S T RA T AB AKER Y www p-a-r net Formostofustheappealofcakesisnotrational Wedon’ttendtotot upwhatalemonmeringuepieoratiramisuislikelytocontainbefore givingintooururgetoeatit ThistruthmakesBarcelonadesignteam P A R’sidentityforlocalbakeryStratadelightfullycounterintuitive Representingtheconstituentpartsofvariouscakeswithappropriately chosenbandsofcolour–eachlayerlabelledwithsans-serifsmall capitals–itimpliesthatgorgingoncarrotcakeisaboutassensiblean activityaspayingyourtaxes Theboxesarewiyandprey#andmake alovelyalternativetothefrou-froulookassociatedwithpâtisseries suchasLadurée
SPECIAL REPORT in these areas. In particular, the literature produced Contemporary design in that model includes the biannual by property developers tends to arrive between heavy covers or men’s fashion magazine Fantastic Man and its sister publication even in hardboard boxes with all sorts of unnecessary embossing The Gentlewoman. In the spirit of Tschichold, Jop van Bennekom and shininess. This is why Australian agency Studio Hi Ho’s design – the Dutch creative director of the two titles – tends to centre for the small-scale Melbourne property developer Milieu feels headlines and uses both serif and sans-serif typefaces, although he so timely. Using a smart combination of mixes them more freely than did his German modest but elegant materials, minimal forebear. Overall, the magazines have an type and simple, bright photography, Hi Ho “PERHAPS RATHER elegant and authoritative look, but they also has managed to create the impression of communicate a degree of self-knowledge. a fresh-thinking, fleet-of-foot approach THAN BEING VIEWED AS This quality is particularly evident in to commercial development. the tone of the text. Depending on the A TREND, CONTEMPORARY sympathies of the reader, the strategy STRIPPED-BACK STRATEGY MINIMALISM IS can either be viewed as playful or as arch. Designers are branded as minimalists MORE ACCURATELY In interview, Björn Kusoffsky of because of their desire to strip away, but design group Stockholm Design Lab (SDL) the exploration of what they choose to leave CHARACTERISED AS A associated minimalist graphic design with behind demands a more nuanced form of RECURRING ELEMENT fine qualities such as straightforwardness, categorisation. Already mentioned are simplicity and honesty. Proponents of such the ‘New Age’ and the Swiss-oriented OF AN ESTABLISHED an approach in most of its work, nonetheless approaches to paring back. GRAPHIC VOCABULARY” SDL explores more maximal approaches Alongside those there is also a school where it deems appropriate. In designing of minimalism that could be traced to the proprietary products for the Japanese German typographer Jan Tschichold’s retailer Askul, where the field at the time designs for the British book publisher Penguin in the was full of graphic noise (the territory of contemporary batteries, 1940s. Tschichold created a set of design rules that favoured for example) it turned the volume down, but where there was restraint, but that also allowed for a measure of flexibility. general graphic silence (garbage bags being a case in point), His approach was strict, but humane. it ramped up the visual sound. WWWCOMPUTERARTSCOUK -52-
F ANT AS TICMAN www fantasticman com Theglossymen’sbiannualFantasticManlaunchedin * Fiveyearspreviously#themagazine’seditorial teamGertJonkersandJopvanBennekomhad foundedagayfanzinetitledBu#andtheemphatic pared-downprofessionalismofthepair’ssecond publicationsignalledtheirambitiontochallengeand occupythemainstream Themagazine’straditionalyet minimaltypographyandboldphotographyproveda game-changerintheartdirectionofmen’sfashion Net-a-Porter’smenswearsiteMrPorterwaslaunched withsuchasimilarlookandfeelthatmanyassumed thatitwasJonkersandvanBennekomwhowere responsible'itwasactuallythedesigngroupSaturday
SPECIAL REPORT SEPTEMBER 2013 Q&A WITH BJÖRN KUSOFFSKY The co-founder of Stockholm Design Lab looks back to Sweden’s roots to explain the studio’s affinity with minimalist design Doyouseeyourbrandofsimplicityas thingtoachieve AgaininthecaseofAskul# somethingthatis particularlyScandinavian? ittookthreemonthsoftrialanderrorto Yes#Ido It’ssomethingaboutscarcity+ findaJapanesetypefacethatworkedwell scarcityisthemotherof simplicity withHelvetica Alotofourprojectsmay The Scandinaviancountieswerereally lookverysimple#butthereissomuch poor countries Thedemandingnatural work behindthem conditions#wheremeresurvivalimposed sterndemandsonpeople#ledtosimple Doyouthinkthere’sagenerationthat solutions Therewasverylilescopefor has a particularneedfor simplicity? extravagance Greatmeasuresofinnovation Simplicityaractsanyonewhowantsto To some, graphic minimalism implies wereneededjusttofacethechallenges alienatefromcluerandleadabeerlife# honesty, yet it seems that even those who of everydaylife or a moresimplelife Ithinkwereallycan contributebycreatingsomethingthat sign up to that ideology are not above the Howdoesthathistoryplayoutinyour simplifiespeople’slivesandalsobydoing strategic use of graphic frills. Perhaps, rather approachtographicdesign? work thatmakesdesignevolveortake than being viewed as a trend, contemporary Ourdesignisnotsomuchaboutaminimal a newstep Goingbacktotheideaof look#butmoreaboutanaitude#which honesty# ifweareabletodosomething minimalism is more accurately characterised I seeasmorestraightforwardandsimple# morehonest#thenwe’llgoforthat and probablymorehonest Ithinkdesign as a recurring element of an established canbe honest graphic vocabulary. Whatdoyoumeanbyhonest? Notassimpleasitlooks'ittookSDL In the early 20th century, modernist threemonthstofindaJapanesefont It’sacaseof‘whatyouseeiswhatyouget’ minimalism was associated not with vague I wouldsaythatalotofAmericanorItalian thatworkedwellwithHelvetica designisnotasstraightforward#it’sabit characteristics such as honesty and morefluffy Butthereisabalance When simplicity, but with a clearly defined designbecomestotallyfunctionalyourisk losingthemorepoeticpart For me good left-leaning political approach. In a world designhasbothfunctionalityandpoetics where commercial property developers use Sometimesabsolutesimplicityworks#and typefaces that look like the 1920s Utopian sometimesit doesn’t German design Futura, it’s clear that is Whatmakesitwork? Tosomeextent#itrelatestothe no longer the case. As much as it may be competition Inthecaseofourbaeries clean and honest, minimalism, just like for Askul#therearen’tanybaeriesthat looklikethat Inthatinstance#bytaking maximalism, is used to seduce. away#bysimplifying#youarereallyadding something Simplicityisthemostdifficult Modern branding. In our next Special Report, renowned design commentator Adrian Shaughnessy gives his frank assessment of the state of branding in arguingthatalltoooendesignisusedtomaskinferiorproductsandservicesratherthanenhancegreatones–and drawingoutaselectionofinspiringbest-practicecasestudiesthatdemonstratehowitshouldbedone WWWCOMPUTERARTSCOUK -54-
EXCLUSIVE UK OFFER! SAVE UP TO 37% * NOT IN WHEN YOU SUBSCRIBE TO THE US & CANADIAN THE UK? ALL-NEW COMPUTER ARTS! READERS SEE P89 ComputerArtsbelievesdesign maersThat’swhywe’vecompletely reinventedthemagazineasadeluxe printproductandgivenyoumoreof thepeopleprojectsandissuesthat countintoday’sdesignscene WHYSUBSCRIBE? ďGUjYďidďhcďĆĊĒ ď =bgd]fUh]cbĖď]bg][\hďUbXďUbU`mg]gďh\Uhď`UghgďU``ďmYUf ď 9lW`ig]jYď8Yg][bYfďGYf]YgďcZďj]XYcgďYjYfmďacbh\ ď ;YhďmcifďWcdmďYUf`mĖďVYZcfYď]hď\]hgďh\YďbYkgghUbX ď8Y`]jYfmďX]fYWhďhcďmcifďXccf PRICING 0 everythreemonthsbyquarterly direct debitsaving1–or0 for issuessaving21 SUBSCRIBEONLINETODAY LEADINGDESIGNERS wwwmyfavouritemagazinescouk/ RECOMMENDCOMPUTERARTS… coapg Å7cadihYf 5fhg ]g U a]ffcf hc h\Y ]bXighfm\" As the industry goes wider and deeper to ORCALL ÑbX ]hgY`Z 7cadihYf 5fhg YbXYUjcifg hc Xc h\Uh hcc\" =hÈg Vch\ f][cfcig UbX \ib[fm\" H\YmÈfY `]_Y fYU``m \UfXkcf_]b[ a]bYfg Zcf [ccX ghi \"Æ andquotecode%coapg BENMARSHALL, creative director, Landor (London) TERMSANDCONDITIONS GUj]b[g WcadUfYX hc Vim]b[ &* Zi``!df]WYX ]ggiYg Zfca I? bYkgghUbX\" H\]g c Yf ]g Zcf bYk I? df]bh giVgWf]VYfg cb`m\" Mci k]`` fYWY]jY %' ]ggiYg ]b U mYUf\" :i`` XYhU]`g cZ h\Y 8]fYWh 8YV]h [iUfUbhYY UfY UjU]`UV`Y idcb fYeiYgh\" =Z mci UfY X]ggUh]gÑYX ]b Ubm kUm mci WUb kf]hY hc ig cf WU`` ig hc WUbWY` mcif giVgWf]dh]cb Uh Ubm h]aY UbX kY k]`` fYZibX mci Zcf U`` ibaU]`YX ]ggiYg\" Df]WYg WcffYWh Uh dc]bh cZ df]bh UbX giV^YWh hc W\Ub[Y\" :cf Zi`` hYfag UbX WcbX]h]cbg d`YUgY j]g]h. amZUja\"U[#aU[hYfag C Yf YbXg. '$h\ GYdhYaVYf &$%'
