Computer Arts

 

REVEALED

HOW DESIGNERS CAN MAKE MONEY FROM THE VR REVOLUTION

ISSUE

252

MAY 2016 D IGITAL ED ITIO N PRO D UCED IN THE UK 

BRANDING MASTERCLASS Build beter brands󰀺 how o ackle oday’s bigges branding challenges

FEATURING AnAgrAmA • SnASk  InterbrAnd • nb StudIo LAMBIE-NAIRN & MORE

10 TRENDS IN PACKAGING PACK AGING AND BRANDING THAT EVERY DESIGNER DESIGN ER SHOULD KNOW K NOW SELL YOUR DESIGNS ONLINE

BUILD BRANDS THAT TURN HEADS

Practical tips for selling more of your work through sites like Etsy and Redbubble

How Manual created its quirky, contemporary identity for the Fort Point Beer Company

 

WELCOME

MAY 2016

EDITOR’S ED ITOR’S LET TER The󰀠way󰀠in󰀠which󰀠we󰀠consume󰀠and󰀠c The󰀠way󰀠in󰀠which󰀠w e󰀠consume󰀠and󰀠connect󰀠with󰀠brands󰀠 onnect󰀠with󰀠brands󰀠is󰀠 is󰀠 evolving󰀠rapidly󰀮󰀠It󰀠isn’t󰀠just󰀠to󰀠do󰀠with󰀠new󰀠technology󰀠and󰀠a󰀠rise󰀠 in consumer󰀠touchpoints󰀺󰀠social󰀠and󰀠cultur consumer󰀠touchpoints󰀺󰀠social󰀠and󰀠cultural󰀠changes󰀬󰀠too󰀬󰀠 al󰀠changes󰀬󰀠too󰀬󰀠present󰀠 present󰀠 designers󰀠with󰀠a󰀠new󰀠 designers󰀠with󰀠 a󰀠new󰀠set󰀠of󰀠 set󰀠of󰀠challenges󰀠󲀓󰀠and󰀠e challenges󰀠󲀓󰀠and󰀠exciting󰀠opportunities󰀮󰀠 xciting󰀠opportunities󰀮󰀠 With this in mind󰀬 our special report on page 󰀵󰀸 takes a close look at one of the most important touchpoints for many brands󰀺 packaging design󰀮 Pearlfisher’s Natalie Chung 󲀓 who was foreman of D&AD’s 󰀲󰀰󰀱󰀵 Packaging Design jury 󲀓 discusses the evolving role of packaging and predicts which trends will make the biggest impact creatively󰀬 culturally and commercially over the next 󰀱󰀲 months󰀮 As Chung points out󰀬 brands across every sector now have to find new󰀬 creative ways to foster emotional relationships with consumers󰀮 That’s why our lead feature this month󰀬 on page 󰀴󰀲󰀬 focuses on what designers need to do to rise to the challenges presented by this new landscape and build successful brands in 󰀲󰀰󰀱󰀶󰀮 Elsewhere󰀬 we explore how to earn some extra cash by selling your designs online 󰀨page 󰀷󰀰󰀩󰀬 while on page 󰀲󰀲󰀬 Pentagram partner Naresh Ramchandani urges designers to be creative in using their skills to

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promote Finally󰀬sustainability󰀮 we’re pleased to announce that our very own Brand Impact Awards are now open for entries󰀮 Find out how to submit your best branding work on page 󰀴󰀹󰀮 Enjoy the issue󰀮  JU LI A SAG AR

ACTING󰀠CO󰀭EDITOR  julia.sagar@futur  julia.sagar @futurenet.co enet.com m

FEATURING

SNASK

NATALIE CHUNG

 AL EX TR OC HU T

KIRSTY MINNS

This󰀠issue’s󰀠cover󰀠was󰀠 creaed󰀠by󰀠Snask󰀬󰀠an󰀠 inernaionally󰀠renowned󰀠 agency󰀠ha󰀠makes󰀠kick󰀭 ass󰀠branding󰀬󰀠design󰀠and󰀠 film󰀮󰀠Based󰀠in󰀠Sockholm󰀬󰀠 hey󰀠srive󰀠o󰀠challenge󰀠 indusry󰀠norms󰀠and󰀠 promoe unconvenional󰀠 ideas󰀬󰀠charming󰀠smiles󰀠 and real󰀠emoions󰀮 www󰀮snask󰀮com

Creaive󰀠direcor󰀠a󰀠 Pearlfisher󰀬󰀠where󰀠she’s󰀠 worked󰀠for󰀠󰀱󰀶󰀠years󰀬󰀠Naalie󰀠 has󰀠acively󰀠developed󰀠an󰀠 energeic󰀠and󰀠collaboraive󰀠 sudio󰀠environmen󰀠where󰀠 imaginaion󰀠and󰀠bold󰀠ideas󰀠 are󰀠encouraged󰀠o󰀠grow󰀮󰀠Her󰀠 repor󰀠on󰀠wha󰀠he󰀠fuure󰀠of󰀠 packaging󰀠design󰀠looks󰀠like󰀠 begins󰀠on󰀠page󰀠󰀵󰀸󰀮󰀠 www󰀮pearlfisher󰀮com

Barcelona󰀭born󰀬󰀠Brooklyn󰀭 based󰀠aris󰀬󰀠graphic󰀠 designer󰀬󰀠illusraor󰀠and󰀠 ypographer󰀠Alex󰀠ranked󰀠 fourh󰀠in󰀠our󰀠poll󰀠of󰀠he󰀠󰀲󰀰󰀠 mos󰀠influenial󰀠designers󰀠of󰀠 he󰀠las󰀠󰀲󰀰󰀠years󰀮󰀠On󰀠page󰀠 󰀹󰀸󰀠he󰀠explains󰀠why󰀠creaives󰀠 can󰀠be󰀠fluen󰀠in󰀠boh󰀠ar󰀠 and󰀠design󰀠󲀓󰀠bu󰀠he and󰀠design󰀠󲀓󰀠 bu󰀠he mos󰀠 imporan󰀠facor󰀠is󰀠inen󰀮 www󰀮alexrochu󰀮com

Creaive󰀠direcor󰀠a󰀠The󰀠 Fuure󰀠Laboraory󰀬󰀠Kirsy󰀠is󰀠 a󰀠Briish󰀠designer󰀠wih󰀠more󰀠 han󰀠󰀱󰀰󰀠years’󰀠experience󰀠 in󰀠produc󰀠design󰀬󰀠 developmen󰀬󰀠ar󰀠direcion󰀠 and󰀠curaion󰀮󰀠She󰀠is󰀠one󰀠of󰀠 several󰀠expers󰀠sharing󰀠heir󰀠 insighs󰀠abou󰀠he󰀠challenges󰀠 of󰀠branding󰀠in󰀠󰀲󰀰󰀱󰀶󰀠in󰀠our󰀠 feaure󰀠saring󰀠on󰀠page󰀠󰀴󰀲󰀮󰀠 www󰀮kirsyminns󰀮com

COMPUTERARTS󰀮CREATIVEBLOQ󰀮COM 󰀭󰀠󰀴󰀠󰀭

NARESH RAMCHANDANI

Naresh󰀠is󰀠co󰀭founder󰀠 and󰀠creaive󰀠direcor󰀠of󰀠 environmenal󰀠chariy󰀠 Do󰀠The󰀠Green󰀠Thing󰀠and󰀠 a󰀠parner󰀠a󰀠Penagram󰀠 in󰀠London󰀮󰀠Turn󰀠o󰀠page󰀠 󰀲󰀲󰀠o󰀠discover󰀠why󰀠he󰀠 believes󰀠designers󰀠need󰀠 o󰀠be󰀠creaive󰀠in󰀠atacking󰀠 unsusainable󰀠living󰀮 www󰀮dohegreenhing󰀮com

 

MEET THE TEAM

MAY 2016

M MEET   EET THE TE AM FUTURE󰀠PUBLISHING󰀠LTD󰀬󰀠QUAY󰀠HOUSE󰀬󰀠THE󰀠AMBURY󰀬󰀠BATH󰀠BA󰀱󰀠󰀱UA PHONE 􀀰􀀱􀀲􀀲􀀵 􀀴􀀴􀀲 􀀲􀀴􀀴  FAX 􀀰􀀱􀀲􀀲􀀵 􀀷􀀳􀀲 􀀲󰀷􀀵 EMAIL hello@compuerars.co.uk  WEB  compuerars.creaivebloq.com

EDITORIAL

ADVERTISING

JULIA SAGAR

SASHA󰀠MCGREGOR󰀠Ad manager  sasha.mcgregor@fuurene.com

ACTING󰀠CO󰀭EDITOR  julia. sagar@fu urene.c om JIM THACKER  ACTING󰀠CO󰀭EDITOR    jim.ha cker@fuu rene.com JO GULLIVER

ART󰀠EDITOR   jo.gull iver@fuu rene.com

 JU LI A SAG AR

ACTING󰀠CO󰀭EDITOR Nick􀀠being􀀠on􀀠sabbaical􀀠mean􀀠Julia􀀠finally􀀠go􀀠o􀀠go􀀠o􀀠 Design􀀠Indaba􀀠󲀓􀀠hooray!􀀠She􀀠had􀀠a􀀠week’s􀀠advenure􀀠 in􀀠Cape􀀠Town󰀬􀀠me􀀠some􀀠brillian􀀠designers􀀠and􀀠drank􀀠 a􀀠lo􀀠of􀀠wine󰀮􀀠A􀀠perfec􀀠rip󰀮

CHRIS󰀠MITCHELL MATT󰀠BAILEY GEORGE󰀠LUCAS  Accoun direcors chris.michell@fuurene.com mat.bailey@fuurene.com george.lucas@fuurene.com

 JI M TH ACK ER

ACTING󰀠CO󰀭EDITOR Jim􀀠spen􀀠par􀀠of􀀠his􀀠las􀀠monh􀀠on􀀠CA􀀠a􀀠he􀀠Museum􀀠 of􀀠Eas􀀠Asian􀀠Ar󰀬􀀠looking􀀠a􀀠classic􀀠designs􀀠from􀀠 housands􀀠of􀀠years􀀠ago󰀮􀀠Will􀀠anyhing􀀠from􀀠issue􀀠󰀲󰀵󰀲􀀠 be􀀠preserved􀀠in􀀠he􀀠year􀀠󰀵󰀰󰀰󰀰?􀀠We􀀠can􀀠bu􀀠dream󰀮

PRODUCTION & DISTRIBUTION CAT ELLIS

OPERATIONS󰀠EDITOR ca.ellis@fuurene.com DOMINIC CARTER

STAFF󰀠WRITER dominic.carer@fuurene.com

VIVIENNE󰀠CALVERT  Producion conroller MARK󰀠CONSTANCE  Producion manager Printing: William Gibbons & Sons Ld Finishing partner: Celloglas Distribution: Seymour Disribuion, 󰀲􀀠Eas􀀠Poulry􀀠Avenue󰀬􀀠 London􀀠EC󰀱A􀀠􀀹PT󰀮􀀠Tel󰀺􀀠󰀰󰀲󰀰󰀷􀀠󰀴󰀲􀀹􀀠󰀴󰀰󰀰󰀰 Overseas distribution: Seymour Inernaion Inernaional al

 JO GU LL IV ER

ART󰀠EDITOR This􀀠monh󰀬􀀠Jo􀀠helped􀀠ou􀀠a􀀠friend􀀠in􀀠need􀀠of􀀠someone􀀠 o􀀠dress􀀠as􀀠a􀀠bee􀀠for􀀠a􀀠fancy􀀠dress􀀠pary􀀠􀀨a􀀠surprisingly􀀠 common􀀠problem􀀩󰀮􀀠She􀀠also􀀠made􀀠a􀀠buzz􀀠wih􀀠her􀀠 bowling􀀠skills􀀠a􀀠a􀀠eam􀀠evening􀀠ou􀀠in􀀠Brisol󰀮

PETER GRAY

VIDEO󰀠PRODUCER  peer.gray @fuuren e.com

CREATIVE BLOQ

CIRCULATION JULIETTE󰀠WINYARD󰀠 Trade markeing manager: 󰀰󰀷󰀵󰀵󰀱􀀠󰀱󰀵󰀰􀀠􀀹󰀸󰀴

DAN OLIVER

SUBSCRIPTIONS

GLOBAL󰀠EDITOR󰀭IN󰀭CHIEF dan.oliver@fuurene.com

CHARLOTTE󰀠LLOYD󰀭WILLIAMS  Campaign manager charlote.lloyd-williams@fuurene.com

CRAIG STEWART MANAGING󰀠EDITOR

KERRIE HUGHES

UK readers:􀀠󰀰󰀸󰀴󰀴􀀠󰀸󰀴󰀸􀀠󰀲󰀸󰀵󰀲􀀠 Overseas readers󰀺 󰀫󰀴󰀴􀀠􀀨󰀰􀀩󰀱󰀶󰀰󰀴􀀠󰀲󰀵󰀱󰀰󰀴󰀵 Online enquiries: myfavourie myfavouriemagazines.co.uk magazines.co.uk compuerars@myfavouriemagazines.co.uk

CONTENT󰀠MANAGER kerrie.hughes@fuurene.com

LICENSING

craig.sewar@fuurene.com

CONTRIBUTORS Diana Belran Herrera, Mark Bonner, Chaanah Carr, Naalie Chung, Tom Dennis, Alex Donne-Johnson, FranklinTill, Damian Hall, Inland Sudio, Babeh Lafon, Michael Leser, Sefano Marra, Tom May, Jim McCauley, Naresh Ramchandani, Anna Richardson Taylor, Ma Roff, Snask, John-Parick Thomas, Alex Trochu, Phil Weyman, Anne Wollenberg, Tom Woolley

Fuure?? Wan o work for Fuure Visi www.fuurene.com/jobs

MATT󰀠ELLIS Senior licensing and syndicaion manager  mat.ellis@fuurene.com Tel󰀺􀀠󰀫󰀴󰀴􀀠􀀨󰀰􀀩󰀱󰀲󰀲󰀵􀀠󰀴󰀴󰀲󰀲󰀴󰀴 Fax󰀺􀀠󰀫󰀴󰀴􀀠􀀨󰀰􀀩󰀱󰀲󰀲󰀵􀀠󰀷󰀳󰀲󰀲󰀷󰀵  

MANAGEMENT

NIAL󰀠FERGUSON Conen direcor, Media JOE󰀠MCEVOY  Managing direcor, Magazines MATT󰀠PIERCE Head of conen & markeing, Phoography, Creaive & Design, Games RODNEY󰀠DIVE Group ar direcor, Phoography, Creaive & Design, Games

CAT ELLIS

OPERATIONS󰀠EDITOR Ca􀀠has􀀠been􀀠speaking􀀠o􀀠designers􀀠abou􀀠heir􀀠 sraegies􀀠for􀀠creaing􀀠susainable􀀠packaging󰀮􀀠In􀀠he􀀠 same􀀠week󰀬􀀠a􀀠phoo􀀠of􀀠pre󰀭peeled􀀠oranges􀀠in􀀠plasic􀀠 pos􀀠in􀀠a􀀠supermarke􀀠wen􀀠on􀀠Twiter󰀮􀀠Madness!

S T A FF C O N T RI B U T O RS PETER GRAY  GRAY 

VIDEO󰀠PRODUCER Peer’s􀀠highligh􀀠a􀀠work􀀠his􀀠monh􀀠was􀀠heading􀀠o􀀠 NB’s􀀠sudio􀀠in􀀠London􀀠o􀀠shoo􀀠he􀀠video􀀠inerviews􀀠 for􀀠his􀀠issue󰀮􀀠The􀀠burrio􀀠he􀀠procured􀀠from􀀠 Paddingon􀀠saion􀀠is􀀠up􀀠here􀀠oo󰀮

NEXT ISS UE ON SALE 󰀲􀀹􀀠April􀀠󰀲󰀰󰀱󰀶

Future is an award-winning international media group and leading digital business. We reach more than 49 million international consumers a month and create world-class content advertising solutions consumers online, on tablet andand smartphone, and in print.for passionate

NICK CARSON 

EDITOR󰀠󰀨ON󰀠SABBATICAL󰀩 Nick􀀠has􀀠dived􀀠wih􀀠exoic􀀠fish󰀬􀀠and􀀠cycled􀀠o􀀠a􀀠former􀀠 execuion􀀠spo􀀠where􀀠radiion􀀠once􀀠dicaed􀀠ha􀀠 unforunae􀀠souls􀀠be􀀠poshumously􀀠seasoned􀀠wih􀀠 lemon􀀠and􀀠chilli󰀮􀀠Ouch󰀮􀀠He’ll􀀠be􀀠back􀀠nex􀀠issue󰀮

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Precision󰀠Special󰀠Gloss󰀠FSC 􀀲􀀵􀀰gsm P󰀳󲀓󰀷󰀴󰀺  GraphoCoe󰀠󰀹􀀰gsm P󰀷󰀵󲀓󰀹󰀸󰀺  GraphoInven󰀠􀀷􀀰gsm TYPEFACES

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COMPUTERARTS􀀮CREATIVEBLOQ􀀮COM 󰀭󰀠󰀶󰀠󰀭

 

MAY 2016

ISSUE

252

MAY 2016

CULTURE

󰀱󰀰 

Ya Yates󰀭Johnson’ tes󰀭Johnson’s Polyspolia project breaks down old products to recast them in new forms

󰀱󰀴 

PEOPLE󰀺

󰀱󰀶 

PLACES󰀺 Designer Diana Belrán Herrera gives

TRENDS󰀺 Will H

Ben Tallon’s podcas Arres All Mimics brings he creaive process o he digial airwaves

us a our of Bogoá’s culural and spiriual highlighs 󰀱󰀸 

EVENTS󰀺 We repor on Cape Town’s Design Indaba

and he UK’s Reasons󰀺London conferences

󰀲󰀲 

INSIGHT

DO THE GREEN THING󰀺 Use your creaiviy o

atack unsusainable living󰀬 says Naresh Ramchandani 󰀲󰀴 

SUSTAINABLE PACKAGING󰀺 Wha should

designers do o creae more eco󰀭friendly packaging? packag ing? 󰀲󰀶 

󰀲󰀸 

SHOWCASE

Mark Bonner explains why so much brigh creaive alen is coming from norh of he Wall GREAT SCOTS󰀺

Our pick of he bes new graphic design󰀬 illusraion and moion graphics 󰀳󰀰

VIRTUAL REALITY󰀺 Alex Donne󰀭Johnson reveals

how designers can make money from he VR revoluion

DIARY 2    NEED TO KNOW    DIARY 1 

SELL YOUR DESIGNS

PROJECT DIARIES Manual’s quirky branding for the Fort Point Beer Company󰀬 Nicolas Ménard’s colourful animaions for Ray󰀭Ban󰀬 and how 󰀸󰀲 Tom Clancy’s The Division uses real sree ar ar in󰀭game

DIARY 3 

COMPUTERARTS󰀮CREATIVEBLOQ󰀮COM 󰀭 󰀸 󰀭

Online markeplaces offer creaives a new revenue sream󰀮 We reveal how o sell your more of your work hrough sies like Esy and Redbubble 󰀷󰀰

 

CONTENTS

MAY 2016

  VIDEO INSIGHT 

NB STUDIO In he laes of our inerviews wih leading agencies feaured in our UK Sudio Rankings󰀬 NB explains how i keeps puting is manra of ‘creaive courage’ o he es 󰀷󰀶 SPECIAL REPORT 

THE FUTURE OF PACK AGING AGING Premiumisaion? Personalisaion? Susainabiliy? Pearlfisher’s Naalie Chung reveals he Premiumisaion? 󰀱󰀰 key rends in packaging design and branding ha every creaive should know abou

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INDUSTRY ISSUES

I N C O N V E R S AATT I O N  

BUILD BUI LD BETT ER BRANDS YOMAGICK Digital technology is changing the way brands talk to audiences󰀮 Our branding masterclass reveals how to tackle today’s biggest challenges in brand design 󰀴󰀲

The young Dublin󰀭based creaive’s mulidisciplinary oupu displays a wisdom beyond his years󰀮 We discover wha drives his playful󰀬 fearless experimenal work 󰀵󰀰

COMPUTERARTS󰀮CREATIVEBLOQ󰀮COM 󰀭 󰀹 󰀭

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 WE

LOVE... 

Make, break, remake, repeat Polyspolia by Will H Yates-Johnson is a representation of a waste-free manufacturing model that breaks down old products and works them into new, more complex forms ur plane’s resources are finie󰀬 ye our focus O is sill direced oward producing󰀬 consuming and hen discarding󰀬 raher han proecing󰀬 improving and susaining󰀮 This coninued pah is puting enormous󰀬 perhaps irreversible󰀬 srain on our environmen simply o saisfy our lifesyle aspiraions󰀮 However󰀬 thanks to a raf o exciting designers who are ostering more disruptive approaches󰀬 we are beginning to see that alternative systems o production and consumption are possible󰀬 and how crucial material innovation will be in achieving this󰀮 By developing production methods with designed󰀭in recycling systems󰀬 we can eed consumer desire or the new󰀬 while creating zero waste󰀮

Will H Yates󰀭Johnson explores a new material󰀭 recycling model by which an object can be endlessly broken into ragments and infinitely reormed into new products󰀮 His terrazzo󰀭style material in vivid and high󰀭 contrast colours is a beautiul expression o the process o recycling and transormation󰀮 Learn more about Yates󰀭Johnson’s concept of infinite recycling and the transformation of materials from uniformity to complexity at www󰀮whyj􀀮uk Each month󰀬 our Trends section is curated by experienced creative consultancy FranklinTill www􀀮franklintill􀀮com

C O MP UT ER A R T S 󰀮C R EA T IV EB L O Q 󰀮C O M 󰀭   10   󰀭

 

CULTURE T R E N D S  S 

MAY 2016

 DESIGNED FOR LIFE 

Magic carpets Roterdam’s Nighshop Nighshop   uses liquid foam o creae unique folk-inspired rugs

ighshop’s󰀠brigh󰀠Showdown󰀠carpes󰀠 󲀓󰀠more󰀠objes󰀠d’ objes󰀠d’ar󰀠han󰀠pracical󰀠 ar󰀠han󰀠pracical󰀠 N 󲀓󰀠more󰀠 floor󰀠coverings󰀠󲀓󰀠are󰀠crafed󰀠rom󰀠 sof󰀠urehane󰀠oam󰀬󰀠hand󰀭piped󰀠ino󰀠olk󰀠 ar󰀭influenced󰀠paterns󰀮󰀠Designers󰀠 ar󰀭influenced󰀠pat erns󰀮󰀠Designers󰀠Ward󰀠 Ward󰀠 van Gemer󰀠and󰀠Adriaan󰀠van󰀠der󰀠Ploeg󰀠 iniially󰀠inended󰀠o󰀠creae󰀠lampshades󰀠ou󰀠o󰀠 he󰀠maerial󰀬󰀠modiying󰀠an󰀠old󰀠cenriuge󰀠and󰀠 pouring󰀠in󰀠he󰀠oam󰀮󰀠“I was󰀠a󰀠disaser󰀬”󰀠says󰀠 van󰀠der󰀠Ploeg󰀮󰀠“The󰀠firs󰀠ones󰀠were󰀠grea󰀬󰀠bu󰀠 we󰀠could󰀠never󰀠recreae󰀠hem󰀮” The󰀠pair󰀠pu󰀠he󰀠lampshade󰀠idea󰀠o󰀠one󰀠 side󰀠and󰀠resumed󰀠work󰀠on󰀠oher󰀠projecs󰀬󰀠 unil󰀠one󰀠day󰀠hey󰀠 unil󰀠one󰀠d ay󰀠hey󰀠had󰀠an󰀠epiphany had󰀠an󰀠epiphany󰀠and󰀠 󰀠and󰀠 realised󰀠he󰀠same󰀠maerial󰀠would󰀠work󰀠well󰀠for󰀠 bespoke󰀠carpes󰀮󰀠“I󰀠was󰀠a󰀠naural󰀠process󰀬”󰀠 says󰀠van󰀠der󰀠Ploeg󰀮󰀠“We󰀠never󰀠reached󰀠ou󰀠 o󰀠manufacurers󰀠because󰀠 o󰀠manufac urers󰀠because󰀠he󰀠carpes󰀠ar he󰀠carpes󰀠are󰀠so󰀠 e󰀠so󰀠 experimenal󰀠and󰀠one󰀭of󰀭a󰀭kind󰀮”

Each󰀠carpe󰀠is󰀠made󰀠sponaneously󰀬󰀠as󰀠 inspiraion󰀠srikes󰀮󰀠“Usually󰀠one󰀠of󰀠us󰀠has󰀠a󰀠 vague󰀠idea󰀬”󰀠van󰀠der󰀠Ploeg󰀠says󰀮󰀠“We󰀠draw󰀠i󰀠 on󰀠a󰀠piece󰀠of󰀠paper on󰀠a󰀠piece 󰀠of󰀠paper󰀠and󰀠adjus󰀠 󰀠and󰀠adjus󰀠i󰀬󰀠and󰀠wihin󰀠 i󰀬󰀠and󰀠wihin󰀠 five󰀠minues󰀠we󰀠sar󰀠working󰀠wih󰀠he󰀠foam󰀮󰀠 We󰀠really󰀠like󰀠working󰀠quickly󰀠and󰀠making󰀠 quick󰀠decisions󰀮󰀠The󰀠maerial󰀠helps󰀠in󰀠his󰀠way󰀬󰀠 bu󰀠a󰀠he󰀠same󰀠ime󰀠limis󰀠your󰀠choices󰀮󰀠Your󰀠 designs󰀠can’󰀠be󰀠very󰀠deailed󰀬 designs󰀠can’󰀠be 󰀠very󰀠deailed󰀬󰀠and 󰀠and you󰀠hav you󰀠have󰀠 e󰀠 o󰀠work󰀠really󰀠fas󰀮” Nighshop󰀠is󰀠now󰀠working󰀠on󰀠smaller󰀠 versions󰀠of󰀠he󰀠designs󰀬󰀠wih󰀠foam󰀠exruded󰀠 direcly󰀠ono󰀠a󰀠background󰀠suiable󰀠for󰀠 hanging󰀠on󰀠a󰀠wall󰀮󰀠󰀠 Nightshop is showing its carpets in a solo exhibition at Robert Van Oosterom’s showroom 󰀨open by appointment󰀩󰀮 www󰀮robertvanoosterom󰀮com / 

Showdown󰀠carpes www󰀮inohenighshop󰀮nl 󲂬󰀲󰀬󰀰󰀰󰀰󰀠each󰀠󰀨excluding󰀠 VAT󰀠and󰀠shipping󰀩

TRENDING Say one sep ahead

MAINSTREAM  

 STILL FRESH

Emojis are

Letering ormed

wih our baromeer o visual cool

everywhere󰀬 rom patern mois o brand campaigns󰀮 They have become a new visual language󰀮

 rom brush srokes in monochrome colour creaes a handcrafed aesheic󰀮

COMPUTERARTS󰀮CREATIVEBLOQ󰀮COM 󰀭󰀠12 󰀠󰀭

 EMERGING  

Layers o paper and pain are orn and worn away o reveal hidden colours and exures beneah he surace󰀮

  m   r   o   e   c  .    t   r   s   e   e   t    L   s   e     l    l   e   m   a   i   a     h     l   c    l    i    i   w     l    M   :   e      N   a      O      I    h   c      T    i      A      R   m      T  .      S   w      U      L   w      L      I   w

 

CULTURE

P E O P L E 

MAY 2016

 MY STYLE IS... 

EFFORTLESSLYY RELA RELAXED XED EFFORTLESSL MODERN TOMBOY CHIC inspiring󰀠people󰀠in󰀠he󰀠ars󰀮󰀠Through󰀠lack󰀠 o󰀠budge󰀬󰀠I󰀠had󰀠o󰀠do󰀠he󰀠inerviews󰀠or󰀠 my󰀠CALM󰀠chariy󰀠campaign󰀠and󰀠realised󰀠 I could󰀠alk󰀠comorably󰀠wih󰀠mos󰀠people󰀮󰀠 I󰀠acivaed󰀠a󰀠par󰀠o󰀠my󰀠social󰀠personaliy󰀮

Babeth Lafon is a beauty/lifestyle illustrator based in Berlin. She illustrates monthly columns for Marie Claire and Annabelle, and just completed her second book for Bloomsbury UK. www.babethlafon.com

As a fan of podcass yourself󰀬 wha do you hink heir unique appeal is? Wihou󰀠doub󰀬󰀠he󰀠ownership󰀠and󰀠 lack o resricion󰀮󰀠You󰀠don’󰀠have󰀠o󰀠 adhere󰀠o󰀠any󰀠censorship󰀠like󰀠you󰀠 would󰀠on󰀠he󰀠BBC󰀬󰀠or󰀠example󰀮󰀠Also󰀬󰀠 he󰀠on󰀭demand󰀠naure󰀠o󰀠podcasing󰀠 means󰀠you󰀠can󰀠make󰀠a󰀠podcas󰀠fi󰀠 perecly󰀠ino your󰀠own󰀠schedule󰀮󰀠I’s󰀠an󰀠 individual󰀠experience󰀮 How hard is i o se up a podcas? Technically󰀬󰀠no󰀠very󰀮󰀠There󰀠was󰀠a󰀠eehing󰀠 process󰀠󲀓󰀠six󰀠o󰀠seven󰀠hours󰀠o󰀠lisening󰀠 o󰀠an󰀠American󰀠lad󰀠hal󰀠my󰀠age󰀬󰀠in󰀠his󰀠 bedroom󰀬󰀠alking󰀠me󰀠hrough󰀠he󰀠basics󰀠o󰀠 audio󰀠ediing󰀮󰀠I’m󰀠blessed󰀠wih󰀠a󰀠number󰀠 o󰀠musician󰀠and󰀠producer󰀠riends󰀠who󰀠 were󰀠on󰀠hand󰀠when󰀠hings󰀠wen󰀠souh󰀮󰀠 The󰀠real challenge󰀠is󰀠producing󰀠engaging󰀠 conen󰀬󰀠bu󰀠I’m󰀠in󰀠an󰀠indusry󰀠sauraed󰀠 wih󰀠characers󰀠and󰀠grea󰀠sories󰀮󰀠I󰀠hink󰀠 my󰀠love󰀠o󰀠i󰀠comes󰀠across󰀮

CARVEN BAG My favourie bag in he world󰀬 designed by my bes friend when he used o work for Carven󰀮 I’s based on a vinage bag we spoted ogeher during one of his research rips in Berlin󰀮

 NEW VENTURES 

INSIDE INS IDE STOR STORY Y Illustrator󰀬 art director and author Ben Tallon has hit the digital airwaves with a podcast that brings the stories behind creative projects to your ears Ben Tallon

WHITE TURTLENECK  This is my everyday op󰀮 I have several in differen shapes and colours󰀮 I find i elegan󰀬 comfy o draw in for hours󰀬 and warm󰀮 All you need is a grea pair of earrings o go wih i!

     N      O      I      T      A      R      T      S      U      L      L      I

ih his deeply personal debu book Champagne and Wax W Crayons charing wha happens when you ry o make a living from your passion in he creaive indusries󰀬 ar direcor Ben Tallon is perfecly placed o explain he imporance of creaiviy󰀮 He has since run a chariy campaign for CALM deailing creaiviy’s emoional benefis󰀬 and has now creaed original󰀭 hinking podcas Arres All Mimics wih he suppor of Illusraion Ld o share open conversaions from he mos ineresing alen across he ars󰀮 Did Champagne and Wax Crayons promp you o make Arres All Mimics? CaWC󰀠was󰀠he󰀠resul󰀠o󰀠he󰀠rusraions󰀠 o󰀠reelancing󰀮󰀠I󰀠would󰀠ran󰀠on󰀠a󰀠blog󰀠 abou󰀠he󰀠‘realiy’󰀠o󰀠i󰀠all󰀬󰀠hen󰀠I󰀠go󰀠o󰀠

    k   u  .   o   c  .     ff   o   r    t   a   m  .   w   w   w  ,     ff    R   o    t   a    M   :

Ben is a London󰀭 based illustrator and art director󰀮 He works with clients including the Guardian and Channel 󰀴󰀮

ACNE STUDIOS JENSEN BOOTS They make any oufi look insanly pulled󰀭ogeher and chic󰀮

wrie󰀠abou󰀠a󰀠ew󰀠highs󰀮󰀠Surprisingly󰀬󰀠 people󰀠relaed󰀠o󰀠he󰀠subjecs󰀠I󰀠covered󰀠 in󰀠a󰀠very󰀠hones󰀠manner󰀮󰀠I’ve󰀠carried󰀠ha󰀠 ehos󰀠orward󰀠and󰀠aken󰀠he󰀠ocus󰀠rom󰀠 my󰀠sory󰀠and󰀠pu󰀠i󰀠ono󰀠he󰀠many󰀬󰀠many󰀠 COMP UTERARTS󰀮CREATIVEBL OQ󰀮COM 󰀭  14  󰀭

How do you choose and approach people o appear on he show? My󰀠number󰀠one󰀠rule󰀠is󰀠ha󰀠I’m󰀠genuinely󰀠 ino󰀠my󰀠guess’󰀠work󰀬󰀠so󰀠I’ve󰀠usually󰀠 encounered󰀠or󰀠am󰀠already󰀠aware󰀠o󰀠 heir󰀠work󰀠in󰀠some󰀠way󰀮󰀠Seven󰀠years󰀠o󰀠 reelancing󰀠have󰀠given󰀠me󰀠an󰀠obscenely󰀠 alened󰀠nework󰀬󰀠so󰀠I󰀠use󰀠i󰀠o󰀠he󰀠ulles󰀮󰀠 Liseners󰀠aren’󰀠daf󰀠and󰀠i󰀠you’re󰀠no󰀠 genuinely󰀠passionae󰀠abou󰀠your󰀠gues󰀬󰀠 hey󰀠can󰀠ell󰀻󰀠i󰀠comes󰀠across󰀠as󰀠alse󰀮󰀠 I I’m󰀠no󰀠invesed󰀬󰀠why󰀠should󰀠hey󰀠be? Is here anyone you’re dying o ge on he podcas? Yes󰀬󰀠Damon󰀠Albarn󰀬󰀠my󰀠chie󰀠creaive󰀠 inspiraion󰀮󰀠I’ve󰀠had󰀠Rob󰀠O’Connor󰀠 o󰀠Sylorouge󰀠on󰀠he󰀠show󰀬󰀠who󰀠was󰀠 responsible󰀠or󰀠all󰀠o󰀠Blur’s󰀠ar󰀠direcion󰀠 over󰀠he󰀠firs󰀠our󰀠albums󰀬󰀠and󰀠Don󰀠Lets󰀬󰀠 who󰀠is󰀠in󰀠Damon’s󰀠circles󰀮󰀠I󰀠have󰀠a󰀠plan󰀮 Wha advice would you give people hoping o se up a podcas of heir own? Make󰀠sure󰀠you’re󰀠passionae󰀠abou󰀠your󰀠 subjec󰀠and󰀠guess󰀮󰀠People󰀠connec󰀠wih󰀠 believabiliy󰀮󰀠You󰀠know󰀠a󰀠film󰀠isn’󰀠real󰀬󰀠 ye󰀠you󰀠sill󰀠cry󰀮󰀠I󰀠you’re󰀠jus󰀠doing󰀠i󰀠or󰀠 money󰀠or󰀠kudos󰀬󰀠i󰀠won’󰀠work󰀮󰀠I󰀠akes󰀠 commimen󰀠o󰀠produce󰀠a󰀠consisen󰀠level󰀠 o󰀠conen󰀮󰀠I’s󰀠no󰀠differen󰀠o󰀠being󰀠in󰀠he󰀠 ars󰀮󰀠I’s󰀠fiercely󰀠compeiive󰀬󰀠bu󰀠you󰀠have󰀠 o󰀠find󰀠your󰀠niche󰀮󰀠 soundcloud󰀮com/arrestallmimics

 

Stefany Y. Lozano is a reelance illustrator based in Leipzig, Germany. Originally rom Bogotá, Colombia, her clients have included Le Monde diplomatique, The New York Times and New Republic. stefanyepeslozano.blogspot.co.uk

 MY

DESIGN SPACE IS... 

