Computer Art

JULY 2018 C O V E R A RTI ST
Making
Left: We’ve been
desperate for a chance to
use an extra acetate
cover, and this feature
the cover seemed the perfect

opportunity… at least for
a few days.
Below: A sliced motif on

When we began brainstorming our the Simplo font (taken
from the feature itself)
cover, we knew that Emily Gosling’s was added to the cover, in
feature on book design (p62) would addition to a small,
bisected circle that was a
include practical insights into the nod back to the original,
processes behind their creation – grid-based design.
golden rules of grids, templates,
typographical hierarchies and what
goes on behind the cover for it to work.
With this is in mind, we thought
it would be fun to have a blank book
printed on our magazine cover, with
a second, clear acetate cover sheet
that could be lifted back and forth to
show the grids, rules and coverlines,
emphasising the process.
However, once Emily’s copy
arrived, along with a wealth of
beautiful images, we decided to
change strategy. It suddenly seemed
criminal to feature so many gorgeous
books inside the magazine but not on
the cover itself.
Sara De Bondt’s startlingly
innovative design for The Body
Decides was an obvious choice for
the cover, and we experimented with
typography and framing techniques
to support, but not distract from, her
amazing treatment.
Book cover: Franz Erhard Walther: The Body Decides

Published by WIELS, CAPC & König Books
Edited by Elena Filipovic. Designed by Sara De Bondt
Photography by Edward Park
MARK WYNNE
Mark reviewed the latest
issue of Indie-mag favourite
Migrant Journal on Creative
Bloq this month, as well as
the stunning new horror
magazine, Suspira.
C O M PUTERA RTS.CREATI VEBLOQ.COM

-3-
W EL C OM E JULY 2018
Editor’s letter FEATURING

DONNA WEST
We all want to be paid fairly for the work we do, Over on page 22, creative director
and no one should work for free – unless there’s an at Interbrand London, Donna West,
examines how today’s increasingly fluid
exceptionally good reason for it. gender identities are affecting design
and how it can be even more diverse.
So it may seem counter-intuitive to discover all www.interbrand.com
the leading creatives we spoke to for our feature on
diversifying skills to earn extra income were initially a
little nonplussed to talk about the top earning creative RADIM MALINIC
We managed to pry Radim Malinic
avenues outside of their main work. It’s not that they away from his award-winning, keynote-
speaking design activities to produce
hadn’t all successfully carved out an additional earner.
artwork for our feature on page 38, ably
It’s that their primary aim for doing so – whether aided in the task by Tamás Árpádi.
www.brandnu.co.uk
selling merch, entering book publishing, or starting
online teaching – was the love of it. If money followed,
that was a bonus. TIMOTHY GOODMAN
It’s an approach that also crops up in our interview Illustrator and muralist Timothy
Goodman talks to us about tackling the
with Timothy Goodman, as the muralist describes personal in art, getting political with
projects, and exactly what he has against
how he negotiates making his commercial work
white space. It all starts on page 52.
personal, and vice versa. Ultimately, the message www.tgoodman.com
becomes, ‘create things because you feel you have to,

first and foremost, and the money will follow.’
MARK STRINGER
But is that too simplistic? And is thinking of working Mark is the managing director of web
first and getting paid second a potentially dangerous design and brand agency Ahoy, and on
page 82 he takes us behind the scenes
message to be spreading? Read the feature and get in of creating the rebrand project for IT
consultancy, Fabric.
touch with your thoughts!
www.ahoy.co.uk
BEREN NEALE
Editor
NICOLA STRADA
beren.neale@futurenet.com
Turn to page 76, where self-taught
Italian freelance 3D artist Nicola Strada
shares his process for transforming 2D
illustrations into 3D models that are
meant to be viewed from all angles.
www.instagram.com/dachi_cornflakes
KEEP IN TOUCH WITH…
@computerarts /computerarts
@computerarts /computerartsmag

-4-
JULY 2018
FUTURE PUBLISHING LTD INTERNATIONAL MEET THE TEAM

Quay House, The Ambury, Bath, BA1 1UA Computer Arts is available for licensing.
Contact the International department
to discuss partnership opportunities.
EDITORIAL Matt Ellis International licensing director
matt.ellis@futurenet.com
Beren Neale
BEREN NEALE
Editor EDITOR
beren.neale@futurenet.com SUBSCRIPTIONS
Email: contact@myfavouritemagazines.co.uk It’s been a painful month for Beren, as saving his
Mark Wynne UK order line and enquiries: 0344 848 2852
Art editor International: +44 (0) 344 848 2852
suicidal cat from a fifth story window, being hunched
mark.wynne@futurenet.com Online: www.myfavouritemagazines.co.uk over reading this issue’s absorbing features, and some
Sharon Todd Group marketing director,
magazines & memberships over-enthusiastic dancing has ruined his back.
CREATIVE BLOQ
www.creativebloq.com
CIRCULATION
Kerrie Hughes Tim Mathers Head of newstrade
Editor tim.mathers@futurenet.com MARK WYNNE
ART EDITOR
Ruth Hamilton
Associate editor PRODUCTION Our cover feature triggered paroxysms of delight in
Mark Constance Head of production, US/UK
Julia Sagar Clare Scott Production project manager
Mark, who begged as many extra pages as he could
Ecommerce editor Joanne Crosby Advertising project manager from Beren before – outrageously – adding even more
Jason Hudson Digital editions controller
Dom Carter Steve Wright Digital edition coordinator and then claiming he’d “forgotten” the page count…
Senior staff writer Vivienne Calvert Production manager
MANAGEMENT SENIOR MANAGEMENT

Amy Hennessey Aaron Asadi Chief operations oicer
Group editor-in-chief Paul Newman Group content director
Will Shum
Senior art editor
Matthew Pierce Brand director,
creative and photography
KEY CONTRIBUTORS
Dave Harfield Greg Whittaker Head of art and design
Head of editorial operations Dan Jotcham Commercial finance director
JULIA SAGAR
Printed by:
CONTRIBUTIONS Wyndeham Peterborough, Storey’s Bar Road, E-COMS EDITOR, CREATIVE BLOQ
Hattie Stewart, Garrick Webster, FranklinTill, Peterborough, Cambridgeshire, PE1 5YS
LA Ronayne, Anna Higgie, Tom Manning, Finishing partner: Celloglas Ltd
Last month was the first time in almost 10 years
Julia Sagar, Lisa Hassell, Jo Cole, The AOP, that Julia didn’t attend OFFF Barcelona. Sad times,
Mel Edwards, Rosie Hilder Distributed by:
Marketforce, 5 Churchill Place, indeed, but she did build a patio just in time for
All copyrights and trademarks are Canary Wharf, London, E14 5HU
www.marketforce.co.uk Tel: 0203 787 9001
summer, so every cloud…
recognised and respected.
ADVERTISING
Media packs are available on request. We are committed to only using magazine
Claire Dove Commercial director

paper which is derived from responsibly
managed, certified forestry and chlorine-
TOM MAY
clare.dove@futurenet.com free manufacture. The paper in this magazine FREELANCE WRITER
was sourced and produced from sustainable
Mike Pyatt Advertising manager managed forests, conforming to strict Tom visited Leipzig along with 20,000 goths; went to
01225 788204 michael.pyatt@futurenet.com environmental and socioeconomic see gigs by Phill Jupitus and The Rutles; and attended
standards. The manufacturing paper
Chris Mitchell Account director mill holds full FSC (Forest Stewardship Pixel Pioneers, a web design conference in Bristol,
01225 687832 chris.mitchell@futurenet.com Council) certification and accreditation.
where he saw a drone lose a fight with a seagull.
Next issue on sale 24 July 2018
ISSN 1360-5372
NICK CARSON
Want to work for Future?
Visit www.futurenet.com/jobs
FREELANCE WRITER
Having written this month’s feature on the secrets
of diversifying skills to make more money, Nick flew
DISCLAIMER All contents © 2018 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be
used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited (company off to Canada for a month’s trek in the Rockies. An
OVNCFS JTSFHJTUFSFEJO&OHMBOEBOE8BMFT3FHJTUFSFEPGmDF2VBZ)PVTF 5IF"NCVSZ #BUI#"6""MMJOGPSNBUJPODPOUBJOFEJO
this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility effective feature if ever we’ve seen one.
for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/
services referred to in this publication. Apps and websites mentioned are not under our control. We are not responsible for their contents or any
PUIFSDIBOHFTPSVQEBUFTUPUIFN5IJTNBHB[JOFJTGVMMZJOEFQFOEFOUBOEOPUBGmMJBUFEJOBOZXBZXJUIUIFDPNQBOJFTNFOUJPOFEIFSFJO
If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply it, and automatically
grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format
published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own
risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage.
8FøBTTVNFBMMVOTPMJDJUFENBUFSJBMJTGPSQVCMJDBUJPOVOMFTTPUIFSXJTFTUBUFE BOESFTFSWFUIFSJHIUUPFEJU BNFOE BEBQUBMMTVCNJTTJPOT
Production notes
PRINTERS PAPER
TEXT AND COVER CMYK, COVER
PLUS PANTONE RED 032 Precision Special Gloss FSC 250gsm
PANTONE 2935 (MIXED WITH CYAN) P3–74: Ultra Mag Plus Gloss 90gsm
PANTONE 876 (COPPER METALLIC) P75–98: GraphoInvent 70gsm
Future plc is a public Chief executive;JMMBI#ZOH5IPSOF
company quotes on the Chairman 3JDIBSE)VOUJOHUPO
London Stock Exchange &KLHIÀQDQFLDORIÀFHU1FOOZ-BELJO#SBOE
TZNCPM'653
ZZZIXWXUHSOFFRP 5FM PRINT FINISHING PARTNERS T YPEFACES
Trump Gothic West, Akkurat, S-L,
Simplo, Kondola and Calluna
COM PUTERA RTS.CREATI VEBLOQ.COM

-6-
The number one destination
for graphic design news,
views and how-tos
EcrApc_rgtc
@jmobgpcarrm
wmspgl`mvugrf
mspuccijw
ep_nfgabcqgel
lcuqjcrrcp
Graphic design Art Web design 3D Digital art
www.creativebloq.com
CONTENTS
CULTURE
ISSUE 28 1
JULY 20 18
10 TRENDS
How disposable consumables could help solve
waste issues instead of adding to them
14 MY DESIGN SPACE
Designer and owner of Parade Design, Claire
Broome, shares her creative sanctuary
16 INSPIRATION FEED
Illustrator and designer Sam Osborne explains how
she uses Instagram to further her creative purpose
18 EVENTS
We get inspired at TYPO Berlin, pig out at Thread,
receive conflicting information at OFF Barcelona,
and get doodle-bombed by Hattie Stewart
INSIGHT PROJECTS
22 DESIGN THAT SEES BEYOND

GENDER
Donna West looks at design trends
76 ILLUSTRATION TO 3D MODEL
Nicola Strada reveals how he
applies a third dimension
and predicts a diverse future
24 DESIGN MATTERS
Which design podcasts would you
82 WEAVING AN ALL-NEW IDENTITY
Ahoy explains the new brand for IT
consultancy, Fabric
recommend and why?
25 IN SEARCH OF THE PERFECT

CLIENT
88 SUBTLE MOOD IN MOTION
How Nancy Laing adapts stop-
motion techniques
Mat Heinl looks at the change in
agency-client relations
92 THE HOME DEPOT CAMPAIGN
Hattie Newman’s perfect paper ads
26 NATIONAL GALLERY IN
PRAGUE REBRAND
Three creatives offer their opinion of
the art institution’s new logo
C O M PUTERARTS.CREATI VEBLOQ.COM
-8-
C O N TE N TS
SPECIAL REPORT INDUSTRY ISSUES
62 THE FORM OF
THE BOOK
Book design can elevate content
and form to beautiful heights; Emily
Gosling finds out how
SHOWCASE
38 EARN EXTRA INCOME

Nick Carson talks to top designers to discover how they diversify their
income through blogs, books, products, and teaching
IN CONVERSATION WITH
52 TIMOTHY
GOODMAN
Beren Neale catches
up with the muralist,
to learn that the
most creative
space lies between
the personal and
professional 28 SHOWCASE
Computer Arts selects the hottest
new design, illustration and motion
work from the global design scene
REGUL ARS
SUBSCRIBE AND SAVE UP TO 56 %
Never miss an issue of Computer Arts. Subscribe today for pro advice and practical
98 DESIGN INSPIRATION
David Castillo on how an LP cover
from 1972 captures ‘everything and
insight every month, and save up to 56% – and get a free tote bag! Page 80 for details
nothing design’

-9-
CULTURE
TRENDS
PEOPLE
T RE ND S
DESIGNED
EVENTS
TO DISAPPEAR
Disposable consumables could help solve waste
issues instead of adding to them
INSPIRATION
ustainability has previously focused on reducing

S consumption, but the growing acknowledgement that the
hunger for ‘new’ is far from satiated is causing a shift
in the way that designers conceive high-volume, low-cost items.
Innovations include designs with built-in easy end-of-life recycling,
in addition to products that are created to serve a function, then
harmlessly disappear.
"We make perishableness valuable," says Vlasta Kubušová and
Miroslav Král, the duo behind Crafting Plastics! Studio, a Berlin and
Bratislava-based studio that works with plant-based bioplastics. The
studio aims to keep full control of each product’s lifespan, from its
origin as unrefined material, through its useful life, until it finally
decays, thus taking responsibility not only for the design and function
creative consultancy FranklinTill www.franklintill.com
Each month, our Trends section is curated by experienced
that any designer would consider, but also for decommissioning or

disposal.
Collection 1 is a range of sunglasses that, once redundant, can
be composted domestically or returned to the company for
recycling. The studio developed its own bioplastic with specialists at
the Slovak University of Technology in Bratislava. Compared to other
bioplastics, it performs extremely well in daily use and the company
is working on new processing methods to increase durability,
strength and flexibility.
Will Yates-Johnson’s Polyspolia project takes inspiration from
Willy Wonka’s Everlasting Gobstopper, a sweet that can never be
finished and never gets smaller. The designer’s starting point for
the collection’s concept was to give each item a potentially infinite
afterlife; each object can be endlessly broken up and remade. Yates-
Johnson quite literally takes a mallet and smashes up existing pieces
PHOTOGRAPH: Anna Smoronova
to make new ones. "Polyspolia proposes a new kind of relationship

to material resources that makes visible the process of recycling,
transforming and enhancing in beauty and complexity each
generation of products," he says. "The project ofers an alternative to
consumer society’s expectations of newness based on the fantasy of
infinite resources."
- 10 -
JULY 2018 T R E NDS
CRAFTINGPLASTICS.COM
COLLECTION 1 BY WHYJ.
UK/POLYSPOLIA
C O MPUTERARTS.CREATI VEBLOQ.COM
- 11 -
CU LT U R E JULY 2018
POLYSPOLIA BY WILL
YATES-JOHNSON
PHOTOGRAPH: Will Yates-Johnson
FRANKLINTILL STUDIO
FranklinTill is a futures research agency working with brands and
organisations to identify and activate design, colour and material
innovation to impact positive change. Editors of Viewpoint and
Viewpoint Colour, FranklinTill has recently created a new book; Radical
Matter: Rethinking Materials for a Sustainable Future, which is published
by Thames & Hudson.
FranklinTill was founded on the shared belief that innovation in materials

and production systems is integral to sustainable design futures. Working
with brands, organisations, and creative collaborators around the world,
FranklinTill conducts, analyses and creatively communicates research,
bringing it to life through strategic insights, publications and public
experiences. Connecting the dots between cultural shifts and aesthetic
movements, FranklinTill enables long-term innovation rather than short-
term trend-chasing, giving brands the big ideas they need to drive
positive change. FranklinTill’s clients include lifestyle brands and design-
orientated businesses in every sector.
You can buy Radical Matter from:

www.thamesandhudson.com
PHOTOGRAPH: Peter Simoník
- 12 -
Claire Broome is a designer
and owner of Parade Design,
a creative design studio
based in Newport, Wales.
www.paradedesign.co.uk
M Y D E S I G N S PA C E I S . . .
THE REAL THING

Designer and studio owner Claire Broome on her creative sanctuary
ur studio is located in a shared I bought my first iMac (1) in my favourite parade-related item is this
O Grade II listed building called
The Estates Oice. Lord
second year studying graphic design at
Blackpool and The Fylde College in 1999.
original 1930-1945 Los Angeles Police
Department marching band ‘Shako’ hat
Tredegar, a local historical figure, In the days before internet shopping, I (2). It came from an antique dealer friend
commissioned its build in 1902 as an remember getting my housemate who with an oicial letter of authenticity and
oice to conduct his property afairs. had a car to drive me and my computer- both hat and feathered plume were in its
The ‘town mansion’ style is stunning literate friend, ‘big Dave’, to PC World to original box stamped ‘Handle with Pride’. I
Edwardian architecture and adorns a blue buy it. My dad lent me the money. Even love that!
plaque. When the building was renovated though I’ve had many Macs since, I’ve The Parade team visited Barcelona last
in 2014 to ofer unique oice space, I always kept my first one. I just love the year and on our hit list of places to
jumped at the chance. The top floor was iconic design. explore was the The Barcelona Pavilion
the perfect place for Parade – open plan, We have a collection of Scout band that was designed by Ludwig Mies van
light and airy with high ceilings, feature drums, French horns and cymbals der Rohe, which houses his iconic
fireplace, full of character and great views. scattered around the studio, but my Barcelona chair. I bought this model of his
COM PUTERA RTS.CREATI VEBLOQ.COM

