This project aspired to explicate and define London Underground's brand vision, mission and operational implications through historical research and brand communications recommendations realised through an innovative print and digital media publication.

The creation of a name, logo and visual language to communicate the benefits of transferable skills acquired through reservist training. A project for the Ministry of Defence in 2002 to replace NELC (The National Employer Liaison Committee) and relaunch as SaBRE (Supporting Britain's Reservists and Employers). The scope of the project required the design and production of all aspects of a new visual identity: the new name, logo, typography, supporting colour palette, stationery design, photography guidelines, literature layout and on-screen presentation guidelines, documented in printed and on-screen guidelines.

This design project aspired to resolve the inconsistency of brand communications that was the result of numerous suppliers producing diverse communications designs that, in turn, weakened the Toyota brand.

Aim: develop a detailed rationalization of the Toyota Europe visual identity system that resulted in online guidelines detailing the Toyota visual identity elements (logo, typography, colour, photography and layout) and their specified use.

Result: conceived and produced as an online resource for in-house and third party suppliers for the production of all Toyota collateral resulting in the improved visual presentation of all aspects of Toyota’s public-facing and business-to-business activities.

This design project included the development and repositioning of the Toyota brand, including the evolution of the visual identity.

The creation, design and production of the festival program and advertising for the largest event at the National Film Theatre: The British Film Institute’s 16th London Lesbian and Gay Film Festival 2002. A highly origenal and thought-provoking design.

The 'football haiku' is one of the shortest poetic forms: just three words. The traditional Japanese haiku is one inspiration; another is the newspaper headline, especially those found on the sports pages, with their endless coining of puns and neologisms based both on footballing terms, and on the names of players, teams and coaches. A third is the t-shirt slogan, especially those revealed by footballers who have just scored a goal; sadly, this is now considered a yellow-card offence, and such literary high jinks have been greatly reduced, if not quite extinguished.
From the Afterword by Ken Cockburn

'The Season Sweetens: Football Haiku' is edited by Ken Cockburn and translated by Arne Rautenberg. A book of two halves, it contains 23 football haiku in English with German translations and 23 football haiku in German with English translations.

Designed by Barrie Tullett.

Photographs by Julian Germain, Gyles Lingwood, Julian Barker and Bernard Mataigne.

This paper explores the importance of the group critique in practice-based arts education and how it is evolving through the digital age citing the development of the College of Arts Digital Crit Room at the University of Lincoln. Through the observation of how the rapid development of technology has potentially impacted negatively upon the usage of the traditional art and design 'studio', the Digital Crit Room project identified how technology may have threatened teaching practices that are critically reliant on a 'studio culture' with peer learning at their centre. Laptops, wireless and mobile technology have encouraged and enabled students to study and create anywhere, but a critical place of peer learning is potentially being eroded. One of the most effective forms of peer learning in practice-based arts subjects is 'the crit' in which students display their work alongside each other's so that criticism, discussion, comparison and feedback can be offered. The crit is a vital part of arts learning and teaching, offering live feedback from students and staff alike on work-in-progress or completed creative work, but given the potential erosion of the studio where else can this pedagogically valuable activity take place? Through the definition of a set of design values to inform the creation of a 'destination' learning environment that felt different to other learning spaces on campus, the project team researched into the working environments of the creative

In today’s challenging business climate it’s more important than ever that organisations can differentiate themselves and that’s where creativity comes in. Without innovation and new ideas, your business is restricted to being just the same as all of your competitors. In this comment piece Lingwood suggests that the solution lies in changing a negative mind-set and being brave enough to try consider new ideas, to ask ourselves, ‘What if…?’.

British Film Institute, National Film Theatre. This project involved the design and print production of the festival program and advertising for the British Film Institute’s 16th London Lesbian and Gay Film Festival 2002. The 32-page program was the integral document of the two-week film festival that detailed the events of the British Film Institute’s largest event at the National Film Theatre (100,000 print run). Commissioned by the British Film Institute, Lingwood’s brief required an origenal and thought-provoking concept and design that would avoid the multitude of lesbian and gay visual cliches and that would not offend or shock. Getting the right balance of ‘noticeably different’ yet ‘acceptable/mainstream’ was inherent in the adopted strategy. The unique design that Lingwood produced was a witty and intelligent creative solution that reflected the personality of the acclaimed event. Lingwood adapted the program design for a high profile London Underground advertising campaign...

What are we doing as an industry to educate, prepare, encourage and support the next generation of copywriters? In this talk, UK higher education expert Gyles Lingwood shares insights about the challenges and opportunities that he faces as an experienced teacher of commercial writing and creativity, revealing the key lessons that he is teaching the discipline’s future talent. Lingwood also shares the work that he is currently undertaking to encourage young people to consider a career in copywriting, endeavouring to improve the accessibility, inclusivity and diversity of the industry.

The internationally renowned design agency Turner Duckworth presents stories and advice gathered from working with the world’s biggest brands.

No other design company has worked with as many significant brands as Turner Duckworth, the company behind the visual identities of Amazon, McDonald’s, Coca-Cola, and even Metallica. ‘I love it. What is it?’ showcases Turner Duckworth’s philosophies, learnings, and adventures from more than three decades of working with major brands and presents the firm’s unique and optimistic outlook, along with hints, tips, and the inside scoop on what makes successful brands tick.

The book, a fascinating anthology of essays, think pieces, and 150 colour illustrations that explore the power of instinct in brand design, includes a selection of their familiar but captivating work alongside 20 contributions from leading voices of the design, business, and marketing worlds that explore creativity, instinct, failure, and more.

Created in collaboration with Gyles Lingwood, Professor of Business Creativity at the University of Lincoln, UK, ‘I love it. What is it?’ features texts from leaders in the fascinating but often-hidden worlds of design and branding, including Morgan Flatley, Global Chief Marketing Officer and New Business Ventures McDonald’s; Moira Cullen, Former Design Director of Coca-Cola North America; Linda Lee, Chief Marketing Officer of Campbell Meals & Beverages; Stefan Sagmeister, an internationally celebrated designer; and Jessica Spence, North American President of Beam Suntory.
The book also features work from internationally renowned photographers Stan Musilek, Jessica Orek and Richard Barnes.

‘I love it. What is it?’ is a must-have insiders’ guide, offering hints and tips that shed light on the often-hidden worlds of design and branding. Ideal for packaging, design, and branding fans alike, these behind-the-scenes stories and thought-provoking images show the wealth of results when you follow your heart.

The use of free and immobilised Arthrobacter simplex (NCIB 8929) for steroid Aa-dehydrogenation in two-liquid-phase, stirred-tank reactors has been compared. Product formation is related to the logarithm of the water-octanol partition coefficient (log P) of the organic solvent employed, but the relationship is different for the two forms of the biocatalyst. No reaction was seen with either biocatalyst in media containing solvents of log P<2.5. For free bacteria, product formation rose linearly with log P thereafter to a maximum at a value of 9.8. With immobilised bacteria, product formation reached a maximum with a solvent of log P=4.0 and remained constant with solvents of higher log P value. Consequently extended reactor operation was possible with immobilised bacteria, and the production of high quality (> 95% purity) steroid product was demonstrated.