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.
Secret 7″ is back again for another year. They’ve invited a range of creatives to respond to one of 7 singles to produce a unique piece of artwork for a 7″ cover.
This year they’ve moved to Sonos Studios in Shoreditch and the exhibition is currently open until 1 May with all the records going on sale on 2 May 2016.
Best of all the full collection of album covers are available on the Secret 7″Gallery
Stunning photography from Ruben Wu. We’re fans of his interestingly lit landscapes. Apparently he uses drones to get such amazing lighting on these shots.
The FutureLondonAcademy are launching their British typography and branding week. The course will run from 27th June – 03rd July 2016 in London and will be packed with workshops and lectures from the some of the most exciting companies in the UK, such as Jonathan Barnbrook, Ged Palmer, David Pearson, Luke Powell & Jody Hudson-Powell, Moving Brands, Mark Bain, Europa and Dalton Maag.
Check the FLA website for full details and costs.
As the first comprehensive look at the rebirth of simplicity in graphic design, it showcases the minimalist work of around 160 international designers across a range of formats and media. From editorial design and album artwork to packaging design and branding, the book features some of the best work by renowned studios and designers including Made Thought, Bunch, Stockholm Design Lab, Wang Zhi-Hong and Warp Records.
The considered design of the publication also echoes its minimalist subject matter and is divided in to three sections (Reduction, Production, Geometry) — each of these including an exclusive interview with Cereal Magazine, BVD and Erased Tapes Records.
MIN: The New Simplicity in Graphic Design is published by Thames & Hudson and is available now.
I’ve totally fallen in love with his smart and textured style. It’s well worth journeying through his whole portfolio as you’ll appreciate the images even more when you see them in context with captions. No wonder he’s got an enviable client list including ESPN, Fast Company, Financial Times, The Folio Society, The Guardian, Harvard Magazine, New York Times, New Yorker, Penguin, Variety & many more.
Be sure to check out this interview with Mark by Bob on AI-AP.
For years the Type Archive (formerly the Type Museum) has been something of a mystery. A near mythical place, mentioned only in whispers, which many people have heard about but seldom few have ever been. Tucked away at the end of a quiet, residential street in Stockwell, south London, behind large gates to what was once a victorian circus animal hospital (complete at the time with its very own baby elephant), lies one of the most important collections of typographic history in the country. A repository for the equipment and precious materials from the country’s last great type foundries.
Now this hidden world is set to start opening its doors.
From April 2016 the Type Archive will be welcoming visitors to a series of exhibitions and workshops. So not only will you be able to see inside the fabled archive, there will even be the chance to get hands on and inky with some of the collection. First up is ‘Lost Words’ – a two day introduction to letterpress, exploring long forgotten language in the lost world of typographic treasures housed within the Type Archive.
The intensive, hands-on design and typography workshop will introduce participants to the basics of letterpress and the traditional techniques of typesetting with both wood and metal type. Over the two days, each student will design, set and then print their own limited edition poster on a Vandercook precision proofing press using the archive’s collection of type. The workshop is perfect for anyone wanting to escape the pixel perfect precision of their computers and get their hands dirty exploring the craft of letterpress. No previous experience is necessary, but an interest in typography, language and letters is a must.
The course will be run by leading London letterpress design studio, The Counter Press. Class sizes are small and intimate, just 6 places, with the first two day workshop being held 29 – 30th April. Places cost £300 each, all materials will be supplied, and can be booked via typearchive.org