Computer Arts - January 2019

JANUARY 2019 SELF-PUBLISHING “YOU’LL END UP WITH A REAL, PHYSICAL BOOK... EXPERT THAT’S AN INCREDIBLE THING” R U M I H A R A I L L U S T R A T O R ADVICE involvement was the main motivation for people to _ABOVE “ANY NEW PROJECT SHOULD help us,” continues Bil’ak. CONSIDER ALL THE ELEMENTS THAT Rumi Hara’s books and MAKE THE PUBLISHING POSSIBLE “If it worked so well, then why did it close after 10 comics are building up a AND NOT JUST LOOK AT LAYOUTS issues?” you might be thinking. The answer illustrates fanbase and also impress PHOTOGRAPHY AND PAPER STOCK ” another important point about self-publishing. Bil’ak her illustration clients. always planned to close Works That Work after 10 issues PETER BIL’AK TYPOTHEQUE — its very lifecycle was by design. A self-publishing project begins with a celebration, but even a runaway “DON’T BE AFRAID TO HOLD BACK ON success can eventually start to feel like regular job, an RELEASE UNTIL IT’S ALL READY THERE obligation, possibly even a slog for those responsible for ARE GOOD TIMES OF THE YEAR FOR its founding. This way everyone who contributed to RELEASE AIM FOR ONE BUT IF YOU Works That Work could enjoy it while it lasted, and MISS IT WAIT FOR THE NEXT ONE ” never consider it to be a burden. ROHAN EASON ILLUSTRATOR Still, for those who haven’t even started self- publishing yet, thinking about the end perhaps isn’t the “DON’T USE CRAPPY PAPER START best beginning. The main thing to focus on is positive SMALL AND JUST DO IT I COULDN’T reasons to launch your project, rather than the reasons THINK OF THE THIRD TIP SO I JUST GOT to avoid pursuing it. THAT ONE FROM NIKE ” Illustrator Rumi Hara is enjoying growing success RUMI HARA ILLUSTRATOR creating her own children’s books and comics and selling them on Etsy. She offers the perfect endnote: “KICKSTARTER PROVED TO BE AN “I’ve actually met a lot of people who want to self publish, AMAZING PLATFORM TO PUBLICISE but won’t actually do it,” says Hara. “There are so many DESIGN GIVING WORLDWIDE FURTHER reasons not to, like, what’s the point? Why spend so AFIELD THAN I THINK WOULD’VE BEEN much time and energy on something that may not lead ABLE TO ACHIEVE THROUGH MY OWN to anything? But you’ll end up with a real, physical book NETWORK OF CONTACTS ” that you made yourself and someone can read it. That’s an incredible thing.” LAURA JANE BOAST LJB STUDIO “PROMOTION IS YOUR FRIEND INVEST IN MOTION DESIGNERS TO CREATE PROMOTIONAL VIDEOS TO PLACE ON SOCIAL MEDIA ” RICK BANKS FACE 37 “DON’T BE TOO PRECIOUS FOCUS ON MAKING EACH ASPECT AS GOOD AS IT CAN BE IF THIS MEANS COLLABORATION AND OUTSOURCING DO IT ” BEN TALLON ILLUSTRATOR “BELIEVE IN WHAT YOU’RE MAKING AND DON’T GIVE UP BOOK PUBLISHING IS A MARATHON NOT A SPRINT REMEMBER IT EVERY DAY” RADIM MALINIC BRAND NU “ONCE IN A WHILE CREATE A PUBLICATION WITH A VERY SHORT PRINT RUN MAKING A LIMITED EDITION GENERATES EXPECTATION AND DESIRE ” LAPIN ILLUSTRATOR 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 - 51 -

IN CONVERSATION JANUARY 2019 Kate is founder and creative director of Kate Dawkins Studio, which specialises in designing and delivering bespoke digital content for shows, brand events and live performances. She has worked with brands ranging from the London 2012 Olympics to Adidas and Elton John, and won a BAFTA for her work on World War One Remembered. www.katedawkinsstudio.com PLAYING WITH LIGHT & DARK KATE DAWKINS TURNS PIXELS AND PROJECTION INTO JAW-DROPPING LIVE EXPERIENCES THAT HAVE ENTRANCED AUDIENCES AROUND THE WORLD. HERE, SHE SHARES THE STORIES BEHIND THE SHOWS. WORDS: RUTH HAMILTON Q PORTRAITS: WILLIAM MATHIE Q PHOTOGRAPHS: JULIAN HAMILTON – ONE ANOTHER

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IN CONVERSATION JANUARY 2019 Right and opening I t is a little difficult to in this area, I’ve just sort of found design and direct screen content. imagery: Dawkins accurately sum up Kate myself here. But now I am here, I had a beautiful logo, identity and creates abstract Dawkins’ job. Along with the I love the buzz of a live show. I always website (not by me, may I add, but by artworks using rest of her team at her self- think that the audience completes Bibliotheque Design — it would still the roll of a die to titled studio, Dawkins works the process. It’s such a thrill to be unfinished now otherwise!), so place shapes on a with LEDs and projection to see the experience through the I thought, why not? And over a bottle predefined grid. create large-scale visuals. But audience’s eyes. of wine with a friend, decided it was that really doesn’t capture a good idea to start the studio. Opposite top: the magic of her work: Epic Your big shift into creating large- 90 minutes visuals bringing vehicle scale visuals came after you worked In hindsight, I’m not sure I’d of projection stunts to life for Fast & Furious on the video for the re-release of recommend this route. I had no mapping for Live; mesmerising projections Elton John’s Are You Ready For business plan; no real plan at all. Intimissimi On Ice commemorating a bloody WWI Love? Tell us a bit about that... I plunged headlong into finding a – a mix of opera, battle (which snagged a BAFTA, The Elton John video was seen space and kitting it out. Because ice-sketing and no less); an innovative, interactive by [American photographer and of the lack of planned structure, the pop – in the Arena experience showcasing Adidas’ director] David LaChapelle. He process has definitely been harder. of Verona. performance technologies. Oh, and wanted the same designs for the But I learnt so much about business; remember the jaw-droppingly good LED visuals for Elton’s Las Vegas I still do every day. Opposite bottom: London 2012 opening and closing show, which he was art directing. Tricky projection ceremonies? She had a hand in that, This was my first proper venture Tell us a bit about how you operate mapping onto too. We caught up with Dawkins into the world of live performance. as a studio… legendary aircraft after her talk at Design Manchester I loved it, and was hooked. It was The studio functions as a lean and carrier, the USS to find out how she does it. hard work, but there was something agile model. I currently head up all Intrepid, for the about the thrill of the unknown. productions with the support of launch of the What was it about experience talented and experienced producers. new Land Rover design that initially attracted you? The next project was the MTV We then put together a team that is Discovery Concept I never intentionally sought to work Awards, which threw up new fit for purpose for each project. This in New York. problems — it was more of an ensures we have the best possible architectural space, with a hi-res team to deliver the best work. Below: Dawkins is LED back wall and a lo-res floor. creative director It’s these new challenges, each time, How has the industry changed since at Kate Dawkins which interest me so much. you’ve been working in this area? Studio, which she Experiences are everything and launched in 2016. Why did you decide to launch Kate everywhere now. Clients want to Dawkins Studio? launch their brands in a ‘never- I was starting to get enquiries seen-before, wow!’ way, embracing about direct commissions to not just the simple back screen, 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 - 54 -





