We asked guests and speakers at this years Beyond Tellerrand conference in Berlin how they relax.
We’d be interested to hear how you switch off?
We asked guests and speakers at this years Beyond Tellerrand conference in Berlin how they relax.
We’d be interested to hear how you switch off?
Sawdust launched a fine looking branded typeface for NBA basketball player Kobe Bryant a few weeks back. We caught up with Sawdust’s Rob Gonzales to find out more about the project, who also sent us some exclusive work in progress images.
We were approached by Nike / Jordan to develop a fully functioning display typeface for their signature NBA basketball player Kobe Bryant. The brief was to develop a bespoke typeface based on Kobe’s logo-mark to work alongside and expand on his existing branding.
This would become our second NBA brand typeface for Nike / Jordan following on from our previous type work for Kevin Durant.
In this instance the Kobe logo-mark contained no typographic cues as with the Kevin Durant branding, so this time we focused on the aesthetics and defining lines of the logo to develop the letterforms. We were very much inspired by the star-like negative space that is created in the central point of his logo-mark.
Like with any bespoke typeface the idea was to have something that exists exclusively for the player and him as a brand. We worked closely with the designers at Nike to realise something that is unique, versatile and very much on brand for Kobe Bryant.
Cheers Rob! Make sure you guys check out the rest of their excellent work
This month we’ve got London’s Animade Studio playlist on permanent repeat. The 4th in our Studio Playlist series to provide us with a 55-track insight into what their team are listing to at work.
You should also check out Animade’s latest little site project frankenSim !
FFF: If your kickstarter was in fact ‘a bit like an election’, then you won it by a landslide, smashing your target within 9 hours of launch! Cheers! Yeah I was pretty blown away by how quickly it reached funding to be honest. I’ve never done a kick-starter before so I was a lot more cautious with my prediction and crossed my fingers that it would make it’s funding by the end of the 28 day campaign period. When it did it in 9 hours I was like “what the fuck?”.
FFF: Any words of encouragement to anybody on the verge of backing? Yes, back the fucking thing. Only backers will have their name printed in the book. After the funding period, the book will be made and will be available to buy, but you don’t get your name printed in it!
Also, as the funding continues I’ll be adding ‘stretch goals’ which is another kickstartery (not a word) thing I learnt about. I’m yet to announce any but the idea is that if we reach certain targets, all the backers will receive an extra gift! Plus some maybe slightly more ambitious ones and possibly a charity donation. News to come soon!
There’s also going to be new rewards added every monday so they should look out for those. Plus the great thing about Kickstarter is that you can change your pledge (up AND down) at any time so if you see a new reward popping up that you really like, you can potentially ‘swap’ over to it.
FFF: Why did you choose the medium of rap for your kickstarter video? How did it come about? I love rap and I’ve always wanted to do one so this was the perfect excuse to do a dream project (the rap video) but with a reason behind it, rather than just putting it out there and people going “Oh Bingo thinks he’s a fucking rapper now”.
So it’s just something that had to happen sooner or later. I’ve been rapping in the shower, rapping in the car, in lifts, whenever I’m alone, for too long. I needed to get it out there. Haha!
FFF: ‘If publishing was cars then this book’s a fucking Rolls Royce’, sounds tasty! Can you tell us any more about the book? Yeah, the lyrics say it all really. I’m lucky to be working with Darren Wall who’s a super duper art director and publisher. Darren’s already got a reputation for his own books which he self publishes through his company Read Only Memory. He really knows what the fuck he’s doing and he likes making beautiful printed things so it’s gonna be great. From the very beginning we decided that we wanted to make a high production book with expensive materials and using the best printers, sparing no expense to make a lovely product. That’s why the initial fundraising target was quite high for a publishing project, it’s all going into the production.
FFF: Humour is a constant in much of your work, have you ever considered a career in comedy outside of illustration? (the ‘rewards’ is one of the funniest things I’ve read in a long time) Not really. What I’m doing already is a kind of comedy I s’pose, but it’s just in a written or drawn way. The idea of doing traditional comedy like ‘stand up’ or filming something and then expecting people to watch it and find it funny is quite daunting. Making funny art seems a lot easier. Maybe one day though, I’m open minded. I like to do funny ‘talks’ actually, which again is a safer way of doing stand up, because people are expecting a talk about your work so if you can make it funny, it s a nice surprise rather than the frightening ‘Go on then, make us laugh you fucking comedian’ mentality that comes from a stand up crowd in a comedy club.
