Computer Arts - January 2019

DESIGN ISSUE 287 SELF-PUBLISHING MATTERS MASTERCLASS JANUARY 2019 ‘%((“DB %(( All you need to know about PRINTED IN printing your passion project THE UK the design trends SHAPING THE INDUSTRY’S FUTURE What’s been happening in design this year and where is it heading? We gather expert opinion and reveal all Trends are easy to identify a few years after they’ve happened. But they’re notoriously difficult to spot at the time. Take economics. Looking back at the early 2000s, the trends towards asset and property bubbles is clear. But most economists at the time didn’t have a clue, and the worldwide slump came as a huge shock to experts and governments alike. Or what about politics? Few predicted Brexit or the rise of Trump, but looking back, the global trend towards voter dissatisfaction and populist outrage was hiding in plain sight. So as we analyse the design trends of the past 12 months, we’re well aware that this is merely what The Washington Post’s Philip L



JANUARY 2019 COVER ARTIST Making Top: The mood and look the cover of the cover was very much inspired by the superb So the age-old question: how does a magazine Computer Art Collections covering graphic design present itself to the design covers designed by Luke community? Is pure, unfussy minimalism the best O’ Neill. Simple geometric way to showcase the work? Or is a design magazine shapes and colours. obligated to get involved and present itself with the spirit of the times? Above and below: The feature itself was informed It’s a question we wrestle with frequently, and in by the cover design... truth, we’re no closer to answering it. Certainly, this despite the abundance of issue’s focus on design trends (itself, a wonderfully assets available, our controversial and nebulous subject matter) left us editorial objective was to pondering how best to communicate the rich content display trends with just on offer. key, clear examples. If we wanted to be absolutely cutting edge, we’d have probably taken all the images off, created a custom font and typed the full catalogue of current trends black-on-black, and upside down. Minimal, obtuse and daring certainly makes for eye-catching design. Do readers need to read the coverlines or would they rather feel the experience? It’s impossible to know for sure, but as a newsstand publication we’re bound to make concessions to traditional newsstand principles (unless we’re feeling particularly frisky) and the final cover arrived pretty much finished in the first draft: a brutally edited handful of key images form the dozens on offer that somehow summarised the prevalent mood of simple, elegant simplicity. MARK WYNNE Mark has worked in graphic design for over 20-years, working on magazines including cult videogame title Edge. He has presented a Guardian Masterclass on editorial design and is a regular contributor of magazine reviews and articles to creativebloq. 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 -3-

WELCOME JANUARY 2019 Editor’s letter FEATURING Since I’ve worked on creative magazines – whether they’re VERITY KENT about fantasy art, fine art, photography or design – one topic always comes up: creative authorship and the importance of Over on page 25, FINE art director Verity having a unique voice or style in your chosen creative medium. Kent explains how recent graduates could get a head start in the design industry by It comes from the romantic notion of the artist as auteur. making the most of mentorships. The 19th century romantic artists had a part to play with their www.wearefine.com dramatic self-portraits – like Gustave Courbet’s The Desperate Man – putting the (ideally tortured, ideally French) genius ADRIAN SHAUGHNESSY artist front and centre. After millennia of being brushes for hire by the church or rich patrons, what mattered was depicting Adrian Shaughnessy of independent the artist’s vision, a shade of their soul: utterly unique, totally publishing venture Unit Editions is just personal. It’s still how people like to view artists. one of the creatives talking the pros and cons of self-publishing, on page 42. But that becomes a bit tricky when you apply that thinking to www.uniteditions.com the commercially creative world, when creatives are working for clients to briefs. How much should the work speak of its creator? KATE DAWKINS Or is that totally inappropriate? Live experience designer Kate Dawkins Our two features in this issue speak to that dichotomy a speaks to us on page 52, discussing bit. Self-publishing (page 42) can offer a wonderfully creative, how she wows global audiences using rewarding – and most appealingly of all – personal output. On pixels and projections. the other hand, looking at the trends of the day (page 60) is to www.katedawkinsstudio.com concern yourself with what’s already being done. Essential to know, but not to simply mimic. VERÒNICA FUERTE When Computer Arts spoke to design legend Milton Glaser Veronica Fuerte, of Barcelona-based back in 2010, he told us: “The best designers have a broader look design studio Hey, reveals how her and and don’t change with the prevailing wind. If you’re serious about the colleagues compete at a global level, design, you have to be more concerned about durability and ideas despite being a small team, on page 76. that go beyond the moment.” www.heystudio.es Of course, as the two features suggest, there’s definitely room VALENTINA D’EFILIPPO for both – incredibly personal and brief-specific work. The trick – and the fun – is striking that balance! On page 88, award-winning designer Valentina D’Efilippo guides us through BEREN NEALE her research, covering how different Editor cultures see the world in map form. [email protected] www.valentinadefilippo.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-



JANUARY 2019 FUTURE PUBLISHING LTD INTERNATIONAL MEET THE TEAM Quay House, The Ambury, Bath, BA1 1UA Computer Arts is available for licensing. BEREN NEALE EDITORIAL Contact the International department to discuss partnership opportunities. EDITOR Beren Neale Matt Ellis International licensing director As ‘The Little Prince’ types this, he prepares for a trip to Editor [email protected] Antwerp for the Us By Night design festival. Talks start [email protected] late in the evening, and he already has his free drinks SUBSCRIPTIONS tokens, so ‘The Lord’ fears he will see little of Belgium. Mark Wynne Art editor Email: [email protected] MARK WYNNE [email protected] UK order line and enquiries: 0344 848 2852 International: +44 (0) 344 848 2852 ART EDITOR Aaron Potter Online: www.myfavouritemagazines.co.uk With Beren jetting off to an undisclosed location Production editor Sharon Todd Group marketing director, after Us By Night, safe passage back to the UK for [email protected] magazines & memberships our geographically challenged art ed is an impossible dream. He’d like to say it’s been fun while it lasted... CREATIVE BLOQ CIRCULATION AARON POTTER www.creativebloq.com Tim Mathers Head of newstrade [email protected] PRODUCTION EDITOR Kerrie Hughes Aaron spent a lot of the month making the most of the Editor PRODUCTION surrounding Xmas madness. So far he’s consumed two bratwurst hotdogs and one Yorkshire pudding wrap, all Ruth Hamilton Mark Constance Head of production, US/UK while not having bought nearly enough presents. Associate editor Clare Scott Production project manager Joanne Crosby Advertising project manager KEY CONTRIBUTORS Rosie Hilder Jason Hudson Digital editions controller Operations editor Steve Wright Digital edition coordinator GARRICK WEBSTER Vivienne Calvert Production manager Dom Carter FREELANCE WRITER Senior staff writer SENIOR MANAGEMENT Aside from assessing how designers self-publish, Garrick has been researching supply chain logistics MANAGEMENT Aaron Asadi Chief operations officer in the petroleum industry, looking into the benefits of Paul Newman Group content director LED lighting in film. Plus staring at dragon paintings. Claire Howlett Matthew Pierce Brand director, Acting group editor-in-chief creative and photography ROSIE HILDER Will Shum Greg Whittaker Head of art and design Senior art editor Dan Jotcham Commercial finance director OPERATIONS EDITOR, CREATIVE BLOQ Dave Harfield Rosie has finally escaped her freezing flat and moved Head of editorial operations Printed by: William Gibbons & Sons Ltd. into a house. Apart from double glazing, the new Finishing partner: Celloglas Ltd place has a kitsch fake fire, bright red hallway and a CONTRIBUTIONS loft she’s too scared to venture in to. Distributed by: The Future Laboratory, Garrick Webster, Marketforce, 5 Churchill Place, Kerrie Hughes, Tom May, Valentina D’Efilippo Canary Wharf, London, E14 5HU Tanya Combrinck, Julia Sagar, Rosie Hilder, www.marketforce.co.uk Tel: 0203 787 9001 Ruth Hamilton, Nick Carson, Daljit Singh, Verity Kent, Nick Liefhebber, Simoul Alva, We are committed to only using magazine NH1, Monika Valcenaviciene, Taxi Studio paper which is derived from responsibly managed, certified forestry and chlorine- All copyrights and trademarks are free manufacture. The paper in this magazine recognised and respected. was sourced and produced from sustainable managed forests, conforming to strict ADVERTISING environmental and socioeconomic standards. The manufacturing paper Media packs are available on request. mill holds full FSC (Forest Stewardship Council) certification and accreditation. Clare Dove Commercial director [email protected] Next issue on sale 04 January 2019 Mike Pyatt Senior advertising manager Want to work for Future? 01225 687538 [email protected] Visit www.futurenet.com/jobs George Lucas Account director 01225 687331 [email protected] DISCLAIMER All contents © 2018 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited (company number 200888 is registered in &ngland and 8ales. 3egistered ofmce 2uay )ouse, 5he Ambury, #ath #A1 16A. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/ services referred to in this publication. Apps and websites mentioned are not under our control. We are not responsible for their contents or any other changes or updates to them. 5his magazine is fully independent and not afmliated in any way with the companies mentioned herein. If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply it, and automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. Weøassume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions. Future plc is a public Chief executive ;illah #yng5horne Production notes PAPER company quotes on the Chairman 3ichard )untington London Stock Exchange PRINTERS COVER (symbol F653 . &KLHIÀQDQFLDORIÀFHUPenny Ladkin#rand Precision Special Gloss FSC 250gsm ZZZIXWXUHSOFFRP TEXT AND COVER CMYK, P3–98: Ultra Mag Plus Gloss 90gsm 5el  (0 122 2 2 William Gibbons TYPEFACES PRINT FINISHING PARTNER: Trump Gothic West, Akkurat, S-L, Simplo, Kondola and Calluna, Berewyne Bold. 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 -6-



