Sheffield Children’s Hospital and (the brilliant) Cat Powell from Artfelt recently commissioned them to work with the long term patients of the ward, to come up with artwork for the space together. They delivered a workshop and came up with an activity pack – the outcomes from these activities were characters that the children designed using a couple of creative exercises. The duo then redrew these characters in different positions hiding around the ward.“Part of the brief was to come up with something distracting. A lot of the kids have to undergo fairly long and uncomfortable treatments. Injections etc. So we came up with a ‘Hide & Seek’ idea. The Characters are interacting with the furniture in the hospital, hiding behind bins and under tables… We also designed an activity book using the same characters, to run alongside the artwork – some of the patients have long waits in the ward and hopefully the activity book should provide a some fun and distraction.” _ Photography by 93ft
We chatted with David from Melbourne’s Studio Constantine. He gave us an insight into the process behind their beautiful minimalist work.Can you tell us a bit about how Studio Constantine came to be?
Sure thing. Being partners in life, Hannah and I (David) always had the intention to work together in a creative practice at some point. After some years working in London (David in an innovation consultancy and Hannah in publishing), working crazy hours, commuting and living for the weekends, we decided to take the plunge and head back to Melbourne to start our own thing.
It was also about working out who we wanted to work with long term. London was great and we worked with the biggest brands and companies in the world, but inevitably we ended up dealing with clients that were only interested in projects so far as it advanced their climb within their own companies. Very few people cared about what they were doing or selling, let alone why.
We have two main criteria for vetting potential clients. 1. Are they as passionate about what they do as we are about what we do? and 2. Do they desire difference? Beyond that, we work for clients in many sectors from multinationals to one person shows – as long as it is engaging.
Very few people cared about what they were doing or selling, let alone why.
Your website reads manualelectric.com. Why Manual Electric, what does it mean?
The idea was that the URL describes our process, or design approach. ‘Manual’ is about making things in the real world. Understanding that the smallest details are what makes the bigger picture. We take time to build relationships with great paper merchants, printers, developers in order to let production opportunities inform our design process. ‘Electric’ is about the idea. Thinking always comes first, and even small executional work is always sweated over to fit into the bigger idea. These two words act as a safety net on every project, to hold ourselves to account. What is the studio dynamic like?
In our time since we founded in 2012, we’ve had ups and downs, but learnt a whole heap too. We’ve always been about building the business slowly and sustainably. This is something we want to be doing for decades, not just a couple of years, so making sure that each job is at a standard we are happy to put out to the world is always front of mind. We work with Hannah and myself as two principals, between us covering the roles of a managing director and creative director. We have a network of collaborators like photographers, illustrators and developers, and bring in freelance designers as we need capacity. We also often have a student with us on placement from a local uni. Tell us a little about your design process
Our process is inherently strategically led – most briefs begin with a lot of questions, before we get anywhere near answers. We spend a lot of time helping our clients articulate what they have to say and who they want to say it to, before getting near how to say it. Research is key.
Our practice is about identity. We work in a multidisciplinary way, from visual identity systems and applications to campaign work, digital, packaging, interiors and environmental graphics, and publishing. At the heart of every project though is our work with clients on how to express what is unique or interesting or inspiring about them. If we get that bit right, the execution is usually really obvious.
We see a sophisticated minimal aesthetic as a common thread through your projects, and typography always plays a big role in your work – do you find this happens naturally or is it something you strive to achieve?
I think it is the result of a desire to take things away, and to rigorously rationalise what is left. We always push to see how little you really need to communicate an idea. It’s also a statement on how very often it is all the high context cues that make a piece of communication (particularly a physical object) memorable or desirable. Materials and processes are really important to all the work we make.
Simple has an appeal, because it is difficult — but we also think it is beautiful.
How do you stay inspired?
By continually challenging ourselves to slow down, make room to think and to remember why we started in the first place. Enjoying time doing simple things. Trying to find the simplest solution. Trying to do it with less. Trying to observe better.Books to recommend?
Recent favourites: Monocle guide to good business. Rethinking the Modular – USM project50. Statement and counter statement – Notes on Experimental Jetset. Some posters from the NGV. Favourite typographer?
Classic: Josef Müller-Brockmann, Rolf Müller, Helmut Schmid Contemporary: Experimental Jetset, Kasper Florio, Spasky Fischer
By no means the full list!
