PORTFOLIO ADVICE PRO INSIGHT FROM TOP AGENCY HANDSOME FRANK ISSUE 276 MARCH 2018 % ((DB % (( PRINTED IN C74D: 25 HOT NEW 8;;DBCA0C>AB IMPROVE YOUR ;>6>34B86= 10 golden rules from Logo Design Love founder David Airey ILLUSTRATOR HOTLIST 2018 REVEALED: THE BEST ILLUSTRATORS TO WORK WITH THIS YEAR ĭ ĭ ê ĭ ĭ ĭ ê ĭ ĭ ĭ ĭ ê ĭ ĭ ĭ ê ĭ ĭ ĭ Æ Æ Æĭ 8;;DBCA0C>A?4CA04A8:BB>=
MARCH 2018 COVER ARTIST Making PETRA ERIKSSON ROSANNA TASKER the cover Girl With Mustard Shirt by Bloom by Bristol-based We’d have been happy to have any Swedish illustrator Petra illustrator Rosanna Tasker. one of the 25 illustrators on our Eriksson. See more of her Turn to page 62 to discover hotlist provide us with a cover, work on page 46. more of her artwork. but with just four slots available, it was a case of selecting the most ANDREEA TIANJU DUAN radically contrasting pieces, partly DOBRIN DINU to make each cover stand alone, Flower Boy by Copenhagen- and partly to demonstrate the sheer Just Be by Hamburg-based based artist Tianju Duan is diversity of styles and techniques illustrator Andreea Dobrin part of a series, Boy Power! we’d discovered on our quest for Dinu. See more on page 66. See more on page 54. the year’s hottest talent… C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M So Petra Eriksson’s super-bold, -3- graphic simplicity contrasted nicely with Rosanna Tasker’s delicate line work and subtle palettes, whilst Andreea Dobrin Dinu’s joyful, semi-abstract artwork is a world away from the sensual, near- weightless dreaminess of Tianju Duan’s portraits of masculinity. All four artists demonstrate radically different techniques, and all four make beautiful covers. For newsstand readers, the main coverline is on a removable bellyband this month so that they can join subscribers in enjoying the glory of the crisp, uncluttered artwork, and in a frenzy of excitement, we lavished four different coloured foils – one per artist – on each cover, to really make them shout. Many thanks to our four lucky cover artists, we look forward to seeing more of their work in future. This month’s foils were provided by our print finishing partner Celloglas. See more examples of our special cover finishes at www.bit.ly/ca-printfinishes
WELCOME MARCH 2018 Editor’s letter FEATURING Illustration is a hugely subjective discipline with, in CRAIG OLDHAM theory at least, as many styles as there are practitioners. But the field can be buffeted by trends like a ship in Craig is a designer, writer and educator a storm, with boundary-breaking individuals often and the founder of agency Office of Craig. swimming against a surge of shared influences and Read an extract from his new book Oh identikit styles that threaten to flood the market. Sh*t What Now? on page 18, and enter our competition to win one of five copies. Our cover story this issue celebrates 25 of the most www.craigoldham.co.uk exciting – and original – illustrators working today. In short, these are the people you should be commissioning SARAH TURNER in 2018. Some faces are newer than others, but the range of styles and approaches on show is hugely encouraging, we Sarah, owner and managing director of hope you agree. Four of our favourites grace this month’s Carter Wong, has been with the London- cover, in our fourth split-run design of the past six months. based branding agency for 17 years. On page 82, she shares the process Elsewhere, Logo Design Love founder David Airey has behind its latest bespoke notebook. distilled his 10 golden rules of logo design into an essential www.carterwongdesign.com crib-sheet to help keep your identity design skills razor- sharp, illustrated with a selection of famous best-practice DAVID AIREY examples from many different sectors. David is a logo and brand identity In a video special with top agency Handsome Frank, in specialist, and creator of book and association with Wix, we also share advice for crafting a website, Logo Design Love. Discover his better online portfolio. And in a similar spirit of continual 10 golden rules for creating memorable self-improvement, next month we’ll help you identify – and and lasting logos on page 36. exploit – potentially lucrative skills gaps in the industry. www.logodesignlove.com Next issue will also be my last as editor of Computer THIBAUD HÉREM Arts. It’s been a genuinely amazing, inspiring (and busy) nine years on the brand, working with some incredible French-born, London-based illustrator people, and if my sums are correct, issue 277 will be Thibaud specialises in intricate my 72nd of CA. Before that, there were 12 issues of architectural drawings. He shares premium special edition CA Collection, and over 30 his advice for improving your online of themed sister title CA Projects… not to mention portfolio on page 76, alongside two of four editions of our Brand Impact Awards. his Handsome Frank stablemates. www.thibaudherem.com I can’t yet share who’ll be taking over the reins, but watch this space and we’ll reveal all soon. Enjoy the LAURA JORDAN-BAMBACH magazine, and I’ll see you one last time, next time! Laura is creative director of London NICK CARSON agency Mr President and co-founder of Editor SheSays. On page 98, she reveals how [email protected] a detailed dream world has helped fuel her creativity for the past 30 years. www.mr-president.co.uk KEEP IN TOUCH WITH… @computerarts /computerarts @computerarts /computerartsmag C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M -4-
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Peterborough, Cambridgeshire, PE1 5YS MANAGEMENT Finishing partner: Celloglas Ltd TOM MAY Amy Hennessey Editor-in-chief Distributed by: FREELANCE WRITER Will Shum Marketforce, 5 Churchill Place, Tom was recently interviewed by Roundabout: Senior art editor Canary Wharf, London, E14 5HU Creative Chaos podcast and narrowly managed Dave Harfield www.marketforce.co.uk Tel: 0203 787 9001 to avoid libelling his colleagues. He’s also been Head of editorial operations enjoying gigs by Paramore, Jon Sevink and Goldray. We are committed to only using magazine CONTRIBUTIONS paper which is derived from responsibly David Airey, The AOP, Paul Button, Andreea managed, certified forestry and chlorine- Dobrin Dinu, Tianju Duan, Petra Eriksson, free manufacture. 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CONTENTS ISSUE 276 MARCH 2018 CULTURE 10 TRENDS As consumers become increasingly aware of the impact of plastic products on the planet, designers are exploring alternatives 1 4 MY DESIGN SPACE Swedish watercolour illustrator Matilda Svensson describes her kitchen-table workspace 15 NEW VENTURES Jules Griffith of London studio The Clearing reveals why the studio has moved after six years 16 INSPIRATION FEED Berlin-based illustrator Hélène Baum explains how she uses her Feed as an alternative portfolio INSIGHT PROJECTS 1 8 HOW TO TALK ABOUT YOUR WORK 8 2 PRINTING THE TUBE Craig Oldham explains how to seek Carter Wong’s fourth edition in relevant feedback on your designs its series of specially designed notebooks explores the tiling of 2 1 DESIGN MATTERS the London Underground Which branding mistake taught you an important lesson? 8 8 VISUALISE A SPACE MISSION Paul Button explains how his 2 2 FORMULA 1 REBRAND screenprint crossed the final Three perspectives on W+K London’s frontier of data visualisation new identity for Formula 1 9 2 ROBOTS TAKE OVER HULL VIDEO INSIGHT Jason Bruges Studio takes us behind the scenes on its installation to celebrate 2017 Hull UK City of Culture 7 6 VIDEO INSIGHT An agent and three illustrators from Handsome Frank on crafting a web portfolio. In association with Wix. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M -8-