FILLED WITH LIGHT AND LIFE Stefany󰀠Y􀀮󰀠Lozano isn’t a photographer󰀬 but you’ll find plenty of film canisters Stefany󰀠Y􀀮󰀠Lozano isn’t in her studio󰀬 alongside plants󰀬 stuffed toys and a novelty pencil sharpener

 

orn􀀠in􀀠Bogotá󰀬􀀠Colombia󰀬􀀠Stefany􀀠Y󰀮􀀠 B Lozano􀀠relocated􀀠to􀀠Germany􀀠in􀀠󰀲󰀰󰀱󰀰􀀠 thanks􀀠to􀀠a􀀠scholarship􀀠rom􀀠the􀀠German􀀠 Academic􀀠Exchange􀀠 Academic 􀀠Exchange􀀠Service󰀮􀀠Once􀀠ther Service󰀮􀀠Once􀀠there󰀬􀀠she􀀠 e󰀬􀀠she􀀠 studied􀀠or􀀠a􀀠master’s􀀠degree􀀠at􀀠the􀀠Burg􀀠 Giebichenstein􀀠University􀀠o􀀠Art􀀠and􀀠Design􀀠Halle􀀠 under􀀠the􀀠German illustrator􀀠ATAK󰀮 She now lives in Leipzig wih her husband, and works rom home as a reelance illusraor. “A “A he beginning i was quie hard o work rom home,” she ells us. “You become very isolaed rom he world, bu I enjoy working in here and being by mysel.” Her design space is in a corner o heir living room. “The ligh is amazing all day long and I have a very ineresing view o my neighbours,” she reveals. “I waned o have a very uncional place o work where I have all hings I need around me, and since we have so much suff in his litle fla, i’s ull o plans, oys, books and arworks o riends and people we like ha gives i he ‘look’.” Key o he creaion o Lozano’s sriking illusraions is a scrapbook (1) ha she sared a ew years ago, in which she keeps cutings rom newspapers,

Lozano works largely in acrylics and has a surprising way o keep her pains in order, using a collecion o film canisers o sore ready-mixed colours (2). “They have always amazed my painer colleagues,” she says, “since none o hem seem o have sor o he same echnique or mixing colours. I already have a kind o seleced palete I work wih, and i’s easier or me o have he colours already mixed in hese conainers.” An unlikely work essenial is a novely gorilla pencil sharpener (3) given o Lozano by a riend. “For a long ime i was jus a decoraive iem,” she says, “unil I realised ha i’s he bes sharpener I have ever owned. I use i all he ime since I work a lo wih colour pencils on he firs drafs o my painings.” Alongside he gorilla, Lozano and her husband have a number o suffed oys brighening up he aparmen, including Alex (4). “I’s named afer he guy who sold i o me,” she explains. “I was he firs hing I bough in Germany, Germany, a a flea marke in Düsseldor. Toys have always been a good source o inspiraion or me, and Alex was he firs one o be around.” Lozano’s Lozano ’s space wouldn’ be complee wihou

caalogues magazines useo asmy a source inspiraion. and “I always have ionex desk,” o she says. “I ends o be he firs book I look a o [find an] image ha works as inspiraion or he projec I am working a he momen.”

plans, his hree Swiss years,” cheeseshe plan (a5ew ). “I’ve had iparicularly or more han says. “I almos died in one o my house moves and was lef wih jus wo o is leaves. I’s nice o see i grow again. Plans give my house ha eeling o home.” COMPUTERARTS󰀮CREATIVEBLOQ󰀮COM 󰀭󰀠15 󰀠󰀭

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CULTURE P L A C E S 

MAY 2016

S T RE E T V I E W  CREATIVE QUARTERS 

BOGOTÁ, COLOMBIA

ACCESS󰀠OUR󰀠 GOOGLE󰀠MAP󰀠AT󰀠 bit.ly/CABogota

Designer, artist and paper sculptor Diana Beltrán Herrera shares the cultural and spiritual highlights of her native city of Bogotá, and points out the best places to get back to nature   MUSEO DE ARTE DEL BANCO DE LA REPÚBLICA Cl󰀮󰀠󰀱󰀱󰀠󰀣󰀴󰀭󰀲󰀱󰀬󰀠Bogotá www󰀮banrepcultural󰀮org There’s a beautiful colonial neighbourhood in Bogotá called La Candelaria󰀬 and one of my favourite places there is this museum󰀮 It hosts exhibitions from international artists and the building has beautiful surroundings󰀮

  CINE TONALÁ Cra󰀮󰀠󰀶󰀠󰀣󰀳󰀵󰀭󰀳󰀷󰀬󰀠Bogotá www󰀮cinetonala󰀮co Cine Tonalá is located in an old house at La Merced󰀮 It showcases independent national and international movies󰀬 and is a cosy place to go with friends󰀬 have a drink󰀬 watch a film or see some art󰀮

PIZZERIA MADRE Cl󰀮󰀠󰀱󰀲󰀠󰀣󰀵󰀸󰀳󰀬󰀠Bogotá www󰀮madre󰀮la This rustic restaurant is hidden in a commercial area beneath emerald shops󰀮 There’s a big patio with a great food on offer󰀬 but the speciality is pizza made in a stone oven󰀮

  SIMÓN BOLÍVAR BO LÍVAR PARK PARK Cl󰀮󰀠󰀵󰀳󰀭󰀶󰀳󰀠and󰀠Cra󰀮󰀠󰀶󰀰󰀭󰀶󰀸󰀬󰀠Bogotá www󰀮bit󰀮ly/CASimonBolivar This is a very peaceful park with a big lake󰀮 You You can relax󰀬 ride your bike or tr tryy to spot some birds󰀮 The best time to see birds is September when migratory species come from North America󰀮

  MUSEO DEL ORO

  m   o   c  .   y   e     l     l   o   o   w   m   o    t  .   w   w   w  ,   y   e     l     l   o   o    W   m   o    T

Cra󰀮󰀠󰀶󰀠󰀣󰀱󰀵󰀭󰀸󰀸󰀬󰀠Bogotá www󰀮banrepcultural󰀮org This museum protects one of the national treasures of Colombia󰀺 pre󰀭 Hispanic gold work󰀮 There are all kinds of objects made by indigenous cultures󰀬 and some are really tiny and detailed󰀮

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GALERÍA CASAS RIEGNER Cl󰀮󰀠󰀷󰀰a󰀠󰀣󰀷󰀭󰀴󰀱󰀬󰀠Bogotá www󰀮casasriegner󰀮com

Thiscontemporary gallery alwaysColombian has great exhibitions by artists who are becoming known internationally󰀮 Exhibitions vary from delicate drawing to sculpture and installation󰀮

  Diana Beltrán Herrera is a Colombia󰀭born artist and designer currently living in Bristol󰀬 UK󰀮 Paper is the primary medium mediu m for her nature󰀭inspired work󰀮 www󰀮dianabeltranherrera󰀮com COMPUTERARTS􀀮CREATIVEBLOQ􀀮COM 󰀭󰀠16 󰀠󰀭

 

CULTURE E V E N T S 

MAY 2016

 EVENT REPORT: DESIGN INDABA 2016  

ore a movement than an event󰀬 M Design Indaba is firmly entrenched in the global creative landscape as a positive force for change󰀮 Fuelled by the belief that creativity can overcome the world’s biggest challenges󰀬 and driven by a fierce commitment to design entrepreneurialism󰀬 entrepreneu rialism󰀬 the continually evolving Cape Town conference runs a growing portfolio of initiatives alongside the event to help nurture and empower young South African creativity 󲀓 like its Emerging Creatives programme󰀬 which offers year󰀭round support to South

o help inspire real change󰀮 All are challenged by he conerence’s ounder󰀬 Ravi Naidoo󰀬 o do somehing original during heir presenaion󰀮 And i shows󰀮 This year󰀬 NB ounders Alan Dye and Nick Finney lef heir comor zones o wrie heir firs play󰀺 an inspired inerpreaion o he delicae dance beween clien and sudio 󰀨read more on page 󰀷󰀶󰀩󰀮 Rwandan archiec Chrisian Benimana o MASS Design Group received a sanding ovaion or his alk󰀬 showing how excepional buildings and inrasrucure can be a caalys or peace󰀬 while Turner Prize󰀭winning

her pioneering󰀬 gesural󰀭based musical Mi󰀮Mu gloves 󲀓 sill in bea󰀬 so no always behaving 󲀓 which enable her o “sculp sound” hrough hand movemens󰀮 “I waned o play he bass line like a baskeball󰀬” she said󰀬 explaining he concep behind her wearable insrumens󰀮 Heap is also pioneering a orward󰀭hinking air󰀭rade music disribuion and paymen sysem󰀬 Mycelia󰀬 which harnesses blockchain echnology o make he music indusry more susainable󰀮 “I’s abou aking power away rom he op and helping ariss o help shape heir own uures󰀬” she said󰀮 Bes embodied hrough Heap’s perormance󰀬 courage was a srong heme running hrough Design Indaba 󰀲󰀰󰀱󰀶 󲀓 wheher hrough innovaion on sage or ariss venuring ino he unknown hrough heir work󰀮 Design duo Chanel Carell and Sephen Dirnberger o How Far From Home opened he conerence wih an inspiring sory o heir pas year’s advenure󰀮 The pair had aken a journey o “ge uncomorable”󰀬 quiting heir jobs in adverising and “geting as ar rom Johannesburg as hey could” in

Africa’s best new talent󰀬 culminating in a high󰀭profile exhibition during the three󰀭day festival󰀮 Design Indaba speakers 󲀓 he world’s leading creaives 󲀓 are careully curaed

archiecure collecive Assemble And alked abou empowering communiies󰀮 singer󰀭songwrier and echnology advocae Imogen Heap closed he even wih an enchaning demonsraion o

search o inspiraion󰀮 In Sweden hey had one o heir mos inspiraional monhs󰀺 “We sared alking more󰀬 and sopped blaming back and neck pain on our devices󰀮 We wen hiking󰀬 on 󰀳am sunrise

INSPIRING CHANGE THROUGH CREATIVITY A Design Indaba, creaiviy is a powerful weapon in he pursui of a beter world. Julia Sagar finds opimism, ambiion and a growing movemen for design – in all is guises – a he pioneering hree-day fesival

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  E V E N T S  CULTURE

MAY 2016

KEY INFO LOCATION

Artscape Theatre󰀬 Foreshore󰀬 Cape Town󰀬 South Africa www󰀮designindaba󰀮com WHEN

󰀱󰀷󰀭󰀱󰀹 February 󰀲󰀰󰀱󰀶 KEY SPEAKERS

Margaret Calvert󰀬 Alex McDowell󰀬 Erik Kessels󰀬 NB󰀬 Fred Gelli󰀬 Imogen Heap󰀬 Assemble󰀬 Snask     )   m   o   c  .   e     l   e    i     h    t   c   r   a   m     (   e     l   e    i     h    T   c   r   a    M   :         Y         H         P         A         R         G         O         T         O         H         P

 EVENT NEWS: REASONS:LONDON 2016 

Breaking barriers Far lef󰀺 Freddie Ös explains Snask’s sraegy for design󰀭world

dominaion in an atenion󰀭grabbing session a Design Indaba󰀮 Above󰀺 Spanish aris Jaime Hayón delivers an inspiring alk

This year’s Reasons:London celebrated the blurring of the lines between artistic disciplines and the thrill of taking risks, reports illustrator and speaker Mister Phil

drives󰀬󰀠phoographed󰀠and󰀠illusraed󰀠our󰀠 surroundings󰀮󰀠Looking󰀠for󰀠inspiraion󰀠 didn’󰀠mean󰀠going󰀠on󰀠Behance󰀠󲀓󰀠i󰀠mean󰀠 going󰀠ouside󰀠and󰀠exploring󰀬󰀠even󰀠if󰀠we󰀠 didn’󰀠speak󰀠he󰀠language󰀮”󰀠Their󰀠akeaway󰀠 message󰀺󰀠“Pu󰀠yourself󰀠ou󰀠here󰀠and󰀠be󰀠 prepared󰀠o󰀠ac󰀠on󰀠your󰀠ideas󰀮” However󰀬󰀠o󰀠creae󰀠real󰀠change󰀬󰀠said󰀠 inernaionally󰀠acclaimed󰀠innovaor󰀠and󰀠

rganised by he eam behind Brighon’s Reasons o be Creaive󰀬 Reasons󰀺London is a one󰀭day conference aimed a anyone working 󰀨or waning o work󰀩 in illusraion󰀬 phoography󰀬 design or coding󰀮 This year’s show celebraed he crossoverr beween hose disciplines󰀬 crossove and he hrill of seeing people aking risks o pursue heir creaive goals󰀮

o󰀠begin󰀠o󰀠make󰀠hese󰀠images󰀠wihou󰀠a󰀠 compuer󰀬”󰀠he󰀠said󰀮󰀠Brondbjerg’s󰀠working󰀠 mehods󰀠blur󰀠he󰀠lines󰀠beween󰀠he󰀠 roles󰀠of󰀠coder󰀠and󰀠creaive󰀬󰀠and󰀠rehink󰀠 he󰀠processes󰀠involved󰀠in󰀠creaing󰀠 ar󰀮󰀠Everyhing󰀠conains󰀠daa󰀠ha󰀠can󰀠 be󰀠sampled󰀠and󰀠oupu󰀠in󰀠a󰀠variey󰀠 of󰀠differen󰀠forms󰀮󰀠“Make󰀠sysems󰀠for󰀠 serendipiy󰀠and󰀠surprise󰀬”󰀠he󰀠advised󰀮󰀠 I󰀠myself󰀠spoke󰀠of󰀠my󰀠journey󰀠from󰀠

social󰀠enrepreneur󰀠Hilary󰀠Cotam󰀬󰀠we󰀠 need󰀠o󰀠design󰀠somehing󰀠new󰀮󰀠“We’re󰀠 rying󰀠o󰀠solve󰀠problems󰀠wih󰀠he󰀠ools󰀠 of󰀠he󰀠󰀱󰀹󰀵󰀰s󰀬”󰀠she󰀠explained󰀮󰀠“Design󰀠 isn’󰀠abou󰀠making󰀠he󰀠bes󰀠of󰀠he old󰀬󰀠i’s󰀠 abou󰀠creaing󰀠somehing󰀠new󰀮 And󰀠i’s󰀠 abou󰀠being󰀠human󰀮” Producion󰀠designer󰀠and󰀠film󰀠producer󰀠 Alex󰀠McDowell󰀠agreed󰀮󰀠He󰀠offered󰀠an󰀠 eye󰀭opening󰀠hisory󰀠of󰀠soryelling󰀬󰀠from󰀠 ribal󰀠imes󰀠o󰀠oday’s󰀠pos󰀭cinemaic󰀠 era󰀬󰀠during󰀠a󰀠discussion󰀠of󰀠disrupive󰀠 narraives󰀮󰀠“Soryelling󰀠is󰀠a󰀠way󰀠for󰀠us󰀠o󰀠 make󰀠sense󰀠of󰀠our󰀠world󰀬”󰀠he󰀠explained󰀮󰀠 “The󰀠nex󰀠generaion󰀠are󰀠ar󰀭scieniss󰀮󰀠 The󰀠opporuniy󰀠o󰀠urn󰀠soryelling󰀠ino󰀠 somehing󰀠ha󰀠can󰀠powerfully󰀠change󰀠 he󰀠world󰀠is󰀠in󰀠all󰀠of󰀠our󰀠hands󰀠righ󰀠now󰀮”󰀠 How?󰀠To󰀠answer󰀬󰀠McDowell󰀠quoed󰀠

Inspiraion could be aken from any of he alks󰀬 even if he subjec mater wasn’ your own area of experise󰀮 User󰀠inerface󰀠designer󰀠Sarah󰀠 Parmener’s󰀠alk󰀠suggesed󰀠ha󰀠he󰀠key󰀠 o󰀠using󰀠social󰀠neworks󰀠properly󰀠is󰀠o󰀠 be󰀠auhenic󰀠raher󰀠han󰀠going󰀠hrough󰀠 a󰀠se󰀠of󰀠learned󰀠behaviours󰀠ha󰀠we󰀠 hink󰀠is󰀠he󰀠correc󰀠way󰀠o󰀠ac󰀠󲀓󰀠does󰀠 a󰀠pharmaceuical󰀠company󰀠need󰀠an󰀠 Insagram󰀠page󰀬󰀠for󰀠example?󰀠And󰀠does󰀠 our󰀠Twiter󰀠follower󰀠coun󰀠really󰀠mater?󰀠 I’s󰀠beter󰀠o󰀠engage󰀠successfully󰀠wih󰀠a󰀠 smaller󰀬󰀠genuine󰀠fan󰀠base󰀠han󰀠spew󰀠ou󰀠 generic󰀠wees󰀠o󰀠housands󰀠of󰀠followers󰀠 ha󰀠never󰀠ac󰀠upon󰀠hem󰀬󰀠she󰀠argued󰀺󰀠 only󰀠󰀰󰀮󰀰󰀴󰀥󰀠of󰀠your󰀠Twiter󰀠followers󰀠will󰀠 acually󰀠spend󰀠money󰀠wih󰀠you󰀮 Designer󰀬󰀠developer󰀠and󰀠aris󰀠Mike󰀠

web󰀠designer󰀠o󰀠illusraor󰀠via󰀠a󰀠self󰀭 iniiaed󰀠projec󰀠o󰀠pos󰀠a󰀠‘Doodle󰀭A󰀭Day’󰀠 󲀓󰀠resuling󰀠in󰀠commissioned󰀠work󰀠before󰀠 he󰀠end󰀠of󰀠he󰀠projec󰀮 The󰀠day󰀠finished󰀠wih󰀠Tom󰀠Muller󰀬󰀠 graphic󰀠designer󰀠and󰀠comic󰀠geek󰀬󰀠who󰀠 gave󰀠an󰀠eneraining󰀠alk󰀠on󰀠why󰀠we󰀠 should󰀠work󰀠for󰀠free󰀠󲀓󰀠a󰀠risky󰀠process󰀠 which󰀬󰀠if󰀠calculaed󰀬󰀠can󰀠reap󰀠rewards󰀮󰀠 I󰀠allows󰀠you󰀠o󰀠do󰀠he󰀠work󰀠you󰀠wan󰀠o󰀠 do󰀬󰀠which󰀠can󰀠pave󰀠he󰀠way󰀠for󰀠geting󰀠 more󰀠work󰀠of󰀠he󰀠same󰀠kind󰀮󰀠He󰀠cied󰀠 New󰀠York󰀠fashion󰀠phoographer󰀠Bill󰀠 Cunningham󰀺󰀠“If󰀠you󰀠don’󰀠ake󰀠money󰀬󰀠 hey󰀠can’󰀠ell󰀠you󰀠wha󰀠o󰀠do󰀬󰀠kid󰀮󰀠Tha’s󰀠 he󰀠key󰀠o󰀠he󰀠whole󰀠hing󰀮”󰀠The󰀠quoe󰀠 reinforced󰀠Muller’s󰀠heme󰀠of󰀠risk󰀭aking󰀠 and󰀠he󰀠resuls󰀠ha󰀠can󰀠be󰀠achieved󰀠by󰀠 no󰀠following󰀠orhodox󰀠roues󰀮󰀠

American󰀠invenor󰀠Buckminser󰀠Fuller󰀺󰀠 “You󰀠never󰀠change󰀠hings󰀠by󰀠fighing󰀠he󰀠 exising󰀠realiy󰀮󰀠To󰀠change󰀠somehing󰀬󰀠 build󰀠a󰀠new󰀠model󰀠ha󰀠makes󰀠he󰀠 exising󰀠model󰀠obsolee”󰀮󰀠

Brondbjerg󰀠󰀨picured󰀠above󰀩󰀠showed󰀠he󰀠 audience󰀠how󰀠using󰀠code󰀠o󰀠draw󰀠can󰀠 creae󰀠unexpeced󰀠and󰀠beauiful󰀠resuls󰀠 ha󰀠would󰀠be󰀠difficul󰀠o󰀠generae󰀠wih󰀠 radiional󰀠media󰀮󰀠“I󰀠wouldn’󰀠know󰀠how󰀠

Reasons to be Creative’s full three󰀭day conference will be held in Brighton on 󰀵󰀭󰀷 September 󰀲󰀰󰀱󰀶󰀮 reasons󰀮to

O

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CULTURE

E V E N T S 

MAY 2016

   WHAT’S ON   Dates for your diary The events season is picking up pace󰀬 with conferences giving way to multi󰀭day festivals celebrating the very best of design and exploring its place in a rapidly changing world 99U 99 U 05-06 MAY New York󰀬 USA www󰀮󰀹󰀹u󰀮com Ideas are he main ocus a 󰀹󰀹U󰀬 organised by he eam behind Behance󰀮 Is packed programme o alks is acion󰀭oriened 󲀓 designed o ge you inspired󰀬 awake and engaged󰀮 Pick up your even badge a day early and enjoy a pre󰀭pary wih ellow atendees beore diving ino wo days o alks and ineracive maserclasses󰀮

designers󰀮 Wheher heoriss󰀬 proessionals or sudens󰀬 all o he delegaes and speakers 󲀓 who his year range rom Aardman Animaions o Non󰀭Forma 󲀓 have one hing in common󰀺 unquenchable curiosiy󰀮

SEMI PERMANENT

12-14 MAY Berlin󰀬 Germany www󰀮ypoalks󰀮com/berlin This year’s TYPO ocuses on graphic design as communicaion󰀬 planned responsibly wih an eye o he uure󰀮 Wha is he oulook or he field beyond cheap rends󰀬 oumoded orms and flash󰀭in󰀭he󰀭 pan sensaions? As you’d expec󰀬 here’s a ocus on ypography󰀬 bu speakers also sep back o look a design more broadly󰀮

26-28 MAY Sydney󰀬 Ausralia bea󰀮semipermanen󰀮com Creaive plaorm Semi Permanen has announced he line󰀭up or his year’s even in Sydney󰀬 wih a ocus on he uure o he inerne and ravel󰀮 Is aim is o provide an insigh ino he curren sae o design around he world󰀬 while also equipping creaives wih he ools o improve heir own craf and providing unique neworking opporuniies󰀮 This year i has diched he lecern in avour o ace󰀭o󰀭ace ineracion󰀮 Wheher you’re jus saring your career󰀬 planning o change direcion or aiming o sar your own business󰀬 here’s somehing here or you󰀮

HOW DESIGN LIVE

SEGD CONFERENCE

19-23 MAY Alana󰀬 USA www󰀮howdesignlive󰀮com How Design Live aims o reuel your creaive passion󰀬 while urnishing you wih pracical knowledge o advance your career󰀮 The even 󰀨rom he people behind How and Prin magazines󰀩 combines inspiring presenaions rom op designers wih specialis business advice and ools ha will save you ime and sress󰀮

09-11 JUNE Seatle󰀬 USA www󰀮segd󰀮org The only even dedicaed o he creaion o environmens ha communicae and connec wih people󰀬 he Sociey or Experienial Design 󰀨SEGD󰀩 conerence includes ours o Seatle’s bes projecs and sudios󰀬 inspiring keynoe speeches󰀬 neworking and breakou sessions o push your creaive limis󰀮

OFFF BARCELONA

TYPOGRAPHICS

26-28 MAY Barcelona󰀬 Spain www󰀮of󰀮ws

13-23 JUNE New York󰀬 USA 󰀲󰀰󰀱󰀶󰀮ypographics󰀮com

Barcelona’s creaiviy esival provides a provocaive programme o progressive󰀬 occasionally conroversial work uniing web󰀬 moion󰀬 sound and graphic

This 󰀱󰀰󰀭day esival is devoedIs o conemporary ypography󰀮 highligh is a wo󰀭day conerence ocused on ype or publicaions󰀬 adverising󰀬 corporae ideniy

TYPO: BEYOND DESIGN

and user ineraces󰀬 wih guess including Penagram’s Emily Oberman󰀬 Tobias Frere󰀭Jones o Frere󰀭Jones Type and Eduardo Danilo o Danilo Design Group󰀮 The esival also includes a series o workshops and ours by ypography school Type󰁀Cooper󰀮

PUNK FEST 25-26 JUNE London󰀬 UK punk󰀮london/even/punk󰀭es London’s Design Museum is leaving is curren home in Shad Thames or a new HQ in Kensingon󰀬 and is going ou wih a celebraion o all hings punk󰀮 The ull programme is ye o be announced󰀬 bu will include

COMPUTERARTS󰀮CREATIVEBLOQ󰀮COM 󰀭 20  󰀭

boh workshops and spoken word perormances󰀮

WHAT DESIGN CAN DO 30 JUNE – 01 JULY Amserdam󰀬 Neherlands www󰀮whadesigncando󰀮com Tweny speakers rom various creaive backgrounds will gaher in Amserdam his summer o share heir houghs on design in relaion o music󰀬 inernaional co󰀭 operaion and he reugee crisis󰀮 Away rom he main sage󰀬 hands󰀭 on workshops󰀬 maserclasses and brainsorming sessions will provide opporuniies o share in a global discussion on he presen and uure o design󰀮

 

MAY 2016

Strong opinion and analysis from across the global design industry  THIS MONTH M ONTH

NARESH RAMCHANDANI

CO󰀭FOUNDER󰀬󰀠 DO󰀠THE󰀠GREEN󰀠THING

www.dothegreenthing.com

MARK BONNER

CO󰀭CREATIVE󰀠DIRECTOR󰀬 GBH󰀠

www.gbh.london

DONNE󰀭JOHNSON N ALEX DONNE󰀭JOHNSO

CREATIVE󰀠DIRECTOR󰀬󰀠DAZZLE󰀠SHIP

www.dazzleship.com

REGULAR WRITERS

ADRIAN

MARK BONNER

SHAUGHNESSY

DESIGNER󰀠&󰀠WRITER

CO󰀭CREATIVE󰀠 DIRECTOR󰀬󰀠GBH

SABRINA SMELKO

BEN TALLON

ILLUSTRATOR󰀠AND󰀠 ART󰀠DIRECTOR

FREELANCE󰀠 ILLUSTRATOR

CRAIG WARD

LOUISE SLOPER

DESIGNER󰀠AND󰀠 ART DIRECTOR

HEAD󰀠OF󰀠DESIGN󰀬󰀠 CHI󰀠&󰀠PARTNERS

WHY CREATIVES MUST DO THE  THE  GREEN THING Stop uing your talent to promote behaviour that harm the planet, ay  Nares Ramcandani – be reative in attacing unusainable living insead

 

  N A R E S H R A M C H A N D A N I I  INSIGHT

MAY 2016

ABOUT THE WRITER

Naresh󰀠Ramchandani󰀠is󰀠 co󰀭founder and󰀠creative󰀠director󰀠 of environmental󰀠charity󰀠Do󰀠The󰀠 Green󰀠Thing󰀠and󰀠a󰀠partner󰀠at󰀠 Pentagram󰀠in󰀠London󰀮󰀠He󰀠spoke󰀠 at this󰀠year’s󰀠Design󰀠Indaba󰀮 www󰀮dothegreenthing󰀮com

n 󰀲󰀰󰀰󰀷, Andy Hobsbawm and I co-founded c o-founded Do The Green Thing, a public service to inspire I people to be greener in their everyday lives.  We were were ro roused used by Al Gore and ap appalled palled that humanity seemed to walking blindfolded off a cliff. So we decided to utilise our marketing experience to see if we could make a difference. Our idea for Do The Green Thing was – and still is – creativity versus climate change: in other words, taking all the creativity that gets skilfully skilf ully deployed deployed to make unsustainable behaviour so tempting, and using usi ng it to make sustainability just as tempting. In its first eight years, Do The Green Thing collaborated with more than 󰀵󰀰󰀰 brilliant and generous creatives across the world to make films, posters, podcasts and campaigns. In that time we created a pairing pairi ng and reselling service for lost and lonely gloves and shared Walkcasts featuring music at the perfect walking pace of 󰀱󰀰󰀵 beats per minute. With Justin Hawkins, we released the world’s only rock anthem to big up the value of taking the stairs instead of lifts.  We exhibited exhibited a collection collection of of Everything Day things reimagined by creatives across th ree continents, flew a fleet of protest paper planes and created the world’s first and only e-commerce site to sell Nothing as an a ntidote to excess consumption. Through these activities and more, we were able to reach over 󰀴󰀰 million people around the world. Pretty good figures. But not enough.  With a solution to climate change change getting n no o closer closer,, and the consequences looming ever larger, we felt it was time for Do The Green Thing Thi ng to grow some teeth. We felt it was the moment to roll up our sleeves and take issue with modern life and all its forces, assumptions and behaviours that lead us to make unsustainable uns ustainable choices

Issue 󰀱, released to coincide with this year’s Oscars, provocatively accuses screenwriters of ruining provocatively rui ning the planet and outlines how they could help it instead. Screenwriters have the power to shape society but are reinforcing rather than reversing unsustainable behaviour. Adding mischievous touches to some of our favourite films, Issue 󰀱 shows how easy it would be for screenwriters to put incidental green action into their stories, thus inspiring inspiri ng the world. The Issue finishes with w ith How to Watch a Movie, a short film to be played before a feature presentation, which asks moviegoers to interrogate the film they are about to watch from a sustainability point of v iew. The short film was made by recycling graphics f rom old film leaders. It’s super-clever super-clever and super-beautiful, a nd is available for any cinema to download and screen before a movie, free of cha rge.  We’ve ve had some terrific responses from our community and the press, who seem to enjoy the fact that our gloves g loves are off. We’ve We’ve asked Hollywood some pretty serious questions a nd accused it of some careless things. I’m also secretly hoping that Mr.

so easily and larly. So at the end our of last year we went back to so theregu drawing board to give little green beast more edge. Noticing that people were getting less and less sure that their personal behaviour could make a difference, di fference, we decided to widen our target beyond people to people-persuaders: to the industries and governments who create the narratives and incentive i ncentivess that lie behind many of our unsustainable decisions. Noticing the world’s growing appetite for more discursive and more involving content, content, we decided to bite the long-form bullet and make the written w ritten word – provocatively provocativ ely shaped, thoroughly researched and joyfully expressed – our new primary primar y creative vehicle. Observing that environmental stories about a huge and distant problem often came second to stories about smaller problems happening now, we decided that each of our long-form pieces needed a topical hook so it could grip the im agination of today.

Leonardo DiCaprio will get in touch to add his endorsement to our campaign. Let’s L et’s see. Issue 󰀲, coming out in April, ta kes on London’s cars and car culture. It imagines a time when cars are inevitably dethroned as kings of the city, and then asks mayoral candidates Zac Goldsmith and Sadiq Khan to bring that time much closer, to allow cycling, walking, car sharing, public transportation, safety, air quality, noise quality and sustainability sustai nability to come to the fore. Like a late-developing baby, baby, Do The T he Green Thing now has its teeth. We began in 󰀲󰀰󰀰󰀷 by rejecting all t he codes of activism. We weren’t going to attack anyone or protest at anything but simply going to use our creativity to inspire and persuade. It was our point of difference, and theory of change. But didn’t change enough. So we’ve evolved. evolved. Creativity versus climate change is still our principal pri ncipal means of persuasion. But to impact a generation obliviously harming t he world for generations

 And from thosewas observations, new new Do The Green Thing born in thethe form of version Issues –oflongform pieces with creative provocations that took issue with an aspect of unsusta inable modern life and suggested an imaginative imag inative but achievable alternative.

to come, maybe creativity is more powerful and more valuable if that it comes with some bite.

“WE’VE ACCUSED HOLLYWOOD OF SOME PRETTY C ARELESS THINGS AND I’M HOPING MR. LEO DICAPRIO WILL GET IN TOUCH TO ADD HIS ENDORSEMENT”

What are the be st ways for designers to do more for the planet? Tweet your thoughts @ComputerArts using #GreenCreative

C O MP UT ER A R T S 󰀮C R EA T IV EB L O Q 󰀮C O M 󰀭   23  󰀭

 

INSIGHT D E S I G N M A T T E R S  S 

MAY 2016

WHAT ARE YOU DOING TO MAKE PACKAGING DESIGN SUSTAINABLE?

 T O M E M I L O L S E N CEO󰀬 CREATIVE DIRECTOR AND FOUNDER󰀬 KIND www󰀮kindnorway󰀮com

 We always  We always try to design design packaging packaging that’s that’s a product produ ct of its own. When the packaging itself is something others will value as a piece of the product, that’s when you really have made the design sustainable. sustain able.

MÔ KALACHE ART DIRECTOR AND BRANDING SPECIALIST www󰀮mokalache󰀮design

 At Kind, Kind, we we focus focus on on creatin creatingg sustainable sustainable solutions soluti ons that bring added value for our clients. This is important both from an economic and an environmental perspective. If the sustainable solution reinforces reinforces the concept we want to emphasise, it’s an added benefit.

