# data[].attributes.body
(i.e. - sarcasm doesn't translate well on a beer label)

# data[].attributes.attachment_link.readable_text
Brewdog has launched a "satirical" Pink IPA with the tagline "beer for girls" ahead of International Women's Day, though its campaign has been met with a swathe of negative feedback on social media. The beer is a twist on the brewery's core product, the Punk IPA, and comes complete with a pink label, the small print explaining that "Punk's for men and Pink's for women. Right? WRONG. Beer is for everyone, and gender is not defined by color.

"It's time to throw a Molotov cocktail through the glass ceiling," the can's mission statement continues, stating that for four weeks, Brewdog will donate at least 19% of proceeds - the gender pay gap - from sales of the Pink and Punk IPAs to causes that fight gender inequality. "Pink IPA - not 'beer for girls'. Beer for equality," it concludes.

In a tweet, the company continued to point out the satirical intentions of the campaign: "We've created a beer for girls. And it's pink. Because women only like pink and glitter, right? #Sarcasm Let's show that enough is enough with stereotypes."

However Twitter users said that the campaign had "missed the mark", was "poorly thought out", and the message was confusing when placed out of context, claiming the label only perpetuated the stereotype it was aiming to defy. "No one stood in Tesco looking at a shelf is going to get that," said one comment. "They're going to think it's a serious attempt at marketing to women."

"Highlighting that companies are "lazily targeting the female market" by changing the label to pink and putting 'Beer for Girls' on the label, might go over a lot of people's heads and they just seeing as offensive?" another commented.

Reporter for Cityam, Alys Key, tweeted: "Ah, I see BrewDog is now that lad from your A-level politics class who makes 'get back in the kitchen' jokes but it's ok because he's being 'ironic' and is actually a 'feminist'."

We've created a beer for girls. And it's pink. Because women only like pink and glitter, right?

臘‍♀️ #Sarcasm

Lets show that enough is enough with stereotypes. pic.twitter.com/g1zonXFInm

- BrewDog (@BrewDog) March 6, 2018

# data[].attributes.attachment_link.title
Brewdog launches Pink IPA "beer for girls" ahead of International Women's Day, to Twitter backlash

# data[].attributes.attachment_link.description
Brewdog has launched a "satirical" Pink IPA with the tagline "beer for girls" ahead of International Women's Day, though its campaign has been met with a swathe of negative feedback on social media. The beer is a twist on the brewery's core product, the Punk IPA, and comes complete with a pink label, the small print explaining that "Punk's for men and Pink's for women.

# data[].attributes.headline
What personality traits do designers share?

# data[].attributes.subject
What personality traits do designers share?

# data[].attributes.attachment_link.readable_text
Designers love to debate about what personality type makes for the best designer. So Michael Roller took the extra step of getting a bunch of designers to take the Myers Briggs personality test, and published the results in a chart:

Let's ignore all the details (and the hideous, illegible pie chart at the bottom), and zoom in on the two clearest trends: 85% of respondents were "intuiting" types, while 69% were "judging." By itself that's not particularly useful. But those two personality traits offer a good insight into what " design thinking " might actually consist of.

According to the test, those that "intuit" rather than "sense" tend to focus on context and future developments, rather than simply the data at hand. Meanwhile, those that "judge" rather than "perceive" tend to see the world in terms of discrete problems that can be structured and cracked, rather than as a series of casual, open-ended possibilities.

In other words, designers are less akin to the stereotypical touchy-feely artist, and more like engineers who always keep the big picture in mind.

# data[].attributes.attachment_link.title
What Personality Traits Do Designers Share?

# data[].attributes.attachment_link.description
Designers love to debate about what personality type makes for the best designer. So Michael Roller took the extra step of getting a bunch of designers to take the Myers Briggs personality test, and published the results in a chart: Let's ignore all the details (and the hideous, illegible pie chart at the bottom), and zoom in on the two clearest trends: 85% of respondents were "intuiting" types, while 69% were "judging."

# data[].attributes.headline
Which personality type makes the best designer?

# data[].attributes.subject
Which personality type makes the best designer?

# data[].attributes.attachment_link.readable_text
"It takes all sorts to make a world" the old saying goes. It's never more true than when it's applied to the workplace. From gregarious creative directors to gruff and blunt accountants, the stereotypes are there for a reason. Our personalities determine how suitable we are for the job that we do.

It's amusing, then, that HR departments up and down the land only ever want to recruit one kind of person. A real team player, who is genial and positive. How many times have you had to pretend to be that guy to get your foot in the door?

If you're a designer, the answer is probably "a lot". Surveys suggest that designers have quite distinct personality types - and they're not naturally the life and soul of the party. But they do get the job done.

In this article, we take a deep, long look at the personality types that make the best designers....

Introversion and the designer

Extroverts - people who are easily sociable, good at verbal communication and thrive in teams - seem to be more sought after in the workplace than their quieter friends. Even in a day and age when recruitment advertisements are carefully inclusive about the language they use, it's common to see job descriptions with words like "outgoing" and "upbeat".

An introvert, in contrast, finds a lot of social interaction draining. Thoughtful and slower to speak their minds, they're often portrayed as "anti-social", "shy" or even "boring". When surrounded by people willing to shout their brains out at any opportunity, it's easy to see why they may be overlooked.

Susan Cain's Quiet: The Power of Introverts in a World that can't Stop Talking was published in 2012 and has started a conversation about how we should think about introversion, highlighting the positive. And that's good news for designers because, research shows, many of us are more introverted than extroverted.

The research

It turns out that designers often prefer to work alone, solving problems and creating solutions. For example, design professor at Mississippi State University Beth Miller and a group of researchers found that an introverted personality type was the most prevalent among its postgraduate designers.

How does that translate to the process of design? Very well, as it happens. Introverts tend to work well without guidance from others. They are slower to speak their minds because they are more careful when processing data; they think before making decisions or saying anything. They're good with detail and have better focus. And, as Susan Cain says, introverts can be just as creative as extroverts - they just tend to channel it into their work:

"Studies suggest that innovation often requires solitude," says Cain, "The majority of spectacularly creative people across a range of fields are introverts, or at least comfortable with spending large chunks of time alone."

Does that mean extroverts make bad designers? Not at all. But their approach to the job and their role within a team may be different. A designer with more extrovert tendencies may be the person who gets chosen to present ideas to clients, for example. They may be find their niche later, as a director or team leader.

Besides, there's no such thing as a "pure" introvert or extrovert - it's a continuum. In fact, in the research we've cited most people tend to cluster around the middle of the spectrum. One recent survey by Strategic Aesthetics, shows an average of 52% introversion in designers.

Myers Briggs

When we return to the numbers, we can look at personality in more detail. In the Mississippi State research the most prevalent personality type was introverted. But the study uncovered 14 different personality types among designers and the immediate runner-up showed more extroversion.

The study used the Myers Briggs scale to categorise respondents, a personality test that measures four traits. Though important, "attitude" - the introversion/extroversion scale - is just one of them. The other traits are perception, judgment and lifestyle. Each of these has its own scale or "dichotomy", building on the work of pioneering psychoanalyst Carl Jung.

Perception goes from "sensing" to "intuition". The terms here are a bit confusing, because "sensing" means someone who uses the evidence of their senses; what they can actually see, hear, feel and touch. They concentrate on the now. Intuitive people look for patterns in data and extrapolate into the future; what might happen. The other traits similarly have scales that go from the concrete to the abstract.

On the judgement scale, one end is "thinking" - meaning people who make decisions by going over the evidence in their minds and logically reaching conclusions. The other end of the scale is "feeling" or gut instinct.

Finally, the lifestyle dichotomy has at one end "judging", which means the individual is organised and plans for things. The other end is "perceiving", a personality trait that leads to spontaneity in action; someone who behaves according to how they feel in the moment.

These four personality traits can be used to calculate upto 16 personality types. The leading type for designers? According to the Mississipi State study it's INFP (Introvert Intuitive Feeling Perceiving). Strategic Aesthetic's survey showed a prevalence of INTJ types (Introvert Intuitive Thinking Judging).

Introversion and Intuition

In both cases "introversion" and "intuition" (the ability to look for patterns and solve problems) are at the top of the list. The fact that the other two traits were different underlines that - though we might be able to suggest broad characteristics that are suitable - there's no cookie cutter mould for turning out graphic designers.

A designer who is more thinking than feeling is likely to produce work that is detail oriented and that meets the brief. A more "feeling" designer might take more risks and be more prepared to break rules for a result they're happy with.

Similarly, the "perceiving" designer can be more spontaneous as they work through a project. Their workmate who is more "judging" is likely to have an organised overview. It's worth noting that in the two most prevalent personality types for designers, INFP and INTJ, both have elements of chaos or spontaneity somewhere in their character, depending on whether creativity comes from the judgement scale or the lifestyle scale.

Team players

So - the research says that most graphic designers are close to INFP or INTJ on the Myers Briggs scale. But that's not the last word. There are other combinations that work well too.

ENFP and ENFJ came second and third place in both the main surveys we looked at. In both cases, the extroversion level measured was moderate, but for many designers being able to comfortably communicate ideas is important. Or, at least, having someone on the team is who can is...

There's one trait that's definitely prevalent in all the results we looked at; intuition. That's the ability to solve problems in an abstract way. It would be rare to find a designer without that as part of their make-up.
Karl Hodge is a technology journalist who teaches Digital Journalism at Leeds Met and writes books. Follow him on Twitter @karlhodge. Like this? Read these!

# data[].attributes.attachment_link.title
Which personality types make the best designers?

# data[].attributes.attachment_link.description
"It takes all sorts to make a world" the old saying goes. It's never more true than when it's applied to the workplace. From gregarious creative directors to gruff and blunt accountants, the stereotypes are there for a reason. Our personalities determine how suitable we are for the job that we do.

# data[].attributes.headline
Educated, overworked, underpaid: Graphic Designers Surveyed

# data[].attributes.subject
Educated, overworked, underpaid: Graphic Designers Surveyed

# data[].attributes.attachment_link.readable_text
Ahead of the publication of the latest Graphic Design& title, Graphic Designers Surveyed, we asked the editors to share their findings with us. Here, they offer their thoughts on the results of the survey and what designers and the wider industry can learn from them.

Graphic Designers Surveyed is a rich mix of graphic designer "fact" and "opinion". Many of its voices will be yours, so we should start with a huge thank you to the readers of It's Nice That who so generously completed the GraphicDesign& survey that forms the basis of this book.
So, what did you say?
Our expectations were confirmed when we asked:
- Do you work longer hours than you are paid to work: 78% said yes
- Have you ever been asked to "make it bigger": 90% said yes
- Do you think you have to be able to withstand rejection to succeed: 93% said yes

We were interested to find that:
- 18% of UK-based respondents found it difficult to manage on their present income, compared to only 10% of those based in the US
- 69% of US-based respondents did not do any unpaid pitches as opposed to 52% of those based in the UK (although over 70% overall disagreed with free pitching)
- On average, designers earned less than their partners but worked longer hours
- 67% of respondents had been strategic targeting particular types of work, but only 22% said this had been successful
- 83% would recommend a career in graphic design although only 55% said they were satisfied with their career

We were surprised to find that:
- 88% held an undergraduate degree or higher
- 70% said that they thought print would still be alive and well in 10 years' time
- Students cited "networking" as the skill they most wanted to acquire
- 45% reported feeling positive about active client involvement
- Only 8% of women and 13% of men felt very comfortable promoting their work
- Respondents were more likely to vote than the average citizen: 70% had voted in their last eligible election

In undertaking this research we learnt a lot about our respondents but we also discovered some of our own unconscious biases - and some of the limitations of data. It is tempting, with such rich information about nearly 2,000 designers, to assume that our results are representative of the industry as a whole. However, as Nikandre Kopcke (our collaborating social scientist) pointed out, that may not be the case - and the data certainly can't tell us why things are the way they are.

Nikandre also urged us to remember that all forms of presentation skew meaning. While we have tried to aim for clarity and simplicity, we also chose to incorporate some less precise graphics (the lure of big type!), and commissioned Stefanie Posavec to design a few more experimental visualisations that show how graphic design can use form to add new layers of meaning to data.

The statistics above are a quick snapshot of the many answers presented in Graphic Designers Surveyed (as far we are aware, graphic designers have not been surveyed in such detail before). The picture that we see emerging is of an industry full of dedicated, talented students and practitioners who genuinely love their subject. But that the cocktail of creativity and commerce is a double-edged sword. One of our key questions was "what is the worst/best thing about being a designer?" All the responses to this open question are reproduced in the book. Many people gave the same answer for both worst and best. One such answer says it all: "you never switch off."

Graphic Designers Surveyed is published by GraphicDesign&

Editors: Lucienne Roberts, Rebecca Wright and Jessie Price with contributions from Nikandre Kopcke and Stefanie Posavec

# data[].attributes.attachment_link.title
Educated, overworked, underpaid: Graphic Designers Surveyed

# data[].attributes.attachment_link.description
Ahead of the publication of the latest Graphic Design& title,_ Graphic Designers Surveyed, _we asked the editors to share their findings with us. Here, they offer their thoughts on the results of the survey and what designers and the wider industry can learn from them._

# data[].attributes.attachment_link.readable_text
Register to keep reading

We promise it takes less than 2 minutes!

Register now

Having problems?

+44 (0)2072923703 or customerservices@creativereview.co.uk

Why am I being asked to register with CR?

Every month, hundreds of thousands of people visit us here on our website. The more we know about our visitors, the better and more relevant content we can provide for them. And, yes, knowing our audience better helps us find commercial partners too. We just ask you to provide a few details about yourself and what you do. Don't worry, we won't share your information with other parties, unless you give us permission to do so. In return you can:

# data[].attributes.attachment_link.title
The Creative Review Careers Survey - Creative Review

# data[].attributes.attachment_link.description
We promise it takes less than 2 minutes! Register now +44 (0)2072923703 or customerservices@creativereview.co.uk Every month, hundreds of thousands of people visit us here on our website. The more we know about our visitors, the better and more relevant content we can provide for them.

# data[].attributes.headline
Creative, marketing and digital salary survey 2017

# data[].attributes.subject
Creative, marketing and digital salary survey 2017

# data[].attributes.attachment_link.readable_text
Our annual salary survey, supported by The Drum, continues to be read by the industry and is a tool that benchmarks salaries and trends in the creative, marketing and digital industries.

This year the survey shows interesting insight across salaries and bonuses, job satisfaction, job security and gender differences. There are also some distinct trends across our key specialisms.

Despite the political turbulence in the last year, such as Brexit and the US election, this has had a minimal impact on recruitment and hiring. There was a small dip in the latter part of 2016 but it seems confidence in the UK economy remains positive. Major Players experienced a 16% increase in the number of vacancies across the board in 2016.

There is a strong demand for good people across all business types and specialisms, but especially in agencies and for those working in digital and creative. It does appear there is a shift towards clients bringing teams in-house as well as using agencies.