SEPTEMBER 2013 MARTA CERDÀ MARTA WITH A CAUSE Barcelona-based graphic designer and illustrator Marta Cerdà reflects on why psychology is an important design tool, and what it means to be a nomadic designer MAR T ACERD À Marta Cerdà won the Art Director’s Club Young Guns sixth edition in 2008, and has since gone on to found her own graphic design and illustration studio, working for the likes of Ray Ban, Penguin Books, Nike, Coca-Cola and the Guardian. wwwmartacerdacom WORDS:GaryEvans PHOTOGRAPHY: CaterinaBarjau wwwcaterinabarjaucom WWWCOMPUTERARTSCOUK -57-
SEPTEMBER 2013 MARTA CERDÀ “MUSICISLIKEAMEDICINE FORMYCREATIVITY ITCAN HELPMESTAYPOSITIVE AND ITCANALSOHELP ME STAYFOCUSED” TheCataloniancreativeplacesgreatvalueonself-initiatedprojects such asthispieceofalbumartworkforAtomsforPeace “Istartwithreallyclearrecognisableshapes”CerdàsaysofherSpain Cerdà’srecentcoverfortheGuardianGuidesupplement–apieceshesaysthatwasinfluenced Arts andCulturecover“solaterIcanworkinamoreabstractway” by herfascinationwithcalligraphy WWWCOMPUTERARTSCOUK -59-
SEPTEMBER 2013 MARTA CERDÀ Thedesigner’srecentworkforLadoMagazinesawhercollaborate Cerdà’sidentityforBaltimore-basedenvironmentalprojectTransitfeaturesonthismonth’scover with themonthisexclusivewinecollection focused. Sometimes music has worked kind of letters. That was really key for me as a stimulus. I remember I to my professional development. was listening a lot to Biophilia by Now it works the same way, but Björk when I did the wine label for it also helps me to try different paths Artelados, and also watching her on my own. On my Ship of Fools beautiful Mutual Core music video. design, which I did last year, I wanted Music can be very visual, too. If I have to create a very conceptual piece. to do a poster for a music group, I In the words of Stefan Sagmeister: listen to it from the beginning until “If I want to explore a new direction the end of the work, non-stop. I try professionally, it is helpful to try it to be the music’s visual translator. out for myself first.” With such impressive clients, is self- Can you tell us about the weirdest initiated work still important to you? project you’ve ever worked on? I’ve worked on self-initiated projects It was a poster Alex Trochut and since university. It’s a good way to I did in 2007, by hand with clay for try things out without having a Arjo Wiggins. We both had food client. Self-initiated projects became poisoning and, while working on it, more important to me when I began we had to go to the bathroom… every freelancing. I didn’t have a lot of once in a while. That was weird. And, work coming in, so this was a way unconsciously, it may have become of keeping my website updated. part of the piece with the colouring I created pieces geared towards the and the melting. But, apart from that, kind of projects I wanted to be hired I learned it’s possible and fun to work for: illustration and typography. It on a collaborative, three-dimensional worked. Every time I got more briefs piece. Also, don’t eat fresh mayonnaise Cerdà’sself-initiatedShipofFoolspiecehelpedherexploreamore conceptualdirectioninherdesignwork asking for this kind of style or those in the summer. WWWCOMPUTERARTSCOUK -61-
SEPTEMBER 2013 OPEN BRIEFS BEAT THE BLANK PAGE BLUES Fourleadingcreativesdiscuss%whatisanopenbrief do they reallyexistandhowshouldyouapproachone? WORDS: heMerchantCityisGlasgow’screativequarterIts intheconsultancyhasafoliothatincludesworkfor GaryEvans foundationslaidbythosewhoprosperedinshipping theCommonwealthGamesUKbroadcasterChannel ILLUSTRATION: Casmiclab Tsugarteaandtobaccointhethcentury–‘tobacco and fashionretailerCruiseitsoutputcharacterised wwwcasmiclabcom lords’astheybecameknown–thedistrictisnowthecity’s by intelligentwell-craeddesign culturalepicentreWidestreetsandopensquares aract “Forthemostpartourclientshaveidentifieda visitorsallyearroundItsnightlifeisfamous needforsomethingandwillcometoustohelpdefinethe TheareaisalsohometoGraphicalHouseadesign natureofthatsomethingthenrealiseitinwhateverformis consultancythataccordingtodirectorDanielIbbotson appropriate”Ibbotsoncontinues“Thepleasureofourjob regularlydealswithopenbriefs%“Mostprojectsthatcome isinthechallengespresentedbyourclients–inthat intoourstudiocouldbedescribedasopen”hebegins“It’s respectthemoreopenthebriefthebeer” rareforaclienttoapproachuswithaprescriptiverequest” IbbotsondescribesGraphicalHouse’sstudioas“an NECESSARY RESTRICTIONS exhibitionspaceandgoldfishbowl”Basedinanoldshop Ibbotson’sviewisn’tnecessarilyrepresentativeofthe unititsfaçadeislinedwithlargewindowsthatgivepassers industryasawholeTheopenbriefis acontentiousissue% by auniqueperspectiveintostudiolife–andthisopen- definitionsvarytheirfrequencycontendedwithsome houseethospermeateseveryaspectofitsworkFounded creativesquestioningwhetherornot theyexistatall DA N I E L AN D R E A S SAR A DA V I D IBB O T S O N FRI B ER G BL A K E JA C K SO N LU N D G R E N Daniel is director of Graphical House, Andreas is senior art director and Zso is the illustration and design David is creative director at a design consultancy working in partner at design and development studio of NYC-based creative Sara, London-based, multidisciplinary digital, analogue and environmental bureau Lundgren+Lindqvist, whose impressive client base includes studio Format.Ldn. In the three design. His sheepdog Logan is also the studio celebrated for its Alo Drink, Nike, Ford, Hurley, IBM, years since its inception, the agency a full-time member of staff. “reductive” approach. Wired and Scotch & Soda. has built an impressive client list. wwwgraphicalhousecouk wwwlundgrenlindqvistse wwwhellozsocom wwwformatldncom WWWCOMPUTERARTSCOUK -63-
INDUSTRY ISSUES SEPTEMBER 2013 “There’snosuchthingasacompletelyopenbrief” AndreasFribergLundgrensays“Theclientcommissioning ustodoworkforthemalwayshasspecificneeds– althoughatthebeginningoftheprojecttheymightnot alwaysbeclearaboutthemForusasdesignersthese restrictionsarenecessaryThereisnothingasdaunting as a blankcanvas”Lundgrenisseniorartdirectorand partneratGothenburg-baseddesignanddevelopment bureauLundgren$LindqvistHespeaksasthevoiceof experience–badexperience Thedesignerpointstoanunnamedclientwho aer emphasisinganimplicittrustinLundgren$Lindqvist proceededtorebuffitseveryproposaleachtime requestingamorediluteddesignontheoriginalidea “In thiscase”Lundgrensays“Isuspectthattheopenness ofthebriefledtheclienttoworryaboutwhetherornot theyweregivingusproperinstructionsleadingthemto overcompensateforthevaguenessoftheirinitialapproach Alotoffrictioncouldeasilyhavebeenavoidedbydraing aclearbrieffromtheoutset” Withservicescoveringbrandinggraphicdesign PROJECT FOCUS illustrationandartdirectionLundgren$Lindqvistisnoted BAFTA IDENT foritspared-downaesthetic“Wehaveareductive approach”Lundgrensays“whichisnottobeconfused FormatLdndirectorDavidJacksonexplainswhy withminimalism”It’sa stylethatlendsitselftomore communicationisthekeytounlockingopenbriefs structuredbriefs%“Wethriveonlimitationsandrestraints Whatothersviewasaproblemwetrytotreatasanasset FormatLdnrecentlycreatedaninnovativenewidentforthe allowingustonotonlyfacebutembracetheharshreality British AcademyofFilmandTelevisionArts3BAFTA4“Itwas ofbudgetsandtimeplans” a complicatedproject”creativedirectorDavidJacksonsays “as therereallywasnobrief” TheLondon-basedgraphicandmotiondesignspecialists UNLOCKING OPEN BRIEFS eventuallydecidedonatechniquewhichinvolvedscanningthe Lundgren’sviewsservetohighlighta discrepancybetween iconic BAFTAawardinDThisalloweda detailedcaptureofthe gold theatricalmaskcreatedinbyUSsculptorMitziCunliffe disciplinesWhilerenderingaprojectalmostunworkablein “We thenspenttimegeingthelookandfeeljustright”Jackson onefieldanopenbriefstokesthecreativefiresinanother says“beforefinallyanimatingthemaskinaseriesofmovesto It’ssomethingthemultidisciplinarySaraBlakeunderstands create severalversionsof theident” Theprojectwascompletedaeranextensiveresearch alltoowell“Theillustratorandartistinmelovesopen anddevelopmentstagewhichtheclientwasinvolvedinthroughout briefs0thedesignerinmehatesthemDesignfeelslike “Aeraninitialconversation”Jacksonsays“webegantoresearch problemsolving–whenabriefiscompletelyopenI’mnot boththeoldidentsandsimilarwork Theonlyworkwecouldlook atwasthepreviouslong-standinganimation Theconceptforus reallysurewhatI’mevendoingMakingartformeisall wasclearandwasreceivedwellwithintheorganisation” aboutaweanddelightandanopenbriefisadream” Theresultisasleekandunderstatedidentbefiingofan Blake istheNewYorkCity-basedcreativewhose institutionofBAFTA’sstandingastrikingvisualrepresentationof the feelingitinspires workincorporatesillustrationfineartdesignandart “Thisprojecthadtobeapprovedbyquiteafewpeopleat directionUnderthemonikerZsoherimpressiveand everystageduetothenatureoftheorganisationandthepotential ever-growingclientlisttakesinNikeFordandWired usageoftheident Theendproductissuperandwe’reveryproud tohavebeenaskedtotakeontheprojectanddeliversomething magazinetonamejustafew withsuchaglobalaudience”addsJackson “Ifanopenbriefcomesupformoreofadesign-led project–aspecificproductbrandidentity–Itryand self-enforceafewrulestosolvearound”Blakesays WWWCOMPUTERARTSCOUK -64-