- 14 -
P E OP LE
4
associated phrase ‘Less is More’ (3) in the updated and republished recently, so of
gift shop afterwards. course I had to add it to the bookshelf.
This book was on our reading list in I am a complete Diet Coke (5) addict.
college, highly recommended by our tutor Since I don’t drink tea or cofee, it’s
John Gibson. It’s my absolute favourite become my cafeine fix. The studio fridge
book (4). It has hundreds of examples of is constantly loaded up with cans (not
witty thinking used in graphic design, bottles) for me to consume throughout the
from huge iconic brands to small day, served ice cold as recommended. My
independent tradespeople and was also obsession has meant that I get bought
designed by and includes lots of work by Diet Coke memorabilia as gifts – like
my favourite design agency, The Partners. ‘Shirley’, our collector edition Diet Coke
I never get bored of it and it most Majorette Barbie Doll, complete with
certainly continues to inspire me to create pom-pom boots and baton! A perfect
5
clever, thought-provoking design. It’s been addition to the Parade!
- 15 -
I N SPI R ATI O N FE E D
Sam
Osborne
Calling herself “a brightly-coloured illustrator and
designer from just outside Oxford in the UK”, Sam
Osborne has turned her home studio into a busy
creative hub, where she tackles projects such as
branding and brochures, illustration and surface
pattern design. She describes her work as “a mixture
of pure vector, digital art drawn on my iPad and
getting messy with paint markers!”
Osborne uses Instagram to collate and curate
images that pique her interest. “I take thousands of
photos of random things that I find inspiring, from
plants and trees to buildings and sunsets! If I’ve got
images that don’t fit on my grid, I’ll often add them
to my Instagram stories, which I use more like a
daily journal.”
Instagram is also a way for Osborne to network
with potential customers and commissioners, in
addition to being the perfect vehicle for selling
her work. She has constructed her feed to give an
overview of her art, from inspiration, to behind the
scenes, to the finished product, and has carefully
chosen a colour palette to keep the content cohesive.
instagram.com/samossie

- 16 -
R
£5
M E
SUM
SA LE!
TRY THREE
ISSUES FOR
BIG SAVINGS ON OUR BEST-SELLING MAGAZINES
SAVE SAVE SAVE
67% 72% 72%
SAVE SAVE SAVE

70% 67% 70%
For great savings on all of our magazines, see the entire range online
myfavouritemagazines.co.uk/summer182
Hotline 0344 848 2852
*TERMS AND CONDITIONS: The trial offer is for new UK print subscribers paying by Direct Debit only. Savings are compared to buying full priced print issues. You can write to us or call us to cancel your
subscription within 14 days of purchase. Payment is non-refundable after the 14 day cancellation period unless exceptional circumstances apply. Your statutory rights are not affected. Prices correct at
SRLQWRISULQWDQGVXEMHFWWRFKDQJH)XOOGHWDLOVRIWKH'LUHFW'HELWJXDUDQWHHDUHDYDLODEOHXSRQUHTXHVW8.FDOOVZLOOFRVWWKHVDPHDVRWKHUVWDQGDUGÀ[HGOLQHQXPEHUV VWDUWLQJRU DUHLQFOXGHGDV
SDUWRIDQ\LQFOXVLYHRUIUHHPLQXWHVDOORZDQFHV LIRIIHUHGE\\RXUSKRQHWDULII )RUIXOOWHUPVDQGFRQGLWLRQVSOHDVHYLVLWELWO\PDJWDQGF2IIHUHQGVVW-XO\
PHOTOGRAPHY: © Gerhard Kassner / Monotype

E V E N T R E P O R T: T Y P O B E R L I N 2 0 1 8
KEY INFO:
Location
The House of World
Cultures, Berlin
THE BEST TYPE
www.typotalks.com
When
OF DESIGN
17–19 May 2018 Idealistic visions of the future and rediscovered treasures from the past fuel another
Attendees
amazing TYPO Berlin, reports Beren Neale
1,600
eld in the awe-inspiring programme of high-profile studios Elsewhere in keeping with the
Key speakers
Ulrike Rausch, Jonathan
H 1980s Berlin House of
World Cultures since the
deconstructing successful branding
campaigns, which included the
theme of new talent, three of this
year’s Adobe Creative Residency
Key, Timothy Goodman, mid-1990s, TYPO Berlin has a rich stunning work of Superunion’s talked about what they had planned
Alex Mecklenburg, history of taking the pulse of London Symphony Orchestra, for their year’s commissioned
Aaron Draplin, Petra contemporary design and including (amazing) ideas that work. We’re particularly excited
Dočekalová, Elizabeth typography and predicting trends. ended up not making the cut. to see Nadine Kolodziey’s project
Carey Smith This year was no diferent, This year debuted Talent Talks, The Undrawn Drawing develop,
with talks from established a platform for ‘fearsome’ young which will see her touring through
designers, academics and rising creatives from Europe and the US. Germany, inviting people to explore
stars efortlessly meshing with Featuring eight creatives, including the digital and analog possibilities
hands-on workshops and practical Specht Studio and Sarmishta of illustration, in the context of her
typography sessions. Pantham, each were given 30 walkable installations.
The schedule saw the minutes to share their work process Moving between the five main
return of 2017’s Brand Talks – a and success stories. stages, Monotype’s stall explained

- 18 -
JULY 2018 E V E NT S
WHAT E L SE WAS O N
EVENT HIGHLIGHTS
OFFF Barcelona
www.off.barcelona
‘Design nomads’ was the name of the game at

OFFF Barcelona, an event which has done its fair
share of travelling over the last 12 months. The
term sums up what it’s like to be a creative, to be
restless, always pushing boundaries.
“Don’t get too comfortable” warned illustrator
Petra Eriksson in an opening talk. “If you’re able to
put aside time to do what you love, chances are
people will eventually pay you.”
The flip side is the toll this approach can take
on designers. Mindfulness was another theme,
PHOTOGRAPHY: © Sebastian Weiß / Monotype
with a screening of Stefan Sagmeister’s The Happy

Film underlining how everyone in the industry can
struggle to find a work/life balance.
All of this can produce amazing results, Gavin
Strange insists. “Creativity is a compromise, you
always have to sacrifice something.” So get out
there, says Gavin, and “get uncomfortable!”
Thread
www.threadevents.com
the potential of variable fonts – a fully-formed vision of a future Clockwise
they’ll ofer designers freedom dominated by driverless vehicles, from far left: The
to creatively use full font families, and though there was an eery, type designers
in one (small) file. It’s actually an unquestioning idealism to his from Underware
old idea, but with the successful projections, delving into Johann’s deliver a
collaboration between Adobe, thought process was nonetheless memorable
Apple, Google, and Microsoft, it’s fascinating. closing talk;
set to go mainstream. Serial TYPO talker, and all- Jonathan Key
Outside the main stage was round logo slayer, Aaron Draplin, peps up the Food was the theme of the latest edition of thread,
a preeminent selection of historic was around for his inimitably high audience; Aaron a series of creative events in Bristol curated by
typography from Rob Saunders’ octane, good-hearted bursts, in Draplin plays Fiasco Design. In between trips to the pizza van
Letterform Archive – his personal both a jet lagged-defying talk and with his crowd; and making tortillas in mini kitchens, there were
collection of 40,000 items related a revealing workshop, and the and Adobe three talks about food, design, and how they can
to lettering, typography, calligraphy, multi-disciplined creative Jonathan Resident Nadine work together.
and graphic design, which takes in Key made an impact with his Kolodziey maps Australian food stylist Peta O’Brien, aka POB,
around 2,000 years of history. His extraordinary work that mixes art out her next year talked of how long it takes to soft-boil an ostrich
talk covered how contemporary with design, politics with education, of creativity. egg (47 minutes), Tom Hovey revealed why he
designers can help preserve their and personal with commercial. always draws in red and blue when illustrating
work for generations to come, but The closing talk by the baling for The Great British Bake Of (“‘cos it makes me
it also functioned as a 50-minute and hilarious Akiem Helmling feel like I’m a fancy architect,”) and Sam Bompas
gorge of typographical eye candy. and Bas Jacobs of type foundry from sensory experience curators Bompas & Parr,
There were also some left-field Underware raised questions of showed the audience how gherkins can make
talks, bringing in broader themes sustainability, originality and what, “really rubbish lightbulbs,” before passing round
of creative design to proceedings. in essence, typography is. We left ‘lightning vodka’, which he described – quite
Volkswagen’s chief digital oicer without a single answer, and yet accurately – as “horrible.”
Johann Jungwirth’s talk provided somehow felt all the wiser for it.
C O MPUTERA RTS.CREATI VEBLOQ.COM

- 19 -
EXHIBITION RE V I E W
THIRTY
MINUTES
OF FAME
Mark Wynne finds himself
doodle-bombed at Hattie Stewart’s
new art installation
fter doodle-bombing the covers of
A Vogue, i-D and even our good selves,
working on campaigns with the likes
of Apple, Nike and Adidas and launching her
own sticker book, Hattie’s recent exhibition
revealed a spectacularly cheeky new objective:
to doodle-bomb the general public.
As part of the NOW Gallery’s Young Artist
programme – celebrating the best new talent in Clockwise
visual arts and illustration – Hattie’s I Don’t Have from top: The
Time For This transformed the pristine exhibition NOW Gallery
space into a psychedelic, interactive installation provided a
with stunning ingenuity. beautiful space
A ceiling-mounted mirror reflected back the for Hattie’s
huge floor painting, a classic Hattie collage of eye-watering
cheeky hearts and tongue-pulling lunatics. exhibition,
A free ticket entitled each visitor to 30 which found
minutes of fame-by-proxy, by allowing them no shortage of
to lie down on the painting, look up at their thrilled visitors
reflection, and experience what life would be like to slip of their
if they had been dropped into Hattie World. shoes and throw
“I’ve always loved to explore how my art and themselves down
illustration work can transcend the page,” Hattie on the floor.
told us, “and experimenting with application has
always been a top priority for me.”
Based on the ecstatic feedback from (legally)
tripped-out visitors to the show, this is just the first
of many installation experiences we’ll enjoy from
the endlessly inventive and ambitious artist, who
seems determined to cover the whole world
with doodles.

- 20 -
JULY 2018
INSIGHT ESSAY
Strong opinion and

analysis from across the
global design industry
DONNA WEST
CREATIVE DIRECTOR
INTERBRAND
www.interbrand.com
West joined global brand consultancy Interbrand in

2017, to manage the consumer team, overlooking
creative outout and ensuring the growth of the
consumer section of the company. She works with
clients as part of Interbrand London and its global
network, such as Hertz, Virgin and ASOS.
MAT HEINL
CEO
MOVING BRANDS
www.movingbrands.com
Heinl became part of Moving Brands in 2013, an

independent creative company specialising in
brands, digital products and services, interactive
spaces and business design. He is also advisor to the
board for Jean Abreu Dance Ltd, in addition to
contributing to various media outlets.
Design that sees

beyond gender
DESIGN MATTERS: Which design podcasts
would you recommend and why? – page 24 In today’s increasingly gender fluid world,
PLUS: Three creatives assess the rebranding of Donna Weﬆ explores the effe t has on how
the National Gallery in Prague – page 26
we approah design, and what we can do to
Illustrations:
Anna Higgie make t a lot more diverse
www.annahiggie.co.uk

- 22 -
JULY 2018 DONNA W E ST
018. The year that witnessed the Women’s Canadian skincare brand, Non-gender Specific, offers
2 March, Beyonce’s empowering set at
Coachella and a defiant global female
only one product: the Everything Serum. The
conditions for use? That you are human [7].
movement in the form of #MeToo. Coincidentally, it But, if we think back to the infamous 2012 launch
also marked the 100-year anniversary of the female of BIC for Her, when it comes to packaging equality
right to vote. Following years of relentless we still have some way to go. Take a pen, one of the
campaigning, in 1918 8.5m British women finally most generic genderless products. Add some glitter,
secured the right to have their say. Fast forward to pink, a “thin barrel to fit a women’s hand” [8], a handy
2018, and the world is a very different place. Women ‘for her’ label, and hey presto – a pen for women. Cue
are now a lot more free to express themselves. To live hilarious reactions from women all over the world,
independent lives. We are the most powerful “it’s good that BIC are finally doing something to aid
consumers on the planet, accounting for 85 per cent the plight of women” [9], “BIC, the great liberator, has
of all purchasing decisions [1]. And yet, the question released a womanly pen that my gentle baby hands
remains: have we come as far as we would like to can use without fear” [10]. With men predominantly
think? As an industry, is there more we can and at the global helm of design, the tendency to revert to
should do to embrace equality? the pretty and pink strategy remains rife (a privilege
The 1950s marked the golden age of booming we pay, on average, seven per cent more for) [11].
consumerism and advertising that glorified the Solving this disparity has to start from within our
idealistic ‘housewife’. The 1950s female was the own industry. I am proud to be part of a creative team
perfect companion: subordinate, grinning, and at Interbrand London where I myself am creative
always willing. Her favoured products included Brillo director, and led by an intelligent, bold female
Soap pads and Tide (“Tide’s got what women want!”). executive creative director. But this seems to be the
The 1960s saw the design of the first seatbelt, to male exception. Despite women accounting for 46 per cent
specifications. A design that means female drivers are of the advertising industry [12], just 11 per cent are
47 per cent more likely to be seriously injured in a car creative directors. Eighty-eight per cent of young
crash [2]. Entering into the 1970s, we witnessed a female creatives say they lack female role models,
change in tides for female liberation [3]. Feminism, while 70 per cent have never worked with a female
greater sexual freedom, the start of the fight for equal creative director or executive creative director [13].
pay. Enjoli launched the eight hour perfume for the And we remain guilty when it comes to gender
24-hour woman, who could “bring home the bacon, delegating. It’s a beer brand? Dave would be best on
fry it up in a pan and never let you forget you’re a that one. Packaging for perfume? Lisa should lead
woman”. A slight shift towards both recognising and that. Why? Because she will definitely understand the
celebrating the multi-faceted roles of women. end-user better. It’s gender bias.
And as our world has shifted, so have our Thankfully we are in 2018, where the time is ripe
attitudes: 2018 marks a year where 50 per cent of for us to drive change; to assign people to projects
young people proudly reject traditional gender labels based solely on their expertise, interests and
[4]. Where gender can be freely defined in 71 different capability. After all, who says that a woman can’t
ways [5]. Where brands from Zara to Gucci have design a male razor? That a man could not design the
launched gender-neutral collections, to much next innovation in sanitary care? I have a male
acclaim. The focus has shifted from who you are designer in the team at Interbrand who has done just
designing for, to why. And many brands are excelling. that. We know that the most effective innovations
Aesop creates beautiful skincare packaging, using are those that are completely inclusive. One of my
dark bottles that focus only on what the product does favourite projects to date was designing a range of
for you. US-based Maude has redefined adult motor oils, targeted at Russian alpha-males. Certainly
products, with organic, tasteful, genderless condom not pretty or pink. If that isn’t proof that a woman
designs. For cosmetics, the shift is greater still. Once can understand exactly what a man wants, then I’m
upon a time the realm of the female, beauty today not sure what is. So let’s rewrite the rules and design
sees no boundaries. ASOS’ Face & Body [6] collection for the person, not the gender. And by 2118, raise that
uses bold, vibrant packaging that can proudly sit on 11 per cent to 50 per cent.
the dressing table of whoever wishes to use it. For references visit http://bit.ly/ca-donnawest
CoverGirl’s brand ambassador is a beauty vlogger, What is your experience of design gender inequality? Tweet
who just happens to be male. Launched in 2018, your thoughts to @ComputerArts using #DesignMatters

- 23 -
INSIGHT JULY 2018
DISCUSSION
Which design podcasts would

you recommend, and why?
BEN O’BRIEN SAVANNA RAWSON TANYA W FLEMMING

Illustrator Art director, designer and illustrator Art director and illustrator,
www.bentheillustrator.com www.savannarawson.co.uk W. Flemming Illustration
www.wflemming.weebly.com
“Working alone in my studio, I listen to “I’m a creative and I also run a small “My favourite podcast has to be Arrest
a lot of podcasts: they’re perfect company, so I enjoy a mixture of design All Mimics: The Creative Innovation
company. Some of my favourites, and business-related content. Over the Podcast. The way its presenter, Ben
including Arrest All Mimics and Andy J last year and a half, I’ve been listening Tallon, conducts interviews is so
Pizza’s Creative Pep Talk, have become to Being Freelance by Steve Folland. He enjoyable; he helps everyone express
hugely popular and rightly so. Another interviews a broad spectrum of creative themselves in a human and inspiring
one I love is North V South with Rob professionals about their freelance life. way. As a well-established illustrator
Turpin and Jonathan Elliman. It’s very Recurring topics include: how they got with a voice of his own, Ben also knows
relaxed. They’ll cover design, started, where they find clients, and how to listen, bringing out the most
illustration and tech, but they’ll also how they stay productive. As Steve’s a fascinating stories from some of the
stray into other areas, and always come freelancer himself, he asks all the most diverse and exciting people in the
back to the most important topic… questions I’d like to ask. Some podcasts creative industry. Prepare yourself for
pies. (Full disclosure: I’m going to be a can be weighed down by too much honest opinions on magical colour
guest on this show soon). Another small talk, but that’s not the case here: schemes; revealing insights into how
podcast that takes a slightly different he gets the tone just right, creating a book publishing can become uplifting
angle is Michelle Kondrich’s Creative casual but focused approach to in the digital age; extraordinary
Playdate, which focuses on creative interviewing. An entertaining and confessions concerning when breaking
professionals working on the hardest informative experience, even if you’re out can accidentally transform into
job of all: parenting.” not freelance.” breaking in… you name it.”
TWEET @COMPUTERARTS OR FIND US ON FACEBOOK
TONY LOPEZ @AREV_STEFFEN @SARANDINI @RUSSDLDESIGN @DGOVARNIE

The best podcasts are Logo Designbetter.co has me The Collective Podcast with Design Observer with Start the day with a Beirut
Geek and The Futur. hooked for its high-calibre Ash Thorp. Great Debbie Millman for a well Breakfast of The Business
guests and conversational interviews with CG rounded look into a variety of Design, followed by Amy
flow. Also, it’s on Spotify. designers, directors and of creatives’ lives and Devers and Jaime
creative people. careers. Also The Deeply Derringer’s Clever podcast.”
Graphic DesignCast.

