6/10, could do better.

Are we preparing our design students for the reality of work in the industry? This question has been asked over and over, and as a practitioner and educator myself, one that constantly crops up in conversation.

The UK has a tremendous reputation for creativity, and within its design education system, huge reserves of new talent. I do find that in the first year of the degree programme, the students have to be taught how to think both creatively and independently again, having been through a secondary education system that focuses on collective results for league table standings rather than the individuality of the arts.

Once de-institutionalised, there is of course a danger that letting the creative student simply become self indulgent will only result in folios resembling those of fine art students.

We need to remember we are in the business of problem solving, graphic design is applied creativity. We must show our next generation of creatives how to combine art and commerce, to make them fit for purpose. I believe this has to be done by giving real life problems to be solved in real life timescales. Of course, having said that, there must not be too much emphasis on tight deadlines and commercially ready design, most graphic design degrees are not vocational after all, and that would also make the job of design agencies too easy. They do, seem to want their junior designers to be the 'just add water' kind. I guess they simply don't want to spend too much time actually showing them the industry from the four teas, all with milk, two with sugar, one coffee, decaf of course, oh and pop out and get some jammie dodgers and six jam doughnuts, up to the client presentation and ego stroking end of the business.

So our challenge is to prepare students for the realities of the studio, large or small, whilst leaving their imagination free to wander. On the whole, I think we are getting it right, but as the title of this rant suggests, we could do better.

Lomogram study of cafe people (2013)

My project over 2013 of cafe people.

Raw talks turkey

Around ten million turkeys will be eaten in the UK this Christmas – 90 percent of them factory-farmed. Salford design agency Raw has launched a colourful yet shocking animated campaign explaining the controversial process, and hopes it will convince some consumers to opt for meat-free or free range alternatives...

Let’s Talk Turkey is an interactive website featuring a series of animated illustrations. It begins by explaining how turkeys came to be a Christmas dinner table staple and goes on to highlight the differences in shop-bought, free range and wild turkeys’ health and living conditions.

Users are then invited to pledge their support for vegetarian meals or free-range birds. Those who do are added to a list of 'backers' and those who are still unsure about their festive dinner choices are taken to a page providing alternative recipes, information about free range farming and links to animal welfare and organic supplier sites.

The website features some lovely illustrations and some humorous copy, but it also reveals  some disturbing facts about cramped conditions, painful beak snipping procedures and selective breeding. It does so, however, without using the kind of shock tactics or gory imagery often employed by animal rights groups.

“The problem we see with many mainstream activist campaigns is that they all too often have the opposite effect or are poorly executed,” says Raw creative director Rob Watson. “Shock tactics don't seem to get viewed, as people immediately click off a website or stop a video [when] it is gruesome and upsetting. We felt the best way to start to engage people was to present them with the facts, but make the journey more engaging - even if it's just one element that makes them think twice and become more conscious, that's all it takes,” he adds

Raw came up with the idea around six weeks ago following discussions over a change in eating habits in the studio: “We’ve worked with food chains in the past but this year has seen a real shift in our studio culture, with four out of seven of the team being predominantly vegetarian, and with the horse meat scandal earlier in the year, more and more people seem to be waking up to the realities of the factory meat industry,” he adds.

So here are some of the final labels. There where 50 bottles produced in total, each one being slightly different due to the production method.
Thanks to Sophie W, one of the 3rd year Graphics students for her help with the type.

Back!

Yes yes yes. I have not uploaded anything for months now, summer, holidays, work etc have just got in the way. Anyway, should be putting up more regular info from now on, well hopefully.

Below is a project I am doing for a client for their Christmas gift to their clients. They are a recycling company, therefore the bottles used are to be recycled, the labels are recycled envelopes and the images are recycled from ones I produced last year using old toilet rolls and cutout silhouettes.