SEPTEMBER 2013 OPEN BRIEFS “If it’s moreofafineartpieceforagalleryorcommission Secondlywherepossibleit’sbeneficialtoarrange I can happilyjustjumpintoitanditfeelswonderfully a face-to-facemeetingwithclientsThisfosterstrustand self-indulgentIalwayshavealistofthingsIwanttotry offersgreaterinsightintotastesandexpectationsMeet out andopenbriefscanbefantasticopportunitiesto in aninformalorneutralseing–astudiocanintimidate applythat–whensomeonehashiredyoutomake clientsmakingthemlessforthcomingaboutwhatthey somethingthatyou alreadywantedtomakeon yourown” reallywant“Sometimes”Jacksonsays“a clientwill ThisisalsotrueofFormatLdn’sbestworkThe mentionsomethingtheyhaveseenorasmalldetailthat London-basedmultidisciplinarycreativestudiospecialises canseedourcreativepath” ingraphicandmotiondesignforclientssuchasRolls Thethirdstageisallaboutoptions“Clientslove RoyceMTVandtheNHSCreativedirectorDavidJackson options”JacksonsaysThe keyhereisnottooverwhelm hashoneda workflowhefeelsgetsthemostfromopen Agreehowmanyconceptscanandshouldbedelivered briefswhichcanbebrokendownintofourkeyareas withinthecontractedpre-productiontimeandagreed ThoroughlyresearchingtheclientJacksonsays budgetThisensuresallpartiesareclearondevelopment is thefirststep–performingan“in-depthanalysisofall timeandcostsOncetheclienthaschosenaconcept aspectsoftheclient’scurrentbrandinordertogiveus it’s timetogettoworkThisisthefourthandfinalmove understandingandinsightUnderstandingtheclientis It’s crucialthere’saconstantdialoguebetweenyouand the mostimportantthing” the clienttoguaranteethingsaremovingintheright Q&A ANDREAS FRIBERG LUNDGREN Open-briefinspirationisoenfoundinunexpectedsituations as LundgrenLindqvist’sseniorartdirectorandpartnerexplains Canyougiveanexampleofanopen of twoofourclientsNormallywe’dnever briefyou’veworkedon? takeonaninternthatyoungbutdueto TocelebratethelaunchoftheFSEmeric ourrelationshipwithherparentswe typefaceEnglishtypefoundryFontsmith madeanexceptionHerbeingquitesmall askedLundgren$Lindqvistandleading forherageexaggeratedthenotionof designstudiosfromaroundtheworld her beingan‘extralightweight’designer to createalimited-editionposter The connectiontotheweightofthe typefaceassignedtouswasjusttoo Therewerenostipulationsatall? obvioustoignore Eachposterwastobedesignedwithone specificweightofthetypefaceWewere Whatwasthefeedbackonthe assignedtheExtraLightweightApart project like? fromthatandthefacttheposterswereto Usingsimpletypographicmeansour bescreen-printedAusingamaximumof contributionaimstoillustratethefact twocoloursonGFSmithColorplanstock that bychoosingtherighttypeface wewerefreetodowhatwewanted good designiseasilyachievedEven an unschooled-year-oldcandoit Wheredidyoubegin? Many clientswould’veviewedsucha Throughmerechanceatthetimeof straightforwardsimplisticsolutionwith designingtheposterwehadaone-week suspicionbutgiventheopennessofthe internAnna–the-year-olddaughter briefwewereabletoseeitthrough WWWCOMPUTERARTSCOUK -65-
INDUSTRY ISSUES SEPTEMBER 2013 direction“Wealwaysmakesurethattheclientisfully yourselfagainstthepitfallsofan engagedduringthisfinalprocess”Jacksonsays open briefWithoutclearlydefined “It’s essential%itistheirproductaerall” boundariesyoumayfindyourself “OPEN BRIEFS ARE beingaskedtoreturntothedrawing WHEN YOU MAKE YOUR POTENTIAL PITFALLS boardonetoomanytimesJackson Anostensiblyopenbriefcanoenbesymptomaticof stressestheimportanceofagreeing BEST WORK – WHEN YOU’RE PERSONALLY a clientlackingineitherknowledgeorconfidencewhen a structureandcomprehensive commissioningcreativityTheyhavesomethinginmind budgetfromtheoutset – if onlysubconsciously–butdon’tknowhowtoarticulate Blaketakesthisonestep INVESTED IN it It’ssomethingBlake’slearnedtocombat furtherbuildingaclauseinher THE OUTCOME” “It’syourjobtohelpthemworkthroughthat”she contractthatallowsforamaximum says“Itmightnotbetheirfaulttheyjustdon’talwaysknow of threerevisionsbeforecharging SARA BLAKE, ZSO howtoorganisetheircreativethoughts–especiallyifthey extra“Youhavetovalueyourtime aresmallindependentandnotusedtocollaboratingin andexperience”sheexplains“I try this wayItryandbeginbyactuallyassigningmyclienta to avoidthisatallcoststhoughand lilebitofworkbeforegeingstartedbyaskingthemto troubleshootinanywaypossiblebeforebacking pullreferencesforme”Notesanddoodlescuingsand out of a projectButsometimesyoujusthaveto moodboards%anysupportingmaterialtheclientcan bow out gracefully” provideisgoingtohelpsafeguardtheproject’ssuccess Carteblancheisthelifebloodofcreativity Buttherealkeytounlockingahiddenbriefisclear While openbriefsarebecomingscarcetheyencourage andconstantcommunication“Theskillisextractingthat innovationandshouldbegrabbedwithbothhands informationfromconversationsandmeetings”Jackson Whetherthisrequiresaclienttotrustyourvisionoryou says“andguidingtheclientin the bestdirection” to realisetheirsthesearethecommissionsthatpromise Anopenbriefinitspurestformisoenfound unchartedterritoryandguaranteeoriginalresults in projectsofloweconomicalgain–alimitedbudget “Openbriefsdoexist”Blakeconcludes“they compensatedbyincreasedorunlimitedcreativefreedom are justrareThey’realsowhenyoumakeyourbest CharityworkforexampleWhatevercreativeorfinancial work –whenyou’repersonallyinvestedintheoutcome benefitsaprojectpromisesit’simportanttoprotect beyonda paycheque” WWWCOMPUTERARTSCOUK -66-
CHIP OFF THE NEW BLOK Blok Design partners Vanessa Eckstein and Marta Cutler share their love of ‘the space in-between’, and why a value legacy for future generations is important WORDS: GarrickWebster PHOTOGRAPHY: ReynardLi wwwreynardlicom
AT A GLANCE: BLOK DESIGN D AT E F O UNDE D : September!111 N U M B E R O F STAFF: Four LO CATI O N : Toronto#Canada+MexicoCity#Mexico DISCIP L I NE S: Branding#editorialanddigitaldesign FE AT U R ED P R O J ECTS : Vuhl *#Laboratoriaparala Cuidad# Lampyro
Blok#has#kept#its# lokDesignisinanunusuallocationforadesign downalilebackroadandnexttotherailwayline#butthe staff numbers#low'# studio It’snotindowntownToronto whereyou’ll designersheregettoworkina big#airystudiowithplenty in order#to#stay# passionate#about# B findplentyoftrendyboutiques galleriesandstudios ofroom Naturallightstreamsthroughthewindows#with the work# onKingStreetorQueenStreet Instead itnestlesin leafyviews Thefloorsarestrippedwood#andreference thewesternpartofthecity somewherenorthofthe imageryandworkinprogressisregularlypostedonthe universitydistrict andnottoofarfromtheup-and- barebrickwalls Withjustsixstaff–includingtwointerns comingJunctionneighbourhood Andperhapsthat’s – therearenofightsoverdeskspace Andnearthe fiingbecause bothvisuallyandphilosophically Blok entranceyou’llfindahugecollectionofinspiringbooks Designlikestofindplacesthatareyettobedefined coveringartanddesign#photography#philosophyand “Conceptually#welikethespacein-between#”says more Toroundthingsoffthere’sa !12\"Vespaparked founderVanessaEckstein “Ineveryprojectthere’sapoint inthecentreofthefloor ofcontradictionandwelikethattobeapointofdiscussion TherearenopartitionsorcloseddoorsatBlok# –likethejuxtaposition#thatpointwhereeverythingis either Thedesignersallsitdownanddiscussthingsata opposingeachother Tryingtounderstandthebalance bigtableinthemiddleoftheroom AccordingtoMarta is veryinteresting Sowelikethosespaceswherepeople Cutler#whojoinedaspartnertwo-and-a-halfyearsago# arenotworking#orwherewehaven’tworkedbefore thestudiolovesreceivingguests “We’vealwaysgotour We likethechallengeof#‘Whatisthisspaceabout?’” doorsopentoanybodywhowantstocomeinandtalk# Inpractice#thishassomanymanifestationsin becauseitfeedsourcreativity#”shesays “Peoplecome Blok’s output Coffeeatthestudioisservedincupsthat injusttopickourbrainsonprojects Forexample#there arepartofacrockeryrangethatBlokdesignedsome wasaninteractivefilmprojectgoingthroughaproduction years back Thestudiodrewitsownfontforabookit companyandtheyjustsaid#‘Can wejustcomeinandtalk createdforMéxicoCiudadFutura#anenvironmental toyouabouttheideas?’Wesaid#‘Sure’ Itwasahigh-level projectinMexico Soon#it’llbedesigninganexperimental thing#conceptually#thatwasreallyinteresting ” audiositeforamusicianit’sworkingwith Blokhasjust donethe brandingforahighperformanceroadandtrack CREATING A LEGACY car#but it’salsoco-publishingarangeof children’sbooks WithabackgroundinadvertisingatagencieslikeMacLaren It’s evenbranded an airline McCannandDDB#Cutlerwasinvitedtojoinbyfounder Blok’sphysicalspacechimeswiththatopen VanessaEckstein#whosetupBlokbackin!111 “Ihave mentality#too It mightbein-betweenneighbourhoods# asix-year-olddaughter IwasatthepointwhereIwas WWWCOMPUTERARTSCOUK -70-