CONTENTS SPECIAL REPORT INDUSTRY ISSUES TOP 36 10 GOLDEN RULES 25 OF LOGO DESIGN Logo and brand identity specialist, David Airey, reveals the 10 golden rules for designing a lasting logo that will be remembered for decades BACK TO BASICS 44 ILLUSTRATOR HOTLIST 2018 After canvassing recommendations from an expert panel of art directors, agents and course leaders, we reveal 25 illustrators to watch this year SHOWCASE 2 2 CARVED CRAFTMANSHIP Hot new work, including a textured identity for an interior design and carpentry firm 7 0 WHY WE NEED USER EXPERIENCE In the first of a new series on digital skills, Tom May explores why all designers need to consider UX SUBSCRIBE AND SAVE UP TO 47% REGULARS Never miss an issue of Computer Arts. Subscribe today for pro advice and practical 9 6 PHOTOGRAPHY MEETS DESIGN insight every month, and save up to 47%! See page 34 for more details Our new series with the AOP kicks off with the importance of shared vision 98 DESIGN ICON Laura Jordan-Bambach muses on how her dream diaries inspire her C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M -9-
CULT UR E TRENDS PEOPLE EVENTS INSPIRATION Each month, our Trends section is curated by experienced creative consultancy FranklinTill www.franklintill.com
TRENDS PHOTOGRAPHY: Tom Mannion TRENDS SUPER-SYNTHETICS COMPOSTABLE BY MARIA IDICULA CONSUMPTION KURIAN As consumers become increasingly aware of the impact of their purchases on the health of the planet, we're seeing a turn away from single-use plastic products ingle-use plastic products are icons of consumer culture. More than 300 S million tons of plastic are produced annually, and nearly every piece of plastic ever produced still exists, floating in our oceans or buried in landfills. Awareness of the environmental consequences and planetary impact of our love afair with plastic appears to be growing – perhaps helped in part by TV programmes like Blue Planet. Last year witnessed the largest involvement in Plastic Free July since the campaign’s launch in 2011. For one month, more than one million people refused single-use plastics. Responding to this burgeoning desire for footprint-free consumption, eco brands and innovative designers are rethinking mundane everyday designs, and replacing ubiquitous plastic products with compostable alternatives. Maria Idicula Kurian, a recent Central St Martins MA Material Futures graduate, believes the lasting environmental impact of a single-use plastic product should be relative to its intended use. For instance, she suggests that a cup that will be used for only a few seconds should be designed to have very little, if any, environmental impact. In her Super-Synthetics project, Kurian used layered rice starch to create a cup that disintegrates after 10 minutes’ use. By increasing the number of starch layers, she produced similar vessels with slightly longer lifespans, such as a pint glass and a water bottle that could last for two days. Created by Heather and John McDougall, a dentist’s daughter and son who grew up in North Dakota, Bogobrush is a toothbrush with a biodegradable handle made from a biocomposite material with flax particle waste from American farms. When the brush wears out, remove the nylon bristles with pliers, and throw the handle on the compost pile. Sustain’s hypoallergenic 100 per cent organic cotton fibre tampons can be delivered straight to the customer’s door. Each tampon is tucked neatly into a compact, biodegradable, bio-plastic applicator that is friendly to the body and the environment alike. Remaining in the eco-bathroom, Personna’s BioShave razors have biodegradable handles made from 80 per cent plant-based sustainable resources. They contain no chemical dyes and have not been tested on animals, and their packaging is made from post-recycled cardboard with vegetable-based printing inks. Single use and throwaway plastic products are slowly being designed out of today’s consumer landscape by innovative designers tackling the mundane and everyday. From cups to toothbrushes, razors and tampons, these compostable solutions are encouraging new, conscience-clear, consumer habits. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 11 -
CULTURE MARCH 2018 NAKED BIODEGRADABLE TOOTHBRUSH BY BOGOBRUSH ORGANIC COTTON FRANKLINTILL STUDIO TAMPONS BY SUSTAIN Design Futures / Material Futures / Colour Futures FranklinTill Studio is a forecasting agency and creative consultancy that works with lifestyle brands across the disciplinary spectrum to provide research-based insights that drive creative innovations in materials, colour and design. It creates reports, publications, exhibitions and events with the aim of making its research both accessible and inspiring. It also edits and produces two magazines, published by View Publications, which you can buy from www.viewpoint-magazine.com. VIEWPOINT DESIGN Viewpoint delivers visual, editorial and statistical information to brands, designers, agencies and consumer insight teams determined to create lifestyle products, campaigns and environments that anticipate consumer demand. Written by professionals in the branding and design business, each issue explores how a significant trend will impact consumer behaviour and the global design landscape. VIEWPOINT COLOUR Launched December 2016, Viewpoint Colour ofers visual inspiration, design direction and a global perspective on colour. The inaugural issue provides an in-depth analysis of the personality traits of emerging colour stories, explaining why they are relevant now and how they are currently being applied. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 12 -
Matilda Svensson is a watercolour illustrator from Sweden. Clients include Unicef and Malmo Clothing Co, and she sells her own range of illustrated homeware products. www.matildasvensson.com MY DESIGN SPACE IS... A COSY MESS Watercolour illustrator Matilda Svensson explains how working from her kitchen table works perfectly for her atilda Svensson’s kitchen furniture so she doesn’t have to year. Flowers make me happy and Svensson knows when she worry about ruining it. are great inspiration,” she says. works best – in the early mornings M table doubles up as her and evenings – and likes “getting workspace. She painted Although she admits it can get Further inspiration comes from a cosy feeling with candlelight”, it when she was a student, and it cramped when she has a lot of her phone (2). “I use it for playing hence the candlesticks (4). “I got has stayed the same colour since, orders, she still loves working from music on my speakers, as well as these from my father a few years although now it contains “traces” home. “It means I can start my day Instagram, business calls, collecting back,” she recalls. “He found them of her past projects, mainly in the working in bed for a few hours, and ideas. I made the Oh Deer phone in a flea market, he´s really great form of spilled paint. I never have to feel bad about not case last autumn and I´m still a bit at finding vintage things I love.” Svensson enjoys working in a utilising an ofce in town,” she says. in love with it,” she smiles. messy space, where she can test As she often paints pieces out ideas instantly. “To me, a messy To keep her space vibrant, she As Svensson mainly works in inspired by nature, she’s started to workplace is a sign that I was always has fresh flowers (1). “Last watercolour, her paints and brushes collect old flower and animal books creative and had many ideas,” she spring I bought a house in the (3) are a vital part of her space. too (5). “They are so beautiful. I love says, adding that she buys vintage country, so I´m spoiled with having “I´m no ‘material snob’, so I use books overall, I buy too many.” flowers from my garden most of the quite common brands,” she says. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 14 -