Curated by Ryan Doyle and Mark Edwards, who work together under the name of DR.ME, Cut That Out focuses on the compositions of 50 leading designers and studios from 15 different countries for whom collage has been the key to creating vibrant, effective work. We caught up with half of the duo to find out more about this great new book…
FFF: Tell us a bit about yourselves for those who might know much about DR.ME (and what about that name?) – who you are, you experience, how you work, what you work on etc. ME: Just to clear something up (this came up last night in fact whilst giving a talk), DR.ME is pronounced Doctor Me. Not D R M E, not dreamy, Doctor Me. Also, when written down it is DR.ME not Dr Me, nor DR-ME, DR.ME pure and simple uppercase with a dot in the middle. Rant over. The reason we’re called DR.ME is a miss-ordered acronym of our initials: Ryan Doyle – DR and Mark Edwards – ME. Just to take you back to where it began we were actually paired together on the first day of studying Design & Art Direction at Manchester School of Art & Design. After finishing our studies we decided go to New York for a few months to intern for Mike Perry in his studio in Crown Heights, this was a really great learning curve for us, Mike was everything you could want in a boss and taught us so much in such a short amount of time, we’ll always be indebted to the big guy! After that we returned to Manchester and opened our studio, since opening we’ve worked with clients including Red Bull Music Academy, Budweiser, Manchester International Festival, Young Turks, Tri Angle Records, Vevo, YoungArts Miami, painted murals on the French Riviera and exhibited in New York, London and Frankfurt. In the past year we’ve had a change of dynamic, Ryan met a girl (now his wife) in France and moved out there to be with her, 10 years ago this might have been harder but through using things like Skype, Slack and email it’s made it whole possible to run the studio together remotely without it affecting our dynamic.
FFF: You’re perhaps best known for your recent ‘365 days of collage’ initiative – was that conceived before the idea of the book? Or related in any way? ME: Yeah, 2 years ago my mum Jilly Edwards who is a tapestry weaving artist had a show as part of Collect at Saatchi Gallery, we did the brochure design and designed the layout of the show, when we went down to set up the exhibition we were staying in an Air BnB, this turned out to be owned by a collage artist called Paolo Giardi. Paolo’s work filled the apartment flood to ceiling and really made us think about the speed and immediacy of the medium. As we’d been talking about working on an ongoing project that would sharpen our skills in collage we decided to start 365 Days of Collage. After we’d been working on it for about 6 months and had had a good response to the project we started to think about what could happen at the end of the project, an exhibition sounded achievable but we wanted something with a bit more longevity. We decided to approach Thames & Hudson about the possibility of them publishing the project as a book. Their response was pretty unforgettable “We only do Artist monographs for people who are dead or famous”, we were neither so we though that was it but they came back to us and asked whether we’d like to pitch an idea for a book on design. As we are designers who utilise collage within our practice and knew many others who fell into this category we thought that this would be an exciting starting point for a book.
FFF: What is it about collage that has you hooked? Do you consider yourselves designers, illustrators, makers, artists etc.? ME: I’d say we consider ourselves designers, we use collage to convey an idea. Whether this is a collaged pattern design for Vevo, an abstract collage for Cactus Digitale magazine editorial or a record sleeve for Evian Christ, the majority of the time it is a medium that we gravitate towards within our work as it creates such unexpected outcomes and pushes us to think in new and interesting ways.
FFF: The book features 50 of the best practitioners – how did you go about selecting them? any personal favourites? ME: I think we’ve both been keeping lists in our minds of our favourite practitioners since we both fell in love with design so about 75% of the book was already selected from the get go! The rest we discovered which was super exciting to come across somebodies work and realise that they would be a perfect fit for the book! Personal favourites is a tough one, that changes all of the time, Damien Tran, Steve Hockett, Aliyah Hussain, John Powell-Jones, Ellery James Roberts, Anna Beam, Nous Vous were great to have in as we have worked with them all previously and have longstanding friendships. People like Stefan Sagmeister, Hort, Yokoland, Mike Perry, Mirko Borsche, Hvass&Hannibal, Neasden Control Centre and Mario Hugo have been studio heroes for a long time and Jesse Draxler, Lewis McLean, Louis Reith, Cameron Searcy and Matthew Craven were people that we only discovered further down the line but were really excited to get involved. So, yeah, it’s a bit of a book of personal favourites!