CARDBOARD ENGINEER􀀬 THINK PACKAGING www󰀮thinkpack󰀮co󰀮nz

I find a balance between the designs I want to communicate and what can be done sustainably for each project. For Magasand – a healthy fast-food concept restaurant in Madrid – we chose recycled paper as the primary material, then by

Be sustain able by putting the sexy back into packaging. With many sustainable materials now available, it’s easy to go green. But to stay truly sustainable, you must make packagi ng worthy of making. Design and create something way more than just a box: make something great – packa ging that’s designed for the sole purpose of having the product shine. This way you’re giving the middle finger to all those crappy boxes and damn dam n blister packs.

adding hand-drawn illustrations and patterns, we gave the whole identity a personal and intimate feel.

M A T B O GU S T  

 Y O U R V I E W S  What we should  What should do do to make packaging more sustainable, tweeted

󰁀CARLOS_G_M

󰁀LUKASENGQVIST

󰁀SAMUELBOOTHGD

Stop packaging stuff all together! Come up with innovative ways where nothing is wasted󰀮

Actually much packaging saves waste󰀮 Much food is spoilt because lack of or badly designed packaging󰀮

For the packaging product I’m working on󰀬 I’m aiming to produce something that can have other uses so it can be kept󰀮

@ComputerArts using @ComputerArts #DesignMatters

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  D E S I G N M A T T E R S  S  INSIGHT

MAY 2016

BREN IMBODEN AND LUIS VIALE ART󰀠DIRECTOR󰀠AND󰀠CREATIVE󰀠DIRECTOR󰀬󰀠MAKEBARDO ART󰀠DIRECTOR󰀠AND󰀠CREATIVE 󰀠DIRECTOR󰀬󰀠MAKEBARDO www󰀮makebardo󰀮com

 We try to use local companies companies to print our designs because we want to minimise the impact on transport ation and reduce our carbon footprint.  And we recommend recommend our clients use non-petroleum-b non-petroleum-based ased materials. It’s about being determined to make these decisions to educate the client. It’s not the easiest way, but as designers we should always offer the opportunity to make susta inability a priority. The market is pushing us to reduce costs, but we push back because we believe in what we create and want to feel confident we have contributed contributed to keeping our Earth beautifu l.

 T I M B U R L E Y  STRATEGIC DIRECTOR􀀬 BELIEVE IN www󰀮believein󰀮net

 We us  We used ed tto o have have tto o pu push sh q quit uitee ha hard rd to get get sustainability taken seriously. But thankfully today it has moved beyond being a nice-tohave option for forward-thinking clients, and become a critical consideration for the vast majority of our projects. New and emerging technologies might be costprohibitive right now, but over time many should filter into the mainstream.

PRASAD KELKAR  EU󰀠PACKAGING󰀠DEVELOPMENT󰀠 MANAGER󰀬󰀠METHOD󰀠AND󰀠ECOVER 󰀠methodhome󰀮com󰀬󰀠uk󰀮ecover󰀮com

The way we approach packaging is guided by our ‘compass of clean’ and ‘no fly zones’ metrics. The former measures and scores every potential packaging material based on the raw materials, recycled content, productto-packaging weight weight optimisation, recyclability and biodegradability. No fly zone is our list of raw materials not allowed in our packaging. This limits l imits our options, but we we prefer to work this way and make the right decisions.

󰁀THINK_OF_DAN

󰁀TRACESUTTON

󰁀LUKASENGQVIST

󰁀TRACESUTTON

Packaging that is multifunctional is always a hit with me󰀮

Good sustainable design is desirable󰀬 works effortlessly󰀬 and is simple󰀮 Less is more󰀮

Designers must think of their role as a part of a whole󰀮 This means being humble and including logistics and

Manufacturers must distinguish between home and industrially compostable materials󰀮

production people󰀮

C O MPUTERARTS 􀀮C REATIVEB L O Q 􀀮C O M 󰀭   25   󰀭

 

I N S I G H T M A R K B O N N E R  R 

MAY 2016

ABOUT THE WRITER

Mark Bonner began his career by winning a D&AD Student Yellow Pencil󰀮 On graduating from the Royal College of Art󰀬 he worked at The Partners󰀬 Carter Wong & Partners and SAS before co󰀭founding multi󰀭disciplinary graphics group GBH in 󰀱󰀹󰀹󰀹󰀬 winning a further four Yellow Pencils󰀮 www󰀮gbh󰀮london

 Why we we need need grea greatt Scots Scots For  new nterni ceme, GBH looked outde  loal area, partnerng wh Ednburgh Naper Unvery. Mark Bonner explan why ome of our brghtes young talent  omng from outde London

 

he first time I encountered the work of T the Graphic Design course at Edinburgh Napier University was D&AD’s New Blood Festival in 󰀲󰀰󰀱󰀳, in my role as t he organisation’s deputy president. The next year I became president, and once again Napier won best stand. The work

mal omethng nfluened by GBH and/or London bak to Naper, then follow up by malng omethng nfluened by Ednburgh to u the week after. In Myrna’ word, the tudent oaked up the experene lke ponge. “Inhabtng the day-to-day lfe of a degn tudo hange the way they thnk

 was strong –and thoughtful,  withundeniably a social conscience a diverse diverseconceptual, visual language. What really stood out was the consistency of quality, evident across the whole year group. Havng ne met oure leader Myrna MaLeod, I thnk he’ reated the perfet eoytem for produng great graph degner. Her tudent have a tremendou work eth, they appreate ther opportunty deeply, and they are oally dvere a a reult of Sotth natonal tll beng able to ae further eduaton for free. More than that, they appreate the role degn ha to play n oety; ther work  dretly onneted to the real world. I uggeted to Myrna that we ould hot x Naper tudent at our tudo n London for a week-long nternhp, and th year we ooked up a fun way of dong th: tudent tayed loally va ponorhp, and we brefed them on lent projet nludng work for Terre de Café, Puma, Samuel & Aoate

about graph prate ther plae wthn the world,” hedegn told me. “Theyand begn to ee ther plae n a ollaboratve, nterdplnary ulture. We an talk about th at unverty, but they don’t alway beleve u untl they experene t for themelve.”  Aordng to MaLeod, ntern ng broaden tudent’ horzon; t nreae ther onfidene and tmulate ther ene. “When they return to u, we have lot part, f not all, of them to the poblte that le ahead – and that’ how t hould be,” he ad. On top of that, our x tudent – Andrew Smth,  Arna  Samulo, Ch loe Knell a, Joanne Myerough, Lew Brook and Sott Farquhar – made ome great tuff. Alongde the work they made durng the day, we aw ome powerful dea developng, whh you an ee at www.bt.ly/CA󰀲󰀵󰀲-GBH. It’ vtal for the London degn ndutry to attrat the bet tudent talent, o t’ eental that we reah out to the bet unverte. It wa great to hot the

n the US, the andday, a retaurant wthatStark Par. a Durng they worked GBH n London

Naper tudent, and we’re lookng donthe ame thng wth more unverte. Pleaetoget touh.

degn atant. In the evenng, we ran workhop nludng talk gven by our degner. We alo et a mal art projet where the tudent were requred to

What should studios be doing to attract a wider range of interns? Tweet @ComputerArts using #DesignMatters

C O MP UT ER A R T S 󰀮C R EA T IV EB L O Q 󰀮C O M 󰀭   26   󰀭

 

INSIGHT

A L E X D O N N E - J O H N S O N 

M A Y 20 2 0 15 16

ABOUT THE WRITER

Alex Donne󰀭Johnson is the creative director of design agency Dazzle Ship󰀮 His career has spanned art direction for the James Bond game franchise󰀬 specialist strategy for various fashion brands󰀬 global campaigns for WaterAid󰀬 and teaching at Swedish design institute Hyper Island󰀮 www󰀮dazzleship󰀮com

 A brigh brightt fu future ture in VR   Vrtual realiy s posed to transform transform entert entertanment anment and educaton, says Alex says  Alex Donne-Johnson Donne-Johnson,, and desgners wll help rewrie the rules. So what are the key opportunies awaing us n the vrtual world?

 

irtual reality is set to explode into the V mainstream, creating a host of exciting opportunities for graphic and motion designers. The Oculus Rift should have launched officially by the time you read this, and HTC and Sony will soon be shipping their own VR headsets.

impact on society and potentially help to save lives by designing user-friendly experiences. Sports is another interesting area. Broadcasters are already looking at interactive camera set-ups with live streams. One of the most exciting clients we are working with is a drone-racing startup called DRL,

It’s a very exciting time starting to look  virtual reality. So wh where erefor doanyone the oppo opportunities rtunities li liee forat graphics and motion designers in the industry? Gaming has a lways been a rich field for innovation, and is naturally nat urally providing a lot of the momentum behind VR technology. Motion graphics designers have become crucial to driving the market forwards, and are already largely responsible for some of the best titles, cutscenes and interfaces. Some are taking things one step further and ma king their work interactive, essentially becoming indie ind ie game developers. Olly Moss’ss illustrations Moss’ illustrat ions were brought to life iin n Firewatch (www.firewatchgame.com), (www.firewatchgame. com), and ustwo’ ust wo’s La nd’s End (www.landsendgame.com)) was one of the first games (www.landsendgame.com ga mes developed develo ped for Samsung’s Gear V VR R headset.  At the other other end of the VR spectrum, many people people are saying that training trai ning will be the first area to be revolutionised. revolu tionised. It’s already happening in i n healthcare with companies such as ImmersiveTouch and

which aims aim ton.broadcast in VR with a first-person optio option. There areevents all a ll kinds of interesting things to design, like HUDs and data visualisations.  As creators, we we have a new platform to experiment with that has ha s boundless untapped potential. From a technical perspective, the examples above pose a new set of challenges for designers: all of them present a fresh set of UI and UX problems. problems. From a creative perspective, good storytelling is more important important than ever. Non-linear Non-linear nar ratives can be explored in more depth and the worlds they sit in are instantly inst antly more believable. Cinematography Cinematography revolves around a full f ull 󰀳󰀶󰀰-degree field of view, the viewer now needs to be considered in the narrative, and most importantly, importa ntly, w wee need to be careful not to create nauseating nauseati ng experiences by moving things around too fast. It’s an exciting time to star t experimenting. The old rules no longer apply, so we need to collectively rewrite the rule book. We are no longer designing for flat

Medical Realities, which are developing cutting-edge simulators. From first-hand experience, this is where we’vee had the we’v t he most interest from prospective clients.  Although it may not sound like the sexiest brief, brief, training is i s an area where designers can have a positive

screens and surfaces – we are designing designi ng for immersive content that people can really feel a part of.  of.  How do you see your work  translating into virtual reality? Tweet @ComputerArts using #DesignMatters

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Compuer Ars selecs he hotes new design, illusraion and moion work from he global design scene

 

CASUAL ENERGY NOTA BENE RESTAURANT IDENTITY

by Blok Design www󰀮blokdesign󰀮com

When op Canadian chef David Lee ook over Torono’s Noa Bene resauran, he waned o re-launch i wih a new ideniy: a more casual energy. “We “We recognised ha he resauran’s and Lee’s personal brands were inrinsically linked,” says Blok Design parner Mara Culer. “The former needed o be an exension of his sory and wha wha  inspired him in his cooking, and he ideniy needed o live cohesively wihin he physical space.” A palete of hree colours, drawn from he inerior’s warm ones, unies he elemens, while a series of playful exs appears on everyhing from poscards for sub-brand NB Bar o he menus. The six menus had o work cohesively. “The backs needed o be long-wearing, washable and we waned he same wood grain found in some of he images,” says Culer. “W e used he reverse side of a laminae, sanded and“We varnished i for a beauiful, unexpeced finish. The overall aesheic is iconic, conemporary,, sensual an conemporary and d playful”.

 

SHOWCASE

M A Y 20 1 6

The express he were brand’s wi and menus characer󰀮 Images played abou wih󰀬 cu off󰀬 moved around󰀮 The NB Bar sub󰀭brand sees he wording dance abou󰀬 conveying he lively energy of he environmen󰀮 A hree󰀭colour palete on hese business cards is drawn from warm ones of he resauran’s inerior󰀮   Paper sock is heavy and mate󰀮 Differen sizes creae movemen hroughou he ideniy sysem󰀮   Playful sickers brand simple akeaway boxes and help build he overall sory󰀮

 

C O MP UT ER A R T S 󰀮C R EA T IV EB L O Q 󰀮C O M 󰀭   32  󰀭

 

T H E V E R Y B E S T N E W D E S I G N 

M A Y 20 1 6

THE REST OF THE INDUSTRY SAYS… BEN TALLON Illustrator Illustrat or and art director www.bentallon.com

“The resriced use o colour, exure and he ineresing and enjoyably unfinished composiions are he srong poins. There is nice variaion wihin he elemens, comprising an ineresing overall brand. The logo could have been pushed urher [owards somehing more playul], wih suble nudges ino a more organic space, which holds back his srong body o work rominbeing orward-hinking. Trends onsruly hold back more challenging conceps rom heir overuse. Bu he overall powerul ideniy makes up or my minor gripe.”

MARK RICHARDSON Founder, Superfried www.superfried.com

“This ideniy really works or me. I immediaely eels modern, resh and inviing. The robus cap logoype has auhoriy and experise wihou preension. The colour palete is mued and combines well wih he naural imagery. Grea balance has been achieved hroughou – he copy, colour and imagery are never oo dominan. [Blok Design has] mainained he syling hrough all collaeral, even he websie, which is ofen overlooked. I like his ideniy because i doesn’ eel resaurany, bu simple and naural wih a dash o sponaneiy – jus like good ood.”

 

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SHOWCASE

M A Y 20 1 6

WINDOW TREAT TREATMENTS MENTS BAFTA BAFT A 󰀲󰀰󰀱󰀶 BEST FILM POSTERS

by Levente Szabó www󰀮briskgraphics󰀮com

“The heme o he campaign is ‘window o anoher world’ 󲀓 a concep ha speaks o he screen as a magical poral we peer hrough o experience a vas realm o advenures󰀬” says illusraor Levene Szabó󰀬 who was invied o work wih agency Human Afer All on is campaign or he 󰀲󰀰󰀱󰀶 󰀲󰀰 󰀱󰀶 Briish Academy Film Awards󰀬 producing a series o images represening he nominees or he Bes Film award󰀮 “This concep explores how he experience o cinema is one ha akes place no jus wihin he limis limi s o he screen󰀬 bu wihin he limilessness o our own imaginaions󰀮 I uses a decepively simple raming image wihin which we can glimpse an epic advenure unolding󰀮” Alhough he enjoyed boh films󰀬 Szabó admis he had rouble  rouble coming up wih suiable ideas or Carol 󰁛picured󰀬 󰁛pic ured󰀬 below righ󰁝 and The Big Shor󰀮 “Wheher “ Wheher i’s a book or a film󰀬 I do my bes o undersand he deeper meaning o he maerial beore geting o work󰀬 bu in hese wo cases I had rouble summarising he message󰀮 On op o ha󰀬 we had o come up wih illusraions ha would work as silhouetes󰀬 and also as a series o posers󰀮 I wasn’ easy󰀮”

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T H E V E R Y B E S T N E W D E S I G N 

M A Y 20 1 6

— MOTION HIGHLIGHT

PAGE󰀭TURNERS

—

MUNKEN CREATIVITY EDITION

by JUNO and Max Mörtl www󰀮juno󰀭hamburg󰀮com www󰀮maxmoertl󰀮de

Arcic Paper asked inernaional branding agency JUNO o develop a direc markeing ool o demonsrae he advanages o is high󰀭qualiy book paper Munken Prin󰀮 The ool also had o reflec he concep o creaiviy 󰀨one o he he clien’s core brand values󰀩󰀬 so JUNO decided o use uniquely shaped sacks o he paper o creae hree󰀭dimensional inographics on he subjec󰀮 To achieve a disincly acile look󰀬 direcor and animaor Max Mörl worked wih real paper blocks󰀬 which he animaed using sop moion󰀮 “Each o hem reveals is own ac abou creaiviy by moving or behaving in a very special way󰀬” he says󰀮 The highligh or Mörl was when Wol Loter󰀬 auhor and wrier or German magazine brand eins󰀬 joined he projec󰀮 “He suppors our idea ha i’s very ough o deliver 󰀱󰀰󰀰 per cen creaiviy󰀬 bu in he end i’s ofen worh he effor󰀬” he says󰀮

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OTHER WORLDS DAILY RENDER

by Filip Hodas www󰀮behance󰀮net/filiphds

Graphic designer Filip Hodas creaed a series o alien landscapes as par o a daily challenge o improve his echnical skills󰀬 fiting hem in around his ull󰀭ime job and clien work󰀮 “I always waned o learn 󰀳D󰀬 bu every ime I decided o give i a go I gave up when he firs echnical issues emerged󰀬” he

hone his skills wih hese ools raher han an expression o deep ideas or conceps󰀮 “Some days I go or vas󰀬 misy landscapes wih alien objecs󰀮 Oher days I do microscopic organic absracs or surreal objecs󰀬” he says󰀮 “I’s really hard o label all o his󰀮”

says󰀮 “Afer a ew monhs o his󰀬 I came across several ariss doing daily renders and when I saw how as hey progressed󰀬 I decided o ry i mysel󰀮” Hodas works wih Cinema 󰀴D󰀬 World Machine󰀬 ZBrush and an array o addiional plug󰀭ins󰀮 He describes he resuling images as skeches o help

His avourie par o he projec is deeaing creaive block and creaing works ha he can be proud o󰀮 “I love all he suppor rom my riends and ollowers󰀬” he adds󰀮 “I’s ruly amazing o see his many people responding o my work!”

C O MP UT ER A R T S 󰀮C R EA T IV EB L O Q 󰀮C O M

󰀭  36   󰀭

 

T H E V E R Y B E S T N E W D E S I G N 

M A Y 20 1 6

— PRINT HIGHLIGHT

CONCEPTUAL FASHION METAL MAGAZINE

by Folch Studio www󰀮folchstudio󰀮com

“Metal was born out o an initiat initiative ive by Y Yolanda olanda Muelas 󰁛the magazine's editor󰀭in󰀭chie󰁝󰀬 coming out rom the necessity o delivering ashion content and concepts in an unprecedented way󰀬” says Vincenzo Angileri󰀬 editor and designer at Barcelona󰀭based Folch Studio󰀮 Rather than mimic ashion publications or younger readers󰀬 Folch aimed the magazine’s visual language at a more mature󰀬 sophisticated audience󰀬 conveying a more conceptual idea o ashion󰀮 “We wanted design to almost disappear󰀬” he says󰀮 “With a fluid󰀬 overlapping structure or images󰀬 and a severe treatment or text󰀬 the aesthetic is provocative and intriguing󰀬 creating a recognisable look and eel through the absence o design󰀮” Folch played with different papers and suraces󰀬 experimenting with diverse materials or both the interior and the cover󰀮 “Metal’s cover layout has been a playground o experimentation and visual research󰀬” says Angileri󰀮 The designs make creative use o white space󰀬 and ofen escape the conventional structure o one ull󰀭bleed image by juxtaposing two separate photos󰀮

C O MP UT ER A R T S 󰀮C R EA T IV EB L O Q 󰀮C O M

—

  r   e   u   q   a    V     l   a   ç   r   a    M   :      S      T      I      D      E      R      C      E      G      A      M      I

󰀭   37   󰀭

 

SHOWCASE

MAY 2016

LAYERED LA YERED SCENTS CUSTOMMADE FRAGRANCE CAMPAIGN

by Homework www󰀮homework󰀮dk

For the launch of its new line of custom fragrances󰀬 Danish fashion brand Custommade approached creative consultancy Homework󰀬 which specialises in brand expression󰀬 creative direction and graphic design for the luxury and lifestyle sectors󰀮 The art direction and design for the packaging and campaign draw inspiration from the layering of fragrances to create different scent signatures󰀮 “The design communicates the four scents through their highlighted number and colour󰀬” says graphic designer Mathilde Labajewska Madsen󰀮 “Black󰀭and󰀭white images layered with painted artwork signify the four fragrances󰀬 express the concept󰀬 and inspire personal creation󰀮” Homework took an analogue approach to the artwork󰀬 using coloured paint and various tools to create different textures󰀮 The packaging combines the four signature colour tones󰀬 contrasted with blind embossing and glossy silver hot foil󰀮 “The analogue approach was very interesting󰀬 but most of all we were thrilled to continuously develop the Custommade brand as we watch it grow󰀬 from visual identity and rebranding to packaging concepts and campaigns󰀬” says Labajewska Madsen󰀮 The fragrances launched in January at Copenhagen Fashion Week󰀮

C O MP UT ER A R T S 󰀮C R EA T IV EB L O Q 󰀮C O M

󰀭   38  󰀭

 

T H E V E R Y B E S T N E W D E S I G N 

M A Y 20 1 6

— FEATURED SHOWREEL

SMOOTH MOVES MOTION REEL 󰀲󰀰󰀱󰀶

by Northwestern Pictures www󰀮northwestern󰀮london

Norhwesern Picures is a young company ha landed some big projecs early on󰀮 Is showreel aims o show how moion design can communicae in a way ha films can’󰀮 “Paricularly wih ediorial work󰀬 moion is grea for absrac conceps󰀬 and ha’s hopefully wha his reel showcases󰀬” says moion designer and direcor Kris Cook󰀮 Alhough he company has only been doing moion for eigh i sill found hard o cu adesign one󰀭minue reel󰀮monhs󰀬 Is preference is forimore absrac work󰀬 bu wih enough variey for parners and cliens o undersand he eam’s broader capabiliies󰀮 “On he whole we like a fairly neural palete wih judicious use of accen colours󰀮 The one is minimalis and clean and in finished pieces we pu a lo of value on smooh ransiions󰀬 avoiding hard cus where possible󰀬” says Cook󰀮 “We also chose a relaively quie rack for he reel󰀬 so ha he sound doesn’ compee wih he visuals󰀮” Norhwesern Picures is currenly working on a high󰀭profile animaion for a naional newspaper󰀬 and plans o cu a new reel in six monhs󰀮

C O MP UT ER A R T S 󰀮C R EA T IV EB L O Q 󰀮C O M

—

󰀭   39   󰀭

 

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INDUSTRY ISSUES

MAY 2016

 

  B U I L D A S U C C E S S F U L M O D E R N B R A N D 

MAY 2016

WORDS󰀺 Tom May ILLUSTRATION󰀺 Stefano Marra www.stefanomarra.it

HOW TO BUILD A SUCCESSFUL MODERN BRAND Social media and new digial channels are ransforming branding󰀮 Tom󰀠May󰀠 reveals how o build a brand ha connecs wih people in 󰀲󰀰󰀱󰀶

H  

ow󰀠do󰀠you󰀠build󰀠a󰀠successful󰀠modern󰀠brand?󰀠 In many󰀠ways󰀬󰀠the󰀠process󰀠remains󰀠unchanged󰀺󰀠 you󰀠need󰀠to󰀠research󰀠your󰀠market󰀬󰀠come󰀠up󰀠with󰀠 a󰀠strong󰀠idea󰀬󰀠generate󰀠designs󰀠that convey󰀠that󰀠idea󰀬󰀠 then󰀠find󰀠ways󰀠to󰀠get󰀠those󰀠designs󰀠in󰀠front󰀠of the󰀠right󰀠 audience󰀮󰀠But󰀠while󰀠the󰀠fundamental󰀠principles󰀠of󰀠 branding󰀠remain󰀠constant󰀬󰀠the󰀠way󰀠in󰀠which󰀠we󰀠enact󰀠 those󰀠principles󰀠does󰀠not󰀮󰀠As󰀠digital󰀠technology󰀠evolves󰀬󰀠 where󰀠a󰀠brand󰀠needs󰀠to󰀠live󰀬󰀠what󰀠it󰀠needs󰀠to󰀠achieve󰀠and󰀠 even󰀠how󰀠you󰀠measure󰀠success󰀠are󰀠all󰀠in󰀠a󰀠state󰀠of󰀠flux󰀮 Adrian Buron󰀬 execuive creaive direcor a Lambie󰀭Nairn󰀬 believes ha hese changes can be summed up in a single word󰀺 ransparency󰀮 “Because of 󰁛new digial channels󰁝 and social media󰀬 we’re living in a much more ransparen world󰀬” he explains󰀮 “Everyhing you promise he consumer and how you posiion your producs 󲀓 he culure of he brand and everyhing relaed o i 󲀓 is now suscepible o being crawled over by everybody󰀮” Once upon a ime󰀬 branding was broadcasing󰀺 you decided wha your message would be󰀬 hen ransmited i o consumers in a purely one󰀭way fashion󰀮 The digial revoluion has ended all ha󰀮 As Buron pus i󰀺 “If you’re

 

INDUSTRY ISSUES

MAY 2016

FEATURED CREATIVES

KIRSTY MINNS

CREATIVE󰀠DIRECTOR󰀬󰀠 THE󰀠FUTURE󰀠 LABORATORY  Kirsty is a British designer with more than 󰀱󰀰 years’ experience in  product design􀀬 development􀀬 art direction and curation󰀮 She is a member of the D&AD Awards 󰀲󰀰󰀱󰀶 󰀲󰀰󰀱󰀶 Branding Jury󰀮 www󰀮kirstyminns󰀮com

KEVIN BRADY 

EXECUTIVE󰀠CREATIVE󰀠 DIRECTOR󰀬󰀠DROGA󰀵 Kevin is executive creative director at global ad agency Droga􀀵󰀮 He tries to create “honest unique work with a  purpose” and is most proud of his work to promote milk􀀬 Honey Maid and Prudential󰀮 www󰀮droga􀀵󰀮com

FIVE WAYS TO MAKE YOUR BRANDING STAND OUT

PEOPLE󰀠ARE󰀠BOMBARDED󰀠BY󰀠BRANDING󰀮 HOW󰀠CAN󰀠YOU󰀠CUT󰀠THROUGH󰀠THE󰀠NOISE? 󰀱󰀮 MEET PEOPLE HALFWAY

“I’s󰀠imporan󰀠o󰀠be󰀠singled󰀭minded󰀮󰀠You󰀠need󰀠o󰀠have󰀠a󰀠poin󰀠o󰀠view󰀮󰀠You󰀠need󰀠 o󰀠be󰀠brave󰀠and󰀠ake󰀠a󰀠chance󰀬”󰀠says󰀠Kevin󰀠Brady󰀬󰀠execuive󰀠creaive󰀠direcor󰀠o󰀠 Droga󰀵󰀮󰀠“Bu󰀠you󰀠also󰀠need󰀠o󰀠remember󰀠ha󰀠consumers󰀠are󰀠lazy󰀠and󰀠hey󰀠 probably󰀠don’󰀠care󰀠abou󰀠your󰀠produc󰀠or󰀠your󰀠message󰀬󰀠so󰀠i’s󰀠imporan󰀠o󰀠make󰀠 i󰀠easy󰀠or󰀠hem󰀠and󰀠mee󰀠hem󰀠halway󰀮󰀠Ask󰀠yoursel󰀠wha󰀠hey󰀠are󰀠ineresed󰀠in󰀮󰀠 Wha󰀠will󰀠hey󰀠wan󰀠o󰀠share?󰀠Then󰀠ry󰀠o󰀠keep󰀠i󰀠shor󰀮” 󰀲󰀮 BE CHANNEL󰀭AGNOSTIC CHANNEL󰀭AGNOSTIC

“You󰀠should󰀠be󰀠able󰀠o󰀠alk󰀠abou󰀠your󰀠brand󰀠in󰀠almos󰀠any󰀠channel󰀬”󰀠says󰀠Richard󰀠 Beer󰀠o󰀠Don’󰀠Panic󰀠London󰀮󰀠“For󰀠example󰀬󰀠or󰀠a󰀠campaign󰀠or󰀠Marvel’s󰀠Agens󰀠o󰀠 S󰀮H󰀮I󰀮E󰀮L󰀮D󰀮󰀠on󰀠Channel󰀠󰀴󰀬󰀠we󰀠pu󰀠yellow󰀠boards󰀠around󰀠London󰀠and󰀠Mancheser󰀬󰀠 which󰀠a󰀠firs󰀠looked󰀠like󰀠police󰀠inormaion󰀠banners󰀮󰀠People󰀠ook󰀠picures󰀠and󰀠 weeed󰀠hem󰀬󰀠alked󰀠abou󰀠i󰀠online󰀠󲀓󰀠even󰀠hough󰀠i󰀠wasn’󰀠a󰀠digial󰀠execuion󰀮”󰀠 󰀳󰀮 FOCUS ON THE EXPERIENCE

“I󰀠can󰀠respec󰀠craf󰀠and󰀠say󰀬󰀠‘Tha’s󰀠beauiul󰀠ypography󰀠and󰀠a󰀠beauiul󰀠 layou󰀬’” says󰀠Inerbrand’s󰀠Andy󰀠Payne󰀮󰀠“Bu󰀠design󰀠is󰀠abou󰀠solving󰀠problems󰀮󰀠 Fundamenally󰀠I’m󰀠looking󰀠or󰀠somehing󰀠ha’s󰀠improved󰀠an󰀠experience󰀠or󰀠a󰀠 produc󰀠inerace󰀬󰀠or󰀠some󰀠ype󰀠o󰀠reacion󰀠or󰀠connecion󰀠o󰀠a󰀠consumer󰀮”󰀠 󰀴󰀮 A QUIETER APPROACH

“There’s󰀠so󰀠much󰀠shouing󰀠in󰀠he󰀠digial󰀠world󰀬󰀠so󰀠maybe󰀠you󰀠could󰀠ry󰀠being󰀠a󰀠bi󰀠 quieer󰀬󰀠and󰀠i󰀠migh󰀠help󰀠you󰀠cu󰀠hrough󰀠he󰀠visual󰀠cluter󰀬”󰀠suggess󰀠Sudio󰀠 Suherl&’s󰀠Jim󰀠Suherland󰀮󰀠In󰀠oher󰀠words󰀬󰀠raher󰀠han󰀠obsess󰀠over󰀠making󰀠a󰀠huge󰀠 splash󰀬󰀠ocus󰀠on󰀠generaing󰀠one󰀠good󰀬󰀠simple󰀠idea󰀠ha󰀠will󰀠ge󰀠you󰀠cu󰀭hrough󰀮󰀠 󰀵󰀮 BAD CAN BE GOOD

“Proein󰀠World’s󰀠‘Are󰀠You󰀠Beach󰀠Body󰀠Ready?’󰀠campaign󰀠atraced󰀠so󰀠much󰀠social󰀠 media󰀠proes󰀬”󰀠says󰀠The󰀠Fuure󰀠Laboraory’s󰀠Kirsy󰀠Minns󰀮󰀠“Bu󰀠i󰀠go󰀠󰀵󰀬󰀰󰀰󰀰󰀠new󰀠 cusomers󰀠in󰀠our󰀠days󰀮󰀠So󰀠is󰀠ha󰀠a󰀠good󰀠or󰀠bad󰀠brand󰀠campaign?󰀠I󰀠depends󰀠on󰀠 wha󰀠heir󰀠aims󰀠were󰀬󰀠bu󰀠i󰀠shows󰀠ha󰀠a󰀠brand󰀠isn’󰀠a󰀠single󰀠dimension󰀠any󰀠more󰀮”󰀠

 A D R I A N B U R T O N 

 A N D Y P AY N E 

EXECUTIVE󰀠CREATIVE󰀠 D I R E C T O R 󰀬󰀠󰀬󰀠 LAMBIE󰀭NAIRN Since moving to Lambie󰀭Nairn in 󰀱󰀹󰀹󰀷􀀬 Adrian has worked with clients including the BBC􀀬 FIFA􀀬 EA Games and Expedia󰀮 He is a member of the D&AD Awards 󰀲󰀰󰀱 󰀲󰀰󰀱󰀶 󰀶 Branding Jury󰀮 www󰀮lambie󰀭nairn󰀮com

GLOBAL󰀠CHIEF󰀠 CREATIVE󰀠OFFICER󰀬󰀠 INTERBRAND Andy joined Interbrand in 󰀱󰀹󰀹 󰀱󰀹󰀹󰀴􀀬 󰀴􀀬 and is now the company’s global CCO􀀬 managing􀀬 enhancing and developing its creative offering󰀮 He is a member of this yea r’s D&AD Awards Branding Jury󰀮 www󰀮interbrand󰀮com

no hones󰀬 you will ge found ou󰀮 Today󰀬 being rue o who you are is absoluely essenial󰀮” ‘Being rue o who you are’ migh sound like an airy󰀭fairy senimen󰀬 more suied o a Disney movie han a design sudio󰀬 and is equally fluffy sibling buzzword ‘auheniciy’ migh also make you roll your eyes󰀮 Bu he expers we spoke o all sressed ha his is a real󰀬 concree goal of brand campaigns in 󰀲󰀰󰀱󰀶 󲀓 one ha’s fundamenally baked ino he process󰀮 Take Inerbrand󰀬 where Andy Payne is global chief creaive officer󰀮 “A he sar of he process󰀬 we ry o really undersand he business sysem iself󰀬 how i creaes value and how i connecs o is audiences󰀬” he explains󰀮 “Seven or eigh years ago󰀬 we’d have been projecing an image of ha company based on some CEO’s vision󰀬 bu in 󰀲󰀰󰀱󰀶󰀬 we’re looking a how he business acually operaes󰀮 We’re spending ime geting ino is shoes󰀬 undersanding he connecion of divisions inside i󰀬 and how hey connec o each oher and he cusomers󰀮” To anyone who’s ever worked wih a defensive organisaion unwilling o divulge is working pracices󰀬 ha migh sound like a all order 󲀓 bu he impac of he digial revoluion has been so profound󰀬 you’ll find ha a surprising number of cliens are already on board󰀬 says Dan Radley󰀬 brand sraegis a NB󰀮 “Companies seem very aware ha he boundaries of influence are sreching󰀬” he adds󰀮 “Some enlighened brands are acually ahead of some branding agencies󰀮 Even very radiional organisaions like banks have reached a urning poin󰀮 We’re in an era of real co󰀭creaion󰀮 Righ now we’re working wih our cliens more closely󰀬 earlier on󰀬 han any of us can remember󰀮” Richard Beer󰀬 creaive direcor of Don’ Panic London󰀬 believes he knows why󰀮 “Brands have sared waning o be par of he conversaion󰀬” he says󰀮 “So on social media󰀬 hey wan o go where people are alking󰀮 Bu hey soon realise you can’ jus barge in as an ousider󰀮 You have o become par of ha conversaion󰀬 in a naural way 󲀓 and ha means having a personaliy󰀮 Bu a fake personaliy won’ work󰀻 i needs be auhenic󰀮”