MARCH 2018 PEOPLE 1 The Clearing’s new ofce 2 is in a newly converted 3 warehouse located near 4 London Bridge. 5 NEW VENTURES THE RIGHT MOVE Jules Grifth, marketing and operations director at The Clearing, talks about the decision to move studios after six years in the same location uring the six years The Clearing If you’re anything like us, this will change once you actually start viewing properties D had spent in one London studio, – that’s fine, it’s an important part of finding the business had grown from 10 to the space that’s right for you. 25 people, and more than doubled its fee income. The rent had also increased over What were the biggest practical and 200 per cent, although operations director logistical challenges with moving studios? Jules Grifth emphasised that the change We’re in a newly converted warehouse wasn’t about money, as moving costs “a above Clink Street prison, which dates back small fortune”. We found out more... to the 1100s. It’s a beautiful space but as we’re the first tenants, it’s had its challenges. What was the motivation for moving? We’re still waiting for BT to give us fibre. We loved the feel of the old place, and And we’ve had to build a kitchen and although we hadn’t quite outgrown it, we meeting rooms whilst we’re working in the didn’t have the luxury of space to work in space. The good thing is everyone’s been the way we know produces the best results. part of the development, so we’ve all taken responsibility for making it happen. We wanted a new space to write the next chapter of our story. And as part of that, we How long did the whole process take? How wanted to remove the compromises we’d did you juggle moving with client projects? been asking the business, our people and We squeezed a six-month moving our brand to live with for over a year. and building process into about three months. Luckily, most of our clients know us How did you find the new space? well and have taken it in their stride – we’ve In our experience, London’s commercial even managed to pitch and win business property market is nothing short of a cartel. during our first week amid boxes! Our Without an agent, you’ll never get close to marketing director spent a few weeks on- landlords, and without access to landlords, site before we moved, all the directors were you won’t find a space you’ll be proud to hands-on over moving weekend, and we call home – something pretty important to had a pretty watertight plan in advance. a creative business. So, it’s essential you find an agent who specialises in creative spaces, How are you finding the new space? someone who’s worked with agencies It’s amazing! Borough Market is brilliant, before, who’s well connected in the property and the panoramic views, the sunsets and industry and knows how to negotiate. You’re St Paul’s are just gorgeous. We’ve got going to need all the help you can get. Tate Modern and the river just around the corner. We organised welcome discounts Once you’ve found the right agent, and ofers with local bars and businesses, you can write the brief for your new space so we’ve been enjoying exploring. including the type of space, size, facilities, infrastructure, transport links, locations and most importantly of all, budget. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 15 -
CULTURE MARCH 2018 INSPIRATION FEED Hélène Baum Berlin-based Hélène Baum comes from a graphic design background, but has slowly transitioned to illustration, using watercolour and vector drawing to create images. “Colour is primordial for me, and is a bit of an obsession,” she says. “Content-wise, many of my images are about identity and diversity. I also find inspiration in mythology, legends, nature and cultures around the world.” Baum says she likes to photograph “anything that intrigues me optically, or gets my ‘colour sensors’ going.” She enjoys using Instagram as an addition to her more static website portfolio, as it enables her to show her work in an “organic living way, with behind- the-scenes moments.” She also says the platform has been helpful professionally, and has brought in work. “I like this sense of an international community sharing what’s important to them,” she says. “My feed shares my love for colour, my illustration work, work in progress, studio images, inspiration, travel photos and occasionally more personal images. For artists, their life feeds their art and it can be interesting for others to see parts of it.” www.instagram.com/helene.baum C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 16 -
The number one destination for graphic design news, views and how-tos Ecr Apc_rgtc @jmo bgpcar rm wmsp gl`mv ugrf msp uccijw ep_nfga bcqgel lcuqjcrrcp Graphic design Art Web design 3D Digital art www.creativebloq.com
INSIGHT MARCH 2018 INSIGHT ESSAY Strong opinion and analysis from across the global design industry CRAIG OLDHAM FOUNDER, OFFICE OF CRAIG OLDHAM www.craigoldham.co.uk Craig is a designer, educator, writer, publisher, curator, letter-writer, website-putter-upper and lamenter. He’s also the founder of agency Ofce of Craig. His new book Oh Sh*t What Now? contains “honest advice for new graphic designers.” DESIGN MATTERS: Which branding mistake How to talk about taught you an important lesson? Page 21 your work PLUS: Three perspectives on Formula 1’s recent In an extra from his new book Oh Sh*t What rebrand by W+K London – page 22 Now?, Craig Oldham explains how to seek relevant feedbac and discuss your designs Illustrations: Anna Higgie www.annahiggie.co.uk C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 18 -