According to the Financial Times, a report from the (UK) Government's Strategy Unit has concluded that the creative industries in London are now more important than financial services to the economy. Employment in the creative industries is still rising, compared to the falling in financial services.

To see the full range of roles in more detail, visit majorplayers.co.uk.To see full salary for every job title including freelance, visit majorplayers.co.uk
Key trends Pay increases
There has been significant pay increases across all disciplines, either by progression within the same company or by moving jobs. The highest pay rises were witnessed in planning & strategy (41%), account handling (38%) and tech/UX (37%) - all receiving a pay rise over 10% above the national average of 3%.
Why do people leave their jobs?
By far the biggest reason for people wishing to leave their jobs was due to limited career progression in their current role, followed by remuneration.
Trends
Automation, programmatic, AI and continued integration are all areas that are expected to grow.

Job satisfaction

Overall, satisfaction in the creative marketing and digital disciplines is high, with around 70% being largely satisfied in their current role. The highest satisfaction levels seem to be in content, editorial and social, followed by PR and marketing.
Benefits
The need for a better work-life balance has become increasingly more desirable for all, with flexible working the most sought after benefit. This was favoured even over a bonus.
Education
Those in the industry are well-educated - around 84% have a degree or Masters.
Budgets
Budgets are highest in digital marketing - 33% of our survey working in digital marketing have a budget of £1m+.
About the survey
The survey was compiled by Major Players using data collected from 3,200 respondents combined with insight gathered from industry experts. The table represents an overview of job levels and salary averages in all listed disciplines. For full information on specific job roles, visit: www.majorplayers.co.uk/jobs or call: 020 7836 4041
This is just a snapshot of the primary roles. For freelance rates and other roles download the full report here.

# data[].attributes.attachment_link.title
Creative, marketing and digital salary survey 2017

# data[].attributes.attachment_link.description
Our annual salary survey, supported by The Drum, continues to be read by the industry and is a tool that benchmarks salaries and trends in the creative, marketing and digital industries. This year the survey shows interesting insight across salaries and bonuses, job satisfaction, job security and gender differences.

# data[].attributes.headline
The Design Week career and salary survey 2017

# data[].attributes.subject
The Design Week career and salary survey 2017

# data[].attributes.attachment_link.keywords[]
the design week career and salary survey 2017

# data[].attributes.attachment_link.title
The Design Week career and salary survey 2017 | Design Week Jobs

# data[].attributes.attachment_link.description
We're putting together some in-depth research on the state of play of the design industry, to see what it looks like, how much designers get paid (and how happy they are about it), as well as what perks designers are being offered.

# data[].attributes.headline
Lecture in Progress launches a new survey of the UK creative industry

# data[].attributes.subject
Lecture in Progress launches a new survey of the UK creative industry

# data[].attributes.attachment_link.readable_text
Lecture in Progress has announced the launch of a new survey on the UK creative industry as part of their aim to help inform and inspire the next generation of creative talent. Key findings will be published on on Lecture in Progress and It's Nice That in the spring.

Lecture in Progress is an online resource offering advice and insight into working in the creative industry. "One of the recurring themes raised by young creatives is what they can expect to earn," the company explains. "And while a number of similar surveys already exist, this kind of information isn't always easy to find or understand. We'd like to change this, and better reflect the full spectrum of creative professional experience."

If you work in the creative industry, are based in the UK and can spare five minutes, please share your experiences here.

# data[].attributes.attachment_link.title
Lecture in Progress launches a new survey of the UK creative industry

# data[].attributes.attachment_link.description
Lecture in Progress has announced the launch of a new survey on the UK creative industry as part of their aim to help inform and inspire the next generation of creative talent. Key findings will be published on on Lecture in Progress and It's Nice That in the spring.

# data[].attributes.body
INDUSTRY SURVEYS

# data[].attributes.body
https://whatkindofdesigner.com/take-the-quiz

# data[].attributes.attachment_link.description
A simple quiz to help understand who you are as a designer.

# data[].attributes.attachment_link.description
From advertising, photography and film, to design, music and fashion. How is creativity changing your world?

# data[].attributes.attachment_link.description
The UK’s leading online design magazine. Bringing you latest news and inspiration across graphics, branding, interiors, digital, product, furniture.

# data[].attributes.headline
The Google Arts & Culture App and the Rise of the “Coded Gaze"

# data[].attributes.subject
The Google Arts & Culture App and the Rise of the “Coded Gaze"

# data[].attributes.body
Loosely this is about unconscious bias and attemtpting to reach more diverse audiences.

# data[].attributes.attachment_link.readable_text
A few days ago, I came across an old post on the Web site Bored Panda called "10+ Times People Accidentally Found Their Doppelgängers in Museums and Couldn't Believe Their Eyes." The post consisted of around thirty photos of people posing with portraits whose subjects looked eerily like them. There was a white-bearded man with reading glasses hanging around his neck, the spitting image of the pike-carrying soldier in Jan van Bijlert's "Mars Vigilant." ("Same nose!!!!" one commenter wrote.) There was a young woman in a navy-blue shirt, a dead ringer for the girl staring forlornly in William-Adolphe Bouguereau's " The Broken Pitcher," also wearing navy blue. For me, the funniest thing about the photos was the backstory each one seemed to tell. I imagined van Bijlert's Dutch warrior almost cracking a smile as his middle-aged doppelgänger twisted into position below while a friend, recruited as the photographer, gamely offered direction. "Put your arm on your waist. Tilt your chin up-higher, higher, yes!"

The goofiness of the images-in one, a man substitutes a rolled-up museum guide for a Spanish nobleman's riding glove-punctured the hushed reverence that we tend to associate with art-consuming experiences, even in the age of #MuseumSelfie Day.

The Bored Panda post reminded me, of all things, of a classic work of Marxist art criticism: John Berger 's "Ways of Seeing," which aired as a TV series, in 1972, and was subsequently adapted into a book. For Berger, the point of European oil paintings, in most cases, was not to edify viewers but to flatter the wealthy patrons who commissioned them. Painting was publicity, he contended, which made it akin to contemporary advertising; the nineteenth-century nude with the come-hither glance wasn't so different from the twentieth-century pinup. Whatever the time period, he wrote, "publicity turns consumption into a substitute for democracy. The choice of what one eats (or wears or drives) takes the place of significant political choice. Publicity helps to mask and compensate for all that is undemocratic within society. And it also masks what is happening in the rest of the world." Berger, who hated what he saw as the élitist tendency to view art museums as reliquaries for holy objects, might have relished the silly subversiveness of the art-doppelgänger trend.

If you have spent any time at all on Instagram or Facebook or Twitter in the past couple of weeks, you have seen this trend going viral. In December, Google introduced a feature to its Arts & Culture app that allows you to take a selfie with your phone and use it to generate results from the company's image database for your own museum doppelgänger. Last week, as more and more users discovered the feature, Arts & Culture briefly became the most downloaded app in the iTunes store. Social media was flooded with algorithmically generated diptychs-smartphone selfie on the left, fine-art portrait on the right. In the many celebratory articles that followed, the project was often framed as a way to democratize art by helping normal people to see themselves in it. When Amit Sood, the president of Google Arts & Culture, discussed the app with Bloomberg Technology, on Monday, he spoke of it in downright Bergerian terms. Growing up in Mumbai, India, Sood said, he had seen art "as a posh experience, and not something that was for me or for my people." He added, "If you want to reach people like me, or at least how I used to be before, you have to find a reason for them to want to engage."

When I fired up the app, I was initially less interested in finding my doppelgänger than in what the result might say about the current state of facial-recognition algorithms, which are famously bad at parsing nonwhite features. My last foray into face-matching involved an app called Fetch, which purported to tell users which breed of dog they most resembled; many of my Asian friends and I were told we looked like Shih Tzus. Joy Buolamwini, a black technologist and the founder of the Algorithmic Justice League, which seeks to raise awareness of algorithmic bias, calls this phenomenon the "coded gaze." Just as the male gaze sees the world on its own terms, as a place made for men's pleasure, the coded gaze sees everything according to the data sets on which its creators trained it. Typically, those data sets skew white. Not long ago, Buolamwini highlighted the story of a New Zealander of Asian descent whose passport photo was rejected by government authorities because a computer thought his eyes were closed.

As it happened, the Arts & Culture app did better than I'd expected. The portrait I got, a painting by the twentieth-century Japanese artist Ryusei Kishida, showed a handsome, rugged-looking man named Koya Yoshio, with a tuft of brilliantly black hair. Not too shabby, I thought. Still, others had plenty of complaints. For TechCrunch, the writer Catherine Shu reported that nonwhite users were being confronted with "stereotypical tropes that white artists often resorted to when depicting people of color: slaves, servants or, in the case of many women, sexualized novelties." In response, Google cast the blame not on its facial-analysis algorithm but on art history. The app, the company told Shu, was "limited by the images we have on our platform. Historical artworks often don't reflect the diversity of the world. We are working hard to bring more diverse artworks online."

I'll leave it to computer scientists to judge Google's algorithm. But the rise of the coded gaze has implications that go beyond the details of any one app. As my social-media timelines filled with images of my friends with their doppelgängers, I was struck more by their photos than the matches. They were often alone, poorly lit, looking straight into the camera with a blank expression. In my own match image, I have a double chin and look awkwardly at a point below the camera. Next to my washed-out face, Ryusei's painting looks shockingly vivid, right down to the vein in his subject's forehead. Unlike the well-composed selfies and cheerful group shots that people usually share, these images were not primarily intended for human consumption. They were meant for the machine, useful only as a collection of data points. The resulting images of photographed face next to painted face, with a percentage score indicating how good the match was, seemed vaguely diagnostic, as if the painting had materialized like the pattern of bands in a DNA test. Judging by the flattered or insulted reactions on social media, many people saw their matches as revealing something about themselves.

In one way, the art selfie app might be seen as a fulfillment of Berger's effort to demystify the art of the past. As an alternative to museums and other institutions that reinforce old hierarchies, Berger offered the pinboard hanging on the wall of an office or living room, where people stick images that appeal to them: paintings, postcards, newspaper clippings, and other visual detritus. "On each board all the images belong to the same language and all are more or less equal within it, because they have been chosen in a highly personal way to match and express the experience of the room's inhabitant," Berger writes. "Logically, these boards should replace museums." (As the critic Ben Davis has noted, today's equivalent of the pinboard collage might be Tumblr or Instagram.)

Yet in Berger's story this flattening represents the people prying away power from "a cultural hierarchy of relic specialists." Google Arts & Culture is overseen by a new cadre of specialists: the programmers and technology executives responsible for the coded gaze. Today the Google Cultural Institute, which released the Arts & Culture app, boasts more than forty-five thousand art works scanned in partnership with over sixty museums. What does it mean that our cultural history, like everything else, is increasingly under the watchful eye of a giant corporation whose business model rests on data mining? One dystopian possibility offered by critics in the wake of the Google selfie app was that Google was using all of the millions of unflattering photos to train its algorithms. Google has denied this. But the training goes both ways. As Google scans and processes more of the world's cultural artifacts, it will be easier than ever to find ourselves in history, so long as we offer ourselves up to the computer's gaze.

# data[].attributes.attachment_link.title
The Google Arts & Culture App and the Rise of the "Coded Gaze"

# data[].attributes.attachment_link.description
A few days ago, I came across an old post on the Web site Bored Panda called "10+ Times People Accidentally Found Their Doppelgängers in Museums and Couldn't Believe Their Eyes." The post consisted of around thirty photos of people posing with portraits whose subjects looked eerily like them.

# data[].attributes.body
ORIGINALITY + PERSONALITY

# data[].attributes.attachment_link.readable_text
It might not mean that much to you, but 55 Regent Street is one of London's most iconic retail addresses. It's the building facing Piccadilly Circus, formed of a wedge between Regent Street and Piccadilly.

It was the department store Swan & Edgar until 1982. Later it was Tower Records, then the Virgin Megastore, until that become Zavvi. Now, it's a clothes shop called The Sting. And in the window of The Sting, on the Piccadilly side, is displayed the worst mission statement of all time.

This window affords The Sting an extraordinary opportunity to communicate with hundreds of thousands of people a day. And they have chosen to do so with this message. It's a kind of manifesto. A statement, in place of a traditional mannequin display, carried on a backlit board, that's seemingly meant to explain the shop, where it comes from and what it stands for.

It's absolutely terrible.

Let's go through it:

THE STING WAS BORN FROM THE SIXTIES, BOUTIQUES, HIPPIES, POP MUSIC, FREEDOM.

I see. Your shop espouses the progressive, free-living values of the 1960s.

NAMED AFTER THE 1973 FILM 'THE STING'

If I can just stop you there for a moment. You have literally just said that your shop was 'born from the Sixties' and inspired by hippies and boutiques. If you wanted to name it after a film, you could have chosen Blow-Up. Or Performance. Or Easy Rider. Barbarella. The Graduate. Films from and reflecting aspects of the culture of the 1960s, the decade that you said a few words ago The Sting was born from. But instead, your shop is named The Sting, after The Sting, a film from 1973, which is set in 1936.

STARRING PAUL NEWMAN AND ROBERT REDFORD.

Yes. They were in 1973's The Sting.

FUNNY, CHEEKY, SMART, FREE, NO NONSENSE, CODE OF HONOUR AND UNEXPECTED SUCCESS ARE STILL THE PARALLELS THAT TYPIFY AND APPEAL TO THE BRAND.

OK, I'm going to ask you to pop your coat off and pull up a chair because we have an awful lot to get through here. To review:

FUNNY, CHEEKY, SMART, FREE

All right, this seems to be a list of adjectives intended to contribute to an overall impression of the brand.

NO NONSENSE

Now, you see, 'no nonsense' is pretty much the direct opposite of the other things you just said. 'Funny', 'cheeky', 'smart' and 'free' suggest charisma, a kind of creative vivacity. 'No nonsense' suggests severity, austerity and rejection of the frivolous. You're trying to personify the brand - OK, well, picture someone who is funny, cheeky, free...and no-nonsense. It's hard, isn't it? So what adjectives are next?

CODE OF HONOUR AND UNEXPECTED SUCCESS

Not ones, is the answer. Not adjectives. Having abandoned consistency of meaning, you've now abandoned consistency of form. 'Code of Honour and Unexpected Success' are not descriptive. They make no sense in this list. 'Funny, cheeky, smart, free, no nonsense, code of honour and unexpected success' is a train that hits an obstacle on the track, jumps the rails and then becomes a boat. It's a spew of raw thought, scribbled on a notepad in a meeting, that has somehow, unrefined, become public branding. Also, why is the success unexpected? Of course, I'm assuming at this point that this list is intended to describe the brand, but we haven't yet reached the end of the sentence.

ARE STILL THE PARALLELS THAT TYPIFY AND APPEAL TO THE BRAND.