SEPTEMBER 2013 BLOK DESIGN PROJECT FOCUS VUHL 05 IDENTITY Blok took inspiration from Vuhl’s rich history when designing the identity for its new supercar OneofBlokDesign’smostrecentidentityprojectshasbeenfortheMexican motorsportcompanyVuhlThefirmlauncheditsnewsupercar–named the Vuhl–atthisyear’sGoodwoodFestivalofSpeed andwithitBlok’s brandingworkwasunveiled “Theycametousabouttwoandahalfyearsagosowecreatedtheidentity of theircompanyandnowwe’vecreatedtheidentityforthecarWewereinvolved innamingitwedidthecargraphicsandwe’veliterallybeenwiththemeverystep oftheway”explainsMartaCutler There’squiteastorybehinditVuhlfoundersIkerandGuillermoEcheverria wereraisedaroundcarsbecausetheirfatherwasaracingdriverinthes inMexicoandtheUSTheheritageinspiredseveralareasofBlok’sdesignwork The doesn’tsporta typicalchromebadgeIn-keepingwiththeroadandtrack car’sminimaldesignBlokcreatedasimpleandstrikingleermarktogoonitsnose The identityharksbacktothecleannumbersseenontheracersofyearspast “Wewantedtotakeittoanotherlevelofcontemporary”saysVanessa Eckstein“We’veevendesignedaspecial‘five’foritWewerereallyinspired bythe numeralsfromoldracinganditcomesfromalilebitofthatheritage” Similarlytheinitialphotographicworkhasbeendoneinblackandwhite Blok alsocalledonanotherofitsclientsacompanywhichmakeshandcra ed bagstocreatebagsfortheVuhlhelmetandforits detachablesteeringwheel WWWCOMPUTERARTSCOUK -71-
STUDIO LIFE Argentina-born#Vanessa#Eckstein#$le %# founded#Blok#over#a#decade#ago'#and# Canadian#Marta#Cutler#$right%#joined as# a partner#later#on#and#is#helping#drive# the Toronto#studio#into#new#areas startingtothink#‘Well#what’smylegacy?WheredoIwant togrow?Wemetatacoffeeshop#andVanessaputa café grandeinfrontofmeandhitmewiththewords‘value legacy’ Iwenthomeandthought#‘OhGod’ ” Cutlerjoiningthestudioconcludedaperiodof changeforBlokDesign ForsomeyearsEcksteinhadbeen Hoi#Bo'#the#chic# runningthecompanyoutoftwostudios–oneinMexico anythingtocultivateanimage Ithasitsopendoorpolicy# Toronto-based# CityandtheotherinToronto Shetoohaschildren#and andbothpartnerscontributetothedesigncommunity designer#leather# boutique'#turned# so decidedtorethinkhersituation EcksteinisontheboardoftheAdvertising&DesignClub to Blok#to#design# “IhadgonethroughthesamethingasMarta#”says ofCanada–thenation’sequivalentoftheArtDirector’s its posters#and# other collateral Eckstein “I loveBlokasastudio#andwhenIopeneditI ClubintheUS ShementorsdesignstudentsatGeorge alwaysthoughtthiswasaspaceforcollaboration#where BrownCollege#whichisjustdowntheroadfromthestudio# truevalueandchangecouldhappen Atsomepoint# andisanadvisorattheacclaimedOntarioCollegeofArt althoughwe’redoingreallycreativework#I realisedthere andDesign Blokalsogetsinvolvedinarangeofevents werethingsthatIwantedtomakesureof Icalledita‘value outsidegraphicdesign–theteamrecentlyspokeatafood legacy’ WetookasabbaticalattheMexicostudioforone industrysymposium#forinstance year#andcalleditavaluelegacybecauseitwasabout‘what However#thereasonthestudio’ssowellrespected exampledoweleaveourkids?’” ismainlybecauseofitswork Withthe‘valuelegacy’ philosophybehindit#projectsarebecomingmorevaried THE TORONTO SCENE andmoremeaningful “Ithinkpeoplearealilebitenvious BlokstillhasasmallofficeinMexico#andseveralimportant oftheprojectsthatwedo Igetthatsometimes–theycan’t clientsthere However#Ecksteinisnowmorefocusedon believethatwedothesetypesofprojects#”saysCutler Toronto#andthecreativecommunitytherehasmorethan “They’renotcorporateprojects#they’reverydiverseand embracedBlokDesign Whenabloggerpostedalistof they’reinternationalinscopetoo ” the‘\"designstudiosinTorontoyoushouldknowabout’# ForEckstein#‘envious’mightbethewrongword Blokwasomied A numberofcommentspoppedup#one “I thinkwekeeponchanging TheonethingIhaven’t saying#‘ToughlisttotrustwithoutBlokonit’ found inthiscommunityisenvy Havingworkedinother SharingthisanecdotewithEcksteinandCutler# cities#it’sbeenveryopen#veryembracing#verywarm they’rebothsurprisedandflaered Blokhasn’tdone That’stheonethingIcansayaboutToronto ” WWWCOMPUTERARTSCOUK -72-
SEPTEMBER 2013 BLOK DESIGN PROJECT FOCUS LAMPYRO Lampyro sees Blok collaborating with leading artists to create inspiring children’s books Blok’s Lampyro publishing initiative links back to the studio’s unique ‘value legacy’ philosophy. The studio is working on a range of illustrated children’s books with contemporary artists. The approach is quite different to that of other publishers of children’s books. ThefirstexampleisentitledCacaGrandeIthas alreadybeenreleasedandfeaturesthestrangeand scaryworkofMexicanartistCarlosAmoralesThereis notextinthisfirstbookChildrenaresimplypresented withtheartworkandallowedtoimaginethemeaning forthemselves “Thisprojectstartedwiththeobservationthatthe booksonartistsavailableforchildrenatartgalleries andmuseumsareforthemostpartverysimplistic educationalpieces”explainsMartaCutler“Lampyro’s visionistocreatealoveofartatanearlyagebyhaving theleadingcontemporaryartistofourtimecreate booksespeciallyfor childrenallowingthemtosee the worldthroughthe artist’seyes” BlokiscollaboratingontheprojectwithPatrick CharpenelwhocuratestheJumexartcollectionin MexicoCityHelooksaroundfor artiststhatcandepict theworldthewaychildrenmightseeit“Wedon’tgive briefstotheartistsThecuratorweworkwithhas identifiedtheareasthatchildrenrespondtoandare interestedin suchascolourspacedeath–yesthey arefascinatedwithit!– thenmatchesthistotheartist whoisfreetointerpretitin theirownway” AccordingtoBlokCacaGrandehasbeenselling wellFurtherartistsfortheserieshaven’tbeennamed yetbutwatchthisspace WWWCOMPUTERARTSCOUK -73-
SEPTEMBER 2013 BLOK DESIGN PROJECT FOCUS LABORATORIA PARA LA CUIDAD Working with an unwieldly name provided an unusual typographic challenge Laboratoria para la Cuidad is an initiative of the governors of Mexico City that aims to highlight the design culture of the region. Blok was called in to give the lab an identity Thefirstchallengewasthename itself–LaboratoriaparalaCuidad whichmeansLaboratoryoftheCity It’s verylongsoBlokplayedwith shorthandformsthattheorganisation coulduse“Fouroftheselogoswill existsimultaneouslyandbeapplied dependingonwhichneedstheyhave” saysVanessaEckstein Thetypeusedinthelogoswas anchoredwithlinesthatpartially enclosetheleersbuttheformswere le openintentionallyThisreflectsthe non-linearaspectsofthecity’sculture andgivesthe sensethatconnections willbemadethroughtheevents Thecolourpaleesuggests some unexpectedaspectsofthe city TypicallyMexicancultureis representedwithbrightpinksyellows andgreensHoweverBlokwentback andreadabouthowMexicoCityhas beendescribedbygreatwritersand uncoveredadifferentcolourpalee Thegreycomesfromtheconcreteand metalofthemetropolistheyellow fromgrassburntdrybythesunand thebrownfromthedirtunderfoot Blokhasalsodesignedastamp thattheorganiserscanapplyto art and designworkthatgoeson displayEachpiecewillbecalled an experimentandhavethestamp appliedtoit–andeachstampuses a differentMexicantypeface WWWCOMPUTERARTSCOUK -75-
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SECTOR FOCUS SEPTEMBER 2013 THE PRO’S GUIDE TO PACKAGING DESIGN Good product packaging design reinforces the brand’s DNA, says Design Packaging creative director Evelio Maos – with the best work creating emotional responses in the process AUTHOR sanystudentofpackagingwouldsayIfeellikeweare finallyinagoldenageforthisareaDesignerstoday Aarefocusingonissuesbeyondtheprotectivequalities ofpackagingtoincorporatesustainabilityinteractivitysecond lifeandbeautyinawaythathasneverbeendonebefore Yestherehavebeenperiodsresponsibleforbeautiful packagingVintageCoca-ColacratesLaduréemacaronboxes mid-centuryWestinghousebulbcontainers–thesearealltimeless examplesofpackagingButnothingisasbeautifulandharmoniousas whatisbeingcreatedtodayandwiththeincorporationofsmarttech intotheindustryIcan’twaittoseewhatwillhappeninthefuture EVEL I O M A T T O S AtDesignPackagingourfocusisluxuryandprestigeretail C R E A T I V E D I R ECTO R packagingwherethepackagingissecondarytotheproductTheaim D E SI G NP A C K A G I N G Since Eveliohasled ofourworkistoinfuseabrand’sDNAintotheproductunboxing DesignPackaging’screativeteam processsometimesbycreatingsuspensemysteryorevenhumour intheevolutionarydevelopment ofbothvisualandstructural Atthemomentconsumersarebombardedwithmarketingin packagingdesignsThestudio’s everywakingmomentineverypossibleareaoftheirlivesThereare production-drivendesignsystem nolongerquietspacesforthemindtorestSalesarenolongermade hasgarneredrecognitionfrom inthemindoftheconsumerthroughadvertsandslogansbut luxuryretailclientsincluding AmericanEagleBarneysNew insteadon-shelfthroughdirectordigitalinteractionMediatoday YorkandBulgari hastosupportthepackagingonshelfnottheotherwayaround Thisapproachworkswellbecausepackagingisthelast touchpointabrandhaswithapotentialconsumerYouhavethree secondstomakethatsale%thisiswherebrand-definingpackaging has toreallyshine WWWCOMPUTERARTSCOUK -78-