MARCH 2018 CRAIG OLDHAM riends – amazing, I’m sure you’ll agree. can dismiss this with reason, since you’re still in the F No, I don’t mean those six people from position of deciding whether to accept or ignore it. that television programme who hang around in each other’s apartments, or that coffee (That’s the one good thing about advice). shop. I mean your friends: the ones you do things with, like shopping or drinking or holidaying; But instead of asking, ‘Do you like this?’ try asking the ones you share the moments of your life with, whose advice and approval you seek. Friends are people: ‘What’s wrong with this?’, ‘What’s at fault?’ great, but as far as seeking approval when it comes to your graphic design, friends are not necessarily or ‘What would you do to improve this?’ the best place to look. Approval in graphic design is easy-peasy; all you Then you’re more likely to gain a sincere response, have to do is simply ask enough people – or even easier – ask the people you know are likely to tell you one that will shed outside light on the problem – you what you want to hear. Those people who say things like, ‘Yeah, I like it,’ or ‘It looks good,’ or the dreaded may even get an improvement on your idea – but and evil, ‘That’s nice,’ rather than being straight with you or being too critical. We all know these people: you’ll be heading in the right direction, away from we call them our friends. Seeking opinions like these on your work won’t ‘nice’ and ‘good’ and towards the ever-elusive ‘great’. make it a good piece of graphic design. I guarantee it. You may think so, but it only means you’ve produced And this can only come from seeking criticism. a pleasantly acceptable, ‘likeable’ and ‘nice’ piece of work. A crowd-pleaser. You will have proved to If someone gives you a convincing degree yourself that it’s good because others told you so – and you knew that they would. Which means they’ve of relevant criticism, then you assured you that it’s probably okay, but also that it’s probably not great. These are not opinions you need. have to take it on board and If someone gves you a You get so close to the projects you work on, make an informed decision. and work so hard on them, that it feels too easy for someone to just come in and say ‘blah, blah, blah… Don’t just sit there all fed up convincing degree of relevant I don’t like it’. But graphic design is a subjective because they don’t like your profession; there’s no escaping that: everyone and anyone has an opinion on it. Opinions are important, idea – share your thoughts criicism, then you have to of course – whether good or harsh, they’re a part of with them. Tell them what life and intrinsic human behaviour. So get people’s real opinions on things. Get some tough love. you did and why, and open take i on board and make Don’t accept ‘I don’t like it,’ demand to know why. up a discussion about making If they say, ‘Well, I just don’t like blue,’ and offer up nothing more than a bit of trivial criticism, then you things work better. Share your an informed decision ideas: there’s a reason why they say that two heads are better than one. They damn well are. But you know this. It’s called constructive criticism. So build with it. It’s the only thing that will stop you being ‘nice’, like biscuits – that’s some biscuits, not all biscuits, really. Not every biscuit is nice, is it? C’mon. Be honest – and start you on your way to becoming ‘great’, like, well whatever you think is sock-off-blowingly great. HOW TO PRESENT YOUR WORK Once you’ve taken all that constructive feedback on board – and your portfolio is immaculately designed and critically robust – it’s time to talk about talking about it. Which is just about just as hard to say as it is to do. But before we get into C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 19 -
INSIGHT MARCH 2018 some hard-and-fast basics on talking about your and everyone reacts differently to those stresses and portfolio and presenting, know this: the most important thing when it comes to talking about strains. So my advice is, always get down, in one place your work is that it’s spoken in your voice. – whether it’s a bullet-point list or a long-hand, Of course I mean your actual voice – don’t present in the voice of Donald Duck or anything – but I also written piece – everything you want to say about your mean you have to find your own way of talking about your work that reflects you. Your personality. A way work and the order and way you want to say it. I’m you’re comfortable with, and that enables you to get across all the ideas and things you want to mention. not saying this is something you have to script and Do it your way, in your voice. stick to – not at all – but it just helps give you cues for As people all have different manners and methods when it comes to presenting work, there’s really no remembering what you need to cover and when. And right or wrong way to talk about it, but there are good things to make sure you do, just as there are certainly when you’ve gone over it and practised it a few times, things to avoid like an incurable disease. those key bits will be firmer in Starting positively – be positive. If you’re not enthusiastic about your work, how do you expect your mind when it comes to It sounds like an odd thing anyone else to be? It’s that classic adage: if you don’t the main event. It sounds care, who will? (I don’t actually know if that’s actually a classic adage, or if I’ve just made it up. Which, to be like a really odd thing to to advocate rehearsal, but an honest, I’m prone to doing.) If you’re all gloomy and advocate rehearsal, but it is lacklustre about your own work, it’s not exactly going to convince people of your ideas. So don’t forget, a presentation, a performance, interview is a presentation, whether you’re presenting work to get a placement, and you need to know the a job or work from a client, you’re on the sell. lines. And more importantly, a performance, and you need You should also know your work inside out. you need to know what’s Top to bottom. Like the back of your hand. This can sometimes prove a difficult thing for designers, coming up next if you’re going to know your lines I know. I’ve found that some designers, when talking to be able to improvise. to creatives or clients, make assumptions about what others already know about their work. Because they When you’re in there, just are so close to their work, so familiar with it, as well as being in such a rush to show how clever a designer try and relax yourself. Get any they are, they take for granted some of the crucial elements in providing a context and explanation for drinks on the table out of knock-out range; make the work. Like what the brand might be, or why the problem was identified, or what the actual problem sure everyone can see the work; get rid of any was, as well as why the design solution is relevant. And be honest. So set the scene, tee up the work so suspicious-looking stray hairs; talk with people, it almost sounds like it’s the only possible solution. As I said, you’re on the sell. not at them; be interested and interesting; answer LEARN YOUR LINES questions and ask them too; and as I said, of upmost Rehearse. I know very few – if any – drama students are reading this, but that doesn’t mean it’s irrelevant. importance is to be yourself. Always. You can’t be Interviews are always nerve-wracking, tense things (hopefully a sign that you care about the outcome) anything or anyone else, so don’t even try. Do you have difculty talking about your work, or taking on feedback? Tweet @ComputerArts #DesignMatters WIN ONE OF FIVE COPIES to: OF OH SH*T WHAT NOW? This extract was taken from Craig Oldham’s brand-new book, Oh Sh*t What Now? – which contains plenty more “honest advice for new graphic designers”, and is officially released in April 2018. We have five copies to give away, courtesy of Laurence King. Full details at: www.bit.ly/ca-oldhamcomp C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 20 -
