oO Oa VES Nutete) big) CREATE OUR COVER AND WIN £700 sit acts: ms COMPUTER|00, I aia OW, 9=% y TOP ARTISTS & ILLUSTRATORS 4 5 | REVEAL THEIR PROCESSES eo ' reoPREMIUM STOCK PHOTOS + VIDEOS. CURATED DAILY. [Link] UNITED ‘Stocksy is an artist-owned cooperative raising the bar — \ and the industry's expectations — of stock photo and video a StocksJune zeit Making the cover We've been desperate to get a Hattie Stewart original on our cover for ages, and when the stars finally aligned for us~a character design feature by CA favourite Lisa Hassell and a window in Hattie’s mega-busy schedule - we celebrated by inviting the undisputed Queen of doodlebombs to craft usa very special wraparound cover. “The Character theme of the issue was perfect for me (obviously) so 1 wanted to bring all of my characters together on the cover for one big happy party,” Hattie explained to us, ‘as well as to showcase one of the sections of my new interactive illustration 1 Don't Have Time for This’. This just happens to be the title of Hattie's solo exhibition currently showing at the NOW Gallery in London (which well be talking about next month). Needless to say, with preparations for this show plus innumerable other projects, it was something ofa miracle that Hattie found time for us. “It’s rare opportunity to be given free reign on such a brilliant canvas, so I'm super grateful to Computer Arts for this opportunity and for their continued support of me and my work.” ‘We're absolutely over the moon with Hattie’ cover, and delighted to say that we have now been well and truly doodlebombed. i HATTIE STEWART Bf, itesate tates fameus x frac rane [PPE cre : ‘lent work wit ~ among |[Link] COVER ARTISTWELCOME JUNE 2018 Editor’s letter Ey What a time to join Computer Arts magazine! f. \ ) ‘As founder and director of Inkygoodnass, Having barely settled in my seat, I headed Pesce straight out for a three-day binge of inspira totalkto artist and discover ther at the D&AD Festival, and as we send this issue bcahphad ar to the printers, I'm eagerly awaiting the tidal wave of talent that is grad show season. isa was the perfect person And ian exciting time for the design world MICHAEL ALBERS asa whole. As well asa bag fll of business cards, Beer ace ee Left the festival with a head full of questions: nN eae eet eae what's being done about the lack of diversity in sgl techn lene ned ils for the creative industries; how can new blood stand ‘out amongst the wealth of talent that's already out there; and with trust (and interest) in the establishment at a perennial low, can big brands with a genuine commitment to positive change in society fill the void? (That was certainly the impression I got from Chris Moody's brilliant talk Evolution of Brand Identity) As it’s my first issue, 1 could happily list all my favourite bits, but you can turn to the contents page for that! Whatever you navigate to first, Thope you'll find plenty of great ideas and inspiration in the mag. I certainly did. magacine covers [Link]/edah MEL EDWARDS Paper modeller Mel Edwards shows how tocreate. retro paper robot and walks usthraugh her process fr achieving absolute precision when making Discover more about this fascinating iustratoron page 58, and how his artistic responsestothe Trump © EDEL RODRIGUEZ administration resulted in iconic (@ BEREN NEA\ Editor PHIL GARNHAM [Link]@[Link] Fontsmiths type design director Pit & Garnham, gives a fascinating insight SaaS KEEP IN TOUCH WITH. E ocomputerarts [FJ /computerarts Dl acomputerarts @ /computerartsmag [Link]Route One Print PUL bake BOOKLET ‘Tel: 0114 294 5026 | Email: sales@[Link] | Web: [Link]ICOMPUTER ARTS @ EDITORIAL STE a riers UME 2018 BEREN NEALE EDITOR ‘Berenishadabusymenth hestarted work Computers hada hoot at RAD, mavadhouse an MARK WYNNE ART EDITOR curcumin are ing mag reviews for Creative ime thismonth andifyourea fancf SENIOR MANAGEMENT ROSIE HILDER OPERATIONS EDITOR es Rosie sid good ue, ard has moved tits ° Biog She's not moved farthoughandis stl witin tealingdstance of Mars indi mag collection UES RUTH HAMILTON ASSOCIATE EDITOR, CREATIVE BLOQ a ito two Pontagram partnrs for intl of her time trying to find abit isyetto [Next issue on sale 22k viet to werkt Fate? TOM MAY iene rere core FREELANCE WRITER avng aided thetranstion of aditorsonA, Tom flaw avout Patt Smith and Production notes PRINTERS PAPER cover acre Uta MagPiun Goes 90m 75296: Graphatmet gem 2Celloglas TYPEFACESDESIGN JOBS BOARDCONTENTS es CULTURE 10 225 How technology and collaboration are shaking up ‘the fashion industry Jd Mvpestansrace Argentine illustrator Lucila Dominguez describes ‘ how spirituality and travel keep her inspiced \ = Grog Durell explains why the story of Canadian graphic design needed to be told 2 16 EVENTS BBeren Neale on the prophesies and solutions that came out ofthis year's D&AD Festival 18 seeation een Abi Overland shares her Instagram feed NST a | PROJECTS 9) tarsoesiaworraurortor Don't sleepwalk through your designs, pleads Michael Albers 9) pesien marrens \What do you wish you'd known when you graduated? 99 NHyPmrnezpe ierAL Rosie Hilder raflects on the role of printina digital age 94 TRNAcoREERAND Three creatives weigh-in on the new brand mark for Trivago~ 7G stubomsierr Luke Powell and Jody Hudson Powell give their insights on life aspartof Pentagram NV a 8) SteARaNDangPraate Fontamith shares the process itused to create a utilitarian typeface: FS Industrie 9. sNwwnnaenauerte Of, Wontas paren racrony How Art&Graft approached The coolest new work, including Ball presenting the Soho House rules 2 Doggett's new identity 3 [Link]CONTENTS SPECIAL REPORT = SS webeles so dooge wird tem So aT 6 conserva corvaicir Telatentprtoos focuses on this fun Gg, DEswH noeseamion doe Flory's love letter to his vit ‘Yamaha sound systemJUniNd TH DISRUPTIVE FASHION How technology and collaboration ANCL NERDS are shaking up the fashion industry ‘ommunicalions and computing have i: eee lsruptions. Now it's the turn of rmanvfsctring and design to undergo 2 similarly dromatic upheaval, enabled by technology and in particule the democratisation of digital fabrication tools In foshion, where lead times are usually specfied in morthe, Unmade's druptive technology was created in response tots founders rutration atthe industry lethargic atudes to mass consumption. While researching petformance clthing for U Alun-Jones and his partners, Hal Watts and Kirsty Emery realized the uvapped poterial emer eee