EXCLUSIVE GIFT

FONTSWORTHFROMHYPEFORTYPECOM

THE DESIGNERS
REPUBLIC REUNITED
ISSUE 250
MARCH 2016
DIGITAL EDITION
PRODUCED IN
THE UK

E
 xclusivevideotherstinterview
withallvecoremembersofthe
iconicstudioforoveradecade

SPECIAL 20TH
ANNIVERSARY
EDITION

20 essential tips for taking your design career to the next level
The 20 biggest challenges in design today - and how to tackle them
REVEALED The 20 most influential designers as voted by their peers

CO M PUTER  ARTS  I S

N O N - FO RMAT SCO NTEM PO R ARYR ETRO D I E- CUT

COVERFO ROU RAN N IVERSARYI S SU ER EFLECTS
T WOD ECAD ESO FTH EMAGA ZI N E SH I STO RY
Forthecoverofourthanniversary
issue wewantedadesignthatreected
ComputerArtstwo-decadehistoryAnd
whobeertocreateitthanNon-Format 
featuredprominentlyinourpagesthisissue
andthroughoutthelastyears?
Theformsofthedigitsinthebig
thatNon-FormatsKjellEkhornandJonForss
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toastylethatwasverymuchinvoguewhen
IssueofComputerArtswaspublishedat
theendof
Wethoughtthatthebroken
lineandsemi-randomqualitytothestrokes
wasvaguelyreminiscentofthekindof
deconstructedtypographythatwaspopular
duringthemid- scommenttheduo
Thedesignalsohasitsrootsinhistory
inanotherwayitbeganlifeasobservationsof
Japanesecalligraphythatdidntquitemakeit
intoamusicpackagingprojectOurintention
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randomorganicqualitiesintosimplelines
dashesanddotsNon-Formatexplain

Non-Formatalsoillustratedthe
numbersthatappearthroughoutourcover
featureonpage andthesearecloserto
theiroriginalsketchesthestrokeshavefewer
strandsandareinblackandwhiteonly
ForthecoveritselfNon-Format
expandedthewidthofeachstrokeand
addedmoredepthbycreatingtwomore
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of
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immediatelybeneaththecoverSuppliedby
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dierentcoloursfromChinaWhiteto
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nishesonourcoverwhichincludesotouch
laminationwerecreatedbydecorativeprint
nisherCelloglasYoucanseeavideoofthe
coverscreationonourYouTubechannelat
wwwbitly/ca
-covernish

WEL CO M E

MARCH 2016

EDITORS LETTER
WelcometothelandmarkthissueofComputerArtsItsalso
ourthbirthdaynosmallachievementinthefast-pacedworld
ofmagazinessowerecelebratingtwiceashardstartingwith
ourstunningdie-cutcoversdesignedbyphenomenallytalented
duoNon-Format
Isaycoversbecauseforthersttimeinourhistoryweve
createdbeautifulversionsofourcoverdesigntocollectwitha
lilehelpfrompaperspecialistGFSmithandnishingrmCelloglas
Youcanreadmoreaboutourthanniversaryeditioncoveronpage
Wereproudtohavebeenchampioningdesignfortwodecades
Alotschangedsinceourrstissuesothismonthwepolledthe
worldsleadingcreativelightstondoutwhichdesignersand
illustratorshavemostshapedtheindustryoverourlifetimeTheresults
arefascinatingFindoutwhomadethetopinthismonthsspecial
reportalongwithessentialtipsadviceandinsightfromourpanel
AlsohugenewsinJanuarywereunitedvecoremembersofthe
designstudiothatdenedthe sTheDesignersRepublicforthe
rsttimeinoveradecadeTheysharetheirsecretsforstayingahead
ofthemainstreaminanexclusivevideointerviewonpage 
Finallywekickoabrandnewregularcolumnonourbackpage
thismonthexploringtheidiosyncraticcreativeinterestsoficonic
designersTherstoneiswrienbyStefanSagmeisterEnjoytheissue

KEEPIN
TOUCHWITH

TWITTERCOM/
COMPUTERARTS

FACEBOOKCOM/
COMPUTERARTS

YOUTUBECOM/
COMPUTERARTS

JULIASAGAR
ACTINGCO-EDITOR
[email protected]

FEATURING

NON-FORMAT
Thismonthsspecialdie-cut
coverwasdesignedbyKjell
EkhornandJonForssaka
Non-FormatThepairwho
recentlyjoinedforceswith
Scandinaviandesigngiant
ANTIusedtheirexpertise
intypographytocreatea
designreminiscentofthe
trendswhenComputerArts
launchedinthemid- s
wwwnon-formatcom

ADRIAN
SHAUGHNESSY

STEFAN
SAGMEISTER

Thefounderof
ShaughnessyWorksand
UnitEditionsAdrianshares
histhoughtsonthelast
yearsofgraphicdesignon
pageWhatchallengeshas
theindustryfacedwhere
willitgofromhereandwhat
canyoudotosucceedin
anewfast-movingworld?
wwwuniteditionscom

NewYork-basedgraphic
designerStefantooktime
outofhisChristmasbreakto
telluswhyhesbeenbuying
somuchvinylrecentlyOn
pageheexplainswhy
thecoversdesignedinthe
lasttwoyearsaremore
gorgeousthananythingelse
inthehistoryofthateld
wwwsagmeisterwalshcom

SARAHHYNDMAN

ADAMAVERY

FounderofTypeTasting
SarahHyndmanisknown
forherspecialinterestin
perceptionandtypefaces
Onpageshesharesthe
resultsofanexperiment
intotheinterweavingof
sensestocreateaparticular
experienceandconsiders
thesignicanceofdesignas
amulti-sensorydiscipline
wwwtypetastingcom

Adamisafreelance
illustratorwhotakesa
humanisingapproachto
complexstoriesusing
boldshapesandcolourful
compositiontocommunicate
toughtopicsHeputhis
vibrantstyletoworkin
ourguidetosuccessful
delegationforcreatives
whichbeginsonpage
thesuolkpunchpresscom

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MARCH 2016

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PRINTERS

PAPER

TEXTANDCOVERCMYK
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COVER
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DIECUTUVVARNISHAND
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P
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P
GraphoCote gsm

TYPEFACES
TrumpGothicWestNeutraface
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--

MARCH 2016

ISSUE 250
M A RCH 20 16

CULTURE


TRENDS
Ourregularexplorationofthecuingedge
ofdesigntakesinaquesttodesigntomorrowsmeatball



PLACES
 SuppleStudiocreativedirectorJamieEllul
runsthroughthehighpointsofCAshomecityofBath



PEOPLE
InkygoodnessdirectorLisaHassellon
seingupinnovativesisteragencyWeAreGoodness



EVENTS
WereportontheModualstudent
workshophostedbyAirsideco-founderFredDeakin



HOWDESIGNHASCHANGED
Adrian
ShaughnessymapsthecourseofdesignsinceIssue



WHATSNEXTFORDESIGN
Weaskyouwhat
changesyoudliketoseeoverthenexttwodecades



LESSONSFROMABADLOGO
CraigWard
reectsontheBBCThreebrandingdebacle



TASTEYOURTYPE
Authorandtypographer
SarahHyndmanarguesforfullymultisensorydesign

INSIGHT

SHOWCASE
Ourselectionoftheworldsbestnew
graphicdesignillustrationandmotion
graphicswork 

D IARY 2
IN C O NV E RS AT IO N
DIARY 1

COVER STORIES

PROJECT DIARIES
Mevis&VanDeursensstrikinggrid-basedvisualidentity
fortheMCABlockBrandingsFeralbeerlabelsand
TribalWorldwidesaquaticfantasiaforTObyLipton 

D IARY 3

COMPUTERARTSCREATIVEBLOQCOM
--

Sixleadingdesignersdiscusshow
theircareershaveevolvedsince
creatingoneofComputerArts
!coverstodate 

C O N TE N TS

MARCH 2016

NE E D T O K NO W

SELLING TYPEFACES
Earnvaluableextrarevenuethisyearby
bringingyourtypefacestomarketwiththe
helpofourexperttipsfromleadingfont
foundriesandretailers 

S PEC I A L R EP OR T

THE 20 MOST INFLUENTIAL DESIGNERS

Inourextendedcoverfeaturewerevealthemostinuentialdesignersofthepast
twodecadesasvotedbytheirpeersandtheirtipsforadvancingyourowncareer 

SUBSCRIBE AND
SAVE UP TO 63%
Threegreatwaystosubscribe
totheworldsbestdesignmag
Print Digital Both
Seepage 
OrjoinComputerArtsPro!
Seepage 

VIDE O INS IG H T
I NDU STR Y I SSU ES

HOW TO DELEGATE
Discoverhowtoletgoofthelilethingsand
focusonthebigpictureinordertohelpyour
studiogrowtothenextlevel 

TDR: REUNITED
Inaspecialfeaturewebringtheve
coremembersoficonicdesignstudio
TheDesignersRepublictogetherfortheir
rstinterviewinoveradecade 

COMPUTERARTSCREATIVEBLOQCOM
--

WE LOV E...

Fresh food
concepts
The Tomorrows Meatball project by Ikeas Space10
research lab puts a palatable twist on sustainable eating
ecessityisthemotherofinvention andneverhasthesaying
rungmoretruethanintodaysenvironmentalcrisisparticularly
inreferencetofoodandwatershortagesIncreasingpopulations
andoutdated inecientagriculturalmethodsarejusttwoofthe
challengesfacedbytodaysinnovatorsTheUNpredictsthatinthenext
yearstheplanetsdemandforfoodwillincreasebypercent 
puinghugestrainonitsresources
Astheworldwakesuptothisimpendingfuturefoodcrisisdesigners
scientistsandbrandsalikelooktonewandalternativeresourcesand
productionmethodsFromtheprospectofsyntheticallygrownmeatto
insectfarmingandreclamationofediblewastetheproposedconceptsmay
seemfar-fetchedandostentatiousnowbutin
yearstimethesenovel
foodscouldformpartofourstaplediet
IkeasCopenhagen-basedfuturelivingresearchlabSpaceispuing
aplayfulyetcomprehensivespinonthefuturefooddebatewithitsproject
TomorrowsMeatballIncollaborationwithfooddesignerSimonPerezand
photographerLukasRenlundthestudiohascuratedasetofspeculative
conceptstomakethesubjectmoredigestible
FromthefairlyfamiliarconceptsoftheArticialMeatballandorganic
alternativesLeanGreenAlgaeBallandCrispyBugBalltotheambiguously
titledDPrintedBallandforthetstersMightyPowderBallSpaces
collectionofvisuallyalluringbite-sizeglobesusetheuniversallanguageof
themeatballtocommunicateamenuofpotentialfuturefoods
PHOTOGRAPHY: Lukas Renlund

LearnmoreaboutSpacesexplorationsofsustainabledesignand
healthierlivingatwwwspaceio
EachmonthourTrendssectioniscuratedbyexperiencedcreative
consultancyFranklinTillwww franklintill com

CULTURE TR EN D S

MARCH 2016

D E S I G NED FOR LI FE

Make your mark

Dowses tactile, etched steel Geo bookmarks
lend atouch of art deco elegance to any page
hesmartGeobookmarksbyBritishstudio
Dowsearepartofalargercollectionofprints
andjewelleryinspiredbyatriptoMiami
Therangetakesinspirationnotonlyfromthecitys
ArtDecoandmodernistarchitecture butalsothe
counterculturesofgraticultureandstreetart
ThestudiosfounderSusannahDowsebelievesthat
partofanobjectsbeautycomesfromhowitsmade
andbywhomHerbookmarksarecra$edfrometched
steel%pictured'andbrasswhichsuitveryneetching
puingfewerrestrictionsonherdesignsthanso$er
metalsIdesigninAdobeIllustratorthenthelesare
senttobephoto-etchedintothemetalbyacompany
intheMidlandswhotraditionallymakeengineering
andmachinepartssheexplains
Ithinktheyareasatisfyinglymoderntakeona
traditionalproductsheaddsIliketothinkIve
createdsomethingtactileandbeautifultoenhancethe
experienceofturningapageandmarkingyourplace

DowseGeobookmarks
wwwdowsedesigncouk
)!each

Stay one
step ahead
with our
barometer
of visual cool

MAINSTREAM

STILL FRESH

EMERGING

Texturetellsthe
storyasbranding
becomesdevoidof
printusingblind
embossingforwhiteon-whiteeects

Texturalmarkmakingand
scrawlinghanddrawnpa ernsadd
depthtoprintand
packagingdesigns

Illustrativeprints
arestrippedback
tobasiccolourto
createabstract
impressionist
pa ernsforpieces

COMPUTERARTSCREATIVEBLOQCOM
-12-

ILLUSTRATION: Michael Lester

www.michaelwilliamlester.com

TRENDING

P LA C E S CULTURE

MARCH 2016

C R E AT I V E QU A R TER S

BATH, UK

STREET VIE W

Jamie Ellul, creative director of design agency Supple Studio

and chair of the West of England Design Forum, shares his
favourite haunts in the picturesque city of Bath

ACCESSOUR
GOOGLEMAPAT
bit.ly/CA-Bath

ROYAL VICTORIA PARK

Bath BALZ
wwwbitly/ca-victoriapark
Mydaystartswithacycleorwalkto
workthelastlegofwhichisthrough
VictoriaParkItsagoodtimetothink
aboutthedayaheadandareminderof
whatabeautifulcityIliveandworkin

THE STAR INN

Vineyards Bath BANA
wwwbitly/ca-starrinn
Thisthcenturypubhasnojukebox
nofancyfoodnohipstertachesand
notevenahintofFarrow&BallIts
simplyagoodoldfashionedboozer
withagreatselectionofalesopenres
andadiverseandfriendlyclientele

MAGALLERIA
ABroadStreet Bath BALN
wwwmagalleriacouk
ThislileshoponBroadStreetoers
awideselectionofindiemagazinesand
publicationscoveringeverythingfrom
designtogardeningallbeautifullylaid
outwithalovelyminimalistgalleryfeel

THE CARIBBEAN KITCHEN

GroveStreet Bath BAPJ
wwwcaribbeankitchenbathcouk
WhenImovedtoBathfromLondon
thethingImissedmostwasjerk
chickenMyprayerswereanswered
whenTheCaribbeanKitchenopened
upservingauthenticWestIndianfood

HUNTER & SONS

ILLUSTRATION: Tom Woolley, www.tomwoolley.com

MilsomStreet Bath BABZ

wwwcolonnaandhuntercouk
FormerlyColonna&Hunterthiscool
lileestablishmentistuckedawayinthe
otherwiseblandMilsomPlaceserving
top-notchcoeelocallysourcedfood
andafast-changingrosterofcrabeers

FOUND
ArgyleStreet Bath BABQ
wwwfoundbathcouk
SituatedovertheiconicPulteney
BridgeFoundisahavenofdesignery
gisandtop-notchthreadsOwners
OliviaandNikhaveanencyclopaedic
knowledgeoffashionitsoneofmy
favouriteshopsforpickingupagi

SuppleStudioisamultidisciplinarydesignstudiowhoseexpertisespansbrandingprint
advertisingdigitalmotiongraphicsenvironmentalgraphicsandmorewwwsupplestudiocom
COMPUTERARTSCREATIVEBLOQCOM
-13-

CULTURE P EO PL E

MARCH 2016

MY STYLE IS...

CASUAL AND DARK,

COOL BUT NOT TRENDY
Arthur Foliard is
a French designer
currently working at
Moving Brands. He
likes to illustrate in
his free time, for fun and for friends.
www.arthurfoliard.com

WhydidyousetupWeAreGoodness?
Wehadbeentoyingwiththeideafora
whileandintheenditfeltlikeanatural
progressionfromhowwestartedout
curatingartshowsstartingablogwriting
aboutillustratorswelovedandindirectly
playingapartingeingtheirworkseen
andcommissionedIntheendwefound
ourselvesgeingapproacheddirectlyby
clientstosourceartistsandillustratorsfor
projectsandwecametotherealisation
thatwewererathergoodatit

N E W VE N TURE S

MY RINGS
Iweararingoneachhand butthe
le-handoneismadeupofve
tinyringsIboughttherightonein
NewYorkatthetenderageof

IN GOOD
COMPANY
InkygoodnessdirectorLisaHassellsnewsister
agencyWeAreGoodnessbreaksfromtradition
bybridgingthegapbetweenartistsandclients
ifehasneverbeensobusyfor
LisaHassellSincegraduating
fromtheUniversityof
Portsmouthwithanillustrationdegree
in thedirector agentand
lecturerbouncedbetweenin-house
jobsandagencyworkwithoutever
reallyndinghernicheTokickstarther
career LisafoundedInkygoodnessto
curatenewandemergingillustration
andgraphicarttalent butsoonfound
thatherstrengthslayincreative
directionWithInkygoodnessgrowing
itsaudiencethroughinternational
exhibitionsinBerlinandAntwerp Lisa
explainswhyshedecideditwastimeto
establishWeAreGoodness

MY TATTOO

ILLUSTRATION: Arthur Foliard www.arthurfoliard.com

IdesignedmytatthedaybeforeI
leSanFranciscoIhadanimage
ofawaveofemotions allofwhich
Ihadfeltduringmytimethere

MY BAG
MybeigeJCrewmessengerbag
wasabirthdaypresentIvewornit
everydayIvebeenoutforthelast
twoyearsnowIloveittobits

Lisa Hassell
Directorof
Inkygoodness
andWeAre
GoodnessLisa
hasoversix
yearsexperience
inthecreative
industryasa
freelancewriter
agentproducer
andlecturer

WhatisWeAreGoodness 
andwhatwillitachieve?
WeAreGoodnessisthesister
agencyofourartandcultureplatform
Inkygoodnessrepresentingartistsand
illustratorsworldwideforcommercial
projectsMorethanthatouragency
diersfromatraditionalillustration
agencybyadoptingamoretransparent
collaborativeapproachtoworkingwith
clientsandartistsInthatsenseour
goalistoworkonexcitingprojectsand
supportourartistsbytakingtheirworkin
unexpectedplayfuldirections
COMPUTERARTSCREATIVEBLOQCOM
-14-

Whatwasthehardestpartofseing
uptheagency?
Westartedthebusinessonashoestring
witharelativelymodestbudgetsothat
initselfhasbeenabitofajuggleThe
realchallengenowliesinndingthe
rightprojectsforourartistsinvesting
inmarketingandbrandingforthe
businessanddevelopingrelationships
withnewclientsOurstudiosetupisat
homewhichsuitsusneuntilwenda
collaborativeworkspaceinBirmingham
Wevecometorecognisethatbeing
basedinthecitycentreisntessential
forustooperateandthatdespiteour
aspirationsitsimportanttoberealistic
whenstartingout
Whatadvicewouldyougivetopeople
hopingtosetuptheirownagency?
Findagoodbusinesspartnerberealistic
aboutyourskillsandknowledgeand
ndsomeonewhocanllinthegaps
Nextupwriteabusinessplan!Itsone
ofthemostusefulexercisesyoucan
undertakeandwillquicklyidentifyholes
andweaknessesFinallybepatientwith
yourselfWehadlotsofplansinthe
beginningbutwequicklyrealisedthatwe
weretryingtodoeverythingatonceand
itwasexhausting!
Arethereanyprojectsinparticularthat
youreexcitedtostartworkingon?
Rightnowweredesigninganillustrated
postcardsetforGlugLondonanda
ratherspecialpieceofWeAreGoodness
directmailwhichwilldropinearly
Alongsidethiswerealsoplanning
anexhibitionandlaunchpartyforthe
agencynextspringwhichwerevery
excitedabout
wwwwearegoodnesscom

Marc & Emma are a

puppet lmmaking duo
based in Belgium. They
make short lms and
commercials, and are
known for their so,
woollen characters and
surreal sense of humour.
www.marcandemma.com




M Y D ESI G N SPA C E I S...

A ONE-STOP
PUPPET SHOP
FilmmakingduoMarc&Emmabringfantasticstop-motion
creaturestolifeintheirhomestudioinGhentBelgium
surroundedbyplushmementosofpreviousjobs
uppeteersandproducersMarc
JamesRoelsandEmmadeSwaef
akaMarc&Emmacreate
advertisementsandshortlmsfromtheir
homestudioinGhentBelgiumWhile
someartistsndthataseparatecreative
spaceimprovestheirproductivityMarc&
Emmapreferthesimplicityofworking
fromtheirownapartment
We just love geing up and walking
into our atelier, says Emma. For meetings
and such, we go to coee houses in the
neighbourhood. For international coproductions, the pair sometimes have to
move to a studio in a dierent country. Once
relocated, they nd it takes a few weeks to
become used to the new surroundings and
get back to their usual working speed.
The atelier may look chaotic at rst blush,
but Emma says its simply growing organically
with each new piece of equipment they buy.
Wed like to describe it with a quote from
Nietzsches Zarathustra: I say unto you: one
must still have chaos in oneself to be able to
give birth to a dancing star.
The pair share their workplace with
the stars of their lms, including Louis
(1) an early mock-up of a character for a
forthcoming short lm. Emma explains that
his rosy-cheeked face is a work in progress:
His nose is still a lile sharp and were not
sure hes sympathetic enough.

Marc & Emmas own puppets arent their

only atmates the unfortunate Yozhik (2)
was a gi from a friend, repurposed as a
pincushion. Hes a simply made version of
the Russian stop-motion cartoon character
Cheburashka, says Emma. We named him
Yozhik, which is Russian for hedgehog,
because thats what he looks like with all the
pins in his back. He just loves being so useful
and comes with us on all our shoots.
As a student, Emma made and sold
handcraed yetis (3) to earn some extra
cash. She and Marc have recently started
work on a new series of the adorable
abominables using Stei and Helmbold fur
fabrics, but are nding it tricky to keep up
with demand between their commercial
projects. She and Marc keep these jobs
in order with the aid of well-populated
notebooks (4). Im an avid defender of lists,
she says. Its just such a great way to get
more done in a day, and crossing o an item
gives so much satisfaction!
The scissors atop her desk also see
regular use. They get blunt quickly,
especially when I clip yellow foam to make
body shapes for puppets, she explains. For
ne work, sharp blades are essential, so she
was delighted to nd a set of sharpeners
designed for the purpose: If I didnt have
these, I would ideally have to buy a new pair
of scissors every week!
COMPUTERARTSCREATIVEBLOQCOM
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CULTURE EV E N TS

MARCH 2016

KEY INFO
LOCATION
SomersetHouseand
UniversityoftheArtsLondon
wwwmodualorg
WHEN
!-!January
HOSTED BY
FredDeakin
INDUSTRY EXPERTS
BethnalGreenVentures
MakerversityDanielCharny
WillHudson

EV E NT R EP OR T: MODU A L 2016 WORKSHOP

CULTIVATING
CREATIVE MINDS
Modual producer Sam Dunne joins its class of 2016 as UAL professor and Airside
co-founder FredDeakin guides students through the creative fog in a two-week
workshop combining physical and virtual learning, action and personal reection
eingotoadynamic
start studentsfromvarious
creativedisciplinesat
UniversityoftheArtsLondonUAL
spentthersttwoweeksofJanuary
immersedinaworkshopdesigned
toequipthemwiththedigital 
entrepreneurialandcollaborativeskills
neededtothriveaergraduation
FredDeakinchairofinteractivedigital
artsatUALandco-founderofcreative
agencyAirsidedevelopedthisthird
iterationofhisworkshoptoexplore
whatispossibleinablendedvirtual
learningenvironmentbygivingstudents
atasterofthecuing-edgedigitaltools

thatarebeingusedintheindustrytoday
Studentswererotateddaily
percent
joinedDeakinphysicallyinapop-up
studiospaceatcentralLondonscreative
start-uphubSomersetHousewhilethe
other
percentparticipateddigitally
fromtheirchosenremotelocations
whichincludedbedroomscafesand
evenbusesandtrainsThestudentsused
videoconferencingsowareFuzeand
teamcollaborationmessagingappSlack
andweregivencontinuousliveonline
coachingbyasmallteamofgraduates
fromthepreviousyearsworkshops
Therstdaysoftheworkshopcould
bedescribedasacreativegrouptherapy

COMPUTERARTSCREATIVEBLOQCOM
-16-

sessionStudentsreectedontheirskills
abilitiesandpassionsworkinginpairsto
developaclearerunderstandingoftheir
potentialroleinacreativeteamKeenfor
studentstoappreciatethepowerthey
havetochangetheworldforthebeer
Deakindevelopedthisreectionby
leadingparticipantsthroughaprocessto
uncovertheircreativecallingexploring
suchquestionsasWhendidyoulastfeel
trulyalive?andWhatwouldyoudoif
youknewyoucouldntfail?
Equippedwiththisnewpersonal
understandinglike-mindedstudentsthen
formedcross-disciplinaryteamstoinitiate
projectsthatwouldgeneratepositive
socialchangewithDeakinencouraging
conversationandcollaborationatall
stagesIfyourestuckshowsomeone
yourworkheadvisedNothingwillshi
thatcreativeblockfasterDontworryif
itsnotnishedjusttalkingthemthrough
whatyouretryingtoachievewillprobably
leadyoutotheanswerifyourcolleague
doesntspotitforyou
Withlileovervedaystotaketheir
projectsfromconceptiontofruition
anothernodtotherealitiesoflifeaer
graduationstudentsfedontheenergy

E V E NT S CULTURE

MARCH 2016

FredDeakins
two-weekModual
workshopcombined
sessionsinapop-up
studiowithremote
workingusingthe
latestcollaborative
toolsusedinthe
creativeindustry

CAREER ADVICE
FIVE TIPS FROM FRED DEAKIN

1. THINK IN THREES
Whenitcomestoworkthreeisalwaysthemagic
numberThekillerstart-upteamneedsthreekeyskills
atitsheart*businessdesignandtechnologyorahustler
ahipsterandahackerYouhavethreechoiceswhen
graduating*afull-timejobfreelancingorstartingyour
ownstudioIdidthemallbutthelastpathwaswhenit
allactuallycametogether
Andnally%therearemanymoreexamplesbutthree
seemslikeaappropriatenumber!'thethreefactors
requiredforhappinessinacreativecareerare*workon
whatyoulovewhatyoucangetpaidforandwhatyou
careaboutYoumightnotbeabletoachieveallthree
atrstbutaimforthetrebleinthelongtermYoull
knowwhenyougetthere!