CONTENTS ISSUE 287 JANUARY 2019 CULTURE INSIGHT PROJECTS 10 TRENDS The Future Laboratory’s future-proof findings, 2 2 ESSAY as revealed on their brand new microsite Daljit Singh on how being paid late can cost small businesses success 1 4 FRESH EYES Simoul Alva explains how her affinity for abstract 24 DESIGN MATTERS visual designs is wowing the professionals What’s the secret to winning big clients as a small studio? 16 MY SPACE Utrecht-based designer Nick Liefhebber shows us 25 COLUMN around his print-filled home studio Verity Kent reveals why mentorships can be advantageous to both parties 18 EVENTS All the latest happenings from Adobe MAX 2018, 2 6 THE ECONOMIST REBRAND Bath Digital Festival and The Typographic Circle Three perspectives on the 175-year- old financial magazine’s new look 2 0 INSPIRATION FEED Guy McKinley’s crisp, clear and sprite-ly illustrations 7 6 MAKE A SMALL TEAM GLOBAL How Spanish design studio Hey competes on the global stage 8 2 CARLSBERG CRAFTMANSHIP Taxi Studio on reworking Carlsberg using a distinctly Danish design 8 8 WHAT IS A RIVER? Illustrator Monika Vaicenaviciene on creating her picture book 9 2 DESTIGMATISING PERIODS NH1’s bold menstruation campaign 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-

SPECIAL REPORT CONTENTS INDUSTRY INSIGHT 60 NEW TRENDS IN DESIGN 42 EVERYTHING YOU Tom May speaks to top creatives about their thoughts on the key trends that ALWAYS WANTED shaped 2018, and where the design industry as a whole is heading TO KNOW ABOUT SELF-PUBLISHING IN CONVERSATION WITH Garrick Webster investigates the designers going the self-publishing route to get their work seen SHOWCASE 28 SHOWCASE Computer Arts runs through the hottest new design, illustration and motion work from the global design scene 52 KATE DAWKINS: LIGHT & DARK In a sit-down discussion with Ruth Hamilton, live experience designer Kate Dawkins shares the stories behind her ambitious event projects, and the innovative techniques used to pull them off successfully SUBSCRIBE AND SAVE UP TO 67% REGULARS Never miss an issue of Computer Arts. Subscribe today for pro advice and practical 9 8 DESIGN INSPIRATION Valentina D’Efilippo on how where you insight, save up to 67% and receive an exclusive gift! See page 40 for more details live impacts your take on the world 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-

All images by Nikita Iziev for the Global Futures Forum TRENDS four 'tracks' to future-proof brands The Future Laboratory’s new microsite opens up the findings of its annual forum to all, and brands should take note his October, The Future future of wellbeing; and future of youth. These became the base T Laboratory’s third annual of the newly launched Choose Global Futures Forum Your Futures microsite. “The convened in London to prompt, premise of the site was to open the provoke and inspire future conversation to the public,” explains innovation. Bringing together a TFL's art director Aleksandra range of experts – from AI ethicists Szymanska, “with a diversity of and smart city planners to mental visual elements – photography, health practitioners – it was an video and illustration, and a ideas symposium where TFL's series of typographic animations original thinking and research commissioned by Nikita Iziev, to combined with external experts. represent each track.\" The day was broken down into four distinct ‘tracks’: the future of As well as the easy navigation, brand purpose; future of gender; “the site teases out the key questions 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 - 10 -

JANUARY 2019 TRENDS

CULTURE JANUARY 2019 that brands and consumers should is waning, leaving in its wake full-time employment, its be asking themselves at this a desire to recalibrate our moral expectations and approach moment in time,” says Szymanska. compass and imbed both integrity to brands will play a big part in “It also acts as a snapshot of the and collective ethical codes of shaping the future. “Teens are in thinking presented at our event. conduct into new technologies.” a state of flux,” says Noakes, “but Absorbing all of the content rather than succumbing to passivity, on the day can be potentially So will unethical brands be Gen Z is intent on setting a new overwhelming, so the site provides ostracised in the future? “If brands activism-inspired agenda – one a platform the attendees can further don’t embed a trusted moral whose impact and influence is explore the themes.” compass at the heart of what being felt around the world. This they do, their consumer base will new emerging mindset will come The first track investigates migrate towards businesses that do,” to affect all the other areas and consumers’ desires for brands he tells us. “So, yes, they will be demographics shown on the with purpose in relation to their ostracised and ultimately crumble.\" microsite... It’s going to be exciting drive for innovation. “We’re seeing to see how the world changes as traditional moral frameworks of With gender equality on pay a result of their anxiety rebellion!” religion and family declining,” says predicted to be achieved by 2059, www.thefuturelaboratory.com/ TFL’s editorial director Tim Noakes, TFL also wanted to address “the choose-your-futures “and brands and consumers re- mindset shifts that need to take evaluating the power of innovation place over the next decade to THE FUTURE LABORATORY and the need for a moral code fit make sure that humans are judged for a digital era. and rewarded on their merits, not A world-leading strategic foresight consultancy, sex,” says Noakes. A single solution specialising in trends intelligence, strategic research “Alongside the worrying rise isn’t the aim. Instead a range of and innovation strategy. It makes businesses fit for of nationalism in global politics, areas – from brands helping men the future by empowering them to make the right there is also huge investment in build better emotional intelligence decisions, mitigate risk and reduce uncertainty. technologies like AI,\" he continues. to bringing more women to the Follow @TheFutureLab on Twitter \"As we become more aware of the decision making table – is explored. biases that black box algorithms are forcing on society, techno-optimism All tracks are interconnected, but with Gen Z currently starting 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 -



CULTURE JANUARY 2019 FRESH EYES Don't ask, don't get! Simoul Alva's affinity for abstract visual designs is causing a stir... As a final year student at the National Institute of Design, India, Simoul Alva has already started building a pretty impressive CV. \"Although I'm still a student, I've managed to work with Pentagram, Sagmeister & Walsh, Wieden + Kennedy and Codesign Brand Consultants,\" she tells us – and that's not to mention representing India in Graphic Design at the 44th Worldskills event held in Abu Dhabi. And how has she managed all this so far? \"I believe in the power of connection and reaching out,\" she tells us. \"I reached out to [Pentagram's] Michael Bierut for an internship last year and got it. I learned about thinking of branding and visuals as a system and enjoyed shuttling between various projects to learn a lot from different designers.\" Graduating in January 2019, Alva looks forward to carrying on the path she's on by working with diverse and multidisciplinary teams. \"My design heroes are Natasha Jen, Michael Bierut, Rajesh and Mohor Dahiya, Anthony Lopez and Brian Collins,\" she says. Having already marked one off the list, Alva may very well have worked with the rest of her heroes come the end of next year. www.simoulalva.com 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 -