reehnedl Coven Ben Bd fe) 2 3 ya EI PA Z = & FI 9 theie programming end engineering ski they developed « new wey to contol hem, "Everyhing & unmade” says Alan-Jones, “unl the customer chooses ther design, when machines whi into action and knit 2 one-of-2- Lind item fora simiar cos Yo mass pro Post-Couture Collective, founded by Matin van Strien, ia brand that lets customers design their own clthing fo be manufactured lcaly on lasercatier ond 3D-p because garmenis are ‘designed on the spot by ver, Van Srien 20 hat cour sofware” and produced only when they sold, his approach avoids ceaing the redundan 40 per con! of garments tha atrve at shops only to be dacarded atthe end of beeping wih maker cuore, van Sriens methods clemocratise preducion so that all garmen’s can be "produced anywhere by anyone” [Link]TRENDS ) \pCULTURE JUNE 2018 FRANKLINTILL STUDIO Fahl a futures research agency warting wih brands and crganiaons io ide and achate design, colour and material innovakon to mpsc pose change. Edtor of Viewgorr and Mtewpon Colour, revel hes rece crested «new bock Radial ‘Mater: Rethinking Mater fro Susaible Future, which is published by Thames & Huon Franklin was founded on the shared ele thl irene in materiale and production systems is inlegral to sustainable design ures, Working wih brands, organtations and cresveealaborators around the world Frankl conducts, analyses and creatively communi bringing to if through sratege ings, puiewione and pul 28, Connecting the dots between cla shits and aesthatic expe movements, Frankl enables lng:term innovation rather than short teem rend-chating, giving brands the big ideas hey need to drive postive change. Franlinilsclens include Ife brands and desgr Srentoled busineses in every sector You can buy Radical Mater rom >MPUT IvEBLOD,COMCULTURE UME 2018 A CABINET OF CURIOSITIES Argentine illustrator Lucila Dominguez describes how spirituality and travel keep her inspired beboandasof work Bh ce: apteen nn fecrgenin i aio Damigver Bohr and be muon hibond feo The ens As primer od she often cooks or does laundry while waiting for 2 painting to dry. "Now the she’s mathe; her daughter end her loys ten join bat so she’s leering to ve with chaos and be more effective inthe lil ene she has lo work “would desrbe our home 252 cabinet of exists mixed with graenhoute” says Domingues, There’ alot of ‘greenery and light in our home” Before becoming a frslance stilsraer, Domingues worked (9:4 se design asta on flm 0s "This paevoruth vase () reminds 12 says “We used re of he ob” 10 buy second hand abe! imaging thal they were fr the characters inthe fis. was relly fun. eve seeing it on my desk” Demsinguer's Russian dell (2) remind her of ip to Rusia in 2015, when she was invited to pant love fll atin all cures, the way hat colour and 2 decoration” flowers are use “Lak have an abarin my home studi” says Domingues. “hy fovourte elements are this hand (3) bought om » tip te Bai ~ which changed my concept of pirualy ~ and the thee eral: quate for harmary, pyrite for abundance and amethyst for ransfcmaton [Link] ‘As wells giving honk ot her shay, Domingue uses incense (4) to concentale or “change the ai fs amazing the power that scent have to ranspert us” she explains. Finding this second-hand book fon the hsloryof boterica iksraion (5) was ancther Ireraformolive experience, “| bought 3 online inthe US ond it wes lke Finding © greet, hidden treasure because you cant ge his type of bbook in Argentina she says ‘im ng things up in it" sheaysJUNE 2018 PEOPLE CANADA'S STORY The director of new film Design Canad, Greg Durrell, explains why the story of Canadian graphic design needed to be told ving rated almost $100,000 on How did you keep motivated over the long PBIB Kickstrter, Design Canada film timeline ofthe project? And why did you bout the history of Canadian decide to delay the film’ release in 2017? ‘graphic designs premiering this summer The 2ory was something | was very ~ five years since Greg Durrell~ passionate about and | knew from the at Hulse & Durrell ~ and his collaborators sort thet i would take years to complete Jessica Edwards and Gary Hustwit bogan | believe that small daly habs can bul inv fir ‘out more about the project. «huge sve, Ive always enjoyed long-term 19. We caught up with Durrellt find exraordinary outcomes, so motivation wasn lover short-term projec ‘What inspired you to start he project? ‘The decision to delay the release was Growing up in Canada, realsed I was doing wha! wes bes forthe fim, We had surrounded by beautiful symbols and logos, 2 naratve tread that weaved some of our but could never really find any information stories together, and twas not working, about them. As my frusation grew, 1 ‘was one ofthese situations where an paper deeded o males fim about When! sounded great but in execution # was of bbegen the projec! dirt even row anyone and we knew wa could iit. Tis esled who hed made a fln before motu fend in dloying out release ine months blewing ‘ul mein contact wih Jesica end Gary and pour timeline, shooting new sores and ‘shal decade later, he resi try then assembling everyting. Iwas werth Did you discover any new work? Do you think the film wil help boost. Ifeel tke | dacoverel archives which had Canada’s design reputeion? not been seen in decades. Tracking down Regardless of what does, or does not do Canada’s design pioneers was ofien a fer Canada's iniemational perception, |hope challenge. itl information exied about people take away that graphic dasign mate them online and when showed up at their and influences our ves every day If we homes often | would be looking through can become more conscious of i and use ® their body of wark forthe fist hme. The asa tool, we can buld a better country and Canadian design sory wes nat documented ulimately a bier world Inthe same woy a8 the UK or US, How can people see the fl? Who were you mostexcted totalkte? Fallow usa! wwndeugneanada com and Having the appertunity to interview Massena en socal @designcanilm ta slay upto dale Vignell about Canadian design two years about screenings near you and the digital befoce he passed was 2 huge honour release a he end ofthe summer. [Link]CULTURE KEY INFo: Location [Gl ere Brora Shorelch, lander When 2626 Ap 2 Key speakers Hillman, Nek Eglin, eee een Moot Ben Fie, Dave EVENT REPORT: DEAD ERT n june 208 THE FUTURE OF DESIGN Prophesies and solutions abound af this year’s D&AD Festiva, reports Beren Neale ol two vistors experience