Luke Finch, aka WeLoveNoise recently updated his slick site with a selection of new work. Having spent almost three years as the Visual Design Lead at the excellent Method there’s plenty to check out.
Posts by Jack:
After 8 years working under the alias Destill, designer and illustrator Mike Harrison has launched a personal rebrand, now working under the name Studio MH.
Having previously been known primarily as an illustrator, Mike’s skill-set had evolved and a change was required to reflect that. As a result a stronger brand identity was developed, presenting a fresh face to his body of work, which now includes some excellent design projects.
We think the upgrade looks great and beautifully utilises the excellent Semplice Labs.
Whether or not you’re a fan of their music, the creativity and originality behind OK Go’s music videos is undeniable.
Created in collaboration with front man Damian Kulash’s sister Trish Sie, the new video “Upside Down & Inside Out” is an acrobatic display, which makes the most of zero gravity choreography, made possible as the entire thing is shot in a nose-diving S7 Airlines plane! That’s right, no wires, no green screen… no gravity.
To find out more about what goes into making a video such as this, head over to OK Go’s site.
The English Premiere League is the richest, highest profile domestic league in the world. It is beamed into almost 700m homes worldwide and viewed by almost 5bn people – safe to say it’s a pretty big deal.
To create a new identity for a brand with this sort of visibility you need a safe pair of hands, think the David De Gea of design. Design Studio and Robin Brand Consultants got the call and we think they’ve done a great job. The new identity is fresh, bold and ultra confident, while the crown-headed lion anchors it in tradition. The simplicity of the lion marque also allows the new identity to scale down well, which had been an issue with the original.
That’s enough from us though, find out more about the new identity over at Design Studio.
Beware, reading on may cause you to feel very lazy.
Still here? Ok, you were warned! Around this time last year designer and illustrator James O’connell posted the first work in his Colour and Lines series. Initially starting out as an exploration of different illustrative styles, Colour and Lines was borne from a reductive process, where James stripped back detail in order to find the minimal state of recognition. Once that sweet spot was found, he got to work applying the style to varied themes.
When I say varied, that’s really an understatement, rarely if ever have I seen an illustrator generate so much work, in a single style, in such a short timescale. In less than a year, James has produced hundreds of illustrations covering all aspected of pop culture, from iconic movies and retro video games, to fashion and travel. The simplicity of the work obviously holds plenty of appeal, with one project amassing almost 4,000 ‘appreciations’ on Behance.
To find more of James work or pick up a print, visit Colour and Lines.
Human displacement is a very important issue, and it’s been thrust into the western media spotlight with the recent, and ongoing, high profile ‘migrant crisis’.
One person acutely aware of this issue is Paul Gray of Glasgow’s Suisse studio, who for several years has been developing a rapid deployment shelter – the rd-shelter.
Paul is now at a stage in the project where to progress, funding is required. You can find out more about his plans over on Crowdfunder.
Just as I was about to sign off this evening, I was tagged in an interesting message on Instagram and it’s left me bothered in a number of ways. It also raises some interesting questions, which is why I’ve decided to share it here.
Ok, now you’ve looked at that image, good. If you’ve been following FFF on social media over the last couple of weeks you might have thought ”Damn, that looks a lot like the new FFF logo!”. That’s certainly what I thought and I should know – I designed the new FFF logo.
So if,”that looks very, very like the new FormFiftyFive logo” was my first thought, my second thought was, ”Ok, so this guy has ripped us off”. I did stop for a second to ponder whether it could be coincidence, then decided all things considered It was too similar and I wasn’t willing to give Chris the benefit of the doubt.
By now I’d shown my wife and was considering something cheeky and mildly amusing to write on Chris’ Instagram page, when she asked “when did he post his?”. As it was brought to my attention this evening, I’d assumed Chris’ image was new, however checking the date, Chris posted his image 17 weeks ago. A good 15 weeks before we made ours public. Fuck.
So, in an instant the tables had turned. The person I’d basically just decided to call out for plagiarism, for creating a marque so close to the new FFF logo that I wasn’t willing to accept it could coincidence, created his first. I Felt a little bit sick for a moment, realising that Chris’ finger would now likely be pointed at me and how could I blame him given my own reaction moments earlier?
At this point, I started writing an email directly to Chris to assure him I hadn’t seen his marque until this evening, basically went over the chain of events/thoughts already mentioned in this post.
I then went on to explain that ours had been created completely independently and stressed that the obvious similarities were coincidental. I put my case to Chris threefold:
Firstly, Glenn Garriock and I had been working on the development of the new FormFiftyFive identity on and off for over a year, we finally reached our chosen logo after many, many iterations which gradually led to the chosen design. I offered to send those developments to Chris if it would help reassure him that ours had been created independently of his.
