aaron Asadi Chief Operating Officer Paul Newman Group content director Matthew Pierce Brand director creative and photography Greg Whittaker Head of art and design Dan Jotcham Commercial finance director

Julia Sagar Contributing editor Dom Carter Senior staff writer

rosie hilder operations editor Rosie has also been lamenting the loss of Nick, especially because he used to make her about 100 cups of tea a day. On the plus side, her Earl Grey teabag supply now seems set to last twice as long.

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Amy Hennessey Editor-in-chief Will Shum Senior art editor Dave Harfield Head of editorial operations

Distributed by: Marketforce, 5 Churchill Place, Canary Wharf, London, E14 5HU Tel: 0203 787 9001


The AOP, David Bicknell, Thomas Burden, Katie Cadwallader, Nick Carson, Emily Gosling, Anna Higgie, Tom May, Julia Sagar, Matthew Tweddle All copyrights and trademarks are recognised and respected.


Media packs are available on request.

KEY Contributors

We are committed to only using magazine paper which is derived from responsibly managed, certified forestry and chlorinefree manufacture. The paper in this magazine was sourced and produced from sustainable managed forests, conforming to strict environmental and socioeconomic standards. The manufacturing paper mill holds full FSC (Forest Stewardship Council) certification and accreditation.

Claire Dove Commercial director

Next issue on sale

Mike Pyatt Advertising manager 01225 788204

ISSN 1360-5372

gareth jones video producer Gareth has been busy travelling across the Peak District shooting snow-themed video. He also enjoyed paying Shaun the Sheep a visit over at Aardman Animations in Bristol.

26 April 2018

Chris Mitchell Account director 01225 687832

nick carson

Want to work for Future? Visit

content strategist and copywriter Although he misses the office banter, Nick has been enjoying freelance life, working on some exciting projects with his favourite design agencies. He’s also still heading up CA’s Brand Impact Awards.

DISCLAIMER All contents © 2018 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced 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: 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 of products/ services referred to in this publication. Apps and websites mentioned are not under our control. We are not responsible for their contents or any other changes or updates to them. This magazine is fully independent and not affiliated in any way with the companies mentioned herein.

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ISSUE 27 8 m ay 20 18




 how to balance life and work Only’s Matthew Tweddle explains why he’s redefined success


 design matters What’s the worst portfolio mistake you’ve ever made?


 the magic of movies Supple Studio’s Katie Cadwallader discusses her new film project


 bristol old vic rebrand Three perspectives on Eureka!’s new identity for Bristol Old Vic theatre


Trends How beauty brands are using new technologies to provide bespoke, personalised services


my design space Minnesotan artist and designer Ashley Mary on how her bright modern studio reflects her work


new ventures Three designers explain how they founded new studio Treble after their previous employer closed


 events Julia Sagar is caught up in a drive for change at this year’s Design Indaba in Cape Town


 inspiration feed Tad Carpenter takes us through his Instagram feed




 going for gold Hot new work, including an identity for a speedskating Olympic team

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 VIDEO INSIGHT How Aardman Interactive translates its creative vision into fun projects that people will love


 rebranding the globe The Partners on how it created a new visual and brand identity for Shakespeare’s Globe


 master digital illustration Anna Higgie shares her process for turning photos into portraits


 under the microscope The Beautiful Meme explains how it 3D-printed a microscopic headline for a new science exhibition

c o n te n ts



58 c raft better branding with type

Emily Gosling explains how to define a brand using bespoke lettering

back to basics

42 insider’s guide to portfolios

What are top design execs looking for in a portfolio? Four of the biggest names in the business reveal how you can tweak your portolio to impress them

in conversation with

50 saiman chow

How the Hong Kong born, LA-based creative relies on his gut instincts to create colourful animations and illustrations


why designers need coding In the third of our series on digital skills, we examine how learning basic coding can further your design career



Never miss an issue of Computer Arts. Subscribe today for pro advice and practical insight every month, and save up to 55%! See page 40 for more details

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 photography meets design Our AOP series continues with a look at licensing, usage and contracts


 design inspiration David Bicknell reveals his obsession with an iconic 1970s motorbike

may 2018







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


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t r e nds

may 2018


THE Beauty REVOLUTION From skin analysis to haircare, beauty brands are using new technologies to provide a bespoke, personalised service for customers uying the right beauty products has traditionally required a lot of time and effort; for example, painstakingly trying out lots of different foundations to find the one that best matches your skin tone. Even then, consumers are not always happy. According to a 2016 study by Olay, for instance, 28% of women in the UK are confused about which skincare products to buy. But now that's all changing. The beauty industry is developing technology and apps that will help consumers find the right products to match their needs, quickly and effortlessly. Take HelloAVA, a beauty personalisation chatbot that's been created in collaboration with dermatologists. It asks you a series of questions to determine your skin type, then analyses the answers in order to give product recommendations. Or there's the MiLi Moisture Meter by Mili and H2O+ Beauty. This physical device measures your skin moisture levels and tracks their results daily via an app. As your levels rise or fall, you can adapt your daily moisturising regime to suit accordingly. An even simpler solution lies in the HiMirror, a ’smart mirror’ that you just have to look into to get an in-depth analysis of your complexion, including wrinkles, fine lines, complexion, dark circles, dark spots, red spots, and pores, and an effective care plan based on the results. And this tech personalisation trend is not just about skincare products. Similar advances are emerging in other areas of the beauty industry, such as hair care. The Kérastase Hair Coach, to take one example, claims to be the world’s first smart hairbrush. It was developed in collaboration with L’Oréal’s research and innovation technology incubator, and aims to help you improve your hair care routine over time. Sensors on the smart hairbrush feed data about frizziness, dryness, split ends and breakage, as well as brushing patterns, pressure applied and brush stroke counts to an app, which also assesses external factors such as humidity, temperature, sunlight and wind. Based on all this data, users are then given a personalised hair 'diagnosis' consisting of advice and product recommendations. Today’s consumers are increasingly looking for personalised services that are able to evolve in real time with their needs. By harnessing the latest technologies and enabling people to carry out analysis at home, beauty brands are effectively responding to this desire.


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may 2018

MiLi Moisture Meter by Mili and H2O+ Beauty

FranklinTill Studio Design Futures / Material Futures / Colour Futures KĂŠrastase Hair Coach


FranklinTill Studio is a forecasting agency and creative consultancy that works with lifestyle brands across the disciplinary spectrum to provide research-based insights that drive creative innovations in materials, colour and design. It creates reports, publications, exhibitions and events with the aim of making its research both accessible and inspiring. It also edits and produces two magazines, published by View Publications, which you can buy from Viewpoint Design Viewpoint delivers visual, editorial and statistical information to brands, designers, agencies and consumer insight teams determined to create lifestyle products, campaigns and environments that anticipate consumer demand. Written by professionals in the branding and design business, each issue explores how a significant trend will impact consumer behaviour and the global design landscape. Viewpoint Colour Launched December 2016, Viewpoint Colour offers visual inspiration, design direction and a global perspective on colour. The inaugural issue provides an in-depth analysis of the personality traits of emerging colour stories, explaining why they are relevant now and how they are currently being applied. c o mputera rts.creati - 12 -


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Computer Arts 278 (Sampler)  

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