could have been the same for this year's bigger and busor than ever DEAD Festival, such was its scope ond expertly cursed schedule Each day beught anxious decisions fr visor, stale and eal irsigh, ch shops teaming wih fer and inspiration the great the main events ee tnd even the chence to bee! up Anthony Josh in Vl its tid ya, aed based in Shoredich’s The Old Truman broken and adverting today: Human ood Swes! and Teas ing the Future. The panel sion between Google's Tea alow, Mercedes Benson Resi Goya and Sereene Abbats on crave induties wae a notewarhy example of the fist, and wae crammed with ideas and debate thot dared Islners to engoge wih The festival seemed fully geared fo token unfinching view of cts uncomfortable huths these ached. “W's aways be the righ ime to give aie to the m Lindsay, ‘he says DBAD CEC aferen Intening and ~ pra about it" Tha cerainy p by DEAD’ New Blood Shit an iitive tap talent from areas and demographics other than ractonally educated and business sone nts dont camsince you Lindsay ad, jin in forthe sake o 2 more ef thot more dv ve indy. The proof 1c, beter gender tewhere,Carcine Pa Not Ws the rebel antude of caling h Tis Tal celebratedJune 2018 EVENTS rae 4 bulth! on redundant regulations inthe higher levels of lesa new parinersip wih the Guardian and presumed power — neatly echoed his prophesy, including We ‘Macia Group to euableh 2 masive embodied by all atendees ofthe Are Unlimited’ ip of McDonalds esveleturned festival celebrating the power of tal, Pays hard honest personalty iconic golden arches and branding tthe Old resin in 2019. Direcr of the charged the room as she revealed a 100 ferale-owned franchises Truman Brewery: accompanying ‘propagande’ im, the dedication, innovation, in the US, in celebration of commen liam Fay-igh, reveled more callsboraton and love of dismissing _Irterational Women’s dy. Indusrysfln "Building onthe succesfl DBAD stupid rules, which kes behind her, And the push for desgn thet that accompanied Fetal, he new even wil celebrale and many of her esteemed colleges’ mates threaded through so much the big london and the UK a glob work other provi od cuvert of he DEAD oward wirwer srnoutesrmt cane [or calive wicelince: The companies Mother and Grey. ‘announced in the dosing ceremony HowMavae Festival wll befor all he erate I Cheis Moody Evan of athe lt day. A cae in point wat picked up e indies and in parila wil shine Brand Idenily rk, the Wolf Olins the only branding enty to receive lack Penefor a light on the intersection between rman painted a future cexing na Black Pencl ~the Palau Hdge ie Plaw edge; creaiity and busine succes by where old notions of brand denity campaign fom Hos/Havas,an 487 wood penels_ focussing on he value crea, have become useless; where big immigration polcy that combaved were awarded fnnovaion and technology bring brands, akeady embedded nour the destructive behaviour oftoursts the judging Thames to indus fives lives, must rariforr themseles toby inering.a pledge i preserve gol underway often appara bi lay, but wih the boing messages with meaning, by and protec the iland in heir days before the adon of DBAD Impact awards ing he fl gmat oftoolsand passports on arrival. vert sated. enries clone 18 uh) rewarding Iecriques aveleble — physical, ‘A odes with common compeigns the provide real fe ltl val and verbal or be sense, but inne wi is goals srably making ret by the suspicion and contemp! BAD inensfies i focus ai patlive change, DEAD continues ofan increasingly wary public. A expands, so 8 was excing to hear to ines ina future of excllen, stl around the shored enants Thun’ announcement of a meaningful design. CoML [Link]UME 2018 CULTURE HSPN FEED Abi s Overland —_HAVE YOUR SAY Complete our reader survey now and receive six design manuals worth £54 [Link]/ca-survey-2018 iSINSIGHT eRe een Poros cone rey june 208 We must take digital design off autopilot Don't sleepwalk through your design, argues co-founder of W12 Studios, Michael AlbersJUNE 2018 italien nt Inthe ast 20 varsne thee commer ital Ein math een prem hes been rnd theta, terthso me prot inten ghee eg onetime heed mover ening retain no leks he se Digan echo Leora sane ein Insta endured wean apy Simbu frente rc een “Shoat ego weer cdo hn sn iene Gesy tnd calaraon-Desgn dpsed togeher thn cases Cqungyour lon ee stmt Theo neds anantiton Chvdnigncne two Hering te geo commer cig wetted snd Spins quaint, pcan and cine tales Desir et ning When setuid, eth ek hat teas thou wort camps idaandvtn,ndgal went curses cpanel mainte ei hiebngngalte ded they Inenaton The pdt Sgn nn th work thse plcen es tat Strength testo aad away herds dines pa fen rectoanal “Saeed nd bsrors Recah sng Sader han nem ease cute acme doe en flowing sae dante lrmalas Ech tert linge tues moe tons mor Sinead lel he Die tans pps flim cmldnerbemoreapt The pees Sings Sil expert bec esr ch (Whe he cand en in ha Coser eto Wh master dosent davon aan scout n te dc. Ths come Coniecnnerchortsngar mls di "Wz sur dese tose pons wheats deign Ourapposch Covad dial egress tot Iearteday cera smidgen my Cones bon Bd come ean srt gumfngarve epee hat dot fered omy mould pple iene hon bcp Tevet ls MICHAEL ALBERS and individual histories ignite fresh perspectives and amexcitement toe adventrous as wells build on nd transfer our collective traditional practice. ‘We imo understand the context by working ‘with our client to define the brief and what success il look ike. We create a vision of the prot, exploring concepts, themes, pattems andthe brand narrative. We prototype the design and encourage culture of ertique to continually eine. Atthe heart ofourappreach sour faith inthe hero moment: the product's reason for being; where watching video isco Netflix as boiling water is toa kettle. We combine the vatiety of our eras, ou ideas, insprations and skills to createa vision tha pus the hero moment at centre stage. While weare keeping oureyeson the star, we remember to make i eal. Our designsare more than features and interesting experiences, they want to rakes difference in the world ‘Wecdon't havea the answers to the Future of digital design but we do have principles that are unique tous. Be bold, cutout the clutter and takeout the nose, Tobe old cis important to bave an opinion, tw eis, debace and develop. Be provocative and challenge perceptions around you. Ask ‘whats beauty? Care about your eraftand your clients wil cate too Perfection is impossible there will always be more process