JANUARY 2019 PEOPLE Above: Vixen is a display typface that's created with \"voluptuous curves,\" says Alva. Opposite page: Alva's 3D rendition of The Powerpuff Girls takes inspiration from Google's famous Android logo. Left and top left: Galaxy is a series of self-initiated 3D visuals that went on to feature globally through WeTransfer in October 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 - 15 -

MY DESIGN SPACE transparent design Illustrator and designer for print Nick Liefhebber takes us on a tour of his home studio y studio can be found near on the first floor and below me there’s energy. Where possible, I still choose a small bakery/coffee place. to hide a lot behind my screen though. M the city centre of Utrecht in The Netherlands. Handily, it's As you can imagine, I’m really lucky I’ve been here for one year now, connected to print studio Kapitaal, with there’s a print studio right in front of and there’s always a lot going on. The only a glass wall and door dividing us. my door. Screen printing, riso printing, neighbourhood is changing with new I've known Carlien and Ramon, who etching – it's an inspiring place to print initiatives, restaurants and bars; the print run Kapitaal, for a while, since I also anything I need, as I get to talk to people studio is organising talks, exhibitions and screen printed a lot of work for use that work here, plus those dropping by. parties that are great to be a part of. in their previous location. I’m really lucky And everything in my own studio is I got this place as there’s really only room One side is basically a glass wall slowly falling into place. for one person to rent it out. It used to providing lots of light, and the other is be part of a parking garage, but they’re a glass wall looking into the print studio. Before coming here, I used to work in developing parts of it for different use; it's I never thought daylight made a lot a studio in a building that had a property of difference, but it gives me so much guardianship deal. It was a big space, full COMPUTERARTS.CREATIVEBLOQ.COM - 16 -

PEOPLE 1 Nick Liefhebber is a Utrecht-based designer, 2 specialising in the creation of bold, fun and 3 colourful illustrations for use in print applications. www.liefhebber.biz of small studios that could also be rented I buy books (3) and I love my careful 4 for festivals and events. My own space, selection, and the ability to flip through 5 however, didn’t have any daylight. pages whenever I want. This is a recent There was a great atmosphere in the selection close to my computer monitor. building, but I don’t miss the cave vibe. I like to have my own work (4) around Since I do a lot of screen printing, because otherwise I may forget the little I am slowly building a nice collection of inventions I previously made. This way inks (1). This is good as I like to have them it’s easier for me to build on previous around for colour inspiration. work and improve on it for next time. Most of my illustrations (2) are made With my setup (5) you'll find that it's like a collage of paper cut shapes. So full of my own screen prints that change pencils for sketching, scalpel knives and a lot, plus plants, cutting mat, loads of scissors are a big part of my workflow. books and boxes full of riso prints. 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 - 17 -

CULTURE JANUARY 2019 EVENT REPORT MAXimum Creativity Adobe wows Kerrie Hughes with four powerful new creative tools at Adobe MAX 2018 Above: Adobe athering some of the world’s Aimed firmly at the fanboys, Adobe’s a watered down version, this is full CEO Shantanu principal worldwide design and Photoshop for the iPad,” product lead Narayen kicked G most brilliant minds under one photography evangelist Terry White Jenny Lyell was keen to stress. Featuring off MAX 2018 roof, it’s not hard to see why announced Photoshop will now come all the core tools of Photoshop CC, this with a keynote the annual Adobe MAX conference has fully equipped with continuous undo, new app is fully optimised for the touch as enthusiastic as become a staple in the creative calendar. without the need to hold the option device, making the most of gestures, with it was revealing. Last year MAX hit Vegas. This year, or shift key – then got the biggest cheer a new modernised user interface that's the Hollywood lights beckoned as it of the night for it. been designed especially for the iPad and overtook the Los Angeles convention Apple Pencil. Frustratingly, there was very centre for 72 hours. Then the main event came with the little news surrounding an actual release The event saw a record-breaking announcement of four new Adobe apps. date or business model for the app, with 14,000 plus creatives gather, and in First, the audience was introduced to Lyell saying no more than it being Adobe CEO Shantanu Narayen's keynote Premiere Rush CC, Adobe’s all-new video \"available in 2019\". speech it was declared: “Design has never editing app. If the demos are anything to been more important, and we’re living in go by, this video editing tool will mean A tough act to follow, Project Gemini a golden age of creativity.” Bold words, even your gran can create professional- was the one app we knew very little for sure, but backed up when Narayen looking footage. However, grandparents about going into MAX, and so was the went on to detail how over the past 12 on Android will get off lightly, with Rush big surprise of the session. As Adobe’s months Adobe has taken its artificial only being available on iOS. new painting and drawing app, there intelligence technology – Adobe Sensei were murmurs of why Adobe might – and pushed it to the cutting edge. Next, Belsky revealed that Photoshop launch it when it already has on the iPad was finally here. “This is not 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 -

JANUARY 2019 EVENTS Above: Project IN OTHER NEWS… Gemini combines vector, raster and Bath Digital Festival all-new dynamic brushes. www.bathdigitalfestival.co.uk Left: Improved To examine how optimisation designers can between the create work that iPad Pro and stands out in the Apple pencil is digital sphere, a huge boon for Creative Bloq Photoshop CC. hosted a series of talks at Bath Digital Festival. powerhouses Photoshop and Illustrator. long before we bumped into some of “Blogs are bollocks on the whole, and we Then illustrator Kyle T Webster began the world’s leading artists and designers, have to accept that,” said Nick Ellis of Halo, demonstrating its capabilities. He selected including Jessica Hische, and graphic kicking things off with an entertaining talk its watercolour and oil painting brushes, designer Aaron Draplin. Day two's covering “when Coke forgot who owned its and covered the canvas in digital paint, keynote included a two-hour-long session brand”, and the importance of brand purpose. easily mistaken for the real thing. Using with comic book artist Nicola Scott, Adobe Sensei technology and rigorous photographer Albert Watson and “Find the heart of the brand”, added Ed Robin testing among artists, Gemini sets to be Hollywood director Ron Howard on the of Mytton Williams. “Boil your idea down and a remarkable painting experience. stage. Watson talked about his time spent make it as simple as possible.” photographing director Alfred Hitchcock Lastly, Project Aero, Adobe’s (\"beyond wonderful\"), and Howard Simplicity isn’t everything, though. Having the forthcoming AR tool was announced. shared his experience directing a right team around you is vital. \"I employ people Adobe senior product manager Zorana somewhat tricky Bette Davis, who refused who are better at something than me,” said Gee stepped into and started exploring a to call him by his first name. Jamie Ellul of Supple Studio. “I let them do their 2D illustration while presenting Aero. “AR thing, and that’s where the magic happens.\" is the next breakthrough medium for All in all, the 2018 Adobe MAX line-up, creative storytelling,” she simply said. product and tech development and For Ben Steers of Fiasco Design, it’s passion attendee record is going to be a tough act projects that often lead to opportunity. His latest As with all events of its size and scale, to follow. This year's event wasn't short of major client is the direct result of one: interactive there was plenty to enjoy outside of the big announcements, leaving us already maps for the Rio/Sochi Olympics. “Get your work major announcements, and wandering excited for MAX 2019. out there, push yourself and you might find a bit around the convention centre, it wasn't of paper at the end of the rainbow,” he said. Matt Willey www.mattwilley.co.uk As the current art director of The New York Times Magazine, and co-founder of exceptional magazines Port (2011) and Avaunt (2015), Matt Willey's The Typographic Circle talk was an immediate sell out. Relocating to the larger Cargo in Shoreditch, the talk started with Willey explaining that it was partial deafness that drove him to explore art at Central Saint Martins — then illustration, then \"the only last one left to do: design\". In a slide show that dropped jaws (and inspired Computer Arts to feature Willey in depth in a future issue), the designer took us through his work with a humble ease totally at odds with the bold, rule-breaking design he's produced over the years, often \"over an evening with a glass of wine,\" he admits. He didn't cover how he does what he does, but judging by the excited crowd that stayed on talking all things creative after the event, the talk hit the inspirational bullseye. 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 -