- 24 -
JULY 2018 M AT HE I NL
COLUMN
In search of the ‘perfect’ client

Mat Heinl, CEO at global creative
ndustry stalwarts will and skill to afford an agency
I remember the days of company Moving Brands, looks at the the freedom to experiment sets
formal interactions excellent clients apart. This is
between agency and client. hange in agency-client relations only possible if there is mutual
Usually after an arduous pitch, a respect and trust – something
client would pay an agency to that is earned rather than given.
come up with insights and after However, the nature of
rounds of revisions, it would sign the work off. The client knew what modern working means trust can be established in a shorter period,
to expect and could direct the project, but at arm’s length. particularly after an intense ‘sprint’ early in the process. The whole
Today, creative teams undertake ‘sprints’ with other agencies, team – both client and agency side – get to know each other and break
consultants and specialists. Clients work as part of a team and team down some of the formalities and misunderstandings that can emerge
members can be based globally. Deliverables are less rigid, instead the in a vendor-style setup. In effect, trust is built by mucking in together,
focus is on a process that yields the right output. In many instances, the not from grandstanding in presentations. Many of the old principles
task of preparing the brief is jointly shared between client and agency. still apply: work takes time to perfect and it costs money to make robust
Established ‘command-and-control’ practices are being replaced with creative solutions. Agencies have a responsibility to communicate this so
a more equal relationship. Agencies and clients go on a journey together, clients can organise their investments.
plugging gaps in each other’s knowledge. Despite what some agencies The perfect client is a mythical beast, the same is true for the perfect
say, they will never be experts in a client’s business and can never agency. True unicorn status is not about one person or company;
navigate the organisation without guidance. This socialising is one of it comes from building amazing teams with creativity, originality,
the most important roles the client can play in support of the work. commercial savvy and technical chops and unwavering vision. Luckily,
On a more practical level, clients are responsible for gathering and the changing business landscape means fresh opportunities for closer
prioritising information their partners depend on to keep their efforts collaboration, bridging silos and breaking down the hierarchies that
focused. Those that lose their independent thought and do not have a conspire to suffocate excellent work.
fixed eye on the business vision cannot be a true partner. What makes a Should agencies and clients work closely together or is it a recipe for
model client depends on the job. But in general, having the confidence frustration? Tweet your thoughts @ComputerArts using #DesignMatters
- 25 -
INSIGHT JULY 2018
REBRAND FOCUS
The National
Gallery in Prague
The Czeh art inﬆtution has a new logo and identty courtesy of local
firm Studio Najbrt. We ak three creatives to offer their appraisals…
MICHAL NANORU NAOMI JOHNSON DENNIS BOLT

Creative director, Graphic designer Owner, Dennis Bolt Studio
Studio Najbrt www.naomimae.design www.dennisbolt.com
www.najbrt.cz/en
“The idea of our new logotype for the “This logo is the definition of ‘less means “I’m both intrigued and puzzled by this
National Gallery in Prague stems from the more’. With use of a bold, clear typeface, it is identity. Having seen many art galleries evolve
mission of the Gallery as a space for many readable in both large and small print formats. from traditional branding to avant-garde,
centuries of art. It outlines the context for I’m a big fan of bold type and making line black-and-white, swiss typography in awkward
visual information within the three letters, connections between letterforms, and stacking arrangements, this look comes as no surprise.
NGP, creating a variable logo that’s as simple the letters in this way cleverly allows the There are several other museums that use
as possible, while recognisable at the same negative space to remain vacant or occupied. a similar stacking scheme, such as FACT
time. This ‘free space’ offers a range of uses This negative square can be seen as symbolic Liverpool. The National Gallery logo ticks the
– from presenting artworks across the NGP of a frame, making an obvious reference to this boxes of many current trends: logo-as-window,
collections, through short-term exhibitions, being an art gallery. The logo can stand alone clipped typography, versatile arrangements
to events. It allows for radically different or be integrated within another design. The of elements... Since this brand is not live yet,
content to become a part of the logo, be it different examples provided by the studio give many parts of it feel like drafts. Most enticing
still image, text or video. The open visual you a clear idea of its versatility. You can see, are the applications where the logo lets the
style system also enables great variability in for example, how it can work on a solid colour negative space frame a focal point. Conversely
poster creation; a necessary feature given background. My favourite variation is the the least inspiring versions are when that
the wide array of artist styles and approaches logo outline; this works both on a flat surface ‘window’ is a positive boxed image that feels
housed by the NGP. The colour palette also (on the tote bags) and in 3D (as shown with like it was plonked on top. But the best part
remains open. The basic font is Untitled the outside structure). Overall, it’s a logo that of this brand reveal is the logo-as-sculpture: I
Sans by the Klim Type Foundry.” leaves a positive lasting impression.” guess that is the next ‘will it fax?’.”

- 26 -
JULY 2018 N ATIONAL GAL L ERY IN P R A G UE R E B R A ND
Founded in 1796, the

National Gallery in
Prague hosts European
work from the 1200s to
the 1930s. The logo
defines context for
different types of
content (image, text,
video) within the three
initials of the
institution’s name.

- 27 -
SHOWCASE
Our selection of the hottest new design,
illustration and motion work
from the global design scene
JULY 2018 SH O WC A S E
BUILDING BLOCKS
THE EAST CUT IDENTITY
by Collins
www.wearecollins.com
When brand consultancy Collins was asked to

develop a name and visual identity for a new
neighbourhood in downtown San Francisco,
the agency sought to capture the area’s
cosmopolitan, bold sensibility, while giving
a nod to its surrounding history. Collins also
wanted to unify the neighbourhood’s three
distinct districts in the design, and undertook
a number of community-driven collaborative
workshops, surveys and resident-run tours in
order to gain insight into the diverse needs of
the community.
“The name, The East Cut, references the
Second Street Cut – a late 19th-century
urban development project that marked
the last significant change seen in the
neighbourhood,” explains design lead at
Collins, Erik Vaage.
In contrast to the historical naming of
the neighbourhood, the graphic identity is
distinctly modern in expression. “The three
layers form a stacked ‘E’,” reveals Vaage,
“creating a highly graphic treatment that can
either be used in bright, sophisticated colours,
or as a vessel to feature the many faces and
places found here.”
COM PU T ER AR T S .CR E AT I V EBLOQ .COM

- 29 -
COM PU T ER AR T S .CR E AT I V EBLO Q .COM
- 30 -
JULY 2018 S H O WC A SE
Collins used a wide, flexible colour The three elements of the logo can
palette to show the diversity of The be playfully broken apart and used
East Cut neighbourhood – and artistically, or as building blocks on
enable the identity to evolve, too. larger canvases.
The identity needed to work across Collins took the form and colour palette
brochures, business cards, posters, of the logo and used it to create a map
shop fronts, signage and a website. of the new neighbourhood.

- 31 -
S HOW C AS E JULY 2018
HISTORY AND HERITAGE

ENTER ARKITEKTUR IDENTITY
by Lundgren+Lindqvist
www.lundgrenlindqvist.se
Swedish architectural practice Enter Arkitektur launched in the 1950s. over from the old identity. “The arrow is one of the world’s most used
Following an expansion and restructure, the firm commissioned local symbols, so we knew that it would be a challenge to find a way of
design studio Lundgren+Lindqvist to craft a new visual identity. including it that felt unique and exciting, and more importantly, said
“We outlined two architectural typologies – history and heritage; something about Enter,” says Lundgren.
and contemporary architecture – that were of equal importance to “Through combining abstracted archetypes, we arrived at a
Enter,” recalls co-founder Andreas Friberg Lundgren. simple and memorable brand mark that both relates to Enter’s history
The studio then designed a new brandmark, using negative space and past, and leads them into the future,” he adds.
to combine the letter ‘E’ with an arrow element, which was carried

- 32 -
MOTION JAM
TWO STEP
by Meister, Daniel Savage, Ambrose Yu
www.meister.tv / www.somethingsavage.com
Short animation Two Step is a vibrant, textured

collaboration between illustrator and animator
Daniel Savage, motion design studio Meister and
sound designer Ambrose Yu. “I wanted to fly in
some animation buds from Chicago and NYC to
collaborate on a neat new project for two weeks,”
recalls Meister producer CJ Cook. “I approached
Daniel Savage with the open-ended ask and a
challenge: let’s make something cool. A few weeks
later we got a PDF in the email and a few excited
animators ready to go.”
The characters push proportions in fun, geometric
ways, testing how far a figure can be abstracted. “It’s
something I’ve been developing for a few months,”
says Savage, “and I was excited to see how the guys
at Meister could add animation to them. It’s meant to
be abstract and almost a sound sculpture, with the
audio and visual feeding of each other.”
IMAGES: Daniel Savage

- 33 -

- 34 -
JULY 2018 SH O WC A S E
LIVING FONTS
FS ERSKINE
by Fontsmith and Jimmy Turrell
www.fontsmith.com
“The brief was to collaborate with

artists to explore modified and custom
typography,” says Krista Radoeva,
senior typeface designer at Fontsmith,
explaining how all-caps custom font
FS Erskine came about. “The artists
took inspiration from their hometowns
and I worked with illustrator Jimmy
Turrell, who was inspired by
Newcastle and the Byker Wall council
estate, where he grew up.”
Radoeva’s job was to translate
Turrell’s layered designs into a font. “I
decided to create several alternatives
for each character, and to make them
switch automatically in a random
way, which involved a lot of testing,”
says Radoeva. The result is a typeface
with up to nine alternate versions of
each character, set on a “bouncing
baseline” to give each character a
shifting vertical position.
“I wanted to make the randomness
automated and usable,” she adds.
“With all the stylistic alternatives,
the font consists of more than 1,000
characters, and the challenge was not
only to draw them all, but to make
them function well together.

- 35 -
SMOKED SALMON
HARDY IDENTITY
by This is Pacifica
www.thisispacifica.com
“Third-generation family business Hardy specialises in smoked

salmon. The company turned to Portugal-based studio This
is Pacifica to design stationery, packaging and a website that
would communicate the premium quality of its product. “It’s
a long-lasting process that can’t be rushed. From salting to
smoking, each stage is executed to perfection. So we created
the idea of Hardy ‘Smoked Masterpieces’,” explains creative
director Pedro Mesquita.
The identity combines two main elements: an abstract
salmon symbol, and a fun, sharp wordmark that could
have been cut by a knife. “The packaging was treated as an
extension of the brand,” says Mesquita, “and is entirely made of
raw micro-corrugated cardboard printed in UV colour.”

- 36 -
FREE AS A BIRD
HELLO FINCH IDENTITY
by Studio Blackburn
www.studioblackburn.com/p/hello-finch
Briefed to produce a bold, contemporary and flexible

identity for brand consultancy Hello Finch, Studio
Blackburn looked to the company’s name for inspiration.
“The brand logo plays on the name, incorporating
a finch in a wide range of vibrant colours, each
representing the colours of the brands that Hello Finch
has helped transform,” explains Studio Blackburn’s
founder, Paul Blackburn.
Hundreds of finch variations are possible, which is a
reflection of the agency’s ability to adapt to and answer
the needs of its clients in a fast-moving digital world.
“The finch is my favourite part,” admits Blackburn. “It’s a
charming little logotype that hopefully brings a smile to
everyone’s face.”

- 37 -
S P EC I AL R E P OR T JULY 2018

- 38 -
JULY 2018
EAR N E X T R A I NC OM E
USE YOUR
DESIGN SKILLS
TO EARN
EXTRA INCOME
Top designers reveal how they diversify
their income through blogs, books,
products, and more…
WORDS: Nick Carson
ILLUSTRATIONS: Radim Malinic and Tamás Árpádi
www.brandnu.co.uk
COM
MPUTERA
PUTERA RTS.CREATI VEBLOQ.COM
- 39 -
S P E C I AL R E P OR T
T
here are many ways to use your
design and illustration skills to
generate extra income, over and
above picking up freelance work.
For many creatives, however,
profit isn’t top of the agenda when
planning a side project. It’s a bonus,
rather than the main goal – and that
mentality frames things differently.
“I’ve never done a side project because
I want to earn cash,” insists Gavin
Strange, senior designer at Aardman
Animations, who undertakes a dizzying
array of them under his freelance alias,
JamFactory. “Not that I’m against
earning money,” he continues, “it’d be
great to do so – but what I like about
passion projects is exactly that. It’s a
passion project. It’s personal. The second
you do it for money it becomes a job;
another piece of work.”
That’s not to say Strange hasn’t
yielded some extra cash from his
endeavours. “Writing my book, Do Fly,
has resulted in some profit, but my main
goal was to share my thoughts with the
“WHAT I LIKE ABOUT PASSION PROJECTS IS
world,” he adds. “It’s a lovely bonus if EXACTLY THAT. IT’S PERSONAL. THE SECOND YOU
money does come my way.”
It’s a viewpoint echoed by
DO IT FOR MONEY IT BECOMES A JOB”
GAVIN STRANGE, SENIOR DESIGNER, A ARDM AN ANIM ATIONS
Armin Vit, co-founder of Austin,
Texas-based graphic design studio
UnderConsideration, whose side project pieces I’d made for myself several years “Usually, the benefits are less direct,”
Brand New escalated from part-time earlier. I never imagined I’d use them Hische continues. “It’s more about
blog into a lucrative global brand. in the way I did. I make my best work staying on the scene, and following the
The studio started with a blog called when it’s for myself, for the pure joy of ‘make work to get work’ philosophy.”
Speak Up in the early 2000s. “Our first it. Side projects become a vital part of Design clients make up around 65
paid advertiser, in 2004 or 2005, gave us my practice: the unadulterated riches per cent of Logo Design Love founder
$500 for an ad. We were over the moon,” I can later cull, harvest and sell off for David Airey’s annual income, with sales
he recalls. profit,” adds Burgerman in his trademark of his book – a direct spin-off of the
“At first, it was never meant to deadpan style. logo-focused blog – responsible for 30
generate supplemental income. It wasn’t Another well-trodden path to per cent. The rest comes from online
the goal,” continues Vit. “There was the generate extra income from personal advertising and affiliates.
aspiration that maybe it could, but if that work is to produce prints, pins or other “Ad revenue used to be higher, maybe
was our goal from the outset it would products to sell; an opportunity that US- 20 per cent, but I’m not surprised it’s
have failed right away.” based designer and lettering artist Jessica declined,” admits the Northern Ireland-
Even if side projects don’t bring in Hische has explored before. based designer. “If click-through rates are
extra income immediately, they can lead “Ancillary income from my shop, anything to go by, it’s hard to justify the
to work indirectly – or make money in and partnerships with other companies value to advertisers.”
unexpected ways further down the line. definitely supplements my income – and
“I licensed some images a few years it would be great if passive income took FINDING THE TIME
ago for a very lucrative job,” recalls over as my primary income source, but Another major issue for anyone holding
Nottingham-born, New York-based for now it’s about a quarter of the total,” down a busy day job is simply finding
doodle artist Jon Burgerman. “They were she reveals. the time to get side projects off the
- 40 -
JULY
JULY2018
2018 EAR N E X T R A I NC OM E
HowBrandNewbecamealucrativeconference
US DESIGN STUDIO, UNDERCONSIDERATION, GREW A NICHE BLOG INTO
A LUCRATIVE GLOBAL EVENT
Above: The Brand Originally just a spin-off from graphic design “The blog doesn’t quite pay for the amount
New brand is now firm UnderConsideration’s Speak Up blog, of hours I spend on it – two or three a day,
UnderConsideration’s Brand New has since rocketed in popularity every day – but it pays off by creating the
primary focus – the to such a level that it now manages to deliver audience that then buys tickets to our events.
conference delivers around half of the studio’s annual income “We don’t make boatloads of money, but
half of the studio’s through its successful conference. what we lack in dollars we make up for by
annual income. “We didn’t see it as a big ordeal at the time; being able to work from home, see our kids, go
we just programmed the site, lined up some on vacation whenever we want, all while, you
content, and launched it,” shrugs co-founder know, critiquing logos,” he smiles.
Armin Vit. www.underconsideration.com/brandnew
Right: Given the “It had a decent 60,000 page views a month
audience, the for the first year or two, then grew to 100,000
conference needs for the next two-three years. It now gets 1.6
to practice what it million. I’m so surprised by how much it has
preaches for its own grown, given the extreme niche we occupy: one
branding. Shown dude, critiquing logos.”
here are 2017’s At first, potential content was sparse – a
metallic tote bags. couple of posts a week. But branding would
later become one of the hottest topics for
designers, with major rebrands rolling out
regularly, giving the site a constant stream of
daily stories.
Brand New is now the main engine for
most of UnderConsideration’s activities. “The
conference delivers maybe 50 per cent of our
yearly income, and we spend about 60 per cent
of our time on it,” explains Vit.
- 41 -
JessicaHischeonteachingthroughSkillshare
HOW THE PROLIFIC DESIGNER AND LETTERING ARTIST TURNED A
PERSONAL PROJECT INTO AN ONLINE TRAINING COURSE
Right: Jessica Hische’s

first Skillshare course
was launched of
the back of her
phenomenally
successful side project,
Daily Drop Cap.
Following her success on the conference

circuit and growing love of public speaking,
Jessica Hische decided to turn her hand to
teaching – and her hectic schedule meant an
online course was the best option.
“I haven’t been in a position to commit to
teaching at a university – I’m hardly ever in one
place for 15 weeks straight,” she explains.
“Skillshare was a good in-between of an
on-stage talk and a more intimate classroom.
You can pour more into an online course than
you can a one-hour talk, but it does scale,
unlike in-person teaching.”
Hische’s first course was based on her Left and below: Two
Penguin Drop Caps book project, which was ornate illuminated
in turn inspired by one of her best-known side letters from Hische’s
projects: Daily Drop Cap. Daily Drop Cap
“I had been speaking a lot about my project, which also
process, and was simultaneously working on a helped get her onto
book about it, called In Progress, so the class the speaker circuit.
and my book helped to inform each other,”
Hische explains.
Although Hische was responsible for “Initially they sold tickets to each course
putting together the course content, Skillshare and teachers made 75–85 per cent of the
took care of all the “production heavy lifting”, ticket cost, but a couple of years in they
including filming and editing. Her second switched to a membership model that does
course took a more general angle, focusing revenue sharing based on class popularity,”
on the logo development, feedback and the Hische continues. “But not every teacher earns
revision process. a lot from online teaching platforms,” she
“It’s been a very good source of income over warns. “You do really need an audience that’s
the years, especially when it first launched already interested in your work to take that
and they had a different model for paying leap to starting a class.”
teachers,” she reveals. www.skillshare.com/user/jessicahische