Next I have professional pride in what I do and the thought that a fellow designer believes I’ve blatantly ripped them off really, really bothers me.
Finally I explained that beyond the integrity aspect, FormFiftyFive has got almost 40k followers on Twitter – most of whom of whom are designers – the idea of intentionally aping another designers work and expecting not to be called out on it just wouldn’t be very smart. It’s almost guaranteed that someone will make the connection and It’s certainly not a risk I’d take, especially with FormFiftyFive, a project we set up eight years ago to celebrate the best in design.
Following that email, Chris replied and shared his thoughts. Understandably his goal is to maintain his own integrity, there are a lot of eyes on FormFiftyFive and he’s concerned that it could look like he copied the new FFF logo, to anyone unaware his had been created first. So even if he’s willing to accept it’s coincidence, he’d rather we not continue using it.
So to summarise, there’s no doubt the marques a very, very similar and if I’d seen Chris’ first, I’d never have decided to go with the design we have. However, I didn’t see Chris’ logo and we have gone with that design. This is where the interesting questions arise. At this point is it reasonable for Chris to ask us to discontinue use? I’m no expert in copyright law, so perhaps? And even if it isn’t, should we have some ethical obligation to remove a logo which we created independently and in good faith before we knew such a similar marque already existed?
Is it back to the drawing board? I’d be really interested to hear people’s thoughts on this subject.
Glasgow-based Axis Animation is one of Scotland’s leading CGI animation studios, working with bluechip video game publishers such as Electronic Arts, Sony Entertainment and Bethesda.
The artistic direction of Axis’s work is what really stands out, their trailer for Dead Island 2 was a real stand out for us last year with its high-energy, comedic tone.
If you’re interested in hearing more about Axis, Founder Richard Scott will be giving a Gab talk, Wednesday 24 June, 8:15am at Citizen M, Glasgow.
Currently studying at Beckmans College of Design, Stockholm, Swedish student Oskar Pernefeldt has immersed himself in vexillography (the practice of designing flags). Deciding to skip mere countries, Oskar instead took a giant leap (ahem) and created a flag design for planet earth.
Moving Brands have launched the new brand for Tiko, one of the world’s largest smart grid systems. The communications are playful and human to attract an audience new to connected devices, while a distinct illustrative style, icon system and fluid graphic textures create a comprehensive visual identity which allows a range of expression.
Find out more about the project over on Moving Brand’s project case study.
Originally featured on a Camegie Hall poster 1967, Milton Glaser’s classic Glaser Stencil typeface has been brought back to life by Rick Banks of Face37. Originally available in bold, the new digitalised version of the geometric stencil now comes in four weights: Extra Light, Light, Medium, Demi.
Sold exclusively through Hype for Type, the F37 Glaser Stencil is available for £15 per weight.
As most leagues across Europe are moving into the business end of the season, Rick Banks (Bolton) and Dan Greene (Arsenal) have launched their new blog The Modern Game, which aims to celebrate feats of creativity that make the game beautiful.
Many readers will already be familiar with Rick’s passion for the sport, following the hugely successful release of his book Football Type, which celebrated typography in football, and by all accounts Dan – Design director Wolff Olins – is an equally ardent fan.
The blog is already packed full of football and design related loveliness, throw in rumours of some exciting new partnerships in the works and it’s a must visit for fans off football and design. To show your support, visit The Modern Game and follow them on Twitter.
How time files. It’s been almost three years since we last featured the stunning work of illustrator and typographer Steven Bonner. In that time the Scottish designer left his native Stirling and headed to San Francisco, working for renowned agencies Goodby Silverstein & Partners and Stranger and Stranger.
After a year spent across the pond working with clients such as the NBA, Ebay and creating the ‘Talk, Read, Sing’ campaign for Bay Area Council, Steven has been tempted back to Scotland by D8, where – starting today – he’s taken up the role of Design Director for the Glasgow agency.
We’re sure Steven will be a big success at D8 and look forward to seeing the work he produces during this next stage of his career.
Founded in 2006 Bienal have been producing solid brand identities from their Mérida-based studio in Mexico.
New York-based media company and documentary makers, Alldayeveryday have completed the development of their new office, an East Village turn-of-the-century firehouse from 1939.
Transforming the space into an airy office with an open layout, the abundant natural light amplifies the fresh design elements, which includes art created by Executive Creative Director and Partner, Kai Regan.
The interior, designed by Ben Krone, was kept intentionally simple to maintain the historical feeling of the firehouse loft space with a few modern touches. Each level in the three-story building was designed as its own ecosystem, allowing employees to move between floors to concentrate on specific disciplines, while a rooftop is available to relax and conduct internal meetings in the warmer New York months.