CULTURE JANUARY 2019 INSTANT INSPIRATION Sprite-ly artwork Whether working for Disney or Diesel, Guy McKinley's work is crisp and clear Guy McKinley is a varied artist, specialising in illustration, concept art and painting, with a strong background in character art. His work has featured in editorials, pre-production animation, and advertising campaigns. Thanks to winning a competition to get his design on a Sprite can just a couple of weeks out of college in 2003, McKinley won a trip to Japan, “which became a heavy influence on my work from that point on,” he says. Since then, he’s delighted in simple line and form, considering every compositional choice, every shape that’s used. “The most recent work I’ve completed was designing characters for a new children’s museum,” he tells us. “I’ve also designed some new work for an art collaborative collective called We Are Willow, namely designer and illustrator Daren Newman plus artist and musician Christopher Butler, designing items for their next project.” His Instagram is full of sketches and finished pieces that are sure to inspire. See more: https://shop.guymckinley.com @guymckinley 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 -



INSIGHT JANUARY 2019 OPINION MATTERS INSIGHT Strong opinion and analysis from across the global design industry ESSAY Action on late payments is well overdue! Daljit Singh on why timely payments are crucial for small businesses to succeed DALJIT SINGH Chief design officer, ANNA Money www.anna.money

JANUARY 2019 DALJIT SINGH nyone who has worked as a freelancer or tried cash doesn’t. And in real, practical terms, late payment means it becomes difficult to buy hardware, keep software licences A running a small creative business will know that up to date and invest in whatever other kit, tools and materials financial admin is often boring and at worst are needed to develop a business. Without this essential flow stressful, particularly when it comes to invoicing and then of money, staff don’t get paid on time and doing any future that anxious wait for the money to come in. Getting paid planning moves from strategy to survival. on time by our clients at my old agency, Digit, was always a happy moment. On almost every occasion I called the But there are glimmers of hope and we’re seeing steps being clients to thank them. This sounds odd doesn’t it? taken to help protect small businesses from slow paying clients. However, I bet there are many people out there who feel 10 years ago the government introduced a Prompt Payment the same sense of relief and gratitude when a client has Code that set out good practice in public procurement, actually read the payment terms and been good and including the payment of suppliers within 30 days. Despite the courteous enough to pay on time. code still being administered by the Department for Business, But hold on a minute, if the work has been completed, Energy and Industrial Strategy, Carillion famously went rolled out and actually out there in the world generating public five years ago with its own requirement for suppliers money, naturally it should be paid for, right? Unfortunately, to accept 120-day payment terms. Insane! Carillion continued this isn’t always the case. I’d say 85 per cent of the time we to win government contracts without censure and remained a were paid late. It wasn’t our smaller clients who were the signatory to the code. More recently the Payment Practices and culprits, but the big brands with their own accounts payable Performance Reporting regulations call on large companies to departments. The worst of them had 90-day payment terms publish twice-yearly the average time they take to pay invoices from receipt of our invoice and then waited until the end and the percentage that are not paid within agreed terms. of that month before the three-month cash flow ticking bomb started. On a few occasions this nearly collapsed our In early October 2018 the government announced new business. This is unfair, but unfortunately an oft-accepted proposals to end the problem of late payments to small cost of working with some great brands that you would businesses by large companies who abuse their position in the expect to be more supportive of creativity. market. It’s overdue but heartening to hear that there is gradual Chasing payment can feel cringey, embarrassing and progress being made, and at this early stage of gathering can make client relationships very awkward. But when owed evidence I encourage creatives to speak up and take part in money, no one should be afraid to nag, unpleasant though small business minister Kelly Tolhurst’s open consultation it is. Think of it this way: would a client walk into a store, take something off the shelf and wave on the way out with Despite these positive steps, the issue of late payments was a casual, “I’ll pay for this in a couple of months!” Most likely frustratingly overlooked in Philip Hammond’s Autumn budget, not. The same goes for invoicing and then being paid. After even though 2018’s spring statement offered assurances that all, it’s simply good manners and respectful working practice. the issue would be addressed. While new measures like taxing Since becoming chief design officer at ANNA at the digital service giants and plastics is certainly admirable, the start of this year, I’ve been listening to freelancers and small issue of late payments is a potentially chronic threat to the business owners talk about how precious their time is; how millions of small businesses in the UK, and needs to be tackled much they value having time to be creative and innovative, as soon as possible. thinking up new products, services or ideas. This is what gets them out of bed in the morning and where they should As more and more people work for themselves and set up best focus their energies, not the distraction and stress of their own companies, we at ANNA hope to play a small part in financial admin and especially chasing late paying clients. making life a little bit easier for SMEs — 99.3 per cent of which Not getting paid on time kills creativity, it’s the root accounted of all private sector businesses at the start of 2017 — cause of unhappiness and stress for small or medium-sized and freelance creatives. We’re hoping that more will be done businesses (SMEs) and freelancers — ideas won’t flow if the to help protect them from the perils of late paying clients. Do you think the way in which SMEs are paid needs revision? Tweet your thoughts to @ComputerArts using #DesignMatters 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 -

INSIGHT JANUARY 2019 DISCUSSION What’s the secret to winning big clients as a small studio? SIMON ELLIOTT LUKE MANNING STUART WATSON Creative partner, Founder and creative director, Co-founder and Rose Design Pencil Studio creative director, Nomad www.rosedesign.co.uk www.pencilstudio.co.uk www.nomadstudio.com “We learned early on that big clients like “Design is a really personal thing. This “Whether you’re working with a big or the reassurance of knowing they’re in allows you to create a relationship that small agency, it’s likely the size of the good company. So establishing gets you close to a business, and to the actual team on the project will be very relationships with the likes of Royal people in it. You get to understand who similar. So ultimately it comes down to Mail, BBC and The Old Vic, in the early they are, their purpose, and really get stages, put us on the right radars. under the skin of who they are. Our size the enthusiasm, creativity and the That said, it isn’t just the famous names allows us to create honest relationships connection you build with the client; that attract new clients. They come because they like what we do. Not just with those behind the brand. that’s what makes the difference. the quality of our work, but the service, Pencil Studio is a small team that believe Here at Nomad Studio, we’re seeing a experience and advice they receive. big ideas can make a difference: we can trend of clients investing heavily in their We used to get asked how big we were, help grow a business and change habits own internal design teams, which when we were less established. But given by using design to create a narrative. means that their dependency on that most of our work comes through Being small means being adaptable and external agencies is changing. Because referral, potential clients have generally of this, being a smaller studio is a real flexible. We don’t have idle bums on benefit. In the case of our client Sky already seen evidence of what we do, the seats. We’ve also surrounded ourselves Sports, for example, they had the scale of the projects and who we do with a strong network of freelancers, all manpower and just wanted a fresh them for. These days, they’re seldom perspective. We worked collaboratively with their own strengths. So when with them to create a huge amount of interested in how big we are – only that larger projects come in, we can develop a great work in a very small space of time. we have the capacity to service and For us, being small and hungry doesn’t deliver projects to their standard.” team catered for the project, hand- limit our ambition, or our client list.” picking the best people to deliver the most creative and effective solution.” TWEET @COMPUTERARTS OR FIND US ON FACEBOOK ELENA MATTHEU KIBBE EDWARDS @MOONSTOMPMAGGIE @LEOBIRCH @KIRSTENMAKES Smile, listen carefully and Past performance is huge. Share thoughtful strategy Don’t act as a big studio. Win small clients, and then This is a ‘show, don’t tell’ There’s a lot to be said for help them to become the big design like lightning. industry. Illustrate your and present killer creative. A being small, nimble and ability to execute a solution small agency (with the right boutique. If you oversell clients. that will overachieve and your capacity, you’ll screw team) can be an agile, yourself over long term. exceed expectations. innovative and extremely effective partner. 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 - 24 -