- 42 -
JULY 2018 EAR N E X T R A I NC OM E
ground, never mind make them a “BRAND NEW WAS SOMETHING I WANTED TO DO,
financial success.
“There are two sides to that, argues
SO I MADE TIME. THAT MEANT LATE NIGHTS, OR
Strange. “There’s the emotional side of WORKING ON THE WEEKENDS”
finding the headspace, and the reality of ARMIN VIT, CO-FOUNDER, BRAND NEW
doing so. On the emotional side: this is
a dream job. You’re making something
from nothing, to exist in the world.
That’s incredible, right? That’s my driver,
my energy giver. The act of creation is
motivation itself.”
The reality of finding time for side
projects, he continues, is simply about
mastering self discipline. “It’s learnt,
through repetition. I liken it to going
to the gym: you can’t run a marathon
without training. You can’t lift super-
heavy weights without doing smaller
ones first.
“It could be about getting up 10
minutes earlier, then 20 minutes earlier,
then an hour earlier. That’s how I’ve
evolved to look at my schedule, but it’s all
about squeezing that time in,” he adds.
“Ultimately, no one has any more or
less time in the day than anyone else.
That self discipline is just as important a
skill as the creative side.”
DOING IT FOR THE LOVE

Perhaps the most important factor
of all when it comes to motivation is
that you’re doing these extra activities
because you want to. They’re called
passion projects for a reason: if it’s a
chore, it’ll never be sustainable alongside
everything else.
“I think passion is what triggers
anyone to do something on the
side,” confirms Vit. “Brand New was
something I wanted to do, so I made
time. That meant late nights, or working
on the weekends.
“When you’re doing something you
really believe in, there’s nothing stopping
you. You don’t make bullshit excuses.
When people say, ‘Oh, I don’t have the
time,’ it’s like, ‘Yes, you have the time, but
you don’t want to make the time.’ That’s
perfectly understandable, but when that
special something takes you over, time
magically increases.”
“Side projects usually scratch an
itch that my ‘day job’ isn’t currently
C O MP U T E R A RTS.C REAT IV EBLO Q.C O M

- 43 -
“SIDE PROJECTS USUALLY SCRATCH AN ITCH THAT scratching,” thinks Hische. “It depends
what client work is already on my plate.
MY ‘DAY JOB’ ISN’T CURRENTLY SCRATCHING. IT “When I was in my most active side
DEPENDS WHAT CLIENT WORK IS ON MY PLATE” project state, most of them had to do
JESSICA HISCHE, LETTERER AND ILLUSTRATOR with teaching, education and writing,”
she adds. “The goal was a space to
improve and explore these areas, while
participating in the online conversation
about design, and providing resources for
folks to discover. Hopefully that makes
them check out the rest of my stuff.”
Once you reach a certain level of
proficiency and reputation, using your
design skills to ‘give back’ to the next
generation of talent is a popular pursuit
– and while work with schools and
charities is usually altruistic, education
can bring in some extra cash, too.
Both Hische and Burgerman have
produced some online courses for
Skillshare, and are still enjoying steady
royalties several years later. “As I’ve
spoken at so many classes over the
years for little or no money, it’s amazing
[to me] to earn some income from
education,” admits Burgerman.
“I spent a lot of time working out what
the classes would involve, but on the
day of the shoot we went through them
pretty quickly. When you’re teaching in
‘real life’, there’s no time to re-do classes
over and over, so we kept the same
momentum and energy for Skillshare. I
want the classes to feel natural, and not
too slick or polished,” he adds.
“I don’t earn enough from any one of
my ‘side projects’ to live off, but because
I do so many I can afford to eat caviar
whilst bathing in champagne at least
once a week,” he deadpans. “I have to
clean the bath myself, though.”
RAISING THE FUNDS

Passion projects that require an
investment of time are one thing, but
sometimes you need to spend money
to make money. The general consensus
is to keep costs as low as possible to
mitigate risk, and always make sure you
have a financial buffer in place.
“We’ve been lucky that Brand New
didn’t require money put into it. A blog
is a blog, and it runs mostly free,” shares
Vit. “Whenever we’ve produced things,
JULY
JULY2018
2018 EAR N E X T R A I NC OM E
JonBurgermanonsellingmerchandise
THE WORLD-FAMOUS DOODLE ARTIST SHARES HIS ADVICE FOR
TURNING YOUR DESIGNS INTO SELLABLE PRODUCTS
Over the years, Nottingham-born, NYC-based “It’s not fun spending all day and night Below and far left:
doodle master Jon Burgerman has dabbled in packing up little toys into custom-made boxes, Jon Burgerman is
a dizzying array of self-branded merchandise, then waiting in a huge Post Office queue hugely prolific when
from toys, prints, books and T-shirts to mugs, to send them out,” he adds. “Then there’s it comes to his own
laptop sleeves and wallpaper. things like dealing with missing packages, merchandise, which
Of course, he had to start somewhere and and grumpy customers who want everything includes toys, T-shirts
learnt a few lessons the hard way: “Always delivered the minute they place their order.” and bowls.
make things in small batches first, and see Ultimately, it all paid off for Burgerman –
how your market reacts,” speaks the wisdom but his experiences are a cautionary tale for
of experience. anyone keen to sell their own products online.
“Don’t make a thousand T-shirts. Make 10. www.jonburgerman.com
I think there’s a basement in Nottingham that
still has a few boxes of my unsold T-shirts in
it,” he winces.
“Hand-make stuff to keep the
manufacturing costs down for low runs,” he
continues. “There are lots of print on-demand
sites, so make some test pieces, show them
to people, and see if anyone will buy them. Go
from there. Dead stock can be costly!”
Burgerman also advises thinking about
distribution from the outset, however small-
scale your operation. “It’s super easy to make
stuff, but how are you going to sell it? Where
will people buy it? And how are you going to
ship the stuff out?” he reels off.
COM
MPUTERARTS.CREATI
PUTERARTS.CREATI VEBLOQ.COM
- 45 -
DianaHlevnjakonsellingdigitalassets
UNDER THE MONIKER POLAR VECTORS, THIS CROATIA-BASED

CREATIVE SELLS TEXTURES, PATTERNS, ICONS AND MORE
Diana Hlevnjak was working for a small web Although her work is still sold on Above: Under
design firm when personal circumstances led Shutterstock and iStock, Hlevnjak points out the moniker Polar
her to relocate to another city. She managed that the volume of assets on the large libraries Vectors, Diana
to work remotely for a while, but times were means things that are on-trend one month are Hlevnjak creates
tough and her contract was terminated shortly soon buried beneath new trends. and sells a range of
before the company shut down. She has instead been focussing her efforts textures, patterns and
Hlevnjak had been selling digital assets on more niche marketplaces such as Creative graphics, such as this
through stock libraries for some additional Market, where watercolour illustrations and gradient pack.
income, but there wasn’t enough to cover her textures tend to fare well, as well as her own
costs. She focused all her efforts on the task website: Polar Vectors.
to see how lucrative it could be. The strategy has paid off: Hlevnjak has
“I liked the fact I didn’t have to deal with successfully managed to turn an occasional
sales, clients, meetings and similar tasks that sideline into her primary earner. “As a
introverts don’t like,” she confesses. “It also freelancer, I am accepting less and less
meant I could work from anywhere.” client work, and it’s become a minority of my
“My challenge at the time was very low revenue,” she reveals.
income, but I had faith in the process and kept www.polarvectors.com
putting up more and more products on more
and more platforms.” Far left and below:
Hlevnjak’s focus was on graphic resources As well as abstract
such as patterns and textures, an area she’s geometric shapes,
passionate about. This is crucial, she argues, Hlevnjak’s more niche
to stay motivated when building up a large oferings include
portfolio of assets. graphic renditions of
She watches trends across illustration diferent dog breeds.
and design, as well as fashion, interiors
and architecture. “Last summer was big on
monstera and cacti plants, which came from
Scandinavian interior design,” she says.
C O M PUTERARTS.CREATI
- 46 -
EAR N E X T R A I NC OM E
EXPERT ADVICE FOR

EXPANDING YOUR
REVENUE POTENTIAL
1 FIND INDIRECT BENEFITS
“I’ve had to explain to folks over and over
again that you don’t make lots of money
on the creative conference circuit, but
it does amazing things for your career,
solidifying you as an expert,” insists
Jessica Hische.
“The amount I make public speaking
comes nowhere close to what I can
make doing commercial lettering and
design projects, but it’s through that
kind of design leadership that I’m able to
demand higher budgets, and get higher-
profile clients.”
2 BE PATIENT
“Stick with it,” advises Armin Vit, based
on the gradual growth of Brand New
over several years. “Sometimes I get
frustrated when something we make or
launch isn’t an instant hit, but if you stick
with something and see it through then
great things can happen.”
3 ENJOY YOURSELF
“Often the good stuff isn’t the jobs
we’ve made sure the costs are small, like making future projects more lucrative. themselves, but interactions with the
maybe $1,000 or $2,000. If the product is “Being known for being people involved,” reveals Jon Burgerman.
a hit, yay; if not, no big deal. entrepreneurial has helped set me “Festivals are a wonderful way to meet
“However, with our first Brand New apart from other lettering artists and and make friends with people. Don’t
Conference, we put in a good $50,000 creatives,” she asserts. “Daily Drop Cap, allow working to get in the way of living!”
before we saw any money back. That’s and other artwork-based side projects,
the biggest gamble we’ve ever taken. I are really the only ones that have 4 INVEST IN YOUR BRAND
don’t know what advice to give there, translated directly to financial gains.” “Focus on your brand and reputation,
other than have an extra $10,000 in the In fact, Hische has won several clients and choose carefully where to sell
bank to survive for a couple of months in specifically because of Daily Drop Cap. your work,” advises Diana Hlevnjak of
case things go bad.” “I’ve produced letterpress prints based on resource site, Polar Vectors.
Many of the side projects that Hische the letters, as well as licensing them to “I used to think uploading images to
considers the most creatively rewarding Chronicle Books for a postcard set.” stock sites was enough, and I could focus
have cost her money in the short-term. For prints and physical goods, Hische on drawing and the rest would take care
“I’ve ended up paying someone to help stumps up the funds herself, with a of itself. That’s far from reality. You need
manage it, or pay for the hosting of it, break-even point in mind for the future, to work on your marketing, and build your
without having any model to make that and any profit a bonus. “It’s usually no customer base independently from stock
money back,” she admits. more than $2,500–$5,000, depending on sites. It’s the safest way to survive.”
“Don’t Fear the Internet was a good the project,” she reveals.
example of this. There was never a “I try to break even in the first year or 5 BELIEVE IN YOURSELF
means to make money, and we left the two of sales if possible: some things sell “Be yourself. No one knows your work like
videos up for free for people to watch. great and some don’t, but it’s not really you do,” asserts Gavin Strange.
Inker Linker was also never a money a ‘make or break’ situation. It’s great to “If you’re getting into speaking and are
maker – the only ‘sponsorship’ I ever had have the extra income, but it’s not my nervous, know that everyone wants you
on it was an in-kind link exchange.” primary source so it’s fine to trickle in to do well. Everyone is willing you to be
Again, she advocates the long-tail slowly over time.” the best version of yourself. So focus on
effect of sharing resources, in terms of “I take money I’ve been paid from doing your best and sharing whatever it is
boosting your reputation and ultimately commercial works, and invest it you want to share. Stop worrying.”

- 47 -
HowGavinStrangeturnedhistalksintoabook
DO FLY IS THE CULMINATION OF EIGHT YEARS ON THE SPEAKER CIRCUIT,
AND ROYALTIES ARE ROLLING IN
Gavin Strange is a master of taking advantage Although profit is never high on the Below: Strange’s time
of serendipitous opportunities. He broke into agenda for Strange’s side projects, Do Fly on the speaker circuit
public speaking thanks to a chance encounter provides him with some royalties every quarter, – specifically The Do
with a guy on a train, who turned out to be and has recently been licensed to indie Lectures – translated
arranging talks in Apple Stores around the publisher Chronicle Books to distribute in the into his first book,
country. Now bitten by the bug, over the United States. Do Fly. And he’s
following few years he went on to speak to Appetite duly whetted, Strange is already planning another…
packed-out crowds around the world on the thinking about his next book – and how it could
design conference circuit. be timed to coincide with turning 40 in a few
Above: Gavin “I have quite a few friends who are years’ time.
Strange giving one successful speakers, such as James White, www.somethinggoodbristol.com/creative/
of his notoriously better known as Signalnoise,” he explains. gavin-strange
energetic talks “He’d spoken at OFFF in Barcelona, and FITC
on stage at FITC in Amsterdam, and I asked if he’d put in a nice
Amsterdam (photo word for me. He kindly did.”
by Merten Snijders, After almost eight years of writing talks – a
www.mertenfoto.nl) totally new one each year – Strange ended up
with a vast bank of written notes.
After speaking at The Do Lectures – “a
series of talks tied together by people that
simply do” – he was handed a book by David
Hyatt, co-founder of Do as well as Howies and
Hyatt Denim.
“I loved it because it was so inspiring, but
it was also formatted a lot like how I structure
my talks,” he recalls. “For the first time ever I
thought, maybe I can write a book?”
He got in touch, and the rest was history.
Working closely with Miranda West, editor and
founder of the Do Book Company, his book – Do
Fly – took shape.
COM PUTERARTS.CREATI VEBLOQ.COM

MPUTERARTS.CREATI
- 48 -
JULY 2018 EAR N E X T R A I NC OM E
back into my practice,” is Burgerman’s “IF YOU WANT TO GO BEYOND PERSONAL

solution. “My advice is to live frugally
and save funds for such projects. It’s a
INDULGENCE AND FIND A BUSINESS MODEL
luxury, and very liberating, to make work THAT’S SUSTAINABLE, IT’S TOUGH”
that doesn’t need to justify back its cost.” GAVIN STRANGE, SR DESIGNER, A ARDM AN ANIM ATIONS
When Strange set up a business with
his wife Jane, designing and selling
homewares and other products, he
needed to raise significant capital for
the first time. The couple approached
the problem creatively. Instead of a
conventional wedding gift list, friends
and family had the option to contribute
towards the fledgling business.
“That’s what funded our first
products. But finding capital isn’t easy,
and if you want to go beyond a personal
indulgence and find a business model
that’s sustainable, it’s tough,” he warns.
GET OUT THERE

