HONDA ADVERTISING S P E C IAL RE P O RT THE POWER OF DREAMS As Honda celebrates its 65th anniversary, Garrick Webster takes a look back at one of the most powerful campaigns in the history of advertising COMPUTERARTSCREATIVEBLOQCOM -51-
SPECIAL REPORT NOVEMBER 2013 his summer, Wieden+Kennedy London released its latest work for Honda. Hands was only meant to be a set of five-second idents to accompany Honda’s sponsorship of documentaries on Channel 4. But the creative team at W+K wanted to do more, and made a two-minute piece in which a pair of hands create 22 of Honda’s all-time greatest products. At first, five-second segments from the film were used, just as intended. But when the full two-minute video was released on YouTube it went viral, clocking up almost 7.5 million views as we go to press. It certainly isn’t the first piece of W+K work for Honda that has got people talking, and if you watch Hands carefully, you’ll notice a few tiny little details that recall not just Honda’s finest products, but After digging deeper, Davidson discovered the real meaning of jaw-dropping commercials from the past too. In one scene, you might The Power of Dreams. In Japan, people don’t ‘have’ dreams, they ‘see’ notice a little rabbit on a patch of grass. This references Grrr, one of them. Tied in with this is the idea of not just wanting something – the the most awarded TV ads of all time, which introduced Honda’s diesel Western notion of a dream – but of making it happen. Daruma dolls, engine. Hands begins and ends with a nut rolling onto the screen to which are part of Japanese culture, are used to signify this. They come remind us of Cog. That’s the one where hundreds of car parts perform accompanied with a paintbrush and are totems for good luck, with an incredible, Mouse Trap-style chain reaction. This advertised the one eye painted in and one eye missing. When the owner’s dream is Honda Accord. realised, they paint the other eye in. Hands, Cog and Grrr are all part of The Power of Dreams, Soichiro Honda, who founded the company in 1948, used his a campaign that has seen Wieden+Kennedy London create some dreams and imagination to inspire his engineering work. Over the of the most talked about and successful car advertising ever. Other past 65 years, his dreams have been realised in the form of dozens memorable spots have included The Impossible Dream, Museum and of high-quality vehicles, all kinds of motorsport championships and Choir, as well as Let it Shine, which was made by W+K Amsterdam. a variety of prototypes for the future. “If you can make things, you can do amazing things. So that’s what The Power of Dreams is: to BEHIND THE POWER OF DREAMS have an idea that is beneficial to humanity and then to make it It’s ironic that The Power of Dreams has become so iconic in happen,” explains Davidson. contemporary advertising. W+K London partner Tony Davidson These are some of the things that W+K distilled down into didn’t even like the sound of that line when the agency first talked to Honda’s brand truths. The job of the advertising, W+K realised, was Honda. “It is a literal translation from Japanese, so when you hear it as to convey these truths, and give meaning to The Power of Dreams, an English or American person, it sounds really cheesy,” he says. “And to consumers in the UK and later on across Europe. I actually said, ‘We’re not going to work on this brand if we can’t Its work began to appear in 2002. Davidson continues: “We change the end line,’ before we even worked for them.” did a press ad with a Daruma doll that explained what The Power of COMPUTERARTSCREATIVEBLOQCOM -52-
NOVEMBER 2013 HONDA ADVERTISING ISN’T IT NICE WHEN THINGS JUST ...WORK? C OG \"# Directed byAntoineBardou-Jacquet Widely\"regarded\"as\"the\"best\"car\"ad\"in\"history#\"Cog\"is\"two\"minutes\" long\"and\"first\"ran\"in\"$$!\"during\"half\"time\"at\"a\"Champions\"League\" semi-final%\"Conceived\"by\"Wieden'Kennedy\"London\"and\"directed\" by\"Antoine\"Bardou-Jacquet\"of\"Partizan\"in\"Paris#\"it\"presents\"a\" complete\"chain\"reaction\"made\"from\"car\"parts\"in\"real\"time%\" “There’s\"a\"‘magic-ness’\"to\"watching\"a\"chain\"reaction#”\"says\" Tony Davidson\"at\"W'K\"London%\"“The\"original\"idea\"didn’t\"involve\" car\"parts%\"I\"went\"back\"one\"night%\"I\"was\"lying\"in\"bed\"and\"I\"was\"going#\" ‘No\"there’s\"something\"wrong%’\"The\"client\"had\"turned\"it\"down%\"And\" then\"I\"went#\"‘car\"parts%’\"And\"it\"seems\"obvious\"now%” COMPUTERARTSCREATIVEBLOQCOM -53-
SPECIAL REPORT NOVEMBER 2013 working, in a gallery environment. Every detail had to be finessed, including the sound. The ad is almost completely silent other than the noises made by the moving parts on screen, with a deftly added touch of music by The Sugarhill Gang towards the end. “We spent as much time on the sound as the picture,” says Tony Davidson. “Kim Papworth, my partner here at W+K London, Dreams was. All of our ads from the start, even the very first stuff is really anal about sound, and every sound was really crafted and like the Honda perfume bottle with oil in it, or the banana with recorded and then tweaked. Good advertising isn’t: ‘Oh my God, writing on it, or the Honda stamp for the Patent Ofce – they’re the idea, the idea!’ That’s very important, but then an idea on paper all about having an idea and making it happen.” is only 30 per cent of it, and then it’s how you craft stuff.” W+K had also started working on a television ad for Honda A stunning production, Cog won stacks of awards. The end – introducing the new Accord. The lead creatives on the project line was spoken by Minnesota broadcaster Garrison Keillor: “Isn’t were Ben Walker and Matt Gooden, now the creative heads at it nice when things just work?” The following year, the campaign Crispin Porter + Bogusky in London. “The brief for Honda as a enjoyed even greater success with Grrr. The ad was to introduce not whole was to make engineering feel warm rather than Teutonic. a car, but Honda’s new, cleaner, diesel engine. And the kernel of the ‘Warm engineering’ we called it,” says Walker. “The brief for the idea came directly from the engine’s designer, Kenichi Nagahiro, who Accord chopped and changed a lot, but in the end it was really famously told his colleagues that he hated diesel. He refused to design about showing the car was brilliantly engineered. Nothing a diesel engine for Honda unless he could start from scratch. The revolutionary, but we just had to put a ‘warm’ slant on that.” result was a cleaner, quieter, more efcient machine – the envy of the car world at the time. CHAIN REACTIONS The story was copywriting gold for W+K’s Michael Russoff, Inspired by board games like Mouse Trap, drawings by Rube Goldberg Sean Thompson and Michael Russell who came up with the line, and by a 1987 pyrotechnic art film, The Way Things Go, by Peter ‘Hate something, change something’. They wrote a song that Fischli and David Weiss, the creatives at W+K were convinced that Garrison Keillor would sing based on the line, and this was handed a chain reaction would be compelling viewing. But something was to Alan Smith and Adam Foulkes, directors at Nexus Productions missing, until Tony Davidson came up with the idea of setting it up in London. Just like Bardou-Jacquet on Cog, Smith & Foulkes worked out of car parts. incredibly hard on the design execution, coming up with a colourful Only if the ad itself was brilliantly executed would it be able world of positive hate, where bunnies, birds and fish take out dirty to effectively communicate Honda’s engineering prowess. French old diesel engines before Honda’s newer, cleaner i-CTDi is born. director Antoine Bardou-Jacquet at production company Partizan was It flies up over the landscape with nary a puff of exhaust. hired, and in total they spent six months working on Cog – designing “We always say it was a mix between Chinese propaganda an enormously accurate chain reaction, and shooting it actually art, Bollywood, golf courses and Liberace and various things like COMPUTERARTSCREATIVEBLOQCOM -54-
NOVEMBER 2013 HONDA ADVERTISING HATE SOMETHING? CHANGE SOMETHING GRRR $# DirectedbySmith&Foulkes In\"$$(#\"Wieden'Kennedy\"took\"a\"risk\"by\"including\" the\"word\"‘hate’\"in\"the\"catch\"line\"for\"Grrr%\"But\"this\" brought\"home\"not\"just\"a\"product\"truth\"–\"that\"Honda’s\" engineer\"initially\"hated\"diesel\"–\"but\"a\"general\"truth%\" Hate\"can\"be\"positive%\"Smith\"&\"Foulkes\"painstakingly\" animated\"a\"world\"of\"positive\"hate\"in\"which\"dirty\"old\" diesels\"are\"destroyed\"and\"a\"new\"Honda\"engine\" is born#\"all\"to\"a )$-second\"song\"wrien\"at\"W'K\" and performed\"by voice\"talent\"Garrison\"Keillor%\"“It\" was\"mostly\"about\"the\"song\"that\"they\"wrote%\"It\"was\"a\" very#\"very\"strong\"tune\"that\"instantly\"gave\"it\"a\"sort\"of\" structure#\"so\"everyone\"knew\"what\"they\"were\"trying\" to achieve#”\"says\"Smith% COMPUTERARTSCREATIVEBLOQCOM -55-
SPECIAL REPORT NOVEMBER 2013 that,” says Smith. “There’s a little dragonfly that buzzes around at one point that is absolutely beautiful. It’s kind of made out of crystal. If you saw that full-screen it would look great, but I don’t think you’d even notice it was a dragonfly, let alone what it looked like.” Foulkes continues: “Yeah, I think for us it was all about the attention to detail, which is one of the things we like about Bollywood and golf courses. Every single leaf is considered; it’s not a rough-and-ready world.” Grrr became the most-awarded television commercial of its decade, but W+K was just getting started. After turning engine parts into gripping viewing with Cog, and introducing some diesel- killing rabbits in Grrr, the next major ad went epic. In The Impossible Dream, released in 2005, we see a moustachioed and slightly balding main character go out and drive the start, there are sheep, there are birds flying over the waterfall, 13 of Honda’s most iconic vehicles. He takes them down coastal roads there are horses in the field. That sounds really naff and shit and you in New Zealand, around the Motegi race track in Japan, and to Iguazu say, ‘I would never notice that and it doesn’t matter,’ but for me, going Falls on the border between Argentina and Brazil. All the while, he into detail like that makes it.” belts out The Impossible Dream, from Man of La Mancha, a musical The day after the ad aired in the UK, a concertina leaflet was about Don Quixote. The ad was directed by Ivan Zacharias from tipped-on in the Guardian newspaper explaining The Impossible production house Stink, in London. Dream and how Honda had achieved it. It also included details on Once again, it was all about the execution of the ad, and detail, the vehicles included. Davidson continues: “You could find out every as Honda’s history was meaningfully conveyed. Some of the classic story, why that was one of the pivotal moments of Honda’s history bikes were stripped down and flown from Honda’s museum in Japan and The Power of Dreams, and then also find out what they were to the shoot, then stripped down again and sent back. The actor also working on in the future. So I think that was a really successful that features, Simon Paisley Day, is a singer too – they didn’t want integrated piece that helped people understand.” someone to just lip-sync. And Zacharias brought nature into the ad wherever he could – Soichiro Honda loved the outdoors, and CURIOSITY AND INNOVATION even designed boat engines to be marine-life friendly. A variety of other ads were created – in one, a choir vocalises every “Ivan Zacharias just pushed it that little bit further, getting sound a Honda Civic makes as it tears down the road. In another, into the detail,” explains Tony Davidson. “It sounds stupid but if you we see Honda’s robot, ASIMO, visit a museum. But Honda was watch the film there is an animal theme – those little birds nesting at beset by several problems. The high value of the yen was hampering COMPUTERARTSCREATIVEBLOQCOM -56-