JANUARY 2019 VERITY KENT COLUMN Why design mentorships matter The relationship between mentors and mentees can benefit both equally, explains Verity Kent VERITY KENT ART DIRECTOR, FINE www.wearefine.com here’s an argument that it might be a bit about are a great resource. Research whether any are working locally, or at companies or in industries you hope to learn more about. T who you know, but true success is also a lot about what those people taught you. Mentors are those Once you have the contact, turn it into a relationship, people you can count on for professional advice. In design, beginning with communication that’s concise, specific and they’re people you can count on for a critical eye, too. semi-occasional — in-person if geography and time allows. A good one, or a few, can be a source of knowledge, and Consider the scale of each request, spacing out larger ones a guide to career opportunities. such as a portfolio review until significant changes warrant Whether you’re working in an agency, with a small team another look. Leave plenty of time for turnaround, and don’t or self-employed, every designer is also a craftsperson who demand certain deadlines be met. can benefit from an apprentice-like mentality. Mentors are the people you can rely on for fresh perspective, sound A mentorship, at its most basic level, is a benevolent act. advice, honest feedback and an experienced critique post- But mentors themselves benefit, too. As someone who’s been school, where the continuous feedback loop was built in. mentor and mentee, I know there are many: just feeling good In the professional world, the impetus is on the individual to and being appreciated, gaining the back to basics insight that seek and implement improvement. So surrounding yourself comes with teaching, staying abreast of the next generation with people who are more experienced, and have a similar and helping to grow your own network. quest for greatness, will push you, too. If you’re looking for a job, mentors can help find leads, make the important With that in mind, as a mentee, find simple ways to introductions and polish a résumé. reinforce what’s in it for your mentor. You should also follow It all sounds in your favour, right? Well, it’s important them socially, read content they’re sharing, attend events to first know what kind of person you’re after. Opportunities where they’re speaking and update them on any big changes come in all forms, along with the mentors providing them. in your career. As relationships go both ways, support their So consider setting up a network of various people, and be career as they support yours. The time may then come that clear about what you want to ask, and better yet, be respectful you can pay it forward, and be a mentor to others. of the time they’re giving. Once you know what you need, the hard part is actually Design is a community, and we’re all learning as we go. finding people. Whatever stage you’re at, look for mentors Contributing to that community — whether as a mentor or by everywhere. If you’re fresh out of school, start with your sharing your work and the thinking behind it — helps grow professors. It’s sort of part of their job description to guide. the industry and the people within it. And if you’re doing this They also may be able to refer you to others. Similarly, alumni with an open mind, it will enhance your skills, too. Do you think there’s two-way value to be had from mentorships? Tweet your thoughts @ComputerArts using #DesignMatters 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 - 25 -

INSIGHT JANUARY 2019 REBRAND FOCUS Focus on: The Economist The 175-year-old financial title has just had a redesign. Three creatives offer their perspectives… STEPHEN PETCH RISHAD PATEL DARREN LONG Art director, The Economist Co-founder, Splice Media Head of graphics & mag design, www.economist.com www.thesplicenewsroom.com South China Morning Post www.scmp.com “The Economist’s nearly 20-year-old design “I love the Economist redesign, mainly because, “The Economist sees itself as a newspaper was beginning to feel tired. We needed to like all truly great design, you don’t really see it. rather than a magazine, believing that design modernise and align our digital and print 17 years after its last refresh, it looks as solidly should not distract from stories with visual offerings while simultaneously unifying our Economist-y as ever — except it feels like fireworks. Curious as to how they might brand group-wide, without losing sight of someone opened a window just a crack and let balance the flamboyance of a Bloomberg elegance and quality of reading experience. a fresh breeze in. The new body type helps, and Businessweek with the fixed templates of a there seems to be a little more breathing space daily newspaper, I thought I had the wrong The flagship print edition is the last in between headline and body text. issue when I saw the redesigned cover and The Economist’s product line – after our contents page, which initially looked the same. digital editions, website and our magazine 1843 Apart from The Economist, The New – to fold in the redesign. We’ve introduced new Yorker is the only other print product I read But therein lies the beauty of this redesign. features and a modern, clean design, setting regularly, and its body type feels easier on the The Economist still has covers to die for and up The Economist as a 21st century newspaper. eye. The Economist’s Milo Serif is a lot more it’s business as usual with those clean leaders. upright, and a bit smaller on point size, which And the refinements to the maps and charts There are new typefaces, Milo Serif and makes it somewhat severe. are as welcome as they are subtle. Econ Sans, designed to suit both digital and print. The contents page has been revised to The art by Noma Bar for the column My only quibble is the ‘graphic detail’ be clearer and easier to navigate with highlight identities is beautifully structured, and feels page, where I couldn’t figure out what the data boxes replaced by a single ‘on the cover’ panel. right on brand. The blue boxes are still lovely, visualisation was trying to say. It wasn’t until And at the back, we debut a new section and I like that the illustrations break the I checked the online version that I realised the dedicated to data journalism and visualisation symmetry by going right to the edge of the box. two stories on the print page were actually one. — bringing to print the popular data stories But goodness, give them just a little bit more It’s a small complaint, though. The new design from the blog of the same name.” inset. Open that window a touch more.” breathes easily and is as readable as ever.” 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 - 26 -

JANUARY 2019 THE ECONOMIST REBRAND The Economist’s team has created a visual language to reflect the magazine’s unique nature and contrasting values. The refreshed aesthetic is designed to capture the newspaper’s heritage, personality and spirit. A larger masthead and a bold, modern illustration style makes the publication fit for the digital world. 78 Finance & economics The Economist October 20th 2018 Free exchange Upsetting the punchbowl A debate about central-bank independence is overdue Mark Spindel, an investment banker, write in their recent book, “The Myth of Independence”, Congress and the Fed are inextrica- The federal reserve has heard worse. But when the president bly intertwined. Laws often affect the central bank’s powers (as complains that it has gone “crazy” by tightening monetary after the financial crisis, when Congress limited the Fed’s ability to policy, as Donald Trump did on October 10th, Americans fret that save failing banks). And central banks often weigh in on political another norm is about to be overturned. An independent central questions beyond their narrow remit. Alan Greenspan made per- bank is considered a pillar of a modern economy; presidents are fectly obvious his desire for Bill Clinton to tackle the budget defi- supposed to mutter any criticisms they might have in private. But cit, and spoke in favour of tax cuts during the administration of is that really for the best? Although Mr Trump’s complaints were George W. Bush. The European Central Bank became deeply in- not intended to start a high-minded debate, one is overdue. volved in politics during the euro-zone crisis, in effect making emergency support for struggling governments contingent on the Operational independence for central banks is relatively new. adoption of its preferred policies. The principle grew out of work in the late 1970s and early 1980s by prominent economists working in the “rational expectations” Nor is the relationship between central-bank independence school of economic thought, among them Finn Kydland and Ed- and economic performance as clear-cut as conventional wisdom ward Prescott, who were eventually awarded the Nobel prize. They has it. In Britain in the 1970s, inflation was squeezed out of the considered the implications of people’s ability to look into the fu- economy primarily by the actions of Margaret Thatcher’s govern- ture and to anticipate the behaviour of self-interested politicians. ment. Some studies turn up a strong link between the two: a nota- ble paper in 1993 by Alberto Alesina and Larry Summers, for in- Such politicians have much to gain from an unexpected mone- stance, found a tight inverse correlation between an index of tary boost. It can temporarily stimulate economic activity. And a central-bank independence and average inflation. Yet they also ac- burst of inflation reduces the real value of public debt. But a ratio- knowledged, as most of those working on this subject do, that any nal citizenry will understand governments’ incentives, anticipate link between central-bank independence and low inflation could such behaviour and expect higher inflation to follow. Govern- reflect other factors which influence both. Shifting attitudes to- ments will have to pump even more money into the economy to wards inflation (as a population ages, for example) might nudge deliver the same boost. Thus, if politicians have discretion over governments to pursue anti-inflationary policies, including cen- monetary policy, inflation tends to rise inexorably. They might tral-bank independence. Both independence and low inflation want to leave the printing presses alone, but cannot credibly make would then be a reflection of that underlying shift. a promise to voters to do so. Yet the main reason to revisit independence is the state of the So, to keep a lid on inflation, it helps to delegate monetary poli- world economy. Inflation has fallen steadily since the early 1980s. cy to an independent institution. In practice, that has meant pack- Since the early 2000s advanced economies have struggled at least ing central-bank boards with hawkish types and letting them do as as much with weak growth in prices and wages as with stubborn they will. Soaring prices in the 1970s were tamed when central inflation. Even central banks like the Fed, with a mandate to re- banks raised interest rates, ignoring the subsequent job losses. duce unemployment as well as inflation, focus on keeping infla- Should politicians threaten central-bank autonomy, that hard- tion low and stable as the best way to achieve both. Nor is it certain won credibility will be lost and inflation will come roaring back. that central banks alone can stabilise economies struggling with chronically low interest rates and inflation. In the aftermath of the Or so the story goes. But there are problems with it. One is that financial crisis, interest rates fell to zero yet inflation sagged below central banks’ independence is often overstated. Mr Trump has al- central-bank targets for years at a time. ready appointed a majority of the sitting governors of the Federal Reserve Board. Had he kept his mouth shut but appointed more Some economists reckon monetary policy can retain its poten- doveish types, he might have achieved the same end without the cy even when rates drop to zero, since if central banks were to pro- outcry. And as Sarah Binder of George Washington University and mise to allow high inflation in future that would have the effect of reducing the real interest rate (ie, adjusted for inflation) in the pre- sent. But central banks cannot credibly make such promises, since forward-looking firms and households will inevitably question whether institutions designed to stifle inflation would embrace it when the time came. Hard money Alternative ways to stimulate the economy with rates at zero would require monetary and fiscal authorities to get cosier. Quan- titative easing, or printing money to buy assets, exposes the cen- tral bank to potential financial losses, and to inevitable political scrutiny. New monetary tools, such as the ability to deliver newly printed money directly to households, would require enabling leg- islation. Greater reliance on fiscal policy would require central banks and governments to co-ordinate more closely. Handing control of the printing presses to the president would be unwise. But reforming economic policy to fit a low-rate world requires discussion about the practice of monetary policy. That discussion will necessarily be political. It is not crazy to say so. 7 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 - 27 -

