EXCLUSIVE gift
FONTS WORTH ÂŁ75 FROM HYPEFORTYPE.com
ISSUE 250 March 2016 Digital edition Produced in the UK
The designers republic reunited
Exclusive video: the first interview with all five core members of the iconic studio for over a decade
special 20th ANNIVERSARY EDITION
20 essential tips for taking your design career to the next level The 20 biggest challenges in design today - and how to tackle them REVEALED The 20 most influential designers as voted by their peers
Co m puter Arts i s
N o n - Fo r mat ’ s ‘ co ntem po r ary r etro ’ d i e- cut cover fo r o u r ann iversary i s su e r eflec ts t wo d ecad e s o f th e maga zi n e’ s h i sto ry For the cover of our 20th anniversary issue, we wanted a design that reflected Computer Arts’ two-decade history. And who better to create it than Non-Format, featured prominently in our pages this issue and throughout the last 20 years? The forms of the digits in the big ‘20’ that Non-Format’s Kjell Ekhorn and Jon Forss designed for the cover are a subtle homage to a style that was very much in vogue when Issue 1 of Computer Arts was published, at the end of 1995. “We thought that the broken line and semi-random quality to the strokes was vaguely reminiscent of the kind of deconstructed typography that was popular during the mid-90s,” comment the duo. The design also has its roots in history in another way: it began life as observations of Japanese calligraphy that didn’t quite make it into a music packaging project. “Our intention was to stylise brush strokes, transforming the random organic qualities into simple lines, dashes and dots,” Non-Format explain.
Non-Format also illustrated the numbers that appear throughout our cover feature on page 44 and these are closer to their original sketches: the strokes have fewer strands, and are in black and white only. For the cover itself, Non-Format expanded the width of each stroke and added more depth by creating two more layers: a Pantone silver layer with spot UV varnish, and a much chunkier die-cut layer. The die-cut holes reveal the colour of a sheet of 135gsm Colorplan art paper bound in immediately beneath the cover. Supplied by specialist firm G . F Smith, the paper comes in 20 different colours, from China White to Vermillion, providing a virtual split-run design for enthusiasts to collect. The die-cut and the other special finishes on our cover, which include soft touch lamination, were created by decorative print finisher Celloglas. You can see a video of the cover’s creation on our YouTube channel at www.bit.ly/ca250-coverfinish.
WEL CO M E
March 2016
editor’s letter Welcome to the landmark 250th issue of Computer Arts. It’s also our 20th birthday – no small achievement in the fast-paced world of magazines – so we’re celebrating twice as hard, starting with our stunning die-cut covers, designed by phenomenally talented duo Non-Format. I say ‘covers’, because – for the first time in our history – we’ve created 20 beautiful versions of our cover design to collect, with a little help from paper specialist G . F Smith and finishing firm Celloglas. You can read more about our 20th anniversary edition cover on page 3. We’re proud to have been championing design for two decades. A lot’s changed since our first issue, so this month we polled the world’s leading creative lights to find out which designers and illustrators have most shaped the industry over our lifetime. The results are fascinating. Find out who made the top 20 in this month’s special report, along with essential tips, advice and insight from our panel. Also, huge news: in January we reunited five core members of the design studio that defined the 90s, The Designers Republic, for the first time in over a decade. They share their secrets for staying ahead of the mainstream in an exclusive video interview on page 84. Finally, we kick off a brand new regular column on our back page this month, exploring the idiosyncratic creative interests of iconic designers. The first one is written by Stefan Sagmeister. Enjoy the issue.