COMPUTERARTS󰀮CREATIVEBLOQ󰀮COM

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MAY 2016

B U I L D A S U C C E S S F U L M O D E R N B R A N D 

i󰀠all󰀠and󰀠someone󰀠ells󰀠you󰀬󰀠‘I󰀠need󰀠o󰀠see󰀠his󰀠omorrow󰀬’󰀠 So󰀠how󰀠do󰀠you󰀠find󰀠he󰀠‘rue󰀠voice’󰀠of󰀠an󰀠 i’s so󰀠difficul󰀠o󰀠evaluae󰀬”󰀠he󰀠adds󰀮 organisaion?󰀠Unsurprisingly󰀬󰀠he󰀠process󰀠sars󰀠a󰀠he󰀠very󰀠 The󰀠conceping󰀠sage󰀠is󰀠all󰀠abou󰀠finding󰀠a󰀠grea󰀠idea󰀠 sar󰀠of󰀠he󰀠branding󰀠process󰀬󰀠during󰀠he󰀠research󰀠sage󰀮󰀠 ha󰀠differeniaes󰀠your󰀠brand󰀬󰀠bu󰀠in󰀠󰀲󰀰󰀱󰀶󰀬󰀠ha’s󰀠becoming󰀠 While󰀠mechanisic󰀠daa󰀭gahering󰀠can󰀠be󰀠useful󰀬󰀠he󰀠mos󰀠 more󰀠difficul󰀮󰀠How󰀠can󰀠you󰀠sand󰀠ou󰀠agains󰀠all󰀠he󰀠visual󰀠 imporan󰀠hing󰀠is󰀠o󰀠ge󰀠ou󰀠here󰀠and󰀠alk󰀠o󰀠people󰀠󲀓󰀠los󰀠 and󰀠digial󰀠noise󰀠ha󰀠now󰀠consanly󰀠assauls󰀠our󰀠senses? of󰀠people󰀠󲀓󰀠advises󰀠Dan󰀠Radley󰀮󰀠He’s󰀠been󰀠working󰀠on󰀠an󰀠 The󰀠consensus󰀠from󰀠our󰀠expers󰀠is󰀠ha󰀬󰀠again󰀬󰀠i’s󰀠 ideniy󰀠for󰀠specialis󰀠universiy󰀭secor󰀠college󰀠 largely󰀠abou󰀠geting󰀠ha󰀠auhenic󰀠voice󰀠righ󰀮󰀠A󰀠good󰀬󰀠 Ravensbourne󰀮󰀠“We’ve󰀠been󰀠gahering󰀠opinion󰀠a󰀠many󰀠 ruhful󰀠sory󰀠should󰀠cu󰀠hrough󰀠any󰀠amoun󰀠of󰀠noise󰀮󰀠Dan󰀠 levels󰀬󰀠from󰀠he󰀠suden󰀠populaion󰀠and󰀠he󰀠lecurers󰀠o󰀠 Radley󰀠adds󰀠ha󰀠wha󰀠NB󰀠calls󰀠‘creaive󰀠courage’󰀠can󰀠also󰀠 he alumni󰀬”󰀠he󰀠says󰀮󰀠“There󰀠are󰀠los󰀠and󰀠los󰀠of󰀠differen󰀠 be󰀠helpful󰀮󰀠“For󰀠work󰀠o cu󰀠hrough󰀬󰀠we󰀠like󰀠o󰀠ake󰀠a󰀠 communiies󰀠ha󰀠you󰀠have󰀠o󰀠engage󰀠in󰀮󰀠You󰀠need󰀠o󰀠ake󰀠 few risks󰀬”󰀠he󰀠advises󰀮󰀠“We󰀠hrow󰀠 a real󰀠neworked󰀠approach󰀠o󰀠 󰁛somehing󰀠unexpeced󰁝󰀠a󰀠our󰀠 building󰀠a󰀠brand󰀠nowadays󰀮”󰀠The󰀠 cliens󰀠because󰀠i󰀠ends󰀠o󰀠ake󰀠 aim󰀠is󰀠o󰀠find󰀠an󰀠organisaion’s󰀠 “BRANDS HAVE STARTED hem󰀠o a more󰀠exciing󰀠place󰀠󲀓󰀠 personaliy󰀬󰀠is󰀠auhenic󰀠sory󰀮󰀠 “Bu i’s󰀠no󰀠a i’s󰀠no󰀠abou󰀠finding bou󰀠finding󰀠a󰀠sory󰀠 󰀠a󰀠sory󰀠 WANTING TO BE PART OF somewhere󰀠more󰀠differeniaed󰀮󰀠 For󰀠our󰀠branding󰀠for󰀠he Almeida󰀠 o ell󰀬”󰀠Radley󰀠sresses󰀮󰀠“I’s󰀠more󰀠 THE CONVERSATION󰀬 SO Theare󰀬󰀠we󰀠used󰀠really󰀠visceral󰀬󰀠 abou󰀠unearhing󰀠he󰀠sories󰀠ha󰀠 are󰀠already󰀠here󰀮” ON SOCIAL MEDIA󰀬 THEY atenion󰀭grabbing󰀠imagery󰀮󰀠Tha󰀠 semmed󰀠from󰀠he󰀠noion󰀠ha󰀠he󰀠 Once󰀠your󰀠research󰀠is󰀠 WANT TO GO WHERE Almeida󰀠is all󰀠abou󰀠dividing󰀠 complee󰀬󰀠you󰀠progress󰀠o󰀠 opinion󰀠and󰀠sparking󰀠debae󰀮” conceping󰀮󰀠However󰀬󰀠in󰀠󰀲󰀰󰀱󰀶󰀬󰀠 PEOPLE ARE TALKING” cliens󰀠are󰀠allowing󰀠you󰀠less󰀠and󰀠 Tha󰀠said󰀬󰀠for󰀠a󰀠brand󰀬󰀠 less󰀠ime󰀠o󰀠come󰀠up󰀠wih󰀠ideas󰀬󰀠 sanding󰀠ou󰀠doesn’󰀠always󰀠mean󰀠 RICHARD BEER cauions󰀠Jim󰀠Suherland󰀬󰀠foreman󰀠 wha󰀠i󰀠used󰀠o󰀮󰀠Making󰀠a big󰀠noise󰀠 of󰀠D&AD’s󰀠󰀲󰀰󰀱󰀶󰀠Branding󰀠Jury󰀠 isn’󰀠always󰀠vial󰀮󰀠You󰀠migh󰀠be󰀠 oally󰀠invisible󰀠o he󰀠general󰀠 and direcor󰀠of󰀠Sudio󰀠Suherl&󰀮󰀠 public󰀬󰀠bu󰀠as󰀠long󰀠as󰀠you’re󰀠making󰀠he󰀠connecion󰀠wih󰀠 “I󰀠hink󰀠i’s󰀠probably󰀠because󰀠hey󰀠can󰀠see󰀠suff󰀠more󰀠 your󰀠key󰀠audiences󰀬󰀠ha󰀠won’󰀠mater󰀮󰀠“Wha’s󰀠imporan󰀠is󰀠 quickly󰀠hese󰀠days󰀬󰀠so󰀠here’s󰀠an󰀠expecaion󰀠ha󰀠you󰀠can󰀠 ha󰀠he󰀠righ󰀠people󰀠can󰀠find󰀠you󰀬”󰀠sresses󰀠Adrian󰀠Buron󰀮󰀠 do󰀠suff󰀠quicker󰀠oo󰀬”󰀠he󰀠suggess󰀮󰀠Suherland󰀠believes󰀠ha󰀠 “Wih󰀠digial󰀠you󰀠can󰀠search󰀠for󰀠whaever󰀠you󰀠like󰀠and󰀠find󰀠i󰀠 i’s󰀠imporan󰀠for󰀠designers󰀠o󰀠push󰀠back󰀠agains󰀠ha󰀠 in󰀠seconds󰀬󰀠so󰀠wha’s󰀠imporan󰀠is󰀠ha󰀠your󰀠branding󰀠is󰀠 preconcepion󰀮󰀠“You󰀠need󰀠proper󰀠ime󰀠o󰀠evaluae󰀠wheher󰀠 insan󰀠and󰀠relevan󰀮”󰀠 󰁛your󰀠soluions󰀠are󰁝󰀠he󰀠righ󰀠soluions󰀬󰀠because󰀠ha’s󰀠he󰀠 He󰀠cies󰀠Red󰀠Bull󰀠as󰀠an󰀠example󰀮󰀠“You󰀠sill󰀬󰀠very󰀠 crux󰀠of󰀠he󰀠concep󰀠sage󰀠󲀓󰀠no󰀠acually󰀠coming󰀠up󰀠wih󰀠he󰀠 occasionally󰀬󰀠see󰀠a󰀠Red󰀠Bull󰀠adver󰀠on󰀠TV󰀬󰀠bu󰀠here󰀠are󰀠 suff󰀬󰀠bu󰀠working󰀠ou󰀠if󰀠i’s󰀠righ󰀠or󰀠no󰀮” millions󰀠of󰀠people󰀠consuming󰀠he󰀠really󰀠cool󰀠suff󰀠ha󰀠hey󰀠 So󰀠wha’s󰀠he󰀠bes󰀠way󰀠o󰀠do󰀠ha?󰀠“Leave󰀠your󰀠 idea alone󰀠for󰀠a󰀠bi󰀠and󰀠hen󰀠come󰀠back󰀠o󰀠i󰀬”󰀠Suherland󰀠 advises󰀮󰀠“I󰀠find󰀠ha󰀠i󰀠hen󰀠becomes󰀠really󰀠obvious󰀠wha󰀠you󰀠 should󰀠really󰀠be󰀠doing󰀬󰀠whereas󰀠when󰀠you’re󰀠in󰀠he󰀠mids󰀠of󰀠

do󰀠on󰀠a󰀠daily󰀠basis󰀮󰀠Some󰀠of󰀠ha󰀠is󰀠global󰀻󰀠i󰀠appeals󰀠o󰀠 everybody󰀬󰀠like󰀠he󰀠leap󰀠from󰀠space󰀮󰀠Some󰀠of󰀠i󰀠is󰀠Danny󰀠 MacAskill󰀠on󰀠his󰀠mounain󰀠bike󰀬󰀠and󰀠i󰀠appeals󰀠o󰀠he󰀠

C O MP UT ER A R T S 󰀮C R EA T IV EB L O Q 󰀮C O M

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INDUSTRY ISSUES

MAY 2016

hardcore󰀠cyclis󰀮󰀠Oher󰀠bis󰀠of󰀠i󰀠are󰀠more󰀠broadly󰀠 associaed󰀠wih󰀠exreme󰀠spors󰀮󰀠The󰀠poin󰀠here󰀠is󰀠ha󰀠 echnology󰀠enables󰀠you󰀠o󰀠find󰀠he󰀠bis󰀠of󰀠Red󰀠Bull’s󰀠 brand sory󰀠ha󰀠are󰀠relevan󰀠for󰀠you󰀮”

DESIGNING FOR BRAND COHERENCE

CASE STUDY: HONEY MAID AND THE ART OF SOCIAL BRANDING

EXECUTIVE CREATIVE DIRECTOR KEVIN BRADY EXPLAINS HOW DROGA󰀵 BROUGHT A SOCIAL DIMENSION TO A TRADITIONAL BRAND The brief from f rom American cracker brand Honey Maid was ‘wholesome’󰀮 The brand has always been a wholesome part of families and camping󰀻 our challenge was to bring it to the modern day󰀮 One day󰀬 I was a a playground in he Eas Village wih my daugher󰀮 I looked around and noiced an adorable󰀬 ully atooed amily wih heir one󰀭year󰀭old󰀮 Then I noiced a lovely lesbian couple hugging heir five󰀭year󰀭old󰀬 and I hough󰀬 ‘This is wholesome󰀮 I may be a amily ha America hasn’ seen beore󰀬 bu ha’s all he more reason i should󰀮’ s hould󰀮’ Honey Maid was launching a new produc󰀬 differen rom he crackers we grew up wih󰀮 Unamiliar󰀬 Unamiliar󰀬 bu jus as wholesome󰀮 The symmery was powerul󰀮 We launched a TV campaign ha recognised he changing ace o he American amily󰀬 amily󰀬 spolighing same󰀭sex󰀬 inerracial and single parens󰀮 Wih an idea like his󰀬 he bigges challenge is making sure he clien is brave enough o see i hrough󰀮 Luckily󰀬 Honey Maid was passionae abou he idea󰀮 Afer ha󰀬 he main hing was o ge ou o he way󰀬 and le people ell heir sories󰀮 We expeced o receive a flood o negaive commens󰀮 In he end󰀬 i was 󰀱󰀰󰀺󰀱 posiive o negaive󰀮 We responded o he negaive commens wih an online film󰀬 where we worked wih a pair o ariss by he name o INDO o prin each one ou󰀬 roll i up and urn i ino an ar insallaion 󰁛spelling ou he word ‘love’󰁝󰀮 We loved he idea o aking hae and using i o make love󰀮 I jus el righ󰀮 This launch really developed a clear voice and poin o view or he brand󰀮 Once you have ha󰀬 i makes i much easier o expand your campaign ino years wo and hree󰀮 We now know where Honey Maid should appear and how i should ac on uure projecs󰀮 When you already speak he brand language󰀬 i can be very easy o know i an idea is righ or no󰀮

Once󰀠you’ve󰀠nailed󰀠your󰀠concep󰀬󰀠i’s󰀠ime󰀠o󰀠proceed󰀠o󰀠 designing󰀠he󰀠asses󰀠ha󰀠will󰀠communicae󰀠i󰀮󰀠Bu󰀠wih󰀠 oday’s󰀠mulipliciy󰀠of󰀠digial󰀠plaforms󰀬󰀠including󰀠emerging󰀠 echnologies󰀠like󰀠wearables󰀠and󰀠virual󰀠realiy󰀠󲀓󰀠no󰀠menion󰀠 all󰀠he󰀠radiional󰀬󰀠physical󰀠forms󰀠of󰀠media󰀠󲀓󰀠ha󰀠can󰀠be󰀠an󰀠 increasingly󰀠ough󰀠challenge󰀮󰀠In󰀠shor󰀬󰀠a󰀠focus󰀠on󰀠design󰀠 consisency󰀠and󰀠coherence󰀠is󰀠more󰀠imporan󰀠han󰀠ever󰀮 “We’re󰀠designing󰀠much󰀠more󰀠holisic󰀠experiences󰀠 han󰀠before󰀬”󰀠says󰀠Dan󰀠Radley󰀮󰀠“We󰀠live󰀠in󰀠a󰀠world󰀠in󰀠which󰀠 people󰀠can󰀠move󰀠absoluely󰀠freely󰀠from󰀠heir󰀠phone󰀠o󰀠heir󰀠 lapop󰀠o󰀠heir󰀠wearable󰀠device󰀬󰀠so󰀠a󰀠seamless󰀠experience󰀠 from󰀠channel󰀠o󰀠channel󰀠is󰀠absoluely󰀠criical󰀮󰀠Consisency󰀠 of󰀠voice󰀠and󰀠he󰀠way󰀠ha󰀠hings󰀠look󰀠and󰀠behave󰀠becomes󰀠 really󰀠imporan󰀮” Wheher󰀠you’re󰀠designing󰀠a󰀠brand’s󰀠logo󰀬󰀠working󰀠 on is󰀠animaion󰀬󰀠illusraing󰀠is󰀠poser󰀠or󰀠developing󰀠is󰀠 󰀳󰀶󰀰󰀭degree󰀠virual󰀠realiy󰀠experience󰀬󰀠you󰀠have󰀠o󰀠work󰀠 wih󰀠oher󰀠creaive󰀠professionals󰀠󲀓󰀠far󰀠more󰀠so󰀠han󰀠in󰀠he󰀠 old󰀠days󰀠when󰀠we󰀠could󰀠hide󰀠in󰀠he󰀠comfor󰀠of󰀠our󰀠silos󰀮󰀠 “There’s󰀠much󰀠greaer󰀠collaboraion󰀠now󰀠wihin󰀠branding󰀬”󰀠 says󰀠Andy󰀠Payne󰀮󰀠“A󰀠Inerbrand󰀬󰀠a󰀠lo󰀠of󰀠our󰀠programmes󰀠 are󰀠done󰀠in󰀠parnership󰀠wih󰀠oher󰀠agencies󰀬󰀠so󰀠we󰀠have󰀠o󰀠 be󰀠boh󰀠channel󰀭agnosic󰀠and󰀠consulancy󰀭agnosic󰀮” 󰀠Tha󰀠approach󰀠means󰀠ha󰀠for󰀠many󰀠employers󰀬󰀠 rocksar󰀠designers󰀠need󰀠no󰀠apply󰀮󰀠“There󰀠are󰀠cerain󰀠 designers󰀠who󰀠spend󰀠a󰀠lo󰀠of󰀠ime󰀠designing󰀠for󰀠hemselves󰀠 󲀓󰀠hey󰀠know󰀠who󰀠hey󰀠are󰀬”󰀠says󰀠Adrian󰀠Buron󰀮󰀠“They󰀠have󰀠 a paricular󰀠aesheic󰀬󰀠and󰀠if󰀠you󰀠wan󰀠a󰀠litle󰀠bi󰀠of󰀠wha󰀠hey󰀠 offer󰀬󰀠hey’re󰀠a󰀠grea󰀠place󰀠o󰀠go󰀠o󰀬󰀠bu󰀠ha’s󰀠no󰀠wha󰀠 oday’s󰀠world󰀠of󰀠branding󰀠demands󰀮󰀠A󰀠Lambie󰀭Nairn󰀠we󰀠 like󰀠o󰀠pride󰀠ourselves󰀠on󰀠an󰀠appropriae󰀠response󰀠o󰀠a󰀠 brief󰀬󰀠and󰀠we󰀠don’󰀠have󰀠such󰀠a󰀠hing󰀠as󰀠a󰀠‘house󰀠syle’󰀮” When󰀠comes󰀠o󰀠siting󰀠down󰀠and󰀠designing󰀠your󰀠 brand󰀠asses󰀬󰀠you󰀠are󰀠now󰀠judged󰀠on󰀠he󰀠small󰀠deails󰀠as󰀠 much󰀠as󰀠he󰀠broad󰀠brush󰀬󰀠adds󰀠Jim󰀠Suherland󰀮󰀠“In he󰀠 recen󰀠projecs󰀠I’ve󰀠been󰀠doing󰀬󰀠I’ve󰀠noiced󰀠ha󰀠he󰀠 Twiter󰀠icon󰀠is󰀠he󰀠hing󰀠ha󰀠mos󰀠people󰀠will󰀠see󰀠of󰀠he󰀠 brand󰀮󰀠The󰀠need󰀠o󰀠come󰀠up󰀠wih a󰀠really󰀠simple󰀬󰀠single󰀭 minded󰀠symbol󰀠ha󰀠works󰀠a󰀠a󰀠iny󰀠󰀴x󰀴󰀠pixels󰀠is󰀠more󰀠 imporan󰀠now󰀠han󰀠ever󰀮”󰀠

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󰀭 46  󰀭

 

 

MAY 2016

B U I L D A S U C C E S S F U L M O D E R N B R A N D 

Dan󰀠Radley󰀠agrees󰀮󰀠“What’s󰀠important󰀠now󰀠are󰀠 subtle󰀠cues󰀬”󰀠he󰀠says󰀮󰀠“For󰀠a󰀠brand󰀠to󰀠communicate󰀠with󰀠 consumers󰀠consistently󰀬󰀠things󰀠like󰀠an󰀠ownable󰀠tone󰀠of󰀠 voice󰀬󰀠or󰀠even󰀠tiny󰀠minutiae󰀠like󰀠how󰀠a󰀠screen󰀠refreshes󰀬󰀠 can󰀠tell󰀠you󰀠everything󰀠you󰀠need󰀠to󰀠know󰀮”󰀠 You󰀠also󰀠need󰀠to󰀠consider󰀠in󰀠what󰀠places󰀠these󰀠 brand󰀠assets󰀠will󰀠need󰀠to󰀠appear󰀮󰀠Unfortunately󰀬󰀠there’s󰀠no󰀠 longer󰀠a󰀠simple󰀠rule󰀠of󰀠thumb󰀠to󰀠follow󰀬󰀠says󰀠Kirsty󰀠Minns󰀬󰀠 creative󰀠director󰀠of󰀠The󰀠Future󰀠Laboratory󰀮󰀠“There’s󰀠no󰀠 one󰀭channel󰀭fits󰀭all󰀠for󰀠brands󰀠any󰀠more󰀮󰀠There󰀠was󰀠a󰀠time󰀠 when󰀠brands󰀠felt󰀠like󰀠they󰀠needed󰀠to󰀠have󰀠a󰀠presence󰀠 everywhere󰀮󰀠But󰀠now󰀠they’re󰀠deciding󰀠not󰀠to󰀠meet󰀠all󰀠of󰀠the󰀠 needs󰀠of󰀠all󰀠of󰀠the󰀠platforms󰀮󰀠It’s󰀠more󰀠about󰀠thinking󰀠what󰀠 is󰀠relevant󰀠to󰀠them󰀬󰀠knowing󰀠what󰀠the󰀠brand󰀠mission󰀠is󰀬󰀠

to󰀠middle󰀠income󰀬󰀠you󰀠can󰀠talk󰀠to󰀠business󰀠people󰀠󲀓󰀠you󰀠can󰀠 have󰀠one󰀠brand󰀠that’s󰀠performing󰀠on󰀠many󰀠different󰀠levels󰀮󰀠 You󰀠just󰀠can’t󰀠do󰀠it󰀠in󰀠the󰀠kind󰀠of󰀠slavish󰀬󰀠restrictive󰀠manner󰀠 in󰀠which󰀠brands󰀠used󰀠to󰀠apply󰀠guidelines󰀠many󰀠years󰀠ago󰀮󰀠 You󰀠have󰀠to󰀠be󰀠much󰀠more󰀠flexible󰀠than󰀠that󰀮” Of󰀠course󰀬󰀠this󰀠only󰀠works󰀠if󰀠you󰀠have󰀠a󰀠single󰀬󰀠strong󰀠 idea󰀠underpinning󰀠all󰀠of󰀠those󰀠conversations󰀮󰀠“Nike󰀠is󰀠the󰀠 classic󰀠example󰀬”󰀠Burton󰀠continues󰀮󰀠“It󰀠seems󰀠to󰀠maintain󰀠 a whole󰀠series󰀠of different󰀠conversations󰀠with󰀠different󰀠 audience󰀠groups󰀬󰀠whether󰀠those󰀠are󰀠women󰀠in󰀠athletics󰀠or󰀠 social󰀠communities󰀠for󰀠exercise󰀮󰀠󰁛For󰀠each󰀠of󰀠those󰀠points󰀠 of entry󰁝󰀠there’s󰀠a󰀠different󰀠tone󰀬󰀠but󰀠a󰀠unified󰀠whole󰀮” According󰀠to󰀠Burton󰀬󰀠branding󰀠now󰀠means󰀠being󰀠 “a󰀠bit󰀠smarter󰀬󰀠a󰀠bit󰀠lighter󰀠and󰀠much󰀠more󰀠flexible󰀻󰀠trying󰀠

knowing󰀠the󰀠consumer󰀬󰀠and󰀠making󰀠sure󰀠they󰀠use󰀠platforms󰀠 in󰀠the󰀠most󰀠relevant󰀠way󰀮”

to maintain󰀠󰀱󰀰󰀱󰀠conversations󰀠with󰀠many󰀠audiences󰀠across󰀠 many󰀠different󰀠media󰀠and󰀠social󰀠content󰀠platforms”󰀮󰀠 Part󰀠of󰀠that󰀬󰀠inevitably󰀬󰀠means󰀠engaging󰀠with󰀠 the social󰀬󰀠ethical󰀬󰀠political󰀠and󰀠environmental󰀠issues󰀠 surrounding󰀠the󰀠brand󰀮󰀠Crucially󰀬󰀠brands󰀠can󰀠no󰀠longer󰀠fake󰀠 a󰀠social󰀠conscience󰀠󲀓󰀠it󰀠has󰀠to󰀠be󰀠genuine󰀬󰀠says󰀠Andy󰀠Payne󰀺󰀠 “It󰀠can’t󰀠be󰀠a󰀠bolt󰀭on󰀠any󰀠more󰀮󰀠It󰀠has󰀠to󰀠be󰀠something󰀠that󰀠 aligns󰀠with󰀠the󰀠brand’s󰀠purpose󰀠and󰀠what󰀠it’s󰀠doing󰀮”󰀠 Adrian󰀠Burton󰀠agrees󰀬󰀠and󰀠characterises󰀠this󰀠new󰀠 approach󰀠as󰀠not󰀠storytelling󰀠but󰀠‘storydoing’󰀮󰀠“Whatever󰀠 you stand󰀠for󰀠from󰀠an󰀠ethical󰀠perspective󰀬󰀠it’s󰀠about󰀠

DELIVERING MULTIPLE STORIES In󰀠this󰀠multi󰀭channel󰀬󰀠multi󰀭audience󰀠world󰀬󰀠perhaps󰀠the󰀠 most󰀠challenging󰀠stage󰀠of󰀠the󰀠branding󰀠process󰀠is󰀠the󰀠final󰀠 one󰀺󰀠delivery󰀮󰀠“You󰀠need󰀠to󰀠be󰀠able󰀠to󰀠maintain󰀠not󰀠one󰀬󰀠 but many󰀠stories󰀠in󰀠a󰀠coherent󰀠fashion󰀻󰀠to󰀠be󰀠able󰀠to󰀠talk󰀠 to a󰀠very󰀠diverse󰀠church󰀬”󰀠says󰀠Adrian󰀠Burton󰀮󰀠“Digital󰀠is󰀠 brilliant󰀠for󰀠this󰀠because󰀠you󰀠can󰀠maintain󰀠many󰀠different󰀠 conversations󰀠in󰀠parallel󰀮󰀠You󰀠can󰀠talk󰀠to󰀠youth󰀬󰀠you󰀠can󰀠talk󰀠

FIVE BIG BRANDING MISTAKES TO AVOID IN 2016

ESTABLISHED󰀠BRANDS󰀠CAN’T󰀠REST󰀠ON󰀠THEIR󰀠LAURELS󰀠󲀓󰀠TO󰀠EVOLVE󰀬󰀠 BRANDS󰀠HAVE󰀠TO󰀠CREATE󰀠AN󰀠HONEST󰀠CONNECTION󰀠WITH󰀠CUSTOMERS 󰀱󰀮 DEMOGRAPHICS NOT MINDSET

“A󰀠one󰀭size󰀭fis󰀭all󰀬󰀠global look󰀠means󰀠you’re󰀠no󰀠really󰀠undersanding󰀠

“You󰀠see󰀠brands󰀠isolaing󰀠groups󰀠of󰀠people󰀠based󰀠on󰀠a󰀠demographic󰀬󰀠

he people󰀠you’re󰀠alking󰀠o󰀠in󰀠hose󰀠counries󰀮”󰀠

whereas󰀠acually󰀠a󰀠huge󰀠breadh󰀠of󰀠people󰀠now󰀠buy󰀠producs󰀠based󰀠on󰀠 mindse󰀬󰀠cuting󰀠across󰀠all󰀠ha󰀬”󰀠says󰀠The󰀠Fuure󰀠Laboraory’s󰀠Kirsy󰀠Minns󰀮

󰀴󰀮 BLAND BRANDS

“There’s󰀠a󰀠lo󰀠more󰀠branding󰀠going󰀠on󰀠han󰀠here󰀠was󰀠perhaps󰀠five󰀠or󰀠en󰀠 󰀲󰀮 OVERUSE OF ‘HERITAGE’

years󰀠ago󰀬󰀠bu󰀠mos󰀠of󰀠i󰀠is󰀠very󰀠bland󰀠and󰀠uninspiring󰀬”󰀠says󰀠Suherland󰀮󰀠

Relying󰀠on󰀠a󰀠brand’s󰀠heriage󰀠is󰀠lazy󰀬󰀠says󰀠Minns󰀮󰀠“I’s󰀠beter󰀠o󰀠find󰀠

“When󰀠I’m󰀠judging󰀠design󰀠compeiions󰀬󰀠you󰀠do󰀠wonder󰀠why󰀠some󰀠projecs󰀠

somehing󰀠ha󰀠feels󰀠more󰀠ruhful󰀠and󰀠appropriae󰀮󰀠Being󰀠‘auhenic’󰀠isn’󰀠

have󰀠been󰀠enered󰀮”󰀠

an󰀠excuse󰀠for󰀠no󰀠having󰀠original󰀠ideas󰀮” 󰀵󰀮 COD PSYCHOLOGY 󰀳󰀮 GLOBAL BLINKERS

“One󰀠of󰀠he󰀠problems󰀠wih󰀠people󰀠alking󰀠abou󰀠branding󰀠is󰀠ha󰀠hey󰀠alk󰀠

“󰁛Despie󰀠branding󰀠being󰁝󰀠so󰀠inernaional󰀠hese󰀠days󰀬󰀠you󰀠always󰀠need󰀠o󰀠 be󰀠aware󰀠of󰀠local󰀠sensiiviies󰀬”󰀠explains󰀠Sudio󰀠Suherl&’s󰀠Jim󰀠Suherland󰀮󰀠

abou󰀠he󰀠wrong󰀠hings󰀬”󰀠says󰀠Suherland󰀮󰀠“Like󰀬󰀠‘We󰀠did󰀠i󰀠yellow󰀠because󰀠 i󰀠reflecs󰀠posiiviy󰀮’󰀠No󰀬󰀠i󰀠doesn’󰀮󰀠I’s󰀠yellow󰀮”

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INDUSTRY ISSUES

3 KEY REQUIREMENTS OF AN ETHICAL BRAND TODAY’S CONSUMERS WANT BRANDS WITH TODAY’S A REAL SOCIAL CONSCIENCE󰀮 BUILD IN THESE THREE CORE VALUES RIGHT FROM THE ST START ART

MAY 2016

finding a means󰀠to󰀠bringing󰀠it󰀠to󰀠lie󰀬”󰀠he󰀠says󰀮󰀠He󰀠cites󰀠 the󰀠example o Colgate’s󰀠recent󰀠campaign󰀠in󰀠Myanmar󰀬󰀠 which󰀠was󰀠masterminded󰀠by󰀠Red󰀠Fuse󰀠Communications󰀠 Hong󰀠Kong󰀠and󰀠Y&R󰀮󰀠“There󰀠was󰀠a󰀠knowledge󰀠gap󰀠in󰀠the󰀠 country󰀬󰀠so󰀠they󰀠used󰀠the󰀠inside󰀠o󰀠the󰀠toothpaste󰀠box󰀠to󰀠 educate󰀠people󰀠about󰀠the󰀠need󰀠or󰀠dental󰀠hygiene󰀬󰀠and󰀠 what󰀠dental󰀠health󰀠can󰀠mean󰀠or󰀠people󰀠in󰀠the󰀠long󰀠term󰀬”󰀠

󰀱󰀮 A POINT OF DIFFERENCE

“We’re living in a world of backlash culure where proes is rampan󰀬 from poliical rallies o social media sorms󰀬” says The Fuure Laboraory’s Kirsy Minns󰀮 “Los of consumers wan o ge heir voices heard󰀬 so ehical branding is all abou making an emoional connecion wih hose consumers 󲀓 bu firs you need o know wha he brand sands for󰀮 I’s abou having a poin of view and a poin of difference󰀮 The ehical dimension could be on a macro level󰀬 a really grand problem󰀬 bu equally i migh be somehing much smaller󰀮 󰁛Even small󰀬 specialised causes󰁝 can sill have quie a lo of racion󰀮” 󰀲󰀮 TO FEEL NATURAL

“Brands shouldn’ atach hemselves o a cause jus for he sake of i󰀬” cauions

he󰀠explains󰀮󰀠“They󰀠produced󰀠some󰀠big󰀬󰀠caricature󰀭based󰀠 open󰀠mouths󰀠that󰀠became󰀠teaching󰀠aids󰀠in󰀠schools󰀮󰀠 Any󰀠teacher󰀠could󰀠stand󰀠up󰀠and󰀠use󰀠them󰀠to󰀠educate󰀠 their󰀠students󰀮” The󰀠campaign󰀠highlights󰀠the󰀠way󰀠in󰀠which󰀠ethical󰀠 considerations󰀠are󰀠now󰀠being󰀠built󰀠right󰀠into󰀠the󰀠heart󰀠o󰀠 brands󰀮󰀠“󰁛An󰀠ethical󰀠dimension󰁝󰀠isn’t󰀠just a󰀠nice󰀠extra󰀻󰀠it’s󰀠 part󰀠o󰀠the󰀠business󰀠plan󰀬”󰀠says󰀠Burton󰀮󰀠“In this󰀠case󰀬󰀠the󰀠 more󰀠educated󰀠customers󰀠were󰀬󰀠the󰀠more󰀠aware󰀠󰁛o󰀠dental󰀠 health󰀠issues󰁝󰀠they󰀠were󰀠and󰀠the󰀠more󰀠likely󰀠they󰀠were󰀠to󰀠 buy󰀠the󰀠product󰀮󰀠You󰀠create󰀠this󰀠virtuous󰀠circle󰀠between󰀠 ethics󰀠and󰀠consumption󰀮”

Tara Lawall󰀬 creaive direcor of Droga󰀵󰀮 “I has o feel like hey have a righ o commen and feel rue o who hey are as a company󰀮” As an example of a naural

BRANDING FOR THE NEW WORLD

fi beween a brand and a social message󰀬 she cies Droga󰀵’s clien Honey Maid󰀬

The󰀠Colgate󰀠campaign󰀠is󰀠a󰀠good󰀠example󰀠o󰀠how󰀠the󰀠 modern󰀠branding󰀠process󰀠works󰀮󰀠Today󰀬󰀠the󰀠key󰀠tasks󰀠or󰀠 branding󰀠proessionals󰀠are󰀠to󰀠identiy󰀠a󰀠true󰀠point󰀠o󰀠 difference󰀠or󰀠a󰀠company󰀠󲀓󰀠one󰀠with󰀠emotional󰀠and󰀠ethical󰀠 dimensions󰀠that󰀠match󰀠both󰀠the󰀠consumers’󰀠and󰀠business’s󰀠 evolving󰀠needs󰀠󲀓󰀠and󰀠to󰀠execute󰀠the󰀠campaign󰀠in󰀠a󰀠way󰀠that󰀠 represents󰀠concrete󰀠‘storydoing’󰀠rather󰀠than󰀠storytelling󰀮󰀠 “The󰀠challenge󰀠in󰀠branding󰀠nowadays󰀠is󰀠to󰀠create󰀠 a much󰀠more󰀠rounded󰀠story󰀺󰀠to󰀠give󰀠the󰀠impression󰀠that󰀠 brands󰀠are󰀠living󰀬󰀠breathing󰀠entities󰀬”󰀠says󰀠Adrian󰀠Burton󰀮󰀠󰀠 And󰀠while󰀠consistency󰀠remains󰀠the󰀠oundation󰀠or󰀠 successul󰀠branding󰀬󰀠in󰀠a󰀠world󰀠governed󰀠by󰀠social󰀠media󰀬󰀠 in󰀠which󰀠companies󰀠need󰀠to󰀠maintain󰀠multiple󰀠conversations󰀠 with󰀠multiple󰀠audiences󰀬󰀠through󰀠multiple󰀠digital󰀠channels󰀬󰀠 consistency󰀠alone󰀠is󰀠not󰀠enough󰀮󰀠

feaured in he case sudy on page 󰀴󰀶󰀮 “Honey Maid has always provided wholesome snacks o wholesome families󰀬 so shining a spoligh on modern󰀬 diverse families fel like a naural place for us󰀮” 󰀳󰀮 TO BE FEARLESS

“You can’ be afraid of having an opinion or sanding for a cerain se of values󰀬” says Richard Beer of Don’ Panic London󰀬 whose ‘Everyhing is No Awesome’ campaign for Greenpeace forced Lego o end is relaionship wih Shell due o he later’s advocacy of Arcic drilling󰀮 “I hink ha’s one of he hings ha brands󰀬 and especially chariies󰀬 are having o come o erms wih󰀮 Greenpeace expecs ha a cerain proporion of people will hae i󰀬 because ha’s how i rolls󰀮 Bu even if you’re a ‘normal’ chariy wih a small budge󰀬 you can sill make a really big impac as long as you’re willing o ake risks󰀮” The ‘Everyhing is no Awesome’ campaign won Don’ Panic London a D&AD Whie Pencil and󰀬 says Beer󰀬 proved ha “you don’ need a lo of media buying 󲀓 you jus need o creae a message ha people wan o share󰀮 And doing ha requires you o be auhenic and have an opinion󰀮”

“The󰀠difficult󰀠thing󰀠or󰀠brands󰀠is󰀠just󰀠to󰀠maintain󰀠a󰀠 pace󰀠o󰀠change󰀬”󰀠says󰀠Burton󰀮󰀠“The󰀠conversation󰀠has󰀠shifed󰀠 rom󰀠consistency󰀠much󰀠more󰀠towards󰀠coherence󰀮”󰀠

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Submit your best branding to the Brand Impact Awards Entries are now open for Computer Arts’ international prize scheme celebrating creative excell excellence ence in branding design Categories span 23 market sectors, from artisan products to utilities   Judges include the co-founders of GBH and Turner Duckworth and commissioners for brands including Coca-Cola and Crabtree & Evelyn Past winners include johnson banks, The Partners and Sagmeister & Walsh

For a full list of categories and entry instructions: instruc tions:

www.brandimpactawards.com

 

YOUNG MASTER Fun, playful, yet fearless and experimental, Yomagick’s’s multidisciplinary creative output Yomagick displays wisdom beyond his years

Y O M AG I C K 

Yomagick is the creative alter ego of 󰀲󰀶󰀭year󰀭old Maciek Martyniuk󰀬 a multidisciplinary designer based in Dublin󰀬 who’s just begun his own freelance studio  practice󰀮 He studied studied visual communication des design ign at Dun Laoghaire Institute of Art󰀬 Design and Technology󰀮 www􀀮yomagick􀀮com

W OR D S:  Tom

Dennis PHOTOGRAPHY󰀺 Ste Murray www󰀮ste󰀮ie

 

MAY 2016

Lef󰀺 Poster print o Tokyo󰀬 rom the Nice Posters series Below󰀺 Yomagick’s omagick’s minimalist workspace􀀮 His

Akai MPC sampler 󰀨lef󰀩󰀬 is or making hip󰀭hop beats during breaks

H

e’s already the toast of the design scene and he’s only  just graduated. graduated. Yomagick’s assured multidisciplinary approach to art, design and life in general is  winning the young Dublin-based Dublin-based creative plaudits and clients alike. Otherwise known as Maciek Martyniuk, the Polish native moved to Ireland eight years ago to undertake a degree in Visual Communication Design at Dun Laoghaire Institute of Art, Design and Technology (IADT). His graduate showcase spilled over with digital app designs, video, animation, typography-driven poster work, pure form visual communication and even type design, earning him a first-class degree and the impetus to ditch the day job and start up his own studio.