The parallels. These are still he parallels that typify and appeal to the brand. The parallels. If something is a parallel, it is analogous to something else. Why are these things parallels? What are they parallel with? In what sense is 'cheeky' a 'parallel'? What is 'code of honour' parallel to? What are you talking about? Why have you chosen this word? There is no dictionary definition of 'parallel' that can even remotely explain its use in this context. You might just as well have said '...code of honour and unexpected success are the soffits that typify and appeal to the brand'. Or 'the langoustines that typify and appeal to the brand'. Or any other word at all.

THE STING IS HEADSTRONG, WITH ITS OWN VISIONS AND ITS OWN PERSONALITY.

OK, though you might mean 'vision', as 'visions' suggests a possible brain injury, which would at least explain much of the above.

THIS CAN ONLY BE ACHIEVED WITH PATIENCE AND PERSEVERANCE.

Eh? What can? Being headstrong with one's own visions and personality can only be achieved with patience and perseverance? Why can personality only be achieved with patience? And isn't being headstrong part of personality?

THE STING HAS CHARACTER. THAT'S WHY WE'RE PROUD OF THE STING.

But you are The Sting.

ALL IT TAKES IS A LITTLE CONFIDENCE.

I thought it could only be achieved with patience and perseverance.

THE STING FOUNDED AUGUST 27th 1982.

Born from the Sixties, named after a 1973 film set in 1936 and founded in 1982.

The Sting is a Dutch company, so the statement may have been written by someone whose first language is not English. But the Dutch are good at English. And in any case, if your mission statement is going to read by hundreds of thousands of people in England, it would seem sensible for it to cross the desk of at least one employee whose first language is English.

I don't know how this sign happened. I don't understand how people sat around a table, read it through and approved it. But someone did approve it. Someone painstakingly assembled it and displayed this, the worst mission statement of all time. I'm sure someone, somewhere within The Sting organisation knew this was absolutely terrible but said nothing, because everyone else seemed so pleased with it and someone senior signed it off. But it's not too late. The words can be changed. You can still go to the boss and tell him. Tell him it needs to be changed because it's the worst mission statement of all time.

All it takes is a little confidence.

# data[].attributes.attachment_link.title
The Worst Mission Statement Of All Time - Daniel Maier - Medium

# data[].attributes.attachment_link.description
It might not mean that much to you, but 55 Regent Street is one of London's most iconic retail addresses. It's the building facing Piccadilly Circus, formed of a wedge between Regent Street and Piccadilly. It was the department store Swan & Edgar until 1982.

# data[].attributes.headline
L.A. Ronayne's journey from student to industry

# data[].attributes.subject
L.A. Ronayne's journey from student to industry

# data[].attributes.body
https://medium.com/@ronayne/will-power-92ffc5858c15

# data[].attributes.attachment_link.readable_text
You will find it ridiculous that an 18 year old woman has to wear a pinafore and knee socks to school. The nun who teaches you maths will tell you that drawing in the back of your copybook will get you nowhere. In a classroom one day, Maeve Binchy will advise you to only write about what you know.

You will fleetingly study politics in University College Dublin before dropping out, moving to an island in the Cyclades, getting the only real sun tan of your life and a navel piercing from the local vet. A bartender you work with will think that your name is Louisiana for the entire three months you are out there.

You will come home and start a portfolio course. You will get a place in Central Saint Martins. You will move to London with 1 x suitcase and 1 x sketch book. You will think it's going to be fashion. Then illustration. Then advertising. You will chose the latter, but never, ever really be sure.

You will briefly pool-hustle in Cape Town, then find yourself telling a Hollywood producer about it in Downtown Los Angeles some years later.

Peter Souter will tell you and Jade Tomlin - your first and only creative partner - that women creatives are like unicorns. Sadly, his point will remain true long into the future. Andy Sandoz and Ben Mooge will give you your first job, 4 months before you finish your final year at CSM. Happily, you will work for them for many years.

You will fill a truck with human cows. You will launch a digital champagne bottle. You will make science experiments explode into new sneakers. Kelly Jones will tell you that he likes your raincoat backstage at a music festival that you are shooting at. One day, your bosses will take you for lunch and tell you that they are promoting you to creative director. You will twirl around and hug a waiter. You will be 30 years of age at the time.

Work Club will be a big chapter of your life. You will see it grow from 10 people all the way into Havas London. You will get to live in Amsterdam for a little while somewhere in-between. You will be lucky to work with some of the best in the business along the way.

You will fire arrows from a moving taxi in Barcelona once and enjoy shouting "INSTRUMENTAL!" at karaoke bars on multiple occasions.

You will concept, art direct, illustrate, design and style, but writing will be your main 'craft' craft. One evening, you will meet Danielle Pender for drinks. She will tell you that she's starting a magazine. From then on Riposte and editorial will become of the utmost importance to you too.

You will be driven by style and laughing in equal measure, both in work and outside of it. You will make questionable life decisions, but solid sartorial ones.

You will be a minority in the creative industry because you are a woman. You will be furious about this and never turn down the opportunity for airtime on the matter. You will want all young people to have the same support you had. Then you will want them to work their vaginas/balls off to prove why.

You will always put your career above everything else because making great stuff is your favourite. You will write this exactly 8 years after you graduate. And life will continue to be ridiculous.

# data[].attributes.attachment_link.description
You will find it ridiculous that an 18 year old woman has to wear a pinafore and knee socks to school. The nun who teaches you maths will tell you that drawing in the back of your copybook will get...

# data[].attributes.headline
Online Design Class about Ethics + Desgn

# data[].attributes.subject
Online Design Class about Ethics + Desgn

# data[].attributes.attachment_link.readable_text
Course Description

All humans, all of us, regardless of our background, our gender, sexual orientation, class, race, ethnicity, or the ideologies we hold, our political affiliations, our faith, our worldviews, the different cultures or societies we hail from, all of us inhabit and share the same planet. Learning to live and make in the world thus means learning to live and make a collective world with others very different from us. In an age of increasing precarity and uncertainty regarding both the future of this planet and of our species, against the backdrop of rising tensions between different people, and in a world where the artificial, the vast global systems of designed technologies that mediate and shape our existence, change and modify not only what it means to be human but different kinds of human, it becomes increasingly important for the professions that design and develop the artificial -for scientists, engineers, and of course, designers - to develop better and more nuanced understandings of what human difference is.

Conventional human-centered design methods are a great way to understand humans who are similar to you - where it is easy to relate to the thoughts, desires, and realities of people whom you share commonalities with. The limitations of conventional design methods become apparent once you begin to deal with people and situations that are very different. Trying to understand someone who occupies a very different skin and interprets reality differently from you requires far greater sensitivity and knowledge of how difference is constructed. This course, therefore, has been designed as a primer on critical theory for designers, where we will discuss issues related to all of the different kinds of difference outlined above, looking at different discourses from fields like gender and queer studies, cultural theory, theories of labor and class, and how they relate to the designed world of the artificial that we inhabit.

Learning Goals

By the end of this class, you should:
1. Have a good understanding of the general landscape of contemporary political and ethical issues around specific technologies and the discourses around them;

2. Have a grasp of different ways of framing and resolving ethical issues in a number of disciplinary ways;

3. Understand how technologies embody various politics (race, culture, gender etc.) and create various kinds of political subjects;

4. Be able to apply your understanding to problematize specific technologies, analyze and reflect critically on their impacts, think through various interventions and argue for how to develop technologies in more thoughtful ways.

Syllabus

This has been planned as a eight week course for a total of sixteen sessions. The links to all readings and references are here and have been separated into required and additional readings.

Week I
Exercise: "The Privilege Walk"
To Watch: And The Pursuit of Happiness, Louis Malle
Monday 26.03.2017. Past, Present & Future Guest Speaker: Week III Stuart Candy
Week II

To Watch: Sweatshop, Aftenposten

To Watch: The Pervert's Guide to Ideology, Slavoj Zizek

Week IV
Week VI Wednesday 25.04.2017. Modern Identity We discuss the colonial rupture, globalization and cosmopolitanism, and the challenges to plurality and difference in a global context. Week VII
To Watch: Taqwacore: The Birth of Punk Islam, Omar Majeed
Week VIII Monday 07.05.2017. Plural Futures Guest Speaker: Stuart Candy
Week V

To Watch: Paradise: Love, Ulrich Siedl

To Watch: Do The Right Thing, Spike Lee

To Watch: Jeanne Dielman, Chantal Akerman

***Graduation (Yay!)***

Grading Criteria

This class is graded on a fixed scale - that is, there are specific requirements that build progressively on each other for each grade. You will have to fulfill all the requirements for the grade you wish to end up with for the course. There are a total of seven reflections assembled in the form of a class journal, weekly discussions on the class Tumblr, and a group assignment, each with different grading criteria and assessment, for this course. Final grades will be assessed and given at the end of semester. Timely completion and submission of both reflections and exercises is a crucial part of your grade and we require that you submit on time.

Annotated Journal (70%):

Through weekly written reflections and collecting relevant articles on contemporary issues on the politics and ethics of technology, you will develop a journal documenting your own questions, observations and points of discussion based on your experiences with exercises, lectures, readings and other material. This journal will offer you a chance to document your own thinking and demonstrate to us that you have been engaging with the material taught every week.

You will write a page of reflections on your own and, including other material that you've collected on the issues we will discuss over the weekend, hand in your journal every Monday so that it can be returned Wednesday for the following weekend. We do not expect straight descriptions of what was done in class -  the idea is for you to give us your own thoughts, observations and reflections on content as it relates to what we did that week, how it relates to specific issues of your choice, and how you feel you might use it in your design practice, rather than reiterating what the instructor taught. You can incorporate sketches or doodles of concepts or ideas or lectures, prints or cutouts of relevant media, and other materials - be as creative as you want - along with your reflection essay.

By the end of semester, your journal should cover all seven weeks of modular content. This is a Pass/Fail grade - if you don't hand in your journal every Monday with new work you will lose 10% of your grade. You will be assessed both on your timely submission and the quality of your reflection.

Tumblr Discussion (10%):

Group discussion is very important to debating ethical and political questions, and as part of this course, I will post an article and question relevant to the topics being discussed every week on Tumblr. A sustained engagement online commenting on and discussing the article will grant you the grade for participation. You will be assessed both on your timely submission and the quality of your engagement.

Final Presentation (20%):

You will be required to present a nuanced critique of a contemporary design practice, method or artifact, pointing to possible ways to deal with the issues raised. A brief with details on the assignment, expectations and assessment criteria will be provided. An external jury will be brought in to help assess the presentations.

Policies

Responsibility  - Students are responsible for all assignments, even if they are absent from class. Late assignments, failure to complete the assignments for class discussion and/or critique, and lack of preparedness for in-class discussions, presentations and/or critiques will jeopardize your successful completion of this course. Students must have prior permission from the instructor to submit work late and/or adequate evidence of unforeseeable circumstance, such as a sudden illness. Work is considered late if it is not received before the beginning of class on the date due, or as otherwise detailed by the instructor. Even with permission, late work is subject to a grade penalty of a full letter grade deduction per day, i.e from an A to a B, after the original due date.

Academic Integrity - It is the responsibility of students to know and follow the university's policies for academic integrity and to learn the procedures specific to their discipline for correctly and appropriately differentiating their own work from that of others. Compromising your academic integrity may lead to serious consequences, including failure of the assignment, failure of the course, or more significant disciplinary action with the university. See: https://www.cmu.edu/academic-integrity/

Participation and attendance -  Class participation is an essential part of class and includes: keeping up with reading, assignments, projects, contributing meaningfully to class discussions, active participation in group work, and coming to class regularly and on time.

Class attendance is mandatory. Missing class for any reason counts as an absence, even if unavoidable. If an absence is unavoidable, always provide evidence of the reason, such as a doctor's note, and notify the instructor directly prior to the class, if possible, or soon after. This will not automatically excuse the absence but will provide a basis for discussion if a student exceeds the allowable number of absences and an incomplete is requested. 3 absences on any grounds brings you down a full letter grade, i.e. an A into a B. More than 3 absences on any grounds constitutes grounds for failure.

The following may also be counted as an absence: coming to class without the required materials, sleeping in class, doing other work in class, and using a phone, email or social media during class if not related to class work.

Delays -  In rare instances, the instructor may be delayed arriving to class. If s/he has not arrived by the time class is scheduled to start, you must wait a minimum of thirty minutes before leaving. Please use the time effectively on any current group or individual work. In the event that the instructor will miss class entirely, a notice will be posted in the classroom and/or by email indicating activities for making use of class time and for the next week's assignment.

# data[].attributes.attachment_link.description
All humans, all of us, regardless of our background, our gender, sexual orientation, class, race, ethnicity, or the ideologies we hold, our political affiliations, our faith, our worldviews, the different cultures or societies we hail from, all of us inhabit and share the same planet.

# data[].attributes.headline
Mike Monteiro lecture on ethics in design (particularly Facebook)

# data[].attributes.subject
Mike Monteiro lecture on ethics in design (particularly Facebook)

# data[].attributes.attachment_link.title
Webstock '13: Mike Monteiro - How Designers Destroyed the World

# data[].attributes.attachment_link.description
You are directly responsible for what you put into the world. Yet every day designers all over the world work on projects without giving any thought or consideration to the impact that work has on the world around them. This needs to change.

# data[].attributes.headline
ETHICS FOR DESIGN: 12 designers and researchers from 8 European cities discuss the impact of design on our societies

# data[].attributes.subject
ETHICS FOR DESIGN: 12 designers and researchers from 8 European cities discuss the impact of design on our societies

# data[].attributes.body
https://twitter.com/gdand_/status/958627664968986624

# data[].attributes.wish_content.attachment_props.text
Ethics for Design: 12 designers and researchers from 8 European cities discuss the impact, sometimes harmful, of design on our societies and the paths to follow for designers to work for the good of all and not just a few – https://t.co/HcY22lYpIG [GD& Society]

# data[].attributes.wish_content.attachment_props.original_text
Ethics for Design: 12 designers and researchers from 8 European cities discuss the impact, sometimes harmful, of design on our societies and the paths to follow for designers to work for the good of all and not just a few – https://t.co/HcY22lYpIG [GD& Society]

# data[].attributes.attachment_link.embed_code
Ethics for Design: 12 designers and researchers from 8 European cities discuss the impact, sometimes harmful, of design on our societies and the paths to follow for designers to work for the good of all and not just a few – https://t.co/HcY22lYpIG [GD& Society]
— GraphicDesign& (@gdand_) January 31, 2018

# data[].attributes.attachment_link.metadata.attachment_props_source.data.text
Ethics for Design: 12 designers and researchers from 8 European cities discuss the impact, sometimes harmful, of design on our societies and the paths to follow for designers to work for the good of all and not just a few – https://t.co/HcY22lYpIG [GD& Society]

# data[].attributes.attachment_link.metadata.attachment_props.original_text
Ethics for Design: 12 designers and researchers from 8 European cities discuss the impact, sometimes harmful, of design on our societies and the paths to follow for designers to work for the good of all and not just a few – https://t.co/HcY22lYpIG [GD& Society]

# data[].attributes.attachment_link.metadata.attachment_props.text
Ethics for Design: 12 designers and researchers from 8 European cities discuss the impact, sometimes harmful, of design on our societies and the paths to follow for designers to work for the good of all and not just a few – https://t.co/HcY22lYpIG [GD& Society]

# data[].attributes.body
ETHICS IN DESIGN

# data[].attributes.headline
List of Design Inpsiration Instagram Accounts to follow

# data[].attributes.subject
List of Design Inpsiration Instagram Accounts to follow

# data[].attributes.attachment_link.readable_text
When it comes to getting a daily dose of inspiration for your graphic design projects, nothing beats the visual delights of Instagram. From global agencies and intimate studios to the most unusual and unexpected sources - the photo-sharing network has plenty to keep us motivated.