NOVEMBER 2013 HONDA ADVERTISING THEIMPOSSIBLEDREAM %# DirectedbyIvanZacharias Like\"Grrr#\"and\"Cog#\"The\"Impossible\"Dream\"was\"a\"premium- length\"commercial\"at\"two\"minutes%\"It\"was\"shot\"on\"a\"grand\" scale by\"Ivan\"Zacharias\"from\"the\"production\"house\"Stink\" and aired\"in $$*%\"In the\"original\"ad#\" !\"vehicles\"are\"driven\" through\"various\"different\"environments%\"Honda\"only\"wanted\" to feature\"in-production\"models\"of\"its\"cars\"and\"motorbikes#\" but\"Tony\"Davidson\"of\"W'K\"London\"was\"convinced\"the\" classic road\"and racing\"vehicles\"should\"be\"employed\"too%\" “Internally#\"that\"film\"really\"engaged\"everyone\"and\"pulled\" all the silos\"at\"Honda\"back\"together#\"I\"think#\"because\"it\" featured a lot\"of\"their\"products#”\"says\"Davidson%\"In\"$ $\" an extended\"version\"was\"released\"with\"even\"more\" vehicles featured%\" WHAT GOOD IS DREAMING IT, IF YOU DON’T ACTUALLY DO IT? COMPUTERARTSCREATIVEBLOQCOM -57-
SPECIAL REPORT HANDS \"# DirectedbySmith&Foulkes Like\"Grrr#\"Hands\"was\"directed\"by\"London- based\"team\"Smith\"&\"Foulkes%\"The\"hands\" you see\"creating\"\"Honda\"products\"are\" those\"of a\"hand\"actor#\"whose\"movements\"and\" manipulations\"represent\"Honda’s\"engineering\" skills\"and\"the\"company’s\"inherent\"curiosity%\" It all\"ties\"back\"to\"the\"theme\"of\"having\"a\"dream\" and\"making\"it\"happen#\"which\"is\"what\"The\" Power\"of\"Dreams\"is\"all\"about%\" It’s\"more\"intimate\"than\"the\"other\"ads#\" full of\"lile\"touches\"for\"the\"curious\"viewer\" to query%\"Soichiro\"Honda’s\"birthday\"appears\" on\"a\"number\"plate#\"for\"instance#\"and\"there’s\" even\"a\"reference\"to\"Grey\"Advertising’s\"Honda\" Super\"Cub\"campaign\"in\" )12\"You\"meet\"the\" nicest\"people\"on\"a\"Honda% exports. The economic crash of 2008 hit exports too and, like many firms, Honda cut and restructured its advertising spend. It pulled out of Formula One in 2008 to focus on greener pursuits. What’s more, the tsunami that hit Japan in 2012 devastated many of the company’s suppliers. Yet The Power of Dreams has continued. In 2009, Let it Shine was created by W+K Amsterdam and produced by Bouffant in South Africa. A matrix of Honda headlights was used together like an LED display screen to project animations that are displayed to the spiritual song Let It Shine. It announced Honda’s hybrid, the Insight, with its Honda Eco flower light. Though it could have been created digitally, doing so would have killed the spirit of the ad. “The best decision was to actually go and shoot this on a large scale – just us and the client, drawing a line in the sand and going, ‘No matter what, we’re not going to fall back and settle for shooting plates and then putting the lights in during post production,” explains Zach Watkins, copywriter on the project and now a creative director. Harking back to The Impossible Dream, Hands continues the tradition with Smith & Foulkes once again directing the ad. With the engineer’s hands communicating Honda’s inventiveness, a total of no fewer than 22 products are shown, from leaf-blowers to robots, and superbikes to SUVs. Creative team Chris Lapham and Aaron McGurk studied Honda’s creations in detail. “The key thing was everything that went in had to go through the lens of, ‘Does this say curiosity? Does it have a good innovation story behind it?’” says McGurk. “Cog was my all-time favourite ad,” admits Lapham. “That blew me away as a piece of creative. That was what we were trying to keep going, that tradition with Honda, because they lead the way with what they do product-wise. We’re going to try and lead the way with what we’re doing with the advertising, and keep it innovative and fresh.” COMPUTERARTSCREATIVEBLOQCOM -58-
NOVEMBER 2013 HONDA ADVERTISING Q&A WITH ANTOINE BARDOU-JACQUET The director of Cog talks about precision-engineering a Honda television commercial Cogisnowseenasaturningpointincaradvertising but what wasitlikeforyouwhenyoufirstsawthebrief? When\"I\"received\"the\"brief\"I\"immediately\"thought\"it\"was\" a cool\"idea%\"Working\"for\"a\"giant\"company\"has\"never\"been\" a problem%\"In my\"head\"I\"was\"working\"for\"Tony\"Davidson#\" Kim Papworth#\"Ben Walker\"and\"Ma\"Gooden\"at\" Wieden'Kennedy% Howdidyouapproachit? For\"me#\"the\"key\"thing\"was\"to\"do\"it\"for\"real%\"CG\"would\"not\" have\"worked%\"I\"gathered\"a\"team\"of\"friends\"–\"a\"graphic\" designer#\"a\"photographer#\"a sculptor\"–\"and\"we\"did\"a\"one- month\"test\"in\"a Paris\"studio%\"Honda\"wasn’t\"convinced\"by\" the idea#\"so\"they\"gave us\"an\"old\"version\"of\"the\"car\"and\"we\" created\"our\"first\"chain\"reaction%\"When\"they\"saw\"the\"result\" LET’S they\"gave\"us\"the\"go-ahead% Whatlookandfeelwereyougoingfor? The\"film\"had\"to\"look\"classy#\"not\"like\"a\"dirty\"old\"garage%\" We decided\"to\"set\"the\"action\"in\"a\"sort\"of\"museum#\"where\" all the\"car parts\"were\"placed\"like\"pieces\"of\"art%\" SEE WHAT Foryouwhatwasthemostinteresting part oftheproject asawhole? The\"most\"interesting\"moment\"was\"when\"Honda\"delivered\" the\"first\"car%\"Nobody\"had\"a\"clue\"what\"to\"do%\"We\"jumped\"on\" it and\"pulled it\"apart\"like\"maniacs%\"That\"was\"fun#\"and\"they\" CURIOSITY were\"paying\"us\"to\"do\"it%\"Aer\"a\"day#\"the\"car\"was\"entirely\" disassembled%\"There\"were\"pieces\"all\"over\"the\"studio#\"and\" everybody\"started\"to\"play\"on\"their\"own#\"doing\"stupid\"things% Didtheentirecontraptionactuallywork? The\"film\"is\"))\"per\"cent\"real%\"We\"only\"used\"CG\"for\"the\" CAN DO... exhaust\"pipe\"rolling#\"for\"a\"simple\"reason2\"the\"studio\"wasn’t\" long\"enough\"to\"do\"it\"in\"one\"go%\"So\"we\"cut\"it\"in\"two\"parts%\" The rest\"worked\"for\"real%\"There\"is\"no\"editing%\"We\"spent\" hours\"fine-tuning\"the\"length\"of\"the\"installation\"for\"reasons\"of\" timing%\"We\"did\"11\"takes\"before\"it\"worked%\"The\"problem\"was\" how\"to\"follow\"the\"action\"with\"the\"camera\"when\"you\"have\"tiny\" pieces\"and\"big\"pieces\"side\"by\"side%\"Later#\"Honda\"wanted\"us\" to\"install\"it\"in\"their\"building\"as\"an\"event\"but\"it\"was\"too\"fragile#\" too\"precise\"–\"impossible\"to\"do\"it\"easily% Products in motion. For our next Special Report, Justin Cone – editor of Motionographer, and director of special operations at Psyop – explores how stunning motion graphics and animation are increasingly making or breaking new product launches, complete with inspiring best-practice case studies. COMPUTERARTSCREATIVEBLOQCOM -59-
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HauppaugeHDPVRGEPlus AirhogsHelix Airhogs atmosphere Bladeztoys bubble blaster and PUREJongoSwireless Mutewatch touchscreen watch water blaster RC helicopters musicsystem MonsterMobile®ClarityHDMicro MonsterHighDefinitionHDP Asics Gel Kayano trainers Kingston Technology BlackMS-MarshallMicro-Amp SigmaSDD-SLR BluetoothSpeaker–Black GPowerCenter™v MobileLite Wireless cameraandlens withGreenPower™–UK Garmin Edge(r) 810 – Monster® iCarPlay™ Wireless Magicscreen screen protector pack, Mophie Juice Pack Unit Portables Laptop Bag HumaxYouviewboxDTR-T the complete touchscreen 800 FM Transmier for a Magicwand touch screen stylus, a GPS bike computer iPhone and iPod Magicpotion screen cleaning kit, a pair of Artisanphonics luxury wood earphones, and a case from the MediaDevil range Monitor Audio Wireless D1$$\"netgear wifi router NetgearPTV multimedia system Wirelessdisplayadaptor HOWTOENTER TEXT: COA TO remote control Sonic Screwdriver Unique Track Days Radical Kymera wand experience at Silverstone remote control Textscost plusonemessageatyour Terms and Conditions standardnetworkrateusually – p Youmustusethekeycodeinyourtext TheprizedrawisonlyopentoUKresidents You mustbe $ orovertoenter TheprizedrawisnotopentoemployeesofFuturePublishinganditsaffiliates OrpostyournameandcontactnumbertoTheFutureGreat oragents thefamiliesofsuchemployeesandanyotherperson connectedwiththispromotion GadgetGiveawayc\oPumaSourceSolutionsLtdTheLodge Onewinnerwillbechosenfromalleligibleentrants atthecloseoftheprizedrawbywayofan PortobelloDocks HarrowRoadLondonW RH independentlysupervisedrandomdraw Thewinnerwillbenotifiedaftertheprizedrawhas closed Thewinnerwillbenotified bytelephoneon themobiletelephonenumberusedtoenter Increaseyourchancesof theprizedraworothercontacttelephonenumberprovided Ifthewinnercannotbecontacted theprizeisforfeitedandwereservetherighttodrawanotherwinner Intheeventofadispute winningbytextingagainPlus the winnerisdeemedtobethepersonresponsibleforpayingthetelephonechargesforthe get threeentriesfortheprice winningphonenumber If the winnercannotbecontacted theprizeisforfeitedandwereserve theright to draw anotherwinner Intheeventofadispute thewinnerisdeemedto betheowner oftwo–soeverythirdtextisfree! of the winningmobilephonenumber Intheeventofanentrant’smobileand/orcontacttelephone numberchangingand/orthemobilephonebeinglost stolenordamaged the Promoterisnotable toretrieveandamendanyexistingentriestoanewmobileand/orcontactnumber Prizesmay DeadlineforentriesisthNovember arriveondifferentdates Thewinnermayberequiredto fulfilallreasonablerequeststotakepart Textentrycosts plusyourstandardnetworkrate inpublicityrelatingtothisPromotion You will find the full prize draw terms and conditions here: TodeclinemarketingtextsendyourmessagewithNOINFO http://www.futureplc.com/survey-prizedraw-terms-and-conditions
AT A GLANCE: UNDERLINE STUDIO D AT E F O UNDE D : January\"$$* N U M B E R O F STAFF:Six LO CATI O N : Toronto#\"Canada DISCIP L I NE S: \"Brand#\"corporate\"and\" marketing\"communications\" FE AT U R ED PRO J EC T S : The\"Robert\"McLaughlin\" Gallery#\"National\"Magazine\"Awards