“I󰀠HAVE󰀠ALWAYS󰀠HAD󰀠A󰀠CREATIVE󰀠 STATE󰀠OF󰀠MIND󰀮󰀠I󰀠HAD󰀠THIS󰀠THING󰀠IN󰀠 MY󰀠HEAD󰀠THAT󰀠WAS󰀠PUSHING󰀠ME󰀠TO󰀠 DO󰀠SOMETHING󰀠CREATIVE󰀠AND󰀠PLAY󰀠 WITH󰀠MY󰀠IMAGINATION”

them in my mind. I like to observe how everything works, basically. For example, when I was looking at plants, I knew that they came from seeds and would find it unbelievable that there was some force behind them; that things evolved from one shape to another. I had a lot of abstract questions and thoughts like this about nature, people’s people ’s behaviour and other things things.. I wish I had written w ritten them down.

One of the first magazines to introduce me to modern graphic design and digital design was Computer Arts. It was one of the few accessible publications around that covered contemporary design. I remember that it was really inspiring to me, because I realised that my hobby was not only fun but could one day become my profession. It sounds strange now, but at the time, it was an amazing amaz ing discovery that there were people who enjoy what they do in their day jobs. I still think of that even today – the feeling of loving your job, and being inspired to achieve [your creative goals] as a way of making a living for yourself.

 What were were yyou ou into into as a kid? How did  your creativi creativity ty begin to emerg emerge? e? I think I was just a regular regu lar kid, playing sports and doing art from time

How did you first get into design?  When did did yo you u realis realisee that it was something you could do yoursel󰁦? I think from a young age, many people create things without considering them to be design. In my case, I liked to draw letters and simple graphic

 What did you study study?? How did yo your ur

to time. But I always had a strong imagination. I always thought about strange things and I tried to visualise

forms. I also liked sculpting and painting. They were subjects I studied in primary and secondary school.

degree help shape you as a creative? I studied visual vi sual communication design. I enjoyed expanding my

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MAY 2016

The􀀠Nice􀀠Posters􀀠series􀀺􀀠an􀀠experimental􀀠uplifing􀀠poster􀀠series􀀠 eatured􀀠in ‘ The􀀠Next􀀠Big􀀠Thing’􀀠Issue􀀠o The􀀠Next􀀠Big􀀠Thing’􀀠Issue􀀠o Wallpaper*􀀠maga Wallpaper*􀀠magazine zine

Yomagick’s􀀠Y omagick’s􀀠Yikes􀀠typeace􀀠is􀀠inspired􀀠by􀀠sof󰀬􀀠riendly􀀠and􀀠geometric􀀠orms ikes􀀠typeace􀀠is􀀠inspired􀀠by􀀠sof󰀬􀀠riendly􀀠and􀀠geometric􀀠orms

 

Y O M A G I C K  

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IN CONVERSATION

A studio wall showing recent poster work󰀬 including a poster for Hidden Agenda club nights and personal experimental work featured in Creative Review

MAY 2016

For your final-year project, you created a design for a digital app. How did the idea come about? For my final project I came up with the concept of a social network that would allow its users to build a database of leisure walks. The aim a im was simple:

How would you describe your own design style? I was thinking about this recently.  At the mome moment nt I’m starting my own freelance studio, so I guess it’s crucial to know what kind of service I could provide and what elements of it would be unique and interesting to future clients. I think the most important aspect of what I’m trying to do is to create positive and playful designs that can be used by major global brands. I

 What would would yyour our iideal deal day day-to-day -to-day design practice look like? My ideal way of working would be to have a few projects going at the same time. That way one could inspire another – it could provide answers from the most unexpected situations. I think my favourite workflow is to have one big project – for example an identity system or branding – and then a few smaller projects, like poster-making. poster-making. This Thi s workflow worked quite well for me when I did the rebranding for Other  Voices,  Voi ces, a m music usic festival in Ireland that’s also televised as a series on Irish public TV stations. At the same time ti me I was working on smaller smal ler projects, like creating posters for different d ifferent events and producing Nice Posters, my personal series of designs. It’s really good to do large and small smal l projects simultaneously, because they both present different challenges and require different thought exercises.  With big ideas like new apps,

to find a solution that would turn the experience of a stroll into a mass-market product.

think there is also a bit of artistry in my projects, and a confidence in trying out new things.

identity systems and the like, the need comes first and then the idea follows. It requires more conceptual

knowledge of the history of design, and learning design practice in two different places – I spent the third year of my course in Stuttgart, which was a great opportunity to experience the graphic design process from a different perspective. I don’t necessarily necessarily th think ink my studies influenced my style that much, to be honest. I think the st yle of my design has developed more throughout my personal experiments. However, I definitely learned how to contextualise a project and I learned how to solve design problems. My studies have taught me how to use visual language to communicate an idea effectively.

The Stroll app is something that I would love to use, and I think many other people around the world would enjoy using it too. I think it would be great to be anywhere and be able to quickly find new and exciting places to wander around; not to be dependent on the obvious tourist attractions. Wherever I travel, I really like to get lost and find places simply by strolling around, trying different streets.

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MAY 2016

 

Y O M A G I C K  

Identity design or the Other Voices estival and TV series􀀮 One o the aims o the project was a redesign o the logo afer 󰀱󰀴 years􀀮 Other Voices is Ireland’s leading live music series󰀬 ocused mainly on alternative music rom Irish and international artists

The Stroll app is a graduation project and start󰀭up idea􀀮 i dea􀀮 It allows users to share󰀬 discover and explore interesting walking routes

Please Do Not Care is animated typography selected by Creative Review in 󰀲󰀰󰀱󰀵 󰀲󰀰 󰀱󰀵 to appear on more than 󰀱󰀬󰀰󰀰󰀰 JCDecaux digital advertising screens all over the UK󰀬 including at London's Victoria Station

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IN CONVERSATION

MAY 2016

A glimpse inside Yomagick’s shared Dublin studio space

EXPERT ADVICE

MASTER MANY ARTS The challenges posed by working across different media lead to unexpected new creative opportunities, argues Yomagick

I󰀠move󰀠around󰀠different󰀠media󰀮󰀠I󰀠think󰀠it’s󰀠great󰀠to󰀠 have󰀠a󰀠wide󰀠variety󰀠of󰀠experience󰀠in󰀠different󰀠styles󰀺󰀠 cross󰀭disciplinary󰀠practice󰀠can󰀠make󰀠󰁛your󰁝󰀠work󰀠really󰀠 unique󰀮󰀠At󰀠the󰀠moment󰀠I’m󰀠focusing󰀠on󰀠experimenting󰀠 and󰀠growing󰀠creatively􀀬󰀠so󰀠I’m󰀠planning󰀠to󰀠invest󰀠in󰀠a󰀠 proper󰀠computer󰀠to󰀠speed󰀠up󰀠my󰀠󰀳D󰀠renders󰀠so󰀠that󰀠I󰀠 can󰀠release󰀠more󰀠of󰀠my󰀠experimental󰀠󰀳D󰀠work󰀮 I’m also right in the middle o working on my new typeace󰀮 I think it's a great example o how cross󰀭 disciplinary practice can lead to creative innovation󰀮 It all started last year when I was experimenting with poster making󰀮 I was working on a series o posters called Nice Posters󰀬 which is an ongoing project󰀮 The style I was ascinated by was very sof and bubbly󰀬 but it was difficult to find a typeace that would

thinking. With smaller projects such as posters and illustrations, the focus is more on experimentation and looking for unique aesthetics and technical processes to create interesting forms that work as tools of communication.

How do you hope to develop your career in future? For now my aim is to find clients who can truly connect to my work – who would allow me to continue in the direction I am going right now. Ideally,

So what's on the horizon for you right now? I’ve recently decided to leave the full-time job at a creative agency where I worked for six months. I was doing that on top of my freelance work, but now I’ve decided to move full-time to the freelance world. I set up my own freelance studio in South Studios, Dublin, where I share space with a few other lads from [agency and e-zine] Le Cool. The plan is to contin continue ue freelancing in the next months to give myself freedom to select clients, and a little bit more time for my personal work, too. After

every project would be a natural progression of what I am passionate about. I am being conscious about my

that, I have my eye on a few studios around the world that I would like to get involved with.

 Y  You’ ou’ve ve been been attra attracting cting a lot o off attention since you graduated. How does it feel to get so much publicity? It’s been a great time for me. It’s great to be noticed, but I realise how much more work is in front of me to constantly develop my design with every project.

complement that particular visual language󰀮 Then it came to mind to design my own typeace󰀺 something very sof but also geometric and modern󰀮 The result is called Yikes󰀮 It was interesting to work on it and to move around these abstract areas in graphics to create something new and resh󰀮 The style o Yikes also applies to current trends in architecture and arts󰀮 I admire the work o Zaha Hadid and Jeff Koons and find their influence very inspiring󰀮

creative decisions, and want to find clients who will help me fully realise my potential. I’m always competing with myself and pushing myself to the limits of my creativity. Every project of mine has to be better then the last.

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SPECIAL REPORT

MAY 2016

AUTHOR N A T A L I E

C H U N G

Creative director at leading strategic creative and brand design agency Pearlfisher󰀬 Natalie Chung was foreman of the 󰀲󰀰󰀱󰀵 D&AD Awards Packaging Design Jury󰀮 www󰀮pearlfisher󰀮com

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The way we interact with brands is rapidly changing. As the role of packaging design evolves, Natalie Chung predicts which trends will make the biggest impact creatively, culturally and commercially

WORDS:

Natalie Chung M AIN IM AGE: 

Snask www󰀮snask󰀮com

oday’s world is all about making connections. Packaging design as an immediate and physical point of connection and a communicator of the big idea is more relevant than tha n ever, particularly now we have a greater abundance of choice – and competition competitio n – than ever before. Overall, the design industry is rising to the challenges presented by this new landscape. Brands are a re definitely bolder and more forceful about where they belong in the marketplace and in consumers’ lives. They want to speak directly d irectly to people to foster a closer and more emotional relationship, and when it comes to packaging design, there is a definite move towards more bold, diverse, single-minded and confident designs that better reflect and communicate the brand purpose and belief. Technology has been the biggest factor in changing the way we connect with brands and with each other, and brands across every sector have had to think thin k about how they can express the constant change cha nge that reflects the impact of technology on our

T

ways to bring together the digital and physical worlds. More than ever, these brands need to secure – across all channels – a strong and immersive presence that seamlessly optimises new, intuitive and desirable design, starting with identitycentric packaging design. The real value afforded to design is changing too. Figures released by the government earlier this year confirmed that design is the UK’s fastest growing creative c reative sector and worth £󰀳.󰀲 billion to the UK economyy annually. econom annua lly. The figures don’ don’tt split out the worth per sector of the industry, but should help us push for brand and packaging design to be viewed in the same context, and with the same relevance and influence on society as fashion design, architecture and product design. Design’s impact impact on cultural change is increasingly important. The best designers are able to take ta ke inspiration from the world around them, navigate and make sense of the white noise to create something truly clear, original and future-focused. Trends come and go in moments,

day-to-day lives. This change is probably most evident in retail, where we can see brands being pushed to find new, creative

but true cultural insight enables us to understand the future, and how consumer needs will change. As designers, we have

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the power to illustrate what that change will really rea lly mean and what it could look like for brands, products, services and society. So what does the future of packaging packagi ng design look like? Here are 󰀱󰀰 key shifts that show the evolving role of packaging – I believe these will make ma ke the most impact creatively,, cultu creatively culturally rally aand nd commercially.

 

INCREASED PERSONALISATION

 With society’s society’s increasing focus on lifestyle and making connections, we are seeing a huge shift in designing for the individual – but on a mass scale. Coca-Cola’s name labelling was w as a revelation, but consumers are already looking for ways to take the personalisation concept further. They are looking for new inspiration, new possibilities and new experiences to shape their own lives and, likewise, to interact with their chosen brands. For brands, engaging and collaborating with consumers in an increasingly equal relationship is the real challenge. However, it also presents an exciting new opportunity to create the future with – not just for – consumers, with a highly desirable, individual design and product experience, plus a strong designer’s aesthetic.

DECODING THE HACKING CULTURE  Across all brand sectors, sectors, scientific breakthroughs are being translated into normal and everyday understanding. More specifically, we are seeing nature and tech continuing to converge to offer sophisticated options we never thought possible. From the creation of running runni ng prostheses for amputees to the re-engineering of food sources, revolutionary revoluti onary innovation is set to rapidly change the way we live, function and interact with brands, products and services. Branding and design will be crucial in making these new offers and radical innovations tangible and desirable. For example, high-tech food

British󰀠design󰀠studio󰀠Horse󰀠created󰀠a󰀠unique󰀠packaging󰀠design󰀠for󰀠Tåpped󰀬󰀠 a traditional󰀠springtime󰀠drink󰀠in󰀠Finlan traditional󰀠springtime󰀠drink󰀠in󰀠Finland󰀮󰀠“T d󰀮󰀠“Tree󰀠water󰀠is󰀠a ree󰀠water󰀠is󰀠a new󰀠concept󰀠for󰀠the󰀠 UK󰀬”󰀠explains󰀠Ian Firth󰀬󰀠creative󰀠partner󰀠at󰀠Horse󰀮󰀠“Product󰀠communication󰀠 was paramount󰀬󰀠so󰀠we󰀠used󰀠the󰀠packaging󰀠structure󰀠to󰀠our󰀠advant paramount󰀬󰀠so󰀠we󰀠used󰀠the󰀠packaging󰀠structure󰀠to󰀠our󰀠advantage󰀮”󰀠 age󰀮”󰀠   The󰀠water󰀠is󰀠packaged󰀠in󰀠a cylindrical󰀠paperboard󰀠can󰀬󰀠designed󰀠to󰀠 resemble󰀠a󰀠birch󰀠tree󰀮󰀠The󰀠brand󰀠logotype󰀠nods󰀠to󰀠the󰀠water’s󰀠Nordic󰀠roots󰀬󰀠

startup Hampton H ampton Creek creat creates es imitation egg products (such as Just Mayo) by engineering new plant species to create healthier health ier foods

while󰀠the󰀠motif󰀠helps󰀠tell󰀠the󰀠story󰀠of󰀠how󰀠the󰀠sap󰀠travels󰀠up󰀠the󰀠tree󰀠by󰀠 doubling󰀠as󰀠an󰀠upwards󰀠pointing󰀠arrow󰀮󰀠The󰀠can󰀠is󰀠made󰀠from󰀠󰀷󰀵󰀠per󰀠cent󰀠 wood󰀬󰀠mostly󰀠from󰀠sustainably󰀠managed󰀠forests󰀬󰀠and󰀠is󰀠fully wood󰀬󰀠mostly󰀠from󰀠sustainably󰀠manag ed󰀠forests󰀬󰀠and󰀠is󰀠fully recyclable󰀮

 

TÅPPED BRAND IDENTITY BY HORSE www.horse-studio.com

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 W A G A M A M A BY PEARLFISHER  www.pearl󰁦isher.com

Pearlfisher reimagined he full Wagamama akeaway experience󰀬 beter connecing he cusomer experience a home o he exciemen󰀬 ase and aesheic value ha can be found in he Wagamama resaurans󰀮 The new srucural packaging has revoluionised everyhing from food preparaion and delivery o consumer experience in he home 󲀓 he choice and form of maerials m aerials conribue o a funcional new bowl sysem ha improves hea reenion󰀬 and maximises freshness and presenaion of every meal󰀮 The design ells he Wagamama sory and reflecs he care and consideraion ha goes ino every bowl of food󰀮 Human󰀭cenric󰀬 i creaes an inspiring and enriched oal brand experience󰀮

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that use less land and a nd water. The beauty of the packaging design is it clearly shows the natural prove provenance, nance, but also t he difference, of the offer with a bold, simple icon showing a plant within an egg. It’s a direct and pared-back approach, approach, but still utterly foodie.

 

NATURAL SHAPE-SHIFTING

New concepts of structure, coupled with innovations in materials and technologies, are shifting consumer perceptions perceptio ns of the physical form, steering new directions for brands and culture as as a whole as we inevitably move from the brand design we know today to the biomimicry of tomorrow.. New high-performance m tomorrow materials aterials like graphene, which is super-strong, conductivee and lightweight, will become the conductiv smart option and will signal the replacement of existing material materia l choices. Nanotech may mean we find ways to incorporate ‘live’ packaging options (particularly for food) that will sca le down as the product is consumed, and provide innovative ways for us to transport, store and reuse materials, Multi-faceted Multi-facet ed or more flexible str structures uctures and delivery methods such as drones will w ill become a reality or, at least, just one of a number of future considerations for packaging design that will need to work across multi-formats and multi-channels.

SCALING INNOVATION Brands still need to succeed within the mass market, but must increasingly address a moral, social, political and ethical agenda. Sustainability is paramount. Compressed aerosol formats have begun to address issues of portability and scaling, scali ng, but we are looking for less standardisation in materials and structure, and more focus on smart, sustainable design thinking. Brands should meet this new need through brand and packaging design, as it is challenging design that has the real potential to bring innovation to life. Coca-Cola’s 󰀲nd Lives caps kit, which was specifically designed for

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 A M A D O B Y A NA GR AM A www.anag rama.c om

Amado󰀠is󰀠a󰀠Mexican󰀠arisan󰀠bakery󰀠 specialising󰀠in󰀠ypical󰀠regional󰀠producs󰀠 characerised󰀠by󰀠flavour󰀬󰀠colour󰀠and󰀠exure󰀮󰀠 The󰀠packaging󰀠is󰀠no󰀠necessarily󰀠innovaive󰀠in󰀠 erms󰀠of󰀠srucure󰀬󰀠bu󰀠from󰀠a󰀠purely󰀠aesheic󰀠 poin󰀠of󰀠view󰀠i󰀠feels󰀠srikingly󰀠differen󰀮󰀠   By󰀠combining󰀠a󰀠vivid󰀠colour󰀠palete󰀠 wih sriking󰀠prining󰀠finishes󰀬󰀠Anagrama󰀠has󰀠 creaed󰀠a󰀠sophisicaed󰀠and󰀠conemporary󰀠 visual󰀠language󰀮󰀠I󰀠challenges󰀠and󰀠moves󰀠us󰀠 away󰀠from󰀠he󰀠radiional󰀠visual󰀠ideals󰀠 associaed󰀠wih󰀠bakeries󰀠󲀓󰀠earhy󰀬󰀠worhy󰀠and󰀠 rusic󰀠󲀓󰀠o󰀠give󰀠us󰀠a󰀠new󰀠and󰀠highly󰀠impacful󰀠 modern󰀠inerpreaion󰀠of󰀠boh󰀠he󰀠bakery’s󰀠 Mexican󰀠heriage󰀬󰀠and󰀠he󰀠colour󰀬󰀠flavour󰀠 and exure󰀠of󰀠is󰀠produce󰀮

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the Asian market, focuses on packaging structure, showing how plastic bottles can be transformed into useful items – from paintbrushes to pepper mills and a nd pencil sharpeners.

SHARING STORIES Brands need to refocus on how they create, share and help us experience their stories, making them relevant and original on both global and local levels. The UK’s Drygate craft brewery celebrated celebrate d its first anniversary w ith a small-batch birthday brew. The brewery believes in open, fearless brewing to achieve the exceptional, and a spirit of collaboration. The bold, unique labels, created by up-andcoming artists f rom the Glasgow School of  Art in Drygate’s own own community community,, are special and collectable in their own right r ight and give beer enthusiasts the opportunity to open, and own, an a n exclusive brew brew.. The most memorablee brand stories are those that memorabl develop an original narrative nar rative across everything they do, by engaging a new and distinctive visual and written story across all touchpoints touchpoin ts – ffrom rom location to packaging. In this way, the story is brought to life in a t ruly innovative and desirable way to create deep, lasting and emotionally resonant brand advocacy and connections.

EXPERIENCING THE MOMENT  We want our produ products cts to offer a new sense of discovery and meaning through a brand experience that can be revisited time and time again. Creating an experience and a dynamic dyna mic brand world within the brand architecture of the package itself – through the graphics, structure or copy – is more of a challenge, but this is where the true connection and brand buy-in lies. Think of the simplicity and fluidity of the Tŷ Nant water bottle, or the coloured punt in Absolut Mandrin, which wh ich added an unexpected and witty twist tw ist to the iconic  Absolut bottle bottle – and made its o orange range tang tangible. The drinks category has

BURGER KING PRO UD WHOPPE R BY DAVID MIAMI www.davidtheagency.com

Launched during San Francisco’s Pride Week last summer as part of Burger King’ss marketing campaign to connect with its consumers in a more meaningful King’ way󰀬 the multi󰀭award winning Proud Whopper shows just how influential and important packaging design has become󰀬 with the entire successful corporate social responsibility initiative based on the design idea󰀮 The rainbow󰀭coloured wrapper is as simple as it gets from f rom a packaging design point of view󰀮 It succeeds by focusing on a single󰀭minded and resonant design to communicate a simple message 󲀓 “W “ We are all the same on the inside” 󲀓 that is revealed when the wrapper is opened󰀮

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BENH AM’S G IN BY STRANGER & STRANGER  www.strangerandstranger.com

Sranger & Sranger needed o define a niche for Benham’s Gin󰀮 “I’s he real deal󰀬 so i should sand ou󰀬” says Sranger & Sranger founder Kevin Shaw󰀬 explaining ha he drink is made by a man called Benham󰀬 using local ingrediens󰀬 in a small village in Wes Sonoma󰀬 US󰀮 “Wes Sonoma is full of ariss and hippies making suff ou of oher suff󰀮 We hough we could creae an iconic botle from he seaglass on he Sonoma beaches and an iconic label ou of oher labels󰀮” He hinks designers generally don’ do enough research󰀮 “They end o jump on Macs and sar choosing fons󰀮 Look a wha’s ou here already󰀮 And hen do somehing differen󰀮”

 

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consistently pushed the boundaries here but, with an increasing desire for immersive brand experiences, all sectors will wil l need to find unexpected and inspiring ways to dial up experience within their packaging design.

CRAFT

 

Hand-rendering is still very popular, showing the human touch through hand-crafted typography and illustration. We may be living in the age of the 󰀳D printer, but old school craftsmanship craftsma nship is on the up, and traditi traditional onal aesthetics and printing processes are being used to disguise disgui se mass production. Big brands are beginning to think with a small brand mindset – a behavioural shift that is now becoming a key driver, largely due to consumer overload and scepticism. However, we now need to redefine and reinterpret what craft really means, and how it looks to a new and discerning audience. It’s not about trying to provide a stamp of authenticity by just adding a ‘craft’ or ‘handmade’ label, but instead about creating new brand and visual expressions to forge a new level of connection. Ultimately,, this will Ultimately w ill offer the essential difference that people are beginning to crave, which means new iterations iterations of craft will become even more desirable.

PREMIUMISATION

 

It’s not about just understanding what premiumisation is, with its many different guises and tactics, but what it really means for the individual brand. Premiumisation needs to be about using powerful creative thinking to identify and drive real difference, d ifference, reach a more diverse audience and create new occasions for the brand by building new expressions of desire. It comes down to adding value in the right way, and using design and creativity to drive difference, di fference, to create a future definition that is more than

The boutique treat market is a growing and potentially lucrative one󰀬 and the packaging o products like Dr󰀮Feelgood 󲀓 all󰀭natural󰀬 dairy󰀭ree popsicles with no refined sugar 󲀓 needs to appeal to multiple generations󰀮 “We “We wanted the ice pops to be bright and colourul󰀬 but not so kiddy that adults were turned away rom purchasing or themselves󰀬” explains Laura Feavearyear󰀬 creative director o Brand Wagon󰀮 “So we took themes rom old󰀭school travelling medicine and modern󰀬 sustainable ‘crafed’ elements and moulded them together to create

 just about territory or culture, a price po point int or copycat offer. Carlsberg’s limited edition Jacobsen Vintage trilogy isn’t about being

one stand󰀭out󰀬 un brand󰀮 We used 󰀱󰀰󰀰 per cent recyclable cardboard󰀬 which can be seen on the packaging designs󰀮 We figured i we we’re ’re going to claim the sustainable flag󰀬 we should show the materials we’re using󰀮”

DR F EEL GOOD BY BRAND WAGON www.brandwagon.co.nz

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MAY 2016

BAC AR DI BY HERE DESIGN www.heredesign.co.uk

Bacardi has moved rom a aded icon󰀬 living in a generic world󰀬 o a brand o ake noice o󰀮 The aller󰀬 slimmer botle shape immediaely creaes sand󰀭ou󰀬 and his 󲀓 coupled wih he laes hand󰀭drawn reincarnaion o he Bacardi ba󰀬 and design deails abou he making o he rum and is hisory 󲀓 enables he new botle design o ell he sory o Bacardi’s unique heriage and he maserul crafing ha goes ino is creaion󰀮 I is a compleely auhenic aesheic󰀬 rom botle o graphics o brand world󰀬 which capures he original and irresisible spiri o he brand󰀮

 

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‘probably the most expensive beer in the world’,, but about truly pushing the world’ boundaries of what we’ve come to expect from beer. It also challenges chal lenges the premium wine sector by showcasing Carlsberg’s Ca rlsberg’s innovation and brewing capabilities with a bottle and graphic design to match. Each label is designed by a famous Danish artist or designer. It beautifully evokes the brand’s story and heritage.

10 TIPS TI PS FOR CREATING REVOLUTIONARY PACKAGING 01

  I’s􀀠no􀀠abou􀀠rying􀀠o􀀠grab􀀠atenion􀀠wih􀀠louder􀀠messages􀀠promising􀀠more􀀠 and beter􀀮􀀠Designers􀀠need􀀠o􀀠cu􀀠hrough􀀠he􀀠crowd􀀠wih􀀠clean󰀬􀀠clear􀀠and􀀠concise􀀠 packaging􀀠communicaion􀀮

ONLINE/OFFLINE RETAIL DESIGN Brands need to further redefine their approach to match consumer motivation, motivatio n, and embrace a more distinct dis tinct split and design approach between online and offline purchases. By creating effective, desirable and inspirational design for impact both on-shelf on-shelf and online, brands will better connect with their consumers and, in turn, connect with a more modal way of shopping in the future. It’s about how, with the right approach to brand space and an appreciation of the roles of brand packaging and design, brands can reinforce their ownership of both t he aisles and the internet. Birds Eye’s packaging redesign set out to achieve exactly this, with a clean and more defined logo, centred on the pack, to help promote both shelf stand-out and digital interaction.

 

SUSTAINABILITY AND SECOND-USE PACKAGING

02 earless󰀬􀀠original󰀬􀀠diverse􀀠and􀀠deermined􀀠in􀀠your􀀠vision􀀮

  Know􀀠your􀀠own􀀠mind􀀠and􀀠know􀀠your􀀠brand􀀠󲀓􀀠rue􀀠creaiviy􀀠comes􀀠rom􀀠being􀀠

03 sraighorward􀀠and􀀠single󰀭minded􀀠is􀀠ofen􀀠󰀨surprisingly󰀩􀀠he􀀠mos􀀠desirable􀀮   We􀀠need􀀠o􀀠hink􀀠abou􀀠packaging􀀠design􀀠as􀀠he􀀠ar􀀠o􀀠desire󰀬􀀠and􀀠simple󰀬􀀠

04 o ohers􀀮􀀠Be􀀠bold􀀠and􀀠resolue􀀠in􀀠your􀀠design􀀠approach􀀮

  Don’􀀠be􀀠araid􀀠o􀀠disrup􀀠he􀀠norm􀀮􀀠Don’􀀠give􀀠in􀀠o􀀠he􀀠syle􀀠and􀀠expecaion􀀠

05

  The􀀠mos􀀠exciing􀀠packaging􀀠design􀀠finds􀀠new􀀠and􀀠creaive􀀠ways􀀠o􀀠deliver􀀠 somehing ha􀀠will􀀠exceed􀀠he􀀠expecaion􀀠o􀀠a􀀠unique􀀠experience􀀠ime􀀠and􀀠again􀀮

06 This􀀠should􀀠always􀀠be􀀠inegral􀀠o􀀠oday’s􀀠design􀀠hinking􀀠and􀀠no􀀠an􀀠add󰀭on􀀮

  Packaging􀀠is􀀠now􀀠responsible􀀠or􀀠icking􀀠los􀀠o􀀠boxes󰀺􀀠global󰀬􀀠ehical􀀠and􀀠susainable􀀮􀀠

07 alking􀀠poin􀀠or􀀠he􀀠wider􀀠world􀀮􀀠We􀀠need􀀠o􀀠design􀀠new􀀠and􀀠meaningul􀀠dialogues􀀮   Packaging􀀠needs􀀠o􀀠sar􀀠a􀀠conversaion􀀠on􀀠an􀀠inimae􀀠one󰀭on󰀭one􀀠level􀀠and􀀠as􀀠a􀀠

08 Le people􀀠inerpre􀀠he􀀠design􀀠or􀀠hemselves􀀠and􀀠fi􀀠i􀀠ino􀀠heir􀀠own􀀠liesyles􀀮􀀠   Find􀀠ways􀀠o􀀠creae􀀠some􀀠space􀀠raher􀀠han􀀠a􀀠oally􀀠finished􀀠package􀀠design􀀮􀀠

09 need􀀠o􀀠find􀀠inspiring􀀠ways􀀠o􀀠ruly􀀠apply􀀠his􀀠o􀀠packaging􀀠design􀀮

  Technology􀀠has􀀠creaed􀀠an􀀠age􀀠o􀀠more􀀠emoive􀀠and􀀠inuiive􀀠design󰀬􀀠and􀀠we􀀠now􀀠

10

 

We􀀠are􀀠change󰀭makers􀀮􀀠The􀀠bes􀀠packaging􀀠designs􀀠come􀀠rom􀀠undersanding􀀠 boh need􀀠and􀀠desire􀀠o􀀠creae􀀠exciing󰀬􀀠relevan􀀠and􀀠game󰀭changing􀀠soluions􀀮

Sustainability should now be an integral part of packaging design – not  just an afterthought or or add-on. Brands need to take bold steps to ensure highly impactful and inspiring inspiri ng executions that embrace ethical, educational and environmental considerations. consideratio ns. New effective, ad adaptable aptable solutions to meet future needs and desires have to be a priority. Importantly, sustainable design doesn’t have to look sustainable. Instead, our challenge is to express

aesthetics for both brands and consumers. This isn’t necessarily about creating future waste or yet more packaging to recycle, but clever,, susta clever sustainably inably holistic and second second-use -use solutions. We have already seen one or two great examples of second-life packaging coming through – such as Colgate’s educational posters for schools – but second

The way in which we consume and connect with brands is changing rapidly. rapidly. Packaging design needs to become more fluid, user-centred, empathetic and progressive. If we take t he big idea, combine it with a future focus, and use packaging design to make it real, we will w ill be able to meet these new cultural shifts in truly

sustainabil ity in a way that is truly desirable, sustainability enabling it to gain traction and allow a llow it to change perceptions around sustainable

life, and particularly second use packaging, is now a key area of sustainability that needs creative champions.

revolutionary and relevant ways. Ultimately revolutionary Ultimately,, this is how to create that all-important desire for brands now – and in the future. futu re.