2. DONT CONSUME: PRODUCE

USE YOUR MORNING

ENERGY ON THE CREATIVE
THINGS YOU HAVE TO DO
FRED DEAKIN

enthusiasmandexperienceofDeakin
andhisteamtomakeittothenishline
apitchnightatSomersetHouseonthe
penultimatedayoftheworkshopwith
peersprofessorsindustryprofessionals
andpotentialinvestorsinaendance
Deakinhelpedstudentsnavigatewhathe
describedasthecreativejourneyinto
thefogencouragingthemtoswapoverthinkingandtalkingincirclesforaction
andmakingfollowedbyreection
Healsohadmoregeneraladvice
Youcanmovefromagenerativestate
brainstormingdesigningandsoonto
amorestructuraladmintypeofenergy
suchasschedulingandsendingemails
inasecondbuttoswitchbacktheother
waytakesmuchlongerandscientists
agreewithme!heexplainedUseyour

cleanermorningenergyonthecreative
thingsyouhavetodoandholdoon
thoseemailsuntillaterTheyneedless
insightandcanusuallybesteamrollered
throughunlikethetasksthatrequire
inspirationandenthusiasm
Theteamsweresupportedbydaily
lecturesandmentorshipfromindustry
expertsTheseincludedsocialinnovation
incubatorBethnalGreenVentures
andmakerspaceMakerversityboth
permanentresidentsatSomersetHouse
FixpertsfounderandKingstonUniversity
professorofdesignDanielCharny
communicationsexpertsandSemaphore
Londonco-foundersLiamFay-Fright
andAaronColelm-makerPaulWya
andItsNiceThatfounderandcreative
directorWillHudson
Theminimalviableproducts
presentedatthepitchnightreceived
verypositivefeedbackfromtheaudience
Severalarenowontracktocontinue
beyondtheworkshopincludingaTinderlikeserviceforartistslookingforpartners
increativecollaborationandaplatform
thatallowspenny-pinchingtravellersto
ndaccommodationinexchangeforskills
suchascookingorhairdressing

Movefrombeingadigitalconsumerwhoishypnotised
intoastateofpassivitybythetsunamiofcontentcoming
outofyourscreen%andbecomesacommodityforglobal
corporatestomonetiseintheprocess'toadigitalcreator
whoentersintoadialoguewiththeinternetandhelps
createitsfutureshape

3. LEARN BY DOING
Donttrytolearnnewskillsintheabstractnda
projectthatyoucareabouttoexperimentwithinstead
andyouwillndyournewtalentsbloomingahundred
timesfaster

4. BE PREPARED TO SUCK
Ifyourenotpreparedtosuckatsomethingintheshort
termyoullneverbegoodatitinthelongtermSoifyou
suckthatsgreat!Themasterywillbealongshortly

5. PERFECT YOUR PITCHES

Onemoretrio*threerulesforagreatpitchTakeyour
timeandspeakslowlylikethatgreatoratorBarack
ObamaLookyouraudienceintheeyeandyouwill
properlyconnectwiththemFinallyneverreadfroma
scriptInsteadusebulletpointsandmakeuptheexact
wordingonthespotYourcommunicationwillbemuch
moregenuine

COMPUTERARTSCREATIVEBLOQCOM
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CULTURE EV E N TS

MARCH 2016

W H AT S ON

dates for your diary

sconferenceseasongetsintofullswingwithtalksworkshopsandmasterclassesto
getyourcreativejuicesowingincludingeventsfromBehanceHowandCreativeBloq

PENGUIN RANDOM HOUSE

UK DESIGN AWARD
CLOSING DATE: 09 MARCH
wwwbitly/penguinrhdesign
Ifyourestudyingartordesign
thePenguinRandomHouseUK
DesignAwardisanopportunity
toexperiencearealbriefby
designingacoverforoneofthe
publishersbest-sellingtitlesThe
booksforareAClockwork
OrangebyAnthonyBurgessHow
ToBeAWomanbyCaitlinMoran
andEmilAndTheDetectivesby
ErichKstnerThewinnerineach
categorywillembarkonawork
placementinthePenguinRandom
HouseDesignStudiosandreceive
inprizemoneyNon-UK
entrantsarewelcome

GLUG BIRMINGHAM #4
CRAFT & GRAFT
10 MARCH
BirminghamUK
wwwglugeventscom
ForitsfourthoutingGlug
Birminghamishostingasetof
talksbyagenciespublisherssmall
studiosandfreelancerseachwith
theirowndierentperspective
onthecreativeindustryanda
uniquestorytotellAsabonus
specialguestAidanSaunders
willbedroppingbywiththePrint
Wagonahand-paintedVW
caddyfreshlypressinglinocuts
andshowcasingaordableart
throughouttheevening

SOUTH BY SOUTHWEST
11-20 MARCH
AustinUSA
wwwsxswcom
SouthbySouthwestInteractive
SXSWiisoneoftheworlds
biggestlaunchpadsfornew
creativecontentandtechnology
Learnhowcuing-edgetech
intersectswithdesigndiscover
newwaystopromoteyourself
andsecuremoreworkandmeet
hundredsoflike-mindeddesigners
fromaroundtheglobeSpeakers

thisyearincludeCEOofOblong
IndustriesJohnUnderkoer
whoworksasascienceadvisor
tothecreativeindustriestohelp
groundthemostfantasticideas
inrealityincludingthefamous
touch-sensitivecomputerinterface
fromMinorityReport

D&AD TRAINING:
ART DIRECTION FOR DIGITAL
05 APRIL
LondonUK
wwwdandadorg
ThisD&AD-hostedtraining
eventisaimedatprintspecialists
wantingtotakeonmoredigital
workaswellasanyonewantingto
learnthelatesttricksandtoolsfor
digitaldesignTheone-daysession
presentedbyaward-winning
designerandco-founderofAB
StudioAlexLampewillhelpyou
exploreandexploitthedierence
betweenconventionalartdirection
andartdirectionfordigitalto
maximumeect

OFFSET
08-10 APRIL
DublinIreland
wwwiloveosetcom
Osetwelcomesover

aendeeseachyearandpast
guesthaveincludedMassimo
VignelliMiltonGlaserandStefan
SagmeisterItsorganiserstake
amultidisciplinaryapproach
invitingpractitionersfromgraphic
designphotographyanimation
illustrationfashionlmindustrial
designandartThisyearsspeakers
includeVinceFrostMorag
MyserscoughRuthAnseland
TurnerPrize-winnersAssemble

makerofcarvedinscriptionsin
slateandstonecombinedwith
graphicworkHehasadeep
interestinfusingcontemporary
andclassicalidiomsandworks
entirelywithhisownleerforms
Inthiseveninglecturerunbythe
ArtWorkersGuildbutopento
non-membershedelvesintothe
evolvingdesignoftypography

GENERATE NEW YORK

22 APRIL
NewYorkUSA
wwwgenerateconfcom
Theone-dayGenerateNewYork
conferencepresentedbyCreative
Bloqandoursistermagazinenet
isasourceofinspirationeducation
andnetworkingopportunities
foranyoneworkingindesignfor
thewebItcoverstodaysmost
importanttechniquesviaaheady
mixofpracticalandinspirational
talksfromthebrightestmindsin
theindustrywhichyoucanput
intoactionthemomentyouleave
DatesforthisyearsLondonevent
willbeannouncedsoonforUKbasedcreatives

99U
05-06 MAY
NewYorkUSA
wwwucom
Ideasarethemainfocusat U
organisedbytheteambehind
BehanceItspackedprogrammeof
talksisaction-orienteddesigned
togetyouinspiredawakeand
engagedPickupyoureventbadge
adayearlyandenjoyapre-party
withfellowaendeesbefore
divingintotwodaysoftalksand
interactivemasterclasses

HOW DESIGN LIVE

19-23 MAY
AtlantaUSA
wwwhowdesignlivecom
ThegoalofHowDesignLiveis
tohelpyourefuelyourcreative
passionwhilefurnishingyouwith
thepracticalknowledgeyouneed
toadvanceyourcareerTheevent
fromthepeoplebehindHow
andPrintmagazinescombines
inspiringpresentationsfromtop
designerswithspecialistbusiness
adviceandguidestothelatest
toolstosaveyoutimeandstress

NEW YORK 22 APRIL 2016

LETTER EXCHANGE LECTURE

TOM PERKINS, LETTER CARVER
13 APRIL
LondonUK
wwwleerexchangeorg
TomPerkinshas years
experienceasadesignerand

CAMERON MOLL

HANNAH DONOVAN

TIM KADLEC

JAMES WHITE

DESIGNER AND AUTHOR

PRODUCT DESIGNER

WEB TECHNOLOGY ADVOCATE

VISUAL ARTIST AND DESIGNER

cameronmoll.com

hannahdonovan.com

timkadlec.com

signalnoise.com

COMPUTERARTSCREATIVEBLOQCOM
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MARCH 2016

Strong opinion and

analysis from across the
global design industry
THIS MONTH
ADRIANSHAUGHNESSY
DESIGNER&WRITER
www.uniteditions.com

CRAIGWARD
DESIGNER&ARTDIRECTOR
www.wordsarepictures.co.uk

SARAHHYNDMAN
FOUNDER TYPETASTING
www.typetasting.com

REGULAR WRITERS
ADRIAN
SHAUGHNESSY
DESIGNER&WRITER

MARKBONNER
CO-CREATIVE
DIRECTOR GBH

SABRINASMELKO
ILLUSTRATORAND
ARTDIRECTOR

BENTALLON
FREELANCE
ILLUSTRATOR

CRAIGWARD
DESIGNERAND
ARTDIRECTOR

LOUISESLOPER
HEADOFDESIGN 
CHI&PARTNERS

HOW DESIGN
HAS CHANGED
Adrian Shaughnessy maps the trajeory
of design since our launh and hares his
prediions for creatives in an increasingly
dynamic multidiscplinary indury

ADRIAN SH AUG HNE SSY INSIGHT

MARCH 2016

ABOUTTHEWRITER
AdrianShaughnessyisagraphic
designerandwriterIn  he
co-foundeddesigncompanyIntro
TodayherunsShaughnessyWorks
andisalsofoundingpartnerof
UnitEditionsproducingbooks
ondesignandvisualculture
wwwuniteditionscom

hen Computer Arts launched in late 1995,

graphic designers were entering one of the
disciplines periodic growth spurts. It was
the era of the dot.com boom and anyone who could
design a webpage was instantly employable. Running
a studio back then, I was hounded by clients begging
me to build websites for them If we offered you
more money, could you fit us in?
What none of us knew was that the dot.com
kebabwas about to be barbecued to a cinder. Nothing
typied the collapse more graphically than the fall of
Boo.com. It launched in 1999, dropped a cool $188m on
creating an online fashion store, then folded one year
later. For graphic designers, the dot.com crash was a
body blow. A few studio owners sold out beforehand
and made insane amounts of cash; the rest of us dined
on ashes for the rst few years of the new millennium.
There was a recovery of sorts, but that only lasted
until 2008 when the banking crisis dealt another blow
that made survival for practitioners in the graphic arts
even more diicult. These two events changed the
commercial ground rules for graphic design, and for
most designers the freedom and nancial rewards
enjoyed in the 80s and 90s have not returned.
These werent the only game-changing events in
the past two decades. We have seen the rise of digital
communications as the primary eld of activity for
graphic designers, and social media has introduced a
largely cost-free publishing platform for clients that
has reduced the need for their services; you can launch
a business with a Facebook page, and you dont need to
hire a designer for that.
There have been many other changes, the most of
important of which is an embedded multidisciplinary
approach. People now emerge from a design education
able to make lms, write code, work with 3D software,
edit sound and produce environmental graphics.
Multidisciplinarity is the new normal.
All this is set against a backdrop of diminished
budgets, reduced time scales and intense competition.
According to the recent survey published in the book
Graphic Designers Surveyed, 81 per cent of designers
polled said they work many more hours than they are
paid for. The editors (designer Lucienne Roberts and
educator Rebecca Wright) also note that only 55 per
cent of designers claim to be satised with their
careers. The editors contrast this with the 78 per cent
who expressed career satisfaction when all workers
were surveyed in 2009-10.
Yet I think this low-ish level of satisfaction within
design tells us only that life is tough for many

designers. Today we function in what the cultural

theorists call the new precarity, and what political
commentators call the age of austerity.
But Im not pessimistic. A career in design is still
very desirable, if not for the nancial rewards then for
the satisfaction that comes from making something
with your own hands and brain. In an article in the
Guardian titled Easy to sneer at arts graduates. But
well need their skills, Simon Jenkins notes: Britain
now has 160,000 undergraduate and postgraduate
students in creative arts and design [] This is more
than in the whole of engineering, or in maths and
computing combined. Its clear evidence that the
desire to live a creative life is widespread and strong.
In other good news, social media has given
designers a free platform to promote themselves,

THE MOST IMPORTANT CHANGE IS A NEW

EMBEDDED MULTIDISCIPLINARY APPROACH.
PEOPLE EMERGE FROM A DESIGN EDUCATION
ABLE TO MAKE FILMS, WRITE CODE, WORK
WITH 3D SOFTWARE, EDIT SOFTWARE AND
PRODUCE ENVIRONMENTAL GRAPHICS.
MULTIDISCIPLINARITY IS THE NEW NORMAL
smart software is readily available for creating
everything from fonts to animation, and Im seeing
great work everywhere especially in countries not
previously celebrated for graphic design.
I would also argue that designers are well equipped
to deal with the new precarious work environment.
Multidisciplinary skills greatly enhance the prospect
of employment, especially self-employment or a
hybridof it. And I rmly believe that the nonconformist, individualistic nature of designers brains
means theyare adaptable and exible both essential
requirements in the current and future employment
landscape where there are no jobs for life.
How has your work changed over the last 20 years? Tweet
your thoughts to @ComputerArts using #DesignMatters

COMPUTERARTSCREATIVEBLOQCOM
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INSIGHT D E S I G N M AT TER S

MARCH 2016

WHAT CHANGES WOULD YOU LIKE

TO SEE IN THE DESIGN INDUSTRY
OVER THE NEXT 20 YEARS?
A M Y L OR D A N D
REBEKAH WHITNEY
CREATIVEDIRECTORS
wwwlordwhitneycouk

Wed love to see the industry develop a better

understanding of working with designers
using physical processes alongside computerbased ones. Technology and digital design
have developed so rapidly, but the crossover
between digital and physical artwork still has
some way to go. As with a lot of things now,
immediacy is expected. Wed like to see
things slow down a little and for people to
take stock of people power alongside the
power of technology.

HELEN FRIEL
PAPERENGINEERANDILLUSTRATOR
wwwhelenfrielcom
When speaking to students I often find that although they have a
huge passion for their subject, very few of them know how to turn
that passion into a successful business. Its something I know art
schools have been trying harder to address, but a strong emphasis
on how to quote, invoice and deal with the problems freelancers
regularly face could also help with another problem the industry
has the expectation of free or low-paid work.

TIM SMITH
GRAPHICDESIGNERANDILLUSTRATOR
wwwmypoorbraincom

In one word: diversity. Id like

to see fewer bearded white
male designers (I am one of
those bearded white males)
and more from a variety of
backgrounds not just in
terms of gender and race, but
also from different cultures,
experiences and outlooks. Id
like to see the UK design
industry diversify away from
London and see it more spread
out across the country.

YOUR VIEWS
The changes youd most
like to see in the industry,
tweeted @ComputerArts
using #DesignMatters

@KIDDOTCO
IwouldlikeAppletogiveindie
developersalevelplayingeld
intheAppStore

@ALANWARDLE
Forstudios/designerstonallyrealise
beingsuccessfulisnotabouthow
manyhoursyouworkbuthow
ecientlyyouwork

COMPUTERARTSCREATIVEBLOQCOM
-22-

@SOURBONES
Theanonymousanddisrespectfuljob
applicationprocessEveryapplication
deservessomeformofresponse#
evenifcopy/pasted

DESIG N M AT T E R S INSIGHT

MARCH 2016

V E RN I C A F U E RT E
FOUNDERHEY
wwwheystudioes
Twenty years ago, design was a bit niche: something that only some
companies thought about. Now they all do. Its an indispensable part of
business. In the next 20 years, Id like design to progress even further to the
point where it has the same values, practices and status as the classic
professions such as medicine, architecture or law. How are we going to do it?
Im not sure I have the answer! Certainly education will play an important
role. We need to teach ourselves to work in better ways and show the wider
world how much more design has to offer.

F R A S E R DAV I D S ON

T I M H U C K L E S BY
DESIGNER
wwwtimhucklesbycom

My biggest frustrations are less to do with

design itself than with industry practices.
Exploiting interns (and everyone else) is
gross and presenteeism is absurd; I heard an
account manager being asked to tell a junior
to stay late for no reason other than so they
learn whats expected. A little perspective
wouldnt hurt anyone; that way the work
gets better and you keep your staff happy.

@JASONHCREATIVE
Somerecognitionthatdesignisacra#
notajobforanyonewith
AdobeIllustrator

@MIKEHARMAN
Formorefreelancerstoformco-ops
topromoteeachother#shareand
collaborateonprojects#bypassing
isolationandagencies

@PAULSTAYT
Moreintegrationofdesign
professionalsintoeducation#helping
studentsfullyprepareforprofessional
practiceandfreelancelife

COMPUTERARTSCREATIVEBLOQCOM
-23-

HEADOFCREATIVECUBSTUDIO
wwwcubstudiocom

When it comes to animation,

Id like to see more emphasis
on personal online learning.
Students and young designers
are increasingly honing skill
sets outside the traditional
sphere of education. While
this has its own problems, the
proliferation and ease of use of
platforms like Skillshare
means that the average junior
designer has a far greater
technical proficiency than they
did ten years ago. With rising
university costs, this allows for
a democratisation of industry
techniques and processes.

@BRENDAN_KEARNS
Formoredesignerstocrosstheline
andtakeonmultidisciplinarybriefs#
givingrisetosolvingproblemswith
greaterreach

I N S I G H T C R A I G WA R D

MARCH 2016

ABOUTTHEWRITER
CraigWardisaBritish-born
designerandartdirector
currentlybasedinNew
YorkTheADC
YoungGuniscelebrated
mainlyforhispioneering
typographicworksand
healsocontributesto
variousindustryjournals
wwwwordsarepicturescouk

Lessons from a bad logo

BBC Three has ju unveiled ts new logo to less than
universal acclaim on social media. Craig Ward oers
his thoughts on the Beebs branding debacle

kay, calm down. I see whats happened

here. A few years ago, I worked with a
greatart director who, with one Mr
Miyagi-esque remark, taught me to be more stoic
about my creative work instead of ghting every
decision I disagreed with.
Clients get the work they deserve, she said, and
ithung there for a moment, accompanied by the
sound of distant thumb cymbals. If they work with
you, it will be great. If they work against you, it will
be fucking terrible. I remember it well, and I think
its something everyone should remember when
anymajor rebrand goes awry as the BBC Three
project clearly has.
We could spend hours pulling it apart. Why does
nothing line up? Why arent the numerals the same
width as the BBC squares? Why is the square of the
exclamation mark not the same as the other three?
Why that pink? They paid how much? But I think its
best to avoid a Daily Mail-style critique and look at
the broader picture, because nothing will change the
fact that it now exists in the world: another bad logo
and I dont for a second buy the brand pillars
argument put forward by the Beeb. Sorry, it just
smacks of post-rationalisation.
This would have been a nightmare project. Red
Bee Media was paid however many thousand pounds
to deal with that nightmare, and the client got the
work they deserved. Being a publicly funded entity, it
will have been micro-managed, with dozens of

rounds of work scrutinised by lots of people with lots

of job titles very few of them creative. Lots of
opinions willhave been taken into account, no single
designer will be able to say, I designed this, and no
one will be happy with it. Its just a thing. And thats
just how some projects go at this level a lot of
projects, truth be told.
Lets be clear. Dragging projects like this through
the muck does no one any good. See London 2012, or
any Olympics logo for that matter. Nobody wants to
do bad work and nobody wants to turn in a bad logo.
Its a waste of everyones time, you get nothing for
your portfolio, and the client likely wont return. The
BBC will have to live with the logo for at least three
years or there will be enquiries; Red Bee will have to
stomach seeing its work pulled apart by the media.
Whats better in this situation is for everyone to
learn from it. Red Bee should take the BBC to one
side and talk about why its been so badly received
and what could have been done dierently. Im sure
all of the questions I raised above will have come up
at some point. No one will get the sack, because at
this level theres no singularly accountable role.
Yes, we all like to think we could have done a
better job, just as wed all have scored the penalty
that David Beckham missed against Turkey in 2003.
Its always easy until youre the one dealing with it.
Have you witnessed a bad logo being born? Let us
know:tweet @ComputerArts using #DesignMatters

COMPUTERARTSCREATIVEBLOQCOM
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I N S I G H T S A R A H H Y N DMAN

2015
MARCH 2016

ABOUTTHEWRITER
SarahHyndmanisagraphic
designerandwriterknown
forherspecialinterestin
perceptionandtypefaces
SheisaTEDxspeakerand
thefounderofTypeTasting
Thesecondeditionofher
bookWhyFontsMaer
originallytitledTheType
Tasterisonsalenow
wwwtypetastingcom

Tae your type

In a world thats becoming increasingly visually dominant,
Sarah Hyndman suggests that its more important than ever to consider
design as an immersive, fully multisensory discipline

ou absorb information through all of your

senses simultaneously. This ability speeds
up your ability to recognise signals and
communicate. It has also been shown that an
experience becomes intensified and is considerably
more memorable if multiple senses are engaged.
Whilst you live in a visually dominant world,
itisestimated that around 25 per cent of what you
learn comes via your other senses. As designers, if
wecan nd a way to engage with multiple senses, we
can create solutions with more impact in terms of
enhancing experiences and increasing memorability.
Working with the Crossmodal Research Laboratory
at Oxford University has given me the opportunity
toexplore the link between typefaces and the senses
inmore detail. The science shows that something you
experience with one sense can cause a response in
another. For example, if you look at a particular shade
of yellow you know it tastes of lemon, or large, bold
type in upper case sounds loud.
Taking the example of sight and taste, rounded
typefaces trigger associations of sweetness, while
morejagged or angular shapes suggest sour, bitter or
spicy avours. Understanding these interactions not
only enables designers to create anticipation, but also
to enhance experiences because these are directly
inuenced by a persons expectations. You will enjoy a
bottle of wine more when youre told it cost $90 than if
youre told it cost $5. Food can taste sweeter or sourer
depending on the typeface on the packaging.

At a talk, I gave the 100 members of the audience

two identical jellybeans. I asked them to eat one as they
looked at the words eat me in round-shaped letters,
and to eat the second looking at jagged-shaped letters.
The audience said the jagged-shaped letters intensied
the sourness by 11 per cent, and that the round-shaped
letters made the jellybeans taste 17 per cent sweeter.
We repeated this experiment with 387 participants
atthe Science Museum in London with a selection
ofround and jagged-shaped typefaces. There was a
similar shift in taste perception across the typefaces.
The jellybean experiment focuses only on taste and
typeface. Adding other factors such as colour, size,
texture, temperature and sound can amplify the user
experience. For example, when designing for print
weknow that paper texture is important. In the food
and beverage industries, designers are incorporating
sound; Hagen-Dazs created a concerto app that plays
classical music, and a whisky brand played particular
music to drinkers who found it improved their
enjoyment of its avour by up to 20 per cent. By
contrast, Cokes limited edition white can was a failure
because the colour was found to aect the taste, giving
the incorrect impression that the recipe had changed.
As technology evolves, how can we as designers
ensure that we are creating user experiences that fully
embrace the multisensory world that we live in?
Do you consider all of the senses

when you design, and if
so,how? Tweet @ComputerArts using #DesignMatters

COMPUTERARTSCREATIVEBLOQCOM
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P R O M OT I ON AL F E AT URE

MARCH 2016

Clockwisefromle 
EightElevatecobox
andAsteriskfourof
ApenExcelfounder
BeauWrightsdaily
designexperiments

THEMIXED-MEDIADAND
VECTORWORLDOFASPENEXCEL
BeauWrightfounderofdesignagencyAspenExcelexplainswhatdrives
hiscreativityandhowheshonedhismulti-disciplinarydesigntechniques
TellusalileaboutyourselfandtheAspen
Exceldesignagency
Ivebeenanartistinoneformoranother
foraslongasIcanrememberIhaveagreat
interestinsci-andabstractvisualdesign
andstartedAspenExcelasanametoput
allofmycreativeworkunderMywork
mostlyconsistsofeverydaydesignsand
commissionslikealbumartworkandVJclips
Yourededicatedtomakingapieceofart
everydayandrecentlycreatedyourth
pieceWhatinspiredyoutostartthis?
WhenIbeganusingandlearningCinema"D
Idecidedthebestwaytoimprovewasto

makesomethingeverydayManyother
artistswhoinspiremelikeMikeWinkelmann
%Beeple'JustinMallerandJoeyCamacho
havetakenthisapproachandtheprogress
theyhavemadeinayearisstunningThe
moreIusetheappthemoreIrealisehow
muchIstillhavetolearn

Whatsyourfavouritestyle?
Ilovethesci-retroaestheticwithshiny
metalsandbrightneonlightsreectingand
refractingoothersurfacesRecentlyIve
beendoingmorehardsurfacemodellingand
Ilikebuildingmechanicalshapesthatlook
liketheyrefromasci-lmorvideogame

Howhaveyoukeptupmotivationtomake
somethingneweveryday?
ItsthedesiretolearnandimproveIfeel
likeIveonlyscratchedthesurfaceofwhat
theso$warehastooerandtheeldsof
digitaldesignandmotiongraphicsasa
wholeItsingrainedinmydailyroutine

Wheredoyoudrawdesigninspirationfrom?
Ispendalotoftimebrowsingwebsiteslike
TumblrandBehancewhichgivemea
constantstreamofnewartAfewartistswho
havehadamajorimpactonmeareMike
WinkelmannVitalyBulgarovandAshThorp
Ialsoenjoyvideogamessci-lmsand

COMPUTERARTSCREATIVEBLOQCOM
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S E R I F A F F I N I T Y S O F T WA R E