At Shillington, we love Instagram to share inspiration, show off our students' work and connect with the creative community. It also helps us to keep in touch with new and emerging trends, and ensure our curriculum is always current.

Our designers and teachers have collaborated with Creative Boom to create the following list of inspiring Instagram feeds for all you discerning (and aspiring) designers to enjoy:

Design Magazines & Blogs

When it comes to inspiration, you can't beat following the very people who share what's happening across the design industry - the online magazines and blogs that have their fingers on the pulse of designers and studios everywhere. Here are a few suggestions to get you started:

Design Studios

Need to see what other studios are up to? The following suggestions don't just share their latest work, they also offer lots of inspiring discoveries from their everyday lives:

Key Designers & Artists

Let's face it. There are some people in the design industry that continually push boundaries and inspire with their creative genius. Here are just a few designers and artists we think you should be following:

Design Organisations & Events

There are always key events or organisations on the design circuit that we should all stay in touch with. Here are just a few essentials to follow via Instagram:

Typography Inspiration

Can't get enough of fonts? Need to kickstart your next project with some juicy typography inspiration? The following key Instagram accounts will not disappoint:

Design Products & Brands

As designers, we always come across certain brands that we fall in love with, and buy from again and again. From the very materials we need to complete our projects to the clothes on our back - the following Instagrammers will have you inspired in no time:

People who've guest lectured at Shillington

To give our students some serious motivation and learning, we often welcome a wealth of designers and industry experts to guest lecture at our Shillington campuses across the world. The following suggestions include just some of the people we've been honoured to work with in recent months:

A few notable Shillington graduates

As you'd expect, we just had to include some of our very own Shillington graduates in this list. It goes without saying, we're proud of all those who walk through our doors - but these next suggestions are really making waves on Instagram:

A few Shillington teachers - past and present

Did you know the founder of Bespoke Letterpress and the founder of The Design Kids used to lecture at Shillington? We're proud of our teachers, both past and present. Here are some essentials to follow on Instagram:

Non-design industry accounts

Although we live, breathe and sleep graphic design - it's good to sometimes think outside the box and go to unexpected sources of inspiration. The following Instagram profiles cover everything from food and travel to some of our favourite lifestyle blogs:

Have we missed anyone you think we should follow? Let us know on Twitter.

# data[].attributes.attachment_link.title
90 Instagram accounts to follow for daily graphic design inspiration

# data[].attributes.attachment_link.description
When it comes to getting a daily dose of inspiration for your graphic design projects, nothing beats the visual delights of Instagram. From global agencies and intimate studios to the most unusual and unexpected sources - the photo-sharing network has plenty to keep us motivated.

# data[].attributes.body
Interesting re originality + portfolios

# data[].attributes.attachment_link.readable_text
"I got into design kind of by accident," explains London-based graphic designer Jonathan Isaacson. Despite studying illustration at Brighton, Jonathan admits he became far more inspired by the work his friends were producing across the discipline bridge in graphic design, an area which appeared like "it was as much about the idea as it was about the final outcome," he tells It's Nice That.

Thankfully the course structure at Brighton intermixes graphic design and illustration students under one umbrella, allowing the designer to "move away from what would typically be seen as illustration," he explains. "Brighton was great for this because it allowed for a more fluid interpretation of what it was to be an illustrator or graphic designer." After graduating Jonathan took a leap and decided to apply for a bunch of jobs, "I thought fuck it and just applied for design jobs until someone was willing take a chance on the weird graphic design/illustration hybrid practice I had going on at the time."

Understandably someone did and Jonathan took a job at Vice's internal design studio, "who just saw me as another designer". An opportunity like this allowed the designer to continue his graphic education, something he appears to love. "I feel like I'm continually learning on the job, I don't really want to get to the point where I stop that feeling because it seems like once you feel you know everything, you've jumped the shark and you start to become past-it." His hybrid nature is also reflected in his influences from animated television shows like Toonami and Cowboy Bebop, to more recent iterations like Over the Garden Wall and Adventure Time. Design's relationship with music is also a key driver in his development, especially when considering the merge of traditional design and illustration on record sleeves, and "was really important for me when telling myself that I wasn't a total fraud when I started designing things".

This enthusiasm for learning about the many, many realms of graphic design, and the printed or digital shape it can take, is evident in Jonathan's portfolio. Across his personal and professional work the designer has experimented with publication, record sleeve and website design, also more recently getting his teeth stuck into typographic work too. The idea at the forefront of the work seems to always lead Jonathan's practice, particularly in a look book designed for fashion graduate Eleanor Carless. "As the collection was predominately inspired by the techniques of workwear and affordable manufacturing I wanted the book to feel like a lived-with-notebook, replicating the way in which she worked on the project." A visually collaged publication is the result, with Eleanor's work photographed by Ieva Blazeviciute and typography by designer Tommy Spitters.

While at Vice Jonathan continued his thoughtful approach particularly in a website design for its campaign Real London. As the objective of the site "was to house photographic and written essays about five of London's most iconic and exciting boroughs," the designer applied a physical frame of mind to a digital object for maximum effect. In turn, he designed "the site to feel like leafing through the pages of a guide book, with tabs that pulled down and across the pages, hopefully keeping the user exploring the site as much as possible," he explains. Another project, an identity for Debate Club a series of articles on Vice's EDM channel Thump, also uses physical experimentation as the designer drew inspiration "from classic club ephemera from the last 25 years," he explains. Post creating a simple layout, Jonathan "constructed banners using a computer, then laid them out on my phone and scanned them back into my computer, only to edit them again in Photoshop," in order to get a balance of nostalgic and "unique imperfections".

After leaving Vice last year Jonathan has been jumping around as a freelance designer at various studios, the most recent being at Wonderland magazine gaining experience "on a load of the publications they handle," he explains. On top of this the designer has also been teaching himself how to design type, drawing particular inspiration from science fiction and anime films, coming together in a recent font titled Kaneda. As Jonathan will be back in the freelance world in the next few months he hopes to continue "pushing myself out of my comfort zone," excitingly wanting to "try out doing things in the cultural sectors," too.

# data[].attributes.attachment_link.title
Meet graphic designer Jonathan Isaacson and his hybrid portfolio

# data[].attributes.attachment_link.description
"I got into design kind of by accident," explains London-based graphic designer Jonathan Isaacson. Despite studying illustration at Brighton, Jonathan admits he became far more inspired by the work his friends were producing across the discipline bridge in graphic design, an area which appeared like "it was as much about the idea as it was about the final outcome," he tells It's Nice That.

# data[].attributes.body
Student project that looks at the impact of trends on professionalism, within the graphic design industry.

# data[].attributes.attachment_link.title
I'm Trendy So What? graphic design publication

# data[].attributes.attachment_link.description
British graphic designer Harrison Park has recently released his 'I'm Trendy So What?' publication, a social experiment that looks at the impact of trends on professionalism, within the graphic design...

# data[].attributes.body
Campaign for student awards that plays on idea of "Said No Award-Winner Ever"

# data[].attributes.attachment_link.readable_text
This year Design Bridge challenged the junior members of its London team to design a poster to promote its annual Dog's Bollocks Student Awards competition at universities and inspire design students to enter.

The winning concept was: "Said no award winner ever", a tongue-in-cheek, copy-led poster design based on all the wrong advice - what your tutors wouldn't say to you, all the things you shouldn't do, and how not to make award-winning work.

Copy lines, such as "Don't push it too far", "Just Google it" and "That will do", have been crafted to stand out, grab people's attention and make them look twice. It's only when you get up close that you see the "said no award winner ever" caption that you discover what it's all about.

The posters were made with the help of local letterpress studio New North Press. Each poster was set and printed by hand before being individually hand-numbered (a lot of hands were used in the making of these posters). The result is 25 unique sets of three posters that have been sent out to universities to build extra awareness around Design Bridge's annual student competition, and encourage a bit of competitive (and creative) spirit amongst students.

The creative idea is the result of a collaborative effort between Georgi Heath who is on Design Bridge's Client Servicing and Strategy Graduate Scheme, Beth Stone, a D&AD New Blood winner last year, along with other designers in the studio, all overseen by Asa Cook, Creative Director and the driving force behind the annual student competition.

As Asa recalls, "When I was at university there were lots of posters up on the walls that had been there for years, and this is what inspired my brief to the studio juniors. We wanted to make something that was well-executed and beautifully crafted - just like we are asking students to do when answering the brief - but we also wanted to make something that people would want to keep, something of value, with timeless advice."

This year's Design Bridge Dog's Bollocks Student Awards competition brief can be found at designbridge.com.

New North Press photos by Charlotte Harrison

New North Press photos by Charlotte Harrison

New North Press photos by Charlotte Harrison

New North Press photos by Charlotte Harrison

# data[].attributes.attachment_link.title
"It's a shit brief" - Campaign for this year's Design Bridge Dog's Bollocks Student Awards

# data[].attributes.attachment_link.description
This year Design Bridge challenged the junior members of its London team to design a poster to promote its annual Dog's Bollocks Student Awards competition at universities and inspire design students to enter.

# data[].attributes.headline
How To Measure The Quality of Design (Twitter)

# data[].attributes.subject
How To Measure The Quality of Design (Twitter)

# data[].attributes.body
https://twitter.com/andSutherland/status/967720828216467456

# data[].attributes.wish_content.attachment_props.text
Love this. ‘How to measure the quality of a design’ From ‘andreas uebele material’ book @uniteditions @andreasuebele

# data[].attributes.wish_content.attachment_props.original_text
Love this. ‘How to measure the quality of a design’ From ‘andreas uebele material’ book @uniteditions @andreasuebele https://t.co/9Z1hKb3zZk

# data[].attributes.attachment_link.embed_code
Love this. ‘How to measure the quality of a design’ From ‘andreas uebele material’ book @uniteditions @andreasuebele pic.twitter.com/9Z1hKb3zZk
— Studio Sutherl& (@andSutherland) February 25, 2018

# data[].attributes.attachment_link.metadata.attachment_props_source.data.text
Love this. ‘How to measure the quality of a design’ From ‘andreas uebele material’ book @uniteditions @andreasuebele https://t.co/9Z1hKb3zZk

# data[].attributes.attachment_link.metadata.attachment_props.original_text
Love this. ‘How to measure the quality of a design’ From ‘andreas uebele material’ book @uniteditions @andreasuebele https://t.co/9Z1hKb3zZk

# data[].attributes.attachment_link.metadata.attachment_props.text
Love this. ‘How to measure the quality of a design’ From ‘andreas uebele material’ book @uniteditions @andreasuebele

# data[].attributes.headline
Gemma Correll – Interview (path into industry)

# data[].attributes.subject
Gemma Correll – Interview (path into industry)

# data[].attributes.body
NOTE: These are really great interview questions that you could steal (ahem, reference) when contacting designers

# data[].attributes.attachment_link.readable_text
Gemma Correll is a cartoonist, writer, illustrator and describes herself as an "all-around small person". You will undoubtedly be aware of her famous pug cartoons, which are incredibly popular with fans all over the world. So popular, you can purchase any number of her pug-inspired products - t-shirts, tea towels, greeting cards - from various shops and retailers.

Originally from Norwich, Gemma has recently moved to sunny California with her two pugs and boyfriend to enjoy warmer climes and to continue working as a freelance illustrator. Represented by Anna Goodson, her clients include Hallmark, The New York Times, Oxford University Press, Knock Knock, Chronicle Books and The Observer.

She's also the author of many books, such as A Cat's Life (Te Neues, 2012), A Pug's Guide to Etiquette (Dog N Bone, 2013) and The Worrier's Guide to Life (Andrews McMeel, 2015). If that doesn't keep her busy enough, she also publishes her Four Eyes cartoon at GoComics.com and at The Nib on Medium.com. And she even draws a monthly Skycats cartoon for the Emirates Airlines Open Skies magazine.

From hard work and self-discipline to learning how to say 'No' and wishing pugs could talk, we chatted to Gemma about her life as an introverted illustrator.

How did you get started? Where did you study? What was your first job?

I studied at the Norwich School of Art and Design (now NUCA) in Norwich, UK. The course I took was a BA in Graphic Design and I chose to specialise in Illustration. After I graduated, I didn't go straight into illustration full-time. I worked as a teaching assistant during the week and did illustration jobs on the evenings and weekends. My first job was for Virgin Holidays, illustrating a brochure of vacation packages.

When and how did you launch your own business?

I graduated from college in 2007 and worked in part and full-time jobs for a couple of years while illustrating for clients on the weekends and evenings. I was also making a lot of my own products, like zines, screen-printed totes and T-shirts and hand-sewn plush toys, which I sold at craft fairs and online via Etsy. Eventually, in 2009, I was able to go full-time as an illustrator. At that time, I also started working with my Agency, Anna Goodson Illustration Agency.

What challenges did you face in those early days and how did you overcome them?

Getting my work 'out there' was a challenge in the early days. There are so many illustrators, all vying for a small number of jobs. It really helped me to work with Anna Goodson, who found work for me with international clients like Real Simple Magazine and Ulysees Press. I also spent a lot of time on promotion - designing postcards to mail to art directors and contacting clients that I wanted to work with.

I also continued to make my own products - I spent all of my extra time producing and shipping them and going to events where they could be sold. I set up a wholesale website and was contacted by stores who wanted to carry the products and eventually by companies that wanted to license my artwork for use on shirts and greetings cards.

Was there a moment when you realised you'd "made it"?

I don't remember a specific moment. I suppose going full-time as an illustrator was a landmark, but I didn't really feel like I'd 'made it; at that point. To be honest, I still don't - there's always something more that I want to achieve.

"It will be hard work, to begin with, but that's what is necessary to get established."

There'll be a lot of illustrators out there struggling to get started. What pearls of wisdom can you share that helped you to become a success?

It really comes down to hard work - and time. It takes a while to get your work seen by a wide audience, but social media is very helpful in that respect. Make sure you maintain a good website, with links to your social media sites. Keep those sites updated with new work as much as possible, not just finished work but sketches too (I find that people love to see work in progress and sketchbook scribbles). Always make sure to put your name on your work so that it can be traced back to you.