JANUARY 2019 KATE DAWKINS but sophisticated real-time is counted and measured in pixels. Opposite above: Have the public ever responded in technologies to create an experience There’s a sense of hand-crafted To commemorate a way you did not expect? that is truly ‘live’. about analogue. It’s unpredictable. the centenary of Not really. All clients rightly want Human-touched. The element of Passchendaele, to create a big impact, and most of What technological developments craft is vital in the work the Kate Third Battle of the time audiences are seemingly have made the biggest impact on Dawkins Studio produces. Ypres, the UK delighted with what they’re viewing. how you work? government However we did do a job for the The ability to pre-visualise the work. How do you adapt in the event of hosted an epic launch of a Samsung product. We In the past we’ve been held to limited technical failures? multimedia created the opening film to build methods of seeing how the work Technology and content combined show, including anticipation ahead of the big reveal, is going to look ahead of the event, allows for some amazing projection from and when it ended the audience but recently we have started to use opportunities. It’s a truly exciting Dawkins. Dawkins immediately got onto social media, real-time software called Previz, world to work in, but they are always won a BAFTA for so only a few clapped. In such which allows us to view the work reliant on each other — you need the project. a large audience it felt terribly on the structure, moving around the them both working to the best underwhelming! space to review and assess what does possible levels to make the best Opposite below: and does not work. experience. We can spend months Dawkins worked What has been the project that has creating content, but if an LED fails on two of the challenged you the most so far, in That said, that’s still screen- or the projectors specified aren’t largest interactive terms of trying new things? based. We’ve also used VR, which strong enough, it doesn’t matter how activities at the Definitely the World War One allows the viewer to see the content good the content is. Adidas lab event, Remembered project. Before we at life-size, thus being able to spot which took part undertook this project we had never incorrect alignments or errors. In particular, before setting up over the UEFA really worked on any projection That’s one of the main problems the studio I worked on a project Champions mapping of this kind. I’m not sure if we have: we work on 27-inch screens, called Adidas Lab with a very League Final the client knew this when we were making content for structures that talented company called Kin Design. weekend. can sometimes easily be over 100 It was an interactive experience, metres in size. that involved lots of complex assets all coming together: pre-rendered Have advancements in VR had a big content, overlaid with interactive impact on how you work, or is the content, sensors and live-edits; the technology still not quite there yet? whole experience being driven by Using VR to help pre-visualise RFID sensor. The morning Adidas how the work would look on Cloth Lab opened, an extremely senior Hall [for the World War One member of Adidas was visiting. Remembered project] was the first We turned everything on to test, experience I’ve had with using VR and it all went crazy. The graphics for this purpose. The render of the were glitching, the sensor lights building I was seeing wasn’t the were swinging around. It was like highest quality, but being able to something possessed. view everything at an accurate scale was mind-blowing. Fortunately, as we were standing there aghast, one of the team I think the technology is noticed that the plinth that held definitely there to allow both the the RFID reader had been moved. team and clients to preview work On quick inspection they found ‘in situ’, so to speak. Removing any the cables were touching and thus nasty shocks by showing clients the sending bogus signals out. With work in context has to be the next quick reactions by the team, the best thing to being there. whole experience came back to life moments before the important You spoke about retaining an guests entered the room. element of analogue in your designs. Why is this important? It seems there’s always an element I find digital work wonderfully of unpredictability when there are clean, sharp and precise. Everything people interacting with your work… 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 - 57 -

Above: For London chosen to take the project forward! Are there any aspects of your job based around a pre-structured 2012’s ‘audience But there were additional challenges: that you didn’t anticipate or think grid and aesthetic formula. The pixels’, Dawkins the audience viewing angle was you’d be getting into? throw of the dice then places the designed content three-quarters onto the building, I have been doing this kind of geometric shapes or lines within that played out which meant not only did we have work for many years now, and each this grid. There is an element of across the 70,500 two sides of the building to work project throws up something you decision-making, as the grid and ‘paddles’ of nine with, but also two sides of the clock didn’t anticipate. Every project is the component parts are formalised high-powered tower. The clock face took over part so different. There is a core process prior to starting, but I love the sense LEDs fixed to the of the design canvas. We also had to that we follow for each project; of the unknown, the loss of control, arena seats. deal with the ornate building facade, concepting stage, design phase, of having to accept what you end which had we been viewing straight- production, etc. But guaranteed, up with. I created 365 artworks Below: D&AD Pencils on wouldn’t have posed nearly as along the way something will rear its (one a day) a couple of years back awarded for the much of a challenge. head that you’d have never thought and hope to turn them into a digital 2012 Olympics of. Sometimes drawings are wrong installation. So perhaps the two Audience Pixels and and you find out halfway through sides of my work are more aligned a Doves music video. the project that where you thought than it seems. the audience would be standing isn’t where they’re standing, and you’re Most of the work you do will be suddenly having to re-assess and temporary. What are your thoughts in some cases redesign, everything. on that? I don’t tend to think about it that You also mentioned the prints you much, really. There’s something do, which are designed based on magical and special about it only a dice throw. It feels quite opposite being viewed for a brief time. A to your experience design work. moment in time, so it’s even more Would you agree with that? important to make sure you leave In stark contrast to my day job, a lasting impression, something that I create these hand-drawn pen will stay with the viewer... at least and ink artworks, which are until they get home. COMPUTERARTS.CREATIVEBLOQ.COM - 58 -

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SPECIAL REPORT JANUARY 2019 New in 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 - 60 -

JANUARY 2019 NEW DESIGN TRENDS trends design WHAT’S BEEN HAPPENING IN DESIGN THIS YEAR, AND WHERE ARE WE HEADING? TOM MAY GATHERS SOME EXPERT OPINIONS 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 - 61 -

SPECIAL REPORT JANUARY 2019 Trends are easy to identify a few years a er tsh eis t r imv e t o w apr d s licity they’ve happened But they’re notoriously There’s been a broad trend towards simplicity in design for some years now, and it shows no signs of slowing difficult to spot at the time down. In fact, as we live more of our lives on apps and websites, it seems only to be accelerating… Take economics Looking back at the early s the trend 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 months we’re well aware that this is merely what The Washington Post’s Philip L Graham called “the first dra of history” Much like surveying the landscape by sticking your head out of a fast-moving car it may not paint a full picture but it should at least give you a broad idea of what’s going on To gauge things as accurately as we could we spoke to a wide range of creatives from diverse disciplines and at different levels at creative studios across the world Of course they didn’t agree on all points and there’s not room to report everything that they said here But where we’ve heard the same story over and over again we’ve taken it as a likely sign that a trend is more real than hype Ultimately history will be the final arbiter But for now here’s our initial take on the standout design trends of moving 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 - 62 -

JANUARY 2019 NEW DESIGN TRENDS Left: Cold town beer by Thirst. Right: Album sleeve design for !K7 Records’ Inside Out by Studio.Build. Above: Logo for Ericsson by Stockholm Design Lab. Left: Branding for Agnes Lloyd-Platt by Seachange Studio 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 - 63 -

ISNPDE UC SI ATLR YR EIPSOSRUTE S Clockwise from left: In-house branding for iPhone X; rebrand for Future London Academy by Ony Agency; branding by Bond for AntonAnton Kioski When you need your users to complete a goal or navigate complex information, simplicity is key, and the modern, bold aesthetics in design have been born out of this,” explains Karl Randay, head of design at 383. “Growing frustrations with the mystery- meat navigation and information overload of the past have been key drivers for simplicity.” Alastair Holmes, associate creative director at This Place, agrees. “Consumers are now used to seeing a flatter, cleaner, uncluttered design aesthetic in the apps and sites they use,” he says. “So it makes sense that companies should want to reflect this in their overall branding.” Endless examples abound. “Burberry recently turned heads with a bold step in typographic simplicity, cutting ties with the elegant graphic ornament of the past and adopting a timeless, grotesque approach to its new identity,” notes Lee Hoddy, creative partner at Conran Design Group. “The stripped-down editorial look has broken out from fashion editorial design and crossed over into mainstream campaigns, mainly through clever use by youth culture brands,” says Bob Young of Alphabetical. “The most notable trend I’ve seen in packaging design this year is a move towards cleaner and more iconic packs,” reports Patrice O’Shea, design director at Design Bridge London. And so it continues. 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 - 64 -

Clockwise from top: Branding for the East Cut by Collins; creative by Valaam by Despot WPF; cover of Still magazine, June 2018 issue, delivered to Stack subscribers “Consumers are now used to seeing a flatter, cleaner, uncluttered design aesthetics in the apps and sites they use” ALASTAIR HOLMES THIS PLACE

SPECIAL REPORT JANUARY 2019 colourg r a d i e n t l o v e i n Pinks, pastels and gradients have dominated 2018 When it comes to colour palettes, there are social media stars and brands alike seem to be areas where the same trend toward leaning into browns and beiges to feature simplification and standardisation can be products and spaces.” identified. For example, David Shalam, founder and creative director at Studio 2br, Yet simplification is only one part of the explains what he calls the ‘rise of the story of colour in 2018. Pulling in the opposite Millennial Filter’. direction, advancements in screen and display technology have led many to dub 2018 the “Fintech and financial services start-ups are ‘year of the gradient’. favouring restricted colours, typically in pastel hues,” he says. “Flat, soft-edged, vector “HTML5 enables people to code gradients illustrations are also popular. Monzo was one rather than having to manually make graphics of the first to do this, followed by the likes of for them,” explains Mitchell Nelson, lead Habito, Kinsu, Tink and Trussle. These creative at Jazzbones. “And this year, there’s brands, which all target millennials, are been a big focus on duotone gradients as attempting to create a friendly, human feel. opposed to flat colours, which are more But this trend is starting to border on cliché.” limited. A lot of websites are now using brighter gradients with dark schemes, to give Jason Mayo, managing director of POSTAL, a slick, almost tech feel.” reports another simplified colour trend in 2018. “We’ve noticed the ubiquity of pastel Helen Baker, a freelance brand identity still-life photography, especially on the designer based in Wiltshire, concurs. New York subway,” he says. “It has a “Gradients are now recognised as colours in sophistication that places it just above their own right, and are seen in an increasing ‘normal’ product photography; artfully number of logo designs,” she says. “The Brit arranged, part minimal, part fine art, part Awards, for example, has moved from the decorative, but definitely aspirational. It feels use of flat colours in previous years to a rich like the new upper-middle class, urban go-to ‘red carpet’ gradient.” photography style of the year.” Dan Bramham, senior designer at But all that pales into insignificance when Greenwich Design, also raises the ubiquity in compared to the dominance of one particular 2018 of “delicate gradients in logo design; from hue. “The colour known as ‘millennial pink’ yellow to gold, from cyan to mid-blue and so provoked think piece after think piece in on. It’s no surprise that Apple and Sky have 2018,” says Nomi Leasure, account manager at been the forerunners in this trend.” Optimist Inc Los Angeles. “Bright, cheery and androgynous, it was colour that instantly Rachel Brandon, graphic designer at PLMR, made products sell, Instagram posts amass posits that this trend may be a reaction against ‘likes’ and restaurants procure multi-day digital design in general. “With a sense of wait-lists.” It won’t last forever, of course. “At movement and 3D to it, a gradient appears as some point we will reach fatigue, and seek though it has life and weight to it,” she says. another hue to unite us a culture of “As screens take over from physical, print- consumers,” she predicts. “Indeed, right now, based mediums, the life-like look these elements create could be one reason for their sudden surge in popularity.”