A common thread evident with many
of the creatives featured here is public
speaking – not just as an income stream
in and of itself, but also as a springboard
to other opportunities.
Hische, Burgerman and Strange
have all clocked up their fair share of
design talks around the world, whereas
Vit approached it from the other side
and established a highly successful
conference under the Brand New brand.
“I was first asked to speak about my
work because of Daily Drop Cap,” recalls
Hische, revealing yet another major
opportunity spun off from that one killer
side project.
“After gaining a bit of experience, the
demand snowballed. I was very nervous
at first, but with a little practice it has
come more naturally to me. I became a
good speaker, and conferences are always
on the hunt for strong female voices in
their lineup,” she points out.
“I try not to do speaking jobs unless
I’m paid, or it’s for a good cause,” reveals
Burgerman. “It’s work, so I need to be
paid! Otherwise there are books and
movies I’d rather be catching up on.”
Having already spoken at the
Pictoplasma character design event
in Berlin, Burgerman was approached
out of the blue by OFFF in Barcelona,
which broadened his appeal to design-
E C I AL R E P OR T
S P EC JULY 2018
HowLogoDesignLovebecameabest-sellingbook
THIS LOGO-FOCUSED BLOG TOOK A DIFFERENT TACK FROM BRAND NEW,
AND SPAWNED A SUCCESSFUL REFERENCE BOOK
focused festivals worldwide. “I tried to

explain I wouldn’t be good at it, but they
insisted,” he recalls. “I actually really
enjoyed it, not just the speaking but
meeting everyone else involved.”
While talks at schools, colleges and
non-profits are rarely paid, full-blown
conferences tend to offer a fee, plus travel
and accommodation.
“Fees range between $1,500–10,000,
with almost all events that I enjoy
talking at falling on the lower end of
that range,” explains Hische. “The more
you’re paid, the more likely it’ll be a very
business-like conference, rather than a
looser creative event.
“I have several formulas for coming up
with a good speaking fee, depending on
how much prep time is involved and how
much out-of-office time,” she adds.
Serendipity propelled Strange onto
the speaker circuit. “I met a fellow on a
train who worked for Apple. We got into
a lovely conversation, geeking out over
“I didn’t realise how bad a writer I was until I computer equipment. A couple of weeks
sent a chapter to my editor, and it came back later I got an email inviting me to do a
torn to shreds – rightly so,” confesses David talk in an Apple Store.”
Airey, founder of design blog Logo Design Love, While he overshot the mark in the
which became more profitable in book form. first talk, speaking for 90 minutes and
“If you’re thinking of self-publishing instead bringing along every item he’d ever
of working with an existing publisher, I’d highly designed, Strange enjoyed the experience
recommend bringing an editor on board,” he and before long was being approached
Above: David adds. “It can make or break the result.” by other events. This was helped by
Airey translated In Airey’s case, there was a direct approach established ‘conference circuit’ friends
his popular blog off the back of his blogging activities. “An email such as James White (aka Signalnoise)
Logo Design Love came in, out of the blue, from Nikki McDonald putting in a word with OFFF and FITC.
into a much more who was working as my publisher’s senior Like Hische, he insists on transport
lucrative book acquisitions editor. She’d seen the blog, and and accommodation to be paid as
form. A new title is asked if I’d write for print. That was that. ” a minimum, and always asks for a
due out in 2019. Logo Design Love the book proved speaker’s fee for more commercial-
significantly more lucrative for Airey than focused talks for businesses.
running the blog. “If I had no design clients for “Depending on the size of the festival,
a year, I could probably squeeze by on the book some pay and some don’t,” adds Strange.
royalties alone,” he reveals. “Over the years I’ve become comfortable
“But over time, book sales decline. That’s having that conversation. They’re nice
normal,” Airey continues. “It’s one reason why bonuses to have, but I didn’t get into
a second edition was released with 50 per cent speaking for money,” he concludes. “It’s
new content, and a higher page count. the joy and excitement of having the
“And while I was talking to my publisher privilege to do so.”
about a third edition, I ended up deciding on a
completely new title. That’s what I’m working
AMAZING GRADUATES
on now – the Identity Designed book is due for
NEXT We scour the UK for our top pick of
release in January 2019.”
MONTH graduates in the fields of design,
www.logodesignlove.com illustration and motion.
C O M PUTERARTS.CREATI
- 50 -
NEXT MONTH
NEW TALENT &
COVER COMP
INSIDER ADVICE
A mammoth feature of all the amazing young talent
coming from the UK grad shows this year.
INDUSTRY ISSUES
For every crop of amazing graduates, there are many
still lacking key skills. We explore who’s to blame.
Plus: The latest inspiring projects, creative trends

and expert analysis from leading designers
ON SALE 24 JULY
C OMPU TERA RTS.CREATI VEBLOQ.COM
- 51 -
I N CONV E R S AT I ON JULY 2018
WRITING ON
For illustrator and muralist Timothy Goodman, the most

creative space lies between the personal and professional
WORDS: Beren Neale

- 52 -
JULY 2018 T I M OT HY G OODM A N
THE WALL
Timothy Goodman’s first experience decorating walls was straight out of high school, in Cleveland, Ohio. After years of painting and
wallpapering homes, he moved to New York, studied at the School of Visual Arts and started work as a book cover designer at Simon &
Schuster. He went on to work at Collins, where he created his first major wall mural for the Ace Hotel in 2010, and then at Apple Inc.
Over the years he’s worked for big brands like Google, Samsung and The New Yorker. See more at www.tgoodman.com
- 53 -
I N CONV E R S AT I ON
F or New York designer, illustrator

and art director Timothy Goodman,
it’s all about human connection.
Whether it’s “airing my dirty
laundry” on his Instagram project
Memories of a Girl I Never Knew;
turning his life into a themed project
on human interaction in his and
created, it is uniquely for the size of
that specific wall, and it’s special.
Are they the most gratifying form of

expression for you?
The murals are definitely one of the
things in my work that give me the
most pleasure. I feel like it’s a craft in
Jessica Walsh’s 40 Days of Dating; a sense, you know? The physicality of
or filling every space on his wall it. I feel accomplished when I [create] a
murals to force everyone passing to mural I like.
stop and engage, his aim is to make I used to paint homes early
an honest connection. on. We would paint drywall and
We spoke to him after his talk in wallpaper and you did get this sense
TYPO Berlin this year, and discussed of accomplishment at the end of the
whether there’s a place for politics day. You go have a beer with everyone,
in design, those ‘old designers from and your hands are dirty and you
the ‘90s and putting the personal in felt… There was this sense of ‘I did
professional. something today, there’s honour in
what I did.’ I didn’t know I’d ever
What exactly have you got against be doing wall murals. My spirit or
white space? whatever you want to call it, was
I just don’t know what to do with it! drawn into it I think, because later on
[laughs]. It’s an intuitive reaction. For you connect the dots. I feel that at the
some reason I have to fill that space all end of a mural, when I’ve worked really
up. It’s an obsessiveness thing. It just hard and my body hurts and my hands
makes sense to me. are dirty, I feel connected back to those
days when I was painting homes with
Are all of your wall murals designed those guys.
so that each passersby will stop and
engage with them? Your Instagram project Memories
That’s part of it. I want you to have of a Girl I Never Knew is kind of the
to figure it out a little bit, to put in a opposite of the murals…
little effort. Not all of them of course, The Instagram social media stuff
some of them are very straightforward. comes from a need to want to
When I do them, it changes the immediately connect to people. It’s
dynamic of the space and that, more like practice for a game, right? I write
than anything, is why I think I fill up these things, put them out there,
the whole wall. I like the idea that they’re just me testing waters. They’re
I’m making it for a specific wall. It’s me freestyling. They’re me shooting
not like something that you can just free throws before a basketball game
project on any wall. The thing I have – it’s just practice, keeping me
- 54 -
Left: Timothy’s book sharp. Putting it out there, see how it Instagram projects. It really broke
cover design for Wolf resonates and then later, some of them down a wall that I realised I didn’t
of White Van,
commissioned by
are worked up. need any more, the wall between
Farrar, Straus and my professional and personal sides.
Giroux. Do you put it out there to test it So how open I am on social media,
commercially, with a view of gaining whether I’m talking about politics,
Above: The 40 Days
of Dating book based clients? You mention in your talk that about mental health, my own
on the blog, came UNIQLO released a range of clothes mistakes, relationships… There’s a
out in 2014 and with your Instagram quotes... vulnerability that I think 40 Days
signalled a shift in
Are you kidding me?! I had no idea allowed me to tap into. I never looked
Timothy’s work,
which got that they would suddenly be on shirts back after that and it really changed
progressively more around the world. I mean if you start the whole trajectory of the work I’ve
personal. thinking that way, you’re going down done since.
Right: One of 30
the wrong road…
T-shirt designs Though saying that, I don’t fall Why had you built that wall?
created for the into that: ‘I’m doing stuff for love.’ I do making things with an intention for I think we all have it. Also, it doesn’t
global clothing it because I want to put work in the it to be commercial, that’s perfectly help that everybody wants to box you
collection with
UNIQLO, which came world. Everyone’s got a brand, right? healthy, but you can’t put too much in. Everyone has these definitions:
out 2018. We’re all a brand on social media in stock in it right away. design is this, design is that, it can’t
some sense, and that’s interesting be this, it can’t be that, it can’t be
because I think that for someone The promo films for 40 Days of personal, you know. And maybe it isn’t
like me who runs my own company, Dating (2015) look a lot of fun, but even ‘design’? I don’t know, that’s not
people come to me and they want my what surprised you in that project? for me to decide, I feel like a lot of the
likeness incorporated into something. Doing 40 Days with Jessica was fun, times I think, as a creator, you’ve got
And the questions that raises are but it was also pretty brutal. It was to be willing to put it out and let it
fascinating, like how are you as a diicult to do something like that: go become whatever it becomes.
person different from you as a brand? to therapy with someone, talk about
I don’t know what the line is between these things together. You’ve said there’s still a taboo about
the two, or if there is one. But I think That project really opened up client-facing industries incorporating
that when you start talking about so much for me, it’s why I do these fears and vulnerability into work,

- 57 -
I N CONV E R S AT I ON JULY 2018
like artists do. Do you think that’s do brand sponsorships. If I align with Above left: Timothy’s define who I am. It gave me a different
something that will ever change? a brand that I dig, why would I not? limited edition audience and then I talk about the
notebook in
Yeah I think so. With social media and I drink ginger ale, so if a ginger ale partnership with
things that I really want to talk about
‘influencers’ it’s shifted. Brands [are] company wants me to post something Moo, 2017. to them.
realising, ‘If we pay an influencer to on Instagram, hell yeah. So me and my It all comes from the same place,
Above: Magazine
promote this to their followers, we’re friends talk about that a lot… It’s like though. Human connection and
cover for
getting more exposure than if we put why wouldn’t you? Entertainment connecting other people in my work.
it out in some traditional way.’ That’s Weekly. Co-designed That’s the thing that gives me the
all interesting. Talking about haters, you briefly with Leah Schmidt, most joy, no matter what the medium
2016.
said in your talk that some of your is. I want to have dialogs with people
Do you think there’s a tension designer friends were critical of 40 Above right: A ‘killed’ who want to talk about things that are
between displaying one’s vulnerable Days of Dating… TIME magazine hard to talk about. If the work you’re
humanity, and making a bucket of I think anytime you do something cover, created in doing brings meaning to you and
2014.
money from it? very personal and you put it out, others, then you’re onto something.
Not to be a hater or anything, but particularly when it becomes popular, Below: A 2015 mural
sometimes you get these older you’re going to have people who don’t for a boutique And commercially popular work can
concept store in
designers from the ‘90s, and they like that, or don’t like your approach. fund you to do more personal work…
Beverly Hills, Los
talk about, ‘don’t work there, you’re Maybe they just don’t connect to it. Angeles, Exactly. I mean I could never have
gonna sell out.’ As if people don’t need It’s a pop album! And I get why commissioned by created People of Craft otherwise. I
money, especially graduates! There’s some people are not into that. Not CuratorLA. could never do these personal projects.
no such thing as selling out, you’re not everyone likes Rihanna or Justin
a punk band, you know what I mean? Timberlake because it’s pop music… What is People of Craft?
Nowadays, everything has shifted. I but that’s alright, because it doesn’t It’s a showcase of creatives of
Left: Jessica and

Timothy’s Build
Kindness Not Walls
protest outside
Trump Tower, 2016.
Below: One of the

teaser videos to
promote 40 Days of
Dating. Videos by
Santiago
Carrasquilla and Joe
Hollier, 2013.
I N C ON V E R S AT I ON JULY 2018
colour. I co-created it with my friend Take someone who is a white,

and fellow creative Amélie Lamont. straight male and he’s making
We met while we were both speaking something – maybe it’s me, I’m doing a
at a Chicago conference in 2016. We wall mural and I’m writing something
bonded over the imbalances and lack that’s a joke, and I don’t understand
of inclusion in the design industry. that what I’ve done has been offensive
It launched in October 2017, and we to a certain group of people. If I don’t
recently added a location tab, so you recognise that responsibility, then I’d
can search for people in a specific city. be part of the problem. You have to
There are now about 1,000 people understand the context of your work,
from around the world on the site. We how all types of people are interacting
want to include a sort of news section or seeing your work. It’s all political.
that highlights work, projects and
events by people on the website. How do you negotiate your
own privilege?
Do you think it’s possible to be non- I think so much of it is luck, and no
political in the creative industries in how it’s being perceived, interacted Top: The artist’s one tells you that. I like the quote, ‘90
the USA today? with. You don’t have to make political Sharpie Art per cent of it is showing up’. You have
Workshop book,
I don’t think so. I used to think, ‘of statements very outwardly, whether which came out in
to show up, you have to be out there
course designers don’t have to take we’re talking about white privilege or 2015, published working and hustling and all of that,
a political stance’. But today I think about Donald Trump. by Rockport. but there’s this part where it’s just
everything we make is political. If luck… and you have to think about the
Above: People of
you’re any sort of an artist, you can’t Who you protested in your own ‘wall’ Craft, a project and privileges that exist. How all of that
make work without understanding outside the Trump Tower? initiative that has plays into a person’s success. It’s great
the context that your work is being Sure… you don’t have to be making seen Timothy team when people sit there and tell you, ‘I’m
up with Amélie
made in, the audience, and that’s work like that, but you have to where I’m at because I did this and I
Lamont, launched
inherently political because your work understand there’s a responsibility October 2017. did that,’ but I don’t know. You can’t
is being put out in the world, and after with the work you are making and I count your success without having
it leaves you, you have no control over think that is inherently political. luck and privilege built into it.
- 60 -
LONDON
19-21 SEPTEMBER 2018
3 DAYS OF INSIGHT AND INSPIRATION
TICKETS ON SALE NOW

www.generateconf.com
#generateconf
BROUGHT TO YOU BY
I N D U S T R Y I S S UE S JULY 2018
- 62 -
JULY 2018 B OOK DE SI G N
BOOK
Book design, when executed well, can

elevate content and form to beautiful heights.
Emily Gosling talks to designers about how
such lofty ambitions can be achieved
Entkunstung by Maximilian Mauracher
- 63 -
I N DUS T R Y I S S U E S JULY 2018
W e all know the unspoken rule is you shouldn’t judge

a book by its cover. Indeed, design-wise, there’s a hell
of a lot more to creating a beautiful, legible book
than what’s on the outside. The principles of layout,
type selection and use of imagery are complex; the
role of a book designer holds much more than meets
the casual reader’s eye.
As with any creative project there are no hard and
fast rules to designing a book, but there are a few basic
principles that designers adhere to. Again though, such
rules are often there to be broken: legibility seems like
an obvious one, but with more conceptual art books,
for instance, sometimes you can get away with type
and layout that challenge the reader to look as much
as to read; images can be layered and morphed and
chopped and screwed around with; stories can be told
in traditional, linear formats, or as postmodern,
nonlinear modes of expression. The basic tenet is
design should adhere to what’s being designed, format
should work with content, and design shouldn’t (most
of the time) overshadow what the book is conveying to
its readers.
Naturally, a shiny, seductive cover just isn’t enough.
Erik Spiekermann once said that a book with a great
cover and shoddily designed interior is “like great
packaging, but when you open it, the food inside looks
brown and boring. It may still be nourishing, but my
appetite is gone.” So how does good book design keep
us hungry, and ultimately satiate us?
THE PROCESS
Once a designer has been commissioned to design a
book, they’re usually briefed on the concept, and given
some placeholder content to play around with. After
that, it’s often a period of heavy research into the
book’s themes and topics. Then it’s on to some
experimenting with rough ideas of layout, playing Studio Yukiko created
around with typefaces, possible colour combinations, Home, a book of
and the image selection. Along the entire process, a photographs by Matt
good designer will also be considering the mechanics Lambert and the first
of the production: how it will be bound, the paper, publication from gay
cover stocks, and so on. dating app Grindr.
“I start by listening to the people involved: the
authors, editors, artists, etc,” says designer Sara De

- 64 -
TIPS FOR Bondt. “Then I try to find out more about the subject,
and find relevant design solutions that suit the content
BETTER BOOK of the book. Sometimes a relevant solution can also be
something that doesn’t suit the content, but that
DESIGN contrasts it.”
While as a designer you aren’t always in a position to
1. GUTTER TALK pick and choose the projects you take on, the vast
majority agree that an interest in the subject matter –
Make the guer wide enough, to avoid text bleeding
or at least, working to find something in it that piques
into the inner right side of a le-hand page (‘verso’) or
your interest – is pretty important. “The better you
inner le side of a right-hand page (‘recto’). A perfect
understand the content, both text and images, the
bound book should, as a general rule, have le and
better you can deal with it in terms of positioning and
right inner guers no smaller than 25mm on each side.
sizing as well as coming up with hierarchies,” reveals
graphic designer and art director Maximilian
2. RUNNING NAVIGATION Mauracher. “Of course it’s possible to make a nice book
To aid reader navigation, add a ‘running head’ showing layout by having a grid first and then just strictly laying
the book title on each le-hand page, and another out the content according to it, but I think it’s only
showing the chapter title on the right page. Use clear, going to be outstanding if you adapt typography,
simple numbering (if in doubt, Arabic numerals, 0-9, colours and the page layout to the content.”
etc) on each page. They might seem obvious things to Book covers usually go through a series of meetings
mention, but such lile touches are important for a with the editor, the sales and marketing teams, the
clear, easy reading experience. designers and eventually the author before being
approved. “As a designer, hearing so many opinions can
3. WORD SPACING be a bit daunting, but I often find it opens me up to
Careful consideration of word spacing (or pathways I might not have considered,” says Henry
justification) is vital for presenting text. While the best Petrides, designer at Cornerstone, part of Penguin
ratios vary across different typefaces, as a general Random House. “The whole process usually lasts a few
rule, decreasing the word spacing to around 90 per
weeks; sometimes shorter, and sometimes longer,” adds
Emma Grey Gelder, senior designer at the publisher.
cent creates lines that are smoother for the reader by
reducing the likelihood of harsh-looking spaces and
‘holes’ in body copy.
TYPOGRAPHY
Great book design is only as good as its typography. In
very basic terms, it makes sense that fonts should be
4. CHARACTER SPACING unobtrusive, in as much as the reader doesn’t ‘notice’
Again, the rules for character spacing vary but
the font, simply the words. It’s often said that
according to Thomas Bohm, who runs graphic monospaced typewriter fonts such as Courier are to be
communication design, illustration and production avoided in body copy, as the uniform spacing gives too
service User Design, “to get an even smoother fit much standout to individual letters. The debate is still
of leers and words on a justified line of text you very much raging as to whether serif or sans serif fonts
should adjust the character or leer spacing… in are the most legible, or most suited to body copy: and
general a value of -3% (Adobe InDesign) or -0.6 after decades of research and bickering over the matter,
(QuarkXPress) for minimum and 3% (Adobe InDesign) we’re still far from a conclusion. So really, do what you
or 0.6 (QuarkXPress) for maximum is sufficient feel in that sense: legibility wise, there’s not much in it.
(Adobe InDesign is measured in 1/1000 em space and Petrides and Grey Gelder agree that while there are
QuarkXPress is measured in 1/200 em space).” fonts designers fall back on, it’s more interesting to use
less known typefaces, and introduce handwritten
5. TALK TO EVERYONE elements where appropriate. “I work on women’s fiction
Keep in constant communication with your client, titles and I find that hand calligraphy works well on
printer, and anyone else involved in the oen highly these kind of covers, and often feels more organic with
collaborative process of puing a together book.
the illustration used,” says Grey Gelder. “It’s really
enjoyable to commission hand lettering artists to
Email is great, but phone is much beer, while in-
create a signature look for a cover.”
person is oen best.
Mauracher takes a strongly typographic approach to
his designs for books, mainly in the cultural field, and
advises that type-wise, “less is more.” He explains: “It’s
all about readability – that’s what most books are for, to
be read – and the mood I want to create or feelings I