MARCH 2018 DESIGN MATTERS DISCUSSION Which branding mistake taught you an important lesson? RORY BERRY STEVE BEWICK TROY WADEE Creative director, Superrb Founding partner and creative Co-founder, Brown & Co www.superrb.com director, Purple Creative www.brownandco.co www.purplecreative.co.uk “One mistake we made previously was “On rare occasions, I haven’t fought giving the client too many logo options “I wouldn’t call it a mistake exactly, hard enough with clients in order to upfront (in the concept phase). Doing but something that springs to mind produce brave work. This has led me to this not only takes more design time, is naming our company Purple and conclude two things. Firstly, consumer but it can often make things harder if spending 25 years explaining why. the client wants to take elements from Back in 1993, we were just starting our research in design is fraught with own branding studio straight out of problems. This is largely because a few ideas and mash them together. college. We only had a few clients and consumers, in my experience, often Having gone through that experience, lots of time, so spent way too much don’t have the vision to see what time thinking about an identity. The you are aiming to achieve with a we’d now generally recommend idea was that we’d visually bring to life brand even when you explain it to selecting the three options you believe things that aren’t the colour purple them; that’s why they’re not designers. to be the best solution. These should Secondly, to be a leader (which every vary in style so you can get a clear steer – blue rinse hair, pink elephants, brand should aim to be) means going from the client on what they do and greyhounds, red herrings… you get the where no one has been before and don’t like. We’ve also found it handy celebrating what makes you unique. to spend time presenting logos across idea. I still like the idea, but in Being distinctive in a relevant way is various media, such as business cards, retrospect it’s quite complex and wasn’t fundamental to long-term brand the most practical. In 2018, we will be success and requires an unwavering signage, and so on. This really belief in doing things your way.” showcases your work and enables embarking on our Purple Creative identity 2.0. Wish us luck!” clients to visualise your ideas.” TWEET @COMPUTERARTS OR FIND US ON FACEBOOK @SHIIIVA @MLJHERNANDEZ CM CARTER GREG WO JAMEZ SHEPHERD Inconsistent identity. I did a logo that looked Not setting out clear My client wanted two more I accidentally wrote PUBIC nice, but was a pain in guidelines and seeing a logo Consistency is key. the butt to use across show up in all manner of images – a woman and a AUCTION (instead of applications. Early days… different colours and breast cancer ribbon. There Public) on a real estate sign. cropped incorrectly. The typo (in 120mm high wasn’t room, so I put the ribbon on the woman like a lettering) was missed by scarf. Client was not happy. everyone for three weeks. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 21 -
INSIGHT MARCH 2018 REBRAND FOCUS Focus on: Formula 1 rebrand Wieden+Kennedy’s Formula 1 rebrand attra ed is fair sare of public criicism on release. Here are three perse ives on the rebrand, whic has since found iself in hot water over is similariy to 3M’s Futuro logo... RICHARD TURLEY NATHAN ADAMS MATT TAMS Executive creative director Senior designer, sector7g Graphic designer of content and design, www.sector7g.com.au www.matttams.co.uk Wieden+Kennedy London www.wklondon.com “Wieden+Kennedy London was brought “F1 had a collection of individually good “Make what you will of the outgoing F1 logo – on to work with Formula 1 in early 2017. elements developed piecemeal over decades, mourn if you must – but it had begun to show Our role stretched across strategy, design but no cohesive brand. With new owners its age, and couldn’t mask that the branding and creative, and included in-depth global wanting to make their mark, I can understand work around it was largely forgettable. The qualitative and quantitative research as why a holistic rethink was pursued. The new logo may not feature any negative a basis for shaping the strategic vision consistency of application, down to individual space tricks, but does act to usher in sorely and repositioning of Formula 1. Our first races and how co-branding is integrated, needed work on the brand as a whole. The public-facing project is the overhaul of its is strong. However, the tone feels off. The intention behind W+K’s work for F1 seems entire brand identity. The new logo echoes Wipeout aesthetic – itself a logical extreme to share parallels with the recent work for the shape of a Formula 1 car: flat, low to the of ’90s F1 team branding, filtered through the Premier League. Both have opted to ground and with a suggestion of speed. It tDR – is not subtle. Modern F1 is often entirely shed the fragmented clutter of past has a modern-retro feel that leans into the criticised as being technology-led rather than imagery, and herald a new era with utterly extreme and dynamic nature of the sport driver-led, and this feels like doubling down on comprehensive rebranding that makes a much and is designed to work across a variety of the former. F1 is a balancing act: the pinnacle stronger proposition for marketing, licensing, platforms. The new mark aims to embody of racing against its heritage, and petrolheads merchandising, and expansion into new areas. the core forces of Formula 1 racing: speed, against the well-to-do. I worry that this look The old F1 logo will remain a classic; the new attack and control; while its sleek, sharp will only appeal to a sub-set of the audience. one – as we’re seeing with the Premier League interlocking components celebrate the Perhaps some more staid applications will – will do infinitely more to turbocharge the technical prowess of the engineering teams.” balance it out once fully rolled out.” championship’s profile.” C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 22 -
MARCH 2018 FORMULA 1 REBRAND With an aspirational aesthetic that “extends naturally from a rich heritage of motorsport graphics”, the Formula One rebrand utilises three typefaces designed by French designer Marc Rouault: headline font F1 Regular and display faces F1 Torque and F1 Turbo. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 23 -
SHOWCASE Computer Arts selects the hottest new design, illustration and motion work from the global design scene
CARVED LETTERING MALDINI STUDIOS IDENTITY by Jens Nilsson www.jens-nilsson.com Briefed to craft an identity for Stockholm-based interior design and carpentry firm Maldini Studios, Swedish creative Jens Nilsson built a textured, tactile system around a choppy custom typeface, Donadoni. “The idea was to centre the identity on a typeface and wordmark that would play with the unusual intersection between familiar monolinear strokes and irregular forms,” explains Nilsson. Inspired by the firm’s craft and materials, he used letterpress and mixed-fibre papers to add further texture to the identity. “I wanted to find that perfect balance between trustworthiness and coolness,” he adds. “The multi- coloured business cards, and how they go together and are presented on the terrazzo stone background, are my favourite part of the project.”