NEW DESIGN TRENDS Clockwise from left: Monzo logo; branding for Zoldi Jewels by F61; Sky logo by Sky Creative; social promo for @fentybeauty by Rhianna; Andrés Reisinger’s 3D render 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 - 67 -

ISNPDE UC SI ATLR YR EIPSOSRUTE S JANUARY 2019 slou p e r-gf u n c t ioo n a l design This year has seen more and more Nowhere quite exemplifies the broad move towards simplification better corporates adopting the ‘lower-case sans than logo design. But is there a danger of simplicity becoming similarity? serif’ model, with a reductionist, one-colour symbol floating nearby,” says Michael Johnson, founder of Johnson Banks. “So now we see virtually the same typography used by everyone – from BT to the Premier League, to Airbnb, to Spotify, to Uber, to you-name-it.” He’s not sure whether we’ve seen this trend peak, though. “At first this approach seemed more interesting, more stripped down, more ‘less’ if you like,” says Johnson. “But I’m really starting to wonder quite how long this kind of corporate me-too-ism can continue.” Adam Rix, creative director at Music, feels similarly. He notes sardonically that: “The debate continues to rumble on as to whether every digital brand has signed a pact to evolve their logos to be the same.” Chris Maclean, creative director of Wolff Olins, is among the optimists though. “We’re losing those glossy sheens and skeuomorphic embellishments that are a hangover from the UI design 10 years ago,” he points out. “We’re witnessing a return to classic logo design, where less is more, and anything that doesn’t express the core essence of the brand is discarded.” Furthermore, he believes that the simplicity of the logos themselves is being balanced out elsewhere. “While some might argue that logo design has become more conservative, exciting things are happening in the expressions that surround the logo,” he argues. “More and more brands are recognising that a cohesive brand identity can be a much more expressive palette than the logo alone. This means the identity can evolve while the logo remains consistent over time.” Maisie Benson, senior designer at B&B Studio, suggests there’s also a wider social element to this continuing trend for simplified logos. “Society has developed an underlying mistrust of traditional institutions,” she reasons. “By positioning themselves on the side of the people, brands are looking to create meaningful relationships, and designers are celebrating this shift graphically, with logos stripping away traditional or intricate features.” 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 - 68 -

JANUARY 2019 NEW DESIGN TRENDS Left: Branding for DotDot by Wolff Olins. Above: logo for Calvin Klein by Peter Saville. Below right: part of the Burberry rebrand by Peter Saville. Above: Typography for Uber. below right: Uber’s new logo in the wild “Brands are looking to create meaningful relationships, and designers are celebrating this shift graphically” MAISIE BENSON B&B STUDIO 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 - 69 -

SPECIAL REPORT JANUARY 2019 ctyu s t opm f o not s a ngd d i s rru p tai v e phy We’re experiencing a noticeable trend towards When it comes to typography, too, there are signs that the trend towards simplification more sophisticated typography in web has peaked, and may be reversing – particularly when it comes to digital… design,” says Alex Blattmann, senior designer at Dalton Maag. “Serif styles are, once again, taking centre stage, after years of avoidance in the pursuit of simpler, sans serif forms.” Rick Banks, director of Face37, takes a similar view. “Last year I predicted in Computer Arts we’d see a reaction to the geometric sans-serifs that dominated 2016, and I think I’ve been right,” he says. “Wolff Olins’ Chobani rebrand is a prime example. Pentagram’s Vroom and Mother’s Debenhams re-brands are other highlights. I see this trend continuing over the next few years, with brands and designers wanting more personality in their type and logos.” In terms of ‘more personality’, there’s been somewhat of a mini trend for what Riccardo De Franceschi, senior designer at Dalton Maag, describes as a ‘brutalist’ approach. “This is where type gets compressed or expanded to the extreme, as well as being outlined or even mechanically slanted,” he explains. Jeremiah Johnson, senior creative technologist at The Barbarian Group, believes: “The use of hyper-collage and discordant typography speaks to the information overload of 2018. These designs feel like watching the patterns that emerge in the wake of someone’s late-night web surfing; a confusion of hierarchies and merging of meanings, existing outside of geography and time.” A more mainstream way that designers have been adding extra personality to their typography, meanwhile, has been through the rise of custom fonts. “Brands are asking themselves: how can I be myself if I’m using the same font as a hundred other brands, especially when that other brand is a real asshole?” says Chris Harmon, art director at Loyalkaspar. “In response, more and more brands are making custom fonts that honestly feel like themselves, and no one can copy them.” “At this rate it won’t be long until every company has a custom typeface,” believes Tyler Hendy, graphic designer at Wunderman. “This trend will be a force to reckon with, as it’s incredibly affordable and allows the ultimate creative freedom for designers.” One sign that designers have been making the most of that freedom has been a mini-trend for physical materials (either the material itself or a graphic representation ) in their letterforms. “Things like wood, stone and ceramic give brands a more premium and honest look,” says Martyn Garrod, creative director at Carter Wong. “The rebrand of Shakespeare’s Globe is a great example of this, with a red, circular, woodblock- printed emblem, as is Dutchscot’s restaurant menus for Meraki. Our own work for fashion brand Howies embraced this trend, with the creation of a typeface created out of the wood of a fallen tree, near the company’s base in Wales.” 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 - 70 -

NEW DESIGN TRENDS Clockwise from left: Future London Academy branding by Ony; Superunion logo; Noelle hotel identity by Peck & Company; typography for Howies by Carter Wong; Future London Academy type by Ony; Debenhams creative by Mother 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 - 71 -

SPECIAL REPORT illustrations m a s h e d s t e r e o t y p e s i n Clarity, boldness and honesty rule in technique and subject this year, with a welcome increase in ‘unapologetic’ points of view There has been a shift towards more more nuanced and multi-dimensional straightforward concepts and a more portrayals of women that confront the simple and playful approach to illustration,” status quo. “Scrolling through Instagram, says Andrea Chronopoulos, illustrator and Matisse-inspired nudes follow politically D&AD judge. “Clear, bold shapes and lines charged illustrations of female solidarity with bright colour palettes and sometimes an and resistance,” Thursby-Pelham enthuses. ironic retro feel are certainly a must. Many “Empowered, angry, joyful, funny, flawed, illustrators over the past year started using opinionated… they’re all here. more tools such as the iPad Pro, which gives a more direct feeling to digital image-making. “Alva Skog’s refusal to conform her They’ve been sharing lots of work-in-progress illustrations to narrow, idealist female body of their illustrations, with sketches and types is a key part of her work; whilst Amber speedpaint videos.” Vittoria similarly strives for a more truthful portrayal of women, body hair and all.” And it’s And there’s been one other standout trend not just about what is being produced but in 2018: the varied ways in which women are what isn’t, the designer continues. “The furore being represented through illustration. “From caused by the recent cartoon of Serena gender issues to body politics, what it’s like to Williams in Melbourne’s Herald Sun – deemed be a woman today is being explored in a more sexist and racist – goes to prove that in 2018, unapologetic way than ever before,” says Alex gendered stereotypes aren’t met with a shrug, Thursby-Pelham, lead designer at but with fiery backlash.” Wieden+Kennedy London.” The trend can be seen on both sides of the Galvanised by #MeToo and similar Atlantic. “In London this year, there has been movements, illustrators are feeling encouraged no shortage of illustrators with female points to break away from caricature and explore of view at the core of their work, from Polly Nor’s searingly personal ‘Airing my Dirty “From gender issues to Laundry in Public’ at Protein Studios to Kelly Anna’s empowering ‘SHE STOLE THE body politics, what it’s like SHOW’ at The Book Club,” says Thursby- Pelham. “Across the pond, Sagmeister and to be a woman today is Walsh’s online store sorryihavenofilter.com sells illustrative, female-focused merch, the being explored in a more profits of which go to the ‘Ladies, Wine and Design’ initiative, an organisation working to unapologetic way than address the gender imbalance at high levels of the creative industries. ever before” “This year feels like a time where these ALEX THURSBY-PELHAM varying perspectives aren’t just ‘nice to have’, WIEDEN+KENNEDY LONDON but absolutely necessary,” she concludes. “Fingers crossed that this trend will long outlive 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 - 72 -