keep in touch with…
twitter.com/ computerarts
facebook.com/ computerarts
YOUTUBE.COM/ COMPUTERARTS
Julia Sagar
Acting co-Editor julia.sagar@futurenet.com
featuring
Non-Format
This month’s special die-cut cover was designed by Kjell Ekhorn and Jon Forss, aka Non-Format. The pair, who recently joined forces with Scandinavian design giant ANTI, used their expertise in typography to create a design reminiscent of the trends when Computer Arts launched in the mid-90s. www.non-format.com
Adrian Shaughnessy
The founder of ShaughnessyWorks and Unit Editions, Adrian shares his thoughts on the last 20 years of graphic design on page 21. What challenges has the industry faced, where will it go from here, and what can you do to succeed in a new, fast-moving world? www.uniteditions.com
stefan Sagmeister
New York-based graphic designer Stefan took time out of his Christmas break to tell us why he’s been buying so much vinyl recently. On page 106, he explains why the covers designed in the last two years are more gorgeous than anything else in the history of that field. www.sagmeisterwalsh.com
Sarah Hyndman
Founder of Type Tasting Sarah Hyndman is known for her special interest in perception and typefaces. On page 26, she shares the results of an experiment into the interweaving of senses to create a particular experience, and considers the significance of design as a multi-sensory discipline. www.typetasting.com
computerarts.creativeb loq.com -4-
Adam Avery
Adam is a freelance illustrator who takes a humanising approach to complex stories, using bold shapes and colourful composition to communicate tough topics. He put his vibrant style to work in our guide to successful delegation for creatives, which begins on page 72. thesuffolkpunchpress.com
M EET T H E T E AM
March 2016
Meet the team Future Publishing Ltd, QUAY HOUSE, THE AMBURY, BATH BA1 1UA Phone 01225 442 244 Fax 01225 732 275 Email hello@computerarts.co.uk Web computerarts.creativebloq.com
Editorial
Julia Sagar Acting Co-editor julia.sagar@futurenet.com Jim Thacker Acting Co-Editor jim.thacker@futurenet.com Jo Gulliver Art editor jo.gulliver@futurenet.com Cat Ellis Operations editor cat.ellis@futurenet.com SAMMY MAINE DEPUTY COMMISSIONING editor sammy.maine@futurenet.com DOMINIC CARTER STAFF WRITER dominic.carter@futurenet.com PETE GRAY VIDEO producer peter.gray@futurenet.com Craig Stewart Managing Editor, Creative Bloq craig.stewart@futurenet.com Kerrie Hughes CoNTENT MANAGER, Creative Bloq kerrie.hughes@futurenet.com
Contributors
Becca Allen, ANTI, Zaneta Antosik, Adam Avery, Nick Carson, Sam Dunne, Jamie Ellul, FranklinTill, Pete Gray, Tim Hardwick, Sarah Hyndman, Michael Lester, Tom May, Non-Format, Stefan Sagmeister, Adrian Shaughnessy, Alex Thomas, Craig Ward, Garrick Webster, Anne Wollenberg, Tom Woolley
Want to work for Future? Visit www.futurenet.com/jobs
julia sagar
Acting Co-editor Julia is still recovering from Christmas in the supposedly hot Middle Eastern desert, which experienced over a year’s worth of rain on Christmas day. At least homesickness wasn’t a problem.
Advertising
SASHA MCGREGOR Ad manager sasha.mcgregor@futurenet.com CHRIS MITCHELL MATT BAILEY George Lucas Account directors chris.mitchell@futurenet.com matt.bailey@futurenet.com george.lucas@futurenet.com
Jim Thacker
Acting CO-editor Jim has been discovering that the difference between editing websites and editing magazines is that you can’t cut holes in the covers of websites. Or at least, not in such an aesthetically satisfying way.
Production & DISTRIBUTION VivIENNE CALVERT Production controller Mark Constance Production manager
Printing: William Gibbons & Sons Ltd Finishing partner: Celloglas Distribution: Seymour Distribution, 2 East Poultry Avenue, London EC1A 9PT. Tel: 0207 429 4000 Overseas distribution: Seymour International
jo gulliver
Art editor Vegetarian Jo is going the extra mile by shunning all animal products for Veganuary. Thankfully, the ‘accidentally vegan’ food list is making the experience more palatable. Jammie Dodger, anyone?