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MARCH 2018 SHOWCASE The distinctive typeface is packed with personality, bringing a sculptural tone to the identity. The Maldini identity can be seen across everything from stationery to branded items such as tote bags. A mix of Arjowiggins and G.F Smith papers and boards were letterpressed for the business cards. Nilsson carried the rich green of the print identity into the firm’s digital space. COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 27 -
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MARCH 2018 SHOWCASE SHOOTING HOOPS ESPN TYPEFACE by TwoPoints.Net www.twopoints.net ESPN The Magazine commissioned Barcelona and Hamburg-based studio TwoPoints.Net to design a basketball- inspired display typeface for a new issue, titled NBA Preview. ESPN has a long history of bold, modular typefaces, which the studio used as a base from which to explore a basketball aesthetic. “When thinking of a basketball, one immediately thinks of the thin black lines that are so characteristic for the ball. We therefore designed the counter spaces of the letters as thin lines,” recalls TwoPoints.Net co-founder Martin Lorenz. Striking the right balance between personality and legibility was tricky, he admits – but the process was fun. “There are few things in this world that make me as happy as drawing type,” he says. BEAT-DRIVEN VISUALS BUSTER WILLIAMS WITH GENE AMMONS AND SONNY STITT by Igor + Valentine www.igorandvalentine.com Director Adam Kahan invited Igor + Valentine’s Matt Smithson to animate the story of bassist Buster Williams’ introduction to life on the road with legendary jazz musicians Gene Ammons and Sonny Stitt. This animation is part two of three created for Kahan’s upcoming documentary feature Buster Williams – Bass to Infinity, and was a huge labour of love for Smithson, who scheduled the time-consuming animation around other projects. “The hand-drawn aspects of the design and animation in my mind echo the movement and syncopation of jazz. The collage and found imagery were a nod to the era,” he explains. “The musical interludes were a lot of fun. I didn’t pre-think these parts and animated them to the music, letting the beats drive the visuals.” COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 29 -
SHOWCASE MARCH 2018 DRAMATIC SHAKE UP MUSHPIT ISSUE 10 by Bertie Brandes and Charlotte Roberts www.themushpit.co.uk For the 10th edition of satirical fashion, political and feminist magazine, Mushpit, co-founders Bertie Brandes and Charlotte Roberts brought designer Richard Turley on as art director. With the theme of ‘courage’, the issue’s three-way split-run cover places an ironic image centrally, with typewritten coverlines and handwritten details on a white background. “Mushpit is an attempt to channel our thoughts and feelings into something sort of worthwhile. Or at least funny,” says Brandes. “We worked with Richard Turley to find a coherent aesthetic to match our tone of voice; messy, scattered and at times sort of brutal.” “Seeing what works is so fun,” adds Roberts. “But deciding when it’s finished is hard when you set your own deadlines. The magazines arrived the day before our launch party, to give you an idea of our ‘process’.” COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 30 -
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SHOWCASE MARCH 2018 IN HARMONY WOMEN’S MUSIC EVENT BRANDING by Estudio Pum www.estudiopum.com Tasked with creating an identity for Brazil’s first music event aimed at empowering women, design studio Estudio Pum decided to steer away from “mainstream feminist movement aesthetics”. The final branding is based around an energetic visual system comprised of bold shapes and a lively colour palette. “The general aesthetic is based on a sense of hype,” explains Pum co-founder Felipe Magario. “The colours and figures evoke a powerful feminine aesthetic.” The event was conceived by two independent producers looking for sponsors, so the studio had to first present a feasible project plan. “It had to be segmented into brand design, promotion and the event itself, in order to attract investment,” adds partner Javier Cifre. “Our favourite bit was seeing the project turn into prints, products and video content.” COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 32 -
MARCH 2018 SHOWCASE RICH TEA TEASPIRA IDENTITY by Ori Studio www.ori.studio Contemporary teahouse Teaspira originally called on Beijing-based Ori using a colour palette that directly references the elements involved Studio to tweak its existing identity. However, a detailed research phase in crafting tea, and juxtaposing it with a dynamic pattern system soon showed that an entirely new identity was needed in order to better based on two diferent yet complementary visual devices. reflect the goals of the Hubei-province teahouse. “The first is a minimalist set of rings that can be set at varied “We wanted to simultaneously show the nature of what they do and dimensions, acting as a grid system for diferent compositions,” who they are, but at the same time to do so in a completely unexpected explains partner Xuechen Fan. “The second is the repetition of way,” says Ori Studio partner Maxim Cormier. The studio did this by Teaspira’s Chinese name. It almost becomes textural in nature.” COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 33 -
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INDUSTRY ISSUES MARCH 2018 10 GOLDEN RULES OF LOGO DESIGN Logo specialist David Airey reveals how to design a top-notch identity that stands the test of time... C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 36 -
MARCH 2018 10 RULES OF LOGO DESIGN When you think of a person who’s impacted your Woolmark’s logo was created in 1964 by Francesco DAVID AIREY life, whether that’s a friend, family member, Saroglia, who won a design competition to make it. Logo and brand identity spouse — anyone you have some form of specialist David Airey is the relationship with — it’s almost certain that you can The original Mercedes’ three-pointed star, since creator of best-selling design picture what he or she looks like. And so it is with the modified several times, was developed in 1909. books Logo Design Love and brands from which we often buy. We can easily picture Work for Money, Design for the logo just by thinking about our experiences with A more modern version of the original Michelin man Love, and runs several design the product, company or service. drawn by O’Galop (aka Marius Rossillon) in 1898. blogs, including Logo Design Love. Past clients include BBC, Where there was once just a handful of companies The original Nike ‘swoosh’ was designed by Ecometrica and Henri Ehrhart. operating within a particular market or niche, there Carolyn Davidson in 1971. www.davidairey.co.uk might now be hundreds, maybe thousands, all competing for attention, all wanting us to look at them first. That creates increasing need for brands to visually differentiate themselves so they’re not confused with competitors. And that differentiation is achieved through brand identity design — a range of elements that all work together to form a distinctive picture in our minds. Depending on the company, the identity can include uniforms, vehicle graphics, business cards, product packaging, photographic style, coffee mugs, billboard advertising, and a raft of other items, right down to the font choice on the website. It’s important to remember that when we look at something, we don’t read first. Before anything else we see shape, we see colour, and if that’s enough to hold our attention, then we’ll read. So in every instance, regardless of company, the small but essential element in the brand picture is the logo. Our job as designers is to distill the essence of a brand into the shape and colour that’s most likely to endure, because visual appearance plays a critical part in forming a connection in our brains between what we experience (whether that’s a good meal, great customer service, or a product that makes our lives a little easier) and who we experience it with (the brand). In many respects, a company’s logo is akin to our loved ones’ faces. When the right logo is aligned with an excellent product, and when it’s in place for a significant amount of time, it can eventually become a priceless asset for any company. The Nike swoosh, McDonald’s golden arches, the Michelin man, Mercedes’ three-pointed star, the Woolmark symbol — these are just a few of the more high- profile examples. But besides their ubiquitous nature, how do you give a logo the best possible chance of reaching a similar status? There are universal traits within every successful logo project, and I’ve outlined some here to help improve the quality of the marks you create. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 37 -