SEPTEMBER 2013 PACKAGING DESIGN JUN MITANI ThoughnotapackagingdesignerbytradeJunMitani’sexplorative worksinorigamicstructuredirectlytranslatetopackagingandthe currentneedsofmass-marketclientsSo manypackagingdesigns availableon-shelftodaysharethesameexactstructureandrelyon graphicdifferentiationforacompetitiveadvantageIncorporating origamicfoldsintothepackagingstructureallowsyoutoalteryour design’senvironmentbyplayingwithlightandshadowsForusas packagingdesignersMitani’sworkshowsthatlightshadowsand tactileimpactcanbeasimportanttotheeffectivenessofadesign as colourandgraphics JUICY COUTURE MEN’S BIBLE BOX OurowndesignfortheJuicyCouture Men’sproductpackagingwillalwaysbe deartomeItisheavilylayeredwith productionprocessesCMYKprinton naturalkrapaperscrispdebossed logowithanout-of-registerdistressed logohot-stampedintothedeboss silverhot-stampedpageedgesand wornleatherglossvarnishtexture Togethertheseprocessescomplete thelookofanolddistressedbiblein whichishiddenasilverliquorflask encasedinvelvetinteriorliningThe projectwasdevelopedintheinfancy oftheJC’smen’slineandwassowell receivedthatitservedasthevisual inspirationforseveralotherproducts WWWCOMPUTERARTSCOUK -79-
SECTOR FOCUS SEPTEMBER 2013 BARNEYS NEW YORK INVITATIONS LadyGagahasbeeninvitedbyBarneysNew York tocreateGaga’sWorkshopanavant-garde interpretationofaSanta’sworkshopanda wonderlandofeccentricities Thoughallare invitedtoseethespectacleonlyaselectfew will begrantedVIPadmiancewiththecoveted goldenticketDesignPackagingsketchedaseries ofconceptsfortheinvitationwhichemulated Gaga’sWorkshopinitsmostbasicform–an iconicBarneys’facadeliterallyexplodingwith an unexpectedGagavisualspectacular Within hoursofreceivingdirectionfrom Barneys NewYorktheseillustrationswere turnedintothree-dimensionalmock-upsamples completewithfunctioningpop-updetails It exemplifiesthe bestpracticesofour creative development process WWWCOMPUTERARTSCOUK -80-
SEPTEMBER 2013 PACKAGING DESIGN QUIKSILVER GIFT CARD CARRIER TheQuicksilvergicardcarrierconcept developedwithourthen-internJohnTurner asacreativeexerciseintheperfect intersectionofvisualandstructuraldesign wasverywellreceivedbythedesign communityAsateamwecontinueto developnewideaswhereweseeafitfor packagingtoprovideasolutiontostale creativeWehaveveryfewdaysofdowntime butwhenwedoweplayAlotThisbeautiful designistheresultofcreativeplay CHANEL NO. 5 FRAGRANCE SAMPLER ThisChanelsamplefragranceboxincorporates pop-upbeautifulmaterialsandfineproduction techniques–andis definitelyaninspirationforour teamDesignedasadrop-downrunwaywithcurved mirrorsandpop-upchairsChanel’spackaging achievesabalancebetweencommerceandartthat wetrytodevelopintoeveryoneofourcreative designsBeautifulpackagingtranscendsitsoriginal purposeoftransportingandmarketingaproduct0 packagingcanbeart WWWCOMPUTERARTSCOUK -81-
#generateconf EST. 2013 THE CONFERENCE FOR WEB DESIGNERS WHEN AND WHERE FEATURED SPEAKERS LAST CHANCE TO BUY ADVANCE TICKETS ASSOCIATE SPONSOR
SEPTEMBER 2013 INTRO PROJECTS Computer Arts goes behind the scenes with world-leading designers as they reveal their working processes… EXCLUSIVE VIDEO! Get great access to top studios with The Designer Series Page 42 OPTUS REBRAND: DESTINY CALLING How Re developed a highly engaging character-led rebrand to give Australia’s second-largest telecommunications company more personality 84 SEED & BEAN: BINARY PRINTS: FESTIVAL FLAVOURS GENIUS ON TWO LEVELS Follow graphic artist Matt Illustrator Alex Trochut shares his Lyon through his latest stylish experiments with luminous packaging design brief 91 ink for a new poster series 94 WWWCOMPUTERARTSCOUK -83-
PROJECTS SEPTEMBER 2013 PROJECT FACTFILE OPTUS REBRAND: BRIEF Tocreateabrandnewidentityfor DESTINY CALLING OptusAustralia’ssecond-largest telecommunicationscompanyThe launchoftherebrandwillcoincidewith a rangeofimprovementsandinnovations inOptus’productsservicenetwork Faced with a saturated market, telecommunications andbillingTheaim%tohelpturnitinto company Optus knew it needed to take a different Australia’smost-lovedserviceprovider approach – which is why it turned to studio Re for help CLIENT Optus wwwoptuscomau STUDIO Re wwwre-sydneyco PROJECT DURATION Threemonths LIVE DATE July Optus’Olliecharactergives the brandbagsofpersonality THE DESIGN BRIEF on smaller projects over the previous 12 months. Jason Little What started as a conversation about the future of Optus eventually led to a rebrand discussion. Soon Established in 1992, Optus is the second largest after, we embarked on brand new positioning and telecoms provider in Australia. Setting out to be a complete identity overhaul for the telco company. the people’s champion, the brand offered choice in The aim of the new identity was to build greater a monopolised industry and regularly introduced positivity, optimism and an emotional connection with JASONLITTLE innovations. In recent years, Optus has concentrated Optus’ customers. In a market dominated by formal CREATIVEDIRECTORRE on price competitiveness and market growth, but as and formulaic brands, the rebrand need to offer a clear Jasonisresponsiblefordriving the market reached saturation, the company realised departure from what many Australians had come to and maintainingtheoverall it needed to shift its focus back to its customers. expect of a large telecommunications provider. To that creative visionoftheagency As a result, Optus began re-engineering itself with end, the identity needed a new voice that was friendly, helpingambitiousclientsbuild the goal of becoming the most-loved service provider easy to understand and laced with humour. excitingbrandsHisworkhas in Australia, offering a whole series of improvements Re’s biggest challenge was making sure Optus would receivednumerousawardsand in its products, service, network and billing. The best be willing to accept a radical approach to what it knew beenexhibitedworldwide way to communicate that to customers was to refresh and was used to. The initial discussions were to simply the brand’s identity at the same time. As part of M&C evolve the brand, and certainly not touch the logo. In Saatchi Group, Re had already worked with the company the end, we went much, much further than that. WWWCOMPUTERARTSCOUK -84-
SEPTEMBER 2013 DIARY˚1: RE PROJECT AT A GLANCE RewasgiventhreemonthstodesigneverythingfromstationerytosignageJasonLiletalksthroughtheprocess 1 Do your research 2 Understand the competition 3 Position the brand Whenyou’reworkingonaprojectofthissize Researchingthecompetitionhelpseducatetheclient Helpingabusinessunifyunderauniquebrand and scopeit’simportanttofullyunderstandthe andprojectcreativesaboutwhat’sgoingonboth positionspecifictothemiscriticalAersteps organisationyou’reworkingwith%thegoodthe locallyandgloballyandmakesiteasiertoreacha one andtwoourstrategistsworkedtirelessly bad howitoperatesandwhatitsfutureplansare uniquesolutionWesatdownwithOptusandtalked to build somethingworthstandingforOnce Youalsoneedtoknowifthere’sanythingthatcould aboutallthegreattelcobrandssomethingthat approveditenabledthecreativeoutputto potentiallyaffecttheproject helpedwhetitsappetiteandbuildambition be focusedintherightdirection 4 The 24-hour crit 5 Develop the concept 6 Develop ideas for presentation AtRewefindthatrunninga-hourcritisauseful Aertheinitialideasphaseweeliminatedthe Bythispointonlythebestideasareleinthe wayoffindingideasquicklythroughmanydiverse weakerconceptsandthenslimmeddownthe processOuraimistopresentjusttwototheclient mindsInashortspaceoftimeyoucangather project teamtothosewhojust‘gotit’Aruthless butwedevelopthreeanywaytomaketotallysure differentviewpointscreativeideasandconceptual approachisrequiredattheendofthisphase we’ve crackeditAdemonstrationacrossaseries hooksAerpresentingourideasindividuallywe removingtheideasthatdon’thavethepotential of applicationsiskeyshowcasingthepotentialof chosethebestonestotakeforwardtogether to beconvertedintoastrongidentitysystem eachrouteandsellingthedream 7 Typography, photography and characters 8 Create the assets 9 Apply the identity Asourfavouriteroutewasunanimouslyaccepted Althoughtherebrandwaslargeinscaleweonly Packagingcataloguesbrochurespointofsale workbeganonfinalisingtheconceptForthiswe had threemonthsintotaltotakeitfromconcept SIM cardssignageuniforms–younameitwe neededtodevelopacustomtypefacecreate to executionAtthisstagethatmeanttakingonan createditWealsoworkedinclosecollaboration compellingcharacterdesignsandproducecampaign extradesignerstohelpuscreatealltheassets with Optus’digitalPRandadvertisingagencies photographythatlookedgenuineandcaptured we neededIntheendeveryoneinvolvedmade in ordertomaintainacohesivebrandstoryacross people’struepersonalities a reallyvaluablecontribution all of thebrand’scommunications WWWCOMPUTERARTSCOUK -85-