and more stifling revisions, Get the product done, getitout there tobe used asa testbed to continually Improve. Aim for Milton Glaseys wow Invoking an ‘emotional response is what cukvates desire. Be visionary, think about design holistically and lake ‘beyond yourself to gain inspiration There isalvays a balance tobe found between \dealism and realty, profitability and blue-sky thinking. While would loveto be the ane tosay that the design should always win and client limitations don't apply, thatisnt realistic asa service business. ‘That being said there isa unique opportunity right now for usas digital designers to earve out the Future direcion of this industry and see benchmarks for _generations to come, The only way we will achieve thisisi we stare questioning the proces, resist the urge to justify every decision with data and dare to take digital design of autopilot EY [she creative industry lacking creativity? Tweet your thoughts eo @Computerdrs using #DesignMatters What makes the great designers great is dedication to their craft and belief in the end product; their complete confidence in research or testing as well as the design [Link]TNE What do you wish you'd known Sito Veltmae-Celienaaire i a eo Senior art director See a oO See etd Caer cee ‘employee and coworker. Graduates pevrereeser eres portfolio may getyoutin the door, but tomove up and be someone people ‘want to work with, you better have a solid workethicand be a team player. ‘On my team, ifyou want to be conse eae ene Peete at eee os ere eer ere ee core ant ements Peer res Sn rene en eee are also hard workers and good people. Be the designer everyone knows they ne TWEET @COMPUTERARTS OR id Ll eg Cremnvcated Cotas ents er sey Crete paemlivieneal Ser eee eee eee ee eer ey Oe et eee on ee ae eet ee ai ere ed ne reed LANA SIMANENKOVA See sea cad Peer aad Sere cet rete) fe) See ener ‘graduated from art school, but unless coe ene reece reese teed 1 feel that graduates entering the world Eee en een Pema Oo Saree eet eee eet ng beter-paid projects eaten nts etn os Ce ee ee eed cither won't come back to you and try need to havea basic understanding of tofind someone else who is equally ‘taxation, national insurance and even conte etn Pree eee se seem crazy tobe thinking of eee ees ts a rere cheap, ot will just expect you to keep fees eee ee Cera Meee nens Poe ee eee eee ene Peteeret ers to ‘Young creatives need to beaware of Eaten erro Cee! Rann ete toprice their work. Having knowledge Sens US ON FACEBOOK v . Se Pee So ered eect eee rings you work Cee eres ee ea rt a ed projects with that client.” Ld roam eo Cees nt Sees Seed Se foo See eeJUNE 2018 Eames | ROSIE HILDER Why print needs digital ver the last two years, ve worked on 23 issues ‘of Computer Arts. But by the time you read this, my print eareer willbe over ~ at east for now. I have moved to anew Job on CAS website, Creative Blog. Leaving one role to start another is always exciting and seary in ‘more or less equal measure, and though this move is within the same ‘company (on the same floor, no les I've got mixed feelings. ‘There ae so many things ove about making print mags. Llove the quest forthe perfect synergy of words and pictures, Love working ‘on covers ~ especially with CA beautiful cover treatments ~ and] love being able ta show people what | do by handing them the Finished product also enjoy getting feedback on an issue Flog forgotten bout. For me, working in print is delayed gratification ait finest. "There ae also things I won't miss, | wonttbe sad to leave behind the four aveek issue cyl, the stress of realising an eror has made to print andthe inevitable feeling of panic as (yet anther) deadline looms, Tn some vay, that’s why the new jobs so appealing. Il no longer bbe ruled by print deadlines - meaning taking holiday will be easier, and instead ofhaving to waita month ar two to get feedback, Il gee instant sy oflikes,shates and page views, Butbest fall for else, i’satleast worth alike’ ortwo.E1 Does print nee digital and vce versa? Or ar they beter ofFapan? Tweet your thoughts @Computrdrts using #Design Matters satisfaction in thew perfectionist lke me,no mistake wll be permanent, and Ile able to quickly update a misspelled name oran errant apostrophe. As CA's Rosie Hilder prepares to move to Creative Blog, she reflects on the role of print ina digital age My day-to-day work won't change that much, though, Fst be n charge of fact checking, spellchecking and sotting out wonky grammar. Istill need to concern myself with page furniture il just bea different kind - my headers will ned to please Google, not just ‘the editor And while won't have to worry about making copy fit in InDesign or standing out on the newsstand, | will have ro navigate che (CMS, master SEO and grab people’ attention onthe internet ~ where theyre arguably more distractible than they ever were at WHSmith ‘Tse days declaring print is dead and digital is che fucure is hardly orignal, but t's notas simple asthat. Whydo they have tobe soseparate? Shouldn't the best websites and digital campaigns rely on print, andl vice versa? Can't oth medlisms learn fom each other? And don't magazines need to go digital to survive? ‘That's why fel this isnot a move aay ftom print or Computer Arts, but more a swing toa diferent branch of the same tree. Creative log both supports and relies onthe six magazines in Future’ creative and design division, So while ll have lft pint, Lb doing my bieto sustain, too. Ithink that's something to be excited about nothingINSIGHT June 20g Focus on: Trivago Trivago has a new corporate brand mark, created by its own in-house design team. Three creatives offer their critiques... ANNA DRUCKREY Designer, Trivago [Link] © “Wabi is Trivago's new corporate brand mark. We created ito differentiate our products and services from the corporate side, Itwasa collective effort from our in- house team: Dawn MeCance, Katalin Varga, Sergiu Lazies, Daniel Riemer, Mirija Wagener and myself. This doesnt replace the classic Trivago logo. The new logo was added to showease our company spirit - ever-evolving, simple, and authentic. ‘Wabi isa humble ciel that is approachable and engaging. A circle should be closed bur it’s nor, because wee never done, Were never great, which is why the circle isimperfect. You can take so much from that messed-up circle ‘We started to develop alot of external initiatives, soit made sense to introduce a corporate brand for everything