UNDERLINING ELEGANCE From their Toronto base, Underline Studio co-founders Fidel Peña and Claire Dawson explain what elevates a piece of work from clean and simple to truly elegant WORDS: GarrickWebster PHOTOGRAPHY: ReynardLi wwwreynardlicom
NOVEMBER 2013 Underlinehasan extensive library of designbooksand magazinesandwork they likeistapedup alloverthestudio right late-morningsunlightreflectsupoffthewhite lacqueredtableinUnderlineStudio’sbaseonthewest BsideofToronto “Welikeitwhenitblindstheclients ” laughsco-founderFidelPeña “Wealwayssitonthis side ”addsUnderline’sotherco-founder ClaireDawson indicatingtheirposition wheretheeffectisn’tquiteso Brandnewwork' dazzling “Initially it blindsthem ”continuesPeña “We recovered\"from\"mastectomies#\"and\"they’re\"nudes#\"so\"they’re\" this T-shirtgraphic can getthemtoagreeaconceptveryquicklythisway ” quite\"powerful%\"They\"brought\"us\"on\"because\"they’re\"trying\" fortheCamicities projectvisualises But\"maybe\"they\"don’t\"need\"to\"resort\"to\"such\" to\"figure\"out\"how\"to\"present\"the\"work#\"and\"they’re\"interested\" 3yearsof tactics%\"The\"studio’s\"work\"can\"be\"just\"as\"radiant\"as\"the\"light\" in\"any\"number\"of\"ways%\"It’s\"not\"just\"a poster\"campaign%” humanhistoryin whatisnowToronto reflecting\"off\"its\"well-polished\"table%\"Founded\"just\"under\" Normally#\"a\"project\"of\"this\"scale#\"which\"might\"just\" nine\"years\"ago#\"Underline\"has\"developed\"a\"reputation\" have\"a\"bit\"of\"a\"guerilla\"tendency\"to\"it#\"would\"go\"to\"an\"agency\" for\"elegance\"– particularly\"in\"print\"design\"and\"identity\" rather\"than\"a\"small\"studio%\"However#\"Rethink\"really\"liked\" work\"–\"that\"belies its bijou\"size%\"Indeed#\"just\"six\"people\" something\"about\"Underline’s\"aesthetic#\"so\"it’ll\"be\"doing\"the\" work\"in\"this first-floor\"studio\"with\"its\"well-worn\"concrete\" design#\"and\"geing\"help\"from\"the charity\"with\"the\"media\" floors#\"posters displayed\"on\"the\"walls#\"and\"its\"light#\"airy\" buying\"side\"of\"things%\"\" atmosphere% Yet\"the\"studio’s\"client\"list\"includes\"global\" household\"names\"such\"as\"Dyson\"and\"Audi% ARTISTIC CONNECTIONS BMO\"Financial\"Group\"7formerly\"the\"Bank\"of\" Peña\"and\"Dawson\"feel\"right\"at\"home\"working\"with\" Montreal9\"is\"one\"of\"Canada’s\"biggest\"financial\"institutions\" photography%\"For\"years\"they’ve\"been\"laying\"out\"the\" and\"recently\"became\"an\"Underline\"client\"when\"the\"studio\" Canadian\"bi-annual\"photography\"magazine#\"Prefix\" designed\"the\"organisation’s\"corporate\"responsibility\"report%\" Photo% They’ve\"also\"worked\"with\"the\"photographer\"Arnaud\" Underline’s\"roster\"also\"lists\"some\"of\"the\"country’s\"top\" Maggs#\"who\"has\"been\"a\"giant\"on\"the\"Canadian\"art\"scene\"for\" universities#\"art\"galleries\"and\"publishers% decades%\"When\"the\"National\"Gallery\"of\"Canada\"in\"Oawa\" One\"bold\"new\"project\"is\"for\"Rethink\"Breast\"Cancer#\" held\"a\"retrospective\"of\"Maggs’\"work\"last\"year#\"Underline\"was\" a\"Canadian\"charity%\"“They\"focus\"on\"$-\"to\"($-year-olds#\"so\" draed\"in\"to\"lay\"out\"the\"show\"catalogue%\"The\"large-format\" this\"is\"more\"of\"a\"younger\"audience#”\"says\"Dawson%\"“They’ve\" hardback\"is\"an\"impressive\"piece\"of\"design\"work%\"\" got\"this\"big\"show\"with\"the\"fashion\"photographer\"David\" Before\"taking\"up\"photography#\"Maggs\"was\"a\"designer#\" Jay%\"He’s\"done\"a\"series\"of\"portraits\"of\"women\"that\"have\" so\"they\"felt\"a\"real\"connection\"with\"him\"and\"in\"return\"he\" COMPUTERARTSCREATIVEBLOQCOM -64-
NOVEMBER 2013 UNDERLINE STUDIO PROJECT FOCUS THE ROBERT MCLAUGHLIN GALLERY Underline’s branding for a Toronto gallery played on its most distinctive feature HalfanhoureastofTorontoinOshawaOntariothe RobertMcLaughlinGalleryfindsitselfinacommunity moreinterestedinicehockeythanartYetits stunning circularglassandconcretebuildingwasbuilt years agoduringtheheightofmodernismanditspermanent collectionincludesafascinatingsetofworkby Painters ElevenTheworksarebrightabstractandtypically bonkers-Canadian Rebranding the gallery would seem the perfect challenge for Underline’s Fidel Peña and Claire Dawson. Their first move was to call in a branding consultancy to iron out the brief. Eventually, this boiled down to finding an identity that could a ract the community’s young people, and hockey parents, to the gallery. “We did a lot of research,” says Peña, “but in the end we found their building was one of the biggest inspirations. It’s an Arthur Erickson building, very modernist, full of geometric shapes.” “When you walk in there’s this big circular window,” adds Dawson. And Peña continues: “We love modernism, so we thought creating shapes would be a good way to link the building to its brand. A circle was used to create other shapes, and we created the three le erforms. What was good about it was that it could then break up and become a fun brand, it could become a serious symbol on its own.” An inline in the RMG logotype Underline created adds that touch of detail and elegance. Today, the Robert McLaughlin Gallery is known by its symbol throughout Oshawa, and across Canada’s national art scene too. COMPUTERARTSCREATIVEBLOQCOM -65-
NOVEMBER 2013 Naturallightstreams throughfull-width windowsandreflects offalltheglassand laminatesurfaces insidethestudio– creatingabrightand airy atmosphere appreciated\"Underline’s\"thoughtful\"approach%\"“He\"began\" his\"career\"as\"a\"designer\"and\"lived\"in\"New\"York\"for\"a\"while\" designing\"all\"sorts\"of\"great\"Jazz\"albums%\"Then\"he\"switched\" to become\"a\"fashion\"designer#\"and\"then\"decided\"to\"become\" a\"photographer\"and\"an\"artist#”\"explains\"Dawson%\"\" “He\"was\"seduced\"by\"the\"spine\"of\"the\"book#\"because\" we\"had\"wrapped\"a\"piece\"of\"his\"art\"around\"it\"so\"that\"the\" numbers\"on\"the\"piece\"would\"fit\"perfectly\"there%\"He\"just\" loved\"detail#”\"adds\"Peña%\" “He\"was\"just\"so\"different\"to\"present\"to#”\"continues\" Dawson%\"“You\"know#\"most\"clients\"look\"at\"the\"cover#\"there\" may\"be\"some\"discussion#\"they\"may\"start\"flipping\"pages%\" ClaireDawson Arnaud\"would\"sit\"for\"five\"minutes\"and\"just\"look\"at\"the\"spine%”\"\" so\"if\"we’re\"seing\"an\"article#\"for\"example#\"we’ll\"start\"from\" and FidelPeñaflick The\"pair\"got\"a\"great\"rush\"seeing\"the\"book\"on\"sale\"in\" the\"classic\"rules\"of\"typography%\"There\"is\"a\"set\"number\"of\" throughoneofthe magazinesthey’ve the\"gallery’s\"gi\"shop#\"and\"an\"even\"bigger\"one\"when\"they\" columns#\"and\"there\"is\"a\"very\"strict\"grid\"enforced\"–\"vertical\" designedTheirtrue walked\"up\"the\"glass-housed\"ramp\"towards\"the\"exhibition\" but\"also\"horizontal%\"The\"vertical\"will\"be\"the\"columns\"but\" loveistheprinted pageparticularly area%\"The\"Tungsten\"leering\"they’d\"used\"for\"the\"book\"had\" the horizontal\"will\"be\"the\"baseline\"grid\"covering\"every\" booksandmagazines been\"blown\"up\"to\"a\"huge\"size\"and\"was\"displayed\"on\"the\" typeface#\"every\"size%”\"\" gallery\"wall#\"pointing\"visitors\"to the\"show%\"\" “Then\"we’ll\"try\"to\"do\"something\"where\"we’ll\"do\"the\" modern\"or\"conceptual\"approach#\"based\"on\"what\"the\"article\" A STRICT BASE is\"about#\"and\"deviate\"from\"that\"classic\"way\"and\"try\"to\"give\" One\"of\"the\"reasons\"galleries\"and\"other\"institutions\"that\" some\"personality\"to\"the\"piece#”\"he\"says%\"Then\"Peña\"flicks\"to\" are serious\"about\"art\"choose\"to\"work\"with\"Underline\"is\" an\"article\"in\"Prefix\"Photo\"to\"use\"as\"an\"example%\"The\"spread\" down\"to\"the\"studio’s\"classic\"approach%\"Real\"consideration\" he\"chooses\"has\"the\"headline\"‘Potential\"history’\"broken\"into\" goes\"into\"its\"typography\"and\"grids%\"But\"more\"than\"that#\" syllables\"which\"are\"stacked#\"centred\"and\"sucked\"into\"the\" there’s\"a\"respect\"for\"the\"imagery%\"You’ll\"rarely\"see\"Underline\" guer\"between\"the\"pages% running\"type\"over\"a\"stunning\"photo\"or\"piece\"of\"illustration%\" “This\"article\"is\"talking\"about\"the\"divide\"between\" It\"takes\"you\"back\"to\"the\"great\"print\"layouts\"of\"the\" )1$s\" Palestine\"and\"Israel#\"it’s\"about\"the\"border\"and\"divisions#”\" – wonderfully\"clear\"and\"arresting\"in\"their\"simplicity%\"\" he explains%\"“So#\"visually#\"for\"us\"it\"was\"about\"everything\" “With\"a\"lot\"of\"projects\"like\"this#\"it’s\"about\"respecting\" coming\"into\"this\"guer%\"Even\"though\"the\"article\"is\"clearly\" the\"artist’s\"work%\"We’re\"not\"going\"to\"layer\"stuff\"on\"top\"of\" classically\"designed#\"here\"we\"deviated\"a\"lile%\"We\"wanted\" it%\"We\"loved\"Maggs’\"work#\"as\"an\"artist#\"and\"respected\"him#\" this\"to\"express\"what\"the\"article\"was\"about#\"immediately#\" so\"we\"wanted\"to\"pare\"things\"back\"so\"the\"work\"would\"shine\" almost\"emotionally%” and\"it\"would\"all\"feel\"cohesive\"together#”\"says\"Dawson%\"Peña\" It’s\"touches\"like\"this\"that\"move\"Underline’s\"work\" continues2\"“Everything\"we\"do\"has\"an\"underlying\"logic\"to\"it#\" from the\"category\"of\"‘clear\"and\"simple’\"into\"that\"of\" COMPUTERARTSCREATIVEBLOQCOM -66-
NOVEMBER 2013 UNDERLINE STUDIO PROJECT FOCUS NATIONAL MAGAZINE AWARDS A celebration of print and all that it encompasses inspired this promo project This year, Underline Studio was chosen to create posters and design the programme for Canada’s National Magazine Awards, held in Toronto. For Fidel Peña and Claire Dawson, it was an opportunity to bring a new level of cra into their design work. “It’s a visual thing, just about a celebration of the pages of a magazine and what makes them up,” says Claire Dawson. “They’d used illustration for many years so we thought it was a good time to switch to photography for \"” Le ers, photographs, illustrations, text and other magazine page elements were designed and printed out, and then cut out to create props. These were put together to form sets, which Underline had photographed for the poster, and for the event’s programme. The imagery was created to represent the diversity of magazines in Canada, as well as the design elements that go into a publication. “We do enjoy that process, that’s part of the fun for us, to get our hands into it and do the actual cra – whether it’s carefully typese ing a long piece of text for a magazine or book, or doing this kind of thing in photoshoots. That gets us excited,” says Peña. The colour pale e, meanwhile, was constrained to greyscale and a bold yellow. The programme itself had to have a loose design that could accommodate both of Canada’s official languages, French and English. “We used Calibre,” adds Peña. “It’s a fairly new typeface. Very bold and round, but not round as in Futura or Gill Sans. Round in a soer way.” COMPUTERARTSCREATIVEBLOQCOM -67-