SHOWCASE SHOWCASE The hottest new design, illustration and motion work from the global design scene JANUARY 2019

JANUARY 2019 SHOWCASE GO FASTER BRANDING NIKE TRACK AND FIELD 2018 IDENTITY by Build https://studio.build When Leeds-based studio Build was asked to update its 2016 identity for Nike sub-brand, Track And Field, the team turned to the acceleration graphics used on athletic fields for inspiration. “The original identity work was based on the idea of authenticity and the vernacular of the track itself,” explains Build founder and creative director Michael C Place. “We used the markings of the track as graphic devices for the identity.” Build decided to continue in that vein, combining the arrow head mark in a systematic way with the existing graphic elements, to build a new look and feel that was fresh — while conveying a sense of speed and dynamism. The most challenging aspect was creating a system that the Nike team could use all season without it becoming tired, adds Place. “But once we’d thought out the system, it was really great to see how much we could do with so little.” COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 29 -

COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 30 -

JANUARY 2019 SHOWCASE The new identity for Nike (USA) At the heart of the identity is an sub-brand, Track And Field retains arrow head graphic, which can many of the visuals from the 2016 be used as a complex or simplified campaign, but uses a blue and form to create compositions, or white colour palette instead of red. simply as a single graphic. Build’s bespoke typography and “We’re really pleased with the end identity was applied to everything result. It looks super powerful,” says from graphics to apparel. Michael C Place. COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 31 -

SHOWCASE JANUARY 2019 ECLECTIC COAL DROPS YARD VISUAL IDENTITY by Droga5 www.droga5.co.uk The visual identity and launch campaign for Coal Drops Yard, a shopping and restaurant district in King’s Cross, London, is designed by creative agency Droga5. The project features work from 25 visual artists including recent graduates of Central Saint Martins — a tertiary art school located opposite the development. “The new design aims to reflect the journey of exploring this idiosyncratic district. Information is ‘randomly’ placed in the communications, rather than dictating the audience’s experience with headlines, end lines and other standard design formats,” reveals Droga5’s Head of Art, Chris Chapman. “The aim is to leave people’s eyes to ramble and discover — something that the space itself encourages. As a result, the design is always unexpected and ever-changing.” COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 32 -



COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 34 -

JANUARY 2019 SHOWCASE TRICK OF THE EYE PHOTOGRAPHY SERIES FOR ÖLAB COIFFEURS by Caroline Blanchette and Martin Tremblay www.lepinch.com Photographer Martin Tremblay and art director Caroline Blanchette were tasked with creating a series of images for Montreal hair salon ÖLAb Coiffeurs to showcase its work for entry in two hairstyling contests. “We wanted to create a neutral, modern, geometric optical illusion that would almost disappear by way of its busyness to bring out the great colouring and modern haircuts,” explains Blanchette. “The patterns were chosen to emphasise the simple lines of the clothing and to keep depth in the composition. Since everything was so bold, a simple, almost native make-up intervention was the obvious choice.” The series won in the haircutting category at the North American Hairstyling Awards 2018, and is currently a semi- finalist in the Elite Master Hairstylist category of Contessa: the Canadian Hair Stylist of the Year Awards. CREDITS: Client: ÖLAb Coiffeurs / Hair dresser: Rodrigo Araneda / Hair dresser assistants: Alex Verville and Vanessa Vandenbroucke / Photography: Martin Tremblay / Photographer assistant: Aljosa Alijagic / Art Direction: Caroline Blanchette (behance.net/carolineblanchette) / Make-up: Marika D’Auteuil (instagram @ lapetitevengeance ) / Stylists: Sandra Bernard and Ariane Simard COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 35 -



SHOWCASE ALL IS FULL OF LIFE WACOM ANIMATION by Ondrej Zunka www.ondrejzunka.com When tablet tech giant Wacom approached 3D artist Ondrej Zunka with the open brief: “do something cool for us”, he responded with this animated short depicting a lively underwater scene full of colourful creatures. The animation is intended as a tribute to the creative world that Wacom opens up for its professional users. “Everyone uses Wacom tablets; they really define what we do,” explains Zunka. “Their tools open up some amazing possibilities, and the creatures in this film represent us creatives living in this universe that Wacom creates for us.” Zunka relished the opportunity to work without a strict brief. “Usually clients want to know what they’re going to get so you need to describe what’s going on in your imagination beforehand, which I find a little limiting. Being able to lose myself in the process and not know where I was going was a lovely feeling.”



JANUARY 2019 SHOWCASE REDACTED VISUAL IDENTITY AND EXHIBITION DESIGN FOR CENSORED! by Barnbrook www.barnbrook.net London-based creative design studio Barnbrook created the visual identity, exhibition graphics and three dimensional design for the Censored! Stage, Screen, Society at 50 exhibition currently running at the Victoria & Albert museum. The display examines theatre regulation from the 17th century onwards, marking 50 years since the Theatres Act abolished state censorship of the British stage. “We used the censor’s blue pencil as a starting point to develop the design of the exhibition,” explains Marwan Kaabour, senior designer at Barnbrook. “Swathes of the colour blue conceal parts of the exhibition text and visuals in an attempt to cause intrigue and arouse curiosity, alongside architectural elements that obstruct, manipulate and obscure visitors’ vision when moving through the exhibit.” COM PU T ER A R T S .CR E AT I V EB LO Q .COM - 39 -

Subscribe to CA for just £24.99* PLUS FREE KITSOUND RACE WIRELESS HEADPHONES WORTH £14.99 Order hotline 0344 848 2852 Please quote xmas182 when ordering by phone Lines open Monday-Friday 8am-7pm and Saturday 10am to 2pm (GMT)

juSsUt £B24S.9C9RevIeBryEsix months* From Reasons to subscribe Saving up to 45% against shop price Never miss an issue Delivery included in the price Upgrade to a bundle for an extra £5 Get instant digital access Increase your saving to 67% SEE THE FULL RANGE AND ORDER ONLINE AT www.myfavouritemagazines.co.uk/coa/xmas182 Call UK 0344 848 2852 or overseas‫גגڷ‬٨‫׎‬٩‫ۭאדזאזגזגגב‬quote xmas182 *Terms and conditions: Savings calculated against the full RRP (single issue price x frequency). You can write to us or call us to cancel your subscription within 14 days of purchase. Gift is only available for new UK subscribers. Gift is subject to availability. Please allow up to 60 days for the delivery of your gift. In the event of stocks being exhausted we reserve the right to replace with iteȅs of siȅilar value. Your subscription is for the ȅiniȅuȅ terȅ speciˡed and will expire at the end of the current terȅ. Payȅent is non‫ٮ‬refundable after the 14 day cancellation period unless exceptional circuȅstances apply. Your statutory rights are not affected. ll gift subscriptions will start with the ˡrst issue in hanuary ‫א‬01‫ח‬. Prices correct at point of print and subject to change. Iull details of the (irect (ebit guarantee are available on request. Ior full terȅ and conditions please visit‫ ي‬bit.lyٖȅagtandc. …ffer ends ‫ב‬1st hanuary ‫א‬01‫ח‬.

