Teasers for the rebrand were put out across all the social media forums over the last few weeks, using tag lines such as ‘The Story Continues’ against close up images of materials and processes, which focused on the main three aspects of the company – Packaging > Production > Partners.
Unless you’ve been living under a rock for the last few months you’ll be aware that this Thursday the UK will vote in a referendum to decide whether to remain in the EU, or leave. Today the site RemainPositive.Eu has gone live full of illustrative posters intended to be shared online.
From the Facebook page:
If you too are sick of the negative campaigning from both sides of the debate, and you want to celebrate the positive reasons for remaining in Europe, the following campaign may be of interest: It’s not affiliated with any political party, and is simply designed to breathe some fresh air into the increasingly bitter debate. If you like it, please share it! ?#?RemainPositive?
The new Google Fonts makes it easier than ever to browse open source fonts and learn more about the people behind them. Using the Material Design framework, Google created a design that scales across different screen sizes and devices, and updated the entire of the site, from the overall interactivity all the way down to the logo design. Nicely done!
“Our first port of call was to look at all those bits of work you see for Universities which have a photo of a student on campus and the words Tomorrow, Future, Potential or Professionals in them, and ask ‘can we try and say something different?’
The idea arrived that, for all this talk of the future, it’s now which defines what you do next and the experiences you get whilst at University start the journey. So rather than focusing on tomorrow all the time we wanted to celebrate today (especially given the campaign was geared towards getting bums on seats at the Open Days). Hence the campaign idea that ‘Everything Starts Now’.
We put a number of ideas to client as to how we could articulate that (I think there were about 8 or 9 in all… one of which involved staging a massive race… that didn’t happen). The winning concept was one where we take existing students, ask them to make an exhaustive list of everything they’ve done since being at Huddersfield from joining table top gaming clubs to designing costumes to traveling and used that as the basis of a brief for our illustrators.
We made it our mission to let the illustrators do their thing. The client totally bought into that and were amazing about it: ‘Include some Huddersfield centric stuff and we’ll trust you’ they pretty much said (I’m paraphrasing).
The finished article is popping up all over Yorkshire and Manchester with digital moving advertising, online and print. The first 30 second film has been produced with our good friend Joe Brooks for Marthe with the other two to land in the next month or two.
We art directed photography with Nick Eagle who took about 1500 shots for the films. It’s been emotional.”
Unit 25 is a timely publication looking specifically at the typographic output of Herb Lubalin. 25 years after the great designers death his impact is still obvious (and welcome) with many designers claiming him as an influence.
By focussing on the typographic output of Herb Lubalin UE have managed to produce a handy (245mm x 165mm) affordable and flickable publication (208pp) which could act as a great introduction in print to Herbs work, especially if you missed out on the comprehensive Unit 07/14. It comes with new texts, new design, new photography, and lots of previously unpublished material, utilises two paper stocks and features lay flat binding.
On why they wanted to revisit Lubalin when so many other designers of note are not yet covered in print:
Herb Lubalin is, by today’s standards, a typographic master. Everything he did – working in collaboration with some of the giants of lettering and type – had the sparkle of genius. He even had names for what he did: he described it as ‘graphic expressionism’ or ‘conceptual typography’. Using his ability to adapt, merge and create new typographic forms, he was able to enhance and amplify meaning in ways that hadn’t been seen before. Having published two books celebrating the genius of Herb Lubalin as a graphic designer working in many spheres, this new volume concentrates solely on Lubalin’s typography.
Helping out Adrian Shaughnessy, Tony Brook & the Spin design team was consultant editor Alexander Tochilovsky, who many of you will know from his brilliant curation of the Herb Lubalin Study Centre and the equally brilliant ‘Flat File‘ digital publication he edits.
+ why not get involved with the Design Museum’s ‘#FontSunday’ on twitter – this weeks theme is Herb Lubalin!
You might remember NYC based designer, illustrator and artist Mark Weaver from such places as the internet, and his hugely popular ‘Make Something Cool Every Day‘ initiative. Still going (very) strong he’s recently unveiled a new portfolio site, updated with some great projects for the likes of National Geographic and Red Bull.
When it comes to media branding, there are few that do it better than DixonBaxi. Turn up the volume for this one.
Counter-Print have announced the launch of their 10th book! It’s a pocket-sized (115x150mm, 112 pages) book titled, ‘Book Cover Design from East Asia’ and is a compendium of more than 100 book covers from China, Japan, Korea and Taiwan.
It features the work of Wang Zhi-Hong, Nakano Design Office, The Simple Society, UMA/design farm, Hayashi Takuma Design Office and many more.
Get your copy directly from Counter-Print.
Darren at Six got in touch about their brand new portfolio website which is an absolute treat to explore. It’s close to impossible to choose some favourites for a feature so make sure you go and have a proper look for your self.
In this latest episode legendary skater Rodney Mullen talks about expectations, fear of failure and the importance of being true to yourself.
Give it a watch!
London storytelling duo Wriggles & Robbins, known for their short films and creative shwang are back in focus with a new short film that shows off the Nikon D810’s low light capabilities. The concept follows a series of night animals, (otherwise known as “nocturnal” to those in the know) roaming the wilderness into the city streets over an evening.
Using 4 Nikon flashes, a 20 meter track, 84 foam board animal frames and a small total of 7,434 shots, the short, entitled ‘Nightlife’ presents a sequence of looped unedited photographs using a combination of different flashes and exposures. The camera EXIF data from each shot is then shown to represent the exact settings used, nifty.