FFF: You recently spoke at NicerTuesdays – do you think there’s a bit of a misunderstanding or lack of appreciation around contemporary collage within the creative industries? Are you happy to be pigeon-holed as the ‘collage guys’? ME: I think it’s definitely getting more appreciation, there have been some excellent books come out about collage in the art world in the last 10 years. What I think is exciting now is that it’s starting to filter out of the art gallery and onto the street a lot more be this giant advertising hoardings on the street created by Mat Maitland for Kenzo, record covers for Tame Impala and Caribou by Leif Podhajsky and Matthew Cooper respectively in your local record shop, beer bottle labels we created the artwork for Cloudwater Brewing company adorning the fridges of your local bar or gig posters made by Braulio Amado or Ronny Hunger pasted up high and proud on a street corner. People can call us what they like, we’ll continue to try and make work that is bold and true whether that’s with collage or paint, type or video, vector or hand drawn.
FFF: Tell us a bit about the process of putting together a book! Was it fun? easy? arduous? as expected? do-able? plans for a volume two?!?! ME: It was a long process, there was a lot of chasing people for work, a lot of writing which is a new thing for us, but it was totally worth it in the end. Since we started the studio we’ve always wanted to make a book and it was a massive pleasure to do it with a publisher that we have so much respect for and who we own so many books by already! It was a great experience for sure, it gave us a lot more confidence in our own eye, if Thames & Hudson had had to guide us through it more then it could have been quite arduous but they were always really happy with what we were doing throughout so that was encouraging. I’d love to do a volume two, have already started collecting work on a pinterest board, there was a few people that we missed out of the last one as they had too much on to be involved at the time so would be great to go back to them, along with some of the people from this book who have continued to make amazing work that came out too late to feature and then there’s a number of new names that would be awesome to feature and speak to!
The always excellent Design Manchester festival has recently announced its 2016 line-up, and it’s looking to be a belter.
This year the festival is taking place from 12-23rd October and includes a film season at HOME, Art Battle Manchester VIII, and Design City Fair at London Road Fire Station, which will feature over 100 creatives and a schedule of workshops that takes in screen printing, letterpress, book-binding, frame-making and origami.
The conference day features multidisciplinary interaction designer Jason Bruges, immersive tech artists FIELD, wayfinding and graphic designer Alexandra Wood, Dutch design collective Trapped in Suburbia and Warner Bros.’ senior VP of creative affairs and head of Blue Ribbon content Peter Girardi.
And there’s a shedload of events that have just been announced covered everything from creative data to neurodiversity to UX.
Tickets and more info available here: http://designmcr.com/
When we found out our friend Angharad Lewis was writing a book about magazines, we knew we had to get the inside scoop! I caught up with her after spending some time with ‘So you want to publish a magazine?’ (beautifully designed by She Was Only)…
FFF: For our readers who might not know you, what has your role/experience been in publishing and design? how do you split your time these days? AL: I’m a bit ‘fingers in pies’ – I divide my time between freelance writing (a bit of journalism, a bit of book-writing, a bit of copywriting), teaching at The Cass School of Design and being co-editor of Grafik. I joined Grafik in 2003 (when it was still graphics International. We were a monthly printed magazine until 2011 and at the moment we’re an online publication.
FFF: Tell us a bit about the book in your own words, who its for, and why you created it.. AL: I guess it’s a bit of a user manual for anyone interested in the endeavour of independent magazine publishing. As well as giving lots of practical advice about what is a fairly complicated business, the book is also hopefully interesting for anyone who (like me) is quite nosey about magazines and how they’re made and how publishing models are structured. It’s packed with the knowledge and experiences of about 50 people involved in the magazines world, from makers to distributers and retailers – I tried to come at the subject from all angles and tackle the more tricky aspects of the business head-on and in a very accessible, hopefully entertaining, way.
FFF: How much of your own personal experience with Grafik did you draw on for this book? AL: The bones of the book really come from my own experience – knowing what areas were relevant, what questions to ask, and how things behind the scenes of magazines fit together – but this skeleton was fleshed out and animated by calling on the generous input of lots of other indie publishers from around the world. Also, I hope that having ‘lived it’, I am able to give a bit of humour and the human side to what might otherwise border on the ‘dry’ when it comes to subjects like distribution and advertising.
FFF: Do you see your students still interested in making printed magazines? AL: Definitely. There’s no diminution in the interest in print. Printed magazines have a magic you can’t match with other media. That said, digital platforms are absolutely essential now and the really exciting things are happening when very clever people find ways to combine the two. Students often bring a surprising and enlightening view that I would not otherwise have seen, because as a generation, they’re breathing digital like air, whereas I’m of the generation that had to learn it.