STUDIO LIFE NOVEMBER 2013 Morenewworkfrom UnderlineWhen Toronto-based still-lifephotographer AngusFergusson neededabrandthe studiodevelopedhis meatyidentity ‘elegant’%\"In\"fact#\"the\"studio\"was\"founded\"on\"the\"idea\"of\" bringing\"classic\"and\"European\"design\"sensibilities\"together#\" and\"presenting\"them\"on\"the\"Canadian\"scene%\"Peña#\"whose\" family\"came\"to\"Canada\"from\"El\"Salvador\"when\"he\"was\" a\"teenager#\"at\"first\"wanted\"to\"be\"an\"architect%\"Dawson#\" meanwhile#\"studied\"art\"but\"veered\"towards\"design%\"They\" Underlineispart met\"working\"at\"the\"respected\"Toronto\"studio\"Concrete%\" by\"thinking\"is\"big\"for\"us#”\"smiles\"Peña%\"\"When\"we\"ask\"about\" of theRegistered Years\"later#\"aer\"Peña\"had\"been\"over\"to\"London\"and\"worked\" inspiration#\"they\"return\"to\"Arnaud\"Maggs\"and\"his\"partner#\" GraphicDesigners of Ontarioand at\"Pentagram\"as\"part\"of\"Fernando\"Gutierrez’s\"team#\"they\" the\"artist\"Spring\"Herbert%\" adheringtoRGD decided\"to\"set\"up\"Underline%\"\" “They\"were\"very\"inspiring\"too#\"just\"the\"way\"that\"they\" guidelinesthe studioneverdoes “It\"felt\"like\"there\"was\"an\"opportunity\"to\"do\"something\" lived#\"that\"they\"loved\"what\"they\"did#”\"says\"Dawson%\"“Art\"and\" freepitchwork different\"in\"this\"city#”\"says\"Peña%\"“There\"was\"not\"a\"lot\"of\" life\"were\"very\"seamless%\"They\"were\"very\"passionate\"about\" European\"sensibility\"in\"the\"work\"here\"we\"thought#\"and\" it%\"We\"like\"meeting\"people\"who\"are\"very\"passionate\"about\" we’re both\"really\"aracted\"to\"European\"design%\"So\"it\"just\"felt\" what\"they\"do%\"We\"try\"and\"keep\"working\"in\"a\"way\"that\"we’re\" like\"it\"was\"a\"good\"partnership\"and\"the\"right\"time\"to\"do\"it%”\"\" very\"stimulated\"by\"it\"and\"it\"still\"remains\"very\"exciting#\"and\" something\"we\"want\"to\"come\"into\"work\"and\"do\"every\"day%”\"\" STUDIO INSPIRATIONS And\"that\"is\"the\"challenge\"for\"Underline\"Studio\"going\" Even\"today#\"almost\"nine\"years\"later#\"the\"pair\"are\"inspired\"by\" forwards%\"When\"it\"first\"started\"off#\"the\"pair\"learned\"how\"to\" European\"creatives%\"Made\"Thought#\"Bibliothèque#\"Fallon#\" run\"a\"business#\"and\"keep\"all\"the\"admin\"in\"check%\"Then\"the\" Pentagram#\"NB\"and\"Grafica\"are\"just\"a\"handful\"of\"their\" trick\"became\"finding\"new\"clients\"and\"working\"with\"them%\" favourites%\"But\"they\"look\"well\"beyond\"design\"as\"well%\"“In\"the\" Now#\"Peña\"and\"Dawson\"are\"trying\"to\"figure\"out\"the\"route\" beginning\"we\"used\"to\"look\"at\"the\"work\"of\"Bridget\"Riley\"all\" they\"want\"to\"take\"to\"move\"the\"studio\"onward%\"Is\"it\"to\"grow\" the\"time%\"We\"loved\"her\"work%\"It’s\"op\"art#\"so\"it’s\"very\"graphic#\" in\"size\"and\"take\"on\"bigger\"projects?\"Or\"is\"it\"to\"stay\"small\" beautiful\"colours#”\"says\"Dawson%\"\" and remain\"hands-on\"with\"the\"design\"work\"itself?\"\" Not\"surprisingly\"for\"a\"studio\"so\"in\"love\"with\"editorial\" “Every\"year\"there’s\"a\"new\"challenge#”\"says\"Dawson%\" design\"and\"with\"such\"an\"appreciation\"of\"type\"and\"words#\" “Right\"now\"it’s\"about\"trying\"to\"figure\"out\"the\"paths\"that\"we\" they\"enjoy\"reading\"too%\"“We’re\"big\"readers\"both\"of\"us\"–\"we\" want\"to\"take\"and\"how\"we\"want\"to\"gear\"the\"work\"that\"we\"do#\" like\"the\"wrien\"word\"–\"so\"I\"think\"that’s\"why\"we’re\"respected\" and\"the\"life\"of\"the\"studio%\"We’re\"thinking\"about\"it\"as\"a\"larger\" in\"print\"so\"much%\"Literature#\"philosophy#\"anything\"driven\" whole\"and\"where\"we\"want\"to\"take\"it%”\" COMPUTERARTSCREATIVEBLOQCOM -68-
impact. Save 50%* Use code CA50 Book by Introducing the… 17 November 2013 Impact Conference A one day event on how to achieve excellence and consistency in branding across all formats and market sectors. 06 March 2014 LONDON FILM MUSEUM SE1 7BP www.impactconf.com Presented by @Impact_conf *Valid on full price tickets only
NOVEMBER 2013 CLIENT RELATIONSHIPS TAKING CARE OF BUSINESS Clientrelationshipmanagementmightsounddullbut itcanaccelerateyourcareergrowyourclientbase andleadtobeerpaidandmoreinterestingwork WORDS: henrunningadesignbusinessitisimpossible ina clientrelationshipstrategybutitiseasilyachievable TomDennis to underestimatetheimportanceofclient for creativeoutfitsof allsizes ILLUSTRATION: Casmiclab WrelationshipsFrom freelancecreativeswhose Clientrelationshipscanbeanunevensee-sawyou wwwcasmiclabcom clientsareotherindustryfirmstoagenciesblessedwith canproducethebestworkpossibleontimeandtobudget rosteredregulars–lookinga)eryourfeepayersshould andstillloseaclientwhileyoucanwatchothersproduce be prioritynumberone mediocreworkandenjoyrepeatbusinessIt’sunfair AccordingtothegreatPaulRanddesignisfutile annoyinganddisruptiveButitisavoidable “unlessitisacknowledgedbythosethatthedesigner Investinginclientrelationshipsleadstorepeatwork exists toserve– theclients”Atitsmostbasiclevel moremoneyandstrengthensword-of-mouthpromotion a good clientrelationshipmeanstrustcommunication Strongrelationshipsenablethecreationofmoresatisfying and accountabilityClientrelationshipsshouldbea worthwhileprojectswhichiswhatalldesignersstrivefor mutuallybeneficialpartnershipbetweenyouandyour andappropriatelythebestwaytoincreasevisibilityand clientYourexpertiseandcriticalopinionshouldbe winnewworkInshortstrongclientrelationshipskills valued whileyourclientsshouldfeeltheycantrustyou are whereitbeginsforgrowingyourcreativereputation in creatingthemostsuitableworkfortheirproducts generatingmoreturnoverandultimatelycreatingeven Geingto thisstagetakestimehardworkandinvestment morefulfillingwork S T EVEN KA TY M A R KH A Y N E S O L AVO L O B O NNE R CO W A N N E WB U S I N E S S IL L U S T R A T O R IL L U S T R A T O R BO OM E R A N G S T R A TE GIS T A N DA R T I S T Award-winning graphic designer, Founder and managing director Formerly at Chime UK, Mark is Responsible for this article’s artwork, illustrator and typographer Steven of Manchester-based consultancy an expert in client relationship New York City-based illustrator works freelance from his studio in Boomerang, Katy specialises in management, having helped several and artist Ola creates images Scotland. His client roster includes business strategy, marketing agencies win and maintain strong touching on themes of human Penguin Books, Audi and Nike. and digital communications. global client rosters. nature, folklore and symbolism. wwwstevenbonnercom wwwweareboomerangcom wwwchimeplccom wwwolavolacom COMPUTERARTSCREATIVEBLOQCOM -71-
INDUSTRY ISSUES NOVEMBER 2013 Thefigurespaintanevenmoreconvincing argumentaccordingtoBDI BritishDesignInnovation for everyclientlostUKdesignbusinesseshavetospend aroundpercentofaprojectfeeonnewbusiness activitythroughpromotionalmeansandcoldpitching For repeatworkthatfigureiszeropercent UNDERSTANDING PEOPLE “EveryclientisworthholdingontoWinningclientsis difficultinitselfsoholdingontothemisabsolutelycritical” saysKatyCowanmanagingdirectoratBoomerangthe creativeagencywitharosterthatincludesretailers manufacturersandhealthcareaccounts “Essentiallybusinessisaboutpeople”she continues“Soit’saboutunderstandinghowtoworkwith peoplemaintainhealthyrelationshipsandbesomeone thatpeopleenjoyworkingwithOf courseit’salsoabout offeringvalue– ensuringtheworkyouaredoingismaking a realdifferencetoyourclient” PROJECT FOCUS PENGUIN BOOKS Winningnewclientsandestablishinga solid working relationshipwiththemtakestimeandeffortand FreelanceillustratorandartdirectorStevenBonnershares is traditionallylookedaerbyanaccounthandlerorclient his experiencesofmanagingclientssingle-handedly directorYetit’svitalthatallrelevantstaffareawareof the clientandcontributetowardstherelationship–from Clientrelationshipmanagementisfarfromthepreserveofagenciesand creativedirectorstoartworkers studios –freelancersneedtoknowhowtofindnewbusinessandmakethe mostofrelationshipsThisisexactlywhat freelanceillustratorStevenBonner “It’scriticalthateveryoneinvolvedinanaccount didwith publisherPenguinBooks knowswhotheclientiswhothecontactisandwhatthe “IcontactedanartdirectoratPenguinBooksaboutfouryearsagoand though clientlikesanddoesn’tlike”saysMarkHaynesanew Ididn’tinitiallyhearanythingbackIkepthimintheloopwithmywork nowand againuntileventuallyaprojectcameupthathefeltsuitedme”saysBonner businessconsultantwhowaspreviouslyclientservices “Sincethenwe’vebuiltarelationshipwherewearecomfortablewitheachother manageratmarketingservicescompanyChimeUK“At andknowhowtoworktoeachother’sstrengths” Chime, we worked exceptionally hard to get under the It’sarelationshipthathassinceblossomedwithBonnercreatinga dozen orso designsforPenguin’stitlesrangingfromRachelKhoo’scookerybooksthroughto skin of our clients’ brands, and offer the type of service literaryheavyweighttitlessuchasColm Tóibín’sNewWays to KillYourMother that fosters trust. You cannot allow even one person to What’slastedthroughouthoweveristhestrongcommunicationexpertise stray off-brief and damage that trust.” experienceandcreativeunderstandingoftheclient-illustratorrelationship “Nowthatweknoweachother’sworkingmethodsandnuanceswecan usually ForagenciesandstudioslikeBoomerangand reachthedesiredoutcomewithaminimumoffussandspeakfrankly witheach ChimeaclientretentionplaniscriticalThiscantakethe otherwithoutfearoftheothertakingthingsthewrongway”explainsBonner formofatop-sheetofessentialclientinformationfor The approachmeanseveryonecanfocusonthejobathand“Theyknow whentopushmetogetmoreoutof a piece”continuesBonner“whichoen examplecontactpointsfordifferentareasoftheaccount resultsin a muchbeerendproduct” Amorefully-fleshedclientretentionplanmightinclude a historyoftheclientandtheworkyou’vecompletedfor themaswellasacreativeoverviewofthebrandand COMPUTERARTSCREATIVEBLOQCOM -72-