And for those who love a timelapse, Merry Christmas:
Credits: Directed by: Wriggles & Robins Camera: Simon Lakos Producer: Chanse Fyffe Executive Producer: Tai Thittichai Post Producer: Alannah Currie 2D Animation: The Line Live Action Animation: Matt Cooper Music Producer: Throwing Snow
Zoë Barker is an Illustrator living and working in London (& sometimes Suffolk) with an enviable client list including New Balance, BBC, Penguin, MINI, Liberty of London, Albam Clothing, Brooks England, Harper Collins, Creative Review and the National Trust.
Zoë has just released a beautiful new litho print (which you can win, details below) so we took the opportunity to have a catch up… _
Tell us a bit about yourself, what you do and where you do it?
I usually live and work in London, but have been spending some time in the countryside in Suffolk, where I grew up. I’m actually currently working from my Dad’s old workshop – our family business was clock making, so I’m surrounded by tiny little tools he’s made and lots of cabinets of wooden drawers. It’s quite idyllic. I might ‘borrow’ some of the boxes for my pencils.
I like to work in various mediums and often in different styles. I thought this was bad for a while, and I tried to stick with one style. And I got bored! I work for various clients across editorial, publishing and retail, and also as a graphic facilitator, drawing live at events. I really enjoy having lots of different projects on the go, and the variety that working freelance brings.
You’ve recently released a print of British Wildlife – how important is self-initiated work to you?
Self-initiated work has always been very important to me. Often I find that it’s in my personal work, when there’s no pressure or deadline, that I get to play around the most, try new styles and techniques… and make mistakes. It’s really important to me to play and remember why I love drawing – it would be a shame for it to become just a job.
What sort of work really excites you?
I really enjoy the projects where I feel part of a little team. I like to look at my illustrations and know who commissioned them, and what conversations and interactions led to the work. When I get invited into the earlier stages of a project there’s a bit more opportunity to contribute ideas and create something that’s got a strong concept behind it. I also really like to team up with people I’ve collaborated with/been commissioned by before as I have a better understanding of how they like to approach things.
Lately I’ve been enjoying projects that take me into a new environment, whether this is visiting a person to draw their portrait, a new location to record landscape/architecture, or recording an event in pictures. It feels like a bit of an adventure!
We’ve worked together several times over the years, stretching back to the very first issue of Boat Magazine, and I know you’ve got other well established relationships with individuals and brands. Any advice for illustrators about how to find and keep clients?
I’ve been fortunate enough to work with some really lovely people. And have always been very grateful for clients taking a chance on me, particularly when I was just starting out. I think that it’s important to align with companies that share similar values. That feels exciting and there’s often greater pleasure in the process. I would highly recommend meeting the people who commission you in person too, if you get the chance. Everything is so digital now that it can be a little too email-centric. There’s nothing like having a proper chat over a nice cup of coffee and actually putting a face to an email address!
Freelancing can be a lonely business sometimes. I know at times I’ve found it a challenge, particularly when working hard for clients that have turned out to be slightly ‘difficult.’ So good clients are like gold. My top tip would be, very simply, to treat your clients with a great deal of respect and do the best job you can for them. If the respect isn’t mutual, it may be good to question whether the work is worth it.
Any dream commissions or clients out there?
Ooh many! I’m really enjoying doing a bit more work for books at the moment. I’m a bit of a book hoarder, so Illustrating for my favourite authors and publishers will always be very high on my dream list. I’d love to illustrate a series of guide books. I’d actually particularly like to illustrate a guide book of the UK. I love the history and landscape we have, and would love the opportunity to explore that much more.
Clients? Hmm. Amazing people turn up at the funniest times. I think that’s one of the things I enjoy about being an illustrator – you get to meet a lot of interesting people. And nice people. It’s great to work on fun projects, but it’s even greater when you’re working for really nice people!
To be in with the chance of winning a ‘An Alphabet of British Wildlife‘ print by Zoë, comment on here or tweet us and tell us your favourite British wildlife (plant or animal) and Zoë will pick her favourite response.
A2 Lithographic Print Lynx Rough White 170gsm Signed and Numbered, Edition of 200
Lovely illustration work by John Holcroft, who over the past 20 years has worked with some of the biggest names from all over the world: Financial Times, BBC, Reader’s Digest, Economist, New York Times, Informa, Experien to name a few.
DR.ME are a creative studio based in Manchester UK & The French Riviera, specialising in art direction, image making, graphic design, work shops, video & teaching. The DR.ME duo (Ryan Doyle [DR] & Mark Edwards [ME]) have been in touch to let us know about their fresh new site and the thinking behind it:
We’d wanted to have a site for a while that had more of a curated scrolling blog feel to it with less information, as we’d talked for a while about whether or not people actually wanted to know everything about every project you’d ever worked on or leave a bit more to the imagination.
We also wanted the site to be quite playful so that’s why people can move around the thumbnails and mess with the layout creating their own digital collage :) When we started the studio about 5/6 years ago we wrote a list (and continue to every year) of things we want to achieve, this list is hidden on the website for people to find.
“Roadliners is a film about inspiration and craft, and the uncelebrated typographers of the road. With filmmakers Pretend Lovers we documented a day in the life of Glasgow roadliner Thomas ‘Tam’ Lilley. While looking for inspiration for O Street’s new brand we stumbled on a typographer whose work was uniquely relevant to our company—one whose work embodied the values we hold dear: honesty, beauty, humility, and intelligence…
…With sweeping, freehand strokes and choreographed steps, they used molten-thermoplastic to create an alphabet, numerals, punctuation (every good designer needs an ampersand) and the new O Street marque.”
Check out another beautiful film here showing the alphabet being made. A couple of years after that ‘BUS STOP’ film gave us a glimpse into the craft of freehand road-writing its nice to see a more in-depth project using the technique.