FFF: A book like this is always a snapshot of the publishing industry, any observations on where we’re at? AL: We’re enjoying a time of amazing diversity – so much so that the volume of new titles being launched can actually be pretty overwhelming for readers. I think this will inevitably settle down in the next few years and sustainability will come into sharper focus – for magazines to stay the course it’s a constant battle of devotion to your vision versus concessions to financial realities and that applies to the full range of sizes of magazine ventures, from the tiniest side project to commercial ventures. It takes an immense amount of time and energy to make a magazine, so the magazine makers who have a really natural, instinctive relationship with their readers, and who are indefatigable in finding new ways to survive and innovate will show us some interesting things in the next couple of years.
FFF: The format of a magazine is always an important consideration – at 168 pages in a handy 230x190mm softback format the book is quite magazine-y! – was that intentional? AL: The format was one of the first things we thought about – we wanted something that felt easy to carry and refer to – a bit like a nice diary or notebook – to emphasise it’s handiness and functional nature as a tool. I suppose I’d like to think of it being carried around as a trusty companion while someone is going about the business of planning and making a magazine!
FFF: Any favourite insights, observations, quotes or interviews from the book? AL: That’s a tough one. I’m such a nosey parker that I love chatting to people about what they do and seeing where and how they work – especially magazine people, who are a pretty impressive bunch, with some really niche and surprising areas of interest, expertise and reference points. So I had a lot of great experiences along the way. One of the things that delighted me most was how upfront and happy to share almost everybody was in exposing their know-how and the inner workings of their mags. And I got to meet and interview some heroes, which was intimidating and a thrill. This is kind of silly, but the toilets at Midori House (Monocle HQ) made me chuckle – seemingly more technology in one lavatory than I have in my whole house!
FFF: Now you’ve produced one book, any plans or desire to do it again? AL: This is the first book I’ve done solo (I’ve done a few in collaboration with co-authors in the past) and it was an epic mission! But it’s really satisfying – if a little nerve-wracking – when a book you’ve worked so hard on makes it to the shelves and hopefully people’s hands, so yes, I would love to do another (in fact, I’m already working on a tentative outline…)
Craig Black is a Scottish born graphic designer, lettering artist and typographer currently running his own design studio in Glasgow and London. He’s produced work for AIGA, Glug, UEFA and the BBC and published internationally by Computer Arts, Creative Review and IdN Magazine. Check out this great interview with him over on TypographHer.
In a growing world of budget ‘do-it-yourself-internets’ and ‘get-your-cheap-business-cards-here’ it’s always super good to see a new service that actually looks legit pop-up, welcome to the table Strut and Fibre.
Strut and Fibre is a new online print service, crafted by creative studio Delight aimed at people with a desire for a higher level of quality printing services with options excelling offerings from lower-end competitors.
Strut and Fibre have also locked in an incredible host of design ambassadors from studios to illustrators to create an exclusive offering across their range of business cards, postcards and A2 printed materials including: Build, Bread Collective, Delight, Hey Studio, Malika Favre, Richard Hogg, Steven Wilson, Supermundane, Two Times Elliott
The guys behind the service have also set up a launch event that’s taking place at Protein studios on the 8th of September followed by a 3 day exhibition featuring the ambassadors work in the same venue. Tickets for the launch can be grabbed over on Eventbrite here.
For all in the info on the event and their upcoming services hit up: strutandfibre.com
For more work from Delight check out their case studies here.
We’re big fans of top quality editorial design here at FFF, and one of the finest practitioners of our era is Matt Willey, who’s work we’ve covered numerous times. Now resident Art Director on arguably the biggest stage of all, The New York Times Magazine, we took the opportunity to chat with him about a recent very special issue – Fractured Lands.
Editor-In-Chief Jake Silverstein introduces the issue:
This is a story unlike any we have previously published. It is much longer than the typical New York Times Magazine feature story; in print, it occupies an entire issue. The product of some 18 months of reporting, it tells the story of the catastrophe that has fractured the Arab world since the invasion of Iraq 13 years ago, leading to the rise of ISIS and the global refugee crisis. The geography of this catastrophe is broad and its causes are many, but its consequences — war and uncertainty throughout the world — are familiar to us all. Scott Anderson’s story gives the reader a visceral sense of how it all unfolded, through the eyes of six characters in Egypt, Libya, Syria, Iraq and Iraqi Kurdistan. Accompanying Anderson’s text are 10 portfolios by the photographer Paolo Pellegrin, drawn from his extensive travels across the region over the last 14 years, as well as a landmark virtual-reality experience that embeds the viewer with the Iraqi fighting forces during the battle to retake Fallujah.