- 66 -
want to evoke when reading or looking at it. Of course
I have some favourite fonts, but I usually vary them and
see what matches the content best. As soon as I choose
one or two typefaces I have a look at the hierarchies –
headlines, sub-lines, body text and pagination.”
Above: Sara De Bondt’s It all comes back to there being certain rules – those
designs for Tree of Codes, dictated by content, and a somewhat intangible sense
a book by Jonathan Safran of what feels and looks right – and then letting each
Foer in which each page project dictate how such rules are executed. “Book
is precisely die cut to show design is all about rhythm and pacing,” advises De
only a few words exposed. Bondt, and points out that the typography is only as
good as the production. “You might design the most
PHOTOGRAPHY: ©Jason Wen
Below: Sara De Bondt’s beautiful layouts on screen, but if you haven’t fully
design for a book about considered the binding or grain direction of the final
sculptor Franz Erhard thing, your book will end up looking like a hostile brick
Walther, which accentuates that doesn’t open.”
the possibilities of tactility.
LAYOUT
Layout is made up of a careful selection of decisions
regarding page size, font styles and combinations, line
spacing, margin size, and which images are used. The
vast majority of designs will adhere to a grid system,
which at their most basic can be broken down into four
categories: Manuscript grid (a large, rectangular space
made up of large text blocks and margins, often used
for large blocks of text such as essays); Column grid
(helpful for presenting text that isn’t necessarily
continual, perhaps with various boxouts, images, and
captions); Modular grid (prizing order and clarity to
organise a series of complex information and images,
as popularised by the Swiss International Style and
Bauhaus School); and Hierarchical grids (more often
used online than in print, where the column widths
differ, and the designer needs to unify a number of
disparate elements).
Considerations around layout come down to vertical

(typographical hierarchies) and horizontal (double-
spread design and sequencing). “I prefer reducing the
typographical image to its core essence and try to
establish clarity for the reading,” says Hanover-based
designer and art director Yevgeniy Anfalov. “Sometimes
the structure is more complex and requires more
hierarchies. At this point, I need a good grid to use the
surface in a rational and flexible way. The sequencing
has a cinematic nature. It is less about graphic design,
but narration.”
Swedish designer Marcus Gärde has created an
online grid calculation tutorial (www.bachgarde.se/
gridsystem/gridsystem.html) for figuring out the basics
in any book design project. It’s based on a ratio method
that works with all paper formats, and “always results
in both horizontal and vertical lines fitting perfectly
within the area,” according to Anfalov.
Again, the right layout is only correct for the book
it’s meant for. “In the end it always depends on the
content and the book format,” Mauracher says. “That’s
why I never reuse a grid or a page layout for another
book. I want to create something new every time.”
Anfalov agrees that ‘golden rules’ are inherently
fluid. “It’s good to learn different approaches in layout
composition and to always extend that knowledge,” he
says. “I don’t believe in the power of dogmas.
Approaching new projects, I often think: ‘Should I have
a grid? Or is there no grid at all? How can I design
something without sticking too mechanically to the
rules?’ But it’s really up to the project’s nature. The
content gives me clues on how I should proceed.”
De Bondt has an “internal unspoken rule” when it
comes to the process of designing layouts, “which is to
try not to be too wasteful – the environment is already
suffering so much.” Where possible, she tries to use
standard book sizes to avoid paper wastage, and steers
clear of laminating. “Unfortunately a lot of books get
shrink wrapped in plastic, I hope someone will invent a
more ecological solution for that soon,” she says.
PRINTING
Once you’ve slaved over a book project for weeks,
months or even years, it would seem frankly daft to
relinquish control once it all goes to print. As such,
most designers work very closely with the printers
themselves, building up relationships over many years
and meeting to discuss the process way before the
printing wheels start turning. It’s only by working
closely with printers and really understanding how they
work that you can push the limits of the books you’re
making, and deliver something truly unique.
De Bondt emphatically states that it’s “incredibly
important” to work closely with the printer. “Printers
- 68 -
TRANS Designer Maximilian Mauracher sees

his Transfashional book as “quite a
special project.” The book
accompanied an exhibition series
that took place in universities across
Vienna, London and Warsaw in which
the designer showed his work as a
visual artist, while also creating all
the associated printed matter and
exhibition design. “For me it was
important to transfer the visuals
across all media, no matter if printed
or online,” he says. “I took an image of
a fabric, modified it and made 11
different bitmaps – one for each
artist. Those patterns were combined
in various ways, overlapping and
resulting in new patterns – like the
artists who collaborated or were
inspired by each other.” As per most
of Mauracher’s work, the designs use
only black and white, with no colour.
“The typeface is quite neutral, I
used the regular cut only so it didn’t
compete with the patterns, the main
M A U R A C H E R
element,” he explains. “The book is

then based on a small, square grid. I
wanted something flexible to be able
M A X I M I L I A N
to arrange the various texts –

interviews, essays, descriptions and
captions, as well as the images –
exhibition views, portraits and the
patterns again, in a flexible and
diverse way.
“Due to a quite low budget we
worked with a printer in Hungary,
who recommended a paper. In the
end we were super happy with the
result: with more than 200 pages and
a quite compact format the
catalogue felt heavy. It wasn’t a book
anymore, it turned into an object.”
Transfashional by Maximilian
Mauracher is a book that
accompanied an exhibition series
in universities across Vienna,
London and Warsaw. Mauracher
showed his own art and created
all associated printed matter.
I N D US T R Y I S S U E S JULY 2018
Designer and music collector

Yevgeniy Anfalov conceived and
designed Rotary in its entirety,
creating a comprehensive look at the
Cologne’s WDR music studio (Studio
for Electronic Music of the West
German Radio/Studio für
elektronische Musik des
Westdeutschen Rundfunks), where
one of the most important avant-
garde composers of 20th century,
Karlheinz Stockhausen, worked. The
book was partly informed by
Anfalov’s research project into Swiss
advertising agency GGK, founded in
1958 by Karl Gerstner, Paul
Gredinger and Markus Kutter in
Basel. “For a while, Gredinger was
working with Stockhausen at the
studio for electronic music,” Anfalov
explains. “In my opinion, their serial
and sine-tone music shared similar
intellectual basis with the rule-
based art of Gerstner or Vasarely.”
His main challenge was in
communicating the WDR story in an
accessible way, while still conveying
Spreads from Yevgeniy

Anfalov’s Rotary, a book
exploring Cologne’s
WDR music studio
(Studio for Electronic
Music of the West
German Radio/Studio
für elektronische Musik
des Westdeutschen
Rundfunks).
- 70 -
the complex relationships around
the studio and its influence since.
“During my research, I made a big
map of connections showing where
the technology, composers and their
ideas and influences came from, and
how it all influenced popular culture,”
he explains.
“As the development of the studio
went hand in hand with the politics,
technology and culture, I saw two
levels: the studio itself and its
context. So I divided the layout in a
way that the text and images would
run parallel, and developed a
navigation system. This system was
a timeline running from top to
bottom of the page, so you easily see
where you are on the time span. This
layout division influenced the grid
calculation, so the editorial decisions
influenced the layout.
“The colour of the cover is derived
A N F A L O V
from the look of the machines in the

studio: sine-wave generators and
frequency oscillators are painted in
Y E V G I N I Y
this warm grey that you won’t find in

music equipment nowadays. It
embodies the entire studio in the
most abstract way. The typeface
takes a similar path: many important
pieces in the studio were composed
at the end of the 1950s, the time
when Univers was released.”
WHERE TO
FIND OUT MORE
The Book Designer website provides a
comprehensive online article (www.thebookdesigner.
Oh Okay Fun by Maximilian Mauracher

com/book-design/) explaining cover design, interior
book design, designing e-books and more, as well as
providing links to articles on costing, self publishing,
binding and case studies.
Making and Breaking the Grid: A Graphic Design

Layout Workshop: A Layout Design Workshop, by
Timothy Samara, outlines the basics of grid-based
design in order to help designers break them. It also
showcases top designers’ processes and rationales,
comparing projects and how they’re structured.
“Please read Derek Birdsall’s Notes on Book Design,”

De Bondt implores. She also recommends Robert
Bringhurst’s Elements of Typographic Style, and
looking at the work of designers including Julia Born,
often have good ideas,” she says. “Sometimes I ask them
to help find a paper, or we try to find solutions together
Irma Boom or Mevis & Van Deursen. “The results
when we hit a problem. I really like going to printers’
of the book design competition The Most Beautiful
offices to see other things they’ve made and learn about
Swiss Books are always inspiring to see.”
techniques I wasn’t aware of. Print technology is
moving all the time.”
The Art of the Book in the Twentieth Century by
Berlin’s Studio Yukiko art directed the first
Jerry Kelly highlights the work and principles of 11 publishing venture from gay dating app Grindr –
practitioners working from 1900-1999 including Bruce Home. Formed of a collection of photographs by artist
Rogers, Joseph Blumenthal, Stanley Morison, Max Matt Lambert, it explores intimacy and LGBTQ stories.
Caflisch and Hermann Zapf. The book is characterised by bold and complex printing
flourishes, including black passe–partout frames, spot
For a simple online guide to designing a book in varnishes, a special cold foil production technique, and
InDesign, look to a piece on Creative Bloq: How to use of shiny, near invisible text. The production wasn’t
Design a Book in InDesign. The piece is a step-by- without its challenges: they couldn’t get the cold foil to
step guide on how to design a simple text-driven stick to the original choice of paper; and the varnish
book using InDesign, covering the basics of flowing machine even caught fire.
in and formaing text for a book layout. The process The result was worth it, and a testament to the drive
can also be applied to more dynamic layouts (www. and vision the studio has become known for. “We’re so
creativebloq.com/print-design/design-and-lay-out- grateful to have a really good relationship with our
book-indesign-4137471). printer, and every time we come up with an idea we
discuss it and see what’s actually possible,” says Studio
Yukiko co-founder Johannes Conrad, “so we’re not
Conrad recommends A Humument by Tom Phillips,
trying to come up with ridiculous things that aren’t
“an artist who found an obscure Victorian novel
doable... We’re always in very close communication.”
called The Human Document and altered every page
The ultimate project for him is when it becomes “more
by collaging, drawing on it, giving it a new sense and
than just designing, but creating something that hasn’t
some magic,” he explains. “It’s really not a how-to
been done before.”
book, it shows a process of being creative with a
book. I think it’s a must-have for everyone who’s into A BOOK IS AN OBJECT
designing books.” It’s worth remembering in a design process so largely
screen-based, that a book is a tactile thing to be held,
touched and pored over in a very physical way, so its
manifestation as an object should always be front of
mind for designers. One of the most important
- 72 -
B OOK DE SI G N
HOW TO GET
WORK IN
BOOK DESIGN
For those who’ve never designed a book, there’s only
one way to start: design one. Learning on the job is
Jetzt Wird Kassiert by Maximilian Mauracher

invaluable: that personal project might land you your
first professional one. Early in his career, Mauracher
built up an impressive portfolio through founding
his own small publishing house, Pool Publishing, and
collaborating with illustrators and photographers
he already knew. “I got a lot of requests to do artist
books or exhibition catalogues – it totally paid off to
start that side project,” he says. “Just do it.” Conrad
agrees: “In terms of making art books, bump up
your portfolio by collaborating with as many other
creatives as you find. Make a book or a zine for your
photographer friend, talk your artist friend into doing
a catalogue for their next exhibition. Expand your
network and meet curators and gallerists. Don’t just
get inspired by looking at other graphic designers, get
decisions – and one that’s as much dependent on a knowledge for art and appreciate it.”
budget and printers’ limitations as imagination – is Grey Gelder recommends emerging designers
materials. Book designer Emily Benton recommends seek out placements at publishers and enter
building up a paper library of swatch books and competitions like the annual Penguin Random House
samples, containing everything from standard Student Design competition. “When meeting with
uncoated and coated stocks to coloured, transparent, any creative or design teams you should showcase
mirrored and textured substrates. Other samples might your strongest print and creative ideas in a portfolio.
include grey board, marble papers, head and tail bands, Obviously you should also have a passion for books,
and ribbons. illustration and photography!” she says. “Don’t
The vital element of tactility in books means it’s
be afraid to get your work out there and make
perhaps little surprise that many book designers
connections with people in the industry. And if you’re
featured here espouse the importance of looking away
applying for a position, tailor your portfolio to reflect
from the computer as part of the book design process.
the output of the publisher,” says Petrides.
Anfalov sometimes takes images, cuts them out by
The majority of book designers will come from a
hand in various sizes, and moves them around. “After a
few years I realised how misleading the layout on the graphic design background, and as such, be aware
screen can be, if it happens without proper paper and capable of the basics around typography,
proofing,” he explains. “Scissors, glue, and handcraft design soware, managing client relationships and
tests became essential.” so on. They will work their way up from there, either
“I learn a lot from the mid-century magazines, designing books as part of a wider agency or studio or
where the editing is sharp, generous, reductionist,” he beginning in a more junior role at a publisher.
adds. “The page is never alone, but is a part of the While most book designer come into the
whole. Images on the double spread interact with each specialism from a more general design career, Walker
other. The way they are set is the means to establish Books designer Jack Noel studied mathematics,
the rhythm and dramaturgy.” but built up his own portfolio by teaching himself
Mauracher agrees, and advocates the importance of programs such as InDesign and Photoshop, then
looking outside of the obvious touchpoints for ideas: gaining work experience in a design studio, which
“Of course I get inspired by other books, but they’re turned into a job, before specialising in book design
mostly not about book design. I read a lot and I think by geing a job at a publisher.
that’s important, to see what works and what doesn’t.” Ultimately, the same things apply to landing a job
As Petrides states, the best book designs come from
as a book designer as in any other design role: hard
being relentlessly curious: explore film, fashion, art,
work, creativity, enthusiasm for the task, willingness to
music and illustration “away from a phone screen,” he
learn, and willingness to listen.
says. “The more you see, the more you’re building a
bank of references to pull from as a designer.”
- 73 -
BACK ISSUES
NEVER MISS
AN ISSUE! ISSUE 280
JUNE 2018
Catch up on anything you’ve Top artists reveal
how to create vibrant
missed by downloading our characters
Edel Rodriguez
digital back issues on iPad, discusses how his
work went viral
Android and more... Optimise your site so

Google will find it
ISSUE 279 ISSUE 278 ISSUE 277 ISSUE 276

SPRING 2018 MAY 2018 APRIL 2018 MARCH 2018
Experts reveal their secrets for Elevate your portfolio with our Get a better job with our advice Discover the top 25 illustrators
a successfully updating a visual essential advice and learn how to on upgrading your skills. We also to work with this year, improve your
identity. Plus, Bruce Mau Design improve a brand with typography. reveal the 10 hottest indie mags logo craft with our 10 golden rules,
discusses how its international mix Also, Aardman Interactive reveals of 2018, and how Here Design built and get pro portfolio advice from
of designers attracts global clients. how it fosters a family culture. a multidisciplinary studio. agency Handsome Frank.
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
A DIY NEW LOOK FOR THE HOME DEPOT
Hattie Newman reveals how she created outdoor furniture and garden equipment for The Home Depot’s
campaign featuring backyards across America
76 82 88
FROM ILLUSTRATION TO WEAVING AN ALL-NEW CREATE A SUBTLE MOOD
A 3D MODEL IDENTITY FOR FABRIC IN MOTION
Nicola Strada on how he applied a third Manchester-based agency Ahoy Discover how Nancy Laing adapts
dimension to drawings and illustrations, explains how it devised a new branding stop-motion techniques to make her
creating voluptuous shapes system for IT consultancy, Fabric illustrations come to life
NEVER MISS AN ISSUE OF COMPUTER ARTS SUBSCRIBE TODAY FOR PRO INSIGHT AND PRACTICAL ADVICE EVERY MONTH – SEE PAGE 80
- 75 -
W O RK S H OP JULY 2018
WORKSHOP
FROM ILLUSTRATION
TO A 3D MODEL
Nicola Strada reveals how he applied
a third dimension to illustrations and
created voluptuous shapes