INDUSTRY ISSUES JANUARY 2019 Everything You Always Wanted to Know About Self-publishing (but were afraid to ask) 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 -

JANUARY 2019 SELF-PUBLISHING Indie books, magazines, comics _ and more – Garrick Webster discovers that creatives around the world are bringing new vitality to publishing and finding great success while doing so... PHOTOGRAPHY COURESTY OF: Laura Jane Boast 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 -

INDUSTRY ISSUES JANUARY 2019 D _ A similar kind of inspiration struck the Manchester- based illustrator Ben Tallon when, just as his career was taking off, he hit a barren spell. It eventually led to the 2015 publication of Champagne and Wax Crayons, the 200-page book in which he discusses the common experiences of creatives across the industry — the highs, the lows, the frustration, the jubilation. Ben worked with LID Publishing under a hybrid publishing deal to esigners and illustrators are always on the lookout for make it a reality. The company took care of printing, their next big project, hoping for that ideal sales, distribution and overseas rights but Ben handled commission; the one that puts their skills to the test, the editorial style, illustration, layout and a great deal of appeals to their passions and allows them to truly the promotion. Like Malinic’s books, Champagne and express themselves creatively. Hopefully it will also be Wax Crayons has really resonated with young British in complete harmony with their personal, ethical and and American designers. It has also been translated and social sensibilities. published in Japanese. You can wait a very long time for a client to hand you While it’s tempting to see a self-publishing project as that perfect commission, but instead of waiting you your baby, and to try and do everything, what Tallon could go ahead and turn one of your own ideas into a reality. For many creatives, self-publishing offers the opportunity not only to elevate their creativity but also “PUBLISHING IS A WONDERFUL WAY TO to advance their careers and earnings. There’s always ADRIAN SHAUGHNESSY UNIT EDITIONS LOSE MONEY”the risk that your creation will be a drain on your time and resources. It may ultimately fall flat. On the other hand, you’ll use an array of skills you already have, and learned from the experience is that in some areas you you’ll most likely learn a great deal about creating just have to let go. “It’s crucial to find ways of working content, production, print processes, marketing, with specialists in each field — editorially, on art promotion, sales, distribution and so on. These things direction, in sales, rights management and so on,” he alone make it a worthwhile experience but, crucially, if explains. “Asking a lot of questions and not being too you don’t give it a shot you’ll never know how good your proud to admit that you need to be walked through ideal project could have been. certain parts of the process in order to understand how DO IT YOURSELF it works is important.” Learning about the various aspects of publishing One of the latest self-published design books to arrive is while creating the content and looking ahead to how Radim Malinic’s Book of Ideas — vol 2, which follows on you’ll promote your project does make self-publishing from his first, published in 2016. Inside, the London- seem like hard work. It is. But if you get it right it’s based designer behind design studio Brand Nu shares certainly rewarding. Nearly a decade ago, Adrian his advice on how to make it in the creative industries Shaughnessy and Tony Brook launched Unit Editions. while at the same time letting his own design approach They wanted to create not just one, but many books flourish via colourful abstract illustrations, photography, about their favourite subject: graphic design. The first typographic treatments and more. Across an impressive was Studio Culture — a guide to setting up a studio. range of chapters he covers how to work creatively and Since then they’ve published 40 titles including a Paula in a mindful way. He wrote all the copy, designed the Scher monograph, two stunning slip-cased volumes of book and provided the imagery himself. A B O V E Ben Tallon took British graphic designer Vaughan Oliver’s works, and a “I didn’t want to wait or look for a publishing deal — his industry experience fascinating book of lost Soviet designs. Their next it would take years to achieve that. So I decided to take and turned it into a book. publication is a new book about The Designers Republic. the power into my own hands and do it all myself,” says The hard work is one thing, according to Adrian Malinic. “I’ve worked with many small independent Shaughnessy. The other is that you have to keep an eye record labels and could see that you don’t need more on the money side of things. Designers have most of the than one person to get something significant off the skills needed to be publishers, but financial management ground. I felt I had a few industry observations and proves to be such an important factor that it can’t be thought processes to share with the world, so I decided overlooked. “Publishing is a wonderful way to lose to publish them myself.” money,” he says. “The third Unit Editions partner is 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 -

ABOVE From Soviet utopian design through to Vaughan Oliver, Unit Editions publishes books designers want to read. 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 -

IINNDDUUSSTTRRYY IISSSSUUEESS JANUARY 2019 Trish Finegan. Trish looks after the finances. Without ABOVE It automatically generated spreadsheets with the ability her we wouldn’t be here. Ben Tallon’s Champagne to add notes about specific customers. One of the biggest and Wax Crayons book errors I made was offering free shipping. I didn’t think “It’s also worth mentioning the power of crowd was even translated the book would be so heavy — by the end it was £15 to funding,” he continues. “We’ve had success with into Japanese. ship each one abroad.” Kickstarter and five or six of our books have been funded this way. It has enabled us to make some important We all love print. We love it to death. But the cost can books on a scale and of a quality we couldn’t achieve be formidable. The printing of Radim Malinic’s latest without funding.” book was financed through a partnership with Adobe. Another way around the issue is to launch digitally first, FIND YOUR AUDIENCE build up sales and awareness, then take the publication into print if it’s viable. This is the route taken by London- Crowd funding has been the crux of so many fantastic self-publishing efforts. It doesn’t only give hope to someone with a fresh idea, it actually gets them really excited. Rick Banks of the type foundry Face 37 used it to support his brilliant book Clubbed; the illustrator Lapin crowd funded his vintage car sketchbook Oldies but Goldies; and Kickstarter funding drove Laura Jane Boast’s incredible mag Design Giving. A site like Kickstarter will carry out multiple functions for a project. Firstly, it will help spread awareness on social channels. Secondly, it can help you gauge interest in your project and thereby scale your effort and personal investment in it. And thirdly, the sales revenue you receive through pre-orders will, as the name suggests, kick-start your self-publishing venture. “The book was super successful, raising £56,000 in the end,” says Rick Banks. “Kickstarter’s back end is very sophisticated — it gives you analytics to show where all the visits come from. Facebook and Twitter were the biggest referrers. In terms of admin it was great, too. “ON EBOOK, WE CAN BUILD UP A GOOD AMOUNT OF POSITIVE REVIEWS BEFORE GOING TO PRINT” R O H A N E A S O N I L L U S T R A T O R LEFT based illustrator Rohan Eason and author Metin Rohan Eason explores Karayaka, creators of the young adult adventure Benice, new areas of his style in which is selling now on Amazon, Google Books and children’s book Benice. Bookshout. Eason created 22 full colour illustrations plus the covers, and the book is being published by Yunka, a company set up by Metin for the project and hopefully for future titles. “It’s currently only in ebook form,” says Eason. “This is to get a feel for the market size and build up a good amount of positive reviews before going to print. Metin can then publish quotes from good reviews on the back of the book, and have extra strength to push the book to distributors.” When we spoke to him, Eason had been visiting every independent bookshop in London with a box of samples to drum up interest. He was paid up front for his illustrations but will also gain a passive income through royalties based on sales. All the bookshop owners were surprised to meet an illustrator so passionate. Creatively, the attraction of this self-published project for Eason was the opportunity to experiment. 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 -