NOVEMBER 2013 CLIENT RELATIONSHIPS informationonanystrategicobjectivesthattheclient has highlighted “Beingabletopickupthephoneandspeakto the rightpersonisvital”explainsHaynes“Theremight be an entirelydifferentpersoninadifferentofficewho has sign-offonartworkwhilebudgetsandstrategyare handled elsewhereYouneedtokeepyourcommunication channelsopenandmakesureyouspeaktotheright peopleabouttherightthings” It’salsoadvisabletoidentifysomesortofhierarchy andmakesureeveryoneinyourbusinessisawareofit Ideallyyouneedtoensurethatshouldoneofyourcontact PROJECT FOCUS pointsbeunavailableyouknowwho’snextinlineto consultWhat’smorebyidentifyingahierarchywithin MANCHESTER FERTILITY CLINIC your client’sbusinessyouaremorelikelytobeableto cut out‘middle-men’andengagedirectlywiththedecision BoomeranghasbeenworkingwithManchester makers–whetherthatbeacreativeheadorastrategic FertilityClinicforsometime arelationshipthat or financialmanager hashelpedbothparties explainsKatyCowan KEEPING CLIENTS Manchester-basedcreativeconsultancyBoomeranghasbeen workingwithManchesterFertilityClinicsince whenittook Retentionplansalsogeneratenewbusinessorganically on itsbrandingandmarketingrequirementsAtthatpointthe If aninitialclientbriefbeginsasarebranditcanquickly privatehealthpracticewaspreparingtoexpandmovingtobigger escalatetoafull-degreeprojectifyouproveyourself andbeerfacilitiesatCheadleRoyal Boomerangwasbroughtintorefreshtheclinic’sbrandingas well intheinitialstages asdesigninganddevelopingitsnewwebsiteThesitewastoreinforce “Mostofourclientsareretained”saysCowan theclinic’skeymessagesbuildonitsongoingsuccessandprovide “The natureofourworkreliesuponongoingsupport comprehensivesupportandinformationforpatients “Wecouldn’thavehelpedManchesterFertilityClinicsoeffectively as we provideaniterativeserviceForinstancewemight withoutagoodrelationship”explainsBoomerangfounderand buildawebsiteorappcarryoutongoingusertestingand managingdirectorKateCowan“Sometimeswe’vedisagreedon thenaddnewfeaturesalongtheway” thingsandwe’vepushedourclientoutoftheircomfortzoneButthey trustusimplicitlyandaregreatpeopletoworkwithas theylistenand Clientrelationshipmanagementisn’tabout actuponouradvice” ‘schmoozing’asCowanpointsoutInfactveryfew It’sthistrustthathasenabledtheagencytomakeasignificant of thosewespokewithgavetheimpressionofMad differencetotheManchesterFertilityClinicBoomeranghasbecome somethingofacreativeadvisorfortheclient–steeringitto new Men-stylelonglunchesandbignightsoutonexpenses areasincludingmobile Successfulclientrelationshipsareaboutcommunicating Thewinningcollaborationhaspaidofintermsofprofessional anddeliveringonyourpromisesbasicproject reputationtoo“We’vebeenabletoshowoffwhatwe’veachievedfor theclinicThey’reaveryhappyclientsowehaveanicetestimonialon managementskills ourwebsiteandthey’verecommendedustoothers”saysCowan “Wehaveregularmeetingsandweplanwhat “Butifitwasn’tforourstrongrelationshipwith Manchester we’re goingtodoeachandeverymonth”saysCowan FertilityClinicitwouldn’tbesucha successstoryAndwewouldn’t havesuchgreat workinourfolioSointhatrespectit’s absolutely “InternallyweusesystemslikeBasecamptoproject crucialforanydesigneroragencytohavestrongrelationshipswith manageandwe’lltracktimeinvolvedusingFreeAgent theirclients” For someofourclientswemightusesowaretoensure COMPUTERARTSCREATIVEBLOQCOM -73-
INDUSTRY ISSUES NOVEMBER 2013 smoothrunning–forexampleforoursocialmedia “Clientsworthholdingontoarethosewhobrief marketingweuseappslikeSproutSocial” and artdirectreallywell”Bonnersays“Vaguebriefing Butdon’tbetrickedintothinkingclientrelationship and non-existentdirectionarethebaneofa freelancer’s managementisjustforagenciesanddesignstudios lifeastheyeatintobudgetstimeandquitefranklyyour howeverFreelancerstooneedtotreattheirclientswith patienceThegoodclientistheonewhounderstands careasthefreelanceillustratorStevenBonnerpointsout how toworkwithyou” “Freelancingisjustbeingasmallbusiness-owner Managingyourclientlistdoesn’tjustmeanpicking so theprinciplesofrelationshipmanagementarethe andchoosingwhotoworkwiththoughAswellas same”hesays“Formethere’snomagictoityousimply identifyingthoseclientswithwhomit’spossibletohave treatpeoplewellanddowhatyousayyou’lldoforthem a broadercreativerelationshipit’salsosmarttoavoid If you deliveronyourpromisesareaccommodatingto stagemanagingtoomuch reasonablerequestsandcandoitallwithasmileonyour “It’snotsomethingwebudgetfornecessarilybut facethenyou’llbefine” wedooenentertainclients”saysCowan“It’sniceto Bonnerisatypographerillustratoranddesigner pop outforacoffeeorlunchandoffertopayI’vejusthad whowaswonnumerousinternationalawardsForhim aninformallunchwithoneofmy biggestclientsanditwas buildingandmaintainingarelationshipisaboutbeing nicetochatoversomesandwichesLikeIsaidbefore professionalandbeingpersonable businessisaboutpeoplesoofferingthatbitofgiveand “You’vegottoworkhardtobuildrelationshipsthen takealwayshelpsto strengthenrelationships” harderagaintomakethemstrong”hesays“It’sasmall Aboveallelseclientrelationshipmanagementis industrywhereeveryoneknowseachothersobuilding abouttreatingotherpeoplewithrespectWhenyourclient a goodrelationshipwithsomeonecanbeagreatwayof asksyouforaprojectupdate shisadeadlineordragsits networkingandgeingafootholdinnewcompanies” feetonadecisionprofessionalismmeansyoudon’tget fieryInfactaccordingtoBonnerthebestrelationship HEALTHY RELATIONSHIPS techniquerequiresgeneralgoodmannersandtaking Howeverit’simportanttorememberthattherehas tobe an interestinthepersonaswellastheproject somegiveandtakeUnhealthyrelationshipscancome “Clientsarepeopletoo”sumsupBonner“And aboutforinstanceifaclientneverlistenstoyouradvice peopleliketodealwithpeoplethattheycanrelateto If that’sthecaseitmightbeworthmovingonIt’sobvious I’m notsayingyouneedtobetheirbestfriendbutit’s whenyoufindaclientwithwhomyouworkwellbutit’s nice tobeableto haveafriendlyconversationabout alsoimportanttospotbadclientsearlyon other thingstoo” COMPUTERARTSCREATIVEBLOQCOM -74-
brand impact. Brand Impact Awards Now open for Celebrating the world’s entries very best design for branding and campaigns. www.brandimpactawards.com Presented by @Impact_conf
NOVEMBER 2013 TARA MCPHERSON SWEET ROCK AND ROLL Brooklyn-based creative Tara McPherson talks about Japanese influences, astrophysics and why she avoids the term ‘lowbrow art’ T ARAMCPHER S O N LA-born Tara McPherson has created poster art for bands including Modest Mouse and the Melvins, along with books, comics, adverts, editorial illustrations, toys, solo shows and more. Now based in New York, her clients include DC Comics, Warner Brothers, Nike and Kidrobot. wwwtaramcphersoncom WORDS:AnneWollenberg PHOTOGRAPHY: JobySessions wwwjobysessionscom COMPUTERARTSCREATIVEBLOQCOM -77-
NOVEMBER 2013 Tara\"McPherson\"at\" work\"in\"her\"studio\"in\" Brooklyn#\"New\"York\" –\"oils\"are\"a\"current\" favourite\"medium%\" Below2\"some\"of\"the\" many\"vinyl\"toys\"she\" has\"created rom gig posters and adverts You’ve described your work as a It’s nice to switch it around. Right to oil paintings and vinyl toys, mixture of sweet versus creepy now, I’m working on about 10 F Tara McPherson conjures up and light verses dark. How did paintings at once for this show, all in a sweetly creepy aesthetic – think this aesthetic come about? oils – afterwards, it would be nice to Gothic images with a heavy dollop It’s partly down to my interest in do a poster and be drawing more and of childlike whimsy. Her music Japanese art. I love the way it depicts looking through books for type ideas. commissions include indie-cool monsters, but also these cute, sweet The change keeps me interested. Too projects like art design for the All girls who are really badass. I’ve always much of one thing and I burn out. Tomorrow’s Parties festival curated liked depicting strong women. It’s a I like jumping around. You have to by American alternative rock band really fun balance – if I do something with oils because one picture is drying The Breeders, and creating the that’s all sweet, I feel it has no edge as another is ready and another is wet. Melvins poster shown in Oscar- and there’s something missing. winning film Juno. No wonder Elle I worked at a Japanese toy store Green Day, Beck, Modest Mouse Magazine once called her “the crown in LA in my late teens, which really and the Melvins are just some of the princess of poster art”. turned me onto Japanese artists and bands you’ve worked with. Are you This is just one string in a animation. I love Yoshito Monara, musical yourself? very crowded creative bow, however. Takashi Murakami and I adore Hayao I play bass, but I haven’t played in a Somehow, McPherson also finds Miyazaki and Studio Ghibli. band for a few years. I listen to music time to organise monthly art My work is definitely not of in the studio but, when I’m working shows and events on top of client this world. It’s very illustrative, surreal on a show, I tend to get bored towards projects, personal work and running and dreamlike, and I’m interested the end and put on documentaries her Brooklyn-based art boutique in pop culture, so the term ‘pop instead. It’s something to think about Cotton Candy Machine. As we speak, surrealist’ really encompasses what while I’m painting. I grew up listening she’s currently putting the finishing I’m doing. Some people talk about to rock and roll, and heavy metal. touches to Wandering Luminations, ‘lowbrow art’, but I don’t like that I love the Melvins. They’re the band an upcoming solo show at the term. My work isn’t ‘low’ anything. I’ve done the most posters for and Jonathan LeVine Gallery in New York they’re awesome to work with. That’s – the artist’s home since leaving her You work in lots of different media. super-cool to me – my 15-year-old self native California in 2005... Is that variety something you crave? would freak out. COMPUTERARTSCREATIVEBLOQCOM -78-
NOVEMBER 2013 TARA MCPHERSON “SOMEPEOPLETALKABOUT ‘LOWBROWART’BUTIDON’T LIKETHATTERM MYWORK ISN’T‘LOW’ANYTHING” Poster\"for\"a\"tour\"headlined\"by\"Alkaline\"Trio\"and\"New\"Found\"Glory%\"“Working\" with\"Alkaline\"Trio\"was\"awesome%\"They\"had\"such\"cool\"ideas#”\"says\"McPherson Painting\"from\"McPherson’s\"upcoming\"show#\"Wandering\"Luminations%\"“I\"was\" This\"Melvins\"tour\"poster\"was\"released\"as\"a\"limited-edition\"screenprint%\"A\"long-time\"Melvins\"fan#\" thinking\"about\"deep\"oceans\"and\"caves#\"pale\"creatures\"and\"bioluminescence%” McPherson\"has\"worked\"on\"multiple\"commissions\"for\"the\"band COMPUTERARTSCREATIVEBLOQCOM -79-
NOVEMBER 2013 How does McPherson balance her bursting workload? “Good scheduling,” she explains. “Everything’s planned out until the middle of 2015 for me.” MY BIGGEST CHALLENGE TALKING MY WAY TO THE TOP Captivating a crowd can be a challenge when you’d rather be shut away in your studio, says Tara McPherson, but public speaking has personal and professional benefits PublicspeakingissomethingI’vealways foundveryhardI’vedoneagreatdealof it nowincludingsometeachingatParsons You studied astronomy and thought about it, I knew I wanted SchoolofArtinNewYorkbutit’sstillsodaunting astrophysics at college. Have you to be an artist. I switched my major I finditreallydifficultandchallengingtothisday always been interested in both back and focused on getting a good HoweverIalwaystrytosayyeswhenI’maskedto speakinpublicAsaresultI’vebeenflownallaround science and art? portfolio together so I could apply theworldandhavespokentoaudiencesof I’ve always loved science. I asked for a to a four-year art school. Art Center peopleatatimewhichiscrazyandit’sscaryIwant microscope when I was a kid. I hated College of Design in Pasadena, to saynoeverytimebutIdon’tThat’sbecauseIthink it’simportanttochallengeyourselfandputyourselfin maths, but I loved studying chemistry. California, was like the army. It uncomfortablesituationsandenvironmentsIbelieve I left high school early because I was really hard work: deadlines and youshouldtrytopushyourselftobeabeerperson was bored, and started community specific direction. I work really well in abeerspeakerandabeerartist WhenI’mpreparingtospeakinpublicIalways college at 17. I was actually really into that environment, which is probably worrythatI’mgoingtosoundstupidorI’mnotgoing photography back then and