- 76 -
JULY 2018 IL L USTR AT I ON T O 3D M ODE L
NICOLA STRADA
Freelance 3D sculptor
Nicola Strada is an Italian self-taught artist and law student who
started goofing around with 3D sculpting out of boredom. He
then specialised in organic modelling, collaborating with artists
from all over the world. Currently working as a freelance 3D
sculptor at a 3D printing shop in Bari, Italy.
www.instagram.com/dachi_cornflakes
INTRODUCTION
Nicola Strada
My journey in the 3D world started a couple
of years ago when my brother told me to try
ZBrush. Since then I’ve got to know amazing
people and talented artists to learn from and to
collaborate with. I’ve always been passionate
about drawing and wanted to be able to bring
an idea to life. This passion led me to become
a 3D artist, turning ideas and illustrations into
captivating 3D models
REFERENCE
The first thing I do is to search for references
to build a 3D model, or I draw one myself. I was
lucky to collaborate with the amazing French
artist Marylou Faure for this piece. Marylou
wanted to see how her illustrations would look 02
in 3D and I was looking for an opportunity to
practice my skills on a non-realistic drawing. so it is necessary to squeeze, move, trim and
The basic rule of building a 3D model is the more carve them as appropriate. For this project I
references the better, especially from various didn’t start with making a T-posed shape with
angles. However, Marylou only handed me symmetry, to preserve the artistry of the original
two reference images, so this was an amazing picture. In fact in this case, taking that kind
opportunity to experiment with creating 3D of approach might have prevented me from
structure in a new way for me. The main problem pursuing the artistic result I wanted to achieve:
of a non-realistic 2D drawing is that the original the body in her illustration was purposely not
artist usually doesn’t consider turning the model proportionate but there was a balance to it.
around, so there might be a missing foot for
the sake of composition, or there might be an SCULPTING
element that serves a graphic purpose from only When happy with the shape, a good practice is
one point of view. This has to be solved when to merge the different parts in order to create
working with a sculpture. one whole piece using the DynaMesh button at
the resolution needed. I then proceed with some
01 The finished SPHERES AND ORGANICITY form of retopology to lower the polycount, either
artwork image of
the red lady, after
ZBrush is fairly intuitive and easy to use with using external software or hitting the Zremesher
the sculpting, some practice. I usually start from the sphere. button in ZBrush.
rendering and I could use any primitive form but in many With the basic shape ready it’s time for the
post-production.
cases the sphere is the best choice, especially sculpting process. Sculpting a human face
02 The original when sculpting a humanoid shape as it enables requires study and practice to learn where the
illustration by conferring organicity to it. I start the project concave and convex parts of the face are and
Marylou Faure with a basic shape using as many spheres as above all, to find the right process that suits
that was used
I need, deformed for the purpose I am using your needs. I always move the model around
as a reference
to create the them for. But it’s important to remember that to check the front, side, three-quarter, up and
3D model. the human body isn’t made out of spheres, down views to make sure I’m not sculpting
01
- 77 -
03-04 Work in
progress shots
showing different
views of the model
in the initial phase
composed of
separate pieces.
05-06 Work in
progress shots
of the model
after merging
the pieces and
then welding
them using
the DynaMesh
function in
ZBrush.
03 05
04 06
in just two dimensions at the time. A second would have been finding a compromising point
way to examine the progress while working between different shapes and sculpting a single
is to compare the 3D model with the original piece. This is the option I would take if I needed
reference by overlapping them, to check the to print in 3D or to show the product in motion,
shapes. But the changes done this way are not for example, with a turntable display.
to be relied on too much since the model is then
going to be rotated, showing all the flaws of this RENDERING AND POST-PRODUCTION
approach despite looking good from the point of Before rendering a model, use the polygroup
view of the reference. function of ZBrush because it enables grouping
every element together, which will then be
COMPOSITION assigned with the same material. I grouped
Dealing with composition means figuring out together all the parts that were going to be
issues that may arise from the 2D, static pose of red, then nails, hair and the mole for the black “A good 2D
the original illustration. A good 2D composition group, and so on. I then merged all subtools
doesn’t always mean it’s going to work in a 3D and exported the file. The program I normally composition
environment, because they respond to different use for rendering is Corona for Cinema 4D,
criteria. I decided to slightly change the model mainly for its versatility for both photorealistic doesn’t always
according to the many views I needed. The renders and more cartoonish ones. I check that
front and the back views had incompatible I have selected Corona as the rendering engine, work in a 3D
visual needs and conflicting elements for the set Full Denoise at 0.7, activate the Global
composition – the breasts, shoulders and Illumination effect and then set the height, environment,
clouds. Wanting to get two images from two width and resolution. It is then time to import
separate renders, I decided to modify the mesh the mesh and start setting the scene, placing because they
to fit the visual purpose of the views, resulting a Corona Camera in the relevant view for the
in two 3D models; one to be rendered from the render and creating or loading materials. respond to
front view and the other one from the back. The shiny look on the skin was incredibly easy
Another possibility I could have considered to achieve: I created a new Corona material, different criteria”
- 78 -
JULY 2018 IL L USTR AT I ON T O 3D M ODE L
07
08 09
selected the Diffuse colour and checked the

07-08 Colour
Reflection box. What makes a render so magical test to check the
is the lighting. One thing to remember is not to two different
place too many lights. It’s generally best to not compositions of
the model – back
use more than five, although this does depend and front views.
on the model structure, especially with such
reflective material. 09 Render test
Before hitting the final render button, it is to check light
intensity and
useful to enable the multi-pass function and colours before
activate the ID Pass, because it creates flat applying the
colour for each region, based on the previous materials.
polygroups. This makes it easy to select each
10 Final model
region with the Magic Wand tool in Photoshop. with different
For this project I used this technique to adjust polygroups, ready
the redness of the body, which was initially too to be exported.
bright, without altering the red component in the
other parts of the image.
To get the two images, I started the render
by clicking on Render to Picture Viewer and
while the engine was working, I started post-
producing on the Corona VFB window. When the
render was done, in the same window, I selected
the Stop button so the program denoised the
scene and lastly I saved both files as PNGs. At
this point I had two images ready to be loaded
in Photoshop for the final adjustments, such as
exposure, contrast and tonal values.
10
- 79 -
SUBSCRIBE TO
COMPUTER ARTS
Read CA when and where you want. Choose between
three great subs options – with the print or print and
digital package, you’ll receive an exclusive free gift!
FREE
GIFT
Make a statement with this bold canvas bag. Computer Arts has
collaborated with BIDBI (Bag It Don’t Bin It) to create a bespoke,
sustainable and environmentally friendly tote bag. Subscribe to
either a print or print and digital subscription today to receive yours.
SAVE MONEY AND RECEIVE A FREE GIFT

BASED ON A 6-MONTHLY SUBSCRIPTION
CA
CHOOSE YOUR 6-MONTH PACKAGE
PRINT D I G I TA L P R I N T & D I G I TA L
PRINT - SAVE UP TO 30% DIGITAL - SAVE UP TO 30% BUNDLE - SAVE UP TO 56%
£32 TOTE
BAG £22 £40 TOTE
BAG
SUBSCRIBE TODAY
myfavouritemagazines.co.uk/CABAG
OR CALL NOW 0344 848 2852 AND QUOTE CABAG
Terms and conditions: This offer entitles new UK Direct Debit subscribers to pay just £32 every 6 months plus receive an exclusive tote bag. Gift is only available for new
UK subscribers. Gift is subject to availability. Please allow up to 60 days for the delivery of your gift. In the event of stocks being exhausted we reserve the right to replace
with items of similar value. Prices and savings quoted are compared to buying full-priced print issues. You will receive 13 issues in a year. Your subscription is for the
minimum term specified and will expire at the end of the current term. You can write to us or call us to cancel your subscription within 14 days of purchase. Payment is
non-refundable after the 14 day cancellation period unless exceptional circumstances apply. Your statutory rights are not affected. Prices correct at point of print and
subject to change. UK calls will cost the same as other standard fixed line numbers (starting 01 or 02) or are included as part of any inclusive or free minutes allowances
(if offered by your phone tariff). For full terms and conditions please visit: www.bit.ly/magterms. Offer ends September 2018.
P R OJ E C T DI AR Y JULY 2018
PROJECT DIARY
WEAVING AN ALL-NEW
IDENTITY FOR FABRIC
The team at Manchester-based agency
Ahoy explain how they devised a clever new
branding system for the IT consultancy Fabric
C OM PUTERA RTS.CREATI VEBLOQ.COM

- 82 -
JULY 2018 A HOY FOR FA B R I C
MARK STRINGER
Managing director, Ahoy
Founding Ahoy over 10 years ago in his basement,
Mark has grown the company into a thriving
Manchester studio with satellites in London and
Liverpool. Clients include Barburrito, Virgin Media,
Lancashire Farm, Pizza Hut, Bench and ShinDigger.
THE CONCEPT AND BRIEF

Mark Stringer
Fabric is an IT consultancy based in the north-
west of England. After checking out our work,
Carl Enser at Fabric gave us a call. He thought
that Ahoy would be a good partner for the
company’s rebrand. At the time, the company
was called Delta Comtech but it was going
through a period of transition, with two of
the founders handing the reigns over to new
directors who were being promoted from within.
They knew that it was the right time for a new
identity to usher in the new age.
We started off with a couple of exercises.
First, we conducted an anonymous staff survey
using SurveyMe to find out what the company’s
shared values were. Second, we surveyed
existing clients to find out Fabric’s strengths and
weaknesses. Using the results, we ran a brand
workshop with the directors to discuss where the
company has been and where it’s heading.
Staff were keen to be seen as approachable
experts, with personality, rather than the
clichéd, socially awkward IT nerds seen on TV.
Problem solving was identified as an underlying
concept, but wasn’t recognised as the brand’s
primary focus. Before starting our initial
concepts, we analysed Fabric’s key competitors,
breaking down their identities into the good, the
bad and the ugly.
Part of the challenge was that Fabric offers
such a wide range of services – hardware
PROJECT FACTFILE
BRIEF: After a management transition, Fabric wanted a new identity their
staff could rally behind and that would position the company as experts in
the IT field. The company operates in an incredibly saturated market and
needed an identity to set them apart while referencing the services offered.
CLIENT: Fabric, www.fabric-it.com
AGENCY: Ahoy, www.ahoy.co.uk
PROJECT DURATION: Five months
LIVE DATE: April 2018
- 83 -
ALEX FARRALL JASON MCCULLOGH

Senior designer, Ahoy Account manager, Ahoy
Originally from Stoke-on-Trent, Alex joined Ahoy Like Alex, Jason joined Ahoy in 2014 and began as
full-time in 2014 after a few bouts of freelance a digital marketing executive. He worked his way
work. Prior to Ahoy, his clients included Relentless up to his current position and has managed Ahoy’s
Energy Drink, Pele Sports, Google Ideas and projects with Fabric, Lanchashire Farm, Barburrito,
Marketing Manchester. QHotels and others.
and software delivery, infrastructure set-up,

networking, connectivity, cloud and consultancy
services. We presented the brand offering
as high-level and generalised, but ultimately
aimed to build a system that enabled Fabric to
communicate about niche services with bespoke
imagery and messaging.
THE DESIGN PROCESS

Alex Farrall
Our research led us to two visual approaches;
one based around problem solving and the
other around the idea of building a network of
information. We dubbed the latter the ‘digital
worms’ route. The guys at Fabric decided to go
with the second option as it was the strongest
representation of their internal values, and they
also liked how it looked.
This approach was all about ‘managing the
flow of information across carefully woven IT
01
infrastructures’. I wanted to create a network
that looked as though it was continually moving, 01 The pages of
even when it came to static applications such as Fabric’s new brand
print, and this influenced the line-work style that guidelines
demonstrate to
we developed. staff the correct
IT is an incredibly crowded industry, so applications of the
using multiple colours and gradients was a various elements.
strategic decision to create separation – at
02 The stylised F,
least from local competitors, which each seem locked up with the
to have their own single colour brands. Tones workmark, gives
of green, stemming from blue to yellow, have the company a
new identity to
positive connotations of working systems rally around.
and reference colours that are common in
02
UNUSED IDEAS
ALT
ROUTES
Alex Farrall reveals
some early concepts
for a second branding
route that was
considered Our alternative concept was based This route would have used the We did some testing to see how we
around problem solving, and here idea of pieces of a puzzle coming could apply it. This is an early look
are some early icons. together to form various IT solutions. into how it might work in print.

- 84 -
CRAFTING THE MARK

Ahoy senior designer Alex Farrall explains how the
fineline stylised F became the logo for Fabric
The logo is just one part of the puzzle when you’re devising a
brand identity, and we developed it while we were working out the
B
rest of the brand assets such as the patterns, iconography and
the website.
Originally the logo was supposed to flow with a gradient line
like the other assets, but the guys at Fabric wanted a mark that
could stand apart from the rest of the identity. I was unsure at
the time, but after exploring how the logo worked alone I knew it
was the right call.
The design itself moved in parallel with the rest of the projects,
C
and we tested different concepts from a wordmark in lower
case, to an uppercase version that reflected the gradient colour
scheme, and on to something slightly more abstract, which got
into the themes of networks of moving data, connectivity and
so forth. The outcome, on its own, really does give Fabric a focal
point to rally behind, something that was at the core of the brief.
A Initial sketches of the concept forming.
B An early exploration in building typography made from multiple components.
C The decision is made to move line work into a logo and leave the wordmark simple.
D The logo is starting to take shape, introducing the gradient line seen in the rest of
the identity.
E First logo proposed to the client. This is very close to the final logo. D E
- 85 -
P R O J E C T DI AR Y JULY 2018
03
consumer technology, such as the lights on an THE VERDICT

“We can add Amazon Echo. We wanted the gradient to have Jason McCullough
high luminescence and so decided to set it We needed an in-depth understanding of
icons over time against a dark background, which acts as a great our client and their services, and we became
metaphor for the void of information that Fabric interwoven with their business while we did our
to encompass builds upon. research. They patiently explained everything
The wordmark is set in Space Mono by we couldn’t quite wrap our heads around, and
future touch Colophon, which is also integrated as a ultimately we identified the underlying themes
secondary typeface throughout the identity. A that became part of their identity.
points and monospace typeface creates another nice link Business cards, letterheads and compliment
to the theme of technology. The main typeface slips have been designed, along with brand
campaigns” is Sailec by Type Dynamic, and headlines all use guidelines and a mini staff handbook. There’s a
Sailec Bold in either black or white, while all body staff onboarding pack with a tote bag containing
uses Sailec Light, in grey, set solid with no line a document folder, badges, mug, pens, pencils,
breaks. The gradient colours are used in display eraser, USB stick and a notebook. Campaign
copy for added prominence. work includes posters and press ads.
Patterns were created for ornamental use, Finally, there’s the website, featuring
and consist of geometric grids reflecting the animation within the patterns and icons to
structure and connectivity Fabric delivers to reinforce the theme of moving data. This was the
its clients. We knew that we needed imagery, trickiest part of the project and we spent a lot of
but wanted to avoid any form of photography time getting the animated SVGs just right, and to
that could end up looking contrived, given the get the site scalable with a CMS.
abstract nature of some of Fabric’s services. A The Fabric identity is a fantastic case study
system of over 90 icons was designed, locking for us as an agency. We’ve been working with
in on the core thread of the identity and the more clients in the technology industry, and
gradient colours in the line work. We can easily it’s a sector we find particularly rewarding as
add icons over time to encompass future touch there’s always something interesting to learn…
points and specific campaigns. or relearn.

- 86 -
03 The stationery
makes the most
of the new brand.
04-07 Over 90
icons were
designed, giving
the company the
04 flexibility to vary
the tone between
technical and
more playful
communications.
08 A mini staff
handbook was
designed to help
new joiners, and
05 refresh old hands.
09 A bag filled
with items to
familiarise staff
with the look.
10 To keep the
brand fresh,
geometric
patterns are
06
generated and
applied to the
business cards.
11 The website
conveys the
company’s
performance
stats.
07 08
10
09 11
- 87 -
WORKSHOP
CREATE A SUBTLE
MOOD IN MOTION
Discover how Nancy Laing adapts stop-motion
techniques to make her illustrations come to life

- 88 -
JULY 2018 CREATE M OOD I N M OT I ON
NANCY LIANG
Artist and illustrator
Nancy is a Sydney-based illustrator represented by the Jacky Winter
Group in Australia. She creates dream-like images of urban landscapes
and sleepy scenes of Australian suburbia. These images are illustrated
by hand, crafted with assorted papers, arranged like a diorama and
then brought to life as GIFs.
www.cargocollective.com/nliang/Old-Spaces
01 02
THE BEGINNINGS technique I choose to work with is rooted in a

01-02
Nancy Liang traditional animation workflow that involves Photographs for
I come from a very traditional art background, animating frame by frame, a process research and
so from a young age I was trained in drawing commonly used for stop-motion animation. The documentation
and painting. My mentor, Qi Wei Chen, often process can certainly be time-consuming and from the City of
Sydney Archives,
immersed me in the expressive Australian styles meticulous, but the reward is worth it. NSW Freeways.
of artists like David Fairbairn, Ben Quilty and
Fred Williams. Art created with the hand was the RESEARCH 03 Sample from
Kings Cross
only thing I believed in, and I held on to this belief My work is influenced by Sydney and its past
Construction
when I started my design degree at university. histories, its present state and its future. showing
I had trouble with the digital programs like Research is always crucial as I want it to depict movement of a car
Photoshop and Illustrator, but with persistence some level of historical accuracy. The Kings frame by frame.
I’ve learned a few things! There are still things Cross Construction piece is an example of this.
the handmade can do that the digital can’t, but The aim was to reanimate the construction
this goes both ways. As my university tutor once of Kings Cross Tunnel – the first major tunnel
said: “The hand can capture the heart, but the in Sydney built in the 1960s and 1970s – by
digital can accentuate it”. showing a semi-imagined day in its life.
THE TECHNIQUE SETTING IT ALL UP

I’m interested in building bridges between old- I work from notes, sketches and storyboards.
world techniques and new-world technologies in Once I’ve enough of this, I’m ready to set up
order to create a unique mood. specifications in Photoshop to create the GIF. I’m
I primarily work with animated GIFs and often quite lenient with sketches/storyboards
videos, and use Photoshop to create them. The when it comes to personal work, but it
03