NEW DESIGN TRENDS Illustrations by Alva Skog, Jing Wei, Polly Nor, Kelly Anna 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 - 73 -

SPECIAL REPORT JANUARY 2019 motion graphicsm a k i n g w a v e s w i t h With a fun tone and social media in mind, motion is integrating into the branding mix Motion graphics is another arena in which Clockwise from top left: the trend for reduction and simplification is having an influence. “In both 2D and 3D Motion bump by Nico animation, there’s a definite trend of taking on a naïve and fun tone of voice which harks back Vargas; ‘Privatising to our sense of childhood wonder and imagination, with fun, quirky characters,” says Space’ for Vice News by Jordan Painter, motion designer at FLOW Creative. Joel Plosz; two GIFs by Perhaps more significant, though, is what Animade motion designers are being asked to produce, with a seismic shift in 2018 towards social animation departments collaborate, whether content. DMS, for one, has seen a 60 per cent they’re creating custom illustrations, increase in this area, reveals head of motion interactive 3D renders or generative graphics Nico Varga. experiences,” says Hannah Purmort, digital art director at Legwork Studio. “In today’s world, our clients need to engage with their audiences faster,” he says. “So we’re A big driver behind all this is the rapid using bumpers – a five-second teaser before a improvement in software, says Guido promotion trailer – that incorporates engaging Lambertini, creative director of Nice Shit. “On dynamic subtitles to entice the audience to the 2D, cel animation style, it was a huge boost click and view the promotional content. when Adobe introduced the timeline on Photoshop.” Carmen Angelillo, another “Most recently, our motion graphics teams creative director there, agrees. “It’s given lots of have created a range of styles with 2D and illustrators and curious people to start playing classic animation, not to mention the use of with drawing in time,” she says. solid pastel colours. We’ve seen a trend in neon glows and demand for motion graphics with a “We’ve also seen huge change in the 3D lot of resource-heavy physics involved.” world, too,” adds fellow creative director Rodier Kidmann. “It’s amazing how quickly Designing for social means rethinking your you can get from an idea to a cool image.” approach, says Katie Cadwallader, senior designer at Supple Studio Ltd. “Twitter and Of course, this all presents pitfalls, notes Instagram now loops videos, encouraging our Sam Pittman, designer at NB Studio. “I’ve seen films to be more like GIFs and less like stories a huge increase in the amount of graduates with a beginning and end,” she says. “The using 3D software for motion design, which is length of animations is adapting too. Anything exciting,” he notes. “However, the challenge is between 30 seconds and five minutes is now a to overcome the easy wins that software no man’s land: you’re either designing for likes offers, get it out of your system ASAP, and or for a lunch break viewing.” create something original.” This is just a part of a larger trend, which is seeing motion design become better integrated into the branding mix, according to Wouter Sel, co-founder and animation director at Volstok. “More than ever, video is part of the brand instead of merely being a billboard for it,” he says. “Motion design is now deeply embedded in the customer journey.” Part of that involves integration with other disciplines. “Some of the most interesting work is happening when the interactive and 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 - 74 -

JANUARY 2019 NEW DESIGN TRENDS where 2019 next? predictions So where is design heading in Five future trends foreseen by our experts ? Our guess is that the broad societal trend towards a web and 1. A 2D comeback app-based lifestyle mean that strong currents will continue to encourage a “In motion, I think 2D will have a renaissance,” says Nils standardisation and simplification of Kloth, creative director at Territory. “For the past few design both online and off years, there was a huge drive for 3D design to be at the forefront, but there seems to be a shi happening.” And that’s partly a good thing because design is primarily about 2. Integration of the physical solving a problem and the fewer with digital obstacles we can put it people’s way – visual cognitive or otherwise – the “We’re seeing an exciting move towards the seamless be er our work will be integration of the physical and digital within retail, exhibitions and brand experiences,” says Tino But at the same time no one wants Schaedler, chief design officer at Optimist Inc. Los to end up in a cookie-cu er world Angeles. “But as an industry, we’ve only touched the where every single piece of design tip of the iceberg when it comes to these immersive or looks and feels the same So it’s the ‘connected’ spaces.” job of creatives everywhere to manage that pressure thoughtfully 3. Colour ownership harness our imaginations and passions and find new and inventive The aspiration of brands ‘owning’ a single colour seems ways to use design to solve problems to be making a comeback, notes Luke Woodhouse, in a way that’s both functional and creative director at Ragged Edge. “With MailChimp inspirational adopting yellow and Coca-Cola going back to its iconic red roots on cans, it may be we’ll see more No one’s saying it’s easy but that’s brands going back to basics and really owning colour the challenge that ultimately makes as a tool for brand recognition in an increasingly busy design work fulfilling and fast-paced world.” 4. Human-centred motion “The use of animation as a way to improve the user experience of a site or app has become very well established online,” says Laura Walters, designer at The Tin. “The next step will be to translate brand personality into motion principles. A brand that defines itself as ‘human centred’ may choose to animate elements in a way that’s not quite perfect; objects may not land perfectly and may have a slight wobble.” 5. Greater brand transparency “Straightforward copy, clean type and images, and motion with fewer visual alterations will be the new norm going forward,” says Jared Tomlinson of Standard Black. “The trend is all about transparency: brands that show you who they are and don’t tell you what you should be; pulling back on retouching; amplifying user-generated content; and having an inclusive tone of voice. This will permeate all forms of communication, from photography, video, social and copy, all the way through graphic design and identities.” 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 - 75 -

STUDIO INSIGHT JANUARY 2019 STUDIO INSIGHT HOW TO MAKE A SMALL TEAM GLOBAL Rosie Hilder discovers how Hey competes on a global stage, while still finding the time for side projects B ased in Barcelona, Hey began How would you describe Hey’s style? Do you in founder Verònica Fuerte’s flat think there’s anything ‘Spanish’ about it? back in 2007. Eleven years later, I always say it’s not just a style, it’s an attitude: it has become a globally respected it’s something open, fresh and simple with agency, known for its vibrant a strong idea behind it and, of course, very designs and illustrations, fun attitude and bold graphics. I believe design is for everyone, penchant for side projects. so that’s why our style is so direct and fresh. With a long client list that includes Apple, There has to be something Spanish about Uniqlo and Monocle, the team don’t exactly have our style, although it might be difficult to define time to spare, but they still manage to create a what that actually means. Where you live has steady stream of side projects, and in 2014 set to affect the work you do. There are so many up online store, HeyShop, to sell their creations. environmental factors at play that must influence your work. The weather, the vibrant To find out how Hey balances paid work with city, the people… all of these things influence its love of passion projects, why colour is so vital your work directly or indirectly. to its work and how it’s developed the prowess of a bigger agency, we caught up with Fuerte. How did you get your first big client? My first big client was Oxfam Spain. I met How does being such a small team benefit you? the head of communications while on a trip with Does it have any disadvantages? my parents, and we kept in touch. She then Verònica Fuerte: Everyone benefits when it’s suggested I do a big campaign for young people. a small team, because you have a much closer Of course, I was very excited because this working relationship with the client and that is was my first project that wasn’t for a friend. good for everyone. We have a very strong style and it’s easier to respect that style when you’re How do you decide a project’s colour palette? a small studio. Small is also flexible: we can grow Colour is very important — it’s one of the most if needed for a project or collaborate with other important things for us. Colour is a way of people. Maybe the only disadvantage is in the sending a message that is every bit as strong mentality of some clients. Some feel that they and powerful as an image or an illustration, if not still have to work with the biggest companies more so. Colours tell their own story and invoke because that is what they have always done and certain feelings, consciously or subconsciously. that is what they are comfortable with. There are so many different factors to take into account when deciding a colour palette that it HEY can be a difficult process. With experience, and Hey is a graphic design studio based in Barcelona, trial and error, we have fine-tuned our process specialising in brand identity, editorial design and for deciding which colours work best for a client. illustration. It was founded in 2007 and launched its And obviously a lot of that comes from the brief, online shop, HeyShop, in 2014. Clients include Three, and understanding exactly what the client needs. Turkish Airlines, The Wall Street Journal, Penguin Random House and Oxfam. Are monochrome projects ever likely for Hey? www.heystudio.es Sure, we did some in the past, for example Sophie Nguyen Architects, which was only 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 - 76 -