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HOW TO SELL YOUR DESIGNS ONLINE Online marketplaces and print-on-demand services are a great way to earn extra cash from your graphic designs. Discover how to sell more successfully through sites like Etsy and Redbubble rom prints and phone cases F to T󰀭shirts and mugs󰀬 there’s a huge online market for design󰀭 led wares󰀬 and a growing choice of virtual marketplaces in which to set up shop󰀮 If you want to make money from creating and selling your own products󰀬 it’s important to make an informed decision about where to list them󰀮 Start󰀠with󰀠your󰀠target󰀠audience󰀠in󰀠 mind󰀮󰀠“Think󰀠about󰀠who󰀠your󰀠customer󰀠 is󰀬”󰀠says󰀠Susannah󰀠Bradley is󰀬”󰀠says󰀠 Susannah󰀠Bradley󰀬󰀠community󰀠 󰀬󰀠community󰀠 programmes󰀠manager󰀠at󰀠 programmes󰀠 manager󰀠at󰀠Etsy󰀮󰀠 Etsy󰀮󰀠“Knowing󰀠 “Knowing󰀠 what󰀠they󰀠like󰀠can󰀠guid what󰀠they󰀠 like󰀠can󰀠guide󰀠a󰀠lot󰀠of e󰀠a󰀠lot󰀠of󰀠decisions󰀠 󰀠decisions󰀠 when󰀠creating󰀠your󰀠online󰀠business󰀮”󰀠 So󰀠how󰀠do󰀠you󰀠ensure󰀠you’re󰀠selling󰀠 where󰀠potential󰀠customer where󰀠pot ential󰀠customers󰀠are󰀠looking s󰀠are󰀠looking?󰀠 ?󰀠 Many󰀠marketplaces󰀠claim Many󰀠marke tplaces󰀠claim󰀠impressive󰀠tr 󰀠impressive󰀠traffic󰀠 affic󰀠 statistics󰀠󰀨although󰀠some󰀬󰀠such󰀠 statistics󰀠󰀨althou gh󰀠some󰀬󰀠such󰀠as󰀠print as󰀠print󰀭on󰀭 󰀭on󰀭 demand󰀠sites󰀬󰀠tend󰀠to󰀠 demand󰀠sites󰀬󰀠 tend󰀠to󰀠keep󰀠these󰀠 keep󰀠these󰀠under󰀠 under󰀠

wraps󰀩󰀬󰀠but󰀠visitor󰀠hits󰀠won’t󰀠tell󰀠 wraps󰀩󰀬󰀠but󰀠visitor󰀠h its󰀠won’t󰀠tell󰀠you󰀠what’s󰀠 you󰀠what’s󰀠 actually󰀠making󰀠money󰀮󰀠 Look󰀠for󰀠products󰀠similar󰀠to󰀠the󰀠ones󰀠 you󰀠want󰀠to󰀠sell󰀠to󰀠find󰀠out󰀠what’s󰀠on󰀠offer󰀠 already󰀠and󰀠for󰀠how󰀠much󰀮󰀠Don’t󰀠just󰀠 look󰀠on󰀠the󰀠websites󰀠themselv look󰀠on󰀠the󰀠w ebsites󰀠themselves󰀠󲀓󰀠sear es󰀠󲀓󰀠search󰀠 ch󰀠 on󰀠social󰀠media󰀠to󰀠see󰀠what on󰀠social󰀠media󰀠 to󰀠see󰀠what󰀠people󰀠are󰀠 󰀠people󰀠are󰀠 buying󰀠and󰀠from󰀠where󰀮󰀠 buying󰀠and󰀠fr om󰀠where󰀮󰀠Hashtags󰀠like󰀠 Hashtags󰀠like󰀠 󰀣bought󰀠can󰀠be󰀠handy󰀠for󰀠this󰀮 It󰀠would󰀠make󰀠life󰀠easy󰀠if󰀠there󰀠 was󰀠one󰀠stand󰀭out󰀠site󰀠for󰀠each󰀠type󰀠 of󰀠merchandise󰀬󰀠󰀠such󰀠as󰀠a󰀠single󰀠top󰀠 such󰀠as󰀠a󰀠single󰀠top󰀠 marketplace󰀠for󰀠phone󰀠case marketplace󰀠 for󰀠phone󰀠cases󰀮󰀠In󰀠reality s󰀮󰀠In󰀠reality󰀬󰀠󰀬󰀠 you’d󰀠be󰀠hard󰀭pushed󰀠to you’d󰀠be󰀠har d󰀭pushed󰀠to󰀠find󰀠a󰀠piece 󰀠find󰀠a󰀠piece󰀠of󰀠 󰀠of󰀠 merchandise󰀠that󰀠isn’t󰀠available󰀠almost󰀠 everywhere󰀬󰀠so󰀠your󰀠decision󰀠needs󰀠to󰀠 be based󰀠on󰀠more󰀠subtle󰀠fact based󰀠on󰀠more󰀠subtle󰀠factors󰀮󰀠 ors󰀮󰀠 Take󰀠a󰀠look󰀠at󰀠other󰀠sellers󰀠with󰀠similar󰀠 products󰀠on󰀠offer󰀮󰀠 products󰀠on󰀠off er󰀮󰀠Does󰀠their󰀠aesthetic󰀠 Does󰀠their󰀠aesthetic󰀠 sit󰀠well󰀠with󰀠yours?󰀠How󰀠easy󰀠is󰀠it󰀠to󰀠see󰀠

and󰀠search󰀠for󰀠those󰀠pr and󰀠search󰀠 for󰀠those󰀠products?󰀠Does󰀠 oducts?󰀠Does󰀠the󰀠 the󰀠 marketplace󰀠have󰀠established󰀠keyword marketplace󰀠have󰀠establ ished󰀠keywords󰀠 s󰀠 or󰀠categories󰀠that󰀠will󰀠help or󰀠categories󰀠th at󰀠will󰀠help󰀠customers󰀠find󰀠 󰀠customers󰀠find󰀠 your󰀠listings?󰀠Are󰀠there󰀠any󰀠free󰀠features󰀠󲀓󰀠 such󰀠as󰀠Etsy’s󰀠Treasury󰀠lists󰀠󲀓󰀠that󰀠can󰀠help󰀠 you󰀠promote󰀠your󰀠wares? It’s󰀠also󰀠important󰀠to󰀠understand󰀠 that󰀠different󰀠marketplac that󰀠differen t󰀠marketplace󰀠sites󰀠work e󰀠sites󰀠work󰀠in󰀠 󰀠in󰀠 different󰀠ways󰀬󰀠giving󰀠y different󰀠w ays󰀬󰀠giving󰀠you󰀠more󰀠or󰀠 ou󰀠more󰀠or󰀠less󰀠 less󰀠 of󰀠a󰀠hand󰀠in󰀠the󰀠over of󰀠a󰀠hand󰀠in 󰀠the󰀠overall󰀠process󰀮󰀠Do all󰀠process󰀮󰀠Do󰀠you󰀠 󰀠you󰀠 want󰀠to󰀠make󰀠and󰀠sh want󰀠to󰀠ma ke󰀠and󰀠ship󰀠your󰀠own ip󰀠your󰀠own󰀠products󰀬󰀠 󰀠products󰀬󰀠 using󰀠a󰀠virtual󰀠shop󰀠front󰀠simp using󰀠a󰀠virtual󰀠sh op󰀠front󰀠simply󰀠for󰀠gre ly󰀠for󰀠greater󰀠 ater󰀠 exposure󰀬󰀠meaning󰀠you󰀠 exposure󰀬󰀠 meaning󰀠you󰀠take󰀠care󰀠 take󰀠care󰀠of󰀠 of󰀠 production󰀬󰀠presentation󰀠and󰀠shipping?󰀠 Or󰀠do󰀠you󰀠just󰀠want󰀠to󰀠create󰀠designs󰀠and󰀠 have󰀠someone󰀠else󰀠do󰀠the󰀠 have󰀠someone󰀠 else󰀠do󰀠the󰀠rest󰀬󰀠giving󰀠y rest󰀬󰀠giving󰀠you󰀠 ou󰀠 less󰀠responsibility󰀠but󰀠also󰀠less󰀠control󰀠 over󰀠the󰀠entire󰀠process? If󰀠you’rre󰀠making󰀠your󰀠own󰀠p e󰀠making󰀠your󰀠own󰀠products󰀬󰀠 roducts󰀬󰀠 look󰀠to󰀠sites󰀠like󰀠Etsy󰀠and󰀠Folksy󰀮󰀠These󰀠act󰀠

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TIPS TO BOOST SALES Susannah Bradley􀀬 communiy programmes manager a Esy􀀬 shares her ips for selling merchandise online GET PRODUCT PHOTOGRAPHY RIGHT

Images󰀠are󰀠really󰀠imporan󰀠when󰀠selling󰀠on󰀠Esy󰀠󲀓󰀠or󰀠 anywhere󰀠else󰀠online󰀮󰀠I’s󰀠he󰀠only󰀠way󰀠your󰀠cusomers󰀠 are󰀠able󰀠o󰀠see󰀠wha󰀠you’re󰀠selling󰀬󰀠so󰀠make󰀠sure󰀠your󰀠 phoos󰀠are󰀠clear󰀬󰀠well󰀭li󰀠and󰀠appealing󰀮󰀠In󰀠paricular󰀬󰀠 make󰀠sure󰀠your󰀠backgrounds󰀠are󰀠plain󰀠and󰀠neural󰀠󲀓󰀠keep󰀠 he󰀠focus󰀠on󰀠your󰀠producs󰀮 USE SEARCH TERMS IN PRODUCT TITLES

as󰀠virtual󰀠retail󰀠spaces󰀬󰀠so󰀠y as󰀠virtual󰀠re tail󰀠spaces󰀬󰀠so󰀠you󰀠can󰀠move󰀠 ou󰀠can󰀠move󰀠 in󰀬󰀠open󰀠a󰀠shop󰀠and󰀠sell󰀠your󰀠own󰀠wares󰀮󰀠 In󰀠contrast󰀬󰀠print󰀭on󰀭demand In󰀠contrast󰀬󰀠pr int󰀭on󰀭demand󰀠sites󰀠like󰀠 󰀠sites󰀠like󰀠 Zazzle󰀬󰀠Redbubble󰀠and󰀠Society󰀶󰀠will󰀠 apply󰀠your󰀠designs󰀠to󰀠a󰀠wide󰀠range󰀠o󰀠 products󰀠󰀨though󰀠it’s󰀠worth󰀠noting󰀠that󰀠 you󰀠keep󰀠your󰀠copyright󰀩󰀬󰀠which󰀠means󰀠 you󰀠can󰀠potentially󰀠sell󰀠 you󰀠can󰀠pot entially󰀠sell󰀠a󰀠much󰀠gr a󰀠much󰀠greater󰀠 eater󰀠 variety󰀠o󰀠merchandise󰀮󰀠

BOUF󰀠membership󰀠starts󰀠rom󰀠󰂣󰀹󰀮󰀹󰀹󰀠 a󰀠month󰀬󰀠and󰀠notonthehighstreet󰀮com󰀠 charges󰀠sellers󰀠a󰀠one󰀭off󰀠joining󰀠ee󰀠o󰀠 󰂣󰀱󰀹󰀹󰀮󰀠Don’t󰀠be󰀠disc 󰂣󰀱󰀹󰀹 󰀮󰀠Don’t󰀠be󰀠discouraged󰀠aut ouraged󰀠automatically󰀠 omatically󰀠 i󰀠there’ss󰀠an󰀠initial󰀠charge󰀠or󰀠 󰀠an󰀠initial󰀠charge󰀠or󰀠membership󰀠 membership󰀠 󲀓󰀠it’s󰀠important󰀠to󰀠weigh󰀠this󰀠against󰀠any󰀠 other󰀠charges󰀠you󰀠may󰀠incur󰀠󰀨such󰀠as󰀠 listing󰀠ees󰀠and󰀠sales󰀠commission listing󰀠ees󰀠a nd󰀠sales󰀠commission󰀩󰀬󰀠and󰀠to󰀠 󰀩󰀬󰀠and󰀠to󰀠 consider󰀠how󰀠many󰀠items󰀠 consider󰀠how󰀠 many󰀠items󰀠you’ll󰀠need󰀠 you’ll󰀠need󰀠to󰀠 to󰀠 sell󰀠beore󰀠you󰀠start󰀠to󰀠 sell󰀠beore 󰀠you󰀠start󰀠to󰀠make󰀠a󰀠p make󰀠a󰀠profit󰀮󰀠 rofit󰀮󰀠 UNDERSTANDING SALES FEES Listing󰀠ees󰀠tend󰀠to󰀠be󰀠low󰀮󰀠Etsy󰀠is󰀠 ree to󰀠join󰀠with󰀠a to󰀠join󰀠with󰀠a󰀠charge󰀠o 󰀠charge󰀠o󰀠󰀱󰀴p󰀠per󰀠lis 󰀠󰀱󰀴p󰀠per󰀠listing󰀮󰀠 ting󰀮󰀠 Then󰀠there’ss󰀠the󰀠question󰀠o󰀠ees󰀬󰀠which󰀠 󰀠the󰀠question󰀠o󰀠ees󰀬󰀠which󰀠 I you’re󰀠a󰀠Basic󰀠󰀨ree󰀩󰀠member󰀠o󰀠Folksy󰀬󰀠 is󰀠likely󰀠to󰀠be󰀠one󰀠 is󰀠likely󰀠 to󰀠be󰀠one󰀠o󰀠the󰀠biggest󰀠dec o󰀠the󰀠biggest󰀠deciding󰀠 iding󰀠 listings󰀠cost󰀠󰀱󰀵p󰀠plus󰀠VAT󰀬󰀠so󰀠you’d󰀠need󰀠 actors󰀮󰀠How󰀠much󰀠will󰀠it󰀠cost actors󰀮󰀠How󰀠much 󰀠will󰀠it󰀠cost󰀠to󰀠open󰀠a󰀠 󰀠to󰀠open󰀠a󰀠 to󰀠sell󰀠around󰀠󰀲󰀰󰀠ite ound󰀠󰀲󰀰󰀠items󰀠a󰀠month󰀠t ms󰀠a󰀠month󰀠to󰀠justiy󰀠 o󰀠justiy󰀠 shop󰀠and󰀠sell󰀠your󰀠wares?󰀠Working󰀠this󰀠out󰀠 to󰀠sell󰀠ar upgrading󰀠to󰀠the󰀠󰂣󰀴󰀵󰀭a󰀭year󰀠Plus󰀠option󰀮󰀠 isn’t󰀠always󰀠straightorward󰀬󰀠as󰀠different󰀠 sites󰀠charge󰀠differen sites󰀠charg e󰀠different󰀠types󰀠o󰀠 t󰀠types󰀠o󰀠ees󰀬󰀠but󰀠the󰀠 ees󰀬󰀠but󰀠the󰀠 Notonthehighstreet󰀮com󰀠allows󰀠unlimited󰀠 ree󰀠listings󰀠once󰀠you’ ree󰀠listings󰀠onc e󰀠you’vve󰀠paid󰀠the󰀠joining󰀠 e󰀠paid󰀠the󰀠joining󰀠 first󰀠thing󰀠to󰀠consider󰀠is󰀠 first󰀠thing󰀠to 󰀠consider󰀠is󰀠whether󰀠there whether󰀠there’s󰀠a󰀠 ’s󰀠a󰀠 ee󰀮󰀠It󰀠also󰀠takes󰀠a󰀠c 󰀠takes󰀠a󰀠comparatively󰀠l omparatively󰀠large󰀠cut󰀠 arge󰀠cut󰀠 charge󰀠or󰀠joining󰀮󰀠Can󰀠y charge󰀠 or󰀠joining󰀮󰀠Can󰀠you󰀠open󰀠a󰀠sh ou󰀠open󰀠a󰀠shop󰀠or󰀠 op󰀠or󰀠 ee󰀮󰀠It󰀠also ree󰀠or󰀠do󰀠you󰀠have󰀠to󰀠pay󰀠a󰀠ee󰀠󲀓󰀠probably󰀠 󰀨󰀲󰀵󰀠per󰀠cent󰀠o󰀠sales󰀬󰀠compared󰀠to󰀠Etsy’s󰀠 󰀳󰀮󰀵󰀠per󰀠cent󰀩󰀬󰀠but󰀠ite 󰀳󰀮󰀵󰀠per󰀠cen t󰀩󰀬󰀠but󰀠items󰀠ofen󰀠sel ms󰀠ofen󰀠sell󰀠at󰀠prices󰀠 l󰀠at󰀠prices󰀠 non󰀭reundable󰀠󲀓󰀠up󰀠ront? that󰀠are󰀠closer󰀠to󰀠high loser󰀠to󰀠high󰀭street󰀠retail󰀮 󰀭street󰀠retail󰀮 Joining󰀠ees󰀠can󰀠be󰀠a󰀠one󰀭off󰀠payment󰀬󰀠 that󰀠are󰀠c Print󰀭on󰀭demand󰀠sites󰀠don Print󰀭on󰀭dem and󰀠sites󰀠don’t󰀠charge󰀠or󰀠 ’t󰀠charge󰀠or󰀠 or󰀠they󰀠can󰀠be󰀠monthly󰀠or󰀠yearly󰀮󰀠For󰀠 listings󰀬󰀠but󰀠will󰀠deduct󰀠a󰀠standar listings󰀬󰀠but󰀠will󰀠 deduct󰀠a󰀠standard󰀠charge󰀠 d󰀠charge󰀠 example󰀬󰀠Folksy󰀠Plus󰀠costs󰀠󰂣󰀴󰀵󰀠a󰀠year󰀬󰀠

On󰀠Esy󰀬󰀠you󰀠need󰀠o󰀠provide󰀠each󰀠lising󰀠wih󰀠a󰀠ile󰀮󰀠 This󰀠is󰀠a󰀠grea󰀠place󰀠o󰀠add󰀠keywords󰀠and󰀠search󰀠erms󰀠 ha󰀠your󰀠buyers󰀠will󰀠use󰀠o󰀠find󰀠your󰀠iem󰀮󰀠Some󰀠sellers󰀠 misake󰀠his󰀠as󰀠a󰀠place󰀠o󰀠ile󰀠a󰀠work󰀠wih󰀠a󰀠collecion󰀠 or󰀠iem󰀠name󰀠󲀓󰀠for or󰀠iem󰀠 name󰀠󲀓󰀠for󰀠example󰀬󰀠 󰀠example󰀬󰀠calling󰀠a󰀠handbag󰀠 calling󰀠a󰀠handbag󰀠‘he󰀠Julia’󰀠 ‘he󰀠Julia’󰀠 and󰀠leaving󰀠ou󰀠imporan󰀠 and󰀠leaving󰀠o u󰀠imporan󰀠words󰀠 words󰀠ha󰀠help󰀠s ha󰀠help󰀠search󰀠engines󰀠 earch󰀠engines󰀠 recognise󰀠he󰀠iem󰀬󰀠such󰀠as󰀠syle󰀬󰀠colour󰀬󰀠maerial󰀠and󰀠 manufacuring󰀠mehod󰀮󰀠When󰀠wriing󰀠 manufacuring󰀠mehod󰀮 󰀠When󰀠wriing󰀠your󰀠i your󰀠ile󰀬󰀠be󰀠sur le󰀬󰀠be󰀠sure󰀠 e󰀠 o󰀠include󰀠descripive󰀠words󰀠ha󰀠your󰀠cusomers󰀠will󰀠use󰀮 EXPERIMENT TO SEE WHAT SELLS

Somehing󰀠successful󰀠sellers󰀠do󰀠is󰀠focus󰀠on󰀠heir󰀠 businesses󰀮󰀠They󰀠are󰀠co businesses󰀮󰀠The y󰀠are󰀠consanly󰀠e nsanly󰀠experimening󰀠and󰀠 xperimening󰀠and󰀠 figuring󰀠ou󰀠wha󰀠works figuring󰀠ou󰀠wha 󰀠works󰀠for󰀠hem󰀮 󰀠for󰀠hem󰀮󰀠This󰀠includes 󰀠This󰀠includes󰀠rying󰀠 󰀠rying󰀠 ou󰀠new󰀠producs󰀬󰀠as󰀠well󰀠as󰀠new󰀠phoos󰀠and󰀠new󰀠ways󰀠 o󰀠describe󰀠heir󰀠iems󰀮󰀠They󰀠also󰀠keep󰀠an󰀠eye󰀠on󰀠he󰀠 resuls󰀮󰀠Wha󰀠worked󰀠his󰀠year󰀠may󰀠no󰀠work󰀠nex󰀠year󰀬󰀠 and󰀠seasonaliy󰀠and󰀠larger and󰀠seasonaliy 󰀠and󰀠larger󰀠rends󰀠can󰀠 󰀠rends󰀠can󰀠play󰀠a󰀠b play󰀠a󰀠big󰀠par󰀠in󰀠 ig󰀠par󰀠in󰀠 how󰀠well󰀠a󰀠shop󰀠does󰀬󰀠so󰀠never󰀠sop󰀠experimening󰀮 SET TARGETS FOR IMPROVEMENT

I’s󰀠good󰀠o󰀠se󰀠small󰀠goals󰀠over󰀠he󰀠course󰀠of󰀠a󰀠week󰀮󰀠 For󰀠example󰀬󰀠you󰀠could󰀠sar󰀠by󰀠opening󰀠your󰀠shop󰀠wih󰀠 one󰀠iem󰀠and󰀠hen󰀠add󰀠anoher󰀠iem󰀠each󰀠week󰀮󰀠I’s󰀠also󰀠 worh󰀠signing󰀠up󰀠for󰀠he󰀠Esy󰀠Success󰀠UK󰀠newsleter󰀠a󰀠 www󰀮esy󰀮com/uk/mailinglis󰀬󰀠which󰀠provides󰀠ips󰀠from󰀠 op󰀠sellers󰀠on󰀠he󰀠sie󰀮

COMPUTERARTS󰀮CREATIVEBLOQ󰀮COM 󰀭 71  󰀭

 

NEED TO KNOW

MAY 2016

AT A GlNCE: SALES FEES Compare membership and commission fees for the leading virtual shopfron shopfronts ts and print󰀭on󰀭demand services for designers VIRTUAL SHOPFRONTS Etsy 󰀭 www󰀮etsy󰀮com Membership󰀺󰀠Free Listings󰀺󰀠󰂣󰀰󰀮󰀱󰀴󰀠per󰀠item Commission󰀺 󰀳󰀮󰀵󰀠per󰀠cent Folksy 󰀭 www󰀮folksy󰀮com Membership󰀺󰀠Free󰀠󰀨Basic󰀩󰀠or󰀠󰂣󰀴󰀵󰀠a󰀠year󰀠󰀨Plus󰀩 Listings󰀺󰀠󰂣󰀰󰀮󰀱󰀵󰀠plus󰀠VAT󰀠󰀨Basic󰀩󰀠or󰀠free󰀠󰀨Plus󰀩 Commission󰀺 󰀶󰀠per󰀠cent󰀬󰀠plus󰀠VAT󰀠

“DON’T JUST DO PRODUCT RESEARCH ON ONLINE MARKETPLACES: MARKETPLACES: SEARCH ON SOCIAL MEDIA TO SEE WHAT PEOPLE ARE BUYING” 󰀨se for each individual produc such as T󰀭shirs or sickers󰀩 o cover hings like manufacuring and shipping󰀮 Read any erms and condiions carefully because here may be oher charges involved oo󰀬 such as paymen processing fees󰀬 which are applicable if you sell using Esy’s Direc Checkou feaure󰀬 and currency conversion charges󰀮 Wach ou for refund charges oo 󲀓 for example󰀬 if a cusomer reurns a produc o noonhehighsree󰀮com󰀬 noonhehighsree 󰀮com󰀬 he sie keeps 󰀲󰀮󰀵 per cen of he amoun refunded󰀮 Then here’s he quesion of when you’ll receive your money󰀮 Will you be paid insanly when an iem sells󰀬 or as par of a monhly pay run? If here’s a se pay day󰀬 is here a minimum earning hreshold or will you ge whaever you’ve earned󰀬 no mater how much? Sellers on Esy or Folksy are paid direcly by buyers󰀬 whereas Sociey󰀶 and Redbubble pay once a monh 󲀓 and while Sociey󰀶 has no minimum󰀬 you’ll need o earn 󰂣󰀱󰀳 from Redbubble o be eligible for paymen via PayPal󰀮

I’s also worh exploring wha promoional opions each sie offers󰀬 and wheher hey migh be a good way o boos your exposure󰀮 Mos markeplaces highligh a selecion of producs on blogs and social media each day󰀬 bu wha oher opporuniies are here? For example󰀬 Sociey󰀶 members can submi designs o zines and calendars󰀬 while Esy and noonhehighsree󰀮com boh offer wedding regisry services󰀬 providing exra opporuniies if you have somehing relevan o promoe󰀮 Look a he communiy suppor offered o sellers󰀬 oo󰀬 hrough online forums or real󰀭life evens󰀮 Susannah Bradley noes ha Esy has a very acive and supporive seller communiy󰀮 “We’ve go many groups of local sellers all over he UK ha hos heir own meeings and workshops󰀬” she says󰀮 Her advice o prospecive sellers? “Jus give i a go!” Next month󰀺 Discover how to make your work stand out at a graduate showcase󰀮

notonthehighstreet󰀮com 󰀭 www󰀮notonthehighstreet󰀮com Membership󰀺 󰂣󰀱󰀹󰀹󰀬󰀠subject󰀠to󰀠application󰀠process Listings󰀺󰀠Free Commission󰀺󰀠󰀲󰀵󰀠per󰀠cent󰀠 BOUF 󰀭 www󰀮bouf󰀮com Membership󰀺 󰂣󰀹󰀮󰀹󰀹󰀠󰀨Solo󰀩󰀬󰀠󰂣󰀱󰀹󰀮󰀹󰀹󰀠󰀨Pro󰀩󰀠or󰀠󰂣󰀴󰀹󰀮󰀹󰀹󰀠 󰀨Enterprise󰀩󰀠a󰀠month Listings󰀺 Free Commission󰀺󰀠󰀳󰀰󰀠per󰀠cent󰀠󰀨Solo󰀩󰀬󰀠󰀲󰀵󰀠per󰀠cent󰀠󰀨Pro󰀩󰀠 or󰀠󰀲󰀰󰀠per󰀠cent󰀠󰀨Enterprise󰀩

PRINT󰀭ON󰀭DEMAND SERVICES Zazzle 󰀭 www󰀮zazzle󰀮co󰀮uk Membership󰀺 Free Listings󰀺󰀠Free Commission󰀺 Base󰀠price󰀠set󰀠by󰀠item󰀠󲀓󰀠you󰀠choose󰀠 your󰀠profit󰀠margin Redbubble 󰀭 www󰀮redbubble󰀮com Membership󰀺 Free Listings󰀺 Free Commission󰀺 Base󰀠price󰀠set󰀠by󰀠item󰀠󲀓󰀠you󰀠choose󰀠 your󰀠profit󰀠margin Society󰀶 󰀭 www󰀮society󰀶󰀮com Membership󰀺 Free Listings󰀺󰀠Free Commission󰀺 Base󰀠price󰀠set󰀠by󰀠item󰀠󲀓󰀠you󰀠choose󰀠your󰀠 profit󰀠margin󰀠󰀨for󰀠prints󰀺󰀠fixed󰀠fees󰀠for󰀠other󰀠products󰀩

Remember that other fees may apply 󰀨for PayPal  processing or currency con conversion󰀬 version󰀬 for example󰀩󰀬 so always read the small print before signing up󰀮

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  I N T R O  PROJECTS

MAY 2016

Computer Arts goes behind the scenes with world-leading designers designe rs as they reveal their  working  wor king processes… processes…

VIDEO INSIGHT

YOUR COMFORT COMFORT ZONE Z ONE HOW TTOO LE AVE YOUR In the latest of our interviews with agencies featured in our UK Studio Rankings, NB explain explainss how it creates cutting-edge work by embracing ‘creative courage’ 󰀷󰀶

FORT POINT BEER COMPANY: DESIGNING DESIGNI NG A CRAF T BEER CHARMER

RAY-BAN: BRINGING BRINGI NG CREATIVITY INTO FOCUS

IN-GAME STREET ART: TOM CLANCY’S THE DIVISION

How Manual created a quirky brand identity for the San Francisco microbrewery that references local landmark landmarkss 󰀸󰀲

How designer Nicolas Ménard created a colourful 󰀳󰀰-second animation to promote the launch of Ray-Ban’s SoHo store 󰀸󰀹

How Ubisoft Massive partnered with Monorex and its roster of artists to take in-game urban realism to a new level 󰀹󰀲

C O MP UT ER A R T S 󰀮C R EA T IV EB L O Q 󰀮C O M 󰀭   75  󰀭

 

PROJECTS

MAY 2016

VIDEO INSIGHT

LEAVE AVE HOW TO LE YOUR COMFORT ZONE Z ONE Driven by its mantra of ‘creative courage’, London-based branding and communication studio NB is known for its combination of brave decision-making and beautiful design

NB STUDIO

NB is an award󰀭winning branding and communication studio based in London󰀬 with a reputation for wit and stunning design work underpinned by sharp insight󰀮 Launched in 󰀱󰀹󰀹󰀷 by co󰀭founders Alan Dye a nd Nick Finney󰀬 the studio took 󰀱󰀱th place in our 󰀲󰀰󰀱󰀵 UK Studio Rankings󰀮

S 

omething quite unexpected happened during Cape Town’s annual creative conference, Design Indaba, this spring. After a mid-morning break, the 󰀱,󰀵󰀰󰀰-strong audience took to their seats to  watch Nick Nick Finney and Alan Dye, co-founders of London-based design studio NB, talk through their  work – and found themselv themselves es thrust into something else entirely: a play. A revolving floor transformed the stage into different environments, while two actors brought the script to life with some clever props and swift costume changes. Entitled ‘Turntables’, the performance didn’t just paint a rich picture of the relationship between designers and their clients during t he delicate pitch process – it also perfectly illustrated i llustrated NB’s mantra: creative courage. Finney and Dye had never written a play before, and they weren’t sure how it would be received by the international audience of designers and creatives. (They earned a rousing round of applause.) The concept of creative courage shapes everything the 󰀱󰀲-person studio does, from its award-winning branding and communications work to its client relationships. We caught up with Finney and Dye, brand strategist Dan Radley, strategist and account manager Tom Moloney, senior designer Jamie Breach and designer Sam Pittman in NB’s Southwark-based studio to find out more. You can see the full video interviews on our YouTube channel or play them from the digital edition. How does creative courage inform your work at NB? Nick Finney: Creative courage is a call to arms: it’s about us working smarter, s marter, braver, faster, harder, better and being bolder with the decisions we make.  Alan Dye: It makes us question ourselves and keeps us pushing forward. It could be anything to do with w ith the

launch of a new identity to general, day-to-day stuff. It makes us put on talks and events at NB. We like to keep changing. We don’t want to stay in one place.