MARCH 2016

Youuseprecisionvectorstoenhancesome
ofyourworkWhatisityoulikeaboutthe
vectortoolsinAnityDesigner?
Mainlyhowfastandstraightforwarditis
tobuildpaernsIliketouseprimitive
shapeswithBooleanoperationstoquickly
builddierentshapecombinationsIalso
lovehoweasythePentoolistocontroland
howquicklyyoucanmakechangestopoints
onacurveItjustfeelsfastandintuitive
HowwelldoesitteamupwithAnityPhoto?
AnityDesignerandAnityPhotohave
becomemygo-toapplicationsforanykindof
vectororrastereditingTheydontslow
downmycreativeoworgetinmywaywhen
ImswitchinginandoutofCinema"D
AnityPhotoisspot-onforpostprocessingworkonarenderoreditinga
surfacetextureImightuseAnityDesigner
tododetailedvectorworkonarasterimage
thenbringthatbackintoAnityPhotobut
AnityPhotoalsohasbasicvectortoolsbuilt
insoIusethosealotTheapplicationsare
super-responsiveevenwithmanyelements
andlayersinadocument

animelikeNeonGenesisEvangelionwhich
hashadaprofoundimpactonmydesigns
Ilistentoalotofelectronicmusicliketrance
progressivehouseandexperimentalglitchy
musicthatevokesalotofimageryinmymind
Whatappsandtechniquesdoyouuse?
MostoftheworkisdoneinCinema"D
sometimesusingpluginslikeX-Particlesand
DEMEarthIalsoreallylovethepluginsfrom
Nitro"DandIuseArnoldRendererbecause
Ilikethereal-timefeedbackfortexturesand
lightingForvectorsIuseAnityDesigner
andforposteectsIuseacombinationof
AnityPhotoandGoogleNikCollection
Iusuallystartwithablankviewport
inCinema"Dandmostofmypiecescome
fromexperimentinguntilIndsomething
IlikeIfIknowIwanttomakeanabstract
mechanical-lookingsurfaceIllstartoutin
AnityDesigner5and7usuallykeepitopen
5throughoutthecourseofthework7soIcan
makechangestoadesignquicklyandsend
updatestothe#DappSometimesIllalso
useAnityPhototomakeadjustmentstoa

rasterimagetexturethatarentpossible
insideCinema"DForexampleifIm
buildingalandscapescenewithDEMEarth
Icandownloadthelandscapetexturebitmap
fromtherethenimportthatimageinto
AnityPhotoandadjustcolourlevelsto
makesomethingthatlooksveryotherworldly
Whatleformatsdoyouusetotakework
betweenthedierentapps?
TIFFandPNGworkgreatsoIexportthose
fromAnityDesignerandAnityPhoto
WhydidyoustartusingAnityapps?
Imalwayslookingfornewapplications
andtoolsIcanusefordesignIdiscovered
AnityDesignerandwasimmediatelystruck
byhowcleanandmoderntheUIlooked
Idecidedtotryusingitandwasabletoget
upandrunningwithitimmediately
AnityDesignerandAnityPhotos
interfacesareveryeasytonavigateandallow
metofocusoncreatinginsteadofsearching
throughhiddenmenusTheyrealso
incrediblevalueformoneyasapplications

COMPUTERARTSCREATIVEBLOQCOM
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Whatsyourfavouritepiece?
ThepieceImadeonJuly!titledEight
Ireallylovethecolourpaleeonthispiece
andthevectorpaernIcreatedinAnity
DesignerIusedthepaernasanemission
mapinsideatexturetocreatetheneon
lightsaswellasdisplacementmapsforthe
topandboomplaneshapes
Whatwouldbeyourdreamcommission?
IdlovetomakeVJclipsformoreelectronic
musiceventsMusicandvisualstogetherare
averypowerfulcombinationandimmersive
experienceWorkingonsci-lmsmodelling
environmentsandmechanicalobjectswould
alsobeaveryexcitingopportunity
BeauWrightrunstheAspenExcelagency
wwwaspenexcelcomandisaccepting
commissionsfordigitalartprojectsYoucan
alsondhisdesignworkonBehanceat
wwwbehancenet/AspenExcel
YoucandownloadafreetrialofAnity
Photoatanityserifcom/photoandAnity
Designeratanityserifcom/designer

Computer Arts selects the hoest

newdesign, illustration and motion
work from the global design scene

LIVINGTEXTILES
GEISTXYZ
by Zeitguised
wwwzeitguisedcom

We were infatuated with the idea of

algorithm-driven design in general, and
particularly fabrics and prints, says
Henrik Mauler, co-founder of Zeitguised.
The studios hypnotic geist.xyz video
documents and exhibits current textile
technologies, feeding back the results
intoa design process that isnt bound
byrealism, and can therefore bear
unexpected transformations. We tried
tokeep it subtle by adhering to a colour
scheme that we used to guide the manic,
layered shuing of design elements,
Mauler adds.
The biggest challenge was navigating
the sheer complexity of the possibilities
available. We had oodles of movements,
shapes, paerns and textures that we
had to si through, decluer and
recombine in ways that we couldnt
havepreconceived, says Mauler.


MOTION
HIGHLIGHT

VIDEO
CONTENT
WATCHTHEVIDEOAT
bit.ly/ca250-geist

S HO W C AS E

MARCH 2016

Theshiingtextilesofgeistxyzadheretoastrictcolourschemebutmovethroughvariousmoodsfrombrighttodarkandfromelegantto
exuberantTheowbetweenthosemoodswasthedecisivepointwewantedtomakeonamicroandamacrolevelexplainsHenrikMauler
COMPUTERARTSCREATIVEBLOQCOM
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TH E VERY B E ST NE W DE SI G N

MARCH 2016

THE REST OF THE

INDUSTRY SAYS
MATTHIAS
WINCKELMANN
Head of 3D, ManvsMachine
www.manvsmachine.co.uk

Zeitguiseds newest piece,

geist.xyz, is a mesmerising collage
ofbeautiful randomness. An
algorithm-driven animation, it goes
beyond comforting entertainment
and creates artistic dialogue. Using
visual reference to contemporary
textile art, performance and
installation art, it feels like a
blend of curious design decisions
and intellectual discourse an
experiment that is less concerned
with its outcome, but more with an
exploration of possibilities. As with
most of Zeitguiseds work, geist.xyz
isnt trying to please a mainstream
audience, but to captivate the viewer
by the sheer boundless creativity
and never-boring inventiveness of
itsmakers.

ALEXDONNEJOHNSON
Creative director, Dazzle Ship
www.dazzleship.com

Its not for everyone, but I think this

is a beautiful way to showcase the
output of a process-driven approach.
It must have felt liberating to bring
something together where the results
were on the most part unexpected.
The colour palee helps give the
piece its ow and the consistency of
the scenes setups help us keep our
place in the onslaught of randomly
generated paerns and textures. It
goes to show how experimentation
can create some innovative results.
COMPUTERARTSCREATIVEBLOQCOM
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S HO W C AS E

MARCH 2016

SHOWANDTELL
POSTERZINE
by People of Print
wwwpeopleofprintcom

PHOTOGRAPHY : Yeshen Yeshen.uk

PeopleofPrintsPosterzinewasdevisedasa
supplementforitsA
magazinePrintIsntDead
Asthenamesuggeststhemonographreads
likeamagazinewithfrontandbackpages
containingacolophonandeditorsleeran
AintroductionspreadanA portraitpage
andnallyanAposter
EachissueofPosterzineisprintedby
PressisioninLeedsusingosetlithography
withjusttwoplatesandtwoinksthathaveto
beorderedinspeciallyThetwo-layerprint
automaticallygivesauniformappearancefor
eachissuewithoutanytwolookingexactlythe
samewhichisanicetouchsaysMarcroySmith
directorandfounderofPeopleofPrint
Thecontentwillvaryfromissuetoissueand
wehopetoexpanduponwhatwedelivertothe
subscribersheaddsItcouldbephotography
onemonthtypographyorillustrationthenext
Whoknowswemightevenventureintoother
eldsthatarentdesign-orientated?

COMPUTERARTSCREATIVEBLOQCOM
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TH E VERY B E ST NE W DE SI G N

MARCH 2016

MOTION
HIGHLIGHT

BETTERTOGETHER
SLACK//AMAZINGSPACESHIP
by Giant Ant
wwwgiantantca

Thebriefwastocreateaspotshowinghowallkindsofpeopleonallkinds
ofteamsuseSlacktodoamazingthingssaysCoryPhilpoproducer
atGiantAntwhichcreatedafunretro-themedanimationtopromote
thecloud-basedcommunicationtoolWewantedtotakeaSteamboat
Willie-eraanimationandgiveitamodernwinkthatwasownableforSlack
Intheendwelandedonamixoftraditionalframe-by-frameanimationfor
ourcharactersand DandDanimationforthebackgroundsthathas
anobviouslycurrentvibe
Theadfollowsanineectiveteamofrocketengineerswhosucceed
beyondtheirwildestdreamsaerdiscoveringSlackTheyevengetan
alienhigh-veontheirwaytodoingsomethingevenmoreamazingif
thatsevenpossible!saysPhilpoWhatweloveaboutSlackisthatit
breaksdownthewallsandsilosarounddigitalcommunicationinaway
thatfeelsabitlikehowweusedtocommunicatebutwrappedinmodern
eleganttechnology

COMPUTERARTSCREATIVEBLOQCOM
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VIDEO
CONTENT
WATCHTHEVIDEOAT
bit.ly/ca250-slack

TH E VERY B E ST NE W DE SI G N

MARCH 2016

ENDLESSVARIETY
FOLKVISUALIDENTITY
by Craig & Karl
wwwcraigandkarlcom

FolkisaFinnishonlinefundingplatformthathelps
producersofsmallvideosturntheirideasintoreality
Inspiredbythesitesyoungdemographicdesignduo
Craig&Karlsetouttocreateavisualidentitywitha
senseoffunsomethingthatwasvisuallypleasing
andthatwouldenticetheviewertondoutmoreabout
theproject
Theideawastocreateaninterchangeableidentity
consistingofvariousillustrationsandtypographic
combinationsthatcouldberandomlygeneratedsays
co-founderCraigRedmanTheendlessvariationsallow
theidentitytoperpetuallyevolveandtoappearnew
eachtimeyouvisitthesiteorseethebrandinginprint
Folksopenbriefgavethedesignersfullcreative
freedomTheclientwascompletelyopentoanyideas
wehadanddidntrequestanysubstantialchangesfrom
therstconceptsaysRedmanConsequentlythis
projectdidntpresentanymajorhurdlesthough
developingtheillustrationsinavarietyofstylesthatstill
readasacohesiveunitwasfuntogureout

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S HO W C AS E

MARCH 2016

UNFOLDINGTOMORROW
CREATEYOURFUTURE
by John Ed De Vera
wwwbehancenet/johned

CreateYourFutureisapersonalprojectby
multidisciplinarydesignerJohnEdDeVeraTheproject
wasexhibitedattheTypeKitaeventinhishomecityof
ManilaDeVeratookhisinspirationfrominventorFrank
WalkerintheDisneylmTomorrowland
ItsananaloguepieceofworkbutIwantedtocreate
acontrastbetweentheartstyleanditsexecutionDe
VeraexplainsIdrewbasicshapeswhicharecommon
intodaysatinfographicillustrationsUsingpaperasa
mediumallowedmetoaddlayersandfoldscreating
depthanddimension
DeVerahand-cut gsmpaperboardsthen
assembledthecutoutsusingdouble-sidedfoamtapeand
Blu-TackThemostchallengingpartoftheprojectwas
drawingtheimagesonpaperasemptyshapesand
planningthenumberoflayersfortheartworkhesays
AssigningcoloursforeachelementtookawhileasIonly
hadalimitedstockofpaperonhand

COMPUTERARTSCREATIVEBLOQCOM
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TH E VERY B E ST NE W DE SI G N

MARCH 2016

NATURALSPIRIT
METHODSTANDARD
BRANDDESIGN
by Device
wwwwearedevicecom

Unlikemostfruitvodkaswhich
usearticialavourextracts
MethodStandardismade
naturallyusingrealfruitsteeped
fordaysWewereinvolvedfrom
thebrandsconceptionsowehad
todevelopthevoicealongwitha
nameexplainsRossClodfelter
partneranddesigndirectorat
DeviceTheclienttookusthrough
theprocessofmakingtheirvodka
usingall-naturalingredientsWe
weresointriguedwiththecreation
processthatitledtothename
MethodStandardtheideathat
themethodcreatesthestandard
Devicecarriedthatconcept
throughtotherestofthebrand
usingillustrationsofunharvested
fruitandjuxtaposedtypeshowing
thatthemethodandstandardare
separateyetintertwined

COMPUTERARTSCREATIVEBLOQCOM
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S HO W C AS E

MARCH 2016

H EL LO
SHARD

H EL LO
LO N D O N E Y E

Soaring apartments.
Iconic views.

Spectacular apartments.
Iconic views.

Visit our new high level show

apartments and say hello for yourself.
Prices from 2,625,000 upwards.
Please call to arrange a viewing:

+44 (0) 207 205 4421

Visit the marketing suite:
7 Upper Ground, SE1 9PL
MonFri 10am-6pm
Weekends By Appointment

www.southbanktower.com
Agents

A development by

H EL LO
S T P A U L S
Divine apartments.
Iconic views.

Visit our new high level show

apartments and say hello for yourself.
Prices from 2,625,000 upwards.
Please call to arrange a viewing:

+44 (0) 207 205 4421

Visit the marketing suite:
7 Upper Ground, SE1 9PL
MonFri 10am-6pm
Weekends By Appointment

www.southbanktower.com
Agents

A development by

ROOMSWITHAVIEW

Visit our new high level show

apartments and say hello for yourself.
Prices from 2,625,000 upwards.
Please call to arrange a viewing:

+44 (0) 207 205 4421

SOUTHBANKTOWER
by Tom Haugomat
wwwbehancenet/tomhaugomat

Visit the marketing suite:

7 Upper Ground, SE1 9PL
MonFri 10am-6pm
Weekends By Appointment

www.southbanktower.com
Agents

ParisianartistTomHaugomatcreatedthisstrikingseries
ofillustrationsfortheSouthBankTowerinLondon
Eachpostershowsoneofthehousingdevelopments
apartmentswithlargewindowsoverlookingthecitys
iconicmonumentsIwantedtheobservertofeel
dominatedbytheenvironmentHaugomatexplains
Iusedwide-angleandtop-downviewstoachievethis
Haugomatdecidedonaminimaliststylewithacarefully
consideredrestrictedcolourpaleeanddarknegative
spacetohighlighttheLondonlandscapeandluxurious
hotelroomsImnotfamiliarwiththiskindofdesaturated
colourpaleesoitwasdiculttoadaptmygraphicstyle
tothisaestheticconstrainthesaysThegoodthingisit
actuallyhadaverypositiveimpactonmypersonalwork

COMPUTERARTSCREATIVEBLOQCOM
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A development by

TH E VERY B E ST NE W DE SI G N

MARCH 2016

VIDEO
CONTENT
WATCHTHEVIDEOAT
bit.ly/ca250-eld

THESTORYSOFAR

FEATURED
SHOWREEL

SHOWREEL
by FIELD
wwwfieldio

This new showreel is like our story so far, says

Vera-Maria Glahn, managing director and partner
at motion and interactive design studio FIELD. The
reel is a combination of works from throughoutthe
studioslifefromitsearlyprojectDigital
Paintingstoits promotionsforNikeandits
latestkineticlightinstallationSpectra-which
premieredinLondoninJanuary
Thegreatestchallengewascombiningthe
manydierentaestheticsabstractanimationsand
installationslmedinsitudarkimmersivespaces
andfuturisticbrightvisualsbuttheendresultisa
masterfulcombinationofcolourandmotionIts
greattolookbackthroughthearchiveanddiscover
thattherearemanyworkswerestillveryproudof
andthathavebeenimportantmilestonesandto
putthemallinonetimelinesaysGlahn

COMPUTERARTSCREATIVEBLOQCOM
-41-

THREE GREAT OFFERS!

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COMPUTERARTSCREATIVEBLOQCOM
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TH E 20 M OST IN FL U E NT I A L DE SI G NE R S

MARCH 2016

SPECIAL REPORT

THE 20 MOST
INFLUENTIAL
DESIGNERS
We reveal the top 20 designers and illustrators
of the past two decades as voted by their peers,
and their tips to advance your own career

his year, Computer Arts is celebrating

20 years on the newsstand. To mark
our milestone 250th issue, we set out
to determine which designers and
illustrators have most shaped the
industry during the two decades the magazine
has been in existence.
We didnt simply want to create a
textbook listofthe great and good of graphic
design. Instead, with thehelp of the Computer
Arts community, wewanted to name the
creatives who have had the greatest inuence on
the industry during the magazines lifetime.
What youll nd over the following pages
is a snapshot of the game-changers who dene
the creative world. To create this list, we asked
acarefully selected group of our favourite
contributors and collaborators (including some
of the industrys leading practitioners meet
the panel on page 64) to answer the following
question: which individual designer or
illustrator most shaped your own thinking,
ambitions or career path over the last 20 years?
Creatives could benominated for an
inuential project, an entire body of work, or
even an interview or conference talk: providing
that they made a personal impact on the
panellists life and work, the nomination was
valid. The only stipulation was that the

participants were inuenced after the end of

1995, when the rst issue of Computer Arts
rolled o the press. Thats why you wont
nd the likes of Paul Rand, Milton Glaser,
Neville Brody or Peter Saville in this list,
but you willnd veteran designers like
Erik Spiekermann rubbing shoulders with
young-gun polymaths like Kate Moross or
inspiring illustrators like Malika Favre.
We also asked each panel member
fortheir expert advice on a range of topics.
Youll nd their tips, tricks and predictions
running throughout these pages.
So who made it into the top ve? By
aclear margin, Stefan Sagmeister was voted
themost inuential designer of the last 20
years. Sharing second place are Jon Forss and
Kjell Ekhorn of Non-Format, and in third is
KateMoross. Alex Trochut, meanwhile, took
fourthplace and HORTs Eike Knig sits in
fth. Youll nd interviews with all ve frontrunners inside the feature.
The remaining 15 world-class creatives
are presented unranked, with a sample of
theirmost inspiringwork and one of the
manynominations explaining why each was
soinuential to our panel. Turn the page to
discover the 20 most inuential designers
andillustrators of the last two decades.

COMPUTERARTSCREATIVEBLOQCOM
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S P ECIAL R E P OR T

NOMINATIONS
JAN WILKER, CO-FOUNDER,
KARLSSONWILKER
Apartfromhavinginterned
withStefanbackin 
andhimeventually
becomingthegodfatheror
matchmakerof
karlssonwilkerhisimpact
onmehasbeenbigIwas
mesmerisedbyhiswork
fromafarbeforeworking
withhimbutexperiencing
hisdedicationandaitude
towardsdesignupclose
changedalotforme
Backthenheshowed
awaythatatwo-manstudio
couldproducekick-ass
globalrelevantwork
unrivalledbyagencies

GAUTE TENOLD AASE,

ASSOCIATE CREATIVE
DIRECTOR, ANTI
NotnominatingStefanin
thispollwouldbelikenot
nominatingMichaelJackson
inthegreatestpopartistsof
alltimepollInmymindhes
thegreatestHehasa
uniquewayofcreating
visualsWhetherits
typographyartdirectionor
evenhisownwebsitehe
neverceasestosurprise
Andyouvegottolove
hisdesigncanmake
youhappyphilosophy
Heseemslikeagreatguy
whosalsoagreatdesigner

GEMMA OBRIEN,
ARTIST AND TYPOGRAPHER
IrstsawStefanSagmeister
speakataconferencein
AustraliawhenIwasin
theearlydaysofdesign
schoolabouteightyears
agoThewayhetreated
typographyinhisworkwas
agame-changerFormehe
presentedawaytoblurthe
linebetweendesignand
artandstepoutsidethe
traditionalwaystypeisused
tocommunicatevisually

MARCH 2016

Votedthemostinuentialdesignerofthelasttwodecadesbyourindustry-leadingpanel
ofcreatives StefanSagmeisterneedsnointroductionHisunorthodox provocativework
hasdelightedandunseledviewersforoveryears inspiringwavesofdesignersand
illustratorstoquestionthestatusquo
Everyonewhonominatedyousharedstoriesofadvice supportorinspirationthatyouve
givenwhetherviaapersonalrelationship throughyourworkoratalkTowhatextent
doyoufeelaresponsibilitytoleavealegacybyhelpingthenextgenerationofdesigners?
ImyselfopenedmystudioinNewYorkinanatmosphereofsupportbytheprevious
generationofdesignersWhenwestartedtodesignworkwewerehalfwayokaywithall
myheroesstartedtocallamongthemPaulaScherandMichaelBieruttotellushow
happytheyweretherewassomeonenewintownIrememberwhenMiltonGlasercalled
mybrotherandbusinessmanMartinwasvisitingmystudiofromAustriaHeoverheardthe
conversationandjustcouldntbelieveitYoumeantotellmethatyourfarmoresuccessful
competitorsarecallingyoutocongratulateyouontheworkyouredoing?Imtryingmy
besttokeepupthattradition
YouvecontinuallypushedboundariesthroughoutyourcareerHowdoyoustayso
creativelyengaged?Whatpreventsyoufromrestingonyourlaurels?
IvegonethroughperiodswhereIvedonelotsoflaurel-restingandIhavethestainsonmy
shirttoshowforitTheyrenotpreyButingeneralthesinglebeststrategythatkeepsme
engagedisthesabbaticaleverysevenyearsIwouldntbewithoutthem
Whatsthenextcreativechallengeonthehorizonforyou?
WerestartingtoworkonaprojectonbeautyWellbetryingtoprovethatthecreationof
somethingbeautifulisneithertrivialsupercialorold-fashionedbutanessentialpartof
whatitmeanstobehuman
Whatsthebestadviceyouveeverbeengiven andwhy?
ItcamefrommymentorTiborKalmanthemostdicultthingwhenrunningadesign
companyisgureouthownottogrowEverythingelseiseasyHavingfollowedhisadvice
Ihavefoundtheadvantagestobe
NobureaucracywecanactquicklyandecientlyThereareveryfewofthe
misunderstandingsandwrongbriefssoprevalentatlargercompanies
Wecanonlydoafewofthejobsweareoeredallowingustopickandchoose
Weenjoysmalloverheadsandcanremainnanciallyindependentfromourclients
EverythingIveeverseenthatwasanygoodindesignwasdevelopedbyasmallteam
evenifitcameoutofabigcompanyIf
peoplewereinvolveditwasalwayscrap
Whatdoesitfeelliketohave delegatessingingalongwhileyoureonstageatan
event?Isitbeerthanmotorbikingdownpalm-fringedroadswithnoplan?
DuringthesingingitselfImmostlybusygeingpeopletobemoreengagedsoitsdicult
tosavourthemomentAndthemotorbikeridethroughBaliisdiculttobeat

STEFAN SAGMEISTER
www.sagmeisterwalsh.com

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TH E 20 M OST IN FL U E NT I A L DE SI G NE R S

MARCH 2016

Stefan
Sagmeisters
AIGA
Detroit
posterfor
whichhis
assistant
slashedthe
detailsonto
historsoisa
graphicicon
ofthes

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S P ECI AL R E P OR T

MARCH 2016

TI PS F OR N EW DES I G NE R S
AND I L L US T R ATORS
WE ASKED OUR PANEL: IF YOU COULD GIVE ONE TIP TO A DESIGNER
OR ILLUSTRATOR JUST STARTING OUT, WHAT WOULD IT BE?

KNOW
YOU R NICH E
Mads Jakob Poulsen creative director
Thinkaboutwhatyoucancontributetothe
worldofdesignWhatsyourniche?Whats
yourspecialsecretweapon?Dontbelike
everyoneelsedowhatyouthinkisfun

H AV E A
SING U L AR VISIO N
Tony Brook Spin
Ifyoumakethingsthewayyouthinkthey
oughttobetheyremorelikelytobewhat
youllbeaskedtomakegoingforwardIttook
mealongtimetofullyunderstandthis

STAY TRUE
T O YOU R PA SSIO N
Rob Gonzalez Sawdust
Staytruetowhatyourepassionateabout
Itwillgiveyoulongevitywhichiswhatyou
needtogainpeoplestrustandrespect

R E FI NE
YO UR SK I L L S
Ma Howarth ilovedust
HoneyourskillsetWhetherdigitallyor
byhandworkhardonyourcra$everyday
andintimeyouwillndastylethatyouare
comfortablewithandmostimportantly
enjoydoing

FO C US
ON IDEAS
Jon Waring Sixty Design
Workonyourcra$butalsoonyourideas
High-qualitywordsandideasforbrands
makeyoueminentlymorevaluable

FO L L O W
YO UR HE A R T
Dawn Hancock Firebelly
Noneofusreallyknowwhatthehellwere
doingbutifyouthinkwithyourheartandgo
withyourgutitwillallworkoutintheend

L O SE T HE
AT T I T UD E
Steve Simmonds weareseventeen
Mytipforanewyoungdesignerstarting
theircareeristoloseanysenseof
entitlementyoumayhaveJustbecause
youvestudiedforthreeorveyearsdoesnt
meanyoucancomeintotheindustryand
expectittobeeasyThissoundsharshbut
Igetyoungdesignersallthetimetellingme
whattheyareandarentwillingtodofrom
daytodayYoumustrememberthatits
notjustgraduatesghtingfortheirplace
inthisindustry9seasonedprosandentire
companiesareghtingtooandgoodaitudes
makeallthedierenceBekeenand
enthusiasticitgoesalongwayBreadand
buerworkisastapleinanystudioso
expecttobeheavilyinvolvedinalotofthis
atrstDontexpecttobeworkingonall
thebiggerstudioprojectsThiswillhappen
intime9justapproachthebreadandbuer
stuwithbagsofenthusiasmandmakethose
projectsshineunexpectedlyDothisand
yourrisethroughtherankswillbeswi$

STAY T HE
C O UR SE
B E V ERSATILE
Sebastian Padilla Anagrama
AdesignerneedstobeversatilelikeaSwiss
ArmyknifeYouneedtobecomfortablewith
workinginbroadeldssuchastypography
compositionandcopywriting

STAY I NSP I R E D
Tommy Taylor Alphabetical
Lookforinspirationeverywhereyougoand
fromeveryoneyoumeet

COMPUTERARTSCREATIVEBLOQCOM
-48-

Good Wives and Warriors

Ourgeneraltipforpeopleistojusttryand
stickwithit!Acreativecareerisgoingto
bepepperedwithrejectionandpotentially
confusingtimesWithoutsoundingtootrite
itsimportanttotryandbelieveinthevalue
ofyourworkandkeeppushingthroughthe
timeswhenyoufeellikequiing!