JANUARY 2019 HEY 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 - 77 -

STUDIO INSIGHT JANUARY 2019 Above: To celebrate its 10th year as a studio in 2017, Hey VERÒNICA FUERTE created a retrospective exhibition featuring riffs on ‘hey’ Founder and creative director backwards to represent the studio looking back on itself. Verònica worked for several design studios in Barcelona as a designer and illustrator before she founded Hey in 2007. Aside from the studio, Right: As part of a tribute to Helvetica’s 60th anniversary, Hey she also finds time to teach at several universities in Barcelona and is designed this poster, which emphasises Helvetica’s modernist a frequent speaker at international conferences. In 2009, she won the style and frequent use in the corporate world. ADC Young Guns 7 award. in yellow, and there was a jewellery brand in Mexico (L’Imperatrice) that used black and white. The use of colour responds to a brief, and how we can express that brief using colour. But sometimes, of course, the solution means working in just one or two colours. Saying that, it’s true that some clients come to us because of the way we use colour, and thats’s one reason we have plenty of colourful projects. You have clients all over the world. Is not being physically in the same place ever a barrier? Over time we have evolved a process that is pretty effective. We always try to have the first video conference early — ideally before anything has been agreed. This helps to get to know each other and make sure we understand each other. It saves time in the long run. Once the project is up and running, then contact can be kept via email and there’s the occasional video call if things need to be clarified or resolved quickly. Distance from the client is at most a slight inconvenience. There are only little issues like time zones that are easy to work around. Distance is never a barrier though. After all, we or the client could just jump on a plane if necessary, but it rarely, if ever, comes to that. You could argue that there might be less confidence or that some information could be missed when you aren’t in the same room, but all these things can be negated by being organised and getting things right at the very beginning. Physical distance is simply not a problem in the same way that, say, something like ideological distance is. The only barriers are often mental or cultural. Some people still cling on to face-to-face meetings in a similar way that employers here in Spain still like their workers COMPUTERARTS.CREATIVEBLOQ.COM - 78 -

JANUARY 2019 HEY Clockwise from above: The visual GET MORE FROM identity for Barcelona-based SIDE PROJECTS footwear brand, Arrels, strikes a balance between the urban look of Hey discusses how to make the shoes and their rural roots, while the most of passion projects emphasising the brand’s penchant for fashion and music;The branding 1. BELIEVE IN YOUR PROJECTS for this range of savoury vegetable You should give just as much importance jams is based around the idea of to the personal projects as the paying sharing and fun. The labels are projects, says Paula Sánchez, Hey’s project die-cut to represent the “constant manager,“but obviously only when the nibbling that the food provokes”; paying part isn’t a pressing concern!” Hey’s wordmark for children’s fashion brand Cokoté features six Don’t just start a side project for the sake soft colours that conjure up ideas of of it though, she adds:“do it with passion child’s play, without feeling childish. and believe in what you’re doing.” PAULA SÁNCHEZ Personal projects can also help with Project manager client work in the end, says designer Paula was meant to be a journalist. She studied journalism in Madrid, Adrià Molins.“Create personal projects that but then did an MA in cultural management, specialising in creative enrich your style and work as a creative strategy and planning. She has worked in various roles at creative exercise that transfers over to the studio.” companies and institutions such as Canal+ and Círculo de Bellas Artes. She joined Hey in 2015. 2. DON’T PANIC ABOUT WASTING TIME “With self-initiated projects, we have time to explore and innovate, and if we come up with something that we like, we can inject it into our commercial projects,” says founder Verònica Fuerte.“You are never wasting your time when you are taking ideas further and playing with new graphic forms.” 3. LOOK AT OLD IDEAS If you’re stuck for an idea, in either personal or client work, it might be worth looking back at your sketchbook.“Revisit your doodles, sketches and rejected ideas from other projects,” advises Molins.“Perhaps there’s something in there that can work when taken in a different direction.” 4. SHARE YOUR WORK Put your work out there, says Sánchez. “Share your projects with the enthusiasm and intensity that you made them with.” Don’t be afraid to share your process, too, “even if it’s not very well done,” adds Fuerte. “Perfection is for your website, Instagram is for having fun. It’s more about information not presentation, so just worry more about getting your message out than how it looks. This doesn’t come naturally for designers, which makes it even more interesting! “Moments are not always perfect,” she continues.“Hardly ever, in fact. So just be honest and show yourself as you really are, not how you think you should be. That honesty has a value and charm that can’t easily be faked.” 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 - 79 -

STUDIO INSIGHT NOJVAENUMGUUBARSERYT 20 1 98 in the office where they can see them, rather a bit random — the time we spent was when we than the option of sometimes working more could. Now it is more regular because it is now an productively from home. integral part of who we are. Top left: Different flavours and What’s your initial process when a new brief Spring of 2018 saw Hey venture into a wholly ingredients of this craft beer range from a client comes in? new area of design. Can you tell us more about for Caravelle are symbolised by varying If it is a small project then one person can the FUGA Collection? colour palettes and gradients. handle it. But if it’s big, the whole team work on it FUGA Collection is a personal project that because everyone has different skills and ideas. evolved to become our first personal textile Top right: Hey created this campaign project. We wanted to go further and ask why to celebrate the partnership between Our working process is not rigid but it usually our graphics couldn’t go on other materials, UNIQLO with MACBA — the Museum follows the same format. First, we do our in products like fabrics, so this is our first non- of Contemporary Art of Barcelona, research to find out information that might help paper product range. This collection explores connecting the square logotypes us understand the client better. We look as well graphic compositions that play with the depth of both brands to great effect. for ideas and inspiration about what we could of enclosed spaces, and consists of a silk satin do for them. We will all come up with options scarf, a high-quality polyester wall-hanging Above: This visual identity was created and ideas that we share, discuss and develop and a woven cotton blanket. These three subtle for the Fundació Joan Miró museum’s together. From this we will usually select a pieces are produced in Spain and the USA. temporary exhibition that reinterpreted few to present to the client. It’s a collaborative modern art history through its approach, which is something that works well in Although you’re branching out, a lot of your relationship with chess. a small studio. Over time we have become much work is still in print. What do you like about it? more efficient in how we work and good working In digital you can replicate something as many processes are what make you more efficient. times as you want, which has huge advantages. But print as a product is unique, and uniqueness Why did you decide to set up the HeyShop four has the greatest value in our profession. years ago, and how much time do you spend working on it? What’s next for Hey? I decided to open the shop because we were Continuing doing what we do, doing it well and, getting emails from people asking to buy the ideally, doing some new things we’ve always illustrations we had on social media. So in the wanted to do. For example, I would like to work end we thought there was demand. Being able on a big identity. Being a small studio can to reach the public directly rather than via a sometimes be a problem for that type of project. client is also an interesting way to work — the But we are trying and will keep on trying, and creative process and customer reaction to your I hope and think that soon we will get one. Also work is a bit different from the way you normally I would like to invest more time in developing new work. It’s also a space where we can explore products for the HeyShop. A physical HeyShop without limits. In the beginning, everything was is perhaps one of the next things I have in mind. ADRIÀ MOLINS You’ve had great success attracting big clients. Designer What advice would you give to a small studio Adrià specialises in typography and lettering. After graduating in attempting to do the same? graphic design in 2015, he started his career working for calligrapher Know that you’re a small studio but act as if you Ricardo Rousselot. He later worked as a junior art director in Vasava were a big one. Sometimes people who visit our Studio and Herraiz Soto & Co before joining Hey in 2017. He loves website think that we’re a big studio, because of calligraphy, street art and good coffee. how many projects we’ve done, and they’re often surprised when they meet us. If you’re a small studio, you have to make your projects bigger. 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 - 80 -

JANUARY 2019 HEY Clockwise from top: Self-promotion and side projects are a big part of Hey’s offering. So naturally, it has to have memorable business cards; Hey created these shopping bags for the launch of UNIQLO’s first Spanish store in Barcelona in 2017; The FUGA Collection is Hey ’s first foray into non-paper products, and was originally a personal project. It has since turned into a textile exhibition and range of products sold in the Hey Shop. The woven cotton blanket is pictured here. 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 - 81 -

PROJECT DIARY JANUARY 2019 PROJECT DIARY CARLSBERG REBRAND: TIMELESS CRAFTSMANSHIP With sustainable thinking at its heart, Taxi Studio's distinctively Danish Carlsberg rebrand is designed for longevity, rather than pandering to short-lived trends 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 - 82 -

JANUARY 2019 TAXI STUDIO FOR CARLSBERG JESSICA SPENCE SPENCER BUCK Chief commercial officer, Carlsberg Group Creative partner, Taxi Studio As part of Carlsberg's global management team, Spencer is Taxi’s co-founding creative firepower. Jessica reports directly to the CEO. As the main With extensive cross-category experience, he client-side sponsor for the rebrand, she was oversees the agency's creative output, as well responsible for ensuring the project aligned with as managing and nurturing relationships with Carlsberg Group's global commercial strategy. key clients — including Carlsberg. A PIONEERING SPIRIT Jessica Spence Carlsberg has an incredibly unique history. There's no other brand that has played this sort of role as a turning point in the global brewing industry. That makes something like this project an incredible opportunity to work on. The founder, JC Jacobsen, said in his will: \"In working the brewery we should be in constant pursuit of better beer, so that the brewery may always set standards and assist in keeping beer brewing at a high and honourable level.\" Jacobsen was acutely aware of the impact of what he was doing and its effect on society. When he says a 'model' he means in all senses, not just for the quality of the beer, but for the way it's made, the impact it has on the community and the world around it. We do try and live by these 'Golden Words'. We haven't always done that as much as we could have over the past 150 years, but for this project it was at the heart of the brief — that idea of setting a standard, of having a PROJECT FACTFILE BRIEF: Long-time client Carlsberg briefed Taxi Studio to develop a coherent, holistic identity system that could unify its diverse global markets and champion the principles of great Danish design. The strategy includes a meaningful commitment to sustainability, driven by the pioneering spirit of founder JC Jacobsen, who pledged in his will that the brewery would be in 'constant pursuit of better' across the board. THE AGENCY: Taxi Studio, www.taxistudio.co.uk THE CLIENT: Carlsberg Group, www.carlsberggroup.com PROJECT DURATION: 2 years LAUNCH DATE: Sept 2018 in Scandinavia (global rollout ongoing) 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 - 83 -