It’s all very well having brave ideas, but how do you persuade clients to take risks with you?  AD: If we’re on a pitch, we talk about how we work, we mention creative courage and we show relevant jobs. If the client wants to be part of t hat, that’s great: you know you’re going to be working with them for a longer period of time. If they don’t want to buy into it, we probably don’t really want to work with them, because we’re going to end up with a poorer result.  What inspired inspired yo you u to write a play ffor or Desi Design gn Indaba? NF: The play came about as a response to the founder, Ravi [Naidoo], laying down the gauntlet to us. He wants a festival of excellence. We were talking about our A lmeida Theatre work and jokingly he said, ‘Well, why don’t you do Graphic Design: The Opera?’ We said, ‘Yes, okay’ – and then we realised we couldn’t do an opera because b ecause we’d have to take musicia ns from London to Cape Town.  AD: It’s a 󰀴󰀰-minute play about the pitch process, and how relationships happen between the client and the designer – it’s about that dance [you perform in order to create] your best work.  We’d never never written a play or wor worked ked with actors actors or playwrights before. We didn’t actually see the final product until we sat in t he audience at Design Indaba.  We had a rotating stage, five tables and things coming down from the ceiling, light changes, costume changes. It’s not just graphic design – we’ve gone way past our comfort zone and produced something much better. NB often collaborates with design icon Michael Wolff. How did your relationship come about?  AD: We were were about six or so yyears ears out of of Pentagram [where Finney and Dye met]. Pentagram’s quite an insular place and we didn’t really have any contacts – we just did what we did – but a few of our peers at the time, like GBH, had a lot of friends fr iends from where they had worked in the past. So Nick wrote a random letter to Michael Wolff, and he popped up in our studio one day. NF: Michael was this wonderful, warm, friendly fr iendly human being and we hit it off. He then put us in two pitches,

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  V I D E O I N S I G H T : N B 

VIDEO C ONTE NT WATCH WATCH THE VI DEOS AT bit.ly/ca252-nb OR INSIDE OUR DIGITAL EDITION󰀺 SEE PAGE 󰀴󰀰

Watch the videos on our YouTube channel: www.bit.ly/ca252-nb

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both of which we won – one was Mothercare, and the other was for INSEAD, the global business school – and the story went on from t here.  Where does creative courage ccome ome into into brand strategy at NB? Dan Radley: In the first inst ance, having the creative courage to challenge some of the client’s assumptions and to be the customer. But also, once we’ve found a really tight strategy, our  job is often holding o onto nto that line of argument all the way through what can be quite a long process – it can be months, or even years sometimes. It’s about bringing everybody back to a really powerful idea. In terms of brand strategy, what do you think are your biggest daily challenges? Tom Moloney: We Moloney: We have to know about audiences. audiences. [We have to know] the market for the product, brand or service, so we can put a structure around it. But, equally, the process is sometimes best informed by a feeling that you have, or something someone’s just said off the cuff. One of the most challenging things about the role is to become the customer. The phone will ring r ing and you have about 󰀱󰀰 seconds to just be a consumer – what’s my opinion or my perception of that brand? After that point, you start to become tainted with the facts a nd all the baggage. You have have to get the thinking thinki ng down really quickly; then it’s about using empathy to make sure you’re not closing your mind to a solution because it doesn’t feel right. DR: The danger is that you can drown in information. The skill is to take everyt hing on board, but boil it d down own to something really, really simple that forms the brief for the designers. Something really small can inform i nform absolutely everything a company does: all of its behaviour and communications; its internal culture. T hat’s the holy grail we’re looking for. TM: What’s TM:  What’s often overlooked overlooked is how how difficult it is for businesses to make changes happen within their own organisation. It’s really easy to put a juicy little idea down on a piece of paper, but it’s really hard to get people that have worked with the business for 󰀴󰀰 years to change their mindset. It’s about trying to bring people on the  journey with you. you.  What advice would you give give to other designers designers ffor or getting out of their comfort zones? NF: As NF: As a designer, you tend to fit a peg into a slot and it’s about trying not to do that – trying tr ying to be open-minded and thinking, ‘Well, ‘ Well, why the hell can’t we do this?’ We all  just need that extra push to to experiment more. more.  What are the challenges of running a studio in London?  AD: It’s  AD:  It’s much harder now for smaller companies to pay the rent in London because of gentrification. I’ve spoken to so many companies who have folded, or are moving or getting more people into the studio to pay the rent. But saying that, the challenges of running runni ng a studio have always been the same: to be good, to be creative, to be the best out there. As long as you still come to work with joy and butterflies, you’rree going to carr y on doing the thing you love to do.

ALAN DYE PARTNER AND CREATIVE DIRECTOR A󰀠parner󰀠a󰀠NB󰀠since󰀠 󰀱󰀹󰀹󰀹󰀬󰀠Alan󰀠has󰀠direced󰀠 projecs󰀠and󰀠accouns󰀠for󰀠 Tae󰀬󰀠V&A󰀬󰀠Mohercare󰀬󰀠 he󰀠Design󰀠Council󰀬󰀠and󰀠 he󰀠Universiy󰀠of󰀠Oxford󰀬󰀠 o󰀠name󰀠bu󰀠a󰀠few󰀮󰀠He󰀠is󰀠 currenly󰀠chairman󰀠of󰀠 The󰀠Typographic󰀠Circle󰀮󰀠 󰀠󰁀AlanDyeNB

TOM MOLONEY ACCOUNT MANAGER AND BRAND STRATEGIST A󰀠NB󰀠since󰀠󰀲󰀰󰀱󰀱󰀬󰀠his󰀠year󰀠 Tom󰀠projec󰀭managed󰀠 he󰀠concep󰀬󰀠design󰀠and󰀠 producion󰀠of󰀠flagship󰀠 publicaions󰀠for󰀠wo󰀠of󰀠 he󰀠UK’s󰀠larges󰀠chariies󰀻󰀠 Cancer󰀠Research󰀠UK󰀠 and󰀠he󰀠Briish󰀠Hear󰀠 Foundaion󰀮󰀠 󰀠󰁀tommoloney

HOW TO LEAVE YOUR COMFORT ZONE In󰀠our󰀠firs󰀠video󰀠inerview󰀬󰀠co󰀭founders󰀠Alan󰀠Dye󰀠and󰀠 Nick󰀠Finney󰀠explain󰀠how󰀠NB’s󰀠manra󰀠󲀓󰀠creaive󰀠courage󰀠 󲀓󰀠has󰀠pushed󰀠he󰀠sudio󰀠ino󰀠exciing󰀠new󰀠erriory󰀮󰀠“I󰀠 goes󰀠across󰀠absoluely󰀠everyhing󰀠we󰀠do󰀠now󰀮󰀠We󰀠like󰀠 o keep󰀠changing󰀬”󰀠says󰀠Dye󰀮 Watch the video now at www󰀮bit󰀮ly/ca󰀲󰀵󰀲󰀭nb

HOW TO NAIL BRAND STRATEGY Our󰀠second󰀠video󰀠inerview󰀠looks󰀠a󰀠wha󰀠i󰀠means󰀠o󰀠 work󰀠a󰀠he󰀠boundary󰀠bew work󰀠a󰀠 he󰀠boundary󰀠beween󰀠srae een󰀠sraegy󰀠and󰀠crea gy󰀠and󰀠creaiviy󰀮󰀠 iviy󰀮󰀠 Tom󰀠Moloney󰀠and󰀠Dan󰀠Radley󰀠discuss󰀠becoming󰀠he󰀠 consumer󰀬󰀠how󰀠hey󰀠ackle󰀠heir󰀠bigges󰀠challenges󰀠 and finding󰀠he finding󰀠he󰀠‘holy󰀠grail’󰀠of 󰀠‘holy󰀠grail’󰀠of󰀠he󰀠brie 󰀠he󰀠brief󰀮󰀠 f󰀮󰀠 Watch the video now at www󰀮bit󰀮ly/ca󰀲󰀵󰀲󰀭nb

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MAY 2016

Lef󰀺 NB󰀠recenly󰀠broke󰀠he󰀠

academic󰀠mould󰀠o󰀠design󰀠a󰀠flexible󰀠 ideniy󰀠for󰀠universiy󰀭secor󰀠 college󰀠Ravensbourne󰀮󰀠“I’s󰀠 a modern󰀠inerpreaion󰀠of󰀠wha󰀠 a universiy󰀠brand󰀠could󰀠look󰀠like󰀬”󰀠 says󰀠co󰀭founder󰀠Nick󰀠Finney󰀠

HOW TO GET CLIENTS TO TAKE MORE RISKS NB’S CREATIVE TEAM PROVIDE PRACTICAL ADVICE FOR GETTING CLIENTS TO AGREE TO AMBITIOUS BRANDING STRATEGIES

1  Involve the client early “When󰀠you’ve󰀠go󰀠a󰀠new󰀠clien󰀬󰀠i’s󰀠all󰀠abou󰀠earning󰀠 rus󰀬”󰀠says󰀠NB󰀠co󰀭founder󰀠Alan󰀠Dye󰀮󰀠“We󰀠like󰀠o󰀠ge󰀠 cliens󰀠on󰀠board󰀠very󰀠early󰀠on󰀠so󰀠hey’re󰀠par󰀠of󰀠he󰀠 creaive󰀠process󰀮󰀠You󰀠ge󰀠a󰀠beter󰀠resul󰀠han󰀠you󰀠 ou󰀠ge󰀠a󰀠beter󰀠resul󰀠han󰀠you󰀠would󰀠 would󰀠  jus󰀠prese  jus󰀠 presening ning󰀠a󰀠co 󰀠a󰀠concep ncep󰀠o󰀠h 󰀠o󰀠hem󰀮󰀠I em󰀮󰀠I󰀠make 󰀠makes󰀠i󰀠 s󰀠i󰀠heir󰀠 heir󰀠 concep󰀠as󰀠well󰀠as󰀠your󰀠concep󰀮”

2 Problem-solve together Throughou󰀠he󰀠projec󰀬󰀠work󰀠collaboraively󰀠hrough󰀠 he󰀠issue󰀬󰀠problem󰀠or󰀠quesion󰀠se󰀠ou󰀠by󰀠he󰀠clien󰀮󰀠 “We’ll󰀠sar󰀠wih󰀠a󰀠workshop󰀬󰀠or󰀠several󰀠workshops󰀬”󰀠says󰀠 NB󰀠co󰀭founder󰀠Nick󰀠Finney󰀮󰀠“Whereas󰀠in󰀠he󰀠pas󰀠we󰀠 migh󰀠have󰀠been󰀠able󰀠o󰀠skech󰀠somehing󰀠and󰀠hink󰀬󰀠‘I’s󰀠 going󰀠o󰀠be󰀠ha󰀬’󰀠nowadays󰀬󰀠you󰀠have󰀠o󰀠keep󰀠an󰀠open󰀠 mind󰀠and󰀠work󰀠wih󰀠your󰀠clien󰀠owards󰀠an󰀠end󰀠goal󰀮”

3 Ask a lot of questions “When󰀠we󰀠ge󰀠a󰀠brief󰀬󰀠we󰀠sar󰀠quesioning󰀠wha󰀠we’ve󰀠 been󰀠se󰀬”󰀠adds󰀠Dye󰀮󰀠“You󰀠ask󰀠a󰀠lo󰀠of󰀠‘why’󰀠quesions󰀠 and󰀠generally󰀠end󰀠up󰀠re󰀭wriing󰀠he󰀠brief󰀠wih󰀠he󰀠clien󰀬󰀠 making󰀠i󰀠beter󰀠by󰀠finding󰀠ou󰀠wha󰀠hey󰀠really󰀠wan󰀮”

4 Open communication channels

JAMIE BREACH AND SAM PITTMAN SENIOR DESIGNER󰀬 JUNIOR DESIGNER Jamie’s󰀠recen󰀠projecs󰀠a󰀠 NB󰀠have󰀠included󰀠he󰀠 ideniy󰀠and󰀠app󰀠design󰀠for󰀠 Zhuck󰀬󰀠a󰀠Russian󰀠banking󰀠 service󰀻󰀠while󰀠Sam󰀠was󰀠a󰀠 D&AD󰀠New󰀠Blood󰀠Award󰀠 Winner󰀠in󰀠󰀲󰀰󰀱󰀵󰀮󰀠 󰀠󰁀jamie_breach 󰀠󰁀sam_pitman

OUTSTANDING BRAN DING CREATE OUTSTANDING Designers󰀠Jamie󰀠Breach󰀠and󰀠Sam󰀠Pitman󰀠alk󰀠hrough󰀠 he󰀠branding󰀠process󰀠a󰀠NB󰀠in󰀠our󰀠hird󰀠video󰀮󰀠Find󰀠ou󰀠 wha󰀠a󰀠ypical󰀠projec󰀠w wha󰀠a󰀠ypical 󰀠projec󰀠workflow󰀠looks󰀠lik orkflow󰀠looks󰀠like󰀬󰀠how󰀠 e󰀬󰀠how󰀠hey󰀠 hey󰀠 design󰀠for󰀠differen󰀠ouchpoins󰀠and󰀠he󰀠pair’s󰀠op󰀠ips󰀠 for󰀠creaing󰀠he󰀠perfec󰀠branding󰀮 Watch the video now at www󰀮bit󰀮ly/ca󰀲󰀵󰀲󰀭nb

“Cliens󰀠are󰀠people󰀠as󰀠well󰀮󰀠They’ve󰀠go󰀠heir󰀠own󰀠 ambiions󰀠for󰀠heir󰀠role󰀠and󰀠wha󰀠hey󰀠wan󰀠o󰀠achieve󰀬”󰀠 poins󰀠ou󰀠brand󰀠sraegis󰀠Tom󰀠Moloney󰀮󰀠“Build󰀠up󰀠your󰀠 om󰀠Moloney󰀮󰀠“Build󰀠up󰀠your󰀠 relaionship󰀠so󰀠ha󰀠hey󰀠can󰀠say󰀬󰀠‘Oh󰀬󰀠I’m󰀠having󰀠rouble󰀠 wih󰀠X󰀠from󰀠his󰀠deparmen󰀮’󰀠Keep󰀠hose󰀠channels󰀠 open󰀮󰀠I󰀠works󰀠boh󰀠ways󰀬󰀠because󰀠you󰀠can󰀠hen󰀠show󰀠 half󰀭formed󰀠houghs󰀠and󰀠have󰀠discussions󰀮󰀠You󰀠can󰀠 have󰀠a󰀠much󰀠more󰀠open󰀠and󰀠hones󰀠conversaion󰀮”󰀠

5 Know when to walk away “For󰀠Tom󰀠and󰀠I󰀬󰀠he󰀠mos󰀠difficul󰀠par󰀠of󰀠our󰀠job󰀠is󰀠 saying󰀬󰀠‘Maybe󰀠we󰀠shouldn’󰀠be󰀠working󰀠wih󰀠his󰀠clien󰀮󰀠 Maybe󰀠we󰀠shouldn’󰀠ge󰀠ino󰀠a󰀠relaionship󰀠wih󰀠hem󰀬’”󰀠 reflecs󰀠Moloney’s󰀠fellow󰀠brand󰀠sraegis󰀠Dan󰀠Radley󰀮󰀠 “We’re󰀠bes󰀠when󰀠we “We ’re󰀠bes󰀠when󰀠we’re󰀠working󰀠wih󰀠people󰀠who󰀠are󰀠 ’re󰀠working󰀠wih󰀠people󰀠who󰀠are󰀠 really󰀠enlighened󰀠and󰀠have really󰀠enlighen ed󰀠and󰀠have󰀠a󰀠bi󰀠of󰀠cou 󰀠a󰀠bi󰀠of󰀠courage󰀠hemselve rage󰀠hemselves󰀮” s󰀮”

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HOW TO INJECT PERSONALITY BRAND STRATEGISTS TOM MOLONEY AND DAN RADLEY SHARE THEIR TIPS FOR CREATING BRANDS THAT RESONATE WITH AUDIENCES

1  Listen to the client “The firs sage of he process is abou lisening󰀮 I’s a chance o use your empahy󰀬” begins Tom Moloney󰀮 “Hear everyhing󰀬 undersand he clien’s ambiions and aims󰀬 and leave room for a bi of󰀺 ‘Forge everyhing you’ve old me󰀮 Wha does i make me feel  me  feel ?’”

NB designed a wity new ideniy for Spring Chicken󰀬 a business ha makes geting older easier󰀮 T To o launch he brand󰀬 hey commissioned 󰀱󰀰󰀰 ariss o reinerpre he old age person sign󰀮 “We had a big pary󰀬 an exhibiion and we raised jus j us under 󰂣󰀱󰀰󰀬󰀰󰀰󰀰 for Age UK 󲀓 and ii’s ’s hanks o our manra of creaive courage󰀬” says Alan Dye

2 Articulate your aims Once he clien has explained is goals󰀬 come up wih a logical series of seps leading o he achievemen of hose goals󰀮 “Try o mach wha hey ell you hey wan 󲀓 wha hey’re saying hey’re rying o do 󲀓 and ariculae i ino a programme of work󰀬” says Moloney󰀮

3 Roll in a hand grenade “We ry and ge creaive work sared soon󰀬 and roll hand grenades ino he room󰀬” says Dan Radley󰀮 “‘You’re “‘You’re a red brand󰀺 wha if you become a blue brand?’ We hrow everyhing up in he air early󰀮”

4 Find the balance

“We balance a sysemaic and logical 󰁛process󰁝 wih some craziness󰀬” says Moloney󰀮 “The ne resul is people know we’ve really lisened and undersood 󰁛heir brand󰁝󰀮 They know we’re passionae abou i󰀮”

5 Be authentic “The rigorous side of wha we’re doing as sraegiss is󰀺 ‘Okay󰀬 wha are he ruhs abou his brand󰀬 his produc and his company?’” says Radley󰀮 I’s abou being realisic abou he marke󰀬 he rends and he compeiion󰀮”

6 Cook on different hobs “Do as much differen work as you possibly can󰀬” adds Radley󰀮 “The more perspecives you’ve go󰀬 he more your brain sars o solve problems in your peripheral vision󰀮 If you’re cooking on a number of hobs󰀬 you sar o solve problems in more ineresing ways󰀮”

7 Take risks “There’s a bi of risk󰀭aking involved 󰁛in branding󰁝󰀬” says Radley󰀮 “Tha’s he job we’re doing󰀬 so we’ve go o be brave󰀮 We’ve We’ve go o sick our necks ou someimes󰀮”

  DAN RADLEY SENIOR STRATEGIST Previously execuive creaive direcor a Sar󰀬 Dan joined NB in 󰀲󰀰󰀱󰀵 o enhance he sudio’s repuaion for creaive courage hrough clien parnerships󰀮 “I’m loving he challenge of working wih designers who wan o live ouside heir comfor zone󰀬” he says󰀮  󰁀DamnRadical

HOW TO WIN NEW WORK Our fourh video focuses on he fine ar of winning new work󰀮 As Dan Radley and Tom Moloney explain󰀬 one of he mos imporan acics is o build beter relaionships wih your exising cliens 󲀓 bu here are pleny of oher hings you can do o keep he work coming in󰀮 Watch the video now at www󰀮bit󰀮ly/ca󰀲󰀵󰀲󰀭nb

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  V I D E O I N S I G H T : N B 

MAY 2016

NB co󰀭ounders Alan Dye and Nick Finney sepped ou o heir own comor zones a his year’s Design Indaba conerence󰀮 Insead o a sandard presenaion󰀬 hey chose o pu on a play abou he pich process󰀬 Turnables

SIX TIPS FOR WINNINGG NEW WORK  WINNIN W ORK  NB’S BRAND STRATEGISTS PROVIDE THEIR PRACTICAL INSIGHTS INTO THE TRICKY ART OF SECURING NEW CLIENTS

1  Develop good working habits “We’re a small “We’re smal l eam aand nd everyone’s geting pulled in a million differen direcions󰀬 so i’s imporan o have habis you repea every week󰀬” says Tom Moloney󰀮 “I’s easy o pu 󰁛clien acquisiion󰁝 on he back burner whils you’re busy󰀬 so ge some good sysems in place󰀮”

2 Look at the clients you already have Building relaionships wih people is cenral󰀬 Moloney adds󰀮 “You “You ge he mos work rom people you’re already working wih󰀬 so spend ime looking a businesses and rying o see where hings migh go󰀮 Make suggesions󰀻 help people wih heir jobs󰀮”

3 Work your contacts Making good use o your conacs is vial or geting new business󰀬 adds Radley󰀮 “I’s having he discipline o a conac sraegy󰀺 who do we know󰀬 who should we be reconnecing wih󰀬 and who should we be alking o? Make i sysemaic󰀮 You You lierally jus 󰁛need o󰁝 o󰁝 say hello o a lo o people and be riendly o a lo o people󰀮”

4 Dream about where you could go Think big󰀺 “When saring ou󰀬 󰁛NB co󰀭ounders󰁝 Nick and Alan wroe leters o Seve Jobs and Michael Wolff󰀬” says Moloney󰀮 “I’s ha idea o going󰀬 ‘We ‘We’re ’re passionae abou his󰀺 le’s have a go󰀮’ And here have been oher occasions when we opened a channel o communicaion and somehing came in󰀮 You have o dream a litle bi󰀮”

5 Be pragmatic   NICK FINNEY OWNER AND CREATIVE DIRECTOR Founding parner Nick has more han 󰀲󰀵 years experience in design󰀮 A NB he works wih a wide variey o cliens including inernaional business school INSEAD󰀬 reailer John Lewis and propery developer Land Securiies󰀮  󰁀nick_finney

PREPARING FOR THE FUTURE In our fifh video󰀬 Nick Finney and Alan Dye explain how hey say a he cuting edge o design󰀬 including how hey learned how o see he “ bigger picure” rom design icon Michael Wolff and how hey ackle he challenges o saying relevan while running a working London sudio󰀮 Watch the video now at www󰀮bit󰀮ly/ca󰀲󰀵󰀲󰀭nb

“There are so many amazing agencies ou here󰀬 you need o undersand wha makes you differen󰀬” explains Moloney󰀮󰀮 “I’s really difficul o pu your finger on󰀬 bu i Moloney you can do ha󰀬 you differeniae and sand apar a litle bi󰀮 I makes he decision o choose you easier󰀮”

6 Don’t get set in your ways “We ry new hings all he ime󰀬” says Radley󰀮 “Somehing we’re really ineresed in now is how we use shor󰀭orm video in a personalised way󰀮 There are ofen a lo o barriers beween you and somebody who really wans o alk o you󰀮 I’s abou finding an unusual way o break down hese barriers󰀮”

Watch the videos on our YouTube channel: www.bit.ly/ca252-nb

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PROJECTS

MAY 2016

FOR T POINT FORT POIN T: DESIGNING A CRAFT CRAF T BEER CHARMER CHARMER San Francisco-based design studio Manual helped shape a newcomer newcom er to tthe he buoyant West Coast mic microbrew robrewery ery scene with a quirky brand identity that references local landmarks

PROJECT FACTFILE BRIEF San Francisco󰀭based microbrewery startup Fort Point Beer Company wanted good design to be part of its identity󰀮 It turned to Manual for help with naming the company and developing an unconventional yet approachable brand󰀬 with subtle nods to its iconic home city󰀮

STUDIO Manual www󰀮manualcreative󰀮com PROJECT DURATION Two years LIVE DATE Ongoing

Fort Point Beer Company takes its name from a sea fort situated under San Francisco’s iconic Golden Gate Bridge󰀮 Every aspect of the brand is a carefully considered reference to the city

THE DESIGN BRIEF Tom Crabtree

TOM CRABTREE FOUNDER AND CREATIVE DIRECTOR󰀬 MANUAL

Tom is the Br British󰀭born itish󰀭born founder and creative director of Manual󰀬 which he set up in San Francisco in 󰀲󰀰󰀰󰀹󰀮 He is responsible for the overall direction of each of the studio’s projects󰀬 and has previously worked at Made Thought and Apple󰀮

Fort Point Beer Company was founded in late 󰀲󰀰󰀱󰀳 by two brothers, Justin and Tyler Catalana, who already owned a rest aurant and microbrewery, but had bigger ambitions to start a commercial brewery in San Francisco. They had a great building location in the Presidio area of the city and needed to create a brand.  When they came to us in 󰀲󰀰󰀱󰀳, the founders were also still trying to decide on a name, thinking of an identity that would be relevant to the city. They initially commissioned us to design the core brand identity, which would only be applied to a small number of items,

Justin and Tyler came to us at the right r ight point and with the right attitude. Many small startup clients undertake the design themselves and wing it for a while, but they knew from the start that t hat design and branding was going to be important. Differentiation was key. There are quite a few microbreweries in the area, so the owners wanted to be seen as something to take note of. They wanted the brand to feel endearing, endea ring, not pretentious or highbrow, and not ‘hipster’. Many craft breweries in the area tend to opt for more of a retro/vintage aesthetic, which Fort

such as business cards, labels beer kegs, tap handles local bars, and some sample for bottled beers for used in sales and marketing. The second phase of the project came in 󰀲󰀰󰀱󰀵, when the brewery was ready to launch its core line of beers in retail, and that’s t hat’s when we were were engaged on the packaging design project.

Point didn’t want to be a part of. The brand to be charming, human a nd simple. It also hadneeded to resonate with locals and a nd to represent San Francisco. However, we were all conscious that the t he brand needed to own its references to San Francisco without becoming a pastiche or too touristy.

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MAY 2016

D I A R Y ˚ 1 : M A N U A L 

PROJECT AT A GLANCE Founder and creaive direcor Tom Crabree explains how Manual creaed a brand wih is hear in San Francisco

1 Coastal connection

2 Architectural grid

3 Graphic lines

The clien hadn’ quie setled on a name when we sared he projec󰀮 They were considering Francis 󰀨afer Francis Drake󰀩󰀬 or Muir 󰀨afer Muir Woods󰀩󰀮 For Poin came up during he second meeing󰀮 I’s a hisoric sie locaed close o he brewery󰀮 I’s iconic and ownable󰀬 and very San Francisco󰀮

Very early on in he design process󰀬 we la landed nded upon a simple󰀬 grid󰀭based󰀬 modular illusraion syle inspired by he archiecure o he Golden Gae Bridge 󲀓 he arches and he russes󰀬 which orm hese crosses and diagonals 󲀓 and also For Poin isel󰀬 wih is many arches󰀮

We also ook inspiraion rom he mid󰀭cenury designer Alexander Girard󰀬 and he German designer Ol Aicher and his series o posers or he own o Isny󰀮 Isny󰀮 Those simplisic black󰀭and󰀭whie illusraions were he seed o an idea 󲀓 somehing very monolinear󰀬 grid󰀭based and archiecural󰀮

4  Embedded logo

5  Wrapped around

6 Local type

A key elemen o he For Poin brand is no having a logo in he radiional  radiional sense󰀮 The logo is embedded in each design󰀻 i rarely exiss jus as an isolaed emblem󰀮 We creaed a small recangular badge or cerain uses󰀬 bu we srive o embed i ino a larger composiion as much as possible󰀮

We realised ha he ideniy is more impacul when you le he illusraion wrap around a orma and rea i as a visual canvas󰀮 This approach is much more ineresing and conemporary han jus applying a logo o a package󰀮 We always make sure he ideniy is seamlessly embedded󰀮

The cusom logoype draws rom he slighly awkward ypography on he San Francisco cable cars󰀮 There was somehing abou i ha conrased nicely wih he geomery o he illusraions󰀬 and i worked well wih he supporing ypeace 󰀨GT Walsheim Walshe im rom Grilli Type Foundry󰀩󰀮

7  Extended palette

8 Colour confidence

9 Packaging as art

Anoher really imporan par o he For Poin

We underook a deailed exploraion o colour󰀬

We had o design he  he projec as a scalable sysem󰀮

projec was hemany colour palete󰀮 In he earlysodesign󰀬 we didn’ have design deliverables󰀬 he core palete was jus black󰀬 whie󰀬 meallic gold and a warm red󰀮 When we go his second body o work las year󰀬 he colour became really imporan󰀮

which was basedWe again on heabou idea o being colour a bi unconvenional󰀮 W e hough unusual pairings󰀬 and creaed a colour sory or each can󰀮 I was abou cuting hrough he noise on he shel and having a very confiden palete󰀮

Each had o look grea shops on is own󰀬 as asack six pack and allcan packaged up󰀮 Many acually he brown cardboard boxes and use hem as a display󰀮 We waned he box o work like a litle ar gallery and show off he beer rom every angle󰀮

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PROJECTS

MAY 2016

EILEEN LEE SENIOR DESIGNER󰀬 MANUAL Eileen󰀠works󰀠on󰀠projects󰀠spanning󰀠 brand󰀠identity󰀬󰀠print󰀠and󰀠packaging󰀠 design󰀬󰀠and󰀠interactive󰀠media󰀮󰀠She󰀠 has󰀠worked󰀠at󰀠Manual󰀠since󰀠the󰀠 company󰀠was󰀠founded󰀠in󰀠󰀲󰀰󰀰󰀹󰀮

WORK IN PROGRESS Tom Crabtree

The name Fort Point came up dur ing our second meeting (the brewery is located close to the iconic Fort Point National Historic Site just under u nder the Golden Gate Bridge). We We jumped on it s traight away, knowing we would be able to build a strong brand from it.  We also did research into the state of beer beer branding.  We put differen differentt brands and labels in various categories, categories, such as ‘vintage i ndustrial’, ‘Americana’ and ‘eclectic illustrative’, and presented those back to the client so that we could understand the brandscape and a nd begin to identify where Fort Point could fit in. We also needed to tease out from them where their vi sual preferences lay lay.. There was a huge amount of visual noise on the shelf – lots of detailed full-colour illustrations, almos t like covers from graphic novels. We agreed that there was an opportunity to create something si mple, confident and elegant to cut through this noise. From the beginning we took ins piration from architecture and developed a visual solution that was wa s based on a simple, grid-based, illustrative graphic g raphic style. It was inspired by the Golden Gate Bridge and Fort Point’s architectural details of arches and trusses. This illustration il lustration style became the key element to the branding. It had longevity and ticked all the boxes for the client. It was simple but charming, and a nd embodied a little bit of human nature.  After creating the illustrative system we had to work backwards to get to a logo. Although the t he brand illustration would almost always adapt to fill the t he space, we still needed a logo in a traditional sense, to be used on signs or in email ema il signatures, so we worked to get back to the smallest iteration of the illustration that we could call a logo. The T he Fort Point ‘badge’ is used selectively and rarely appears on items since it’s almost always embedded into a larger illustration.

UNUSED IDEAS

FINDING AN IDENTITY Manual reveals three earlymicrobrewery concepts for the brand that didn’t make the final cut

The󰀠Fort󰀠Point󰀠logo󰀠is󰀠designed󰀠to󰀠be󰀠integrated󰀠into󰀠each󰀠label󰀠design󰀻󰀠it’s󰀠rarely󰀠used󰀠in󰀠isolation

The󰀠architecture󰀠of󰀠Fort󰀠Point󰀠itself󰀠was󰀠a󰀠rich󰀠source󰀠of󰀠visual󰀠reference󰀠points

VICTORIAN󰀠 FRONTAGE We󰀠wanted󰀠to󰀠 take󰀠inspiration󰀠 from󰀠local󰀠 architecture󰀠 so󰀠we󰀠initially󰀠 explored󰀠 San󰀠Francisco’s󰀠iconic󰀠Victorian󰀠houses󰀠󲀓󰀠 particularly󰀠the󰀠shapes󰀠of󰀠the󰀠roofs󰀠and󰀠 gables󰀮󰀠But󰀠we󰀠abandoned󰀠 gables󰀮󰀠But󰀠w e󰀠abandoned󰀠that󰀠approach󰀮󰀠 that󰀠approach󰀮󰀠 The󰀠Victorian󰀠house󰀠re The󰀠Vic torian󰀠house󰀠reference󰀠fe ference󰀠felt󰀠a󰀠bit󰀠 lt󰀠a󰀠bit󰀠 trite󰀬󰀠and󰀠it󰀠was󰀠too󰀠obvious󰀮

LURE󰀠OF󰀠 THE󰀠SEA Initially󰀠we󰀠 explored󰀠 some󰀠simpler󰀠 typographically󰀠 led󰀠designs󰀠 using󰀠centred󰀠 typography󰀠and󰀠a󰀠small󰀠motif󰀠of󰀠the󰀠Fort󰀠 Point󰀠lighthouse󰀮󰀠However󰀬󰀠the󰀠result󰀠wasn’t󰀠 very󰀠inspiring󰀠and󰀠was󰀠quickly󰀠moving󰀠into󰀠 nautical󰀠territory󰀠󲀓󰀠something󰀠that󰀠we󰀠 definitely󰀠wanted󰀠to󰀠avoid󰀮

COMPLEX󰀠 CARTONS When󰀠designing󰀠 the󰀠six󰀭pack󰀠 carton󰀬󰀠our󰀠 first󰀠instinct󰀠 was󰀠to󰀠be󰀠 different󰀠about󰀠 everything󰀬󰀠including󰀠the󰀠card󰀠structure󰀮󰀠 We looked󰀠at󰀠different󰀠materials󰀠and󰀠 structures󰀠and󰀠made󰀠some󰀠prototypes󰀬󰀠 but󰀠we󰀠all󰀠agreed󰀠that󰀠the󰀠result󰀠was󰀠 over󰀭engineered󰀠󰀨and󰀠ove over󰀭engine ered󰀠󰀨and󰀠over󰀠budget󰀩󰀮 r󰀠budget󰀩󰀮

SUB-AQUATIC SHOTS

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  D I A R Y ˚ 1 : M A N U A L 

MAY 2016

 

The design for For Poin’s Wesfalia beer feaures elemens inspired by a road rip hrough Germany󰀬 which are sloted ino he brand’s underlying grid srucure

ON THE GRID Senior designer Eileen Lee describes the design rules underlying Fort Point’s packaging Creaing he illusraions for he ideniy sysem was a ricky ask󰀮 The resul could quickly become oo cue or oo angular󰀮 A key elemen of he design process was he underlying grid srucure󰀮 We designed a maser file o guide he illusraions󰀮 I’s almos like Meccano 󲀓 you can slo hings in and move hem around󰀬 and hey snap o he grid󰀮 We sared by esablishing ha he logo should be placed fron and cenre󰀮 Then we creaed a sysem using our grid ha allowed for permanen graphics 󰀨like arches and russes󰀩 o be added󰀬 as well as graphics ha would change wih each can design󰀮 The permanen graphics are placed a he boom of he composiion󰀮 The conen ha changes wih each design occupies he upper half󰀬 and he beer names and descripions are on he boom righ󰀮 The Wesfalia beer was inspired by head brewer Mike Schnebeck’s road rip hrough Germany in a VW Wesfalia bus󰀬 which informed he illusraion󰀮 To ie he design back o San Francisco󰀬 we incorporaed a seing sun and mounain ranges reminiscen of he Wes Coas󰀮 Once he componens were combined o ell he sory of a paricular beer󰀬 we finessed and weaked he illusraions o make sure hey work cohesively󰀮

Manual creaed a maser file o provide a framework ha could be applied o each can’s design󰀮 Cerain elemens are consisen󰀬 while ohers change o reflec he syle of a paricular beer󰀬 and he inspiraion behind is creaion

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PROJECTS

MAY 2016

Manual󰀠creaed󰀠 an󰀠unusual󰀠colour󰀠 palete󰀠o󰀠help󰀠 For󰀠Poin󰀠sand󰀠 ou󰀠in󰀠a󰀠crowded󰀠 markeplace

CONCLUSION Tom Crabtree

Other key elements of the Fort Point brand identity are the custom-drawn logotype and the colour palette, which all underline the idea of being a bit unconventional. unconven tional. The T he colours, for example, aren’t the obvious, very pure primary or secondary shades. We spent a lot of time with the t he Pantone book, coming up with combinations that would work together. Having built a long-term relationship with the client, we are now working on a number of new elements, from posters to merchandise. We already have a bank of illustrations we can draw on, with different elements based on landmarks and other icons of San Francisco. There will be challenges chal lenges when it comes comes to things that don’t lend lend themselves to strong geometry – something someth ing very organic that isn’t easy to draw with just circles and straight lines, for example – so finding the right themes and illustrations to use u se in the core branding is key. Now we’ve got such a recognisable look, we’re in the process of thinking about what the t he second level of the brand could be. We’re working on special limited-r lim ited-release elease beer packaging that differs from the can packaging. It’s interesting and challenging, as we’re evaluating where we can push the identity. For strategic reasons, a high-end beer that costs $󰀲󰀰 a bottle needs to look different from the cans. ca ns. But while it’s a premium offering, we want it to look like Fort Point.  We’re re exploring dialling back the illustration – still keeping the idea of an underlying framework, but with the possibility of a much more organic, potentially hand-drawn approach. The feedback as the brand has been rolled out has been really great. Everyone knows what a Fort Point beer looks like. In addition, the owners always a lways get a comment on the packaging, so design has h as become deeply embedded in who they are.