JANUARY 2019 R i c k B a n k s _WHEN YOU PUBLISH YOUR OWN BOOKS YOU CAN LOOK AFTER EVERY DETAIL AND MAKE SOMETHING THAT REALLY CONNECTS WITH AUDIENCES ABOVE Typographer Rick Banks of Face 37 designs When it’s your own book, you have total creative From flyers to typefaces, fonts so that other designers can make their control, and in true clubbing fashion Banks Clubbed is a visual history projects look beautiful. He has also brought the needed to large it with the cover. “I was inspired by of club culture. meticulous attention to detail that typographers a piece of art by Nick Walker using diamond dust. are known for to bear when designing and I thought it was the perfect way to show a dark BELOW publishing his own books. and ethereal club atmosphere. However diamond Stardust is woven into dust wouldn’t work on a book as it would just rub the book’s cover, with His latest and grandest is Clubbed, a stunning off and wouldn’t be hard wearing. So I spent a bit iconic clubland designs 400-page retrospective exploring nightclub of time sourcing a fabric that had diamond dust reproduced inside. branding, typography, campaigns and art engrained into it and I foiled it in Helvetica for the direction. While a traditional publisher could cover,” says Banks. produce something similar, it’s doubtful any of them would focus quite as closely on the creative. When he found an old Haçienda nightclub ticket on a flyer archive website, he felt he had to include its unique typography in the book. The original was created by the late Tony Panas of Johnson/Panas and didn’t exist as a digital font, so Banks decided to redraw it. “It was quite some effort for one page, but I released it on my foundry a few months ago and called it F37 F51,” he 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 - 47 -

JANUARY 2019 Black and white, highly detailed ink illustrations are ABOVE fund it. Her next step will be to publish editions annually. what he normally produces and that’s what most The magazine Works That Based in The Hague, Netherlands, Typotheque publishers commission him to do. With Benice he’s been Work looked at design able to extend his style on his own terms. “A publisher where you don’t expect it. founder Peter Bil’ak wanted to go even further when he will require you to give them exactly what they want, started publishing the magazine Works That Work. giving little scope for experimentation or exploration,” Focusing on functional design in unexpected places, the he says. “In this book I added colour ink in blocks to my magazine had a team of five and a variety of contributors black and white images. It’s a new method for me, and were heavily involved in its creation. More than that, I’m happy to say it’s been very successful.” Works That Work recruited its readers to participate in its distribution. And it worked. “We involved our readers all the way,” says Bil’ak. “They would contribute content to the magazine, they fully financed it and they helped to distribute it. 40 per cent of the print run — 5,000 copies — was sold using our unorthodox ‘social distribution’ method. This meant we bypassed any distribution and shops, and readers would buy boxes of magazines for their social circles, for schools and offices.” Readers who supported the magazine in this way were rewarded as well, receiving the same cut as a distributor would get for its work. “But more than the money, the feeling of inclusivity and community BUILDING UP BUZZ “THE FEELING OF INCLUSIVITY AND COMMUNITY INVOLVEMENT WAS THE MAIN Imagining an illustrator trudging across London, MOTIVATION FOR PEOPLE TO HELP US” meeting booksellers directly and pitching an independently published book to each of them over and PETER BIL’AK T YPOTHEQUE FOUNDER over again, the true level of commitment required to self-publish begins to become clearer. Your skills and PHOTOGRAPH: Mano Strauch creativity will go into the project. You’ll more than likely spend some money on it. Passion is essential. But it’s also RIGHT going to eat into your time. Works That Work had a reader-driven distribution Tallon spent three years writing and revising his model, rather than facing book. Malinic also spent years building up to the release the war zone that is the of his first Book of Ideas. Boast, the Manchester designer magazine newsstand. behind the magazine Design Giving, spent six years developing what turned from an embryonic idea into the beautiful publication you can see today. At every level it has been lavished with care and consideration. “First came the name, Design Giving, which I derived from the compression of the phrase ‘where design thinking becomes thoughtful giving’ — which was my way of being able to describe a process and a way of designing that is more considerate to both people and the planet,” she explains. “This phrase shaped both the structure of the magazine’s four feature sections — Design, Thinking, Thoughtful and Giving — informing the brand’s aesthetic and the type of content featured.” A deep interest in independent, environmentally- focused design is what inspired Boast, and over time she identified a wide range of creators and companies to work with. “When I was ready for content, I had a big list of designers I’d admired from afar, or had previously met at design fairs that I wanted to feature. After the initial email outlining the idea, we worked together to individually tailor the stories and interviews based around the magazine structure.” Now that the first issue is out, the style has been defined and Boast has built up a network of contacts and a following via the Kickstarter campaign she used to COMPUTERARTS.CREATIVEBLOQ.COM - 48 -

JANUARY 2019 LJB Studio THE MAGAZINE DESIGN GIVING ENABLES LAURA JANE BOAST TO WORK WITH LIKE-MINDED, ETHICALLY FOCUSED CREATIVES _ ABOVE Could a magazine (other than Computer Arts) Design Giving pushes feel more desirable than Design Giving? Perfectly print craft and bound, using FSC and recycled papers produced premium quality. with wind energy by GF Smith, its cover has been hot stamped with gold foil. Only 500 copies of this beauty have been printed and they’re all regenerated nylon sourced from discarded ABOVE AND LEFT personally numbered and hand finished with fishnets. Ren Valuzyte talks about how she turns The magazine isn’t just a gift-wrap ribbon and handwritten note by its waste into printing tools in her creative process, made sustainably, the principal creator, Laura Jane Boast of LJB Studio and Emma Barnes shares the insights behind content itself is all about in Manchester. her eco-friendly, ethical silver and gold jewellery ethical practice in design. brand. In all, some 16 designers contributed from If Boast’s love of special print techniques and a an array of creative fields. clean design ethos come through in the physical and aesthetic qualities of the debut edition, her As well as promoting their work, the publication interest in design that does good is reflected aims to support these designers alongside the in the content. Inside, you can read about Davy mental health-focused charity Manchester Mind, J, whose swimwear is made from 100 per cent which will receive five per cent of the proceeds. ForBoast,it’sarewardingwayofdemonstrating her skills that has expanded her eco-conscious audience. “I’m really passionate about taking the studio in this direction and it has already started to bring in new clients,” she says, “It not only enabled me to collaborate with, learn from and support other independents, but also build new friendships with designers who specialise in other disciplines, which is so inspiring.” 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 -

INDUSTRY ISSUES PHOTOGRAPH: Sylvain Granjon Lapin THIS FRENCH ILLUSTRATOR HAS USED HIS SELF- PUBLISHED SKETCHBOOKS TO SHAPE HIS CAREER AND GUIDE HIS COMMISSIONED WORK _ ABOVE Lapin is the master of self-publishing. Since fulfilled my early vision of creating a collection From his very first 2008, he’s printed and released more than 25 and now I’ve got regular customers that buy every sketchbook, Lapin has sketchbooks of his work. single book I print,” he says. continued a tradition with the covers to make his The first was Expediciones de Lapin, in which As a result of his publications, Lapin has series truly collectible. he laid down his formula. Nearly all of his books become the go-to illustrator for clients wanting a replicate his actual sketchbooks — vintage sketchbook style. The Ajuntement de Barcelona accounting ledgers that he has drawn all over. and other public bodies around Europe have BELOW They’re A5, horizontal in orientation, and he commissioned him to come and draw in their Based in Barcelona, Lapin always tries to give them a classy cover using regions, publishing the output in his preferred sketches cities across block foil lettering, an emboss and cut-outs of format. They’re sold to tourists but also match his Europe and around the one or two of the signature drawings inside as a on-going collection and so appeal to his fans. world. He’s since turned it little taster of what’s in store. into a career. In 2017, he spent a month each in Lisbon, His books are often visual travelogues. He Berlin, Paris and Barcelona frantically creating sketches all around his adopted home city of sketchbooks about the four cities for Air France’s Barcelona, and has been to France, Germany, budget airline, Joon. Signed, limited editions of Spain, China and Japan just to draw. Each sells his books where given to Joon’s first passengers at about €20 and he’s deliberately created them flying to those locations when the airline in a set style in order to become collectible. “I’ve launched. They have become rare collectibles.