Circulation
JULIETTE WINYARD Trade marketing manager: 07551 150 984
SUBSCRIPTIONS
charlotte lloyd-williams Campaign manager charlotte.lloyd-williams@futurenet.com
Cat Ellis
UK readers: 0844 848 2852 Overseas readers: +44 (0)1604 251045 Online enquiries: myfavouritemagazines.co.uk computerarts@myfavouritemagazines.co.uk
Operations editor Cat has broken in her new trail shoes in her first off-road race of 2016. There’s nothing quite as entertaining as wading through icy, knee-high mud on a brisk January morning.
Licensing
Matt Ellis Senior licensing and syndication manager matt.ellis@futurenet.com Tel: +44 (0)1225 442244 Fax: +44 (0)1225 732275
MANAGEMENT
Nial Ferguson Content director, Media Joe McEvoy Managing director, Magazines MATT PIERCE Head of content & marketing, Photography, Creative & Design, Games RODNEY DIVE Group art director, Photography, Creative & Design, Games
Next issue on sale 4 March 2016
Future is an award-winning international media group and leading digital business. We reach more than 49 million international consumers a month and create world-class content and advertising solutions for passionate consumers online, on tablet and smartphone, and in print.
staff COntributors sammy maine
deputy commissioning editor Sammy finished Carrie Brownstein’s Hunger Makes Me a Modern Girl, and now wants to move to Seattle and start a band. She’s also dog-sitting for five weeks, which means double the work (and double the mud).
Chief executive Zillah Byng-Thorne Non- executive chairman Peter Allen Chief financial officer Penny Ladkin-Brand Tel +44 (0)207 042 4000 (London) Tel +44 (0)1225 442 244 (Bath)
Future plc is a public company quotes on the London Stock Exchange (symbol: FUTR). www.futureplc.com
All contents copyright © 2016 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be reproduced, stored, transmitted or used in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price and other details of products or services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any changes or updates to them. If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.
production notes printers
We are committed to only using magazine paper which is derived from well managed, certified forestry and chlorine-free manufacture. Future Publishing and its paper suppliers have been independently certified in accordance with the rules of the FSC (Forest Stewardship Council).
text and cover CMYK, Plus pantone METALLIC 8402C William Gibbons Die Cut, UV varnish and soft touch laminate BY
paper
cover Precision Special Gloss FSC 250gsm P3–82: GraphoCote 90gsm P83–106: GraphoInvent 70gsm
typefaces
Trump Gothic West, Neutraface Text & Display, Calluna
co mputerarts.c reativ eblo q.co m -6-
Mar ch 2016
ISSUE 250 M a rch 20 16
10
Culture
Trends: Our regular exploration of the cutting edge of design takes in a quest to design tomorrow’s meatball
13
P laces: Supple Studio creative director Jamie Ellul runs through the high points of CA’s home city of Bath
14 People: Inkygoodness director Lisa Hassell on setting up innovative sister agency We Are Goodness 16
vents: We report on the Modual 2016 student E workshop, hosted by Airside co-founder Fred Deakin
20
H ow design has changed: Adrian Shaughnessy maps the course of design since Issue 1
22
at’s next for design: We ask you what Wh changes you’d like to see over the next two decades
Insight
Showcase
24 Lessons from a bad logo: Craig Ward reflects on the BBC Three branding debacle
Our selection of the world’s best new graphic design, illustration and motion graphics work 30
26 Taste your type: Author and typographer Sarah Hyndman argues for fully multisensory design
d iary 2 I N C O NV E R S ATI O N
diary 1
Cover stories
Project diaries
Mevis & Van Deursen’s striking grid-based visual identity for the MCA, Block Branding’s Feral beer labels, and Tribal Worldwide’s aquatic fantasia for T.O by Lipton 92
d iary 3
com pu te ra rts .c reati v eblo q.com -8-
Six leading designers discuss how their careers have evolved since creating one of Computer Arts’ 250 covers to date 66
C O N TE N TS
Mar ch 2016
need to k no w
Selling typefaces
Earn valuable extra revenue this year by bringing your typefaces to market with the help of our expert tips from leading font foundries and retailers 78
S p ec i a l rep or t
The 20 most influential designers
In our extended cover feature, we reveal the 20 most influential designers of the past two decades, as voted by their peers, and their tips for advancing your own career 44
SUBSCRIBE AND SAVE UP TO 63% Three great ways to subscribe to the world’s best design mag: Print Digital Both See page 42 Or join Computer Arts Pro! See page 65
•
video i ns ig h t
In du st r y Iss u es
How to delegate
Discover how to let go of the little things and focus on the big picture in order to help your studio grow to the next level 72
tDR: Reunited
In a special feature, we bring the five core members of iconic design studio The Designers Republic together for their first interview in over a decade 84
com pu te ra rts .c reati veblo q.com -9-
•
•
WE LOVE...