happening in ‘oar company. This separation was seen as an ‘opportunity to design something that really held onto the spirit of Trvaga’s culture” PRESCOTT PEREZ-FOX Brand consultant and art, director ) wore [Link] "IL dont mind abstract symbols as part of alogo, bu ifs hard to get excited about tone that seems completely detached and random. The type in this new Trivago logo is essentially unchanged, and the Wabi doesnt seem to affect larger visual style on the ret ofthe identity stem or on the website. Without that larger design system of patterns, graphic devices, or an icon st, ts justa singular blob of colour, and not even fone that’ particularly well-constructed, ‘The identity is new, but most visitors tothe site -notto mention the design community as a whole ~ will likey forget about it immediately: With no trace of the \Wabion the website, wete none the wiser ‘[Link] OLY BROWNING Head of marketing, freclance art director twittercom/yourolly “Lets just say Im glad this isnt a replacement for the main B2C Teivago identity - brand think has enough longevity and opportunity as-is with its simple buteffective tricolour ‘wordmark, Whilst the Wabi icon seems pretty unremarkable ~ at frst itreminded me of my nose piercing, and when it's printed in mono Ii reminded ofthe Innocent inks logo - Im nowstarting to understand the idea of having ths ‘unfinished’ vibe to promote company culture. ‘understand the idea of inspiring teams ta close that proverbial loop, but moreover Tm always happy to see big players genuinely invested in their company culture; the BBC's GEL teamand Stripe particularly spring tamind, Atte sime time, Ti love co see ‘some more IRL applications ofthe Wabi, and some of their eary iterations had some ‘wonderfully radical ideas too.”TRIIAGD June zeit Cee)saan SHOWCASE Computer Arts selects the hottest new design, illustration and motion work from the global design scene Sel LCE Pecan L aren Reiser veneer poorJune 2018 SHOWCASE By bringing a level of splity othe The new lago inroduees @ monogram, loge, For The People was able 10 go which uses 2 large ampersand tafe the Father ints execution of bath the 2D two names together. and 3D work “Tesing paper weigh, mixing ink and Ball & Doggetts new identity celebrates polishing fll were some elements we the physical nature and tckliy of spt through the lens of Will Wonka product range ‘and the materi factory, where things are never ordinery,” sey litleSHOWCASE TALL STORIES ‘THE GARDEN GIANT by Fiona Rose wow [Link]/FionaRoxe The Gorden Giants © magica story thal a childhood: sudden body ewereness, festings of sll-consciousness and the dese tof i. For ikstrotes some uncomforeble suthor and ilusrater Fina important to infuse the naraive wih twa fund ‘questions Who am I? The format ofthe book complement and reflect the young giant I's ther ‘ond probably too big to fi in mos! bookcases” says Rose, who used oll pain! to convey the sumptuous vibreney ofthe gorden inthe story. adore location drawing and i's been «pleasure to vit some beautiful places in Cornwall, where the tory iss” she adds. “My bigges challenge was adapting the zoryline make it commercially viable. The projec became al balancing aet between the comme consists of publishing and my desive to speak of internal sruggle and the human condition” LAYERED EMOTION HIDDEN by Sekani Solomon wor [Link] Hidden appreciation. chain figure i fear; the crystal gure i love and affection: the god figure it greed and ambition and the flower figure is oy and hoppines hort CG fim about self fre represents emotion: the “The film stems from the idee tha! we don recently show our thaughts and fe to ane another ~ or even app ourselves” explains feclance and designer Sekani Salomon, who cre fim between nt projects over the cours year. “| wanted to show tha these thoughts and feelings are beautiful and make us who we are The cor he say,“ particularly liked how plulsation slage was herdes flower shots come out” he add,“ ros! dificult execute. The face ol the end tuned out pretty wall alia ~ i really helped toSUT THs LIGHTING UP THE WORLD eee ere Crd ena ered Cee eee en eee ee eee programme, WilinsonBiCo eredlive director Kyle Wilkinson designed an interactive werld made up of thousands of connecting lines. “Fashion in Brazil is much different that in Chin, yt the pation for ee eee ree nt eee eet ee en eee cae ee ee “The map isprelty much hand rendered ~ it's not ee nee cy ee en eee ee eee eee) Panerrie vest en seiner es) aoe Crea ieeo SINT Cer eotrySHOWCASE June 2018 PLATFORM FOR PROGRESS. TRAVEL>FORWARD BRANDING. by SomeOne hitps:/[Link] industry-leading travel pillse on the opportunte bin the travel sect, i realed tasked London on and asa graphic signify the brand nature, evoking the thinking Senior designer Jains: "This brane ween 98 never standing sil. continueurly unleashing 1 his thought ecross ll ep peace and conographSUBSCRIBE 10 COMPUTER ARTS Read CA | and where you joose be thre ale subs options — ‘ith | rint or rintend digital pac ae age, you'll ret i SAVE MONEY AND RECEIVE A FREE GIF® CHOOSE YOUR 6-MONTH PACKAGE may 5 ine S@® EA PRINT- SAVE UPTO 30% DIGITAL - SAVE UP TO 30% BUNDLE - SAVE UPTO 56% 2@ 2 £40 @ SUBSCRIBE TODAY [Link]/CABAG OR CALL NOW 0344 848 2852 AND QUOTE CABAGATH aa LLTac PARE Ma Yes) Weel omcoM tal IW ctaltel artists and discovers their approach to crafting characters ree a en ee eee Neocarooen PeeSPECIAL REPORT JUNE 2018 hhether designing for Characters are frequently loathe, back and forth process that 2D, editorial, ad representative of thei creators, wwo go through, ‘campaigns or game ‘observes Craig Redman, one halfoof design, adopting design studio Craig & Karl,chrough CREATE A NARRATIVE mindful approach to both thevisual style aswellashow Character design is Frequently driven character design is essential tofit their personality shines through For _by'story,and that remains true no with the changing times welivein, sits the relationship tothe creator matter which platform characters Understanding your audience, that makes t interesting. Wetend are intended for. Whether rafting crafting a compell to think of Craig & Karl asa ‘characters for print media, knowing the limi conversation or continual back and advertising campaigns or animation, possibilities ofthe diverse range of forth hetweenthetwo ofus,which giving your characters a purpose ‘media platformsavailable can only is how we operate day-to-day too” _strengthens their reason for