TH E 20 M OST IN FL U E NT I A L DE SI G NE R S

MARCH 2016

B E P R O A CTIVE
Gavin Lucas Outline Artists
Createworkbecauseyouwanttodoit
notbecauseyouneeditGotamatewho
runsaclubnight?Oertomakethema
logocreateayerormakeupsomebuon
badgesShowthemyoucandesignawebsite
toowhileyoureatitAnydesignerwhosays
theycantdoawebsiteorcantmakebuon
badgesisntadesignerYoucandoanything
YoucanmakeanythingYoucanlearn
anythingIfyoureallywanttodothisprove
itThemostsuccessfulpeopleintheworld
didntwaitforjobstolandintheirlaps9
theycreatedopportunitiesbyworkingwith
peoplecollaboratingworkingfornothing
whenappropriateandcreatingworkthey
couldbeproudofAreyoudoingallofthis?
Congratulationsyoumightjustmakeitasa
designeroranillustrator

IDEAS ARE
VA L UA BL E
Jamie Ellul Supple Studio
Yourslicktypeseingormadskillsin
Photoshopwontmakeyoustandouttoan
employerorclientOnlyyourthinkingwill
Haveideasandexecutethembrilliantly
Andbeniceitsasmallworld

Ollie Munden ilovedust

Mybiggesttipistoworkharderthan
everyoneelsearoundyou

TA K E R I SK S
Ady Bibby True North
StandforsomethingTakerisksDontbe
happytomergeintothemediocrityof
creativityoutthere

Jim Bull Moving Brands

Theactofdoingisalwaysbeerthan
thinkinggetonwithitandyoullbe
successfulStartstu!

BE C UR I O US
AV O ID GO O GLE
Kay Khoo Kyoorius
Myonetipfornewdesignersand
illustrators?StayawayfromGoogle

Sebastian Padilla Anagrama

Teamupwithdierentpeopleandavoid
becomingredundant

D O N T F OLLOW
TRENDS

GE T O N
WI T H I T
WORK HA RD

C O NSTAN T LY
C O L L A B OR AT E

Juan Molinet illustrator

CuriosityisyourbestfriendEmbraceityou
neverknowwhereyoullndinspiration

COMPUTERARTSCREATIVEBLOQCOM
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Pomme Chan illustrator

StaytruetowhoyouareNeverchangeyour
designtofollowatrend

O N LY W OR K W I T H
P E O P LE YOU LI K E
Fred Deakin designer and teacher
Biggestlessononlyworkwithpeopleyou
likeonprojectsyoucareaboutIfyoutake
yourtimetomakegreatworktheneventually
themoneywillcome

S P ECI AL R E P OR T

NOMINATIONS
ROB GONZALEZ, SAWDUST
Themostinuential
designersinthelast
yearsformewouldhave
tobeJonForssandKjell
EkhornofNon-FormatThe
duocompletelychangedthe
gamewhenitcameto
innovativeexpressive
typographyandimagemakingTheirworkforThe
Wiremagazinealoneis
untouchableItslikethey
pickedgraphicdesignup
andshookitwildlyuntil
everyonesheadwas
spinningwithexcitement
IhonestlydontthinkIve
seenanyotherstudiobeas
uncompromisingastheyare
whenitcomestothequality
oftheworktheyresimply
unrivalledDesignheroes

POMME CHAN, ILLUSTRATOR,

Non-Formathavehadso
muchinuenceonmylifeas
anartistIcollaboratedwith
themforthersttimeaer
IgraduatedTheygaveme
thechancetodesigna
CDcoverforAnoice
Theirdesignsarealways
aheadoftheirtimeandIcan
alwayslearnathingortwo
fromtheirartworknotto
mentionhowlovelytheyare
inpersontoo

MARCH 2016

Secretive technicallybrilliant dazzlingly

creative JonForssandKjellEkhornof
Non-Formatpickedupgraphicdesignand
shookitwildlyuntileveryonesheadwas
spinningwithexcitement accordingtoone
panelmember SawdustsRobGonzalezyou
canreadhisnominationonthele
Itslilesurprisethatthecross-Atlantic
designduohavetakensecondplaceinourpoll
ofthetopmostinuentialdesignersofthe
lasttwodecadesForssandEkhornhavebuilt
areputationforuncompromisinginnovation
Theyveledthewayinexpressivetypography
anddeconstructedgraphicdesignsince
launchingtheirpartnershipin andhave
beeninspiringcreativesandclientsalikewith
theirboundary-pushingbranding packaging 
andeditorialdesign
Thepair whorecentlymergedwith
topScandinavianstudioANTI designedour
stunningdie-cutcoverthisissueyoucanread
moreaboutthecoverdesignonpageand
theillustratednumbersyoullseethroughout
thisfeatureTheyretwooftheworldsnest
designersandtheirpeersthinksotoo
WhatdoesteamingupwithANTIenable
Non-Formattodothatyoucouldntor
werentdoingotherwise?
JonForssandKjellEkhorn Non-Format
remainedatwo-manteamforafull
yearsbut
itwasstartingtoannoyusthatwehadtoturn
downsomereallyinterestingprojectsbecause
wedidnthaveabigenoughteamtobackusup
TeamingupwithANTIgivesusallofthatand
somuchmoreWecanreallyconcentrateon
whatwedobestandwenowstandshoulderto
shoulderwithworld-classtalentintheeldsof
designadvertisingTVandbrandingWecant
waittosharewhatwevebeenworkingon

NON-FORMAT
www.non-format.com

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Yourworkhasinspiredsomanydesigners
Whoshadthemostimpactonyou?
JFandKE M/MParisForthepastyears
thetwoMshavedemonstratedtimeandtime
againthatnotionsofbeautyandlegibilityare
subjectivealmosttothepointofirrelevance
Theyseemtounderstandmorethananyof
theircontemporariesthattherearefewthings
ashollowasinstantgraticationandthat
thereisnothingmoresterileineectualor
futilethantryingtoappealtoeverybody
Thewordsdemographicorfocusgroup
haveprobablyneveroncecrossedtheirminds
Longmaythiscontinue
JF IwouldntbesurprisedifImentionBrian
EnoeverysingledayApartfromhisobvious
contributionstosomeofthebestalbums
evermadeitwashis diaryAYearwith
SwollenAppendicesthatreallymadeanimpact
onmeThatbookistheonlyperfectlylegal
mind-alteringdrugthatIknowofNoonelooks
attheworldquitelikehedoesEnohasntjust
inuencedmyworkheschangedthewayIlook
atabsolutelyeverything
KE ThelateJapaneseartdirectorNagiNodas
workembodiedaamboyantquirkyandstylish
visualuniversewhereeverythingwasseemingly
possibleShedrewfromanirresistiblemix
offashionartpopandJapanesecultureto
createfantasticalandotherworldlyconcepts
forhercommercialclientsItwasasthough
shewaslookingattheworldfromadierent
angleandmanyatimewhenJonandIhave
struggledtondstrongvisualsolutionsforour
projectsweveaskedourselvesWhatwould
NagiNodahavedone?
Whatcanweexpectfromyouthisyear 
nowyouveteamedupwithANTI?
JFandKE Wevecertainlybeenbusyoverthe
lastthreeandahalfmonthssincewehooked
upwithANTIEverythingsunderwrapsatthe
momentbutwedohaveatypographicshort
lmthatwilldebutatBeautyCooperHewi
DesignTriennialinNewYorkItwasareal
jumping-in-the-deep-endexperienceforusbut
wethinkitsworthwatchingifonlyforthereally
greatSkillbardsoundtrack

TH E 20 M OST IN FL U E NT I A L DE SI G NE R S

MARCH 2016

LeDavidBowie-Theprintis
nowpartofthepermanentcollectionofthe
CooperHewiSmithsonianDesign
MuseumBelowLoveSongNon-Formats
monographcompilingtherstseven
yearsofthestudiosworkTherstedition
soldoutwithinmonthsBoomEndless
EndlessastoryforCentmagazine

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S P ECI AL R E P OR T

MARCH 2016

TIPS TO TAKE YOUR

CAREER TO THE NEXT LEVEL
WE ASKED OUR PANEL: WHATS THE BIGGEST LESSON YOUVE
LEARNED OVER THE COURSE OF YOUR CAREER SO FAR?

MAKING T HE CLIENT
HAP P Y ISNT ENO UGH
Sagi Haviv Chermaye & Geismar & Haviv
ThebiggestlessonIvelearnedsofaristhat
makingtheclienthappyisntenoughAtthe
endofthedayyouthedesignermustbe
proudoftheresultandthewaytoachieve
thatistoshowtheclientonlythoseoptions
thatyoubelieveinwholeheartedly

NEV ER STO P
L EARNING
Kirsty Carter and Emma Thomas APFEL
WerelearningallthetimeItsnotthat
theresonebiglessoninparticular9being
inquisitivelisteningandtalkingmeansthat
youareconstantlylearningsomethingnew

KEEP WORK
AND L IF E S E PA R ATE
James Wignall Mutanthands
Forthesakeofsanityitsimportanttokeep
workandlifeseparateItseasiersaidthan
donewhenyoureacreativebecauseyou
cantalwaystuneouttotallybuttrytoleave
workatworkWorkinglonghoursisrarelya
necessity9youalwaysseemtogetthework
nishedonewayoranotherWorking
smarternotharderallowsyoutorecharge
yourcreativebaerieswhichmakesfora
muchbeerendresult

K NO WL E D GE I S
T HE R E A L P O WE R
Jason Lile For the People
Designiso$ensubjectivebutwhencoupled
withsmartsitgivesyoutheabilitytoreach
beerideasandbacktheseupwiththeright
conversationsandenthusiasm

WO R K I NG
FO R FR E E NE V E R
PAYS O FF
Jonas Bergstrand Problem Bob
Clientswhothinkdesignshouldbedirtcheap
havenotrueunderstandingofwhatitcan
bringandaresubsequentlyimpossibleto
workwithThefeereectsthetrustthatis
placedinthedesigner

L E A R NI NG
N E W SK I L L S ST O P S
STA GN AT I O N
Ma W Moore MWM Graphics
Learningnewdisciplinesisagreatwayto
keepgrowingandopennewdoors

STAY
HUM BL E
Michael C Place Build
Getyourheaddownandworkhard
andeverythingwillbeokay

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FR E E L A N C E
I S FR E E D O M
Sarah Mazzei illustrator
Mybiggestlesson?Iwouldntchangethe
relativefreedomofbeingafreelancerfor
anythingintheworld

WO R K WE L L
WI T H O T HE R S
Louise Sloper head of art
ThemostimportantthingIvelearnedisto
listentoandworkwithawiderangeoftalents
fromallbackgroundsandagegroupslearn
fromthemandbehumblebutultimately
tobelieveinyourselfandwhatyouwantto
achieveinlifePushyourselftoexplorenew
challengesandhavefunAscreativesweare
incrediblyluckytomakeacareerfromdoing
thethingweloveItsmorethanajob

D O NT L I S T E N
T O O M UC H
Paul Staord DesignStudio
Listeningtopeopleanddissectingand
distillingwhattheysayishowwelearnand
buildmeaningfulbrandsHowevertheres
alimitWhenDesignStudiostartedwe
listenedtoeveryonewemetbutIvelearned
alongthewaythatyouneedtomakeyour
owndecisionsoryoulljustendupbuilding
somethingthatsalreadybeenbuiltbefore

TH E 20 M OST IN FL U E NT I A L DE SI G NE R S

MARCH 2016

F OL L OW A NTHO NY
B U RRILLS A D VICE
Ed Robin Myon Williams
AnthonyBurrillnaileditwiththephrase
WorkhardandbenicetopeopleItseems
soobviousbutitssotrueAndworkingwith
clientscolleaguesandcollaboratorsthatdo
thesamemakesallthedierence

STA ND UP FO R
YOUR W O RK
Gaute Tenold Aase ANTI
Ifwecomeupwithaconceptandstylewe
believeinweghtforitevenifclientsare
scepticalatrstAndwereusuallyright
Otherwisetheywouldnthavehiredus

GR A P HI C
D E SI GN I S A
SE R I O US T O O L
Ben Bos graphic designer
ThebiggestlessonIvelearnedisthatgraphic
designisntanotherkindofneartbuta
seriousandvaluabletooltoconveyclear
messagesbesidetsunamisofrubbish

STAY
HUNGR Y
Martyn Hayes Elmwood
ThebiggestlessonIvelearnedinmycareer
isnevertostopbeinghungryforthenew

IT ALL STARTS
WITH A GOOD IDEA
T HE BUSINESS
COM ES FIRS T
Rod Hunt illustrator
Creativityisthethingthatsmostimportant
tomebuttocreateasuccessfuland
sustainablecareeryouhavetoalwaysputthe
businessrstThatcomesdowntoeducating
yourselfonallaspectsofyourbusiness
includingpricingcopyrightcontractsand
marketingThebusinesssideisequallyas
importantascreatingthework

Stuart Youngs Purpose

Mybiggestlessonisthatagoodideaspawns
athousandmore

R E I N V E NT T O
STAY R E L E VA NT
Richard Wilde School of Visual Arts
TheonlyconstantisconstantchangeIve
alwaysreinventedmyselftostayrelevant
Theresrisk-takinginvolvedwiththischarge
butitsalwaysmademylifemoremeaningful

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NO T HI N G
BE AT S TA LK I N G
I N P E R S ON
Glenn Garriock designer
Technologyhasenabledmetoworkwith
clientsaroundtheglobebutemailsand
callscantbeatsiingaroundatableto
discussanidea

TREAT EVERY NEW

PROJECT LIKE IT WILL
BE YOUR BEST
David Airey graphic designer
OneofthemostimportantlessonsIve
learned?Totreateverynewprojectasif
itwillbethebestofmycareerItdoesnt
maerwhotheclientisorwhatindustry
ImdesigningforImtheoneresponsible
forjusthowgoodhowinterestingandhow
successfultheresultwillbe

BE
O R I GI N A L
Hamish Makgill StudioMakgill
Gooddesigncanonlyevercomefrom
originalthinking

S P ECI AL R E P OR T

Shestheyoungestofourtop but
multidisciplinarycreativemachineKateMoross
hascrammedaphenomenalamountofworkinto
herthreedecadesonthisplanetHerpositionin
ourpollasthethirdmostinuentialdesignerof
thelasttwodecadesreectsherextraordinary
drive talentanddexterityandisallthemore
impressivegiventhatshewasonlynineyearsold
whenComputerArtslaunchedinlate""
Bestknownforherhand-drawntypography
andgeometricpopaesthetic theprolicgraphic
designer artdirector illustrator animatorand
studiofounderstartedyoung designingprole
pagesforbandsonMySpaceasateenagerinthe
earlydaysoftheinternetandsocialmediaBythe
timeshegraduatedfromuniversityshedalready
rackedupanimpressiveportfolioofcommercial
projectsincludinganationwidebillboard
campaignforCadburyandasignatureclothing
rangeofclothingforTopshopandstartedher
ownrecordlabel
Morosshashelpeddeneseveralillustrative
styles andhascreatedpioneeringworkacrossa
vastrangeofplatformsandeldsLastyear her
studiosvibrantgraphicsreachedhundredsof
thousandsofeyeballsaroundtheworldwhenshe
addedthebiggestboybandintheworld One
Direction toheralreadyimpressiveclientlist
Vogue TheGuardian Sony Adidas SamSmith
thelistgoesonHerferociousappetitefor
creativityandrefusaltoconformtostereotypes
hasshownanewgenerationexactlywhats
possiblewithvisionandhardwork

MARCH 2016

Howdoyoupersuadeyourclientstotakerisks?
Hasthatbecomeeasierorharderastheclients
havebecomebigger?
Trustisthemostimportantfactorwhendeveloping
arelationshipwithaclientThesaferandmore
condenttheyfeelwithyouthemoretheyare
likelytotakerisksorevensometimespush
youintotakingthemyourselfItsimportantto
recognisethatanyprojectisacollaboration
itsnotasingle-sidedendeavourSomeofmy
bestworkwasmyclientsideaandIneverhide
awayfromthat
Ithinkitsthismutualrespectthatdevelopssuch
greatrelationshipsImnotadesignerwithan
agendaotherthanwantingtomakethebestworkI
canwithmyteamAtthestudioourgoalistond
newcreativewaystoexpressourclientsideas
Whatclientwouldntwanttodothat?
Canyoutellusabitaboutyourprocesshow
doyouapproachthestartofanewproject?
Imaveryreactionarydesigner/illustratorI
tendtostartmakingthingsstraightawayand
dontthinkaboutittoomuchIdonttendto
over-workdesignswhichiswhytheyhavelots
ofimperfections
Whatstheplanfortherestofthisyear?
Impuingmyallintomakinganenjoyable
andlessstressfulyearwhereIcandevelopthe
workinthestudioandnotoverworkmyself

KATE MOROSS
www.studiomoross.com

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NOMINATIONS
GAVIN LUCAS,
OUTLINE ARTISTS
IrstmetKateMoross
backinShewas
stillanundergraduateat
CamberwellCollegeofArts
buthadalreadyproduced
workforclientssuchas
SonyandCadburyprovided
illustrationsformagazines
includingViceDazed
&ConfusedSuperSuper
andFACTandproduced
innumerableyers
forLondonclubnights
Shedalsoartdirecteda
bookforanarchitecture
rmstartedarecordlabel
andwasabouttolauncha
rangeofclothingatTopshop
Nowsheandherstudio
havecreatedvisualsfor
touringmusicactsdirected
musicvideosandart
directedalbumsleevesand
relatedcampaignsForKate
thewordcantsimply
doesntexistIftheres
somethingshewantstodo
sheworksoutwhatshe
needstodohowtodoit
andthenjustgetsonwithit
Shesalwaysenthused
learningdoingandadding
newstringstohercreative
bowIwillalwayswish
Iwasabitmore
KateMoross

TH E 20 M OST IN FL U E NT I A L DE SI G NE R S

MARCH 2016

TopKateMorosssopeninglmforOneDirections
tourOnTheRoadAgainAboveAcoverforThe
GuardiansGuidemagazineRightCoverartfor
HackmanssingleMoreThanEver

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S P ECI AL R E P OR T

MARCH 2016

REVOLUTIONARY THINGS
THAT HAVE CHANGED THE
DESIGN INDUSTRY (OR WILL)

3D PRINTERS/
FABRICATORS

SMARTPHONES

Jonathan Ford, Pearlfisher

The smartphone has

I think the future of everything

changed my approach

physical will be governed by

to design. Not only does

affordable, quick, individualised

a mobile-first mindset

3D printing from houses and

force designers to think of

impossible gold jewellery to

the user first, it strips

food, human organs, packaging

away anything

and so much more.

superfluous in the design.

Dan Greene, Wolff Olins

PEN AND
PAPER
GOOGLE IMAGES

Mads Jakob

EMAIL

Good Wives and Warriors

Poulsen,

Fredrik st, Snask

Google Images and picture-sharing

creative director

Email is a huge part of our

platforms like Pinterest are the

The pen never

daily communication with

greatest addition to working as a

goes out of

each other, our clients and

commercial illustrator, enabling quick

fashion. Ideas

other work-related contacts.

research of visual content.

are what count.

WHATS THE BIGGEST

CHANGE YOUVE SEEN
IN THE INDUSTRY OVER
THE LAST 20 YEARS?

THE INTERNET

THE COMPUTER

INDUSTRY GROWTH

Fred Deakin, designer

Tony Brook, Spin

Sunita Yeomans, SSHY Creative

The internet led to an

When I started, I was

The recent Design Economy

increase in speed, distraction,

painting type on

Report from the Design Council

competition and innovation.

acetate with gouache.

was a delight to read, especially

And dont think weve

Each change took an

finding out that design is now

arrived the changes are

age. Its much better

creating jobs at three times

only just beginning.

now, of course!

the national average.

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TH E 20 M OST IN FL U E NT I A L DE SI G NE R S

MARCH 2016

DESIGN BLOGS
Ed Robin, Mytton Williams
We see more work than ever on design blogs and social media,
but it would be great to see more support among the design
community. Its so easy to criticise design.

NOTES APPS
Tommy Taylor, Alphabetical

SLACK COLLABORATION TOOL

I used to carry a notebook,

Jason Little, For The People

ADOBE
ILLUSTRATOR

but there were frequent

Slack single-handedly supports our

Jonas Bergstrand

occasions when I found

crippling caffeine addiction, keeps us

The speed, precision

myself without it. Now I have

in the loop, organises jobs and facilitates

and endless scope for trial and error

hundreds of notes on my

idea-sharing all while making us laugh. It helps

offered by modern software fits my

phone at any one time.

us avoid the need for client managers.

frame of mind perfectly.

SOCIAL MEDIA
Liza Enebeis, Studio Dumbar
Platforms like Facebook,
Twitter and Instagram have
accentuated our designer
traits of being collectors,
gatherers and exhibitionists.

WACOM TABLETS

<html>
<body>
CODE

<h1>Code</h1>

Ollie Munden, ilovedust

Wacoms Cintiq tablets have revolutionised the way
Im working. I hope Apple updates the iPad Pro to
run a full version of Photoshop, or Wacom releases
a companion tablet that runs OS X as standard.

Jon Waring, 3Sixty Design

As code becomes more

DIGITAL PRINTING PRESSES

accessible to creatives with

ADOBE PHOTOSHOP

Greig Anderson, Freytag Anderson

tools like PageCloud, and

Dean Johnson, Brandwidth

Developments like the Indigo and

browsers offer more scope for

Ive used Photoshop for over 25

Arizona presses have made quality

animation, video, voice and

years, right from its black-and-

print finishing a viable option for a

gesture, well be able to control

white inception. I actually think in terms of

variety of clients both large and small.

the digital experience.

Photoshop when looking at an environment or object

CREATIVE AGENCIES

APPLE AND ADOBE

INFORMATION CONSUMPTION

Jonathan Ford, Pearlfisher

Simon Spilsbury, illustrator

Kate Franklin, FranklinTill

The biggest change is the generation of

In the same way the iPhone has spawned a zillion

The speed at which we consume information,

creative agencies at all sizes, everywhere,

photographers, Apple and Adobe have tricked

especially in a visual sense, has greatly

and in different forms. Also the reluctant

everyone into believing theyre an artist. This has

increased. How we seek out information and

enforced march of traditional advertising

created a bombardment of mediocre visual language

inspiration is hugely different to how it was

into the design space, which is one of the

that seems to have permeated like a virus through

20 years ago, when research was something

great acts of stealth in denial.

the whole gamut of published media.

more physical and experiential.

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S P ECI AL R E P OR T

MARCH 2016

ALEX TROCHUT
www.alextrochut.com

NOMINATIONS
MATT HOWARTH, ILOVEDUST
AroundAlex
Trochutcameonthe
sceneandchangedthe
gameTechnicallyand
conceptuallyhisworkwas
abreathoffreshairwithin
theillustrationworld
single-handedlytaking
vectorillustrationtoa
placeithadneverbeen
beforeBoldvibrantand
technicallymind-bending
initscreationhiswork
gaveusallahugeshotof
inspirationWatchingAlex
continuallypushhimselfto
developnewstylesand
techniquesyearonyear
hasbeenfascinatingfrom
adesignandillustration
pointofview

Dubbedageniustypographerandillustratorby
ourpanelBarcelona-bornBrooklyn-basedartistgraphic
designerillustratorandtypographerAlexTrochutranked
fourthinourpollHeswonadevotedfanbasethankstohis
uniquebrandofillustratedtypographyandgeometricair
IrststumbledacrossAlexsworksevenoreightyears
agorecallsdesignerandtypographerStevenBonner
andwasblownawaybytheowrhythmandhowit
pushedagainstsomuchofwhatwashappeningatthe
timeIttookwhatwastraditionallyseenasvectorgraphic
workanduppedthegameforeveryonewithitsbeauty
andtechnicalprowess
Tomethebestprojectshouldbetheoneyoustill
haventdonereectsTrochutIthinkthemomentyouset
somethingasyourfavouriteyoureaccommodatingtoit
andestablishingavirtuallimittoyourcreativityIpreferto
leavethatdooropenandthinkthatthebestisyettocome
AsfarasthefuturegoesIamcluelessbutoptimistic

EIKE KNIG
www.hort.org.uk

NOMINATIONS
SARAH MAZZETTI
ILLUSTRATOR
Heusesdesignand
typographyinan
extremelycleverironic
andprovocativeway
WhenIsawhisposters
Iwasblownaway

MADS JAKOB POULSEN,

CREATIVE DIRECTOR
EikeKnigsworkis
refreshinglydierentand
condentstrongtypewith
glitchesandawsmakes
formemorabledesigns
HisworkforNikestands
outinparticular

InhplaceisEikeKnigwhoin setupHORTa
graphicdesignplaygroundinBerlinwherecreativescould
collaborateonclientbriefsalongsideexperimental
self-initiatedideasWidelyacclaimedforhisfreshdesign
thinkingandfree-spiritedapproachKnigbelievesin
relationshipsandcreditsthesuccessofhisstudiotothe
peopleheworkswithHORTisntmeHORTisthepeople
andafeelingheexplainsEverythingyouseenowisthe
resultofateamThepeoplearethemostimportantthing
andIamjustoneofthem
KnigwrotedownasentencewhenhestartedHORT
Iliketoinvestinrelationshipsratherthansuccessand
moneyThestudioscollaborationwithNikeespecially
withthepeopletherelikeMichaelSpoljaricandJos
CabaoisacaseinpointItstartedbackin
or
saysKniganditstillrunsreallywellWehave
workedtogetheronsomanygreatandchallengingprojects
TheresultsarebraveboldandstrongandImsurethatits
becauseofourrelationship

COMPUTERARTSCREATIVEBLOQCOM
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TH E 20 M OST IN FL U E NT I A L DE SI G NE R S

MARCH 2016

MICHAEL BIERUT

IRMA BOOM

TONY BROOK

www.pentagram.com

www.irmaboom.nl

www.spin.co.uk

OneoftwoPentagrampartnersinourtop
MichaelBierutisagraphicdesignluminarywho
hascreatedaward-winingworkforclients
includingTheNewYorkTimesSaksFih
AvenueandtheNewYorkJetsHisrecentwork
includes sidentityandenvironmental
graphicsforMITMediaLababoveThis
projectreinforcedformetheindispensablerole
thatonlyatrulysmartclientcanplaysays
BierutOurpanelpraisedBierutswide-ranging
intelligenceIftheresadesignerwithabroader
knowledgeofthesubjectthenpleaseletme
knowsaysdesignerDavidAirey

Manyofthemostbeautifulbooksofthelast
twodecadesarethehandiworkofDutch-born
IrmaBoomtheyoungestpersoneverto
receivetheGutenbergPrizeforabodyofwork
Hermostambitiousprojecttodateittookve
yearsisabookcelebratingthecentenaryofthe
DutchconglomerateSHVpublishedin 
SincethenBoomhascontinuedtoinspireand
delightwithaprolicoutputoftitlesthatpush
theveryboundariesofprintdesignincluding
sall-white-pagebookforChanel
whichreliesonembossingratherthanink

TonyBrookspioneeringmulti-disciplinarystudio
Spinisoneoftheindustrysleadinggraphic
designvoicesKnownforitscleanreductive
approachacrossmultipleplatformsthestudio
hasaninternationalreputationforitsinnovative
workinprinttelevisionandcinemagraphics
newmediaposterdesignandtypography
FrustratedwithmainstreampublishersBrook
teamedupwithartdirector-writerandregular
ComputerArtscontributorAdrianShaughnessy
in tofoundindependentpublishing
ventureUnitEditionsthestudiospublishing
armtowidespreadacclaim

ANTHONY BURRILL

TOBIAS FRERE-JONES

MALIKA FAVRE

www.anthonyburrill.com

www.frerejones.com

www.malikafavre.com

AnthonyBurrillnaileditwithWorkhardandbe
nicetopeoplesaysMyonWilliamsEdRobin
ItseemssoobviousbutitssotrueOneof
themostdistinctivevoicesincontemporary
designthegraphicartistprint-makerand
designerisknownforhispersuasiveupbeat
styleofcommunicationHisworkisheldinthe
permanentcollectionsoftheVictoriaandAlbert
MuseuminLondonandtheCooper-Hewi
SmithsonianDesignMuseuminNewYorkand
hasbeenexhibitedingalleriesaroundtheworld

TobiasFrere-Jonesdesignedsomeofthemost
populartypefacesofthelasttwodecadesOne
halfoftheworldsmostrenownedtypefoundry
Hoeer&Frere-Jonesuntilthepartnership
dissolveddramaticallyin hisGotham
typefacehasbeenusedeverywherefromGQ
toBarackObamaspresidentialcampaign
DescribingMalloryhismostrecentdesign
hesaysBeingabletopairtypefacesisan
importantbutdicultjobsoIbuiltMalloryto
combineeasilywithotherfamiliesItookthis
opportunitytomakespecialMicroPlusversions
fortinysizesinprintandtextonscreen

Shestudiedquantumphysicsatuniversity
beforeswitchingtographicdesignand
advertisingbutFrenchillustratorMalikaFavre
isbestknownforhersensualstyleandvibrant
useofcolourdemonstratedinthesignature
pieceaboveTheKamaSutraprojecta
Penguinbookcovercommissionturned
personalprojectisakeypiecethathelped
establishmeasanillustratorshesaysErotic
workstillfascinatesmeAlotofcontemporary
eroticworkismale-producedaswellas
male-focusedIfeeltheneedtobringsomething
soerandmorefemininetothetable

COMPUTERARTSCREATIVEBLOQCOM
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S P ECI AL R E P OR T

MARCH 2016

BIGGEST CHALLENGES
IN DESIGN TODAY
WE ASKED OUR PANEL: WHAT ARE THE CHALLENGES FACING GRAPHIC
DESIGN AND THE CREATIVE INDUSTRIES OVER THENEXT 20 YEARS?