I thought why freelancing suits me. tomakemuchsenseIcanfallintothetrapofthinking I wanted a career in it. All the college Idon’thaveanythingtogivesaytoagroupof studentsonagallerytourIhavetoremindmyself art classes were full, so I had to choose Did your internship at Futurama that they’rereallycuriousandthey’regoingtolove from whatever was left. I signed up during art school influence you? listeningtowhatIhavetosay for astronomy and loved it. Theories I worked at Rough Draft Studios, IhavetoreallypsychmyselfupforitbutIalways getsucharushaerwardsIgetphysicallyhigh–the of relativity are super-fascinating to which makes the show, as a resultingendorphinsfeelsogoodwhichiswhyIkeep me. Einstein’s theories about how our production assistant. I got paid, which doingiteventhoughIgetnervousbeforehand universe and time and space work was awesome. It influenced the way I’vehadsomanygreatopportunitiesasaresult – itdoesn’texactlyhurtifsomeonewantstoflyme have posthumously been proved to I draw and gave me an insight into the to FrancesoIcangiveatalkAndmovingoutofmy be right – that’s supreme creativity. world of animation, how it functions comfortzoneisalwaysgoingtoaffectmycreative and how character designs are made. workinsomeway PublicspeakingisatoddswiththewayIworka What took you back to art? I helped the colourist and lotofthetimeThere’sapartofmethatjustwantsto I started doing a lot of printmaking I got to see how to do turnarounds – beshutawayinmystudiocreatingonmyownBut and reached a crossroads: ‘What creating the front, side, three-quarter pushingyourselfinwhatevershapeorformyoudoso isboundtotranslatetohowyouapproachyourwork do I really want to do for the rest and back views of characters. I didn’t andhowyouexperiment of my life? What’s going to make me draw anything while I was there, but happier?’ When I sat down and really I learned so much. COMPUTERARTSCREATIVEBLOQCOM -80-
TARA MCPHERSON Spring\"painting\"using\"oil\"on\"linen#\"created\"as\"part\"of\"McPherson’s\"Seasons\"series Playing\"With\"Fire\"–\"The\"Handler\"painting#\"set\"against\"the\"backdrop\" of a fractal\"lake\"and\"sold\"as\"a\"series\"of\"hand-signed\"‘mini\"giclée’\"prints Cotton Candy Machine opened How does that philosophy apply in 2011, which you describe as an to Wandering Luminations? ‘art boutique’. Why call it that? I’ve been researching bioluminescence We sell books, gift items and cool and the ocean. It’s the type of stuff I’ve merchandise as well as prints, playing always been interested in – my love of cards, T-shirts, pillows – all sorts. science really influences my work. I’m We don’t want to label ourselves referencing a lot of space photos and specifically as a gallery because it’s looking at rainbows, glow worms and much more than that. ocean creatures. The shop is at my old studio. It’s a continuation from The I worked there for five years, but Weight of Water triptych, which moved my studio back home after follows three girls through gaseous, having my little boy almost 18 months liquid and solid environments – from ago. I wanted to maximise my time misty fog to a frozen lake. I was and not be running back and forth. thinking about how water molecules I set the business up with go through different states of being my boyfriend Sean Leonard. He while retaining their integrity, and runs pop-up stores all over the how that correlates with our emotions country – that’s his area of expertise and life cycles. – and I had a storefront and all this I experiment with different merchandise, so it seemed like a techniques as I’m painting. I feel like natural progression. Sean takes care my work can get very exact, tight and of the business side and I basically just refined. I’m always battling with that. help curate the art shows. I want a polished look but I also want to loosen up, so I’m pushing myself to You’ve said you try to learn experiment. I want to say: “It’s okay to Part\"three\"of\"triptych\"The\"Weight\"of\"Water%\"The\"missing\"heart\"motif\"is\" something\"of\"a\"trademark\"for\"McPherson something new for every solo show. let the brush strokes show.” COMPUTERARTSCREATIVEBLOQCOM -81-
NOVEMBER 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 10 SHANGHAI RANKING: THE FINAL COUNTDOWN Why Sawdust went the extra mile to develop a range of bespoke numerals based on folded ribbons for a new university guide 84 THE TATTOO COLOURING G-STAR DESTROY TO BOOK: INK ON PAPER CONSTRUCT: DENIM SHORT Illustrator and tattoo How Realise Studio exploded designer Ollie Munden G-Star Raw’s products in a stylish reveals how his dream commercial in line with Rankin’s project came about 91 artistic vision 94 COMPUTERARTSCREATIVEBLOQCOM -83-
PROJECTS NOVEMBER 2013 PROJECT FACTFILE SHANGHAI RANKING: BRIEF Todesignthefirstprintedversionofthe THE FINAL COUNTDOWN AcademicRankingofWorldUniversities ARWU knownastheShanghaiRanking turningthecontentintoa-pagebook Sawdusthandledartdirectionandlayout andcreatedafullsetofcustomnumerals Design duo Sawdust went above and beyond the call of duty to develop a range of bespoke numerals – based on CLIENT ShanghaiRanking folded ribbons – for a new university guide wwwshanghairankingcom STUDIO Sawdust’sJonathan Sawdust Quainton+le)0and wwwmadebysawdustcouk RobGonzaleztesting outideasforthe PROJECT DURATION project’sdistinctive Onemonth ribbonnumerals LIVE DATE August THE DESIGN BRIEF to discuss the brief, we wanted to make him aware Rob Gonzalez that if we did decide to take the project on we would want to do something quite radical and different. This book is the first of its kind. The Academic The initial brief was fairly simple, as the client really Ranking of World Universities, known as the Shanghai just wanted someone to put the content together in the Ranking, is a list of the world’s top 200 universities. It form of a book. From our perspective, this simply wasn’t was established 10 years ago, but this is the first time enough – we explained that we would want to bring ROBGONZALEZ the information has been published in printed form. something more to the table rather than just laying DESIGNERANDCO- Our client was the independent entrepreneur Alisdair all the information out in an ordered fashion. FOUNDER SAWDUST Jones, who has been working closely with Shanghai Luckily, the client bought into our ideas. We knew Onehalfofindependentdesignduo Ranking. He wanted to create a printed book version the content would make for fairly heavy reading, so SawdustRobdabbledinartbefore and approached us to help realise this ambition. our goal was to lighten that by creating something realisinghisfuturelayingraphic The project originally began with another designer, visually rich and developing a graphic language for the designAergraduatingfromBath but wasn’t progressing in the right way, so the client book. We wanted it to have a lot of impact, and not SpaUniversityviaayearworking started looking around for someone else. feel too conventional. University guides often look like inDenmarkheworkedfordigital Having seen our portfolio of work online he emailed telephone directories – we wanted to give it a bit of art. agencyMemebeforeco-founding us to arrange a meeting, we had a good chat and the Alisdair handled the relationship with the printers, so Sawdustin project went from there. When we first met with Alisdair our focus was on creating the look and feel of the book. COMPUTERARTSCREATIVEBLOQCOM -84-
NOVEMBER 2013 DIARY˚1: SAWDUST PROJECT AT A GLANCE IdentifyingthecountdownasakeypointofinterestprovidedSawdustwithitsdirectionfortheproject 1 Structure and flow 2 Keeping things simple 3 Type talk Weweredealingwithahugeamountofcontent Whilewewereaddinginthecontentsofthebook Tokeepthingsconsistentweusedjustonetypeface so westartedtheprojectbyworkingoutastructure all thetimewewereexperimentinganddeveloping inoneweight–HermesLight–throughoutthebook forhowthebookwouldflowandgeingthebasic differentdesigntechniquestoseewhatfiedbest underlininganytextthatneededtobehighlighted logisticalelementssuchasthegridandtypeface Wetriedoutanumberofgridsandendedupusing TheonlyothertypefaceweusedwasAvenirfor in place–withtheexpectationthatthesewould threecolumnsbecauseweweremindfuloftheneed stylingthenamesofuniversitiesthatwereunable probablychangedowntheline forthetexttobeeasytoread to supplytheirlogos 4 Safety in numbers 5 Caps and gowns 6 Ribbon work WefelttheToprankingwastheaspectofthe Ourinitialinspirationcamefromthinkingaboutthe Weprintedstripsofpaperwithlinesintwodifferent bookthatpeoplewouldreallybeabletoidentify clothespeoplewearatgraduationsuchasthecap weightsandusedthesetocheckthatwecould withsowewantedtohomeinontheideaofthe andgownandaboutmedalsandawardsWehiton createeachnumberusingasinglecontinuous countdownandmakethenumbersthemainlure theideaofusingribbonsWhileribbontypography strip Wesetthemupandtookphotosandthen of thebookWestartedexperimentingwiththe hasbeenusedmanytimesbeforeweset outtofind showedthesenumbermock-upstotheclientto idea ofdevelopingcustomnumerals afreshalternativewayofdoingit visuallyexplainandselltheidea 7 A hint of gold 8 The final touches 9 Abstract art Thebookcontainsalotofphotographysoweused Wehadtomakelotsoffractionaladjustmentstothe Wecreatedanabstractcoverusingthecustom simpleblackandwhitestripesforthenumeralsin layoutbeforewegoteverythingjustrightWespent numeralsYoucan’trecognisetheindividualnumbers ordertomakeeachpagemoreneutralWealso alongtimeseinggridsprintingthemoutandjust –theideawastousethenumeralshapestocreate addedinmutedgoldstripesthroughoutthebook staringatthemFromthenitwasaslowprocessof a pieceofartworkWelethecoveruntillateon Theideawasthatthesewouldactasaverysubtle eliminationbeforewefoundourwaytothefinal in theprojectbecausewewantedtoseehowthe –orevensubliminal–nodtogoldmedals appearanceoftheinsideofthebook insidedevelopedandgrewfirst COMPUTERARTSCREATIVEBLOQCOM -85-