INDUSTRY ISSUES MARCH 2018 1 LAY THE GROUNDWORK One of the most interesting parts of being a designer is that you get to learn new things with each new project. Every client is The latest version of the McDonald’s logo can different, and even in the same profession, people do their jobs in also include the tagline:‘I’m lovin’ it’. many different ways. To make it easier for consensus to be reached on your design idea, you need to ask your client the right questions from the outset: Why are you here? What do you do, and how do you do it? What makes you different? Who are you here for? What do you value the most? Those questions might seem quite straightforward, but they can be challenging to answer, and they’ll lead to further questions about your clients’ businesses. What you discover in this phase of a project will help to determine the strongest possible design direction. 2 Daniel Burka came up with the concept for Firefox’s 2003/04 logo, which was sketched by Stephen Desroches and rendered by Jon Hicks. TREASURE YOUR SKETCHPAD Sketches and the final form (above) of Firefox mascots by Using a sketchpad is a chance to rest Martijn Rijven, who was commissioned by Wolff Olins. our eyes from the glare of brightly lit pixels that tend to dominate our lives. But more importantly, recording different design ideas can be much quicker when there isn’t a digital device between our hands and our brains. So if you wake in the night with an idea you don’t want to lose, the pen and paper by your bed is the ideal way to remember. Sketching also makes it easier to put shapes exactly where you want them – there’ll always be time to digitise your marks later. When you’re describing design ideas to clients, prior to digitising a mark, it can be helpful to share a sketch or two, making it easier for them to visualise the outcome without distraction from typefaces and colours. Don’t share too much, though – only the best ideas. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 38 -
MARCH 2018 10 RULES OF LOGO DESIGN 3 WORK IN BLACK AND WHITE This 1997 version of the Adidas mark was Leaving colour until near the end helps designed by Peter Moore. you focus your attention on the basics of the idea rather than something that’s The latest iteration of the Audi mark was much easier to change. A poor idea can’t made during an identity collaboration by be rescued by an interesting palette, whereas a good idea will still be good Strichpunkt and KMS Team. regardless of colour. Picture a well-known symbol. Think of it now. It’s the form we remember before the palette. It’s the lines, the shapes, the idea, whether that’s the bite from an apple, three parallel stripes, four linked circles in a horizontal line, or something else. “I was going for the silhouette of an apple, but to make it look more like an apple and not some other round fruit...I took a bite out of it,” says Rob Janoff, designer of the Apple logo. The inner detail has changed over the years, but the logo’s form remains. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 39 -
INDUSTRY ISSUES MARCH 2018 4 Alan Fletcher/Pentagram created the V&A’s logo in 1989. KEEP IT APPROPRIATE A mark must be relevant for the ideas and activities it represents. An elegant typeface will suit a high-end restaurant more than it will a children’s nursery. A palette of fluorescent pink and yellow isn’t going to help your message engage with male pensioners. Crafting a mark that bears some resemblance to a swastika, regardless of industry, isn’t going to work. You know these things. They’re obvious. But it goes a little deeper. The more appropriate your rationale behind a particular design, the easier it becomes to sell the idea to a client. And that can often be the most challenging part of a project. Designers don’t just design. They sell, too. The Rolling Stones logo was The 1974 Deutsche Bank logo designed in 1970 by John Pasche. by Anton Stankowski. 5 AIM FOR EASY RECALL Simplicity aids recognition, especially when so many brands are competing for our attention. You want to give onlookers the opportunity to recall a mark after just a quick glance, and that’s not possible with an overly detailed design. A trademark has to be focused in concept — have a single ‘story’ — and in most cases must be uncomplicated in form. This is because it needs to work at a variety of sizes and in a range of applications, from a website icon in a browser bar to signage on a building. William Golden unveiled the CBS ‘eye’ in 1951. British Rail’s logo, designed in 1964 by Gerry Barney/Design Research Unit. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 40 -
MARCH 2018 10 RULES OF LOGO DESIGN 6 STRIVE FOR DIFFERENCE When your clients’ competitors are all using a particular typographic style, The 1999 Tate logo by Wolff Olins united the Tate’s four galleries across the UK. or the same kind of palette, or a symbol placed on the left of the brand name, do something different. It gives you the perfect opportunity to set your clients apart rather than have them blend in. But so much similarity in the marketplace doesn’t necessarily mean your job has become easier, because it takes a brave client to buck the trend. By showing imagination in your portfolio, you’re on your way to attracting the kind of client you want. In 2016, North revised the Tate identity, simplifying its many iterations into one logo. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 41 -
INDUSTRY ISSUES MARCH 2018 7 CONSIDER THE BROADER IDENTITY Wolff Olins created a new typeface for Macmillan 8 It’s rare when you see a logo in isolation, on its own without the Cancer Support in 2006; part of a wider repositioning. context of a website or business card or drinks menu or app icon. That’s why a client presentation needs to encompass a variety of relevant touchpoints to show how a logo appears when seen by potential customers. It’s a little like when you’re stuck in a rut — it can help to step back, to look at the bigger picture, to see where you are, what you’re surrounded by. In design terms, the bigger picture is every potential item on which a client logo might appear. But always consider how the identity works when the logo isn’t shown, because while important, a symbol will only take an identity so far. One way to achieve cohesive visuals is to craft a bespoke typeface that’s not only used in the logo, but that’s also seen in marketing headlines. DON’T BE TOO LITERAL A logo doesn’t have to show what the company does, in fact, it’s better if it doesn’t, because the more abstract the mark, the more enduring it can become. Historically you’d show your factory, or maybe a heraldic crest if it was a family-run business, but symbols don’t show what you do. Instead, they make it clear who you are. The meaning in the eyes of the public gets added afterwards, when associations can be formed between what the company does and the shape and colour of its mark. Raymond Loewy’s 1971 design for Shell is still in use today. Edward Young’s 1935 logo for Penguin has been subtly tweaked over the years. The basic design of Paul Rand’s 1962 IBM logo has The hidden arrow of the 1994 FedEx logo by Lindon Leader/ remained constant ever since. Landor Associates gives a nod to the company’s purpose. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 42 -