There are to be 50 bottles in total.

lamp of memories

Small private project making a lamp from old slides. This one shows slides of Oxford where I lived for eight years in the 90s. Slides courtesy of Jon Davidson, a photographer I worked with at the time.

website complete for The Cardinals, Hatt

New website for The Cardinals Hatt restaurant, bar and hotel is now live.

www.thecardinals-hatt.co.uk

internal publicity for "The Cardinals Hatt"

Slight change of direction from previous ads, this is more bold/colourful. I think I may still ad more colour yet, I am not sure about the white background.

Results are in on the future of type

Earlier this month, designer Sarah Hyndman hosted a St Brides workshop asking: “What is the Future of Type?” The question provoked mixed reactions on Twitter ahead of the event: on the day, Hyndman says, some common themes emerged.

“The main points that arose included the evolution of type and whether words may ultimately become obsolete as technology and globalisation progress. Physical print is still in demand - there has been a resurgence in letterpress and the Adana press is back in production in Japan - but whether this is a new trend or a final swansong remains to be seen,” she says.

Participants also raised concerns that the availability of web fonts could lead to poorly designed or 'bad' type, as web designers are given access to tools previously available only to print designers. But Hyndman says that historically, this kind of experimentation has led to major developments.

“[We discussed that] we are currently in a period of convergence, where the flexibility of web typography has caught up with print and there is no longer a differentiation between the two. But is this limiting web type to imitating print, and will the next stage in type evolution be when it is redesigned for an on-screen environment? Meanwhile, as 3D printing becomes more accessible, it's bringing more opportunities, from creating new letterpress letters to 3D type,” she says.

Responsive type technology was also a key talking point, adds Hyndman. “Type layout is becoming liquid, [and] responsive type offers exciting possibilities, from authors and users having the opportunity to personalise their experience, to experiments being done with functions like built-in cameras that prompt on-screen type to respond to a physical environment.”

Participants put forward several new responsive type ideas, says Hyndman, and recreated tweets posted on the subject of type's future in lettering based on Victorian type samples from the library's collection (below).

However, while technological changes could have an exciting and positive impact on physical print, Hyndman says those attending also expressed a need to ensure that the written word doesn't become inaccessible as tablets and e-readers become the norm.

“It is already predicted that most reading will be done on a tablet within two years. If this is the case, then we have a responsibility to avoid returning to a situation where only those who can afford it have access to the written word,” she says.

Noma Bar // Graphic Stoytelling

Noma Bar // Graphic Storytelling from West of England Design Forum on Vimeo.

The ability to tell a story through a few, well-considered marks is a skill that Noma Bar has carefully mastered over the years. By finding the positive within the negative space, he is able to confidently present a subject, leaving you to discover the hidden thread and unravel the story.

By striving for ‘maximum communication with minimum elements’ Noma Bar’s unique graphic style has become instantly recognisable throughout the world. Revered by his peers, he has won various industry awards, with his ‘Cut It Out’ exhibition nominated for the Design Museum's Designs of the Year 2012. Enjoy this short taster from an evening with Noma.

What is the future of typography?

A workshop at St Bride’s next month will discuss the Future of Typography. What do you think is the future of type?

‘You might as well ask “What is the future of mankind?”.
Why could anybody ask such a general and unspecific question? I’ll still answer it. The future of type is the past of type: visual language. As long as we speak and write, we’ll have type. Different voices, different messages, different media: different type.’

Erik Spiekermann, designer and typographer and founder of Edenspiekermann

‘With a heavy heart we announce type is dead. The improvements in voice-operated user interfaces renders redundant buttons, signage, poetry anthologies and council tax reminders! Bah! That’ll never happen. The return of online long-form copywriting a celebration of type doing what it does best, convey information. As it gets ever easier to design, publish and use type online it is interesting as digital natives develop digitally what David Carson, Vaughan Oliver, Barnbrook et al. have done so well in print.’