PROJECTS SEPTEMBER 2013 ALEXCREAMER DESIGNERRE Aergraduatingfromthe UniversityofCentralLancashire AlexinternedinLondonand Manchesterbeforetakingajob atInterbrandinSydneyin HenowworksatRealongside JasonLileandwasheavily involvedintheOptusrebrand WORK IN PROGRESS Alex Creamer With all projects, however big or small, Re does as much research as possible – in this case a full audit of global telcos, from the good to the bad. The process took a couple of weeks, but enabled us to understand what was out there, what we should avoid and – more importantly – what hadn’t been achieved before. We presented two routes to the client. Route one – a character brand – was selected unanimously by everyone in the ad agency. This fitted most comfortably with the brand strategy we’d created and gave us a lot of creative licence. Route two was a playful take on the words ‘Optus’ and ‘Yes’ – an interplay of two shapes in constant shifts. On two separate occasions while presenting to the ad agency and the client, we were stopped after route one was presented. Both were emphatic that a character-based brand direction was for them. In fact they liked it so much that apart from typeface and character development, the brand stayed pretty true to that initial presentation. The character development was an exciting challenge. OneoftheaimsoftheOptusrebrandwastomakeitfeelmorefriendlyfreshandapproachable First off, we briefed three illustrators to reinterpret and develop our initial mascot design, finally selecting one overall ‘character guardian’, Marco Palmieri. It’s been a pleasure working with Marco and all the long hours, for him and for us, have paid off. “ On two occasions while presenting to the agency and client, we were stopped after route one was shown” Optus’blueandyellowshinethrough Thecustomtypefacewithallitsleerforms INITIAL IDEAS FOR THE PROJECT REWORKEDONMULTIPLE IDEASFORTHEPROJECT DISCARDINGSOMEBEFORE Thisideawasbasedonbringingtwo Thiswasourthirdconceptwhichweheld Thisconceptwasonethatgotkilled SETTLINGONTHOSETO shapestogetheroneholdingtheword backincasetheothertwofailedAswe inconceptdevelopmentItwasbased PRESENTTOOPTUSEVEN ‘Yes’andtheother‘Optus’Theclient gotitbangonfirsttimethisideawasn’t ontheleersofthebrandnamebeing THENSOMEDIDN’TMAKEIT thoughtitwastoocolourful–reminiscent evenshownWelikedtheconceptbut aliveandhoveringTheleerscouldbe ofoneoftheirkeycompetitors didn’tloveitasmuchastheothers reshapedandredrawnconstantlyinflux WWWCOMPUTERARTSCOUK -86-
SEPTEMBER 2013 DIARY˚1: RE CHARACTER DEVELOPMENT STEP RE’SWINNINGCONCEPTBEGANWITHTHE IDEAOFACHARACTERTOHELPCUSTOMERS THEAIMAFRIENDLIERAPPROACHWITH GREATERSUPPORTANDUNDERSTANDING –ANDALITTLEBITOFCHEEKINESSTOO STEP STEP STEP Tobuildacharacterthatwouldresonatewith customersmeantunderstandingwhocurrentlydoesit wellWelookedatpartnershipslikeBuzzandWoody WallaceandGromitSnoopyandCharlieBrownplus otherbrandsthatuseavatarsTheJapaneseapproach tocharacterswasalsoabiginfluence STEP STEP Wewantedtokeepthecharactersimpleandhavehim comefromasimilarworldasthetypefaceThismeant asimpleshapesimpleexpressionsandnocomplexity Webeganwithablobwithsimplearmsandlegs–the moreabstractthebetter STEP STEP AsweintegratedOllieintovisualswecontinuedto honethestylingofhisbodylimbsandexpressions Throughsomescribblediscussionsintheteamwe turnedhimintoan‘O’obviouslyrelevanttoOptus and givinghimgreaterreasontoexistThecounterof the‘O’becamehisfaceandsoonaftertherealisation thatthisandhiseyeswereallthatweneededtobuild hisexpressionshismouthdisappeared STEP AfterthepresentationtotheclientwhereOllie wasapprovedalmostimmediatelywetookitupon ourselvestomakesurehewasdrawncorrectlyandhis STEP STEP characterdevelopedWehadourleaddesignerspend afewdaysexploringasmanyiterationsaspossibleand thenbuiltabriefforthenextstepWecommissioned onlineandonTVMarcoisalsoananimatorsoOllie’s threeillustratorstotaketwodayseachandseewhere personalitystayedtruetoouroriginalhopesbecause theycouldtakehimandimprovehim thehandsthathelpedshapehimalsodevelopedhis movementNexusintheUKwasalsocommissioned STEP to workonalaunchTVcommercial Wereviewedtheworkgavefeedbackandultimately settledwithoneillustratorMarcoPalmieriwho STEP understoodwhatwasgreataboutourcharacterbut Wehadtotightlymanagethecreativeteamsinvolved alsowhatcouldbeimprovedWehandedover WestartedtonoticeshiftsinOllie’spersonalityand percentresponsibilityforOllie’spersonalityand hestartedtoappeareverywhereoftenfeelingmore thatownershipmeantOlliecouldgrowanddevelop likeacartooncharacterratherthanabrandavataror naturallythroughtheeyesofacharacterspecialist mascotThisisthedangerwithhavingmultiplestudios involvedtooearlyOurclientworkswithourteamto STEP suppressanymajordeviationstohispersonality Posesweredevelopedanddetailswerehonedsuch asmittensforhishandshowhe’sshownonayellow SUMMARY backgroundandhowhiseyesworkHislimbsfollowed Whencreatingacharactertakethetimetoexplore oneofourrules–ifhedidn’tneedthemtheydidn’t possibilitiesandopenuptosomethingyoumightnot appearsooftenOlliehaslegsonly bereadyforWorkwithpeoplewhodothisfora living andallowthemtobringtheirownpointofviewtothe STEP characterAsthedesigndevelopsorganicallywhatyou WeworkedwithM&CSaatchitheillustratoranda startedwithmaybeverydifferentbytheendofthe digitalagencyMaketogetOllieanimatedsohe’dwork processandthat’sagoodthing STEP WWWCOMPUTERARTSCOUK -87-
PROJECTS SEPTEMBER 2013 CONCLUSION Jason Little and Alex Creamer As we were given three months to take the rebrand from concept to implementation, we had to pull out all the stops to get the project completed on time. Throughout the process the core Optus team fluctuated in size, depending on what needed doing, with up to 15 different people working on it at its peak. As Optus already had strong colour ownership in Australia, there was no point in throwing that away: its yellow and dark blue make the brand instantly recognisable. However, we introduced a more vibrant teal to bridge the gap between the old look and the new. The typeface we created was a labour of love too, taking the best part of two months to create with French typographer Mathieu Réguer, and the inclusion of some Theseproductguidesforemployeescombinetherebrandcoloursandcustomtypefacewithnaturalisticphotography hand-painted letters by Jason. I think our biggest achievement has been keeping the rebrand true to our initial presentation. I have never worked on a project which, at some point in the development, hasn’t been compromised or changed in some way. On a personal level, working on a project of this magnitude has been a huge learning curve. Exploring tone of voice, critiquing work from outside sources and presenting to the client have all been relatively new experiences for me. As far as the audience reaction goes, it’s still too Brandinghastoworkacrosseverything early to say. However, the response both internally and fromwebsitestoin-storegraphics externally has been very positive. People are talking about Optus and it seems to be on its way back to being a brand with the interests of its customers at heart. There’s always pressure as a creative to achieve a result that will deliver on all the requirements of the brief, yet takes a leap further. When you have the responsibility to the client and all their employees to deliver something they can rally around and support, it’s critical you get it right. Luckily, the groundswell of positivity within the organisation and its customer ThestrengthofRe’sworkshinesthroughinthisbus-stopadwhich Thischeat-sheetexplainshowtherebrand base means that, hopefully, we did our job. combinesOptus’newOlliecharacterwithacustomtypeface canbeappliedinavarietyofcommunications PROJECT BOBMARLEYCOULD DRDRETHEWATCHER DAFTPUNKGET LUCKY SOUNDTRACK YOU BELOVED We hit this !trackhard There are times when a song Sometimes you need mellow is just too good to ignore, and thenightbeforeourfirst music to get you through the presentationtoOptus and the that’s exactly how we felt about RE’SPICKOFINSPIRATIONAL day, and this track fits the bill ad agency. Sometimes you need Get Lucky – the lead single from SONGSFROMTONGUE- perfectly. Listening to reggae is a lile tongue-in-cheek rage to Random Access Memories. IN-CHEEKRAP RAGETO a great way to li the stress off get your workflow pumping and It gets us going at any time – ELECTROPOPANDREGGAE your shoulders. Unless you can’t The Watcher provided us all handy when you’re working on stand reggae, of course. with the impetus we needed. a project as involved as this one. WWWCOMPUTERARTSCOUK -88-