PROJECTS NOVEMBER 2013 WORK IN PROGRESS Rob Gonzalez You almost have to feel your way forward at the beginning of a project like this. With so much content, you need to work out an initial structure for how the text will flow and get the logistics – such as the grid and typeface – in place. The concept of the Top 200 countdown was something we felt people would really identify with, so we focused on the numbers and created custom ribbon typography. We added around 30 per cent of cyan, magenta and yellow to create a richer black, while referencing the white directly from the photography. We also used a muted gold stripe throughout the book, which subliminally suggests the idea of gold medals. It was important to maintain consistency throughout the book, so we decided on one typeface, Hermes Light, adding an underline for emphasis where needed. That ThecustomnumeralswereinitiallycreatedaspapermodelsandwerethenredrawninPhotoshop said, we also wanted to respect the pages as individual pieces, so we swatched colours from the photography to harmonise the copy and images on each spread. We designed the cover towards the end of the process, so we could see how the inside of the book developed. Our first cover design showed the number 200, but we felt this was too direct. We went on to create an abstract cover using elements of the numerals to create something that looked more like a piece of art. “We felt people would identify with the countdown, so we focused on the numbers and created custom typography” Auniversityprofilelayoutinprogress Theoriginalcovershowedthenumberinribbonnumerals INITIAL IDEAS FOR THE PROJECT DEALINGWITHALOTOF TEXTMEANTSAWDUST NEEDEDTO PAREBACK BeforedecidingonHermeswetried Atonepointweconsideredusinggold Theoriginalcoverdesignshowed THE DESIGNTOGETTHE somelayoutideaswithAvenirItdidn’t andsilverforthecustomnumerals the numberincustomnumerals RIGHTBALANCE workbecauseithasasomewhatolder butthere’saconsiderableamountof Althoughtheclientsignedoffonthat appearance–Hermesiscleanerandit photographyinthebookandwedidn’t designitwasactuallyourchoiceto gavethingsamoremodernfeel wanttoclashoraddmorenoise rethinktheapproach COMPUTERARTSCREATIVEBLOQCOM -86-
NOVEMBER 2013 DIARY˚1: SAWDUST RIBBON NUMERALS DEVELOPINGTHECUSTOMRIBBON NUMERALSFORTHEBOOKWASAMAJOR PARTOFTHEPROJECTASCO-FOUNDER JONATHANQUAINTONEXPLAINS STEP Wewantedtheribbonstyletoreflectourgraphic systematicstyleratherthanbeingtoohandmadeor unevenAtthestartitwasacaseofexperimenting toseeifwecouldproduceeachnumberfromone continuousstripofribbon STEP Weprintedstripsofpaperwithtwolineweights positionedthemandtookphotostoseehow thelightreactedForexampleweusedsee- throughtapefortheraisedendofthe‘’and then referencedthewaytheshadowsfell STEP Thebottomofthe‘’provedparticularly challengingbecausewedidn’twanttosimply usestraightlines–theideawastokeepittrueto aclassictypefacesowerepeatedlyprintedthe roundedpartuntilwegotitjustright STEP WeredrewthenumeralsinPhotoshopandhad severalfullyreadybeforeweshowedtheclient Theywerepredominatelydesignedtobequite largebuttheyalsoneededtoworkatmuchsmaller sizessotherewasalotoftestinginvolved COMPUTERARTSCREATIVEBLOQCOM -87-
PROJECTS NOVEMBER 2013 JONATHANQUAINTON DESIGNERANDCO- FOUNDER SAWDUST AerstudyingdesigninBanbury andfreelancingforthreeyears JonathancrashedonRob’sfloor andSawdustwasbornThey specialiseingraphicdesign custom typeartdirectionand image-makingforclientsinthe fieldsofmusicfashionart culture andadvertising CONCLUSION Jonathan Quainton We’re very pleased with the finished book. Speaking from a personal point of view, I really like the fact that it surpasses the expectations of what you might do with this kind of material - you wouldn’t necessarily expect a university guide to look like this. It’s always a good feeling if you manage to shake something up a bit. We were able to open our client’s eyes to the potential for what could be done with this content, and as a result we’ve produced something that readers will hopefully find visually engaging. Alisdair was really helpful to us throughout the project. He was editing all the copy while we were in the process of working on the design, so it was a very collaborative process - he was really helpful with issues such as pruning back the text where needed to create sufcient space. We also appreciated Alisdair’s willingness to change the cover design, given he had already signed off on the original idea before we had a wobble and wanted to change it. He listened to our case and the reasoning behind it, which is a great credit to him. The feedback he’s given us has been absolutely fantastic and it seems that we’ve pretty much blown his mind. It’s really nice to hear such positive feedback from a client, and the universities featured in the book have also had really good things to say about it. There was a bit of pressure on us because we knew all those universities were going to see the finished book, and quite a few of those institutions had bought advertising space and had profile features inside. So it was great to hear that the book was well received by them as well. They put their trust in Alisdair and he put his trust in us, and I think we’ve created something really fantastic as a result. ThefinishedShanghaiRankingbookwhichwassenttouniversitiesaswellasbeingsoldonline PROJECT SHIGETO LYMBYCSYSTYM JOHNTALABOT SOUNDTRACK DETROITPART PITTSBURGHLEFT DEPAK INE This track is from DJ and This instrumental electronic The Eliot Lipp remix of this track by Shigeto is typical of track is great for keeping up house producer John Talabot. FINDINGLYRICSTOO the kind of music we play in the the pace. Generally, we do find During the later stages of a DISTRACTINGTHESAWDUST Sawdust studio. When you’re at instrumental tracks make the project, where it’s more to do DESIGNERSSTUCKTO the start of a project, fast-paced best backdrop. Lymbyc Systym with craing and refining the INSTRUMENTALTRACKS music – particularly with lyrics – is an Arizonian duo – nothing to idea, we can be a lile freer DURINGTHEPROJECT can be too distracting. do with Lynyrd Skynyrd! with our music choices. COMPUTERARTSCREATIVEBLOQCOM -88-
EXCLUSIVE US & CANADIAN OFFER! SAVE UP TO 45% * WITH COMPUTER ARTS’ THE US? NOT IN SPECIAL CHRISTMAS OFFER UK READERS SEE P21 ComputerArtsbelievesdesign maersThat’swhywe’vecompletely reinventedthemagazineasadeluxe printproductandgivenyoumoreof thepeopleprojectsandissuesthat countintoday’sdesignscene WHYSUBSCRIBE? ďGUjYďidďhcďćĈĒ ď =bgd]fUh]cbĖď]bg][\hďUbXďUbU`mg]gďh\Uhď`UghgďU``ďmYUf ď 9lW`ig]jYď8Yg][bYfďGYf]YgďcZďj]XYcgďYjYfmďacbh\ ď ;YhďmcifďWcdmďYUf`mĖďVYZcfYď]hď\]hgďh\YďbYkgghUbX ďDYfZYWhď[]ȌďZcfď7\f]ghaUg PRICING = everysixmonthsbycontinuouscredit card–or= ayearsaving >* SUBSCRIBEONLINETODAY LEADINGDESIGNERS RECOMMENDCOMPUTERARTS… www imsnews com/ “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 ORCALLON 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.” andquotecodecoap k FRANCISCOLOPEZ, art director, Mogollon (New York) TERMSANDCONDITIONS GUj]b[gƾWcadUfYXƾhcƾVim]b[ƾLjNJƾZi``ƾdf]WYXƾ]ggiYgƾZfcaƾh\YƾIGƾbYkgghUbXdžƾH\]gƾc Yfƾ]gƾZcfƾbYkƾBcfh\ƾ5aYf]WUbƾdf]bhƾgiVgWf]VYfgƾ cb`mdžƾMciƾk]``ƾfYWY]jYƾLjNJƾ]ggiYgƾ]bƾUƾmYUfdžƾA]b]aiaƾgiVgWf]dh]cbƾhYfagƾ]gƾLjljƾacbh\gdžƾƾ=ZƾUhƾUbmƾh]aYƾXif]b[ƾh\YƾÑfghƾǍLJƾXUmgƾmciƾUfYƾX]ggUh]gÑYXƾ]bƾUbmƾkUmDžƾd`YUgYƾbch]Zmƾ igƾ]bƾkf]h]b[ƾUbXƾkYƾk]``ƾfYZibXƾmciƾU``ƾibaU]`YXƾ]ggiYgdžƾDf]WYgƾWcffYWhƾUhƾdc]bhƾcZƾdf]bhƾUbXƾgiV^YWhƾhcƾW\Ub[YdžƾC YfƾYbXgǑƾNJLjghƾ8YWYaVYfƾljLJLjNJ
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NOVEMBER 2013 DIARY˚2: MEGAMUNDEN PROJECT FACTFILE THE TATTOO COLOURING BRIEF LaurenceKingPublishingtasked BOOK: INK ON PAPER illustratorOllieMundenaka Megamundenwithdesigninga rangeof illustrationsforitsgrown-up colouringbookoftaooartdesigns Illustrator Ollie Munden, aka Megamunden, explains how he CLIENT utilised his love of tattoo art to create a striking colouring book LaurenceKingPublishing wwwlaurencekingcom bursting with intricate, hand-drawn illustrations CREATIVE OllieMunden wwwmegamundencom PROJECT DURATION Eightmonths LIVE DATE October OLLIEMUNDEN ILLUSTRATOR OllieMundeniscurrently seniordesigneratilovedust arolehepreviouslyheldat McFaulHealsofreelances asMegamundentakingon commissionstoproduce illustrationsmuralsand taoodesignsHisclients haveincludedNikeToshiba VodafonePenguinBooks and Levi’s COMPUTERARTSCREATIVEBLOQCOM -91-
PROJECTS NOVEMBER 2013 THE DESIGN BRIEF Ollie Munden Tattoo art is really popular now, and Laurence King Publishing recognised that. Having produced other colouring books for adults, featuring things like sneakers and grafti, it wanted to add a tattoo book into the mix. Originally, it commissioned someone to source art from multiple tattoo artists. There was a great response, but it wasn’t the best way to do it for various reasons. The project was shelved for a while, but the publisher felt the book really needed to be made – and the best way forward was for one person to do the whole thing. STAGEONEMundenteamedupwithbookdesignerJohnny STAGETWOEachimagewascarefullysketchedoutusing I showed them lots of my existing McCullochwhoprovidedhimwithplentyofreferencematerial mechanicalpencilsandfinelinerpens tattoo designs, then I met with editorial director Jo Lightfoot and senior editor Donald Dinwiddie. They said as long as the quality was as good as the stuff I’d shown them, it was pretty much an open brief in terms of what I drew. The idea was to have a good selection of artwork, but it was very much my choice. For example, I wouldn’t have done any tribal designs as that’s not really my thing. The book consists of Japanese- inspired art and Americana, such as Sailor Jerry-esque sailors, anchors and swallows, as that’s the kind of thing that I’m into. STAGEFIVEMundenfedtheclientthroughasteadystream STAGESIXThebookbenefitsfromlavishprintvalues–Munden of illustrationsandtheapprovalprocesswentverysmoothly usedanantiquegoldPantonethroughout PROJECT TEAMING UP PENCIL AND INK HAND OVER KEYS Early on, I recommended my Everything that went into the book I used Pentel mechanical pencils ilovedust colleague Johnny and Uni Pin Fineliner pens, sticking was hand-drawn and scanned in. I did EVOLUTION McCulloch as the book designer to three widths in order to give all the make a few minor alterations to each for this project. He loves taoo art, image in Photoshop, using it to erase, drawings a consistent feel. I wanted and I knew he’d be into working on to keep all the originals, so I did them draw in a few lile bits and tidy things THECLIENTPUTITSFULL it with me. As well as doing all the on nice cartridge paper. Because up, but I didn’t vectorise any\"of\"it\"or\" TRUST IN BOTHMUNDEN’S InDesign work, he collected loads of there were so many to produce, redraw\"much\"at\"all%\"I’d\"say\"around\")\" ILLUSTRATIONSKILLSAND reference material and categorised it I oen went straight from inital per\"cent\"of\"all\"of\"the\"book’s\"featured HIS CREATIVEINTUITION all for me to use as a starting point. pencil sketch to the final art. artwork was done by hand. COMPUTERARTSCREATIVEBLOQCOM -92-
