ISSUE 286 december 2018 ÂŁ6.99 â€˘ US$16.99 printed in the UK
Ok not ok why we need to talk about mental health yuko shimizu The magic and horror of being a creative brewdog branding: making a legendary linocut
Under the surface of logo craft How to stand out in a shapeshifting, multiplatform age
C O V E R A RTI S T
Making the cover This issue’s cover enjoyed a particularly involved and lengthy gestation period, ironically matching its own ‘shapeshifting’ coverline. We knew straight away that we wanted something that suggested metamorphosis – the process of logos changing rather than any final result – and we found inspiration in the iconic Unknown Pleasures album sleeve by Peter Saville and a beautiful poster by Studio Mut (Effect and Affect: Architecture and The Digital Sublime) that depicted a wonderful, rippling metal wave. We wanted to combine the scientific mystery of the Joy Division sleeve with the mysterious fluidity of the Studio Mut poster: an elaborate process that belied a ‘less is more’, minimalist black disc with bold functional text in full view. Whatever strange hybrid was in our head, we needed a 3D artist to weave together our disparate strands of DNA, and since we were intrigued by where the creative process might lead us, we asked Future’s resident 3D supremo, Dan Pearce, to magic up something. “Thinking of an approach that would allow for creative control of over 600,000 individual particles was key,” Dan explains. “It took some head scratching, but Element 3D for After Effects proved to be the best solution. The form was created in Autodesk 3ds Max with a modified space-warped plane, then tessellated several times to the desired density of vertices. Using this plane as a particle generator, a small 3D rectangle was assigned to each vert, creating the surface on which to project the logo. After some lighting, masking and various other manipulation the final image took shape.” Dan ran through a lot of variations, altering light source, texture, scales and distortions, before a radical last minute departure – shifting from Joy Division black to a bright white version that we felt would stand out better on newsstand. Post-render, we took Dan’s already warped graphic and distorted it in Photoshop to give us an exaggerated shape, then pulled back a little from the image, and finally played with coverline composition and Pantone colours to emphasise the non-symmetrical design.
daniel pearce Dan’s been designing, animating and pretty much everything in between for nearly two decades. Quality, attention to detail and pushing his skills as far as possible has allowed him to work with all manner of cool clients including Intel, EE and Samsung. c o mputera rts.creati vebloq.com -3-
Top and top right: The 2D template (inspired by Peter Saville’s Unknown Pleasures cover design) that we gave Dan to transform into three dimensions. Left: Wonderful 3D viruses twisted and turned, making fascinating shapes but constantly challenging the legibility of the LOGO typography. Above: The white version of the cover render took us further away from our starting point but it felt right.
W EL C OM E
I’m typing this up on the train back to Bristol, after hearing the magazine design genius Matt Willey talk about his work at the latest London TypoCircle event. It was incredible, and even though we’re down to the wire with this issue’s print deadline (that is, tonight), I’ve got a replenished belly full of fire to carry on making Computer Arts the best mag it can be. I’m excited about its future, so stick around! But as great as it was to hear Matt, I felt there was something missing. I was waiting to hear about the times that he couldn’t create a masterwork in an evening (he really can, it’s silly); the times he couldn’t stop questioning his own integrity; the dark times that no one can control. That’s no judgement on Matt, of course: he’s a genius, a lovely guy, and it was a great talk. But having pored over Tom May’s incredibly revealing feature on mental health in the creative industry, over on page 64, I can’t shake the feeling that so much goes unsaid. It seems so many people in design are striving for perfection, trying to be the best they can, while also trying to manage self-doubt, anxiety and stress. Obviously, if this doesn’t describe you, that’s fantastic. But I think there are many that will relate. Anyway, it got me thinking – this industry is filled with generous and supportive people, but we’re often our own worst enemies. With all the expectations and stress we pile on ourselves, it’s essential we step back, and give ourselves a break from time to time. Being the best creative you can be means you must also take care of yourself so you can enjoy what you do. Perfection can wait. Beren Neale Editor firstname.lastname@example.org
Andy Culbert Over on page 24, MERó partner Andy Culbert explores how designers should cater to the needs and habits of Gen Z, referencing recent in-depth research. www.worksbymero.com
James Sommerville James Sommerville, former VP of global design at Coca Cola, shares his thoughts on logo design past and present in this issue’s cover feature, over on page 42.