WOR KING WITHIN

FAST TU RNA RO UND S
Kirsty Carter and Emma Thomas APFEL
Communicationisconstantlyspeeding
upandwearebecomingmoreandmore
connectedwithoneanotherOneofthe
;consequences<isthatwecometoexpect
moreimmediateanswersandlikewisedesign
solutionsWeneedtondnewwaystowork
withinacceleratedturnaroundsCreativity
andinnovationallowustosavetimeon
certainthingsandthiscanbuyusmore
timetoslowdownonothersforexample
forresearchreectionandinvestigation
Challengescreatefrictionandthiso$en
provokescreativitysothebiggestchallenge
couldactually;elicit<evenbeerworkfrom
thedesignandcreativeindustries

B AL ANCING
T HINKING
WITH DOING
Heather Stern Lippinco
Thepervasivenessofdesignthinking
attheC-suitelevelisasexcitingasitis
challengingItswonderfulthattheworld
nowunderstandsdesigninabiggercontext
butitsimportantthatwedontlosethe
uniquefacetsofdesignbeneathitThe
challengeisbalancingtheemphasisnow
placedonthethinkingwiththeactualdoing

STAYI NG
R E L E VA NT
Dan Moore Studio Output
Thenearfutureisaboutdeningwhatwedo
Weneedtobeattheforefrontofdigitaland
understandhowmarketersarecurrently
using;thetechnology<sowecanworkout
howandifwewanttotinto;thisnewworld<

ADAPTING TO
T E C HN O L O GI C A L
C HA N GE
Liza Enebeis Studio Dumbar
Weneedtoanticipatetechnologicalchange
adapttoitmasteritexcelandthenbeopen
tonewinuencesallinaveryshorttime

D E A L I NG WI T H
A UT O M AT I O N
Glenn Garriock designer
Therewillalwaysbeaneedforprofessional
customdesignbutIthinkautomateddesign
systemswillfurtherdiminishthevalueof
gooddesignworkThisisntnecessarilyabad
thing9itwilljustmakethingsmoreinteresting

M A I NTA I NI NG
ORIGINALITY
Andreas Friberg Lundgren
LundgrenLindqvist
Thebiggestchallengewilllieinmaintaining
originalityinanageofsharedinuences

COMPUTERARTSCREATIVEBLOQCOM
-60-

K E E P I NG D E S IG N
T HE O R Y A L I V E 
Dawn Hancock Firebelly
Technologymakesiteasytolearnhowto
usethecurrenttoolswithoutlearningthe
fundamentalsandtheorybehinddesign

M A K I NG
GR E AT WO R K
James Wignall Mutanthands
Themainchallengeshaventchangedtoo
muchoverthelastcoupleofdecadessoI
suspectoverthecourseofthenexttheyll
remainpreysimilarThetechnologyevolves
andso$warechangesbutthechallengewill
alwaysbetomakegreatworkstayrelevant
andstandout

R E TA I NI NG
QUALITY
Sagi Haviv Chermaye & Geismar & Haviv
Themostimportantchallengefacinggraphic
designtodayistherelentlesspaceandthe
pressuretoturnaroundmorework

M A I NTA I N I N G
YO UR C A RE E R
Pomme Chan illustrator
Itseasyforyoungpeopletobecomeartists
thesedaysThechallengeishowtomaintain
acareertokeeprisingandnottofall

TH E 20 M OST IN FL U E NT I A L DE SI G NE R S

MARCH 2016

F INDING
T IME
David Hitner Studio Small
Thenatureofdigitalisthatitmakesthings
moreimmediateandspeedsuptheworld
;Thechallengeis<havingtimetofully
investigateanideaorconceptandtogive
itthequalityitwarrants

STAYING TRUE
T O D ESIGN
F U ND A ME NTA LS
Louise Sloper head of art
Inanever-evolvingcommercialandsocial
landscapedesignersmustremaintrueto
thecoreconceptualideaswhilekeepingup
withtechnologyandcustomerengagement
Theymustbebraveenoughtotrydierent
approachesexibleenoughtoadaptswi$ly
butalwaysappreciatetheimportanceof
doingthejobwellTherecentsuccessof
manysmallerstart-upsthatkeepthesevalues
astheircorephilosophyshowsthatthere
alwayswillbeaneedforthesefundamentals

H AVING
A HO LISTIC
PERS PE CTIVE
Alex Haldemann MetaDesign
Todaythecreativeindustryfavours
specialisationandanisolatedviewiso$en
theresultIbelievethereisroomfor
generalistswithaholisticperspective
Weneedthemtomaketrueadvancements

B EING UNIQ UE

BE I N G
M ULT I -SK I L L E D
Richard Wilde School of Visual Arts
Studentsenteringthecreativeindustry
notonlyneedexpertiseindesignand
typographyconceptualthinkingand
executionskillstodaytheyalsoneed
expertiseinavarietyofdisciplinesincluding
motiongraphicsandinteractiondesign
supportedbythelatesttechnologyand
coupledwithstrongpresentationalskills

C ULT I VAT I NG
HUM A N
E XP E R I E N C E
Gemma OBrien illustrator and typographer
Ithinkthatincreasinglythelineswillbe
blurredbetweentechnologyhuman
experienceandcreativityAstechnology
advancescertainskillswillnolongerbe
neededascomputersandautomationmake
aspectsofdesigningaccessibletoall
Thecreativeindustriesneedtocultivate
thehumanbyndingnewwaystoembed
experiencesmemoriesstoriesandculture
intocreativeoutput

E NC O UR A GI NG NE W
TA L E N T T O A SP I R E
T O GR E AT N E SS
Simon Spilsbury illustrator
Themarketplacenolongerprovidesa
substantialenoughplatformforgraphic
artiststoourishThereisstillan
overwhelmingamountoftalentoutthere
butndinganonweb-basedportalforits
exhibitionisarealchallengeDwindling
budgetsneedtobere-alignedtoallowfor
showcasingthebesttalentandtoencourage
newtalenttoaspiretogreatness

Kate Franklin FranklinTill

Ifeveryonecanaccessthesameinspiration
aseveryoneelseandstylesandtrends
canbereplicatedinaninstancehowcan
designersstandoutfromthecrowd?Brand
valuesintegrityhonestyandoriginalitywill
becomemoreimportantthanever

COMPUTERARTSCREATIVEBLOQCOM
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STAYI N G H U N G R Y
FO R O TH E R DE S IG N
D I SC I P LI N E S
Dean Johnson Brandwidth
Creativesneedtoensuretheystayhungry
forotherdesigndisciplinesEveniftheir
nalproductispurelydigitaltheyneed
tocultivateasenseofwonderabout;many
things<fromsculpturalnaturalandmanmadeformstoproductdesigninteriorsand
exteriorsaudioscapesandlightingeects
Designexperiencesofthefuturewilltouch
manyoftheseinaconnectedworldsome
alreadydobutadigitalproductshouldnt
meanashortcuttoashallowsolution

M A I N TA IN IN G
P E R SO N A L
I N T E R AC T I ON S
Rod Hunt illustrator
Oneofthedownsidesoftheinternet
revolutionisthatithasnurturedageneration
thatdoesntgetonthephoneormeetaclient
inpersontodiscussabrieforcreativeissues
;Youngdesignersandillustrators<relyalmost
entirelyonemailandsocialmediato
communicatewhichcanbeveryonedimensionalandopentointerpretation
Personalcommunicationisthefoundationof
creativityandgoodbusinessanideacan
o$enbediscussedbeerverballywhich
inevitablyleadstobeersolutions

FI ND I N G
T HE R I G H T
CLIENTS
Michael C Place Build
Thebiggestchallengedesignersfaceisthe
problemofndinggoodclientswhoactually
valuegooddesignforitselfclientswho
dontperceivedesignasjustanother
expensebutaworthwhileinvestment

S P ECI AL R E P OR T

MARCH 2016

VINCE FROST

MICHAEL JOHNSON

KARLSSONWILKER

www.vincefrost.com

www.johnsonbanks.co.uk

w w w . k a r l s s o n w i l k e r. c o m

FamouslyPentagramsyoungestassociate
directorintheearlyninetiesVinceFrostsetup
Frost*DesignnowFrost*collectivein 
Istudiedgraphicdesignfrom to 
andduringthatperiodVincesworkwasahuge
inspirationtomesayspanelmemberGreig
Andersonco-founderofFreytagAnderson
VincesZemblamagazineworkcontained
amazingtypographicspreadslargeimpactful
charactersandleerpress-styletypography
andplayedwithcontentisastructuredwayI
hadntseenbeforeItchangedthewayIthought
aboutdesignanditspowertocommunicate
withanaudience

BritishdesignerandbrandconsultantMichael
Johnsonlaunchedinternationallyrenowned
designcompanyjohnsonbanksin isthe
authorofbest-sellingPhaidonbookProblem
Solvedandhaswonmostofthedesignworlds
mostprestigiousawardsincludingeightD&AD
PencilsTheimagepicturedaboveispartof
avastschemedesignedforLondonsScience
MuseuminThelogoisaslikelytoappear
onalollipoptwistinginsideoutinananimation
orasherereinventedasaSpaceInvaders
T-shirtsaysJohnson

DesignersJanWilkerandHjaltiKarlssonmet
whileworkingforStefanSagmeisterThey
quicklymadeanameforthemselveswithwork
forbig-nameclientslikePumaTheNewYork
Timesandmorewhiletheirbook
tellmewhyabrutallyhonestdocumentationof
theirrst monthsasadesignstudiohas
inspiredcountlessyoungstudiosTheyare
pioneerssaysFredrikstfounderand
creativedirectorofSwedishstudioSnask
Theirbookwasmoreimportanttousstarting
ourbusinessthanallthedesigntheoryliterature
thatweeverread

M/M (PARIS)

MATT PYKE

PAULA SCHER

www.mmparis.com

www.universaleverything.com

www.pentagram.com

DesignpartnersMichaelAmzalagandMathias
AugustyniakalsoknownasM/MParis
havebeenaconstantforceinthecreative
industrythroughoutourtwodecadesonthe
newsstandKnownfortheirlong-standing
collaborativerelationshipwithIcelandicsinger
Bjrkamongstmanyothermusicianstheir
ground-breakingworkinmusicfashionandart
putsthemamongstthemostinuential
designersofthestcentury

ThefounderofoneoftheUKsmostinnovative
studiosUniversalEverythingMaPykeisa
pioneerofinteractivedesignMahascreated
someofthemostadmiredandimitated
projectsofthepastyearsindesign
advertisinganddigitalartsaysUNIT sAnrick
BregmanAtalkhegaveinManchesterhada
hugeinuenceonmequiingmyjoband
movingtoGermanysaysdesignerGlenn
GarriockHeshowedusthisincrediblework
andthentoldushewasdoingmostofitfroma
gardenshedinSheeldAnalumnusof
TheDesignersRepublicPykeappearsinour
featureonthepioneeringstudioonpage 

PaulaScherwastherstfemaleprincipalat
multi-disciplinarydesignrmPentagramfrom
whereshehascontinuedtocreateforwardthinkingbrandingeditorialexhibitionand
environmentaldesignHer posterBringin
DaNoiseBringinDaFunkwaswidelyimitated
andisemblematicofNewYorkCityAsa
studentIlookeduptoPaulaasanexampleand
abeaconofdesignexcellencesaysChermaye
&Geismar&HavivpartnerSagiHavivAsa
professionalandapeerIstilllooktoPaulaasan
exampleofafearlessdesignerwhomaintains
thehigheststandards

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TH E 20 M OST IN FL U E NT I A L DE SI G NE R S

MARCH 2016

ERIK SPIEKERMANN

ASH THORP

RICHARD TURLEY

www.spiekermann.com

www.ashthorp.com

r i c h a r d t u r l e y . t u m b l r. c o m

InErikSpiekermannsfamilyoftypefaces
forGermanrailoperatorDeutscheBahn
createdinpartnershipwithAmericantype
designerChristianSchwartzreceivedtheGold
DesignAwardoftheGermanFederalRepublic
Attheforefrontofdesignthinkingthroughout
hiscareerSpiekermannhasdesigneddozensof
customandcommercialtypefacesFFMeta
FFInfoBerlinerGroteskthelistgoeson
istheco-founderofdesignrmsMetaDesign
UnitedDesignersNetworkand
Edenspiekermannandlaunchedtherst
mail-orderdistributorfordigitalfontsFontShop

Averyinuentialpersonformeoverthe
pastyearsisillustratorgraphicdesignerand
creativedirectorAshThorpHisbodyofwork
istrulyremarkableandhisgenerosityand
communityconsciousnesshavehelpedand
inspiredmanypeoplesaysmotiongraphics
designerEstebanDiconoHispodcastsbooks
andindustrytipsandtricksareproofthatyou
canbetalentedsuccessfulandstillkindenough
toshareknowledgeTheimageabovecomes
fromThorpstitlesequenceforFITCTokyo
Thiswasaprojectbuiltbyagroupoffriends
whosimplylovedesignandmotiongraphicshe
saysItremindsmethatanythingispossible
withtherightteamandvision

Fouryearsaermastermindingaradical
redesignthattransformedWallStreetweekly
BloombergBusinessweekintooneofAmericas
mosttalked-aboutmagazinesBritish-born
Turleywhocuthisteethworkingforrespected
designerMarkPorterjoinedMTVin as
itsrstseniorvicepresidentofvisualstorytelling
anddeputyeditorialdirectorHisworkisa
greatcombinationofartdesignandconceptual
thinkingsayspanellistMadsJakobPoulsen

SEVEN ICONIC DESIGNERS OF ALL TIME

AselectionofpioneeringdesignerswhoinspiredandinuencedourpanelwithworkcreatedbeforeComputerArtswasborn
TiborKalman

JohnHegarty

inhighregardWehavedenitelyusedhim

TiborKalmanismyall-timedesignheroaman

HissymbolofablacksheepforBBHissoconcise

asadirectreferencetoaidusindeveloping

fullofbrilliantideasthatwereportrayedinthe

yetspeaksvolumesabouttheirapproachEvery

iconsforourbrands

simplestformSometimesallittookwasasingle

timeIseehisworkIthinkIwishIddonethat!

SebastianPadillaAnagrama

imageorwordtoconveyhismessageHehad

JonWaringSixtyDesign
MassimoVignelli

theuniqueabilityofusinghumourtoputacross
poignantmessagesImethiminpersonin


NevilleBrody

Oneofthelastold-schoollegendsofdesignImet

ButIcouldntsayanythingIjuststaredand

Likemostgraphicdesignstudentsofthetime

himinoneofhislastpublicappearancesandhe

smiledcontinuouslyIwassuchanidiot!

NevilleBrodywasmydesignheroIhadhis

wasascharmingandfunnyashewastalenteda

LizaEnebeisStudioDumbar

bookandposteronmywallDonkeysyearslater

truedesignerwhoalsodesignedhisentirelifeand

Iaendedatalkaboutdesigneducationatthe

poeticallyhisownfuneralTrulyoneofthegreats

MiltonGlaser

DesignMuseumHewasthereascontroversial

MadsJakobPoulsencreativedirector

MiltonGlasersrichandvariedbodyofworkmade

aseverHemademewanttoteachwhichImnow

merealisethatcreativityisnttiedtoaparticular

doingatLondonCollegeofCommunication

MalcolmSwatridge

genreofworkthatacreativecanbean

SunitaYeomansSSHYCreative

Swaersabrilliantwiydesignerwasco-founder
ofThePartnersandoneofmytutorsatcollege

illustratordesignerandartdirectorHesnow
muchlikethecreativecommunitysown

LanceWyman

Hetaughtmealotabouthumilityhumourand

philosopherHisinsightfulmusingskeephimboth

LanceWymanisamasterofvisualsynthesis

hardgraandBigIdeastoowhattheyreall

adelightfulcommentatorandavaluedmentor

andhasmadeahugeimpactonMexicoCitys

abouthowtorecognisethemandcreatethem

PaulWilloughbyHumanAerAll

inhabitantsSincewewerestudentsweheldhim

SpencerBuckTaxiStudio

COMPUTERARTSCREATIVEBLOQCOM
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S P ECI AL R E P OR T

MARCH 2016

T H ANKS TO
O U R PANEL
BENBOS
Designer
www.bit.ly/panel-benbos

DAVIDAIREY
Graphic designer
www.davidairey.com

ANRICKBREGMAN
UNIT9
www.unit9.com

MIKEALDERSON
ManvsMachine
www.manvsmachine.co.uk

SPENCERBUCK
Taxi Studio
www.taxistudio.co.uk

GREIGANDERSON
Freytag Anderson
www.freytaganderson.com

JIMBULL
Moving Brands
www.movingbrands.com

BROGENAVERILL
Brogen Averill Studio
www.brogenaverill.com

KIRSTYCARTER/
EMMATHOMAS
APFEL
apracticeforeverydaylife.com

ANJABAUERMINKARA
Brandoctor
www.brandoctor.com
TIMBEARD
Bibliothque
www.bibliothequedesign.com
JONASBERGSTRAND
Illustrator and graphic
designer
www.jonasbergstrand.com
ADYBIBBY
True North
www.thisistruenorth.co.uk
CONNIEBIRDSALL
Lippinco
www.lippinco.com
STEVEBITTAN
ustwo
www.ustwo.com
STEVENBONNER
Graphic designer and
illustrator
www.stevenbonner.com

GREGQUINTON
The Partners
www.the-partners.com

JONFORSS/
KJELLEKHORN
Non-Format
www.non-format.com

JASONLITTLE
For The People
www.forthepeople.agency

MATTRICE
Sennep
www.sennep.com

KENLO
BLOW
www.blow.hk

EDROBIN
Myon Williams
www.myonwilliams.co.uk

GAVINLUCAS
Outline Artists
www.outlineartists.com

SERGESEIDLITZ
Illustrator
www.sergeseidlitz.com

GLENNGARRIOCK
Graphic designer
www.garriock.com

ANDREASFRIBERG
LUNDGREN
Lundgren+Lindqvist
www.lundgrenlindqvist.se

BRUNOSELLES
Vasava
www.vasava.es

GOODWIVES
ANDWARRIORS
www.bit.ly/panel-gwaw

HAMISHMAKGILL
StudioMakgill
www.studiomakgill.com

ROBGONZALEZ
Sawdust
www.madebysawdust.co.uk

RADIMMALINIC
Brand Nu
www.brandnu.co.uk

DANGREENE
Wol Olins
www.wololins.com

JUSTINMALLER
Art director and illustrator
www.justinmaller.com

ALEXANDERHALDEMANN
MetaDesign
hp://berlin.metadesign.com

SARAHMAZZETTI
Illustrator
www.behance.net/
sarahmazzei

KATEFRANKLIN
FranklinTill
www.franklintill.com

GAUTETENOLDAASE
ANTI
www.anti.as

RUSSELLBARRETT
BBY
www.bartleboglehegarty.com

JEREMYLESLIE
magCulture
www.magculture.com

JAMIEELLUL
Supple Studio
www.supplestudio.com

MANY THANKS TO ALL OF

THE INDUSTRY EXPERTS
WHO CAST THEIR VOTES IN
OUR ANNIVERSARY POLL

ANDERSBAKKEN
Designer
www.andersbakken.com

JONATHANFORD
Pearlsher
www.pearlsher.com

LEANDROCASTELAO
Illustrator
www.leandrocastelao.com

DAWNHANCOCK
Firebelly
www.rebellydesign.com
SAGIHAVIV
Chermaye & Geismar
& Haviv
www.cghnyc.com

POMMECHAN
Illustrator
www.pommechan.com
FREDDEAKIN
Designer and teacher
www.freddeak.in
ESTEBANDICONO
Designer
portfolio.estebandiacono.tv
ALEXDONNE-JOHNSON/
DAZZLESHIPTEAM
Dazzle Ship
www.dazzleship.com

JUANMOLINET
Illustrator
www.lebureau.tv
DANMOORE
Studio Output
www.studio-output.com

MARTYNHAYES
Elmwood
www.elmwood.com

MATTWMOORE
MWM Graphics
www.mwmgraphics.com

DAVIDHITNER
StudioSmall
www.studiosmall.com

OLLIEMUNDEN
ilovedust
www.ilovedust.com

GARETHHOWAT
hat-trick design
www.hat-trickdesign.co.uk

GEMMAOBRIEN
Artist, designer and
typographer
www.jackywinter.com/artists/
gemma-obrien

MATTHOWARTH
ilovedust
www.ilovedust.com

ALANDYE/NICKFINNEY
NB Studio
www.nbstudio.co.uk

RODHUNT
Illustrator
www.rodhunt.com

VANESSAECKSTEIN
Blok Design
www.blokdesign.com

DEANJOHNSON
Brandwidth
www.hellobrandwidth.com

SIMONELLIOT
Rose
www.rosedesign.co.uk

JONATHANKENYON
Vault49
www.vault49.com

LIZAENEBEIS
Studio Dumbar
www.studiodumbar.com

KAYKHOO
Kyoorius
www.kyoorius.com

STEPHENSIMMONDS
weareseventeen
www.weareseventeen.com
LOUISESLOPER
Head of art
www.bit.ly/panel-louisesloper
SIMONSPILSBURY
Illustrator
www.spilsbury.co.uk
PAULSTAFFORD
DesignStudio
www.wearedesignstudio.com
TOMMYTAYLOR
Alphabetical
www.alphabeticalstudio.com
CARSONTING
Chairman Ting Industries
www.chairmanting.com
JONWARING
3Sixty Design
www.3sixty.co.uk
JAMESWIGNALL
Mutanthands
www.mutanthands.com
JANWILKER
karlssonwilker
www.karlssonwilker.com
KYLEWILKINSON
Hacksaw
www.hacksawstudio.com

FREDRIKST
Snask
www.snask.com

PAULWILLOUGHBY
Human A$er All
www.humana$erall.co.uk

SEBASTIANPADILLA
Anagrama
www.anagrama.com

SUNITAYEOMANS
SSHY Creative
www.sshy.co.uk

MICHAELCPLACE
Build
www.wearebuild.com

STUARTYOUNGS
Purpose
www.purpose.co.uk

MADSJAKOBPOULSEN
Graphic designer
www.madsjakobpoulsen.com

COMPUTERARTSCREATIVEBLOQCOM
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I N CO N V E R S AT I ON

MARCH 2016

COVER STORIES
Weve collaborated with scores of talented artists over the years.
Below, six famous Computer Arts alumni relive their cover briefs,
while over the page, they tell us what theyve been up to since then

ADHEMAS BATISTA
IssueJuly

JEREMYVILLE
IssueJune
Iwantedtomakesuremycoverdesignhada
strongcentralcharacterthatwasarrestingon
thenewsstandOnceyouhavethatyoucan
placeanythingelsearounditreallyAtthattime
Iwasdrawinglotsoffurrycreaturesandthis
onebecamemyStayFurryicon

InBrazilIwastrainedwithtightdeadlinesand
fewrevisionsWewouldnormallydeliveronly
oneoptiontotheclientbecauseoftime
pressurealwaysworkingonthelastday
SuddenlyIwaspresentedwithanewreality
workingoninternationalprojectswithabundant
timeandorganisedschedulesTheipsidewas
thatIhadtopresentmoreoptionsandworkon
somanyrevisionsItwasagreatperiodof
personalgrowtheveryonewhocontactedme
wantedacolourfulandvibrantapproachand
thatmademystyleourish

COMPUTERARTSCREATIVEBLOQCOM
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JON BURGERMAN
IssueSeptemberbelowIssue
AugustandIssueDecember
Idontremembermuchaboutbriefsunless
theyreparticularlytraumatic!Thesewereas
smoothasanoersboomTakethebriefread
thebriefdeliversomescribblestweakcolour
sendandrelax

C OV E R ST OR I E S

MARCH 2016

KATE MOROSS

NON-FORMAT

IssueFebruary

IssueJuly

Idontrememberwhatthebriefforthecover
wasotherthantogivepeopleacondence
boostforandthatweweregoingto
combinephotographyandillustrationWehired
amodelandIstyledhiminaT-shirtthatIhad
designedforaFrenchbandThenItookthe
imageshomeandmadesomeillustrations
aroundhimMygeneralprocessistomakea
massivemessinanIllustratordocumentand
graduallystartreninguntilIlikeitenoughto
sayitsnishedIactuallypreferthebackcover
footofpagetothefrontIthinkitworksbeer

KjellEkhornThebriefcalledfordie-cutstobe
amajorpartofourdesignOurinitialideawas
topunchholesthroughthecovertoreveala
wordbutitoccurredtousthatwecouldalso
usescorelinestocreatelilewindowsthatthe
readerscouldopenthemselvesThecoverwas
quiteminimalwhenseenonthenewsstand
butoncethewindowapswereopenedthey
revealedglimpsesofabrightredphotoonthe
pagebeneathshotbyourlong-time
collaboratorJakeWalterswhilethefoldedbackshapesspelledoutthewordbirth

COMPUTERARTSCREATIVEBLOQCOM
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JESSICA WALSH
IssueNovemberbelow
andIssueSummer
JessicaWalshcreatedtwostrikingmixed-media
designsforIssuescoverIalwaystryto
die-cutandlaser-cutthingsshetoldusatthe
timeIusemyownphotographyspraypaint
makethingswithgoldfoilsandoutofPlexiglass
illuminatethingsextrudetypeanduseD
programstorendershapesIdontwanttobe
peggedasdoingonlyonethingIloveitall

I N CO N V E R S AT I ON

MARCH 2016

ver the last 20 years weve

collaborated with the
creative industrys most
exciting designers and illustrators on
our cover. Whether its a new artist
forging a fresh style or a pioneering
creative transforming the visual
landscape through pure craft and
skill, weve worked with some of
designs brightest lights before they
hit the big time. To celebrate our
250th issue, we caught up with some
of our favourite cover artists from the
last two decades to nd out whats
been happening since they designed
their Computer Arts covers.
Where were you in your career when
we approached you to createa cover?
Jeremyville: I was actually still based
in Sydney, Australia. Life was a lot
more leisurely than it is now, but I still
had hustle. Im now based in Brooklyn,
New York City. I have more hustle, and
am a lot busier.

and opened a new studio in the US.