FFF: What’s your favourite cuss? (Or what’s your most favourite cuss delivered to you?) There are too many to chose from dude. I think one of my favourite ones from this book is “YOU ARE SHIT WITH BOATS”.
I get a lot of shit from people in Twitter, some of it’s great. My parents diss me quite a lot as well, they think I’m a right prick. I don’t know why? (To be fair I am sipping a pineapple cocktail as I type this).
FFF: Do you ever run out of hateful things to say? No not really. There’s a lot of stuff to hate. Sit on any tube carriage, look around the pub, look on any street, there are so many cunts among us and they’re all beautiful inspiration making work.
FFF: What’s next on your ‘fuck it list’? I sometimes tell people off for dropping litter in the street. Telling someone off and then them turning round and stabbing me would be next on my ‘fuck it list’.
FFF: Anything you’d like to add? Can I give a shout out to everyone involved in the film! Rex & Luke (Oldie) for making the thing, Jowey Rowden for all his help, Darren Wall for being my partner in crime on this, India, Craig, Claudia & Ernest for helping with the film, Eli Sostre for the beats and Greedy, OUST and DC Scribbla for doing their thing too.
— Photography courtesy of Claudia Rocha
A year ago Rik Lomas left Steer as co-founder to start SuperHi, an online coding platform that teaches beginners how to easily create professional websites.
But before this platform launches SuperHi is running a series of six free (yes, free!) coding lessons in central London. To tell us a little bit more about the SuperHi School we had a chat with Rik himself.
Rik Lomas: SuperHi is an online coding platform that teaches how to create websites. We’re not launched yet but we’re still working hard on the underlying code, making sure that everything is ready for when we go live. A lot of thought has gone into how to make it incredibly simple to learn to code and to create beautiful sites.
I’d love to say it was because I’m a really generous guy but the real reason is that I want to test out SuperHi itself plus the material that we’ve made for SuperHi. We were going to beta test with our friends but we thought why not open it up to people who really want to learn instead.
We’ll be teaching HTML and CSS, the building blocks of design on the web. The material is looking great, we’ve got the amazing designers at Koto and Socket Studios working with us so we’ll be teaching how to build really beautiful websites. You don’t need any experience of coding, total beginners welcome!
Coding has a bad reputation, especially in the design industry. Too many designers have worked with awful coders who don’t build things as designed. It’s important to remember that HTML and CSS are really design tools and that they’re easier to pick up than most people think. Understanding the medium you’re designing for is essential and the more you know about it, the more control you have.
Yes I still agree that there’s problems in how most online courses teach. Most tackle it from the wrong direction and come across like an academic textbook.
We’re not just making lessons to learn from but we’re also making incredibly powerful tools to make it easier to create websites. Personally, I can’t wait to show it off!
SuperHi School will start Wednesday evenings, 7–9pm, from the 12th of August to the 16th of September. Spaces will be very limited so make sure you sign up ASAP. Big thanks to Rik Lomas for chatting to us and we can’t wait to try out SuperHi!
Going ‘in-house’ is sometimes seen as heading to the dark side. No more pitching, no more ‘new clients’, no more ‘exciting, one off briefs’ – just one product, one brand and one style.
Is that actually the case?
After spending a year escaping the agency band myself, it’s something I now regard as an incredibly valuable move. As a designer it can teach you to execute with a different thinking cap on whilst gaining more in depth experience into how business and design must co-operate and work together.
In this new series of interviews I wanted to get away from talking to designers within ad agencies and graphic design studios and focus on designers within technology focused comapanies. People making real things, better. From how they got there, to their companies process, to how they value their work whilst constantly innovating.
Oh, and their favourite coffee.
The telecom market is a sea of constant change, with takeovers and new providers popping up every year promising new great things, whilst inevitably concentrating too much on their offering, without making what matters solid and reliable.
Innovating how telco’s work for consumers seems to have proved challenging for many of the big corporates but many smaller start-up’s have been giving it a good crack – a fine example being Spanish born, Tuenti.
Branding a telco network is a brief many dream of taking on, but so many fail with. Creating a design system that feels unique, yet can carry the brand for years to come is a mammoth task for a studio of any size. Yet branding consultancy Saffron have managed to take on the forward thinking business system of Tuenti and translate that into a fresh identity and aesthetic to match.
Start-ups are forever changing and evolving and this feels like a really solid piece of work for the company to grow alongside with – a top example of great branding work.
More images after the jump.