It is unprecedented for us to focus so much energy and attention on a single story, and to ask our readers to do the same. We would not do so were we not convinced that what follows is one of the most clear-eyed, powerful and human explanations of what has gone wrong in this region that you will ever read.
FFF: This issue is clearly a piece of ‘serious’ journalism, how did the subject matter influence your approach to designing it? MW: Well I guess you aim at making something appropriate, or relevant, something that works.
FFF: Can you talk us through any of your decision making or thinking? MW: From early on in the process this was being described as a book, of sorts. It ended up being a single 42,000-word piece. But of course it is a magazine and I was interested in how that balance might work. It was an opportunity to rethink the magazine in the context of a one-off issue that could – and had – to behave differently, something that was able to accommodate such a long uninterrupted piece of writing. Jake (Silverstein, the Editor in Chief) made the (brilliant and brave) decision to go ad-free (the issue was sponsored by the Pulitzer Center) and that had a huge impact on the way the issue ended up looking. The first spread for example, always home to an advert, is a very sparse text-only intro on the left, which feels a little like the blurb you might find on the inside of a book jacket, opposite an editors note. It is, for us, if nothing else, a very unusual introduction to the magazine. The last spread features the only vertical image (a stunning photo of a girl running across a dusty street in Tikrit, Iraq) on the left next to a solid black page, it feels like an endpaper. I like how that works as an ending. I suppose it was a process of removing anything that felt superfluous, being quite severe about what was necessary. It’s very rigidly structured: the photographs (with the exception of that end page and one big double-page image upfront) appear in the same position and at the same size on each spread, there are no pull-quotes and instead the text is broken up by numbered chapters featuring an illustrated portrait of whichever of the six characters stories is being told. The issue is entirely black and white. I’m interested in applying these sorts of restrictions, stripping everything back, and then seeing what works.
I’m interested in applying these sorts of restrictions, stripping everything back, and then seeing what works.
FFF: Did you design it on your own? MW: I designed this issue but Gail and I were looking through layouts and discussing everything, as we do every week. One of the great privileges of working at this place is being surrounded by such an extraordinary team.
One of the great privileges of working at this place is being surrounded by such an extraordinary team.
FFF: I know Scott Anderson spent 18 months on the words – how long did you get on the design? MW: I worked on it on-and-off for about 3 weeks but things developed very rapidly in the final week of production, a lot of things changed and got decided in that week.
FFF: It feels like this issue is a lot of ‘firsts’ – first time without adverts, first issue devoted to a single story, first fully black and white issue etc.. – is there anything else you’d like to have done with it? MW: Not really, I think we pushed through most of the things that we wanted to do with this issue. I was pleased that we were able to do the wrap-around cover (I think that might be a first too?), and that we had an image that felt like it justified doing it.
FFF: The layout and typesetting feels very considered, respectful and restrained, did you explore any other styles or approaches that were a bit more dramatic or ‘Willey-esque’, or was it a relatively straightforward design job with such fantastic content? MW: This approach felt appropriate to me. I tried various typographic treatments for those chapter openers, for example, but it didn’t feel necessary to do anything more ‘dramatic’ or flamboyant with the type. Bold decisions can include decisions to not do something… if you know what I mean. I would argue that this this issue is just as ‘designed’ as many other issues, it’s just done with a lot more restraint. As a piece of design I’m as proud of this issue as I am the 800ft issue. They’re just different. It was extraordinary content to be working with but it certainly wasn’t straightforward to do, it was a tough issue to put together.
It was extraordinary content to be working with but it certainly wasn’t straightforward to do, it was a tough issue to put together.
FFF: The amazing Paolo Pellegrin shot images are all B&W, is this how you received them? – and did this influence the decision to keep the whole issue mono? MW: Yes they came in as black and white photographs and I guess that influenced the decision to keep the issue monochromatic. At one stage I had little hits of color for certain bits, but it wasn’t necessary. It just worked better in black and white.