By 2009, we were getting the hang of
working between six timezones.
Jon Burgerman: By then Id started
to feel a bit of burn-out. Id worked
without a holiday since graduating
and didnt really know if I wanted to
keep making the same stu over and
over again. I started to dabble with
live performance and music. The next
few years would be my band years, or
the years when I had a few vegetables
thrown at me in public.
Did your Computer Arts cover open
any doors for you?
KM: I was really excited to see a cover
on a mainstream magazine. Id done
a few DIY covers, but nothing on this
scale before. It gave me a bigger reach,
especially with students.

Adhemas Batista: That year was one

of the best in my career. I was already
used to getting briefs in Portuguese,
but my challenge that year was to work
on English ones.

AB: I was the rst Brazilian to make

the cover of Computer Arts, so you can
imagine how big it was for me. I got
invited by dierent companies to move
out of Brazil six times to the USA
and once to Turkey even with my
terrible English. I nally moved to LA
that November, in 2006.

Kate Moross: My career was really

picking up momentum. Id just
left university, I was getting lots of
commissions and really exciting things
were starting to happen.

Kjell Ekhorn, Non-Format: Its hard

to know, but given the number of
requests for that cover to appear in
design books and magazines, it seems
to have been quite popular.

Jessica Walsh: It was very early in

my career. I was just out of school,
although my very colourful set design
photography work was starting to get
some recognition.
Jon Forss, Non-Format: 2009 was a
pretty good year. A couple of years
earlier, Id emigrated from London

JV: A cover is always a good thing for

a career, a milestone; its like doing an
album cover for a band. Its a sign of
approval and condence in your work.
How has print design changed
since then would you do anything
dierently today?
JB: Other than pushing for hot foiling
or uoro Pantones, I dont think Id do
anything massively dierent.
KM: Id make something much
weirder, I think. I was quite
conventional back then.
JV: My design principles have
remained constant; just more evolved
and ne-tuned, I hope. Id still
approach the design from a strong
graphic point of view.
AB: Print today is more selective and
can be more sophisticated. Today Id
take my time to concept and create
something special something
meaningful with a strong message.
What challenges face print
design in 2016?
JB: Its always going to be tough for
print in the age of the iPad. Its a
question of cost, and one of space:
Why should I own this object (book,
print, record, or whatever), as opposed
to a digital version of it?

JB: It was a huge honour to do a cover.

It stroked my ego no end. People
collect [those issues] and I think Ive
even seen them on eBay!

JV: The main challenge is keeping

it ideas-based and individual. Start
drawing with a pen again. Theres too
much sameness. Its important to be
very dierent and unique.

JW: I was honoured when Computer

Arts reached out to me to do a cover.
Its one of the biggest design magazines
and I had been a reader for a while.

JF: Technology. Were undergoing

another revolution to print thatll be
just as disruptive as the one from the
19th to the 20th centuries.

COMPUTERARTSCREATIVEBLOQCOM
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C OV E R ST OR I E S

MARCH 2016

RecentworkposterartbyStudioMorossforelectronicmusicduoDisclosure

RecentworkJonBurgermanscharactersreturntothisyearsImagine
ChildrensFestivalatLondonsSouthbankCentre

RecentworkposterartcreatedbyJeremyvilleforhisrecentresidencyinColeeParis

COMPUTERARTSCREATIVEBLOQCOM
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RecentworkJessicaWalshsimagesforSagmeister&WalshsEDPcalendar

Recentwork
Non-Formats
bookdesignsfor
KostasMurkudis
RandomHouses
monographon
theinuential
fashiondesigner


RecentworkAdhemasBatistasillustrationforAdidasSpringbladerunningshoe

C OV E R ST OR I E S

MARCH 2016

EXPERT ADVICE

What can we expect to see from

youover the coming year?
KM: At Studio Moross we will be
continuing our work in music. Were
already working on a new roster of
musical talent. Im also really excited
about some upcoming projects with
MTV in the USA.
AB: In 2016, I am celebrating 20 years
of career, 15 years of marriage and 10
years living in the USA and Im only
35 years old. I still have a lot of fuel to
burn, so I am expecting a great year.
JB: Im making some books, at least
one of which will appear in 2016.
There are some animations, too, but
Ihave no idea if or when they will ever
appear, such is the world of TV. I have
more collaborations coming out and
some exhibitions of my work but no
lectures planned for the rst time in a
long time, so you wont be seeing me
at a conference anywhere. I imagine
acollective sigh of relief.
JV: More publishing. Animation.
More ne art. Galleries and museums
are picking up on my new large-scale
work, and Im doing more site-specic
and sculptural pieces. I have a new
hardcover book out soon called
Jeremyville at Colette. Its all about
my art show, windows and projects
in Colette, Paris in 2015. I also have a
new travelling installation experience
called #ATripToJeremyville. You can
see it on Instagram, and the next stop
is at Corso Como in Shanghai in
early March this year.
JF: Working with ANTI has led to
some amazing projects that were
really looking forward to revealing
soon. In the meantime, we will be
debuting a typographic short lm in

New York as part of the exhibition

BeautyCooper Hewitt Design
Triennial, which kicks o in February.
Whats the biggest career challenge
you face in 2016?
KM: To keep loving what I do. When
you work hard I mean really hard
sometimes the fun can come out of the
process. I had a very busy year in 2015,
to the point where I think I lost alittle
bit of love for what I was doing.
JW: Our studio has grown to take on
much larger projects where we develop
visual languages that live holistically
across many media: TVC, print, web,
apps and more. Every day is a new
exciting challenge.
AB: The biggest challenge will be
economic. Its a year to save money
and be aware of possible downsizing.
Theres a day-to-day fear about
making the right decisions when it
comes to money. Sometimes there are
too many projects, and sometimes
none. So its hard, but important,
for me to nd nancial equilibrium.
Designers have to watch out also for
the internet of things.
JB: As a freelancer, one of the main
challenges is getting paid. Crazy isnt
it? You do the work and you sometimes
arent paid for it. But thats a classic,
age-old problem, with the cheques in
the post being replaced by the cloud
lost your invoice.
JV: Time management! I often now
say no to oers of jobs. About 85 per
cent of oers we get, we turn down.
It sounds crazy, but it means I handselect the best of the best jobs, which
will help me grow as an artist and
advance my career.

6 TIPS TO BOOST
YOUR CAREER
Supercharge your creative career with
these tricks, tips and tactics for making it
as a professional designer or illustrator

JessicaWalsh
StaypersistentComingupwithagood
ideaisonlyasmallpartoftheprocess
youneedthepassionandpersistencetoselltheidea
andseeitthrough
AdhemasBatista
HumbleuptolearnYoudontknowmuch
andyouwillneverknowenoughOpen
yourmindtoconstantlearningandsuccesswillfollow
JonBurgerman
Dontcopywhatseemstobepopularnow
becauseeverythingmovesonandthen
youlljustbebehindthetimesAlsoyourpeerswill
bitchaboutyoubehindyourback!Learnfromwhats
aroundyoubutputyourownspinonit
Jeremyville
Itsalongjourneybutdoitforthereason
thatyouwanttobegreatnottobefamous
orforquickmoneyThatwillleadyoutomakebad
careerchoices
KjellEkhorn Non-Format
Trustyourinstinctsandpursueyour
interestsItsyourindividualityandtalent
thatwillmakeyoustandoutinthelongrunsoyou
mightaswellembraceyourindividualityandhone
yourtalentsrightfromthewordgo
JonForss Non-Format
Neveraskaclientwhatitistheywantask
themwhatitistheyaretryingtoachieve
Yourreputationneedstobethatyoureadesignerwith
imaginationandoriginalitynotthatyoudoasyoure
toldorthatyoumightbeasoneex-clientonce
revealedalilecheaperthanKallKwik

COMPUTERARTSCREATIVEBLOQCOM
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DELE G AT E E F FE C T I V E LY

HOW TO DELEGATE
EFFECTIVELY
WORDS:
Garrick Webster
ILLUSTRATION:
Adam Avery
www.thesuffolkpunchpress.com

Oneofthetoughestchallengesyoullfaceasyourstudiogrows
isleinggoofthelilethingsandfocusingonthebigpicture
saysGarrickWebsterButhowdoyoumakethatchange?

unningasmallstudioisfantasticYougettodoa
bitofeverythingtacklingbriefs comingupwith
solutions doinggreatdesignwork updatingthe
portfolio andalileinvoicingandITnowandagainBut
whenyourstudiogrows thingschangeYoullbetaking
onbiggerprojects employingpeopletodotheadditional
work andthatbitofinvoicingandITturnsintonance 
systemsandbusinessdevelopmentSuddenly doinga
lileofeverythingisntsustainableforyouasoneofthe
leadersinthestudio andyouneedtodelegateFormany
intheindustry thatsoneofthetoughestnutstocrack
Whydocreativeso$enhaveproblemsdelegating?
Inmanycasesadesignbusinessstartswithtwoorthree
friendsworkingtogetherthenafewyearslaterthey
realisethattheyarenowemployersleadersandmanagers
ofseveralmembersofstaandperhapsmembersofa

JIMSUTHERLAND
F O U N D E R 
S T U D I O
SUTHERL&
Jimco-foundedmultidisciplinary
studiohat-trickdesignandgrewittoa
teamofbeforeleavingtosetup
StudioSutherl&inLondon
specialisinginbrandingandidentity
wwwstudio-sutherlandcouk

SPENCERBUCK
C R E AT I V E  P A R T N E R
ANDCO-FOUNDER
TA X I  S T U D I O
Oneofthreeequalshareholdersof
Bristol-basedcreativeagencyTaxi
StudioSpencerBuckhasoveryears
experienceindesignandbrandingand
runsateamofcreatives
wwwtaxistudiocouk

boardofdirectorsAtthispointtheyrealisethatthey
haveneverhadanytraininginmanagementdelegation
leadershipbusinessstrategypartnershipsandjoint
venturesItcanbescaryexplainsDavidParrisha
managementconsultantspecialisinginhelpingdesign
andmediacompaniesgrow
Plentyofstudiofoundersndthattheyare
accidentalmanagersWhattheyreusedtoiscreative
processesdevelopedinordertocompleteanished
piecebeitawebsiteprintadposterTVcommercial
illustrationorvisualeectLeadingacreativeteamand
managingpeoplerequiresadierentwayofthinkingand
manyndituncomfortable
SpencerBuckisregardedasthemasterof
delegationintheBristol-basedstudioTaxiHeagrees
thatrunningasuccessfulteammeansrunningaprocess

JAC KR E N W I C K
C R E AT I V E
D I R E C T O R   J A C K
RENWICKSTUDIO
Formerlyacreativedirectorwith
ThePartnersmulti-award-winning
designerJacksetupherowndesign
studiofouryearsagoandnow
managesateamofeight
wwwjackrenwickstudiocom

COMPUTERARTSCREATIVEBLOQCOM
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D AV I D  P A R R I S H
M A N A G E M E N T
C O N S U LTA N T
AN DADVISER
Davidisamanagementconsultant
keynotespeakerandauthorwho
workswithcreativeanddigital
companiesaroundtheworldhelping
themimproveandgrow
wwwdavidparrishcom

INDUSTRY ISSUES

MARCH 2016

10 WAYS TO MASTER
THE ART OF DELEGATION
SUCCESSFULLYMANAGEYOURTEAMWITH
THESEDOSANDDONTSFORDELEGATION
Dosetthegoalsandthengetoutoftheway
DontmeddleYesyourepassionateaboutdesignandaboutyourbusiness
butnothingunderminesstamorethanhavingtheirbosspulltherugoutfrom
underthemeachtimetheyndsomethingchallenging

Dodeterminebeforeyoudelegatewhatsuccesswilllooklikeand
communicatethattotheindividualorteam

Donteverfeelasthoughdelegatingsomethingandsupportingtheperson
doingthattaskisntproperworkDelegationandmanagingpeopleisavalidand
valuableuseofyourtime

Dotakethetimetogiveaclearandproperbriefandagreewhenandhowthe
workwillbereviewed

Dontbecomeaback-seatdesigner
Doacceptthatpeoplewillfailbuttheywilllearnfromitjustasyoudid
earlierinyourcareer

DontrushitwhengivingfeedbackAquickresponsemightseemlikeitwill
saveeveryonestimebutmakesureitsnotaknee-jerkreactionBeingnegative
whensomethingsnotworkingiseasybutitwontnecessarilysolvetheproblem

Doembracethebigpictureandmakesureeverybodyelsehaswhatthey
needfromyoutogetonwiththeirworkbeforeyoufocusonindividualtasks

Dontdelegateanythingthatdoesntplaytotheskillsofthepersonyoure
delegatingittoWhatwouldbethepointofthat?

Managingpeopletheirtimetheirworkloadtheir
outputandtheiremotionsistrickyandseeingasthisisa
peoplebusinessweneedtomanagepeopleaswellas
processesSomendthelaermucheasiertomanage
thantheformerFewmanagebothverywellhesays
Soifthatstheknothowdowebegintountieit?
RealisingwhenitstimetodelegateisastartIfyoure
overburdenedatbreakingpointandcantseethewood
forthetreeswhileyourteamarefairlyrelaxedyoureway
pasttherighttimetodelegatesaysBuck
Thenextstepactuallydelegatingtasksisabout
communicationAtthispointyourprocess-orientated
creativebrainmayonceagaintakeoverwithunhelpful
resultspointsoutJimSutherlandformerlyofhat-trick
designwhonowrunshisownagencyStudioSutherl&
TheproblemIhaveisthatIgetveryexcitedabout
newprojectsandsowanttochargeinthereandstart
solvingthingshesaysIrememberoncebrienga
designeratthestartofprojectandhesaidIvenotyet
hadachancetotakethelidomypenandyouresolving
theproblemasyoutellmeaboutitHewasjokingbutI
thinkIcanbeoverbearingasacreativedirectordueto
over-enthusiasmIsuspectthismaynotchange
O$enwhenyoutalkaproblemoverthatswhen
theinitialkeythoughtsstarttooccurSutherland
continuesItsimportanttocapturethemwithoutsolving
5theproblem7thereandthenTheactoftalkingoverthe
briefitselfwithsomeoneo$enclariespotential
approachesandsolutionsinyourownmind
Thatclearinterpretationofthebriefandthose
earlyideascanthenbepassedontothedesignerto
whomyouredelegatingYouunderstandthemasa
managerandyouremployeeunderstandsthemtoo
buttheyhaveenoughownershiptogoandresearch

COMPUTERARTSCREATIVEBLOQCOM
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DELE G AT E E F FE C T I V E LY

MARCH 2016

workingontheimprovementofthebusinessratherthan
theproblemandcomeupwithpotentialdesignsolutions
withintheprojectsthestudioisengagedinHopefullyyour
withintheparametersyouhaveestablished
creativeteamwillbegeingonwiththingsandnotwaiting
ThisnotioniswhatSpencerBuckatTaxiStudio
foryoutoapprovewhattheyredoingAndperhapsas
callsempowermentEmpowermentisdelegationon
aresultofecientdelegationthebusinesswillhavea
steroidshesaysItinvolveshandingovermorecontrol
chancetogrowIfthesethingsarenthappeningitcould
thanperhapsyoudlikeItcanmakeyouextremely
bebecauseyourdelegationskillsneedsomene-tuning
uncomfortableButwithempowermentcomesownership
AccordingtoDavidParrish
andthatmakesallthedierence
evenwhencreativesthinktheyre
Whenyourteamfeeltheyown5a
delegatingthingstheyrenot
task7theyllbeworkingharderto
alwaysfullycommiedtoleing
getitrightTheylltakemorepride
goYoumightstillneedtotakea
intheprojectintheircareand
stepbackandmakesurethat
theyllpossessthesamedesire
yourenotmicro-managing
youdoforasuccessfuloutcome
Whenpeopleareintodelegation
Itsnotjustyouwhowill
butneedimprovementitso$en
needtoexercisetrustwhen
aroundtheissueofnotmicrodelegatingSometimeswhen
managingandtellingpeoplehow
clientsareclosetoprojectsthey
todothingsbutsimplyseing
mayhavetroublewithyour
themtargetsoroutcomesand
decisiontodelegateJack
leingthemndtheirownway
Renwickwhohasbeenrunning
toachieveresultshesays
herownstudioforfouryears
Dierentpeoplehavedierent
comments*Ihavehadtosay
DAVID PARRISH
approachesandworkingstyles
toclientsDoyoutrustme?Ifso
Delegationisntaboutmaking
thentrustthatIhavespecically
otherpeopleclonesofthe
chosenthisteamtodothebest
managerdoingthingsexactlyhisorherwayItsabout
jobonthisprojectItrustthemsoyoushouldtoo
Ihirepeoplewhohavethesamevaluesasmewho supportingthemtobetheirbestanddeliverresults
Howyoudelegatewillvaryalotandwilldepend
Iknowwilllooka$ertheprojectthesamewayIwould
onbothyourstyleasamanagerandthepersonalityofthe
shecontinuesTheydontalwaysdothingsthesameway
persontowhomyouaredelegatingCreativecollectives
andyesthatcanbefrustratingbutotherwisetheywould
mightsoundidealbuttraditionaltop-downmanagement
berobotsandnothinginterestingwouldeverhappen
structuresarenottobescoedat]theyhelpclarify
Onceyouredelegatinghopefullyyoullseethe
benetsMaybeyoullhavemoretimetothinkstrategically everyonesroleOnceyouhaveexperienceandareused

DELEGATION
ISNTABOUT
MAKING OTHER
PEOPLE CLONES
OFTHE MANAGER,
DOING THINGS
EXACTLY HIS OR
HER WAY.ITSABOUT
SUPPORTING THEM
TO BE THE BEST
THEY CAN BE AND
DELIVER RESULTS

COMPUTERARTSCREATIVEBLOQCOM
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INDUSTRY ISSUES

MARCH 2016

GIVE CONSTRUCTIVE FEEDBACK

HOWTOSTEERPROJECTSBACKONCOURSE
WITHOUTDAMAGINGRELATIONSHIPS
Positivenegativepositiveiso$enthemantrawhenitcomestogivingfeedback
Startbytalkingaboutallthethingsthatareeectiveabouttheworkthendetail
theareasthatneedimprovementandcruciallydiscusshowtheseweakspots
canbetackledandwhatsupportyoucangiveinorderforthistohappenThen
reiteratethestrengthsthepersonhasdemonstratedandhowyouwouldliketo
seethemextendedintotheweakerareas
HonestyandbalancearebothcriticalheresaysJackRenwickIm
Glaswegianandhavebeenbroughtuptospeakdirectlyandhonestlyaboutwhat
IthinkIvehadtolearnthatbeinghonesthastocomewithsomediplomacyand
thatsnotalwayseasyespeciallywhenyourerunningoutoftime
Dontoverdothepraiseandundercookthecritiqueandbehonest
withyourselfaswellIfyoudidntbriefthepersonverywelloriftherewasroom
tomisinterpretwhatyouaskedforletthemknowthatyoureconsciousofthat
Itsnotaboutblame]itsaboutgeingtherightresult
OnetechniqueRenwickrecommendsisgeingthedesignersthemselvesto
critiquetheworkIwillusuallyasktheteamasacollectivetosaywhichideasthey
likebestandwhyshesaysO$enthisprocessmakesthedesignersre-evaluate
theirownworkIftheyareexplainingtosomeoneelsewhysomethingelsedoesnt
workithelpsthemseemoreclearlythatperhapstheirideadoesnteither

topuingyourtrustinyourteamyoumightbegin
thinkingmorehorizontallyJimSutherlandspent#years
helpingbuilduphat-trickdesignwhichwouldhaveup
to"projectsonthegoatanyonetimeNowheruns
hisownstudiowheredelegationisseenaspartof
collaborativeworkingIthinkwhenyoustarttothinkof
thepeopleyouworkwithascollaboratorsratherthansta
itchangesyourmindsethesaysIfeelbeeratitnow]

IgetexcellentworkoutofanyoneIworkwithandwe
allhaveagoodtimeCreatinganatmospherewhere
creativityenthusiasmworkandhappinessareall
celebratedmeansbeerworkcomesfromthatspace
AndasSpencerBuckpointsoutallowingthe
peoplewhoworkforyoutodelegateupwardsisakeyto
theirempowermentDelegationworksupandsideways
aswellasdownIfasuccessfuloutcomeisblockedbylack
ofknowledgeskillsorexperiencetrytodelegateupto
yourlinemanagerdirectororpartnerYoureeectively
askingthemtotakechargeofsomethingthattheyre
beerequippedtohandleandtheresnoshameinthat
Ultimatelythebiggestbenetofdelegatingshould
bethegrowthofyourbusinessandforthistohappenyou
mightjusthavetoacceptthatyoullbemanagingpeople
morethanyoullbedoingcreativework
Classicbusinessgrowthemployingmoreand
morepeoplecanonlyhappenifthosepeopleare
managedproperlysaysDavidParrishThismeans
thatthebusinessownerhastomakethetransitionfrom
workinginthebusinesstoworkingonthebusiness
OvertimetheirMacBookProisusedlessfordesignwork
andmoreforcashowprojectionsbusinessplansand
emailingthebankmanagertoaskforalargeroverdra$
Ifthisdoesntsoundlikeaworkinglifeyouwant
factorthisinearlyAsParrishpointsout*Thechange
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themudbetweensmallandbigwithnoneofthe
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Formoreinformationonbusinessdevelopmentdownload
DavidParrishsfreeebookT-ShirtsandSuitsAGuideto
theBusinessofCreativityGetitatwwwtss-ebookcom

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NEED TO KNOW
WORDS:
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ILLUSTRATION:
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HOWTOSELL
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Designed a typeface in your spare time? Make some extra money this year by bringing
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ouvecreatedyourown
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-79-

N E ED T O K NOW

MARCH 2016

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I NT R O P RO J E C TS

MARCH 2016

Computer Arts goes behind

the scenes with world-leading
designers as they reveal their
working processes

V IDE O INSIGH T

THE DESIGNERS REPUBLIC REUNITED

In a special video, we reunite the ve core members of the design studio that
dened the 90s for their rst joint interview in over a decade 84

MCA CHICAGO:
OUTSIDE THE LINES

FERAL BREWING COMPANY:

BRANDING TO DIY FOR

T.O BY LIPTON:
AN AQUATIC REVOLUTION

Mevis & Van Deursen created a striking

grid-based visual identity for Chicagos
Museum of Contemporary Art 92

An old photocopier helped Block

Brandingevoke the spirit of punk for its
redesign ofa cult Australian brewery 99

Tribal Worldwide took Cirque du Soleils

performers underwater to capture the
102
essence of the tea-brewing process

COMPUTERARTSCREATIVEBLOQCOM
-83-

PROJECTS

MARCH 2016

V IDE O INSIGH T

THE DESIGNERS
REPUBLIC REUNITED
It was the design rm that dened the 90s. Now, for the rst
time in over a decade, ve core members of the iconic studio
get back together to discuss their lives during and after tDR

What was the original ethos of tDR?