being, ‘open up the scope of possibilities adds Kar! Maier (the other half of Australian born, Berlin-based for today’s character designers. the creative duo) “Asitsonly the illustrator Rilla Alexander explains. Depending on the variables, such as (wo of us, our personalities, “When Lam illustrating book that oc the intended audience, the purpose backgrounds and interestsall feed someone else wrote, see the ofthe workand where i’slikelyto inthe work we make, And asmuch characters as actors ana stage Who Below live-aswellaswhetheryourea _astheresavisualstyle,weaimto have toget into character, whereas rvotoiKene visual designer illustrator or game bring our perspective to thingsso when Lam working on my own vst toranen developer - figuring outa basic theresaconsistenttone or approach, stories, sce the characters as [Link] framework early on in the process even ifthe form varies” ‘embodying their own emotions. right ‘will help inform your characters You shouldn't be conscious that a andadd another layer of depth to“ SET PARAMETERS. ‘good actors acting and so I would > their purpose Living in different parts ofthe world hope that distinetion isnot obvious buccollaborating dally create bold to anyone else. but its whats going work that is filled with simple comin my head. ‘messages executed ina thoughtful lustrator fim Stoten agrees; "You and often humorous way, Craig can appeal to personality traits that Karl create distinctive graphic, exist within an audience really like visuals for murals typefaces, set how expressive hands are. You can design, packaging and editorial, ‘communicates lot about a character sthustrations fora whole host oF by how they hold a glass or the way high-end dlients, publications and theysit. sa way of showing a the distinctive character’ personality character portraits for which they are widely recognised. INJECT A PERSONALITY ‘Concepts key, i's the Stoten, whose vast intricat foundation for what we'llbuildan landscapes are filled with tuba idea of narrative around.” says Maier. _playingelephants, dancing robots ‘All of our projects begin by havinga and crocodiles eating ice cream, has conversation to figure out the basic an interesting view of his characters framework for what we want tosay “I think toa certain extent and how se'd like to doi. Sketching charactersthat I create are self playsa role too, but usually itsmore portraits, he explains. “Bither they like a note-taking process that lets us have mannerisms or traits of mine, setideas down guickly andallow or have things about ather people things to gestate, as opposed toa _that Ladmire buil into thers.” blueprint chat well then work over With commissions foran tocreate the final plece. We da like impressive lst of elients including toget relatively clear notion of MTV, Habitat, Levi's, Urban what wewant the outcome tobe Outfrtersand The Guardian, Storen before diving in," continues Maier. frequently exhibits his work in “From there, its all about the doing _galleriesaround the globe. and making, trial and ertor,loveand “Personally, ike characters that Hl acaTiveaton,APPLE GALLERY cRARPSOREATIVEBLODICOW‘SPECIAL REPORT JUNE 2018 so games surprised the jain witha beautully executed equal to MonumontValloy With acare aim ts “make small mringful gomes that ean be ‘enjoyed by everyone” head of studio Dan Grayled ‘the team through an intense development anc protoype creative process tocraftagame with universal themes, flloninga mother and chit as ‘theymake ther way through te ond of eptcal iusions. ae architects ofthe exc geometry found thoughout each eve. *Ceativeiyour ‘objective is to continue to provide ll the amazing things about inceractive entertainment roa wide ‘aucience—thedemocraisation af aame design” says Gray “Tardis so many increible mechanics ‘and stries total fin gaming] that your average person isttever exposed to. With MV2 we managed to make milions of people cre about o1Destpmantr characters ina game forthe fst time forte oe id emia o2Emiconmenteetet onavertvale2 osustnogames uo duringte elogmentpraceot onarontalle? 4srrgviatsens COMPUTERARTS CfJUNE 2018 hhave elements oftheir personalities visualised in thei physical appearance somehow" he says. “Me ‘Tweed, my children’s book character, was based almost entirely on Peter Ustinow watch alot of old talk shows while 1am working, and Peter Ustinov was such an amazing character, both physically and in the way he conducted himself ‘A sense of humors key, adds ‘Maier. “I chink that egardless ofthe form a character takes, there's {inevitably something human, something of us in them, I's ltele like holding a comical mirror up chat highlights the humour, absurdity or difficulties of our lives, he says, "and because they tend tobe cute or ‘exaggerated visually they can tackle fdeas or situations witha lightness ‘hat might be harder otherwise INTERACTIVE VS APPS ‘The importance of comedy is especially tre of interactive work, “You have to provoke the audience to get involved, you can’t passively watch it unfold Into, make an emotional connection _ journey of discovery through a and partiipate. Wich interactive _stunningand impossible world. work you have Co provoke the “iva very rare duo tosee in audience to get involved, youcanit gaming chese days" says Gray, passively watch itunfoldlikein film.” distilling video games into Speaking on stage at OFFSET something that can be played bya Dublin, ustwo games head ofstudio mass audience and diversify our Dan Gray shared this view. approach to uncommon stores. "We Reflecting on the challenges faced didn't want the mother to seem during pre-production for mobile overbearing or a burden; but game Monument Valley 2,he spoke empower het. We purposefully didn't abouteraftingastory inspired by define the gender of these Universal themes. Achallenge we characters." Making a mother the ‘central protagonist ina game isa really unique and striking approach to game design. "We must have gone through over 200 characters trying toget the feeling righ,” Gray admits, like in film" ony ani, meKo orstuore- urge ee whether youre playing with the characters, taking control of the character or following them around. [Nexus Studios designed the lookand fee] of HotStepper, the world’s first, augmented reality character-based \wayfinding app, centred around an irrepressible character inspired by internet culture, Friedrich Liechtenstein’ 'Supergeil' and [Napoleon Dynamite’ infamous dance moves, synth pop vibes, and