FFF: It feels like ‘single issue’ or even ‘single story’ mags are now a viable thing, do you expect to be working on more of them at the day job?, and do you think other mags could learn anything from the holistic approach? MW: I don’t know if single story issues are somehow more viable now than at any other time. This issue is an extraordinary achievement editorially and I don’t think there are many magazines that would have, or could have, done it. But this story is such an important one. The gravitas of this subject means that dedicating the issue in this way, so completely, makes sense. I think it was a great decision by Jake to do this particular issue in this particular way. We do a lot of special issues each year, single theme issues (food, the Olympics, New York, money, education… and so on) but this issue is, as Jake says in his editors note, unlike any we have previously published. I don’t know if he’s planning anything else along these lines. It feels like a distinct one-off to me, but who knows.
this story is such an important one. The gravitas of this subject means that dedicating the issue in this way, so completely, makes sense.
Design Director: Gail Bichler, Director of Photography: Kathy Ryan Art Director: Matt Willey Deputy Art Director: Jason Sfetko Designers: Frank Augugliaro, Ben Grandgenett, Chloe Scheffe Digital Designer: Linsey Fields Associate Photo Editors: Stacey Baker, Amy Kellner, Christine Walsh
It is Banks’ fifth font and available exclusively sold through HypeForType, joining fonts created by designers including Alex Trochut, Non-Format, Craig Ward & Jon Burgerman.
F37 Bolton is a modern Swiss style sans-serif with a nod to German designer Günter Gerhard Lange. It features distinctive flat horizontal ascenders and descenders and is available in eight weights, priced at £35/weight, or £100 for the full set.
“As a designer, I’ve always loved Günter Gerhard Lange’s work. The German’s output has been a massive inspiration. He released Schoolbook in 1982 after redrawing Akzidenz-Grotesk. He took a classic, Swiss-style sans-serif and inserted quirky characters. The capital ‘I’ for example looks more like a ‘J’. In the same way, I wanted to create a modern, Swiss-style sans-serif but with a quirky twist. I think the flat, horiztonal ascenders on the ‘a’ ‘f’ ’g’ ‘l’ ‘Q’ ‘l’ ‘q’ and ‘y’ achieve this, along with the alternatives.”
Named after the UK town in which Banks grew up, it first came about while the designer was working on a bespoke, corporate typeface with branding agency Wolff Olins. An early experimental route featuring flat, horizontal terminals, ascenders and descenders was disregarded, but Banks believed it had potential, and set about making it less radical and more user friendly.
I Belong to Jesus is a limited edition book, bound with a limited edition t-shirt and band, and documents the ‘undershirt’ celebrations of players from the global game. In 2014, FIFA, world football’s governing body, announced that players would no longer be permitted to display or reveal any messages of any kind, on any part of their kit under any circumstances—even if their intention was good. Curated together by Rick Banks and Craig Oldham, this project was instigated in response to that ruling, celebrating a fascinating and often overlooked aspect of the beautiful game. The book is published by the Unified Theory of Everything and Face37.
We caught up with both Craig (CO) and Rick (RB) to pick their brains about all things books, celebrations and football..
FFF: This book is such a great idea! Such a simple single-minded theme – how on earth did it come about? Over a pint in the pub? How did you go from concept to execution?
CO: It was exactly that: a pint in the pub. We got together for a beer and started talking about the FIFA ruling and then how that’d be a great book, because so many instantly came to mind. It really went from there… sharing links, articles, Google-image links etc. to the point where we had to start drawing a line under it and start whittling.
RB: It wasn’t just one pint! Joking aside, I think the best ideas are always when you are away from the desk. That could be in a pub, gym or even shower. With technology nowadays, working together was so easy. Things like WeTransfer and Dropbox made it a breeze, especially as we were in two different cities.
From political reformists to palaeobotanists, the work of women has helped to shape Manchester into the great city it is today. Last year the public voted for Emmeline Pankhurst to become the first woman to have her own statue in Manchester for more than 100 years, thanks to the Womanchester Statue Project. This is a big step in the right direction, towards publicly acknowledging the impact Women have had on our local and national history. Unfortunately there are plenty more women whose stories have been pushed to the back of the shelf or who have been left out of the history books altogether.
Women in Print is an exhibition that aims to spotlight the role women have played in Manchester’s past and present. The collection is sixteen works by sixteen local designers, print-makers and illustrators. Each piece is be a celebration of the life and achievements of an iconic female figure from Manchester or who’s made a significant contribution to the city.
Proceeds raised from the sale of prints will go to Manchester Women Aid a charity with a mission to improve the lives of women in Manchester. We are also proud to have supported local initiative The Monthly Gift MCR, where on the opening night exhibiton go-ers were encourage to donate sanitary care products such as tampons and pads which were then passed on to local charities who distributed them to homeless women in the city.
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!