- 89 -
WO RK S H OP JULY 2018
04 Examples 05 Handmade 06 An example 07 One of the

of paper cutout textures used of what one construction
rocks used in as part of my of my layered vehicles used
Kings Cross technique. groups look like in in Kings Cross
Construction. Photoshop. Construction.
04
06
05 07
definitely is something you must include when At this point I’m not exactly animating, but
“The idea is to working with a client. Sketches define concept making a static image of the artwork composed
and composition, and give a clear idea of the of hundreds of groups of layers. Within those
create contrast; direction you want to work towards. groups there could be another group of layers.
With personal work, I create my GIFs to be For example, in House 1 (Group Red, in the
a detailed fit for web and print, therefore I will often scale above image), there are groups for the chimney,
the work from at least an A3 size and work at ledges and windows and within those groups
artwork with a resolution of 300dpi. Work for the web can there will be elements, more layers. Working in
be scaled between 1024×768 (standard web layers becomes particularly useful because you
subtle motion” resolution), unless you are working with 4K can separate elements and edit certain areas
resolution on a very high-definition screen. without having to affect other parts.
Working with a larger size scale gives you the
choice of scaling down the work, but of course ANIMATING
scaling up will cause pixellation. People often Like the making process, for me animating
say scaling down will compress the quality, is a meticulous business. It’s quite similar to
but once you format a file into a GIF, it will traditional stop-motion, where subjects are
automatically scale down quality. I always feel moved frame by frame. Many of the elements I
as though it’s safer to scale down work, rather animate are subtle. The aim is not to overshadow
than scale up by stretching it out, unless you the piece with animation, but create mood by
happen to work with the upscaling options being understated. I want to create contrast in
available in Photoshop. the piece, between the detailed artwork and the
subtle motion.
STATIC IMAGE LAYERS I animate with Photoshop’s Timeline tool
Now the ‘making’ part. I tend to draw or cut (accessed via Window > Timeline), and work with
elements from cardboard by hand, scan them at least 10 frames per second. Anything less
into Photoshop and arrange them into the becomes a bit choppy, which is fine, if that’s the
desired composition. desired effect.
- 90 -
JULY 2018 CREATE M OOD I N M OT I ON
08 A screenshot slowly introduces 09 Drawn or to build the

of the Photoshop movement to scanned static composition.
timeline used to the illustration images are There can be
create animated to create the layered up in hundreds of
GIFs. Each frame animation. Photoshop layer groups.
08
The smoothness of an animated piece

depends on observation and attention to detail.
I believe it’s quite easy to trick our eyes – a quick
movement may only need two or three frames
to animate. While you may feel two or three
frames can be choppy, timing – which affects
smoothness – plays a bit factor here. All moving
elements in the GIF animate differently; it never
moves in a consistent rhythm unless that is
your intention. To become familiar with the way
objects animate involves experimentation and
observation of real subjects to grasp balance,
timing and movement.
STAY INSPIRED
The motion of objects in real life is the best type
of animation you’ll see, so studying it is really
helpful. Have a notepad handy for sketching and
taking notes, or snap photos or record videos
that you can study back in the studio.
09

- 91 -
PROJECT DIARY
A DIY NEW LOOK FOR

THE HOME DEPOT
Hattie Newman explains how she created
garden equipment for The Home Depot’s
campaign featuring backyards across America

- 92 -
JULY 2018 H AT TIE NEWM AN FOR T HE HOM E DE P OT
HATTIE NEWMAN
Image maker and set maker
Based in London, Hattie Newman crafts sets and images for
advertising, editorial, online and exhibition projects around the
world. Recent clients include Vogue, Selfridges, HP and John
Lewis. Her book, Say it With Paper: Fun Papercraft Projects to
Cut, Fold and Create, is coming out in August, published by Ilex.
www.hattienewman.co.uk
ALL STUDIO PHOTOGRAPHY: Sun Lee
PROJECT FACTFILE
BRIEF: To make four backyard scenes out of paper, featuring replicas of
products from The Home Depot for a feature posted on the New York Times’
website. The sets were inspired by urban, suburban, coastal and desert
backyards of America, and the images needed to work for long banners and
square formats. All paper products were to be photographed on white. Two
simpler sets were also needed for the header and footer of the paid post.
THE DESIGNER: Hattie Newman, www.hattienewman.co.uk
THE AGENCY: T Brand Studio, www.tbrandstudio.com
THE PHOTOGRAPHER: Sun Lee, www.sunlee.biz
PROJECT DURATION: 5 weeks
LIVE DATE: 19 March 2018
- 93 -
01
EQUIPMENT
FIRST STEPS
Hattie Newman
THE TOOLS OF THE TRADE The Home Depot project came about after I met
with T Brand Studio during a visit to New York. My
Hattie Newman lists the tools and materials she uses for crafting US agent, Snyder, set up a meeting and I shared
my portfolio with the team in their Manhattan
“Craft knife or scalpel, range of scissors (from wallpaper scissors for big cuts office. About three months later they contacted
to embroidery scissors for smaller details), rulers (from 15cm to 1m), cutting Snyder with a brief for me. T Brand wanted me
mat, set squares, UHU gel glue and Silhouette Portrait digital cutting tool. to make a series of illustrations for a paid online
I have two plasters on my fingers right now,” she adds. “A lot of paper cuts. It’s post going out via the New York Times’ website,
not the knife that cuts you, it’s the paper.” supported on social media. Snyder helped with
the budgets and contracts, and joined me on
calls and emails with the agency.
The brief was to make four backyard scenes
out of paper and photograph them. They needed
to feature replicas of The Home Depot products
and the four scenes were going to be urban,
suburban, coastal and desert backyards in
America. The final images would need to work
in banner and square formats. My first thoughts
were that this sounds like fun and I loved the idea
of making miniature barbecues!
T Brand supplied me with photographic
references of the backyard settings, but let me
define the look and feel of the images. Before I
started sketching, I shared a mood board with
them and The Home Depot, which included some
of my past work. This helped show the level of
detail I had planned and the colour palette, and
also included references to the photography and
PHOTOGRAPH: Sun Lee
how the scenes would be lit.
CUT AND PASTE

Before planning and building anything, we went
through three rounds of sketches with the client,
honing the look and feel of the sets based on

- 94 -
01 Before making sketches that scene was 03 Photos of each them on The Blackstone grill fire pit – the level by the client as it
anything, Hattie were approved by actually a printout product were Home Depot’s made from card. of accuracy in the was constructed.
confirmed the the client. of a photograph supplied, although website. finished models is
details of each taken of paving Hattie also had 05-07 Outdoor astonishing. Each
scene through a 02 The paving in that is sold in The 360-degree 04 An in-progress seating, a Weber was approved
series of detailed the suburban Home Depot. presentations of shot of an outdoor barbecue, a cosy photographically
02 03 04
05 06
their feedback. When we were ready to start, we

had all the products available to us on The Home
Depot’s website, with 360-degree views. My
creative producer, Cristina Florit and I scheduled
the build and hired three freelance assistants
to help us construct everything. For a project
like this it’s great to be able to call upon other
makers, to speed up my process.
At the beginning of the build, I determined
the scale everything would need to be and
calculated the dimensions of each paper replica.
Then Cristina and I decided which pieces each of
us would construct. We put all the information
into a document for each assistant so that they
could see what each product looked like, how
it needed to be, along with the exact papers I
wanted them to use. With direction from me, they
proceeded to design the ‘net’ for the product
in Adobe Illustrator, printed it out, and used it
as a pattern to cut the coloured paper. They
assembled the product and hand cut the final
details. I left the backgrounds until last as they
were simpler, more 2D and I could make them
quite quickly by eye. 07
- 95 -
08 Setting up for shadow proved to 09 Not only was the road to the
photography in be key elements each element photo studio on
Sun Lee’s east that the client made by hand, but Hattie’s trolley,
London studio. wanted to get they were hand ready to be set up.
Lighting and absolutely right. delivered down
08 09
“I almost wish I’ve got three big plan chests of paper in my Haggerston, east London. Usually, clients come
studio, but I usually find that I don’t have the to my shoots but on this occasion we emailed the
the images could exact colour I want in stock and that happened pictures across to them, they’d respond within
again on this project. Typically I use Canford, an hour and we’d make changes and send new
be printed on big Murano or Clairefontaine stock from the art shots. They had already seen all the finished
shop, and that’s what we used here. I looked for models so we didn’t have to remake anything,
posters so that both paper and card – paper is good for doing but they checked the final compositions and
smaller things and anything you have to roll, but asked us to soften the lighting. We had to move
viewers could card is better for bigger things and objects with some of the objects that were hovering, like the
hard edges. leaf blower, which was suspended on wires. The
get up close and Every day I photographed our work in progress wires were taken out in post-production, and the
for T Brand and the client, who were in New York leaves were added in.
see the detail” and Atlanta, and the next morning there would My favourite image is the desert scene. I like
be feedback. It was quite minimal because the the colour palette and really enjoyed making the
initial sketches were very detailed, so there were succulents. I almost wish the images could be
never any surprises. For instance, the pressure printed on big posters so that viewers could get
washer needed to be a specific brand green, up close and see all the detail.
which we tweaked in post afterwards. The client was really happy and even asked
to keep the paper products for display in their
FINISHING TOUCHES office in Atlanta, Georgia. I got an amazing
We built everything in three weeks, then put it response when I put the images up on Instagram.
all in my trolley and pushed it over to Sun Lee’s Miniature replicas of real things always make
photo studio, which is down the road here in people smile and this project was no exception.
SORTED
A CUT PRACTICE, PRACTICE,

PRACTICE
IT’S GOOD TO TALK
Communication is incredibly
VALUE YOURSELF
I’ve always been bad at this but it’s
ABOVE This discipline has definitely made
me better at making things. It takes
important, so make sure you
understand the brief fully and the
important to remember that the
client has commissioned you for
Hattie Newman shares her
advice on image making a lot of trial and error to find the deadline. Never assume anything – your unique skills, experience and
and work in general… techniques that work for you, so be if you’re not sure about something individuality… which is definitely
patient and persevere. give the client a call and ask. worth paying for!

- 96 -
10
10 The urban
setting, with its
wood paneling,
also features very
detailed planters.
11 The strimmer
in the suburban
diorama seems to
hover in mid-air. It
was supported by
wires that were
removed in
post-production.
12 The trees and

other background
props in the
coastal scene are
largely flat
cutouts, so that
the eye is drawn
to the richer detail
11
of the products
themselves such
as the outdoor
furniture,
barbecue and
pressure washer.
12
- 97 -
D E S I G N I N S P I R AT I ON JULY 2018
David Castillo is design director at 50000feet, an

agency based in Chicago specialising in developing
relationships through strategic brand experiences.
He’s worked there since 2012, following roles at
Front Forty Press and Rain Communications.
EVERYTHING AND
NOTHING DESIGN
What constitutes ‘design’ is very much
in the eye of the beholder. Broadly, it is
the purpose, planning or intention that
exists – or is thought to exist – behind an
action, fact or material object.
In this sense, design can be imagined to
exist behind just about anything. I believe
that the broader we can define design, the
richer we will be rewarded with inspiration.
The design that inspires me engages
my curiosity and puts form to the things
most difficult to grasp. It is as core as the
fabric of nature and as slight as the things
people do with their time. In the latter
realm, I am drawn to efforts executed by
a strong-minded vision – things that exist
through a clarity of purpose and pureness
of intention – propelled by an invisible
wind of motivation. The truer these Above: Khan Jamal, Drum Dance to the Motherland LP, recorded from the Catacombs Club, Philadelphia, 1972.
efforts appear, the more they put forth
something genuine versus masquerade typically oversell the idea of cosmic: sure-footed, with unshakable resolve to
and something worth noticing, the more I on one hand there is vast, immense, serve a singularly ideological end that is
am pulled into their orbit. immeasurable, unfathomable and infinite, greater than their individualistic pursuits.
Enter Khan Jamal. As a material object and on the other there is ‘spacey’. What they have assembled is something
that was determined to exist for some Granted, the music is as spacey as I could willingly and happily engage with
reason or another, it is very much a no- it gets, but in a way that doesn’t feel daily, no matter the mood, the time of
frills package for such a deeply compelling disingenuous, as a number of releases year or my coordinates on life’s trajectory.
recording of music. On the surface, it with similar intent would telegraph; the There is enough of a pleasant form and
does everything and nothing to draw one’s result often would reside squarely within a texture to be able to sink into the sound,
attention. The cover ‘art’ is sparse and safely calculated boundary of anticipated and there is the right amount of complexity
handwritten but composed barely enough listener expectations, thus being and incomprehensibility to reward the
to appear as more than a replacement noticeably contrived. listener on repeat listens: the perfect
jacket for the copy of Herb Alpert’s South This record, on the other hand, offers balance of accessibility and surprise. With
of the Border that fell victim to the Cinco something comparable to nothing else. music being an emotionally manipulative
de Mayo Bean Dip Incident of 1965. As Among my overgrown collection of records, medium, this taps into emotions that
little design as possible, I suppose. What its nearest neighbour in terms of a point are hard to pinpoint or define. I cannot
this says about the object is that it is of of reference is most likely a houseplant. adequately describe how the music makes
limited quantity, and that it didn’t jump It is derivative of nothing as far as I can me feel other than to say that it’s a feeling I
through many bureaucratic hoops to come tell, yet despite that notion, seems to have could contentedly live with.
into existence, which is perfect for the universal appeal. It creates a space I want As an appreciator and practitioner
imaginative record collector. And yeah, it to inhabit and offers sonic holograms I of design, I seek out things that have a
checks a few other boxes as well, from its want to carry with me. Sure, it doesn’t similar quality and effect. Great work
name to the celestial song titles; but as go short on a superabundant supply of does not need to be expertly crafted
an object of graphic design, this succeeds tape echo to achieve a certain effect, but nor show-stopping at every turn, but it
in capturing my attention and certainly what precedes that signal daisy-chain of should in some way provide a place for the
stands out from other records that would Echoplexes are five musicians seemingly imaginative to get lost within.
- 98 -
Make print memorable
Celloglas is the UK’s leading specialist in decorative Ask us about:

print finishing. Decorative print finishes can be used - Lamination
to deliver innovation and added value, increase user - Foil Blocking
interaction, demonstrate brand category leadership, - Varnishing
enhance sensory experience and even stimulate debate - High-Speed Coating
in social media circles. - Mirri
- Die Cutting
To find out how our creative finishes can make your - Folder Make-Up
publication stand out on the shelf, call Steve Middleton - Special Effects
on 0116 263 1010 for a free consultation. - Embossing
Reading Leicester Leeds
T 0118 930 3003 T 0116 263 1010 T 0113 249 0056

F 0118 932 3256 F 0116 263 1111 F 0113 235 1530
E thealefactory@celloglas.co.uk E leicesterfactory@celloglas.co.uk E leedsfactory@celloglas.co.uk
www.celloglas.co.uk
9000
9001

Computer Art

Uploaded by

Copyright:

Available Formats

Computer Art

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Computer Art

Uploaded by

Copyright:

Available Formats

JULY 2018 C O V E R A RTI ST

the cover seemed the perfect

Below: A sliced motif on

Book cover: Franz Erhard Walther: The Body Decides

C O M PUTERA RTS.CREATI VEBLOQ.COM

Editor’s letter FEATURING

becomes, ‘create things because you feel you have to,

KEEP IN TOUCH WITH…

C O M PUTERA RTS.CREATI VEBLOQ.COM

FUTURE PUBLISHING LTD INTERNATIONAL MEET THE TEAM

MANAGEMENT SENIOR MANAGEMENT

Claire Dove Commercial director

COM PUTERA RTS.CREATI VEBLOQ.COM

Graphic design Art Web design 3D Digital art

22 DESIGN THAT SEES BEYOND

25 IN SEARCH OF THE PERFECT

SPECIAL REPORT INDUSTRY ISSUES

38 EARN EXTRA INCOME

C O M PUTERA RTS.CREATI VEBLOQ.COM

ustainability has previously focused on reducing

that any designer would consider, but also for decommissioning or

to make new ones. "Polyspolia proposes a new kind of relationship

PHOTOGRAPH: Will Yates-Johnson

FranklinTill was founded on the shared belief that innovation in materials

You can buy Radical Matter from:

THE REAL THING

COM PUTERA RTS.CREATI VEBLOQ.COM

C O M PUTERA RTS.CREATI VEBLOQ.COM

SAVE SAVE SAVE

PHOTOGRAPHY: © Gerhard Kassner / Monotype

C O M PUTERA RTS.CREATI VEBLOQ.COM

‘Design nomads’ was the name of the game at

with a screening of Stefan Sagmeister’s The Happy

C O MPUTERA RTS.CREATI VEBLOQ.COM

C O M PUTERA RTS.CREATI VEBLOQ.COM

Strong opinion and

West joined global brand consultancy Interbrand in

Heinl became part of Moving Brands in 2013, an

Design that sees

C O M PUTERA RTS.CREATI VEBLOQ.COM

C O MPUTERA RTS.CREATI VEBLOQ.COM

Which design podcasts would

BEN O’BRIEN SAVANNA RAWSON TANYA W FLEMMING

TWEET @COMPUTERARTS OR FIND US ON FACEBOOK

TONY LOPEZ @AREV_STEFFEN @SARANDINI @RUSSDLDESIGN @DGOVARNIE

C O M PUTERA RTS.CREATI VEBLOQ.COM

In search of the ‘perfect’ client

MICHAL NANORU NAOMI JOHNSON DENNIS BOLT

C O M PUTERA RTS.CREATI VEBLOQ.COM

Founded in 1796, the

C O MPUTERA RTS.CREATI VEBLOQ.COM

When brand consultancy Collins was asked to

COM PU T ER AR T S .CR E AT I V EBLOQ .COM

COM PU T ER AR T S .CR E AT I V EBLOQ .COM

HISTORY AND HERITAGE

COM PU T ER AR T S .CR E AT I V EBLOQ .COM

Short animation Two Step is a vibrant, textured

IMAGES: Daniel Savage

COM PU T ER AR T S .CR E AT I V EBLOQ .COM