PROJECT DIARY JANUARY 2019 JESSICA FELBY TOM LANE Global design director, Carlsberg Group Designer and lettering artist Jessica was responsible for the creative direction An independent graphic designer based in Liverpool, of the Carlsberg rebrand from the client-side, Tom specialises in bespoke lettering, branding, collaborating closely with Spencer Buck throughout illustration and typography. His portfolio includes the process. Prior to joining Carlsberg in 2010, she packaging and identity work for everything from was a design manager at Coca-Cola. boutique start-ups to major global brands. categorical responsibility for what beer and the 01 Carlsberg's art of brewing is all about. brand colours – a ‘Rich Green’, with a There's often a tendency for a brand with light, zingy ‘Hoppy a heritage as rich as Carlsberg to end up doing Green’ accent. packaging work, or even advertising work, that is historical — that feels retrospective, 02 Carlsberg's that pays tribute to the past, but doesn't feel 171-year heritage of the moment. is documented in 2.5km of archives. A key part of this rebrand was making that heritage of sustainability more real, more 03 For inspiration, present, more fundamental to the brand than a Taxi and designer lot of other brands are doing. I wanted this baked Tom Lane visited into the heart of it — into every element we Carlsberg's thought about. Copenhagen HQ. CRAFTED TO LAST 01 02 Spencer Buck and Jessica Felby 03 The Carlsberg brand had lots of great pieces of design, but there was no holistic look and feel globally. They didn't tell one story, and they didn't bring the positioning together. We created the design brief together, based on a huge amount of research, deep-dives, digging into the archives. We studied Danish design very hard, to try and decode what it is that makes it have that perfect balance of form and function, uncluttered but not cold. We wanted both beauty and practicality. It had to be so beautiful you wanted to hang it on the wall, but it also had to work in all kinds of different situations. At the beginning of the project, the remit was: 'Don't touch the logo.' To get the business behind the thinking of why we needed to reappraise it, was a massive bit of bravery on their part. By re- crafting the logo, we actually enabled something that wasn't previously possible — locking elements up with it, as part of a holistic system. It was about creating a system that was easy to implement, and wherever implemented presented Carlsberg in the best way. We've cut out a lot of the fat, and tried to keep the palette and the toolkit as simple as possible. Every aspect of the design has been agonised over. Kerning, colour palettes, structure… Everything has been crafted to the nth degree. From the new typeface we've created, to the identity itself, to the system and the way it applies as a master brand drives this constant 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 - 84 -

JANUARY 2019 TAXI STUDIO FOR CARLSBERG THE TOUCH OF A CRAFTSMAN Designer and lettering artist Tom Lane was brought on board to help fine-tune Carlsberg's brand assets From the hundreds of examples in the Carlsberg archive, I narrowed it down to five or six that sung to me; that had interesting quirks and the basis of the solutions to some of the problems identified in the brief. The core aspects of the original logo are the oversized C, with the rest of the letterforms hugging inside it; the tail; the distinctive Rs; and the distinctive B. We didn't want to lose those aspects, as they are core to Carlsberg. The biggest challenge was to create a tail that allowed for a world of information to sit underneath it, and we explored multiple ways to make the curve 'hug' the type below. There are also flairs to how certain forms connect: the 'b', 'e' and 'r' flow into each other in a much more fluid way, for instance. JC Jacobson's signature was another challenge: the form we had wasn't going to work for a modern brand needing flexibility. My task was to clear up any legibility issues, and make it more authentic, capturing things like ink bleed. Put it all together and you have a signature that feels like it was written 100 years ago, but usable in a modern context. I love how stripped-back the final design is. Taking it all back to the core identifiable aspects, and letting them sing, is a bold move that follows the Danish design philosophy: that everything should be necessary. 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 - 85 -

PROJECT DIARY JANUARY 2019 impression of Carlsberg in every market. The the Carlsberg brand. To confidently assert 04 discipline was in being utterly restrained, 'Carlsberg' across all its variants is a first, mindful of the fact we had a job to do to deliver and for us that's better. “The discipline a global system that would work in all markets. was in being The design doesn't employ gradients, or effects, IN PURSUIT OF BETTER restrained, or jazz or bells or whistles, because that's not mindful of the Danish design. It's there to do a job, as well as Jessica Spence fact we had a look great to those who see it. I hope that when people see the new design, they job to deliver” see freshness, modernism, simplicity, the roots The new design system is very much anti- of Scandinavian design and Danish design, and trend. It's designed to be permanent, or at least that the heritage is almost in the background. more permanent than any iteration of the design I don't think you have to look old-fashioned to system has been before. be true to your heritage. Designs used to last 10 years, then five years, The challenge now to us is: 'What next?' now brands redesign every three years. They're How do we keep building new features, new ways all based on trends that are going to go out of of working, around our packaging and around style. This was a massive insight for us to say: the whole way we produce and deliver the beer, 'We're not going to do that.' to make sure we're constantly raising the bar? We didn't want all of the signage and I don't think we could have done this project everything you see on the streets today to without those Golden Words given to us by be in the landfill tomorrow. The thinking JC Jacobsen, and I hope if he's looking at it, was that there shouldn't be any need to change that he feels it's the right reflection of what this for a good long time, and that's part of he was talking about. the sustainable thinking that was built into the very core of the brief. I'm over the moon with where we've got to and what we've managed to achieve. I love the 'Betterment' has always been critical to design, not just the packaging, but the world that Carlsberg, certainly in its past. It may have we've now created for the brand to live in. It feels lost its way a little bit in the near present, but so much more true to our roots. It feels Danish; it'll certainly be fundamental to the future of it feels like it comes from somewhere real. 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 - 86 -

JANUARY 2019 TAXI STUDIO FOR CARLSBERG 04 The rebrand includes a bespoke branded typeface, using a character set by Tom Lane. 05 At the heart of Carlsberg's drive for sustainability is the innovative 'Snap Pack', which swaps plastic rings for glue dots. 06 Insightful stories of 'betterment' are heavily featured from packaging to beer mats. 07 The new brand enables text to be 'locked up' beneath the logo for the first time, making for a versatile and holistic system. 08 JC Jacobsen's iconic signature features prominently on the neck of the new bottles. 05 06 08 07 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 - 87 -

>WORKSHOP JANUARY 2019 WORKSHOP The Association of Illustrators (AOI) is a not-for-profit trade organisation TELLING THE promoting contemporary illustration STORY OF A RIVER and maintaining industry standards. Established in 1973, the AOI works Author and illustrator Monika Vaicenaviciene to increase the standing of illustration reveals the methods and meanders behind as a profession and improve commercial creating picture book What Is a River? and ethical conditions, and support illustrators at every stage of their career. COMPUTERARTS.CREATIVEBLOQ.COM - 88 -

JANUARY 2019 WHAT IS A RIVER? MONIKA VAICENAVIČIENĖ Illustrator and author Monika Vaicenavičienė is an illustrator and picture book author, who won a 2018 World Illustration Award in the Children’s Book Category with her illustrations for What is A River? Illustrations from her picture books have also been shortlisted at Bologna and Shanghai children’s book fairs, as well as other international competitions around the world. www.monika.vaicenaviciene.com THE BOOK Monika Vaicenavičienė What Is a River? is an upcoming picture book about rivers and the plentiful connections we humans have with them. The narrative follows a child and her grandma on their imaginary expedition to find an answer to the eponymous question. Each spread of the book attempts to suggest a possible answer: Journey, Home, Name, Smell, Riddle, Memory… The book balances factual information and poetic storytelling, touching upon various meanings and associations rivers have in different contexts, including folklore, myths, cultural metaphors, people’s daily needs, 01 environmental problems, and geography. 02 COMING UP WITH THE IDEA 01 Rivers tend All my childhood in Vilnius, where I am from, to have different I have lived close to a river. If you think for a meanings in while, rivers are just fascinating. They have different contexts. many powers: they carry sediments and My picture book sentiments, revive lands and minds, connect aims to reveal places and times. They are sources of life and more about that. of conflict; paths of stories travelling the Earth. Their flow constantly reminds us we all live downstream, or upstream, from someone. When I started my MFA in visual communication, I decided to do a project about rivers. I read other picture books I could find about rivers, and realised I wanted to make one myself, but one that would speak about rivers in their entirety — physical, geographical as well as cultural and metaphorical objects. I wanted to explore those different relations between nature and people, and also find a way to talk about the subjects that mattered to me. And so, for my graduation project, I set myself the task to create a book that would help children and adults to look anew at their surroundings, befriend them, and encourage a sense of care for our planet. 02-03 Character RESEARCHING THE MATERIAL sketches and cards with river From the start, research was an essential part stories helped of my project. Having formulated my aims, me structure the I started looking for relevant material and 03 book’s material. interesting stories about rivers from all kind of COMPUTERARTS.CREATIVEBLOQ.COM - 89 -