James Hurst, digital director at Prophet & founder of The Type Foundry

‘Don’t worry about the future of type. 99.99% of the populace doesn’t. Type, language, #hashtags, symbols - they are always going to be evolving and that is great - it adds a lovely texture to our lives. There is no need to get bogged down in the big questions or small details - progress doesn’t happen when you stand still. Now as creative director of NB Studio and Chairman of The Typographic Circle I would like this set in Akzidenz-Grotesk kerned -20. Please look out for widows, orphans, rivers etc…’

Alan Dye, creative director of NB Studio and chairman of The Typographic Circle

‘Whatever the future holds for typography, there is no doubt that the fundamentals will remain. The English language may evolve bringing new words and phrases; passing trends will introduce new fonts and styles; new devices might even project content directly to your brain. However, poor kerning and widows will still annoy those who care, Baskerville will always be a classic and Rosewood will never be suitable for a fire exit – unless it’s in a saloon.’

James Clarke, senior creative, Roundel

‘In the studio this year we’ve had to deal with how copy appears on a series of adverts ranging from Tube cards to in-app adverts. What corporate typeface to use when the brand has to appear modern yet traditional and work well across all online platforms. And of course the letterpress-printed wood type that needs to look great on a set of covers and but enlarge well when it’s used in-store on point of sale! The future’s evolving, adding more and more applications, being revived, going out of fashion again and above all about experimenting with whatever comes along.’

James Webb, director, Webb & Webb

‘What is exciting to see is the continued and growing interest in type. There are independent type foundries popping up all over the place and people painting shop signs by hand again. In the end this means people will be more informed about typography and will have more choice of how and what to use. Yes, there’ll be some terrible stuff made, but there’ll also be some ground-breakers. Above all more people will be having their words written in their own voice.’

Oli Frape, illustrator and typographer

‘The future of typography is unwritten.’

Frith Kerr, founder, Studio Frith

Pink Floyd album designer Storm Thorgerson dies

Storm Thorgerson, whose album cover artwork includes Pink Floyd's The Dark Side of the Moon, has died aged 69, the band's management has confirmed.

A childhood friend of the founding members of the band, he became their designer-in-chief, fashioning a string of eye-catching creations.

He designed the cover showing a prism spreading a spectrum of colour for The Dark Side Of The Moon.

His credits also include albums by Led Zeppelin, Peter Gabriel and Muse.

His family released a statement saying he died peacefully on Thursday surrounded by family and friends.

"He had been ill for some time with cancer though he had made a remarkable recovery from his stroke in 2003," it said.

"He is survived by his mother Vanji, his son Bill, his wife Barbie Antonis and her two children Adam and Georgia."

Pink Floyd guitarist and vocalist Dave Gilmour released a statement in which he said the artworks Thorgerson created for the band had been "an inseparable part of our work".

He said: "We first met in our early teens. We would gather at Sheep's Green, a spot by the river in Cambridge and Storm would always be there holding forth, making the most noise, bursting with ideas and enthusiasm. Nothing has ever really changed.

"He has been a constant force in my life, both at work and in private, a shoulder to cry on and a great friend. I will miss him."

'Simple idea'

A statement on the Pink Floyd.com official site said: "We are saddened by the news that long-time Pink Floyd graphic genius, friend and collaborator, Storm Thorgerson, has died.

"Our thoughts are with his family and many friends."

Thorgerson began his career with UK design group Hipgnosis, founded in the late 1960s and his distinctive style made him one of the industry's most recognisable artists.

There was the mournful-looking cow on the front of Atom Heart Mother, the burning businessman on the sleeve of Wish You Were Here, the giant pig flying over Battersea Power Station and the prism spreading a spectrum of colour across The Dark Side Of The Moon.

He told the BBC in 2009: "It's a nice but simple idea. Refracting light through a prism is a common feature in nature, as in a rainbow. I would like to claim it, but unfortunately it's not mine!"

The idea was sparked by Pink Floyd's keyboard player, the late Richard Wright, he explained.