Ian Anderson: I dont know that there was
an original ethos. Neither myself nor my
original business partner had studied to be
a designer, so we had nothing invested in it
as a career. When we set up, we were only
doing record covers because people kept
asking us to. At the time, in the mid-80s,
the general view of creatives was that they
wore big red braces and were just tossers

in London. The Designers Republic was all

about doing what we wanted and having a
good time. We kept waiting for it to dry up,
but of course it didnt yet.
Why did the studio appeal so greatly to
young designers?
Michael C. Place: For me, it was about
the record sleeves. It was about the bands
I used to really like, like the Poppies, for
instance. You buy records and its like:
Oh right, these guys do this that was
really exciting. Going through college, all
I wanted to do was record sleeve design,
and The Designers Republic was one of the
relatively few big names doing interesting
stu within music.
Nick Bax: To have a company in the
place where I grew up that was having an
international impact was just amazing.
Matt Pyke: Ive been up here for 20 years
and what attracted me was the music
being a huge fan of Warp Records,
my brother being involved in it and all
that. Picking up the sleeves and reading
the small print, I realised they were all
thework of The Designers Republic.
IA: Music was the common theme. The
music industry was dierent to now it
was a playground. It gave us huge freedom
to do what we wanted and I was always
surprised other studios didnt do that.
MP: Remember the way we put credits
on everything? Designers Republic was
like a broadcaster. We emitted so much
peripheral stu for clients that built the
world around the work.
David Bailey: We were hungry.
Wecouldnt stop designing stu.
COMPUTERARTSCREATIVEBLOQCOM
-84-

PHOTOGRAPHY: Pete Gray

lenty has happened since

designers Ian Anderson, Michael
C. Place, Matt Pyke, Nick Bax
and David Bailey last worked
together at cult design studio
The Designers Republic. For a start, tDR
went bust in January 2009, shocking its
global army of fans, before being reborn
by founder Anderson in its current, more
slimline form. Meanwhile, tDRs famous
alumni had already launched successful
careers in their own right: Place, Pyke
and Bax run award-wining studios, while
Bailey heads up the BBCs UX&D team.
When Computer Arts started in the
mid-90s, the Sheield-based studio was
at the height of its inuence. Famed for
producing one of the most distinctive
bodies of work ever seen, tDR changed
the rules of design, building a worldwide
following with its ultra-complex, retrofuturistic style and refusal to conform. It
was the company every aspiring graphic
designer dreamed of working for.
The ve havent been in the same room
for over 10 years until now. In January,
we invited Anderson, Place, Pyke, Bax and
Bailey to help mark our 20th anniversary
with an exclusive joint interview. You
can watch our videos of the day on our
YouTube channel, or stream them in our
digital edition. Over the next eight pages,
weve shared some of the highlights.

TheDesignersRepublicreunited
Letoright DavidBaileyNickBax
MichaelCPlaceIanAndersonMaPyke

VIDEO INSI G HT: t DR R E UNI T E D

MARCH 2016

VIDEO
CONTENT
WATCHTHEVIDEOSAT
bit.ly/ca250-tDR 
ORINSIDEOURDIGITAL
EDITION SEEPAGE

Watch the videos onourYouTubechannel: www.bit.ly/ca250-tDR

COMPUTERARTSCREATIVEBLOQCOM
-85-

PROJECTS

MARCH 2016
2015

Ian, you famously ran tDR like a band

IA: We always promoted and talked about
The Designers Republic in the press as
if we were a band. We were always more
interested in what we were doing than
what somebody else was doing, and if
people asked what kind of other designers
we liked, there was a genuine blankness.
MP: Whenever I do what I do now, I think:
What would a band do? In a sense, each
of us was operating under a band name,
like individual musicians feeding into one.
DB: It was very dierent to a traditional
studio, because we had autonomy with our
clients. We had client-facing skills from
day one. I came into [tDR] thinking this
was what all design studios were like, but it
really wasnt. It was quite daunting at rst,
but it was wonderful and it let us harness
talent we didnt realise we had. It gave us a
lot of freedom, and got a lot out of us.
tDR celebrated its northern roots with
slogans like Made in the Designers
Republic, North of Nowhere. How
important was it notto be in London?
IA: Not being in London is obviously a
geographical consideration, but its also a
question of being outsiders: we were doing
our own thing. Much of the London thing
was really a shorthand for independence.
DB: Being based up north helped us pick
work from all over the country as well
as further aeld. But the idea of being
anti-southern, or just fucking proud of the
north, stems from the number of questions
that people like you asked us. We fed o it
and decided to do a poster with that on it.
Then that started to evolve. Ian created a
company based around that ethos and we
were drawing on it and reappropriating it.

on. We never drew up a business plan or

looked at cashow, which was obviously
a problem later on. So it was quite
interesting to see how [the others] set up
having not really had the benet of being
able to learn a particular business model
during their Designers Republic careers.

an easy route out. You couldnt just bump

into your mate who was a designer at a
dierent studio somewhere down in Soho
or Shoreditch.

NB: One of the biggest challenges Ifound

when we started employing people was:
Shit, how the hell do I run this thing?
Iwas used to designing, and that was it.

IA: We had to get over it. Its a little bit like

how, if youve got kids, you cant walk away
from a relationship as easily, so you have
to work at it. There was a point where, for
various nancial reasons, it seemed to be
a good idea to go a bit more corporate. So
you go down that route. It was interesting
to be able to develop that side of things,
because we were talking to people who
were involved in huge global campaigns
rather than someone who used to be a DJ,
whos got a few records out and who thinks
hes a designer.
But then it all went tits up, because
you realise that youre either a designer
with a team around you or youre an
empire builder who just wants to build a
bigger and bigger agency. The two most
nancially successful years I had were the
two most miserable years: full of meetings
and employing people just to work for
clients I didnt really want to work with.

MP: What it made me realise was that

by putting a business structure in place,
creative work could thrive more. It was
great that we focused, because it was all
about work, and it was the output that
drove the success of [the studio].

MP: It did help us get on with it, the fact

that there were no parties to go to and no
private views!

DB: One of the reasons I left was that,

at the time, tDR was becoming more
properly organised and I reacted against
that. Then I left and quickly realised that
I had to organise my time. The autonomy
we were allowed and the client skills that
we had enabled us to just jump in, have a
go at [running a studio] and gure it out
on the y. Id watched Mike go o and do
his thing, and then Matt went, and I think
wed all just reached a point where wed
worked [at tDR] for a good amount of time
and we were ready to do the next thing.

In what ways was tDR a springboard

foryour individual careers?
IA: The Designers Republic wasnt a
traditional business. It was an organic
process: if we had more work than we
could handle, wed take someone else

IA: Most of the time it was good, but we

were working very hard in a small studio
with a group of people who also went out
together, so there were times when things
got strained. One of the things that kept
tDR together was the fact that there wasnt

MP: Which meant there was a lot more

loyalty for longer.

NB: Seeing that really helped me when I

set up my business! I decided I was going
to employ people that I like, and hopefully
to work with people that we like working
with. The other thing about The Designers
Republic that helped me when I set up was
the realisation that there isnt a standard
way of doing things. You do whats right
foryou and what you think is correct.

COMPUTERARTSCREATIVEBLOQCOM
-86-

Above Emigremagazine
devotedissue totDR
in "Copiesnow
changehandsoneBay
forhundredsofpounds
Right inthe stDR
recreatedtheToyko
skylinefromoorto
ceilinginLondonsushi
barMoshiMoshiSushi

VIDEO IN SI G HT: t DR R E UNI T E D

MARCH 2016

Le RecentworkfromtDRincludesthe
ManchesterSchoolofArtprospectus
Below PackagingdesignforAutechres
albumOverstepsbytDR

How have your experiences at tDR fed

into the way you now structure your
individual studios?
MP: At Universal Everything, weve got
four full-time people, but each project we
do is so dierent one of them might be
an installation with interaction and sound,
and another one might be just a branding
project. Another might be one I do entirely
by myself. Its more of a lm production
model where you bring freelance people
together and form a team around each
project, so you can shift
DB: Thats what I always really liked, the
shape-shifting model that I had at Kiosk
[Baileys design studio].
MP: That couldnt have happened when I
joined Designers Republic, I dont think.
The internet wasnt quick enough.
You all work in different fields of design.
To what extent have you incorporated
parts of the creative processes you learnt
at tDR into your own practices?
MP: When starting a project, we fully
immerse ourselves and dont touch a
computer for at least two weeks before
we start designing anything. The longer
you can resist getting on a computer, the
better. Its more the touchy-feely approach.
DB: That was a mantra back in the day
for Designers Republic, wasnt it? Turn
onyour brains before your computers.
NB: We get to understand as much as
possible what the client wants. Theres
what they say they want, and what we

IANANDERSON
Philosophyundergraduate
IanlaunchedtDRin _
ClientsincludedWarp
RecordsPlayStationand
Coca-ColabeforetDRwent
intovoluntaryliquidationin
 Andersonhassince
boughtbackthecompany
nameandrelaunched
tDRasasmalleroutt
thedesignersrepubliccom

COMPUTERARTSCREATIVEBLOQCOM
-87-

THELEGACYOFTDR
FounderIanAndersondiscussestheinuenceoftDRin
the sanddesignersMichaelCPlaceMaPykeNick
BaxandDavidBaileyexplainhowworkingatoneofthe
mostinuentialstudiosofthelasttwodecadeshelped
themlaunchtheircareers
Watchthevideonowat
wwwbitly/ca-tDR

PROJECTS

MARCH 2016

think they need. Often people say that

they want a catalogue and an app, when
actually they need a website and a lm.
MCP: I shudder when designers are slaves
to clients. Obviously we all need clients,
and clients are amazing, but question
them. For us, a huge part of the process
is listening. You need to really immerse
yourself in their world and gure out how
you can solve their problems.
DB: The bit that I take with me in what
I do at the BBC which is more about
design strategy and helping designers
do great things is using intuition to
make decisions that will enable great
design. The intuitive thing, which we
all have in bucketloads, will stay with us
forever. There are a number of creative
methodologies in our respective elds, but
instinct is the one thing that we all share.
MP: Another thing for us is we spend
probably 60 per cent of the time in the
studio doing self-initiated work. Theres no
end result in mind. But then we release the
projects in some form an exhibition or on
Vimeo and they get picked up and turned
into commercial commissions. Youdont
always have to respond to a brief. The
worknds a brief that suits it.

ArtworkforMaksimDarksEPAcidstagecreatedbyHumanthestudiofoundedbyNickBaxa$erleavingTheDesignersRepublic

How do you keep ahead of the curve?

IA: The way to keep ahead of the curve is
just to not have any interest in it. Those
people who try are the ones who dont.
DB: It happens organically. If youre good
at what you do, if youre interested in what
you do, youll make great work. Thats
what determines the curve.
MP: Im completely motivated by seeing
things that have never been done before. If
a happy accident happens with something
were doing, if it shocks or surprises me,
then I know that its good. Im always
hoping to be stimulated and that only
really happens with the unfamiliar.
What role does new technology play, if
any, in keeping ahead of the mainstream?
MCP: This probably isnt a good one for me
to answer as Ive only just nished using


NICKBAX
DesignerNickBaxhadtwo
spellsattDR* - 
and #-Hewent
ontofoundcreative
agencyHumanin
wwwhumanstudiocom

HOWTORUNADESIGNSTUDIO
Fromhowtoemploypeopleandstructureyourteam
towhentostopgrowingoursecondvideointerview
looksathowtorunasuccessfulstudio
Watchthevideonowat
wwwbitly/ca-tDR

COMPUTERARTSCREATIVEBLOQCOM
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VIDEO INSI G HT: t DR R E UNI T E D

MARCH 2016

Clockwisefromabovele sleeveartfor
Squarepushers!albumDamogen
Furiesvisualidentityandstationery
createdfortypographicdesignstudio
StudioAvesin"designformusic
photographerTimSaccentislimitededition"bookPortraits`all
byMichaelCPlacesstudioBuild

HOW TO START
A DESIGN STUDIO
THEDESIGNERSSHARETHEIRHARD-WON
ADVICEFORTAKINGTHENEXTSTEPAND
SETTINGOUTINBUSINESSONYOUROWN

1 Be true to yourself
IanAnderson Itskindofidealisticanditskindofa
clichbutitsstillrelevantItsveryeasytosayOh
donttaketherstjoborwhateverButifyoubelieve
inyourselfwhichyoushoulddobythetimeyouleave
universitythenyoushouldknowyourselfasadesigner
Ifyoudontunderstandyourselfitsverydicultto
understandotherpeoplelikeclients

2 Embrace failure as much as success

DavidBailey IwasinalotofturmoilaboutwhetherI
shouldleave5tDR7becauseIhadresponsibilitiesIhad
ayoungfamilyatthetimeIdjustboughtahouseall
thatsortofthingandImetsomebodyonholiday
whodsetupabusinessandithadfailedHesaidhe
learnedsomuchfromthatfailurethathewasthenable
todoitrightThatwasabitofapenny-dropmomentfor
me*thatIshouldntbesofearfulIfIwasgoingtolivein
fearIdhesitateanditwouldgowrong

3 Just do what you love

NickBax Itsaloteasiertostayuplateortakeouta
thirdmortgageorwhateveryouneedtodo5tosetupa
business7ifyouredoingsomethingthatyouloveWhen
youremeetingpeoplewhenyourerecruitingpeopleit
givesyouanaturalenthusiasm

4 Remember that like attracts like

MaPyke Whenwewantedtogetintodoingmore
videoworkwereleasedourownDVDandthat
aractedsomanydierentcommissionsbecause
peoplethought*Ohtheyrethevideoartguysnow
ClientsrarelyhavetheimaginationtothinkOhthatsa
nicemusicvideo*letsgetthemtodoachairIfyouwant
todesignchairsyouneedtodothechair


MICHAELCPLACE
AseniordesignerattDR
between and
Michaelsetupawardwinningcreativeagency
Buildin
wwwwearebuildcom

NAILACREATIVEBRIEF
Inourthirdvideothedesignersexplainhowtheytackle
anewprojectanddiscusswhichpartsofthecreative
processtheyvetakenintotheirownpracticesfromtDR
Watchthevideonowat
wwwbitly/ca-tDR

COMPUTERARTSCREATIVEBLOQCOM
-89-

5 Only take on jobs that youre proud of

MaPyke Myruleisthatweonlytakeonprojectswe
wouldwanttoshowonthefrontofourwebsiteIfeel
5that7motivatespeoplebecausetheygetexposurefor
theworktheyvedoneeverytimeTheresnosecretlogo
foracarpenterorsomethingthatno-oneeversees

PROJECTS

MARCH 2016

Recentworkby
UniversalEverything
foundedbyMaPyke
a$erleavingtDRPartof
aseriesof_large-scale
videoartworksfor
HyundaiSeoulsVision
Hallcreatedin

FreeHand. Im literally just going onto

Illustrator now! But Im personally much
more interested in pure design, rather than
what a piece of equipment does.
MP: I dont actually have any technology.
I have no computer in my studio at home;
I dont have an iPhone. What I do is
work with people who are brilliant with
technology, and thats an intentional
move so that I stay completely nave to
[questions like], How the hell do we
program this? Or, How the hell do we
build this? That way my ideas arent
restricted by what I can do myself.
How healthy do you think the design
scene is today compared to 20 years ago?
MCP: There are a lot of smaller studios
now that come from bigger studios. That,
and the remote working thing, I think are
really exciting. That non-traditional studio
structure is only going to get more and
more interesting.
DB: I feel excited by the way that digital
is changing design. The opportunity
to fall in love with brands is there more
than ever before. Before, in some more
traditional areas of design, youd create
something and put it out to the world and
clients would cross their fingers and hope
for the best. Now, with social media, you
can create digital products that have a
relationship with their users. Theyre in
our lives and pockets, rather than being
a logo or a brand from on high. I think
digital is allowing design to become a more
personalised experience, which is exciting.
MCP: But youve got the downside of
new brands launching, then people can
comment and they rescind them. Its like
pitchforks at dawn on the internet.


MP: There are so many new touchpoints

for design, and that will only keep growing
as screen technology becomes more
ubiquitous as it becomes part of the
fabric of your clothing and your wallpaper
and things. There are so many ways in
which well be able to change our designed
environment just by altering whats on the
screen. Thats going to be pretty nuts over
the next five to ten years.

MATTPYKE
A$eraneight-yearstint
asaseniordesignerat
tDRbetween -"
Mafoundeddigitalart
practiceanddesignstudio
UniversalEverything
in"
universaleverythingcom

BEATTHETOPOFYOURGAME
Ourfourthvideolooksathowtoworkatthe
cuing-edgeofdesignandbetheverybest
youcanwhateverdisciplineyouworkin

Watchthevideonowat
wwwbitly/ca-tDR

COMPUTERARTSCREATIVEBLOQCOM
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VIDEO INSI G HT: t DR R E UNI T E D

MARCH 2016

Clockwisefromfarright Art
directionbyDavidBaileys
studioKioskforthe
FutureEverythingfestival
anditscontributiontoThe
RollingStones!thanniversary
artproject]Baileyisnow
responsiblefortheoveralllook
ofalltheBBCsonlineoutput

HOW TO PREPARE
FOR THE FUTURE
HOWCANDESIGNERSREADYTHEMSELVES
FORTHENEXTYEARSOFCHANGEINTHE
INDUSTRY?THEtDRTEAMPROVIDETHEIRTIPS

1 Keep spotting new talent

MaPyke Lookatthenextgenerationwhohave
grownupwithtechnologyIfyoucantbeatthemjoin
themEmbracenewgraduatesandreallymakethemost
oftheiruninhibitedfreshwayofthinking

2 Look in unexpected places

DavidBailey Lookinunexpectedplacestooat
peopleyouwouldntconsidertobedesignersTheylive
inamoredesign-yworldandcouldhaveideasthatyou
canharnessandcra$intosomethingTherecanbe
hiddengemsinallwalksoflife

3 You dont have to learn everything

NickBax Wellcarryonwithwhatwevebeendoing
whichisbeingdrawntothingsthatappealtousAsnew
thingshappencertainthingsresonateandyouwantto
ndoutmoreButyoudonthavetobegoodat
everything]youdonthavetobeabletodoeverything
Haveanoverviewofwhatshappeningbutjustgofor
whatyouloveandwhatinterestsyou

4 Give yourself space

MaPyke OnethingIvebeenplanningforjustto
makesureIstayaliveforthenextyearsistogive
myselfspaceIndmyselfbeingmorecreativetheless
IactuallythinkaboutaprojectbecauseIkeepthat
helicopterviewofitDontprideyourselfondoing
all-nightersfortherestofyourlifeTherearesmarter
waystomanageyourtimeRecentlyIvebeendelegating
abitmorebutImgeingfarmoredoneproductively
andcreativelybecauseImfocusingontheessentials


DAVIDBAILEY
Seniordesignerandart
directorattDRfrom
 until!David
ranhisownstudioKiosk
from!-#before
becomingcreativedirector
ofUX&DattheBBC
wwwbbccouk/gel

THEFUTUREOFDESIGN

5 Dont plan too far ahead

Inthe$hvideothedesignerstakethe
pulseofthedesignsceneandexplain
howtheyrepreparingforthefuture

IanAnderson Ivespentmostofmylifetryingtonot
knowwhatsgoingtohappenTohavetowakeupevery
dayknowingwhatsgoingtohappeninyearstime
andjustsitaroundwaitingforitseemstobethemost
uncreativethingIcoulddoIliketobeamazedand
astoundedbythings

Watchthevideonowat
wwwbitly/ca-tDR

Watch the videos onourYouTubechannel: www.bit.ly/ca250-tDR

COMPUTERARTSCREATIVEBLOQCOM
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PROJECTS

MARCH 2016

PROJECT FACTFILE

MCA CHICAGO:
OUTSIDE THE LINES
Mevis & Van Deursen enlisted the help of freelance graphic
designer and illustrator Karl Nawrot to create a striking grid-based
visual identity for the Museum of Contemporary Art Chicago

BRIEF
Thein-housedesignteamattheMuseum
ofContemporaryArtChicago%MCA'
workedwithNetherlands-basedMevis
&VanDeursentodevelopanewlogo
andidentityforthemuseumfeaturing
typographydevelopedbyKarlNawrot
Theaimofthenewidentitywasto
beerreectthedistinctiveandvibrant
personalityoftheMCA
CREATIVES
Mevis&VanDeursen
wwwmevisvandeursennl
KarlNawrot
wwwvoidwreckcom
PROJECT DURATION
Twoyears
LIVE DATE
November!

MCAsnewidentityisdesignedtopushtheboundariesofmodernandminimalstylewhilemirroringthemuseumsuniquepersonality

THE DESIGN BRIEF

Susan Chun

SUSANCHUN
CHIEFCONTENTOFFICER 
MCACHICAGO
SusansworkfortheMCAfocuses
onpublishingacrossmultiple
platformsinformationmanagement
andcollectionsaggregationcultural
dataintellectualpropertypolicyand
opencontentinitiativesvisualisation
andadvancedsearchstrategies

As one of the largest contemporary art museums

in the US, the MCAs decision to redesign our visual
identity was part of a larger branding process to
redene our relationship with the public. It was the
outward-facing component of an extensive internal
rebranding that helped the MCA dene who we are,
what we do and who we serve.
Our previous identity was clean and attractive,
and had served the museum very eectively, but we
were looking for something that better reected the
distinctive and vibrant personality of the MCA.
Most contemporary art museums tend to embrace a
more minimal and modern look, but we really wanted
to push that boundary much further. At the very core
of the museums new brand and identity is the concept
that the MCA is the place where art is now. The key
brand messages needed to reect the values in the
MCAs recent vision statement, which is to be both
COMPUTERARTSCREATIVEBLOQCOM
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artist-activated and audience-engaged, in addition to

being experimental, and a place where creativity thrives
and visitors are embraced.
The new visual identity unveiled on 11 November
2015, along with a redesigned website was based on a
design concept developed by Dutch agency Mevis & Van
Deursen and implemented by the MCAs department
of Design, Publishing and New Media. The identity
centres around a grid (which refers both to the city
grid of Chicago and the limestone and cast-aluminum
squares that form the facade of the MCA), a colour
palette of black, white, yellow and blue, and a new
logo.The identity also includes a new suite of typefaces,
developed for the museum by French designer Karl
Nawrot. Keeping the concept of a grid in mind,
Nawrot combined squares to form a series of typefaces
that range from playful to classical, to evoke our
institutional values and our diverse programs.

DIARY1 : M E V I S & VA N DE UR SE N

MARCH 2016

PROJECT AT A GLANCE
LindaVanDeursenandArmandMevisbreakdownthekeycomponentsoftheMCAsnewidentity

1 Grid reference

2 Fundamental flexibility

3 Segmented type

Weusedtheconceptofthegridasthecentral
principleindevelopingthenewdesignandtypeface
Tocreatethegridwetookinspirationfromboththe
oorplanofthemuseumandthecitygridofChicago
itselfOncethegridwasinplaceweusedittocreate
acustomunit-basedtypeface

Althoughthegridwaskeytothedevelopmentofa
systematicidentitytheaimwasnottocreatearigid
systemInsteadthegridisscalableandexibleand
canevolveandchangeovertimeasthemuseum
usesittotellthemultidisciplinarystoriesabout
contemporaryartandartists

Thenewtypefaceisconstructedofcombined
rectanglesthatcreateeachdistinctiveleerform
Themorerectanglesthesmootherandmorerened
theleerTherearesixdenedunitseachwithits
ownpersonalitywhichworktogethertoprovidean
essentiallivelinessandexibility

4 Adaptable logo

5 Bold highlights

6 Transition and testing

Weonlymadeonelogobutitcanappearindierent
typefacesTheseincludeanMCAversionastacked
MCAChicagoversionandafullMCAChicago
versionEachofthesehasvariationsbasedonthe
distinctiveleerformsandthecolourpaleebut
westillthinkofitasonelogo

Sincethemuseumalsohasatheatrewithan
interestingprogramwethoughtitmightbepossible
toemphasisethedierentfunctionswhichinstigated
contrast*dayversusnightwhiteversusblackWe
alsoneededahighlightsowechooseequallystrong
colours%RGBblueandstandardyellow'forthat

TheMCAisrollingoutthenewidentityacrossallthe
museumspublicationssignageandcollateral
allinspiredbytheunderlyinggridmotifItstaken
monthstofullytransitionandtesteverythingand
toevaluateandredesignelementsa$ercarefuland
rigorousconsideration

7 Inhabiting the identity

8 Online showcase

9 Art for all

TheMCAhasdevelopedrulesforthetranslationof
theidentitytoeachappropriatevehicleincluding
in-gallerygraphicsleerheadstheMCAmagazine
shoppingbagsT-shirtsandmoreTheorganisation
hastraineditsstatoembraceandrepresentthe
newidentitytoreallyinhabitit

Therelaunchedwebsiteatwwwmcachicagoorg
presentsaboldanddynamicplatformthat
showcasestheMCAsrichcontentinterweaving
pastpresentandfutureprogramsThewebsite
presentstheMCAscollectiononlinefortherst
timeandwillproleanewartworkeverymonth

Severalnewinitiativesonthewebsiteadvancethe
museumscommitmenttoaccessibilityTheMCA
teamhaspioneeredanopensourceplatformcalled
Coyotetocreateandmanagevisualdescriptionsof
imagesforthevisuallyimpairedwhichwillbemade
availabletoothermuseumsforfree

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PROJECTS

MARCH 2016

KARLNAWROT
AKAWALTERWARTON
GRAPHICDESIGNER
Karlcombinesdrawingmodel-makingtype
designandillustrationtoexplorethepotential
narrativesinbetweenchildlikelinesand
violentshapesarchitecturalstructuresand
surreallydistortedspaces

LINDAVANDEURSEN
ANDARMANDMEVIS
CO-FOUNDERS MEVIS&VANDEURSEN
LindaandArmandco-foundedDutchgraphic
designstudioMevis&VanDeursenin _
TheyhaveproducedtheidentityofMuseum
BoijmansVanBeuningeninRoerdamandthe
identityforfashionduoViktor&Rolf

WORK IN PROGRESS
Armand Mevis and Linda van Deursen
Just as the grid of the MCA building is visible
throughout the architecture, we wanted our grid to be
the visible surface of the identity something similar
to a stage. In our view, the grid at the heart of the new
identity didnt necessarily have to be functional. We
liked the idea of it being exposed, but not actually used
to structure information. We wanted it to have a life of
its own to be able to transform, enlarge and shrink,
tilt, multiply and become elastic. As such, the grid offers
opportunities to be used in a playful and light way, and
even convey a certain humour.
At first we thought the identity could function as
something that would oppose the dominant architecture
of the building, but the more time we spent in the
museum, the more we understood that the building also
provided a distinct identity of its own that was hard to
fight. After a conversation with an architect friend, we
decided to move in the opposite direction and embrace
the building instead of fighting it. We accepted this
austere environment and continued to work with the
principle of the square. With this identity, however,
we tried to established a more radical, experimental
and lively graphic environment as a counterpart to the
museums original architecture.
We took the square as a starting point for the identity,
which features a typeface based on a square as well as the
use of a grid. The development of the typeface was quite
a challenge, as we didnt yet have a fixed idea of what
that could be. We talked with several type designers
and made tests based on different starting points.
Eventually we decided to continue working with French
graphic designer Karl Nawrot on a font built on a unit of
four squares, which would grow and transform to suit
different applications.