EXCLUSIVE US & CANADIAN OFFER! SAVE UP TO 40% * WHEN YOU SUBSCRIBE TO THE THE US? NOT IN ALL-NEW COMPUTER ARTS! UK READERS SEE P55 ComputerArtsbelievesdesign maersThat’swhywe’vecompletely reinventedthemagazineasadeluxe printproductandgivenyoumoreof thepeopleprojectsandissuesthat countintoday’sdesignscene WHYSUBSCRIBE? ďGUjYďidďhcďćăĒ ď =bgd]fUh]cbĖď]bg][\hďUbXďUbU`mg]gďh\Uhď`UghgďU``ďmYUf ď 9lW`ig]jYď8Yg][bYfďGYf]YgďcZďj]XYcgďYjYfmďacbh\ ď ;YhďmcifďWcdmďYUf`mĖďVYZcfYď]hď\]hgďh\YďbYkgghUbX ď8Y`]jYfmďX]fYWhďhcďmcifďXccf PRICING 0 everythreemonthsbycontinuous creditcardor0 ayearsaving 1* SUBSCRIBEONLINETODAY LEADINGDESIGNERS RECOMMENDCOMPUTERARTS… wwwimsnewscom/ “Computer Arts has not only been an computerarts-a important source of information for us, but it has also trusted us to do two of its ORCALLTOLL-FREEON covers, serving as an enormous promotional platform for our work. We are very grateful for the support --- CA gives so many designers around the world.” andquotecode%a FRANCISCOLOPEZ, art director, Mogollon (New York) TERMSANDCONDITIONS*SavingscomparedtobuyingfullpricedissuesfromtheUSnewsstandThisofferisfornewNorthAmerican print subscribersonlyYouwillreceiveissuesinayearMinimumsubscriptiontermsismonthsIfatanytimeduringthefirst daysyouare dissatisfied in anywaypleasenotifyusinwritingandwewillrefundyouallunmailedissuesPricescorrectatpointofprintandsubjecttochange Offer ends%thSeptember
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SEPTEMBER 2013 DIARY˚2: MATT LYON PROJECT FACTFILE SEED & BEAN: BRIEF Seed&Beanaskedgraphicartist FESTIVAL FLAVOURS MaLyontocreateillustrations forthewrappersofthreelimited- editionchocolateflavoursmade availableas theofficialchocolate of GlastonburyFestival Graphic artist Matt Lyon’s chocolate packaging design project uses his love of vivid colours and motifs to create CLIENT Seed&Bean a visual language that speaks to its target audience CREATIVE MaLyon wwwcsixcom PROJECT DURATION months LIVE DATE June MATTLYON GRAPHICARTISTANDILLUSTRATOR MaakaC isaLondon-basedgraphic artistWithmotifsthatexplodewith colourMahasfoundclientsinthe likesofNikeAOLAT&TandMicroso creatingindelibledesignsthroughhis distinctiveuseofshapeandpaern WWWCOMPUTERARTSCOM -91-
PROJECTS SEPTEMBER 2013 THE DESIGN BRIEF Matt Lyon Seed & Bean was licensed to produce the ofcial chocolate at this year’s Glastonbury Festival, and commissioned me to create illustrations for the packaging and associated promotions. The brief was very open, allowing me the freedom to explore a variety of ideas that could be developed at an unhurried pace. The design needed to reflect the vibrancy of the festival – colourful, contemporary, bold. The illustrations were to be used with the existing layout of the packaging, so I had to create imagery that’d work best within the available STAGEONEAllofmyworkstartswithpendrawingsIfilledmany STAGETWOPlacingthedrawingsinIllustratorItracedthedesigns space. Before developing the design, sketchbookpageswithairshipsandotherdoodles tocreatevectoroutlineswhilecleaninguptheshapes my initial ideas focused on creating patterns. These consisted of a variety of image elements – stars, clouds, rainbows and other shapes, repeated across the whole wrapper. After creating a number of drawings and experimenting with their placement within the packaging template, it was apparent an all-over composition wasn’t going to be the best route forward. As part of feedback, the client highlighted ideas from previous works in my portfolio and I decided airships and dirigibles would be perfectly suited to the brief. These vehicles were fun and whimsical, while at the same time had a retro appeal that alluded to a sense of journey and imagination. STAGEFIVEUsingthedesignsasabankofelementsIcreatednumerouspaernsandlayoutoptionsVariousdiscussionswiththeclient providedthefeedbackthatsteeredthedesignstowardsfinaloutcomes PROJECT PUTTING PEN TO PAPER TOOLS OF MY TRADE TONE AND HUE Drawing is a means of exploring In Illustrator, I trace drawings by hand The Live Paint Bucket is a great ideas. When working to a brief, I’ll using the Pen tool. This allows me to tool for quickly filling shapes with EVOLUTION create imagery in response to key simplify the stroke lines with as few colour. I use this with the Colour words or themes. I prefer to draw anchor points as possible, resulting Guide panel to select palees and and see what happens rather in clean shapes and outlines. By using combinations of tone and hue. Oen, DESIGNERMATTLYONWALKS than think too far ahead. The act File>Place to insert the drawing, the I use images from a personal library THROUGHTHEKEYSTAGES of drawing in itself is a means of layer can be locked and dimmed of favourites to inspire the colours. INVOLVEDINTHEPIECE problem-solving, so it’s not long before creating a new layer above I try to fill the colour in as quickly before the ideas start flowing. to start tracing in. as possible as it’ll be edited later. WWWCOMPUTERARTSCOUK -92-
SEPTEMBER 2013 DIARY˚2: MATT LYON HOW I WORK MATTLYONEXPLAINSWHY HELOVESTAKINGRISKSWITH COLOURANDSHARESA NEATTRICKUSINGAMIRROR The basis of all of my work is line and colour. Drawing is my passion. It’s the most immediate way to discover new ideas. By working directly with a pen, I can concentrate on everything I commit to paper. I switch off the need to think and just let things happen. If I make mistakes, so what? Mishaps oen jolt me into STAGETHREETheoutlineswerefilledusingLivePaintandIoen STAGEFOURLotsoftimeisspenteditingcoloursandbalancing new directions. usecolourpaleesinspiredbyfoundimagesorpreviouswork allthedifferentelements–theRecolorArtworktoolsareinvaluable The possibilities of colour are so immediate using digital media. I’m not really an advocate of less is more. For me, more is more. I love to explore broad palees and unusual colour combinations, and I still get excited when everything starts working together. The use of colour in painting and photography, or just by looking at the world around me, provides an endless source of inspiration. I try to avoid becoming blind to what I’m doing. The focus of work oen leads to over- familiarity. It’s important to take breaks and work on other things. Other tricks include viewing my work in a mirror: it’s amazing how errors jump out at you when STAGESIXTheeditingprocessultimatelyfavouredsingleelements STAGESEVENWithaprimarycolouraseachdesign’sbackground everything’s reversed. that’dremainboldwithintheconstraintsofthepackagingtemplate Imadefinaleditsofcolourandlineweightformaximumimpact COLOUR EDITS THE JIGSAW EFFECT SIMPLE CAN BE DIFFICULT PRIMARY COLOURS I spend lots of time editing colour. I create a collection of image The creative development of this In-keeping with the theme Recolor Artwork offers a wealth elements, using these to construct work was one of simplification. of simplicity, and to ensure of tools to edit individual colours the composition of a design, like a The final project used the best differentiation between designs, and explore alternative palees or jigsaw puzzle. I move things around, image elements to arrive at bold I chose primary colours for each combinations of existing ones. This build layers, adjust scale. I work this and essential designs. Simplicity is background. I also outlined the image is important when working in CMYK way at various stages of the brief, and not something common to my way elements with thicker strokes to as edits may result in mismatches do the same creating layout scamps of working, so I had to doggedly provide some variety of line weight. or dulled hues. Compared to RGB from drawings. This way, I can explore follow this process of reduction Type, layout and final placement of palees, colour may appear limited. the most outcomes possible. to arrive at my choices. each design was le to the client. WWWCOMPUTERARTSCOUK -93-
PROJECTS SEPTEMBER 2013 SEPTEMBER 2013 BINARY PRINTS: GENIUS ON TWO LEVELS First shown at Sónar Music Festival in June, illustrator Alex Trochut’s Binary Prints portraits project is a study in human duality, created using luminous ink on paper PROJECT FACTFILE BRIEF Forhisfirstpersonalproject AlexTrochutdecidedtoexplore thedualityofhumannatureby creatingaseriesof‘binaryprints’– THE DESIGN BRIEF photographicportraitsthatcontain Alex Trochut twoseparateimageswithinasingle printOneofthesecanbeseenby The genesis for the Binary Prints project really daytheotherbynight goes back to my 2011 retrospective More Is More. As a surprise for people who bought the book, I created STUDIO a cover illustration that used phosphorescent ink, which AlexTrochut only displayed fully in the dark. When I finally had some wwwalextrochutcom time to work on my first truly personal project, I was keen to revisit that technique. This time, I wanted to PROJECT DURATION use it to create a double-layered work on paper: one months image that could be seen in daylight, and a completely different one that could only be seen in the dark. LIVE DATE As I began to think about the project, the idea of June exploring the duality of human nature occurred to me – how two very different sides of personality can WWWCOMPUTERARTSCOUK -94-