Fresh food concepts The Tomorrow’s Meatball project by Ikea’s Space10 research lab puts a palatable twist on sustainable eating ecessity is the mother of invention, and never has the saying rung more true than in today’s environmental crisis – particularly in reference to food and water shortages. Increasing populations and outdated, inefficient agricultural methods are just two of the challenges faced by today’s innovators. The UN predicts that in the next 35 years the planet’s demand for food will increase by 70 per cent, putting huge strain on its resources. As the world wakes up to this impending future food crisis, designers, scientists and brands alike look to new and alternative resources and production methods. From the prospect of synthetically grown meat to insect farming and reclamation of edible waste, the proposed concepts may seem far-fetched and ostentatious now, but in 15 years’ time these novel foods could form part of our staple diet. Ikea’s Copenhagen-based future living research lab, Space10, is putting a playful yet comprehensive spin on the future food debate with its project Tomorrow’s Meatball. In collaboration with food designer Simon Perez and photographer Lukas Renlund, the studio has curated a set of speculative concepts to make the subject more digestible. From the fairly familiar concepts of the Artificial Meatball and organic alternatives Lean Green Algae Ball and Crispy Bug Ball, to the ambiguously titled 3D Printed Ball and (for the ‘fitsters’) Mighty Powder Ball, Space 10’s collection of visually alluring bite-size globes use the universal language of the meatball to communicate a menu of potential future foods. Photography: Lukas Renlund
N
Learn more about Space10’s explorations of sustainable design and healthier living at www.space10.io Each month, our Trends section is curated by experienced creative consultancy FranklinTill (www.franklintill.com).
CULTUR E T rend s
March 2016
D E S I G N ED FOR LI FE
Make your mark Dowse’s tactile, etched steel Geo bookmarks lend a touch of art deco elegance to any page he smart Geo bookmarks by British studio Dowse are part of a larger collection of prints and jewellery inspired by a trip to Miami. The range takes inspiration not only from the city’s Art Deco and modernist architecture, but also the counter cultures of graffiti culture and street art. The studio’s founder Susannah Dowse believes that part of an object’s beauty comes from how it’s made, and by whom. Her bookmarks are crafted from etched steel (pictured) and brass, which suit very fine etching, putting fewer restrictions on her designs than softer metals. “I design in Adobe Illustrator, then the files are sent to be photo-etched into the metal by a company in the Midlands, who traditionally make engineering and machine parts,” she explains. “I think they are a satisfyingly modern take on a traditional product,” she adds. “I like to think I’ve created something tactile and beautiful to enhance the experience of turning a page and marking your place.”
T
Dowse Geo bookmarks www.dowsedesign.co.uk £12.50 each
Stay one step ahead with our barometer of visual cool
m ainstream
Texture tells the story as branding becomes devoid of print, using blind embossing for whiteon-white effects.
STILL FRESH
Textural markmaking and scrawling handdrawn patterns add depth to print and packaging designs.
co mpu t era rts .creati veb loq.co m - 12 -
emerging
Illustrative prints are stripped back to basic colour to create abstract, impressionist patterns for pieces.
Illustration: Michael Lester www.michaelwilliamlester.com
T R E N D ING