Yuko Shimizu Yuko Shimizu discusses her journey from PR professional to award-winning illustrator on page 56, fresh from her talk at 2018’s Reasons.to festival in Brighton. www.yukoart.com
Ollie Aplin Ollie Aplin is one of the many creatives in the design industry today effected by mental health issues. On page 64, he and others outline what can be done. www.mindjournals.com
Aga Karmol On page 88, designer and printmaker Aga Karmol reveals how she reclaimed the image of the unicorn in her branding for a new BrewDog line of beer: Lost Lager. www.agakarmol.net
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Next issue on sale
Emily Gosling Freelance writer Judging at Graphic Design Festival Scotland last month didn’t stop freelancer Emily Gosling chatting logos with designers and stirring up some interesting opinions in the process. Turn to page 64 for more.
07 December 2018
Want to work for Future? Visit www.futurenet.com/jobs
Freelance writer This month, regular freelance scribe Tom May found himself speaking to all kinds of interesting people in the hope of learning how to tackle mental illness in the design world. Read it on page 42.
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ISSUE 286 December 20 18
Trends The Future Laboratory explores how brands are changing to secure consumer trust in years ahead
My Space Creative director Michael Lewis guides us through The Archipelago’s new plant-filled studio space
new ventures How advertising agency True North pieced LEGO Education’s identity back together again
events We visit AGI Open 2018 in Mexico to learn more about the industry’s new upcoming design trends
Essay Andy Culbert on how best to cater to Gen Z’s wants, needs, and habits
design matters Which logo design do you admire most and why?
column Dan Healy reveals why being on shelf is no longer enough for brands
John Lewis rebrand Three creatives give opinions on John Lewis’ unification with Waitrose
fresh eyes Creative Benj Smith’s ideas-led print packaging
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Continental collaboration Why O Street’s adventurous spirit has led it to grow out, not up
The Twentytwo identity How The Beautiful Meme built the brand for a new London workspace
brewdog branding Aga Karmol creates a linocut for BrewDog’s new Lost Lager line
a monumental direction The Newcastle architect’s new look
c o n te n ts
64 O k not ok: Mental health issues
Mental health issues pervade the design world. Tom May speaks to the creatives trying to resolve this
42 the world of Logo Design
The illustration business Andreea Dobrin Dinu on fulfilling her creative career in illustration
What does it take to create a good logo design fit for the 21st century? Emily Gosling speaks to the design professionals putting it in practice
in conversation with
56 Yuko Shimizu: take two Ruth Hamilton sits down with the award-winning illustrator following her talk at Reasons.to festival in Brighton, to discover the magic and horror that comes from being a creative.