Last week we we’re invited to Berlin to give you, our readers, an impression of the 20th Typo conference. 57 lectures, 11 workshops, 1650 participants, 42 nations, spread across 3 days. Inspiring people from across the globe present their point of view on topics ranging from typography, design, illustration, programming to robotics. All loosely gathered around this years theme of ‘Character’.
We’ll summ up our highlights in another post next week but for now I’ll leave you with some impressions of the event and this short video on ‘Character’. Thanks to everyone that spoke to us and made our trip to Berlin so memorable!
With Monotype’s recent acquisition of FontShop we thought it would be the perfect time to chat to Jürgen Siebert about his plans for 2015. We met him at the FontShop offices in Berlin to ask him about the yellow bible, font-hosting and the upcoming TYPO Berlin Conference.
Image: Fontbook stack by Grant Hutchinson
Jürgen Siebert: FontShop was founded at the beginning of the desktop publishing era, with Adobe (PostScript language), Apple (Hardware: Mac & LaserWriter) & Linotype (digital fonts) paving the way to make more typefaces accessible and easier to implement. Democratisation of prepress process.
Up until then you had to use Letraset or a typewriter and a photocopier if you wanted to create any type of printed material at home. I’d say it’s a technological advance comparable with Gutenbergs’ movable type.
“Everyone can be a little Gutenberg” roughly translated that was the title of Page Magazin, which I co-founded in 1986 and led the editorial staff for 5 years.
I met Erik Spiekermann at a couple of conferences before he convinced me to move to Berlin to start at FontShop International which he was launching together with Neville Brody. FontShop (founded by Erik and Joan Spiekermann) and Fontshop International were the first font mail order service. Initially the catalogue included typefaces from established foundries (such as Emigre, Font Bureau, Monotype and our own FontFont collection) and independent typographers.
JS: Not yet, it started much smaller. The first version was a binder format with alphabetical dividers so that you could update the catalogue as the FontShop Library grew. Over the years our catalogue developed into a bound book and in 2006 we published our final edition. The library simply grew to be too large to publish. Larger font families like Meta had to be squeezed into inappropriately small spaces. With the introduction of OpenType we could include more glyphs and languages and reached the boundaries of what was possible in print.
Luckily as the iPad arrived in 2010 the FontBook app allowed us to offer more ways of finding the perfect font. We even increased our categories five-fold and added subcategories.
This year we launched the new FontShop website, which allows us to make use of all the advantages that Webfonts offer. We can finally show the original font, not an impression or an image. It’s almost reminiscent of holding the printed FontBook in your hands again, but we can now let you play around with the typeface before you buy it.
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.
Ever wondered what sort of music your favourite studios listen to while working? Yes? Us too! So we thought we’d start a new monthly(ish) feature series ingeniously called “Studio Playlists” which does just that — giving us a quick eves-dropping of various studios’ working-music.
That’s my morning’s music sorted! Thanks MB x
Laurence King have reissued of compact version of Michael Evamy’s ‘Logo: The Reference Guide to Symbols and Logotypes‘. The smaller logo collection (7¾ x 6″) still packs 352 pages filled with 1300 symbols & logotypes from around the globe.
“The next time you are tempted to design a logo, take a look at this book. Chances are, it has already been done. By raising the bar, this wonderful resource will make better designers of all of us.” – Michael Bierut
Together with Laurence King with are giving away 5 copies of this complete guide to the history, development and style of identity design, signed by the author Michael Evamy. All you have to do is take a photo of your favourite logo, tell us why you love it and tag it on Twitter or Instagram with #FFFLogo. Easy!
We’ll select the winners by next Monday 9th March. So get snapping and good luck!
In this second of our year end reviews we’re looking again at publishing, this time focussing on books. Who better to speak to on the subject than the duo responsible for FFF-favourite Unit Editions – Adrian Shaughnessy and Tony Brook. With Manuals 2 [Unit 18] still flying off the virtual shelves we hear their individual reflections, highlights & predictions…
AS/ I’m a graphic designer, writer and senior tutor in Visual Communication at RCA, and as one of the co-founders of Unit Editions, I’m also a publisher –but even after five years of Unit, it still sounds odd to write that. Me a publisher? Well, yes, actually. As for why I do what I do? Paranoia, fear and self-doubt.
TB/ I’m a designer at Spin and a (relatively recent) publisher with Unit Editions, I also collect graphic design and have curated a couple of exhibitions. I didn’t have any real choice about the design aspect, it is a vocation; I’m lucky enough to love what I do. The other three facets have happily fallen out of the first.