MARCH 2018 10 RULES OF LOGO DESIGN 9 SYMBOLS AREN’T ESSENTIAL Often a bespoke wordmark will do the job, especially when the company name is Johnson Banks’ 2004 wordmark for Shelter – with its unique, such as Google, Mobil, or Pirelli. pitched roof ‘h’ – helped reposition the housing charity. But a version of the logo that works in small confines will always help. That might be as simple as lifting a letter from the name and using the same colour, or it might incorporate a symbol that can be used as a secondary design element (wordmark first, symbol second) instead of as a logo lockup where both pieces are shown alongside one another. Don’t be tempted to overdo the design flair just because the focus is on the letters. Legibility is key with any wordmark, and your presentations should demonstrate how your designs work at all sizes, large and small. The current sans-serif version of Google’s wordmark was unveiled in 2015. 10 MAKE PEOPLE SMILE Designed in 2000, Turner Duckworth’s wordmark for Injecting some wit into the work will Amazon adds wit with a hidden smile that goes from A-Z. not only make your job more fun, but it can help your client to become more NEXT UPGRADE YOURSELF successful, too. It won’t be appropriate MONTH Spotted a potentially lucrative gap in the for every profession, such as weapons industry, or keen to future-proof yourself? manufacturers and tobacco firms, We reveal how to level up your skills... but whether you choose to work with those companies is another thing. The somewhat less contentious law and financial sectors are filled with companies identified by stuffy and sterile branding, putting some humour into the identity for such clients is one way to set them apart. There’s a balance, though. Take it too far and you risk alienating potential customers. But regardless of the company, people do business with people, so a human, emotional side to your work will always have a level of relevance. C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 43 -
SPECIAL REPORT TOP 25 Illustrator Hotlist 2018 After canvassing recommendations from a panel of top art directors, agents and course leaders, here are our 25 illustrators to watch this year... WORDS: Tom May C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 44 -
ILLUSTRATOR HOTLIST 2018 C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 45 -
SPECIAL REPORT 01 Floral, personal project. 02 Sophie Li In The Sun, personal project. 03 Slightly Broken #4, personal project. 01 Petra Eriksson www.petraeriksson.com A Swedish illustrator and artist living in Barcelona, 02 Petra Eriksson’s work is colourful, playful and infused with a charming simplicity. “I love working with really bold colours,” she says. “And I like to use patterns and negative space in a smart way, to create depth in the image even though most of the surfaces are completely flat.” Last year saw her, amongst other things, working on Bygone Badass Broads, a book written by Mackenzi Lee and published by Abrams Books. “It’s about a bunch of hardcore women we should know about,” she explains. “The topic is very much up my alley and it was a very smooth and inspiring process. I also got to work with some of my dream companies and magazines like Pinterest, The New Yorker and Vice. Another big highlight was being signed by Handsome Frank after they saw my work on Instagram, which I’m extremely happy about.” For Handsome Frank’s co-founder Jon Cockley, the feeling is mutual. “From the moment we announced we were representing Petra, we’ve had a phenomenal response and the enquiries haven’t stopped,” he says. “It’s hard to say what’s so special about her work, but her vibrant use of colour and incredible knack for creating joyous portraits feel like exactly what we need for 2018. It’s so uplifting and full of positive energy.” C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 46 -
MARCH 2018 ILLUSTRATOR HOTLIST 2018 03
SPECIAL REPORT MARCH 2018 01-02 Versos de la Tierra by Javier Ruiz Taboada, illustrated by Miren Asiain Lora. 01 Miren Asiain Lora 02 www.miaslo.com Hailing from Pamplona, Spain, Miren Asiain Lora (aka Miaslö) has lived in Argentina for six years, but is heading back to her home country in 2018. She’s known for her fabulously detailed miniature environments and scenes that centre around the magic of everyday life; charming little moments crafted using gouache, acrylics and colour pencils. “I feel working by hand is more rewarding than working digitally,” says Lora. “I paint with the intention of creating sensations, atmospheres and new spaces.” Lora’s work has been on show in several exhibitions in Spain, China, Japan, Italy, Argentina and Mexico; she’s created posters for musical and theatre projects, as well as Amnesty International, and she’s won a number of awards. “But she’s still quite a well-kept secret due to her low profile and quiet personality,” notes Linda Neilson, director of Galería Mar Dulce in Buenos Aires, which has exhibited Lora’s work in the past. “That said, she’s increasingly attracting attention, both for her personal work and her commercial illustrations.” C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 48 -
MARCH 2018 Tishk Barzanji www.tishkbarzanji.co.uk London-based illustrator Tishk Barzanji’s slightly surreal architectural creations have been turning heads of late. He describes his mixed-media work as “a mixture of Modernism and Surrealism, but using the power of colour to create a narrative”. His 2017 highlight was a commission for Wallpaper* magazine, while in 2018 he plans to take his work into three dimensions. “Last year, I was only just understanding and learning, to shape my ideas,” he says. “Now I’m going to put all that in to practice.” Barzanji is represented by Jelly London in Europe and H+ Creative in the USA. “Tishk is someone we’ve had our eye on for a while,” says Jelly London’s head of illustration Nicki Field. “With a recent talk at Somerset House plus a show at Palm Vaults in Hackney, he’s gaining a lot of coverage and a real industry presence. I reckon he’s destined for great things.” 01 01 Death Of Love, personal project. 02 Fear & Cherish, for solo exhibition in Taiwan, 2017. 03 Where You Are, Is Not Who You Are, for solo exhibition in Taiwan, 2017. 02 03 C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 49 -
SPECIAL REPORT Nate Kitch 01 www.natekitch.com Living in Winchester, UK and represented in North America by Marlena Agency, Nate Kitch is known for his striking editorial illustrations, which utilise collage techniques to represent stories with abstract yet impactful visuals. “I use scanning of textures, mark making, old photos, anything really,” he explains. “I used to hate drawing and really struggled with lines: that’s how I fell into collage, in order to escape drawing. But now I’m trying to tame the lion and bring it back into my work. I now actually quite like drawing!” In the process, he’s become a favoured illustrator for magazines such as New Scientist, Harper’s Magazine, New Statesman, Esquire and GQ. But it’s newspaper work that pushes him the most. “I’m lucky enough to have worked with the Guardian every other week for about four years now, and that’s always exciting because you only get about five to six hours start to finish,” he says. “It’s both intense and exhilarating.” 01 Supervillain, for Broken Bridge Brewing. 02 Sour Beers, for The Butcher’s Hook. 03 Vision, personal project. 02 03 C O M P U T E R A R T S . C R E AT I V E B L O Q . C O M - 50 -
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