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showcase Our selection of the hottest new design, illustration and motion work from the global design scene
design inspiration Susperia editor Valentina Egoavil Medina on her horror influences
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t r e nds
IMAGE CREDITS: Nikita Iziev
Future trust Marks From space-mined minerals to income-adjusted goods, our resident futurists, The Future Laboratory, explain the ways brands must adapt to retain future consumer trust The era of one price fits all may soon be over. As bricks-andmortar retailers implement new technologies that enable them to bring elements of the e-commerce industry into stores, targeted offers will become part of the physical shopping experience. This trend is being driven by the advent of automated commerce in China, where automated store operator BingoBox plans to open 3,000 unmanned shops by 2020. JD.com has also announced plans to open hundreds of unmanned stores after successful trials at its Beijing HQ, with the online retailer aiming to use its advantage in data analytics to make the in-store experience personalised. JD’s stores will, for instance, use facial recognition to show customised deals based on customers’ demographics and shopping habits. "The technology enables [automated stores] to provide an unprecedented insight into recommendations and offers," says LCP Consulting manager Will Dawson. "If a customer spends 10 minutes browsing fine wines, for example, but then opts for a cheaper alternative, a targeted offer may prompt future customer upselling and loyalty." These systems may soon also offer the opportunity to engage in new forms of price segmentation aimed at engaging com mputera putera rts.creati vebloq.com - 11 -
less affluent consumer groups. "As part of a corporate social responsibility programme, acting as an activist with pricing can help differentiate a brand," says Andrew Watts, founding partner at brand commerce agency KHWS. One example of this is Amazon, which in 2017 offered a £4.58 monthly discount on Prime membership for those with a valid Electronic Benefits Transfer (EBT). Given that Amazon already operates its own automated Go stores, and last year also started experimenting with a retail pop-up based on the concept of dynamic pricing, it's feasible that these initiatives could merge. With two-thirds of humanity predicted to be living in urban environments by 2050, according to the UN, cities need to be able to sustain the growing demands on their infrastructure. Not only do technology corporations have the tools, they also have the money that is essential for this urban evolution – one of the reasons the smart cities market is forecast to grow from about £324bn to £915.2bn in the next four years, according to research firm Markets and Markets. Increasingly, local governments are turning over entire tracts to the likes of Samsung and Google, which act as testbeds for smart innovation. One key example is Google's Sidewalk Labs, an urban innovation
cu lt u r e
The Future Laboratory's Far Future series envisions an era where brand operated areas will rely heavily on consumer trust to continue being successful.
platform that aims to redevelop an 800-acre section of Toronto’s waterfront in order to create ‘the world’s first neighbourhood built from the internet up’. To do this, the project will track 25 quality-oflife metrics including walkability, job growth and civic participation. "We believe our role is to create the conditions for others to innovate on top of," says CEO Daniel Doctoroff. "That’s what great cities have always done: a street grid is a platform." As smart cities become more pervasive, we will need to remain vigilant about how much oversight they give their brand operators. Despite its ethos of altruism, Sidewalk Labs' project will prove to be a goldmine of data for its parent company. "[Google] clearly regards Toronto’s waterfront as a massive research incubator for future product development," argues John Lorinc, author of The New City. Can we be sure that public interest will always trump the profit motive? This is a concern shared by Evgeny Morozov, author of The Net Delusion, who states: "Amid all this platformaphoria, one could easily forget that the street grid is not typically the property of a private entity, capable of excluding some and indulging others." Following GDPR, consumers will
demand the same transparency about how their personal information is being used in the urban environment as is now mandatory online, with clear demarcation of where and what data is being collected. Although they are increasingly fundamental to the functioning of modern society, the extraction of rare earth minerals such as cerium, neodymium and ytterbium is damaging the environment. In China, the consequences of lax regulation have left much of the soil and water around mining sites contaminated with poisonous, even radioactive material. This has direct human consequences. In the Bayan Obo mining district in Inner Mongolia, cancer is one of the leading causes of death. "The resonances running through the politics of rare earths, and the politics of technology further up the supply chain, force a hard rethinking of the various stories that Silicon Valley tells itself in order to live," says author Ingrid Burrington. In future though, consumers will be able to purchase electronics whose constituents were not mined on Earth at all. NASA has planned two expeditions to map a resource-rich asteroid known as 16 Psyche, located between Jupiter c o mputera rts.creati vebloq.com - 12 -
and Mars, in 2021 and 2023, respectively. It is thought that it could contain enough mineral value to wipe out global debt. Meanwhile, in 2014, US Congress passed a bill "to promote the development of a commercial asteroid resources industry for outer space", with private companies racing to be the first to prospect and process one of the 10,000 or so asteroids accessible from Earth. Discover more: www.lsn.global
The Future Laboratory A world-leading strategic foresight consultancy, specialising in trends intelligence, strategic research and innovation strategy. It makes businesses fit for the future by empowering them to make the right decisions, mitigate risk and reduce uncertainty. Follow @TheFutureLab on Twitter
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