UNUSED IDEAS

DEVELOPING
TYPE
Dylan Fracareta,
design director
of the MCA,
explains three
ideas that didnt
make it through

Thenewidentityincludedaredesignof
themuseumslogowhichdatedfrom

Mevis&VanDeursenlikedtheideaofagridthatisvisiblebutnotusedasarigidstructureforinformation

Exhibitions

10 units

Stage

8 units

Support

6 units

Programs

4 units

Channel

3 units

Education

2 units

Oneideawastouseadierentfontfor
eachpartofthemuseumbutoureortsare
focusedonthemuseumasasingleentity
andusingindividualcutsofthetypeface
seemscontrarytothatgoal

SUB-AQUATIC SHOTS

Thelogosclearleerformsarebasedonsimplegeometricshapes
thatoverlayandinteractwiththegridfoundation

M
C
AS
tage
reversed
Wealsoconsideredreversingeverything
forthemuseumstheatrewhereeventstake
placemostlyduringtheeveningsbutagain
wefeltthiswouldseparatethetwoareas
toomuchratherthanunitingthem

COMPUTERARTSCREATIVEBLOQCOM
-94-

MCA DNA:

David Bowie Is

Alexander Calder

Sept 23 2014 -

Oct 12 2013 -

Jan 4 2015

May 10 2015
BMO Harris Bank
BMO Harris Bank

Chicago Works:

Chicago Works:

Sarah and Joseph

Zachary Cahill

Belknap

Apr 29 - Sept 28

Oct 11 2014 -

2014

Feb 24 2015

Anotherideawastousethetwo-unitfont
forfutureexhibitionsthenasthedatecame
closerthefontwouldbecomemorelegible
butinpracticeitcreatedanunnecessary
layerthatcouldcloudavisitorsexperience

DIARY1 : M E V I S & VA N DE UR SE N

MARCH 2016

DISCONNECTED STROKES
Thenewtypefaceismadeupofdisconnectedrectanglesinvariouscongurations

Independent graphic designer and illustrator Karl Nawrot

explains how he worked alongside Mevis & Van Deursen to
develop the MCAs exible typeface system

Theslightlydisconnectedleerformsevokeasenseofarchitecture

IwasdelightedtobeaskedbyMevis&VanDeursentoworkonthisproject
WedpreviouslyworkedtogetheronatypefaceforthefourthInternational
ArchitectureBiennaleRotterdamin 
ThefontsweredesignedintwosessionsThefirststagetookplaceover
summer"duringwhichtimewedefinedtheunitsystemandhowthefonts
wouldgrowfollowingthesingleunitconstructionprocess
ThedefinitivefontsweredesignedbetweenDecember"andMarch
!Eachstylegenerallytookbetweenoneandtwoweeksdependingonthe
numbersofunitsinvolved
IworkedcloselywithMevis&VanDeursenasthegraphicdesignersbehind
theidentityandwehadseveraldiscussionsduringthedevelopmentofthefonts
NowthoughImtalkingmorewiththeMCAdesignteamastheyarejuststarting
toreallycustomisethetypefaceastheyincorporateitintotheirsignageand
iconographyTheyhaveaskedforafewadjustmentstobemadesuchasaddinga
fewmoremediumweightsandcreatingtheitalicsandafewextraglyphs
Peoplehaveoftenaskedmewhytheangledshapesofthesetypefacesnever
connectFirstlyIbelievethatitswhatgivesthepersonalitytothefontbut
perhapsmoreimportantlyitstoconveytheideaofconstructiontogivethe
sensethatbehindeachcharacterthereisaslightgesturetowardsarchitecture*
anideaofastructureaskeleton

Oneearlyideawastousedierentfontsfordierentpartsofthemuseum

Themoreunitsareusedtomakeupeachcharacterthemorelegibleitbecomes

Themuseumisnowestablishingastyleguideforapplyingthenewidentity

COMPUTERARTSCREATIVEBLOQCOM
-95-

PROJECTS

MARCH 2016

DYLANFRACARETA
DESIGNDIRECTOR 
MCACHICAGO
Dylanspracticefocusesondesignfor
theartarchitecturefashionand
culturalsectorsHeisdesigndirector
ofPin-Upmagazineandanadjunct
professoringraphicdesignatRhode
IslandSchoolofDesign

CONCLUSION
Dylan Fracareta
Weve been working hard over the last 12 months on
translating the new identity into various areas of the
museums life, from exhibition displays to marketing
materials, merchandise and more.
The museums new identity is based on a grid, but I
didnt want the grid to frame things; I wanted it to have
a visual presence and to help structure something, but
not to contain it. When you look on the website, for
example, youll see images oating above the grid, and
the grid is often denied in many ways. Its there as a
visual reference, but its not really there as a structural
container. I wanted to do the opposite of what grids
typically do in terms of being rigid.
The grid similarly informed the redesign of the
MCA magazine. The magazines dimensions happened
to be 10x7in, so I increased the size a little bit to be
10x7.5in instead. This enabled me to use all the elements
wed developed. As you ip through the pages, youll
see the various ways in which the grid exposes itself.
Sometimes its just a series of vertical rules and atother
times its gone altogether. In all cases were trying to be
more uid.
Overall I think weve achieved a visual identity thats
universal, scalable, and balances a sense of seriousness
with a little navet. It reects the condence, freeness,
and uidity of this great museum as it is about to
celebrate its 50th anniversary.
Like contemporary art itself, the visual identity is
sometimes challenging, but it always makes you think.
It also reects the major change that has happened
to museums, moving away from a polished and
authoritative experience to one that is more vibrant and
more engaged with visitors and the community. This
new identity has already started to get people talking,
and that can only be a good thing.

PROJECT
SOUNDTRACK
Dylan Fracareta, MCAs
design director, reveals the
music that got him through
the deadlines

ThenewtypefaceandtheidentitysunderlyinggridunifyeverythingfromsignagetotheMCAmagazine

LOSTINTHEDREAM
BYTHEWARONDRUGS
Oneofthebestreleasesof
thisbrilliantalbumby
indierockbandTheWaron
Drugsgotrepeatedplays
inthestudiowhilewewere
workingonthenewMCA
identityItsgotaverys
DireStraitsvibe

SOUND&COLOR
BYALABAMASHAKES
AlabamaShakesisgoodfor
breakingrulesEvenwhen
itgoesoatslightlyweird
directionssuchasthisalbums
titletrackitstillhasthat
authenticfeelandsinger
BrianyHowardsamazing
voicepullsitalltogether

COMPUTERARTSCREATIVEBLOQCOM
-96-

BOBBYDIGITAL
INSTEREOBYRZA
Recordingartistandrecord
producerRZAisbestknown
forbeingpartofEastCoast
hiphopgroupWu-TangClan
Thissolodebutstudioalbum
gotplayedalotduringthis
projectexcessivenights
requireexcessivelyrics

NEXT MONTH

revamp your
portfolio in
a weekend
SPECIAL REPORT

Meet the creatives at the crest of

the new wave of illustration
PROJECT DIARY

DiscoverhowANTIcreatedavisual
identityfortheentireOsloskyline
Plus: inspiring work, current issues and expert
analysisfrom the global design scene

ON SALE 4 MAR
COMPUTERARTSCREATIVEBLOQCOM
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DIARY2: B LOC K B R A NDI NG

MARCH 2016

FERAL BREWING COMPANY:

BRANDING TO DIY FOR
Aussie agency Block Branding bought an old photocopier and
summoned the spirit of punk to rebrand cult brewery Feral

PROJECT FACTFILE
BRIEF
TheFeralBrewingCompanywanted
togrowitsmarkettoaractmoreof
themainstreamcra$beeraudience
Todothisitneededtomakeits
packagingmoreappealingtoretailers
andhospitalitymanagerswithout
alienatingitscorefanbase
STUDIO
BlockBranding
wwwblockbrandingcom
DURATION
Twomonths
LIVE DATE
Ongoing

MARKBRADDOCK
CREATIVEDIRECTOR
Markalongsidehisbusinessand
lifepartnerTanyaSimfounded
multi-disciplinaryagencyBlock
BrandingininPerth
Australiaa$eradecadespent
workingintheUKandtheUS

COMPUTERARTSCREATIVEBLOQCOM
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PROJECTS

MARCH 2016

THE DESIGN BRIEF

Mark Braddock
The Feral Brewing Company has
established a huge reputation among
what could kindly be described as
beer nerds the guys (and some
girls) who follow beer like others
follow football, andwith as much
passion. Brendan Varis, the owner
of Feral and its brewer, is a legend
among these people in Australia.
Feral had achieved a following as a
result of its experimentation and
dedication to its craft, as expressed
through brews such as Hop Hog,
which has been voted Australias best
beer on multiple occasions.
The issue for Feral was how
it could grow its market beyond
these fanatics and attract more
of the growing craft beer market.
To do this, it rst needed to make
its packaging more appealing to
retailers and hospitality managers.
Unfortunately, its existing
packaging was putting many of
these outlets o because it was
perceived to be aggressive and
somewhat amateurish.
The challenge was how to
broaden its reach in a way that made
it appealing to a new audience,
but remained true to its roots and
wouldnt be seen as selling out by
existing customers.

PROJECT
EVOLUTION
Mark Braddock explains
how Block Branding
made Feral more friendly

STAGEONEBlockbeganbyresearchingtheincreasinglycrowded
cra$beermarketandidentifyingemergingtrendstoavoid

STAGETWOEarlymoodboardsincludedplentyofspunk
imagerywhichsetthetoneforthenewbrand

STAGETHREEOnceithadtheaestheticpinneddownBlock
begancreatingelementsthatcouldbecombinedinacollage

STAGEFOURBraddockcombinedhand-drawnelementswith
public-domainillustrationsusingadistinctivethree-colourpalee

ARDUOUS RESEARCH

MOOD-BOARDING

DIY ETHIC

The rst step was to observe the

kind of packaging we were designing
in its natural environment. This
involved many liquor store visits and
purchases for research purposes.
We also had to carry out some
competitor analysis looking for
trends that have developed in the
market so we could avoid them.

Before we begin designing anything,

we always start our creative process
with some serious mood-boarding
and brand visioning work. We make
sure we share these boards with
clients before we show them any
layouts to ensure we have buy-in to
the concept before we commit to
anyspecic designs.

The client approved a conceptual

direction that took its lead from
the anti-design aesthetic of the
early 90s, itself based on a DIY 70s
punk aesthetic whose heritage can
be traced back to Dadaism. We
sourced conservative public-domain
illustrations and subverted them via
collage in a three-colour palee.

COMPUTERARTSCREATIVEBLOQCOM
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DIARY2 : B LOC K B R A NDI NG

MARCH 2016

HOW I WORK
Mark Braddock describes his
typical creative process

STAGEFIVEBlockhad
plannedtoredesignthe
hoglogobutFeralwas
aachedtotheoriginal

STAGESIXAworn-outphotocopierlentthevariousillustrationsandtextelementsauniquetextureand
hand-madecharmthatevokestheAustralianbreweryshands-onapproachtoitscra$

All projects for me start with

from a strategic and research
foundation. I need to understand
why were doing what were
doing, and its a habit (or
pathological need) of mine to
question every assumption in
a brief. Then, before I put pen
to sketchbook, Ill mood-board
the hell out of things. O$en this
mood-boarding is in the form of
stills or motion. This helps me
dene and understand the visual
world Im working within, and we
o$en share our ideas with the
client at this point.
Then I put on my headphones,
grab a pen and spend some
quality time lling sketchbooks
with indecipherable scribbles
while Googling whatever comes
to mind and icking through
photography and art books
basically trying to ll my head
with as many contradictory
images as possible and avoiding
commiing to anything. Finally,
in desperation as the deadline
looms, I frantically go back
through the mess of doodles
hoping against hope I can nd
something that could be polished
into something acceptable thatll
get me through the presentation.

STAGESEVENBraddockscannedthephotocopiedcomponentsthenusedPhotoshoptocreateeachnalcompositedesigns

PHOTOCOPYING FRENZY

LOGO BATTLE

FLAGSHIP PRODUCT

HANDCRAFTED FINISH

We bought a clapped-out
photocopier for $50 and used it
to develop a visual language thats
handcra$ed and distinctive without
detracting from the companys focus
on its avours and ingredients. It has
an intentionally DIY, rough-and-ready
aesthetic to match the companys
hands-on approach to brewing.

I was initially intent on updating the

Feral pig logo emblem as part of
the rebranding, but a$er presenting
many alternatives the clients, it
became clear that they were way
too aached to the original design.
In hindsight, Im glad the clients held
out I like the genuine connection
towhere its come from.

Thebeercabinethasbecomeone
ofthemostcrowdedretailspaces
imaginablesoourdesignneeded
tograbaentionA$ersomeinitial
thoughtsongivingmorestructure
toFeralsproductnamingscheme
wererejectedandwiththelook
establishedtheagshipproductHop
Hogprovedthetoughesttogetright

Finally all the artwork was lovingly

handcra$ed in huge Photoshop
les using the texture of scanned
photocopied elements. The original
four products took two months, with
a $h product, Karma Citra, added
to the range this year. Weve also
developed a Brew Pub brand for
experimental limited releases.

COMPUTERARTSCREATIVEBLOQCOM
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PROJECTS

MARCH 2016

T.O BY LIPTON:
AN AQUATIC REVOLUTION
Tribal Worldwide took Cirque du Soleils performers into underwater tanks to
capture the spirit of the brewing process and promote Unilevers new tea machine

PROJECT FACTFILE
DESIGN BRIEF
Unileverhadcreatedarevolutionary
newteamachineTObyLiptonand
neededanequallyrevolutionary
campaigntopromoteit
STUDIOS
TribalWorldwide
wwwtribalworldwidecouk
adam&eveDDB
wwwadamandeveddbcom
RogueFilms
wwwroguelmscouk
DURATION
_months
LIVE DATE
November!

THE DESIGN BRIEF

Simon Poett
Unilever came to us with an exciting product its new
tea machine, T.O by Lipton. It has an unusual feature:
the orb chamber, through which you can see the tea
while its brewing. The device is a revolution in teamaking, so our clients wanted a suitably revolutionary
advertising campaign to promote it.
The pitch was for the account was originally won
by adam&eveDDB, our sister agency. However, the
work for this brief emerged through our collaborative
efforts in delivering a compelling integrated idea. We
often work with adam&eveDDB in this way, and clients
benefit immensely from our shared account approach,
COMPUTERARTSCREATIVEBLOQCOM
-102-

particularly when theres a variety of work that demands

specialism and expertise.
Promoting the machines unique ability to identify
the type of tea inserted and brew accordingly for the
optimum time and at the ideal temperature, the film
features Cirque du Soleil performers each representing
different flavours of tea who dance with organic and
flowing movement in water, creating a visually powerful
impression of the machines processes. The effect is that
of entering the machine and its unique brew orb.
As well as the machines technical innovations, the
way it looks and the aromas it creates are a vital part of
the product design, creating a multisensory experience.
The film continues the emphasis on these qualities by
heightening the visual drama.

DIARY3: T R I B A L W OR LDW I DE

MARCH 2016

SIMONPOETT
EXECUTIVECREATIVEDIRECTOR 
TRIBALWORLDWIDELONDON
Simonisanexecutivecreativedirectorwith
overyearsexperienceacrossdigitaland
traditionalcommunicationsHesappearedin
TheDrumsmostinuentialpeopleinUK
advertisingandthisyearsCampaignAList

WORK IN PROGRESS

Thescriptle$muchtointerpretationsoitwasessentialthatdirectorSaamFarahmandhadaclearvisionforthead

Eachcostumewasinspiredbyatypeofteawithan
organiclooktocomplementthedancersmovements

At the time of our rst response it hadnt been decided

that TV or print would be part of the mix, so we initially
worked on establishing a digital-only campaign. But as
the proposition developed, the scale of the opportunity
for a TV commercial became more apparent.
As Tribal Worldwide London is the digital arm of
DDB, its slightly unusual for me to have responsibility
across all of the channels, but its not unheard-of and
personally I dont see barriers there.
The whole process from brieng to completion
andgoing on air took 18 months, which is a long
time. Itwas very much like a marathon, playing the
long game, maintaining momentum and, critically,
establishing good relationships early on. As is normal
with a piece of advertising lm, Tribal created the script,
then we worked with our producer to establish a long
list of directors, progressed through to a shortlist and
began those conversations. With our preferred three
established, we went on to ask for treatments.
We worked with adam&eveDDBs producers, who
are hugely experienced. Personally, I love the treatment
process. Its a wonderful moment when you see an idea
take o into a new and exciting place, and with this
particular script so much was up for interpretation.
Instinctively we knew we needed a director with a
strong, single-minded artistic vision, and we got exactly
that in Saam Farahmand (known for his work with
Mark Ronson, Janet Jackson and Cheryl Cole), and in
theteams at Rogue Films and The Mill.
It was highly pressured at times, but exhilarating as
well. If youre lucky enough to be working on a brilliant
script, where everyone is focused on creating something
special, then how can you possibly complain?
Capturing as much as possible in camera meant
everyone came away from the shoot with a clear idea
of what the end result would be. Once the lming was
complete, the dye and streams of bubbles released by
thedancers were augmented by a team of 35 VFX

PROBLEM SOLVED

SUB-AQUATIC SHOTS
Underwater cinematography presents some very
specic challenges, as Simon Poe discovered

Farahmandsketchedthedancersconceptcostumes
whichCirqueduSoleiltranslatedintorealclothing

Shootinginwaterisaparticularlycomplicatedthingtodo
Toovercomethebigproblemofwaterrefractionandto
giveusthefreedomtopollutewaterwith%safe'special
eectswecreatedfourbespoketankswithglassthatwas
overveinchesthickWewouldsetupinonetankrelease
eectsshootasmuchwecouldthenmoveontothenext
tankwhilesimultaneouslycleaningthelastandsoon

COMPUTERARTSCREATIVEBLOQCOM
-103-

PROJECTS

MARCH 2016

Poesteamcapturedasmuchaspossiblein-camerabeforeVFXartistsfromTheMillmodelledtheeight
dancersactionsinCGtoaccuratelyaugmentthebubblesinksanddyesreleasedduringtheirperformance

PoeandFarahmandwantedtopushtheboundariesofwhatwaspossible
underwaterusingnovellmingtechniquesinspeciallydesignedtanks

artists at The Mill. They modelled each of the eight

actors in CG so the underwater performances could be
accurately recreated in every shot. The Mill created 62
unique uid simulations during the project, the largest
of which contained over 1.5 billion particles.
As the executive creative director, I was involved at
every stage of the project, from conceptualising and
presenting to the client, to working with the creative
teams, choosing the director alongside our producer,
then working with Rogue and The Mill before, during
and after lming.

CONCLUSION
The nished commercial, The Revolution in Tea,
represents a single-minded journey into the heart of
the T.O by Lipton machine. To create a visualisation
of the tea leaves dancing and blending inside the orb,
Cirque du Soleil perform underwater in colourful outts
representing specic avours, accompanied by bubbles,
trails and ink. These incredible performers capture the
magic and mystery of the way the tea leaves dance and
move as they brew its a natural t. You can see the spot
at www.bit.ly/ca-250revolution.

Theunderwatershotswerechallengingbutsuccessfullycapturethefeelingofenteringthemachinesbrewingorb

LESSONS LEARNED

LIVE-ACTION
VIDEO
Simon Poe
discusses his three
main takeaways from
the T.O by Lipton ad

ITS ALL
ABOUT TRUST
On a complex and
challenging shoot like this, its vital
to create trust. That goes for me, my
team, the client, the lm director and
everyoneinvolved on the project. It
isnt possible unless you all believe
inthe idea and are moving in the
samedirection.

WORK WITH
THE BEST PEOPLE
Always endeavour to
work with people who are talented
and nice (a Bernbach mantra).
From the performers of Cirque du
Soleil to director Saam Farahmand,
to Rogue and The Mill, we were
unbelievably blessed with wonderful,
talented people on this project.

COMPUTERARTSCREATIVEBLOQCOM
-104-

BRAVERY
IS ESSENTIAL
Be brave. Be ambitious.
It would have been impossible to
have pulled o a production as
ground-breaking as this without
invoking both of these qualities. But
whatever the project, theyre vital if
youre to push the boundaries and
produce great work.

CREATIV E B L O Q HI G HLI G HT S

MARCH 2016

HIGHLIGHTS
THIS MONTH
Creative Bloq provides daily inspiration
for creative people of all kinds, oering
fresh thinking, expert tips and handy
tutorials to supercharge your creative
muscles. Heres a sample of what you
can expect at www.creativebloq.com

16 tips for design

success in 2016
2015 was a year in which the creative
industries started to recover from the
economic downturn and started to see
the benets of growth, but how can
design studios take full advantage of
the upswing in 2016? We asked some of
the UKs top studios for their advice on
the year ahead for those at the coalface.
Heres what they said...

1. Avoid compromise
2. Work to the point of madness
3. Enter awards
4. Share your work
5. Disrupt the norm
6. Strike out of your comfort zone
Read more at www.bit.ly/CB-Success2016

PLUS!
20 tools that make freelancing easy
www.bit.ly/CB-EasyFreelance

Font of the month: THIS

Every day we showcase the best fonts available on the web, and one of our favourites this
month is THIS by graphic designer Corey Holms. THIS was originally released as a metal
stencil for sale on Fairgoods, where it proved very popular, resulting in many requests for
the typeface itself. Holms didnt like the idea of charging for it, so he and Fairgoods agreed
to oer it as a free download. Get full details at www.bit.ly/CB-THIS

Infographic
of the month
Do you crave coee the moment you open
your eyes? It might be better to wait. We
have a 24-hour hormonal cycle called the
circadian clock, with dips and spikes in
alertness. The rst dip is at 10 am, and
thats when your body will appreciate a
joltof caeine. For more tips, check out
Art of Wellbeings fact-packed infographic.
www.bit.ly/CB-ArtOfWellbeing

PLUS!
Simple ways to beat creative block
www.bit.ly/CB-BeatBlock
Become a creative genius in 5 days
www.bit.ly/CB-CreativeGenius

3 top typography trends for 2016

http://bit.ly/CB-2016TypeTrends

COMPUTERARTSCREATIVEBLOQCOM
-105-

I CO N

MARCH 2016

StefanSagmeister
Sagmeister&Walsh
Co-founderofmulti-disciplinaryagencySagmeister
&Walsh#Stefanisrenownedforhisdirect#
uncompromisingapproachtovisualcommunication
wwwsagmeisterwalshcom

THE SURPRISING
BEAUTY OFNEW
ALBUM COVERS
Intherstofanewseriesdelvinginto
iconicdesignerscreativeinterests
StefanSagmeisterourmostinuential
designerofthepasttwodecades
explainswhythelasttwoyearsofvinyl
artworkarethemostbeautifulyet

Weopenedourstudiooveryearsago
withthedesiretodesignCDcoversOur
openingcardstated SagmeisterInc design
formusicAerdesigningpackagingfor
manybandsnobodyhadeverheardof we
eventuallydidsomeworkforTalkingHeads 
LouReedandTheRollingStones
Ilovetheprocessofvisualisingmusic
anon-visualbutdeeplyemotionallanguage
Itsstilloneofmyfavouriteprocesseswithin
designbutitturnedoutthatdesigningthe
thcoverwasmuchlessfunthantherst
oneandduringmyrstsabbaticalIdecided
togetoutofthemusicworldAcoupleof
yearslateronlinemusicsharingledtothe
slowcollapseofthemusicindustryAs
shrinkingbusinessestendtoberuledbyfear
mostpeoplewithintheindustryseemedtobe
worriedaboutlosingtheirjobsandtheir
risk-averseaitudepreventedgoodwork
hiingtherecordstoresIremembervisiting
TowerRecordsintheearlyslookingfor
greatnewcoversandcomingupempty
TenyearslaterIwasinvitedtoa
musicianshouseaeratalkinBrazilHe
ownedarecordplayeranamptwospeakers
andaboutsixdozencarefullyselectednew
vinylrecordsBrazilisntexactlyacentrefor
vinylsotheyweredicultforhimtogetand
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theirtravelsIlovedthesimplicityofhissetup

andthedeliberatenessoftheprocessHe
thoughtaboutwhichalbumhewantedtohear
cleanedthepick-uptookthevinyloutofthe
sleeveandplacedtheneedleaconscious
operationthatseemstoresultinbeer-quality
musicbeingplayedcomparedtotheeasy
experienceyougetwithSpotify
Iboughtasmallrecordplayersetup
andorderedhistoricalbumswithsomeofmy
favouritecoversTheVelvetUnderground&
NicoPhysicalGratiandsoonandacouple
ofnewunfamiliarbutgorgeousonesIinstalled
twonarrowshelvesallowingforthedisplayof
fourcoversatatimeThisquicklybecamemy
favouriteartworkbecauseitchanges
automaticallyeverydayItsalsoinfusedbythe
emotionalityofthemusicmakingitarguably
superiortoanyotherartIownIpresenta
dailyphotoofthisever-changingartonmy
Instagramaccount@stefansagmeisterIfyou
likewhatyouvereadsofarpleasedofollowit

COMPUTERARTSCREATIVEBLOQCOM
-106-

Thecoversdesignedin /
are
absolutelyfantasticIcantthinkoftwoother
yearsinalbumcoverhistorythatbroughtforth
suchanavalancheofexcellentworkWhenI
gotoRoughTradeBrooklynslargestvinyl
storemychancesofseeingatrulyhigh-quality
pieceofartareasgoodasifIgotoanyofthe

-oddgalleriesinChelseaIfthisseems
hyperboliccheckoutanyofthesesixalbums
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iamamiwhoamiKin
ArcaXen
Dontlookatthemonlineyouneedtohold
theminyourhandopenthemtakethe
bookletsandinnersleevesoutturnoverthe
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