WORKSHOP JANUARY 2019 04 All illustrations 04 started as drawings made with gouache, watercolours, colour or pencils. 05-06 A rough pencil sketch and the final original drawing, the second of which was then scanned and cleaned up in Photoshop. After finishing the drawing on paper, I attach notes to it to remember what should later be refined. 05 06 “The narrative sources that came into my view: documentaries, going-to-be book to notice the inner urge in should flow encyclopaedias, environmental project web the narrative to tell all these stories. throughout pages, news articles, old and contemporary the book — it’s photos, descriptions of museums artefacts, Eventually, while rearranging my sketches a book about and so on. I also noted down my own memories, again and again, two images came together: a rivers, after all!” associations and thoughts. grandma embroidering on a riverside and a girl letting a flower wreath flow into a river. At that ARRANGING THE NARRATIVE moment I knew they would be the characters that will tell the story of a river, carrying on I imagined my book to be something like an the narrative in their imaginary expedition to atlas, with a variety of themes detailed in find out what a river is. And a river, besides the different chapters. Arranging my collection of categories I had come up with earlier, will also river stories in different ways all around my a thread — a physical thread on the grandma’s studio, I eventually made a list of categories that fabric in the wreath holding flowers together, described what a river — every river — could and a figurative thread that embroiders stories be, and used it as a basis for the chapters that on the earth, stitching the stories into the book. ultimately appeared in the book: Journey, Home, Refreshment, Name, Meeting place, Riddle, CREATING THE BOOK Memory, Depth, Energy, Reflection, Path, Ocean. Having set the narrative structure for my book, What I was looking for at that time, was a I went on editing the manuscript and making the possible connection between these chapters. final visuals. Each chapter was going to take one The narrative should flow throughout the spread. The choices I made about the structure book — it’s a book about rivers, after all! of the narrative suggested certain principles. I knew I had to come up with a reason why all these stories were there, why they mattered. In each spread, the characters appear. The I wanted my book to be more than a compilation story begins as they sit and talk on the riverside. of interesting details; I wanted readers of my In consequent spreads, they are involved in different stories imagining themselves to be at COMPUTERARTS.CREATIVEBLOQ.COM - 90 -

JANUARY 2019 WHAT IS A RIVER? 07 A spread about different layers from my considered: a 09 rivers and memory arranged digitally. handwriting. dark, night version from the first and a light, English dummy. 08 The Swedish 09-10 Two morning cover. The illustration is edition’s text is versions of the We used the latter. composed of set in a font made book’s cover were 07 08 10 various places around the world. Sometimes MAKING THE COVER Call for entries for 2019’s they are more directly participating, sometimes World Illustration Awards is merely observing. Another reoccurring element For the cover I had made two sketches. They open from 21 November to is a teal-coloured stroke underlining the chapter both feature my characters in a green boat 31 January. Find out more titles, referencing grandma’s embroidery. on a river, grandma holding her embroidered here: www.theaoi.com/ tablecloth, travelling into the distance, but world-illustration-awards To draw the illustrations, I used colour and one is set in the morning and the other at night. graphite pencils of different softness, gouache, The morning cover is drawn with soft warm watercolours and some carved marks on colours, the rivers is in fog, and the line between 250g smooth heavyweight paper. I scanned the water and the sunrise sky is not clear. The my drawings in layers and put them together environment in the night one is more detailed; digitally in Photoshop, refining colours, cleaning a reader can see a small river, its banks with up or changing transparency blending mode, forests, stars flickering in the sky and reflected if needed. I usually started with a rough pencil on the river. After a discussion with my Swedish sketch, which I then scanned and added colour publisher Opal, the light morning cover was layers in Photoshop to get an idea of a good selected. The light morning one, I think, suits possible composition for the final drawing. the story better, because it suggests a beginning while leaving more space for imagination. For the first English version of the book which I presented as a dummy at the graduation END OF THE JOURNEY exhibition of my university, I have used hand- lettering for all the text in the book. I initially At the time of writing this article, my book is wrote the text on a piece of paper, then scanned still not published, though all the preparation and applied as a layer on the illustrations. Since is nearly done; with the publisher Opal, we are then, the publishing rights of the book have been choosing paper for the inlay, discussing cover sold to quite a few other languages, so I also varnish, finalising copyright and other technical made a font from my pencil lettering using a texts of the book. I am very curious how, after Photoshop plugin called Fontself. all this meandering, the book will come out. 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 - 91 -

PROJECT DIARY JANUARY 2019 PROJECT DIARY DON’T HIDE IT: NH1 NORMALISES PERIODS How the Indian design studio NH1 decided to tackle the taboo that surrounds menstruation through an impactful self-initiated 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 - 92 -

JANUARY 2019 NH1: DON’T HIDE IT. PERIOD. NEHA TULSIAN SUKRITI SAHNI Creative director and founder, NH1 Design Designer, NH1 Design After honing her skills at the London College of After studying communication design at the Pearl Communication, Neha spent 15 years working for Academy in Delhi, Sukriti joined NH1 three years design studios around the world, and is a member ago in 2015. Her approach to design is simple, of the International Society of Type Designers. methodical and witty. As well as design she does Returning to India, she founded the boutique studio some copywriting for the studio. Sukriti finds NH1 in 2013, which went on to win four Kyooriu humour in everyday scenarios and people, often Blue Elephant Design Awards in consecutive years. drawing comics about them. 01-02 NH1 THE CONCEPT designed a packaging system Neha Tulsian and a campaign The Don’t Hide It. Period. campaign came about to challenge the after we were approached by a sanitary pad norm when it company in India for a rebrand. We drafted our comes to sanitary early concepts, but the client felt the idea was pads. The design too bold for the market. The idea lingered in itself, and the our minds for a year, so we decided to just do sleeve each pad it on our own and create our own sanitary pad comes in, is campaign. Everyone on the team contributed. designed to spark conversation Having a period is as natural as eating, about periods. drinking and sleeping, and the human race wouldn’t exist without it. Yet most of us loathe 01 talking about periods. Menstruation is still a taboo subject in many parts of the world, 02 including India. In some places, women might be restricted from cooking or attending temple PROJECT FACTFILE when on their periods. In India, sanitary pads are wrapped in newspaper or black plastic bags and BRIEF: After a pitch to a feminine hygiene client was turned down for appearing handed over in a hush when purchased. Even in too bold, NH1 decided they’d change attitudes towards periods themselves. With the modern cities, people shy away from talking the entire studio on board, they set out to create a sanitary pad product using about periods — menstruation is the secret that new packaging that would ignite conversation around this taboo subject in India everyone knows about but nobody talks about. and beyond. They backed that up with a social media campaign and teaser video, with all proceeds going to charity. We wanted to use design to take away the STUDIO: NH1 Design, www.nh1design.com stigma and start an urban dialogue about the FASHION PARTNER: Not So Serious by Pallavi Mohan, menstrual cycle with an end motive of helping www.facebook.com/NotSoSeriousByPallaviMohan rural women to get access to low-cost sanitary DISTRIBUTION PARTNER: Nykaa, www.nykaa.com pads. Despite all the different forms of media PROJECT DURATION: 10 months available, we felt that the first point of the communication should be the packaging. Women interact with a sanitary pad every month. It lives hidden in our bathroom cabinets. Wouldn’t it be fantastic if every month the packaging system engaged us in the conversation and encouraged us to open up and talk about periods? THE DESIGN APPROACH Neha Tulsian and Sukriti Sahni Part of our research focused on positive communication about periods carried out by various brands across all types of media: packaging, digital campaigns, posters, illustrations. We realised that most of the 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 - 93 -