SEPTEMBER 2013 SEPTEMBER 2013 DIARY˚3: ALEX TROCHUT PHOTOGRAPHY: Chris Rubino BorninBarcelonainAlexstudied ALEXTROCHUT DESIGNERANDILLUSTRATOR graphicdesignatElisavabefore goingfreelanceinWorking acrossgraphicdesignillustration andtypographyhe’scollaborated withclientsincludingCoca-Cola The EconomistandNike be present in one person: good and bad, on and off, asleep and awake. All of us have these contradictions within ourselves, so I thought a dual portrait would be a good way to give a complete description of a person, and create a narrative that explored the different sides to someone’s personality. While I was thinking about how I could create these portraits, I hit upon the idea of featuring musicians. The idea of working with artists that I enjoy listening to has long been an ambition for me. They feel really connected to my work somehow and I wanted to include that in my designs. The other thing about Binary Prints is that it gave me a chance to use a patented printing technique that I’d come up with, which enabled me to put two separate images on a single piece of paper, only one of which could be seen at any one time. It works by separating the images onto two different grids, like squares on a JamesMurphyposesforhisportrait Theportraitswerescreen-printedbyBarcelonaspecialistsArtPlus chessboard. On the black squares you display one image, and on the white squares you display the other. WORK IN PROGRESS The next step for me was to approach all the musicians I wanted to work with; artists like James Murphy, Caribou, Four Tet, Damian Lazarus, Acid Pauli and John Talabot. Sometimes I’d chat with them at a gig, other times I’d send a text message introducing myself and explaining what I planned to do. Sometimes I also had to go through industry channels, dealing with agents and so on. Obviously I was doing all of this in my spare time, while also working full-time for my other clients. There were a number of reasons why I decided to focus on photography rather than illustration for this project – the first being that I wanted people to be able to recognise the artists I was portraying. There were also time constraints: sometimes I only had a few minutes backstage to get a picture of the artist. I relied on two photographer friends – Marc Ambros and Chris Rubino – to help me get the images I needed. The final portraits aren’t completely photographic, however – I added EachBinaryPrintfeaturesaportraitofoneofAlexTrochut’sfavouritemusicians–bydayandbynight WORKING AT Althoughthefinalpostersforthisprojectarebig thetechniqueIusedtocreatethemrequiredworking withverylow-resimagesWhenyoudotherenderyou LOW-RES erasealotofthedetailsintheimageNormallyIwork withdpiimagesandreallytakecareofthefine detailsbutthistimeIneededtogoforamoregeneral TOCREATETHESEDUAL compositionThevectorsIusedmeanthattheresulting PORTRAITSALEXTROCHUT imageonlymeasuresaroundxpixelsand HADTOWORKWITHWITH becauseI’musinggridsthataredividedupit’shard VERYLOW-RESIMAGES duringtheprintingprocesstoachieveafullblack HERE HEEXPLAINSWHY colourorafullwhiteHoweveronceIunderstood theselimitationsIsoongotusedtoworkingthisway WWWCOMPUTERARTSCOUK -95-
PROJECTS SEPTEMBER 2013 Fromdaytonight% these threeimagesof James Murphyshowhow theportraitchangesas the lightsgodown illustrative elements to all the ‘night’ portraits. The ‘day’ portrait is just a plain image, but the ‘night’ image represents the soul, the awakening of the artist. “The ‘day’ portrait is I included abstract illustrative elements to represent their inner life, but in a very subtle way, so as not to just a plain image, but change the faces too much. Each artist appears with their eyes closed for the ‘day’ image and their eyes open ‘night’ represents the for the ‘night’ one in order to unify the experience. I’ve been working in illustration and photography for soul, the awakening a long time and clients don’t often give you the freedom to experiment. I was lucky in that this project gave me of the artist” the chance to do just that. Detailshotofaprintshowingitschessboardpaern CONCLUSION The Binary Prints portraits were finally unveiled at the Sónar Festival in Barcelona in June. I was super happy to go there as I’m from Barcelona, so it was great to be able to present them in my homeland. The reaction to this project has been fantastic. It’s especially important for people to see the portraits in real life, where the effect is very different from viewing them on the Binary Prints website. Right now I’m trying to get them displayed at different exhibitions and music events as I’d like to get the portraits in front of as many people as I can. The whole idea of the project was to be true to the sound and the personality of each artist and I think I’ve achieved that. The reaction I’ve had from the artists has been very positive too. They feel connected with it. I’m really grateful for their support. All of Alex Trochut’s designs are available as prints through the Binary Prints website, with 30 per cent of the proceeds going to the subject’s charity of choice. Thescreenprintingprocessneededtobeexact Thereverseoftheoneoftheprints LESSONS TRUST YOUR DON’T DO TOO TRY NOT INSTINCTS MUCH AT ONCE TO OBSESS LEARNED When you work on commercial All the portraits were done at the When you work for yourself, you stuff you follow certain rules, same time, and took six months in create your own deadline and it’s THISPERSONALPROJECT but with a personal project you’re total to complete. I have plans for very hard to reach a definitive end PROVIDEDALEXTROCHUT relying completely on your intuition. more, but this time I’m only going point. There were times when I’d look WITHTHEOPPORTUNITY No one else is going to say what’s to work on one at a time – that way at the portraits again aer a few days TOEXPERIMENTAND right or wrong. I really enjoyed the I can really focus on each and make and decide they’re weren’t right, so GROW AS ACREATIVE ‘lost’ feeling that gave me. sure it’s right before moving on. there was a lot of back and forth. WWWCOMPUTERARTSCOUK -96-
NEXT MONTH the secrets of effective branding INDUSTRY ISSUES Give something back: how non-profit projects can make a real difference to your design practice THE DESIGNER SERIES In an exclusive video documentary, Love Creative introduces its experimental in-house tech lab Plus: inspiring work, current issues and expert analysis from the global design scene ON SALE 19 SEPT WWWCOMPUTERARTSCOUK --
CREATIVE INSPIRATIONS SEPTEMBER 2013 Dan Stiles When tasked with creating a gig poster for a whimsical duet, this designer got in touch with his romantic side ordesignerDanStilesworking F formusicindustryclientsequals creativefreedomandarelaxed briefFor thisprojectthatmeantdrawing inspirationfromasourceclosetohome Tell us a lile bit about this project… It’sascreen-printedgigposterforEdward SharpeandtheMagneticZerosIt’s basedontheirsongHome awhimsical duetwithamanandawomenexpressing theiraffectionforoneanother What was the brief? Thegreatthingaboutmusicpostersis thatthereusuallyisn’taformalcreative briefItreallydefeatsthepurposeto comeinwithheavy-handedartdirection andmostbandsunderstandthisasthey don’twantanyonetellingthemhowto writesongsTheclientreallywantsyou toexplorethefringe–dullandsafe conceptsgetrejected Where did the inspiration come from? Iwantedtocapturetheessenceofa lovingrelationshipanditgotmethinking aboutaconversationI’dhadwithmy wifeIdon’tthinkapersonreallyknows themselvesuntilthey’reinarelationship withsomeonewhocantrulyseeinside ofthemandpointoutthingsaboutwhich theyaren’tconsciouslyawareI’mnot talkingaboutchewingwithyourmouth openImeandeeplyingrainedconstructs thatpeoplelivetheirlivesby How did you go about developing your idea into a creative direction? Istartedplayingwithwhatitmightlook likeforonepersontolookinsideof anotherIhaveaveryreductiveprocess –ItryandsayasmuchasIcanusingas lileasIcanThefactthatitlookslikea maskisabonusasmostofusgothrough lifewearingourpersonalitiesasamaskin ordertokeepothersfromseeingin Any unusual inspirations? Mypersonalfavouriteistomis-seethings I’llthink‘Wowthat’sgreatit’sanXYZ insideanABC’orwhateverThenIget closerandrealiseIwastotallywrong whichisgreatbecausethatvisionofwhat IthoughtIwasseeingisminetouse DANS TILESAR TIS TANDDE SIGNER BasedinPortlandOregonDan’sworkcombinesillustrationanddesignOverthepast yearshehascollaboratedwitheveryone from indiebandstomajorcorporationsincreatingidentitiesadvertisingandlimited-editioncollectableartwwwdanstilescom WWWCOMPUTERARTSCOUK -98-
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