NOVEMBER 2013 DIARY˚2: MEGAMUNDEN HOW I WORK OLLIEMUNDENSETS HIMSELFAPARTBYBRINGING HISHAND-DRAWINGSKILL TO EVERYPROJECT I do a lot of murals and hand- drawn work. Even in my day job for ilovedust, I always try to do something by hand at some point in each project. Computers are a massive part of my process, but I love drawing by hand and this skill can sometimes put you a notch above other illustrators. While I’ve designed a lot of STAGETHREEMundenscannedtheimagesintoPhotoshop STAGEFOURPageswithspaceforreaderstogetabitmore taoos for people, I’ve never and triedtokeepdigitaleditstoabareminimum creativewereplacedthroughoutthebook picked up a taoo machine. I’ve got a growing following, though, which will hopefully increase. In my freelance career, this style brings me the most commissions by far, but I don’t want to be pigeonholed as someone who just does taoos. I’m an illustrator with a passion for taoos, murals and lots of other things – at ilovedust I could be designing a T-shirt one day and working on an animation the next. I really hope the taoo world will pick up on this colouring book. I’m planning a solo show in Brighton next February celebrating and building on the work I did for it, and I’m talking to Laurence King about a small book of postcards that follow STAGESEVENTheartdirectionforthefrontcoverultimatelycamefromthepostersatthecentreofthebook–thepageshavebeen on from the book as well. perforated so thattheycan be removedeasily CREATIVE SPACE TRIPLE PRINT FINISHING TOUCHES ROAR MATERIAL Within the book, we decided I sent the client batches of around This project was very collaborative, Initially, the client expressed an to give people space to get $ designs\"at\"a\"time%\"The\"only\"thing\" and Laurence King Publishing really interest in using an outline paern more creative and draw their they\"changed\"was\"removing\"the\" exceeded my expectations with its on the cover, but I felt this would get own stuff. For example, there’s text\"that\"I put in\"some\"of\"them%\" willingness to use special finishes. missed on the shelf. We needed an a spread with a Russian nesting The\"books\"were\"going\"to\"various We used foil-blocking for the flames iconic image to give the cover impact. doll – it’s fully illustrated on one different countries, and that would coming out of the tiger’s head on They loved the fully-coloured posters side, with an empty outline on have required extra font files and so the cover, and a few touches of an that I had created for the centre of the other. Those pages occur on. Currently, there are three print antique gold Pantone spot-colour the book, and asked for something periodically throughout the book. runs: British, French and American. on the designs inside the book. similar on the cover. COMPUTERARTSCREATIVEBLOQCOM -93-
PROJECTS NOVEMBER 2013 G-STAR DESTROY TO CONSTRUCT ADVERT: DENIM SHORT Realise Studio mastered the art of seamlessly detonating G-Star Raw’s products to create a stylish commercial that stayed true to Rankin’s artistic vision PROJECT FACTFILE BRIEF RankincommissionedRealise Studiototurnhiscreativevision intoacommercialforG-StarRaw inspiredbythebrand’s‘Destroy toConstruct’philosophy THE DESIGN BRIEF Jordi Bares CLIENT G-StarRaw G-Star and Rankin had a clear vision in place from the wwwg-starcom start and they provided a very detailed brief including a storyboard. Rankin is an outstanding photographer STUDIOS and we were very respectful of that. He knew what RankinFilm he wanted – our job was to translate his vision into wwwrankinfilmscom something real. While some projects require lots of creative input, others are more focused on the technical RealiseStudio side. Here, our job was to find technical solutions. wwwrealisestudiocom We examined the brief in detail and did a full analysis of how to tackle it. We approached concept work and PROJECT DURATION had a couple of meetings with Rankin – I believe there weeks was an instant connection and he could see we’d done our homework. Our aim was to do as much as possible LIVE DATE in-camera. From that point onwards, our work would August lie in enhancing the photography. COMPUTERARTSCREATIVEBLOQCOM -94-
NOVEMBER 2013 DIARY˚3: REALISE STUDIO JORDIBARES CREATIVEDIRECTOR REALISE STUDIO Withareputationforpushingcreative boundariesJordihasworkedon brandcampaignsforthelikesof SonyGuinnessandNikeAqualified architecthe’salsoworkedinsoware engineeringandDanimation WORK IN PROGRESS One key technical issue that presented itself early on was the question of how to destroy the models: ballerina Keenan Kampa of the Mariinsky Ballet Company and Sergio Pizzorno from the band Kasabian, who also wrote the music. We didn’t want to suggest their skin being torn off as, while this would be visually spectacular, it could potentially be off-putting. Inspired by previous work Rankin had done with porcelain, we decided to show their skin breaking rather than tearing. So, while the clothes in the advert – all of which are G-Star – rip apart, the people shatter like porcelain. We did consider making actual porcelain moulds, but that would have been too time-consuming. We spent two days carrying out pre-shoot research and experimented with trying to detonate, explode and rip jeans. I certainly learned a lot about denim while working on this piece. We then had two days to shoot with the models – one for the graphic studio campaign and one shooting them on a big stage. Each detonation appears only very briefly, but they each took a good hour to set up. They are painstakingly crafted – the concept of the advert is ‘Destroy to Theexplodingguitarshotattheendwasoneofthemostchallengingtocreateduetochangesinvolumeandtexture Construct’ so we wanted to destroy the jeans and reinvent them, as well as moving gracefully through the dog, girl, man and dog in an accelerating loop. The process of destruction was carefully choreographed – we made sure the face was never the first thing to go as we wanted the cloth to lead the story. We had to pay extremely close attention to detail. Creating the zoetrope effect was straightforward enough, although we had to be careful to minimise flicker to make sure we adhered to TV broadcasting rules. The last shot, which moves from the guitar to the dog, was by far the most challenging because the volume changes from the size of an apple to something much bigger, and light reacts very differently on wood Realiseshotasmuchin-cameraaspossible Woodclothandporcelainexplodeindistinctiveways RE-DRESSING The nature of the advert meant that we needed to use a mix of live action with CG. We took full body scans of the stars and created CG doubles, which we THE BALANCE used in some shots. Weneeded toreconstructthe models’clothesinmotionsotheCGmodelshadto wearexactlythesameoutfitsrightdowntotheposition DUPLICATINGTHEMODELS ofthebuonsandzipsTherewasalongprocessof ANDTHEIRCLOTHINGINCG scrutinisingeveryshottoensurecontinuityItwas PROVEDKEYTOENSURING importanttobalanceeverythingjustright–therewas THEADVERT’SBELIEVABILITY alotoftweakinginvolvedThetransformationofthe EXPLAINSJORDIBARES clothwaspartlyletotheaudience’simaginationso it wouldn’tbetoojarring COMPUTERARTSCREATIVEBLOQCOM -95-
PROJECTS NOVEMBER 2013 BalletdancerKeenanKampastarsinthecampaignalongsideKasabianguitaristandsongwriterSergioPizzorno and on bone. We used a complex layers system to link the explosions together and employed various tricks “Each detonation appears throughout – if you were to look behind the guitar, for example, you’d see pieces of cloth attached to the wood. only very briefly, but they’re Overall, there was a great deal of planning, testing and finessing involved. We had to be very careful painstakingly crafted and took because, if we changed anything in the edit, we’d potentially have to go back and change the previous a good hour each to set up” shot, so there was a lot of back and forth. Explosionsweremeticulouslychoreographed CONCLUSION When someone has a clear vision, the best thing is always to go with that vision and embrace all the challenges and limitations that come with it. Watching the film, you can really see that this is Rankin’s style – we were always mindful of maintaining that. He posted a tweet praising us and I think in general the ad has been very well received. The great thing about Rankin is that he has nothing to prove to the world, so he’s very open to creative input and will consider even the most radical of ideas. The finished commercial looks more like an installation or a photograph in motion. It’s really technically beautiful. I always look at it and remember the story behind it, so I need to take a few moments to detox and consider it with fresh eyes. CGbodydoubleswerecreatedandmixedseamlesslywithin-camerafootage LESSONS MAKE USE EVERY DAY’S TRY A DIFFERENT OF REFERENCES A SCHOOL DAY APPROACH LEARNED As a result of this job, we changed G-Star understood denim beer To achieve the zoetrope effect, we the way in which we operate with than any of us, so we had to learn a wanted to introduce the dog while THEG-STARPROJECT the editor on a project. It underlined lot and pay aention to every detail. giving a sense of optical trickery. Two REQUIREDREALISETO the importance of providing them It was even more sophisticated than weeks before the shoot, we changed ADAPTTOTHECHALLENGES with really good-value reference we were expecting. I became a lile our approach from moving the dog OFADIFFERENTTYPEOF material so they can work faster obsessed with denim, and was really to moving the camera, which created WORKINGPROCESS and make fewer changes. proud that we learned so much. the feel we wanted. COMPUTERARTSCREATIVEBLOQCOM -96-
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CREATIVE INSPIRATIONS NOVEMBER 2013 Fabian Oefner An old photo of Jackson Pollock set this photographer and artist off on an epic paint-manipulation experiment – no CGI allowed abianOefnerdescribeshimself F asacuriousinvestigatorwhose worktreadsthelinebetween art andscienceArecentprojectsawhim exploretheeffectsofpneumaticforce onpaintresultinginamesmerising seriesofimages–oneofwhichgraces thecoverofthisveryissue Tell us a lile bit about this project... TheimagesoftheLiquidJewelseries arepartofacycleaboutmanipulating paintbydifferentnaturalforcesIoen usescientificphenomenatocreatemy imagesInthiscaseIusedpneumatic forcetocreatethesecolourfulstructures butotherseriesexploretheeffectsof gravityandcentrifugalforce What was your inspiration? Theideafortheentirecyclecametome whenIwaslookingatanimageofJackson Pollockstandingontopofacanvasjust abouttopourpaintontoitSoIsaidto myselfIwouldliketoknowwhatexactly happensinthatmomentwherethepaint fallsontothecanvasOnecouldsaythat Iwasmoreinterestedintheactionthan thepaintingThat’swhatmademestart experimentingwithdifferenttechniques ofmanipulatingpaint How did you create the images? Letmestartbysayingthatthereisno CGIinvolvedTheimageyouarelooking atismoreorlesstheimagethatIsaw onthebackofthecamera Theconcept soundsfairlysimpletakeaballoon coveritwithpaintandthenpierceit andphotographthatexactmillisecond wherethepaintstartstogoinalldifferent directionsButIcanassureyouthatthe executionofthissimpleconceptwasa real painAlthoughthisseriesconsists of onlyfiveimagesIdidliterallyhundreds ofexplosionsuntilIgottherightresult But Istill feellikeitwasworthit What’s the most unusual thing you’ve ever been inspired by? Sco ishwhiskybutnotinthesense thatyou’reprobablythinkingofImean itinamoreliteralsense–Iuseditfor an upcomingproject FABIANOEFNERPHO T OGRAPHERANDAR TIS T FabianOefner’simagescapturethenaturalphenomenathatappearinourdailylivesBesidespursuinghisownprojects he also collaborates with international brandsonadcampaignsandartprojectswwwfabianoefnercom COMPUTERARTSCREATIVEBLOQCOM -98-
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