Also, take time to find your own style - don't copy other artists or follow trends. Look at books, not just the internet. Find inspiration beyond illustration, in other art forms and culture.

Finally, make your own products and sell them online and at events. It will be hard work, to begin with, but that's what is necessary to get established.

In terms of marketing yourself, what tools, tricks or resources have you found to be the most helpful? Tell us more...

Social media, of course. I especially like Instagram as a way of sharing doodles (and pug photos!). I use my Facebook Page and Twitter to communicate with fans and keep them updated with new work and events. Tumblr is great for image sharing.

Contacting art directors can be daunting, but just being yourself and being friendly gets you a long way. Also, entering contests, such as those held by the Society of Illustrators and the Art Directors Club, has helped me to get my work noticed.

Have you made any mistakes along the way that still make you slap your forehead now? What did you learn from that/those lesson/s?

My biggest mistakes have all involved my reluctance to say 'No' to things, which has lead to workloads that were bigger than I could cope with and underpaid, overly demanding work that I shouldn't have done - and ultimately, high stress. It's only recently that I've become comfortable with saying 'No'. I have to, for the sake of my health and sanity.

Your Worrier's Guide to Life, quite obviously, reveals that you're a worrier, true introvert, and expert insomniac. Have these traits held you back in any way, or only led to greater things?

The traits are part of who I am and inspire and infuriate me in equal measure. My introverted nature means that I'm not great at networking, or being a proper 'businessperson'. I overthink my work, which leads me to spend too much time stressing out over minor details when I could be making more work.

You obviously love cats and dogs - pugs particularly. They feature heavily in your work. What is it about animals that inspire you to draw them?

I love the personalities of animals. They are so varied. Pugs, in particular, are such characters; they are very silly and funny. I like imagining what animals might say if they could talk.

"Take time to find your own style - don't copy other artists or follow trends. Look at books, not just the internet. Find inspiration beyond illustration, in other art forms and culture."

Who has been your biggest inspiration in life? And why?

It's difficult to say, as I've been inspired by so many artists and other people along the way. Maybe Lynda Barry, whose work I have admired for a long time. Her comics are unusual and charming and very funny.

You have a very distinct style. What inspired it?

I've drawn in a similar style since I was a child - always focusing on characters and humour and using simple line art. Back then, I was inspired by cartoonists like Gary Larson (my parents had a Far Side anthology, which I read every day, despite not understanding all of the jokes) and Posey Simmonds, as well as the artists from all of the books that I read, like Terry Deary, who illustrated the great Horrible Histories series.

I knew from a young age that I wanted to draw and write for a living. I was always encouraged to draw by teachers and friends. Once I realised that I could use art as a tool to get out of PE lessons, I was even keener. At primary school, I was sometimes allowed to stay in the classroom and make posters for upcoming school events rather than put myself through the humiliation of falling over and generally being terrible at all of the sports.

At art college, I discovered the art of Jeffrey Brown, Tom Gauld and Simone Lia, as well as Lynda Barry and Matt Groening (and many, many others - I spent a lot of time in the college library and browsing in bookstores). I was also very inspired by folk art and crafts and outsider artists.

You've recently moved to America. Any reason for that? How are you finding the place?

I love America. I like the open spaces, the variety of landscapes, the friendliness of the people. I've been besotted with this country since I first visited when I was seven and travelled to North Carolina to stay with some of my dad's relatives. I love the open spaces, the variety of landscapes and cultural influences. Another major factor was the weather. I do not deal very well with cold, overcast days, which make up the majority of the year in England. I feel much healthier here in California where the sun shines nearly every day.

Describe your morning routine

I am not a morning person! So I begin my day pretty slowly. I walk my pugs and usually go to grab a coffee somewhere. Once I've woken up I'm ready to sit down and begin my day. Sometimes I'll start drawing right away, sometimes I'll answer emails or do some admin. It depends what my schedule looks like and how I'm feeling on that particular day.

What's your work setup look like? What tools can't you live without?

I work in a studio, which is really a sectioned-off part of my open-plan apartment. I have a small desk for my laptop and scanner and then a bigger desk which I use for drawing. My drawing tools are pretty simple. I like Uniball eye pens for fine lines and Fabel Castell brush pens for larger images and more fluid lines. I use marker pens, coloured pencils and ink washes for colour, as well as Photoshop. All I really need is some good paper and my pens - and my sketchbook, of course.

What are you currently reading? And what three books would you recommend to others?

I've just started reading Smoke Gets In Your Eyes by Catlin Doughty. So far, I love it, as I have a rather macabre interest in death and dying. If I had to pick three books to recommend to others, I'd choose - How to Be a Woman by Caitlin Moran (all the Caitlins!) The Immortal Life of Henrietta Lacks by Rebecca Skloot and pretty much anything by David Sedaris, who is my favourite writer.

What do you do to relax?

Ha ha! In all seriousness though, I've been carving out more time for myself recently as for the past couple of years, I have been working too much, which has led to high stress that made me ill.

I love reading, so I spend a lot of time in bookstores (Oakland is full of them!) and in the library. I sit in coffee shops and doodle or read. I go for walks in the sun with my pugs. I travel whenever possible - I love to visit new places. I go to thrift stores and antiques shops to find the kitschy ornaments and souvenirs that I collect - I love snow globes and vintage plastic knick knacks.

What's happening next? Do you have any interesting projects, books or exhibitions coming up?

I'm going to begin work on a new book of comics soon, based on my experiences as a woman in particular. I recently completed The Feminist Activity Book for Seal Press, which will be released in May - I had a great time working on it. I'm also planning for a couple of exhibitions, including a duo show with Deth P Sun at Grumpy Bert in Brooklyn, New York, in May.

To find out more about Gemma, visit her website www.gemmacorrell.com or follow her on Twitter and Instagram.
Main image credit: Dave Tada

# data[].attributes.attachment_link.title
Gemma Correll talks illustration, funny pugs, introversion and life in sunny California

# data[].attributes.attachment_link.description
Gemma Correll is a cartoonist, writer, illustrator and describes herself as an "all-around small person". You will undoubtedly be aware of her famous pug cartoons, which are incredibly popular with fans all over the world. So popular, you can purchase any number of her pug-inspired products - t-shirts, tea towels, greeting cards - from various shops and retailers.

# data[].attributes.headline
Gemma Correll (illustrator) responds to having her work stolen – Twitter

# data[].attributes.subject
Gemma Correll (illustrator) responds to having her work stolen – Twitter

# data[].attributes.wish_content.attachment_props.text
DO NOT JUST TAKE SOMEONE'S ARTWORK AND SLAP YOUR LOGO ON IT TO MAKE AN ADVERT - how many bloody times do I have to say this? @Tt39231138 ? https://t.co/6xghtv65IV

# data[].attributes.wish_content.attachment_props.original_text
DO NOT JUST TAKE SOMEONE'S ARTWORK AND SLAP YOUR LOGO ON IT TO MAKE AN ADVERT - how many bloody times do I have to say this? @Tt39231138 ? https://t.co/6xghtv65IV

# data[].attributes.wish_content.attachment_props.referenced_tweets[].text
The Tea Merchant - Tea Club wishes you a Happy Friday!
#Anxietea https://t.co/cTLByuF8uL

# data[].attributes.attachment_link.embed_code
DO NOT JUST TAKE SOMEONE'S ARTWORK AND SLAP YOUR LOGO ON IT TO MAKE AN ADVERT - how many bloody times do I have to say this? @Tt39231138 ? https://t.co/6xghtv65IV
— Gemma Correll (@gemmacorrell) January 19, 2018

# data[].attributes.attachment_link.metadata.attachment_props_source.data.text
DO NOT JUST TAKE SOMEONE'S ARTWORK AND SLAP YOUR LOGO ON IT TO MAKE AN ADVERT - how many bloody times do I have to say this? @Tt39231138 ? https://t.co/6xghtv65IV

# data[].attributes.attachment_link.metadata.attachment_props_source.includes.tweets[].text
The Tea Merchant - Tea Club wishes you a Happy Friday!
#Anxietea https://t.co/cTLByuF8uL

# data[].attributes.attachment_link.metadata.attachment_props.original_text
DO NOT JUST TAKE SOMEONE'S ARTWORK AND SLAP YOUR LOGO ON IT TO MAKE AN ADVERT - how many bloody times do I have to say this? @Tt39231138 ? https://t.co/6xghtv65IV

# data[].attributes.attachment_link.metadata.attachment_props.text
DO NOT JUST TAKE SOMEONE'S ARTWORK AND SLAP YOUR LOGO ON IT TO MAKE AN ADVERT - how many bloody times do I have to say this? @Tt39231138 ? https://t.co/6xghtv65IV

# data[].attributes.attachment_link.metadata.attachment_props.referenced_tweets[].text
The Tea Merchant - Tea Club wishes you a Happy Friday!
#Anxietea https://t.co/cTLByuF8uL

# data[].attributes.headline
Graphic Design jokes – reference for common things that happen to designers in their career

# data[].attributes.subject
Graphic Design jokes – reference for common things that happen to designers in their career

# data[].attributes.body
(DO NOT make anything as visually ugly as these!!)

# data[].attributes.attachment_link.readable_text
They say that a day without laughter is a day wasted! Life is too short to spend it in worry. Even designers need a good joke to keep the humdrum away.

Laughter is better than any medcine. Give yourself a daily dose of this medicine and take out the time to enjoy humor.
Let's start this week with an all time FAVOURITE jokes for designers. Scroll down and enjoy!

2. No jokes!

3. We love your style, but...

4. The Designer has Many Faces

5.A certified web designer

6. Dare to be different

7.How web designers ask for help

8.Why Photoshop is more powerful than Sketch

9.Times are changing, you need to keep up with it

10.There are days you wish you weren't born

11.This is how the creative process looks like

12.Why am I so font of you

13.Sex and Design

14.Advantages of Being a Designer

15. Just pick two...

16.How people see design

17. Will the real graphic designer stand up?

18.Whose idea is it anyway?

19. Just make it....a unicorn

20. Just don`t...

Ta-da!

We've all been in the struggle

Sorry seems to be the hardest word

We hope we cheer you up a little bit :)

Have a nice Monday!

Yours, Cadabra

During the creation of this post, we used:

# data[].attributes.attachment_link.title
Graphic Design Jokes Only Designers Will Get - cadabrastudio - Medium

# data[].attributes.attachment_link.description
They say that a day without laughter is a day wasted! Life is too short to spend it in worry. Even designers need a good joke to keep the humdrum away. Laughter is better than any medcine. Give yourself a daily dose of this medicine and take out the time to enjoy humor.

# data[].attributes.headline
Chris (Simpsons Artist)’s surreal but accurate illustrations of creative jobs

# data[].attributes.subject
Chris (Simpsons Artist)’s surreal but accurate illustrations of creative jobs

# data[].attributes.attachment_link.readable_text
Work / Illustration

Working in the creative industries can surely be odd enough at times, but to add an extra dollop of the ludicrous and surreal is Chris (Simpsons Artist), who's helpfully depicted how ten creative roles really pan out. Often worryingly accurate (see production runner making tea, illustrator who has "left it to the last minute") and always hilariously strange, the series was commissioned by creative industries network Hiive and gives a nice gentle rib tickle to graphic designers, who may or may not spend all day using a Wacom to scroll about over images of sausages.

Keep up to date with It's Nice That - Sign up for our daily newsletter

Keep up to date with It's Nice That - Sign up for our daily newsletter and follow us on social media

Keep up to date with It's Nice That - Sign up for our daily newsletter and follow us on social media

We use cookies on this website to make your browsing experience better.
By using the site you agree to our use of cookies. Find out more here

Close and don't show again

# data[].attributes.attachment_link.title
Chris (Simpsons Artist)'s surreal but accurate illustrations of creative jobs

# data[].attributes.attachment_link.description
Working in the creative industries can surely be odd enough at times, but to add an extra dollop of the ludicrous and surreal is Chris (Simpsons Artist), who's helpfully depicted how ten creative roles really pan out.

# data[].attributes.body
Grain edit is focused on classic design work from the 1950s-1970s and contemporary designers that draw inspiration from that time period.

# data[].attributes.attachment_link.title
grain edit · modern graphic design inspiration blog + vintage graphics resource

# data[].attributes.attachment_link.description
modern graphic design inspiration blog + vintage graphics resource

# data[].attributes.attachment_link.readable_text
Parallel School offers an open environment for self-education in the broader context of art and design. We want to bring people from different places and backgrounds together to share knowledge, connect and initiate projects, publications, meetings and workshops.

Parallel School belongs to no one.
Parallel School has no location.
Parallel School is not teaching.
Parallel School is learning.

Convocatoria Abierta / Call for Participation

Parallel School Cali (CO)
5 - 10 de Diciembre 2016
Lugar A Dudas

↪ cali.parallel-school.org

"Stay Hungry, Stay Foolish"

The lecture "Stay Hungry, Stay Foolish", Said the Academy and Fed Us to the Lions. Or: Starving With a Lot of Love in Your Stomach, given by Till Wittwer in 2014 as part of the Parallel School Brno and was recently published in Bricks From the Kiln Magazine #1.
www.b-f-t-k.info

↪ You can read the Lecture online or download the PDF

Before You Think

Parallel invitation to London launch!
Sat 21 November 2015, 8pm
Lerryn's Bar, 200 Rye Lane, London SE15 4NF

Join us for a beer, conversation and pick up a free copy of
Think Twice Before You Think.

The magazine is the outcome of a year long collaboration between PS participants, Antonia Brell (Berlin), Sophie Dyer (London) and A Feral Studio (Glasgow), which began with a radical pedagogy workshop in Scotland last winter.

There will be a workshop at 6pm as part of the Antiuniversity Now festival. We'll be discussing free schools/pedagogy projects as frontier spaces ...how, and for what, is up for debate! The workshop is free but ticketed. If you can't make it, join us for the launch at 8pm.

"A PHYSICAL EXTENT INFUSED WITH SOCIAL INTENT"
(Neil Smith, 1984)

thinktwicebeforeyouthink.org
antiuniversity.org

x

Parallel School Leipzig

Parallel School Leipzig happened while the city was haunted by a heatwave. Each day we visited another part of the city by bike and built up our "parallel office". In a backyard, under the trees, in a bar and at the lake - in search of a shady places, we stumbled across wonderful moments of community. We predicted each others futures and baked bread that we ate after swimming. We discussed at night around a campfire, and struggled to get up early. We made sculptures out of trash and re-enacted scenes from each others lives.

On the hunt for undefined knowledge, we questioned the production of information. In the course of the week, we discussed our role as designers in an environment that is reinventing itself constantly.

Thanks for a week full of inspiring moments!