British eccentricity “An enigmatic characteris hugely important if they are the protagonist in your narrative,” advises Alex Jenkins, a director at Los Angeles and London-based Nexis Studios "You want the audience to 700t for the characters youve breathed life ‘Visually, che proportions ofa have in the mobile space(s that its character ean also make a notable very difficult co keep people's difference. Alex Jenkins a director attention. Theyte openinga game whose talents have been recognised for 30 secs ora minute ata time atCannes Lionsand The Art before movingon to the next thing. Directors Club, says, "Ive always Soitwasvery important tousthat _een.a fanof the Japanese approach \we surprised people atevery turn” toccharacters. Love the simplicity of ‘An independent mobile gameshow they capture realy strong studio with a strong focus on ‘emotion ith quite minimal detail, Interactive entertainment, user just well-placed evesand mouths texperienceand exceptional visual _and the use of exaggeration "Jenkins design, ustwo games demands a thinks that ifyou havea character deeper levelofengagement from with tele expression, moving i nto players. As the teat behind the the body isthe best way to “carry the award-winning puzzle game foriOS personality and express emotion." and Android thats been downloaded —__Ie’sa sentiment shared by and played more than 30 million Alexander, who believes that every times, the sequel to Monument character should have one Valley follows a mother-child kayramesed| in-boeen Stgonotetate thecraggiated ration hrsctar enone ‘homseves abt twomuch the environments, allowing for humour and personality. The pared back pen-and-ink style was inspired by classic publications like The New Yorker and itsillustrations. Using amminimalist style allowed us to cherry-pick ‘ashion items and furnishings from Soha House properties without drawing too much attention away from the character. Rules are often boring, so we had to come upwith a simple and effectiveplattorm for ‘engaging storytelling. Tim was the answer ~ he ‘would encapsulate the typical member and the brand's effortless style. lot of consideration ‘was paid tohis style and the accessorieshe uses. He's conscious of these things but in an Lunfussy and cool way, Unlike some characters welve created for past projects, we strinped back the slick and he went from einga Hollywood actor type to someone weld just like ‘tohang outwithina pub, ‘As Scho House is a major international brand, ‘we wanted the film to reflect this through the settings. Props and interiors from the actual facilities are included - the pool is based on Chicago, the restaurant is from Shoreditch and thebaris in Barcelona, The backgrounds and ‘characters were designed in Photoshop, using annice pen brush to bring @ hand-drawn feat ‘othe line work. We used Flash ta animate the ‘characters and After Effects to edit and cama the piece together. Expanding the scale while doing the line work {eave a clean line when scaled down tofinal size. We wanted to use a hand-drawn line without adding too much ofa Bal It plug-ineffect to focus on certain characters, ‘Soho House is very happy with the final film and the feedback has been great. All new mombers will recoiveit as part oftheir induction ‘through the Soho House website.JUNE 2018 ARTGGRAFT FOR SOHO HOUSECU aac Ta ‘The Association of Photographers (AOP) wos first formed in 1968. t aims i to promote and protect the worth and standing ofits members, to vigorously defend, educate and lobby for the interests and rights of oll photographers, especially in the cor ercial photograph industry. [Link] CONSIDERING COPYRIGHT ~ In the fifth part of our AOP series, Nick Dunmur examines how copyright enables creators to safeguard their work he Associaton of Tiesseniention celebratesis 0th birthday {2018 and we remains passionate about promoting nd protecting ou members aswedid when the association ‘was fis established in 1968 ‘We fought trelesly forthe Copyright, Designs and Patents ‘Act that thanklly came into force in 1988, But what does copyright actually mean fora ‘commercial photographer today? Copyeight underpins the nate of how neal al photographers makealiving As 4 form of intellectual property and enshrined in egislation (che aforementioned Copyright, Designs and Patents Act 1988) is propery right and gives crestors the ability to generat income byllcnsing he use of endezvours a opposed sling “unis ofphtography as ifthey were actor onnets shifting boxes cof widges. The words copyright and licensing’ are equally applicable toal fore of ereaive cup, not ast photography Thisnotion oseling use natu ial tomaking or businesses sustainable as wellas smaintaningand sfeguarding the industry in which we work, not jt for ourselves it fo the next generations f photographers who seokro carveautalning aswe have done. Contrary t0 ‘whaesome might believe, most ‘hotographers, witha few rarefied ‘xcepions, donot make huge incomes and in fact [Link] since the advent of digital imaging and the widespread use ofthe ‘internet, these incomes have shrunk overall. has become harder than ever to generate enough to pay forthe business ‘overhead and a decent enough salary toenjoy reasonable lifestyle — nothing fancy or over the-top but some holiday time and ‘afewbells and whistles that make life more comfortable. ls true that we are very lucky tobe able ‘wean from something that most enjoy san activity and would do regardless of whether we were getting pl fori, but that is not the point. The moment yout a profesional, the scene shiftsandit becomes necessaryto think about ‘the bottom lineand the Future Copyright - oF theright to prevent and control copying = gives us flexibilityand gives our clients and buyers protection over the use ofa creative piece of work Iris the case, however, that not ‘enough of our clients and buyers understand that this creator's right isenshrined inlaw; was Jnard ought for, and that fees paid tous do not automaticaly confer ‘ownership or itl inthe work tothem, Thisisnodiferent to if yout wore to buy a muse tack ora book: you donot oun the content buthave purchased the right to use a copy for yourself You might ‘vs the paper the books printed ‘0, butyou donot own the words ‘themsees, ikewse, you might ‘own the harddrive oF media the ‘mage sits on, bat you do not ‘vin the image tel. The fees ‘Above: Copyright shouldestablshasystem that benefitsboth creator and clnt. we charge cover our investment