"He said, somewhat provocatively, 'Let's not have one of your photos, we've had your photos before. Can't we have a change? A cool graphic - something smart, tidy, elegant.'"

Ride + Design

WEDF presents a day of exploring the close relationship between bikes and design, covering everything from branding and fashion to modern cycle culture. With talks from design-led industry greats including James Fairbank of Rapha, Will Butler-Adams (Brompton), Nick Larsen (Charge Bikes), Dom Thomas (Genesis), Ben Spurrier (Condor Cycles), James Greig (Vulpine), Anna Glowinski (AnaNichoola), as well as films, activities and much more, it's an unmissable day for any bike or design enthusiast. Saturday 15 June, 9–5pm (with afterparty) Arnolfini, Bristol £25 / £22 concs To book your tickets call the box office on 0117 917 2300. Have you got your ticket to Ride?

wise words

proposed ads for Cardinals Hatt restaurant/bar

The Death of Typography?

As a creative director I get to cast my eye over my fair share of portfolios from fellow creatives and I am often asked for my opinion on the contents. Lately I have found myself increasingly at a loss for words as I attempt to sugarcoat my response. The reality is; I am often left deeply saddened by the amount of students and young designers that simply neglect typography and don’t actually know an ampersand from their elbow.

As a Typographer and Type Designer myself, I am always naturally drawn to the intricacies and nuances of the way designers set type and the reasons for their choice of typeface. I believe this detail speaks volumes about the way a person approaches their work and problem solving in general. Interestingly, it isn’t the lack of detail that concerns me – these are skills you learn over time with experience – it is the lack of the basic knowledge of typography and its rules that are most alarming. Many students fail to understand basic terminology such as leading, kerning, ascenders, widows, orphans and counters. And one didn’t even know what an ampersand was!

I’m not saying everyone should know what colour tie Max Miedinger was wearing when he designed Haas-Grotesk for Eduard Hoffmann at the Haas’sche Schriftgießerei in 1957. But the basic anatomy of our alphabet and its application surely isn’t too much to ask from any human being, let alone a design graduate.

As a young designer, I was always led to believe that if you want to be a rule breaker and rock the boat, you first need to learn the rules and understand them. The difference between incompetent and incredible is knowledge.

My greatest fear is that the traditional rules and typographic techniques that were drilled into me as a young graduate are being lost forever. Students today are either not being educated correctly or for some reason are not interested in this essential design skill. I know that the years I spent hand drawing letterforms and pestering experienced typographers for tips and advice were not wasted. I know this because they have made my life as a communicator a simpler one.

Of all the design crafts, typography has to be the most important. As a designer it is the most powerful tool at your disposal and one you will use every day of your life. The ability to set type and control the connotations of the message is to control the minds of the reader. An appropriately chosen typeface can make copy appear sad, happy, aggressive, exciting, modern or traditional.  In fact, when used effectively, it is without doubt THE most powerful communication tool available to a graphic designer. That is why in my humble opinion; the most influential designers in history were also typographers, typesetters or type designers.

A long time ago, I was taught to choose a typeface based on how it made you feel – not because you have seen it somewhere else. A lot of students no longer want to create and discover techniques for themselves; they would rather replicate ideas found on one of the many design compilation blogs. These ‘hipster’ blogs have become a short cut to thinking for many students – they don’t want to go out on a limb and experiment anymore. Instead, they create disposable design and judge its success based upon appearance on a blog. They should be creating real long lasting solutions to real problems for real clients. That is successful design.

If these skills are not passed on correctly, the future will be bleak. It will consist of generations of designers who believe that it is ok to set an email in Comic Sans!

Written by Darren Scott
Creative Director

12/12/12

One image every hour for 12 hours on the 12/12/12.

IDEO CEO Tim Brown on the future of "design thinking"

IDEO's Tim Brown tells Charlie Rose that his company is increasingly asked to design solutions to social problems - like how to build a better education system in Peru or help NFL players transition to life after football.