PROJECT SOUNDTRACK  Manual founder and creative director Tom Crabtree reveals inspiredthe thesongs team that behind the Fort Point project

Manual󰀠is󰀠coninuing󰀠is󰀠relaionship󰀠wih󰀠he󰀠brewery󰀬󰀠and󰀠is󰀠now󰀠exending󰀠he󰀠brand󰀠ino󰀠oher󰀠areas

LET IT HAPPEN

ELECTRIC

SAN FRANCISCO

SOULWAX REMIX

COUNTERPOINT III FAST

BY FOXYGEN 

BY TAME IMPALA

BY STEVE REICH 

I’s􀀠difficul􀀠o􀀠remember􀀠 exacly􀀠wha􀀠was􀀠playing􀀠 in􀀠he sudio􀀠during􀀠he􀀠 projec􀀬􀀠bu􀀠a􀀠couple􀀠o􀀠songs􀀠

Anoher􀀠rack􀀠ha􀀠springs􀀠 o􀀠mind􀀠is􀀠his􀀠minimalis􀀠 composiion􀀠by􀀠American􀀠 composer􀀠Seve􀀠Reich􀀮􀀠

No􀀠explanaion􀀠is􀀠needed􀀮􀀠 I􀀠don’􀀠know􀀠wha􀀠he􀀠song􀀠 is􀀠abou􀀬􀀠bu􀀠his􀀠cachy􀀠 une􀀠draws􀀠ou􀀠a􀀠sense􀀠o􀀠 󰀱􀀹󰀶􀀰s􀀠nosalgia􀀠wih􀀠a􀀠wis􀀠

are􀀠somewha􀀠relevan􀀬􀀠 concepually􀀮􀀠This􀀠rack􀀬􀀠or􀀠 example􀀠󲀓􀀠psychedelic􀀠pop􀀠 wih􀀠a􀀠heavy􀀠dose􀀠o􀀠bass􀀮

I􀀠has􀀠repeiive􀀠melodic􀀠 paterns􀀠wihin􀀠an􀀠underlying􀀠 srucure􀀬􀀠pulsing􀀠rhyhmically􀀠 and􀀠harmoniously􀀮

o􀀠quirkiness􀀠and􀀠humour􀀮􀀠 For example􀀬􀀠“I􀀠lef􀀠my􀀠love􀀠 in􀀠San􀀠Francisco􀀮􀀠Tha’s􀀠okay􀀬􀀠 I􀀠was􀀠bored􀀠anyway􀀮”

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  D IARY˚2: NICO L AS MÉNARD

MAY 2016

RAY-BAN: BRINGING CREATIVITYY INTO FOCUS CREATIVIT FOC US Designer and animation director Nicolas Ménard’ Ména rd’s s blend of free-flowing ideas and attention to detail secured him an intriguing brief to create a 30-second animation to promote the launch of Ray-Ban’s new SoHo store

PROJECT FACTFILE BRIEF Sunglasses brand Ray󰀭Ban waned an atenion󰀭 grabbing 󰀳󰀰󰀭second animaion o adverise is new sore opening in he hear of New York Ciy’s SoHo󰀮 I was o be projeced ono wo buildings󰀬 and needed o pu he new address firmly in New Yorkers’ minds󰀮 CREATIVES Nicolas Ménard www󰀮nicolasmenard󰀮com

DURATION One monh

Nexus Producions www󰀮nexusproducions󰀮com

December 󰀲󰀰󰀱󰀵

Yours Truly Creaive creaive󰀮yoursru󰀮ly

LIVE DATE

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PROJECTS

MAY 2016

NICOLAS MÉNARD GRAPHIC ARTIST AND ANIMATION DIRECTOR Nicolas󰀠is󰀠a󰀠London󰀭based󰀠French󰀠Canadian󰀠 aris󰀮󰀠His󰀠work󰀠has󰀠been󰀠recognised󰀠by󰀠ADC󰀠 Young󰀠Guns󰀠and󰀠Adobe Young 󰀠Guns󰀠and󰀠Adobe󰀠Design󰀠Achievemen󰀠 󰀠Design󰀠Achievemen󰀠 Awards󰀠and󰀠exhibied󰀠a󰀠he󰀠Picoplasma󰀠 and󰀠Chromaic󰀠esivals󰀮󰀠His󰀠films󰀠have󰀠been󰀠 screened󰀠and󰀠awarded󰀠in󰀠esivals󰀠around󰀠he󰀠 world󰀬󰀠including󰀠Otawa󰀬󰀠Annecy󰀠and󰀠Anima󰀮

THE DESIGN BRIEF Nicolas Ménard

LA-based Yours Truly Creative asked me to pitch for this project via Nexus P roductio roductions. ns. Ray-Ban was opening a new venue in New York – the Ray-Ban Hub – which was set to place SoHo back at the centre of the creative world. The brand wanted to create a shop that was also a platform for promoting art and was looking for an animation ani mation to advertise the new address. I immediately grabbed my pencil and let myself loose, throwing tons of random ideas straight onto the page. In the first version I presented, I hadn’t included any transitions; I wanted the piece to be a series of playful, weird concepts that delivered the message in a surreal way. The feedback from the clients was that they wanted wa nted something with a little bit more of an arc, so I redesigned the storyboard so everything smoothly, but still kepttransitioned the core idea of having a bunch of playful concepts following each other. The structure was guided by a simple brief: that I needed to communicate the slogan ‘get creative’ at the beginning, show the products and the venue’s address, so I determined the final structure with these requirements in mind.

STAGE THREE Ray󰀭Ban’s󰀠brand󰀠doesn’󰀠rely󰀠on󰀠a󰀠specific󰀠colour󰀠

palete󰀬󰀠so󰀠Ménard󰀠was󰀠ree󰀠o󰀠choose󰀠his󰀠own󰀠vibran󰀠hues

STAGE ONE Ménard’s󰀠creaive󰀠process󰀠begins󰀠wih󰀠pencil󰀠skeches󰀬󰀠

which󰀠he󰀠hen󰀠refines󰀠and󰀠collaes󰀠o󰀠creae󰀠soryboards󰀠

STAGE FO UR To󰀠ensure󰀠he󰀠was󰀠on󰀠he󰀠righ󰀠rack󰀬󰀠Ménard󰀠 presened󰀠some󰀠syle󰀠rames󰀠o󰀠he󰀠clien󰀠or󰀠approval

STAGE TWO The󰀠iconic󰀠Ray󰀭Ban󰀠glasses󰀠were󰀠rendered󰀠in󰀠󰀳D󰀠

STAGE FIVE Monreal󰀭based󰀠ype󰀠oundry󰀠Coppers󰀠and󰀠Brasses󰀠 creaed󰀠all󰀠he󰀠bespoke󰀠ons󰀠used󰀠in󰀠he󰀠adverisemen

o ensure󰀠he󰀠illusraions󰀠would󰀠be󰀠aihul󰀠o󰀠he󰀠acual󰀠designs

PROJECT EVOLUTION

SKETCHES TO STORYBOARDS

FAITHFUL ACCURACY

PALETTE PICKING

I have an A2 paper pad on my desk, and usually sar projecs by drawing a lo. Tha’s how I ge my ideas. Wih his projec, I ook he bes ideas

A he beginning we had o render he Ray-Ban glasses in 3D because we needed hem o always look exacly like he acual produc, down

A clien will ofen dicae he colour palete, bu in his case hey had enough confidence in he shape o heir iconic glasses o be happy o

Nicolas Ménard explains how he grabbed New Yorkers’ atenion and pu Ray-Ban’s new address a he fron of heir minds

rom he skeches pu hem ogeher o make aand soryboard. The process is a bi like a LEGO consrucion – you creae idea blocks, hen see how hey would fi ogeher ogeher..

o he litleaRay-Ban logo. Michal Firkowski Nexus Producions modelled he glasses, and we rendered hem wih caroon shading o make hem look hand-drawn.

represen hem graphically. I wen or a simple palete ha I hough bes represened American pop ar, which I always ideniy wih New York because o Warhol and Haring.

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  D IARY˚2: NICO L AS MÉNARD

MAY 2016

HOW I WORK  Nicolas Ménard describes his typical creative process

STAGE SIX The animaion was roughed ou in Flash and cleaned up in Phooshop󰀬 wih he final work done in Afer Effecs

Due o he naure o he medium, i can be hard o be sponaneous in animaion. Tha’s why I love shor animaed ormas. My ideas usually come rom he process o drawing. I generae ideas aser by skeching, and I can quickly ransorm mundane objecs ino un visual meaphors or unusual animaed choreographies. For example, in his projec, I realised ha he glasses could urn ino a pair o windows or doors, or become a characer. I spend a lo o ime on design in my work process, and since I’m very picky abou i, I weak my illusraions a lo –  he lines o he characers, he way he characers are posiioned, he composiion and he colours. In graphic design, you learn how o work wih grids and make sure everyhing is coheren. You se yoursel rules. This is somehing I’m always very aware o. I usually sar an animaion projec he same way I would a book or a branding projec. I se he rules really ighly – wheher i’s he colour palete, he line hickness or he way elemens are going o move.

STAGE SEVEN The finished animaion uses a brigh explosion o imagery o capure viewers’ atenion in jus a ew seconds

PAGE TO SCREEN

CUSTOM TYPE

PAINSTAKING ANIMATION

XPLOSION N CREATIVE E XPLOSIO

While I did he soryboard, I also creaed wo or hree syle rames – illusraions o show he clien wha he finished film would look like – by

Once he syle rames were approved, I creaed a sill o each key par o he animaion, like he crowd o women puting heir glasses on

Mos o he 2D animaion was done by Anne-Louise Eramber [using Phooshop, Flash and Afer Effecs]. For example, or he ladies wih

The firs sho is a bunch o illusraions appearing really quickly. I waned o express he slogan as an explosion o ideas. Iniially he clien

aking he iniial skeches rom paper and digiising hem. I usually draw everyhing in Phooshop rom his poin on, bu I also do humbnails on paper jus o figure ou composiions.

and ypography. I hired Coppers and he Brasses o creae cusom leter orms. I was an essenial par o he ad, inended o communicae he message in a unique ashion.

he hair inhe hehair wind, Anne-Louise animaed and he characers puting heir glasses on individually, hen I pu hem ogeher o creae a patern and se up he camera move.

waned i slower, see [each image], bu so wepeople agreedcould i didn’ work. Alhough he drawings are worh looking a or longer longer,, he idea o ha burs was more imporan.

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PROJECTS

MAY 2016

IN-GAME STREE STR EETT ART AR T: TOM CLANCY’S CLA NCY’S THE DIVISION Ubisoft Massive, Monorex and Buff Monster explain how the

third-person shooter shooter took in-game urba urban n reali realism sm to a whol wholee new level

PROJECT FACTFILE BRIEF Ubisof Massive wanted to commission original street art or its open󰀭world game Tom Clancy’s The Division󰀬 so it asked Monorex to get some o the world’s top street artists on board󰀮 STUDIO Monorex www󰀮comemeetrex󰀮com CLIENT Ubisof Massive www󰀮massive󰀮se PROJECT DURATION 󰀱󰀵 months LIVE DATE March 󰀲󰀰󰀱󰀶

TOBIAS NYMAN REALIZATION DIRECTOR󰀬 UBISOFT MASSIVE

Tobias is realization director at Ubisof Massive󰀬 the game developer previously known as Massive Entertainment󰀬 having previously been the studio’s cinematics director or six years󰀮

THE DESIGN BRIEF Tobias Nyman Tom Tom Clancy’s The D Division ivision is an online role-playing game from Ubisoft M assive: a third-person shooter with surv ival elements. The action takes place during a crisis in New York York – an open world with destructible environments that players are free to explore. Players must team up with w ith other Division agents and restore

do, so we could do a good job of placing placing all the ar t, tags, posters and stickers – particularly since, rather than being in New York ourselves, we’re based in Malmö, Sweden. I didn’t want to set creative limitations on the artists; once you do that, the vibrancy of feeling and a nd diversity of expression get lost. Of course, within this creative

order byinterested investigating theculture source virus outbreak. I was in the cu lture of of aNew York and how it would change during a crisis. Since we were trying to create a realistic look and feel for the city, the idea of collaborating with street artists artist s was a given. It felt

freedom we respected entertainment project.elementary rules, as we do for any  A colleague knew Terry Terry Guy at Mon Monorex orex – a collective that connects artis ts with brands – so we gave him a call and it immediately felt like a good match. We decided to

important to get a better understanding of what they

meet up in New York and go f rom there. 

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MAY 2016

TERRY GUY FOUNDER AND CEO󰀬 MONOREX Operaing󰀠beween󰀠London󰀠and󰀠 NYC󰀬󰀠Terry󰀠has󰀠spen󰀠󰀱󰀰󰀠years󰀠as󰀠 CEO󰀠o󰀠Monorex󰀬󰀠a󰀠creaive󰀠lab󰀠ha󰀠 connecs󰀠brands󰀠o󰀠ariss󰀮󰀠Is󰀠in󰀭 house󰀠brands󰀠include󰀠Secre󰀠Walls󰀬󰀠 High󰀠Rise󰀠Murals󰀠and󰀠School󰀠Wars󰀮

DI A R Y ˚ 3 : M ON OR E X 

BUFF MONSTER ARTIST Originally󰀠a󰀠sree󰀠aris󰀬󰀠over󰀠he󰀠 las󰀠󰀱󰀵󰀠years󰀠Buff󰀠Monser󰀠has󰀠 worked󰀠wih󰀠Disney󰀬󰀠Converse󰀬󰀠 Hello󰀠Kity󰀬󰀠Samsung󰀠and󰀠Coca󰀭 Cola󰀮󰀠He󰀠cies󰀠heavy󰀠meal󰀠music󰀬󰀠 ice󰀠cream󰀬󰀠pop󰀠ar󰀬󰀠Japanese󰀠 culure󰀠and󰀠graffii󰀠as󰀠influences󰀮

WORK IN PROGRESS Terry Guy and Buff Monster 

T   erry󰀠Guy󰀠o󰀠Monorex󰀠ook󰀠Ubisof’s󰀠eam󰀠on󰀠a󰀠sree󰀠ar󰀠our󰀠o󰀠New󰀠York󰀠Ciy󰀠o󰀠source󰀠conceps󰀠or󰀠he󰀠projec s󰀠eam󰀠on󰀠a󰀠sree󰀠ar󰀠our󰀠o󰀠New󰀠York󰀠Ciy󰀠o󰀠source󰀠conceps󰀠or󰀠he󰀠projec Aris󰀠Buff󰀠Monser󰀠  A ris󰀠Buff󰀠Monser󰀠 preers󰀠o󰀠work󰀠 wih radiional󰀠 media󰀬󰀠hen󰀠scan󰀠or󰀠 phoograph󰀠his󰀠work

Terry Guy: Monorex’s brief was a dream challenge, because we were allowed to design anything we wanted to go on the walls of [ The Division’s digital recreation o󰁦] NYC. Other than some loose requests for darker imagery that could reference the viral outbreak happening in real time, the brief was open. Indeed, I ndeed, Ubisoft was keen for artists to submit work in their own signature styles to give the fabric of the city some credibility credibility.. I took Tobias and his team on an in-depth street art tour around all five boroughs of New York City, showing them the good, the bad and the ugly. Huge art murals, tags, illegal graffiti and stickers on signposts were all included and photographed for inspiration.  After that we got to work. C Connecting onnecting artists and brands is what Monorex does best; our job is to help merge the two worlds together and curate the project to achieve exciting results. We We discussed the ty pes of art we saw in the city and which artists I could bring in to establish this style.  We decided decided to go for for a co combination mbination of big names and rising stars that we were excited abou about. t.  We commissioned commissioned 󰀲󰀲 artists in total: Tristan Eato Eaton, n, Buff Monster, Greg Mike, L’Amour Supreme, Mishka, Cope󰀲, Sheryo & The Yok, Smart Crew, ATG, Elmo, Conzo Throb, Maxhaus, Captain Kris, Kr is, Nosego, A.ce, Fel󰀳󰀰󰀰󰀰ft, Jimi Crayon, Mysterious Al, Ventza, Inkie, CRASH and Elle.  As the commissions commissions came in, we kept pushing pushing Ubisoft Ubisoft to add our street art to more and more objects within the game to create avans, moresignposts, realistic exper experience ience forbillboards players. These included the subway, in Times Square, and more.

PROBLEM SOLVED

PAINT TO PIXELS Terry Guy explains how a game studio can collaborate with artists who work with brushes and ink A󰀠good󰀠number󰀠o󰀠he󰀠ariss󰀠we󰀠 commissioned󰀠had󰀠never󰀠designed󰀠or󰀠a󰀠 game󰀠beore󰀬󰀠and󰀠some󰀠had󰀠limied󰀠digial󰀠 skills󰀬󰀠so󰀠we󰀠had󰀠o󰀠help󰀠hem󰀠hrough󰀠his󰀠 process󰀠a󰀠Monorex󰀠HQ󰀮󰀠Buff󰀠Monser󰀠 even󰀠wen󰀠so󰀠ar󰀠as󰀠o󰀠pain󰀠he󰀠graphics󰀠 physically󰀬󰀠hen󰀠phoographed󰀠hem󰀠on󰀠a󰀠 super󰀭high󰀭res󰀠camera󰀠o󰀠achieve󰀠hose󰀠 iny󰀠deails󰀠and󰀠exures󰀠you󰀠see󰀠in󰀠his󰀠 work󰀠on󰀠he󰀠srees󰀮

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PROJECTS

MAY 2016

The  T he game 󲀓 seen here inside Ubisof Massive’s Massive’s Snowdrop engine 󲀓 is set in a New York devastated by a virus outbreak󰀮 The studio is based in Sweden󰀬 so it sought help rom artists’ collective Monorex to create a believable environment

Buff Monster: I’m a street artist, not a graffiti artist, but for this gr itty portrayal of New York City in the future, letters seemed most appropriate to me. My usual imager y wouldn’t be the right fit. I chose to paint my piece on paper roughly twice the length of my flatbed scan ner. I use either Bristol paper or nice smooth watercolour paper, and always paint it white first using my airbrush. I did all al l the line work with my favourite small liner brush and some very fluid acrylic ink. Lastly, Last ly, I add added ed in some shading with my airbrush.

CONCLUSION Terry Guy This is the first fi rst time we’ve collaborated with Massive, but over the last 󰀱󰀲each months ou rskills our teams have gelled and really understood other’s and vision. This entire project has been a pleasure and an honour.  We’vee just got back from the global launch in New  We’v Yor York, k, and it was bonkers. T here was a huge reaction from the press and the gam ing world. We’rree really excited to see the game hit the stores and a nd see the reaction from gamers themselves. There will be a live art mural going up in London to support the launch lau nch very soon: follow www.highrisemurals.com for details.

The  The use o real street art in the game contributes to a more immersive󰀬 realistic world or players to explore

KEY CHALLENGES

CROSSING CULTURES Monorex CEO Terry Guy identifies the three key challenges facing international, multidisciplinary projects

FREEDOM CAN OVERWHELM

TIME ZONES ARE A CHALLENGE

WORKING CULTURE IS DIFFERENT FOR GAMES

We were given so much reedom and space to create [while working on Tom

Our 22 artists were spread right across the world, Ubisof Massive

Game companies work in different ways to other clients, but since

Clancy’s The Division], it was kind o overwhelming. But once we’d realised how big an opportunity this was, we quickly ormulated a plan to get the project over the line.

is based in Sweden, and we’re in Los Angeles. That meant there were a lot o time zones to consider, which made it tough to deliver under tight deadlines.

completing this project I eel more knowledgeable about the ways they operate on all levels, including design. We hope this unique collaboration will open more doors in uture.

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ack󰀠in󰀠February󰀬󰀠we󰀠went󰀠to󰀠talk󰀠at󰀠 Design󰀠Indaba󰀠conerence conerence󰀠in󰀠Cape󰀠 󰀠in󰀠Cape󰀠 B the Design󰀠Indaba󰀠 Town󰀮󰀠It󰀠was󰀠a󰀠great󰀠place󰀠and󰀠a󰀠great󰀠 event󰀬󰀠but you󰀠might󰀠be󰀠wondering󰀠what󰀠it󰀠has󰀠to󰀠 do󰀠with󰀠branding󰀮󰀠Well󰀬󰀠what󰀠is󰀠branding󰀠anyway?󰀠 Is it󰀠purely󰀠visual󰀬󰀠or󰀠is󰀠it󰀠also󰀠something󰀠else󰀬󰀠like󰀠 building󰀠a󰀠reputation󰀠or󰀠creating󰀠an󰀠experience? Two󰀠monhs󰀠beore󰀠he󰀠conerence󰀬󰀠we󰀠 presened󰀠an󰀠idea󰀠or󰀠a󰀠Snask󰀠afer󰀭pary󰀠ha󰀠 would be󰀠all󰀠pink󰀬󰀠wih󰀠pink󰀠balloons󰀬󰀠coneti󰀠and󰀠so󰀠 on󰀮󰀠We waned󰀠everyone󰀠a󰀠he󰀠conerence󰀠o󰀠ge󰀠 pink󰀠masks󰀬󰀠which󰀠would󰀠be󰀠heir󰀠icke󰀠o󰀠he󰀠pary󰀻󰀠 oher󰀠han󰀠he󰀠masks󰀬󰀠everyone󰀠would󰀠have󰀠o󰀠wear󰀠 all󰀠black󰀮󰀠The󰀠conerence󰀠said󰀠yes󰀬󰀠and󰀠a󰀠huge󰀠eam󰀠 o operaives󰀠sared󰀠o󰀠make󰀠i󰀠happen󰀠while󰀠we󰀠 were󰀠in󰀠Sweden󰀬󰀠rying󰀠o󰀠pull󰀠pink󰀠srings󰀮 Two󰀠monhs󰀠laer󰀠we󰀠landed󰀠in󰀠Cape󰀠Town󰀠on󰀠 a Sunday󰀠nigh󰀮󰀠By󰀠Monday󰀬󰀠we󰀠had󰀠already󰀠sared󰀠

a󰀠good󰀠ime󰀮󰀠A󰀠boh󰀠hese󰀠paries󰀬󰀠we󰀠go󰀠our󰀠rock󰀠 band󰀠o󰀠play󰀮󰀠Their󰀠name󰀠is󰀠Väg󰀠and󰀠hey󰀠make󰀠ans󰀠 everywhere󰀠we󰀠bring󰀠hem󰀮 The󰀠resul?󰀠The󰀠pink󰀠Snask󰀠afer󰀭pary󰀠was󰀠 anasic󰀬󰀠wih󰀠our󰀠band󰀠playing󰀠and󰀠James󰀠Lavelle󰀠 DJing󰀮󰀠The󰀠hashag󰀠󰀣snaskpary󰀠exploded󰀠wih󰀠 pink colours󰀮󰀠The󰀠oher󰀠pary󰀠was󰀠also󰀠a󰀠big󰀠success󰀠 and󰀠was󰀠crashed󰀠by󰀠local󰀠newspaper󰀠he󰀠Times󰀬󰀠 which󰀠published󰀠a󰀠whole󰀠page󰀠abou󰀠i󰀠he󰀠day󰀠afer󰀮󰀠 We󰀠made󰀠human󰀠pyramids󰀠on󰀠roo󰀠bars󰀬󰀠kissed󰀠Erik󰀠 Kessels󰀠and󰀠his󰀠lovely󰀠wie󰀠several󰀠imes󰀠󰀨and󰀠sole󰀠 his󰀠shoes󰀩󰀬󰀠ae󰀠a󰀠shameully󰀠pleasan󰀠lunch󰀠wih󰀠 Michael󰀠Wolff󰀬󰀠and󰀠had󰀠a󰀠crazy󰀠and󰀠hazy󰀠ime󰀠wih󰀠 he󰀠oher󰀠speakers󰀠in󰀠a󰀠vineyard󰀮 And󰀠everyhing󰀠we’ve󰀠jus󰀠old󰀠you󰀠abou󰀠was󰀠 branding󰀮󰀠Branding󰀠is󰀠abou󰀠building󰀠a󰀠repuaion󰀮󰀠 I’s󰀠abou󰀠being󰀠he󰀠organiser󰀬󰀠bringing󰀠people󰀠 ogeher󰀠and󰀠having󰀠a󰀠grea󰀠ime󰀮󰀠I’s󰀠abou󰀠

organising organising󰀠anoher󰀠pary󰀠 󰀠anoher󰀠pary󰀠ogeher󰀠w ogeher󰀠wih󰀠he󰀠b ih󰀠he󰀠bigges󰀠 igges󰀠 agency󰀠in󰀠Souh󰀠Arica󰀬󰀠King󰀠James󰀮󰀠We󰀠waned󰀠o󰀠 gaher󰀠he󰀠creaive󰀠indusry󰀠o󰀠he󰀠counry󰀠and󰀠have󰀠

connecing󰀠posiive󰀠experiences󰀠o󰀠your󰀠name󰀮󰀠 All󰀠his󰀬󰀠and󰀠having󰀠loads󰀠o󰀠un󰀠and󰀠making󰀠 invaluable󰀠conacs󰀠or󰀠lie󰀠a󰀠he󰀠same󰀠ime󰀮

ENEMY OF THE MONTH

Onlookers

We􀀠need􀀠to􀀠carry􀀠these􀀠bags􀀬􀀠but􀀠 no􀀠one􀀠picks􀀠them􀀠up􀀮􀀠One􀀠person􀀠 takes􀀠the􀀠initiative􀀬􀀠but􀀠the􀀠others􀀠 stand􀀠still􀀠and􀀠start􀀠complaining􀀠 how􀀠bad􀀠it􀀠is􀀠or􀀠that􀀠person􀀠to􀀠 carry􀀠the􀀠bag􀀮􀀠Stop􀀠looking􀀠and􀀠 start􀀠carrying􀀠your􀀠bag!

󰀠S N A S K O F F !  Snaskified is a recurring column by Snask, he inernaionally renowned creaive agency ha srives o challenge he indusry by doing hings differenly.. They worship unconvenional ideas, differenly charming smiles and real emoions, and see he old conservaive world as he bigges enemy.

  Fredrik Öst  www􀀮snask􀀮com

GOSSIP

CANDY

FILTH

Q&A

THUM BS UP!

THUM BS DOWN!

Q󰀺 Is it true that you were driven onto the stage in a car at the conference in Cape Town?

Branding masterclass

Anti󰀭immigration

idea􀀠in􀀠the􀀠beginning􀀮􀀠The􀀠car􀀠

Earlier􀀠this􀀠year􀀠we􀀠recorded􀀠a􀀠 three󰀭hour􀀠long􀀠course􀀠on􀀠design􀀬􀀠 film􀀠and􀀠branding􀀠or􀀠Pluralsight􀀠 󰀨www􀀮pluralsight􀀮com󰀩􀀮􀀠Not􀀠sure􀀠

People􀀠who􀀠don’t􀀠understand􀀠 that􀀠they􀀠are􀀠lucky􀀠to􀀠be􀀠born􀀠in􀀠 the􀀠Western􀀠world􀀮􀀠Everyone’s􀀠 amily􀀠came􀀠to􀀠a􀀠country􀀠at􀀠

sponsor􀀠kind􀀠o􀀠dropped􀀠out􀀠 o􀀠our􀀠party􀀠but􀀠lef􀀠the􀀠car􀀬􀀠 which􀀠was􀀠great!

how􀀠much􀀠you’ll􀀠learn􀀬􀀠but􀀠we􀀠 turned􀀠it􀀠into􀀠a􀀠talk􀀠show􀀠instead􀀠 o􀀠recording􀀠our􀀠screens!

some􀀠point􀀮􀀠In􀀠which􀀠year􀀠do􀀠we􀀠 decide􀀠they’re􀀠‘real􀀠citizens’􀀠and􀀠 why􀀠that􀀠particular􀀠year?

A󰀺 Yes􀀠indeed􀀬􀀠but􀀠it􀀠wasn’t􀀠our􀀠

C OM P U TE RARTS󰀮CRE ATIVE B L OQ󰀮C OM 󰀭 󰀠 96󰀠 󰀭

 

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ICON

MAY 2016

Alex Trochut

Barcelona󰀭born􀀬􀀠Brooklyn󰀭based􀀠aris􀀬􀀠graphic􀀠designer􀀬􀀠illusraor􀀠and􀀠 ypographer􀀠Alex􀀠ranked􀀠fourh􀀠in􀀠our􀀠poll􀀠of􀀠he􀀠󰀲󰀰􀀠mos􀀠influenial􀀠 designers􀀠of􀀠he􀀠las􀀠󰀲󰀰􀀠years􀀮􀀠He’s􀀠won􀀠a􀀠devoed􀀠fan􀀠base􀀠hanks􀀠o􀀠 his􀀠unique􀀠brand􀀠of􀀠illusraed􀀠ypography􀀠and􀀠geomeric􀀠flair􀀮 www􀀮alextrochut􀀮com

ART VS DESIGN Art and design are two different languages󰀬 argues Ale  Alex x Trochut Trochut in the latest of our new series of articles exploring designers’ personal passions󰀮 Creatives can be fluent in both󰀬 but the most important factor is intent

Like many creatives󰀬 I ofen find mysel debating the perpetual question o whether design can be art󰀮 I’m going to use this opportunity to say that I don’t think that design is art󰀮 I󰀠see󰀠ar󰀠and󰀠design󰀠as󰀠wo󰀠differen󰀠 languages󰀮󰀠However󰀬󰀠I󰀠hink󰀠designers󰀠can󰀠 speak󰀠‘ar󰀠language’󰀠󰀨make󰀠ar󰀩󰀬󰀠and󰀠ariss󰀠 can speak󰀠‘design󰀠language’󰀠󰀨do󰀠design󰀩󰀮󰀠 There󰀠is no󰀠conex󰀠ha󰀠can󰀠define󰀠 a clear󰀠border󰀠beween󰀠he󰀠wo󰀬󰀠and󰀠here󰀠 are cerainly󰀠many󰀠areas󰀠of󰀠inersecion󰀮󰀠 Mehodology󰀠and󰀠echniques󰀠don’󰀠esablish󰀠 he󰀠limis󰀠of󰀠one󰀠or󰀠he󰀠oher󰀠eiher󰀮 More󰀠han󰀠he󰀠piece󰀠iself󰀠or󰀠where󰀠i󰀠is󰀠     l   s   e   s   s   u   r    B  ,   y   r   e     l     l   a    G    E    C    I    L    A   e     h    t     f   o   y   s   e    t   r   u   o    C  .    5    1    0    2  ,   m   c    0    4    1   x    0    0    1  ,   s   a   v   n   a   c   n   o   c    i     l   y   r   c   a  ,   s   e     k   o   m    S   g   n   o    L  ,   a   r   r   a    P   :         E         G         A         M         I

placed󰀬󰀠wha󰀠really󰀠draws󰀠he󰀠line󰀠beween󰀠ar󰀠 and󰀠design󰀠for󰀠me󰀠is󰀠he󰀠inenion󰀠behind󰀠he󰀠 creaive󰀠ac󰀮 If󰀠we󰀠hink󰀠abou󰀠ar󰀠and󰀠design󰀠as󰀠 differen󰀠languages󰀠and󰀠look󰀠a󰀠he󰀠vocabulary󰀠 of󰀠each󰀬󰀠design󰀠is󰀠very󰀠limied󰀠compared󰀠o󰀠ar󰀮󰀠 I󰀠focuses󰀠more󰀠on󰀠how󰀠o󰀠express󰀠is󰀠limied󰀬󰀠 well󰀭being󰀭focused󰀠vocabulary󰀠󰀨beauy󰀬󰀠 success󰀬󰀠happiness󰀩󰀠in󰀠new󰀠ways󰀮󰀠Ar󰀬󰀠 meanwhile󰀬󰀠ses󰀠ou󰀠o󰀠discover󰀠which󰀠ideas󰀠 need󰀠o󰀠be󰀠expressed󰀮󰀠There󰀠are󰀠no󰀠limis󰀠or󰀠 aboo󰀬󰀠and󰀠is󰀠subjec󰀠mater󰀠doesn’󰀠even󰀠 need󰀠o󰀠have󰀠a󰀠specific󰀠meaning󰀮 I’m󰀠no󰀠claiming󰀠any󰀠of󰀠he󰀠following󰀠 proposiions󰀠o󰀠be󰀠more󰀠han󰀠subjecive󰀠 saemens󰀬󰀠bu󰀠hey󰀠do󰀠help󰀠me󰀠o󰀠 undersand󰀠wha󰀠I’m󰀠doing󰀠when󰀠I’m󰀠 rying o do󰀠one󰀠hing󰀠or󰀠he󰀠oher󰀮

Long Smokes by Parra󰀺 par󰀠of󰀠 Alex󰀠Trochu’s󰀠privae󰀠collecion󰀮󰀠 The󰀠Duch󰀠creaive󰀠produces󰀠 works󰀠of󰀠boh󰀠fine󰀠ar󰀠and󰀠design

󰀠Design󰀠is󰀠solving󰀠a󰀠problem󰀮 Ar󰀠is󰀠raising󰀠a󰀠quesion󰀮

󰀠Design󰀠is󰀠he󰀠mind󰀠looking󰀠for󰀠soluions󰀮 Ar󰀠is󰀠he󰀠voice󰀠of󰀠he󰀠soul󰀮

󰀠Design󰀠is󰀠conclusive󰀮 Ar󰀠is󰀠an󰀠open󰀠debae󰀮

󰀠Design󰀠needs󰀠a󰀠collecive󰀠accepance󰀮 Ar󰀠only󰀠needs󰀠an󰀠inner󰀠approval󰀮

󰀠Design󰀠is󰀠being󰀠an󰀠acor󰀠and󰀠following󰀠a󰀠scrip󰀮 Ar󰀠is󰀠wriing󰀠and󰀠inerpreing󰀠your󰀠own󰀠sory󰀮

󰀠Design󰀠is󰀠an󰀠ac󰀠of󰀠empahy󰀮 Ar󰀠is󰀠an󰀠ac󰀠of󰀠freedom󰀮󰀠

COMPUTERARTS󰀮CREATIVEBLOQ󰀮COM 󰀭  98 󰀭

 

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