inkl training, equipment, Insurance, some profiwerein business afterall and generally also inclide someclement of icensing. This helps keeps costs tothe client ower than they would beifthe client wished 0 own the work created outright. Unless. photographer assigns the copyright in thei work in writing to someone corhasaccepted the termsoFa contract chat contain a copyright assignment, the ownership ofthe ‘nelleceual property rights, or copyright remains firmly vested inthe creator. Setng alongside the economic clement of conteolling copyright ‘sa set of moral rights, equally enshrined inthe same legislation “These are thereto help protect. us, imterms of reputation (and hence our ability’ arn), as wwellas affording the client [Link] intheform ofthe right to prevent publication in certain circumstances, They are whats called inalienable rights, so they igned, but they can be waived and often \we wil see contacts chat seek an assignment of copyright 3s ell asawaWver of moral rights, Lastly itis worch mentioning that there are several exceptions tocopyrightlaw, instances \when the aw doesnot apply t0 certain uses of works protected by copyright, We might consider these tobe important to balance the rights ofthe creator against the needs/destes of potential user of apiece of work, Sfice it tosay tha the copyright regime inthe UK isone ofthe best there Js. Although thereisroom for improvements, overalitisa system thats emulated across the world. cannot be sold oF aNEXT MONTH EARN EXTRA INCOME Novel ways to develop your skill set, explore new creative outlets, and get paid in the process CEES Beautiful book design: insight into creating stunning books, from concept to printers Plus: the latest inspiring projects, creative trends and expert analysis from leading designersDESIGN INSPIRATION UME 2018 Joe Flory is a design director at the Portland, Oregon office of FINE, a brand agency. For more thon 15 years, he's worked with digital and branding clients across fashion, architecture, home, hospitality and everything in between, THE VISUALS OF AUDIO [e) mby ne means an audiophile. leant discorn between alossless FLAC audio file and a compressed MP3 audio file. However, I've always been obsessed with good design. Like that of an obscure vintage stereo device. ‘At some point in the mid-2000s, when | was livingin New York ity, my partner introduced meto the world of estate sales. The conceptat first was alittle off putting. Lafing through the bolangings of arrecently deceased widow or widower felt invasive, But there were often treasures ‘to-be found for great prices, ikea rusty Bertoia chair that we found on a back patio ‘and brought back to lie, So leventually gat sed tothe idea. When we grew tired ofthe hustle and bustle of New York City, we moved to Portland, Oregon, where estate sales are more abundant. One Saturday afternoon, we drove to ahouse ina neighbourhood of mid-century ranch homes. There | discovered a 1870s Yariana ampliior land tuner in mint concition, looking ike ‘someone had purchased itn 1978, stuck it ‘ontop of their teak oredenza, and lett it. Upto that point. |wasr't particularly interested in vintage audio equipment, Sure, hada number of new, modern receivers over the years that were perfectly functional, but something about the Yamaha gear struck ma, It radiates with a high-quality build Made from materials like metal and 1004, the dasign contrasts the synthetic materials in today’s electronics. The ‘amp; heavy and built lke a tank. The knobs; shining metal, Switches and ‘toggle buttons adorn the components with bouncing VU meters giving visual feedback. Design flourishes ~ like the ‘weighted volume and tuning knobs, or the poner switch that makes a satisfying thunk when flipped ~ are experiential in theiraeschetc. Anove:The achingly coolappealof he Yamaha terete reminder that good design timeless eecame obsessed with finding ‘matching cassette deck and turntable. After several years, |completed my ‘mission. I's so satisfying to put on some. old-school vinylafter working all dayina digital contest. The mid- to late-1970s was the height of the ‘golden ago’ of hi-fi, when competitors were putting outincreasingly .gaucier, over-the-top augia components try and outdo one anather, Garish lighting, questionable finishes and an overabundance of, wel, everything, contributed to making them look ike the dated relics they are today. Yamaha, however, took a completely different approach ~ one that was more restrained and sophisticated, bothin terms of visuals and audio engineering. The lighting of the amplifier, tuner and tape deck isa soft, subtle yellow green. The typeface used on the metal faceplates, tuningdial and metersis tanelegant, stoic sans serif, akinto Aldo Novarese's typeface, Novarese. Meanwhile, the soundis natural and 10-to-life. To achieve this, engineers would intially present their prototypes to ‘a panel of musicians, andi the musicians believed the sound quality represented a natural reproduction of a musical instrument, the davice get the green tight. ARTS CREATIVEBLOD,COM The equipment was built differently from any other maker at the time. Engineers employed simple, uncluttered layouts, allowing fortight contral over ‘the audible design and resultingin fewer service issues down the road Obsessing over this 40-year-old audio ‘equipment reminds me that to conceive meaningful, original work, ook backward. Oreven forward, Just don'thang your hat ‘on whatever is currently trending. Whenever Istartadesign project. step away from my computer to gather inspiration. | have a stack of design history ‘and fine art books on my desk, as well as collection of vintage ephemera, Recently, an obscure book jacket design from the early 20th century sparked an idea, and informed the look and fee! for a website! was working on. It’s important to look for ‘sources outside of aasign far inspiration, ‘whatever that may be. For me, that means travelling, observing architecture and history and documenting these details with my camera. These experiences feed mywork and inspire an original voice. They're also. reminder toask myself vill the work Im doing now stand up ta scrutiny in five years? Ten years? As ladasigner, | focus on creating work! boliove in, wth the hopeit lasts for other generations to believe in too. 2Make print memorable Celloglas is the UK's leading specialist in decorative print finishing. 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