PROJECT DIARY JANUARY 2019 RAGHAV KUMAR NITIN SHEKHAR Designer, NH1 Design Designer, NH1 Design Raghav specialised in Communication Design at the An alumnus of the Industrial Design Centre at the Pearl Academy in Delhi in 2012, and his interests Indian Institute of Technology Bombay, with a range across branding, typography, photography Masters degree in Visual Communication, Shekhar and inclusive design. Outside work he likes to read specialises in filmmaking and type design. His skills and understand more about the differently abled range across branding, motion graphics, type and their behaviour. He also enjoys practicing design, so you could say he specialises in being lettering and backpacking. a visual design generalist. positive messages were confined to a poster, 03 an ad or an article. There was a clear need for 03-04 To develop thought-provoking packaging. We decided to the printed canvas create a canvas bag outer package that would bag packaging contain 10 regular sanitary pads, each in a and t-shirts, NH1 sachet with an individual tagline that would worked with spark conversation or dismiss one of the taboos. designer Pallavi Mohan from the ‘Don’t Hide It. Period.’ and the other messages fashion brand Not were derived from various insights: women are So Serious. embarrassed to talk about periods, they are shy to ask for a pad, and they whisper about 04 the topic. All the communication we drafted resonated with these insights and the process of elimination was simple: if the user found they connected with the message, we kept the line. The look and feel had to be the complete opposite of the existing design language seen on feminine hygiene products, which feature overdoses of pinks, flowers, flourishes and butterflies. Our one clear approach was to keep the focus on the messages and make the design hard hitting so that people would look and pause. We used irregular polka dot shapes in different shades of red on the individual pads and on the outer bag. Nobody had used red to represent periods before — it was another taboo. Dosis and DIN Next Rounded Pro were the fonts used for the design. They are simple, rounded sans serif typefaces that express a strong, but balanced voice without being too loud. We used Trend Sans for the packaging as its rough edges complement the distorted red spots and it has a fashionable aesthetic. PROCESS To start a bigger conversation, we had through objects dressed in bright to create curiosity for the campaign. red paint: a wall of eggs breaking BEHIND We began with interesting social (the onset of periods), hot water THE media posts, and launched a teaser bottle (period pain), chocolate and SCENES film before the product went live. Our pizza (cravings that come with PMS) core message is ‘Don’t Hide It. Period.’ and so on. With periods also come NH1’s Raghav Kumar We thought,“Why not show exactly certain taboos.The latter part of the and Nitin Shekhar that. Why not make things bleed?” film is a visual satire on such taboos describe the creation represented in the same way, such as of the campaign’s Created on a budget of £100, the ‘women can’t enter the kitchen or a video teaser concept for the film was to showcase temple while on their period.’ a visual journey of the period cycle 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 - 94 -

JANUARY 2019 NH1: DON’T HIDE IT. PERIOD. 05 Promo shots, message in a 06 A low-fi but sketches dictating 7-10 Hand-made well-finished such as red humorous way. effective plan was how to capture visual effects, promo with plenty sweets cascading devised for the each image. created on a tight of symbolic blood, out of a pair of video promo, with budget, led to a eggs and underwear, set up a shot list, remarkably questions for for a challenging shopping list and smooth and viewers to answer. 06 05 06 04 07 08 09 10 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 - 95 -

PROJECT DIARY JANUARY 2019 11 The NH1 team 12 Campaign 13-14 15 12 handled all shots capitalised As well as By inviting aspects: product on the messaging challenging a consumers to idea, design, created for the taboo and getting participate by sales, social pad sachets, with people talking, the uploading selfies, media, creating a the product put project has led to NH1 spread the campaign, into a variety of awards and media campaign and the 360-degree contexts. recognition within conversation via planning and India and around social media. execution. the world. 11 13 14 The main challenge was to finalise the by the response. Our inbox is full of positive structure of the outer bag — specifically its size, messages from women and men applauding the the fabric, and how it would function. Pallavi concept. People have proudly shared pictures Mohan of the fashion brand Not So Serious of themselves with their #donothideitperiod helped us perfect it and we went through rounds pads. It has been covered by leading magazines, of prototyping to get it right. Once the fabric was newspapers and TV channels not just in India, digitally printed, it was washed and dried for but all around the world. the correct colours to set. We purchased 10,000 Once we had the finished products in our pads from the client we originally pitched to, then hands, we asked ourselves what more we could printed and laser cut the individual messages do. We began with the aim of starting an urban for each pad. Then we set up a production line in dialogue around menstruation, with an end our studio putting 10 pads with their messages motive of helping rural women get access to into each bag by hand. We partnered with beauty affordable sanitary pads. We came across The retailer Nykaa to sell the product online. Better India and Aakar Innovations projects THE VERDICT that were raising funds to set up a factory manufacturing biodegradable sanitary pads in Neha Tulsian Rajasthan, and distributing low-cost pads to Though the campaign was conceived to run local women. The proceeds of all our sales are 15 for a limited time, we have been overwhelmed being donated to these initiatives. 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 - 96 -

DIGITAL ISSUES ISSUE 286 LOGO DESIGN READ EVERY ISSUE OF CA! The secrets to good logo craft revealed Missed a print copy of CA? Simply download our digital Why we need to talk back issues on iPad or about mental health Android and catch up... Yuko Shimizu on her journey to becoming a celebrated illustrator ISSUE 285 ISSUE 284 ISSUE 283 ISSUE 282 BEST UK STUDIOS BIA AWARDS TYPE TRENDS GRAD HIGHLIGHTS We rank the top 30 design studios 2018's Brand Impact Awards Advance your design skills through 2018's finest UK creative graduates based in the UK, and discover why winners revealed, and find out how experimental typography. Plus, are revealed. Also, learn the best big brands need to be ethical. Also, to best make a mark in illustration. Studio Sutherl& discusses keeping way to nail textile design, and Asa Jamie Ellul discusses the value of Also, Chris Moody offers insight on design simple yet brilliant, and Cook discusses how to make your a good work-love balance in design. bravery tackling mediocre design. freelancers reveal how to cope. brand campaigns more personable. GOT AN APPLE DEVICE? Download Computer Arts for your iPad, iPhone or iPod Touch. PREFER TO READ ON ANDROID, PC OR MAC? A digital replica of CA is also available on Google Play and Zinio, as well as Kindle, Nook, Windows 8 and more. www.bit.ly/CA-iPad www.bit.ly/CA-iPadUS (US store) www.bit.ly/CA-GooglePlay www.bit.ly/CA-Zinio

DESIGN INSPIRATION JANUARY 2019 Valentina D’Efilippo is a London-based creative director, illustrator and designer who has won multiple awards for her design work centred around data and information visualisation. PHOTOGRAPH: Andrea Macchia ALL OVER THE MAP We use maps to guide us daily. We see creators were from — The Philippines or this form of mind mapping has become them everywhere – on our phones, in our Pakistan, Cuba or US and so on — these a powerful tool. It’s now one that I use in cars, embedded in articles we read. But drawings are geographical representations my practice as a designer, as well as an when was the last time you considered shaped around the recollection of educator to illustrate the principles behind how well you were able to represent personal experiences. At the risk of visual storytelling and data visualisation. the geographies you navigate so easily? stating the obvious, drawing the world When did you last endeavour to sketch a from memory is a process of sketching A map drawn from memory isn’t so map of the world from memory? Perhaps geographical characteristics, enriched by different from the representations we you’ll want to try it out after reading this. the recollection of academic study, travel create as designers. Even in the most Immediate and surrounding geographies experience, and contextual influences, objective attempt to map a dataset, will appear disproportionately larger mixed with our ability to visually piece we cannot completely remove our biases. than the rest of the world. And, relatedly, them back together in a landscape. Maps are inherently subjective — no the impulse to check the matter how detailed or scientific, they internet for a visual Many observations can be drawn reference will be strong! from my large catalogue of maps. We can reflect one’s worldview and easily identify differences in cultures and the age in which one lives. As a designer tasked with geography, as well as geospatial recall and presenting our world through artistic skill. What I find most fascinating When we map a dataset, the mapping of information is the degree to which individual we are first the explorer who and data visualisation, I have perspective informs how we elaborate and identifies what is important. become fascinated by the embellish when we display the world. Then, we become the guide manner in which we encode who decides how to best and decode world geography When I ask for a map, what I am really communicate those insights. in its simplest form: the saying is ‘show me your story’. In this hand-drawn map. And over context, there’s no such thing as a perfect Through the years, the past decade, I have asked map, as any can be accurate when I have used this exercise people in (and from) different presenting the creator’s point of view. in workshops with students geographies to draw a map and practitioners. I have of the world from memory. This is a hobby. Yet, my passion for seen how this process capturing individual perspective through can highlight the role I started in 2009 when I of a creator’s perspective, was travelling in Japan, where and how it can offer for the first time, I saw a tangible insight on how we ‘foreign’ representation of understand data and the the world in which Europe was not in the process of telling stories with middle. A strong feeling of disorientation numbers. I believe sketching was followed by a persistent desire to the data (rapid prototyping) frees the mind understand whether individual mind maps from natural (or normal) constraints. It were globally influenced by the same can focus our attention on meaningful conventions of representation. So, I asked relationships and potentially lead us to local people to draw the world map from unexpected places. memory. Invariably, Japan was the focal Our hands are closer to our hearts point, both in terms of location (centre), and minds, than any other visual analysis proportion (largest), and definition (most tool. In the process of sketching, you can detailed) of all 16 drawings. find yourself, your understanding of the subject, and you can unleash the creativity In the years since, I’ve collected to ultimately define the story that really hundreds of hand-drawn maps and most matters. As designers, we have the demonstrate a clear, ego-centric way of responsibility of influencing others and depicting the world. No matter where the guiding their understanding of the world by way of reshaping their own mind maps. 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 - 98 -

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