AS/ I’m not very good at looking back. I can barely remember what I did last week, far less think about what was happening in January. In my view, you only look back when you don’t have much to look forward to. There’s never been a time in my life when I haven’t had an immediate future stacked with deadlines, objectives and targets. When I’m in the old folks home with my hearing aid and pacemaker, I might start to look back. Having said that, I’d say that the success of our two Manuals books has been a highlight. Two weeks in Japan was also pretty good. Curating a show of 50 years of graphic design at the RCA was fun. But other than that it has been relentless work, work, and more work.
TB/ It’s been quite a year. I got to visit New Zealand through an invitation to talk at Semi-Permanent. It was a fabulous experience: I got to hang out with the legend that is Dean Poole from Alt group. Work-wise, seeing Manuals 2 in print has been incredibly satisfying, and launching the Spin website was a real highlight. Meeting up with Lance Wyman and Paula Scher was the cherry on top.
AS/ I’d reached a point where I was fed up working with mainstream publishers and was beginning to think about starting my own imprint. I went to the pub with Tony and he said he was also contemplating starting a publishing venture. He had already done some self-publishing so he was ahead of me. But it made lots of sense that we combine our skills and use the knowledge and experience we’d both accumulated as studio owners over many years to start Unit.
TB/ As Adrian mentioned we had a fortuitous meeting where, after the shortest time, we realised that our ambitions were very similar and that our mutual interest and skill sets meant that we could make something work. There was a giant Unit Editions-shaped whole for books that balanced out (hopefully) beautiful design with rich visual and written content.
It’s been another bumper year for editorial design and independent publishing – plenty of new titles hit the shelves (and blogs) in 2014 – and many events and initiatives launched or returned – all pointing towards an industry in rude health. We caught up with Steve Watson and Jeremy Leslie, two of the industry figures most passionate about print, to get their reflections, highlights & predictions…
SW/ I send out a different independent magazine every month to a couple of thousand subscribers around the world. And I do it because I’m in love with the ideas and energy in the best independent magazines, and I know that there are a lot more people out there who would love these magazines if they could only discover them.
JL/ I design, write and publish. Most of my time is spent designing, working with clients on their magazines, apps and websites at the magCulture studio. Alongside this I promote creative editorial design via the magCulture website, conferences and other events. And we publish a few things – we just launched our first magazine Fiera in collaboration with Katie Tregidden. I do it because I find editorial design fascinating. Design in an editorial context is not surface, it is content.
SW/ Jeremy’s Modern Magazine Conference was really great – it’s fantastic that he’s able to bring magazine makers from all over the world to London for one big get together. And at the opposite end of the conference spectrum, I also had a fantastic time at Indiecon in Hamburg. It was the first time they’d held the event and it was a genuinely indie production – a group of young friends doing something because they really care about it.
JL/ Things to remember include working with Douglas Coupland on Kitten Clone; taking Printout to Bristol; eating at Noma; putting together a radio show for Pick Me Up radio; discovering Limewood with Lesley; collaborating with Vitsoe on the 620 Reading Room; helping design a live stage show to mark Maison Moderne’s 20th anniversary. And moving from home into the new studio space.
SW/ Way back when I first started working for The Church of London I went from having one day a week for Stack, to having two days a week. I was really keen to experiment with magazine events, and I remember speaking to Jeremy at The Church of London offices and realising that we’d both been having similar ideas. We realised that this wasn’t going to be either a Stack or a magCulture thing, so we knocked some ideas for names back and forth and a few weeks later we were running our first ever Printout.
1. Watch Signalnoise (James White) opening the Main Titles for the first time in his career for OFFF Barcelona 2015.
2. Get your hands on the OFFF 15th Anniversary limited edition book by Vasava.
3. Take a walk around Barcelona’s gothic quarter.
5. Experience Joshua Davis exclusive chillout project and float in The Deepest of Space.
6. Help Michael Cina rebrand OFFF.
7. Watch the sunset from Guell Park.
8. Make Your Own Robot with Jan De Coster.
9. Discover with Renascent the Evolution of Copying in an awesome workshop.
10. Enjoy a drink and one hell of a view from the Silken Diagonal Hotel rooftop.
11. Create circles out of abstract shapes with Rik Oostenbroek.
12. Eat some tapas in Barcelona. We can recommend L’Ostia.
13. Watch featured artist SNASK “special performance that will blow everyone’s mind OFFF”.
14. Explore the OFFF Market Street where loads of great designers and makers sell their wares.
15. Hire a bike and ride off your OFFF closing-party hangover.
There you go. If that doesn’t convince you, nothing will! Get your tickets now.
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