Open Call for Participation Parallel School Leipzig

↪ leipzig@parallel-school.org

Workshop Journal Brno

Eventually... finally... at last... here is the journal from the Parallel School during the OFF program of the 26th International Biennal of Graphic Design 2014 in Brno, supported by Verein der Gestaltung e.V.

You can download the PDF here or order a printed copy for the production cost from blurb, epubli or lulu.

Parallel School Brno

We asked ourselves what we want education to be and exchanged different approaches on teaching design. We discussed with the curators about this year's Biennal, their role as teachers and if students censor themselves. We got our hands dirty and painted collaboratively. We thought about appropriation and its connection to education. We visited the Villa Tugendhat and traced its history with earphones, pencils and copy machines. We reviewed the so-called importance of failing and examined possibilities to visualize thought. We compared our individual ways of seeing and explored the visual language of education. We visited the exhibition "Take a Line for a Walk" with curator Nina Paim and problematized the role and use of assignments. Finally, we held the lecture "Stay Hungry. Stay Foolish, Said the Academy and Fed Us to the Lions."

Thanks to everyone who took part in the Parallel School as part of the OFF Program of this years Biennal of Graphic Design in Brno. There will be a documentation soon. You can find more pictures here.

Call for Participation!
Parallel School Brno (CZ)
17 - 21 September 2014
The Moravian Gallery

Parallel School aims to bring a diverse group together to explore and revel in these themes through discussion, workshops & guest lectures. In the spirit of self-education every participant contributes by sharing their interests and specialties with any possible means.

Because Parallel School is part of the OFF program of the 26th International Biennal of Graphic Design Brno 2014 we would like to reflect and discuss the given framework of "Graphic Design, Education & Schools" critically.

You are invited to exchange and create, think and make, enjoy and exhaust, in a non-hierarchical environment of learning.

Admission opens at:
12:00 CET 29th June
Places allocated on a first come basis.

mail@parallel-school.org
parallel-school.org
bienalebrno.org/en/OffProgram/ParallelSchool
✌

# data[].attributes.attachment_link.description
Parallel School offers an open environment for self-education in the broader context of art and design. We want to bring people from different places and backgrounds together to share knowledge, connect and initiate projects, publications, meetings and workshops. Parallel School belongs to no one. Parallel School has no location.

# data[].attributes.attachment_link.readable_text
Department 21 is a project where designers, artists and architects can meet, collaborate and share working space beyond the institutional boundaries of their own disciplines.

Department 21 was set up in 2009 when a group of students at the Royal College of Art, London initiated an experimental cross-departmental studio space, thereby engendering new discussions and ways of working than had been seen in recent years at the college.

Emerging from an institutional context in which individual authorship and outcome-driven projects are the dominant frames for creative production, the project is the result of a need for new, collaborative forms of exchange between students from different disciplines: it is a means to get in touch with other peoples' practices (and in this way question one's own practice), as well as being a platform to support collaboration beyond specialties.

The philosophy driving Department 21 is an emancipated vision of postgraduate studentship, where all those entering a space of education have the responsibility to take a position regarding their learning process. Contrary to the commonly found format of short interdisciplinary collaboration with a secure outcome, Department 21 feels it necessary to create premises for individuals to encounter the others' spontaneous collaborative working methods based on common interests, curiosity and critical dialogue. The ongoing research work of the project is therefore to identify, test and refine methodologies that enable this type of encounter to emerge and thrive.

SPACE
Particular to Department 21 is the emphasis on a physical space within which ideas can grow and serendipitous encounters occur. With a belief that the physical and social design of a learning space has an impact on the learning that happens within it, Department 21 has sought to work with a variety of spaces, both within and outside the Royal College of Art, to encourage different forms of social interaction and dialogue and participation. For each location the project inhabits (alternatively shared common space, occupancy of the college's galleries during exhibitions, outdoor events etc.), the question of design comes first.

Recognising the impact that structures have on how we interact and learn, and using the inter-disciplinary knowledge of the group, Department 21 has created a purpose-built moveable working space, to enable the activities of learning, teaching and collaborating to flex to fit a wide variety of spatial environments.

METHODOLOGY
One of the key values of the project is the incidental. Department 21 is not interested in existing as a closed or heavily-curated project, rather the heterogeneous programming of events enable participants and the public to dip into discussions and actions, therefore privileging the notion of surprise and coincidence. A balance between clear organisation and chance is therefore sought, creating fertile ground for new collaborative working relationships to emerge.

This emphasis on collaborative process and open exploration is an approach that counters the institutional agenda of single authorship and producing industry-ready students. This underlying working method is described in the D21 book, self-published in June 2010 to coincide with the Royal College of Art's Show 2010:

Once a physical space is occupied, almost all the participants are involved in activating it. This means inhabiting the space on a daily basis, keeping possibilities open by re-establishing 'order' after each activity so that it could welcome the next, taking care of the communication, documenting what is going on and supporting those who want to organise an activity. Crucially, it meant being sensitive and reactive to the dynamics of the group whilst trying not to become a closed society.
[D21 publication, page 23]

Whilst the physical format and spatial manifestation of Department 21 changes frequently in response to changing external and internal contexts, its priorities remain unchanged. It is an independent research platform, valuing the importance of individual initiative and preserving the possibility of failure. Crucially, it acts as a source of peer support, to encourage critical dialogue and open up the possibilities for new directions in working practice.

Key underlying questions at the heart of Department21 since its inception have been:
- How do critical spaces emerge within institutions and how do they sustain themselves?
- How can an institution support such innovative learning environments?
- How do we - and should we - define practice and disciplines?

These questions continue to be at the heart of our live research investigation toward the discovery of potential structures [physical, temporal, social, organisational] to facilitate collaborative work.

ACTIVATION
As a peer-led pedagogical experiment, Department 21 only exists if participants are willing to activate it. For each event, space, location or activity, the diversity of the make-up of the group is a key ingredient in enabling serendipity, chance and exchange; the experience is always richer if the range of those involved, whether students, staff, participants, guest or public is as wide as possible. By reaching outside to new contexts, forming new relationships outside the institution, and continuing lines of enquiry, Department 21 hopes to sustain a richness of critical encounter; that way, Department 21 can play its role of catalyst, in whatever context it finds itself.

COLLABORATORS
Department 21 has previously collaborated with a number of individuals and organisations including Critical Practice Chelsea, Will Holder, Richard Wentworth, Antony Hudek, Alfredo Cramerotti, Ursula Biemann, Sophie Thomas, Michael Rakowitz, Barbara Steveni (APG), Finn Williams, Roberto Bottazzi, Mauricio Guillen, Manystuff and Carey Young. Some of its events are made possible with the generous support of Eurostar.
Text written by Department 21 & Pippa Koszerek

# data[].attributes.attachment_link.description
Department 21 is a project where designers, artists and architects can meet, collaborate and share working space beyond the institutional boundaries of their own disciplines. Department 21 was set up in 2009 when a group of students at the Royal College of Art, London initiated an experimental cross-departmental studio space, thereby engendering new discussions and ways of working than had been seen in recent years at the college.

# data[].attributes.body
A magazine about food and culture in the Middle East.

# data[].attributes.attachment_link.description
The Carton is a publication centered on food culture and the Middle East. It is founded by Art And Then Some - an ideas factory based in Beirut.

# data[].attributes.attachment_link.description
This fully illustrated bilingual guidebook on Arabic type design is the result of a series of workshops organized by the Khatt Foundation, and hosted by Tashkeel in Dubai, in 2011 and 2012. It presents step-by-step instructions on the design principles and tools of Arabic type design, with detailed tutorials by some of the most renown specialists in the field of contemporary Arabic type design and calligraphy.

# data[].attributes.body
A magazine of possibilities in the Arab world, published in Beirut, Lebanon.

# data[].attributes.attachment_link.description
All about Arabic typography, fonts, and type design

# data[].attributes.headline
Dr Nadine Chahine, Arabic typography specialist at Monotype UK

# data[].attributes.subject
Dr Nadine Chahine, Arabic typography specialist at Monotype UK

# data[].attributes.attachment_link.title
Meet Dr. Nadine Chahine- UK Type Director at Monotype | Monotype

# data[].attributes.attachment_link.description
Dr. Nadine Chahine, UK Type Director and Legibility Expert, specializes in Arabic letterforms and legibility research. Learn more about her and see her work.

# data[].attributes.headline
Interview with the founders of The Yard magazine cafe in Kuwait

# data[].attributes.subject
Interview with the founders of The Yard magazine cafe in Kuwait

# data[].attributes.attachment_link.readable_text
This week's instalment of Source takes us to The Yard in Kuwait, a lifestyle concept store that sells everything from beautifully designed items to a carefully curated selection of independent magazines. We speak with owner Ala'a Ali-Reda and Danah Behbehani to find out which are selling well in the Middle East.
When and why did you set up The Yard?
The Yard was co-founded as an online shop in early 2010 by us upon our completion of a graphics course in Central Saint Martins. Back in 2010 (and probably until today), the market in Kuwait lacked eccentricity in the products it offered. We wanted to introduce innovative, unusual and designed products to the market and highlight them as functional everyday products that still felt quite 'special'. We work with many international designers to customize items specifically for the shop and most of our products are produced in limited quantities.

We enjoy design in general, so we've grown our product mix since then to include customized home-ware that was designed by us as well as hand-picked products by local designers. In 2013, we worked with local restaurant Q and launched a collaborative space named 'Q at The Yard,' a restaurant within a shop ( above) - the first of its kind in the region.

How do you lay out the magazines around the shop and how did you decide on that set up?
We have a dedicated rack, which we've designed to display the magazines we stock. The magazines are arranged in a way so that the covers face the main dining area of the restaurant, and are close to the till. This allows customers to notice the magazines while they pay at the till or to pick up a copy and browse through while having a cup of coffee or waiting for friends.

Our magazines are also displayed in different places throughout our space. We have fun with our shop display area and we change things around every so often. We find similarities between the products we carry and stage them together to recreate fun sets such as 'in the kitchen' or 'design studio'. For example, an 'in the kitchen' set would include recipe cards, tea towels, serving plates and , a magazine about food and culture in the Middle East. A 'design studio' set would include a pen, Magma sketchbook, and an architecture or design magazine such as or . One of the images sent is a 'Breakfast at Q at The Yard' set, where you can see , our designer planners, a pen and a jewellery pouch.

Who are your customers?
We've noticed that our space has become a haven for many other designers in Kuwait looking to be inspired while enjoying a cup of coffee. The type of customers The Yard attracts is people who appreciate unique, innovative, and designed products.

What's your best-seller this month?
We carry print publications, whether magazines or books. In the magazine category, the best seller was Kinfolk, and in the book category, the top seller was the ' Arabic Type Design for Beginners '.

Do you have a favourite local magazine?
The local magazine market in Kuwait is still very young compared to the magazines we've come across around the world. We have a favourite regional (Middle East) magazine, which isThe Outpost, which we feel is a hidden gem. We find this magazine to be beautifully written and very inspirational, especially with its use of attractive infographics.

What has the biggest challenge been?
The biggest challenge has been stocking magazines that cater to specific groups - such as graphic design, food or travel - yet are attractive and accessible to anyone else. There is a thin line between specialized to few and intimidating to many. Being selective and exploring the magazines ourselves aids in our selection process of which magazines to stock.

What changes have you seen in the magazines since you opened?
One change we've witnessed over the past few years in magazines is the trend in 'slow-living' magazines such as Kinfolk and Cereal. There has also been a locality of magazines that our clients can relate to such as WTD, The Carton and Brownbook.

Another change we've seen is that magazines have become less ephemeral given the improvements in written content, images and overall production quality, making these magazines more of a collector's item to archive for inspiration or reference.

# data[].attributes.attachment_link.description
This week's instalment of Source takes us to The Yard in Kuwait, a lifestyle concept store that sells everything from beautifully designed items to a carefully curated selection of independent magazines. We speak with owner Ala'a Ali-Reda and Danah Behbehani to find out which are selling well in the Middle East.

# data[].attributes.headline
Interview with the founders of Brownbook Magazine

# data[].attributes.subject
Interview with the founders of Brownbook Magazine

# data[].attributes.attachment_link.readable_text
Twin brothers Rashid and Ahmed bin Shabib's thriving bi-monthly magazine Brownbook is the essential guide to the contemporary society in the Middle East and North Africa. From their Dubai headquarters, they tackle design and travel alongside culture not covered in traditional or Western media. Over the last ten years Brownbook has become a fascinating catalog of the lesser-seen aspects of the Middle East-both home and away-from Syrian communities in Sweden to snow on the Saudi mountains.
On a recent European trip, the bin Shabib brothers stayed at the FvF apartment while exploring Berlin. Sitting down over coffee to tell us more about the publication, Rashid ( below) revealed some fascinating insights into how he and his brother constantly unpack how they view the Middle East in an increasingly globalized world.

Tell us a little more about your background
My brother and I were born in Dubai, and we grew up there. Later we studied economics and property development in Boston, and when we continued our studies we did our undergraduate and Master's degrees at Oxford University. There, we focused on urbanism and the sustainability of urban areas.

What was it like growing up in Dubai?
It was a small town, very quiet.

Dubai was a small town?
[ Laughs] Yeah, it was a very small, quiet town, very little trade or outside influence. It was very local. I think things really started to change in the mid-'90s. There was a succession, and the new leader was a young, well-traveled, ambitious person. He had all of these visions of a new capital.

What kinds of projects were you working on in the early days?
About 10 years ago, we took over an old nail factory in an industrial area of Dubai. We renovated that factory and opened it up as a co-working space for a lot of independent artists and freelancers. We also integrated business processes and held all of these local programs to engage people-it was very diverse. Now, that industrial area has changed a lot, it's full of galleries.

I feel that there's a tension between adapting and adopting in the Asian context. We need to start looking at our identity more, to try to adapt it in the way we build our cities. When you look at cities like Sydney or Auckland you see them reflecting European or American cities, trying to adopt things. There's this tension between adopting something rather than taking something that is local and trying to adapt it, to make it more contemporary.

How did Brownbook come out of this?
It came from this notion of trying to explore who we are. We started Brownbook ten years ago, around the same time we renovated that nail factory. Both projects were part of a self-exploration within a broader sense of Dubai-a city that's trying to shape a lot of Middle Eastern culture.

Was Dubai changing a lot at this time?
I would say the city was well-established by then. When you look at that side of the city, the big skyscrapers and so on, it's all very foreign to us. As someone who's indigenous or native, we represent only about 7% of the population. Dubai is this very successful commercial capital of a region, but there's a lot of work to be done on what it can represent from a cultural perspective. The heritage is so rich, and that heritage is being alienated by an attitude of starting afresh rather than looking back at the language, culture, etiquette, and ethics-all of these things shape who we are.

How did you first source stories for Brownbook?
We started initially looking at syndicated stories. Back then it was about a year before that huge wave of independent publishers like Monocle and Apartamento, so it was stressful to launch an independent magazine. We looked at subject matters that made sense to us, like ski culture in Morocco. We'd hear about these juxtaposed ideologies and do a lot of research until we created this web of stories.

There was a lot of hustle to begin with, trying to get licences. A lot of our journalists were getting into trouble for driving in weird places. We did this nice feature on Oscar Niemeyer's University of Constantine in Algeria, and there they speak French and Berber. It's very hard to find a journalist who speaks French, Berber and Arabic. That was eight months of our lives just trying to build that feature!

What's the publishing scene like in your part of the Middle East?
It's very well established, we have some excellent magazines that are being published now. Even as far back as the 1970s there were some excellent magazines around. One of the challenges we face in the industry is that you have publishing houses that produce several magazines with a commercial motive, whereas we have one publication. We do it every other month and there's this holistic effort by 50 or so contributors from all over the region.

The current issue is all about snow in the Middle East so we're talking to people all over, finding out about snow in Jerusalem, or this place where it snows once a year in the southern mountains of Saudi. We sent a photographer there to live for a month just to shoot pictures.

Is the idea of skiing in the Middle East a quintessentially Brownbook topic?
The main aim is to challenge stereotypes. We're trying to get the reader to challenge their beliefs and rethink primary issues. The previous Brownbook issue was about Baghdad. That was six months of work trying to treat every story with a great deal of research. We're taking the origins of that kind of research-led journalism and trying to push it within the publication.

Why do you think challenging people's beliefs is necessary?
It's very simple: we're not satisfied with the news that's been published and the current dialog around the Middle East. Brownbook is an extension of a format of research that we're constantly looking at. We're challenging this stereotyping rhetoric in the news around the world and offering another perspective. Traditional media is constantly stereotyping a region that is challenged with conflict, social and political tensions. The Middle East is broader. There are issues, but we move on, people still study and live life here.

Are you also setting out to challenge internal views of the Middle East?
There's an etiquette on how journalism should be pushed in the Middle East when it comes to issues like religious rights, gay rights, and other social tensions. There's a whole universe of media with many established publications that are handling that very well. We try to take a politically neutral, culturally savvy approach and because of that we're able to talk in a broader way. We challenge sensitivities in a more progressive way rather than in a Western whistle-blowing way.

This notion of media being the advocate for the underdog works in a very established Western democracy. That approach doesn't go a long way in the Middle East because of the etiquette of our region. For us it's very important that you communicate something with a positive rhetoric, then you're able to promote something in a much more positive tone. So instead of pointing fingers about gay rights, for example, we advocate tolerance, and tolerance is a very important sensibility that we need to encourage.

You also tackle the issue of diversity in the Middle East very well, even following communities that have migrated abroad. Tell us about that.
Over the past century the Middle East diaspora has developed naturally. There are huge Lebanese communities in Brazil, we have a lot of Emiratis traditionally moving to Iraq and India, so this migrant culture is very well established.

Among migrant communities in the Middle East there's always this tension between a nostalgic past that is no longer there and the current discomfort with the political system. I think what makes this world much more colorful and attractive is diversity in culture.

Why do you choose to publish in English?
We do supplements in Arabic and French, but English is the common language so we publish in English. I would say our audience is a mix of local, regional, and international. It's a journal, so it appeals to a lot of universities, libraries, and design schools around the world, too.

What do you hope Brownbook will achieve in the future?
We're auditing an evolving, contemporary Middle East and I hope we continue to do that.

As much as Brownbook is important, the broader practice is the research we end up doing. We publish six times a year, always taking subject matter from a primary source and republishing-archiving information. We're trying to be this machine of information. The exhibition and education part of what we do is equally important to the research. The exhibitions are about the tensions of identity in a globalized world, to try and make sense of this issue. Having something documented is one thing, but for me, to sit down and experience an exhibition is equally important.

What other projects are you working on now?
Research, education, and exhibition. The other thing is urbanism, which is taking existing buildings to refurbish and repurpose them. We've worked on ten buildings in Emirates so far; old factories, military barracks, old offices, right now we've taken about 80 containers and we've reassembled them. All of the buildings have been repurposed for civic purposes, so we give them back as common ground.

What keeps you in the Emirates?
It's who we are. There's a true bond between us and the city, we feel we have a duty to that. Also there's a lot of work to be done.
Photographs by Robert Rieger, interview by Jack Mahoney for Freunde von Freunden

# data[].attributes.attachment_link.title
Rashid Bin Shabib, Brownbook - magCulture

# data[].attributes.attachment_link.description
The following interview was first published on the Freunde von Freunden site. Twin brothers Rashid and Ahmed bin Shabib's thriving bi-monthly magazine Brownbook is the essential guide to the contemporary society in the Middle East and North Africa. From their Dubai headquarters, they tackle design and travel alongside culture not covered in traditional or Western ...

# data[].attributes.attachment_link.readable_text
Oded Ezer is a graphic artist and typographer. Before starting his career as a designer, he was a musician and a poet. Ezer lived in Jerusalem, London and in the Negev Desert before he settled in greater Tel Aviv.

Ezer is best known for his typographic design fiction projects (such as Biotypography, Typosperma, Typoplastic Surgeries and, more recently, for his series of eight typographic videos for the V&A), his design for the New American Haggadah and poster, and for his ongoing contribution to Hebrew type design.

Ezer studied graphic design at the Bezalel Academy of Art & Design, Jerusalem. In 2000 he went on to establish his own independent studio, Oded Ezer Typography, where he specializes in typographic and fonts design. In 2004 Oded founded HebrewTypography type foundry, selling his own typefaces to leading media companies and design studios.

Ezer's projects, posters and graphic works are showcased and published worldwide, and are part of permanent collections of eminent museums such as the New York Museum of Modern Art ( MoMA, NYC), Israel Museum of Art (Jerusalem), Victoria and Albert Museum (V&A, London), Museum für Gestaltung (Zürich) and Design Museum Holon (Tel-Aviv).

Oded Ezer is a senior lecturer at the Holon Institute of Technology ( HIT); Teaches at the Nuova Accademia di Belle Arti Milano ( NABA); Was an artist-in-residence at the Rhode Island School of Design ( RISD); And frequently leads typography workshops in the US, Europe and Asia.

Ezer was elected to the Alliance Graphique Internationale in 2009. His first monograph Oded Ezer: The Typographer's Guide to the Galaxy was published by Die Gestalten Verlag in May 2009.

Oded Ezer's studio specialises in typographic and font design projects for clients in the USA, Europe, and the Middle East, such as Google Inc. (California), FontShop Intl. (Berlin), Little, Brown and Co. (NY), Font Bureau (Boston), Brody Associates (London), Sterling Brands (NY), Mota Italic (Mumbai), The Jewish Culture Festival (Krakow), Jerusalem Season of Culture (Jerusalem), Dalton Maag (London), and many more.

Several projects of the studio have won local and international accolades, including an "In Book" nomination at the D&AD contest; Certificate of Excellence at the TDC52 competition of the New York Type Directors Club; Judges' Special Award at the Taiwan International Poster Design Award, Taipei, Taiwan; Bronze prize and two International Jury Awards at the 3rd International Poster Biennial, Ningbo, China; The Israeli Education Ministry Prize for Design; Certificate of Excellence at the 4th annual competition of the New York Type Directors Club and Certificate of Excellence at the "Bukva raz", a type design competition, Moscow, Russia; and the Gold Prize at the international design competition of the Nagoya Design Center, Japan.

- - - - - -
Selected Online Articles About Oded Ezer's work
Design Matters with Debbie Millman: Oded Ezer
Oded Ezer on typography, language, music and more (Audio)

DesignBoom articles tagged "Oded Ezer"
Articles about several recent projects

Print Magazine's Interview With Oded Ezer
Print Magazine's editor, Zachary Petit, interviews Oded Ezer

The Typographer's Guide to the Galaxy
Paola Antonelli, Senior Curator in the Department of Architecture and Design at the Museum of Modern Art (MoMA), writes about Oded Ezer's work on Design Observer

Brand New Ways talks with Oded Ezer
Oded Ezer on typography, technology, mythology and more (Audio)

A Bubbling Font of Creativity
By Ezra Glinter for The Forward

One step before designing the Bible
Ha'aretz newspaper's article about Ezer's design of the New American Haggadah

Designing a 22nd-century classic
Ha'aretz newspaper about Oded Ezer's latest Hebrew typeface

Oded Ezer on TypeRadio, the radio channel on type & design
Interview with Oded Ezer, recorded at the ATypI 2010 conference in Dublin, Ireland

Oded Ezer on Radio RTE, Ireland
Two parts interview with Oded Ezer on Culture File Pod. Here and here.

# data[].attributes.attachment_link.description
Oded Ezer is a graphic artist and typographer. Before starting his career as a designer, he was a musician and a poet. Ezer lived in Jerusalem, London and in the Negev Desert before he settled in greater Tel Aviv.

# data[].attributes.attachment_link.readable_text
Brownbook is a bimonthly magazine that acts as an urban guide to the Middle East and North Africa. The magazine has endured a decade within its field, researching hundreds of cities in the region and Arab diasporas around the world. Over the ten years of publishing, the magazine in its own pace has gone through radical editorial and design changes, but maintained its stand first as an observer of the region's urban evolution. The magazine focuses on three main genres; Interviews, Architecture & Cities.

Brownbook also publishes collaborative books with regional institutions and produces film series hosted on brownbook.tv and other platforms.

# data[].attributes.attachment_link.description
Brownbook is a bimonthly magazine that acts as an urban guide to the Middle East and North Africa. The magazine has endured a decade within its field, researching hundreds of cities in the region and Arab diasporas around the world.

# data[].attributes.body
MIDDLE-EASTERN DESIGN REFS, AND SIMILAR / RELATED THINGS

# data[].attributes.headline
The AIGA Guide to Careers in Graphic Design

# data[].attributes.subject
The AIGA Guide to Careers in Graphic Design

# data[].attributes.body
https://www.aiga.org/guide-careerguide

# data[].attributes.attachment_link.description
Colorful, well-designed merchandise for people who give a fuck. Championing creatives since 2010.

# data[].attributes.body
http://smadani.com/lead-by-example/

# data[].attributes.body
http://smadani.com/think-make-like-an-artist/

# data[].attributes.headline
Prospectus / Flyer designs for Camberwell College of Art, London

# data[].attributes.subject
Prospectus / Flyer designs for Camberwell College of Art, London

# data[].attributes.body
http://inventorystudio.co.uk/projects/view/camberwell-chelsea-wimbledon2

# data[].attributes.body
http://www.peterandpaul.co.uk/journal/box-fresh-leeds-college-of-art-end-of-year-show-campaign-2016/

# data[].attributes.attachment_link.readable_text
Opinion by Richard Baird.

The Dayrooms is a multi-label womenswear store, located in the London district of Notting Hill, created by Aytan Mehdiyeva and Zumrud Mammadova. The store gives a UK platform to emerging Australian designers and is an expression of Aytan and Zumrud's shared passion for fashion and travel, and Aytan's love of photography, textiles and Australian craftsmanship. This is reflected throughout The Dayroom's graphic identity, developed by Two Times Elliott, not only in the simple but carefully crafted intersection of reductive graphic expression and material detail, but in the concept of curated moments, expressed through language, image and objects.

Building on their work for The Dayrooms' retail space, Two Times Elliott also went on to develop graphic identity, spacial creative and brand direction for The Dayrooms Café, an Australian-inspired organic café located in the London boroughs of Holborn and Notting Hill. Assets included loyalty cards, coffee cups, takeaway bags, branded tissue paper and website.

Continue reading this article

Opinion by Richard Baird

Nth Fitzroy is a residential property development project from Milieu located in the heart of the inner north of Melbourne. It features 26 uniquely breathable apartments within an innovative architectural structure with an exterior skin of single and double story shutters.

In response to seasonal environmental conditions, the changing light of the day, and the minute by minute activities of its occupants, the intrinsic nature of these shutters within exterior structure give the impression of a living building and a daily rhythm.

Inside, apartments are highly functional but also warm and welcoming, encouraging interaction and engagement. Smart storage space sits alongside moments of simple aesthetic pleasures that include natural material details and tactile high quality finishes. Working with Loose Leaf, Milieu helps to bring nature right into private and shared spaces of Nth Fitzroy's spaces, to compliment its architectural concept, through a variety of indoor plants.

To help bring to light the unique qualities of the property and its apartments Studio Hi Ho developed a strategy and promotional activity with two distinct components, united by the concept of Breathable Apartments. The first, titled Plants, is a mix of document, website and event run by Plant Hunter, which is dedicated to indoor plants. The second, AM/PM, is a document that explores the life of the building and its surroundings through a cycle of 12 hours. Although this project was completed in 2016, this is the first time it has been published in its entirety online.

Continue reading this article

Opinion by Richard Baird

2LG is an award-winning London-based interior design studio, offering residential and commercial interior design, styling and consultation services, founded by creative duo Jordan Cluroe and Russell Whitehead. The studio's work is characterised by a use of signature colour, high quality material texture and moments of significant contrast, and emerges from a process rooted in creative partnership and a sensitivity to both the past and present. This is expressed by the studio's new graphic identity and website design, developed by Two Times Elliott, through dyed boards and glossy finish of business cards and stationery, in the blocks of colour responding to project images online, and in small details such as the two parallel lines of the logo, in the pairing of typefaces and the customisable format of journal entries.

Continue reading this article

Opinion by Richard Baird.

Dr Jart+ is a South Korean skincare brand that formulates its various ranges to tackle specific conditions, and derives its name from the positioning phrase "Doctor Joins Art", an articulation of the brand's unique fusion of dermatological science and art, presumably, something along the lines of pragmatism combined with creative leaps.

The balance between the psychological and physiological components of skincare-internal feelings and external sensation, the aesthetic and the remedial-are touched upon, alongside practical considerations such as a spacial sensitivity, shelf impact and range fragmentation, in the design of Dr Jart+'s new packaging and graphic identity, developed by Pentagram's Paula Scher and team.

The design currently links Dr Jart+'s Ceramidin creams and liquids, which were launched in South Korea during 2017 and are due to roll out internationally in 2018, but will go on to include other ranges. These will share the same form language, but will be differentiated by colour and material.

Continue reading this article

# data[].attributes.attachment_link.description
Opinion by Richard Baird. The Dayrooms is a multi-label womenswear store, located in the London district of Notting Hill, created by Aytan Mehdiyeva and Zumrud Mammadova. The store gives a UK platform to emerging Australian designers and is an expression of Aytan and Zumrud's shared passion for fashion and travel, and Aytan's love of photography, textiles and Australian craftsmanship.

# data[].attributes.headline
ART OF THE MENU — Menu Design Blog (Good for typography, layout and materials research)

# data[].attributes.subject
ART OF THE MENU — Menu Design Blog (Good for typography, layout and materials research)

# data[].attributes.attachment_link.description
A division of UnderConsideration, cataloguing the underrated creativity of menus from around the world.

# data[].attributes.attachment_link.readable_text
Brand New, is a division of UnderConsideration, displaying opinions, and focusing solely, on corporate and brand identity work. More...

UnderConsideration is a graphic design firm generating its own projects, initiatives, and content while taking on limited client work. Run by Bryony Gomez-Palacio and Armin Vit in Bloomington, IN.

# data[].attributes.attachment_link.description
Brand New, is a division of UnderConsideration, displaying opinions, and focusing solely, on corporate and brand identity work. More... UnderConsideration is a graphic design firm generating its own projects, initiatives, and content while taking on limited client work. Run by Bryony Gomez-Palacio and Armin Vit in Bloomington, IN.

# data[].attributes.attachment_link.title
Lovely Package | Curating the very best packaging design

# data[].attributes.body
https://www.metaklinika.com/design-papers-2016-1/

# data[].attributes.attachment_link.description
THE VECTORIAN is a visual moodboard displaying relevant work in contemporary branding and design. Curated by graphic designer Cesar Gomez.

# data[].attributes.attachment_link.provider_name
The Dieline | Packaging & Branding Design & Innovation News

# data[].attributes.attachment_link.description
The Dieline is the industry's source for daily package design & branding inspiration, resources, news, conferences, events, and awards.

# data[].attributes.body
GENERAL DESIGN VISUAL NICENESS REFS

# data[].attributes.headline
Student Project about trying to learn how to print at Uni.

# data[].attributes.subject
Student Project about trying to learn how to print at Uni.

# data[].attributes.body
http://a-fish.co.uk/portfolio/special-study

# data[].attributes.attachment_link.title
Done some things, watch this space 🎉🎉🎉 (Get in touch if you want a package sending out ☺️)

# data[].attributes.attachment_link.description
76 Likes, 4 Comments - Hayley Berridge (@hayleyberridge) on Instagram: "Done some things, watch this space 🎉🎉🎉 (Get in touch if you want a package sending out ☺️)"

# data[].attributes.body
STUDENT PORTFOLIO / DIRECT MAIL STUFF

# data[].attributes.headline
Ontario College of Art and Design — ReBrand

# data[].attributes.subject
Ontario College of Art and Design — ReBrand

# data[].attributes.body
Interesting in terms of how design and branding of the institution can affect prospective student's perception of what 'creativity' is/will be.

# data[].attributes.attachment_link.readable_text
Founded in 1876, OCAD University is Canada's largest art and design institution, located in Toronto, Ontario. Formerly known as Ontario College of Art and Design, the school changed its name in 2007 to OCAD University when it received degree-granting status. Despite the "C" in the name still standing for "College" the acronym was kept as it had substantial equity and recognition. In 2004, OCAD University moved into its new campus, a radical structure designed by Alsop Architects that looks like a cross between a crossword puzzle and those super tall robots from War of the Worlds, with some color sprinkled for good measure. It may sound like a jab at the building, but the thing is truly jaw-dropping when you are standing below it. Anyway. Last night, at the 96th Annual Graduate Exhibition, the school unveiled a new identity, created by Toronto-based Bruce Mau Design (BMD), as well as another slight name change, to OCAD U.

Inspired by OCAD U's iconic and transformational Alsop-designed Sharp Centre for Design, BMD created a base of black and white pixel "windows" - modular frames to hold actual student art and design work. Through these 'windows' the core of OCAD U is presented - conceptually strong, relevant, diverse, and compelling. "As we push the boundaries of art and design practice, education and research, so too does our new identity, giving the world a window into what we do here," said Dr. Diamond.

The identity is dynamic and modular in design. Every year, graduating student medal winners will be invited to design a logo within the basic window framework, providing the university with a set of logos for that year. As OCAD U grows and matures, a living library of identities will emerge, recording the ideas and aesthetics that have shaped our culture over time.
- Press Release

The old logo wasn't anything too exciting, just the name of the institution set in Jonathan Barnbrook's Priori inside a rectangle with the letters cropped off on both sides. Decent. But lame. And it could have any name, of any school, from anywhere in the world. The new logo draws its basic structure from the black and white square pattern on the building, giving it a delightful relevance and reason for being. The big square acts as a "window", a concept that gets thrown around a lot and hard to improve upon but I think this identity is able to offer a slight variation on the theme by not just populating the inside of the square but having some fun with it and letting the odd "things" come in front, behind, and all around the main square. It's almost like a cross between the visual diversity of the Aol. work and National Geographic's and Time 's idea of the color frame capturing a moment in time. The idea of putting student work in there is the exact kind of conceptual move that makes the difference between students and alumni hating a redesign of their beloved educational institution or loving it. I bet we won't be seeing any petitions to get rid of this logo.

The logo and identity are set in Gotham but strangely enough it doesn't feel too Gotham-ey, perhaps because there are no "a"s, "R"s, or "M"s which are the most telling characters of Gotham. The logo also does a nice job in acknowledging that this is still OCAD but that it happens to now be a U (for Univesity)... the counter argument is that it encourages people to keep calling it "OCAD" not "OCAD U" as is the new intention. The applications are really great and demonstrate the versatility that this identity will have. It has a very good combination of serious starkness with creative whimsiness. I'm a fan.

# data[].attributes.attachment_link.description
Founded in 1876, OCAD University is Canada's largest art and design institution, located in Toronto, Ontario. Formerly known as Ontario College of Art and Design, the school changed its name in 2007 to OCAD University when it received degree-granting status.

# data[].attributes.headline
Rick Poynor: Why Graphic Design is at the core of 21st century visual culture.

# data[].attributes.subject
Rick Poynor: Why Graphic Design is at the core of 21st century visual culture.

# data[].attributes.body
From record covers to road signs, posters to packaging, graphics and typography touch every area of our lives.

# data[].attributes.attachment_link.readable_text
In 2001, I did what any parent of a 10-year-old does and started visiting secondary schools. I hadn't been into one since I was at school in the 1970s, and one aspect of these establishments amazed me. I recall school as a largely non-visual experience. Walls were bare. All the emphasis was on words. You could study history without looking at a picture of anything. But at the schools I now visited, the walls were covered with projects made up of words and pictures, with fancy typefaces and everything mounted on coloured papers. In some corridors it was like moving through a three-dimensional collage of imagery and text. It seemed that learning had become graphic, tactile, involving. Frankly, I was envious.

Books, magazines, record covers, road signs, posters, logos, film credits, TV graphics, packaging, postage stamps, instruction manuals, websites, the page you are reading now - the unseen hand of the graphic designer touches and moulds every area of our lives. Even the Word of God was given a contemporary graphic makeover when Canongate published a series of books from the Bible as little paperbacks with moody black-and-white photos on the covers.

The paradox of this graphic culture is that while it is truly everywhere, it is often considered unworthy of serious study or is simply dismissed. When the superb American graphic novel Jimmy Corrigan won the Guardian first book award, the poet Tom Paulin trashed it on BBC2's Newsnight Review. Paulin is a learned man, but he seemed to have no idea what he was looking at, or how to assess it. The book's many readers felt no such reservations.

Ken Garland, a graphic designer who began his career in the late 1950s as art editor of Design magazine, recalls the first stirrings of the graphic revolution. "In the early 1960s, there was very little realisation in the public of what graphic design is," he says. "My generation thought that graphic design was an all-embracing activity, that it started with the concept, but it went all the way through to the final product. We expected or wanted to be involved the whole way along."

In the period of optimistic reconstruction that followed the second world war, Garland and his colleagues saw graphic design almost as a calling. It was their mission to persuade clients that effective design would be good for business. Many designers thought it could even enhance the quality of life. The designer needed to be an imaginative generalist, able to think through the visual needs of a swish contemporary furniture company or a manufacturer of bricks.

European modernism had made only a limited impact on British commercial art - graphic design's forerunner - in the 1920s and 30s. Making up for lost time, the postwar generation of British designers turned for inspiration to modernist design visionaries such as László Moholy-Nagy, El Lissitzky and Jan Tschichold, who all espoused a rigorous sans serif "new typography" and a dynamic use of white space. Garland championed the modernist concept of "typophoto": the graphic integration of type and photographic image. It was in the 1960s that our obsession with the power of "image" took hold and design became a vital component of everyday popular culture. Garland recalls seeing competitions to design record sleeves on the 60s pop music television programme Ready Steady Go! "The public did them. Everyone had a go and design became associated with rock'n'roll and pop as one big package. Nothing was ever quite the same after that."

The new wave of designers, post-punk, were more attuned to youth culture than to the modernist conception of design as a means for transforming society that had inspired Garland's generation. Neville Brody, celebrated at the Victoria & Albert Museum in 1988 when still only 31, made his name as art director of The Face, and Peter Saville, subject of an acclaimed Design Museum exhibition last year, made his mark at Factory Records.

The designers who followed took it for granted that design was of crucial importance in contemporary culture and, unlike their more modest predecessors, were happy to claim the limelight. The arrival of desktop design technology boosted their sense that they were sitting at the nerve centre of modern communication. By 1990, no self-respecting studio could afford to be without a row of Apple Macintosh computers. Designers began to involve themselves in areas once the preserve of type designers, text editors, sound designers, digital film-makers. The multidisciplinary studio Tomato, founded in London in 1991 by a group of eight friends, even boasted a couple of musicians - members of the techno band Underworld - in its line-up. Their concerts and videos were a delirious fusion of pulsing sound and flashing typographic experiments.

Digital technology was also introducing the public to areas of visual communication once accessible only to experts. Anyone could lay out a professional-looking document using the new software templates. A routine school project, even at primary level, can now involve choices about typeface, type size and layout once familiar only to designers. It is possible to study graphic design at GCSE and A-level.

You can gauge the energy and confidence of graphic culture on any Saturday at the Magma shop in Earlham Street, Covent Garden. Fifteen years ago, once you had bought Brody's monograph, the range of design books was pretty limited. Today, there are hundreds. Magma was opened in 2000 by Marc Valli, 35, who came to Britain from Brazil to study film, then worked in the film section of a bookshop, where he noticed the real action was not in film books but in design. Valli finds a broad mix of people visit his shop. "A lot of them are interested in music. Some of them are interested in fashion. A lot of them are into comics." Then there are the skateboarders - "quite an obsessive crowd". Kids as young as 10 or 12 drop by to study the graffiti books.

Valli isn't alone in believing that the intense visual pleasures offered by graphic culture are beginning to usurp the place of fine art. In recent years, many artists have emphasised the conceptual, rather than the aesthetic, content of their work. Design, on the other hand, has often been unashamedly retinal, intent on creating a new visual form. Ian Anderson, a self-taught designer with a degree in philosophy, started The Designers Republic (TDR) in Sheffield in 1986, and the company has since built a cult following. "No matter what people do to try to get art into the newspapers - the sensationalism or whatever - art is a peripheral interest," he says, "whereas design is at the core of everything that's done now. Everything is designed - maybe overdesigned." You might say the same thing about TDR's work, but for its admirers this is a virtue. In the 1990s, designers began initiating their own projects: TDR has staged a number of exhibitions and published its own posters, which might be described as anti-advertisements. "Buy nothing. Pay now," reads one.

Both Anderson and Valli argue that it is graphic culture, not art, that reflects the mentality and concerns of our time. Graphic expression connects with people because its fundamental purpose is communication, and this applies to even the most esoteric forms of message-making, such as TDR's. If it doesn't communicate, it fails.

"I don't think contemporary art is ever going to come back," says Valli. "The people who are going to change things visually are people who are working in a more graphic way. As art installations became more three-dimensional and conceptual, graphic designers just took over." If we were to remake Robert Hughes's Shock Of The New documentary in 30 years' time, Valli suggests, its focus would be graphic culture.

If this is true, then it is a hard truth to recognise. We have invested so much in the idea of art's central place in visual culture that it is difficult to accept that, while the art world's store-minders were looking the other way, design may simply have slipped around the back. In the early 20th century, revolutionary modernists dreamed of reuniting art and life. Pioneering artists invented modern typography and laid the foundations for the development of graphic design. Could it be that what we see in our thriving graphic culture are signs that the reunification of art and life is well under way?

· Rick Poynor is guest curator of Communicate: Independent British Graphic Design Since The Sixties, at the Barbican Art Gallery, London EC2, from September 16-January 23, 0845 121 6828.
Topics

# data[].attributes.attachment_link.title
Rick Poynor: Why design is at the core of 21st-century visual culture

# data[].attributes.attachment_link.description
In 2001, I did what any parent of a 10-year-old does and started visiting secondary schools. I hadn't been into one since I was at school in the 1970s, and one aspect of these establishments amazed me. I recall school as a largely non-visual experience. Walls were bare.

# data[].attributes.headline
What's in a name? The value of a good university brand 

# data[].attributes.subject
What's in a name? The value of a good university brand 

# data[].attributes.attachment_link.title
What’s in a name? The value of a good university brand

# data[].attributes.attachment_link.description
When it comes to student attraction, a university with a well-respected brand has an enormous advantage. But it takes more than a catchy slogan to stand out from the crowd

# data[].attributes.body
https://www.dezeen.com/2012/05/29/just-in-case-by-menosunocerouno/

# data[].attributes.body
https://www.behance.net/gallery/14449321/Branch-Creative

# data[].attributes.body
http://lovelypackage.com/recovery-kits/

# data[].attributes.body
DESIGNERS TALKING ABOUT DESIGN / THE CULTURE OF DESIGN / TYPICAL DESIGN HABITS

# data[].attributes.body
THINGS ABOUT STUDENTS AND LEARNING

# data[].attributes.body
WORK ABOUT BEING A GRAPHIC DESIGNER / ILLUSTRATOR / CREATIVE PERSON

# data[].attributes.body
EXAMPLES OF PACKAGING / KITS / ACTIVITY PACKS etc

# data[].attributes.body
(link to online PDF)

# data[].attributes.headline
Christopher Doyle — Identity Guidelines (follow link for PDF)

# data[].attributes.subject
Christopher Doyle — Identity Guidelines (follow link for PDF)

# data[].attributes.body
Dis.art turns “learning into a Netflix-like experience”

# data[].attributes.attachment_link.title
Dis.art turns “learning into a Netflix-like experience”

# data[].attributes.attachment_link.description
Imagine Gordon Ramsay cooking his staple beef Wellington while teaching you Foucault’s theory of power. The intricate nuances of modern discipline would probably be made much more appealing than in a 400-page academic study. In the age of information, the creative collective Dis sought to communicate news, facts and knowledge in a comprehensive and intriguing way. The result is the new streaming channel Dis.art, which screens videos that break down critical theory into engaging short films about otherworldly cooking shows and headless online lecturers.

# data[].attributes.body
http://www.allotinabox.com/grow-your-own/shop/all/allotinabox-super-seed-box

# data[].attributes.body
http://www.dianalischer.ch/4345225/fachklasse

# data[].attributes.body
http://www.trendlist.org/images/first-things-first-manifesto